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 Solo Cadenzas and Variations IIFor Violin Alone 8:00 Violin Unaccompanied Cadenzas and Variations IIIFor Cello Alone 15:00 Cello Unaccompanied Da’AseFor Solo Guitar 3:00 Guitar Unaccompanied Games Fo MenorettiFor Unaccompanied Bassoon 1030 Bassoon Unaccompanied PartitaFor Violin Alone 17:00 Violin Unaccompanied Piano Sonata No. 2 36:00 Piano Unaccompanied Pieces Of EightFor Solo Piano 16:00 Piano Unaccompanied Sonata for PianoReflections Of A Dark Light 35:00 Piano Unaccompanied Suite for Unaccompanied Cello 10:00 Cello Unaccompanied Suite No. 2 for Unaccompanied Cello 12:00 Cello Unaccompanied Telino’s AcrobatsFor Unaccompanied Bass Clarinet 1030 Bass Clarinet Unaccompanied Tintinnabula Academiae MusicaeFor Carillon 3:00 Carillon Trochaic TrotFor Solo Guitar 3:00 Guitar Unaccompanied Chamber Ensemble Cadenzas and Variations IFor Viola and Piano Viola with Piano Cassation (Music Tom Jefferson Knew)For Oboe, Horn, and Piano 12:00 Chamber Ensemble Double DuoFor Two Cellos and Two Pianos 15:00 Chamber Ensemble DuettinoFor Oboe and Violin 6:00 DuoFor Cello and Piano 20:00 Fanfare for A Festive OccasionFor Antiphonal Brass Choirs With Percussion – Score Brass Ensemble In Praise Of Zephyrus 15:00 Oboe with Instrument Introits and Canons 20:00 Fl. Cl. Bsn. Hn. Perc. Vln. Vla. Vcl. Cb. Musica PtolemeicaFor Brass Quintet 15:00 Brass Quintet The Name of the Gamefor 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. (126.96.36.199.1) New Directions for Strings Violin Duet QuintetFor Horn and Strings Quintet for Winds 12:00 Woodwind Quintet SextetFor String Quartet, Double Bass and Piano 14:00 Small Mixed Ensemble (2-9 Instruments) Sonata for Cello and Piano(Portraits Of Antiquity) 16:30 Sonatina In The Shape Of A PearlFor Violin And Cello 12:00 String Duet Songs of RemembranceFor Mezzo-soprano and Shawm/English Horn/Oboe 20:00 Voice and Instrument String Quartet No. 1 12:00 String Quartet String Quartet No. 2 35:00 String Quartet String Quartet No. 3 22:00 String Quartet String Quartet No. 4 20:00 String Quartet String Quartet No. 5With Soprano 21:00 String Quartet String Quartet No. 6 15:00 String Quartet String Quartet No. 7 14:00 String Quartet String Quartet No. 8 23:00 String Quartet String Quartet No. 9 19:00 String Quartet TrioFor Violin, Cello, and Piano 20:00 Piano Trio Trio No. 2“The Traits of Messina” 15:00 Piano Trio Violin SonataFor Violin and Piano 21:00 Violin with Piano Woodwind Quintet No. 2 Wind Quintet Choral / Vocal And On The 7th Day And on the Seventh Day(Sacred Service) 25:00 Cantor (Low Voice) and Percussion Ball Of SunFor Voice And Piano 3:00 Voice, Piano Contemplations Of The Tenth MuseBook 1 20:00 Soprano, Piano Contemplations Of The Tenth MuseBook 2 20:00 Soprano, Piano The Devil’s GameA Brief Meditation On “The Devil’s Verse” 3:30 SATB The Eleventh CommandmentA 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 Fragments Of Prophecy Haiku Of Basho Haiku of Bashofor Soprano, 7 Players and Tape 14:00 Fl. Cl. Vln. 2Perc. Pno. Cb. I, Too…For Voice And Piano 2:00 Voice and Piano Kaddish Requiem – Small Score Kaddish-Requiemfor Mezzo-soprano, Chamber Ensemble and Tape 18:00 Solo Mezzo-sop.; Picc. Cl. B.Cl. Vln. Vcl. Sitar, 2Perc. Pno.; Tape Lyrics from 1 X 1for Soprano, Vibraphone and String Bass 10:00 Moonsongs From The JapaneseFor Soprano and Tape (Or 3 Solo Sopranos) 5:00 Vocal Ensemble The Oracle of Shimon Bar YochaiFor Soprano, Cello and Piano 14:30 Mixed Ensemble Oracle IIFor Soprano, Oboe, and Piano 12:00 Chamber Ensemble A Poison TreeFor Soprano, Flute, Clarinet In A, Violin, Cello, and Piano 12:00 A Poison Treefor Soprano and 5 Players 12:00 Fl. Cl. Vln. Vcl. Pno. A Prayer for JerusalemFor Mezzo-Soprano and Percussion 12:00 Voice and Instrument A Song for PhilFor Mezzo-Soprano and Violin 5:00 Voice with Instrument Tristram ReduxFor Baritone, Percussion and Guitar Two for JanFor Soprano, Mezzo-soprano, Oboe/English Horn, Bass Clarinet and Cello 7:00 Chamber Ensemble V’Sham’RuThe 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 Orchestra Aevia 12:00 4 2 3 2 – 4 3 3 1; Timp. 4Perc. Str. Hexagrams 20:00 2 2 2 2 – 2 0 0 0; Str. Musica da camerata 20:00 1 2 0 2 – 2 0 0 0; Str. 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) …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. Concerto for Cello and Ten Players 26:00 Ob. B.Cl. Cbsn. Hn. Tpt. Tbn. Vln. Cb. Hp. Perc. 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. Concerto for Saxophone Quartet and Orchestra 25:00 4Sax. soli; 3 3 3 3 – 4 3 3 1; Timp. 3Perc. Pno.(Cel.) Hp. Str. 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. Piano Concerto 3030 Solo Pno.; 3(Picc.) 3(E.H.) 3 3(Cbsn.) – 4 3 4 1; Timp. 4Perc. Hp. Str. Symphony No. 2for 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. Viola Concerto: Do Not Go Gentle 20:00 Solo Vla.; String Quintet; 1 1 1 1 – 2 2 1 1; Timp. Perc. Hp. Str. Visions of Terror and Wonderfor 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 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
…AND A TIME FOR PEACE (“…VE-EYT SHALOM”)
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.
A PRAYER FOR JERUSALEM
It is one of the finest pieces in the contemporary idiom.
–Sable, NATS Bulletin
CADENZAS AND VARIATIONS II
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.
CONCERTO FOR CELLO AND TEN PLAYERS
…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, ClevelandClassical.com
CONCERTO FOR PIANO AND ORCHESTRA
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)
CONCERTO FOR VIOLA
…a strong, tightly made piece rich in instrumental invention and altogether quite moving in effect.
–Buell, Boston Globe
CONCERTO FOR VIOLIN
…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
CONCERTO NO. 2 FOR CELLO AND ORCHESTRA
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
CONTEMPLATIONS OF THE TENTH MUSE
…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
INTROITS AND CANONS
…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.
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
PIANO SONATA NO. 2
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
SONATA FOR TWO
…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
SONG OF REMEMBRANCE
…a memorable score … capable of commanding not only respect but deep affection.
–American Record Guide
STRING QUARTET NO. 2
…enormously resonant … It expands naturally as an exploration of evocative ideas.
–Webster, Philadelphia Inquirer
STRING QUARTET NO. 4
…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.
STRING QUARTET NO. 5
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
STRING QUARTET NO. 9
…complex rhythms with abrupt dynamic shifts … wide range of string colors and effects … it consistently sustained interest.
–Geoffrey Wieting, The Boston Music Intelligencer
SYMPHONY NO. 1
…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
SYMPHONY NO. 2
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
VISIONS OF TERROR AND WONDER
…undeniably music of craft, drama and splendid invention… holds dramatic power in using the orchestra like a dynamo.
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
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
Soundbrush Records (); October 8, 2013
Performer(s): New York Virtuoso Singers, conducted by Harold Rosenbaum
Work(s): The Devil’s Game
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
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
String Quartet No. 6
The Name of the Game
SPECTRUM: NEW AMERICAN MUSIC
Nonesuch Records (CD 79222); August 1, 2006
Performer(s): Contemporary Chamber Ensemble, Arthur Weisberg, cond., and Jan DeGaetani, mezzo-soprano
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
Deutsche Grammophon (437-537-2); January 3, 2005
Performer(s): Emerson String Quartet
Work(s): String Quartet No. 4
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
Bridge Records (9131); April 25, 2003
Performer(s): Lambert Orkis, piano
Work(s): Piano Sonata No. 2
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
Bridge Records (9084); September 15, 1998
Performer(s): David Starobin, guitar
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
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
Albany Records (TROY233); March 18, 1997
Performer(s): Chestnut Brass Company.
Work(s): Musica Ptolemica
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
Bridge Records (9003); October 28, 1992
Performer(s): Lambert Orkis, piano
Work(s): Piano Sonata No. 1: Reflections of a Dark Light
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
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 OrchestraIntroits and Canons
for Nine PlayersKaddish-Requiem
for Mezzo-soprano, Chamber Ensemble, and TapeThe Name of the Game
for Solo Guitar and Eleven PlayersViola Concerto
(“Do Not Go Gentle…”)