Soundcheck: for String Orchestra 2010, premiered 2021

Sample Pages


Sample Pages

Symphony No. 3 2010

Four Love Songs for Soprano and Orchestra 2004

Peregrinations for Viola and Orchestra 2002

Sample Pages

Revelry for Full Orchestra (becomes Silhouette with Revelry) 2002

Intimations for Piano and Orchestra 1999

Triple Concerto for Horn, Bass Clarinet, and Marimba 1999

Movement I

Movement II

Movement III

Movement IV

Initiation: Music for Full Orchestra 1970

Concerto for Violin and Chamber Orchestra 1979

Weigenlied arr. of Brahms song for chamber orchestra 1981

Concerto for Bassoon and Chamber Orchestra 1983

Symphony No. 1 1984

Symphony No. 2 1986

Silhouette, for full orchestra 1988

Suite for Small Orchestra 1988

Articulations, for Full Orchestra 1989

Concerto for Piano and Orchestra 1991

Movement 1: Rhapsody

Movement 2: Threnody

Movement 3: Capriccio

Agitations, for Full Orchestra 1994

Pamietam for Mezzo-soprano and Orchestra 1995

A Child’s London, arr.for Chamber Orchestra 1997

The Cello Has Many Secrets, for Mezzo-soprano, Cello Solo, and Orchestra 2008; Richard Wilson · Leon Botstein · American Symphony Orchestra · Mary Nessinger · Sophie Shao

Settings of three Poems by Adam Zagajewski.

Movement I

Movement II

Movement III

Movement IV

Movement V

Chamisha Mizmorey Tehilim

Jerusalem Symphony Orchestra

Leon Botstein, conductor

Sharon Rostorf-Zamir, soprano

Noah Briger, baritone

The psalms chosen are numbers 1 (sung by baritone), 114 (sung by soprano),125 (baritone), 137 (soprano) and 122 (soprano and baritone in duet).

There are orchestra interludes between the settings of 114 and 125 and 137 and 122, giving a total of seven movements.



In selecting the five psalms I was drawn to sentiments and images with which I felt a particular sympathy. Virtue, wisdom, and peace were appealing themes. It was a great satisfaction for me to include Psalm 137, the beautiful setting of which by Gombert (“Super flumina”) I first learned in college so many years ago.

These ancient texts—which I chose myself—called for a tone of deepest respect, if not reverence, and led me to exercise restraint in the degree of decoration and elaboration in the music. I wanted the words to speak clearly at all times and in a rhythm that was syntactically comprehensible.