1 leaves for violin and guitar (36’– 43’) (1993/1994) 48 p.
2 page for string quartet (27’) (1994) 34 p.
3 word for vocal quartet (SATB) (30’–120’ (1994) 70 p.
4 breath for solo alto saxophone (20’–120’) (1994) 120 p.
5 Akasa for piano (11’) (1994) 8 p.
6 space for audience (30’)(1994) 3 p.
7 The Line for 2 euphoniums, F and C tubas (10’) (1995) 12 p.
8 bow for three violins (variable) (1994-5) 42 p.
9 293.3 for two or more musicians and/or tape (variable)(1995) 70 p.
10.1 mind is moving (I) for guitar (75’) (1995) 80 p.
10.2 mind is moving (II) for violin (25’–91’) (1995) 14 p.
10.3 mind is moving (III) for violoncello (25’–71’) (1995) 10 p.
10.4 mind is moving (IV) for contrabass (30’–60’) (1996) 14 p.
10.5 mind is moving (V) for viola (20’–53’20”) (1996) 10 p.
10.6 mind is moving (VI) for reader (9’–120’)(1996), 13 p.
10.7 mind is moving (VII) for oboe (22’–96’40”) (1996), 5 p.
10.8 mind is moving (VIII) for trumpet (26’40”–53’20”) (1996), 5 p.
10.9 mind is moving (IX) for electric guitar (43’) (1999/2011/2013) 6 p.
11 distance (I) for one to four pianos (40’–320’) (1996-7) 130 p.
12.1 distance (1) for one piano (9’30”) (1996) 4 p.
12.2 distance (2) for two pianos (6’40”) (1996) 2 p.
12.3 distance (3) for three pianos (8’30”) (1996) 4 p.
12.4 distance (4) four pianos (9’20”) (1996) 4 p.
13 distance (II) for string quartet (10’–80’)(1997) 32 p.
14 distance (III) for wind quartet (10’) (1997) 20 p.
15 /clouds/ for orchestra (12’) (1996) 7 p. (parts, 120 p.)
16 everyday for a variable number of performers (30’–120’)(1996) 17 p.
17 here (1) for solo guitar (32’36”–65’12”) (1995) 5 p.
18 here (2/1) for flute and accordion (18’) (1996) 8 p.
19 here (2/2) for baritone saxophone and tape (20’40”) (1996) 5 p.
20 here (2/3) for two pianos (22’36” or 45’44”) (1996) 5 p.
21 here (3) for oboe, violin and violoncello (27’30” or 58’50”) (1996/2001) 20 p.
22 here (4/1) for string quartet (18’–180’) (1996-7) 44 p.
23 here (4/2) for vocal quartet (58’24”) (1997) 16 p.
24 here (5) for wind quintet (40’) (1997) 15 p.
25 A certain species of eternity for one performer (1996) 2 p.
26 space (2) for audience (1997) 1 p.
27 untitled for speaker, flute, accordion, vibraphone (34’) (1997) 20 p.
28.1 within (1) for solo flute (10’–90’)(1996) 8 p.
28.2 within (2) for solo violoncello (10’–90’) (1996) 8 p.
28.3 within (3) for solo guitar (10’–90’) (1997) 8 p.
28.4 within (4) for solo accordion (10’–90’) (1997) 8 p.
28.5 within (5) for solo trombone (10’–90’) (1997) 8 p.
28.6 within (6) for solo clarinet (10’–90’) (1998) 8 p.
29 braids for (silent) reader (30’) (1997) 32 p.
30 walking, standing for solo flute (20’–71’) (1997) 12 p.
31.1 guitar event for solo guitar (10’) (1997) 3 p.
31.2 oboe event for solo oboe (10’) (1998) 3 p.
32 time, presence, movement (includes eleven separate realizations for solo flute, english horn, bass clarinet, trombone, guitar, piano, bass drum, vln, vla, vc and an ensemble of up to10 musicians) (70’)(1997) 176 p.
33 one sound for two bass drums (15’–70’) (1997) 2 p.
34 this and that for two oboes (20’) (1997) 6 p.
35 zwischen for two violins (20’) (1998) 6 p.
36.1 appearance (1) for one (sustaining) instrument (55’) (1998) 9 p.
36.2 appearance (2) for two instruments (55’) (1998) 9 p.
37.1 encounter (1) for four instruments (40’) (1998) 2 p.
37.2 encounter (2) for flute, percussion, piano, string quartet (60’)(1998) 7 p.
37.3 encounter (3) for four musicians (40’) (1998) 2 p.
38 pi (1–2594) for piano (5’–54’) (1998) 21 p.
39 five worlds for orchestra (minimum of 20’) (1998) 35 p.
40 a little thing series of four pieces for one musician, voice, storyteller and theater (10’) (1998)
41 two persons for two musicians (12’) (1998) 15 p.
42 Dérive for choir (variable) (1998) 1 p.
43 ab da for voice and two or four musicians (20’) (1999) 3 p.
44 4 Messages two musicians (4 x 55’) (1999) 5 p.
45 Dérive (2) one musician (17’) (1999) 4 p.
46 Time Pieces (Diminishing Time, Cycling Time, Straightening/Curving Time) up to three musicians, (variable duration) (1999-2000) 28 p.
47 The Collection various ensembles, 21 scores (variable duration) (1999-2000) 22 p.
48 Perception for solo or ensemble, 4 scores (variable duration) (2000) 5 p.
49 For Carrie Biolo for percussion (Divided into Silences, Was was and is) (variable) (2000) 3 p.
50 For Gerhard and Kunsu (Rolling, 1 perf., A little dance, 3 perf.) (variable) (2000) 3 p.
51 For Mauser (Wenig, Das harte unterliegt) for guitar (2000) 3 p.
52 Salamander, chrysalis, fire for oboe, violin, viola and violoncello (18’) (2000) 14 p.
53 Unsicher, sanft und ohne ungeduld for trombone and violoncello (54’) (2000) 10 p.
54 Unvoiced for two violoncellos (55’) (2000) 10 p.
55 Fade for piano (20’) (2000) 7 p.
56 Exchange for two violins (84’–169’) (2000) 8 p.
57 A moment for one percussionist (variable duration) (2000) 2 p.
58 All clocks are clouds for an ensemble of twelve musicians (17’) (2000) 14 p.
59 Boswell for flute, clarinet, piano and guitar (48’) (2001) 12 p.
60 A Sea of Ptyx for marimba and guitar (25’) (2001) 13 p.
61 Wool Flowers for mezzo soprano, flute, clarinet or oboe, perc, guitar and string (55’) (2001) 6 p.
62 avant, avec, après for flute and percussion (60’–90’) (2001) 5 p.
63 Turning for clarinet and percussion (15’) (2001) 4 p.
64 with Pim, for violin and violoncello (3 x 30” or 10’) (2001) 2 p.
65 floating, drifting for solo piano (30’) (2001) 3 p.
66 The edges, the center for flute, violin and piano (30’)(2002) 3 p.
67 void atween for clarinet, violin and two celli (62’30”) (2001) 10 p.
68 eyelet (1) for string orchestra, flute, oboe, tpt, perc (2 x 26’40”) (2002) 10 p.
69 eyelet (2) for two speakers, violoncello, sine tone, clarinet, marimba, gtr/pno, radio and noises (88’) (2002) 45 p.
70 Archives of Silence for an ensemble of 13 musicians, outdoors (variable) (2000-2) 130 p.
71 averér local for clarinet and percussion (43’) (2002/2009) 7 p.
72 Transparence for flute, clarinet, trombone, percussion, piano, violin (60’) (2002) 20 p.
73 Tranquility for flute, clarinet, percussion, piano, violin, viola, violoncello (24’)(2002) 8 p.
74 imagine something there for fl, cl, tbn, perc, 2 vlns, vla, vc, sine tone, speaker, text (57’40”) (2002/3) 3 p.
75 an unrhymed chord for ensemble (65’) (2003) 1 p.
76 unter eichen for electric guitar (ca. 25’) (2003) 4 p.
77 80 flowers for flute, viola and performance (80 x 2’40”) (2003) 83 p.
78 Tag und Nacht sind zwei Jahre for speaker, electric guitar, stones (60’) (2003) 15 p.
79 twelve gardens for fl, afl, cl, bcl, hn, perc, pno, e-gt, vln, vla, vc, cb (25’) (2003) 15 p.
80 rapport abstrait for two electric guitars (ca. 40’) (2003/4) 7 p.
81 ruines vrai refuges (composed silence) for fl, cl, vln, harm (15’) (2003) 4 p.
82 interference (1) for violoncello, e-guitar, electronics, record player (54’) (2004) 5 p.
83 figment light for fl, cl, marimba, vln, vc, harm., (54’30”) (2004) 50 p.
84.1 black, white, red, green, blue for electric guitar (35’-60’) (2004) 7 p.
84.2 voyelles (a version of 83.1 with electronics) (60’20”) (2009)
85 feuerwind, windwasser, for harmonica, (ca. 50’) (2004) 24 p.
86 sound demonstrations, solo performer (variable) (2004-6) 4 p.
87.1 ricefall (1) for 16 performers (18’) (2004) 20 p.
87.2 ricefall (2) for 16 performers (72’) (2007) 7 p.
87.2a ricefall (2a)—melodic extensions for ricefall (2) for 2 performers (multiples of 18’) (2010) 4 p.
87.3 ricefall (2b)–sine tones and harmonic extensions for ricefall (2) (2016) (14 p.)
88 Reading Spinoza (V) for speaker and piano (ca. 4 hours) (2002-04) 104 p.
89 interference (2), speaker, woodwind, chord instr., electronics (20’) (2002/05) 4 p.
90 five pieces on texts by francis ponge (all for speaker, two woodwinds, piano and vibraphone), 35’ each, (2004) (5 x 9 p.)
90.1 rain (pluie)
90.2 the crate (le cageot)
90.3 bread (le pain)
90.4 moss (la mousse)
90.5 oyster (l’huître)
91 hinwandeln (zwischen himmel und erd), 3 instruments (variable) (2005), 23 p.
92 harmony series (34 pieces) variable instrumentation and duration (2004–6) 48 p.
93 Violin and __ Materials, solo violin (variable duration) (2005) 1 p.
94 for Bill Karlins violin and piano (6’) (2006) 2 p.
95. The Decomposition of the Real (cycle) (2005-09)
95.1 three to six violins (10’), (2005/6) 22 p.
95.2 viola and piano (20’), (2006) 5 p..
96.1 Transparent City (2004–6) field recordings and sine tones (EWR 0706–0709)
96.2 Transparent City (2) instructions for accompaniment to 91.1 (2009) 2 p.
97 Tombstones, 20 songs with instruments (2006–10) 25 p.
98 entre-moments three series: (ca. 300’, i.e., about five hours total), (2006) 35 p.
topographies (10 trios)
constellations (10 pieces for tone generators)
the earth and the sky (10 pieces for piano)
99 A room outdoors (sustaining instrument, harmonium, field recording) (48’) (2006) 7 p.
100 pianos in the field (4 pianos, 6 loudspeakers) (53’) (2007) 9 p.
101 silently on the forest path for viola and violoncello (14’) (2007) 1 p.
102 a few grains of sand (speaker, 11 instruments) (15’) (2007) 5 p.
103.1 Ascending Series 1 (field recording, any instruments) (10 x 30’) (2007) 4 p.
103.2.1 Ascending Series 2.1 (for flute, clarinet, electric guitar, trombone, violoncello) (10’) (2008) 5 p.
103.2.2 Ascending Series 2.2 (for flute, violin, viola, violoncello, percussion) (10’) (2009) 4 p.
103.2.3 Ascending Series 2.3 (for flute, clarinet, trombone, cello and two guitars) (10’) (2010)
103.3 Ascending Series 3 (for any number of musicians) (ca. 5 to 8 hours) (2008) 9 p.
103.4 Ascending Series 4 (free ascent) (30’) (2008) 1 p.
103.5 Ascending Series 5 (for an orchestra) (44’) (2009) 9 p.
103.6 Ascending Series 6 (for trombone, electric guitar and sine tones) (ca. 38’30”) (2009) 4 p.
103.7 Ascending Series 7 (evaporation) (for seven bowed instruments and electronics) (33’30”) (2010) 5 p.
104.1 Lucretius Monody (for solo voice) (ca. 20’) (2008/9) 8 p.
104.3 Lucretius Alap for 6 vln,4 vla, 6 vc, 2 cb (ca. 30’) (2009-2012) 53 p.
104.4 Lucretius Melody for soprano, viola, two guitars and electronics (37’30”) (2015-2016)
104.5 Lucretius Harmony for chorus (ca. 60’) (2016–) (in process)
104.6 Lucretius Counterpoint (for male voices, flute, cello, percussion) (25’) (2007) 14 p.
105 Melody Series (Aarau) (field recording, clarinet, cello) (multiples of 30’) (2007) 4 p.
106 Crossing Series (Canyons) (field recording, instrument and whistling) (55’) (2007) 3 p.
107.1 A wave and waves (100 percussion) (74’) (2007) 208 p.
107.2 A wave and waves (Berlin performance version) as above, w/perc, fl, vln, e-guit, harm (2010) 12 p.
108 nachtstimmung (12 performers) (90’) (2007/8) 88 p.
109 Chords, Partially Obscured (cl., vla, cello, harmonium, e-guitar, electronics) (15’) (2008) 6 p.
110 E lá fora (electric guitar, harmonium) (12’ minimum) (2008) 5 p.
111 20 songs / le clavecin des prés (voices, chamber orchestra) (25’) (2008) 27 p.
112.1 fields have ears (1) for piano and four-channel playback (20’) (2008) 7 p.
112.2 fields have ears (2) for piano and six performers (30’ to 60’) (2009) 20 p.
112.3a fields have ears (3a) for piano, contrabass, electronics, objects, field recordings (30’) (2009) 7 p.
112.3b fields have ears (3b) for piano, violin, contrabass, electronics and objects (30’) (2010) 7 p.
112.4 fields have ears (4) for ensemble (27’40”) (2009) 3 p.
112.5 fields have ears (5) (vapor) for flute, bass clarinet, percussion, violoncello and piano (33’30”) (2010) 3 p.
112.6 fields have ears (6) for guitar and electronics (54’) (2010/11) 7 p.
112.7 fields have ears (7) for five musicians, four speakers and a grid (25’) (2010) 5 p.
112.8 fields have ears (8) for up to 80 performers (10’) (2010) 2 p.
112.9 fields have ears (9) for 49 musicians (65’20”) (2012) 150 p.
112.10 fields have ears (10) for piano and orchestra (25’00) (2015-16)
113.1 Hearing Metal 1 (for recorded tam-tam) (ca. 64’) (2008) 5 p.
113.2 Hearing Metal 2 (for recorded percussion and field recordings) electronic (60’) (2010/11)
113.3 Hearing Metal 3 (for 16 cymbals, sine tones and filtered noise) (45’) (2010) 64 p.
113.4 Hearing Metal 4 (for glockenspiel and electric guitar with electronics) (25’) (2010/11) 4 p.
114 Four pieces for Recorded Percussion (Il faut attendre) (ca. 80’) (2008) 31 p.
115 Two Stones (for one to four performers) (40’) (2008/9) 4 p.
116.1 asleep, river, bells, chords – (ensemble, field recordings, electronics) (ca. 34’) (2009) 2 p.
116.2 asleep, street, pipes, tones – (e-guitar, bass clarinet, electronics) (65’) (2009) 7 p.
116.2b asleep, street, pipes, tones – (bass clarinet, cello, e-guitar, keyboard, percussion) (65’) (2009/17)
116.3 asleep, stream, rice, violin (for Rolf Julius) (electronic) (10’) (2011)
116.4 asleep, people, water, instruments (with flussaufwärts/fussabwärts and sleeping scales) (2012)
116.5 asleep, wind, voice, poe for piano, trio, percussion, voice and playback (90’) (2013) 17 p.
116.6 asleep, stone, clarinet, change for clarinet, flute, guitar, trombone, violoncello and performer (12’) (2013) 4 p.
116.7 asleep, forest, melody, path for musicians and field recordings (60’) (2013) 8 p.
116.8 asleep, desert, choir, agnes for 22 musicians and electronics (30’) (2016) 18 p.
117 July Mountain (field recordings and percussion) (21’) (2009) 7p.
118.1 Descending Series (1): An Index of Thirds (for Ben Johnston) for piano and sine tones (28’40)(2009) 10 p.
118.2 Descending Series (2): An Index of Seconds (for Rhodri Davies) for harp and sines (28’40) (2010) 11 p.
119 close constellations and a drum on the ground for crotales, e-guitar, electronics (40’) (2010/11)
120 Different Weather (5 Skies) for flute, violin, viola, violoncello, performer and electronics (27’) (2010) 10 p.
121 branch melody for solo electric guitar (30’) (2010) 3 p.
122 A discrete reconciliation between balance and flux for three performers (20’20) (2011) 3 p.
123 A drum acted upon by friction, gravity and electricity for snare drum (ca. 17’) (2011) 2 p.
124 A transparent gate (with ten panels) for solo percussionist with 8 small speakers (100’) (2011) 10 p.
125 Concentric Rings in Magnetic Levitation for three musicians (58’40”) (2010-11) 12 p.
126 Closed Categories in Cartesian Worlds for crotales and sine tones (open duration) (2011-12) 11 p.
127.1 melody, silence (1) for solo guitar (ca. 30’ to 60’) (2011-12) 8 p.
127.2 melody, silence (2) for solo bassoon (ca. 30’) (2015-16) 6 p.
128 D minor and Bb major (co-complosed with Taku Sugimoto) for 16 musicians (50’) (2011-12) 19 p.
129 Les Jours, Mon Aubépine for solo piano (ca. 14’ to 20’) (2012) 7 p.
130 Living With the Death of Time for eleven percussionists (ca. 10’ to 60’) (2012/13)
131 The Middle of Life (Die ganze Zeit) electronic, with Oswald Egger and Julia Holter (47’20”) (2012/13)
132 The Punishment of the Tribe by its Elders, electronic (57’20”) (2012/13)
133.1 Extended Grey (Grey Series No. 1) for four musicians (45’) (2012/13) 5 p.
133.2 White Metal (Grey Series No. 2) for two musicians (45’11”) (2012/13) 7 p.
133.3 Add Red (Grey Series No. 3) for two musicians (22’) (2013) 6 p.
133.4 __ Grey (Grey Series No. 4) for field recording (72’) (2014) 1 p.
133.5 The Lost Quartet (Grey Series No. 5) for three (or fewer) musicians with electronics (20’) (2015) 13 p.
133.6 Helligkeit, die Tiefe hatte, nicht keine Fläche (Grey Series No. 6) for five musicians (30’) (2016) 10 p.
134 fragile being, hopeful becoming for two or more musicians (open) (2013) 1 p.
135 festhalten/loslassen for two or more musicians (2013) 7 p.
136 half-sleep beings for solo piano (5’) (2013) 2 p.
137 C. Wolff for solo piano (3’) (2014) 1 p.
138.1 violet transmission for 12 channel sine tones and electric guitar (30’) (2014)
138.2 ultraviolet transmission for sine tones, harmonic and guitar (50’) (2014-5)
139.1 anabasis (1) for five musicians (72’) (2014)
139.2 anabasis (2) for open ensemble (long duration) (2014)
139.3 anabasis (3) for 15 to 30 musicians (60’00”) (2014/15) 45 p.
140 Congaree Nomads for percussion and field recordings (72’) (2014) (72’)
141 The clock doesn’t chime for trombone, two guitars (one player) and electronics (30’) (2014) 20 p.
142 Extinguished for piano (four hands), violin, clarinet, bass clarinet, concertina, electronics (2014) (30’) 20 p.
143 A mist is a collection of points for piano, percussion and electronics (60’) (2014/15) 25 p.
144 Green Hour, Grey Future for solo piano and electronics (74’) (2014/15) 17 p.
145 Numbers and the Siren (after Mallarmé and Meillassoux) for two performers and electronics (+90’) (2015) 10 p.
146 Grounded Cloud for percussion, guitar and electronics (20’) (2015-16) 11 p.
147 Secular Reason for organ (10’) (2015/2016) 8 p.
148 No key but a possible movement for contrabass and electronics (29’) (2016) 5 p.
149 A bird in the beast for small choir (ca. 10’) (2016) 10 p.
150 Cosmological Plants for two performers, electronics, objects, set and lighting (20’) (2016) 10 p.
151 Grain Canons for flute, cello, percussion and piano, all playing grain percussion (12’) (2016) 11 p.
152 When I hear light for vibraphone and electronics (16’) (2016/17) 3 p.
153 Shadow Earth for harpsichord (6’) (2017) 3 p.
154 Something about the rain (two dialogues) for four people (ca. 30’) (2017) 9 p.
155 Stem – Flower – Root for trumpet and electronics (30’) (2017) 9 p.
156 wind and silence for mezzo-soprano, two tenors and baritone (12’) (2017) 11 p.
157 Der erste Stern ist das letzte Haus for three musicians (20’) (2017) 21 p.
158 for Stela for flute, violin or melody instrument with optional piano (5’) (2018) 1 p.
159 Étant donnés for fixed media (40’) (2018)
160 Shades of Eternal Night for piano embedded within fixed media (44’) (2018)
161 Achilles, Socrates, Diotima for variable size orchestra (10 or more musicians) (48’) (2018) 29 p.
162 Radiolarians for orchestra of any size (variable duration, ca. 20’ – 80’) (2018) 18 p.
163 Athena, Aristotle, Helen for three performers (ca. 60’) (2018) 3 p.
164 The Organ of Corti for organ (ca. 20’) (2018) 2 p.
165 Nature Denatured and Found Again, electroacoustic, 4 hours, 4 minutes (2011-2019)
166 Snowlight for Mr. Blake for toy piano (or other keyboard) (ca. 8’) (2019) 2 p.
167 Cellular Melody and Harmonic Cytokinesis for trombone and fixed media (ca. 30’) (2019-20) in process
168 Barricades for piano and electronics (63’) (2019) 42 p.
169 one year (changes) for clarinet, trombone, electric guitar, cello, double bass and sine tones (24’) (2019) 14 p
170 Umbra & Penumbra (12 poems to 行欣) for percussion and orchestra (36’) (2019) 44 p.
171 三字 (three characters) for flute, horn, viola and two violoncelli (11’) (2020)
172 The Lost Ones (Incidental Music) for flute, horn, viola, viola da gamba and two violoncelli (6’) (2020)
173 The narrow path (早春圖) for solo vibraphone (14’) (2020)
174 Tai Pi for fixed media (39’) (2020)
175 alpha beta eros for two musicians (20’) (2020) 6 p.
176.1 Manifold (for Malatesta) for percussion and electronics (29’) (2020) 3 p.
176.2 Melody (for Malatesta) for percussion and electronics (ca. 20’) (2021) 11 p.
177 side by side for percussion (30’) (2021) 7 p.
178 Two Scrolls from Western Australia for alto saxophone, guitar and field recordings (48’) (2021) 14 p.
179 Signs from Petrarch for soprano, women’s choir, alto flute, viola and harp (15’) (2021/22) 18 p.
180 Listen to the Ocean Again for accordion (23’) (2022) 6 p.
181 Territorial Refrains for flute, clarinet, melodica, percussion (glockenspiel, wood blocks), violin, viola and cello (100’) (2022) 61 p.
182 Caminante for solo contrabass and flute, bass clarinet, trumpet (or horn), trombone, percussion, e guitar, voice, 2 violins, viola & cello (31’) (2022) 40 p.
183 fallow flowering fields burning for solo pedal steel guitar and electronics (24’) (2022) 8 p.
184 fields have ears (11): Forests of Noise for solo percussion, experimental music ensemble and wind ensemble (55 musicians) (50’) (2023) 73 p.
185 The Tipping Point (text by John Holloway) for speakers and musicians (ca. 10’) (2023) 3 p.
186 Melodic Currents for portable instrument and a landscape (ca 90’) (2023) 3 p.
187. Melodische Strömungen (Bruckner Tönung am Fluss) for large brass ensemble along a river (35’ or more) (2023-4) 23 p.
188. Rhododendron for electric guitar and electronics (30’) (2024) 8p.