First performed by The Kalichstein-Laredo-Robinson Trio on March 2, 2004 at the Tucson Winter Festival, For Daniel was commissioned by the Arizona Friends of Chamber Music. The work was written in memory of Daniel MacArthur, nephew of the composer, who passed away in 2003 after a long illness. 17 minutes.

Tower's third string quartet contains a "white heat" from which ideas unfold, develop, interact, and gradually change their "temperatures."

With piano reduction; orchestra parts available on rental from the publisher.

Dedicated to the memory of Beethoven.

2 copies needed to perform.

For flute, clarinet, violin, cello and piano.

This dramatic new work from one of our most important contemporary composers was premiered at the 1996 annual conference of the American Guild of Organists. The title is a description of the upward-moving scales in this piece, which form the central thematic action. Duration ca. 10 minutes.

This piece was inspired by the composer's childhood memory of riding her horse through a deep valley in the Andes range in Bolivia. First performed by Chee-Yun, violin, David Finckel, cello, and Wu Han, piano on August 6, 2000, Big Sky was commissioned for the La Jolla Chamber Music Society Summerfest 2000.

Piano, flute, clarinet, trumpet, trombone, and 2 percussion

For clarinet solo and flute (piccolo), violin, cello, piano, marimba, vibes and percussion.

Arranged for Concert Band by Jack Stamp.

Reduction for clarinet (or basset clarinet) and piano. The basset clarinet (with an extended range to low "C") has been enjoying a resurgence in popularity. Many modern composers have been answering this trend by writing new music for the instrument. Joan Tower's Clarinet Concerto, while performable on the standard A clarinet, takes advantage of the basset clarinet's extended range with a few melodic excursions to notes beneath "E." This 19-minute work was recorded on Summit Records pianist Eckhart Selheim.

This piece was written for and premiered by the New England Conservatory Percussion Ensemble, conducted by Frank Epstein, in April 2003.

Scored for four trumpets, Fanfare for the Uncommon Woman, No. 5 was commission by the Aspen Music Festival for the opening of the Joan and Irving Harris Concert Hall in 1993. Duration ca. 3 minutes.

Four works from a popular series of brass & percussion pieces that celebrate the achievements of extraordinary American women. Includes Fanfare for the Uncommon Woman, Nos. 1, 2 and 3, and Celebration Fanfare, arranged by Daniel Forlano. Instrumental parts available on rental. Total duration ca. 16 minutes.

G. Schirmer Concert Band - Grade 3-5 Joan Tower's first major work for winds is characterized by an energetic style that is colorful, rhythmic, and muscular. The title refers to the many contours of motives shaped in curved "ribbon" patterns. Commissioned by the College Band Directors National Association and premiered at the national conference in 2001, this is an important addition to the contemporary repertoire for band. (Grade 5) (11:00)

For flute and orchestra (piano reduction).

For Oboe and Wind Quartet (Flute, Clarinet, French Horn and Bassoon).

The titles of the pieces in this four-movement suite were taken from lines of a poem by John Ashberry, "No Longer Very Clear". "Holding a Daisy" was premiered by Sarah Rothenberg, "Or Like a...an Engine" was premiered by Ursula Oppens. Vast Antique Cubes" and "Throbbing Still" were premiered by John Browning. The four pieces may be played individually as well. Duration : 17 minutes.

For flute, clarinet, violin, cello, percussion and piano.

For flute, clarinet, violin, cello, percussion and piano.

For flute, clarinet, violin, cello and piano.

Tower's Rain Waves, which musically explores the motion of a wave form, was written in 1997 as a commission by Michigan State University for the Verdehr Trio. A recording is available on compact disc: Verdehr Trio, The Making of a Medium, Vol. 13 Crystal Records CD 943.

Parts available on rental.

The composer writes, "I always thought of the viola sound as being the color purple. Its deep, resonant and luscious timbre seems to embody all kinds of hues of purple. I never thought of the viola as being particularly wild. So I decided to try and see if I could create a piece that had wild energy in it and meet the challenge of creating a virtuosic piece for solo viola."

Originally written for unaccompanied clarinet, here composer Joan Tower has transcribed Wings for unaccompanied alto saxophone.

For unaccompanied clarinet or bass clarinet.