Catalog of Compositions by David Means

 

– Operas and Works for Stage –

Office Hours (1973)

Theater piece for percussionist/actor, three actors, file cabinets and four channel electronic soundtrack. Presented by Northern Illinois University for ARTS - USA:4 Festival. Later performances by the Blackearth Percussion Ensemble at the Krannert Center for Performing Arts, University of Illinois and at Western Illinois University.

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Future Perfect (1982)

Video opera in four parts for soprano, dancer, cameraman, three musicians, slide

projections and prerecorded soundtrack. Presented at D.K. Studios by Roulette, Minnesota with funding by the

McKnight Foundation.

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Nothing Can Stop the Duke of Earl! (1883)

Theater piece for grand piano, four casio keyboards, portable tape players and slide projections. Presented at the Minnesota Composers Forum Studio Series, and at the Roulette Performance Series, New York City.

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 In and (Always) Out of Order (1984)

Cablevideo opera in four parts, two locations; co-created with choreographer Georgia Stephens and Videographer Jim Malec for Intermedia Arts Minnesota's "Translations" series; cablecast by Minnesota Cablesystems Southwest.

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Out of the Foraging Rain (1984)

Chamber opera in one act (from "The Villagers Project") for dancer, three musicians, live video, slide projections and stereo soundtrack. Presented at "Music From Almost Yesterday" festival, Milwaukee, "New Works/St. Paul", and the Film in the Cities Performance Series.

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The Visions of Manley Dobol (1984)

For soloist with media materials; presented at Wall St. Gallery, St. Paul and at the Roulette Performance Series, New York City.

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He Who Hunted Birds (1985)

Chamber opera in two acts (from "The Villagers Project") for soprano, baritone, tenor, dancer/soprano, three musicians, slide projections and stereo soundtrack. Presented at the Southern Theater, Minneapolis by the Minnesota Composers Forum Studio Series with funding by the Minnesota State Arts Board.

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Once Upon a Time (In the Future) (1986)

Musical in two acts (co-written with Regina Zakrajsek) for middle school; commissioned

and premiered by Valley Middle School, Apple Valley, MN.; revival in 1991 by Northfield Middle School (with

MIDI score).

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In the Forest of Symbols (1989)

Performance opera in one act (from "The Villagers Project") for baritone, dancer, saxophone,

trombone, synthesizers, live sound processing and stereo soundtrack. Presented at the Little Theater of the

Hennepin Center for the Arts with funding from the Bush Foundation.

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Just as Things Are (So They Seem To Be) (1992)

Theater piece for "The Smith Brothers" performed by David Means and visual artist Dean Lettenstrom

for the "Bonus Track" series, Minnesota Dance Alliance.

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October Surprise (1992)

 Theater piece for two players with merged MIDI systems; written for "Music From the Dark

Side", a Halloween costume concert at the Grand, Northfield.  

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Wheels (1992)

Chamber opera co-created with writer JoAnne Makela for "Off the Page: Translating Literature to

Performance"; presented by The Loft, Minneapolis.

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The Accidental Terrorist (1997)

Solo performance piece for actor-musician with live electronics and camera; commissioned by “Music for the Darkside; Northfield Arts Guild.

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Future Perfect: 1999 (1999)

Chamber opera in four parts for soprano, baritone, three actors and prerecorded soundtrack; text by Georgia Stephens; Presented at “Strange Attractors IV” Festival, Nobles eXperimental interMedia Studio, St. Paul.

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Sentir Paris (2004)

Video opera on the images and sounds of Paris.

Collaboration with Mary Garvie and Marlene Tupy, premiered at Strange Attractors XII Festival, Studio 677 eXperimental interMedia, St. Paul.

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Forward Observer (2004)

Chamber opera in multiple settings; SPARK festival, University of Minnesota

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In the Mind’s Eye (2004)

Video opera and digital chautauqua electronically set in Plato’s Cave

 using documentary footage of the nineteen sixties

Collaboration with Jim Malec, Strange Attractors 13 festival, St. Paul

 

 

Speechmusic and Vocal Works –

Kalopykos II (1974)

For Women's chorus (S,S,A) and stereo tape. Commissioned by the Northern Illinois University Women's Chorus.

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Compatible Statements (1980)

Text matrix for video, spoken or sung performance.

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Compatible Statements II (1980)

For soprano (with radio headset), flute, cello, vibes and piano; performed at Macalester College (1980), and the Ordway Music Theater (1987).

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Cortile (1983)

Graphic score for four amplified voices and electronics (15 minutes);

commissioned and performed by LISTEN at Landmark Center, St. Paul (MCF-1983) and the Minneapolis

College of Art and Design (1983). 

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Transit Music (1987)

Graphic score for voices and portable soundtrack. Commissioned by LISTEN and performed for "A Sonic Tour of the Twin Cities", 1987.

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Not in Our Name (2002)

Computer altered spoken text from the Artist’s Pledge of Resistance

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In the Mind’s Eye (2004)

Aria for baritone with electronics from Plato’s Cave

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American Haikus (2004)

Aria for baritone with electronics from poetry of Dain Girodat

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Essays From France (2005)

Speechmusic for voices and digiral wind controllers with electronics using narrated texts from Joseph Roth

With Francoise Bonnefoy, Mary Garvie, Steve Goldstein and Jon Spayde

Strange Attractors 14 Festival, St. Paul

 

 

– Performance Installations –

Pockets of Resistance (1975)

Table-top score for woodwind quartet; commissioned by Mutatis Mutandis.   

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Kiosk (1977)

Six foot tower for four instruments and suspended notation. Commissioned for the symposium

"Graphic Music: A Spectrum of Sound and Design", University of Illinois School of Music.

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Wall Installation #1 (1978)

For soloist and five connected graphic scores; commissioned by trombonist Jim Staley.

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Floorpiece (1978)

 Installation of 36 notated pyramids for mixed quartet; performed at the Walker Art Center,

Minneapolis and elsewhere.

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Floorpiece II (1979)

 Installation of 15 notated pyramids for mixed trio; performed at the Walker Art Center, Minneapolis and elsewhere.

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Double Negative (1979)

Floor installation for two players; performed and exhibited at N.A.M.E. Gallery, Chicago (1979), "Music for Open Spaces", Minneapolis (1979), Tyler Gallery, S.U.N.Y., College at Oswego, New York (1980), Minneapolis College of Art and Design (1980 and 1981), "Parallel Expressions: Music in Architecture/Architecture in Music", Pillsbury Center, Minneapolis (1983); published in Scribing Sound: American Notations Since 1952, by Sylvia Smith (New York: Excelsior, 1990).

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Dymax III (1979)

For two players; commissioned by the Sylmar Ensemble through the Minnesota Composers Forum

Bratnober Commissioning Program.

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No Immediate Word (1979)

For flute and percussion; commissioned by Lisa Zakrajsek, Northern Illinois University.

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Wall Installation #2 (1980)

For soloist and five connected graphic scores; commissioned by flutist John Fonville.

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The Gnomes of Zurich (Support System V) (1980)

Outdoor installation for 4 wind instruments and concealed electronics; commissioned by the Walker Art Center for the New Music America - Minneapolis Festival.

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America Drinks and Goes Home (1980)

For actor, flute, clarinet, trombone, cello, piano, percussion and concealed electronics; commissioned by the Contemporary Music Project for installation in the Minneapolis Institute of Arts Sculpture Court.

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The Raw and the Cooked (Support System IV) (1980)

For percussion ensemble surrounded by mylar notation; commissioned by the Northern Illinois University Percussion Ensemble.

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Dymaxion Music (1983)

Graphic score, slides, video images and drawings for multi-media performance settings; performed at Roulette November Performance Series, D.K. Studios, Minneapolis (1982).

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Dymax VII (1983)

For three groups of percussion; commissioned by the

MacPhail Percussion Ensemble through the Minnesota Composers Forum/Jerome Foundation Composers

Commissioning Program. Also performed by the St. Olaf College Percussion Ensemble, Northfield, Minnesota.

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In the Forest of Symbols (1989)

Floor installation for mixed quartet with pre-recorded electronic soundtrack (15 minutes); performed at the Walker Art Center and elsewhere.

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Berliner Andenken (1990)

Wall installation for soloist, optional live electronic sound processing, prerecorded soundtrack, graphic scores and animated stereo video score (10 minutes.)

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World Without Castles (1990-92)

Performance installation for two players using live and pre-recorded computer and electronic sound, acoustic instruments, spoken and sampled text, live and pre-recorded video images, slide projections and stylized movement; premiered at Roulette, New York City ; included in Documenta IX, Kassell, Germany.

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Double Helix (1993)

Free-standing graphic score/tower with kinetic, reflective and photographic notation for two players.

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The Rose of Jericho (1993)

Solo performance installation written for Johnny A. Rodriguez. 

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In the Garden of Voices (1995)

Performance installation for three players designed for the Walker Art Center Sculpture Garden event "At Dusk and Dawn" and Metropolitan State University’s Great Hall of New Main; Version for stage presented at SpaceSpace, Minneapolis.

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The Sword of Damocles (1998)

Performance installation for one to four players, amplified kinetic score and optional video.

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This World (and then the Fireworks) (2001)

Trio for improvised texts and electronic instruments

Premiered at Roulette Spring Performance Series, New York City.

In collaboration with Wendy Ultan and Steve Goldstein.

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Fire in the Lake (2002)

Performance Installation for two players and amplified graphic score.

In collaboration with Warren Burt.

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Sentir Paris (2004)

Video opera on the images and sounds of Paris.

Collaboration with Mary Garvie and Marlene Tupy, premiered at Strange Attractors XII Festival, Studio 677 eXperimental interMedia, St. Paul.

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Roland’s Ghost (2005)

Performance Installation for one to four players, visual projections and amplified graphic score.

In collaboration with Warren Burt, Alex Cline, Ron George, Steve Goldstein, Susan Rawcliffe, Johnny Rodriguez and Carei Thomas;

Performances in Wollongong, Australia; Roulette, NYC; MicroFest, 2006, Los Angeles; and Strange Attractors 13 Festival, St. Paul. 

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Tumbleweed (2005)

Solo performance Installation for prepared electric guitar, visual projections and amplified graphic score.

“Sound Check”, Southern Theater, May, 2006.

 

 

– Environmental Installations –

Floorpiece (1978)

 Installation of 36 notated pyramids for mixed quartet; performed at the Walker Art Center,

Minneapolis and elsewhere.

ººº

Floorpiece II (1979)

 Installation of 15 notated pyramids for mixed trio; performed at the Walker Art Center, Minneapolis and elsewhere.

ººº

Double Negative (1979)

Floor installation for two players; performed and exhibited at N.A.M.E. Gallery, Chicago (1979), "Music for Open Spaces", Minneapolis (1979), Tyler Gallery, S.U.N.Y., College at Oswego, New York (1980), Minneapolis College of Art and Design (1980 and 1981), "Parallel Expressions: Music in Architecture/Architecture in Music", Pillsbury Center, Minneapolis (1983); published in Scribing Sound: American Notations Since 1952, by Sylvia Smith (New York: Excelsior, 1990).

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The Gnomes of Zurich (Support System V) (1980)

Outdoor installation for 4 wind instruments and concealed electronics; commissioned by the Walker Art Center for the New Music America - Minneapolis Festival.

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Morges (1984)

Solo performance for amplified flagpole cords; Morges, Switzerland.

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Music for the River  (1985)

Dance score for Marylee Hardenbergh’s Solstice Falls Project; Mississippi River Lock & Dam #1, Minneapolis.

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Transit Music (1987)

Graphic score for voices and portable soundtrack. Commissioned by LISTEN and performed for "A Sonic Tour of the Twin Cities"

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Cannon River Wave/Forms (1992)

Environmental performance installation along the Cannon River, Northfield, Minnesota, during the summer solstice.

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Stanton Airfield Land/Forms (1994)

 Environmental sound composition, installation and performance event on the grass runways of Stanton Airfield; featuring Bill and Mary Buchen, Johnny Rodriguez and others; Stanton, MN.

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In the Garden of Voices (1995)

Performance installation for three players designed for the Walker Art Center Sculpture Garden event "At Dusk and Dawn" and Metropolitan State University’s Great Hall of New Main; Version for stage presented at SpaceSpace, Minneapolis.

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WildLife Light/Sound Forms (1996)

Environmental installation as part of "Woodsworks at the Wildlife Refuge";Minnesota Valley National Wildlife Refuge, Bloomington.

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Caponi Land/Forms 1999)

 Environmental performance installation for the Caponi Art Park, Eagan, MN.

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Electric Heart  (2000)

 Collaboration with Gary Schulte (violin) and Steve Goldstein (laptop) for the Caponi Art Park, Eagan, MN.

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Franconia Sculpture Park Ritual Pour (2004)

Performance installation for soloist and environmental electronics.

 

 

– Graphic Scores and Constructions –

Folding Music I (1974)

For any solo treble clef instrument; commissioned by Regina Zakrajsek.

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Folding Music II (1975)

For any three treble clef instruments; commissioned by Mutatis Mutandis.

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Pockets of Resistance (1975)

Table-top score for woodwind quartet; commissioned by Mutatis Mutandis.   

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Equivocai (1976)

Two folded graphic sheets for realization by one or two players; commissioned by Paul and Wilma Zonn.

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Dean's Bolla Box (1979)

Miniature set of 36 notated pyramids for unspecified instrumentation.

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Dymax X (1990)

A fractal graphic for soloist with electronic sound processing.

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Audubon Steps (1992)

For soloist with live electronics.

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The Ear of the Other (1992)

For percussionist with live sound processing.

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Eight Diagrams (1992)

Fractal tower of amplified graphics for 1, 2, 3 or 4 players with live sound processing.

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The Sword of Damocles (1998)

Fractal temple of amplified graphics for soloist with live sound processing

Sonic Circuits Festival, Intermedia Arts, Minneapolis

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Roland’s Ghost (2005)

Performance Installation for one to four players, visual projections and amplified graphic score.

In collaboration with Warren Burt, Alex Cline, Ron George, Steve Goldstein, Susan Rawcliffe, Johnny Rodriguez and Carei Thomas;

 ººº

Tumbleweed (2005)

Solo performance Installation for prepared electric guitar, visual projections and amplified graphic score.

“Sound Check”, Southern Theater, May, 2006.

 

 

– Large Ensemble Music –

Compatible Statements III (1981)

For chamber orchestra (12 minutes); commissioned by the MacPhail Center for the Arts; performed by SFZ Ensemble at the Walker Art Center (1981).

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Dymax IV (1981)

Concerto for three soloists, sculpture/score and string orchestra (15 minutes); commissioned and premiered by the Kenwood Chamber Orchestra, Lee Humphries, Musical Director, 1981.

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Modal Images (1991)

For concert band; commissioned by Forest Lake Middle School.

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New Atlantis (1991)

Concerto for digital wind controller and amplified wind ensemble (10 minutes); commissioned by the Rosemount High School Wind Ensemble through the Composers Commissioning Program - Jerome Foundation/Minnesota Composerss Forum.

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New Atlantis Overture (1992)

For chamber orchestra, commissioned by the Minnesota Sinfonia.

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Fractal Time/Forms (1992)

For mixed chamber ensemble, live sound processing, tapes and video score.

 

 

– Chamber Music –

String Quartet #1 (1972)

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String Quartet #2 (1973)

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Compatible Statements IV (1981)

For two flutes and guitar; commissioned by and premiered at the"Five Tuesdays in March" festival, the Well Artspace, and the 1981 Minnesota Composers Forum.

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Compatible Statements VI (1981)

For two electronic keyboards, guitar and bass woodwind instrument (15-20 minutes); performed at "High Risk Music" (Roulette - 1981), Minnesota Composers Forum Concccert Series (1982), Roulette Performance Series (NYC- 1982), "Four Avant Garde Composers" (Minneapolis College of Art and Design - 1982).

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String Quartet #3 (Magister Ludi) (1990)

In the repertoire of the KRONOS Quartet.

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Oritrio (2000)

Collaboration with Steve Goldstein (sampling) and Gary Schulte (violin).

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Night of the Electric Inevitable (2001)

Collaboration with Steve Goldstein (sampling), Steve Carlino (guitar) and Wendy Ultan (voice).

 

 

– Solo Music –

Tablatures I - VII (1972-1981)

For solo valved, string, percussion, woodwind, slide, guitar and keyboard instruments.

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Touch (1975)

For solo harp; commissioned by Shirley Blankenship; performed by Paul Carey and

Eleanor Niemisto.

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Compatible Statements V (1981)

For solo guitar; performed at the Minneapolis College of Art and Design.

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Morges (1984)

Solo performance for amplified flagpole cords; Morges, Switzerland.

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Dymax X (1990)

For soloist with multiple sound processing devices.

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Electric Heart (1991)

For solo keyboard or soloist with computer sequence.

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Lesser Slides of Sound (1991)

For solo wind controller and sequence.

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MidiFunk for Nelson (1991)

For solo wind controller and sequence.

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Specific Voices (1991)

For soloist with tape, live electronics and videotape.

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The Accidental Terrorist (1997)

Solo performance piece for actor-musician with live electronics and camera; commissioned by “Music for the Darkside; Northfield Arts Guild.

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Red Devil (2000)

For solo electric guitar and live electronics (In Memoriam David Cole).

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Café Hemingway (2000)

For solo electric guitar and live electronics

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Fallajah (2003)

For solo digital wind controller and live signal processing.

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Roland’s Ghost (2005)

Performance Installation for one to four players, visual projections and amplified graphic score.

ººº

Tumbleweed (2005)

Solo performance Installation for prepared electric guitar, visual projections and amplified graphic score.

“Sound Check”, Southern Theater, May, 2006.

 

 

All music is licensed through ASCAP.  Scores and materials available from:

Dymaxion Music

2704 2nd Avenue South

Minneapolis, MN  55408

home: (612) 813-0935/ /studio: (651) 793-1434

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