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 p