Opus #	Title	Title 2	Date	Category	Instr	Length	Description	Publisher	Catalog #	Commission	Listed
LRC99	13 Ways of Looking at a Blackbird (collective composition of 12 graduate students and D. Constantinides) Poetry: “Thirteen Ways of Looking at a Blackbird” by Wallace Stevens	David Penri-Evans Kenneth Benoit John V. LoMonaco Wayne Y. Chow Aris Carastathis Mikel LeDee Mark Dugas Ted Lashley Joe Cosgrove Phil Young James Guthrie John Metcalf Dinos Constantinides	1986	Vocal	Sop Flute(2) Bsn Euph Violin Viola StrBs	00:26:00	13 Ways of Looking at a Blackbird resulted from a collaboration between the LSU School of Music and the LSU Art Department. Student composers and artists used the Wallace Stevens’ poem “13 Ways of Looking at a Blackbird” as a theme. Dinos Constantinides conceived of the basic idea for purposes of unity. The composers used the “Soggeto cavato” technique, in which musical subjects are derived by “carving out” vowels from words.	The Composer’s Library (Magni)			Listed
LRC14e	20th Century Studies for Two Violins (14 studies)		1979	Ensemble	Violin(2)	00:01:00	20th Century Studies for Two Violins is a collection of studies for two violins employing various twentieth century composition techniques. These studies, educational in purpose, illustrate contemporary techniques with which violinists may not be familiar.	The Composer’s Library (Magni)			Listed
LRC14a	20th Century Studies for Two Violins (18 studies)	I. Pandiatonic II. Modal (Dorian-Aeolian) III. Modal (Phrygian) IV. Whole Tone V. Pentatonic VI. Synthetic VII. Atonal (Non-functional Chromatic) VIII. Atonal IX. Atonal X. Remote Tonal XI. Polytonal XII. Abrupt Tonal Shifts XIII. Tertian XIV. Polychordal XV. Nontertian XVI. Twelve Tone XVII. Twelve Tone XVIII. Twelve Tone	1970	Ensemble	Violin(2)	00:01:00	20th Century Studies for Two Violins is a collection of studies for two violins employing various twentieth century composition techniques. These studies, educational in purpose, illustrate contemporary techniques with which violinists may not be familiar.	The Composer’s Library (Magni)		LSU Summer Research Grant	Listed
LRC140	A Gathering of Friends (Divertimento for String Orchestra)	I. J.S. Bach II. Purcell III. Vivaldi IV. Corelli and Handel V. Telemann	1994	Orchestral	StrOrch	00:15:30	A Gathering of Friends (1994) is derived from an earlier work for guitar and strings. This revision contains five movements presenting material from the appropriate Baroque composers in their individual sections.	Conners Publications	024		Listed
LRC123	After Victory Celebration From the Symphony of the Brave, 1920 by Manolis Kalomiris (Transcription of Kalomiris Symphony of Levendias for two pianos)		1990	Ensemble	Piano(2)	00:08:00	After Victory Celebration is the last movement of Kalomiris’ Symphony of the Brave, written in 1920. Dinos Constantinides was commissioned by the Mangos Duo Pianists to arrange this movement for two pianos.	The Composer’s Library (Magni)		Mangos Duo Piano	Listed
LRC129	Anniversary Celebration for Guitar and String Orchestra		1991	Orchestral	Gtr StrOrch	00:30:00	Anniversary Celebration for Guitar and String Orchestra (1991) was commissioned for the Tenth Anniversary season of the Louisiana Sinfonietta. It uses quotations from various Baroque composers throughout the work. There are four solo guitar interludes interposed between the orchestral movements. This piece was later reworked into three different works: Baroque Concerto for Guitar and Orchestra, Gathering of Friends for string orchestra, and Four Interludes for Solo Guitar/Violin/Viola/Cello.	The Composer’s Library (Magni)		Louisiana Sinfonietta, 10th Anniversary	Listed
LRC169	Antigone Fantasy: Hymn to the Human Spirit for orchestra		1997	Orchestral	Orch	00:12:00	Antigone Fantasy: Hymn to the Human Spirit was composed in 1997. “Ode 1” celebrates the achievements of the human race, praising man’s conquests of the entire universe through his strength and mental power. It implies admiration for Antigone, who buries her brother to satisfy divine law. This courageous act, in defiance of human law, costs Antigone her life. Thus, there is an undercurrent of sadness in this Ode, as Sophocles illustrates the evil as well as the good inherent in man.	The Composer’s Library (Magni)			Listed
LRC89	Antigone: Hymn to the Human Spirit for tenor and orchestra Text: Sophocles		1983	Orchestral	Tenor Orch	00:12:00	Antigone: Hymn to the Human Spirit was composed in 1983 and was premiered in New York at Alice Tully Hall Lincoln Center by the American Symphony Orchestra, conducted by Peter Tiboris, with tenor Giorgio Aristo of the Hannover Opera as soloist on January 7, 1984. The piece is sung in the original classical Greek. The text “Ode 1” is taken from Sophocles’ tragedy Antigone, a moving poetic meditation on the action which takes place in the first act. “Ode 1” celebrates the achievements of the human race, praising man’s conquests of the entire universe through his strength and mental power. It implies admiration for Antigone, who buries her brother to satisfy divine law. This courageous act, in defiance of human law, costs Antigone her life. Thus, there is an undercurrent of sadness in this Ode, as Sophocles illustrates the evil as well as the good inherent in man.	The Composer’s Library (Magni)		Mid-America Productions	Listed
LRC109a	Antigone - Prologue and Parodos		1988	Orchestral	Flute Ob Clar Bsn Hn Trump Trom Sop(2) Strings	00:27:00	The composer began work on his three-act opera Antigone, based on the play by Sophocles, twenty years ago and completed it in 1989. It was premiered in 1993 by the Baton Rouge Opera. The opera is performed in three acts and follows the original story closely. The first act offers background information on the fight to the death between Antigone’s two brothers over the kingship of Thebes and Antigone’s plan to bury her brother Polyneices. The burial of her brother has been forbidden by the new king, her uncle Creon. The second act focuses on Antigone’s confrontation with Creon and the conflict between Creon and his son, Haimon. The final act centers on Creon’s realization that he has wronged Antigone and the tragic consequences of his rash actions. This selection is the opening scene of the completed opera, Antigone.	The Composer’s Library (Magni)		Twice Festival - Sinewave Studio of Michigan	Listed
LRC109e	“Antigone” Selections		1994	Orchestral	Sop/Ob Strings		The composer began work on his three-act opera Antigone, based on the play by Sophocles, twenty years ago and completed it in 1989. It was premiered in 1993 by the Baton Rouge Opera. The opera is performed in three acts and follows the original story closely. The first act offers background information on the fight to the death between Antigone’s two brothers over the kingship of Thebes and Antigone’s plan to bury her brother Polyneices. The burial of her brother has been forbidden by the new king, her uncle Creon. The second act focuses on Antigone’s confrontation with Creon and the conflict between Creon and his son, Haimon. The final act centers on Creon’s realization that he has wronged Antigone and the tragic consequences of his rash actions. These selections include various instrumental arrangements derived from the opera Antigone.	The Composer’s Library (Magni)			Listed
LRC109c	Antigone: Three Act Opera Text: Sophocles		1993	Opera	Orch Soloists(9) Male Chorus(15) SATB	02:30:00	The composer began work on his three-act opera Antigone, based on the play by Sophocles, twenty years ago and completed it in 1989. It was premiered in 1993 by the Baton Rouge Opera. The opera is performed in three acts and follows the original story closely. The first act offers background information on the fight to the death between Antigone’s two brothers over the kingship of Thebes and Antigone’s plan to bury her brother Polyneices. The burial of her brother has been forbidden by the new king, her uncle Creon. The second act focuses on Antigone’s confrontation with Creon and the conflict between Creon and his son, Haimon. The final act centers on Creon’s realization that he has wronged Antigone and the tragic consequences of his rash actions. This is the complete opera of Antigone in three acts.	The Composer’s Library (Magni)			Listed
LRC35	Antitheses for Chamber Orchestra		1975 (1978)	Orchestral	Flute(2) Ob Trom(3) Perc(2) Piano ChOrch	00:11:00	As indicated by the title, Antitheses for Chamber Orchestra is based on contrasts. The most important contrasts are the juxtaposition of slow and fast sections, rhythmically free and very rhythmic sections, and finally tonal sections and atonal sections ornamented by sound effects. This piece is the same as Antithese for Speaker, Voice, and Chamber Music Ensemble without the texts. Both versions have been presented in numerous composition conferences.	Seesaw Music Corporation			Listed
LRC38	Antitheses for Speaker, Voice and Chamber Music Ensemble Poetry: W.B. Yeats and David Madden		1975 (1984)	Orchestral	Spkr Voice Trom(3) Perc Hrp Violin(2) Viola Cello StrBs	00:11:00	As indicated by the title, Antitheses for Speaker, Voice, and Chamber Music Ensemble is based on contrasts. The most important contrasts are the juxtaposition of slow and fast sections, rhythmically free and very rhythmic sections, and finally tonal sections and atonal sections ornamented by sound effects.	Seesaw Music Corporation			Listed
LRC76b	Aria of Celeste for voice and chamber orchestra (solo voice, timpani [optional], strings)		1981	Orchestral	Voice Timp[opt] StrOrch	00:02:00	The Aria of Celeste is from the chamber orchestra version of the one-act opera Intimations (1981). Intimations was the winner of the 1981 Brooklyn College International Chamber Opera Composition Contest, and the 1985 Outstanding Achievement Award in the First Midwest Chamber Opera Festival at Ohio State University.	Conners Publications	196		Listed
LRC76a	Aria of Celeste for voice and piano		1981	Vocal	Voice Piano	00:02:00	The Aria of Celeste is from the chamber orchestra version of the one-act opera Intimations (1981). Intimations was the winner of the 1981 Brooklyn College International Chamber Opera Composition Contest, and the 1985 Outstanding Achievement Award in the First Midwest Chamber Opera Festival at Ohio State University.	Conners Publications	197		Listed
LRC69	At the Village for oboe and piano (or clarinet or viola)		1980	Solo	Ob/Clar/Viola Piano	00:04:00	At the Village is the first movement of the composer’s Mountains of Epirus, transcribed for the above instruments. This is the same work as Dedications for Strings.	The Composer’s Library (Magni)			Listed
LRC148a	Ballade for John and Samantha for flute or oboe and autoharp		1995	Ensemble	Flute/Ob AHarp	00:03:15	Ballade for John and Samantha (1995) was written for the wedding festivity of the composer’s son and his bride.	Conners Publications	183		Listed
LRC148c	Ballade for John and Samantha for flute or oboe and strings		1995 (1998)	Ensemble	Flute/Ob Strings	00:03:15	Ballade for John and Samantha (1995) was written for the wedding festivity of the composer’s son and his bride.	Conners Publications	185		Listed
LRC148b	Ballade for John and Samantha for violin and autoharp		1995	Ensemble	Violin AHarp	00:03:15	Ballade for John and Samantha (1995) was written for the wedding festivity of the composer’s son and his bride.	Conners Publications	047		Listed
LRC148d	Ballade for John and Samantha for violin and strings		1995 (1998)	Ensemble	Violin Strings	00:03:15	Ballade for John and Samantha (1995) was written for the wedding festivity of the composer’s son and his bride.	Conners Publications	184		Listed
LRC159	Ballade for the Hellenic Land for solo cello		1996 (1997)	Solo	Cello	00:06:00	Ballade for the Hellenic Land (1996) includes two contrasting sections. The first one reflects the style of an Athenian serenade (kandatha) which was characterized by lyrical song-like tunes sung by voice and accompanied by guitar or mandolin employing fast repeated notes (tremolo). The second one is a dance-like section that is rhythmic and fast.	Conners Publications	186		Listed
LRC153	Ballade for the Hellenic Land for solo mandolin		1996	Solo	Mndln	00:06:00	Ballade for the Hellenic Land (1996) includes two contrasting sections. The first one reflects the style of an Athenian serenade (kandatha) which was characterized by lyrical song-like tunes sung by voice and accompanied by guitar or mandolin employing fast repeated notes (tremolo). The second one is a dance-like section that is rhythmic and fast.	The Composer’s Library (Magni)		Dem. Marinos	Listed
LRC149	Baroque Concerto for guitar and chamber orchestra	I. J.S. Bach II. Telemann III. Handel and Corelli IV. G.B. Sammartini	1995	Concerto	Gtr Flute Ob BbClar Bsn FHn CTrump Trom ChOrch	00:15:00	The Baroque Concerto (1995) for guitar and chamber orchestra is derived from an earlier work by Constantinides for guitar and strings. The revision contains four movements; each dedicated to a Baroque composer. The first movement is dedicated to the greatest Baroque composer, J. S. Bach, and presents material from his Violin Concerto in E Major. The second movement celebrates the music of Georg Philipp Telemann, whose Concerto for Four Violins is echoed in part. Next, Arcangelo Corelli and Georg Frederick Handel are honored with excerpts from Corelli’s Christmas Concerto and Handel’s Largo from Xerxes. The final movement pays homage to Giovanni B. Sammartini.	Conners Publications	076		Listed
LRC55	Brass Quintet	Allegro Andante Allegro	1978 (1993)	Ensemble	Brass(5)	00:11:00	Brass Quintet (1978) is characterized by its modal harmonic language and its great use of imitation. The first and third movements are extremely energetic while the second movement is more lyrical.	Tap Music Sales	BR-BR06/S		Listed
LRC92	Byron’s Greece for Baritone Voice, Children’s Chorus, Chorus (SATB), and Wind and Percussion Orchestra Text: G. G. Byron’s “Childe Harold,” canto II		1984	Orchestral	Bar Children’s Chorus SATB Hn(4) Trump(3) Trom(3) Tuba Perc(2) Hrp Piano	00:25:00	Byron’s Greece takes its inspiration from sections of Byron’s Childe Harold, in which the Philhellene poet celebrates the glories of ancient Greece amid the unhappy conditions of its subjection to the Turks in his own day. The composer employs contrasting musical groupings--solo versus ensemble and adult chorus versus children’s chorus--inspired by the contrasting images of Byron’s poetry. Techniques of contemporary composition (clusters, microtones, choral speech) are mingled with modal lyricism representative of Greek folk music. The work is an uninterrupted sequence of sections: an instrumental introduction, textless vocal sections, declamation by the solo baritone voice, solo clarinet and children’s voices, and a spoken fugue.	The Composer’s Library (Magni)		Mid-America Productions	Listed
LRC130a	China I - Shanghai, Songs of Departure for soprano, bassoon and string orchestra Poetry: Li Po	1. Prelude and Separation on the River Kiang 2. Taking Leave of a Friend 3. Leave-taking near Shoku 4. The City of Choan	1991	Orchestral	Sop Bsn StrOrch	00:15:05	China I - Shanghai (1991) is the first work of a cycle called the China Quartet. Written for soprano, bassoon, and string orchestra, the work is a setting of four poems by the great Chinese poet Li Po. It suggests the various human emotions involved when departures take place under several different circumstances. The composer’s endeavor was to highlight these emotions by the use of leit motifs, word painting, contrasting thematic material, and sudden harmonic changes.	The Composer’s Library (Magni)			Listed
LRC130b	China I - Shanghai, Songs of Departure for voice and piano Poetry: Li Po	1. Prelude and Separation on the River Kiang 2. Taking Leave of a Friend 3. Leave-taking near Shoku 4. The City of Choan	1991	Vocal	Voice Piano	00:15:05	China I - Shanghai is the first work of a cycle called the China Quartet. The work is a setting of four poems by the great Chinese poet Li Po. It suggests the various human emotions involved when departures take place under several different circumstances. The composer’s endeavor was to highlight these emotions by the use of leit motifs, word painting, contrasting thematic material, and sudden harmonic changes.	The Composer’s Library (Magni)			Listed
LRC127	China II - Beijing for string orchestra		1990 (1991)	Orchestral	StrOrch	00:08:00	China II - Beijing (1990), written for string orchestra, is the second work of a cycle called the China Quartet. In this work, the composer tries to portray an overview of the long and impressive history of China in the manner of a legend. The work opens with quiet entries over a pedal tone on “A”. A set of harmonics brings memories of past stories. High dynamic levels and quick tempos illustrate the struggles of the people over the centuries. Various images appear in successive climaxes leading to a free section which is the apotheosis of string sound. A return to the opening pedal tone “A” brings the piece to a close.	The Composer’s Library (Magni)			Listed
LRC138a	China III - Guangzhou for solo percussion and string orchestra	1. In the formative years 2. From the sky 3. Serenity 4. In the years to come	1992	Orchestral	Perc StrOrch	00:17:00	China III - Guangzhou (1992) is the third work of a cycle called the China Quartet. Like China II this work portrays a story, highlighted by the colors of several percussion instruments. A legend regarding the City of Guangzhou is the source of inspiration for this composition. In the legend, five celestial beings riding celestial rams landed in Nanjiao (the ancient name of Guangzhou). These beings gave golden ears of corn to the people, praying that the famine would vanish forever. Thus, Guangzhou is also called “City of Five Rams” or “City of Grain Ears.” This piece is dedicated to percussionist John Raush.	The Composer’s Library (Magni)			Listed
LRC138b	China III - Guangzhou for solo percussion, viola, cello and piano	1. In the formative years 2. From the sky 3. Serenity 4. In the years to come	1992 (1994)	Ensemble	Perc Viola Cello Piano	00:17:00	China III - Guangzhou (1992) is the third work of a cycle called the China Quartet. Like China II this work portrays a story, highlighted by the colors of several percussion instruments. A legend regarding the City of Guangzhou is the source of inspiration for this composition. In the legend, five celestial beings riding celestial rams landed in Nanjiao (the ancient name of Guangzhou). These beings gave golden ears of corn to the people, praying that the famine would vanish forever. Thus, Guangzhou is also called “City of Five Rams” or “City of Grain Ears.” This piece is dedicated to percussionist John Raush.	The Composer’s Library (Magni)			Listed
LRC139b	China IV - Shenzhen, Concerto for Cello and Orchestra	1. With Expression 2. With Serenity 3. Playful and Mischievous	1992	Concerto	Cello Orch	00:21:45	China IV - Shenzhen (1992) is the fourth work of a cycle called the China Quartet. Like the three previous works, China IV does not use Chinese scales or motives, but rather projects the composer’s perception of the city and people. Unlike the other three cities-Shanghai, Beijing, and Guangzhou-Shenzhen is a new westernized city next to Hong Kong. Not only the city itself, but the behavior of the people, reminded the composer of westerners. The concerto was composed with the western flavor of Shenzhen in mind. It uses elements of western roots in the music, like Shenzhen uses western roots in its way of life. In addition, the composer wanted to employ ideas basic to the literature of solo cello, including those derived from the unaccompanied sonatas for solo cello by Bach and the long phrases abundant in cello concertos by Schumann, Dvorak, and Saint-Saens. This concerto is dedicated to Ning Tien.	The Composer’s Library (Magni)			Listed
LRC139c	China IV - Shenzhen, Concerto for Cello and Piano	1. With Expression 2. With Serenity 3. Playful and Mischievous	1992	Concerto	Cello Piano	00:21:45	China IV - Shenzhen (1992) is the fourth work of a cycle called the China Quartet. Like the three previous works, China IV does not use Chinese scales or motives, but rather projects the composer’s perception of the city and people. Unlike the other three cities-Shanghai, Beijing, and Guangzhou-Shenzhen is a new westernized city next to Hong Kong. Not only the city itself, but the behavior of the people, reminded the composer of westerners. The concerto was composed with the western flavor of Shenzhen in mind. It uses elements of western roots in the music, like Shenzhen uses western roots in its way of life. In addition, the composer wanted to employ ideas basic to the literature of solo cello, including those derived from the unaccompanied sonatas for solo cello by Bach and the long phrases abundant in cello concertos by Schumann, Dvorak, and Saint-Saens. This concerto is dedicated to Ning Tien.	The Composer’s Library (Magni)			Listed
LRC139a	China IV - Shenzhen, Concerto for Cello and Strings	1. With Expression 2. With Serenity 3. Playful and Mischievous	1992	Concerto	Cello Strings	00:21:45	China IV - Shenzhen (1992) is the fourth work of a cycle called the China Quartet. Like the three previous works, China IV does not use Chinese scales or motives, but rather projects the composer’s perception of the city and people. Unlike the other three cities-Shanghai, Beijing, and Guangzhou-Shenzhen is a new westernized city next to Hong Kong. Not only the city itself, but the behavior of the people, reminded the composer of westerners. The concerto was composed with the western flavor of Shenzhen in mind. It uses elements of western roots in the music, like Shenzhen uses western roots in its way of life. In addition, the composer wanted to employ ideas basic to the literature of solo cello, including those derived from the unaccompanied sonatas for solo cello by Bach and the long phrases abundant in cello concertos by Schumann, Dvorak, and Saint-Saens. This concerto is dedicated to Ning Tien.	The Composer’s Library (Magni)			Listed
LRC141	Clarinet Quartet for 3 clarinets and bass clarinet		1994	Ensemble	Clar(3) BClar	00:05:00	Clarinet Quartet is an extended version of the composer’s To the Three Graces for three clarinets.	The Composer’s Library (Magni)			Listed
LRC27	Composition for Flute, Harp and Percussion		1973 (1978)	Ensemble	Flute Hrp Perc	00:04:00	Composition for Flute, Harp and Percussion is a highly lyrical work with many changes of mood and coloristic effects. The harmonies draw from the quartal system and the instrumental lines are closely woven into a single texture.	Seesaw Music Corporation			Listed
LRC13	Composition for String Orchestra		1968, rev. 1989	Orchestral	StrOrch	00:09:00	Composition for String Orchestra (1968) is a serial work like most of the composer’s compositions from this period. A figure of three notes pervades the piece. First appearing in the lyrical, slow introduction, it generally outlines the intervals of major third and seventh. A very vivid and rhythmic fast section follows, in which the serial elements recede, yielding to the characteristic sound effects and figurations of string writing. The opening slow section reappears briefly and is followed by a vivacious fast section embellished by figurations that feature string crossings. The piece ends on a rousing crescendo with superimposed ostinato patterns.	Seesaw Music Corporation			Listed
LRC10	Composition for Violin and Piano	Adagio Allegro	1968	Solo	Violin Piano	00:07:00	This work is a recomposition and expansion of the Sonata for Solo Violin No. 1.	Seesaw Music Corporation			Listed
LRC70c	Concertino for Euphonium or Tuba and Orchestra (Mountains of Epirus)		1981 (1995)	Concerto	Euph/Tuba Orch	00:07:00	Concertino for Euphonium or Tuba and Orchestra is modal and employs characteristics of Greek rhythm, syncopated figurations and polychordal sonorities.	Cimarron Music and Reproductions (Whaling Music Publishers)			Listed
LRC70a	Concertino for Euphonium or Tuba and Piano (Mountains of Epirus)		1980	Concerto	Euph/Tuba Piano	00:07:00	Concertino for Euphonium or Tuba and Piano is modal and employs characteristics of Greek rhythm, syncopated figurations and polychordal sonorities.	The Composer’s Library (Magni)			Listed
LRC70b	Concertino for Euphonium or Tuba and Wind Orchestra (Mountains of Epirus)		1980	Concerto	Euph/Tuba WOrch	00:07:00	Concertino for Euphonium or Tuba and Wind Orchestra is modal and employs characteristics of Greek rhythm, syncopated figurations and polychordal sonorities.	The Composer’s Library (Magni)			Listed
LRC154a	Concerto for Bassoon and Orchestra (2 oboes, 2 F horns, solo bassoon, strings)	I. Spirals II. Planes (Song) III. Pendulums	1996	Concerto	Ob(2) FHn(2) Bsn Strings	00:16:00	The Concerto for Bassoon (1996) was written in two versions--piano and orchestra. The movements, played uninterrupted, are based on specific designs. “Spirals” uses continuous ostinato patterns that spiral, built upon thirds, with frequent abrupt changes in tonal centers. “Planes (Song)” is based on various layers of sound supporting a Greek folk-like tune (song) by the bassoon. “Pendulums” recalls the beginning when the spiral motion returns in the opposite direction--thus imitating the action of a pendulum.	Conners Publications	095		Listed
LRC154b	Concerto for Bassoon and Piano	I. Spirals II. Planes (Song) III. Pendulums	1996	Concerto	Bsn Piano	00:16:00	The Concerto for Bassoon (1996) was written in two versions--piano and orchestra. The movements, played uninterrupted, are based on specific designs. “Spirals” uses continuous ostinato patterns that spiral, built upon thirds, with frequent abrupt changes in tonal centers. “Planes (Song)” is based on various layers of sound supporting a Greek folk-like tune (song) by the bassoon. “Pendulums” recalls the beginning when the spiral motion returns in the opposite direction--thus imitating the action of a pendulum.	Conners Publications	087		Listed
LRC118	Concerto for Orchestra	Allegro moderato Largo Allegro vivo	1988, rev. 1997	Concerto	Orch	00:18:00	Concerto for Orchestra (1997) is a revised version of the composer’s doctoral dissertation Concerto for Violin, Violoncello, Piano, and Orchestra. It was originally projected as a unified work with no pauses between movements; but tradition, along with greater ease of comprehension, seemed to indicate the advantage of separating the movements. Serial techniques are used, with two rows used throughout. The rows have a definite relationship, although the second row is of subordinate importance. The formal structures used are rather traditional. The first movement, Allegro moderato, has a modified sonata-allegro form with double exposition. Ostinato and rhythmic figures lead to the climax of this movement. The second movement, Largo, has a very transparent texture, and an ABA formal design. The closing Allegro vivo employs very vivid, rhythmic, virtuoso passages.	The Composer’s Library (Magni)			Listed
LRC175	Concerto for Two Cellos and Orchestra	1. Prologue 2. Dialogue 3. Monologue I and II 4. Epilogue	1999	Concerto	Cello(2) Ob(2) Hn(2) Orch	00:13:00	Concerto for Two Cellos and Orchestra is a fun piece. It denotes the thoughts of two individuals expressed in many ways in a conversational format. As the titles of the four movements of the work indicate, the conversation appears sometimes as a monologue, a dialogue, a beginning or an ending. Throughout the piece intervalic relationships control the various happening. Sonorities based on seconds and thirds highlight the harmonic progressions which influence the direction of the music. Stylistic quotations ornamented by sound effects are also important. The Concerto for Two Cellos and Orchestra is written and dedicated to Mariana Oteleanu-Amarinei and Constantin Vestemeanu of the Rossini Cello Duo, a resident chamber group in Bucharest, Romania.	The Composer’s Library (Magni)		Rossini Cello Duo, Mariana Oteleanu-Amarinei and Constantin Vestemeanu	Listed
LRC142b	Concerto for Violin and Orchestra	I. Patterns I II. Idyll III. Patterns II	1994 (1995)	Concerto	Perc Violin Orch	00:21:00	The Concerto for Violin was written in two versions--piano and orchestra--and completed in 1994. “Patterns I” and “Patterns II” are counterparts of each other and are based upon contrasting musical ideas organized within a tight framework. Free slow sections alternate with fast rhythmic ones leading to frenzied endings. “Idyll” is based on a three note figure which first appears at the beginning of the solo violin. This figure is transformed throughout the composition into several rhythmic and melodic ideas and in various tonal centers.	The Composer’s Library (Magni)			Listed
LRC142a	Concerto for Violin and Piano	I. Patterns I II. Idyll III. Patterns II	1994	Concerto	Violin Piano	00:21:00	The Concerto for Violin was written in two versions--piano and orchestra--and completed in 1994. “Patterns I” and “Patterns II” are counterparts of each other and are based upon contrasting musical ideas organized within a tight framework. Free slow sections alternate with fast rhythmic ones leading to frenzied endings. “Idyll” is based on a three note figure which first appears at the beginning of the solo violin. This figure is transformed throughout the composition into several rhythmic and melodic ideas and in various tonal centers.	The Composer’s Library (Magni)			Listed
LRC7	Concerto for Violin, Cello, Piano and Orchestra (also called Triple Concerto)		1967 (1978)	Concerto	Violin Cello Piano Orch	00:18:00	Concerto for Violin, Violoncello, Piano, and Orchestra is the composer’s doctoral dissertation. This composition was originally projected as a unified work with no pauses between movements; but tradition, along with greater ease of comprehension, seemed to indicate the advantage of separating the movements. Serial techniques are used, with two rows used throughout. The rows have a definite relationship, although the second row is of subordinate importance. The formal structures used are rather traditional. The first movement, Allegro moderato, has a modified sonata-allegro form with double exposition. Ostinato and rhythmic figures lead to the climax of this movement. The second movement, Largo, has a very transparent texture, and an ABA formal design. The closing Allegro vivo employs very vivid, rhythmic, virtuoso passages. Thematic material recalled from the first movement contributes to the felling of the work as a whole as cyclic.	Seesaw Music Corporation			Listed
LRC185	Concerto of Psalms for Violin, Clarinet in Bb and Orchestra	I. From the Heart: Out of the depths... II. Eternal Song: The Heavens declare... III. Paean: Praise ye...	1999	Concerto	Violin BbClar Orch	00:16:00	The Concerto of Psalms was commissioned by Elsa and Walter Verdehr, professors at Michigan State University and members of the famed Verdehr Trio. The work has been inspired by three Psalms: Nos. 19, 130, and 150 respectively. The entire composition is controlled by a series of vertical sonorities which appear in various transpositions and instrumental combinations throughout the work. The first movement is rhapsodic in character and utilizes a great deal of instrumental colors. A haunting opening leads to a quasi-religious modal chant in the solo clarinet. It is followed by a restless middle section and it returns to its initial meditative mood. The second movement begins with quotations of Mozart works, leading to a very lyrical celestial tune sung by both solo instruments. The Finale is an exuberant, happy work, full of rhythms and intricate solo passages for the soloists. In the middle of the piece a returning quasi-passacaglia section contrasts with the dance-like opening and leads to the modal chant of the first movement along with an eastern-like tune, ending in a frenzied conclusion.	The Composer’s Library (Magni)		Elsa and Walter Verdehr	Listed
LRC82	Conversation for Five (Genesis)		1982	Vocal	Voice BbClar CTrump Trom Piano	Variable	Conversation for Five (1982) was written for the LSU New Music Ensemble. The suggested instruments may be replaced by any instruments that match the range, transposition, and clef requirements. Other religious texts in any language may also be used at the discretion of the performers.	The Composer’s Library (Magni)			Listed
LRC95	Dance for Four Harps		1985	Ensemble	Hrp(4)	00:04:00	Dance for Four Harps is a setting of traditional Greek dances and shares their modal quality and lively, mixed meter rhythms. It was written for and premiered by the New York Harp Ensemble. This piece is one of the movements of the Suite for Two Pianos (Diakos Suite).	The Composer’s Library (Magni)			Listed
LRC29	Dedications for Band		1974	Orchestral	WOrch	00:04:00	Dedications for Band (1974) is adapted for band from the composer’s earlier work, 20th Century Studies for Two Violins. Several of the studies have also been rewritten by the composer for various other ensembles including brass ensemble, string trio, percussion quartet and flute, piano and guitar trio. This piece is derived from the twelfth study, which deals with polychords, abrupt shifts of tonal centers, and modal and synthetic scales.	The Composer’s Library (Magni)			Listed
LRC50	Dedications for Baritone and Tuba	I. Pandiatonic II. Polytonal III. Quartal	1977 (1989)	Ensemble	Bar Tuba	00:08:00	Dedications for Baritone and Tuba is drawn from the second and twelfth of the composer’s 20th Century Studies for Two Violins. Its harmonic language is pandiatonic.	Tap Music Sales			Listed
LRC31	Dedications for Orchestra (also called Dedications No. 2 and 12 for Orchestra)	Andante Allegro	1974 (1977)	Orchestral	Orch	00:08:30	Dedications for Orchestra (1974) is derived from the second and twelfth studies of the composer’s 20th Century Studies for Two Violins. Several of the studies have also been rewritten by the composer for various other ensembles including brass ensemble, string trio, percussion quartet and flute, piano and guitar trio. The work employs polychords, abrupt shifts of tonal centers, and modal and synthetic scales.	Seesaw Music Corporation		Thaddeus Brys and the LSU Symphony	Listed
LRC51	Dedications for Quartet of Saxophones		1978	Ensemble	ASax(2) TSax BSax	00:04:00	Dedications for Quartet of Saxophones is drawn from the second and twelfth of the composer’s 20th Century Studies for Two Violins, expanded and recomposed for saxophone quartet. Its harmonic language is pandiatonic.	Dorn Publications			Listed
LRC18	Dedications for String Quartet		1970-77 (1981)	Ensemble	Violin(2) Viola Cello	00:06:45	Dedications for String Quartet is drawn from the second and twelfth of the composer’s 20th Century Studies for Two Violins, expanded and recomposed for string quartet. Its harmonic language is pandiatonic.	Seesaw Music Corporation			Listed
LRC30	Dedications for Strings		1974	Orchestral	Strings	00:04:20	Dedications for Stirngs (1974) is the first movement of Dedications for Orchestra. Derived from the second study of the composer’s earlier work, 20th Century Studies for Two Violins, it employs polychords and modal and synthetic scales. Several of the studies have been rewritten by the composer for other ensembles, including brass ensemble, string trio, percussion quartet and flute, piano and guitar trio.	Seesaw Music Corporation			Listed
LRC45a	Dedications for Two Low Instruments (two trombones or euphoniums)	I. Pandiatonic II. Polytonal III. Quartal	1977	Ensemble	Trom(2)/Euph(2)	00:08:00	This work is drawn from the second and twelfth of the composer’s 20th Century Studies for Two Violins. Its harmonic language is pandiatonic.	The Composer’s Library (Magni)			Listed
LRC45b	Dedications for Two Trombones	1. Pandiatonic 2. Polytonal 3. Quartal	1989	Ensemble	Trom(2)	00:08:00	This work is drawn from the second and twelfth of the composer’s 20th Century Studies for Two Violins. Its harmonic language is pandiatonic.	Tap Music Sales	TB-DE01		Listed
LRC17	Dedications for Woodwind Quintet		1970-77 (1979)	Ensemble	Flute Ob Clar Hn Bsn	00:06:30	Dedications for Woodwind Quintet is drawn from the atonal and twelve-tone studies for two violins in the composer’s 20th Century Studies for Two Violins. It is constructed in five short movements or “studies.”	Seesaw Music Corporation			Listed
LRC33	Dedications No. 11 and 3 for 2 Flutes, Bassoon and Percussion		1974 (1978)	Ensemble	Flute(2) Bsn Perc	00:04:00	Dedications No. 11 and 3 is drawn from the eleventh and third studies of the composer’s 20th Century Studies for Two Violins. The piece is characterized by the use of polytonality.	Seesaw Music Corporation			Listed
LRC20	Designs for Strings		1971 (1977)	Orchestral	Strings	00:04:00	Designs for Strings was commissioned by the Louisiana Governor’s Honors Orchestra for the LSU Governor’s Ball in 1971. The piece was written for pre-college students and uses only the first position of the string instruments and vocal materials sung by the players themselves.	Seesaw Music Corporation		Louisiana Governor’s Honors Orchestra, Baton Rouge	Listed
LRC34	Designs for Women’s Voices Poem: “The Lamb” by William Blake		1975	Vocal	SSAA	00:04:00	Designs for Women’s Voices is derived from the piece Designs for Strings. This piece is the second movement of the work Two Songs for Christmas.	The Composer’s Library (Magni)			Listed
LRC71	Diakos Suite for Orchestra		1980	Orchestral	Orch	00:15:00	The “Diakos Suite for Orchestra” is extracted from the incidental music written for the Greek play “Diakos” in 1961. This play deals with the life of the Greek hero Athanassios Diakos whose courageous actions inspired his compatriots in the early stages of the Greek revolution for freedom against Turkey in 1921. The music, which employs Greek rhythms and modal tunes, was meant to portray the character of rural Greece. The play “Diakos” was performed in New York City by the “Lemos Theater” in 1961. There is a version of the work called “Suite for Two Pianos: Diakos Suite.” Also, the composer has written another setting called “Four Greek Songs” for soprano and piano employing the same musical ideas set to poetry by four different Greek poets. The latter composition is recorded on a compact disc by Vestige Records entitled “Dinos Constantinides - Antigone and Other Vocal Works.”	The Composer’s Library (Magni)			Listed
LRC90	Dream for oboe, bassoon or cello, and piano		1983	Ensemble	Ob Bsn/Cello Piano	00:02:15	Dream (1983) depicts the story of a young artist and his efforts to acquire a place in the pantheon of the arts. As the title indicates, the artist is seeing in his unconsciousness images and colors of no definite shape.	Conners Publications	078		Listed
LRC161	Dreams, Earth, and Heavens for organ	I. Prelude (Dreams) II. Interlude (Earth) III. Postlude (Heavens)	1997	Solo	Organ	00:08:00	This composition, written for organ in 1997, is part of a stage work entitled Dreams, Earth, and Heavens. All three preludes are based on a single musical idea that has been important in the composer’s life. In the first prelude, melodic lines from the First Delphic Hymn (c. 138 B.C.) are used. The second prelude is based on palindromic phrases. The final prelude is modal in nature and is derived from the composer’s opera, Antigone.	Conners Publications	157	American Guild of Organists Dr. Richard Webb, Dean of the College of Arts & Humanities at Southern University	Listed
LRC189	Dreams, Earth, and Heavens for reader, soprano, autoharp and organ		1997	Vocal	Spkr Sop AHarp Organ	00:50:00	Dreams, Earth, and Heavens is a stage work composed of four separate pieces: Dreams, Earth, and Heavens for organ, The Heavens are Telling for organ, Listenings and Silences for solo soprano, and Two Songs for voice and reader (autoharp). Performance instructions for this stage work, all four works, and poetry, can be obtained from the composer. This stage work was commissioned by Richard Webb, Dean of the College of Arts & Humanities at Southern University, and funded by a Baton Rouge Arts Council grant.	Conners Publications	DCC5	Richard Webb, Dean of the College of Arts & Humanities at Southern University Baton Rouge Arts Council grant	Listed
LRC53	Eight Miniatures for Four Tubas		1978 (1989)	Ensemble	Tuba(4)	00:11:00	Like many other of the composer’s works, Eight Miniatures is derived from materials based on a 1970 work, 20th Century Studies for Two Violins. This piece is atonal in nature.	Tap Music Sales	TU-EI01		Listed
LRC48a	Evangeline for Soprano and String Quartet Poetry: “Evangeline” by H. W. Longfellow		1977 (1980)	Vocal	Sop Violin(2) Viola Cello	00:14:00	Evangeline uses excerpts from Longfellow’s poem “Evangeline.” The excerpts recount Evangeline’s immigration from Acadia, Nova Scotia, to the Cajun part of Louisiana, where she and her lover find refuge and later die.	Seesaw Music Corporation			Listed
LRC48b	Evangeline for Soprano and Woodwind Quintet Poetry: “Evangeline” by H. W. Longfellow		1979	Vocal	Sop Flute Ob Clar Hn Bsn	00:14:00	Evangeline uses excerpts from Longfellow’s poem “Evangeline.” The excerpts recount Evangeline’s immigration from Acadia, Nova Scotia, to the Cajun part of Louisiana, where she and her lover find refuge and later die.	The Composer’s Library (Magni)			Listed
LRC37	Evangeline for Soprano, Baritone and Piano Poetry: “Evangeline” by H. W. Longfellow		1975 (1981)	Vocal	Sop Bar Piano	00:14:00	Evangeline uses excerpts from Longfellow’s poem “Evangeline.” The excerpts recount Evangeline’s immigration from Acadia, Nova Scotia, to the Cajun part of Louisiana, where she and her lover find refuge and later die.	Seesaw Music Corporation		Lafourche Heritage ‘76	Listed
LRC25	Exploding Parallels for Speaker and Six to Ten Instruments Poetry: David Madden		1972 (1978)	Vocal	Spkr	Variable	Exploding Parallels (1972) was written in collaboration with LSU writer-in-residence David Madden and premiered on LSU’s “New Times” series. Also published as Exploding Parallels for Reader, Instrumental Ensemble and Audience with Composers Autograph Publications.	Seesaw Music Corporation			Listed
LRC104	Fairytale for Solo Tenor Trombone and Trombone Ensemble		1986 (1989)	Ensemble	TTrom Trom(6)	00:07:00	Fairytale has an ABA form in which the A sections are unmetered and aleatoric and the B section is metered.	Tap Music Sales	TB-FA01		Listed
LRC182b	Family Triptych for flute or oboe and autoharp	I. Ballade for John and Samantha II. Lenna in Minneapolis III. Judy Mostly at Home	1999	Ensemble	Flute/Ob AHarp	00:09:00	Family Triptych (1999) portrays the individual members of the composer’s family on specific occasions. The first, Ballade for John and Samantha, was written for the wedding celebration of the composer’s son and his bride in 1995. The second, Lenna in Minneapolis, represents the activities of the composer’s daughter as she pursues her doctorate at the University of Minnesota. The final, Judy Mostly at Home, was written for the composer’s wife on the occasion of her retirement after many years of service as a children’s librarian in the East Baton Rouge Parish Library System. All the movements are modal in character with a great deal of tonal presence. They are simple and unpretentious in order to portray relationships within a familty.	The Composer’s Library (Magni)			Listed
LRC182d	Family Triptych for flute or oboe and strings	I. Ballade for John and Samantha II. Lenna in Minneapolis III. Judy Mostly at Home	1999	Ensemble	Flute/Ob Strings	00:09:00	Family Triptych (1999) portrays the individual members of the composer’s family on specific occasions. The first, Ballade for John and Samantha, was written for the wedding celebration of the composer’s son and his bride in 1995. The second, Lenna in Minneapolis, represents the activities of the composer’s daughter as she pursues her doctorate at the University of Minnesota. The final, Judy Mostly at Home, was written for the composer’s wife on the occasion of her retirement after many years of service as a children’s librarian in the East Baton Rouge Parish Library System. All the movements are modal in character with a great deal of tonal presence. They are simple and unpretentious in order to portray relationships within a familty.	The Composer’s Library (Magni)			Listed
LRC182a	Family Triptych for violin and autoharp	I. Ballade for John and Samantha II. Lenna in Minneapolis III. Judy Mostly at Home	1999	Ensemble	Violin AHarp	00:09:00	Family Triptych (1999) portrays the individual members of the composer’s family on specific occasions. The first, Ballade for John and Samantha, was written for the wedding celebration of the composer’s son and his bride in 1995. The second, Lenna in Minneapolis, represents the activities of the composer’s daughter as she pursues her doctorate at the University of Minnesota. The final, Judy Mostly at Home, was written for the composer’s wife on the occasion of her retirement after many years of service as a children’s librarian in the East Baton Rouge Parish Library System. All the movements are modal in character with a great deal of tonal presence. They are simple and unpretentious in order to portray relationships within a familty.	The Composer’s Library (Magni)			Listed
LRC182c	Family Triptych for violin and strings	I. Ballade for John and Samantha II. Lenna in Minneapolis III. Judy Mostly at Home	1999	Ensemble	Violin Strings	00:09:00	Family Triptych (1999) portrays the individual members of the composer’s family on specific occasions. The first, Ballade for John and Samantha, was written for the wedding celebration of the composer’s son and his bride in 1995. The second, Lenna in Minneapolis, represents the activities of the composer’s daughter as she pursues her doctorate at the University of Minnesota. The final, Judy Mostly at Home, was written for the composer’s wife on the occasion of her retirement after many years of service as a children’s librarian in the East Baton Rouge Parish Library System. All the movements are modal in character with a great deal of tonal presence. They are simple and unpretentious in order to portray relationships within a familty.	The Composer’s Library (Magni)			Listed
LRC79	Fantasia for Solo Clarinet		1981 (1995)	Solo	Clar	00:04:05	The Fantasias (1979, flute; 1981, sax, clarinet; 1982, viola) represent a series of solo works with the same title. These solo works are written in ABA form. The outer sections, A, are quasi-free sections and the inner section B is rhythmic and dance-like. The entire piece depicts a conversation between two instruments by using different registers of the solo instrument.	Conners Publications	039	Jack Kreiselman, clarinetist	Listed
LRC64	Fantasia for Solo Flute		1979 (1994)	Solo	Flute	00:04:05	The Fantasias (1979, flute; 1981, sax, clarinet; 1982, viola) represent a series of solo works with the same title. These solo works are written in ABA form. The outer sections, A, are quasi-free sections and the inner section B is rhythmic and dance-like. The entire piece depicts a conversation between two instruments by using different registers of the solo instrument.	Conners Publications	032		Listed
LRC80	Fantasia for Solo Saxophone		1981 (1995)	Solo	Sax	00:04:05	The Fantasias (1979, flute; 1981, sax, clarinet; 1982, viola) represent a series of solo works with the same title. These solo works are written in ABA form. The outer sections, A, are quasi-free sections and the inner section B is rhythmic and dance-like. The entire piece depicts a conversation between two instruments by using different registers of the solo instrument.	Conners Publications	034		Listed
LRC56	Fantasia for Solo Tuba		1979	Solo	Tuba	00:04:05	The Fantasias (1979, flute; 1981, sax, clarinet; 1982, viola) represent a series of solo works with the same title. These solo works are written in ABA form. The outer sections, A, are quasi-free sections and the inner section B is rhythmic and dance-like. The entire piece depicts a conversation between two instruments by using different registers of the solo instrument.	The Composer’s Library (Magni)			Listed
LRC88	Fantasia for Solo Viola		1982 (1995)	Solo	Viola	00:04:05	The Fantasias (1979, flute; 1981, sax, clarinet; 1982, viola) represent a series of solo works with the same title. These solo works are written in ABA form. The outer sections, A, are quasi-free sections and the inner section B is rhythmic and dance-like. The entire piece depicts a conversation between two instruments by using different registers of the solo instrument.	Conners Publications	038		Listed
LRC54	Fantasy for Solo Euphonium		1978 (1991)	Solo	Euph	00:14:00	Fantasy for Solo Euphonium is a virtuosic work that employs both aleatoric and metered notation. The melodic gestures are expansive, moving from soft and lyrical to extreme agitation in a series of building climaxes. This piece is dedicated to Larry Campbell.	Cimarron Music and Reproductions (Whaling Music Publishers)		Larry Campbell	Listed
LRC172	Four Dances from the Hellenic Islands	Kerkyraikos (Corfu) Kefallonitikos Kritikos (Cretan) Balos	1998	Ensemble	WindW(2) Strings	00:06:00	Folk music flourished in Greece throughout the history of the Hellenic world. People wanted to express their feelings, hopes, aspirations, and the pains of everyday life through singing. The various songs were influenced by rhythm and melodic flavors according to different locations. In continental Greece, rhythms based in 7/8, 5/8, or 3/4 and modal scales are predominant. In the islands the music is mostly tonal with 2/4 as the basic rhythm. The latter is the case of the present work Four Dances from the Hellenic Islands. The tunes are very popular in Greece and Constantinides offers a version for two woodwinds (flutes, oboes, or clarinets) and string quartet or string orchestra. String bass is doubling the cello part in the string orchestra rendition.	The Composer’s Library (Magni)			Listed
LRC23b	Four Greek Songs arr. for SATB	Serenade at the Window of the Wise Man (Z. Papantoniou) From My Window (G. Souris) You Have Left Me and You Go (K. Hatjopoulos) From the Spring Symphony (Y. Ritsos)	1974	Vocal	SATB	00:08:00	Four Greek Songs makes abundant use of the qualities of Greek folk music. Rhythm is an intrinsic part of Greek music, beginning in antiquity and surviving in contemporary folk music. The rhythm is based on a quantitative relationship between long and short accentuation, depending on the text and resulting in many meter changes. The harmonic language of the songs is modal, also derived from folk music. The melodies are original, but retain the flavor of Greek folksongs. The first song is ABA in form, in which the A section is in the aeolian mode and B resembles a Greek dance. The second song is a dance in mixolydian mode. The third song is controlled by the modes, primarily aeolian and mixolydian. The fourth song is a dance, where the rhythm again predominates.	The Composer’s Library (Magni)			Listed
LRC23c	Four Greek Songs for soprano and chamber orchestra	Serenade at the Window of the Wise Man (Z. Papantoniou) From My Window (G. Souris) You Have Left Me and You Go (K. Hatjopoulos) From the Spring Symphony (Y. Ritsos)	1985	Orchestral	Sop Flute Bsn Perc ChOrch	00:08:00	Four Greek Songs makes abundant use of the qualities of Greek folk music. Rhythm is an intrinsic part of Greek music, beginning in antiquity and surviving in contemporary folk music. The rhythm is based on a quantitative relationship between long and short accentuation, depending on the text and resulting in many meter changes. The harmonic language of the songs is modal, also derived from folk music. The melodies are original, but retain the flavor of Greek folksongs. The first song is ABA in form, in which the A section is in the aeolian mode and B resembles a Greek dance. The second song is a dance in mixolydian mode. The third song is controlled by the modes, primarily aeolian and mixolydian. The fourth song is a dance, where the rhythm again predominates.	The Composer’s Library (Magni)		Peter Tiboris and the Cultural Omnibus	Listed
LRC23a	Four Greek Songs for soprano and piano	Serenade at the Window of the Wise Man (Z. Papantoniou) From My Window (G. Souris) You Have Left Me and You Go (K. Hatjopoulos) From the Spring Symphony (Y. Ritsos)	1972	Vocal	Sop Piano	00:08:00	Four Greek Songs makes abundant use of the qualities of Greek folk music. Rhythm is an intrinsic part of Greek music, beginning in antiquity and surviving in contemporary folk music. The rhythm is based on a quantitative relationship between long and short accentuation, depending on the text and resulting in many meter changes. The harmonic language of the songs is modal, also derived from folk music. The melodies are original, but retain the flavor of Greek folksongs. The first song is ABA in form, in which the A section is in the aeolian mode and B resembles a Greek dance. The second song is a dance in mixolydian mode. The third song is controlled by the modes, primarily aeolian and mixolydian. The fourth song is a dance, where the rhythm again predominates.	The Composer’s Library (Magni)			Listed
LRC133	Four Interludes for cello alone		1991 (1995)	Solo	Cello	00:10:30	The Four Interludes (1991) were composed as cadences that bridged the movements of an earlier orchestral work, Anniversary Celebration. The composer felt the interludes could be performed as individual pieces for solo instruments. Quotations from various Baroque composers are used in the work.	Conners Publications	069		Listed
LRC134	Four Interludes for solo guitar		1991 (1995)	Solo	Gtr	00:10:30	The Four Interludes (1991) were composed as cadences that bridged the movements of an earlier orchestral work, Anniversary Celebration. The composer felt the interludes could be performed as individual pieces for solo guitar. Quotations from various Baroque composers are used in the work.	Conners Publications	036		Listed
LRC135	Four Interludes for viola alone		1991 (1995)	Solo	Viola	00:10:30	The Four Interludes (1991) were composed as cadences that bridged the movements of an earlier orchestral work, Anniversary Celebration. The composer felt the interludes could be performed as individual pieces for solo instruments. Quotations from various Baroque composers are used in the work.	Conners Publications	068		Listed
LRC136	Four Interludes for violin alone		1991 (1995)	Solo	Violin	00:10:30	The Four Interludes (1991) were composed as cadences that bridged the movements of an earlier orchestral work, Anniversary Celebration. The composer felt the interludes could be performed as individual pieces for solo instruments. Quotations from various Baroque composers are used in the work.	Conners Publications	067		Listed
LRC22	Four Songs on Poems by Sappho (mezzo-soprano, orchestra) Poetry: Sappho Translation: Professor Willis Barnstone	I. Homecoming II. Candor (to Alcaeus) III. To a Handsome Man IV. Light Vanishing	1971 (1988)	Orchestral	Mez Orch	00:06:00	Four Songs on Poems by Sappho was composed in 1968 and orchestrated in 1971. The English translation of the poems was rendered by Professor Willis Barnstone, professor of comparative literature and Spanish at Indiana University, and noted classical scholar and author. The poetess, Sappho, was born on the island of Lesbos in the seventh century. She is considered by many as the greatest lyric poet of antiquity, writing with clinical objectivity on the passion of love, and with intimate and colloquial conversational style about nature and her friends. Most of her poems survive only in fragments in the works of Latin and Greek scholars.	Seesaw Music Corporation			Listed
LRC105	Genteel Dialogue for harp and percussion		1986 (1995)	Ensemble	Hrp Perc	00:08:30	Genteel Dialogue (1986) was written for and dedicated to the composer’s colleagues at LSU, Hye-Yun Chung and John Raush. Although not a serial work, the piece is built upon a set of eight pitches that are stated at the very beginning of the piece by the harp. The work makes use of pentatonic sounds and varied ostinato patterns to slowly develop a simple melodic gesture. The tonal centers of F# and B are emphasized by the antique cymbals throughout the work.	Conners Publications	075		Listed
LRC72	Graphics for two		1980	Ensemble	Violin(2)	Variable	Graphics for two is drawn from the eleventh study of the composer’s 20th Century Studies for Two Violins. This piece is based on a picture of two violins, which the soloists traverse in a free and imaginary way.	The Composer’s Library (Magni)			Listed
LRC106b	Grecian Variations for Solo Viola and Piano		1991	Solo	Viola Piano	00:20:00	Grecian Variations (1991) was commissioned by and dedicated to violist Jerzy Kosmala, who premiered the piece on October 22, 1987 in Poland. The work is based on a Greek folk tune and employs modal scales and rhythms that are abundant in Greek folk music.	The Composer’s Library (Magni)			Listed
LRC106a	Grecian Variations for Solo Viola and String Orchestra		1987	Orchestral	Viola StrOrch	00:20:00	Grecian Variations (1987) was commissioned by and dedicated to violist Jerzy Kosmala, who premiered the piece on October 22, 1987 in Poland. The work is based on a Greek folk tune and employs modal scales and rhythms that are abundant in Greek folk music.	The Composer’s Library (Magni)		Jerzy Kosmala	Listed
LRC15a	Greek Dance for Flute, Viola and Guitar (also called Trio for Flute, Viola and Guitar)		1970	Ensemble	Flute Viola Gtr	00:03:00	Greek Dance is derived from the third study of the composer’s 20th Century Studies for Two Violins. The same work appears in various instrumental versions.	Cimarron Music and Reproductions (Whaling Music Publishers)		Thomatos Trio, Zurich, Switzerland	Listed
LRC15b	Greek Dance for Two Violins and Viola (also called Trio for Two Violins and Viola)		1970	Ensemble	Violin(2) Viola	00:03:00	Greek Dance is derived from the third study of the composer’s 20th Century Studies for Two Violins. The same work appears in various instrumental versions. This is a rework of Greek Dance for Flute, Viola, and Guitar, done for the Baton Rouge String Trio.	The Composer’s Library (Magni)			Listed
LRC15c	Greek Dance for Violin, Cello and Guitar		1970	Ensemble	Violin Cello Gtr	00:03:00	Greek Dance is derived from the third study of the composer’s 20th Century Studies for Two Violins. The same work appears in various instrumental versions.	The Composer’s Library (Magni)			Listed
LRC15d	Greek Dance for Violin, Viola and Cello (also called Study for Violin, Viola and Cello)		1970-83	Ensemble	Violin Viola Cello	00:03:00	Greek Dance is derived from the third study of the composer’s 20th Century Studies for Two Violins. The same work appears in various instrumental versions.	The Composer’s Library (Magni)			Listed
LRC15e	Greek Dance for wind trio		1970-83	Ensemble	WoodW(3)	00:03:00	Greek Dance is derived from the third study of the composer’s 20th Century Studies for Two Violins. The same work appears in various instrumental versions.	The Composer’s Library (Magni)			Listed
LRC110a	Homage - A Folk Concerto for flute and orchestra (or strings)	I. Prelude II. Idyll (Cadenza) III. Dance	1988	Concerto	Flute Ob(2)[opt] FHn(2)[opt] Orch/Strings	00:16:35	Homage - A Folk Concerto (1988) is folk-like in nature, although no actual material has been borrowed from folk music. The first movement is simple and unaffected with a few bursts of excitement and leads to the second movement with no interruption. The latter is a cadence-like solo for flute, free and expressive, over a four-bar chord progression played by the orchestra. The final movement is a frenzied dance, typical of the folk music of the Greek islands. However, somewhere along the way, some J.S. Bach creeps in uninvited. This piece is dedicated to Dr. Everett Timm, past Dean of the LSU School of Music, as a personal tribute and token of appreciation for his numerous contributions to music in Baton Rouge. It is meant to be a musical portrait.	Conners Publications	208		Listed
LRC110b	Homage - A Folk Concerto for flute and piano	I. Prelude II. Idyll (Cadenza) III. Dance	1988	Concerto	Flute Piano	00:16:35	Homage - A Folk Concerto (1988) is folk-like in nature, although no actual material has been borrowed from folk music. The first movement is simple and unaffected with a few bursts of excitement and leads to the second movement with no interruption. The latter is a cadence-like solo for flute, free and expressive, over a four-bar chord progression played by the piano. The final movement is a frenzied dance, typical of the folk music of the Greek islands. However, somewhere along the way, some J.S. Bach creeps in uninvited. This piece is dedicated to Dr. Everett Timm, past Dean of the LSU School of Music, as a personal tribute and token of appreciation for his numerous contributions to music in Baton Rouge. It is meant to be a musical portrait.	The Composer’s Library (Magni)			Listed
LRC150	Homage to Louisiana for Narrator and Chamber Orchestra		1995	Orchestral	Spkr ChOrch	00:08:00	Homage to Louisiana was commissioned for the anniversary of the Louisiana Purchase.	The Composer’s Library (Magni)		Louisiana Purchase Document commission	Listed
LRC96	I Hear America Singing for Youth and Male Chorus (SATB) and Snare Drum Poem: “Leaves of Grass” by Walt Whitman		1985	Vocal	SATB SnDrum	00:08:00	I Hear America Singing employs material and sounds from the piece Designs for Strings and nursery tunes. This work is dedicated to Robert Hamilton and the Philadelphia Boys Choir. The Dale Warland Singers chose this piece as one of four works for presentation at a festival in Minneapolis.	The Composer’s Library (Magni)		Philadelphia Boys Choir and Chorale	Listed
LRC75	I Never Saw a Moor for Four Tubas		1980 (1989)	Ensemble	Tuba(4)	00:07:30	I Never Saw a Moor was written for the composer’s daughter, Lenna, and the Kenilworth Junior High choir directed by Sally Norem. It is modal in nature. It appears in three versions: women’s choir, mixed choir, and tuba quartet. This piece is the arrangement for four tubas.	Tap Music Sales	TU-IN04		Listed
LRC40b	I Never Saw a Moor for SATB and organ or string orchestra Poetry: Emily Dickinson		1977 (1984)	Vocal	SATB Organ/StrOrch	00:07:30	I Never Saw a Moor was written for the composer’s daughter, Lenna, and the Kenilworth Junior High choir directed by Sally Norem. It is modal in nature and employs the poem “I Never Saw a Moor” by Emily Dickinson. It appears in three versions: women’s choir, mixed choir, and tuba quartet. This piece is the first movement of the piece Two Songs for Christmas.	Seesaw Music Corporation			Listed
LRC40a	I Never Saw a Moor for SSAA Poetry: Emily Dickinson		1976	Vocal	SSAA Organ[opt]	00:07:30	I Never Saw a Moor was written for the composer’s daughter, Lenna, and the Kenilworth Junior High choir directed by Sally Norem. It is modal in nature and employs the poem “I Never Saw a Moor” by Emily Dickinson. It appears in three versions: women’s choir, mixed choir, and tuba quartet. This piece is the first movement of the piece Two Songs for Christmas.	The Composer’s Library (Magni)			Listed
LRC147	Idyll for violin and piano		1994 (1995)	Solo	Violin Piano	00:07:25	Idyll (1994) is based on a three note figure which first appears at the beginning of the solo violin. This figure is transformed throughout the composition into several rhythmic and melodic ideas and in various tonal centers. It acts sometimes as a short motive, or as a part of a long phrase, or as a counterpoint to other figurations.	Conners Publications	017		Listed
LRC36	Impressions for Clarinet and Piano		1975 (1980)	Solo	Clar Piano	00:12:30	Impressions for Clarinet and Piano (1975) was commissioned by Stanley Weinstein, then principal clarinetist of the New Orleans Symphony. He premiered this composition on September 8, 1975, in New Orleans. The piece is an abstract composition which employs the various colors of the clarinet to create different moods. The piano also uses sound effects in order to highlight or project a mood. Throughout the piece, there is an interplay of consonance and dissonance.	Seesaw Music Corporation		Stanley Weinstein, principal clarinetist, New Orleans Symphony	Listed
LRC170	Impressions II for Clarinet in Bb and Piano		1998 (1998)	Solo	BbClar Piano	00:12:30	Impressions for Clarinet in Bb and Piano (1998) was commissioned by Stanley Weinstein, then principal clarinetist of the New Orleans Symphony. He premiered this composition on September 8, 1975, in New Orleans. The piece is an abstract composition which employs the various colors of the clarinet to create different moods. The piano also uses sound effects in order to highlight or project a mood. Throughout the piece, there is an interplay of consonance and dissonance.	The Composer’s Library (Magni)			Listed
LRC171	Impressions II for Eb Alto Saxophone and Piano		1998 (1998)	Solo	EbASax Piano	00:12:30	This work is a transcription of Impressions II for Bb Clarinet and Piano. The saxophone part is edited by Athanasios Zervas. Impressions II is rhapsodic in character with changes of colors and moods. The New York Times critic called it “dramatic” when the clarinet version of the work received its New York premiere at Carnegie Recital Hall. The piece received its European premiere in Vienna at the International Conference of the College Music Society on July 3, 1997.	The Composer’s Library (Magni)			Listed
LRC4	Improvisation for Trombone and Piano (or Euphonium or Cello)		1967 (1977)	Solo	Trom/Euph/Cello Piano	00:03:00	Improvisation is a blues-influenced work scored for euphonium, trombone, or cello and piano. It makes use of blues scales and syncopated rhythms. The tempo is slow and the melodic material in the solo instrument is very rhapsodic in character. The piece builds to a climax of dynamics and intensity before quietly dying away.	Seesaw Music Corporation		Thaddeus and Sue Brys	Listed
LRC93	Inaugural Images for solo flute and strings		1984	Orchestral	Flute Strings	00:06:00	Inaugural Images (1984) employs a folk tune from the Cajun country of Louisiana. This piece was written for the inauguration of Governor Edwin Edwards in 1984.	Conners Publications	079	Commissioined for the inauguration of Governor Edwin Edwards by the Baton Rouge Symphony	Listed
LRC100	Incidental music for “Death of a Salesman”		1986	Ensemble	Flute ASax Trump Perc Violin	Variable	This work is the incidental music composed for the play “Death of a Salesman,” presented by the LSU Theatre Department in 1986.	The Composer’s Library (Magni)		LSU Theatre Department, 1986	Listed
LRC107	Incidental music for “Much Ado About Nothing”		1987	Ensemble	Orch	Variable	This work is the incidental music composed for the play “Much Ado About Nothing,” presented by the LSU Theatre Department in 1987.	The Composer’s Library (Magni)		LSU Theatre Department, 1987	Listed
LRC97	Incidental music for “Twelfth Night”		1985	Ensemble	Orch	Variable	This work is the incidental music composed for the play “Twelfth Night,” presented by the LSU Theatre Department in 1985.	The Composer’s Library (Magni)		LSU Theatre Department, 1985	Listed
LRC39	Intimations: One Act Opera for soprano, female speaker, clarinet, violin, harp, and percussion Text: David Madden		1975, rev. 1980 (1997)	Opera	Sop Spkr Clar Violin Hrp Perc	00:25:00	Intimations is based on the poem by David Madden, “Fugue for Two Voices.” It is a dialogue between an old and a young woman concerning a possible murder. It can be staged, but the static character of the story favors a concert version presentation. Intimations was premiered at Brooklyn College on February 5, 1982, as the winner of the 1981 Brooklyn College Chamber Opera Composition Contest. The first version of the work was written with the collaboration of the poet in 1975 and was presented twice at the Arts Festival of the Baton Rouge Arts and Humanities Council in July of the same year. In that version, the work appeared with the title “Fugue for Two Voices” and employed a shadow dancer. Intimations was reworked in 1980 and since then, this version has received two awards and several performances.	Society of Composers, Inc.	SCI Journal of Music Scores, Vol. 22		Listed
LRC83	Intimations - Version for 2 Sopranos and Chamber Orchestra Text: David Madden		1982	Opera	Sop(2) ChOrch	00:25:00	Intimations is based on the poem by David Madden, “Fugue for Two Voices.” It is a dialogue between an old and a young woman concerning a possible murder. It can be staged, but the static character of the story favors a concert version presentation. Intimations was premiered at Brooklyn College on February 5, 1982, as the winner of the 1981 Brooklyn College Chamber Opera Composition Contest. The first version of the work was written with the collaboration of the poet in 1975 and was presented twice at the Arts Festival of the Baton Rouge Arts and Humanities Council in July of the same year. In that version, the work appeared with the title “Fugue for Two Voices” and employed a shadow dancer. Intimations was reworked in 1980 and since then, this version has received two awards and several performances.	The Composer’s Library (Magni)			Listed
LRC181b	Judy Mostly at Home for flute or oboe and autoharp		1999	Ensemble	Flute/Ob AHarp	00:02:30	Judy Mostly at Home (1999) was written for the composer’s wife on the occasion of her retirement after many years of service as a children’s librarian in the East Baton Rouge Parish Library System.	The Composer’s Library (Magni)			Listed
LRC181d	Judy Mostly at Home for flute or oboe and strings		1999	Ensemble	Flute/Ob Strings	00:02:30	Judy Mostly at Home (1999) was written for the composer’s wife on the occasion of her retirement after many years of service as a children’s librarian in the East Baton Rouge Parish Library System.	The Composer’s Library (Magni)			Listed
LRC181a	Judy Mostly at Home for violin and autoharp		1999	Ensemble	Violin AHarp	00:02:30	Judy Mostly at Home (1999) was written for the composer’s wife on the occasion of her retirement after many years of service as a children’s librarian in the East Baton Rouge Parish Library System.	The Composer’s Library (Magni)			Listed
LRC181c	Judy Mostly at Home for violin and strings		1999	Ensemble	Violin Strings	00:02:30	Judy Mostly at Home (1999) was written for the composer’s wife on the occasion of her retirement after many years of service as a children’s librarian in the East Baton Rouge Parish Library System.	The Composer’s Library (Magni)			Listed
LRC26	Kaleidoscope Fantasy for Solo Cello		1972, rev. 1979 (1981)	Solo	Cello	00:11:30	This piece is a concise version of an earlier multimedia work entitled “Kaleidoscope for Soprano, violin, cello, piano and two slide projectors.” About this latter work the composer wrote: “For a long time I have had the desire to work with ‘multimedia’, and conceived the idea of writing this specific composition after studying some children’s paintings. These paintings were done entirely through instinct with very little regard for the traditional methods which stem from education and experience. They gave me certain impressions which I felt could be transformed into musical sounds. The slides were done from the paintings or a portion of them and give no clear images. They create certain color moods. The words of colors and certain vague images were transformed into two letter series (twenty-four letters of the alphabet) which themselves stand for certain pitches. Two letters, j and z, represent a slide-effect upwards and downwards respectively. These two series pervade the entire work.”	Seesaw Music Corporation		David Cowley, University of Alabama cellist	Listed
LRC32	Kaleidoscope for Narrator and Chamber Ensemble (20 musicians)		1974 (1977)	Vocal	Voice ChOrch	00:26:00	Kaleidoscope is a chamber orchestra version of the composer’s Kaleidoscope for Soprano, Piano Trio (violin, cello, piano) and Two Slide Projectors.	Seesaw Music Corporation			Listed
LRC24	Kaleidoscope for Soprano, Piano Trio (violin, cello, piano) and Two Slide Projectors		1972 (1977)	Vocal	Sop Violin Cello Piano Slides	00:26:00	Kaleidoscope is based on the composer’s impressions of certain children’s paintings. Slides were made from portions of these paintings, which were then used to create color moods. The words of the colors and certain vague images were transformed into two-letter series, which stood for certain pitches or effects. Non-traditional effects and notational techniques are used throughout the piece. A reduced version of this piece has been scored for many solo instruments. The piece is composed by the performers.	Seesaw Music Corporation			Listed
LRC28	Lament of Antigone		1973 (1978)	Vocal	Sop BClar Perc Bsn/OnMar	00:06:00	The composer began work on his three-act opera Antigone, based on the play by Sophocles, twenty years ago and completed it in 1989. It was premiered in 1993 by the Baton Rouge Opera. The opera is performed in three acts and follows the original story closely. The first act offers background information on the fight to the death between Antigone’s two brothers over the kingship of Thebes and Antigone’s plan to bury her brother Polyneices. The burial of her brother has been forbidden by the new king, her uncle Creon. The second act focuses on Antigone’s confrontation with Creon and the conflict between Creon and his son, Haimon. The final act centers on Creon’s realization that he has wronged Antigone and the tragic consequences of his rash actions.	Seesaw Music Corporation			Listed
LRC109b	Lament of Eurydice		1990	Orchestral	Voice Orch	00:03:00	The composer began work on his three-act opera Antigone, based on the play by Sophocles, twenty years ago and completed it in 1989. It was premiered in 1993 by the Baton Rouge Opera. The opera is performed in three acts and follows the original story closely. The first act offers background information on the fight to the death between Antigone’s two brothers over the kingship of Thebes and Antigone’s plan to bury her brother Polyneices. The burial of her brother has been forbidden by the new king, her uncle Creon. The second act focuses on Antigone’s confrontation with Creon and the conflict between Creon and his son, Haimon. The final act centers on Creon’s realization that he has wronged Antigone and the tragic consequences of his rash actions. The Lament of Eurydice is from the third act of the opera Antigone.	The Composer’s Library (Magni)			Listed
LRC115	Legend for Alto Saxophone and Percussion		1988 (1992)	Ensemble	ASax Perc	00:10:00	Legend for Alto Saxophone and Percussion (1988), a one-movement work, is a tone poem without a story. A forgotten tale of the peaceful and the brave is portrayed by these two beautiful instruments in mostly tonal language. Contrasting images are achieved mainly through different dynamic levels, tempo changes, and sound colors. Legend was written for and premiered by LSU professors Griffin Campbell and John Raush at the World Saxophone Congress in Kawasaki, Japan, on August 10, 1988.	Dorn Publications		Griffin Campbell, John Raush	Listed
LRC180b	Lenna in Minneapolis for flute or oboe and autoharp		1999	Ensemble	Flute/Ob AHarp	00:03:15	Lenna in Minneapolis (1999) represents the activities of the composer’s daughter as she pursues her doctorate at the University of Minnesota.	The Composer’s Library (Magni)			Listed
LRC180d	Lenna in Minneapolis for flute or oboe and strings		1999	Ensemble	Flute/Ob Strings	00:03:15	Lenna in Minneapolis (1999) represents the activities of the composer’s daughter as she pursues her doctorate at the University of Minnesota.	The Composer’s Library (Magni)			Listed
LRC180a	Lenna in Minneapolis for violin and autoharp		1999	Ensemble	Violin AHarp	00:03:15	Lenna in Minneapolis (1999) represents the activities of the composer’s daughter as she pursues her doctorate at the University of Minnesota.	Conners Publications			Listed
LRC180c	Lenna in Minneapolis for violin and strings		1999	Ensemble	Violin Strings	00:03:15	Lenna in Minneapolis (1999) represents the activities of the composer’s daughter as she pursues her doctorate at the University of Minnesota.	The Composer’s Library (Magni)			Listed
LRC111	Listenings and Silences Text: Pinkie Gordon Lane		1988	Vocal	Voice	00:05:00	Listenings and Silences (1988) portrays an intimate monologue of one musician based on the text by Pinkie Gordon Lane. Its style is declamatory and its material is derived from various modes. Intervalic relationships pervade the cycle, thus giving unity to all three parts.	Conners Publications	264		Listed
LRC44	Marcha de Galvez (Cantata for soloists, chorus and instrumental ensemble)		1976, rev. 1995	Orchestral	SATB Flute Picc Clar Trump Trom Piano Cel SnDrum Violin(4)	00:45:00	Marcha de Galvez was commissioned by the LSU Bicentennial Program Office and was dedicated to the LSU A Cappella Choir. The piece was premiered at a concert in observance of the Fiftieth Anniversary of the Baton Rouge campus of LSU, the Anniversary of the Statehood of Louisiana, the Signing of the Louisiana Purchase, the Inauguration of George Washington, and the Bicentennial Celebratio of the United States of America. The piece recites the deeds of Governor Galvez, who won a battle fought on the outskirts of Baton Rouge, Louisiana.	The Composer’s Library (Magni)		LSU Bicentennial Program Office	Listed
LRC121	Midnight Fantasy for orchestra		1989 (1994)	Orchestral	Perc(2) Orch	00:10:15	Midnight Fantasy (1989) is based on a three-note chromatic cluster that derives from the beginning of an old, evocative Nat King Cole song. The cluster, first appearing at the opening of the work, is transformed through octave displacements into melodic figures of a lyrical nature and leads to a nightingale’s song. Fast descending sonorities occasionally interrupt the tranquil mood of the music. The interplay of tonal and atonal elements creates mood changes and affects the overall structure of the piece. A dramatic middle section embellished by short, fast passages brings the music back to the opening three-note cluster. A highly contrapuntal section builds up to loud sonorities echoed by very soft clusters. The nightingale’s song appears again as an epilogue. The composition ends with some haunting sonorities enhanced by antique cymbals and triangles.	Conners Publications	002		Listed
LRC113	Midnight Fantasy for saxophone and piano		1989	Solo	Sax Piano	00:10:15	Midnight Fantasy (1988) is based on a three-note chromatic cluster that derives from the beginning of an old, evocative Nat King Cole song. The cluster, first appearing at the opening of the work, is transformed through octave displacements into melodic figures of a lyrical nature and leads to a nightingale’s song. Fast descending sonorities occasionally interrupt the tranquil mood of the music. The interplay of tonal and atonal elements creates mood changes and affects the overall structure of the piece. A dramatic middle section embellished by short, fast passages brings the music back to the opening three-note cluster. A highly contrapuntal section builds up to loud sonorities echoed by very soft clusters. The nightingale’s song appears again as an epilogue. The composition ends with some haunting sonorities enhanced by antique cymbals and triangles.	The Composer’s Library (Magni)			Listed
LRC179a	Midnight Fantasy II for Alto Saxophone or Clarinet in Bb and Piano		1989, rev. 1999	Solo	ASax/BbClar Piano	00:11:00	Midnight Fantasy II for Alto Saxophone or Charinet in Bb and Piano is based on a cluster of half steps. This is evident at the very beginning of the work, and octave displacements later create melodic figures of a lyrical nature. in fact, this cluster was created from the beginning of an old, evocative Nat King Cole song. The interplay of tonal and atonal elements achieves changes of mood and affects the overall structure of the piece. Fantasy begins with a cluster of three notes leading to a nightingale’s song. Occasionally fast descending sonorities interrupt the tranquil mood of the music. A dramatic middle section embellished by short, fast passages brings the music back to the opening three note cluster. A highly contrapuntal section builds up to some very loud sonorities echoed by very soft clusters. The nightingale’s song appears again as an epilogue to the entire piece. The composition ends with some haunting sonorities enhanced by antique cymbals and triangles. Midnight Fantasy II was completed in 1989 and was revised in its present version in 1999. This composition is an outgrowth of the work Midnight Song for Soprano and Chamber Orchestra.	The Composer’s Library (Magni)			Listed
LRC179b	Midnight Fantasy II for Alto Saxophone or Clarinet in Bb and Chamber Orchestra		1989, rev. 1999	Orchestral	ASax/BbClar ChOrch	00:11:00	Midnight Fantasy II for Alto Saxophone or Charinet in Bb and Chamber Orchestra is based on a cluster of half steps. This is evident at the very beginning of the work, and octave displacements later create melodic figures of a lyrical nature. in fact, this cluster was created from the beginning of an old, evocative Nat King Cole song. The interplay of tonal and atonal elements achieves changes of mood and affects the overall structure of the piece. Fantasy begins with a cluster of three notes leading to a nightingale’s song. Occasionally fast descending sonorities interrupt the tranquil mood of the music. A dramatic middle section embellished by short, fast passages brings the music back to the opening three note cluster. A highly contrapuntal section builds up to some very loud sonorities echoed by very soft clusters. The nightingale’s song appears again as an epilogue to the entire piece. The composition ends with some haunting sonorities enhanced by antique cymbals and triangles. Midnight Fantasy II was completed in 1989 and was revised in its present version in 1999. This composition is an outgrowth of the work Midnight Song for Soprano and Chamber Orchestra.	The Composer’s Library (Magni)			Listed
LRC124	Midnight Fantasy III for wind orchestra		1990	Orchestral	WOrch	00:10:15	Midnight Fantasy III (1990) is based on a three-note chromatic cluster that derives from the beginning of an old, evocative Nat King Cole song. The cluster, first appearing at the opening of the work, is transformed through octave displacements into melodic figures of a lyrical nature and leads to a nightingale’s song. Fast descending sonorities occasionally interrupt the tranquil mood of the music. The interplay of tonal and atonal elements creates mood changes and affects the overall structure of the piece. A dramatic middle section embellished by short, fast passages brings the music back to the opening three-note cluster. A highly contrapuntal section builds up to loud sonorities echoed by very soft clusters. The nightingale’s song appears again as an epilogue. The composition ends with some haunting sonorities enhanced by antique cymbals and triangles.	The Composer’s Library (Magni)		Mid-America Productions	Listed
LRC112a	Midnight Song for Soprano and Chamber Orchestra Poetry: Pinkie Gordon Lane		1988	Orchestral	Sop ChOrch	00:10:15	Midnight Song is based on a three-note chromatic cluster that derives from the beginning of an old, evocative Nat King Cole song. The cluster, first appearing at the opening of the work, is transformed through octave displacements into melodic figures of a lyrical nature and leads to a nightingale’s song. Fast descending sonorities occasionally interrupt the tranquil mood of the music. The interplay of tonal and atonal elements creates mood changes and affects the overall structure of the piece. A dramatic middle section embellished by short, fast passages brings the music back to the opening three-note cluster. A highly contrapuntal section builds up to loud sonorities echoed by very soft clusters. The nightingale’s song appears again as an epilogue. The composition ends with some haunting sonorities enhanced by antique cymbals and triangles.	The Composer’s Library (Magni)			Listed
LRC112b	Midnight Song for Soprano and Piano Poetry: Pinkie Gordon Lane		1988	Vocal	Sop Piano	00:10:15	Midnight Song is based on a three-note chromatic cluster that derives from the beginning of an old, evocative Nat King Cole song. The cluster, first appearing at the opening of the work, is transformed through octave displacements into melodic figures of a lyrical nature and leads to a nightingale’s song. Fast descending sonorities occasionally interrupt the tranquil mood of the music. The interplay of tonal and atonal elements creates mood changes and affects the overall structure of the piece. A dramatic middle section embellished by short, fast passages brings the music back to the opening three-note cluster. A highly contrapuntal section builds up to loud sonorities echoed by very soft clusters. The nightingale’s song appears again as an epilogue.	The Composer’s Library (Magni)			Listed
LRC73b	Mountains of Epirus for violin and orchestra		1980	Orchestral	Violin Orch	00:08:00	Mountains of Epirus was written in memory of the composer’s mother and father. The piece is modal and employs characteristics of Greek rhythm, syncopated figurations and polychordal sonorities.	The Composer’s Library (Magni)		John Demos, Professor of Georgia State University Greek Orthodox Clergy-Laity Congress, 6/80	Listed
LRC73a	Mountains of Epirus for violin and piano		1980	Solo	Violin Piano	00:08:00	Mountains of Epirus was written in memory of the composer’s mother and father. The piece is modal and employs characteristics of Greek rhythm, syncopated figurations and polychordal sonorities. This composition was originally written for violin and orchestra.	The Composer’s Library (Magni)			Listed
LRC177	Music for Bassoon Quartet	1. Prologue 2. Tetralogue 3. Monologues 4. Epilogue	1999	Ensemble	Bsn(4)	00:12:00	Music for Bassoon Quartet is a fun piece. It denotes the thoughts of two individuals expressed in many ways in a conversational format. As the titles of the four movements of the work indicate, the conversation appears sometimes as a monologue, a dialogue, beginning or an ending. Throughout the piece intervalic relationships control the various happening. Sonorities based on seconds and thirds highlight the harmonic progressions which influence the direction of the music. Stylistic quotations ornamented by sound effects are also important.	The Composer’s Library (Magni)			Listed
LRC176	Music for Cello Quartet	1. Prologue 2. Tetralogue 3. Monologues 4. Epilogue	1999	Ensemble	Cello(4)	00:12:00	Music for Cello Quartet is a fun piece. It denotes the thoughts of two individuals expressed in many ways in a conversational format. As the titles of the four movements of the work indicate, the conversation appears sometimes as a monologue, a dialogue, beginning or an ending. Throughout the piece intervalic relationships control the various happening. Sonorities based on seconds and thirds highlight the harmonic progressions which influence the direction of the music. Stylistic quotations ornamented by sound effects are also important.	The Composer’s Library (Magni)			Listed
LRC84	Music for Hamlet		1982	Ensemble	Flute(2) Trump(2) Trom Hrp Perc	00:15:00	This work is the incidental music composed for the play “Hamlet,” presented by the LSU Theatre Department in 1983.	The Composer’s Library (Magni)		LSU Theatre Department for their 50th anniversary, 1983	Listed
LRC65	Music for Oedipus Rex (also called Delphic Hymn for Flute and Harp)		1979 (1994)	Ensemble	Flute Hrp/Gtr	00:15:00	Music for Oedipus Rex (1979) was written as incidental music for the LSU Theater production of Oedipus Rex by Sophocles. It employs material from the First Delphic Hymn dating from about 138 B.C.	Cimarron Music and Reproductions (Whaling Music Publishers)		LSU Speech Department, Dr. Bill Harbin, director	Listed
LRC178	Music for Saxophone Quartet	1. Prologue 2. Tetralogue 3. Monologues 4. Epilogue	1999	Ensemble	Sax(4)	00:12:00	Music for Saxophone Quartet is a fun piece. It denotes the thoughts of two individuals expressed in many ways in a conversational format. As the titles of the four movements of the work indicate, the conversation appears sometimes as a monologue, a dialogue, beginning or an ending. Throughout the piece intervalic relationships control the various happening. Sonorities based on seconds and thirds highlight the harmonic progressions which influence the direction of the music. Stylistic quotations ornamented by sound effects are also important. This piece was commissioned by the Athens Saxophone Quartet, who premiered it on April 30, 1999, in Athens, Greece.	The Composer’s Library (Magni)		Athens Saxophone Quartet	Listed
LRC173	Music for Two Cellos	1. Prologue 2. Dialogue 3. Monologue I and II 4. Epilogue	1999	Ensemble	Cello(2)	00:12:00	Music for Two Cellos is a fun piece. It denotes the thoughts of two individuals expressed in many ways in a conversational format. As the titles of the four movements of the work indicate, the conversation appears sometimes as a monologue, a dialogue, beginning or an ending. Throughout the piece intervalic relationships control the various happening. Sonorities based on seconds and thirds highlight the harmonic progressions which influence the direction of the music. Stylistic quotations ornamented by sound effects are also important. The Concerto for Two Cellos and Orchestra is written and dedicated to Mariana Oteleanu-Amarinei and Constantin Vestemeanu of the Rossini Cello Duo, a resident chamber group in Bucharest, Romania.	The Composer’s Library (Magni)		Rossini Cello Duo, Mariana Oteleanu-Amarinei and Constantin Vestemeanu	Listed
LRC174	Music for Two (for Oboe and Cello)	1. Prologue 2. Dialogue 3. Monologue I and II 4. Epilogue	1999	Ensemble	Ob Cello	00:12:00	Music for Two for oboe and cello is a fun piece. It denotes the thoughts of two individuals expressed in many ways in a conversational format. As the titles of the four movements of the work indicate, the conversation appears sometimes as a monologue, a dialogue, a beginning or an ending. Throughout the piece intervalic relationships control the various happening. Sonorities based on seconds and thirds highlight the harmonic progressions which influence the direction of the music. Stylistic quotations ornamented by sound effects are also important. Music for Two was written for and is dedicated to oboist Lisa McCullough and cellist Ivan Lalev.	The Composer’s Library (Magni)		Lisa McCullough and Ivan Lalev	Listed
LRC66	Mutability Fantasy for alto saxophone and piano		1979 (1995)	Solo	ASax Piano	00:05:00	“Mutability” by the poet Percy B. Shelley has inspired Constantinides to compose several works, including the above Mutability Fantasy (1979). The first work of the series (Second Quartet - Mutability) employed a tune named “Poppy” (Paparouna) by the famous Greek pop composer, Attic. This tune is also present in this work.	Conners Publications	035		Listed
LRC59	Mutability Fantasy for bass baritone and piano Poetry: “Mutability” by Percy B. Shelley		1979	Vocal	Bass Piano	00:15:00	“Mutability” by the poet Percy B. Shelley has inspired Constantinides to compose several works, including the above Mutability Fantasy. The first work of the series (Second Quartet - Mutability) employed a tune named “Poppy” (Paparouna) by the famous Greek pop composer, Attic. This tune is also present in this work.	The Composer’s Library (Magni)		Robert Glass	Listed
LRC67	Mutability Fantasy for euphonium and piano		1979 (1995)	Solo	Euph Piano	00:05:00	“Mutability” by the poet Percy B. Shelley has inspired Constantinides to compose several works, including the above Mutability Fantasy. The first work of the series (Second Quartet - Mutability) employed a tune named “Poppy” (Paparouna) by the famous Greek pop composer, Attic. This tune is also present in this work.	Conners Publications	060		Listed
LRC68	Mutability Fantasy for tuba and piano		1979 (1995)	Solo	Tuba Piano	00:05:00	“Mutability” by the poet Percy B. Shelley has inspired Constantinides to compose several works, including the above Mutability Fantasy. The first work of the series (Second Quartet - Mutability) employed a tune named “Poppy” (Paparouna) by the famous Greek pop composer, Attic. This tune is also present in this work.	Conners Publications	061		Listed
LRC58	Mutability for Alto Saxophone and String Quartet		1979	Ensemble	ASax Strings(4)	00:15:00	Mutability for Alto Saxophone and String Quartet (1979) was inspired by the poem of Percy Bysshe Shelley, “Mutability.” Its three movements center around the idea of constant change, but they are interrelated. Their mutual relationship is an old popular tune that is employed throughout the composition. This tune appears most of the time in the solo part, but it is also transformed in many ways and dispersed among the string instruments in all three movements of the work.	The Composer’s Library (Magni)			Listed
LRC60	Mutability for Clarinet and String Quartet		1979	Ensemble	Clar Violin(2) Viola Cello	00:15:00	Mutability for Clarinet and String Quartet (1979) was inspired by the poem of Percy Bysshe Shelley, “Mutability.” Its three movements center around the idea of constant change, but they are interrelated. Their mutual relationship is an old popular tune that is employed throughout the composition. This tune appears most of the time in the solo part, but it is also transformed in many ways and dispersed among the string instruments in all three movements of the work.	The Composer’s Library (Magni)			Listed
LRC101	Mutability for Horn and String Quartet		1986	Ensemble	Hn Violin(2) Viola Cello	00:15:00	Mutability for Horn and String Quartet (1986) was inspired by the poem of Percy Bysshe Shelley, “Mutability.” Its three movements center around the idea of constant change, but they are interrelated. Their mutual relationship is an old popular tune that is employed throughout the composition. This tune appears most of the time in the solo part, but it is also transformed in many ways and dispersed among the string instruments in all three movements of the work.	The Composer’s Library (Magni)			Listed
LRC61	Mutability for Soprano and String Quartet Poetry: “Mutability” by Percy B. Shelley		1979	Vocal	Sop Violin(2) Viola Cello	00:15:00	Mutability for Soprano and String Quartet (1979) was inspired by the poem of Percy Bysshe Shelley, “Mutability.” Its three movements center around the idea of constant change, but they are interrelated. Their mutual relationship is an old popular tune that is employed throughout the composition. This tune appears most of the time in the solo part, but it is also transformed in many ways and dispersed among the string instruments in all three movements of the work.	The Composer’s Library (Magni)			Listed
LRC57	Mutability for voice and piano		1979	Vocal	Voice Piano	00:15:00	“Mutability” by the poet Percy B. Shelley has inspired Constantinides to compose several works, including the above Mutability Fantasy. The first work of the series (Second Quartet - Mutability) employed a tune named “Poppy” (Paparouna) by the famous Greek pop composer, Attic. This tune is also present in this work.	The Composer’s Library (Magni)			Listed
LRC162	New Orleans Divertimento Concerto for Brass Quintet and Orchestra		1997	Concerto	Brass(5) Orch	00:27:00	The New Orleans Divertimento was inspired by the frequent visits of the composer to the colorful “French Quarter” of New Orleans. Living in Louisiana for over thirty years, as professor of composition at LSU, he has had ample opportunities to study the tradition of this very attractive place. New Orleans, the birthplace of jazz and blues, provides continuous entertainment to its many visitors. A walk through the French Quarter gives an idea of the very roots of American Music. The composer of the present work has tried to portray the basic elements of the culture of New Orleans by using jazz ideas, blues harmonies, idiomatic rhythms, and quotations from existing music of this city. The format of the piece resembles the format of Pictures at an Exhibition by Modest Mussorgsky. This piece is commissioned by and dedicated to Dima Nicu and the Armonic Brass Quintet of the Filharmonica Marea Neagr Orchestra of Romania.	The Composer’s Library (Magni)		Dima Nicu and the Armonic Brass Quintet of the Black Sea Philharmonic, Romania	Listed
LRC85	New Orleans Divertimento for brass trio, harp, percussion and strings		1982	Orchestral	Brass(3) Hrp Perc Strings	00:15:00	The New Orleans Divertimento was inspired by the frequent visits of the composer to the colorful “French Quarter” of New Orleans. Living in Louisiana for over thirty years, as professor of composition at LSU, he has had ample opportunities to study the tradition of this very attractive place. New Orleans, the birthplace of jazz and blues, provides continuous entertainment to its many visitors. A walk through the French Quarter gives an idea of the very roots of American Music. The composer of the present work has tried to portray the basic elements of the culture of New Orleans by using jazz ideas, blues harmonies, idiomatic rhythms, and quotations from existing music of this city. The format of the piece resembles the format of Pictures at an Exhibition by Modest Mussorgsky.	The Composer’s Library (Magni)		Principals and members of the Baton Rouge Symphony	Listed
LRC155a	Ojos Criollos for violin and piano Music by Louis M. Gottschalk Realized by Dinos Constantinides		1996	Solo	Violin Piano	00:02:45	Ojos Criollos, or “Creole Eyes,” was originally composed for piano by Louis Moreau Gottschalk (1829-69). Gottschalk was one of the most famous American composers of the nineteenth century. A virtuoso pianist, he performed to acclaim throughout the world and was hailed as a “Titan” of the keyboard by pianists of such stature as Chopin, himself. Ojos Criollos was inspired by Creole music which Gottschalk heard in the streets of his native New Orleans during childhood. The 1996 realization of this work for violin and piano by Dinos Constantinides actually contains a substantial amount of original material by Constantinides, who is an internationally acclaimed composer in his own right.	Conners Publications	144		Listed
LRC155b	Ojos Criollos for violin and strings Music by Louis M. Gottschalk Realized by Dinos Constantinides		1996 (1997)	Orchestral	Violin Strings	00:02:45	This 1996 arrangement of Ojos Criollos for solo violin and strings was done by Constantinides from his realization of the work for violin and piano.	Conners Publications	166		Listed
LRC156	Oktagonon		1996	Ensemble	ChOrch	00:07:00	Oktagonon was written to accommodate the unusual instrumentation of the LSU New Music Ensemble, which consisted of three clarinets, three percussionists, piano, guitar, trumpet, viola, bassoon and tuba. The title Oktagonon is a Greek word meaning “eight angles.” Here it refers to the three octatonic scales which are used in this composition. A free section performed mainly by the three clarinets and the bassoons acts as a ritornello idea that controls the form of the piece. It is followed by rhythmic sections leading to a modal melody. This melody keeps repeating itself by adding instruments and therefore increasing its density. This leads to the climax of the piece just before the final note. The composer had in his mind the Bolero by Ravel.	The Composer’s Library (Magni)			Listed
LRC187	Olga’s Songs for soprano, three recorders, viola de gamba, and theorboe Greek Text	Serenada You Left Olga’s Song	2000	Vocal	Sop Rec(3) Gamba Theor	00:10:00	Olga’s Songs were commissioned by Thomas Tamvakos for his soprano wife, Olga. The composer was inspired by a performance of her ensemble, which is composed of baroque instruments and voice. The songs are written in the style of Greek folk music with Greek text.	The Composer’s Library (Magni)		Thomas Tamvakos’ Archive of Greek Classical Composers	Listed
LRC41	Paraphrase of Designs for orchestra		1976	Orchestral	Orch	00:08:00	Paraphrase of Designs was commissioned by the McNeese State University Symphony and is derived from the piece Designs for Strings.	The Composer’s Library (Magni)		McNeese State University Symphony	Listed
LRC119b	Patterns for violin and piano		1989 (1995)	Solo	Violin Piano	00:07:35	Patterns (1989) is based upon contrasting musical ideas organized within a tight framework. A free slow section alternates with a fast rhythmic one leading to a frenzied ending.	Conners Publications	016	Montgomery Museum of Fine Arts and the Montgomery Performing Arts Company	Listed
LRC119a	Patterns for violin and strings		1989	Orchestral	Violin Strings	00:07:35	Patterns (1989) is based upon contrasting musical ideas organized within a tight framework. Free slow sections alternate with fast rhythmic ones leading to a frenzied ending.	The Composer’s Library (Magni)			Listed
LRC19	Pentatonic for violin and piano		1971	Solo	Violin Piano	00:05:00	Pentatonic is the first movement of a piece for violin and piano, later replaced by the piece At the Village, which became Mountains of Epirus. This piece was reworked as a study for two violins in the composer’s 20th Century Studies for Two Violins.	The Composer’s Library (Magni)			Listed
LRC2	Piece for Solo Violin		1965 (1978)	Solo	Violin	00:03:00	Piece for Solo Violin (1965) was written by the composer when he was a student at Michigan State. The piece is in ABA form. The A section is slow and uses many string effects such as glissandos, double stops and left hand pizzicatos. The B section is faster and is in the style of a Greek dance. The piece was premiered by James Alexander, a Michigan State violin student. The material from this piece inspired a series of works entitled “Fantasia” for many different instruments.	Seesaw Music Corporation			Listed
LRC163a	Preludes for String Orchestra	I. Prelude (Dreams) II. Interlude (Earth) III. Postlude (Heavens)	1997	Orchestral	StrOrch	00:08:00	This composition is part of a stage work entitled Dreams, Earth, and Heavens. All three preludes are based on a single musical idea that has been important in the composer’s life. In the first prelude, melodic lines from the First Delphic Hymn (c. 138 B.C.) are used. The second prelude is based on palindromic phrases. The final prelude is modal in nature and is derived from the composer’s opera, Antigone.	The Composer’s Library (Magni)			Listed
LRC163b	Preludes for String Quartet	I. Prelude (Dreams) II. Interlude (Earth) III. Postlude (Heavens)	1997	Ensemble	Strings(4)	00:08:00	This composition is part of a stage work entitled Dreams, Earth, and Heavens. All three preludes are based on a single musical idea that has been important in the composer’s life. In the first prelude, melodic lines from the First Delphic Hymn (c. 138 B.C.) are used. The second prelude is based on palindromic phrases. The final prelude is modal in nature and is derived from the composer’s opera, Antigone.	The Composer’s Library (Magni)			Listed
LRC122	Quartet Study for Diverse Instruments		1989 (1994)	Ensemble	Flute BbClar ElGtr/Synth Piano	00:07:30	Quartet Study for Diverse Instruments (1989) is the original version that was reworked to create Study I. The piece explores the various timbres and effects of the instruments. A modal melody is used throughout the piece.	The Composer’s Library (Magni)		New York University Contemporary Players	Listed
LRC87	Reflections I for voice and three instruments Poetry: Peggy Bach	Look Walk Intermezzo Dance Away	1982 (1989)	Vocal	Voice Ob Ob d’amore EHn	00:10:00	Reflections I is based on four poems from a collection by the poet Peggy Bach. Throughout this work, the composer uses word painting following the implied images of each title. For instance, the music proceeds carefully in “Look”; the movement “Walk” employs a steady beat. “Intermezzo” is rhythmically free, contrasting with the rhythmic structure of the other movements. “Dance Away” is highly contrapuntal, including ostinato patterns and constant movement. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	Seesaw Music Corporation		Ernest Harrison, LSU	Listed
LRC86b	Reflections II for voice and clarinet Poem: “How Do I Love Thee?” (Elizabeth Browning)		1982 (1984)	Vocal	Sop Clar	00:14:00	Reflections II (1982) is a setting of Elizabeth Barrett Browning’s immortal poem “How do I love thee.” The composer tried to convey the dramatic and passionate ideas of the poem through word painting. Both parts, voice and clarinet, employ very expressive lines. This piece was written for soprano Rosaline Rees and violist Jerzy Kosmala, who presented the work in Stuttgard, Germany at the International Viola Congress in June 1982. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)		Jerzy Kosmala, principal violist of the Baton Rouge Symphony	Listed
LRC86a	Reflections II for voice and viola Poem: “How Do I Love Thee?” (Elizabeth Browning)		1982 (1984)	Vocal	Sop Viola	00:14:00	Reflections II (1982) is a setting of Elizabeth Barrett Browning’s immortal poem “How do I love thee.” The composer tried to convey the dramatic and passionate ideas of the poem through word painting. Both parts, voice and viola, employ very expressive lines. This piece was written for soprano Rosaline Rees and violist Jerzy Kosmala, who presented the work in Stuttgard, Germany at the International Viola Congress in June 1982. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)		Jerzy Kosmala, principal violist of the Baton Rouge Symphony	Listed
LRC94	Reflections III (Voices) for soprano, flute, clarinet and piano Poetry: “Voices” by Constantine Cavafis Trans: Dinos Constantinides		1984	Vocal	Sop Flute Clar Piano	00:07:00	Reflections III was commissioned by the Scarborough Chamber Players and premiered by the LSU New Music Ensemble. It has as its text the poem “Voices” by the poet Constantine Cavafis, translated by the composer into English. The piece portrays images of past, lost voices of beloved ones, who sometimes speak to us in dreams and to which the thoughts of our minds sometimes listen. The composer uses word painting for this very evocative piece. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)		Scarborough Chamber Players	Listed
LRC102b	Reflections IV for flute, viola, harp and piano		1988	Ensemble	Flute Viola Hrp Piano	00:12:00	Reflections IV for Flute, Viola, Harp and Piano is a rearrangement of a vocal work, with the viola replacing the voice. Whole tone scales, Byzantine melismas and modal melodies pervade the work. It begins with a whole tone figure, stated by the harp and flute, and ends with a hymn-like section. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)			Listed
LRC102a	Reflections IV for soprano, flute, harp and piano Poetry: “Candles” by Constantine P. Cavafis (1863-1933)		1986	Vocal	Sop Flute Hrp Piano	00:12:00	Reflections IV was commissioned by Evelyn Petros and was premiered on March 7, 1987, in New Orleans. It has as its text the poem “Candles” in the original Greek by the poet Constantine Cavafis. Whole tone scales, Byzantine melismas and modal melodies pervade the work. It begins with a whole tone figure, stated by the harp and flute, and ends with a hymn-like section. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)		Evelyn Petros	Listed
LRC108	Reflections V	Circuities Ballade Imageries	1987	Ensemble	Ob Violin Piano Sop[opt]	00:22:00	Reflections V (1987) is scored for soprano, oboe, violin, and piano; however, the soprano part is optional and may be played by one of the other instruments. The piece does not have text; rather, the vocal part is vocalise and provides a commentary on the happenings of the piano trio (oboe, violin, and piano). Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)		Contemporary Arts Players	Listed
LRC143a	Reflections VI - The Tyger for baritone and piano		1994	Vocal	Bar Piano	00:06:10	Reflections VI - The Tyger (baritone: 1994; voice: 1996--set to William Blake’s poem, The Tyger; horn: 1996) uses the Blake poem for inspiration. The piece employs a repeated note motive that pervades the entire work. A descending chromatic chord progression controls the harmonic structure of the composition and creates various mood changes. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	Conners Publications	010		Listed
LRC143b	Reflections VI - The Tyger for horn and piano		1996	Solo	Hn Piano	00:06:10	Reflections VI - The Tyger (baritone: 1994; voice: 1996--set to William Blake’s poem, The Tyger; horn: 1996) uses the Blake poem for inspiration. The piece employs a repeated note motive that pervades the entire work. A descending chromatic chord progression controls the harmonic structure of the composition and creates various mood changes. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	Conners Publications	114		Listed
LRC143e	Reflections VI - The Tyger for horn and string orchestra		1996	Orchestral	Hn StrOrch	00:06:10	Reflections VI - The Tyger (baritone: 1994; voice: 1996--set to William Blake’s poem, The Tyger; horn: 1996) uses the Blake poem for inspiration. The piece employs a repeated note motive that pervades the entire work. A descending chromatic chord progression controls the harmonic structure of the composition and creates various mood changes. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)			Listed
LRC143c	Reflections VI - The Tyger for tenor or soprano and string orchestra		1996	Orchestral	Tenor/Sop StrOrch	00:06:10	Reflections VI - The Tyger (baritone: 1994; voice: 1996--set to William Blake’s poem, The Tyger; horn: 1996) uses the Blake poem for inspiration. The piece employs a repeated note motive that pervades the entire work. A descending chromatic chord progression controls the harmonic structure of the composition and creates various mood changes. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)			Listed
LRC143d	Reflections VI - The Tyger for voice and piano		1996	Vocal	Voice Piano	00:06:10	Reflections VI - The Tyger (baritone: 1994; voice: 1996--set to William Blake’s poem, The Tyger; horn: 1996) uses the Blake poem for inspiration. The piece employs a repeated note motive that pervades the entire work. A descending chromatic chord progression controls the harmonic structure of the composition and creates various mood changes. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	Conners Publications	115		Listed
LRC144	Reflections VII - To Music for Reader and Chamber Orchestra Poetry: Pinkie Gordon Lane	I. Violins II. To Singers of Song III. Lyric: I am Looking at Music	1994	Orchestral	Spkr Flute Ob BbClar EbASax Bass FHorn CTrump Trom Perc(2) Strings(5)	00:08:00	Reflections VII - To Music (1994) is written for reader and chamber orchestra on three poems by Pinkie Gordon Lane. All three of these poems deal with music, hence the title of the work. To Music is written in honor of the International Heritage Celebration Festival of Baton Rouge, and dedicated to the composer’s daughter Lenna, who is a first generation Greek American. Reflections is a series of works written for chamber groups and voice. The music evokes images based on either the composer’s past experiences or the poetry.	The Composer’s Library (Magni)		International Heritage Celebration Festival of Baton Rouge Commission	Listed
LRC81b	Reverie for Cello and Piano		1981 (1996)	Solo	Cello Piano	00:04:00	Reverie for Cello and Piano is based on the harmonic language used in blues, and superimposed ostinato patterns. The work was originally written as a piece for cello or trombone and piano with the title Improvisation, and was dedicated to Ted Brys. This piece is also a movement of the composition New Orleans Divertimento.	The Composer’s Library (Magni)			Listed
LRC81a	Reverie for Trumpet and Piano		1981 (1996)	Solo	Trump Piano	00:04:00	Reverie for Trumpet in C and Piano is based on the harmonic language used in blues, and superimposed ostinato patterns. The work was originally written as a piece for cello or trombone and piano with the title Improvisation, and was dedicated to Ted Brys. This piece is also a movement of the composition New Orleans Divertimento.	Cimarron Music and Reproductions (Whaling Music Publishers)			Listed
LRC77	Rhapsody for Harp		1981	Solo	Hrp	00:07:00	Rhapsody for Harp (1981) was premiered by Hye-Yun Chung in Baton Rouge on November 20, 1981, at the American Society of University Composers Region IV Convention. The piece is comprised of certain intervals which sometimes appear in rhythmically strict sections and sometimes in free cadence-like lines. The musical ideas of the beginning reappear at the close, giving the piece a loose ABA form. This piece is an arrangement of an earlier work, Composition for Flute, Harp and Percussion.	Seesaw Music Corporation			Listed
LRC47	Rhapsody for Oboe or Flute and Harp or Piano		1977 (1978)	Ensemble	Ob/Flute Hrp/Piano	00:06:30	Rhapsody for Oboe or Flute and Harp or Piano is an arrangement of an earlier work, Composition for Flute, Harp and Percussion. The piece is based on the intervals of major seventh and perfect fourth. Its character is rhapsodic, as the title indicates, and it is inspired by Homer’s Iliad.	Seesaw Music Corporation		Pol Sofras, harpist (Charlotte, North Carolina)	Listed
LRC166a	Rhapsody II for flute and harp		1998 revised edition	Ensemble	Flute Hrp	00:06:45	Rhapsody II (1998 revised edition) is based on the intervals of major seventh and perfect fourth. Its character is rhapsodic, as the title indicates, and it is inspired by Homer’s Iliad.	Conners Publications	192		Listed
LRC167a	Rhapsody II for flute and piano		1998 revised edition	Ensemble	Flute Piano	00:06:45	Rhapsody II (1998 revised edition) is based on the intervals of major seventh and perfect fourth. Its character is rhapsodic, as the title indicates, and it is inspired by Homer’s Iliad.	Conners Publications	193		Listed
LRC166b	Rhapsody II for oboe and harp		1998 revised edition	Ensemble	Ob Hrp	00:06:45	Rhapsody II (1998 revised edition) is based on the intervals of major seventh and perfect fourth. Its character is rhapsodic, as the title indicates, and it is inspired by Homer’s Iliad.	Conners Publications	194		Listed
LRC167b	Rhapsody II for oboe and piano		1998 revised edition	Ensemble	Ob Piano	00:06:45	Rhapsody II (1998 revised edition) is based on the intervals of major seventh and perfect fourth. Its character is rhapsodic, as the title indicates, and it is inspired by Homer’s Iliad.	Conners Publications	195		Listed
LRC131	Rights of Freedom Text: Bill of Rights		1991	Orchestral	Spkr SATB ChOrch	00:15:00	Rights of Freedom, based on the text of the Bill of Rights, was commissioned by the Baton Rouge Commission on the Bicentennial of the United States Constitution to celebrate 200 years of the Bill of Rights. It was dedicated to Cecilia Franklin, then president and founder of the Louisiana Sinfonietta. It was premiered by the Louisiana Sinfonietta and chorus under the direction of the composer on December 16, 1991 at the Centroplex Theatre.	The Composer’s Library (Magni)		Baton Rouge Commission on the Bicentennial of the United States Constitution to celebrate 200 years of the Bill of Rights	Listed
LRC168a	Sappho Songs for voice and chamber orchestra	I. Homecoming II. To a Handsome Man III. Candor (to Alcaeus) IV. Light Vanishing	rev. 1998	Orchestral	Ob(2) FHn(2) Voice ChOrch	00:06:15	Sappho Songs (1998 revised edition) uses the poems of Sappho for text and inspiration. The poetess, Sappho, was born on the island of Lesbos in the 7th century BC. She is considered by many as the greatest lyric poet of antiquity. Most of her poems survive only in fragments in the works of Latin and Greek scholars.	Conners Publications	189		Listed
LRC168b	Sappho Songs for voice and piano	I. Homecoming II. To a Handsome Man III. Candor (to Alcaeus) IV. Light Vanishing	rev. 1998	Vocal	Voice Piano	00:06:15	Sappho Songs (1998 revised edition) uses the poems of Sappho for text and inspiration. The poetess, Sappho, was born on the island of Lesbos in the 7th century BC. She is considered by many as the greatest lyric poet of antiquity. Most of her poems survive only in fragments in the works of Latin and Greek scholars.	Conners Publications	190		Listed
LRC186	Silence and Thunder for Strings and Percussion		1999	Orchestral	Strings Perc	00:04:35	This composition was inspired by a casual conversation I had with my daughter Lenna, to whom it is dedicated. The basic materials of the music were in my mind for several days but the piece was actually written in its entirety in one day in Arizona on Friday, August 13, 1999. As the title indicates, Silence and Thunder denotes two contrasting ideas based on dynamics. “Silence” is represented mostly in the static and soft string materials. “Thunder” is mostly manifested in the percussion, which employs two instruments: any keyboard percussion which meets the range of the music and any indefinite pitch membranophone. Numerology is a major component in the construction of the composition which is based on the numbers 3 and 7. Throughout the piece, the two numbers control the flow of the music. Two consecutive thirds plus one seventh highlight the importance of the day the work was completed (August 13).	The Composer’s Library (Magni)			Listed
LRC3a	Small Lemon Tree for SATB		1967	Vocal	SATB	00:01:00	“Small Lemon Tree” is a folk song from Epiros, a small, mountainous province in northwestern Greece. The title, “Small Lemon Tree,” has a symbolic meaning, for as the juice of the lemon is sour, so is the love of the one portrayed in the song. A simple emotional appeal is achieved through the simplest of musical means--a melody of only four pitches, constantly repeated. Greek folk songs are traditionally accompanied by violin, clarinet, and lute. Included in Music for the High School Chorus by J. H. Niblock, p. 336 (1967).	Allyn Bacon			Listed
LRC3b	Small Lemon Tree for SATB and string orchestra		1986	Orchestral	Voice/SATB StrOrch	00:01:00	“Small Lemon Tree” is a folk song from Epiros, a small, mountainous province in northwestern Greece. The title, “Small Lemon Tree,” has a symbolic meaning, for as the juice of the lemon is sour, so is the love of the one portrayed in the song. A simple emotional appeal is achieved through the simplest of musical means--a melody of only four pitches, constantly repeated. Greek folk songs are traditionally accompanied by violin, clarinet, and lute.	The Composer’s Library (Magni)			Listed
LRC49	Sonata for Solo Piano	Impressions Madness Dream Resignation	1977 (1981)	Solo	Piano	00:17:00	Sonata for Solo Piano (1977) was premiered by Jon Klibanoff at Carnegic Recital Hall on November 8, 1979. The titles of its movements, “Impressions-Madness-Dream-Resignation,” imply the cycle of emotions experienced by a young person in his struggle for survival in a confused society. This piece is eclectic in nature and employs various styles. Quartal harmonies, clusters, polychords and folk tunes are present throughout the work. Sonata was originally written for “New Times” pianist Nancy Saxon.	Seesaw Music Corporation		Daniel Sher	Listed
LRC11	Sonata for Solo Violin No. 1	Andante Adagio Allegro	1968 (1978)	Solo	Violin	00:09:00	Sonata for Solo Violin No. 1 (1968) is a serial work like most of the composer’s work from this period. The first movement is andante and lyrical. The second movement uses the effect of compound melody. The third movement is energetic and coloristic.	Seesaw Music Corporation			Listed
LRC42	Sonata for Solo Violin No. 2		1976 (1981)	Solo	Violin	00:06:00	Sonata for Solo Violin No. 2 focuses on the virtuosic techniques of the violin. A series of parallel major sevenths is used throughout the piece as a sort of ritornello. The form is ABABA with the A section focusing on such effects as left hand pizzicato, glissandos, ricochet, and harmonics. The B section is tonal, using a compound melody effect.	Seesaw Music Corporation			Listed
LRC63	Sonata for Solo Violin No. 3 (Kaleidoscope)		1979 (1981)	Solo	Violin	00:10:00	This sonata was drawn from an earlier piece, Kaleidoscope for Narrator and Chamber Ensemble.	Seesaw Music Corporation			Listed
LRC21b	Sonata for Viola and Cello	Moderato Adagio Allegro moderato	1971 (1977)	Ensemble	Cello Piano	00:14:00	The Sonata for Cello and Piano is the most strictly twelve-tone work in the composer’s output. The piece also makes use of the compositional technique of isorhythm. The three movements are moderate, slow and fast, all three characterized by long sweeping melodies.	Seesaw Music Corporation		Yiannis Vatikiotis, principal violist, Athens Symphony Orchestra, Greece	Listed
LRC21a	Sonata for Viola and Piano	Moderato Adagio Allegro moderato	1971 (1977)	Solo	Viola Piano	00:14:00	The Sonata for Viola and Piano is the most strictly twelve-tone work in the composer’s output. The piece also makes use of the compositional technique of isorhythm. The three movements are moderate, slow and fast, all three characterized by long sweeping melodies.	Seesaw Music Corporation		Yiannis Vatikiotis, principal violist, Athens Symphony Orchestra, Greece	Listed
LRC21c	Sonata for Viola and Violin	Moderato Adagio Allegro moderato	1971 (1977)	Ensemble	Viola Violin	00:14:00	The Sonata for Violin and Piano is the most strictly twelve-tone work in the composer’s output. The piece also makes use of the compositional technique of isorhythm. The three movements are moderate, slow and fast, all three characterized by long sweeping melodies.	Seesaw Music Corporation		Yiannis Vatikiotis, principal violist, Athens Symphony Orchestra, Greece	Listed
LRC157a	Souvenir de Porto Rico for violin and piano Music by Louis M. Gottschalk Realized by Dinos Constantinides		1996	Solo	Violin Piano	00:05:30	Souvenir de Porto Rico was originally composed for piano by Louis Moreau Gottschalk (1829-69). Gottschalk was one of the most famous American composers of the nineteenth century. A virtuoso pianist, he performed to acclaim throughout the world and was hailed as a “Titan” of the keyboard by pianists of such stature as Chopin, himself. Souvenir de Porto Rico is considered by many to be one of Gottschalk’s finest compositions. The 1996 realization of this work for violin and piano by Dinos Constantinides actually contains a substantial amount of original material by Constantinides, who is an internationally acclaimed composer in his own right.	Conners Publications	145		Listed
LRC157b	Souvenir de Porto Rico for violin and strings Music by Louis M. Gottschalk Realized by Dinos Constantinides		1996	Orchestral	Violin Strings	00:05:30	This 1996 arrangement of Souvenir de Porto Rico for solo violin and strings was done by Constantinides from his realization of the work for violin and piano.	Conners Publications	167		Listed
LRC164	States of Mind for Guitar Alone	I. Impressions II. Dream III. Madness	1997	Solo	Gtr	00:11:30	In the realm of the unknown the mind creates impressions. Impressions come and go. They overlap. Images slide into the dream. Vague images. Images with no beginning and no ending. Images from the realm of the unknown. Anguish increases. A state of madness enters the mind. Images slide. Are they real? Or they are not?	The Composer’s Library (Magni)			Listed
LRC184	Storytelling for Solo Flute Six Character Pieces	I. Once Upon a Time II. Plaintively III. Faithfully IV. Playfully V. Lovingly VI. Happily Ever After	1999	Solo	Flute	00:16:00	Storytelling for Solo Flute was commissioned by flutist Sarah Beth Hanson, under a grant from the Division of the Arts of Louisiana. The work was inspired by a folktale about a ladybug and her four suitors: a cat, a dog, a frog, and a mouse. These four characters are described in movements II-V respectively. The mouse wins the heart of the ladybug and they live happily ever after.	The Composer’s Library (Magni)		Sarah Beth Hanson, flutist	Listed
LRC8	String Quartet No. 1	Moderato Largo Vivace	1967 (1978)	Ensemble	Violin(2) Viola Cello	00:11:30	String Quartet No. 1 (1967) is a serial work, like most of the composer’s compositions from this period. A figure of six notes pervades the first and third movements of the piece. The first movement is constructed in an imitative manner, ending on a rousing crescendo with superimposed ostinato patterns. The second movement is based on a four-note figure which outlines the interval of a major seventh and interweaves with the six-note figure of the first movement. The last movement is vivid and rhythmic, giving the motives of the first two movements a more energetic interpretation. The piece comes to a rousing close similar to that of the first movement.	Seesaw Music Corporation			Listed
LRC62	String Quartet No. 2 (Mutability)	Slow-Fast Slow Scherzo-Very Fast Moderate	1979	Ensemble	Violin(2) Viola Cello	00:20:00	String Quartet No. 2 (1979) draws its material from an earlier work, Mutability for voice and piano.	The Composer’s Library (Magni)			Listed
LRC16	Study for Brass and Solo Euphonium		1970, rev. 1978 (1988)	Ensemble	Euph Trump(4) Hn(4) Trom(4) Tuba Perc	00:04:00	Study for Brass is characterized by lyrical modal writing coupled with a virtuoso euphonium line.	Seesaw Music Corporation			Listed
LRC128	Study I for Diverse Instruments		1990 (1994)	Ensemble	Flute BbClar Bsn Vibra Cello StrBs[opt] Piano	00:07:30	Study I for Diverse Instruments (1990) is based on the intervals of fourths and fifths, which are constantly worked out in various ways creating new tonal possibilities. The title refers to the use of the various instrumental colors involved, which create an ethereal overall effect. This work is dedicated to the New York University Contemporary Players.	The Composer’s Library (Magni)		New York University Contemporary Players	Listed
LRC132	Study II for Diverse Instruments	Prelude Scherzo Fantasy Finale	1991	Ensemble	Clar Cello Piano Perc	00:18:00	Study II for Diverse Instruments (1991) suggests the cycle of emotions a person experiences in his struggle for survival in a confused society. This piece is eclectic in nature and employs various styles. Quartal harmonies, clusters, polychords and folk tunes are present throughout the work.	The Composer’s Library (Magni)			Listed
LRC74	Suite for a Young Man for solo piano	I. Proud and Solemn II. The First Kiss III. Beginning Dance Lessons IV. Clusteritis V. Cotillion	1980 (2000)	Solo	Piano	00:12:00	Suite for a Young Man (1980) consists of five movements, played without pause. It is programmatic, telling the story of a young man. In the first movement, “Proud and Solemn,” chordal sonorities in different rhythms and registers evoke the quiet pleasure the self-absorbed youth takes in himself. The music in “The First Kiss” combines tenderness and nervousness. “Beginning Dance Lessons” conveys the self-consciousness and frustration of youth, using surprising blue notes. The title “Clusteritis” constitutes a musical pun. A “cluster” is a group of tones, usually dissonant, played simultaneously; “itis” denotes an illness. Therefore, “clusteritis” is the illness of the young man, who compulsively and awkwardly spends his time in a group of his peers. In “Cotillion,” an elaborate, lengthy dance, the youth brings his entire personality together in a moment of joy. This piece was commissioned by pianist Daniel Sher.	Musica 21 Publishing		Daniel Sher, LSU pianist	Listed
LRC98	Suite for Two Pianos “Diakos Suite”	I. Legend II. Memories III. Dance IV. Song V. Festivities	1985	Ensemble	Piano(2)	00:12:00	Suite for Two Pianos is extracted from the incidental music written for the Greek play “Diakos,” performed in New York City by the “Lemos Theater” in 1961. This play deals with the life of the Greek hero Athanassios Diakos whose courageous actions inspired his compatriots in the early stages of the Greek revolution for freedom against Turkey in 1921. The music, which employs Greek rhythms and modal tunes, was meant to portray the character of rural Greece. There is a version of the work called “Diakos Suite for Orchestra.” The composer has also written another setting called “Four Greek Songs” for soprano and piano that employs the same musical ideas set to poetry by four different Greek poets.	The Composer’s Library (Magni)		Mangos Duo Piano	Listed
LRC78a	Suite No. 2 for orchestra	I. Proud and Solemn II. The First Kiss III. Beginning Dance Lessons IV. Clusteritis V. Cotillion	1981	Orchestral	Perc(2) Piano Orch	00:12:00	The five movements of the Suite are played without a great deal of pause. They are distinct, however, and the movement titles indicate the moods and impressions created by the music in each one. In the first movement, Proud and Solemn, chordal sonorities in different rhythms and different registers evoke the quiet pleasure the self-absorbed youth takes in himself. The second movement is The First Kiss, the music a combination of tenderness and nervousness. The composer cautions (in fact, about the entire Suite), "Don’t tell too much. The element of surprise will be lost." The music is very clear, however, as to whether or not this episode culminates successfully. The third movement is Beginning Dancing Lessons. One feels the self-consciousness and the short concentration span of the adolescents, perhaps some frustration with the discipline of the lessons, and a surprising blue note. The fourth movement is named Clusteritis. An "-itis" denotes an illness, and the movement title and the dominant musical technique employed herein constitute a musical pun. A "cluster" is a group of tones, usually dissonances or half-steps, which are played simultaneously. Whose sickness is this? Contemporary composition cannot eschew this technique, a necessary stage in the development of harmony; the young man at his stage in life seeks compulsively to spend his time in a group of his peers, no matter how awkward. The fifth movement is Cotillion. A cotillion is an elaborate dance or formal ball, and this is the longest and most brilliant movement of the Suite. The form is ABA with a Coda. The A section is the longest, the B section recapitulating material from the previous four movements, as though the youth in his moment of joy has brought his entire personality together, despite the troublesome parts. The Coda intensifies the A material and brings the whole to a climactic conclusion. The first four movements are balanced by the much longer Cotillion, which collects and synthesizes material from the entire Suite. The composer demonstrates his affection and faith in the essential health of a young man in the musical progression he creates, from Proud and Solemn, the youth at the verge of change, through change and problems, to the celebration in the important final movement. The entire Suite becomes a paean to life and to development. This piece was commissioned by Daniel Sher. He premiered the work on September 14, 1980, in the Community Concerts in Baton Rouge.	The Composer’s Library (Magni)			Listed
LRC78b	Suite No. 2 for wind orchestra (or full orchestra)	I. Proud and Solemn II. The First Kiss III. Beginning Dance Lessons IV. Clusteritis V. Cotillion	1990	Orchestral	WOrch/Orch Hrp Piano	00:12:00	Suite No. 2 for wind orchestra (of full orchestra) is a reorchestration of the piece Suite for a Young Man. The piece consists of five movements, played without pause. It is programmatic, telling the story of a young man. In the first movement “Proud and Solemn,” chordal sonorities in different rhythms and registers evoke the quiet pleasure the self-absorbed youth takes in himself. The music in “The First Kiss” combines tenderness and nervousness. “Beginning Dance Lessons” conveys the self-consciousness and frustration of youth, using surprising blue notes.The title “Clusteritis” constitutes a musical pun. A “cluster” is a group of tones, usually dissonant, played simultaneously; “itis” denotes an illness. Therefore, “clusteritis” is the illness of the young man, who compulsively and awkwardly spends his time in a group of his peers. In “Cotillion,” an elaborate, lengthy dance, the youth brings his entire personality together in a moment of joy.	The Composer’s Library (Magni)			Listed
LRC5	Symphony No. 1		1967 (1977)	Orchestral	Orch	00:12:00	Symphony No. 1 is a serial work characterized by sparse textures and pointallistic effects. This symphony later underwent significant revision and appears as Symphony No. 5 published by Conners Publication.	Seesaw Music Corporation			Listed
LRC91	Symphony No. 2 (Introspections) for orchestra	I. Images II. Idyll III. Insights-Identity	1983	Orchestral	Perc(2) Hrp Orch	00:23:25	Symphony No. 2 (1983) is in three movements, but has been conceived as a single unit. Autobiographical in nature, it is based on two principal ideas--a sonority of seven pitches, serialized and appearing throughout the composition in various combinations; and a Greek folk tune that the composer sang as a ten-year-old, heard as he remembers it after many years. The first material is dissonant, the second consonant, and together they create sequences of tension and resolution throughout the work. Symphony No. 2 was commissioned by the Baton Rouge Symphony Orchestra and is dedicated to its Board of Directors, Executive and Musical Directors, and my fellow symphony musicians.	Conners Publications	099	Baton Rouge Symphony Orchestra	Listed
LRC114	Symphony No. 3 for wind ensemble	I. Opening II. Pastoral III. Finale	1988	Orchestral	WOrch Hrp	00:25:00	Symphony No. 3 was commissioned by the LSU Wind Ensemble and was premiered at the fifty-first Music Educator’s National Conference in 1988. This piece is comprised of three movements and employs materials from earlier works by the composer, most notably, Byron’s Greece.	The Composer’s Library (Magni)		LSU Wind Ensemble	Listed
LRC145	Symphony No. 4 - Antigone	Ode I Interlude Ode III Paean	1994	Orchestral	Orch	00:15:22	Symphony No. 4 - Antigone is an orchestral suite derived from the opera Antigone and was completed in 1994. The composer began work on his three-act opera based on the play by Sophocles twenty years ago and completed it in 1989. It was premiered in 1993 by the Baton Rouge Opera. Since then he has written several orchestral suites derived from the opera. The opera is performed in three acts and follows the original story closely. The first act offers background information on the fight to the death between Antigone’s two brothers over the kingship of Thebes and Antigone’s plan to bury her brother Polyneices. The burial of her brother has been forbidden by the new king, her uncle Creon. The second act focuses on Antigone’s confrontation with Creon and the conflict between Creon and his son, Haimon. The final act centers on Creon’s realization that he has wronged Antigone and the tragic consequences of his rash actions.	The Composer’s Library (Magni)			Listed
LRC158	Symphony No. 5 for orchestra	I. Largo-Allegro II. Andante III. Allegro vivo	1996	Orchestral	Perc(3) Orch	00:13:23	The Symphony No. 5 (1996) is derived from an earlier work (Symphony No. 1) of the composer’s free atonal period. A twelve-tone set provides the motivic material that pervades the composition. The symphony begins with a slow introduction leading to a scherzo-like section. Half-step figurations and angular rhythmic motives control the flow of the movement. After an expressive song-like section, the scherzo reappears, leading to a frenzied conclusion. The second movement is calm and lyrical. A prominent three-note figure appears, at times elongated to an uneven number of notes, which along with some quick and short climaxes, produces an unstable feeling. However, the tranquility of the lyrical section prevails. The finale is highly rhytmic and vivacious. It is embellished by the colors of numerous percussion sounds, and short contrapuntal sections lead to dense climaxes. The movement ends with a rousing crescendo.	Conners Publications	098		Listed
LRC151	Tale for trumpet, trombone, and piano		1995	Ensemble	Trump Trom Piano	00:09:00	Tale (1995) is written in three uninterrupted movements. The entire composition is based on thematic material stated at the beginning of the piece by the trumpet. The interval of a third pervades the first movement. The second movement is a free cadenza that leads to a frenzied dance-like finale. A jazzy tune based on syncopation brings the composition to a close.	Conners Publications	065	Eleanor Brown	Listed
LRC183	The Dancing Turtle for reader, flute and string quintet Text: Adaptation of a Cajun folk tale by Judy Constantinides		1999	Vocal	Spkr Flute Violin(2) Viola Cello StrBs	00:16:00	The Dancing Turtle (1999) was written to celebrate the multicultural heritage of Louisiana. Cajun tunes, harmonic and melodic elements derived from New Orleans blues, and musical ideas from other world cultures comprise the basic body of the work. The piece employs an adaptation of a Cajun folk tale by the composer’s wife and professional librarian, Judy Constantinides. Composed for reader, flute, and string quintet, the work received its premiere and numerous repeat performances at the East Baton Rouge Parish Library System branches in June 1999 as part of a series of programs entitled “Let the Good Music Roll!” Judy Constantinides was the reader and the musical part was performed by members of the Louisiana Sinfonietta under the direction of the composer.	Conners Publications	241		Listed
LRC160	The Heavens are Telling for organ		1996 (1997)	Solo	Organ	00:05:45	The Heavens are Telling (1996, organ; 1988, choir) was inspired by the 19th Psalm. The piece is divided into two sections that alternate in the manner of an ABAB form. The first section is based on the plainsong, slow and modal in quality. The other is tonal, in G Major, quicker in tempo and with a noticeable steady beat. The solo organ version is extended slightly for instrumental purposes.	Conners Publications	113		Listed
LRC117	The Heavens are Telling for SATB choir and organ		1988 (1997)	Vocal	SATB Organ	00:05:30	The Heavens are Telling (1996, organ; 1988, choir) was inspired by the 19th Psalm. The piece is divided into two sections that alternate in the manner of an ABAB form. The first section is based on the plainsong, slow and modal in quality. The other is tonal, in G Major, quicker in tempo and with a noticeable steady beat.	Conners Publications	133		Listed
LRC146a	The Oracle at Delphi (Study III) for violin, clarinet, and piano		1994	Ensemble	Violin Clar Piano	00:09:15	The Oracle at Delphi is based on a folk-like modal tune that highlights the composer’s Greek heritage. This tune appears as a solo passage on the clarinet at the beginning. Parts of the tune and the intervals of fourths and fifths are worked out in various ways throughout the piece, thus creating new tonal possibilities. This piece is the first movement of the piece Trio No. 3.	Conners Publications	260	Verdehr Trio	Listed
LRC146b	The Oracle at Delphi (Study III) for violin, flute, and piano		1999	Ensemble	Violin Flute Piano	00:09:15	The Oracle at Delphi is based on a folk-like modal tune that highlights the composer’s Greek heritage. This tune appears as a solo passage on the flute at the beginning. Parts of the tune and the intervals of fourths and fifths are worked out in various ways throughout the piece, thus creating new tonal possibilities. This piece is the first movement of the piece Trio No. 3.	Conners Publications	244	Verdehr Trio	Listed
LRC1	Theme and Variations for Piano		1965	Solo	Piano	00:09:00	Theme and Variations for Piano is a modal work based on a famous Greek folk tune. It is extremely rhythmically energetic, with a harmonic language that uses chord planing and bitonal effects. The piece was published in Greece by Editions Philippe Nakas.	Editions Philippe Nakas			Listed
LRC125	Three A Cappella Folk Songs in Greek	1. At the Same Place (K. P. Kavafis) 2. Small Lemon Tree 3. From My Window (G. Souris)	1990	Vocal	SATB/Male Chorus	00:12:00	Three A Cappella Folk Songs in Greek uses earlier works written by the composer employing Greek poetry. The first folk song, “At the Same Place,” uses the music from the piece I Never Saw a Moor. The second folk song is the composer’s piece Small Lemon Tree. The third folk song “From My Window” uses the music from the piece Four Greek Songs.	The Composer’s Library (Magni)			Listed
LRC14b	Three Atonal Studies for Two Violins (Tres Etudios Atonales Para dos Violines)		1970	Ensemble	Violin(2)	00:04:00	These three pieces are drawn from the composer’s 20th Century Studies for Two Violins. The Three Atonal Studies are Webernesque in character.	Publications of the University of Veracruz			Listed
LRC14c	Three Modal Studies		1970	Ensemble	Violin(2)	00:10:00	The Three Modal Studies are the first three studies of the composer’s 20th Century Studies for Two Violins.	The Composer’s Library (Magni)			Listed
LRC109d	Three Odes from “Antigone”	I. Numberless are the World’s Numbers II. Love Unconquerable III. God of Many Names	1993	Vocal	Sop SATB Clar Cello Perc Piano	00:15:00	The composer began work on his three-act opera Antigone, based on the play by Sophocles, twenty years ago and completed it in 1989. It was premiered in 1993 by the Baton Rouge Opera. The opera is performed in three acts and follows the original story closely. The first act offers background information on the fight to the death between Antigone’s two brothers over the kingship of Thebes and Antigone’s plan to bury her brother Polyneices. The burial of her brother has been forbidden by the new king, her uncle Creon. The second act focuses on Antigone’s confrontation with Creon and the conflict between Creon and his son, Haimon. The final act centers on Creon’s realization that he has wronged Antigone and the tragic consequences of his rash actions. These odes are from the opera Antigone.	The Composer’s Library (Magni)			Listed
LRC12	Three Pieces for Percussion Quartet	Allegro Adagio Allegro Vivo	1968 (1978)	Ensemble	Perc(4)	00:09:00	The three movements of this student work have very different characters. The first movement is twelve-tone in style and conception. The second movement focuses on coloristic percussion effects. The last movement uses Greek modal dance tunes.	Seesaw Music Corporation			Listed
LRC14d	To Be Eclectic for Two Violins (Study 14)		1970	Ensemble	Violin(2)	00:04:00	To Be Eclectic for Two Violins is the fourteenth study from the composer’s 20th Century Studies for Two Violins. The title indicates selective influences from various musical styles and periods.	The Composer’s Library (Magni)			Listed
LRC116a	To the Three Graces for three clarinets		1988 (1995)	Ensemble	Clar(3)	00:04:15	To the Three Graces (1991, flutes; 1988, clarinets) was inspired by Botticelli’s painting “La Primavera.” The piece is based on a short figure of thirds. Its format is ABA. The outer sections are based on canonic imitation and the middle employs a folk-like tune.	Conners Publications	049		Listed
LRC116b	To the Three Graces for three flutes		1991 (1994)	Ensemble	Flute(3)	00:04:15	To the Three Graces (1991, flutes; 1988, clarinets) was inspired by Botticelli’s painting “La Primavera.” The piece is based on a short figure of thirds. Its format is ABA. The outer sections are based on canonic imitation and the middle employs a folk-like tune.	Conners Publications	027		Listed
LRC126b	Transformations for clarinet alone	I. Castles in the Air II. Recollections III. Tender Conversation IV. On the Playground	1990 (1996)	Solo	Clar	00:11:00	Transformations (1989, oboe, cham orch; 1990, clarinet, cham orch; 1993, piano) is a constant transformation of a single motive that the composer remembers from his youth when he did some work as a violinist for the Greek Cinema. Divided into four parts, the piece portrays four different scenes of simple everyday happenings.	Conners Publications	131		Listed
LRC126a	Transformations for clarinet and chamber orchestra	I. Castles in the Air II. Recollections III. Tender Conversation IV. On the Playground	1990	Orchestral	Clar ChOrch	00:13:15	Transformations (1989, oboe, cham orch; 1990, clarinet, cham orch; 1993, piano) is a constant transformation of a single motive that the composer remembers from his youth when he did some work as a violinist for the Greek Cinema. Divided into four parts, the piece portrays four different scenes of simple everyday happenings.	Conners Publications	199		Listed
LRC126c	Transformations for clarinet and piano	I. Castles in the Air II. Recollections III. Tender Conversation IV. On the Playground	1993 (1997)	Solo	Clar Piano	00:13:15	Transformations (1989, oboe, cham orch; 1990, clarinet, cham orch; 1993, piano) is a constant transformation of a single motive that the composer remembers from his youth when he did some work as a violinist for the Greek Cinema. Divided into four parts, the piece portrays four different scenes of simple everyday happenings.	Conners Publications	132		Listed
LRC120b	Transformations for oboe alone	I. Castles in the Air II. Recollections III. Tender Conversation IV. On the Playground	1989 (1996)	Solo	Ob	00:11:00	Transformations (1989, oboe, cham orch; 1990, clarinet, cham orch; 1993, piano) is a constant transformation of a single motive that the composer remembers from his youth when he did some work as a violinist for the Greek Cinema. Divided into four parts, the piece portrays four different scenes of simple everyday happenings.	Conners Publications	056	Mark Ostoich	Listed
LRC120a	Transformations for oboe and chamber orchestra	I. Castles in the Air II. Recollections III. Tender Conversation IV. On the Playground	1989	Orchestral	Ob ChOrch	00:13:15	Transformations (1989, oboe, cham orch; 1990, clarinet, cham orch; 1993, piano) is a constant transformation of a single motive that the composer remembers from his youth when he did some work as a violinist for the Greek Cinema. Divided into four parts, the piece portrays four different scenes of simple everyday happenings.	Conners Publications	198		Listed
LRC120c	Transformations for oboe and piano	I. Castles in the Air II. Recollections III. Tender Conversation IV. On the Playground	1993 (1996)	Solo	Ob Piano	00:13:15	Transformations (1989, oboe, cham orch; 1990, clarinet, cham orch; 1993, piano) is a constant transformation of a single motive that the composer remembers from his youth when he did some work as a violinist for the Greek Cinema. Divided into four parts, the piece portrays four different scenes of simple everyday happenings.	Conners Publications	057		Listed
LRC9	Trio No. 1 for Violin, Cello and Piano	Allegro Largo Allegro Vivo	1967 (1978)	Ensemble	Violin Cello Piano	00:09:30	Trio No. 1 is composed in serial technique, and all three movements are based on the same tone row. The work is dissonant harmonically and very complex rhythmically. The style is basically contrapuntal and employs traditional contrapuntal forms. The first movement contains a cannon, and the third movement a fugato. The overall form is reminiscent of the Italian overture in that the two exterior movements are fast, while the interior movement is slow.	Seesaw Music Corporation			Listed
LRC43b	Trio No. 2 for Cello, Clarinet and Piano	Impression Madness Dream Resignation	1982, rev. 1995	Ensemble	Cello Clar Piano	00:18:00	Trio No. 2 is a revised and expanded recomposition of the composer’s earlier piano sonata. Its harmonic language makes use of the quartal system.	The Composer’s Library (Magni)			Listed
LRC43a	Trio No. 2 for Violin, Cello and Piano	Impression Madness Dream Resignation	1976 (1988)	Ensemble	Violin Cello Piano	00:18:00	Trio No. 2 is a revised and expanded recomposition of the composer’s earlier piano sonata. Its harmonic language makes use of the quartal system. This piece is dedicated to the composer’s mother, Magdalini.	Seesaw Music Corporation			Listed
LRC165	Trio No. 3 for violin, alto saxophone and piano	I. Study III II. Finale	1998	Ensemble	Violin ASax Piano	00:17:00	Trio No. 3 (1995, clarinet; 1998, alto sax) is based on a folk-like modal tune that highlights the composer’s Greek heritage. This tune appears as a solo passage on the clarinet or the alto saxophone at the beginning. Parts of the tune and the intervals of fourths and fifths are worked out in various ways throughout the piece, thus creating new tonal possibilities. The first movement can be performed as a separate piece under the title Study III.	Conners Publications	215		Listed
LRC152	Trio No. 3 for violin, clarinet and piano	I. Study III II. Finale	1995	Ensemble	Violin Clar Piano	00:17:00	Trio No. 3 (1995, clarinet; 1998, alto sax) is based on a folk-like modal tune that highlights the composer’s Greek heritage. This tune appears as a solo passage on the clarinet or the alto saxophone at the beginning. Parts of the tune and the intervals of fourths and fifths are worked out in various ways throughout the piece, thus creating new tonal possibilities. The first movement can be performed as a separate piece under the title The Oracle at Delphi (Study III). This work was commissioned by the Verdehr Trio, who premiered it at Weill Recital Hall at Carnegie Hall in New York in 1995. The first movement, The Oracle at Delphi, won first prize at the Delius Composition Contest.	Conners Publications	026	The Verdehr Trio	Listed
LRC137	Trumpet Celebration		1991 (1995)	Ensemble	Trump(5) Trom Tuba Flute Ob Clar(3) Bsn Tuba	00:08:00	Trumpet Celebration is laid out in two sections, the first metered, the second unmetered.	Cimarron Music and Reproductions (Whaling Music Publishers)		International Trumpet Association for 1991 conference at LSU	Listed
LRC46	Two Songs for Christmas for mixed chorus and organ/piano (I Never Saw a Moor and The Lamb) Poetry: “I Never Saw a Moor” by Emily Dickinson “The Lamb” by William Blake		1977	Vocal	SATB Organ/Piano	00:07:00	Two Songs for Christmas is an arrangement of two separate vocal works, I Never Saw a Moor and Designs for Women’s Voices.	The Composer’s Library (Magni)			Listed
LRC188	Two Songs for voice and reader Poetry: Pinkie Gordon Lane		1997	Vocal	Voice Spkr	00:03:00	Two Songs for voice and reader is part of a larger stage work for reader, autoharp, soprano, and organ called Dreams, Earth, and Heavens.	Conners Publications	263		Listed
LRC103	Walls of Time for Soloists, Double Chorus and Orchestra Poetry: “The Builders” by H.W. Longfellow		1986	Orchestral	Sop Mez SATB Orch	00:15:00	Walls of Time was commissioned by the LSU School of Music for the inauguration of the new music building in 1986. The piece opens in a highly chromatic manner and employs frequent changes of harmonies. This portion is followed by a section which is rhythmic, diatonic, and very jubilant in character. The latter portion was later used by the composer in the work Tale for trumpet, trombone, and piano.	The Composer’s Library (Magni)		Commissioned by the LSU School of Music for the opening of new LSU Music Building	Listed
LRC6	Woodwind Quartet	Moderato Largo Allegro	1967 (1977)	Ensemble	Flute Ob Clar Bsn	00:05:30	The Woodwind Quartet is a serial work in three movements, moderate, slow, and fast. The instrumental writing is crisp and energetic, especially in the final movement.	Seesaw Music Corporation			Listed
LRC52	Woodwind Quintet	Allegro Andante Allegro	1978	Ensemble	WoodW(5)	00:11:00	Woodwind Quintet is an arrangement for woodwinds of the piece, Brass Quintet.	The Composer’s Library (Magni)			Listed