works
David Lang

prisoner of the state (2019) 75'

soprano, tenor, baritone, bass; men's chorus; 2+pic.2.2(bcl).2+cbn/4.2[in C].2.0/timp/3 perc/strings

New York Philharmonic, de Doelen Concert Hall, Barbican Centre, l’Auditori, Bochum Symphony Orchestra, Concertgebouw Bruges, and Malmö Opera.

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works
Michael Gordon

Acquanetta (2005, rev. 2017) 70'

Text by Deborah Artman, CHAMBER VERSION: 3 Sopranos, Tenor, Bass, with female choir, plus amplified chamber ensemble

ORCHESTRA VERSION: S, Mz, A, T, Bar; SATB chorus, 2(2pic).2.3.1+cbsn/2321/2perc/kbd.eb/str

Acquanetta was commissioned by Theater Aachen, supported by NRW KULTURsekretariat (Wuppertal) and North Rhine-Westphalia Government, Ministry for Urban Development, Culture and Sport from the "Fonds Neues Musiktheater" Chamber version of Acquanetta commissioned by Beth Morrison Projects, with lead funding from Linda and Stuart Nelson, for PROTOTYPE Festival 2018.

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works
David Lang

love fail – arr. female chorus (2012, rev. 2016) 60'

Text by David Lang (after Lydia Davis, Marie de France, Gottfried von Strassburg, Béroul, Thomas of Britain and Richard Wagner)

SSAA chorus (or 8 solo women singers) playing simple percussion instruments

The Brooklyn Academy of Music’s 2012 Next Wave Festival, The International Festival of Arts & Ideas, The John F. Kennedy Center Abe Fortas Memorial Fund, The Center for the Art of Performance at UCLA, The Wake Forest University / Secrest Artists Series, and Hancher Performances at the University of Iowa

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works
David Lang

the little match girl passion (2007) 35'

Text by David Lang (after H.C. Andersen, H.P. Paulli, Picander and Saint Matthew)

4 voices (SATB) each playing simple percussion

Carnegie Hall Corporation and The Perth Theater and Concert Hall for Paul Hillier and Theatre of Voices

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works
Julia Wolfe

Anthracite Fields (2014) 65'

SATB chorus, cl, egtr, perc, pno, vc, db

Anthracite Fields was commissioned through Meet the Composer's Commissioning Music/USA program, which is made possible by generous support from the Mary Flagler Cary Charitable Trust, New York City Department of Cultural Affairs, the William and Flora Hewlett Foundation, and the Helen F. Whitaker Fund. Additional support was made possible through the Mendelssohn Club of Philadelphia Alan Harler New Ventures Fund; the Presser Foundation; The Pew Center for Arts & Heritage through Philadelphia Music Project.

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