WILLIAM HELLERMANN

P.O. Box 850

New York, NY 12565

518-672-4775

LIST OF COMPOSITIONS

1997 FINGER FOOD for solo piano (in progress)

1994 STANDING OFFER (A Techno-illogical Étude) for two performers and music stand

First Performance: DownTown ensemble, Art/Omi, New York, October 1, 1994

1993 HOIST BY YOUR OWN RITARD for Bb clarinet, marimba, accordion, piano, and piano stool

First Performance: DownTown Ensemble as part of The Interpretations Series at Merkin Hall, New York City, December 15, 1993

1992 FOR JOHN C-A-G-E for any instruments

First Performance: Fred Rzewski, Deutschlandfunk, Germany, October 28, 1992

1991 BLOOD ON THE DINING ROOM FLOOR vocal score for theatre on a text by Gertrude Stein

First Performance: Medicine Show Theatre Ensemble, New York City, Nov. 21, 1991

1990 POST/PONE for guitar, Bb clarinet, viola, trombone and piano

First Performance: DownTown Ensemble, New York City, June 7, 1990

1989 CHOPS (for Toy Piano)

First Performance: Wendy Chambers, Knitting Factory, New York City, June 20, 1990

ON THE VANISHING POINT realization of the graphic score for four instruments

First Performance: World Music Institute, New York City, April 21, 1989

JUICY MUSIC realization for Bb cl., vln., cello, marimba, and piano

First Performance: New Music America, New York City, November 15, 1989

1988 100 and 1 AVANT GARDE PLAYS selected set pieces for a theatre production of the plays by Kenneth Koch

First Performance: Medicine Show Theatre Ensemble, New York City, April 21, 1988

1987 ALPHONSE AND GASTON for any two instruments

ANCIENT VIRTUES (Part II) for three instruments

First performance by the DownTown Ensemble, New York City, June 5, 1987

1986 GUI-TAR for guitar

ANOTHER MUSICAL YOLK for two instruments

IDENTICAL FUNCTION (OF) for three mallet instruments

(...) IN EFFECT for one to three instruments

THE POSITION (OF) for three instruments

(ONLY) ONE SECTOR for three instruments

THOSE PAST MOMENTS for Synthesizer

VARYING DEGREES for variable ensemble

1985 AMERICAN MUSIC for variable ensemble

ORANGE MUSIC for synthesizer

PHIL CORNER LOOKS BACK for synthesizer

STAFF OF LIFE for synthesizer, pre-recorded tape, and sculpture

THREE PEARS IN THE FORM OF A PIECE for synthesizer, pre-recorded tape and sculpture

TO GET A MUSICAL DEGREE for synthesizer, pre-recorded tape, and sculpture

1984 A CHANGE OF KEY for synthesizer, pre-recorded tape, slides, and sculpture

First performance, Experimental Intermedia Foundation, New York City, March 13, 1984

AFTER DINNER MUSIC for keyboard, pre-recorded tape, and sculpture

First performance, Experimental Intermedia Foundation, New York City, March 13, 1984

EL ROPO for keyboard, pre-recorded tape, and sculpture

First performance, Experimental Intermedia Foundation, New York City, March 13, 1984

GOLDEN OLDIE for pre- recorded tape and sculpture

MUSIC PLANE AND FANCY for pre-recorded tape and sculpture

First Performance, The Knitting Factory, New York City, June 21, 1986

MUSIC SWEEPS UP for instrument, for pre-recorded tape, and sculpture

First Performance: Medicine Show Theatre Ensemble, New York City, November 8, 1984

MUSIC WEIGHS AN EGG for keyboard, for pre-recorded tape, and sculpture

First performance: Experimental Intermedia Foundation, New York City, March 13, 1984

ONE BAR BLUES for pre-recorded tape and sculpture

First performance: Experimental Intermedia Foundation, New York City, March 13, 1984

RAKES PROGRESS for pre-recorded tape and sculpture

First Performance: Samaya Music Foundation, New York City, April 13, 1986

SHEET MUSIC for vocal soloist and synthesizer

First Performance: Medicine Show Theatre Ensemble, November 13, 1984

SMOKE GETS IN YOUR EARS for pre-recorded tape and sculpture

THREE SISTERS WHO ARE NOT SISTERS theatre score for musically challenged instruments on a text by Gertrude Stein

First performance: XVI Festival Internacional de Teatre, Barcelona, Spain, Oct. 23, 1985

1983 A BIRD IN THE BAND IS WORTH TWO IN THE BUSH for quintet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

AVE MARIA for quintet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

BEE MINOR MASS for quintet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

CHOPS for virtuoso soloist

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1981

CONCERTO GROSSO for string ensemble, pre- recorded tape, and sculpture

DEUTSCHES REQUIEM for wind trio

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1981

EQUAL BILLING (AND COOING) for quintet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1981

FOOTNOTES TO A FRENCH OVERTURE for pre-recorded tape and sculpture

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

FOOTNOTES TO A FRENCH OVERTURE 2 for quartet and conductor

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

FRENCH OVERTURE for soloist

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

HELL'S BELLS (a holiday medley) for trio

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

HIT TUNE for percussion quintet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

I BRAKE FOR MUSIC for ensemble, pre-recorded tape, and sculptural object

First Performance: Terminal Art Show, BrookIyn, New York, September 24, 1983

MAMA DADA for rock band

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

MUSIC DROP BY DROP for solo instrument

SQUEEZE ME LOOSE I GET SO EASY HOT for toy accordion quintet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

THE BARTERED BIRD for duet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

THE PACMAN CANON for quartet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

TWEET SWEET for tube quintet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

VOWEL MOVEMENT for soloist and quartet

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

WIND-UP SYMPHONY a quintet with surprise guest artists

First Performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

1982 BATTERY PARK for pre-recorded tape and sculpture

First Performance: Terminal Art Show, Brooklyn, New York, September 24, 1983

BY THE C-SIDE for pre-recorded tape and sculpture

First Performance: Ear Works: Grommet Gallery, New York City, March 11, 1983

CHEEP IMITATION for squeeze box

First Performance: SEM Ensemble, William Hellermann, Buffalo, New York, February 18, 1983

CHIN MUSIC for pre-recorded tape and sculpture

EXTRAORDINARY HISTORIES (A POE PROJECT) Experimental Opera (2 1/2 Hours)

First Performance: Medicine Show Theatre Ensemble. New York City, April 28, 1982

FUSION MUSIC for pre-recorded tape and sculpture

HOMAGE TO CHUBBY CHECKER- DOIN' THE TWIST for pre-recorded tape and sculpture

ITALIAN SYMPHONY II for pre-recorded tape and sculpture

JUICY MUSIC for pre-recorded tape and sculpture

First Performance: EarWorks: Grommet Gallery, New York City, March 11, 1983

MUSIC FOR HACKS for pre-recorded tape and sculpture

First Performance: EarWorks: Grommet Gallery, New York City, March 11, 1983

MUSIC ON THE LEVEL for pre-recorded tape and sculpture

1981 MORNING MUSIC (STAFF OF LIFE) for pre-recorded tape and sculpture

First Performance: Crossovers Show, Just Above Midtown/Downtown Gallery, New York City, December 6, 1981

THE COUNT OF MONTE CHRISTO for metronome and sculpture installation

First Performance: The Sound Corridor, Project Studios One (P.S.I), Long Island City, New York, April 4, 1982

THE VIOLIN BETWEEN US for solo violin (60 minutes)

First Performance: Malcolm Goldstein, Roulette Concert Space, New York City, March 8, 1981

TREMBLE II for solo double bass (60 minutes)

First Performance: Jon Deak, Roulette Concert Space, New York City, February 15, 1981

1980 MONUMENTAL MELODIES: The Verrazano Bridge for keyboards and live electronics

THE EAR-LY BIRD GETS THE WORM for soloist

First Performance: Whitney Counter Weight Festival, James Yu Gallery, New York City, October 31, 1980

1979 THREE WEEKS IN CINCINNATI IN DECEMBER for solo flute (45 minutes)

First Performance: Robert Dick, American Center, Paris, France, December 18, 1979

CAN OF SOURDINES for strings

EVENING THE SCORE for variable ensemble and sculpture

First performance: Medicine Show Theatre Ensemble, New York City, June 13, 1983

INSTANT MUSIC MIX for one or more players

MUSICAL DRAWERS for pre-recorded sound and sculpture

REST ROOM for pre-recorded sound and sculpture

STAFF OF LIFE for pre-recorded sound and sculpture

WIND MUSIC for pre-recorded sound and sculpture

1978 CITY GAMES for three vocalists, pre-recorded tape, and sculpture (60 minutes)

First Performance: Richard Hayman, Nina Lundberg, and Kathy Merritt, The Kitchen, New York City, June 1, 1978

TREMBLE for solo guitar

First Performance: William Hellermann, Experimental Intermedia Foundation, New York City, February I3, 1978

1977 DRIP - Sculpture installation piece

First Performance: Franklin St. Arts Center, New York City, July 13, 1977

"anyway..." for symphony orchestra

First Performance: Greenwich Philharmonic, by David Gilbert, Conductor, Greenwich, Connecticut, March 22, 1977

SQUEEK for soloist

First Performance: William Hellermann, James Yu Gallery, New York City, March 30, 1977

WHAT (?) for voice and tape delay

First Performance: William Hellermann, Franklin St. Arts Center, New York City, July 13, 1977

CLASH/CLASH/CLASH/CLASH for variable ensemble

CRUNCH for one or more performers

DON'T BITE THE HAND THAT FEEDS YOU for soloist

FLORIDA SYMPHONY(or CRATE MUSIC) for variable ensemble

HOMAGE TO JOHN CAGE for anyone

MEATY MUSIC for soloist

NEW YORK MUSIC for individual performer

PUTTING ON THE DOG For soloist

SEXTET for six

1976 AT SEA for solo piano

First Performance: Philip Corner, American Landmarks Festival, New York City, October 1, 1976

CYCLES for tuning forks

First Performance: William Hellermann, The Brook, New York City, May 13, 1976

EN-TRANCES for chorus

First Performance: Sounds Out of Silent Spaces, New York City, April 13, 1976

FOR PEACE AND QUIET for amplified guitar and mallet instrument

HIDDEN DRIVES I for piano

First Performance: Charles Santos, Barcelona, Spain, March 13, 1979

HIDDEN DRIVES 2 for violin and cello

LOCAL EXITS for soprano and chamber ensemble

First Performance: American Artists Series, Detroit, Michigan, March 7, 1976

NESTS for soloist and chorus

First Performance: William Hellermann and Sounds Out of Silent Spaces Group, New York City, January 13, 1976

TO BRUSH UP ON for six cellos

First Performance: The Kitchen, New York City, December 22, 1980

TO GET A PEEP OUT OF for variable ensemble

TO PREVENT DECAY for harp and variable ensemble

TWO VIBRAPHONES for two vibraphones

First Performance: Orch. of Our time, Joel Thome, Dir., New York City, January 23, 1980

UMBRELLA for soloist and ensemble

First Performance: William Hellermann, The Brook, New York City, May 13, 1976

YOU CAN'T EAT A STILL LIFE pre-recorded sound and sculpture installation

First Performance: William Hellermann, Franklin Arts Center, New York City, July 13, 1977

1975 "But, The moon..." for guitar and 13 instruments

First Performance: William Hellermann with the L'Itineraire Ensemble, Paris, France, March 13, 1975

SALOME (theatre music for Lindsay Kemp Mime Company production of the play adapted from Oscar Wilde)

First Performance: New York Theatre Ensemble, New York City, January 13, 1975

STILL AND ALL for solo guitar

First Performance: William Hellermann, Festival D'Orleans, France, March 23, 1975

EXPERIMENTAL MUSIC for variable instruments

FROZEN MUSIC IS NOT MELTED ARCHITECTURE for variable ensemble

FUGUE IN C for one to three improvisors

ITALIAN SYMPHONY II for soloist

ONE-A-DAY MUSIC PILLS for variable ensemble

1974 FOR OTTO (A LINE IN RETURN) for solo piano

First Performance: Joseph Kubera, Roulette Concert Space, New York City, October 8, 1981

LONG ISLAND SOUND for four instruments

First Performance: L'Itineraire Ensemble, Paris, France, April 23. 1974

TO THE LAST DROP for six vibraphones

First Performance: The Kitchen, New York City, December 22, 1980

1973 BEHIND BARS for seven instruments and dancer (optional)

First Performance: A.C.I.A. Gallery, New York City, October 1, 1975

FOR THE THIRD TIME for three woodwinds

First Performance: A.C.I.A. Gallery. New York City, October 1, 1975

IN THE MIND'S EYE for two mallet instruments

ON THE VANISHING POINT for piano and tape delay

First PerFormance: Max Lifchitz, North/South Consonance, New York City, January 24,1981

ROW MUSIC (TIP OF THE ICEBERG) for solo piano

First Performance: Carla Hübner, Alice Tully Hall, New York City, March 11, 1974

STOP/START for two soloists, six players, and five part section

First Performance: E.M.C.I.P., Konstantin Simonovic, Conductor. Paris, France, October 22, 1973

1972 COUNTERTENORMUSIC for counter tenor and variable ensemble

DISTANCES/EMBRACES for solo guitar

First Performance: William Hellermann Recital, Florence, Italy, March 13, 1973

ONE INTO ANOTHER (ARIEL) for english horn and tape

First Performance: Bruce Levine Recital, New York City, March 10, 1972

PARTED... for three performers and pre-recorded sounds

PART SEQUENCES 1 FOR AN OPEN SPACE for four musicians, four actors, four dancers and four sets

First Performance: Loeb Student Center of N.Y.U., New York City,March 24, 1972

1971 CIRCLE MUSIC 1 for any four instruments

First Performance: Alte Kirche Boswil, Switzerland, April 28, 1972

CIRCLE MUSIC 2 for any two or more instruments

First Performance: Nuova Conzonanza. Rome, Italy, October 23, 1972

CIRCLE MUSIC 3 for any six performers

First Performance: Gaudeamus Festival, Holland, September 21, 1972

COLUMBUS CIRCLE for any three woodwinds and Piano

First Performance: Univ. of Illinois Chamber Players, Champaign/Urbana,

PASSAGES I3 - THE FIRE for trumpet and tape

First Performance: Gerard Schwarz Aspen Music Festival, Aspen, Colorado, July 10, 1972

1970 EK -STASIS II for timpani, piano, and tape

First Performance: Jesse Kregal Recital, Alice Tully Hall, New York City, May 31, 1970

ROUND AND ABOUT for any two or more instruments

First Performance: Immaculate Heart Chamber Players, Los Angeles, California, January 31, 1971

1969 EXCHANGES for classical Guitar

MAI '68 for pre-recorded tape

First Performance: McMillan Theatre, Columbia University, New York City, March 21, 1969

TIME AND AGAIN for symphony orchestra

First Performance: Utrecht Symphony Orchestra, Utrecht, Holland, September 14, 1970

1968 EK- STASIS I for pre-recorded tape

First Performance: Greenwich House Music Series, New York City, December 5, 1968

FOUR PIECES FOR GUITAR

1967 ARIEL for pre-recorded tape

First Performance: Columbia University. New York City, April 19, 1967

FORMATA for trombone and four instruments

First Performance: Per Brevig Recital, Carnegie Recital Hall, New York City, September 17, 1967

POEM FOR SOPRANO AND FOUR INSTRUMENTS

First Performance: Group for Contemporary Music, Columbia University, New York City, February 13, 1967

RESONATA for brass quintet

First Performance: Music in Our Time, Town Hall, New York City, May 15, 1967

1966 INTER-POLATIONS for solo piano

First Performance: Carla Hübner, Columbia University, New York City, February 15, 1967

PUBLICATIONS

MUSICAL SCORES BY WILLIAM HELLERMANN

"Afterthoughts I," Pieces 3..., Michael Byron, Ed., Ontario, Canada, 1977.

"At Sea," Ear Magazine, Vol. 3, No. 6. New York, New York; New Wilderness Foundation, Sept./Oct. 1977.

CIRCLE MUSIC 2, for Two or more instruments, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania, 1980.

CIRCLE MUSIC 3, for six players, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania, 1980.

"Clash/Clash," Stamps, Number 2, Hand made limited edition, New York, New York, R. Jacks Publisher, November 1977.

"Crunch," Seventy-Six Pages, New York, New York, Summer 1977.

DISTANCES/EMBRACES for solo guitar, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania, 1980.

"Drip," Seventy- Six Pages, New York. New York, Summer 1977.

EK- STASIS II for timpani, piano and tape, American Composers Edition, American Composers Alliance, New York, New York, 1978.

"Entrances," Scores: An Anthology of New Music, Roger Johnson, Ed., New York, New York: Schirmer Books, Macmillan Publishing Co., 1980.

"Exchanges," A Unique Collection of Classic Guitar Pieces, Harvey Vinson. Ed., New York, New York: Consolidated Music Publishers, Inc., 1972.

"Experimental Music," Breaking the Sound Barrier: A Critical Anthology of the New Music, Gregory Battcock, Ed., E.P. Dutton, New York City, 1981.

"Footnotes," Alles und Noch Viel Mehr, G.J. Lischka, Ed., Bentelli AG, Bern, Switzerland, 1985.

"For John C-A-G-E," MusikTexte 46/47, Zeitschrift Für Neue Musik, Cologne, Germany, December 1992

"For the Third Time," Ear Magazine, Vol. 1, No. 2, New York, New York, New Wilderness Foundation, May 1975.

FOUR PIECES FOR GUITAR, Media Press, Champaign/Urbana, Illinois, 1969.

"Four Cents (a piece)," Benzene, Vol. 1, No. 3, New York, New York, Summer/Fall, 1981.

"Frozen Music is Not Melted Architecture," Soundings Catalogue, Suzanne Delahanty, Ed., Neuberger Museum. State University of New York, College at Purchase, Purchase, New York, 1981.

"Homage to Chubby Checker," Alles und Noch Viel Mehr, G.J. Lischka, Ed., Bentelli AG, Bern, Switzerland, 1985.

"Homage to Chubby Checker," Eastvillage 86. A Guide. A Documentary, Egret Publications, New York, New York, 1986.

"Homage to John Cage," The New York Times, December 6, 1981.

"Homage to John Cage," Soundings Catalogue, Suzanne Delahanty, Ed., Neuberger Museum, StateUniversity of New York. College at Purchase, Purchase, New York, 1981.

"Homage to John Cage," MusikTexte 46/47, Zeitschrift Für Neue Musik, Cologne, Germany, December 1992

"In the Mind's Ear," Sonorita Prospettiche, Rimini, Italy, 1982.

LONG ISLAND SOUND for four inslruments, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania, 1980.

"Morning Music (Staff of Life)," Ear Magazine, Vol. 8, No. 1-2, New York, New York: New Wilderness Foundation, February, March, April, May 1983.

"Morning Music (Staff of Life)," New York Art Guide, Deborah Jane Gardner, Ed., Art Guide Publications, London, England. 1982.

"Morning Music (Staff of Life)," Eastvillage 86. A Guide. A Documentary, Egret Publications, New York, New York, 1986.

"Music Sweeps Up," Alles und Noch Viel Mehr, G.J. Lischka, Ed., Bentelli AG, Bern, Switzerland, 1985.

"Music Sweeps Up," Eastvillage 86. A Guide. A Documentary, Egret Publications, New York, New York, 1986.

"Nests," Scores: An Anthology of New Music, Roger Johnson, Ed., New York, New York: Schirmer Books, Macmillan Publishing Company, 1980.

"Nests," Ear Magazine, New York, New York: Wilderness Foundation, Sept./Oct. 1976.

"Nests," Soundings 10, Peter Garland, Ed., Berkeley, California, 1976.

"New York Music," Soundings Catalogue, Suzanne Delahunty, Ed., Neuberger Museum, State University of New York, College at Purchase, Purchase, New York, 1981.

"New York Music," The New York Times, December 6, 1981.

PASSAGES 13 - THE FIRE for trumpet, tape, and four reciters, on a poem by Robert Duncan, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania, 1980.

ROUND AND ABOUT for two or more instruments, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania, 1980.

ROW MUSIC (TIP OF THE ICEBERG) for solo piano, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania. 1980.

"Sheet Music," Eastvillage 86. A Guide. A Documentary, Egret Publications, New York, New York, 1986.

"Smoke Gets In Your Ears (A Parody)," Alles und Noch Viel Mehr, G.J. Lischka, Ed., Bentelli AG, Bern, Switzerland, 1985.

"Squeek," Seventy- Six Pages, New York, New York, Summer 1977.

STOP/START for two soloists and two ensembles, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania, 1980.

TIME AND AGAIN for symphony orchestra, Merion Music, Theodore Presser Company, Bryn Mawr, Pennsylvania, 1980.

"To Brush Up On," Ear Magazine, Vol. 3, No. 8/9, New York, New York: New Wilderness Foundation, Dec./Jan. 1978.

"To Prevent Decay," Ear Magazine, Vol. 3, No. 8/9, New York, New York: New Wilderness Foundation. Dec./Jan. 1978.

"To the Last Drop," Ear Magazine, Vol. 3, No. 8/9, New York, New York: New Wilderness Foundation, Dec./Jan. 1978.

"To the Last Drop," Scores: An Anthology of New Music, Roger Johnson, Ed., New York, New York: Schirmer Books, Macmillan Publishing Company, 1980.

"Umbrella," Soundings 1O, Peter Garland, ed., Bcrkeley, California, 1976.

"What(?)," Painted Bride Quarterly, Vol. 4, Nos. 3 and 4, Philadelphia, Pennsylvania, 1978.

"What(?)," Text - Sound Texts, Richard Kostelanetz, ed., New York, New York: William Morrow and Co., Inc., 1980.

DISCOGRAPHY

ARIEL, Turnabout Records (VOX), TV 34301

AT SEA, Edipan Records, PAN PRC S20-08

EK- STASIS II, Contemporary Recordings Inc. (CRI) SD 299

ON THE EDGE OF A NODE, Contemporary Recordings, Inc. (CRI) SD 336

PASSAGES 13 - THE FIRE, Nonesuch Records, H-71275