Composition Chronology

 
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  •  
    2002
     
  •    Curios
    (March 21-26, 2002) for Alto Saxophone, Horn in F and Harp. (for Kelly Jones, Scott Russell, and Ted Nichelson)
    (1. With emerging power; 2. Attempting escape; 3. Self-reflection; 4. Conviction)
    - 14 minutes, 4 movements.
  •    Little "King Arthur" Suite
    (March 2-10, 2002) for solo Guitar. (for Keith Shaffer)
    (1. Excaliber. Maestoso; 2. Arthur. Majestic; 3. Guinevere. Tenderly, but slightly troubled; 4. Sir Kay. With honor; 5. Sir Gaiwan and the Green Knight. With noblest sentiment; 6. Merlin. Mysterious; 7. Sir Galahad. With joyful confidence; 8. Sir Launcelot. With temptation competing with pride; 9. Sir Percivale. With reverence; 10. Sir Bedivere. With infinite sadness; 11. Mordred. With dread; 12. The Isle of Avalon. Ethereal.)
    - 27 minutes, 12 movements.
  •    Aphrodite Rising
    (February 19-23, 2002) for Tenor Saxophone and Piano. (for Adam Ardner)
    - 17 minutes, 1 movement.
  •    Fantasy Ballad (version for Clarinet, Viola, and Piano)
    (1994; arr. February 27, 2002) for Clarinet, Viola, and Piano.
    - 10 minutes, 1 movement.
  •    Songs of Innocence and of Experience
    (November 26, 2001 - February 15, 2002) for Voice and Piano.
    (poems by William Blake. Songs of Innocence: 1. Introduction; 2. The Shepherd; 3. The Ecchoing Green; 4. The Lamb; 5. The Little Black Boy; 6. The Blossom; 7. The Chimney Sweeper; 8. The Little Boy lost; 9. The Little Boy found; 10. Laughing Song; 11. A CRADLE SONG; 12. The Divine Image; 13. Holy Thursday; 14. Night; 15. Spring; 16. Nurse's Song; 17. Infant Joy; 18. A Dream; 19. On Anothers Sorrow. Songs of Experience: 20. Introduction; 21. Earth's Answer; 22. The Clod and the Pebble; 23. Holy Thursday; 24. The Little Girl lost; 25. The Little Girl Found; 26. The Chimney Sweeper; 27. Nurses Song; 28. The SICK ROSE; 29. THE FLY; 30. The Angel; 31. The Tyger; 32. My Pretty Rose Tree; 33. Ah! Sun-Flower; 34. The Lilly; 35. The Garden of Love; 36. The Little Vagabond; 37. London; 38. The Human Abstract; 39. Infant Sorrow; 40. A Poison Tree; 41. A Little BOY Lost; 42. A Little GIRL Lost; 43. To Tirzah; 44. The School Boy; 45. The Voice of the Ancient Bard.)
    - 112 minutes, 45 songs.

  •  
    2001
     
  •    Six Duets
    (September 25 - October 2, 2001) for Flute and Oboe. (Commissioned by Lora Dingledine.)
    (1. Intertwining; 2. Enchanting; 3. Dizzying; 4. Flickering; 5. Enveloping; 6. Scintillating.)
    - 17.5 minutes, 6 movements.
  •    Music from
    The Ax and the Green Angel: A Morality Play for the Millennium (Piano / Vocal Score)
    (August 23-September 2, 2001) for various solo voices and duets, and piano. (text by Louis Ingelhart.)
    - 20 minutes, 12 movements.
  •    Troubles (August 18-19, 2001) for Soprano Voice and Piano. (for Valentina Trubow; poem by Brandon Snyder.)
    - 2.75 minutes, 1 movement.
  •    The "Crossroads of America" Quartet (August 10-15, 2001) for Alto Saxophone, Violin, Cello and Piano. (1. Fast and cool; 2. Moderate and dreamy; 3. Quick and zany.) Commissioned in 2001 by Music Teachers National Association (MTNA) and Indiana Music Teachers Association (IMTA).
    - 14 minutes, 3 movements.
    Performances:
       October 13, 2001. Premiere. Performed at the Indiana Music Teachers Association Collaborative Arts Recital, Taylor University, Indiana. Kelly Jones, alto saxophone; David Blakley, violin; Sarah Bishop, cello; Dominic Dousa, piano.
  •    Patterns ("I too am a rare Pattern") (June 22-29, 2001) for Flute, Viola and Piano. (for Julia Mattern, Harold Levin, and Lori Rhoden.) (1. Modéré 2. Vif; 3. Large; 4. Massif.) (The title was drawn from the poem "Patterns," by Amy Lowell.)
    - 22 minutes, 4 movements.
  •    Gorgons (June 10 - 16, 2001) for Trombone and Piano. (for John and Liz Seidel.)
    1. Stheno ('strength') Maestoso - Moderato - Maestoso
    2. Medusa ('ruler' or 'queen') Aire: Adagio - Subito Allegro - Adagio
    3. Euryale ('wide-leaping') Andante - Subito Allegro
    - 18 minutes, 3 movements.
    Performances:
       January 13, 2002. Premiere. Muncie, IN, Ball State University, Faculty Artist Recital. John Seidel, trombone; Lizbeth Seidel, piano.
  •    Terminus (March 17 - April 5, 2001) for Flute, Horn, Piano and Percussion. (for Kent Leslie.) 13.5 minutes, 1 movement.
    Performances:
       October 24, 2001. Premiere. DePauw University, School of Music Faculty/Guest Recital. Flute, Anne Reynolds; Horn, Kent Leslie; Piano, Amanda Hopson; Percussion, Thomas Harvey.
  •    Improvisation (April 1, 2001) by Ralph Johnson & Jody Nagel, for assorted percussion and algorithmically-controlled electronically-generated sounds using the Macintosh computer programming application/language 'Max 2.2.' and Roland Sound Canvas.11.5 minutes, 1 movement.
    Performances:
       April 1, 2001. Premiere. A Recital of Original Compositions for Instruments and Vocalists and Algorithmically-Generated Electronic Accompaniment. Muncie, IN., Ball State University, Faculty Arts Recital. Ralph Johnson, Percussion. Jody Nagel, Computer.
  •    Persephone: 1. The Handmaiden Nymphs Dance for Persephone - with fond thoughts of the "Ouverture miniature" from Tschaikowsky's "The Nutcracker" (from an intended two-act ballet, for Ashley Gaia Nagel) (composed February 11-23, 2001, for orchestra.) 3.25 minutes, 1 movement.
  •    Camellias (January 19-21, 2001) for Clarinet and Piano. (1. Delicate, free; 2. Playful; 3. Swinging; 4. Sparkling and expressive; 5. Singing and scintillating; 6. Sentimental; 7. Luminous and Powerful.) (for Bruce Bullock) - 7 minutes, 7 movements.

  •  
    2000
     
  •    Games (October 2-7, 2000) for Horn and Marimba. 5.5 minutes, 1 movement.
    Performances:
       February 4, 2001. Premiere. Eastern Illinois University, Tarble Arts Center. Hard Cor New Music Ensemble: Kent Leslie, horn; Thomas Harvey, marimba.
       February 5, 2001. Southern Illinois University at Carbondale, Shryock Auditorium. Hard Cor New Music Ensemble: Kent Leslie, horn; Thomas Harvey, marimba.
  •    The Music Makers (September 12-24, 2000) Eight Songs for Tenor and Guitar, for Paul Reilly and Jeff Ballard. (1. Song; 2. My Song; 3. Maker of Songs; 4. The Poet; 5. The Secret; 6. To Music; 7. The Foiled Reaper; 8. History.) 15 minutes, 8 movements.
    Performances:
       February 27, 2001. Premiere. Muncie, IN., Ball State University, Faculty Arts Recital: Jeff Ballard, Tenor; Paul Reilly, guitar.
  •    Harmonic Etudes for a Young Piano Trio (composed August 6-13, 2000.) for Violin, Cello, and Piano. (to Elizabeth, Emmanuel, and Francis Borowsky.) (1. Moderately fast. 2. Flowing and expressive. 3. Mechanistic. 4. Fast and light. 5. Majestic and exotic. 6. Lively ancient dance.) 12.5 minutes, 6 movements.
  •    In a Dream (version 2) (1977, revised and arranged July 22, 2000) for 4 Flutes. - approx. 3 minutes, 1 movement.
    Performances:
       July 23, 2000. Premiere. Muncie, IN., Oakhurst Garden's "Fairy Garden." Brad Meyerdierks, Jean Amman, Suzanne Groshong, Michelle Costello, flutes.
  •    Tatiana's Song (composed June 26-27, 2000.) for solo Piano. 3 minutes, 1 movement.
  •    Fanfare (composed June 19, 2000.) for 7-Part Bassoon Choir. (for Keith Sweger.) 2.5 minutes, 1 movement.
    Performances:
       July 22, 2000. Premiere. Keith Sweger's "Bassoon Camp Final Recital," Ball State University. Played by 43 bassoons and 2 contra bassoons.
  •    If I Only Had A Brain. (arrangement) (arranged May 28 - June 9, 2000.) Music by Harold Arlen. Lyrics by E. Y. Harbur. Arranged in a jazz style for Voice, Alto Saxophone, and Concert Band. for George Wolfe.
    Performances:
       July 4, 2000. Premiere. Muncie, IN. by "America's Hometown Band," Roger McConnell, Director.
  •    Lullaby (Two-Part Invention) (composed April 8, 2000.) for Oboe and Contrabass. (for Ada Erdahl, daughter of Rolf Erdahl and Carrie Vecchione.) 1 minute, 1 movement.
  •    Slither (composed March 19 - April 2, 2000) for Flute, Clarinet, Trumpet, Bassoon, 2 Violins, Viola, Cello, Piano, Harp. Commissioned by Stephen Montague for the Danish Chamber Players, Toreby L, Denmark. 5.5 minutes, 1 movement.
    Performances:
       June 3, 2000. Danish Radio, Copehagen, in their Studio 2 concert series. World Premiere. Danish Chamber Players, Stephen Montague, conductor.
       June 4, 2000. at the manor house, "Fuglsang" (Bird Song) near Torbey, Lolland, DK (90 minutes southwest of Copenhagen.) Danish Chamber Players, Stephen Montague, conductor.
  •    Voyage of Discovery (composed March 3-9, 2000) for wind ensemble. Commissioned by the Sacred Winds Ensemble, Scott Bersaglia, Conductor. 9 minutes, 1 movement.
    Performances:
       April 16, 2000. Muncie, IN. by "America's Hometown Band," Roger McConnell, Director.
       June 4, 2000. Hazard, Kentucky, by "The Sacred Winds," Scott Bersaglia, Director. (official premiere.)
       November 18, 2001. Autumn Concert: Pruis Hall, Ball State University, Muncie, IN., Joseph Scagnoli, Director.
  •    Accomplice (composed February 21-29, 2000.) Miniature Suite for Flute and Trumpet. (1. Poco maestoso; 2. Vivace; 3. Adagio; 4. Allegro) (Commissioned by Meg Stevens and Sal Percoco.) 8 minutes, 4 movements.
    Performances:
       October 2, 2000. Emily Gerace, flute; Adam Gaines, trumpet. World Premiere. Graduate recital, Pruis Hall, Ball State University. 10 minutes, 4 movements.
  •    Capriccio (composed February 7-8, 2000.) for 5 Trumpets. (for Paul Everett and the Ball State University Trumpet Choir.) 2 minutes, 1 movement.
     
    1999
     
  •    Hymns to Soma (composed November 22-28, 1999) for SATB Choir, Alto Saxophone, and algorithmically-controlled electronically-generated sounds using the Macintosh computer programming application/language 'Max 2.2.' and Roland Sound Canvas. (The texts were drawn from Wendy Doniger O'Flaherty's translation of the Rig Veda, and were selected by saxophonist George Wolfe. 1. Soma and the Eagle. 2. Soma and the Sage. 3. We Have Drunk the Soma.) 15 minutes, 3 movements.
    Performances:
       July 8, 2000. World Premiere. 12th World Saxophone Congress, University of Québec à Montréal, Montréal, Canada. George Wolfe, alto saxophone; Jody Nagel, algorithmically-controlled electronically-generated sounds; Martin Dagenais, choir director.
       February 15, 2001. Dayton, OH., The University of Dayton, North American Saxophone Alliance Region V Conference. George Wolfe, alto saxophone; Jody Nagel, algorithmically-controlled electronically-generated sounds; Robert Jones, conductor, University of Dayton Chorale.
       April 1, 2001. A Recital of Original Compositions for Instruments and Vocalists and Algorithmically-Generated Electronic Accompaniment. Muncie, IN., Ball State University, Faculty Arts Recital: The BSU Chamber Singers, Twentieth-Century Ensemble, Michael Davis, Director. George Wolfe, Saxophone. Jody Nagel, algorithmically-controlled electronically-generated sounds.
       November 3, 2001. A recording of the piece was presented by George Wolfe during his lecture, "Images of Soma in Hinduism, Judaism and Christianity," at The Society for the Arts, Religion and Contemporary Culture, Episcopal House of the Redeemer, New York, N.Y.
  •    Mosaic (composed October 17 - November 1, 1999.) fantasia for Viola and Harp. (for Robert Elder and Laura Ward Elder.) 13 minutes, 1 movement.
  •    Triumvirate (composed October 2-4, 1999.) march for concert band. (Commissioned by Roger McConnell's America's Hometown Band, Muncie, IN.) 5 minutes, 1 movement.
  •    If I Give Up The Saxophone (arrangement) (arranged June 26-28, 1999) for Soprano, Saxophone and Concert Band. for George Wolfe.
    Performances:
       July 4, 1999. Premiere. by Roger McConnell's America's Hometown Band, Muncie, IN.
  •    Cerberus' Dream (1989; arranged for large concert band: April 11, 1998 - June 26, 1999.) for concert band, featuring Trumpet-1 in a soloistic capacity. approx. 17 minutes, 1 movement.
  •    Goodbye, We Won't Forget You (composed April 28, 1999.) for wind ensemble. 2 minutes, 1 movement.
    Performances:
       December 7, 1999. Premiered at Littleton, Colorado, by the Columbine High School Concert Band, Bill Biskup, Director.
  •    Crossing the Rubicon (composed April 15-26, 1999.) for Clarinet in B-flat, Horn in F, and Percussion (1 or 2 Players). Commissioned by the Hard Cor New Music Ensemble: Kent Leslie and Tom Harvey. (1. Aggressive, insistent, heavily accented; 2. Quick and agile; 3. Sonorous and assertive. 4. Tormented; 5. Fanfare; 6. Very fast; 7. Procession.) 11 minutes, 7 movements.
    Performances:
       October 26, 1999. Ball State University, Muncie, IN. Premiered at a recital by the Hard Cor New Music ensemble. Kent Leslie, horn; Caroline Hartig, clarinet; Thomas Harvey & Jeff Nearpass, percussion. 24 minutes, 7 movements.
  •    Theme and Variations (composed April 7-11, 1999.) for Unaccompanied Horn in F. Composed for Fred Ehnes. (Theme, Maestoso; Var. 1 : Poco meno mosso; Var. 2 : Più mosso, alla marcia; Var. 3 : Presto; Var. 4 : Ländler; Var. 5 : Slowly; Var. 6 : Fleeting; Var. 7 : Carelessly; Var. 8 : Grandioso; Var. 9 : Slow gigue; Var. 10 : Sharply percussive; Finale.) 9 minutes, 12 movements.
    Performances:
       September 15, 1999. premiered Ball State University, Pruis Hall, Faculty Artist Series. Fred Ehnes, horn.
  •    Dance (composed March 22, 1999.) for a quartet of 4 bassoons. 2.5 minutes, 1 movement.
    Performances:
       July 22, 2000. Premiere. Keith Sweger's "Bassoon Camp Final Recital," Ball State University. Played by four students.
  •    Bits and Pieces: No. 1 "FM Antiqua" (composed March 9-15, 1999.) C-Sound-Generated Stereo Recording. (Commissioned by Ball State University professor Cleve Scott for the first of his two retirement concerts: the first concert contained all pieces by friends of Cleve Scott.) 6.5 minutes, 1 movement.
    Performances:
       April 10, 1999. Faculty Artist Series Recital. (The piece was included on the first of a pair of concerts presented by Dr. Cleve Scott.) Ball State University, Muncie, IN.
       December 9, 2000. The EMTWO concert presented by Dr. Cleve Scott. Ball State University, Muncie, IN.
       January 9, 2002. Muncie, IN, Ball State University, 32nd Festival of New Music.
  •    Scenes from the Styx (composed January 13-30, 1999.) for 8-part Cello Orchestra. 12 minutes, 1 movement.
    Performances:
       April 16, 2000. Towson University, Baltimore, MD. Towson University / Maryland Cello Ensemble, Cecylia Barczyk, director.
       June 2, 2000. World Cello Congress III. Towson University, Baltimore, MD. Towson University / Maryland Cello Ensemble, Sheldon Bair, conductor. (official premiere.)
  •    Well-Tempered Mode, Songs from the Ionian (composed December 28, 1998 - January 3, 1999.) for solo Piano (1. Graceful and somewhat sentimental; 2. Sparkling; 3. Blusteringly; 4. Curious Waltz; 5. Whimsical; 6. Aire; 7. With good-natured humor; 8. Crazy feeling; 9. Simplicity; 10. Fresh; 11. Arrival; 12. Marching 'round the triangle; 13. Impromptu.) 23 minutes, 13 movements.
     
    1998
     
  •    Well-Tempered Mode, Songs from the Aeolian (composed December 19-25, 1998.) for solo Piano (1. Hymn to the death of Balder; 2. An idle moment; 3. Feeling sorry; 4. Riding on a stormy night; 5. Wishing; 6. Bubbles settling; 7. Sonatina miniature; 8. Fleeting and Shimmering; 9. Solemn; 10. Fantasy on Dies Irae; 11. Furious; 12. Searching; 13. Melancholy.) 20 minutes, 13 movements.
  •    Well-Tempered Mode, Songs from the Locrian (composed December 12-18, 1998.) for solo Piano (1. Dark Etude; 2. Fleeing quickly; 3. Angry march; 4. Slow and simple; 5. Allegro non troppo; 6. Bleak; 7. Brutal; 8. Weird waltz; 9. Forlorn 10. Frantic; 11. Mechanistic; 12. Blue swing; 13. Powerful, with conviction.) 19 minutes, 13 movements.
  •    Well-Tempered Mode, Songs from the Mixolydian (composed November 11 - December 6, 1998.) for solo Piano (1. With a singing spirit; 2. Confidently; 3. Minuet; 4. Victorious; 5. Magic spell; 6. With kindness; 7. Adagio con moto; 8. Waltz; 9. With reverence; 10. Powerful; 11. Bells on the wind; 12. Rhythmic and playful; 13. Pleased with oneself.) 20 minutes, 13 movements.
  •    Well-Tempered Mode, Songs from the Lydian (composed October 31 - November 10, 1998.) for solo Piano (1. Sentimental; 2. Playful; 3. Nonchalant; 4. Wondering; 5. Bittersweet; 6. Joyful; 7. With warmth; 8. Quarky; 9. Thoughtful; 10. Fantasy; 11. Quick and buoyant; 12. Confident; 13. Dreamland.) 23 minutes, 13 movements.
  •    Minnesota Overture, for full orchestra (arr. October 24 - November 25, 1998.) (originally for strings, 3 percussion and piano, April 7-14, 1996.) 3 minutes, 1 movement.
  •    Elegy for Joy (composed October 3-4, 1998) for Bassoon and Piano. (for bassoonist Keith Sweger.) 3.25 minutes, 1 movement.
    Performances:
       August 12, 1999. premiered at the International Double Reeds Society 28th Annual Conference, held at the University of Wisconsin-Madison. Keith Sweger, bassoon; Hideko Fujiyama, piano.
       November 22, 1999. Faculty Artist Series, Ball State University. Keith Sweger, bassoon; Hideko Fujiyama, piano.
  •    Celebration: A Commemoration of Humanity (composition completed September 19, 1998, from material started in 1990.) for Brass Quintet. 6.5 minutes, 1 movement.
  •    Declaration of Independence, Piano/Vocal Score (composed March 17 - August 29, 1998.) for vocal soloists, chorus, and orchestra. 37 minutes, 3 movements.
  •    Dorian Antiqua Quartet (arrangement) for Flute, Oboe, B-flat Clarinet and Piano. (Prepared August 22, 1998; originally composed in 1996 for Flute, Oboe, B-flat Clarinet and Harp.) 20 minutes, 4 movements.
  •    Well-Tempered Mode, Songs from the Phrygian (composed July 21-27, 1998.) for solo Piano (1. Yearning; 2. Powerful, but with anguish; 3. Insistent; 4. Hopeful; 5. Soaring and determined; 6. March; 7. Dying; 8. Playful; 9. Chorale; 10. Trance-like; 11. Intense; 12. With a broken spirit; 13. Maestoso.) 23 minutes, 13 movements.
  •    Piano Trio No. 1 (The first movement was composed July 5-12, 1998. Movements 2 & 3 were composed March, 1996.) for Violin, Cello & Piano (1. Maestoso; 2. Broad, Expansive, Simple and Direct; 3. Vivace) 12 minutes, 3 movements.
  •    Four Fairy Tales for clarinet and piano. (composed June 21-25, 1998.) (1. Flowing, elegant and thoughtful; 2. Playful, but slightly apprehensive; 3. Graceful, charming and with childlike curiosity and wonder; 4. Massive and magical. 12 minutes, 4 movements.
  •    Jagger Dance (arrangement) for full orchestra. (Prepared May 23-30, 1998; originally composed in 1994 for chamber orchestra.) 5 minutes, 1 movement.
    Performances:
       June 13, 1998. Muncie Symphony Orchestra, "Symphony on the Green," Leonard Atherton, director. This concert was radio broadcast live on WBST, local PBS, Muncie, IN.
       September 7, 1998. Muncie Symphony Orchestra, Masonic Temple, Muncie, IN., Leonard Atherton, director.
       January 31, 1999. North Bay Philharmonic Orchestra, Napa, CA., Roberto González, director.
       September 22, 2000. Puerto Rico. Puerto Rican Symphony Orchestra, Roberto González, guest director.
  •    Theseus and the Minotaur (arrangement) for full orchestra. (Prepared May 1-7, 1998; originally composed in 1997 for string orchestra.) (The string orchestra version was commissioned by the Natchitoches Louisiana Central High School String Orchestra, Karen Townsend, Director.) 6 minutes, 1 movement.
    Performances:
       October 3, 1999. Ball State University, Emmens Auditorium, Muncie, IN., full orchestral version premiered by the Ball State Student Orchestra (BSSO), Leonard Atherton, Dir.
       May 1, 2000. Burris Auditorium, Muncie, IN., by the East Central Indiana Youth Orchestra, Richard Heinzle, Director.
       November 19, 2000. Harford (Pennsylvania) Youth Orchestra, Sheldon Bair, Director.
  •    Three Universes (composed February - March, 1998) for Alto Saxophone, Narrator, and algorithmically-controlled electronically-generated sounds using the Macintosh computer programming application/language 'Max 2.2.' and two Roland Sound Canvases. (Poems by George Wolfe, from his collection "Verses Reversus". 1. Suns Burning Into Time; 2. Hummingbirds Saw Stillness; 3. Flags Wave.) 10 minutes, 3 movements.
    Recordings:
       This work was recorded by George Wolfe on a CD titled "America's Millennium Tribute to Adolphe Sax, Volume III", Arizona University Recordings AUR CD 3098 (www.AURec.com). 9:30 on the CD, 3 movements.
    Performances:
       March 27, 1998. Northwestern University, Evanston, IL., premiered by George Wolfe, Alto Saxophone; Barry Kidd, Narrator; algorithmically-controlled electronically-generated sounds on tape. North American Saxophone Alliance.
       June 7, 1998. Pruis Hall, Ball State University, Muncie, IN. George Wolfe, Alto Saxophone; Paul Ludden, Narrator; Jody Nagel, algorithmically-controlled electronically-generated sounds. BSU Summer Chamber Music Series.
       September 29, 1998. Pruis Hall, Ball State University, Muncie, IN. George Wolfe, Alto Saxophone; Paul Ludden, Narrator; Jody Nagel, algorithmically-controlled electronically-generated sounds. Fifteenth Annual Brian Morris Minor Memorial Concert.
       October 25, 1998. Joliet Junior College, Joliet, Illinois. George Wolfe, Alto Saxophone; Paul Reilly, Narrator; algorithmically-controlled electronically-generated sounds on tape.
       January 22, 1999. Pruis Hall, Ball State University, Muncie, IN. George Wolfe, Alto Saxophone; Paul Ludden, Narrator; Jody Nagel, algorithmically-controlled electronically-generated sounds. 29th Annual Festival of New Music.
       February 19, 1999. North American Saxophone Alliance, Region 5 Conference, Indiana State University, Concert No. 3. George Wolfe, Alto Saxophone; Craig Priebe, Narrator; Algorithmically-controlled electronically-generated sounds on tape.
       April 1, 2001. A Recital of Original Compositions for Instruments and Vocalists and Algorithmically-Generated Electronic Accompaniment. Muncie, IN., Ball State University, Faculty Arts Recital. George Wolfe, Alto Saxophone; Craig Priebe, Narrator; Jody Nagel, Computer.
  •    A Christmas Letter from Joan for soprano and piano. (composed February 28 - March 1, 1998.) (Composed for Joan Metelli.) 8.5 minutes, 1 movement.
  •    "Medley" from The Moon Harvests. for soprano and piano. Arranged March 23, 1998. 6.5 minutes, 1 movement.
  •    Dorian Fantasy for violin, viola, cello and piano. (composed December 31, 1997 - January 9, 1998.) (Composed for Seth Wolitz's 60th birthday - February 10, 1998.) 9.5 minutes, 1 movement.
     
    1997
     
  •    Four Moods for cello and piano. (composed December 23-27, 1997.) (1. Enraged; 2. Fuming; 3. Infuriated; 4. Livid.) (Composed for cellist Roger Malitz.) 11 minutes, 4 movements.
    Performances:
       June 11, 1998. Pruis Hall, Ball State University, Muncie, IN. premiered by Roger Malitz, cello; Cynthia Miller, piano. BSU Summer Chamber Music Series.
  •    The Moon Harvests, Piano/Vocal Score. one-act opera for chamber orchestra and 9 vocal parts. The Piano/Vocal score was prepared December 13-20, 1997. Libretto by Seth L. Wolitz. 40 minutes, 1 continuous act.
  •    Theseus and the Minotaur for string orchestra. (composed November 14-16, 1997) (Commissioned by the Natchitoches Louisiana Central High School String Orchestra, Karen Townsend, Director.) 6 minutes, 1 movement.
    Performances:
       April 28, 1998. Premiere.String Fling, Natchitoches, Louisiana Central High School String Orchestra, Karen Townsend, Director.
  •    The Moon Harvests, Orchestral Score one-act opera for chamber orchestra and 9 vocal parts. (Composed July 11-20, 1997. The orchestral score was completed August 13, 1997. Revised November 27 - December 13, 1997.) Libretto by Seth L. Wolitz. 40 minutes, 1 continuous act.
  •    Interlude from Fifty-Third Street (1997) for full orchestra (with optional choir parts). 4.5 minutes, 1 movement.
    Performances:
       November 8, 1998. Premiere. Ball State University, Emmens Auditorium, Muncie, IN. Ball State Student Orchestra (BSSO), Leonard Atherton, Dir.
  •    Fifty-Third Street, Orchestral Score (1990-1997) Scenes 13-18 of the orchestral score were prepared during the summer, 1996. Scenes 1-12 of the orchestral score were prepared during the summer, 1997. Libretto by Seth L. Wolitz. for 13 voices and full orchestra. 90-minute, two-act opera, 18 scenes.
  •    Ancient Spider Dance, for Flute, Bassoon and Marimba (commissioned by Meg Steven, composed May 25-26, 1997.) 4 minutes, 1 movement.
    Performances:
       August 3, 1997. University of Illinois at Urbana-Champaign, premiered by the "Threnody" trio, Meg Stevens, Flute; Kari Krueger, Bassoon; Elaine Gary, Marimba.
  •    Twelve Little Twelve-Tone Etudes (composed October 1996 - April, 1997) for solo piano. (1. Moderato; 2. Andante con moto; 3. Espressivo, molto rubato; 4. Allegretto; 5. Maestoso; 6. Andante; 7. Moderately, with power; 8. Fast; 9. Chorale: Largo; 10. Presto; 11. Andante moderato; 12. Jagged and intense.) 13.5 minutes, 12 movements.
  •    Orpheus and Eurydice (composed March 14, 1997.) for Oboe and Contrabass. (for oboist Carrie vecchione and bassist Rolf Ehrdahl.) 2.5 minutes, 1 movement.
  •    Three Songs (composed February 14-17, 1997) for Medium-High Voice, Tuba and Piano (Poems by Emily Dickinson) 7.5 minutes, 3 movements. (1. Many a Phrase has the English Language; 2. I'm Nobody! Who Are You?; 3. I Died for Beauty.)
    Performances:
       March 3, 1998. Pruis Hall, Ball State University, premiered by Debra Lynn, soprano; Robert Lynn, Tuba; Maki Yoshimura, piano.
       November 13, 2001. Pruis Hall, Ball State University: Faculty Artist Series: Mary Mordue, mezzo-soprano; Mark Mordue, tuba; Barbara Briner-Jones, piano.
     
    1996
     
  •    Flight of Fancy (composed December 12-22, 1996) for 12-Part Flute Choir. 12.5 minutes, 1 movement.
  •    Imaginary Scenes: Fantasy for Brass Quintet (composed November 12-18, 1996) for 2 C-Trumpets, F-Horn, Trombone, Tuba. 7 minutes, 1 movement.
    Performances:
       March 2, 1997. Muncie, IN., premiered by Ball State University's DaCamera Brass Quintet, at the BSU 27th Annual Festival of New Music. Mr. Paul Everett, 1st Trumpet; Mr. Dean Markel, 2nd Trumpet; Mr. Fred Ehnes, Horn; Dr. John Seidel, Trombone; Dr. Mark Mordue, Tuba.
  •    Dorian Antiqua Quartet (composed October 9-20, 1996) for Flute, Oboe, B-flat Clarinet and Harp (I. Largement - Vigoureusement. II. Simplement. III. Allègrement. IV. Vivement.) 20 minutes, 4 movements.
  •    I Began Singing (composed Sept. 1996, electronic accompaniment realized January, 1997) for Baritone Voice, Alto Saxophone, Tabla, and algorithmically-controlled electronically-generated sounds using the Macintosh computer programming application/language 'Max 2.2.' and a Roland Sound Canvas. 15 minutes, 1 movement.
  •    Fifty-Third Street, Piano/Vocal Score (The opera was composed 1990-1996; The Piano/Vocal Score was prepared August through early September, 1996.) 90-minute, two-act opera, 18 scenes.
  •    Minnesota Overture (composed April, 1996) is a short work for strings, percussion and piano. 3 minutes, 1 movement.
    Performances:
       June 26, 1996. Duluth, MN. Warren Friesen premiered this work with the Lake Superior Chamber Orchestra.
  •    Final Episode (composed September 14, 1996) for Left-Hand Piano. 3 minutes, 1 movement.
    Performances:
       February 11, 1997. Muncie, IN., premiered by Annemarie Schuessler, at a Faculty Artist Series Recital of my piano music, Ball State University.
       June 2 & 3, 1997. Ann Arbor, MI., Holiday Inn. "Opening Doors" recital, Annemarie Schuessler, piano.
       July 1, 1997. St. Petersburg Conservatoire, Russia. Annemarie Schuessler, piano.
  •    Primary Colors (composed April 28 - May 6, 1996) for solo piano. 27 minutes, 25 Monochromes. (Each is a short two-chord study, showing all 24 major and/or minor triad relationships.) 1. Simple, Graceful; 2. Restless; 3. Breezy; 4. Gigue, at a relaxed pace; 5. Flowing, increasingly powerful; 6. Very Slowly; 7. Fast march; 8. Tango, sensual and hypnotic; 9. Waltz, not too fast; 10. Intense; 11. Aire; 12a. Brightly. 12b. Very simple and expressive, and with adoration; 13. Fast and irreverent!; 14. Quasi-scherzo: very fast; 15. Trustingly, not at all fast; 16. Moderately fast and disturbed; 17. Slow and very expressive; 18. Unhurried, but not too slow; 19. Exotic, highly accented; 20. Gently rolling along; 21. Other-worldly, and rather slowly; 22. Like a magical wind; 23. Powerful; 24. Grandiose - Extremely fast.
    Performances:
       February 11, 1997. Muncie, IN., premiered by Kevin Purrone, at a Faculty Artist Series Recital of my piano music, Ball State University.
  •    Kaleidoscope, (composed January-July, 1996) for Clarinet and Algorithmically-Generated Electronic Accompaniment. indeterminate form, 5-20 minutes long, 1 movement (commissioned by Gerard Errante.)
    Recordings:
       This work was recorded by Gerard Errante on a CD titled "Beyond Noend with Errante", Drimala label DR 99-347-02 (www.drimala.com)
    Performances:
       September 7, 1997. Norfolk, VA., The Arts Center of the Portsmouth Museums, premiered by Gerard Errante, clarinet.
       September 18, 1997. Central Queensland Conservatorium of Music, Australia, Gerard Errante, clarinet. This was on a concert given by the 1997 Pacific rim composers conference.
       September 24, 1997. Queensland University of Technology, Academy of the Arts, Kelvin Grove Campus, Brisbane, Australia, Gerard Errante, clarinet.
       October 10, 1997. Canberra, Australia, The Australian National University Institute of the Arts, Canberra School of Music, Gerard Errante, clarinet.
       December 8, 1997. Pittsburgh, PA, "Rosebud" stage. Gerard Errante, clarinet. The concert was presented under the auspices of the Pittsburgh New Music Ensemble, David Stock, director.
       February 5, 1998. Muncie, IN, Gerard Errante, clarinet. Presented as part of the Ball State University 28th Festival of New Music.
       March 23, 1998. University of Maine - Orono, Gerard Errante, clarinet. Sponsored by Maine Summer Youth Music.
       October 1, 1998. University of Texas - El Paso, Gerard Errante, clarinet. Concert entitled The Clarinet of the 21st Century.
       November 14, 1998. University of Montevallo, 6th Annual Clarinet Symposium, Gerard Errante, clarinet.
       August 28, 1999. Korea, Seoul Arts Center, 6th Computer Music Festival in Seoul (presented by KEAMS: Korean Electro-Acoustic Music Society), Gerard Errante, clarinet; with "live" electronics.
  •    Overture and Fugue (composed February 15-17, 1996) for 4 Oboes and 2 English Horns. 5 minutes, 2 movements. (Piece requested by Oboist Carrie Vecchione.)
  •    Piano Trio No. 2 : In Memoriam (composed June 15-22, 1996) for Violin, Cello & Piano. electronic realization: 10 minutes, 1 movement. (Commissioned by the Zeigler Foundation.)
    Performances:
       April 13, 1999. Faculty Artist Series ³Holocaust Remembrance Day Concert.² Ball State University, Muncie, IN. Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello. 12.5 minutes.
       July 22, 1999. Ball State University Honors College Summer Program, Muncie, IN. Aura Strohschein, piano; Nathan Kroeger, violin; Sarah Bishop, cello.
       September 13, 1999. Ball State University, Piano & String Area Recital Hour, Muncie, IN. Aura Strohschein, piano; Nathan Kroeger, violin; Sarah Bishop, cello.
       October 8, 1999. Israel. The Tel-Ganim Society for Chamber Music. The American Piano Trio: Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello.
       October 9, 1999. Israel. The Jerusalem Society for Chamber Music. The American Piano Trio: Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello.
       October 12, 1999. Israel. Tel-Hay Museum, arranged by Dudu Sella. The American Piano Trio: Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello.
       October 15, 1999. Israel. Tephen Museum, arranged by Dudu Sella. The American Piano Trio: Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello.
       October 16, 1999. Israel. Cohav Yair, arranged by Dudu Sella. The American Piano Trio: Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello.
       October 17, 1999. Israel. two 40-mm. school concerts, arranged by Dudu Sella. The American Piano Trio: Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello.
       October 22, 1999. Israel. The Maytar Society for Chamber Music. The American Piano Trio: Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello.
       October 23, 1999. Israel. Herzelia Hasharon Society for Chamber Music. The American Piano Trio: Mitchell Andrews, piano; Neil Weintrob, violin; Roger Malitz, cello.
  •    I am the Resurrection (February 2, 1996) (John 11:25-26) for a capella choir. 1 minute, 1 movement.
  •    Eleven Small Pieces, (composed 1984-96) for solo piano. 1. Aire (February 6, 1996); 2. Song of Isolation (March 14, 1995); 3. Prelude, with fond thoughts of F. Chopin's 1st Prelude (August 3, 1994); 4. Fast Fantasy with Three Fifths (February 1-2, 1992); 5. Self-Indulgence (February 7, 1996); 6. Two-Part Study (March 18, 1995); 7. The "Modal-Z" Rondo (February 8, 1992); 8. Parisian Twilight (April 28, 1984); 9. A Missed Friend (March 10, 1984); 10. Cool Dude! (January 15, 1985); 11. Assertive, angry (August 24, 1995) approx. 20 minutes, 11 pieces.
  •    Well-Tempered Mode, Songs from the Dorian (1976-96) 1. Breeze (1995); 2. Restless (1987); 3. Moderato (1980?); 4. Largo non troppo (1980?); 5. Andante (1980?); 6. Interlude (1995); 7. Ballad (1995); 8. Decision (1995); 9. Tempo di valse (1995); 10. Graceful, but sorrowful (1996); 11. Poco maestoso (1996); 12. Z-March (1995); 13. Circular Reasoning (1995). for solo piano. approx. 20 minutes; 13 character pieces, each between 1 and 3 minutes long.
    Performances:
       February 11, 1997. Muncie, IN., premiered by Caroline Sullivan, at a Faculty Artist Series Recital of my piano music, Ball State University.
     
    1995
     
  •    Z-March (arrangement) for large Symphony Band. (arranged December 1995; originally, "Songs from the Dorian" No. 12, for piano solo.) 3 minutes, 1 movement.
    Performances:
       April 18, 1996. Muncie, IN., premiered by the Ball State University Symphony Band, Susan Creasap, director.
  •    To His Coy Mistress (composed September 28 - October 12, 1995) [poem by Andrew Marvell (1621-1678) ] for Baritone Voice and Piano. approx. 6.5 minutes, 1 movement.
    Performances:
       June 6, 2000. Matt Johnson, tenor; Hideko Fujiyama, piano, premiered in a graduate recital at Ball State University, Muncie, IN.
  •    Lifting the Veil : A Musical Narration Celebrating the New Millennium (January-February, 1995) (1. Darkness was Hidden by Darkness; 2. The kingdom Within; 3. Lightning from the East) for soprano saxophone, 2 Narrators, and algorithmically-controlled electronically-generated sounds using the Macintosh computer programming application/language 'Max 2.2.' and a Roland Sound Canvas. 25 minutes, 3 movements.
    Recordings:
       This work was recorded by saxophonist George Wolfe. CD released Nov./Dec., 1997, Soundwind Records. SW 1133.
    Performances:
       February 17, 1995. San Anselmo, CA., premiered at the San Francisco Theological Seminary. George Wolfe, Saxophone; Electronic Sounds on Tape.
       March 23, 1995. Muncie, IN., Ball State University, 25th Annual Festival of New Music, George Wolfe, Saxophone; Jody Nagel, Electronics.
       March 26, 1995. Tempe, Arizona, George Wolfe, Saxophone; Electronic Sounds on Tape.
       May 6, 1995. Muncie, IN, at The Earthling, George Wolfe, Saxophone; Jody Nagel, Electronics.
       May 19, 1995. Costa Rica, at the Costa Rica Association of Saxophonists, George Wolfe, Saxophone; Electronic Sounds on Tape.
       July 1, 1995. Pittsburgh, PA., at the Hindu Temple, George Wolfe, Saxophone; Jody Nagel, Electronics.
       July 26, 1995. Interlochen Summer Music Camp, Michigan, George Wolfe, Saxophone; Jody Nagel, Electronics.
       September 17, 1995. Muncie, IN., the Unitarian Church, George Wolfe, Saxophone; Jody Nagel, Electronics.
       September 19, 1995. Muncie, IN., radio broadcast (WBST), as part of an interview. George Wolfe, Saxophone; Jody Nagel, Electronics.
       September 24, 1995. Muncie, IN., Hazelwood Christian Church (evening Sunday School), George Wolfe, Saxophone; Jody Nagel, Electronics.
       September, 1995. The Muncie local TV station also conducted an interview, and the 1st movement was aired. George Wolfe, Saxophone; Jody Nagel, Electronics.
       October 1, 1995. Bloomington, IN., at Indiana University, George Wolfe, Saxophone; Jody Nagel, Electronics.
       March 4, 1996. The University of Wisconsin at Oshkosh, George Wolfe, Saxophone; Electronic Sounds on Tape.
       March 30, 1996. Gainesville, FL., at the jointly held "Florida Electroacoustic Music Festival" and the "North American Saxophone Alliance National Meeting" at The University of Florida, George Wolfe, Saxophone; Jody Nagel, Electronics.
       April 11, 1996. Boulder, CO., at the 48th Annual Conference on World Affairs, The University of Colorado at Boulder, George Wolfe, Saxophone; Jody Nagel, Electronics.
       April 18, 1996. Birmingham, Alabama, at the national conference of the Society for Electro-Acoustic Music in the United States (SEAMUS96), George Wolfe, Saxophone; Jody Nagel, Electronics. (1st movement only).
       December 8, 1996. Columbus, IN., the Unitarian Church, George Wolfe, Saxophone; Jody Nagel, Electronics.
       January 19, 1997. LaFayette, IN., the Unitarian Church, George Wolfe, Saxophone; Jody Nagel, Electronics.
       February 3, 1997. Georgetown, Kentucky, at Georgetown College, Foust Artist Series, George Wolfe, Saxophone; Jody Nagel, Electronics.
       April 11, 1997. Muncie, IN., Ball State University, Graduate recital, Keith Scheer, saxophone, Jody Nagel, Electronics. (1st movement only).
       May 23, 1997. Kärntner Landes Konservatorium Klagenfurt, Austria, George Wolfe, Saxophone; Electronic Sounds on Tape.
       September 20, 1997. Mansfield, PA., Mansfield University, George Wolfe, Saxophone; Electronic Sounds on Tape.
       October 19, 1997. University of Illinois at Urbana-Champaign, IL., Guest Artist Recital in Smith Memorial Hall. George Wolfe, Saxophone; Jody Nagel, Electronics.
       December 7, 1997. Unitarian Church, Cincinnati, Ohio. George Wolfe, Saxophone; Electronic Sounds on Tape.
       February 9, 1998. Paris Conservatory, Paris, France, Master-class Recital. George Wolfe, Saxophone; Electronic Sounds on Tape.
       September 29, 1998. first movement only. Pruis Hall, Ball State University, Muncie, IN. George Wolfe, Saxophone; Paul Ludden and Adrien Re, narrators; Electronic Sounds on Tape. Fifteenth Annual Brian Morris Minor Memorial Concert.
       October 25, 1998. Joliet Junior College, Joliet, Illinois. George Wolfe, Saxophone; Paul Reilly and Thomas Liley, Narrators; algorithmically-controlled electronically-generated sounds on tape. first movement only.
       January 17, 1999. Baha'i House of Worship, Wilmette, IL. George Wolfe, Saxophone; Electronic Sounds on Tape. Harsha Abeyaratne, Anthony Fleming, Narrators.
       August 16, 2000. Chautauqua Institute, Chautauqua, NY. George Wolfe, Saxophone; Electronic Sounds on Tape. Robert Wells, Robert Ludwig, Narrators.
       November 3, 2001. George Wolfe, Saxophone; Electronic Sounds on Tape, The Society for the Arts, Religion and Contemporary Culture, Episcopal House of the Redeemer, New York, N.Y.
  •    Piano Sonata (in 1 movement) (composition begun during March, 1987, and completed in September, 1995), for solo piano. approx. 6.5 minutes, 1 movement.
  •    Sonata for Violin and Piano (composition begun during June-Aug., 1993, and completed during Aug.-Sept., 1995.) for violin and piano. 12 minutes, 1 movement.
  •    Rhapsody (1995) for solo piano. 10 minutes, 1 movement.
  •    The Bells (February, 1995) (text by Edgar Allan Poe.) for Baritone voice, 2 Flutes, Clarinet, Alto Sax, Trumpet, 2 Guitars, and 1 Percussion. 13 minutes, 1 movement.
  •    Dorian Hymn (1995) for a capella choir. 1 minute, 1 movement.
     
    1994
     
  •    The Vale of Purple Mist (1994) (anonymous 15th-century Korean text found in Jonathan Condit's "Music of the Korean Renaissance", Cambridge Univ. Press, 1984, 32 East 57th Street, New York, N.Y. 10022, ISBN 0 521 24399 8) for Baritone voice, Flute, Clarinet, Alto Saxophone, Trumpet, 2 amplified Acoustic Guitars, Piano, and Percussion. 9 minutes, 1 movement.
    Performances:
       November 29, 1994. Miami, FL., premiered by the Florida International University New Music ensemble, Armando Tranquilino, dir.
       December 1, 2001. Minnesota State University at Moorhead, Cynthia Miller, director.
  •    Jagger Dance (1994) for chamber orchestra. 5 minutes, 1 movement.
    Performances:
       June 14, 1994. Muncie, IN., premiered by the Ball State University Orchestra, Warren Friesen, director.
       March 19, 1995. Muncie, IN., The East Central Indiana Youth Symphony, Michael Gagliardo, director.
       March 26, 1995. Chapel Hill, N.C., The East Central Indiana Youth Symphony, Michael Gagliardo, director.
       June 28, 1995. Duluth MN., The Lake Superior Chamber Orchestra, Warren Friesen, director.
       November 20, 1995. Cleveland, OH., Cleveland Chamber Symphony, Edwin London, director.
       January 26, 1997. Muncie, IN., Muncie Symphony Orchestra, Leonard Atherton, director.
       May 17, 1998. Gadsden, Alabama, Etowah Youth Symphony Orchestra, Michael Gagliardo, dir.
  •    Fantasy Ballad (1994) for Oboe, Horn, and Piano. 10 minutes, 1 movement.
    Performances:
       November 7, 1995. Muncie, IN., premiered on a Faculty Artist Series Recital at Ball State University; Carrie Vecchione, Oboe; Fred Ehnes, Horn; Cynthia Miller, piano.
       September 30, 2001. Phylis Secrist, Oboe; Calvin Smith, Horn; Fay Adams piano, at The University of Tennessee.
  •    Bedtime Story (1994) for solo Double Bass. 2 minutes, 1 movement.
  •    Take Thee, To Be (1994) for two pianos. 4 minutes, 1 movement.
  •    Solo for Oboe (1994) for solo oboe. 2 minutes, 1 movement.
  •    Solar Dreams (1994) for Any Instrument, and algorithmically-controlled electronically-generated sounds. using the Macintosh computer programming application/language 'Max 2.2.' and a Roland Sound Canvas. 6 minutes, 1 movement.
    Recordings:
       This work was recorded by saxophonist George Wolfe. CD released Nov./Dec., 1997, Soundwind Records. SW 1133.
       CD released by the Saxophone Journal: "Classical Improvisation" by George Wolfe, Dorn Publications, Inc. The CD also contains a "Tape Part Alone" track so that other saxophonists can try out the piece; the score is contained within an accompanying booklet. The CD was included with each copy of the Saxophone Journal, Volume 22, Number 4, Jan./Feb. 1998.
       CD of music for saxophone by various performers. George Wolfe plays saxophone on Solar Dreams. Arizona University Recordings. The CD is entitled "America's Millennium Tribute to Adolphe Sax, Vol. 1." CD released fall, 1998.
    Performances:
       November 8, 1994. premiered in Muncie, Indiana, Ball State University, Faculty Artist Series, George Wolfe, Soprano Saxophone; Jody Nagel, Electronics.
       March 4, 1995. Dayton, OH., "SaxFest95" at The University of Dayton, George Wolfe, Soprano Saxophone; Jody Nagel, Electronics.
       April 27, 1995. Muncie, IN., Ball State University, Phi Mu Alpha "Sinfonia Festival of American Music", George Wolfe, Soprano Saxophone; Jody Nagel, Electronics.
       October 1 & 2, 1995. Bloomington, IN., at Indiana University, George Wolfe, Soprano Saxophone; Jody Nagel, Electronics. (recital on October 1; lecture-demonstration-performance on October 2.)
       March 21, 1996. Lexington, Kentucky, at the University of Kentucky, George Wolfe, Soprano Saxophone; Jody Nagel, Electronics.
       May 24, 1996. Columbus, Georgia, at Columbus College, Keith Scheer, Saxophone; Electronic Sounds on Tape.
       August 23, 1996. Muncie, IN, Emmens Auditorium, College of Fine Arts Faculty and Professional Personnel Meeting. George Wolfe, Saxophone; Jody Nagel, "live" electronics.
       February 3, 1997. Georgetown, Kentucky, at Georgetown College, Foust Artist Series, George Wolfe, Saxophone; Jody Nagel, Electronics.
       March 12, 1997. Paris, France, in the Auditorium du C.N.R. de Cergy-Pontoise, George Wolfe, Saxophone; Electronic Sounds on Tape.
       March 21, 1997. Elkhart, IN., at the Midwest Museum of Art, George Wolfe, Saxophone; Electronic Sounds on Tape.
       April 5, 1997. Youngstown, Ohio, George Wolfe, Saxophone; Electronic Sounds on Tape.
       April 25, 1997. Corry, PA., at the Corry Area Arts Council Auxiliary, Inc., Corry Area High School, George Wolfe, Saxophone; Electronic Sounds on Tape.
       May 23, 1997. Kärntner Landes Konservatorium Klagenfurt, Austria, George Wolfe, Saxophone; Electronic Sounds on Tape.
       September 20, 1997. Mansfield, PA., Mansfield University, George Wolfe, Saxophone; Electronic Sounds on Tape.
       October 7, 1997. Muncie, IN., Ball State University, Fourteenth Annual Brian Morris Minor Memorial Concert, George Wolfe, Saxophone; Jody Nagel, Electronics.
       February 10, 1998. Paris Conservatory, Paris, France, Master-class. George Wolfe, Saxophone; Electronic Sounds on Tape.
       April 7, 1998. Pattiheion Municiple Theatre, Limmasol, Cyprus; George Wolfe, Saxophone; Electronic Sounds on Tape. "The American Ensemble."
       April 9, 1998. Paralimni Theatre, Paralimni, Cyprus; George Wolfe, Saxophone; Electronic Sounds on Tape. "The American Ensemble."
       April 10, 1998. Larnaca Municiple Theatre, Larnaca, Cyprus; George Wolfe, Saxophone; Electronic Sounds on Tape. "The American Ensemble."
       April 22, 1998. Riverside Avenue Baptist Church, Mucie, IN., George Wolfe, Saxophone; Electronic Sounds on Tape. Muncie Matinee Musicale.
       October 25, 1998. Joliet Junior College, Joliet, Illinois. George Wolfe, Saxophone; Electronic Sounds on Tape.
       October 13, 1999. Stephen F. Austin State University Department of Music, Nacogdoches, TX. Bruce Bullock, Clarinet; Electronic Sounds on Tape.
       October 12, 1999. Louisiana School for Math, Science and the Arts, Natchitoches, LA. Bruce Bullock, Clarinet; Electronic Sounds on Tape.
       October 7, 1999. Magale Recital, Northwestern State University, Natchitoches, LA. Bruce Bullock, Clarinet; Electronic Sounds on Tape.
       April 1, 2001. A Recital of Original Compositions for Instruments and Vocalists and Algorithmically-Generated Electronic Accompaniment. Muncie, IN., Ball State University, Faculty Arts Recital. Hans Sturm, Contrabass. Jody Nagel, Computer.
  •    Incidental Music for The Count of Monte Cristo (1994) for electronically-generated symphony orchestra, on tape. 32 minutes; 27 segments, each ranging from 30 seconds to 4 minutes.
    Performances:
       February 22, 1994. Muncie, IN., A 3-movement, 8-minute suite (extracted from the complete score) was premiered on a Ball State University Faculty Artist Series Recital. This was part of the Ball State University College of Fine Arts 10th Anniversary series, "A Week with Romanticism."
       February 23-27, 1994. Muncie, IN., used by the Ball State theater department in their production of the Casazza/Zak adaptation of the Dumas play.
     
    1993
     
  •    Pentatonic Etudes (1993) (1. Moderato; 2. Allegro non troppo; 3. Fleeting; 4. Andante; 5. Very Slowly; 6. Presto; 7. Largo; 8. Fast and boisterous; 9. Andante con moto - Maestoso / Presto - Andante) for solo piano. 23 minutes, 9 character pieces (2 to 4 minutes long, each.)
    Performances:
       March 24, 1994. Muncie, IN., premiered at Ball State University by faculty pianist Robert Palmer.
       February 11, 1997. Muncie, IN., included on a Faculty Artist Series Recital of my piano music at Ball State University, Robert Palmer, piano.
  •    Vortex (1993) (1. its Density; 2. its Surface; 3. its Volume; 4. its Velocity) for unaccompanied Viola or Violin. 6 minutes, a 4-movement suite.
    Performances:
       December 11 & 12, 1993. Hannover, Germany; premiered by Luxembourg Violinist Georges Lentz.
       April 18, 1999. Ball State University, Muncie, IN., Robert Elder, viola.
  •    This Living Hand (1993) (text by John Keats) unaccompanied work for mixed choir. 4.5 minutes long, 1 movement.
    Performances:
       May 11-16, 1998. Ball State University Chamber Choir, Michael Davis, conductor, South Central United States Tour. [Booneville, IN., May 11, 1998, premiere.] Other cities include Batesville, IN., The Woodlands, TX., Ooltewah, TN.
  •    Sonata No. 1 for Woodwind Quintet (1993) for woodwind quintet. 23 minutes, 4 movements.
     
    1992
     
  •    Octagon (1992) (1. Creeping; 2. Gnarled; 3. Duet: Undulating; 4. Sprawling; 5. Tangled) for Flute/Piccolo, Bassoon, Trumpet, Tuba, Violin, D. Bass, Piano, and one Percussionist. 13 minutes, 5 movements.
    Performances:
       March 30, 1993. Austin, TX., premiered by The University of Texas at Austin New Music Ensemble, Dan Welcher, director.
  •    Aria for Oboe and Piano (1992) for oboe and piano. 4.5 minutes, 1 movement.
    Performances:
       November 5, 1996. Muncie, IN., premiered by Ralph Strobel, Oboe; and Kevin Purrone, Piano; on a Ball State University Faculty Artist Series recital presented in conjunction with American Music Week.
  •    Water Grokking (spring, 1992) for piano and computer-generated tape. 4 minutes, 1 movement.
    Performances:
       April 8, 1992. Austin, TX., premiered at The University of Texas at Austin by the Stephen Montague / Philip Mead Duo; Philip Mead, piano.
       August, 1992. England; the Dartington International Summer School Festival, by the Stephen Montague / Philip Mead Duo; Philip Mead, piano.
       July 22, 1993. Sydney, Australia, The University of Sydney, Vi-King Lim, piano.
       September 28, 1993. Muncie, IN., Ball State University, Eri Nakagawa, piano.
       March 25, 1994. Muncie, IN., Ball State University, 24th Annual Festival of New Music, Eri Nakagawa, piano.
  •    Scottish Fanfare (1981, rev. 1992) for brass ensemble (3 Trumpets, 4 Horns, 3 Trombones, Tuba.) 2 minutes, 1 movement.
    Performances:
       November 9, 1994. Muncie, IN., premiered by the Ball State University Brass Choir, Velvet Brown, director.
     
    1991
     
  •    Shelob's Lair (1991) (title from J.R.R. Tolkien's Lord of the Rings) for bassoon and piano. (This work was commissioned by University of Texas faculty bassoonist Carolyn Beck.) approx. 10 minutes, 1 movement.
    Performances:
       April 2, 1991. Austin, TX., The University of Texas at Austin, premiered on Jody Nagel's D.M.A. recital; Carolyn Beck, bassoon; Brian Marks, piano.
       April 11, 1991. Austin, TX., The University of Texas at Austin, Composers Concert Series; Carolyn Beck, bassoon; Brian Marks, piano.
       March 8, 1992. Austin, TX., at the Austin Chamber Music Society concert, First Unitarian Church, Carolyn Beck, bassoon; Felicity Coltman, piano.
       October 25, 1992. Austin, TX., the concert given March 8, 1992, was televised by the local PBS-affiliated channel in Austin, Texas, on the show, "Front, Row, Center."
  •    The Gifts of Galadriel (1991) (title from J.R.R. Tolkien's Lord of the Rings) 1. The Sheath of Aragorn's Sword; 2. for Elessar, the Elfstone of the House of Elendil; 3. Boromir's Belt of Gold; 4. The Bow of Legolas; 5. Earth from Lothlorien; 6. Three Golden Hairs for Gimli; 7. The Crystal Phial of Eärendil's Starlight. for flute and percussion. 29 minutes, 7 movements.
    Performances:
       April 2, 1991. Austin, TX., The University of Texas at Austin, premiered on Jody Nagel's D.M.A. recital; Beth Whitten, flute; and Richard Calderón, percussion.
     
    1990
     
  •    Gandalf the Grey (1990) (title from J.R.R. Tolkien's Lord of the Rings) for clarinet and MUSIC360 computer-generated tape. 12 minutes, 1 movement. (This work placed 4th (out of 900) in the 1991 International NewComp Competition.)
    Recordings:
       This work was recorded by clarinetist Robert Tuttle, and was released on CD, summer, 1995, as part of Volume 20 of the CDCM computer music series, on the "Centaur" label.
    Performances:
       April 4, 1990. Austin, TX., The University of Texas at Austin, premiered on an EARS (Electro-Acoustic Recital Series) concert devoted to the music of Haeyon Kim, Mark Schultz and Jody Nagel. Robert Tuttle, clarinet.
       April 28, 1990. Austin, TX., The University of Texas at Austin, on an EARS (Electro-Acoustic Recital Series) concert; Robert Tuttle, clarinet.
       October 13, 1990. Baton Rouge, LA., at the SEAMUS90 (Society for Electro-Acoustic Music in the United States) conference, Robert Tuttle, clarinet.
       February 6, 1991. Austin, TX., The University of Texas at Austin, Robert Tuttle's senior recital; Robert Tuttle, clarinet.
       April 2, 1991. Austin, TX., The University of Texas at Austin, performed on Jody Nagel's D.M.A. recital; Robert Tuttle, clarinet.
       May 22, 1992. DePaul University, Christie Vohs, clarinet.
       March 28, 1995. Norfolk, VA., F. Gerard Errante, clarinet.
       July 23, 1995. Australia, The Australian National University Institute of the Arts, Canberra School of Music, F. Gerard Errante, clarinet.
       August 4, 1995. Australia, The Clarinet and Saxophone Society of New South Wales, F. Gerard Errante, clarinet.
       August 8, 1995. Australia, The Australian Institute of Music, F. Gerard Errante, clarinet.
       August 11, 1995. Australia, The Queensland Conservatorium of Music, Griffith University, F. Gerard Errante, clarinet.
       March 20, 1996. Muncie, IN., Ball State University's 26th Annual Festival of New Music, Caroline Hartig, clarinet.
       April 12, 1996. Tempe, Arizona, Arizona State University, Sandra Mosteller, clarinet.
       April 16, 1996. Natchitoches, Louisiana, Northwestern University, Bruce Bullock, clarinet.
       July 4, 1996. Paris, France, The Paris Conservatory, International Clarinet Association President F. Gerard Errante, clarinet.
       November 19, 1997. Florida Southern College, Florida, Bruce Bullock, clarinet. Guest Lecture-Recital.
       November 20, 1997. University of Tampa, Tampa, Florida, Bruce Bullock, clarinet. Guest Lecture-Recital.
       November 21, 1997. University of South Florida, Tampa, Florida, Bruce Bullock, clarinet. Guest Lecture-Recital.
       November 19, 1997. Florida Southern College, Florida, Bruce Bullock, clarinet. Guest Lecture-Recital.
       November 20, 1997. University of Tampa, Tampa, Florida, Bruce Bullock, clarinet. Guest Lecture-Recital.
       November 21, 1997. University of South Florida, Tampa, Florida, Bruce Bullock, clarinet. Guest Lecture-Recital.
       March 24, 1998. Radford University, Sandra Mosteller, clarinet.
       February 8 2001. Louisiana Tech University, School of the Performing Arts, Guest Faculty Recital Bruce Bullock, clarinet.
       February 18 2001. Natchitoches, LA., The Louisiana School for Math, Science, and the Arts, and the Louisiana Composers' Consortium: Bruce Bullock, clarinet.
  •    Frodo and Faramir (1990) (title from J.R.R. Tolkien's Lord of the Rings) for violin and double bass. 7.5 minutes, 1 movement.
    Performances:
       April 2, 1991. Austin, TX., The University of Texas at Austin, premiered on Jody Nagel's D.M.A. recital; Catherine Beeson, violin; and Tracy Dullea, double bass.
       June 6, 2001. Butler University, Indianapolis, IN. International Society of Bassists Convention: Byron Plexico, violin. Rolf Erdahl, bass.
  •    Two Piano Preludes (No. 1 Coral Reef, 1987; No. 2 Jungle, 1990) for solo piano.  each approx. 2.5 minutes.
    Performances:
       April 2, 1991. Austin, TX., The University of Texas at Austin, premiered on Jody Nagel's D.M.A. recital; Hye Kyung Lee, piano.
  •    Two Songs
    1. There's A Certain Slant Of Light
    (1990) (poem by Emily Dickinson) approx. 6 minutes.
    2. Fall, Leaves, Fall (1986) (poem by Emily Jane Bronte) approx. 3.5 minutes. for medium-low voice and piano.
    Performances:
       April 2, 1991. Austin, TX., The University of Texas at Austin, premiered on Jody Nagel's D.M.A. recital; voice faculty Leonard Johnson, tenor; Brad Bolen, piano.
  •    Seven Modes of Wonder (1990) (1. The Big Ferris Wheel; 2. Circus Crowds; 3. Baby Blues; 4. Lullaby; 5. Monster Rock; 6. Balloon Ride; 7. The Haunted Castle) for solo piano. approx. 24 minutes, 7 character pieces.
    Performances:
       February 11, 1997. Muncie, IN., Ball State University, premiered at a Faculty Artist Series Recital of my piano music; Mitchell Andrews, piano.
  •    Twelve Easy Little Pieces in Twelve Different Modes (1990) (1. Ghost March; 2. Moon Gigue; 3. Roman Parade; 4. Waltz of the Roosters; 5. Minuet for a Rainy Day; 6. Russian Dance; 7. March of the Toy Horses; 8. The Playful Penguin Prominade; 9. Scottish Lullaby; 10. Autumn's Late Evening Aire; 11. Springtime Pastorale; 12. Simple Duet for a Sad Day) for solo piano.  approx. 20 minutes, 12 character pieces.
  •    Twleve-Tone Composition for Solo Piano (March 20, 1990) (doctoral exam composition.) approx. 2 minutes, 1 movement.
  •    When The Bells Justle, for Voice and Piano. (March 21, 1990) (doctoral exam composition.) approx. 2 minutes, 1 movement.
     
    1989
     
  •    Cerberus' Dream (1989) for solo trumpet, 5 violins, 5 flutes, 5 clarinets, 3 percussion, double bass. approx. 17 minutes, 1 movement.
    Performances:
       November 7, 1989. Austin, TX., The University of Texas at Austin New Music Ensemble, Dan Welcher, director. James Recktenwald, trumpet.
  •    Fields of Sevenths (1989) a toccata for solo piano. 7 minutes, 1 movement.
    Performances:
       May 1, 1989. Austin, TX., The University of Texas at Austin, premiered by Eric Daub, piano.
       March 3, 1990. Arlington, TX., The University of Texas at Arlington, Texas Student Composers Symposium, Vern Nelson, piano.
       April 20, 1990. Lawrence, KS., at the Society of Composers, Inc., Region VI Conference. (pianist ?)
       April 2, 1991. Austin, TX., The University of Texas at Austin, performed on Jody Nagel's D.M.A. recital; Eric Daub, piano.
       February 11, 1997. Muncie, IN., Ball State University, at a Faculty Artist Series Recital of my piano music, Brad Bolen, piano.
  •    Speed (composed 1989, originally for electronic sounds. later, it was arranged for solo piano.)  approx. 4 minutes, 1 movement.
  •    Invention in C in the style of J. S. Bach (1989) for harpsichord; or piano; or duet for [clarinet or violin] and [cello or bassoon.] 2 minutes, 1 movement.
     
    1988
     
  •    Strange Pillars (1988) sextet for flute, clarinet, violin, cello, piano and marimba. 12 minutes, 1 movement.
    Performances:
       August, 1988. Aspen, CO., Aspen School of Music's Center for Compositional Studies, performed by a resident performing ensemble.
       October 29, 1991. Austin, TX., The University of Texas at Austin New Music Ensemble, Pat McCreless, director.
     
    1987
     
  •    There's A Certain Slant Of Light... (1987) (title from a poem by Emily Dickinson) for a chamber orchestra of 19 players. (winner of a 1988 ASCAP Young Composer's Award.) 15 minutes, 1 movement.
    Performances:
       September 29, 1987. Austin, TX., premiered by The University of Texas at Austin New Music Ensemble, Dan Welcher, director. The piece was reviewed as a "stand-out premiere...a tight, exciting work" by the Austin American Statesman Newspaper, Dec. 30,1987.)
       November 1, 1992. Dallas, TX., The September 29, 1987 performance was radio broadcast November 1, 1992, by WRR 101.1, and the broadcast was made possible by "Meet the Composer."
  •    what if a much of a which of a wind (1987) (poem by e. e. cummings) for mixed voices, flute, piccolo, 2 bass clarinets and harp.  approx. 8 minutes, 1 movement.
    Performances:
       December 7, 1987. Austin, TX., premiered by The University of Texas at Austin Chamber Singers, Linda Larson, director.
     
    1986
     
  •    Six Poems by Stephen Crane (1986) (1. There Was Crimson Clash of War; 2. A Man Said to the Universe: 'Sir, I Exist'; 3. The Wayfarer; 4. Round : Should the Wide World Roll Away; 5. Truth ! Said a Traveller; 6. War is Kind) for unaccompanied women's choir.  approx. 14 minutes in performance, 6 movements. (timings: I. 1:38; II. 0:46; III. 0:42; IV. 3:31; V. 2:08; VI. 4:10)
    Performances:
       April 2, 1991. Austin, TX., The University of Texas at Austin Women's Choir, premiered on Jody Nagel's D.M.A. recital; Patty Fleitas, director.
       April 28, 1991. Austin, TX., The University of Texas at Austin Women's Choir, Patty Fleitas, director.
  •    As You Like It (1979; rev. 1986; transposed up semitone, 1999.) for French Horn and Piano.  6 minutes, 1 movement.
    Recordings:
       This work was recorded by hornist Kent Leslie. The CD was released fall, 1998, HardCor Records. HC 001. (recorded June 26, 1998.)
    Performances:
       1979. Wexford, PA., premiered at North Allegheny High School, Eric Damm, horn; Liz Skavish, piano.
       October 28, 1992. Muncie, IN., Ball State University, Jeff Seitz, horn.
       April 26, 1998. Anderson University, Anderson, IN. Michele Lilly, French Horn; Kimberly Walimire, piano.
       July 11 1999. Duncan hall, Lafayette, IN. Tippecanoe Chamber Music Society. All-American Horn Recital. Kent Leslie, horn; Sheryll McManus, piano.
       October 26, 1999. Ball State University, Muncie, IN. Recital by the Hard Cor New Music ensemble. Kent Leslie, horn; Thomas Harvey piano.
       February 22, 2001. Harrison Hills Golf and Country Club, Attica, IN. Kent Leslie, horn; Rev. Margarete Brandenburg piano.
  •    Slide Show: Partitionings Based on a Theme by Dan Welcher (1986) trio for flute, cello, and piano. approx. 3.5 minutes, 1 movement.
    Performances:
       March 3, 1987. Austin, TX., The University of Texas at Austin, Composers' Concert Series., Barry McVinney, Flute; Shawn Sanders, Cello; Geoff Haydon, piano.
     
    1985
     
  •    Ground for Organ, for solo organ (1985) (This was composed for Doug Green's counterpoint class.)  approx. 3 minutes, 1 movement.
    Performances:
       December, 1985. Austin, TX., The University of Texas at Austin, informal performance in the organ studio at the end of the semester of Doug Green's counterpoint class.
  •    Hosanna In Excelsis (1985) (This was composed for Doug Green's counterpoint class.) for SATB choir.  approx. 4 minutes, 1 movement.
  •    Sparks (1985) Septet for flute, oboe, clarinet, 2 violins, viola, and piano.  3 minutes, 1 movement.
    Performances:
       March 7 or 8, 1985. Pittsburgh PA., University of Pittsburgh, performed by Parnassus, a New York-based new music ensemble in residency at the University of Pittsburgh, March 7-8, 1985.
  •    "The Titans": Composition for Orchestra (1985) for large orchestra.  approx. 10 minutes, 1 movement.
  •    Spiritual: Should Jesus Tarry (1985) (poem by Jean Krut) for SATB choir.  approx. 4 minutes, 1 movement.
    Performances:
       spring, 1985. Pittsburgh, PA., premiered at the University of Pittsburgh.
     
    1984
     
  •    Composition for String Orchestra (1984, rev. 1994) for string orchestra.  4 minutes, 1 movement.
  •    Four Songs for Flute and Guitar (1984) (1. Allegro; 2. Andante; 3. Presto; 4. Allegro) for flute and guitar.  approx. 8 minutes, 4 movements.
    Performances:
       November 18, 1984. Pittsburgh, PA., Helen Bledsoe, Flute; Tim Buell, Guitar. premiered at the University of Pittsburgh.
       April 25, 1988. Austin, TX., The University of Texas at Austin, Hugh Chandler, Guitar; Christine Gufstason, Flute.
  •    Brass Quintet No. 1 (1984) (1. March; 2. Caprice; 3. Fantasia; 4. Chant) for 2 Trumpets, Horn, Trombone, Tuba.  approx. 13 minutes, 4 movements.
    Performances:
       February 7, 1985. Pittsburgh, PA., premiered by The Pittsburgh New Music Ensemble, David Stock, director.
  •    Through the Lens (1983-84, rev. 1986) (originally composed for John Peel's atonal theory course at the Univ. of Pittsburgh.) (1. Constellations; 2. Solar Flare; 3. Process 1; 4. Nebula; 5. Double Star; 6. Process 2; 7. The Black Hole) for solo Piano. (Originally titled "Puzzle Pieces," with movements entitled 1. Dream; 2. Reality; 3. Activity 1; 4. Reflection; 5. Response; 6. Activity 2; 7. Decision.)  approx. 8 minutes, 7 movements.
    Performances:
       April 5, 1984. Pittsburgh, PA., premiered at the University of Pittsburgh, Cathy Curiale, piano.
       November 18, 1985. Austin, TX., The University of Texas at Austin, Composers' Concert Series, Bridget Bem, piano.
       January 23, 1988. Austin, TX., The University of Texas at Austin, Bridget Bem, piano.
       April 18, 1988. Austin, TX., The University of Texas at Austin, Bridget Bem, piano.
     
    1983
     
  •    Through the Ecosphere (1983) for computer generated tape. 10 minutes, 1 movement.
    Performances:
       spring, 1983. Pittsburgh, PA., premiered at the University of Pittsburgh.
       April 4, 1990. Austin, TX., The University of Texas at Austin, on an EARS (Electro-Acoustic Recital Series) concert devoted to the music of Haeyon Kim, Mark Schultz and Jody Nagel.
       September 24, 1992. Muncie, IN., Ball State University, "EMONE" concert.
  •    Miniver Cheevy (1983) (poem by Edward Arlington Robinson) song for soprano, trumpet, and piano.  approx. 5.5 minutes, 1 movement.
    Performances:
       April 5, 1984. Pittsburgh, PA., premiered at the University of Pittsburgh, Lynn Weber, Soprano; John Yankee, Trumpet; Aaron Huang, piano..
  •    Four Short Pieces for Piano (1983) (composed for John Peel's atonal theory course at the Univ. of Pittsburgh.) (1. Andante-Moderato (Quasi-March); 2. Sostenuto; 3. Allegro assai; 4. Vivace.)  approx. 5.5 minutes, 4 movements.
  •    Sextet (1983) (composed for John Peel's atonal theory course at the Univ. of Pittsburgh.) for Flute, Oboe, Clarinet, Bassoon, Violin, Cello.  3.66 minutes, 1 movement.
  •    Merry Christmas and a Happy New Year: in an ancient style (December 14, 1983) for 2-part mixed choir. (for Janet Knapp, Christmas 1983.)  approx. 1 minute, 1 movement.
  •    Come All Ye Fair and Tender Ladies (1983) for SATB choir.  approx. 3.5 minutes, 1 movement.
     
    1982
     
  •    Four Movements for Brass Quartet (1982, rev. 1986) (also called: Brass Quartet No. 1) (1. Molto energico; 2. Andante pensieroso; 3. Animato, quasi scherzando; 4. Allegro Deciso) for 2 Trumpets, 2 Trombones.  approx. 8 minutes, 4 movements.
    Performances:
       spring, 1983. Pittsburgh, PA., premiered by the Pittsburgh New Music Ensemble, David Stock, director.
       May 2, 1986. Austin, TX., The University of Texas at Austin Bauer House An Evening of Chamber Music concert, Pat McCreless, director.
       April 13, 1999. Muncie, IN., "Chamber Music Festival 1999," Ball State University, Muncie, IN. Paul Everett & Dean Markel, trumpets; John Seidel & Richard Human, trombones.
  •    Quartet in Two Movements (1982, rev. 1985) (1. Moderato; 2. Fast) for Flute, Clarinet, Violin, and Cello.  approx. 5 minutes, 2 movements.
    Performances:
       February 21, 1985. Pittsburgh, PA., premiered by the Pittsburgh New Music Ensemble, David Stock, director.
  •    Life Sentence (1982) (1. The Execution; 2. The Journey; 3. Rebirth) for solo Piano.  approx. 4.5 minutes, 3 movements.
    Performances:
        1984. Pittsburgh, PA., premiered at the University of Pittsburgh. Cathy Curiale, piano.
        April 7, 1986. Austin, TX., The University of Texas at Austin. Eric Daub, piano.
  •    Three Movements Using Five Pitch Classes, (composed September, 1982, revised June, 1996) for solo Piano.  approx. 5 minutes, 3 movements.
  •    Three Little Songs: The Progression (1982) (poems by the composer) for low voice and piano. (1. Beware, Oh Playing Child; 2. Nothing and Everything; 3. Let Me Drown in Your Presence.)  approx. 5 minutes, 3 movements.
    Performances:
       fall, 1982. Pittsburgh, PA., premiered at the University of Pittsburgh.
  •    Prelude and Waltz (1981?; revised June-July, 1996) for Alto Saxophone and Piano.  approx. 8 minutes, 2 movements.
    Performances:
       April 14, 1981. (Prelude only) premiered at Marietta College, Marietta, OH., Kevin Farnsworth, Saxophone; Jody Nagel, Piano.
     
    Early works include:
     
  •    Oh Lord, You Have Searched Me And You Know Me (1982) (text: Psalm 139) for SATB choir, 2 trumpets, 2 trombones.  approx. 5 minutes, 1 movement.
    Performances:
       May 9, 1982. Marietta, OH., premiered at Marietta College, Jody Nagel, director.
  •    Seventeen Early Works and Exercises (1977-1985, revised summer, 1996) for solo piano. 1. Impressionistic Prelude: "Water Flowing in the Crystal Cavern" (January 20, 1981); 2. Octatonn (August 23, 1983); 3. Little Twelve-Tone Melody (1982-85?); 4. Twelve-Tone Waltz (early 1980's?); 5. Little Twelve-Tone Composition (1981); 6. Melody Using Only Thirds and Sixths (October 1, 1978); 7. Little Ballad (early 1980's?); 8. Dance Rondo (December 11, 1982); 9. Dance (March 28, 1977); 10. Alone (1980-82?); 11. A Carefree Quarky Day (October 30, 1981); 12. Unpredictable (June 8, 1977); 13. Song of Celebration (1977-1985?); 14. Harmonic Etude (October, 1977); 15. Theme and Variations (October, 1980); 16. Dorian Sonata (June, 1979); 17. Variations on "Father, I Adore You" (August 13, 1982).  approx 40 minutes of music.
  •    Edward, an American Folk Ballad (composed January 29, 1981, revised July, 1996) for SATB Choir.  approx. 4 minutes, 1 movement.
  •    Two Songs on Poems by Ron Johnson (rev. 1995) for medium voice and piano. 1. Love (1982) (1.5 minutes); 2. Just You and I (1980) (30 sec.)  total: 2 minutes, 2 movements.
  •    Alleluia: a praise song for Northway Christian Fellowship (1982) for vocalist(s), piano, possibly guitars, and other accompanimental "band" instruments.  approx. 3 minutes, 1 movement.
  •    Gregorian Synthesizer: Ave Maria (1982), for Electronic Tape.
    Performances:
       December 7, 1982. Pittsburgh, PA., premiered at the Frick Fine Arts Auditorium, University of Pittsburgh, PA.
  •    Shout for Joy to the Lord all the Earth ! (1981) for SATB choir.  approx. 1 minute, 1 movement.
  •    Attack of the Killer Insects (1981) for solo Piano.  approx. 4 minutes, 1 movement.
  •    Sonatina in a Classical and Romantic Style (1981) for solo piano.  approx. 8 minutes, 3 movements.
  •    Three Fugues (1980-81) (1. in C minor; 2. in D minor; 3. in G major) for piano, or organ.  approx. 6 minutes, 3 movements.
  •    For Everything There's A Season (1980) (text: Ecc.3) for SATB choir.  approx. 3 minutes, 1 movement.
  •    In a Dream (1977) for 3 Flutes and Guitar.  approx. 5 minutes, 1 movement.
    Performances:
       1978, Wexford, PA., premiered at North Allegheny High School.
  •    Impression for Flute and Piano (1977, rev. 1979)  approx. 5 minutes, 1 movement.
  •    Four Early Pieces for Piano (1976-77, revised June, 1996) (1. Fantasy, 2. Ambiance, 3. Minuet, 4. Fugatina.) for solo piano. (The "Fugatina" won 2nd place in a 1978 composition contest held by the Pittsburgh Piano Teachers Association.)  approx. 7 minutes, 4 movements.
    Performances:
       1976-78 (?) Wexford, PA., premiered by Elizabeth Wilson at North Allegheny High School.
       Spring, 1978. Pittsburgh, PA. The final movement, "Fugatina," was performed by Jody Nagel at an awards ceremony held by the Pittsburgh Piano Teachers Association.
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