Commissioned Compositions

Composed and compiled an 18-minute score using original materials, and those of David Karagianis, for a trio by choreographer Mary Fitzgerald. Performed in Marfa, TX, May 2003.

The Living Room Project, 40-minute score created in collaboration with Los Angeles-based composer David Karagianis. Choreography by Ann Ludwig, Performed by the A Ludwig Dance Theatre, Tempe, AZ. Premiered in April 2003. (Will also be performed in April 2004.)

Mud Floors; Glass Ceilings: Collaborative work with David Karagianis, composer, Helen Hestenes, performance artist, Ann Ludwig, choreographer, and Tom Eldrigde, videographer. Premiered at the Ice House, Phoenix. 40-minute sound design for guitar, electronics and environmental sounds, 1997.

Interlude: Choreographed by Byrd White. Premiered at the Chandler Center for the Arts, Chandler, AZ. Arranged an adagio by Ben Hazard, composed new meterial, and performed the 6 minute piano score; 1995.

Life, Liberty and the Pursuit of Happiness: Choreographed by Ann Ludwig for the A Ludwig Dance Theatre. Premiered at the Chandler Center for the Arts, Chandler, the Herberger Theater Center, Phoenix, and at the Red River Opry, Tempe. Composed, performed and produced the 40-minute score for computer controlled synthesizers; 1994. [audio excerpt]

Reversing the Spell: Project Director, Co-Artistic Director/Co-Composer of a multi-media, interdisciplinary performance work created for two male dancers, soprano, counter tenor, alto saxophone, classical guitar, cello, electronic and acoustic percussion, digital synthesizers, rear screen video projector, nine slide projectors, two Amiga computers, and two Macintosh computers. Funded by ASU's Institute for Studies in the Arts. Premiered at Drama City, Tempe, AZ. 43 minutes, 1991. [audio excerpt and link to ISA]

Troubled Arrangements: Choreographed by Robert Small on A Ludwig Dance Theatre. Premiered at Centennial Hall, Tucson, and at the Herberger Theater, Phoenix. Music collaboratively composed and performed live by R. Kaplan and John D. Mitchell, for synthesizers, digital samplers and computer. 14 minutes, 1990. (Meet the Composer Grant)

Shaking the Pumpkin: Choreographed by Elina Mooney. Premiered at Gammage Auditorium, Tempe, AZ. Tape score for computer controlled synthesizers and digital sampler. 23 minutes, 1990. [audio excerpt]

Re-staged The Grand Duchess Laughing on the Sharir Dance Company, Austin, TX. 1990. (The score was re-worked to be performed by a larger group of voices.)

The Grand Duchess Laughing: Choreographed by Senta Driver for her company, HARRY. Premiered at the American Dance Festival, Durham, NC, and the Joyce Theater, NYC. Vocal score, Vox Humana, (collaboration with Ben Hazard) performed by the dancers while dancing. 15 minutes, 1989.

Fugue State: Choreographed by Laurie Eisenhower. Premiered in Oakland, MI, and Scottsdale, AZ. Tape score for synthesizer and digital sampler. 12 minutes, 1989.

A Large Event: Choreographed by Ann Ludwig. Premiered in the Galvin Playhouse, Arizona State University. Music composed and performed in collaboration with Ben Hazard, for synthesizers, digital sampler and tape. 1 hour, 15 minutes, 1989.

Widows of Pleasant Valley: Choreographed by Ann Ludwig for A ludwig co. Premiered in Show Low, AZ. Tape score performed by William Eaton, guitar, John Ettinger, violin, Skip La Plante, pipe flute, and R. Kaplan, synthesizer and digital sampler. 23 minutes, 1988. (Meet the Composer Grant)

No Time: Choreographed by Laurie Eisenhower. Performed at the Performance Network, Ann Arbor, MI. Tape score for synthesizer. 6 minutes, 1988.

Now is the Time for All Good Men to Come to the Aid of Their Party: Choreographed by Ann Ludwig. Premiered at Gammage Auditorium, Tempe, AZ. Tape score for synthesizer and digital sampler. 12 minutes, 1987.

Blue Mesa: Multi media dance-film-music work, Choreographed by Mel Wong; Film by Ted Timreck. Premiered at Emmanuel Mid-Town YM-YWHA, NYC. Tape score for Native American flute performed by R. Carlos Nakai, pipe flute performed by Skip La Plante, synthesizer and digital sampler played by the composer. 40 minutes, 1987. (Meet the Composer Grant)

Lifeline: Choreographed by Carolyn Dorfman. Revised score of Contact. Performances in NYC, throughout NJ and in Ann Arbor, MI. 20 minutes, 1987. (Meet the Composer Grant)

Contact: Choreographed by Mel Wong. Premiered at Gammage Auditorium, Tempe, AZ. Tape piece scored for four sopranos and four celli. 20 minutes, 1986.

Sumgame: Choreographed by Ann Ludwig. Performed at Gammage Auditorium, Tempe, AZ. Scored for two percussionists and two electronic keyboardists. Subsequent performances in NYC and throughout Portugal used recorded score. 20 minutes, April 1985.

Lady Macbeth: Music for solo dance by Yung Yung Tsuai. In the repertory of the Allegro Ballet of Houston, TX. Tape score for voice and effects. 6 minutes, 1985.

Portraits: Choreographed by Sybil Huskey. Performed at the Phoenix Art Museum, Phoenix, AZ, for the Robert Henri exhibit. Tape collage performed live via four-track tape deck, two stereo decks and mixing console. 20 minutes, 1985.

MOveMENT to MOveMENT: Choreographed by Beth Lessard. Performed at Arizona State University and UCLA. Electronic tape score. 12 minutes, 1984.

Portraits of Four Women: Choreographed by Ze'eva Cohen. Premiered at the Riverside Dance Festival, NYC. Tape piece scored for four flutes and electronics. 20 minutes, 1984.

Slap Hard: Music for film by Christine Loizeaux. Scored for flute and synthesizer. 12 minutes, 1984.

Six: Choreographed by Sarah Stackhouse. Premiered at SUNY Purchase, NY. Scored for vocal soloist, eight voices and tape. 20 minutes, 1984.

Twilight: Choreographed by Mel Wong for the Modern Dance Theater of Hong Kong. Performances throughout Hong Kong in the Asian Arts Festival. Electronic tape score performed live via three tape recorders and mixing console. 16 minutes, 1983.

Running Lights: Choreographed by Mel Wong for the Modern Dance Theater of Hong Kong. Performances throughout Hong Kong in the Asian Arts Festival. Electronic tape score performed live via three tape recorders and mixing console. 25 minutes, 1983.

Eclipse: Choreographed by Mel Wong for the Modern Dance Theater of Hong Kong. Performances throughout Hong Kong in the Asian Arts Festival. Electronic tape score performed live via three tape recorders and mixing console. 7-1/2 minutes, 1983.

Breakwater: Choreographed by Mel Wong for the Modern Dance Theater of Hong Kong. Performances throughout Hong Kong in the Asian Arts Festival. Electronic tape score performed live via three tape recorders and mixing console. 20 minutes, 1983.

Descent of Man: Choreographed by Joan Finkelstein. Premiered at the Riverside Dance Festival, NYC. Tape piece scored for percussion and synthesizer. 18 minutes, 1983.

Social Security: Radio play by Dennis Bernstein and Warren Lehrer. Broadcast on National Public Radio. Scored for cello, voices and electronics. 20 minutes, 1983.

Aerial: Choreographed by Mel Wong for George Mason University, Fairfax, Virginia. Tape piece scored for synthesizers and digital sampler. 15 minutes, 1983.

Scenario on a Bridge: Choreographed by Mel Wong for the Brooklyn Bridge Centennial Celebration, performed in the Brooklyn Anchorage, NYC. Musical collaboration with Bob Kuttruf and Skip La Plante. Scored for synthesizer and kannon. 1 hour, 1983.

Trio in Four Parts: Choreographed by Susan Marshall. Tape piece scored for double bass and voice. Premiered at the Emmanuel MidTown YM-YWHA, NYC. 15 minutes, 1983.

Fault Line: Choreographed by Susan Marshall. Scored for synthesizer on tape. Premiered at the Yard, Martha's Vineyard, MA. 13 minutes, 1982.

Catch: Choreographed by Mel Wong, Mel Wong Dance Company. Tape piece scored for synthesizer and tape effects, performed live via three tape recorders and mixing console. Premiered at the Riverside Dance Festival, NYC. 15 minutes, 1982. (Meet the Composer Grant)

Paris: Choreographed by Mel Wong, Mel Wong Dance Company. Tape piece scored for piano, synthesizer, and tape effects performed live via three tape recorders and mixing console. Premiered at the Riverside Dance Festival, NYC. 20 minutes, 1982. (Meet the Composer Grant)

Landings: Choreography by Mel Wong for the Morita Dance Co., NYC. Musical collaboration composed and performed by R. Kaplan and Skip La Plante, percussion and tape. 20 minutes, 1982. (Meet the Composer Grant)

The House and All That Was in IT: Choreographed by Amy Rosen. Tape collage. Premiered at the Merce Cunningham Studio, NYC. 12 minutes, 1982.

Telegram: Choreographed by Mel Wong for the Mel Wong Dance Company. Musical collaboration with Skip La Plante, tape collage. Premiered at the Riverside Dance Festival, NYC. 19 minutes, 1982.

Migration: Choreographed by Mel Wong for the Mel Wong Dance Company. Tape piece scored for synthesizer, performed live via three tape recorders and mixing console. Premiered at the Riverside Dance Festival, NYC. 30 minutes, 1982.

Prologues A, B, C: Choreographed by Mel Wong for the Mel Wong Dance Company. Tape score, performed live via three tape recorders and mixing console. Premiered at the Riverside Dance Festival, NYC. 7 minutes, 1982.

Paper Piece: Choreographed by Susan Marshall. Tape collage. Premiered at the Schimmel Center, Pace University, NYC. 7 minutes, 1982.

18 Marbles: Choreographed by Susan Marshall. Tape collage. Premiered at the Schimmel Center, Pace University, NYC. 15 minutes, 1982.

Palms: Choreographed by Mel Wong for the Mel Wong Dance Company. Tapescore for three celli and tape effects. Premiered at YM-YWHA, West Orange, NJ. 21 minutes, 1981.

Merge: Choreographed by Mel Wong for the Mel Wong Dance Company. Tape piece scored for synthesizer and video game sounds, performed live via three tape recorders and mixing console. Premiered at Hunter College Playhouse, NYC. 30 minutes, 1981.

Cloud Castles: Choreographed by Mona Daleo. Tape piece scored for cello, synthesizer and voice. Performed at Wesleyan University, Middletown, CT. 40 minutes, 1981.

The Invention of America, Part I: For Junko Kikuchi's Duet. Scored for synthesizer. Premiered at Washington Square Church, NYC. 15 minutes, 1981.

In a Folding Place: Choreographed by Amy Rosen. Tape collage. Premiered at the Open Ear, NYC. 6 minutes, 1981.

Take Care of Each Other, You Know?: For Mel Wong's Jelly Bean Red, White, Blue. Tape collage, synthesizer and pre-recorded material. Performed at the New York University, School of the Arts, NYC. 29 minutes, 1981.

Rush: Choreographed by Mel Wong for Douglas Bolivar. Scored for synthesizer. Premiered at Japan Society, NYC. 6 minutes, 1981.

Towers: Choreographed by Mel Wong. Synthesizer and tape collage. Performed at SUNY at Purchase, NY. 20 minutes, 1981.

Streams: Choreographed by Mel Wong for the Mel Wong Dance Company. Tape piece, scored for piano strings with altered sound envelopes. Premiered at the Emmanuel Mid-Town YM-YWHA, NYC. 8 minutes, 1980.

Phones: Choreographed by Mel Wong for the Mel Wong Dance Company. Tape piece scored for voice and piano. Premiered at the Emmanuel Mid-Town YM-YWHA, NYC. 19 minutes, 1980. [audio excerpt]

The Riddle: For Mel Wong's Pebbles. Performed by the Werkcentrum Dans Ensemble, Rotterdam, The Netherlands. Tape piece scored for keyboards, table drums, ocherina, and birds. 24 minutes, 1980.

Imprint: Choreographed by Mel Wong for Junko Kikuchi. Scored for solo cello with 3-second sound delay. Premiered at Japan House, NYC. 8 minutes, 1980. [audio excerpt]

Peaks: Choreographed by Mel Wong for the Mel Wong Dance Company. Scored for two sopranos and tape. Premiered in the Dance Umbrella Series, Camera Mart/Stage One, NYC. 1 hour, 15 minutes, 1979. [audio excerpt]

Salt: Choreographed by Mel Wong for the Mel Wong Dance Company. Tape collage performed live via three tape recorders and mixing console. Premiered at the Merce Cunningham Studio, NYC. 1 hour, 20 minutes, 1979.

Windows: Choreographed by Mel Wong for the Werkcentrum Das Ensemble, Rotterdam, The Netherlands. Scored for four electronic keyboards. 27 minutes, 1979.

You See It All Started Like This: Choreographed by Mel Wong for the Mel Wong Dance Company. Musical collaboration with Skip La Plante. Scored for piano, electric piano, percussion and tape. Performed at the Dance Umbrella Entermedia Theater, NYC. 1 hour, 30 minutes, 1978.

Door #1, Door #2, Door #3: Choreographed by Mel Wong. Tape collage. Performed at SUNY at Purchase, NY. 27 minutes, 1978.

Images by Stan Kaplan