may i feel, op. 136

setting of E.E. Cummings poem as

duet for male & female voices & piano (3’00”)

premiered by Helene Williams & composer, Eastover, Lenox MA 6/24/98

also by Ronald Edwards, Janis Sabatino Hills & composer,

Bryant Library (LICA) 11/1/98

Jewish Haiku, op. 154

twelve 3-line settings for baritone, soprano & pno/orch:

#1 In the Beginning

#2 Manhood

#3 Nature

#4 Rain

#5 Weather

#6 Death

#7 Elijah

#8 Mantra

#9 Fish

#10 Wandering

#11 The Score

#12 After All

premiere Aug. 22, 2002 by Cary Bair & Helene Williams

with composer at the piano, Eastern Naturist Gathering,

Eastover Resort, Lenox, Mass.

Eve, op. 156

duet for soprano & tenor, a cappella (1’22”)

on text by Abel Meeropol;

premiered by Helene Williams & Gregory Mercer,

Queens College, Feb. 23, 2003;

recorded on Original Cast Records CD 6055

The Abel Meeropol Centennial Concert

What Is God?: An End to War, op. 180

Ode from Euripides’ Helen (2’30”) for 2 voices & piano

in Greek or in English translation by composer

(with thanks to Elizabeth Horton & Paul Rapoport) Autumn 2006

premiered by Helene Williams, Gregory Mercer & composer,2007

by Helene Williams, Katherine Wieckhorst & composer, 2008

Images for flute, clarinet & piano

It was only after I had already begun to compose the music that an appropriate title for this work occurred to me. It was the nature of the music rather than something I had seen or even imagined that drew me to what I realized was the suggestiveness of the music as it was unfolding. The melodic lines of the instruments evoked the lines that an artist might draw on paper or canvas; in the harmonic relationships between these lines I sensed a kind of three-dimensional depth that artists are able to convey even on a flat surface; in the timbres of the instruments as they pass from register to register I imagined the tints and shades an artist might select in conveying reflected light; by how the musicians would articulate the tones they played I imagined a painter’s varied brush strokes. Not long after I had completed the composition of Images I learned that there were painters who were also aware of a relationship between what is seen and what is heard when I discovered the musical qualities inherent in the work of Paul Klee and then composed a piece I called Reflections that attempted to convey these.

If the music of Images suggests concrete images to some, it may convey more elusive qualities to others. It was never my intention to compose program music in the manner of many Romantics who sometimes even imitated the sounds of nature in their work. The artistic life of Images, as I have conceived it, rests principally in the minds of those equally at ease in both the world of sight and the world of sound. Yet it cannot be denied that one can understand and enjoy this music without being aware of any of the qualities that I have suggested might be present. That way may be to appreciate the ever-changing character of the music as it intensifies and relaxes during the course of the work thus reflecting the kind of emotional life that we experience in our daily lives.