This article presents a complete list of compositions by American composer Morton Feldman, organized by instrumentation. There are about 184 compositions in total.[clarification needed] Within each category, the works are arranged chronologically by year of composition. Note that works for piano solo (or, for example, cello solo) are in the solo instrumental category, however, works for 2 or more pianos (2 or more cellos, etc.) are in the chamber category.
Many pieces by Feldman are titled after the instruments used: for example, Two Pieces for Clarinet and String Quartet is scored precisely for clarinet and string quartet. In cases like this, instrumentation is not given separately. Works with titles in square brackets are unpublished works, left untitled by the composer; these are commonly referred to using the generic title "Composition" (with the exception of a few early works).
Orchestral
Dirge: In Memory of Thomas Wolfe (194?)
Jubilee (1943)
Night, for string orchestra (1943)
[Composition], for string orchestra (1945)
Episode (1949)
Intersection 1, for large orchestra (1951)
Marginal Intersection, for large orchestra (with subsonic and ultrasonic oscillators/tape or phonograph record) (1951)
Out of 'Last Pieces' (1961)
Structures for Orchestra (1962)
In Search of an Orchestration (1967)
On Time and the Instrumental Factor (1969)
String Quartet and Orchestra (1973)
Orchestra (1976)
The Turfan Fragments (1980)
Coptic Light (1985)
For solo instrument and orchestra
The Viola in My Life IV, for viola and orchestra (1971)
Cello and Orchestra (1972)
Piano and Orchestra (1975)
Oboe and Orchestra (1976)
Flute and Orchestra (1978)
Violin and Orchestra (1979)
Vocal
Chorus and Orchestra 1, for soprano, choir, and orchestra (1971)
Chorus and Orchestra 2 (1972)
Voice and Instruments, for soprano and orchestra (1972)
Elemental Procedures, for soprano, choir, and orchestra (1976)
Stage works
Ixion (ballet), for chamber ensemble (1958; second version for two pianos, 1960)
Neither (Opera in One Act), for soprano and orchestra (1977)
Samuel Beckett, Words and Music, for 2 flutes, vibraphone, piano, violin, viola, and cello (1987)
Chamber
[Composition], for horn, celesta and string quartet (19??)
[Sonata], for violin and piano (1945)
[Sonatina], for cello and piano (1946)
Two Pieces, for cello and piano (1948)
[Composition], for cello and 2 pianos (1950)
Piece for Violin and Piano (1950)
Projection 2, for flute, trumpet, piano, violin and cello (1951)
Projection 3, for 2 pianos (1951)
Projection 4, for violin and piano (1951)
Projection 5, for 3 flutes, trumpet, 2 pianos and 3 cellos (1951)
Structures, for string quartet (1951)
[Composition], for cello and piano (1951)
Music for the Film "Jackson Pollock", for 2 cellos (1951)
Extensions 1, for violin and piano (1951)
Extensions 4, for 3 pianos (1953)
Extensions 5, for 2 cellos (1953)
Intermission 6, for 1 or 2 pianos (1953)
Eleven Instruments, for chamber ensemble (1953)
Music for the Film "Sculpture by Lipton" (1954)
[Composition], for flute, bass clarinet, bassoon, horn, trumpet, piano and cello (1954)
Two Pieces for Two Pianos (1954)
Three Pieces for String Quartet (1956)
Two Pieces for Six Instruments, for flute, alto flute, horn, trumpet, violin and cello (1956)
N.B. Marginal Intersection (listed under Orchestra, above) has electronic elements; two oscillators (presumably sine-wave) and a recording of riveting from a construction site (presumably from a sound-effects LP record). The Intersection For Magnetic Tape and Marginal Intersection are the only works by Feldman to contain electronic elements.
Three Pieces for Piano (1954)
Music for the Film "Sculpture by Lipton" (1954)
[Composition], for flute, bass clarinet, bassoon, horn, trumpet, piano and cello (1954)
Two Pieces for Two Pianos (1954)
Piano Piece 1955 (1955)
Piano Piece 1956 A (1956)
Piano Piece 1956 B (1956)
Three Pieces for String Quartet (1956)
Two Pieces for Six Instruments, for flute, alto flute, horn, trumpet, violin and cello (1956)
Piece for 4 Pianos (1957)
Two Pianos (1957)
Piano Three Hands (1957)
Work for Two Pianists, for 2 pianos (1958)
Two Instruments, for horn and cello (1958)
Piano Four Hands (1958)
Atlantis, for chamber ensemble (1959)
Last Pieces, for piano (1959)
Ixion (ballet), for chamber ensemble (1958; second version for two pianos, 1960)
1960-1969
Arrangement of Tu Pauperum Refugium by Josquin des Prez, for chamber ensemble (1960)
Something Wild in the City: Mary Ann's Theme, for horn, celesta and string quartet (1960)
Montage 2 on the Theme of "Something Wild", for jazz ensemble (1960)
Montage 3 on the Theme of "Something Wild", for jazz ensemble (1960)
Untitled Film Music, for flute, horn, trumpet, trombone, tuba, percussion, and double bass (1960)
The Sin of Jesus (Score for Untitled Film), for flute, horn, trumpet, and cello (1960)
Durations 1, for alto flute, piano, violin, and cello (1960)
Durations 2, for cello and piano (1960)
Piece for Seven Instruments, for flute, alto flute, trumpet, horn, trombone, violin, and cello (1960)
The Swallows of Salangan, for choir and chamber ensemble (1960)
Out of 'Last Pieces' (1961)
Durations 3, for violin, tuba, and piano (1961)
Durations 4, for vibraphone, violin, and cello (1961)
Two Pieces for Clarinet and String Quartet (1961)
Durations 5, for horn, vibraphone, harp, piano or celesta, violin, and cello (1961)
The Straits of Magellan, flute, horn, trumpet, harp, electric guitar, piano, and double bass (1961)
Intervals, for bass-baritone, trombone, percussion, vibraphone, and cello (1961)
Followe Thy Faire Sunne, for voice and tubular bells (1962)
For Franz Kline, for soprano, horn, chimes, piano, violin, and cello (1962)
The O'Hara Songs, for bass-baritone, chimes, piano, violin, viola, and cello (1962)
Structures for Orchestra (1962)
Merce, for percussion and piano or celesta (1963)
[Composition], for percussion and celesta (1963)
De Kooning, for horn, percussion, piano, violin, and cello (1963)
Vertical Thoughts 1, for 2 pianos (1963)
Vertical Thoughts 2, for violin and piano (1963)
Vertical Thoughts 3, for soprano and chamber ensemble (1963)
Vertical Thoughts 5, for soprano, tuba, percussion, celesta, and violin (1963)
Rabbi Akiba, for soprano and chamber ensemble (1963)
Chorus and Instruments, for choir and chamber ensemble (1963)
Piano Piece (to Philip Guston) (1963)
Vertical Thoughts 4, for piano (1963)
Christian Wolff in Cambridge, for chorus a cappella (1963)
Piano Piece 1964 (1964)
Numbers, for chamber ensemble (1964)
The King of Denmark, for percussion (1964)
Four Instruments, for chimes, piano, violin and cello (1965)
Two Pieces for Three Pianos (1966)
The Possibility of a New Work for Electric Guitar (1966) (original score lost, broadcast recording found) [2]
In Search of an Orchestration (1967)
First Principles, for chamber ensemble (1967)
Chorus and Instruments II, for choir, tuba and chimes (1967)
False Relationships and the Extended Ending, for trombone, 3 pianos, chimes, violin and cello (1968)
Samoa, for flute, horn, trumpet, trombone, harp, vibraphone, piano, and cello (1968)
On Time and the Instrumental Factor (1969)
Between Categories, for 2 pianos, 2 chimes, 2 violins, and 2 cellos (1969)
1970-1979
Madame Press Died Last Week at Ninety, for chamber ensemble (1970)
The Viola in My Life 1, for viola, flute, percussion, piano, violin, and cello (1970)
The Viola in My Life 2, for viola, flute, clarinet, percussion, celesta, violin, and cello (1970)
The Viola in My Life 3, for viola and piano (1970)
[Composition], for voice, clarinet, cello and double bass (1970)
Three Clarinets, Cello and Piano (1971)
The Viola in My Life IV, for viola and orchestra (1971)
Chorus and Orchestra 1, for soprano, choir, and orchestra (1971)
Rothko Chapel, for soprano, alto, choir, percussion, celesta and viola (1971)
I Met Heine on the Rue Fürstenberg, for female voice and chamber ensemble (1971)
Pianos and Voices, for 5 sopranos and 5 pianos (1972)
Voices and Instruments, for chamber ensemble and chorus (1972)
Voices and Instruments 2, for 3 voices, flute, 2 cellos and double bass (1972)
Cello and Orchestra (1972)
Chorus and Orchestra 2 (1972)
Voice and Instruments, for soprano and orchestra (1972)
Five Pianos (1972)
Trio for Flutes, for three flutes (1972)
Half a Minute It's All I've Time For, for clarinet, trombone, piano, and cello (1972)
For Stockhausen, Cage, Stravinsky and Mary Sprinson, for cello and piano (1972)
String Quartet and Orchestra (1973)
For Frank O'Hara, for flute, clarinet, percussion, piano, violin, and cello (1973)
Voices and Cello, for 2 female voices and cello (1973)
Voice and Instruments 2, for female voice, clarinet, cello and double bass (1974)
Instruments 1, for alto flute, oboe, trombone, percussion, and celesta (1974)
Piano and Orchestra (1975)
Instruments 2, for chamber ensemble (1975)
Four Instruments, for piano, violin, viola, and cello (1975)
Oboe and Orchestra (1976)
Orchestra (1976)
Elemental Procedures, for soprano, choir, and orchestra (1976)
Routine Investigations, for oboe, trumpet, piano, viola, cello, and double-bass (1976)
Voice, Violin and Piano, for female voice, violin, and piano (1976)
Instruments 3, for flute (doubling piccolo and alto flute), oboe (doubling English horn), and percussion (1977)
Spring of Chosroes, for violin and piano (1977)
Neither (Opera in One Act), for soprano and orchestra (1977)
Piano (1977)
Flute and Orchestra (1978)
Why Patterns?, for flute, percussion and piano (1978)
Violin and Orchestra (1979)
String Quartet (1979)
1980-1987
The Turfan Fragments (1980)
Trio, for violin, cello, and piano (1980)
Principal Sound, for organ (1980)
For Aaron Copland, for violin (1981)
Patterns in a Chromatic Field/Untitled Composition For Cello And Piano, for cello and piano (1981)
Bass Clarinet and Percussion, for bass clarinet and two percussionists (playing cymbals, gongs, timpani, marimba, xylophones, and vibraphones) (1981)
Triadic Memories, for piano (1981)
For John Cage, for violin and piano (1982)
Three Voices, for soprano (two pre-recorded parts and one live), or 3 sopranos (1982)
Crippled Symmetry, for flute, percussion and piano (1983)
String Quartet II (1983)
Clarinet and String Quartet (1983)
For Philip Guston, for flute, percussion, and piano/celesta (1984)
Arrangement of Weill/Brecht Alabama Song, for bass, voice ad lib, 2 saxophones, trumpet, trombone, marimba, and piano (1984)
N.B. Marginal Intersection (listed under Orchestra, above) has electronic elements; two oscillators (presumably sine-wave, one ultrasonic, one subsonic) and a recording of riveting from a construction site (presumably from a sound-effects LP record; listed in the score as "Record"). The Intersection For Magnetic Tape and Marginal Intersection are the only works by Feldman to contain electronic elements.
