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Catalog of Works

Works are listed first by DATE OF COMPOSITION and then by GENRE.
Scores and parts are available upon request: please contact the composer at prosanto@aol.com
 

DATE OF COMPOSITION

 

2022

 

Concerto for Violin, Viola, and Orchestra. Scored for wws in pairs, EH, 2 hrns in F, 2 tpts. in C, timp, solo violin, solo viola, strings. https://www.youtube.com/user/josephadamsanto/videos

 

Canticum Zachariae.  Scored for SATB chorus, 1 fl, 1 ob, 1 clar in B-flat, 1 bsn, 1 hrn in F, 1 trpt in C, strings.

 

Ballade for symphonic band. Ballade is in homage to the French poet François Villon. The musical work endeavors to capture the spirit of the poet’s life and works, particularly his Ballade du concours de Blois, in which he declares “En mon pays suis en terre loingtaine…” The text of this Ballade is in the form of what is called “une ballade des contradictions” in which each line reveals a contradiction or paradox. The musical work concludes with a section entitled “l’Envoi.”  The Envoi was the concluding stanza of poems and ballades of the time in which the poet spoke either directly to the judges of the competition or offered a dedication to a patron, or, as it appears in this case, appealed directly to God. https://www.youtube.com/user/josephadamsanto/videos

 

2021

 

Istampitte. Istampitte is scored for Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets in Bb, Bass Clarinet, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 2 Trombones, Bass Trombone, Tuba, Timpani, Tambourin de Provence, Bass Drum, Tam-tam, Triangle, Temple Blocks, 4 Melodic Toms, 4 Congas, Tambourine, Sistrum, Xylophone, Bass Xylophone, Vibraphone, Pianoforte, Strings. The Italian word istampitta, and the French word estampie, conjure up dances and musical forms popular in the 13th, 14th, and 15th centuries. The word comes from the Provençal estampida, feminine of estampit, which in turn is the past participle of estampir, meaning “to resound.” In his Remède de Fortune, composer and poet Guillaume de Machaut describes a celebratory dinner where an estampie is performed as part of the festivities. This orchestral work evokes the spirit of these dance forms. https://www.youtube.com/user/josephadamsanto/videos

Nightsong. Scored for flute and B-flat clarinet.

 

Rimas sacras. Scored for soprano, tenor, or baritone, and orchestra (texts: twelve Spanish poems from the 12th to 16th century). Original work scored for soprano and piano, 2002.

 

2020

 

Tres Historiae sancti Evangelii secundum Ioannem: 1. Mulier samaritana, 2. Languentius ad piscinam Bethsaida, 3. Homo caecus a nativitate.  Scored for vocal soloists (mezzo sopr, tenor, bari., bass bari, bass), SATB chorus, solo wws (fl, ob, clar in B-flat, bsn), solo brass (trpt in C, hrn in F, tbn), and string quartet.  Text: Latin vulgate: Gospel according to St. John.

 

Symphonia.  Symphonia is a descriptive three-movement work scored for Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets in Bb, Bass Clarinet, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 2 Trombones, Bass Trombone, Tuba, Timpani, Bass Drum, Suspended Cymbal, Ratchet, Wood Block Glockenspiel, Tubular Bells, Bell Tree, Pianoforte, Celesta, Strings. Each movement carries a biblical quote associated with each of the three archangels, Gabriel, Raphael, and Michael. The first movement carries the biblical quote associated with the archangel Gabriel: Missus est angelus Gabriel a Deo in civitatem Galilææ, cui nomen Nazareth, ad virginem desponsatam viro, cui nomen erat Joseph, de domo David: et nomen virginis Maria. Et ingressus Angelus ad eam dixit: Ave gratia plena: Dominus tecum: benedicta tu in mulieribus. (Luke 1 26-28) The movement quotes the traditional Greek Orthodox Troparion of the Annunciation of the Theotokos: Σήμερον τῆς σωτηρίας ἡμῶν τό Κεφάλαιον, καί τοῦ ἀπ᾽ αἰῶνος Μυστηρίου ἡ φανέρωσις· ὁ Υἱός τοῦ Θεοῦ, Υἱός τῆς Παρθένου γίνεται, καί Γαβριήλ τὴν χάριν εὐαγγελίζεται. Διό καὶ ἡμεῖς σὺν αὐτῷ τῇ Θεοτόκῳ βοήσωμεν· Χαῖρε Κεχαριτωμένη, ὁ Κύριος μετὰ σοῦ.  This day is the beginning of our salvation, and the revelation of the eternal Mystery; the Son of God becomes the Son of the Virgin as Gabriel announces the coming of grace. Together with him let us cry out to the Mother of God: rejoice, O full of grace, the Lord is with you. The second movement, scored only for strings, carries the biblical quote associated with the archangel Raphael, the patron of healing and comfort: Et missus est Angelus Domini sanctus Raphael, ut curaret Tobiam et Annam, quorum uno tempore sunt orationes in conspectu Domini recitatae. (Tobias 3 16-17) The third movement carries the biblical quote associated with the archangel Michael and his battle against the powers of darkness: Et factum est prælium magnum in cælo: Michael et Angeli eius præliabantur cum dracone, et draco pugnabat, et Angeli eius et non valuerunt, neque locus inventus est eorum amplius in cælo. (Rev. 12 7-8) The third movement quotes the plainchant Vespers hymn for the feast of St. Michael, Te splendor et virtus Patris. https://www.youtube.com/user/josephadamsanto/videos

 

2019

 

El Divino Orfeo, a sacred chamber opera in two parts: Loa; Auto sacramental. Text: Don Pedro Calderón de la Barca.  Scored for 7 principal soloists, 10 secondary soloists, SATB chorus, 1 fl doubling on picc, EH, 1 trpt in C, 1 tbn, pandero grande, theorbo, harpsichord, harp, 1 vln, 1 vla, 1 vc, 1 db.  

 

Sonata for Orchestra. A three-movement work for chamber orchestra. The work is scored for 2 flutes, 2 oboes, 2 clarinets in Bb, 2 bassoons, 2 horns in F, 2 trumpets in C, timpani, and strings. https://www.youtube.com/user/josephadamsanto/videos

Via Crucis. A fourteen-movement work scored for string quartet. https://www.youtube.com/user/josephadamsanto/videos

 

 Agios o Theos, Hymn to the Almighty. Scored for a cappella SATB chorus.  Agios o Theos, Hymn to the Almighty is a work for SATB a cappella double chorus. The text is in Greek and sets ten attributes of God. The work concludes with the Trisagion. Greek text: Aphratos Atreptos Analloiotos Anaimaktos Philanthropos Anekphrastos Aperinoetos Aoratos Akataliptos Aei on Agios o Theos Agios ischyros Agios athanatos Eleyson (h)ymas English translation: Unutterable Unchangeable Unchangeable in his essence Unstained Lover of humans Inexpressible Ineffable Invisible Beyond understanding Ever being Holy God Holy mighty Holy immortal Have mercy on us. https://www.youtube.com/user/josephadamsanto/videos

 

 

2018

 

On a Theme of Rachmnaninoff. For pianoforte solo.

 

Sancta Trinitas. Scored for wws in pairs, 2 hrns in F, 2 trpts in B-flat, 2 tbs, tba, tubular bells, chorus, strings. Texts: Benedicta sit, plainchant Introit for Trinity Sunday, and Holy, Holy, Holy, poem by Reginald Heber, hymn tune by John Bacchus Dykes.)  Premiered 2019.  

 

2017

 

Trio "Des wir sollen fröhlich sein".  Scored for fl, vc, and pno. Premiered 2018. The TRIO FOR FLUTE, VIOLONCELLO, AND PIANOFORTE is in three movements, played without pause. It bears the subtitle Des wir sollen fröhlich sein (Therefore we should be joyful), a line taken from the second movement of the Easter Sunday Cantata (No. 4), Christ lag in Todes Banden (Christ lay in the bonds of death), by Johann Sebastian Bach, the texts of which are based on an Easter hymn of Martin Luther. All the movements of the Cantata, including the final Chorale, are based on Victimae paschali laudes (Let Christians offer sacrificial praises), the Gregorian sequence for Easter Sunday. In addition to the original eleventh century chant and Bach’s Chorale setting, there is a third version entitled Christ ist erstanden (Christ is risen), a twelfth century German Easter hymn based on the same melody and set metrically and in augmentation. The second movement of the Trio combines the three versions of this famous hymn. The flute repeats the verses of the original chant in relatively fast and filigree-like rhythms. The cello repeats the melody Christ ist erstanden as a ground bass. The piano intermittently plays the phrases of Bach’s harmonization of the chorale from the Easter Sunday Cantata. The three-fold layering forms a type of sound collage. https://www.youtube.com/user/josephadamsanto/videos

Dialogui. A chamber work for B-flat clarinet and percussion: tam-tam, suspended cymbal, temple blocks, bongos, conga, vibraphone, pianoforte. The work requires five performers. https://www.youtube.com/user/josephadamsanto/videos

Te saludi, Maria. Angelic Salutation (Ave Maria) in the Gascon dialect, for SATB a cappella chorus. 

 

 

2013

 

Život v pravdě (Life in Truth). Scored for narrator and chamber orchestra (wws in pairs, 2 hrns in F, 2 trpts in B-flat, 2 tbns, tba, timp, susp. cymb., pno, strings).  Project in collaboration with the Embassy of the Czech Republic to honor the late President Václav Havel.  Text: excerpts from an address of President Havel to a 1990 joint session of the United States Congress.  Premiered 2013.

2012

Lux refulget. Choral/orchestral work scored for wws in pairs, 4 hrns in F, 2 trpts in C, 3 tbs, tba, timp, BD, large tam-tam, wind chimes, glock, xylo, SATB chorus, strings. Premiered 2012. LUX REFULGET follows in capsulated form the general trajectory of the Advent season itself, progressing from the far reaches of the beginning of creation to the culminating point of new creation in Jesus Christ, from darkness to light, from hope seen only from afar to ardent expectation. The first part of the work uses texts from the Great Antiphons, also known as the “O” Antiphons from the opening word in Latin. One of the seven Great Antiphons is designated to be chanted at the Magnificat during Vespers of the Liturgy of the Hours each of the seven days from December 17 to 23 inclusive. The incipit of each Antiphon addresses the Messiah with a name or title from the Hebrew Scriptures. The first is “Wisdom,” carrying us back before the creation of the world (“The Lord begot me [Wisdom], the first-born of his ways…I was brought forth…while as yet the earth and the fields were not made...” (Proverbs 8:22-31). The second is the ancient name “Adonai,” the substitute for the sacred theonym (Exodus 3:13-14), which could only be uttered by the High Priest in the Temple on the solemn Day of Atonement. Then through the messianic prophesies with the titles: “Root of Jesse” (Isaiah 11:1-5); “Key of David” (Isaiah 22:22); “Radiant Dawn” (Malachi 4:2); “King of the Nations” (Zachariah 9:9-10). Finally, comes the name “Emmanuel” (Isaiah 7:14 and quoted in Matthew 1:23, who translates it for his readers: “God with us”). In this work, the incipit of each Antiphon—the messianic name or title--is sung in Hebrew. Then follows that part of the Latin text from each of the Great Antiphons in turn, introduced by the word “veni,” which offers a petition addressed to the Messiah by that particular title. The second part of the work uses the Latin poetic text Lux refulget, which dates from the 12th century or possibly earlier, author unknown, and is part of the repertoire of the polyphonic versus associated with Aquitanian sacred music. A connection is intended between the two parts: the Aquitanian text addresses the Messiah as Emmanuel, as does the seventh and final Antiphon, and acclaims that his “name is renowned in Israel.” “Let the Church be glad,” as “this is the day the prophets designated.” All that was foreshadowed and prophesied in the Hebrew Scriptures has been fulfilled in Jesus the Messiah (Yeshua Ha-Mashiach), the Anointed of the Lord (M’shiach Adonai). https://www.youtube.com/user/josephadamsanto/videos

De la pasión de nuestro Señor JhesúXristo. Scored for soprano or tenor and piano. (text: Juan Ruiz, arcipreste de Hita).
 
2011
 

Quintet for Brass. Scored for two trpts in C, hrn in F, tbn (or euph), tba. Premiered 2018.

 

 

2010

 

Le camp du drap d'or.  Orchestral work scored for picc, 2 fls, 3 optional alto recorders, 2 obs., EH, 2 clars in B-flat, bass clar, 2 bsns, contrabsn, 4 hrns in F, 3 trpts in C, 2 tbns, bass tbn, tba, piccolo timpano, timp, BD, large tam-tam, tamb, temple blocks, tubular bells I, tubular bells II, glock, xylo, optional SATB schola, strings. Premiered 2019.

 

2009

 

Curteggio a Atrani.  Orchestral work scored for picc., wws in pairs, EH, bass clar., 4 hrns in F, 3 trpts in C, 3 tbns, tba, timp, snare drum, large gong, tamb., tubular bells, strings. Premiered 2018. The maritime republic of Amalfi was an independent city-state centered in the southern Italian city of Amalfi during the 10th and 11th centuries. As the motto on its coat of arms implies, Amalfi claims its ancestry to be the Roman Empire itself: Descendit ex Patribus Romanorum. Thus, having freed itself from Byzantine vassalage in the 9th century, it was first governed by a patrician, and its first doge (duke) was elected in 957. The duchy rose to political strength, and the dynasty reigned virtually uninterrupted for the next 115 years. Its merchants dominated the seas, and its extensive trading and transporting economy involved it closely with the Crusades and thus with the Middle East. The republic of Amalfi minted its own coins called the tari made of 12 carat, of equal parts of gold and silver mixed with copper. Amalfi fell to the Normans in 1073 and thus lost its independence until 1398, when the title Duca di Amalfi was revived in the Kingdom of Naples and continued until 1673. In the 20th century, the title Duque de Amalfi was revived by Alfonso XIII, King of Spain from 1886 to 1931, and continues to this day through the Spanish line of succession. In the Middle Ages, the investiture of the doge included the bestowing of a pointed hat, called the birecto. The investiture took place in the 10th century church of San Salvatore de’ Birecto, situated in Atrani, the twin-town of Amalfi and the area inhabited by the Amalfitan noble families. San Salvatore de’ Birecto was also the burial site for the doges of Amalfi. A plaque in front of the church attests to its importance in the ducal history of the maritime republic. Curteggio a Atrani (the Neapolitan for Procession to Atrani, in Italian Processione ad Atrani) is a concert overture for orchestra. It attempts to depict a cortege to the church of San Salvatore de’ Birecto, but it is left to the listener to decide whether the procession is for the investiture of the doge or for his funeral. Curteggio is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in Bb, bass clarinet in Bb, 2 bassoons, 4 horns in F, 3 trumpets in C, 3 trombones, tuba, timpani, snare drum, large tam-tam, tambourine, tubular bells, and strings. https://www.youtube.com/user/josephadamsanto/videos

 

Elogium in Nativitate Domini.  Choral/orchestral work scored for 2 fls, 2 obs, EH, 2 bsns, 4 hrns in F, 2 trpts in C, 3 tbns, tba, timp, tenor drum, tubular bells, glock, SATB chorus, strings. Elogium in Nativitate Domini is a concert work, the Latin text of which is that of the December 25 entry of the Roman Martyrology. The work may also be used for the liturgy of Midnight Mass when the Elogium is often chanted before the opening procession. The text of the incipit of the Elogium changes slightly according to the lunar calendar, the chart for which is available from the composer. https://www.youtube.com/user/josephadamsanto/videos

 

2008

 

Malachey Elyon. Scored for 2 fls, 2 obs, 2 clars in B-flat, 2 bsns, 2 hrns in F, 2 trpts in C, 2 tbs, temple blocks, pno, tenor solo (cantor), recorded voices, SATB chorus, strings. Premiered 2008. A 27-minute radio broadcast from the campus of The Catholic University of America on the evening of November 16, 1938, placed on the airwaves through the collaborative efforts of NBC and CBS, and featuring members of the Catholic clergy and laity from around the country, was among the earliest reactions in the United States to the horrific events that took place one week earlier in Germany, the Nazi-instigated pogrom of November 9 and 10, 1938 against the Jewish people in Germany. The pogrom has come to be called Kristallnacht, now viewed as the beginning of what would become known as the Holocaust. A 78rpm record and accompanying script were discovered in the archives of the library of The Catholic University in 2008. The broadcast was coordinated on the campus of Catholic University and heard the evening of November 16, 1938 throughout the United States, from coast to coast, in a program organized within five weeks of the horrific event in Germany. The participants of the broadcast were: Father Maurice S. Sheehy, Ph.D., professor of religion and head of the Department of Religious Education at CUA; Monsignor Joseph M. Corrigan, Rector of the university; three trustees, Archbishop John J. Mitty of San Francisco, Bishop Peter L. Ireton of Richmond, Virginia, and Bishop John M. Gannon of Erie, Pennsylvania. To their voices was added that of Alfred (Al) Smith, former four-term governor of New York and first Catholic presidential candidate. The musical work Malachey Elyon, which means “Angels of the Most High,” incorporates recorded excerpts of the words of all five members of the clergy who participated, exactly as their voices were recorded and broadcast on the evening of November 16, 1938 and preserved on the 78rpm record. Malachey Elyon was premiered in 2009, a year after the 70th anniversary of Kristallnacht, and received a second performance in 2018 on the 80th anniversary of Kristallnacht. The work is scored for recorded voices, mixed chorus and soloist (cantor), and an orchestra comprised of 2 flutes, 2 oboes, 2 clarinets in Bb, 2 bassoons, 2 horns in F, 2 trumpets in C, 2 trombones, temple blocks, pianoforte, and strings. Father Sheehy concluded the broadcast with verses 1 to 4 of Psalm 20. https://www.youtube.com/user/josephadamsanto/videos

Pater superni luminis. Scored for SATB chorus and piano or organ.

 

 

2006


Our Father, which in heaven art.  Choral/orchestral work scored for ww5tet, 5 temple blocks, SATB chorus, solo strings. (English and Anglo-Saxon texts). Commissioned by the Benjamin T. Rome School of Music as part of the 2006 President’s Concert, The Catholic University of America. Premiered 2006. OUR FATHER WHICH IN HEAVEN ART sets both the metrical text of the Lord’s Prayer from the 1561 Sternhold & Hopkins Psalter and the Lord’s Prayer (Faeder ure) in Anglo-Saxon which dates from the 11th century. The work is scored for SATB chorus and chamber orchestra (1 flute, 1 oboe, 1 clarinet in Bb, 1 bassoon, 5 temple blocks, strings). The original modal tune from the 1561 Psalter is placed in the tenor as a cantus firmus and is neither harmonized, interrupted, nor altered in any way. Neither is the tune accompanied in the usual sense of the term. Rather, at appropriate places in the cantus firmus, it is surrounded by instrumental gestures, totally unrelated musically to it, and in which the sopranos, altos, and basses sing, speak, or whisper fragments of the Anglo-Saxon text. The score contains a guide to the pronunciation of the Alto-Saxon text. https://www.youtube.com/user/josephadamsanto/videos

         

2005

 

Tre pregaríe. Scored for tenor or soprano and piano (Neapolitan texts: the Lord’s Prayer, Angelic Salutation, and Doxology). Premiered 2009.

 

Preghier’ ‘e surdàto. Scored for tenor and piano (original Neapolitan text). Commissioned by the Benjamin T. Rome School of Music as part of the 2005 President’s Concert, The Catholic University of America. Premiered 2005.

 

Concerto for Violin, Violoncello, Piano and Orchestra. Scored for wws in pairs, EH, bass clar, 4 hrns in F, 2 trpts in B-flat, 2 tbns, tba, timp, tamb, marimba, solo vln, solo vc, solo pno, strings. https://www.youtube.com/user/josephadamsanto/videos

 

 

2002

 

Rimas sacras. Scored for soprano and piano (texts: twelve Spanish poems from the 12th to 16th century). Premiered 2004.

 

Trois épiphanies, for piano solo. Premiered 2004.

 

2001

 

Cuatro cánticas de loores de Santa María. Scored for four soloists (SATB) and piano (texts: Juan Ruiz, arcipreste de Hita). Premiered 2009. Setting for four soloists (SATB), piano and chamber strings, 2010, also available.

 

Solsticios y equinoccios.

 

2000

 

Vísperas de la Santa Cruz. Scored for wws in pairs, EH, 4 hrns in F, 3 trpts in C, 3 tbns, tba, timp, vibra-slap, tamb, large sistrum, small tam-tam, metal wind chimes, djembe, bongos, 5 temple blocks, marimba, strings, 4 soloists (SATB), SATB chorus. Premiered 2011.  Funded in part by a grant from The American Music Center.

 

1999

 

Prólogo y Canto. Scored for piano trio. Premiered 1999.

 

The Great Antiphons, for piano solo. Commissioned. The Great Antiphons are the seven antiphons to the Magnificat in the ferial Office of the seven days before the vigil of Christmas, as used in the Roman Breviary. The hypodorian chant employed to set the antiphons is basically the same for all seven, with slight changes as required by the length and accentuations of each text. These chants have come to be called the O Antiphons because all begin with the interjection "O.” Each of the antiphons begins with the words: "O Sapientia," "O Adonai," "O Radix Jesse," "O Clavis David," "O Oriens," "O Rex Gentium," "O Emmanuel". Each is addressed to Christ under one of his titles drawn from the Hebrew scriptures, continues with an elaboration of that title, and concludes with a petition. The present work for pianoforte solo is a reflection on each of these ancient prayers. https://www.youtube.com/user/josephadamsanto/videos

 

1997

 

Éclat. Scored for double woodwind quintet. Commissioned by The Catholic University of America Chamber Winds. Premiered 1997. https://www.youtube.com/user/josephadamsanto/videos

 

1996

 

Quatre poèmes de Christine de Pisan, for soprano and piano. Commissioned by soprano Cecilia Di Marco. Premiered 1997.

 

1995

 

Hommage à François Rabelais. Scored for bassoon and piano. Hommage à François Rabelais is a four-movement chamber work scored for two oboes, English horn, bassoon, and pianoforte. The work is in homage to the Renaissance author, monk, physician, humanist, and Greek scholar François Rabelais (c.1494-1553). https://www.youtube.com/user/josephadamsanto/videos

Concerto for Piano and Orchestra. Scored for wws in pairs, EH, bass clar, 4 hrns in F, 3 trpts in B-flat, 3 tbns, tba, timp, solo pno, strings.  Premiered 2001.  Funded in part by a grant from The American Music Center. https://www.youtube.com/user/josephadamsanto/videos

 

1993

 

Berceuses, for piano trio. Premiered 1992.

 

1990

 

Ophélie, for sopr, fl, and pno (text by Arthur Rimbaud). Premiered 1990.

 

1988

Sonate-Tableau. Scored for 1 ob, 1 hrn in F, pno, violin, violoncello, soprano. (text: Recueillement, by Charles Baudelaire). Premiered 1990. https://www.youtube.com/user/josephadamsanto/videos

 

1987

 

Canzone 'e copp' 'o tammurro, for tenor and piano (text: five anonymous Neapolitan poems). Premiered 1987. Version for tenor and piano quintet (First Prize, David Lloyd Kreeger Creativity Award). Version for tenor and orchestra also available.

 

1986

 

Canticum Iudith. Choral/orchestral work scored for four soloists (sopr, mezzo sopr, tenor, bass), SATB chorus, wws in pairs, EH, 4 hrns in F, 3 trpts in B-flat, 3 tbs, tba, timp, ten. drum, tubular bells, glock., strings  (text: Book of Judith, chapter 16, verses 1-17).

 

1985

 

Concerto for English Horn and Orchestra. Scored for 2 fls, 2 clars in B-flat, 2 bsns, 2 hrns in F, 2 tpts in B-flat, 2 tbs, EH solo, strings. https://www.youtube.com/user/josephadamsanto/videos

 

1984

 

Dodekaphonai. Scored for 1 ob, 1 clar in B-flat, 1hrn in F, 1 bsn, pno.

 

1983

 

Mouvement concertant, for woodwind quintet and string orchestra. Premiered 1983.

 

Antiphonae Beatae Mariae Virginis, for SATB a cappella chorus. Premiered 1992.

 

In Nocturno. Scored for solo tenor, 2 obs, 2 bsns, 2 hrns in F, 2 trpts in B-flat, 2 tbs, tam-tam, strings. (text: First Nocturne of Matins from the Officium Defunctorum). Premiered 1984.

 

Veni, Sancte Spiritus. Choral/orchestral work scored for wws in pairs, EH, bass clar, contrabsn, 4 hrns in F, 3 trpts in B-flat, 3 tbs, tba, timp, 3 roto-toms, tubular bells, susp cymbal, tam-tam, temple blocks, SATB chorus, strings. Veni, Sancte Spiritus is a concert work for chorus and orchestra. The Latin text is that of the Sequence for Pentecost.  https://www.youtube.com/user/josephadamsanto/videos

 

 

1982

 

Musique à deux pour deux orchestres de chambreOrch I scored for 1 ob, EH, 1 bsn, 1 hrn in F, strings. Orch II scored for 1 clar in B-flat, alto clar, bass clar, 1 hrn in F, strings. MUSIQUE À DEUX is a work for two chamber orchestras each of which is placed on a separate side of the stage: Orchestra I on stage right and Orchestra II on stage left. Orchestra I is composed of three double reed instruments (1 oboe, 1 English horn, 1 bassoon), 1 horn in F, and strings. Orchestra II is composed of three single reed instruments (1 Bb clarinet, 1 Eb alto clarinet, 1 Bb bass clarinet), 1 horn in F, and strings. https://www.youtube.com/user/josephadamsanto/videos

Music for Liturgy: Holy, for voice, trp, and organ; Doxology, for voice and organ; Antiphon for Psalm 139, for voices and organ; Canticle: 1 Peter 2: 21-24, for voices and organ; Hymn in Honor of St. Joseph (text: Te Joseph celebrent).

 

1981

 

Scherzino, for woodwind quintet.

 

Two Etudes, for piano. Premiered 1981.

 

1980

 

String Quartethttps://www.youtube.com/user/josephadamsanto/videos

 

1979

 

Correspondances. Scored for soprano and string orchestra (text: Charles Baudelaire). Premiered 1983.

 

Woodwind Quartet. Scored for flute, oboe, clarinet in Bb, and bassoon.  Premiered 1983.

 

1978

 

Faeder Ure, for TTBB chorus and piano (text: The Lord's Prayer in Anglo-Saxon). Premiered 1979.  (Setting for SSAA, 2000.)

 

Trisagion, for TTBB a cappella chorus (text: Improperia from the Good Friday Liturgy).

 

The Duchess of Malfi, for symphonic band. Premiered 1979.

 

1977

 

Prelude and Aria, for symphonic band. Premiered 1978.

 

1973

 

Rhapsody for Band. Premiered 1976.















GENRE

CHAMBER

 

Nightsong, for flute and B-flat clarinet.

Dialogui, for Bb clarinet, piano, vibraphone, tam-tam, suspended cymbal, temple blocks, bongos, and conga

Dodekaphonai, for oboe, clarinet, horn in F, bassoon, and piano

Éclat, for double woodwind quintet

Hommage à François Rabelais, for bassoon and piano

Ophélie, for soprano, flute, and piano (text by Arthur Rimbaud)

Prólogo y Canto, for violin, violoncello, and piano

Quintet for Brass

Scherzino, for woodwind quintet

Berceuses, for violin, violoncello, and piano

Sonate-Tableau, for oboe, horn in F, violin, violoncello, soprano, and piano (text: Recueillement, by Charles Baudelaire)

String Quartet

Trio, for flute, violoncello, and piano

Woodwind Quartet, for flute, oboe, clarinet, and bassoon

 

CHORAL A CAPPELLA

 

Antiphonae Beatae Mariae Virginis, for SATB chorus

Agios o Theos, for SATB chorus 

Te saludi, Maria, the Angelic Salutation in the Gascon dialect, for SATB chorus

Trisagion, for TTBB chorus (text: Improperia from the Good Friday Liturgy)

 

CHORAL ACCOMPANIED

 

Pater superni luminis, for SATB chorus and piano or organ (text: hymn for the feast of St. Mary Magdalene)

Faeder Ure, for TTBB chorus and piano (text: The Lord's Prayer in Anglo-Saxon)  (Also arranged for SSAA)

Cuatro cánticas de loores de Santa María, for four soloists (SATB) and piano (texts: Juan Ruiz, arcipreste de Hita)

 

CHORAL/ORCHESTRAL

 

Tres Historiae sancti Evangelii secundum Ioannem, for vocal soloists, SATB chorus, solo woodwinds (flute, oboe, clarinet, bassoon), solo brass (trumpet, horn, trombone) and string quartet

Luz refulget, for SATB chorus and orchestra

Elogium in Nativitatis Domini, for SATB chorus and orchestra (text: Martyrology for December 25)

Malachey Elyon, for recorded voices, SATB chorus, tenor solo (cantor), and chamber orchestra

Our Father, which in heaven art, for SATB chorus and chamber orchestra (English and Anglo-Saxon texts) 

Canticum Iudith, for four soloists, SATB chorus and orchestra (text: Book of Judith, chapter 16, verses 1-17)

Sancta Trinitas, for chorus and orchestra

Veni, Sancte Spiritus, for SATB chorus and orchestra (text: Roman liturgy, Sequence from the Mass for Pentecost Sunday)

Vísperas de la Santa Cruz, for four soloists, SATB chorus, and orchestra

 

CONCERTO

 

Concerto for Violin, Viola, and Orchestra 

Concerto for English Horn and Orchestra

Concerto for Piano and Orchestra

Concerto for Violin, Violoncello, Piano and Orchestra

Solsticios y equinoccios

 

CONCERTO GROSSO

 

Mouvement concertant, for woodwind quintet and string orchestra

 

CHAMBER OPERA

 

El Divino Orfeo, a sacred chamber opera in two parts: Loa; Auto sacramental. Text: Don Pedro Calderón de la Barca

 

ORCHESTRA

 

Istampitte

Symphonia

Sonata for Orchestra

Le camp du drap d'or

Curteggio a Atrani

Musique à deux pour deux orchestres de chambre

Solsticios y equinoccios

Život v pravdě (Life in Truth), for narrator and chamber orchestra (text: excerpts from the address delivered by President Václav Havel to a joint session of the United States Congress, February 21, 1990)

 

PIANO SOLO

 

On a Theme of Rachmaninoff

The Great Antiphons

Trois épiphanies

Two Etudes

 

SOLO VOICE AND PIANO

 

Canzone 'e copp' 'o tammurro, for tenor and piano (text: five anonymous Neapolitan poems)  (Also version for tenor and piano quintet)

De la pasión de nuestro Señor JhesúXristo, for soprano and piano

Preghier’ ‘e surdàto, for tenor and piano (original Neapolitan text)

Quatre poèmes de Christine de Pisan, for soprano and piano

Rimas sacras, for soprano and piano (texts: twelve Spanish poems from the 12th to 16th century)

Tre pregaríe, for tenor or soprano and piano (Neapolitan texts: the Lord’s Prayer, Angelic Salutation, and Doxology)

 

SOLO VOICE AND ORCHESTRA

 

Canzone 'e copp' 'o tammurro, for tenor and orchestra (text: five anonymous Neapolitan poems) (Also version for tenor and piano quintet) (Original version for tenor and piano, 1987)

Correspondances, for soprano and string orchestra (text: Charles Baudelaire)

In Nocturno, for tenor and orchestra (text: First Nocturne of Matins from the Officium Defunctorum)

Rimas sacras, for soprano, tenor, or baritone and orchestra (texts: twelve Spanish poems from the 12th to 16th century) (Original version for soprano and piano, 2002)

 

SYMPHONIC BAND

 

The Duchess of Malfi  

Prelude and Aria

Rhapsody for Band

Ballade for symphonic band

 

MUSIC FOR LITURGY

 

Antiphon for Psalm 139, for voices and organ

Canticle: 1 Peter 2:21-24, for voices and organ

Doxology, for voice and organ

Holy, for voice, trumpet, and organ

 

Hymn in Honor of St. Joseph (Gregorian hymn: Te Ioseph celebrent) 

 

 

 

 

 

 

 

 

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