Richard Wernick

  • Born 1934 in Boston, Massachusetts, Richard Wernick’s many awards include the 1977 Pulitzer Prize in Music, and three Kennedy Center Friedheim Awards (First Prizes in 1986 and 1991, Second Prize in 1992) : the only two-time First Prize recipient. He received the Alfred I. Dupont Award from the Delaware Symphony Orchestra in 2000, and has been honored by awards from the Ford Foundation, Guggenheim Foundation, National Institute of Arts and Letters, and the National Endowment for the Arts. In 2006, he received the Composer of the Year Award from the Classical Recording Foundation, resulting in the funding for an all-Wernick CD on the Bridge label, featuring performances by David Starobin, William Purvis, the Juilliard String Quartet and the Colorado Quartet.

    Mr. Wernick became renowned as a teacher during his tenure at the University of Pennsylvania, where he taught from 1968 until his retirement in 1996, and was Magnin Professor of Humanities. He has composed numerous solo, chamber, and orchestral works, vocal, choral and band compositions, as well as a large body of music for theater, films, ballet and television. He has been commissioned by some of the world’s leading performers and ensembles, including the Philadelphia Orchestra, National Symphony Orchestra, the American Composers Orchestra, the Juilliard String Quartet and the Emerson String Quartet. From 1983 to 1989, he served as the Philadelphia Orchestra’s Consultant for Contemporary Music, and from 1989 to 1993, served as Special Consultant to Music Director Riccardo Muti.

  • Cover Title (Subtitle) Duration Instrumentation
    114-40190 Cadenzas and Variations II
    For Violin Alone
    8:00 Violin Unaccompanied
    114-40202 Cadenzas and Variations III
    For Cello Alone
    15:00 Cello Unaccompanied
    114-40921 Da’Ase
    For Solo Guitar
    3:00 Guitar Unaccompanied
    114-40898 Games Fo Menoretti
    For Unaccompanied Bassoon
    1030 Bassoon Unaccompanied
    114-40238 Partita
    For Violin Alone
    17:00 Violin Unaccompanied
    110-40748 Piano Sonata No. 2
    36:00 Piano Unaccompanied
    110-41797 Pieces Of Eight
    For Solo Piano
    16:00 Piano Unaccompanied
    410-41249 Sonata for Piano
    Reflections Of A Dark Light
    35:00 Piano Unaccompanied
    114-41215 Suite for Unaccompanied Cello
    10:00 Cello Unaccompanied
    114-41355 Suite No. 2 for Unaccompanied Cello
    12:00 Cello Unaccompanied
    114-41136 Telino’s Acrobats
    For Unaccompanied Bass Clarinet
    1030 Bass Clarinet Unaccompanied
    114-40614 Tintinnabula Academiae Musicae
    For Carillon
    3:00 Carillon
    114-41102 Trochaic Trot
    For Solo Guitar
    3:00 Guitar Unaccompanied
    Chamber Ensemble
    114-41408 Cadenzas and Variations I
    For Viola and Piano
    Viola with Piano
    114-40844 Cassation (Music Tom Jefferson Knew)
    For Oboe, Horn, and Piano
    12:00 Chamber Ensemble
    114-41301 Double Duo
    For Two Cellos and Two Pianos
    15:00 Chamber Ensemble
    114-41010 Duettino
    For Oboe and Violin
    114-41191 Duo
    For Cello and Piano
    414-41148 Fanfare for A Festive Occasion
    For Antiphonal Brass Choirs With Percussion – Score
    Brass Ensemble
    114-40575 In Praise Of Zephyrus
    15:00 Oboe with Instrument
    15924 Introits and Canons
    20:00 Fl. Cl. Bsn. Hn. Perc. Vln. Vla. Vcl. Cb.
    114-40467 Musica Ptolemeica
    For Brass Quintet
    15:00 Brass Quintet
    10097 The Name of the Game
    for Solo Guitar and Eleven Players
    20:00 Solo Guit.; 1(dbl. AltoFl.) 0 1(dbl.B.Cl.) 1 – 1 0 0 0; 2Perc. Hp. Str. (
    114-40169 New Directions for Strings
    Violin Duet
    114-41312 Quintet
    For Horn and Strings
    114-41315 Quintet for Winds
    12:00 Woodwind Quintet
    114-41263 Sextet
    For String Quartet, Double Bass and Piano
    14:00 Small Mixed Ensemble (2-9 Instruments)
    114-40375 Sonata for Cello and Piano
    (Portraits Of Antiquity)
    114-41659 Sonatina In The Shape Of A Pearl
    For Violin And Cello
    12:00 String Duet
    111-40126 Songs of Remembrance
    For Mezzo-soprano and Shawm/English Horn/Oboe
    20:00 Voice and Instrument
    114-40686 String Quartet No. 1
    12:00 String Quartet
    114-40602 String Quartet No. 2
    35:00 String Quartet
    114-40533 String Quartet No. 3
    22:00 String Quartet
    114-40576 String Quartet No. 4
    20:00 String Quartet
    111-40152 String Quartet No. 5
    With Soprano
    21:00 String Quartet
    114-41026 String Quartet No. 6
    15:00 String Quartet
    114-41323 String Quartet No. 7
    14:00 String Quartet
    114-41428 String Quartet No. 8
    23:00 String Quartet
    114-41733 String Quartet No. 9
    19:00 String Quartet
    114-40884 Trio
    For Violin, Cello, and Piano
    20:00 Piano Trio
    114-41555 Trio No. 2
    “The Traits of Messina”
    15:00 Piano Trio
    114-41025 Violin Sonata
    For Violin and Piano
    21:00 Violin with Piano
    114-41870 Woodwind Quintet No. 2
    Wind Quintet
    Choral / Vocal
    416-41182 And On The 7th Day
    15912 And on the Seventh Day
    (Sacred Service)
    25:00 Cantor (Low Voice) and Percussion
    111-40112 Ball Of Sun
    For Voice And Piano
    3:00 Voice, Piano
    111-40162 Contemplations Of The Tenth Muse
    Book 1
    20:00 Soprano, Piano
    111-40163 Contemplations Of The Tenth Muse
    Book 2
    20:00 Soprano, Piano
    312-41871 The Devil’s Game
    A Brief Meditation On “The Devil’s Verse”
    3:30 SATB
    312-41535 The Eleventh Commandment
    A Silly Piece With A Serious Message, Along With Apologies To A Few Old Friends – S.A.T.B, With Piano Or Organ
    3:30 SATB
    312-41627 Fragments Of Prophecy
    416-41180 Haiku Of Basho
    15922 Haiku of Basho
    for Soprano, 7 Players and Tape
    14:00 Fl. Cl. Vln. 2Perc. Pno. Cb.
    111-40123 I, Too…
    For Voice And Piano
    2:00 Voice and Piano
    416-41179 Kaddish Requiem – Small Score
    15925 Kaddish-Requiem
    for Mezzo-soprano, Chamber Ensemble and Tape
    18:00 Solo Mezzo-sop.; Picc. Cl. B.Cl. Vln. Vcl. Sitar, 2Perc. Pno.; Tape
    15926 Lyrics from 1 X 1
    for Soprano, Vibraphone and String Bass
    111-40247 Moonsongs From The Japanese
    For Soprano and Tape (Or 3 Solo Sopranos)
    5:00 Vocal Ensemble
    111-40102 The Oracle of Shimon Bar Yochai
    For Soprano, Cello and Piano
    14:30 Mixed Ensemble
    111-40107 Oracle II
    For Soprano, Oboe, and Piano
    12:00 Chamber Ensemble
    416-41112 A Poison Tree
    For Soprano, Flute, Clarinet In A, Violin, Cello, and Piano
    15929 A Poison Tree
    for Soprano and 5 Players
    12:00 Fl. Cl. Vln. Vcl. Pno.
    111-40083 A Prayer for Jerusalem
    For Mezzo-Soprano and Percussion
    12:00 Voice and Instrument
    111-40213 A Song for Phil
    For Mezzo-Soprano and Violin
    5:00 Voice with Instrument
    111-40214 Tristram Redux
    For Baritone, Percussion and Guitar
    111-40132 Two for Jan
    For Soprano, Mezzo-soprano, Oboe/English Horn, Bass Clarinet and Cello
    7:00 Chamber Ensemble
    111-40137 V’Sham’Ru
    The Covenant Of The Sabbath – From “And On The Seventh Day…” A Service for Sabbath Eve – for Voice and Melody Instrument
    2:20 Voice, Violin, Viola, Vibraphone, Harp, Guitar, Clarinet
    15910 Aevia
    12:00 4 2 3 2 – 4 3 3 1; Timp. 4Perc. Str.
    15923 Hexagrams
    20:00 2 2 2 2 – 2 0 0 0; Str.
    15928 Musica da camerata
    20:00 1 2 0 2 – 2 0 0 0; Str.
    15930 Symphony No. 1
    21:00 4(Picc.) 3(E.H.) 4(EbCl./B.Cl.) 4(2Cbsn.) – 6 3 3 2; 2Timp. 3Perc. Pno. Syn. Hp. Str.
    Orchestra with Soloist(s)
    15911 …and a time for peace
    (…v’eyt shalom) for Mezzo-soprano and Orchestra
    15:00 Solo Mezzo-sop.; 3(Picc./Alto Fl.) 3(E.H.) (EbCl./B.Cl.) 4(Cbsn.) – 4 3 4(B.Tbn.) 0; Timp. 3Perc. Pno.(Cel.) Hp. Str.
    15915 Concerto for Cello and Ten Players
    26:00 Ob. B.Cl. Cbsn. Hn. Tpt. Tbn. Vln. Cb. Hp. Perc.
    15914 Concerto No. 2 for Cello and Orchestra
    25:00 Solo Vcl.; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Hp. Str.
    15921 Concerto for Saxophone Quartet and Orchestra
    25:00 4Sax. soli; 3 3 3 3 – 4 3 3 1; Timp. 3Perc. Pno.(Cel.) Hp. Str.
    15918 Concerto for Violin and Orchestra
    24:30 Solo Vln.; 4(Picc.) 3(E.H.) 4(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 4Perc. Cel. Hp. Str.
    15916 Piano Concerto
    3030 Solo Pno.; 3(Picc.) 3(E.H.) 3 3(Cbsn.) – 4 3 4 1; Timp. 4Perc. Hp. Str.
    15932 Symphony No. 2
    for Solo Soprano and Orchestra
    21:00 Solo Sop.; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno.(Cel.) Hp. Str.
    15933 Viola Concerto: Do Not Go Gentle
    20:00 Solo Vla.; String Quintet; 1 1 1 1 – 2 2 1 1; Timp. Perc. Hp. Str.
    15934 Visions of Terror and Wonder
    for Mezzo-Soprano and Orchestra
    30:00 Solo Mezzo-sop.; 4 4 4 4 – 4 3 3 1; 2Timp. 5Perc. Cel. Hp. Str.
    Band / Wind Ensemble
    16873 Studies for Elementary Band

  • Wernick has a vision of music’s future, and no musician is more actively involved in realizing that vision.
    –Wigler , Baltimore Sun

    The divine order of the world is evoked by the composer in a complex, thoughtful construct … no one would be able to deny the acknowledgement of a noble spell; as well as the undeniable impression of finding one’s self engaged with a very original personality.

    …a demonstration of fine creativeness composed to correspond with the apocalyptical verses with music. …a martial design that is obsessive and brilliant, while in the center of everything there appears the delicate cameo that is entrusted to a sextet that radiates a phosphorescent post-Webern color over the delicate Danteian Intermezzo.
    –La Republica

    It is one of the finest pieces in the contemporary idiom.
    –Sable, NATS Bulletin

    A dramatic, virtuoso number in eight contrasting sections (theme, five variations, and two cadenzas) generated by the unifying thematic material, the progressive sections, played without pause, stress natural and false harmonics, left hand pizzicato and utilize a broad vocabulary of bowings in all degrees of dynamic shadings from the quietest pianissimo to the wildest fortissimo… There is a fascinating element of discovery in this work which makes imaginative use of the materials appropriate to the violin idiom, suitable for very advanced violinists with facile technique, versatile bow control, and a desire for adventure.
    –American String Teacher

    Ingenious writing for solo violin which uses every conceivable technical resource including a couple that the composer has invented himself.
    –Making Music

    …an absolutely brilliant and compelling composition.
    –Black, Market Square (Pittsburgh)

    …a true chamber piece where each of the players brings something special to their many solo gestures. …“Passacaglia” puts the listener on edge when it begins with otherworldly percussion and string unisons. And then comes the long cadenza. Breathing heavily, our hero snarls, cries, and reflects, and by the end of his monologue all he seems to have left is one low note he can’t help but repeat. A solemn open fifth in Wernick’s colorful orchestration provides the work a mythic sense of closure, the kind that’s both solid as stone and begs to live out its magic again.
    –Jarrett Hoffman,

    Clearly modern in its idiom but in touch with traditional ideals, styles and forms of concerto writing, this three-movement work combines technical brilliance (in both the piano and orchestra) with intense emotional communication… a beautifully balanced work.
    –Mclellan , Washington Post

    Richard Wernick’s music… seems to be about energy, its rise and fall, the stresses that pull it towards velocity and stasis… Tonal and near-tonal lines alternate with dissonant counterpoints, often punctuated by clusters for dramatic effect. Wernick’s use of rhythm is impeccable, as is his sense of dramatic timing.

    …a notably less abstract work than many of Mr. Wernick’s recent scores… His themes, particularly those introduced by the piano, are often angular, and tend to evade tonal centers. But this time the evasion is sneakier: Several of Mr. Wernick’s melodies begin as comfortably diatonic melodies, and slowly break away. And his lush scoring and avoidance of stretches of overtly dissonant harmony are all the more seductive once one realizes how far afield Mr. Wernick has led the willing ear… The 30-minute work’s most appealing quality though, is its sense of coherent narrative flow… In each of the three movements, themes are fully developed and are passed back and forth between the piano and the orchestra in the kind of lively dialogue listeners have largely despaired of hearing in contemporary concertos.
    –Allan Kozinn, New York Times

    …is alternately amusing and sentimental. Interestingly, the piece has no jazz or pop music in it, and the resulting sonorities, in which the saxes play mostly without the usual vibrato, are fascinating.
    –Zakariasen, Daily News (Philadelphia)

    …a strong, tightly made piece rich in instrumental invention and altogether quite moving in effect.
    –Buell, Boston Globe

    …an orchestral craftsman who has absorbed the gamut of modernist techniques into an idiom both eclectic and communicative. Wernick states bold lyric and dramatic oppositions and then boldly reconciles them in a big, eruptive, brilliantly scored, rhythmically agitated finale that is the musical heart of the work… In sum, Wernick’s concerto seemed a 25-minute odyssey from darkness to light that was worth taking. It has serious ideas to communicate and it communicates them well.
    –John von Rhein, Chicago Tribune

    Richard Wernick’s music, which once appeared a reconciliation of modernism with the mainstream, now seems positively defiant in standing up for dissonant chords and melodies that have no obvious tonal home. Monday night’s first performance… brought out the virtues of persistence.
    –New York Times

    …eager to please both the untutored and the sophisticated listener… a genuinely ambitious score with some beautiful moments in it.
    –Horowitz, New York Times

    …a piece that works its magic by having the pairs of pianists and cellists begin in tandem and gradually find their independence. Subtle changes of texture were everything.
    –Allan Kozinn, The New York Times

    for Cello and Piano
    Wernick here succeeds in re-imagining the potential of the instruments he is writing for, and forging for them what seems at once a totally original and an absolutely compelling musical language.
    –Bernard Jacobson, Seen & Heard: Music Web

    …a short Scherzo for a middle movement, cut off in midstream as he was composing on 9/11, after which comes a movement called ‘Remembrance’. The contrast between that and the foregoing is powerful, yet tasteful and well balanced; and the music returns finally to the opening. This is a fine piece.
    –D. Moore , American Record Guide

    …incorporates a host of rigorous musical procedures, including canons of various sorts a chaconne, a passacaglia and an isorhythmic obbligato. But it is the work’s broad Romantic gestures that make the most striking first impression… Mr. Wernick skillfully uses instrumental color to reinforce the shifting moods of his 18-minute composition.
    –Horowitz, New York Times

    Sunday evening I heard a piece of contemporary music so compelling, so intellectually stimulating, to which I also had such a strong emotional response, that I was literally drawn back to the Monday evening performance — there was simply no other choice. That work was “Kaddish Requiem” by composer Richard Wernick… an example of protest music which works and will endure. It does so because it captures a universal emotion of lament, a contrast of violence and serenity in musical language which can be understood on many levels.
    –Pearson, Albuquerque Journal

    …intensely eloquent. Its central section is based on the Jewish “Kaddish” rite for the dead, and by the use of tape collage effects it transforms a single cantor’s voice into a striking chorus of grief for human suffering. This section is bracketed by others that draw motifs from Brahms’ German Requiem, Renaissance polyphony and the Catholic Requiem Mass, and the composer’s integration of these works into a single entity with a unified impact is an impressive tour de force.
    –Washington Post

    The invisible but very real harmonies and organization of the piece gave it a rationality that pleased listeners and drew praise, we discovered later, from the performing musicians.
    –Dunning, Santa Fe Reporter

    If you enjoy music that stirs the intellect and the emotions — that stretches your imagination as you listen, don’t miss tonight’s performance. The music stands on its own without the need for explanation or a story to tie it to an event in American life… the emotional effect is enough to move the listener to tears. The reason for this impact lies with Wernick’s genius, and the reality of it was apparent from the expressions of the people in the audience Sunday.
    –Hillerman, The New Mexican

    …I’m prepared now to declare Richard Wernick’s “Kaddish-Requiem” a masterpiece.
    –Lamply, WAPV-TV (Washington, DC)

    …has something to say, and says it strongly and affectingly.
    –Salzman, Stereo Review

    …a dark work, and a beautiful one. The text asks God to manifest his presence in the midst of human suffering. And Wernick uses his vocal and instrumental forces in an equally uncompromising way, challenging and ultimately rewarding the audience.
    –Wigler , Baltimore Sun

    Wernick’s “Piano Sonata No. 2” [offers] meditative breathing spaces amid busy passages that suggest a Bach toccata filtered through a modernist, atonal sensibility… as in Wernick’s best music, this one seems to be powered by a deep inner experience.
    –David Patrick Stearns, The Philadelphia Inquirer

    … jaunty, angular melody and broad-arching structure… subtle shadings of dynamic range and variety of colors in the piano.
    –Gail Wein, Washington Post

    … an ingeniously constructed piece in three parts… Wernick’s piano writing [has] an emotional expansiveness – powerfully articulated – which seems entirely personal. …cordially recommended…
    –Richard Whitehouse, Gramophone

    …bristles with contrapuntal intensity… Motifs volley back and forth at the work’s beginning, and there is a nervous sense of humor in the finale. Between those sections comes a transfixing slow movement, which conveys a sense of vastness with astonishingly few notes. …the sonata deserves to be heard more widely.
    –David Weininger, The Boston Globe

    The predominantly melodic atonality, a Wernick hallmark,…is quite effective.
    –Vance R. Koven, The Boston Music Intelligencer

    …a memorable score … capable of commanding not only respect but deep affection.
    –American Record Guide

    …enormously resonant … It expands naturally as an exploration of evocative ideas.
    –Webster, Philadelphia Inquirer

    …an intriguing mixture of seriousness and playfulness … has a quality of broad romantic gesture, without sounding old-fashioned. It is personal and rich in contrast without being extravagant … grandly conceived.
    –Haagsche Courant

    Because the motifs are so clear, they provide structural guides that strengthen the work. The effect is that of a serious unity – instruments and voice creating a portrait of the poet’s thought.
    –Webster, Philadelphia Inquirer

    …[Hannah Senesh’s] poignant, anguished verses hover above Wernick’s haunting string lines…
    –Donald Rosenberg, Gramophone

    …complex rhythms with abrupt dynamic shifts … wide range of string colors and effects … it consistently sustained interest.
    –Geoffrey Wieting, The Boston Music Intelligencer

    …The Symphony breathes with a sense of freedom, ease and maturity … The piece has melodies to recall, colors to savor and a form that satisfies.
    –Webster, Philadelphia Inquirer

    …gives the impression of a man who harbors a great secret sorrow but has found the means to express it succinctly, with dignity and simple eloquence… The clarity and purpose of his symphony are never in doubt, from that awesome first sound — a pedal point on the bass instruments that seems to well up from somewhere in the center of the earth — through a logically ordered and organic treatment of time, material, and gesture that leads us back to the source.
    –Davis, The New Yorker

    The work’s two movements – a tumultuous scherzo followed by a gentle slow movement – provide a natural dramatic structure depicting death and resolution.
    –Dobrin, Philadelphia Inquirer

    …undeniably music of craft, drama and splendid invention… holds dramatic power in using the orchestra like a dynamo.
    –Musical America

  • Myth and Tradition MYTH AND TRADITION
    Oberlin Music (OC17-03); August 18, 2017
    Performer(s): Darrett Adkins, cello; Oberlin Contemporary Music Ensemble; Timothy Weiss, conductor
    Work(s): Concerto for Cello and Ten Players
    Richard Wernick: Volume 3 RICHARD WERNICK: VOLUME 3
    Bridge Records (9408); October 11, 2016
    Performer(s): Kate Eakin, oboe; Laurie Bloom, bass clarinet; Drew Thompson, contra bassoon; Matt Bronstein, French Horn; Chris Hasselbring, trumpet; Nicholas Pine, trombone; Marcia Labella, harp; Matthew Coley, per…
    Work(s): Concerto for Cello and Ten Players
    Piano Trio No. 1
    25 X 25: Twenty-Five Premieres for Twenty-Five Years 25 X 25: TWENTY-FIVE PREMIERES FOR TWENTY-FIVE YEARS
    Soundbrush Records (); October 8, 2013
    Performer(s): New York Virtuoso Singers, conducted by Harold Rosenbaum
    Work(s): The Devil’s Game
    Wernick / Mays WERNICK / MAYS
    CRI/New World Records (CD 344); December 1, 2010
    Performer(s): Jan DeGaetani and Glenn Steele
    Work(s): A Prayer for Jerusalem
    The Music of Richard Wernick THE MUSIC OF RICHARD WERNICK
    Bridge Records (9303); June 24, 2009
    Performer(s): Juilliard String Quartet, Colorado Quartet, William Purvis, horn, David Starobin, guitar, International Contemporary Ensemble, Cliff Colnot, conductor
    Work(s): Quintet
    String Quartet No. 6
    The Name of the Game
    Trochaic Trot
    Spectrum: New American Music SPECTRUM: NEW AMERICAN MUSIC
    Nonesuch Records (CD 79222); August 1, 2006
    Performer(s): Contemporary Chamber Ensemble, Arthur Weisberg, cond., and Jan DeGaetani, mezzo-soprano
    Work(s): Kaddish-Requiem
    Starer / Wernick / Wilson STARER / WERNICK / WILSON
    CRI/New World Records (CD 618); August 1, 2005
    Performer(s): Walter Trampler, viola, Pro Arte Chamber Orchestra of Boston, Leon Botstein, conductor
    Work(s): Concerto for Viola: Do Not Go Gentle
    American Contemporaries AMERICAN CONTEMPORARIES
    Deutsche Grammophon (437-537-2); January 3, 2005
    Performer(s): Emerson String Quartet
    Work(s): String Quartet No. 4
    20th Century Consort 20TH CENTURY CONSORT
    Smithsonian Collection (N027); January 1, 2004
    Performer(s): 20th Century Consort, Christopher Kendall cond., and Lucy Shelton, soprano.
    Work(s): A Poison Tree
    From Hammers to Bytes FROM HAMMERS TO BYTES
    Bridge Records (9131); April 25, 2003
    Performer(s): Lambert Orkis, piano
    Work(s): Piano Sonata No. 2
    Neva Pilgrim, Soprano NEVA PILGRIM, SOPRANO
    CRI/New World Records (CD 817); October 12, 1999
    Performer(s): Contemporary Chamber Players, Univ. of Chicago, composer cond., and Neva Pilgrim.
    Work(s): Haiku of Basho
    Newdance: 18 New Dances for Solo Guitar NEWDANCE: 18 NEW DANCES FOR SOLO GUITAR
    Bridge Records (9084); September 15, 1998
    Performer(s): David Starobin, guitar
    Work(s): Da’ase
    Richard Wernick RICHARD WERNICK
    Bridge Records (9082); August 18, 1998
    Performer(s): Symphony II, Lambert Orkis, piano, Gregory Fulkerson, violin, Larry Rachleff, Richard Wernick, conductors
    Work(s): Concerto for Piano and Orchestra
    Concerto for Violin and Orchestra
    Scott Kluksdahl: Lines for Solo Cello SCOTT KLUKSDAHL: LINES FOR SOLO CELLO
    CRI/New World Records (CD 762); November 18, 1997
    Performer(s): Scott Kluksdahl, cello
    Work(s): Cadenzas and Variations III
    Contemporary Music for Brass Quintet CONTEMPORARY MUSIC FOR BRASS QUINTET
    Albany Records (TROY233); March 18, 1997
    Performer(s): Chestnut Brass Company.
    Work(s): Musica Ptolemica
    Cadenzas and Variations CADENZAS AND VARIATIONS
    CRI/New World Records (CD 80313); October 20, 1995
    Performer(s): Gregory Fulkerson
    Work(s): Cadenzas and Variations II
    Lambert Orkis plays Music of Crumb and Wernick LAMBERT ORKIS PLAYS MUSIC OF CRUMB AND WERNICK
    Bridge Records (9003); October 28, 1992
    Performer(s): Lambert Orkis, piano
    Work(s): Piano Sonata No. 1: Reflections of a Dark Light
    Wernick / Boros WERNICK / BOROS
    CRI/New World Records (CD 379); January 1, 1978
    Performer(s): Contemporary Chamber Players, Univ. of Chicago, composer cond., and Neva Pilgrim
    Work(s): Moonsongs from the Japanese
    Peter Maxwell Davies / Richard Wernick PETER MAXWELL DAVIES / RICHARD WERNICK
    Nonesuch Records (71342); January 1, 1977
    Performer(s): Jan DeGaetani and Philip West
    Work(s): Songs of Remembrance

  • 2006: Composer of the Year Award (Classical Recording Foundation)
    2000: Alfred I Dupont Award
    1992: Kennedy Center Friedheim Award, 2nd Place
    1991: Kennedy Center Friedheim Award, 1st Place
    1986: Kennedy Center Friedheim Award, 1st Place
    1982: National Endowment for the Arts Composition Grant
    1979: National Endowment for the Arts Composition Grant
    1977: Pulitzer Prize in Music
    1976: Guggenheim Fellowship
    1976: National Institute of Arts and Letters Music Award
    1976: Naumberg Recording Award
    1975: National Endowment for the Arts Composition Grant
    1962-1964: Ford Foundation Composition Grants

  • “…and a time for peace”
    for Mezzo-Soprano and Orchestra
    Concerto for Cello and 10 Players
    Introits and Canons
    for Nine Players
    for Mezzo-soprano, Chamber Ensemble, and Tape
    String Quartet No. 9
    The Name of the Game
    for Solo Guitar and Eleven Players
    Viola Concerto
    (“Do Not Go Gentle…”)