for solo percussionist and electronic sounds.
Commissioned by University of Texas, Stanford University, the Walker Art Center, and Duke University.
Tukiliit (The Stone People Who Live in the Wind)
for solo piano.
Commissioned for Emanuele Arciuli.
The Wind in High Places
for string quartet.
Four Thousand Holes
for piano, percussion and electronic sounds.
"It is impressive to imagine anyone actually following such conceptual virtuosity, much less creating the seamless, seemingly organic layers of sound Adams lays out over his structurally precise and infinitely flexible power grids."
-- Laurence Vittes, Gramophone
The Light Within
for alto flute, bass clarinet, vibraphone/crotales, piano, violin, 'cello and electronic sounds.
Commissioned by the Seattle Chamber Players and the California EAR Unit.
"Inspired by James Turrell's ethereal installation art, Adams' thick and undulating wall-of-sound approach suggests a musical corollary to Turrell's sublime manipulations of time, space and color."
-- Josef Woodard, The Los Angeles Times
"... the standout work of the festival ... a shimmering spectrum of massive, merging harmonies ... the textures of noise as our contemporary counterpart to the sublime."
-- Thomas May, Seattle Weekly
Nunataks (Solitary Peaks)
for solo piano.
Commissioned by Music Northwest.
Three High Places (in memory of Gordon Wright)
for solo violin.
version for two pianos and electronic sounds.
for Jim (rising)
for three trumpets and three trombones.
Red Arc / Blue Veil
for piano, mallet percussion and processed sounds.
Commissioned by Ensemble Sirius.
"...a shimmering, minimalist, impressionistic landscape of sound: rolling waves from the piano, gentle whooshes from the percussion, augmented by an occasional loud groan from the computer."
-- Atlanta Journal-Constitution
for bass clarinet, vibraphone, marimba, piano.
"...an unbroken, slowly shifting, many-hued sound texture... frequently energized by internal ripples and coruscations... the discipline imposed by the work's own internal structures has the effect of disclosing, within the sound mass, particular dimensions of power, range and beauty..."
-- Christopher Ballantine, International Record Review
"...an enormous geography of sound... a wilderness of big sky... the audio analog to a series of floating clouds beside a snowcapped mountain."
- Ben Fleury-Steiner, ei magazine
In a Treeless Place, Only Snow
for celesta, harp (or piano), 2 vibraphones, string quartet.
Commissioned by the Third Angle New Music Ensemble.
"Adams' music made the unseen visible, like
breath exhaled into frosty air, a bodilessness pulsing
with life. His rising and falling themes, traded among
the strings, built a prayerful melodic arc that stretched
out to infinity yet spoke directly to the individual
-- Grant Menzies, The Oregonian (Portland)
Time Undisturbed (1999)
for piccolo, flute, and alto flute (or three shakuhachis),
three harps (celesta, piano and harp) (or three kotos), 'cello and
sustaining keyboard (or sho).
Commissioned by the Kanagawa Cultural Council
for the Monophony Consort.
Make Prayers to the Raven (1996/98)
fl, vln, hp (or pno), vlc, percussion.
for harp and percussion.