Linda Dusman

for orchestra

ca. 11'15"

What Remains constitutes the second piece in a series of works embodying the concept of pis aller—“paths of last resort,” for me a fitting metaphor for our time of great immigrations, political extremes, and sudden local disruptive violence. What Remains explores specifically the human trait of obsession that often drives individuals to this final recourse, and that path’s potential for leading toward both great good and great evil.

What remains at its end? The air we breathe, the lives that air enables, our shared potential for good, and the possibility of an arrival at that end, rather than its opposite. What Remains stands as a reminder of humanity’s collective responsibility to walk a path away from obsessive violence and ugliness toward intentional peace and beauty.

A recording was made by the Hopkins Symphony Orchestra, conducted by Jed Gaylin. 

Click here to view the score and listen to the recording.

Linda Dusman 

for flute, clarinet, violin, cello, double dass, harp, percussion, and piano

ca. 11'00"

What must our Lady Liberty be thinking? Staunchly guarding the NewYork harbor, sending a beacon of light still, but now a museum, what are her sonic memories of mothers singing to comfort their children? Mother of Exiles, your huddled masses are now at our southern borders, where there is a wall instead of a beacon of hope. How do we create a more perfect union, when we are faced so dramatically with the imperfections of our past and our present? What would that union sound like?

I want to express my appreciation to the cultures that created the lullabies quoted in this work: Syria, Nigeria, and the Andes region. My hope is that our shared concerns of caring for the young might bring these disparate voices together to forge a sustainable future. Any royalties resulting from performances of this work will be donated to Unicef, the United Nations agency for children.

The performance was recorded by the Inscape Chamber Orchestra, conducted by Richard Scerbo.

Click here to view the score and listen to the recording.

Sofia Kamayianni

for youth symphony orchestra

ca. 2'50"

This piece was premiered in 2015 by the UMBC Symphony under the direction of E. Michael Richards, and the video recording is linked below.

Click here to view the score and listen to the recording.

Click here to view the performance.

Sofia Kamayianni

for double bass

ca. 3'40"

The recording is of Vangelis Zografos performing on double bass.

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Click here to listen to the recording (YouTube).

Sofia Kamayianni

for one violin, three cellos,  and two basses

In ancient times people discovered that the study of numbers and their relation between them could lead them to wisdom, to the knowledge of holy rules–the universal laws?–and to the growth of their mentality. ARITHMOSOFIA .

What are numbers for us today? An endless expression of quantity? What happened to their previous quality? It seems that we are living in a cataclysm among thousands of crazy numbers, which “allow” us to communicate. ARITHMOPLIXIA.

So, this piece had the meaning to show the huge distance between the wisdom of "number" (arithmos-sofia) in ancient times and its devolution nowadays where you use it and you hear it everywhere and all the time in a crazy, absurd way. The exaggeration of the text in the second movement shows this frenetic reality.

The piece was selected in 2004 for the annual contemporary music workshops held in the Athens Megaron concert hall and organized by the Greek Composers' Union under the direction of Theodore Antoniou. 

Click here to view the score (English).

Click here to view the score (Greek).

Sofia Kamayianni

for string orchestra and children's choir

ca. 5'30"

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Anna Rubin

for concert wind ensemble

ca. 9'28"

Chiaroscuro was commissioned by Dr. Brian Kaufman, director of the University of Maryland, Baltimore County Wind Ensemble in 2016. The term 'chiaroscuro' is a term used in painting to refer to the dramatic treatment of light and shade. I exploit the many colors of wind, brass, percussion and piano to contrast and blend with each other. The piano in particular adds a brilliant coloristic component. The piece is highly rhythmic and builds to a rollicking climax where the full power of the brass section holds sway. The surprise ending is gentle, highlighting the upper winds.

The piece is recorded on Albany Records entitled Filtering, published in 2020.

Click here to view the score and listen to the recording.

Click here to download all performance materials.

Rahilia Hasanova

for 8 cellos and 4 double basses

ca. 22'00"

This piece was also entitled "Mughfil."

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Rahilia Hasanova

for flute, oboe, clarinet in Bb, percussion, guitar, harp, piano, strings

ca. 16'20"

My composition Sema'a, for the large ensemble, is not an illustration of dancing dervishes. Sema'a is my thoughts about the mankind circling destiny, about the motivation of the nature to create, variate, and circle forms and circumstances again and again. Sema'a is my pray for humanity and my hope.

Sema'a was commissioned by the Nieuw Ensemble, the Netherlands and premiered in Amsterdam, Utrecht, and Hague in 1994. Conductor: Ed Spanjaard

Click here to view the score.

Click here to listen to the recording.

Rahilia Hasanova

for flute/piccolo, strings, and piano

ca. 15'00"

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Rahilia Hasanova

for chamber orchestra, soprano, and tenor

ca. 35'00"

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Rahilia Hasanova

for flute, oboe, clarinet in Bb, bassoon, string quartet, piano, and chorus

ca. 15'35"

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Rahilia Hasanova

for oboe, clarinet in Bb, bassoon, French horn, percussion, strings, piano, and voice

ca. 26'58"

Pirebedil is a name of a group of old ancient Azerbaijani carpets which are well known by its special authentic symbols. Each symbol represents a certain meaning that is a part of a large puzzle. Being aware about these meanings one can read the Pirebedil as a text. These amazing hand crafted carpets uncover forgotten stories and legends.

Pirebedil was commissioned and performed by New Ensemble, the Netherland in 1996.

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Click here to listen to the recording.

Rahilia Hasanova

for septet

ca. 10'45"

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Eleanor Hovda

for flute, timpani, and double bass

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Eleanor Hovda

for four flutes and four double basses

ca. 7'11" 

Boundaries is about extents and limits. The piece makes use of the differences and similarities of the instruments, including variables in dynamic and pitch ranges, timbre and articulation (bowed, plucked, blown). The energy of extremes and stretched perimeters contrasted to dense overlays, works with ideas of expanding and conracting sound-fields.

Click here to view the score.

Click here to listen to the recording by Anonymous on the Eleanor Hovda Collection CD on Spotify.

Eleanor Hovda

for flute, voice, double bass, and dancer

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Eleanor Hovda

for dancer, clarinet, double bass, percussion, and Audubon birdcall chorus

Crossings was made in 1983 for dancer Sharon Friedler and clarinetist Louis Friedler for my Perspectives VIII concert at the Walker Art Center in Minneapolis in March of that year. The piece also uses double bass, laid flat like a koto, as well as bowed metal temple bells. Audubon birdcalls are played by the dancer, the musicians, and members of the audience.

Crossings takes its structural content from three sources simultaneously: Zeno's Paradox, that says that destinations (or "center") can be approached but never reached; "alternating currents" of energy, concepts - in this case, use of alternating ideas of measuring/passing time in increments ("clock" time) with "the time it takes to do something" ("process" time); and the activity of body crossings used as a physical aid to integrating right/left side of the brain functioning.

Thus, Crossings is a way to approach a center as well as to move away from a center. Crossings explores extents and limits, boundaries. Repetition is used introspectively, to probe gently, to excavate carefully.

Click here to view the score.

 Eleanor Hovda

for flute, oboe, Bb clarinet, bassoon, viola, electric bass, percussion

Cheetah is written for Relache, and was completed on December 24, 1992. I have used the image of cheetahs for several reasons. I wanted to work with extremes of energy (from relaxed to intense-but-inward to most extroverted, flung energy). I also wanted to work with the idea of excavating sounds from the bone and sinew of acoustic instruments: the expansions of single pitches, either fingered or bowed, which can happen when extremes of breath control, additions of auxillary keys and alternative fingerings (winds) and larger spectra of bowing techniques and placements (strings) are used. Cheetahs are said to be the fastest animals on earth when they run, but their sprints are very short. The rest of the time they spend recovering from their runs or preparing for the next dash by scoping out the landscape with intense focus, from stationary positions or by prowling. I imagine an enormous amount of energy and motion in the stillness flowing from them during these periods of intense focus.

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Eleanor Hovda

for two double basses

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