Augusta Read Thomas

Augusta Read Thomas (born April 24, 1964) is an American composer and University Professor of Composition in the Department of Music at the University of Chicago, where she is also director of the Chicago Center for Contemporary Composition.

Augusta Read Thomas
Thomas in 2020
Born	(1964-04-24) April 24, 1964 Glen Cove, New York, US
Occupation	Composer
Spouse	Bernard Rands ​ (m. 1994)​
Website	augustareadthomas.com

Biography

Thomas studied composition with Oliver Knussen at Tanglewood Music Center; Jacob Druckman at Yale University; Alan Stout and Bill Karlins at Northwestern University; and at the Royal Academy of Music in London (1989). She was a Bunting Fellow at Radcliffe College in 1990–91 and a Junior Fellow in the Society of Fellows at Harvard University from 1991 to 1994. Thomas was the longest-serving Mead Composer-in-Residence with the Chicago Symphony Orchestra, for Daniel Barenboim and Pierre Boulez, from 1997 to 2006. This residency culminated in the premiere of Astral Canticle for solo flute, solo violin and orchestra, one of two finalists for the 2007 Pulitzer Prize in Music. During her residency, Thomas premiered nine commissioned orchestral works and helped establish the MusicNOW series.

Thomas has won an Ernst von Siemens Composers' Prize, among many other awards. She is a member of the American Academy of Arts and Sciences and the American Academy of Arts and Letters.

A former chairperson of the American Music Center, she is on many boards and, according to the American Academy of Arts and Letters, "has become one of the most recognizable and widely loved figures in American Music."

Commissions include those from the Santa Fe Opera in collaboration with the San Francisco Opera and several other opera companies, PEAK Performances at Montclair State University and the Martha Graham Dance Company, The Cathedral Choral Society of Washington, D.C., the Indianapolis Symphony Orchestra, Tanglewood Music Festival, BBC Proms, Diotima Quartet and The Philharmonie of Paris, Sejong Soloists, the Kaleidoscope Chamber Orchestra, Des Moines Symphony, Boston Symphony, the Utah Symphony, Wigmore Hall in London, Indianapolis Symphonic Choir, JACK quartet, Third Coast Percussion, Spektral Quartet, Chicago Philharmonic, Eugene Symphony, the Danish Chamber Players, Notre Dame University, Janet Sung, and the Fromm Foundation.

Early life and education (1964–1989)

Thomas was born in 1964 in Glen Cove, New York. She is one of 10 children of James A. and Susan N. Thomas (née Norton). Her mother was a kindergarten teacher for 30 years at the Green Vale School.

After graduating from high school, Thomas enrolled as a music student (specializing in trumpet performance) at Northwestern University in 1983. Northwestern's composition program is prominent today, but did not exist when Thomas was an undergraduate. An exception was made for her to pursue composition. Thomas studied with faculty members and composers Alan Stout and M. William Karlins.

After earning a bachelor's degree from Northwestern, Thomas attended Yale University to pursue a master's degree in composition. There she studied with Jacob Druckman. Thomas did not complete a degree program at Yale, finishing her master's degree at the Royal Academy of Music in London. There, she studied with Paul Patterson, the Manson Chair of Composition Faculty. Seven years after graduating from the Royal Academy of Music in London, Thomas was elected one of its Associates (ARAM, honorary degree), and in 2004 was elected a Fellow of the Royal Academy of Music. In 1998, she received the Distinguished Alumni Association Award from St. Paul's School. In 1999, she won the Award of Merit from the President of Northwestern University, and a year later received Northwestern's Alumnae Award.

Immediately after receiving her degree from the Royal Academy of Music, Thomas was awarded a Guggenheim Fellowship in 1989. At 23, she was the youngest woman recipient of the honor at the time.

Career

In 1994, Thomas married the British composer Bernard Rands. In 1997, Russian-American cellist Mstislav Rostropovich and the Boston Symphony Orchestra premiered cello concerti by both Thomas and Rands in Boston Symphony Hall and at Carnegie Hall. Paul Griffiths wrote that Thomas “had led the way [for the performance], introducing [Rands] to Mr. Rostropovich. Then, when the Boston Symphony asked Mr. Rostropovich what he would like for his 70th birthday, he said he wanted a new concerto, and wanted it from Mr. Rands”.

Shortly after the completion of her Guggenheim Fellowship, Thomas began teaching at the Eastman School of Music. She received tenure there at age 33. While at Eastman, she was appointed Mead Composer in Residence at the Chicago Symphony Orchestra by conductors Pierre Boulez and Daniel Barenboim. She is the longest-serving Mead Composer in Residence, holding the position from 1997 to 2006. Her residency culminated in the 2007 premier of her work Astral Canticle, one of two finalists for the Pulitzer Prize in Music.

Shortly after receiving tenure at Eastman, Thomas returned to Chicago to teach at the Northwestern University School of Music until 2008.

In 2010, the University of Chicago announced that Thomas would be appointed University Professor of Composition in the Department of Music and the college. She is the 16th designated professor to be appointed by the university. In 2018, it was announced that Thomas had created the Chicago Center for Contemporary Composition (CCCC) at the University of Chicago. The CCCC includes the Grossman Ensemble, underwritten by the Sanford J. Grossman Charitable Trust, which was designed to extend the legacy of the Contemporary Chamber Players. Thomas said she “hoped to enrich the university's long and distinguished history in contemporary music” with the CCCC, which is in its third season.

In 2016, Thomas created and co-curated the Ear Taxi Festival, which included over 350 musicians, 88 composers, and 54 world premieres. The two-day festival took place in Chicago. The festival's success earned Thomas the title "Chicagoan of the Year" from Chicago magazine.

For the 2014–15 academic year, Thomas was a Phi Beta Kappa Scholar. She was MUSICALIVE Composer-in-Residence with the New Haven Symphony, a national residency program of The League of American Orchestras and Meet the Composer.

Thomas's most recent works include an opera, Sweet Potato Kicks the Sun, that premiered at the Santa Fe Opera in 2019.

Thomas's chamber opera LIGEIA, based on Poe's short story of the same title, received the International Orpheus Prize and was performed in Spoleto, Italy. Commissioned by Mstislav Rostropovich and Rencontres Musicales d'Evian, LIGEIA was premiered by Rostropovich at the 1994 Evian Festival. The American premiere took place at the Aspen Music Festival on July 27, 1995.

Thomas lives in Chicago with her husband, teaches at the University of Chicago, directs the Center for Contemporary Composition, and composes. Her additional titles include:

• Founder and Director of The Chicago Center for Contemporary Composition
• Founded and runs the Grossman Ensemble for which she commissions and premieres the works of other composers.
• Vice President for Music, The American Academy of Arts and Letters
• Member of the Board of Directors of The Koussevitzky Foundation
• Member of the Board of Directors of The Aaron Copland Fund for Music
• Member of the Board of Directors of the Alice M. Ditson Fund, Columbia University
• Member of the Conseil Musical de la Foundation Prince Pierre de Monaco
• Member of the Board of Trustees, American Society for the Royal Academy of Music, London
• Member of the Eastman National Council
• Member of the advisory board of Third Coast Percussion
• Member of the advisory board of the Civitas Ensemble
• Member of the advisory board of the Picosa Ensemble
• Member of the International Contemporary Ensemble Board of Directors, 2007–2013
• Chair of the Board, American Music Center, 2005–2008
• Board member, American Music Center, 2000–2011
• Founded EAR TAXI FESTIVAL, October 5–10, 2016 in Chicago
• Elected to membership, The American Academy of Arts and Letters, 2009
• Elected to Membership, The American Academy of Arts and Sciences in 2011
• Mead Composer-in-Residence, Chicago Symphony Orchestra, 1997–2006
• Curator and director of the Festival of Contemporary Music, Tanglewood Music Center, 2009

Selected awards and honors

• She was nominated for the 36th annual Chicago Music Awards in 2017.
• Her album Of Being is a Bird received BBC Music Magazine's Chamber Choice award in 2016.
• The Sovereign Prince of Monaco made Thomas a Chevalier of the Order of Cultural Merit in 2015.
• Thomas won Lancaster Symphony Orchestra's Composer Award for the 2015–16 season.
• Lincoln Academy of Illinois awarded Thomas the Order of Lincoln in 2014.
• Ceremonial, for orchestra, was chosen as a Recommended Work at the UNESCO International Rostrum of Composers in 2001.
• In 2001, Thomas received an Academy Award in Music from the American Academy of Arts and Letters.
• Thomas won an Ernst von Siemens Composers' Prize in 2000.
• Chanticleer's album Colors of Love, featuring two works by Thomas, won a Grammy in 2000.

Selected recent and upcoming projects

• L’Envers des destinées for orchestra, baritone soloist and cello soloist (2024) was commissioned by Orchestre de chambre de Paris and premiered by performed by the Orchestre de chambre de Paris conducted by Simone Menezes, with Baritone soloist Laurent Naouri, Cello soloist Albert Kuchinski, Chorégraphe by Thierry Thieû Niang, and Lighting by Jimmy Boury at the Philharmonie de Paris – Cité de la Musique, Paris, France on January 27, 2024.
• Apollo's Riddles for string quartet (2024) was commissioned by Quatuor Diotima and Philharmonie de Paris and premiered on January 17, 2024.
• Terpsichore's Box of Dreams for 13 virtuosi (2023) was premiered by The Grossman Ensemble conducted by Timothy Weiss, on May 19, 2023.
• Forest Of Shifting Time a ballet (2022) Choreographed and directed by BalletCollective Artistic Director Troy Schumacher and set to a vibrant 32-minute score for the Detroit-based Akropolis Reed Quintet, the ballet features whimsical costumes and props by artist and designer Doug Fitch and lighting by Ben Rawson. Featuring dancers trained in a multitude of methodologies, including dancers from New York City Ballet and alumni of The Ailey School and The Juilliard School: Graham Feeny, Jada German, Megan LeCrone, Zoe Liebold, Shelby Mann, Ava Sautter, Maxwell Simoes, and Haley Winegarden. November 2 and 3, 2022 at Trinity Commons, 76 Trinity Place, New York, NY.
• Bebop Riddle II for cello and piano (2022) was commissioned by Tanglewood Music Center and the Boston Symphony Orchestra.
• Sunburst a fanfare for youth orchestra (2022) Ideal for youth, community, and college orchestras was commissioned by the Tampa Metropolitan Youth Orchestra, Dr. William Wiedrich, Music Director & Conductor.
• Dance Foldings for orchestra (2021) was commissioned by Radio 3 and premiered on August 8, 2021, by BBC National Orchestra of Wales conducted by Ryan Bancroft at the Royal Albert Hall as part of BBC Proms 2021. The USA Premiere was given by the Boston Symphony Orchestra, Andris Nelsons, conducting in Boston Symphony Hall on January 13, 14, 15, 16 2022
• Crackle for wind ensemble (2021) was commissioned by a consortium of wind ensembles and was premiered on October 22, 2021, by the University of Michigan Wind Ensemble, conducted by Michael Haithcock.
• Far Past War for large chorus and orchestra (2018), text by Cammy Thomas, commissioned and premiered by the Cathedral Choral Society of Washington, D.C., conducted by Steven Fox in the Washington National Cathedral on March 13, 2022. Made possible by the William Remsen Strickland Endowment Fund “to remember the concerts of the Cathedral Choral Society during World War II.”
• Upon Wings of Words, Emily Dickinson Settings (2021) for soprano and string quartet premiered at the Ravinia Festival, NEXUS Chamber Music with Kristina Bachrach soprano soloist.
• Filigree of the Sun for string quartet (2018) was premiered on August 4 and 6, 2021 by FLUX Quartet at the Santa Fe Chamber Music Festival.
• Dance Mobile for small chamber orchestra (or for 13 players) in memoriam Oliver Knussen (2020), was commissioned by the Howard Hanson Institute for American Music in Celebration of the 100th Anniversary of the Eastman School of Music
• The Boston Symphony Orchestra (Andris Nelsons, music director) commissioned Magic Box to celebrate the opening of its Tanglewood Center for Music and Learning on June 28, 2019
• Con Moto for percussion quartetwas premiered on October 16, 2020, by Third Coast Percussion at the time that Thomas was Distinguished Guest Composer at the annual Bowling Green New Music Festival.
• Thomas's "Gwendolyn Brooks Settings" for Treble Chorus and Orchestra composed in 2018. Text by Gwendolyn Brooks received its world premiere on March 11, 2023, after a 3-year Covid Pandemic delay, by Anima – Glen Ellyn Children's Chorus and the Illinois Philharmonic Orchestra, Stilian Kirov, conducting, Charles Sundquist, Chorus, Director.
• Thomas's opera Sweet Potato Kicks the Sun (librettist: Leslie Dunton-Downer) premiered at the Santa Fe Opera, directed by John de los Santos and conducted by Carmen Flórez-Mansi, who also serves as Youth Chorus Director.
• Fanfare of Hope and Solidarity for orchestra premiered on May 22, 2020, by the Utah Symphony, Thierry Fischer, conducting. During a period of mandatory social distancing, each musician performed from their home and the performance was edited together and premiered on YouTube.
• The Indianapolis Symphony is to premier Sun Dance for orchestra, in memoriam Oliver Knussen (2018), in 2023, after a 3-year Covid Pandemic delay, Krzysztof Urbański, conducting
• The Auditions, a ballet for chamber orchestra commissioned and premiered by PEAK PERFORMANCES and Martha Graham Dance Company in 2019 with choreography by Troy Schumacher.
• The Des Moines Symphony commissioned and premiered Brio for orchestra in 2018.
• The Chicago Philharmonic Society and Eugene Symphony Association co-commissioned by premiered Sonorous Earth for percussion quartet and orchestra in 2017. Sonorous Earth is conceived as a cultural statement celebrating interdependence and commonality across all cultures and as a musical statement celebrating the beauty and diversity of expression of bell sounds.
• Jack Quartet and Third Coast Percussion premiered Selene, Moon Chariot and Rituals for percussion quartet and string quartet on March 5, 2015, as part of a “portrait concert” at Columbia University's Miller Theatre. It was co-commissioned by the Tanglewood Music Center in honor of its 75th Anniversary Season, Miller Theatre, and Third Coast Percussion.
• Helios Choros (Sun God Dancers), a triptych for orchestra (2006–2007). Helios Choros I was commissioned by the Dallas Symphony, is dedicated to Sir Andrew Davis, Victor Marshall, and the Dallas Symphony Orchestra, and was premiered on May 3, 2007, by the Dallas Symphony with Davis conducting. Helios Choros II was co-commissioned by the London Symphony Orchestra and Boston Symphony Orchestra and premiered by the LSO on December 14, 2008, Daniel Harding conducting. Helios Choros III, commissioned by the Orchestra of Paris, is dedicated to Christoph Eschenbach and premiered on December 12, 2007, in Paris at a festival curated by Pierre Boulez at which his music and the music of other composers of his choice was featured.
• Jennifer Kelly's upcoming book In Her Own Words: Conversations with Composers in the United States (New Perspectives on Gender in Music) features Thomas.

Selected works

Orchestral

• Cello Concerto No. 1 – Vigil (1990), for cello solo & chamber orchestra
• Meditation (1990), concerto for trombone & orchestra
• Words of the Sea (1995), for orchestra – Homage to Debussy
• Violin Concerto – Spirit Musings (1997), for violin solo & 15 players (or chamber orchestra if multiple strings are used)
• Concerto for Orchestra – Orbital Beacons (1998)
• Ceremonial (1999), for orchestra
• Cello Concerto No. 2 – Ritual Incantations (1999), for cello solo, concertino group of flute, oboe & violin soli, & chamber orchestra
• Ring Out Wild Bells, to the Wild Sky (2000), for soprano solo, S.A.T.B. choir & orchestra
• Song in Sorrow (2000), for soprano solo, female-voice sextet, S.A.T.B. choir & orchestra
• Daylight Divine (2001), for soprano solo, children's choir & orchestra
• magnecticfireflies (2001), for concert band
• Prayer Bells (2001), for orchestra
• Canticle Weaving (2002), concerto for trombone and orchestra
• Chanting to Paradise (2002), for soprano solo, S.A.T.B. choir & orchestra
• Sunlight Echoes (2002), for S.A.T.B. choir & orchestra
• Trainwork (2002), for orchestra
• Dancing Galaxy (2004), for concert band
• Galaxy Dances (2004), a tone poem for orchestra
• Gathering Paradise (2004), song-cycle for soprano & orchestra
• Silver Chants the Litanies (2004), concerto for horn & 18 players (or chamber orchestra if multiple strings are used) – in memoriam Luciano Berio
• Tangle (2004), for orchestra
• Astral Canticle (2005), for double concerto violin, flute soli & orchestra
• Credences of Summer (2005), for orchestra
• Violin Concerto No. 2 – Carillon Sky (2005), for violin solo & small orchestra or for alto saxophone solo & small orchestra
• Prayer and Celebration (2006), for chamber orchestra
• Helios Choros I (2007), for orchestra
• Helios Choros III (2007), for orchestra
• Terpsichore's Dream (2007), for chamber orchestra [There is no relation between this work and * Terpsichore's Box of Dreams for 13 virtuosi (2023)]
• Absolute Ocean (2008), for soprano, harp soli & chamber orchestra
• Dream Threads (2008), for chamber orchestra
• Helios Choros II (2008), for orchestra
• Violin Concerto No. 3 – Juggler in Paradise (2008), for violin solo & orchestra
• Jubilee (2009), for orchestra
• Of Paradise and Light (2010), for string orchestra
• Radiant Circles (2010), for orchestra [Featuring Brass and Timpani; the percussion set up is very small requiring very few instruments.]
• Cello Concerto No. 3 – Legend of the Phoenix (2013)
• Aureole (2013)
• Hemke Concerto "Prisms of Light" (2014), for alto saxophone and orchestra
• EOS (Goddess of the Dawn) (2015), for orchestra
• Plea for Peace (2017), a vocalise for soprano and string quartet or string orchestra
• Sonorous Earth (2017), for solo percussion quartet playing bells from around the world (approximately 300 pieces of metal) and chamber orchestra
• Brio (2018), for orchestra
• The Auditions (2019), for chamber orchestra
• Clara's Ascent (2019), for string orchestra or string quartet featuring solo cello
• Magic Box (2019), for percussion quartet and string quartet or string orchestra
• Memory Palace (2019), for string orchestra (no basses)
• Fanfare of Hope and Solidarity (2020), for orchestra
• Far Past War (2020), for SATB chorus and orchestra. Texts by Cammy Thomas.
• Sun Dance (2020), for orchestra in memoriam Oliver Knussen
• Gwendolyn Brooks Settings (2019–2020), for treble chorus and orchestra. [Treble Chorus can be composed of a mix of adult sopranos, mezzo-sopranos, altos, with youth girl and boy sopranos, mezzo-sopranos, and altos.]
• Crackle (2020), for wind ensemble
• Dance Mobile (2021), for small chamber orchestra (or for 13 players) – in memoriam Oliver Knussen
• Dancing Stars (2021), for open instrumentation orchestra or chamber ensemble of no less than 8 players. Instrumentation may include a group of voices singing open vowels.
• Dance Foldings (2021), for orchestra, commissioned by Radio 3 and premiered at BBC Proms 2021
• Carnival (Bassoon Concerto) (2022), for bassoon and wind ensemble; and in version for bassoon and orchestra. [Solo part can be played by bassoon, baritone saxophone, euphonium or trombone.]
• Sunburst (2022), a fanfare for orchestra (Ideal for youth, community, and college orchestras. Celebratory and optimistic. Only a tiny percussion set up is needed.)
• FIESTA! (no chaser!) (2023), for trumpet in C and wind ensemble; and available in version for trumpet and orchestra
• Toward a Secret Sky (2021–2023), for chorus and orchestra on texts by Rumi
• L'envers des destinées (2023), for solo baritone, solo cello, and small orchestra setting text by Maeterlinck.
• Haemosu’s Celestial Chariot Ride (2024), for solo saxophone, 6 or 7 players, and string orchestra. Based on six Korean Sijo.

Choral

• Alleluia (Midsummer Blaze) (1993), for a cappella S.A.T.B. choir setting text: "Alleluia"
• The Rub of Love (1995), for a cappella S.A.T.B. choir on texts by an anonymous Greek poet
• Psalm 91: Verse 11 (1996), for a cappella S.A.T.B. choir setting of Psalm 91: Verse 11
• Love Songs (1997), for a cappella S.A.T.B. choir: 7 songs on texts by 7 famous poets
• Ring Out Wild Bells, to the Wild Sky (2000), for soprano solo, S.A.T.B. choir & orchestra on text by Alfred Lord Tennyson
• Daylight Divine (2001), for soprano solo, children's choir & orchestra on texts by Gerard Manley Hopkins
• Chanting to Paradise (2002), for soprano solo, S.A.T.B. choir & orchestra on texts by Emily Dickinson
• Song in Sorrow (2002), for soprano solo, female-voice sextet, S.A.T.B. choir & orchestra on text by 40 poets
• Sunlight Echoes (2002), for S.A.T.B. choir & orchestra on texts by Emily Dickinson
• Four Basho Settings (2002), for a cappella children's choir on texts by Basho
• Fruit of my Spirit (2004), for a cappella S.A.T.B. choir setting of John 15:5, Galatians 5:22, 23 (paraphrased)
• Purple Syllables (2004), for a cappella S.A.T.B. choir on texts by Emily Dickinson
• The Rewaking (2005), for a cappella T.T.B.B. choir on text by William Carlos Williams
• Juggler of the Day (2007), for a cappella S.S.A.A. choir on text by Emily Dickinson
• Roses (2008), for S.S.A.A. choir & piano on texts by George Eliot
• Two E. E. Cummings Songs (2008), for S.S.A.A. choir on texts by E. E. Cummings
• Flash (2011), for S.A.T.B & orchestra on texts by Gerard Manley Hopkins
• Spells (2013), for S.A.T.B, In Memoriam Elliott Carter based on fragments of text Gerard Manley Hopkins
• Dappled Things (2015), for male or female chorus on texts by Gerard Manley Hopkins
• !HOPE (2017), for S.S.S.A.A choir on texts by E. E. Cummings
• Far Past War (2020), for S.A.T.B chorus and orchestra on texts by Cammy Thomas
• Gwendolyn Brooks Settings (2020), for treble choir and orchestra on texts by Gwendolyn Brooks
• Freedom: To Be Free and Sky Bound In Memoriam Rosa Parks (2022), for treble voices or for tenor & baritone voices on texts by Rosa Parks and Rūmī
• Light from the Heart (2022), for S.A.T.B. chorus - commemorating the 400th anniversary of William Byrd's death on texts by Rūmī
• Become the Sky (2022), for S.A.T.B. chorus on text by Rūmī
• Countenance of the Sun (2022), for treble voices or for tenor & baritone voices (The text celebrates love,) Setting text by Rūmī
• Toward a Secret Sky (2021–2023), for chorus and orchestra on texts by Rūmī

Chamber

• Chant (1991, rev. 2002), for alto saxophone & piano (The saxophone part can also be performed by other instruments.)
• Violin Concerto – Spirit Musings (1997), for violin solo & 15 players (or chamber orchestra if multiple strings are used)
• Passion Prayers (1999), for solo cello, flute, clarinet, violin, piano, harp, & 1 percussion
• ...a circle around the sun... (2000), for piano trio: (violin, cello, piano)
• Fugitive Star (2000), for string quartet
• Invocations (2000), for string quartet
• Ring Flourish Blaze (2000), for sixteen brass
• Eagle at Sunrise (2001), for string quartet
• Murmers in the Mist of Memory (2001), for eleven strings or for string orchestra
• Rumi Settings (2001), for violin & cello; or violin & viola
• In My Sky at Twilight (2002), song-cycle for soprano & 18 players (or chamber orchestra if multiple strings are used)
• Light the First Light of Evening (2002), for ensemble
• Rise Chanting (2002), for string quartet
• Silver Chants the Litanies (2004), concerto for horn & 18 players (or chamber orchestra if multiple strings are used) – in memoriam Luciano Berio
• Final Soliloquy of the Interior Paramour (2004), for mezzo-soprano, tenor & small ensemble
• Memory: Swells (2005), for two guitars
• Moon Jig (2005), for piano trio: (violin, cello, piano)
• Angel Tears and Earth Prayers (2006), for trumpet & organ (The trumpet part can also be performed by other instruments.)
• Silent Moon (2006), for violin & viola; or violin & cello
• Toft Serenade (2006), for violin & piano
• Dancing Helix Rituals (2007), for clarinet, violin & piano
• Cantos for Slava (2007), for cello & piano; or viola & piano
• Scat (2007), for flute, clarinet, violin, cello and piano; alternate version: oboe, harpsichord (or piano), violin, cello
• Scherzi Musicali (2007), for horn, two trumpets & trombone
• Squeeze (2007), for saxophone quartet
• Fête (2010), for brass ensemble
• Pilgrim Soul (2011), for cor Anglais & two violins
• Resounding Earth (2012), for percussion quartet playing bells from around the world (for approximately 300 pieces of metal)
• Of Being is a Bird, Emily Dickinson Settings (2015), for soprano and 9 players (It is optional to substitute the soprano with either a flute, oboe, English horn, clarinet, soprano saxophone, alto saxophone, trumpet, or viola)
• Selene (2015), for percussion quartet and string quartet
• Helix Spirals (2015), for string quartet
• Avian Capriccio (2016), for 2 trumpet in C, horn, trombone, tuba
• Avian Escapades (2016), for flute, oboe, clarinet, bassoon, horn
• Klee Musings (2016), for piano trio: (violin, cello, piano)
• qì (2016), for percussion quartet playing only on 2 marimbas: 2 players sharing each marimba
• Chi (2017), for string quartet
• Plea for Peace (2017), a vocalise for soprano and string quartet or string orchestra (The vocalise solo line can also be performed by Flute, Alto Flute, Oboe, Clarinet, Trumpet, Soprano Saxophone, Violin, Viola, Cello, or Countertenor in place of the Soprano.) May also be performed with string orchestra (no basses).
• Acrobats (2018), for flute, bass clarinet, violin, cello, and piano [Bass clarinet can be substituted by baritone saxophone or bassoon.]
• Con Moto (2018), for percussion quartet
• Ripple Effects (2018), for carillon: Three versions are available: 4 players (with many additional players joining in as piece accumulates) 72 bells, F-compass. 2 players, 53 bells, G-compass. 2 players, 48 (or 47) bells, C-compass.
• Song Without Words (2018), for soloist and piano: (Versions exist for Flute, Alto Flute, Oboe, English Horn, Clarinet, Bass Clarinet, Soprano Saxophone, Alto Saxophone, Bassoon, Horn, Trumpet, Trombone, Bass Trombone, Tuba, Violin, Viola, Cello, and Bass)
• The Auditions (2019), for 14 players (or chamber orchestra if multiple strings are used)
• Clara's Ascent (2019), for string quartet featuring solo cellist of the quartet; or for string orchestra featuring the cello section of the string orchestra
• Magic Box (2019), for percussion quartet and string quartet
• Memory Palace (2019), for string orchestra (no basses)
• Your Kiss (2019), for soprano and piano; or mezzo-soprano and piano; or tenor and piano. Text by e.e. cummings
• Star Box (2019–2020), for percussion quartet
• Magic Gardens (2020), for string quartet. Inspired by and based on Isaiah Zagar's Magic Gardens
• Dancing Stars (2021), for open instrumentation orchestra or chamber ensemble of no less than 8 players. Instrumentation may include a group of voices singing open vowels.
• Dance Mobile (2021), for 14 players – in memoriam Oliver Knussen (or chamber orchestra if multiple strings are used)
• Upon Wings of Words, Emily Dickinson Settings (2021) for soprano and string quartet; available in a version in a lower "key" for mezzo-soprano and string quartet.
• Stardust (2021), quintet for soloist and string quartet: (soloists could be: English horn, oboe, clarinet, soprano saxophone, alto saxophone, or flute)
• Crescat Scientia; Vita Excolatur (2021), for carillon, 4 players (8 hands and 2 feet) (with many additional players joining in as composition accumulates) 72 bells, F-compass.
• Rings of Light (2021), a fanfare for 9 saxophones (or saxophone ensemble) (or for 9 clarinets or clarinet ensemble – 3 bass clarinets and 6 clarinets)
• Bebop Riddle II (2022), for cello and piano (or in a version for string bass and piano) - The entire work is pizzicato for the cellist or bass player (Also a version for marimba and piano)
• Bebop Riddle IV (2022), for reed quintet (Oboe, Clarinet in Bb, Alto Saxophone in Eb, Bass Clarinet in Bb, Bassoon) – several other woodwind combination versions exist for this composition.
• Illuminations: Fanfare Sinfonia, for Solo Timpani, 9 Brass, and 3 Percussion (2023), [2 horns, 4 trumpets in C, 2 trombones, 1 bass trombone, timpani, and 3 percussion (very small percussion instrumentation)]
• Forest Of Shifting Time: a ballet (2022), for reed quintet (Oboe, Clarinet in Bb, Alto Saxophone in Eb, Bass Clarinet in Bb, Bassoon) – several other woodwind combination versions exist for this composition.
• Terpsichore's Box of Dreams (2023), for 13 virtuosi (or chamber orchestra if multiple strings are used)
• Oh Jacqueline, In Memoriam John Fitzgerald Kennedy (2023), for tenor and piano (available in versions for soprano and for mezzo-soprano)
• Shakespeare's Jesters (2023), for SATB saxophone quartet
• Apollo's Riddles (2023), for string quartet
• Abracadabra (Suncatchers) (2024), for 11 virtuosi (or chamber orchestra if multiple strings are used)
• Haemosu’s Celestial Chariot Ride (2024), for solo saxophone, 6 or 7 players, and string orchestra. Based on six Korean Sijo.
• Bebop Riddle II B (2024), for bassoon and piano
• Bebop Riddle V (2024), duo for soprano saxophone and alto saxophone

Solo instrumental

• Incantation (1995), for solo violin, solo viola, or solo cello
• Spring Song (1995), for solo cello
• Bells Ring Summer (2000), for solo cello
• Pulsar (2002), for solo violin, solo viola, or solo cello
• Rush (2004), for solo violin
• Caprice (2005), for solo violin
• D(i)agon(als) (2005), for solo clarinet (and there are also saxophone versions: for soprano saxophone, alto saxophone, tenor saxophone, or baritone saxophone)
• Six Etudes (1996-2005), for solo piano (6 brief etudes that can be played in any subset of them.)
• Traces (2006), for solo piano (5 brief movements that can be played in any subset of them.)
• Eurythmy Etude – "Still Life" (2007), for solo piano
• Love Twitters (2007), for solo piano
• Euterpe's Caprice (2008), for solo flute
• Dream Catcher (2009), for solo violin, orsolo viola, or solo cello
• Starlight Ribbons (2013), for solo piano
• Capricious Toccata (2016), for solo violin or solo viola
• Rainbow Bridge to Paradise (2016), for solo cello, or solo violin, or solo viola
• Rhea Enchanted (2016), for solo cello, or solo violin, or solo viola
• Venus Enchanted (2016), for solo cello, or solo violin, or solo viola
• Two Thoughts About The Piano (2017), for solo piano
• Song Without Words (2018), for soloist and piano. Versions exist for Flute, Alto Flute, Oboe, English Horn, Clarinet, Bass Clarinet, Soprano Saxophone, Alto Saxophone, Bassoon, Horn, Trumpet, Trombone, Bass Trombone, Tuba, Violin, Viola, Cello, and Bass.
• Bell Illuminations (2020–2021), for solo piano
• Bebop Riddle (2021), for solo 5-octave marimba
• Enchanted Invocation (2021), for one percussionist playing only vibraphone and 5 crotales
• Amalgam (2021), for solo piano
• Riddle (2022), for solo cello – in memoriam Oliver Knussen
• Laetitia's Caprice (2023), a fanfare for solo soprano saxophone (There are versions for alto saxophone, tenor saxophone, and/or baritone saxophone.)

External links

• Official website
• Augusta Read Thomas on the University of Chicago's website
• Augusta Read Thomas Nimbus Catalogue
• Interview with Augusta Read Thomas, December 3, 1993