Stacy Garrop

  • Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. Stacy shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.

    New Music USA and the League of American Orchestras have chosen Stacy and the Champaign-Urbana Symphony Orchestra as one of five orchestra/composer pairings for Music Alive’s 2016-2019 residence program. During the residence, Stacy is having performances of her works with the Champaign-Urbana Symphony Orchestra while running several outreach programs for organizations and schools throughout the Champaign-Urbana region. She has also been chosen by Chicago Opera Theater to be the inaugural Emerging Opera Composer of Chicago Opera Theater’s new Vanguard Initiative for 2018-2020, during which she will compose a new chamber opera.

    Stacy has received numerous awards and grants including the Barlow Prize, Fromm Music Foundation Grant, three Barlow Endowment commissions, Detroit Symphony Orchestra’s Elaine Lebenbom Memorial Award, Boston Choral Ensemble Competition Contest, Utah Arts Festival Composition Competition, Pittsburgh New Music Ensemble’s Harvey Gaul Composition Competition, Raymond and Beverly Sackler Music Composition Prize, Sorel Medallion Choral Composition Competition, and competitions sponsored by the Civic Orchestra of Chicago, Omaha Symphony, and the New England Philharmonic. She has participated in reading session programs sponsored by the American Composers Orchestra and Minnesota Orchestra (the Composers Institute).

    Theodore Presser Company publishes her chamber and orchestral works; she self-publishes her choral pieces under Inkjar Publishing Company. Stacy is a recording artist with Cedille Records with pieces on ten CDs; her works are also commercially available on Blue Griffin Recording, Chanticleer, Chicago a cappella Records, Equilibrium, Innova, Peninsula Women’s Chorus, Ravello Records, Saxophone Classics, Summit Records, and Warner Classics.

    Stacy’s catalog covers a wide range, with works for orchestra, wind ensemble, choir, art song, various sized chamber ensembles (including string quartet, piano trio, and saxophone), and an evening-length oratorio. She has been commissioned and performed by the Albany Symphony, Detroit Symphony Orchestra, and Minnesota Orchestra by Capitol Saxophone Quartet, Gaudete Brass Quintet, and Kronos Quartet; and by Chanticleer, Chicago a cappella, Piedmont East Bay Children’s Chorus, San Francisco Choral Society, and Volti.

    Stacy has previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). After teaching composition full-time at Roosevelt University from 2000 to 2016, Stacy stepped down from her position to become a freelance composer. Stacy earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).

    For more information, please visit her website at or her all-things-composition blog at

  • Cover Title (Subtitle) Duration Instrumentation
    110-41816 Keyboard of the Winds
    8:30 Piano
    110-41782 Tango Gardel
    For Piano
    4:45 Piano
    110-41798 Teeny Tango
    For Piano
    1:15 Piano
    Chamber Ensemble
    23554 And All Time
    13:00 Narration: Fl. Ob. Cl. Bsn. Hn. Pno. Vln. Vla. Vcl. Cb. (Note: performers double as the narrators of the poems throughout the piece)
    114-41743 Athena Triumphant
    For String Quartet
    6:00 String Quartet
    114-41745 Bohemian Cafe
    For Wind Quintet And Double Bass
    8:00 Mixed Ensemble
    114-41319 Double Trouble
    For Two Violins and Piano
    10:00 Violin Duet
    114-41723 Flight Of Icarus
    For Saxophone Quartet
    14:00 Saxophone Quartet
    114-41106 Fragmented Spirit
    7:30 Alto Saxophone, Piano
    21717 Frammenti
    Five Miniatures for Chamber Ensemble
    11:00 Fl. Ob. Cl. Vln. Vla. Vcl. Cb. Pno.
    114-41587 Helios
    For Brass Quintet
    4:25 Brass Quintet
    114-41732 Jubilation
    For Violin, Cello, And Piano
    6:30 Piano Trio
    114-41827 Legends of Olympus
    19:00 Brass Quintet
    114-41115 Little Bits
    Five Miniature Movements for Clarinet, Violin, Cello, and Piano
    8:30 Mixed Quartet
    114-41154 Neurotichotomy
    8:00 Violin, Piano
    114-41811 Noir Vignettes
    13:00 Double Bass, Piano
    114-41863 Noir Vignettes
    13:00 Cello, Piano
    114-41826 Phoenix Rising
    for Soprano Saxophone
    9:00 Soprano Saxophone
    114-41388 Pieces Of Sanity
    For Alto Saxophone and Piano
    11:00 Alto Saxophone, Piano
    114-41930 Postcards from Wyoming
    13:15 Flute (Alto Flute), Clarinet in Bb (Bass Clarinet in Bb), Violin, Violoncello, Percussion, Piano
    10106 Remnants of Nine
    7:00 Fl.(dbl. Picc.) Cl. Vln. Vcl. Pno. Perc.
    114-41825 Sanctuary
    23:00 Piano Trio
    494-02617 Seven
    1030 Piano Trio
    114-41798 Silver Dagger
    For Bb Clarinet, Cello, And Piano
    5:00 Mixed Trio
    114-41943 Silver Dagger
    for piccolo/flute, cello, and piano
    5:00 Piccolo (Flute), Cello, Piano
    114-41406 Silver Dagger
    For Violin, Cello, and Piano
    4:40 Piano Trio
    114-41386 String Quartet No. 2 – Demons and Angels
    30:00 String Quartet
    114-41387 String Quartet No. 3: Gaia
    31:00 String Quartet
    114-41586 String Quartet No. 4: Illuminations
    Based On Paintings From The Book “The Hours Of Catherine Of Cleves” (c. 1440)
    19:00 String Quartet
    114-41771 Stubborn As Hell
    For Two Bb Clarinets
    5:40 Clarinet Duet
    114-41919 Stubborn As Hell
    For Two Bb Soprano Saxophones
    5:40 2 Soprano Saxophones in Bb
    114-41107 Tantrum
    For Eb Alto Saxophone and Piano
    14:00 Alto Saxophone, Piano
    114-41837 The Trumpets at Jericho
    5:30 Trumpet Duet with Piano
    114-41828 Torque
    13:00 Viola, Piano
    114-41211 Wicked
    13:30 Mixed Ensemble
    114-41945 Wrath
    14:15 Tenor Saxophone in Bb, Piano
    Works with Voice
    17383 In Eleanor’s Words
    For Mezzo-soprano and Large Chamber Ensemble
    27:00 Mezzo-sop.; 1(dbl. Picc.) 1 1(dbl.B.Cl.) 1 – 1 1 1(B.Tbn.) 0; 1Perc. Pno. Hp. Str.Quintet (
    111-40224 In Eleanor’s Words
    For Mezzo-Soprano and Piano
    27:00 Voice, Piano
    17403 Becoming Medusa
    (I. From ‘Mythology Symphony’)
    14:30 3(2,3 dbl. Picc.) 3 3(B.Cl.) 3 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    16923 Blurrr
    4:40 3(dbl. Picc.) 3(dbl. E.H.) 3(dbl. B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Str.
    17401 Inner Demons
    for String Orchestra
    11:30 String Orchestra
    17402 Mythology Symphony
    for Full Orchestra
    43:00 3 3 3 3 – 4 3 3 1; Timp. 3Perc. Hp. Pno. Str.
    22151 Pandora Undone
    (V. From ‘Mythology Symphony’)
    7:00 3(3 dbl. Picc.) 3(3 dbl. E.H.) 3 3(3 dbl. Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    22152 Penelope Waits
    (II. From ‘Mythology Symphony’)
    5:50 Mvt. II: 2 2 2 2 – 2 1 1 0; Timp. 2Perc. Hp. Str.
    10133 Shadow
    for Chamber Orchestra
    9:00 2(dbl. 2Picc.) 2 2 2 – 2 1 1 0; 1Perc. Str. (
    17405 The Fates of Man
    (IV. From ‘Mythology Symphony’)
    9:50 3(Picc.) 3(dbl. E.H.) 3(dbl. B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    17404 The Lovely Sirens
    (III. From ‘Mythology Symphony’)
    6:10 3 3 3 3 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    10078 Thunderwalker
    12:30 2(Picc.) 2 2 2 – 2 1 2(B.Tbn.) 0; Timp. 2Perc. Pno. Str.
    Chorus and Orchestra
    23506 Terra Nostra
    An Oratorio
    1:14:00 Sop., Mezzo-sop., Ten., Bar. Soli; SATB Choir, Children’s Choir; 1(dbl. Piccolo) 1 1 1 – 1 1 1 0; Perc. Pno. Str.
    Band / Wind Ensemble
    23530 Chariot of Helios
    for Wind Ensemble
    5:00 3Fl.(Fl.1 dbl. Picc.), 2Ob., E.H., 3Cl., B.Cl., 2Bsn., Cbsn., A.Sax., T.Sax., Bar.Sax. – 4Tpt., 4Hn., 2Tbn., B.Tbn., Euph., Tu.; Timp., 4Perc.
    23630 Mythology Suite
    for Wind Ensemble
    19:00 5Fl.(5 dbl. Picc.), 3Ob.(3 dbl. E.H.), 6Cl., B.Cl., 2Bsn., Cbsn.(or Cb.Cl.), S.Sax., A.Sax., T.Sax., Bar.Sax. – 4Hn., 3Tpt., 2Tbn., B.Tbn., 1Euph., Tu.; Timp. 4Perc. Hp. Pno
    23661 Pandora Undone
    (III. from “Mythology Suite”)
    7:30 5Fl.(5 dbl. Picc.), 3Ob.(3 dbl. E.H.), 6Cl., B.Cl., 2Bsn., Cbsn.(or Cb.Cl.), S.Sax., A.Sax., T.Sax., Bar.Sax. – 4Hn., 3Tpt., 2Tbn., B.Tbn., 1Euph., Tu.; Timp. 4Perc. Hp. Pno.
    23660 Penelope Waits
    (II. from “Mythology Suite”)
    5:50 5Fl.(5 dbl. Picc.), 3Ob.(3 dbl. E.H.), 6Cl., B.Cl., 2Bsn., Cbsn.(or Cb.Cl.), S.Sax., A.Sax., T.Sax., Bar.Sax. – 4Hn., 3Tpt., 2Tbn., B.Tbn., 1Euph., Tu.; Timp. 4Perc. Hp. Pno.
    23659 The Lovely Sirens
    (I. from “Mythology Suite”)
    5:40 5Fl.(5 dbl. Picc.), 3Ob.(3 dbl. E.H.), 6Cl., B.Cl., 2Bsn., Cbsn.(or Cb.Cl.), S.Sax., A.Sax., T.Sax., Bar.Sax. – 4Hn., 3Tpt., 2Tbn., B.Tbn., 1Euph., Tu.; Timp. 4Perc. Hp. Pno.

  • She’s got a flair for vivid orchestration and a taste for grand epic.
    –Joseph Dalton, Albany-Times Union

    …a very serious talent…
    –David Hurwitz,

    …a distinct American style of composition, and melody always stands in the forefront of contemporary dissonances.
    –Anna Reguero, Rochester Democrat & Chronicle

    …highly inspired. This is confident, big-boned music, scored with flair and wholly delightful.
    –Lawrence A. Johnson, Chicago Classical Review

    …sumptuously scored and meticulously crafted … [the] composer has a sharp ear for instrumental color and narrative form: She can tell a story.
    –Mark Stryker, Detroit Free Press

    The central movement, by turns introverted and extroverted, displayed the violins in lush double stops, sometimes together, sometimes in imitation. The ebullient finale featured scampering dance rhythms and mildly spiced harmonies. In all, an enjoyable, well-made piece that played to the strengths of all three players, not least their sense of spontaneous combustion.
    –John von Rhein, Chicago Tribune

    “Glorious Mahalia” matched [gospel singer Mahalia Jackson’s] words with music that was by turns mournful, tender, jaunty, and anxious…[saying] something of lasting value about not just a social movement of a particular era, but about human dignity and a nation’s moral aspirations.
    –David Wright, New York Classical Review

    “In Eleanor’s Words” is one of the most stunning song cycles that I have heard in recent years. …these are full-fledged melodic jewels that are, in my mind – and this is a bold statement – worthy to stand alongside the Twelve Songs of Emily Dickinson and Hermit Songs by Copland and Barber respectively, no mean accomplishment, and certainly not one that I utter easily. They are that good, and this is a remarkable series of vignettes that truly marry words and music into ‘art’ songs.
    –Steven Ritter, Audiophile Audition

    …attractive and approachable, but not facile.
    –David Hurwitz,

    This is a touching cycle of songs that bravely tackles vital questions of responsibility, both personal and governmental, that still have vital resonance today.
    –Colin Clarke, Fanfare

    Based on recorded evidence from two Cedille anthologies, the music of Stacy Garrop has seemed well worth following. This album, the first devoted entirely to her works, reveals both the talent and breadth promised in those earlier works. … [Eleanor] Roosevelt’s prose bubbles off the page with such natural grace that it’s to Garrop’s credit that the music is equally buoyant, shifting between narrative action and emotional reflection with quasi-operatic ease.
    –Ken Smith , Gramophone

    The title work, “In Eleanor’s Words,” amasses Eleanor Roosevelt newspaper columns into a work for mezzo-soprano and piano … Garrop adds plenty of drama with her music.
    –Anna Reguero, Rochester Democrat & Chronicle

    for Brass Quintet
    One can imagine any number of brass ensembles wanting to add this finely crafted piece to their repertory.
    –John von Rhein, Chicago Tribune

    Garrop is more concerned with pitches than with color for its own sake, but it is her rhythmic imagination and sense of humor that bring the piece to life. One successful exception is the brief Crumbs, an homage to George Crumb – complete with shimmering
    –Eric Valliere, Contemporary Music Review

    …[an] endlessly fascinating piece…
    –Chip Chandler, Amarillo Globe-News

    What impresses is the way Stacy Garrop sets it against a bleak modernist tolling … There is an intensity to the writing that is most involving. Expertly scored…
    –Colin Clarke, Fanfare

    …a beautifully crafted, haunting piece. … The interplay of quiet dissonances, sharp-edged phrasing and familiar, lyrical melody was compelling.
    –Wynne Delacoma, Chicago Classical Review

    An Appalachian folk-song set in an appropriate string-playing style, the piece falls into a long line of composers, from Haydn to Bartók, who’ve harnessed popular idioms for more cultivated ends. Without sounding like any of her antecedents, Garrop has hauled their spirit into the 21st century.
    –Ken Smith , Gramophone

    …extremely beautiful…
    –David Hurwitz,

    …a mini-masterpiece … the composer pulls out all the emotional stops making her quartet a stunning listening experience that must rank with some of the best chamber music being written today.
    –Bob McQuiston, Classical Lost and Found

    This quartet is sophisticated and smartly crafted … Few composers these days match her skill at using the push and pull of harmony, in combination with great rhythmic sense, to propel music through time and control mass and momentum. And fewer can develop musical ideas as convincingly as Garrop does here.
    –Tom Strini, Milwaukee Journal Sentinel

    The work is a striking act of catharsis, full of fierce and yearning gestures that evoke emotional combat…Garrop masterfully weaves slicing dissonances, sliding tones, anguished melodies and haunting harmonies into her riveting narrative.
    –Donald Rosenberg, The Cleveland Plain Dealer

    The music holds harrowing episodes of disturbing musical substance, harsh, inflamed, symbolic and reflective of demons seeking control. In contrast, there, too, are haunting, luminous passages of angelic calm, suggestive of healing moments. Garrop has successfully, inventively, potently recreated a mind at war with itself.
    –Peter Jacobi, Herald-Times

    …attempting to portray nothing less than the creation of the world, her musical audacity has much to admire. …Garrop knows where and how to place strings for maximum impact.
    –Ken Smith , Gramophone

    …an intense…yet brilliant composition of a Greek creation myth.
    –Anna Reguero, Rochester Democrat & Chronicle

    …her powerful Third String Quartet (“Gaia”)…takes its inspiration and primal energies from the Greek earth-goddess, provides the Biava Quartet with an ideal outlet for its youthful vibrancy.
    –John von Rhein, Chicago Tribune

    Garrop…has a real feel for the string quartet and how to use it, employing neither artifice nor contrived “how to write for strings” concepts … evocative without being pretentious and heart-on-sleeve beautiful in her abundant melodies, without shame, embarrassment, or apology. This is one terrific work…
    –Steven Ritter, Audiophile Audition

    The concert turned up a strong front runner in Garrop’s “Thunderwalker” … Cast in three sections, this is a big, bold tour de force for large symphony orchestra that seizes your attention at once and refuses to let go. Garrop knows her modernist antecedents but she also knows how to deploy a large, colorful orchestra confidently, indeed audaciously, lashing her ritualistic rhythms forward in a manner that leaves both the orchestra and audience exhilarated. Given the furious speed with which Garrop’s ideas rush by, one was grateful to be able to hear the piece a second time. I hope the CSO eventually takes it up, for it deserves wide circulation.
    –John von Rhein, Chicago Tribune

    “Thunderwalker”…crackled with energy and vitality. Its performance on this occasion demonstrated that Ms. Garrop is a skillful composer with an interesting message and all the necessary means to convey this message in a meaningful and effective manner … Ms. Garrop’s clever use of instrumentation added immeasurably to the effectiveness of the score. Her writing for strings, winds and percussion, and especially the excellent piano effects demonstrated a high level of mastery and artistry. Ms. Garrop is sending us a message that contemporary music is alive and well, and the message came through strong and clear.
    –Lyn Bronson, Peninsula Reviews (Monterey, CA)

    A blend of old and new styles, this bracing work uses dissonance and instrumental effects such as flute flutter tonguing, muted violins and altered piano tones for dramatic emphasis. [The director] had filled in the audience with details of the titled Thunderwalker’s activities, but this music can stand on its own.
    –Phyllis Rosenblum, Santa Cruz Sentinel

    The work that emerged as the most significant was Garrop’s aptly named “Thunderwalker.” In three movements following classical style — a fugue, a passacaglia, and a scherzo and trio — her music is all about primitive rituals… [it] started thunderously, with a frightening clatter of percussion and timpani and continued to build. Garrop’s orchestration was inventive and fascinating… Stacy Garrop’s music stretched the imagination and she is the one I would like most to hear from in the future.
    –William Furtwangler, Charleston Post and Courier (SC)

    “Thunderwalker” shines in concert … The overall impression was of something bracing, highly colored, strongly motivated… You could imagine an idealized kind of opening-credits music from Hollywood’s golden days sounding the way “Thunderwalker” does. But in this case it wasn’t Bernard Hermann composing it, but Stacy Garrop.
    –Richard Buell, Boston Globe

  • Impressions IMPRESSIONS
    Blue Griffin Recording (); October 4, 2016
    Performer(s): Nicholas Phillips, piano
    Work(s): Keyboard of the Winds
    Breaking BREAKING
    CD Baby (888295291170); January 1, 2016
    Performer(s): Christopher Creviston, alto saxophone; Hannah Creviston, piano
    Work(s): Pieces of Sanity
    Mythology Symphony MYTHOLOGY SYMPHONY
    Cedille Records (CDR 90000 160); November 13, 2015
    Performer(s): Chicago College of Performing Arts Orchestras; Alondra de la Parra, Markand Thakar, conductors
    Work(s): Mythology Symphony
    Illuminations ILLUMINATIONS
    Cedille Records (CDR 90000-156); August 1, 2015
    Performer(s): Avalon String Quartet
    Work(s): String Quartet No. 4: Illuminations
    Balance BALANCE
    Blue Griffin Recording (); July 23, 2015
    Performer(s): Capital Quartet
    Work(s): Flight of Icarus
    Incandescence INCANDESCENCE
    Saxophone Classics (CC4002); January 6, 2014
    Performer(s): Michael Duke, saxophone, David Howie, piano
    Work(s): Fragmented Spirit
    Chicago Moves CHICAGO MOVES
    Cedille Records (CDR 90000-136); November 13, 2012
    Performer(s): Gaudate Brass
    Work(s): Helios
    Notable Women NOTABLE WOMEN
    Cedille Records (CDR90000-126); August 30, 2011
    Performer(s): Lincoln Trio
    Work(s): Seven
    In Eleanor’s Words…In Stacy’s Notes: Music of Stacy Garrop IN ELEANOR’S WORDS…IN STACY’S NOTES: MUSIC OF STACY GARROP
    Cedille Records (CDR90000-122); February 22, 2011
    Performer(s): Lincoln Trio, Biava Quartet, Buffy Baggott, mezzo-soprano, Kuang-Hao Huang, piano
    Work(s): In Eleanor’s Words
    Silver Dagger
    String Quartet No. 3: Gaia
    Tangos for Piano TANGOS FOR PIANO
    Ravello Records (RR7808); August 26, 2010
    Performer(s): Amy Briggs
    Work(s): Teeny Tango
    Nicola Melville Melville's Dozen NICOLA MELVILLE MELVILLE’S DOZEN
    Innova Records (691); August 12, 2008
    Performer(s): Nicola Melville
    Work(s): Tango Gardél
    Composers in the Loft COMPOSERS IN THE LOFT
    Cedille Records (CDR90000-100); October 9, 2007
    Performer(s): The Biava Quartet
    Work(s): String Quartet No. 2: Demons and Angels
    Illuminations ILLUMINATIONS
    Equilibrium Records (EQ77); April 3, 2002
    Performer(s): The Ambassador Duo, Saxophone, Piano, Clifford Leaman, Derek Parsons
    Work(s): Tantrum

  • 2018: Barlow Prize
    2016: 3-year Music Alive Residency with the Champaign-Urbana Symphony Orchestra
    2016: Helen Coburn Meier & Tim Meier Foundation Achievement Award
    2016: Barlow Endowment Commission
    2016: Boston Choral Ensemble Composition Competition
    2016: Utah Arts Festival Chamber Ensemble Composition Competition
    2013: Sorel Medallion Choral Composition Contest
    2012: Fromm Foundation Grant
    2009-2010: Composer in residence with the Albany Symphony Orchestra
    2007: San Francisco Song Festival’s Phyllis C. Wattis Prize for Song Competition
    2006-2007: Detroit Symphony Orchestra’s Elaine Lebenbom Memorial Award
    2006-2007: Pittsburgh New Music Ensemble’s Harvey Gaul Composition Competition
    2005: Raymond and Beverly Sackler Music Composition Prize
    2005: Barlow Endowment commission
    2004-2005, 2006-2007: Composer-in-residence of Chicago’s Music in the Loft chamber music series
    2001: Barlow Endowment commission
    2000: Omaha Symphony Guild’s International New Music Competition
    2000: New England Philharmonic’s Call for Scores Competition
    2000: Chicago Symphony Orchestra First Hearing Composition Competition

  • And All Time
    for Chamber Ensemble
    Becoming Medusa
    (I. From ‘Mythology Symphony’)

    for Orchestra
    for Orchestra
    Chariot of Helios
    for Wind Ensemble
    Flight of Icarus
    for Saxophone Quartet
    Five Miniatures for Chamber Ensemble
    In Eleanor’s Words
    for Mezzo Soprano and Chamber Ensemble
    Inner Demons
    for String Orchestra
    Mythology Suite
    for Wind Ensemble
    Mythology Symphony
    for Orchestra
    Pandora Undone
    (III. From ‘Mythology Suite’)

    for Wind Ensemble
    Pandora Undone
    (V. From ‘Mythology Symphony’)

    for Orchestra
    Penelope Waits
    (II. From ‘Mythology Suite’)

    for Wind Ensemble
    Penelope Waits
    (II. From ‘Mythology Symphony’)

    for Orchestra
    Postcards from Wyoming
    for Flute, Clarinet, Violin, Cello, Percussion, and Piano
    Remnants of Nine
    for Mixed Ensemble
    for Chamber Orchestra
    String Quartet No. 4: “Illuminations”
    (score excerpts)
    Terra Nostra
    An Oratorio
    The Fates of Man
    (IV. From ‘Mythology Symphony’)

    for Orchestra
    The Lovely Sirens
    (I. From ‘Mythology Suite’)

    for Wind Ensemble
    The Lovely Sirens
    (III. From ‘Mythology Symphony’)

    for Orchestra
    for Orchestra