Chamber Works

 Fantasia Furiosa  (2014)

for violin, cello, trumpet (in C), piano

commissioned by Manuel Eberle for the Munich premiere,

Fall 2014

CONVERSATIONS WITH THE KING (2000)
for flute, clarinet, piano, percussion,
string quartet

ELEGY FOR A YOUNG KING (1999)
for organ (and possible variable instruments)
premiered by organist, Alexander Hermann, Stuttgart, Germany, October 1999

VOCE DELLA FONTANA  (1998)
for six keyboards, soprano voice, electric
guitar, flute/piccolo; premiered in Milano, Italy, Fall 1998

THE IMMORAL BELOVED VARIATIONS  (1998)
written for and at the request of Charlie Barber
and his ensemble, Sound Affairs, Cardiff, Wales

for soprano sax, tenor sax, trumpet, trombone,
2 violins, viola, cello, string bass, piano,
2 percussionists

This short work is part of a larger one, a collaborative venture,
and built around any materials from Betthoven’s 7th Symphony.

ARIOSO (1998)
for 3 small chamber ensembles,
placed at a great distance from each other
Group l:  clarinet, bassoon, 2 violins, 2 violas
Group 2:  bass clarinet, horn, harp, 2 violins, 2 violas
Group 3:  flute, oboe, 2 violins, viola cello, string bass

LUNA  (1996) 
four songs written for and at the request of
soprano Renee Fleming
text by James Skofield
commissioned by Marianne Collins

SUMA  (1996)
for chamber ensemble
flute, oboe, clarinet, bassoon;
trumpet, horn, trombone; harp, celesta, piano
2 violins, 2 violas, cello, string bass
one player on vibraphone, one player on marimbaphone.

OBRIGADO  (1995)
for four percussionists (piano optional)
written for the 25th Anniversary of the Kennedy Center, Washington, DC conducted by Leonard Slatkin, March 1996.
Percussion l:  3 wood blocks, 3 timbales, vibraphone
Percussion 2:  chimes, tam, vibraphone
Percussion 3:  3 temple blocks, marimbaphone
Percussion 4:  3 timpani, bass drum

32 CRYPTOGRAMS FOR DEREK JARMAN  (1994) commissioned by Charlie Barber
and Ensemble Sound Affairs, Cardiff, Wales
and premiered there on October 5, 1994
the work was recorded by DECCA/ARGO
on the Moran CD, ROCKY ROAD TO KANSAS

scored for 2 clarinets (doubling on soprano and alto saxophones)

trumpet in C, trombone, 2 percussionists, keyboard, string quartet, electric bass

This work was choreographed by Ashley Page for the Royal Ballet
The Royal Opera House, November 1996.

ROCKY ROAD TO KANSAS  (1994)
is a set of musical parts, for keyboards
(one player on piano, prepared piano, synthesizer),
guitar, percussion (2 players)
and multi-tracked on the DECCA/ARGO recording of the same name

http://www.youtube.com/watch?v=_ZwnT33BM0s


[a live performance would need a minimum of 9 players on various instruments in order to achieve the thickness of the original recording]
The duration is open.
The conductor arranges the materials as the performance evolves.

TOM’S SONG (1993)
for voice and piano; text by James Skofield
This song is used at the end of the opera NIGHT PASSAGE.
Premiered in NYC on Feb. 17, 1994

THREE DANCES  (1992)
for six synthesizers
Recorded by Piano Circus on DECCA/ARGO,
This work has been choreographed for various dance ensembles:
Dance l:  “Anastasia’s Two-Step”
Dance 2:  “Miami City Slink”
Dance 3:  “Lithuanian Spin”

ARIAS AND INVENTIONS (1991)
five excerpts, from the opera DESERT OF ROSES,
created for the Argo Recording

scored for soprano voice
flute/piccolo, oboe, clarinet/bass clarinet, bassoon
trumpet, horn, trombone
2 synthesizers, percussion, harp,
Strings: 2 violins, viola, cello, string bass

MUSIC FROM THE TOWERS OF THE MOON (1991)  for string quartet
four excerpts from the opera FROM THE TOWERS OF THE MOON recorded by the Balanescu Quartet on Argo

 

THREE BAROQUE SONGS  (1988)
for voice and keyboard
(variations for voice, strings and harpsichord)
text by three Italian Baroque poets

One of the songs, “Amor Da Guerra” has been recorded on CRI 901 with Tom Bogdan, tenor

 

SIX CELLI  (1987)
for those six instruments
written as an “hommage” to Emil Breisach
Styrian Autumn Festival, Graz, Austria
premiered in Graz on October 23, 1987

EDIFICE OF THE DRAWN SHADES (1986)
for prepared piano and any variable instrumental ensemble
premiered at NYC’s St. Marks, January 17, 1986

OPEN VEINS  (1986)
for amplified violin solo
flute/piccolo, clarinet, bassoon
soprano saxophone, alto saxophone
2 synthesizers, accordion (or 3rd synthesizer)
2 percussionists
premiered in November 1986 and recorded on the
DESERT OF ROSES Argo CD with Alexander Balanescu, soloist
the accompanying ensemble may be variable with additional instruments
incorporated into the texture
this recorded work has been danced by various ensembles
in Europe, Canada, and the USA.

BITTERSWEET JESUS (1986)
for any 4 treble instruments
any 4 bass instruments
electric keyboard and percussion

RENDEVOUS (1986)
for string quartet

LEIPZIGER KERZENSPIEL (1985)
a singspiel for narrator,
soprano, alto, tenor, bass voices
flute/piccolo, oboe, violin, viola, cello, harpsichord, synthesizer
text by the composer
premiered at Mount Holyoke College, MA in 1985
duration about one hour

DETAIL FROM ST. AUGUSTINE
(1985) for four string basses
written at the request of Rodney Slatford, England

MUSIC FROM THE MALLEUS MALEFICARUM (1985)
for variable ensemble of 6-20 instruments
open duration (graphic grid score)

TANGO OF THE INNOCENTS (1985)
for variable ensemble of 7-20 instruments;
open duration (graphic, grid score)

IN THE SEVENTH DOUBLE HOUR
AFTER SUNSET (1985)

for narrator and chamber ensemble
text by the composer
for 2 flute/piccolos, vibraphone, trombone,
2 electric keyboards, accordion or 3rd synthesizer; premiered at NYC’s
Alternative Museum on November 20, 1985

SURVIVOR FROM DARMSTADT (1984)
for 8 bass oboes (one live, the rest pre-recorded)
written for Nora Post, and premiered in Darmstadt, Germany
Summer 1984

 

THE LAST SARABANDE
for 2 keyboards, and 3 treble instruments
1 alto instrument, 1 bass instrument
premiered at NYC’s Settlement School in 1984

QUILTING SONGS (1984)
for the same ensemble as THE LAST SARABANDE (above)
premiered on the same program

 

TEN MILES HIGH OVER ALBANIA (1983)
for 8 harps; commissioned for dance by Phyllis Lamhut,
and premiered at NYC’s Joyce Theater
with all 8 harps in March 1983
recorded on DECCA’s Argo label with Mario Falcao, harp
This work has been performed in the USA, Tokyo, Rio de Janero & Europe 
and has been choreographed for many dance companies.

NORTHAMPTON (1983)
for one or more keyboards
the l983 premiere used two harpsichords

BASHA  (1983)
for four clavichords
premiered in NYC on December 11, 1983

LITHUANIAN SPIN (1983)
for 4 synthesizers
premiered in Texas, October 1983

MUSIC FOR THE ARCHITECT OF SHADOWS (1983)  for any number of keyboards including clavichords
and any number of instruments
open duration
The work was originally composed for a play
based on the work of artist Louise Nevelson.
The premiere was at the Asia Society in NYC, 1984
with Philip Glass performing on clavichord.

SLOW ELECTRIC BLUES (1982)
for soprano voice (no text)
treble instrument (preferably a clarinet or soprano saxophone) & pianos
premiered in Newcastle, England on December 9, 1983

LULLABY (1982)
for 2 keyboards
3 treble instruments, l alto instrument, l bass instrument
(may include a soprano or mezzo soprano voice; no text)
premiered in March 1983 at Mount Holyoke College, MA

FANFARES ’81   (1981)
for 8 auto horns

TRAVELING THROUGH THE
SONATAS AND INTERLUDES
for chamber orchestra with acoustical alterations
a re-writing of the Cage Sonatas and Interludes for Prepared Piano

SUONO DELLA FONTANA (1981)

for soprano voice (Roswitta Trexler)
and amplified keyboard
open duration; no text
premiered in Leipzig, Germany, l981

THE ADOLFUS SLINK (1980)
for prepared piano, cello, trombone
premiered at the Warsaw Autumn Festival, 1980
written for Zygmunt Krauze

SPIN (1980)
for amplified harpsichord and pre-recorded tape

SPIN AGAIN (1980)
for amplified harpsichord, or up to 6 amplified synthesizers

DIRTY IDA’S GREASY CABBAGE
GUMBO SOUP WALTZ  (1979)

for piano

THE ROSY PATH OF DESTRUCTION (1979)
a March for organ (requiring 3 players)

LETTER TO VERONA  (1979)
an instrumental ensemble of between 16-29 players
(woodwinds, brass, strings, keyboards, percussion, variable in number)

SALAGRAMA  (1979)
for organ (with possible percussion)
commissioned by the Styrian Autumn Festival, Graz, Austria
for the celebration of the newly restored organ in the Grazer Dom
the basic materials come from the Music of the Universe
as envisioned by J. Kepler
premiered in the Fall Festival 1979

THE LAST STATION OF THE ALBATROSS (1978)
for a variable instrumental ensemble of maximum 7 players
or multi-tracked versions for multiple keyboards
premiered in Paris, 1978

UHR-SONATA (1978)
for piano
written for the Hungarian pianist Adam Fellegi
premiered in Washington DC, September 13, 1978

27 AGENTS OF HELL DESCENDING (1978)
for piccolo, flute, alto flute, bass flute
one performer and pre-recorded tapes of the other instruments
recorded by WDR Radio in Cologne, Germany

MUSIC FOR TROMBONE AND CELESTA (1978)
(with organ pedal) in three short movements

BORRBY AT THE END OF ITS TETHER (1977)
a work for chamber ensemble
premiered in Budapest in l979
for a selection of piccolo, flute, clarinet, oboe, bass clarinet, bassoon
trumpet, horn, trombone, tuba
2 violins, viola, cello, string bass, harp, piano, electric organ, celesta
from this list of instruments
any group may perform with a minimum being l0 players
including piano or the electric organ part

CACCIA  (1977)
for 5 harps
(or one live harp with the others pre-recorded)

QUARTET 1976 (1976)
for four bowed autoharps
and a pre-recorded tape of the sound of rain

TWO PIECES FOR A POSSIBLE PIANO (1976)
for solo piano
(there exists a version for chamber orchestra)
written for Yvar Mikashoff
premiered in Budapest

WALTZ: IN MEMORIAM MAURICE RAVEL (1976)
for piano
this waltz became the stimulus for the collection of
25 contemporary piano waltzes
gathered by Moran and Robert Helps
from such composers as Cage, Babbitt, Sessions, Glass, etc.,
and published by CF Peters Edition, NYC
17 of the waltzes were recorded by Moran, Mikashoff, Feinberg, Cobb
for Nonesuch Records as THE WALTZ PROJECT.

This collection toured Europe, and has been seen via numerous
dance companies in Europe, the USA, Canada, Japan, Hong Kong, etc.
Peter Martins choreographed THE WALTZ PROJECT for NYC Ballet,
its premiere in 1987.

WALLPAPER MUSIC NO. III (1973)
for flute, violin and piano
written for and at the request of James Galway
who premiered it in West Berlin, January 1975

IN MEMORIAM: DON CARLO GESUALDO  (1973) commissioned by the Autumn Music Festival (Autunno Musicale a Como)
in Como, Italy
premiered on Sept. 30, 1973
scored for flute, clarinet, bass clarinet, bassoon,
trumpet, horn, trombone, tuba
2 violins, viola, cello, string bass
guitar, harp, vibraphone, xylophone
the US Premiere was at the Moran Retrospective
San Francisco, August 1974, in Grace Cathedral
with the San Francisco Symphony

ANGELS OF SILENCE (1973)
for viola and chamber orchestra
(See ORCHESTRAL WORKS)

TETE  (1973)
for amplified string trio

HÖLDERLIN  (1972)
for baritone voice, string quartet, vibraphone, guitar, harp
premiered at the San Francisco Conservatory of Music,
Hermann LeRoux, voice
April 21, 1972

MARE SERENITATIS  (1972)
for 4 pianos
premiered in San Francisco on May 21, 1972

ILLUMINATIO NOCTURNA (1972)
version for orchestra
premiered in Berlin, Fall 1975
(See ORCHESTRAL WORKS)

ILLUMINATIO NOCTURNA  (1971)
original version
written for the Celebration of New Windows at Grace Cathedral
January 1972
performed by the San Francisco New Music Ensemble
for clarinet, violin, viola, cello, string bass
trumpet, horn, trombone, tuba
organ, chimes, vibraphone (possible chorus) and harp
variable instrumentation is possible

PASSAGE THROUGH III (1972)
for mezzo soprano and piano
premiered in Munich with vocalist Sylvia Anderson, 1972

MORTON FELDMAN IN BERLIN  (1971)
for flute, clarinet, bassoon
trumpet, horn, trombone, tuba
violin, 2 violas, 4 celli, 2 string basses
electric guitar, 2 pianos (and 2 toy pianos), harpsichord (and celesta), harp
3 percussionists
all instruments are amplified.

MESSIAH ‘TIL THE WORLD IS LEVEL (1970)
written for E. Karkoschka and his new music ensemble,
Stuttgart Musikhochschule
premiered there on Feb. 25, 1970
graphic score, variable ensemble

BANK OF AMERICA CHANDELIER  (1968)
for four percussionists and a hanging ‘bank’ of delicate percussion instruments graphic score
premiered by the Buffalo Percussion Ensemble
MacDowell Colony, August 1968

RED SNAKE AT 2 (1968)
for 2 harps with 5 performers on each
the score is graphic and gives specific indications how
the feet and toes of the performers, on their backs
play the strings of the harps
a fifth person per harp changes the pedals according to his score
premiered at Northwestern University, Summer 1978

FOR ORGAN-1967 (1967)
for organist(s)
choreographic score for perfomers’ bodies on the organ pedals
the work has been heard at San Francisco Grace Cathedral
other performances are those of Karl Erik Welin, Stockholm
and recorded in Sweden

L’APRES MIDI DU DRACOULA (1966)
for any sound-producing instruments
graphic score
performed throughout the US and Europe
recorded on Wergo Records in Germany

FLIGHT (1965)
a short work for string quartet

ELEGANT JOURNEY WITH
STOPPING POINTS OF INTEREST (1964)

graphic score
written as a Birthday gift to Darius Milhaud
the work may be presented in various ways,
with ensembles divided up and placed at great distances from each other
San Francisco Conservatory performances
at the DeYoung Museum and Grace Cathedral
published by Schott and Sons, Mainz, Germany

INTERIORS (1964)
a graphic score for any ensembles
performed throughout the USA and in Europe
published by CF Peters Edition, NYC

FOUR VISIONS (1963)
for flute, harp and string quartet
graphic score
premiered at the Osaka Festival in 1964
conducted by Shinichi Matsushita
US Premiere at the Museum of Contemporary Art, San Francisco
published by Universal Edition, Vienna
and included in various books on contemporary notation

A 5TH APOCALYPTICAL VISION (1963)
for string orchestra
score incorporates proportional notation

MUSIC FOR A SILENT FILM (1963)
graphic score for variable ensembles

SERENADE  (1963)
graphic score for variable ensembles

ABSCHIED-1963 (1963)
for piano

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