Compositions

Music for a While (1971)

for flute, oboe, and piano

students at the New England Conservatory, November, 1971

performed at the International Student Composers’ Symposium, New York, 1972

Nuns Fret Not (1973) (William Wordsworth)

for soprano with flute, clarinet, trumpet, harp, vibraphone, viola, and contrabass

students at the New England Conservatory, March, 1973

performed at the International Student Composers’ Symposium, Toronto, 1973

The Bell Doth Tolle (1973) (George Herbert)

for bass, with oboe, trombone, viola, and vibraphone

students at the New England Conservatory, May, 1973

My World and Welcome To It--Book I (1973)

for contrabass alone

Alan Nagel at Walden Pond, May, 1973 (Les Adieux) and Aspen Music School, August, 1973 (l’Absence)

Agreeably of Love (1973) (W. H.Auden)

for soprano and piano

Barbara Winchester and Malcolm Peyton, WGBH radio, Boston, March, 1976

Sweet Was the Song (1973) (William Ballet’s Lute Book)

from At the Manger

for soprano and alto with bass clarinet, trombone, viola, ‘cello, and contrabass

Barbara Winchester and D’Anna Fortunato, Dinosaur Annex,

May, 1976

The Foil (1973) (George Herbert)

for unaccompanied four part mixed chorus

The Choir of Christ Church, Lancaster Gate, London,

Roderick Swanston, conductor, July, 1975

The Second, Part III (a hum..) (1974) (Walt Whitman)

for baritone with alto flute, clarinet, English horn, trombone, percussion (2), harp, viola, and contrabass

Gilbert High, baritone, Rodney Lister, conductor, Brandeis University, May 1976

The Shepherd (1974) (William Blake)

for unison children’s chorus, recorders, percussion, and piano

students at the Heathland School, Hounslow, Middlesex, England,

July, 1975

Taller To-day (1974) (W. H. Auden)

for soprano with flute, oboe, clarinet, bass clarinet, harp, vibraphone,

violin, viola, and ‘cello

Barbara Winchester and Dinosaur Annex, WGBH radio, Boston, March, 1976

Adam Lay Ybounden (1974) (anon.)

for children’s chorus, recorders, and piano

students at the Sir James Barrie Junior School, London,

December, 1976

Mary Sings (1974) (W. H. Auden)

from At the Manger

for alto with alto flute, English horn, bass clarinet, viola, ‘cello, and contrabass

D’Anna Fortunato and Dinosaur Annex, May, 1976

The Breaking (1975) (George Herbert)

for countertenor, tenor, and baritone, with oboe, trombone, viola, ‘cello, and organ

The Church of St. Vedast alias Foster in the City of London,

March, 1975

Thank God It’s Friday (1975) (Christopher Smart)

for children’s chorus, recorders, percussion, and piano

Nowe Welcom, Somor (1975) (Geoffrey Chaucer)

for countertenor with flute, oboe, violin, ‘cello, and harpsichord

David Klipp, WGBH radio, Boston, March, 1976

A Christmas Prayer: hommage to T. Tertius Nobel (1975) (G. M. Hopkins)

for unaccompanied mixed chorus

The Emerson College Choir, Boston, Scott Wheeler, conductor,

December, 1978

published by GunMar Music, Inc.

The Shepherds (1975) (John Milton)

from At the Manger

for soprano with piccolo, bass clarinet, trombone, viola, ‘cello, and contrabass

Barbara Winchester and Dinosaur Annex, May, 1976

Housekeeping Song (1976) (Arthur Williams)

for voice and guitar

Barbara Winchester and Jan Wissmuller, February, 1977

Carol (1976) (Thomas Merton)

from At the Manger

for tenor with alto flute, bass clarinet, viola, ‘cello, and contrabass

Thomas Toscano with Dinosaur Annex, April, 1977

The Wuggly Ump (1977) (Edward Gorey)

for treble chorus with recorders, percussion, and piano

The Cmabridge Chorale, Scott Wheeler, conductor, May, 1977

The Lesson (1977) (Robert Lowell)

for mezzo-soprano, three clarinets, piano, and crotales

D’Anna Fortunato and Dinosaur Annex, May, 1978

Joseph’s Suspicion (1977) (R. M. Rilke, translated by Stephen Spender)

from At the Manger

for baritone with English horn, bass clarinet, trombone, viola, ‘cello,

and contrabass

Gregory Rhinehart and Dinosaur Annex, March, 1978

Tell Me Where Is Fancie Bred (1977) (Wm. Shakespeare)

from Engender’d In the Eyes

for voice and harp

Judith Kellock and Susan Allen, Emerson College, Boston, December, 1981

(with Lullaby and Take O Take Those Lips Away)

Lullaby (1977) (Wm. Shakespeare)

from Engender’d In the Eyes

for voice and harp

Alex (berceuse du chat) (1978)

for violin, clarinet, and piano

Dinosaur Annex, London, August, 1978

published by GunMar Music, Inc.

Hymn (1978) (Christopher Smart)

from At the Manger

for soprano and tenor with flute, clarinet, oboe, trombone, viola, ‘cello, and contrabass

Take, O Take Those Lips Away (1978) (Wm. Shakespeare)

from Engender’d In the Eyes

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J. S. Bach--Prelude and Fugue in D major (W.T.C. II) orchestration (1978)

for three clarinets, marimba, violin, viola, ‘cello

Dinosaur Annex, the Gardner Museum, Boston, June, 1979

Bird Song (1978) (Wm. Shakespeare)

for soprano with violin, clarinet, and contrabass (or ‘cello)

Barbara Winchester and Dinosaur Annex, The Gardner Museum, Boston,

February, 1978

when god lets my body be (1979) (e.e. cummings)

for unaccompanied mixed chorus

The Bluejay’s Lullaby (1979-80) (Peter S. Beagle)

for soprano, violin, clarinet, and contrabass (or ‘cello)

students at Emerson College, March, 1980

A Little Cowboy Music (1980)

for violin, clarinet, contrabass, and piano

commissioned by Toby Armour for Dinosaur Annex and the Somerville, Massachusetts, Public Library

Dinosaur Annex at the Somerville Public Library, April, 1980

published by GunMar Music, Inc.

Though the Night Is Gone (A Certain World, Book II) (1980) (W. H. Auden)

for baritone and piano

Keith Kibler and Rodney Lister, the Goethe Institute, Boston, October, 1982

Prospero to Ariel (1980) (W. H. Auden)

from From the Sea and the Mirror

students at the Dartington Hall Summer School of Music, August, 1980

Such Beauty As Hurts to Behold (1980) (Paul Goodman)

from Songbook

for voice and piano

Keith Kibler and Rodney Lister at the Gardner Museum, Boston, June, 1981

This Is Just to Say (1981) (William Carlos Williams)

from Songbook

for voice and piano

Barbara Winchester and Rodney Lister, the Gardner Museum, Boston,

June, 1981

The Bricks (1981) (Kenneth Koch)

from Songbook

for voice and piano

Megan Murphy and Rodney Lister, Emerson College, Boston, May, 1981

A Little Cowboy Music Too (1981)

for flute, clarinet, violin, ‘cello, marimba, and piano

commissioned by Peter Maxwell Davies for the Fires of London

The Fires of London, The Queen Elizabeth Hall, London,

September 24, 1981

Monotone (1981) (Carl Sandburg)

from Songbook

for voice and piano

Barbara Winchester and Rodney Lister, the Gardner Museum, Boston,

June, 1981

Fish In the Unruffled Lakes (1981) (W. H. Auden)

from Songbook

for voice and piano

Barbara Winchester and Rodney Lister, the Gardner Museum, Boston,

June, 1981

The Shape of Time (1981) (John Hollander)

from Songbook

for voice and piano

Barbara Winchester and Rodney Lister, the Gardner Museum, Boston

June, 1981

Like an Ever Rolling Stream (1981)

for two clarinets and piano

Katherine Matasy, Ian Greitzer, and Rodney Lister, December, 1981

Insomnia (1981) (Elizabeth Bishop)

for voice and guitar

Juith Kellock and David Leisner, Emerson College, December, 1981

Hannah (1981) (Lloyd Schwartz)

from Songbook

for voice and piano

Patrice Pastore and Rodney Lister, Emerson College, December, 1981

Chorale (1982) (W. H. Auden)

for unaccompanied mixed chorus

Dinosaur Annex, Scott Wheeler, conductor, January, 1982

A True Account of Talking to the Sun at Fire Island (1982) (Frank O’Hara)

for baritone with three clarinets, marimba, violin, viola, and ‘cello

Commissioned by Mrs. Gardner Cox for Dinosaur Annex

Keith Kibler and Dinosaur Annex, Nalin T. Mukherjee, conductor,

First and Second Church, Boston, March 14, 1982

The Owl and the Pussycat (1982) (Edward Lear)

for soprano and piano

Commissioned by Michael Mao

June La Pointe and Rodney Lister, Emerson College, Boston, June, 1982

published by GunMar Music, Inc.

The Owl and the Pussycat (1982) (Edward Lear)

for soprano with flute, clarinet, violin, ‘cello, guitar, and marimba

Mary Kendrick Sego and The Music Production Company, Emmanuel Church, Boston, February 25, 1983

published by GunMar Music, Inc.

The Boatswain and the Mate (1982) (W. H. Auden)

from From the Sea and the Mirror

for voice with violin, clarinet, and piano

Mary Kendrick Sego and The Music Production Company, Emmanuel

Church, Boston, February 25, 1983

Lana Turner Has Collapsed (1982) (Frank O’Hara)

for men’s chorus and piano

The Ad Hoc Men’s Chorus, Frederick Jodry, conductor, North House, Harvard University, May 1987

Three Portraits by Virgil Thomson--orchestraiona (1982)

for full orchestra

Commised by the Oshkosh Symphony

The Oshkosh Symphony, Henri Pensis, conductor, April 30, 1983

Mass (Wondrous Love) (1982-83)

for four part unaccompanied mixed chorus

Commissioned by the Church of the Advent, Boston, for the centennial of their present building

The choir of the Church of the Advent, Boston, Edith Ho, conductor,

May 22, 1983

Warble (1983)

for flute, Eb clarinet, English horn, bassoon, trumpet, trombone, marimba,

harp, two violas, ‘cello, and contrabass

Fellows of the Berkshire Music Center at Tanglewood, Piotr Gajewski,

conductor, August 13, 1983

We’re All Mad Here (1982) (Gary Ralph)

from A Small Songbook

for voice and piano

Mary Kendrick Sego and Rodney Lister, The Gardner Museum Boston,

Octobe 27, 1983

The Proof (1983) (Richard Wilbur)

for four part unaccompanied chorus

the choir of the Church of the Advent, Boston, Frederick Jody, conductor,

November, 1983

The Fear of Love (1983) (Wendell Berry)

from A Small Songbook

Karol Bennett and Rodney Lister, The Gardner Museum, Boston,

October 27, 1983

A Part (1983) (Wendell Berry)

for two part treble chorus or soli, unaccompanied

Karol Bennett and Mary Kendrick Sego, The Gardner Museum, Boston,

October 27, 1983

July has ended... (1983) (Frank O’Hara)

from A Small Songbook

for voice and piano

this round o of faithfulness

or in sickness and in health (1983)

for two clarinets

Katherine Matasy and Ian Greitzer, May 30, 1984

Days and Nights Pass (1983) (Po Chu-i, translated by Arthur Waley)

for mezzo-soprano and clarinet

Mary Kendrick Sego and Ian Greitzer, February, 1984

Half of Life (1982-84)

for bass clarinet, ‘cello, and piano

Commissioned by Margaret Lee Crofts, with further support from the

Somerville Arts Council

Katherine Matasy, Michael Curry, and Rodney Lister, May 30, 1984

A Summer Night (A Certain World, Book I) (1977-1984) (W. H. Auden)

for baritone and orchestra (flute, oboe, clarinet, bass clarinet, bassoon,

horn, trumpet, trombone, harp, percussion (2), and strings

written,with support from the WBZ Fund for the Arts,for the Boston

Philharmonic, Benjamin Zander, conductor

The Unfamiliar Name (1984)

for violin and piano

Commissioned by Margaret Lee Crofts and Joel Smirnoff

Joel Smirnoff and Rodney Lister, the Goethe Institute, Boston,

November 1, 1984

A Variation on “To Say To Go To Sleep” (1984) (Randell Jarrell, after Rilke)

for voice and guitar

Barbara Winchester and Robert Ward, New England Conservatory,

1988

December, 1903 (1984) (C. P. Cavafy)

from As You Know

for voice and piano

Conversation (1984) (Elizabeth Bishop)

from As You Know

for voice and piano

Stop the Light’s Harsh Failing (1984) (Gary Ralph)

from As You Know

for voice and piano

Paradoxes and Oxymorons (1984) (John Ashberry)

from As You Know

for voice and piano

Truth and Error, Fire and Snow (1984) (W. H. Auden)

from As You Know

for voice and piano

As You Know was first performed by Richard Morrison and Rodney Lister

at the Fogg Museum at Harvard University on April 23, 1985

At Last Going (1984) (John Donne)

for four part mixed choir, unaccompanied

The Choir of the Church of the Advent, Boston, March 17, 1985

The Repetitive Heart (1984)

for viola alone or violin alone

Joel Smirnoff, Bowdoin College, April 28, 1985

Roses for Thornes (1985) (Richard Crashaw)

for tenor with English horn and viola

Rockland Osgood, Deanna Dalrymple, and Dubrovka Moshfegh,

The Church of the Advent, Boston, March 18, 1986

Where I Say Hours (1985)

for clarinet and string quartet

Commissioned by the Serge Koussevitzky Music Foundation in the Library of Congress

Ian Greitzer and the Blair Quartet, The Library of Congress, May, 1987

Jesus Loves Me (1985)

for organ

Scott Turkington, the Church of the Covenant, Boston, June, 1985

Prelude: Imaginary Gardens (1985)

for piano

David Kopp, North House, Harvard University, February, 1986

Jesus Loves Me (1986)

for small orchestra (piccolo, flute, oboe, two clarinets, two bassoons, trumpet, and

strings)

The Bach Society Orchestra, Harvard University, Jeffrey Goldberg, conductor,

January, 1987

The Fountain (1986) (G. M. Hopkins)

for four part mixed choir, unaccompanied

The Parish Choir of the Church of the Advent, Boston, Frederick Jodry,

conductor, January, 1987

The Little Frame (1986) (George Herbert)

for tenor and English horn

Rockland Osgood and Deanna Dalrymple, The Church of the Advent, Boston,

March, 1987

Open House (1986) (Theodore Roethke)

from A Motion Not My Own

for voice and piano

The Waking (1986) (Theodore Roethke)

from A Motion Not My Own

for voice and piano

Jane Struss and David Kopp, North House, Harvard University, May, 1987

Against Disaster (1986) (Theodore Roethke)

from A Motion Not My Own

for voice and piano

The Swan (1986) (Theodore Roethke)

from A Motion Not My Own

for voice and piano

Jane Struss and David Kopp, North House, Harvard University, May 1987

The Bat (1986) (Theodore Roethke)

from A Motion Not My Own

voice and piano

Long Live the Weeds (1986) (Thedore Roethke)

from A Motion Not My Own

for voice and piano

Trying to Figure Out (1985-86) (Frank O’Hara)

for unaccompanied men’s chorus

The Ad Hoc Men’s Chorus, Frederick Jodry, conductor, North House, Harvard

University, May 1987

Lonely (1986) (Jack Larson)

for voice and piano

Nan Hughes and Rodney Lister, North House, Harvard University,

December, 1986

The Oxen (1986) (Thomas Hardy)

for men’s chorus and organ

The Harvard Glee Club, Jamison Marvin, conductor, December, 1988

The Oxen (1986) (Thomas Hardy)

for men’s chorus and orchestra (piccolo, flute, two oboes, bassoon, two horns, harp, and strings)

The Oxen (1986) (Thomas Hardy)

for men’s chorus and piano four hands

The Ad Hoc Men’s Chorus, Frederick Jodry, conductor, North House,

Harvard University, May 1987

Inglorious Fourth (1987) (John Hollander)

for mezzo-soprano and orchestra (piccolo, flute, oboe, English horn, two clarinets,

two bassoons, two horns, trumpet, percussion (2), harp, and strings)

Nan Hughes, the Bach Society Orchestra, Scott Gregg, conductor,

Harvard University, March 13, 1988

published by MarGun Music, Inc.

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xxxThe Choirmaster’s Burial (1987) (Thomas Hardy)

from This One Work Has To Do

for unaccompanied mixed choir

The Choir of the Church of the Advent, Frederick Jodry, conductor,

October, 1987

Church Music (1987) (George Herbert)

from This One Work Has To Do

for unaccompanied mixed choir

The Choir of the Church of the Advent, Boston, Edith Ho, conductor, 1988

I Have Found My Music (1987) (G. M. Hopkins)

from This One Work Has To Do

for soprano, alto, (or treble choir), and organ

Consuelo Sanudo, Denise Konicek, Frederick Jodry, The Church of the Advent,

Boston, October, 1987

Harvest Hymn (1987) (Old American Hymn)

for unison chorus and organ

At Undresseing in the Evening (1988) (Christopher Smart)

for mixed choir and organ

The Parish Choir of the Church of the Advent, Frederick Jodry, conductor,

May 1, 1988

On A Sunday Morning (1988) (David Ferry)

from Not This Sunday

for voice and piano

Evening News (1988) (David Ferry)

from Not This Sunday

for voice and piano

A Walk in the Woods (1988) (David Ferry)

from Not This Sunday

for voice and piano

Cythera (1988) (David Ferry)

from Not This Sunday

for voice and piano

In Eden (1988) (David Ferry)

from Not This Sunday

for voice and piano

A Night-Time River Road (1988) (David Ferry)

from Not This Sunday

for voice and piano

On Haystack Mountain (1988) (David Ferry)

from Not This Sunday

for voice and piano

Not This Sunday was commissioned by the Enchanted Circle Concert Series

At the New England Conservatory

Not This Sunday was first performed by Jane Struss and Rodney Lister at

the New England Conservatory, March, 1989

The Ghosts of James and Peirce in Harvard Yard (1988) (Delmore Schwartz)

for mezzo-soprano, clarinet, viola, and piano

Jane Struss, Ian Greitzer, John Kockanowski, Rodney Lister, Harvard University,

July 26, 1988

My Sex Experience With Randall Jarrell (1988) (Gary Ralph)

for voice and piano

Paul Houghtaling and Alan Fletcher, New England Conservatory, 1989

Time to Plant Tears (1988)

for viola and ‘cello

Natasha Farny and Ralph Farris, New England Conservatory, May 23, 1989

Nativitie (1988) (John Donne)

for unaccompanied mixed choir

Capella Al Mire, Peter Urquhart, conductor, Arlington, Massachusetts,

May 13, 1990

published by Ioanian Arts, Inc.

Blue Wine (1989) (John Hollander)

for narrator and piano

Tammy Grimes and Rodney Lister, North House, Harvard University,

May 16, 1990

the meeting (1989) (e.e.cummings)

for unaccompanied mixed choir

The Choir of the Church of the Advent, Boston, 1991

The Edinburgh Post Card Epic (1989)

for clarinet and viola

Portraits and Prayers (1989)

for two violins

Joel Smirnoff and Mark Beaulieu, The Church of the Advent, Boston,

January 21, 1990

The Holly and the Ivy (1989)

folksong Arrangment for mixed choir

The Choir of the Church of the Advent, Boston, December, 1991

Autumn (1990) (Rilke, translated by David Ferry)

for voice and piano

Jane Struss and Rodney Lister, North House, Harvard University,

February 18, 1990

Weather (1990) Thomas Hardy

for mezzo-soprano, two clarinets, viola, and piano

Jane Struss and the Music Production Company, WGBH radio, Boston,

February, 1991

Infant Holy, Infant Lowly (1990)

folksong arrangement for three part treble choir

The Choir of the Church of the Advent, Boston, December, 1992

Everness (1990) (Borges, translated by Richard Wilbur)

for voice and piano

Jane Struss and Rodney Lister, North House, Harvard University,

July 15, 1990

The Day’s Mail (1990)

for flute, viola, and piano

Doria Phelps-Braun, Jennifer Medearis, and Elizabeth Remey,

New England Conservatory, June 3, 1990

Never Again Would Birds’ Song Be the Same (1990)

for flute alone

Colors for Anna (1991) (Jack Larson)

a stage work for baritone, with flute, clarinet, horn, percussion, piano, violin, viola, and 'cello

commissioned by the Poets' Theatre with funds provided by the Virgil Thomson Foundation

The Poets' Theatre, Victor Jannett, baritone, Rodney Lister, conductor, December, 1991

Renewed Day by Day (1991) (St. Paul-II Corinthians)

for voice and piano

Janes Struss, mezzo-soprano, Rodney Lister, piano, North House, Harvard University, December 8, 1993

xxx

Kings and Shepherds (1992) (George MacKay Brown)

for two sopranos, tenor, oboe, horn, violin, and organ

members of the choir of the Church of the Advent, Boston, Rodney Lister, conductor, December 1992

The Cup of Blessing (1992) (St. Paul-I Corinthians)

for four part mixed choir

The Volunteer Choir of the Church of the Advent, Boston, Mark Dwyer, conductor, March, 1992

Preces and Responses (1992)

for four part mixed choir

commissioned by the Parish of St. John the Evangelist, Higham, Massachusetts

The choir of St. John the Evangelist, Higham, Massachusetts, James Busby, Organist, Choirmaster, March, 1992

Dwelling in Buelah Land (1992)

for small orchestra ( piccolo, flute, oboe, 2 clarinets, 2 bassoons, 2 horns, trumpet, strings)

The Little Orchestra of Cambridge, Adam Grossman, conductor, May, 1993.

Across (1992) (Vikram Seth)

for voice and piano

Soon (1992) (Vikram Seth)

for voice and piano

Happy in the Same Way (1992)

for violin and 'cello

Caroline Kalhorn, violin, and Katherine Schlaikjer, 'cello, March 26, 1993

Love's Delicious Fire (1992) (Richard Crashaw)

for four part mixed choir and organ

The Choir of the Church of the Advent, Boston, September, 1992

Feldeinsamkeit (1992)

for two violins, viola, and two 'cellos

commissioned by Greenwood Music Camp with funds provided by David Foushee

students at Greenwood Music Camp, July, 1992

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