For 3 percussionists.1: mar chi ant cym timp chin.small cym conga tamt log dr 2: vib chi ant cym timp chin.small cym bongo wind gong log drum Chinese gong set 3: vib chi ant cym timp chin.small cym tomt log dr chin.gong set

Each of the five connected movements in this choral cycle contains references to 'Light ' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personalcomfort and solace in setting to music these timeless and wondrous words about Light a universal symbol of illumination at all levels - spiritual artistic and intellectual. The work opens and closes with the beginning andending of the Requiem Mass with the central three movements drawn respectively from the Te Deum O Nata Lux and Veni Sancte Spiritus . The opening Introitus introduces several themes that recur later in thework and includes an extended canon on et lux perpetua. In Te Domine Speravi contains among other musical elements the cantus firmus Herzliebster Jesu (from the Nuremburg Songbook 1677) and a lengthy inverted canon on fiat misericordia. O Nata Lux and Veni Sancte Spiritus are paired songs the former an a cappella motet at the center of the work and the latter a spirited jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna which reprises the opening section of the Introitus and concludes with a joyful celebratory Alleluia . --MortenLauridsen

For flute oboe clarinet viola cello and harp.

For alto voice and string quartet or string orchestra.

Madrigals by the Renaissance composer Monteverdi provided the inspiration for my own Madrigali . Symbolic images of flames burning and fire recur often in Italian love poems from this era and my cycle on texts employingthis fire motive blends stylistic musical features of the period (word painting modality bold harmonic shifts intricate counterpoint augenmusik etc.) within a contemporary compositional idiom. The music emanates from asingle primal sonority (the Fire-Chord) which opens the piece and is found extensively throughout all six movements in myriad forms and manipulations providing motivic unity to complement the poetic. This cycle ofmadrigals has been designated an American Choral Masterpiece by the National Endowment for the Arts. --Morten Lauridsen

(1993) Performed by bassoonists all over the world Dead Elvis for solo bassoon and small chamber ensemble has become one of the most frequently performed works for bassoon. In this highly original work Daughertyexplores the Sturm und Drang of the hip young genius rock-and-roll Elvis versus the vulgar fat stoned Las Vegas Elvis. For performance of Dead Elvis it has become a tradition for bassoonists to wear anElvis Las Vegas white jumpsuit (easily rented from a local costume store). Duration - ca. 9:00

For solo violin reed organ psaltery (piano) 2 drums 4 marimbas (harp).

Sitar method. Sitar method.

Parts (strings 2-2-2-2-2).

Morten Lauridsen 's O Magnum Mysterium for Concert Band. Score and parts.

Instrumentation: 2 alto sax 1 tenor sax 1 baritone sax

For Bb Soprano (or Bb Tenor) Saxophone and Small Orchestra-This dance-driven saxophone concerto in miniature demonstrates how Villa-Lobos could integrate nearly any instrument into a Brazilian sound world while still composing a fully classical piece. Of the three short movements the first 'Animé ' is the longest clocking in at about four minutes. An agitated downward cascade for the strings ushers in the soloist playing an angular strongly rhythmic theme relying on quickly repeated notes. A second melody is much broader and more luxurious and spreads across half the movement before the opening rat-a-tat theme begins to insinuate itself very subtly into the proceedings again. Even then the more lyrical melody remains in control to the movement's end. The second movement 'Lent ' relies on a sexy chromatic melody that lingers in the soprano saxophone's high register. After only the briefest pause the finale 'Très animé ' arrives with an impulsive sometimes jittery theme over a firm beat. The solo part wanders off into trills while the small orchestra stretches out in long voluptuous chords. But soon the dance rhythm returns stronger than ever bouncing toward a conclusion in which the saxophone departs with an upward flourish seeming to vanish from the movement without providing a harmonic resolution. (James Reel All Music Guide)

Streichquartett Nr 17 Opus 146

La Noche De Los Mayas

Laberinto De Espejos

Out My One Window

September Canons

Tallahatchie Concerto

Liberare Sonare

Ave Maria