Das Wetter, Berlin/The Weather, Berlin (from the opera "Mapping Venus" 1998)
Leonore Von Stein, jazz vocalist, Gerry Hemmingway, drums, Sorrel Hays, piano, Monique Buzzarté, trombone, Judson Memorial Church, New York City, December 10, 1999, first performance.

Ecstatic Plain (from the opera Mapping Venus 1998)
1995-1998 for soprano,oboe and tape, Kristin Norderval soprano, Norwegian Radio Oslo, March 6, 1998, and Kulturhuset,Tromse,Norway 7th International Interdisciplinary Congress on Women June 25, 1999. Deborah Kavisch, soprano, U. of California, International Hildegarde Festival, Feb., 1999.

Ain’t I a Woman (from the opera Mapping Venus 1998)
for treble voices, mezzo soloist, trumpet and three percussionists, at Fifth Ave. Presbyterian Church, NY City, Dec. 4, 1998, premiered by the Treble Singers conducted by Virginia Davidson.

Traveling to Istanbul
electronic saxophone and keyboard, percussion, October 28, 1998 Yapi Kredi Festivalin Itsanbul, Turkey, Sorrel Hays playing saxophone and keyboard, Marilyn Ries on electronic processing and percussion.

Sunday Mornings and Sunday Nights
piano, composer performance, Yapi Kredi Festival, Oct. 28, 1998 Istanbul; March, 1997, Merkin Hall NY City in Cowell Festival. First performed Carnegie Hall, Feb., 1976, Sorrel Hays pianist.

Wake Up and Dream
1998, trombone and tape, Monique Buzzarté trombonist, Face the Music Series, HotHouse, Chicago, April 11, 1999, and Mohonk Music Week, NY, June, 1999.

A Suite: Close Together
1998, piano solo, Beatriz Roman, pianist, premiered Sao Paolo, Brazil, International Festival of New Music, August, 1998. New York premiere October 25, 1999, HERE theater, Solo Flights piano festival.

After Glass
1984/1998 for 10 percussionists, Reid Jorgensen, conductor, 20th Anniversary Celebration Festival Rivers Seminar on Contemporary Music for the Young, April 4, 1998, Weston, Massachusetts; first performed and commissioned by the Seminar in 1984.

Rocker Parts
1997 for two pianos, premiered Berkeley, California by Sorrel Hays and Beatriz Roman, Hertz Hall, February 1, 1997, at the Cowell Centennial Festival; New York premiere at Merkin Hall, March 13, 1997.

The Hub-Metropolis Atlanta
1990/97, broadcast January, 1998, and 1990, Westdeutscher Rundfunk, Cologne, Germany, in the Cities of the World audio art series; public installation at the Copenhagen Festival, July, 1996.

Ourselves Alone
(Annie Devlin play) 1997, instrumental music and songs, premiered April-May, 1997, Sascha Merl, soprano, Sorrel Hays, electronic keyboard, at HERE Theater, New York City.

Split Tree Festival March
1996, for symphonic band, first performance at the Sousa Centennial Concert, commissioned by the Split Tree Festival, Georgia, August 31, 1996, for the Chattanooga Symphony Concert Band.

Take Another Back Country Road
1996, for electronic saxaphone, Ultraproteus tone generator and DX-7 keyboard; first performance by Sorrel Hays at Copenhagen Festival, July 14, 1996.

Structure 123
for symphony orchestra, premiere over Westdeutscher Rundfunk Cologne, April 4, 1995, in electronic version.

Dream in Her Mind
1995, radio opera for 5 sopranos and eleven actors in eight languages; premiered April 4,1995, at Westdeutscher Rundfunk Cologne; with sopranos Melanie Sonnenberg, Cathy Cook, Kathryn Johnson, Carmen Tancredi. For Copenhagen Festival 1996 three month installation at International Audio Art Exhibition, Media Museum Roskilde.

It All Sounds Like Music To Me
Commissioned by the Music School at Concord, New Hampshire, for the Seventh Annual Contemporary Music Festival, May 7, 1994, premiered by Reid Jorgensen, percussionist.

Dreaming the World
1993, five songs for baritone, four percussionists and piano; premiere by Thomas Buckner, Joseph Kubera, John Kennedy, Charles Wood, Eric Kivnick, and Maya Gunji, Merkin Hall, May 12, 1994.

The Glass Woman
1989/1993, three act opera for six female and four male singers; one hour production August 4,1989 at Ubu Repertory Theater, New York City, commissioned by the Chattanooga Opera, and three hour production, New York City, 1993, Interart Theater, Terri Hoover lead soprano.

Take A Back Country Road
1993 Sorrel Hays on electronic saxophone and keyboards with Brian Charles on oboe and Marilyn Ries processing sound, at Experimental Intermedia, New York City.

Sound Shadows
1990, for oboe, didjeridu, saxaphone, dancer as percussionist, sampling keyboards, tape and video; premiered by Sorrel Hays, director and keyboards, Brian Charles, wind instruments, Anita Bodrgi, dancer, Jane Lind, actress, Sorrel Hays and Barbara Kristaponis, video, at the Whitney Museum Acustica Festival, New York City, April 27, 1990; Cologne, Germany Funkhaus Sendesaal, Sound Mind Sound International Audio Art Concert, March 29,1992.

House
From the "Sound Shadows" concert, in its broadcast version; Sorrel Hays, composer/director, Barbara Kristaponis, videographer,actress/singer Jane Lind, Women in the Directors Chair Festival, Chicago, 1991; tv broadcast Ch.13 Independent Focus, NYCity, Oct. 1991.

The Clearing Way
1990, for contralto, chorus and orchestra; Lisa Monheit and the Chattanooga Symphony, conducted by Vakhtang Jordania, at the Tivoli Theater, Chattanooga, Tennessee, February 20, 1992.

Hei-Ber-Ny-Pa-To-Sy-Bei-Mos
1990 for flute, soprano and percussion; commissioned by the Festival Blau Heidelberg, premiered at the Heidelberger Kunstverein, May 13, 1990.

Bits
1988, for piano, and synthesizer tuned a quarter tone higher; first public performance by Philip Bush, Merkin Hall, March 3, 1993; first broadcast performance by Loretta Goldberg, WNYC and other public radio stations, on John Schaeffer’s syndicated series, 1990.

Love in Space
1986, 45 minute radio opera with violin, 2 vocal soloists, English and German mixed choruses, and eight actors; premiered at Westdeutscher Rundfunk Cologne, November 25, 1986, by Wiltrud Fischer and Sona MacDonald as female leads, Janet Lawson, scat vocalist, Mary Gemini, female lead vocalist, Julie Lieberman, violin, and Sorrel Hays, Synklavier and direction.

M.O.M. & P.O.P.
1986, premiered 1984 Radio Bremen Pro Musica Nova Festival by Sorrel Hays, Marianne Schroeder and Peter Roggenkamp; NY premiere Nov., 1989, Cooper Union Great Hall, Ursula Oppens, Loretta Goldberg, Connie Cooper, pianists; the film version for three pianos and narrator sound track, Sorrel Hays, Margaret Leng Tan and Loretta Goldberg, pianists, at the National Women’s Studies Conference, Rutgers University, June, 1986.

Hush
1984, for vocalist and two percussionists; premiered by Janet Lawson, Glen Velez and Jeff Kraus in "Lullaby: The Universal Tradition" for the Horizon series of National Public Radio, November, 1984.

Something (To Do) Doing/Etwas Tun
1984, bilingual Hoerspiel on Hays poem, for 15 actors/chanters and scat singer; premiered by lead actresses Wiltrud Fischer and Lynn Singer and vocalist Janet Lawson at Westdeutscher Rundfunk Cologne in November, 1984; Whitney Museum April 1990 First Audio Art Exhibition.

Harmony, 1983, for string orchestra; premiered by the Maryland Women’s Symphony, Deborah Freedman conducting, April 20, 1986, at Bryn Mawr School, Baltimore, Maryland.

Celebration of NO
1983, audio art combination of women’s voices in 21 languages and various instrumental ensembles; premiered in version for prepared piano and film by Sorrel Hays at Ystad City Concert Hall, Sweden Five Star Piano Festival, Ystad Opera House, August 4, 1983; first performed in piano trio and tape version by the Clementi Trio, at Stuttgart Suedwestfunk, December, 1983; first performed with three chanters directed by the composer, and film and tape at the Stedelijk Museum in Amsterdam, March 26, 1983; in installation at the 1994 Fourth Exposition sonore internationale, Arles, France.

Lullago
1983, for two vocalists; premiered by Janet Lawson and Julius Eastman in the Lullabies for the New Music America Express train to Hartford, July, 1984; and in the Horizon series of National Public Radio , 1985.

Southern Voices
1982, for Soprano and Orchestra, commissioned for the 50th anniversary of the Chattanooga Symphony Orchestra; first performance by Daisy Newman and the Chattanooga Symphony at the Tivoli Theater, Chattanooga, Tennessee, April 6, 1982; West Coast premiere by the Santa Cruz Symphony conducted by Kenneth Klein, 1984.

Homing
1981, violin and piano; premiere, Dorothy Bales and Allan Sly at the National Gallery, Washington, D.C., December 13, 1981.

Tunings 1980, for string quartet; Manhattan String Quartet, March, 1980, New York City; German premiere by the Crescent Quartet at the Beethoven Halle, Bonn, October, 1981; Spoleto Festival Charleston, May 1980, Charleston Symphony String Quartet.

Past Present
1978 for piano and Loretta Goldberg, premiered at the National Gallery, Washington, D.C., October, 1978. Breathless
1976 for bass flute, Andrew Bolotowsky premiered this at the New School for Social Research, October 29, 1976, in the Meet the Woman Composer concert series.

Sensevents
1976 for six instrumental soloists, motorized sculptures, dancers and interactive audience; premiered by Kent Baker Dancers, with orchestra directed by Sorrel Hays, and sculptures built by her, at Lincoln Center Festival, August, 1976;Lenox Mall, Atlanta and Banks-Haley Gallery,Albany, Ga.,Feb., 1977.

Segments/Junctures
1975, for clarinet, viola and piano; first performance by David Sackson, John Marko, and Joshua Pierce at William Patterson College, Wayne, New Jersey, March 26, 1979.

For My Brother’s Wedding
1974, for organ; premiered March, 1974, by Mary Hammond at the First Unitarian Church, Houston, Texas.

Rest Song
1977, for mixed chorus; premiered by the 1977 Capitol University Summer Chorus conducted by Lawrence Eisman, in Columbus, Ohio.

Hands Full
1975, for SSA, tape and drums; first performed by the Converse College Summer Chorus, conducted by Sorrel Hays, in Spartenburg, South Carolina, July 1976.

On the Wind at Scheveningen Beach
1974, for five flutes; premiered by the Muramatsuk Quintet, The Hague Conservatory, October, 1974.

PAMP
1973, for piano and tape; premiered by Sorrel Hays at Frankfurt Radio, Germany, in September, 1973.

Hands and Lights
1968, for piano and photo cells and lights; premiered by the composer at the Gaudeamus Composers Festival, September, 1971, Utrecht, Holland.

All music is published by Tallapoosa Music (an ASCAP publisher), 697 West End Avenue, PH. B, New York, NY 10025, excepting: Southern Voices for Orchestra and Soprano and Blues Fragments and Southern Voices for Tape by Henmar Press, published 1985; Hands Full and Rest Song by A. Broude Inc./Plymouth, published 1983. Tunings for string quartet, by Hildegarde Press, 1998.