for solo Doublebass
15:00

For Robert Black

for five Doublebasses
16:30

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For string quartet.
50:00

Commissioned by Black Mountain College Museum + Arts Center, Summer Stages Dance @ The Institute of Contemporary Art/Boston, Liz Gerring Dance Company.

For string quartet.
21:00

Wise Music.

Commissioned by Third Angle New Music with generous support from Betsy Russell.

For string quartet.
30:00

Recorded on Cold Blue Music.

Commissioned by Tippet Rise Art Center.

For flute, alto flute, 2 percussion, piano, violin, viola, ‘cello, and doublebass .
26:00

Co-commissioned by Camerata Pacifica, The Chamber Music Society of Lincoln Center, Chamber Music Northwest, Emerald City Music, and Redlands Symphony.

For string quartet.
56:00

Commissioned by SFJAZZ for the JACK Quartet.

Recorded on Cold Blue Music.

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For string quartet.
18:00

Commissioned by the Los Angeles Philharmonic for the Calder Quartet.

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Version for ‘cello ensemble (16 parts).
18:00

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For string quartet.
24:00

Commissioned by the University of North Carolina for Brooklyn Rider.

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for horns (in multiples of 8), performing outdoors.
22:30

Commissioned by the East Neuk Festival and the Southbank Centre.

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For piano and percussion.
17:00

Commissioned by Tracy-Lipke Perry and Eugene Koshinski.

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For string quartet.
7:00

Commissioned by the University of North Carolina for Brooklyn Rider.

Recorded on Cold Blue Music.

Commissioned by Tippet Rise Art Center.

For solo piano
6:30

Commissioned for Emanuele Arciuli.

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For string quartet.
16:00

Commissioned by Theodore Front Musical Literature.

Recorded on Cold Blue Music.

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For piano, percussion and electronic sounds.s
32:30

Commissioned by Stephen Drury.

Recorded on Cold Blue Music.

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For for solo ‘cello (also available for violin).
10:30

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Version for two pianos and electronic sounds.
12:00

Recorded on Cold Blue Music.

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For alto flute, bass clarinet, vibraphone/crotales, piano, violin, ‘cello, and electronic sounds.
11:45

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

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For solo piano.
7:00

Commissioned by Music Northwest.

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For for solo violin (also available for 'cello).
10:30

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For three trumpets and three trombones.
6:30

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For piano, mallet percussion, and processed sounds
12:00

Commissioned by Ensemble Sirius.

Recorded on Cold Blue Music.

“…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

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For violin, vibraphone, marimba, sustaining keyboard, contrabass instrument.
13:00

Commissioned by the Paul Dresher Electric Chamber Ensemble.

Recorded on Cold Blue Music.

“…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

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For bass clarinet, vibraphone, marimba, piano.
12:00

Commissioned by Marty Walker.

Recorded on Cold Blue Music.

“…striking… the deep bass clarinet line weaving in and out of the rolling bass notes of the piano and the vibraphone accompaniment.” - Francois Couture, The All Music Guide

“…a sumptuous ensemble rumble, with thrumming chords from piano and three mallet percussionists.” - Los Angeles Times

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For violin, vibraphone, marimba, piano, doublebass.
11:00

Recorded on Cold Blue Music.

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For solo piano.
10:30

Recorded on Cold Blue Music.

“It sounded, as its name might imply, like an enormous rock formation turned into sound.” - Greg Sandow, NewMusicBox

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For celesta, harp (or piano), 2 vibraphones, string quartet.
18:00

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 soul.” - Grant Menzies, The Oregonian (Portland)

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For violin, vibraphone, piano, sustaining keyboard, contrabass instrument.
30:00

<a href="../front/recordings/35">Recorded on Cold Blue Music</a>.

“…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

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For flute, violin, harp (or piano), ‘cello, percussion.
16:30

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For harp and percussion.
16:00

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For solo harp.
12:00

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For flute choir (2/3/2/1).
6:30

Recorded on Mode Records.

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For 2 piccolos and 3 percussion.
Ca. 40:00

Recorded on Mode Records.

“I’m working as a fire lookout on Aztec Peak in Arizona. Used to work same job on N. Rim of Grand Canyon. Your musical evocation of the hermit thrush, common to both places, moved me to tears.” - Edward Abbey, Letter, July 1978

“…one of the most sensitive reworkings of birdsong since Messiaen’s.” - Ear Magazine

” …exquisitely gentle evocations of wilderness sounds… songbirdsongs transformed the auditorium into the aural equivalent of some enchanted forest…The effect was musical magic.” - News and Courier/Evening Post (Charleston, S.C.)

“…uncanny… songbirdsongs is a beautiful recording.” - John Schafer, NPR

“…charm and a real feeling for the nature of nature’s music.” - Eric Salzman, Stereo Review

“un monde d’enchantement sonore, vibrant de mystere et de poesie.” - Le Devoir (Montreal)

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