| |
YEAR |
TITLE |
INSTRUMENTATION |
DURATION |
TEXT BY |
| 1 |
1985 |
Fantasia for Solo Clarinet |
clarinet |
0:08:00 |
N/A |
| 2 |
1985 |
Music for Two Marimbas |
two marimbas |
0:10:00 ? |
N/A |
| 3 |
1985 |
Suite for Modern Ensemble |
tape or samplers |
0:15:00 |
N/A |
| 4 |
1985 |
Quintet |
soprano sax (2), alto sax (2), tenor sax (2), slit drum, drum
machine |
0:09:30 |
N/A |
| 5 |
1985 |
We |
soprano sax and piano |
0:04:50 |
N/A |
| 6 |
1985 |
The Secret Dreams of Diamonds |
flute, clarinet, bass clarinet |
open |
N/A |
| 7 |
1985 |
Cityscape Photograph No. 1 |
trumpet and ‘cello |
? |
N/A |
| 8 |
1986 |
Night Song #1 |
solo piano |
0:04:45 |
N/A |
| 9 |
1986 |
Night Song #2 |
solo piano |
0:05:30 |
N/A |
| 10 |
1986 |
Night Song #3 |
solo piano |
0:05:50 |
N/A |
| 11 |
1986 |
Dream Saves Day |
large mixed ensemble |
0:10:00 |
N/A |
| 12 |
1986 |
Here's What Brother Jed Has Learned About Freedom |
narrator and saxophone quartet (A1, A2, T, B) |
0:05:50 |
N/A |
| 13 |
1986 |
To Helen Bach |
tenor saxophone, ‘cello, vibraphone, keyboard, electric bass |
0:05:00 |
N/A |
| 14 |
1986 |
Alcatraz Remembers |
flute, clarinet, alto saxophone, tenor saxophone, violin, viola,
‘cello, electric bass |
0:15:00? |
N/A |
| 15 |
1987 |
String Quartet No. 1 |
string quartet |
0:25:45 |
N/A |
| 16 |
1987 |
To Tell the Heart |
tape and film |
? |
N/A |
| 17 |
1987 |
Young |
soprano, clarinet and ‘cello |
0:05:40 |
Anne Sexton |
| 18 |
1988 |
Four Pieces for Two Violins |
two violins |
0:10:00 |
N/A |
| 19 |
1988 |
"Work” from “LOVEWORKBEAUTYATMOSPHERETIMEDEATH" |
soprano and piano |
0:01:30 |
Andy Warhol |
| 20 |
1988 |
“Beauty” from “LOVEWORKBEAUTYATMOSPHERETIMEDEATH" |
soprano and piano |
0:05:00 |
N/A |
| 21 |
1988 |
Trio No. 1 in A |
flute, ‘cello and harpsichord |
0:12:45 |
N/A |
| 22 |
1988 |
"Bookland" Commercial |
string orchestra |
0:00:30 |
N/A |
| 23 |
1988 |
Just Meet and So It Is |
clarinet ensemble |
0:07:15 |
N/A |
| 24 |
1989 |
The Good Woman of Setzuan” (incidental music) |
mixed ensemble |
? |
Bertolt Brecht |
| 25 |
1989 |
Sacra Conversazione (3 movements) |
chamber orchestra and piano |
0:18:00 |
N/A |
| 26 |
1989 |
Woman According to Dave (with John P. Hoover) |
|
? |
N/A |
| 27 |
1989 |
Like a Wheel Inside a Wheel, Parts 1-6 |
The
Illustrious Theatre Orchestra (ITO) is a chamber ensemble formed by Shane W.
Cadman and John P. Hoover in 1989 in order to perform the compositions of its
members. For more information on the ITO, please go to www.theito.org. The standard instrumentation of the ITO is:
violin, clarinet, tenor saxophone/keyboard, ‘cello, baritone saxophone/bass
clarinet, and keyboard, but the exact instrumentation may vary from piece to
piece (from 1992 to 1995 there was no violin in the ensemble). Starting in
2000, the ensemble grew by several members (from 6-9 depending on the
performance) and the instrumentation became much more flexible. |
open |
N/A |
| 28 |
1989 |
Artalk |
computer |
0:05:30 |
Shane W. Cadman |
| 29 |
1989 |
After a Dream (Charmed by Your Image) - Cadman/Faure |
The ITO |
0:08:00 |
N/A |
| 30 |
1989 |
Prelude |
alto saxophone and piano |
0:03:30 |
N/A |
| 31 |
1989 |
Giving up the Ghost |
The ITO |
0:04:00 |
N/A |
| 32 |
1989 |
Reflecting on Stained Glass |
The ITO |
0:07:30 |
N/A |
| 33 |
1989 |
She Walks in Beauty |
tenor and the ITO |
0:04:30 |
Lord Byron |
| 34 |
1990 |
Gas Chamber Music |
The ITO |
0:01:40 |
N/A |
| 35 |
1990 |
One Big Dark Room |
The ITO |
0:06:20 |
N/A |
| 36 |
1990 |
Sextet (1987/90) |
The ITO |
0:09:00 |
N/A |
| 37 |
1990 |
"I’m Comics” Commercial |
synthesizers |
0:00:30 |
N/A |
| 38 |
1990 |
Dancing about Architecture (Talking about Art) - Act 1 |
The ITO (with an actor and two dancers) |
0:44:00 |
Tom Callinan |
| 39 |
1991 |
Cat Got Your Soul |
The ITO |
0:03:40 |
N/A |
| 40 |
1991 |
Kissing Memory’s Lips |
The ITO |
0:06:25 |
N/A |
| 41 |
1991 |
Underneath the Trampled Garden |
The ITO |
0:13:20 |
N/A |
| 42 |
1991 |
"Aria” from A Forest Tale |
mezzo-soprano and the ITO |
0:04:15 |
Jerry Gordon |
| 43 |
1991 |
Per Speculum in Aenigmate |
The ITO |
0:06:00 |
N/A |
| 44 |
1991 |
Late for the Count’s Again |
The ITO |
0:03:50 |
N/A |
| 45 |
1991 |
With the Queen |
solo piano |
0:08:00 |
N/A |
| 46 |
1991 |
Dancing about Architecture (Talking about Art) - Act 2 |
The ITO |
0:30:00 ? |
N/A |
| 47 |
1992 |
What Goes Without Saying Goes Unsaid |
The ITO |
0:12:00 |
N/A |
| 48 |
1992 |
Two Means to an End |
saxophone quartet (SATB) |
0:04:30 |
N/A |
| 49 |
1992 |
Standing on the Shoulders of Giants |
The ITO |
0:07:30 |
N/A |
| 50 |
1992 |
The Moon Speaks of Influence to the Sea |
soprano and piano |
0:02:30 |
Jerry Gordon |
| 51 |
1992 |
The Sea Responds on Influence to the Moon |
soprano and piano |
0:01:45 |
Jerry Gordon |
| 52 |
1992 |
“Frankenstein Meets the Incredible Dr. Nin” (incidental music) |
guitar, keyboard and percussion |
0:05:00 + ? |
Jerry Gordon |
| 53 |
1992 |
“The Unexpected Guest” (incidental music) |
The ITO |
0:08:00 |
N/A |
| 54 |
1992 |
Thou Pale Companion! |
The ITO |
0:04:30 |
N/A |
| 55 |
1992 |
In the Shadow of the Rose |
The ITO |
0:05:30 |
N/A |
| 56 |
1992 |
Beautiful View from an Asylum Window |
solo piano |
0:03:20 |
N/A |
| 57 |
1992 |
INDUSTRY IS THE NATURE OF TOMORROW: Variations on a Theme |
tape and synthesizers (original concept and sound design) |
open (loops) |
Shane W. Cadman |
| 58 |
1992 |
Fleur de Mal |
The ITO |
0:06:00 |
N/A |
| 59 |
1992 |
All Night I Heard the Birds Flying |
The ITO |
0:13:00 |
N/A |
| 60 |
1992 |
The Shade Never Was |
The ITO |
0:03:30 |
N/A |
| 61 |
1993 |
Suite #1 (a five movement dance suite) |
The ITO |
0:17:35 |
N/A |
| 62 |
1993 |
The Flight of Prometheus |
symphonic band |
0:04:50 |
N/A |
| 63 |
1993 |
Dancing in Bedlam |
The ITO |
0:08:15 |
N/A |
| 64 |
1993 |
Peripitie |
string quartet |
0:05:30 |
N/A |
| 65 |
1993 |
Love Answers Under Rain’s Allure |
The ITO |
0:09:15 |
N/A |
| 66 |
1994 |
Domine, Dominus noster |
unaccompanied choir (SATB) |
0:04:00 |
? |
| 67 |
1994 |
Nostalgia Burns (libretto) |
LIBRETTO ONLY - NO MUSIC COMPOSED |
N/A |
Shane W. Cadman |
| 68 |
1994 |
I To You 1. “To the Hand
of Her Mistress” 2. “To the Hand of
their Master” |
The ITO |
0:09:00 (03:30, 05:30) |
N/A |
| 69 |
1994 |
I Lift Up My Eyes To You |
unaccompanied choir (SATB) |
0:03:40 |
Psalm 123 |
| 70 |
1994 |
How Long, O Lord? |
unaccompanied choir (SATB) |
0:04:15 |
Psalm 13 |
| 71 |
1995 |
The Sun Rises, and They Steal Away |
The ITO |
0:03:00 |
N/A |
| 72 |
1995 |
Amid Disquieting Dreams |
The ITO |
0:02:45 |
N/A |
| 73 |
1995 |
To a Revelation of Mystery Hidden |
The ITO |
0:14:00 |
N/A |
| 74 |
1995 |
Like a Fleeting Shadow |
The ITO |
0:10:20 |
N/A |
| 75 |
1995 |
The Noise of a Multitude |
1 piano, 18 hands |
0:03:00 |
N/A |
| 76 |
1995 |
Endgame” (sound design) |
synthesizers |
open (loops) |
N/A |
| 77 |
1996 |
Polka and Variation (Beer Barrel Polka) |
two pianos (eight hands) and percussion |
0:04:20 |
N/A |
| 78 |
1996 |
A Voice of One Calling |
The ITO |
0:12:25 |
N/A |
| 79 |
1996 |
I Saw the Lord |
soprano and piano |
0:03:45 |
Acts 2:25-28 |
| 80 |
1997 |
Mass (“A Flame in the Distance” w/Oguri and Renzoku) - 5
movements |
The ITO,
pre-recorded electronic percussion, and DJ sampler |
1:05:00 |
N/A |
| 81 |
1997 |
Hersa Hendricks - cues (film score) |
soprano and synthesizers |
0:20:00 ? |
N/A |
| 82 |
1997 |
Psalm 23 |
unaccompanied choir (SATB) |
0:04:45 |
Psalm 23 |
| 83 |
1997 |
Windscape |
for tape and synthesizer |
0:28:30 |
N/A |
| 84 |
1997 |
et afflictio spiritus |
string orchestra |
0:06:40 |
N/A |
| 85 |
1998 |
In the Street of the Great City |
The ITO |
0:06:35 |
N/A |
| 86 |
1998 |
Untitled |
tenor saxophone and tapes |
open |
N/A |
| 87 |
1998 |
Vessel |
satb vocal quartet (a capella) and harmonium (drone) |
0:08:00 |
N/A |
| 88 |
1998 |
Grand Hope Flower |
soprano, mixed voices, and string quartet |
0:45:00 ? |
Sir Isaac Newton, Rosanna Gamson |
| 89 |
1998 |
The Head of a Woman |
soprano and piano |
0:06:20 |
Jerry Gordon |
| 90 |
1998 |
Two Things I Have Heard (1. One, 2. Two) |
alto and tenor saxophone |
0:05:30 (2:00, 3:30) |
N/A |
| 91 |
1999 |
Drive |
soprano and piano |
0:04:55 |
Maryedith Burrell |
| 92 |
1999 |
We Tore It Up |
two sopranos and piano |
0:04:05 |
Kelly Stuart |
| 93 |
1999 |
Trust (from Eurydice and Orpheus) |
mezzo-soprano, two baritones and piano |
0:06:00 |
Leon Martell |
| 94 |
1999 |
The Piano Lesson |
mezzo-soprano, baritone and piano |
0:04:00 |
Robert Fieldsteel |
| 95 |
1999 |
The Green Boat |
mezzo-soprano and piano |
0:06:10 |
Doug Cooney |
| 96 |
1999 |
Old Men Will Dream Dreams |
clarinet, ‘cello, and bass clarinet |
0:14:30 |
N/A |
| 97 |
1999 |
Lovesickness |
soprano and the ITO (violin, clarinet, ‘cello, bass clarinet and
percussion) |
0:45:00 ? |
N/A |
| 98 |
1999 |
Women of Mystery - cues (film score, co-scored with John P.
Hoover) |
The ITO (violin, clarinet, ‘cello, bass clarinet and percussion) |
0:15:00 ? |
N/A |
| 99 |
2000 |
Out of Oneself |
synthesizers |
0:11:45 |
N/A |
| 100 |
2000 |
In the Night |
soprano and piano |
0:03:50 |
Henri Michaux |
| 101 |
2000 |
At That Moment |
solo piano |
0:04:15 |
N/A |
| 102 |
2000 |
Dance |
concert band |
0:02:40 |
N/A |
| 103 |
2000 |
The Fourth Man in the Fire |
the ITO (no specific instrumentation) |
open |
N/A |
| 104 |
2000 |
This Is My Resting Place (taken from "Dancing in
Bedlam") |
the ITO (no specific instrumentation) |
0:03:35 |
N/A |
| 105 |
2000 |
1441 |
the ITO (no specific instrumentation) |
0:03:00 |
N/A |
| 106 |
2001 |
Mulch (composed with Jerome Dunn, Jeff Fairbanks and John P.
Hoover) |
a capella voices |
0:17:30 |
N/A |
| 107 |
2001 |
Dreaming in the Garden of Gethsemane |
The ITO (no specific instrumentation) + SATB a capella version |
0:06:35 |
N/A |
| 108 |
2001 |
Waltz |
The ITO (no specific instrumentation) |
0:05:15 |
N/A |
| 109 |
2001 |
The Letter |
soprano, mezzo-soprano, tenor, baritone, chorus, piano, synthesizer and percussion |
0:45:00 |
Shane W. Cadman & Edmund Rostand |
| 110 |
2002 |
Preludio |
soprano, clarinet and piano |
0:01:45 |
F. Garcia Lorca |
| 111 |
2002 |
Beverly Blvd. Cue |
synthesizers |
0:04:45 |
N/A |
| 112 |
2002 |
Two Views/An Urban Ocean Has 29 Eyes |
soprano, ‘cello, piano and
percussion |
0:45:00 ? |
Sei Shonagon/Sun Tzu/Rosanna Gamson |
| 113 |
2003 |
Out of the Depths |
unaccompanied choir (SATB). |
0:04:30 |
Psalm 130 |
| 114 |
2004 |
The Coffeemaker - cues (film score) |
string quartet, misc. Japanese instruments |
0:45:00 (approx.) |
N/A |
| 115 |
2005 |
Surprised by Evening |
soprano, piano |
0:04:10 |
Robert Bly |
| 116 |
2006 |
March of the Huskies |
beginning band |
0:01:20 |
N/A |
| 117 |
2006 |
The Haunted Boy - cues (film score) |
violin, viola, cello, clarinet, guitar, celesta, piano |
0:10:00 (approx.) |
N/A |
| 118 |
2006 |
Bug Central Radio Ad |
electric guitar, bass guitar, synthesizers |
0:01:00 |
N/A |
| 119 |
2007 |
Fastball |
soprano, vocal loop (digital or pre-recorded) |
6:00 |
Tom Callinan |
| 120 |
5/08 |
Waiting For Snow To Fall |
soprano, clarinet, piano |
6:00 |
Sean Gunning |
| 121 |
5/08 |
Foyermusik |
Electronic, pre-recorded |
22:00 |
N/A |
| 122 |
10/08 |
Little Square Pieces of Dreams |
vibraphone, marimba, guitar, harp, violin, cello |
9:20 |
N/A |
| 123 |
5/08 |
Music for Insomniacs #1 |
clarinet, piano |
6:15 |
N/A |
| 124 |
6/08 |
Spindle |
soprano, tenor sax |
4:30 |
A.J. Woody |
|
|
|
|
|
|