·  Flamingo (Five Views of the Calder Sculpture—Chicago)  6’ (2010)
(flute {dbl piccolo and alto flute}, Bb clarinet {dbl. bass clarinet}, cello and piano) 

·  Ink on Paper (String Quartet No. 1) 25'  (2009)   

(Commissioned by the Concert Artists Guild)

·  TRIO  (Bb clarinet, violin and cello) 10' (2009)
(commissioned for Xanthos Ensemble)

·  Echoes of Ferrara (alto recorder--dbl. tenor and soprano--and harpsichord) 20' (2006)

(commissioned by the American Composers Forum)

·  Bright White Smooth  6’ (2005/2006)

(flute, viola and harp)  (ALSO: flute, cello, one perc., piano) 

·  Fancywork  (violin and guitar) 16' (2005)
(commissioned by the Barlow Endowment)

·  A Canticle in Shards (flute, oboe, Bb clarinet, bassoon and piano) 7' (2005)
(commissioned by the Connecticut Commission on Culture)

·  Stanza della Segnatura  18’ (2004)
(for 2 recorders, viola da gamba and harpsichord)

·  wrecked angels ...  12’ (2003)
(for flute, guitar and cello) 

·  Interiors of a Courtyard  20’ (2003)
(for guitar and mandolin)

·  Cool RED Cool (after Andy Warhol Self Portrait)  7’ (2000)
(flute, alto sax, trumpet, 2 percussion, piano and bass)

·   Sonata da Chroma  16’ (2000)
(oboe, Bb clarinet, one percussion, cello and harpsichord)

·  Caravaggio  8’ (2000)
(oboe {or trumpet}, Bb clarinet, one percussion, cello and harpsichord {or piano})

·  Lines Written in Early Spring (after Wordsworth, 1789)  9’ (2000)
(flute, English horn and piano; flute, viola and piano)



VOCAL

·  La terre est bleue comme une orange No. 3  4’  (2020)
  (in French after a text by Paul Eluard)
  (for mezzo soprano and piano)

·  Fluss Land Stadt  6’  (2018)

  (in German after texts by Rainer Maria Rilke)
  (for mixed choir; also for six solo voices: SMezATBarB)

·  Harmonie  7’  (2018)
  (in German after a text by Karl Marx; for the Birmingham Contemporary Music Group)

  (for soprano and solo cello)

·  Peter Quince at the Clavier 16’  (2018)
  (after a text by Wallace Stevens)

  (for baritone and piano)

  (commissioned by Anna Ferro for the Arnold Schoenberg Center, Vienna)

·  Winterleben  25’  (2015)
  (in German after a text by Friedrich Rückert)

  (for mezzo soprano, French horn and piano)

  (commissioned by Elizabeth and Justus Schlichting for Los Angeles Phil. principal horn, Andrew Bain)

 ·  Sonnets from Neruda  28’  (2014)

  (in Spanish after six texts by Pablo Neruda)

  (for mezzo soprano, baritone and piano)

·  Tiger Psalms  (after texts by Ted Hughes) 16' (2011)
  (Commissioned by Fulcrum Point New Music Project)
  (for mezzo soprano soloist with flute, clarinet, trumpet, viola, double bass, one perc. and piano)

·  Fallen Eve  (Five Songs after Hughes) 17' (2005)
  (commissioned by the Abelson Foundation for International Contemporary Ensemble)
  (for mezzo soprano soloist with flute, clarinet, violin, cello, one perc. and piano)

·  la tristesse durera toujours  (after Van Gogh)  23’ (2003)
  (in French for soprano soloist with clarinet, violin, cello, one percussion and piano)

·  Collage a Trois Trobar  10’ (1999)
  (in French; for five mixed voices with recorders and percussion)

CHORAL

· The cold earth slept below  6’  (2020)

(after a text by Percy Bysshe Shelley)

(for mixed choir; also for six solo voices: SMezATBarB)

· Magnificat and Nunc dimittis  10’  (2020)

(for mixed choir: SATB and organ)

· But as I rose out of the laving stream  4’  (2019)

(after a text by John Milton: “Paradise Regained” Book One)

(for mixed choir: SATB)

· Limestone  6’  (2019)

(after a text by Alice Oswald)

(for mixed choir: SSAATTBB)

·  Ode to a Nightingale  (after the text by John Keats) 24’ (2018)                                                     

(commissioned for Mogens Dahl Chamber Choir of Copenhagen and cellist Toke Moldrup)

(for SATB and solo cello)

·  Fluss Land Stadt  6’  (2018)
(in German after texts by Rainer Maria Rilke)
(for mixed choir; also for six solo voices: SMezATBarB)

· Crucifixus  (from the Ordinary of the Latin Mass) 12’ (2017)                                                     

(for Mogens Dahl Chamber Choir of Copenhagen)

(for SATB/SATB and solo cello)

· The Bird of Dawning Singeth  (after a text by Shakespeare/Hamlet) 5’ (2016)

(for twelve solo voices: SSSAAATTTBBB)

· Judas mercator pessimus  (from the Tenebrae Responsories for Maundy Thursday) 5’ (2016)

(for six unaccompanied male voices: 2 Countertenors, 2 Tenors, Baritone, Bass)

 · Four Preludes  (after a text by T.S. Eliot) 7' (2013)                                                                 

(commissioned by Composers and Schools in Concert)                                                               

(SATB, string orchestra and piano)

· Shhhhh 7’ (2005)
(triptych for mixed choir a cappella)

· Love Among the Ruins 8’ (2001/2002)
(for mixed choir: SATB unaccompanied)
(OR: for mixed choir SATB, with ten winds, 2 percussion, harp, piano, and bass)

· Agnus Dei  9’ (1997/2005)
  (for SATB and ten instruments)

ORCHESTRAL

(commissioned by the Antwerp Symphony Orchestra) 

· ICE (aut inveniam viam aut faciam) - for orchestra 16' (2019)

· Gotham News  - for string orchestra 14' (2018)
(after the 1955 painting by Willem de Kooning)
(commissioned by the Merz Foundation in connection with the Mario Merz Prize)

 · Prometheus  - A Concerto for Bass Clarinet and Orchestra 24' (2018)
(after the treatment of the Greek legend by Franz Kafka)
(commissioned by the London Philharmonia, Minnesota Orchestra and Malmo Symphony)

· Twelve 18' (2017)                                                                                                                   

(for large orchestra; after The Windows of Jerusalem of Marc Chagall)      

· PUCK - fleeing from the dawn 7' (2017)
(for large orchestra; after the 1837 painting by David Scott)  

 · Chase  - A Concerto for Trumpet and Orchestra 25' (2017)
(after the sculptures of artist Alberto Giacometti)
(commissioned by the Munich Philharmonic)

· ROCKS 21' (2016)
(for symphonic winds, brass, harp, piano, double bass and percussion)                     

(commissioned by a consortium of 21 US colleges and universities and the University of Cambridge)

· Nescientis Animi 14' (2016)
(for orchestra; after the math of Gottfried Leibniz)

 · Saint Blue 10' (2014)

 · Where the Wild Things Are 21' (2014)
(for large orchestra; after the story by Maurice Sendak)
(commissioned by the Cleveland Orchestra, Dallas Symphony and Portland Symphony)

 · Mephisto Waltz No.3 by Liszt/arr. Geoffrey Gordon 10' (2014)

(commissioned by the Copenhagen Philharmonic)

· Concerto for Cello and Orchestra 24' (2013)
(after Thomas Mann's Doktor Faustus)
(commissioned by the Copenhagen Philharmonic)

· Concerto for Flute and Orchestra 20' (2012)
(commissioned by the Buffalo Philharmonic)

· Concerto for Trombone and Orchestra 27' (2010)
(commissioned by the Milwaukee Symphony Orchestra)

· Meditation and Allegro for Viola and Ensemble 15' (2010)
(for chamber orchestra; commissioned for Ensemble Meitar)

· Shock Diamonds (for large orchestra) 13' (2008)
(commissioned for Boston Modern Orchestra Project)

·  Lux Solis Aeterna  (for chamber orchestra)  9’ (2007)

·  An Imagined Poussin Triptych  20’ (2001)
  (a fantasia in three movements for string orchestra) 

·  Sones Sueño del Maya  11’ (2001)

  (for orchestral winds and percussion) 

·  Mis en scene (for large orchestra)  8’ (1999)

BALLET 

·  The House of Bernarda Alba (after the Lorca play)  54’ (1995)
  (Ballet in three acts for mixed chamber ensemble; also: three concert Suites)