Musical quotations are ,by definiton external to the intrinsic fabric of the work in which they appear, primarily because of many referntial considerations: 1) the style of another composer, 2) the suggestion of a different historical or cultural time, and 3) the nature of any fragment as a microcosm of its parent work. My use of quotations varies from a short reference, such as the beginning of the Berg Violin Concerto orchestral introduction which I used as the accompaniment to the words, "And ye shall know the truth, and the truth shall make you free." which the villain in Te Balland of the Sleazy Palace Cafe, (1980) to more extensive use of tunes and themes as the basis of whole movements ("Ein Madchen oder Weibchen" from Mozart's Magic Flute which forms the basis of the Finale of Piano Trio No. 1 (1980) or "What shall we do with the drunken Sailor" which kicks off the Finale of the Sonata for Violoncello and Piano (1983). Some pieces, like En Chapeau (2005) for violin and piano consist completely of quotations from a single composer (Debussy in this case), or for humorous intent, some of the most famous quotations, like from Grieg's , Liszt's La Campanella, Brahms' Tragic overture, Wagner's Tristan Prelude, and Beethoven's Fur Elise in Furball Elise, a concert encore for piano. In any event the quotations are usually indicated and obvious in the pieces that use them. For example: Serge P for two pianos, (1993) is that composer's Sonata for Two Violins, rearranged with added entr'actes, and CPE, also for two pianos, (1997) uses snippets from CPE Bach's Wurtemburg Sonatas as the basis of all three movements.

Where I use quotations from my own work, the reasons are often more complex, and the quotes are harder to find. Usually, I have seen a new possibility in the musical materials, or the quotation provide a kind of sytlistic closure. Below is a list of self quotations, starting with the earlier piece:

1. Terza Prattica, (1974) the last section of this piece is used, transposed down a step and with an overlay of obbligatos for the soloists in the Concerto for Three Trumpets and Wind Ensemble, (1996).That Finale itself uses a Charle Ives modified version of "Watchman, Tell us of the Night."

2. First Sonata for piano, (1985)

Movement II has a chorale (reprised in Finale) that is used in Chorales for Piano and winds, (1986).

Mvt. II theme that follows us used in the second section of Inferno, (2003).

3. Dance Sonata, Piano Sonata No. 2, (1985).

Movement I, "vulgar and funky" used in modified form in Your Reality Check is in the Mail, (2006), "Was that Elvis?"

Coda of the same movement is used as the opening of the Finale of Piano Concerto No. 2 "Matisse-Jazz.",(1992).

THere is also a modified, oblique reference to this material in the third section of Inferno.

4. Sonata Brahmsiana, Piano Sonata No. 3, (1985), Movement IV opening forms the basis of the Finale of Piano Concerto No. 1, (1986).

5. Piano Sonata No. 5 in A, (1988), Movement 3, the Mozartian theme is used in the "Waiting for Godot" section of Your Reality Check is in the Mail, (2006)..

6. Dark Star and Strife for trumpet and piano (1989) has a jazz lick that is used in Mvt II of Columbus Concerto for organ and winds (1992).

The last seventeen bars of the "Aria" movement of Sonata for Violoncello and Piano, (1982) also form the basis of this piece.

7. Caldera with Ice Cave for piano and strings, (1999), Mvt. II mysterious theme is used as a reference in a song from Palabras Serenas, 2001.

Americna Elegy for string orchestra (2007) uses material from II and III of Le Bonheur de Vivre, a clarinet trio from 2006.

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The following pieces are recompositions of earlier works:

1. Little Screamers for piano four hands, (1981) is essentially a keyboard transcription of Screamers for wind ensemble, (1980).

Screamers, itself has numerous references to circus music (see notes).

2. Drowsey Maggie for two pianos, (1999) is a recoposition of the Introduction and Finale of Piano Trio No. 2, (1988).

3. "Dies Irae" Redux for two pianos (2006) is a recomposition of Concerto "Dies Irae" for piano trio and wind ensemble, (1982).

4. Windstorm for piano (2005) is a recomposition of Mvt. III of Octet-Windstorm, (2004).

5. Squall<> for orchestra (2006) uses the framework of Mvt. III of ,I>Oct-Windstorm<.I> with the addtion of new material.