Catalog of Works
are listed first by DATE OF COMPOSITION and then by GENRE.
Scores and parts are available upon request:
please contact the composer at email@example.com
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
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.
Nightsong. Scored for flute and B-flat clarinet.
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.
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
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
Divino Orfeo, a sacred chamber opera in two parts: Loa; Auto
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.
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
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
On a Theme of Rachmnaninoff. For pianoforte solo.
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.
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.
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
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).
Quintet for Brass. Scored
for two trpts in C, hrn in F, tbn (or euph), tba. Premiered 2018.
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.
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
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
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.
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
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
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.
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.
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.
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
Éclat. Scored for double woodwind quintet. Commissioned by The Catholic University of America Chamber Winds. Premiered
poèmes de Christine de Pisan, for soprano and piano. Commissioned
by soprano Cecilia Di Marco. Premiered 1997.
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
for piano trio. Premiered 1992.
Ophélie, for sopr, fl,
and pno (text by Arthur Rimbaud). Premiered 1990.
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
'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.
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).
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
Dodekaphonai. Scored for 1 ob, 1 clar in B-flat, 1hrn in F, 1 bsn, pno.
concertant, for woodwind quintet and string orchestra. Premiered
Beatae Mariae Virginis, for SATB a cappella chorus. Premiered
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
à deux pour deux orchestres de chambre. Orch 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).
for woodwind quintet.
Two Etudes, for piano. Premiered
String Quartet. https://www.youtube.com/user/josephadamsanto/videos
Correspondances. Scored for soprano and string orchestra (text: Charles Baudelaire). Premiered
Quartet. Scored for flute, oboe, clarinet in Bb, and bassoon.
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.
and Aria, for symphonic band. Premiered 1978.
for Band. Premiered 1976.
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
for bassoon and piano
Ophélie, for soprano, flute, and piano (text by Arthur Rimbaud)
Prólogo y Canto, for violin, violoncello,
Quintet for Brass
Scherzino, for woodwind quintet
Berceuses, for violin, violoncello,
Sonate-Tableau, for oboe, horn in F, violin, violoncello, soprano,
and piano (text: Recueillement, by Charles Baudelaire)
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
Maria, the Angelic Salutation in the Gascon dialect, for SATB chorus
Trisagion, for TTBB chorus (text: Improperia from the Good Friday Liturgy)
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)
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
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)
de la Santa Cruz, for four
soloists, SATB chorus, and orchestra
Concerto for Violin, Viola, and
Concerto for English Horn and Orchestra
Concerto for Piano and Orchestra
for Violin, Violoncello, Piano and Orchestra
Solsticios y equinoccios
Mouvement concertant, for woodwind quintet and
El Divino Orfeo, a sacred chamber opera in two parts: Loa;
Auto sacramental. Text: Don Pedro Calderón de la Barca
Sonata for Orchestra
Le camp du drap d'or
Curteggio a Atrani
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)
On a Theme of Rachmaninoff
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
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)
soprano and string orchestra (text: Charles Baudelaire)
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)
The Duchess of Malfi
Prelude and Aria
Ballade for symphonic band
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)