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For Orchestra:

*Hopscotch, suite from the ballet, in six movements: Prelude, The New Kid and the Mean Man, The Neighborhood Kids, Fooling Around, Street Games and Dance, The New Kid Alone. The complete ballet was premiered by the Ballet Guild of Chicago in 1960, the Suite by the Chicago Symphony Orchestra in 1974; most recently by the Aurora (Colo.) Symphony Orchestra, 1999.

*Chamber Symphony, symphony in three movements for small orchestra composed in 1961; won first prize in a 1963 national composition contest sponsored by the Richmond (Va.) Professional Institute, and in 1975 a contest sponsored by the North Side Symphony Orchestra of Chicago, which gave it repeated performances. Performed in March, 1999, by the Ars Viva Symphony Orchestra under Alan Heatherington.
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On Chamber Symphony:
"...expertly scored in a warm tonal idiom spiced with an occasional touch of bitonality. There are hints of Copland and Hindemith, a morose middle movement, and, by contrast, a quirky Irish jig that sends one home with a smile."
John Von Rhein, Chicago Tribune

Celebration for Orchestra, commissioned by the Chicago Symphony Orchestra as part of 1976 Bicentennial celebration and performed at three CSO concerts that year.

American Variations, or E Pluribus Unum, for orchestra, chorus and barbershop quartet; in three movements, "Preamble," "Differences," and "Anthem." Commissioned by Mstislav Rostropovich in 1986. *Differences was first performed by the National Symphony Orchestra under Rostropovich in 1988, at the orchestra's traditional 4th of July concert on the Capitol lawn.

"Rostrpovich also conducted a six-minute world premiere, Differences from the American Variations suite by Dan Tucker ...appropriate music for a relaxed crowd. The form was loose, the style eclectic... but in six minutes it managed to pay tribute not only to the classical tradition brought over from Europe but also to such specifically American sounds as big band jazz, Latin American dance rhythms and country fiddling."
Joseph McLellan, The Washington Post, July 6, 1988

A Post-Mozart Serenade, for small orchestra with post-horn solo. distantly related to Mozart's "Post-horn" Serenade. Won second prize in a contest sponsored by the Chicago Chamber Orchestra; first performed by the orchestra under Dieter Kober in 1990.

"Chicagoan Dan Tucker's A Post-Mozart Serenade in its first hearing appears to occupy  a gray area between Prokofiev's "Classical Symphony" and P. D. Q. Bach. It is fun, a real divertimento..."
Robert C. Marsh, Chicago Sun-Times, Oct. 22. 1990

Rumpelstiltskin in Love, for small orchestra. Commissioned as a chamber work (oboe, bassoon, violin, cello, piano) by the Ensemble d'Accord and premiered by them in 1991. In 1998 it was scored for full orchestra and intended for use as an overture to the opera "Rumpelstiltskin: The Real Story" (see under "Operas," below), but has become a separate work. First performed as such by the Music Institute of Chicago Emeritus Orchestra in 2004.

Valse in the Manner of Borodin, Tucker's orchestration of a piano work by Maurice Ravel, premiered in 2004 by the Emeritus Orchestra.

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Operas:

*Many Moons, opera in two acts; libretto by D. T. based on a story of the same name by James Thurber. Composed in the period 1971-1977. First performances on Dec. 28-31, 1984, by the Ad Hoc Theater Company in Lisle, Ill.; later ones by musicians of the MacDowell Artists Association, Oct. 21-22. 1988, and by students and faculty of the Franz Liszt Academy of Music, Budapest, May 1, 1990.
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On the Overture to Many Moons:
"Tucker is a talented musician with a flair for melody...Enjoyable."
Joseph Maclellan, Washington Post

On Many Moons:
"...The music moves almost constantly in an absorbing, undulating manner, in a loose tonal framework...A lovely and distinctive example is the melancholy aria of Lady Ysabel..."
Jacqueline Taylor, Oak Leaves

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Rumpelstiltskin: The Real Story, opera in one act with original libretto by D.T.; composed in 1992 and performed as a play, without the music, by Primus Theater Company, Chicago, in 1993.

The Blue Moose, music by Dan Tucker, libretto by Daniel PInkwater, commssioned by the University of Redlands, California, and performed in March, 2007, for its centennial. (The story, from a novel by Pinkwater, is about a blue moose who works as a waiter in the north woods. As you can tell, it is not rigidly realistic.)

Two one-act operas, The Duenna - adapted from the play by Richard Brinsley Sheridan (incomplete), The Smoking Room, from a short story by Shirley Jackson, has not been completed.

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Choral Works

A cappella:

Songs From the Pentagon Papers, based on texts by former Secretary of Defense Robert McNamara and other government officials. Composed in 1971, first performed by choir under Kenneth Sanson at St. James Cathedral, Chicago, in February 1972.

"...the composer of Songs From the Pentagon Papers plainly ought to be locked up as an enemy of the state...Tucker has set to music segments from two documents--a 1964 memorandum from the Joint Chiefs of Staff which recommends that the president 'set aside many of the self-imposed restrictions which now hinder our efforts' and a 1966 report by then Defense Sec. Robert McNamara which begins 'Full security exists nowhere." ...One is transported back in time to lying tense and wakeful in the Vietnamese night..."
David Murray, Chicago Sun-Times

Lord, Send Out Your Spirit (SATB), composed in 1988, published by World Library Publications, 1989.  

On the Way to Bethlehem and Little Lord: Christmas songs for women's or children's choir, composed in 1982. Published by Classic Artists, 1984; reissued by Laurendale Associates.

A Child My Choice, Christmas or Epiphany hymn for chorus (SATB) on a text by Robert Southwell (d. 1591). Published by Laurendale Associates. 

Jesus Be Our Delight (Jesu dulcis memoria): hymn (SATB) on a text by Gerard Manley Hopkins. Published by World Library Publications, 1987.

Modrigals, settings in madrigal style of three "grooks" - short satirical poems - by Piet Hein, "Lilac Time," "Prayer." and "Intelligence."  Published in 1998 by Laurendale Associates.

The Living Water, setting of John 7:37-38, composed in 1992.

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With orchestra:

William Byrd's Reasons for Singing: Cantata on words of William Byrd Commissioned for the 50th anniversary of the North Shore Choral Society, which performed it in November, 1985.

"A Reason for Singing, by Dan Tucker, commissioned by the North Shore Choral Society in honor of its 50th year brings together a modern style of composition with a 16th Century text by William Byrd. Appropriately for the occasion it celebrates the vocal art."
Suzanne Weiss, Pioneer Press, November, 1985

In Praise of Jeoffry: Cantata on a text of Christopher Smart, the section of his "Rejoice in the Lamb" devoted to his cat Jeoffry. Composed in 1993 for the Choral Ensemble of Chicago, which performed it (with piano accompaniment) in 1993 at Quigley Chapel; it was later orchestrated.

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With instrumental accompaniment other than piano or organ: 

*A Dream of the Rood: Cantata for chorus and harp of an anonymous Anglo-Saxon text from the 8th Century translated by Charles Kennedy. Commissioned by His Majestie's Clerkes and premiered by them in March. 1988, at Quigley Chapel.  
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"A work of sublime beauty and originality"
Dennis Polkow, Chicago Reader

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Praise the Lord: Setting of Psalm 150 for chorus, piano and percussion, composed 1992.

Madrigales de Garcia Lorca: Setting for chorus (SATB) and guitar of Lorca's "Madrigales" from "Tres Crepusculos," premiered in 2000 by Music Institute of Chicago Chorale.

Christmas Song of Thomas Merton: Setting for chorus, string quartet, and two oboes d'amore of Merton's poem "Carol." Performed in 1993 by the MIC Chorale. 

The Name of Yahweh: A setting of Psalm 113 for duet or two-part chorus, organ, and percussion (or clapping hands).

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With piano or organ accompaniment:

Pied Beauty, for chorus, organ, and speaker; text by Gerard Manley Hopkins. Commissioned for the 1988 centennial of Immanuel Lutheran Church, Evanston.

The Saints Who Went Before Us and Saint Patrick's Harvest: Two texts by D.T. set to the same tune. Published by J. S. Paluch (both versions appear periodically in that company's "Missalette.")

Alleluias of Six Poets: settings for chorus and solo baritone of texts by Thomas Merton, E. E. Cummings, an unknown Native American (Zuni), Alfred Tennyson, William Cavendish, and Walt Whitman. Commissioned by the Chicago Ensemble of Chicago
for its 25th anniversary and premiered in May, 1990 by the Choral Ensemble of Chicago under George Estevez.

"Dan Tucker, after retiring from some 40 years of Chicago journalism, is securing international recognition as a composer. His Alleluias of Six Poets is a deeply felt, wonderfully lyric work that touches the heart. The words are set to phrases that mirror their contents beautifully."
Robert C. Marsh, Chicago Sun-Times, May 1, 1990

Romantic Songs of Miss O'Reilly: Choral settings (1992) of four songs by Dorothy O'Reilly, D. T's cousin and godmother: "With Rue My Heart Is Laden" (A. E.Housman): "Daughter of Eve" and "Gather Ye Round" (J. U. Nicolson), and "Moon Madness" (Dorothy Ellen Tucker).

Of One Who Is So Fair and Bright: setting for women's chorus (SSA) of a 13th Century hymn to the Virgin Mary in "macaronic" style--half English, half Latin.

*Shakespeare for Singing: Settings of 13 songs from various Shakespeare plays for solo voice and various combinations--duet, trio, female and male ensembles, and full chorus--composed for productions of "As You Like It," "Twelfth Night," "The Winter's Tale," and "Much Ado About Nothing." The collection was first performed in its entirety by the Music Center of Chicago Chorale, April, 1994.
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On Twelfth Night:
"Dan Tucker's music for the play's lovely songs provides a sweet underpinning of gentle, lyric melody."
Richard Christiansen, Chicago Tribune

Tucker has written music for several productions of Shakespeare plays, including "As You Like It," "Twelfth Night," and "Henry VIII." A number of his songs and piano works have been broadcast by WFMT, Chicago's classical music station, and his compositions have been performed and discussed in interviews with radio personalities Studs Terkel and Milton Rosenberg.

Shakespeare for Singing (songs from five Shakespeare plays, for various voices and/or chorus). From 'As You Like It': 'Under the greenwood tree,' tenor and chorus; 'It was a lover and his lass' soprano, tenor and chorus; "Blow, blow, thou winter wind' (tenor or baritone); 'Song of the Horn' (male chorus); 'Then is there mirth' (tenor, chorus) and 'Wedding Song' (chorus). From 'Twelfth Night': 'O Mistress Mine,' soprano or tenor; 'Come Away, Death,' baritone; 'When that I was and a little tiny boy' (tenor); Hold they peace, thou knave' (round for three or more voices). From 'Henry VIII': 'Orpheus with his lute' (soprano or mezzo). From 'Much Ado About Nothing': 'Sigh no more, ladies' (women's chorus). From 'The Winter's Tale': 'Get you hence, for I must go' (one male, two female voices).

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El-a-Noy: Choral setting of an Illinois folk song from the 1830s quoted in Carl Sandburg's "American Songbag." First performed by the MIC Chorale in 1998.

Divine Folly: Hymn on a text from 1 Cor. 1:19,25, composed March 1996.

His Love Is Ours Forever: Text by D. T., melody taken from last movement of Beethoven's piano Sonata Op. 53 ("Waldstein"). 

John the Baptist: Choral setting of a song by D. T.'s father, Irwin St. John Tucker.

V'la Le Bon Vent: Setting for chorus (SSAATTBB) of a French folk song.

*Puer Nobis Nascitur: Setting of a verse from "Piae Cantiones" (15th Century) as a Christmas hymn.
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Some Adventures of Isabel: Three stanzas from Ogden Nash's poem "The Adventures of Isabel," composed 1997.

Carols for the Annunciation: Choral arrangements of six traditional English carols celebrating the Feast of the Annunciation, March 25.

Pervigilium Veneris: Setting of verses from a 4th Century Latin poem celebrating a holiday in honor of the goddess of love.

Four Irish Ballads: Arrangements of traditional Irish tunes "...and Still She Cried," "The Spanish Lady," "I Know Where I'm Goin'." and "The Cruiskeen Lawn."

Jabberwocky: Choral setting of Lewis Carroll's not-quite-nonsense poem from "Through the Looking Glass." Composed in 1999, first performed in February, 2000, by the Chicago Children's Choir and the Music Institute of Chicago Chorale.

Walt Whitman Walks at Night, revised version of No. 6 of "Alleluias of Six Poets."

We'll Go to the Woods No More: Setting of a poem with a strong environmental message by Mark Strand, based on "Nous n'irons plus au bois."

The Noise of Waters, setting of a poem from James Joyce's "Chamber Music."   

Show Time and Sister Sally: Short choral pieces on comical poems for children by Eileen Sheridan and Roxanne M. Kinne.

Tristis Est Anima Mea, for tenor solo and chorus, composed in 2003 for Good Friday service at St. Mary's Church, Evanston.

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Instrumental ensembles and solos
 

Instrumental ensembles:

Trio for violin, cello and piano, composed in 1957.

Introduction and Rondo for viola and piano (1982). 

Processional for two trumpets and trombone.

Fanfare: La Chapelle, for brass quintet.

*Semi-Suite in three movements, Fanfarrondo, Morose Minuet, and Terse Waltz, for woodwind quintet.

Mazurklet, for flute and piano.

Colloquy, for cello and piano.

Fantasia on 'Inchworm', for string quartet, based on a Frank Loesser song; written for a proposed concert combining jazz combo and string quartet.

Embroideries on 'Sweet Betsy From Pike': variations on an Illinois folk tune, for violins in threes.

Thinking It Over, for violin and piano.

Street of Sorrow and Three Introits, for unaccompanied flute

*Elegy, for unaccompanied violin; commissioned and performed by Aaron Rosand.
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The Big Orange Splot, for brass quintet (two trumpets, horn in F, trombone and tuba), with narrator, from a story by Daniel Pinkwater. This was commissioned and performed by Mostly Music in 1994. It was also performed, together with The Blue Moose by the University of Redlands at their centennial.

Up in Rootabaga County, on a text by Carl Sandburg, for soprano, flute and cello. It was commissioned by the Chicago Chamber Music Society in 1999 and performed at that time, and again in February, 2007, at the Newberry Library, where is was archived.

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Piano Solo:

*Romantic Piece in the Manner of Johannes Brahms (1969).
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 *Toccatina
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 Promptu

 Fugue Two

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Organ Solo:

Overture to a Wedding  

Something Borrowed: Wedding music based on Bach chorale "Wake O wake."

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Songs with piano accompaniment

Snow Light (soprano or mezzo), text by Harvena Conrad Richter.

The Daisies (soprano or mezzo), text by James Stephens. 

Three Songs on Old Irish Texts ('Summer has come,' 'Summer is gone,' 'A song of winter') for soprano or tenor; 10th Century Irish poems translated by Kuno Meyer.

Mere Love (high voice), James Stephens.

Corcomroe (high voice or tenor), W. B. Yeats.

The Fort of Rathangan (high voice or baritone), anonymous 10th Century Irish.

Cheerless Wind (baritone), Gerard Manley Hopkins.

Tres Canciones de Garcia Lorca ('Clamor,' 'Memento,' 'Cancion tonta') for soprano; a fourth Lorca setting, 'La guitarra,' was added later.

Notes to Myself (soprano or tenor), a suite of songs on short texts by Hugh Prather.

Two Greek Folk Songs (soprano or mezzo), 'Erinaki' ("My Little Irene') and 'Otan mou ipen ekhe yian' ) 'When she said goodbye to me').

Villancico; Vamos pastorcillos (soprano, mezzo or tenor): Setting of two traditional Argentine Christmas poems.

The Wind; Poet Asking for a Shirt (tenor), setting of two poems by James Steohens.

Six Little Chinese Songs (soprano), short poems from the Tang dynasty, the first translated by Hugh Hamill, the rest by Witter Bynner: 'Open window, spring wind'; 'She sings an old song'; 'Hearing her play the harp'; 'On parting from the pilgrim Ling Xe'; 'In her courtyard' and 'A suggestion for friend Liu.'

Cancion del Amigo (soprano with piano or guitar), setting of an anonymous 17th Century Spanish poem.

Take, O Take Those Lips Away (baritone), a verse from Shakespeare's 'Measure for Measure,' with additional words by D. T.

Enter Titania (soprano): Setting of a passage from "A Midsummer Night's Dream' ("Now for a roundel and a fairy song').

'Nocturne,' 'The Empress' Song to Her Nightingale,' and 'Reply to the Song of the Sirens' (soprano): settings of three poems by the artist and critic Robert Kameczura.  

A Fall; The Meaning of a Word (soprano or mezzo): Settings of poems by contemporary Irish poets Micheal O Siadhail and Vincent Woods; commissioned by the Chicago Humanities Festival, 2000.

Complaint to a Just God (baritone): Setting of Gerard Manley Hopkins' poem 'Thou Art Indeed Just, Lord.' Composed in October, 2003.

Mehitabel's Song (mezzo): from Don Marquis' once-popular 'Archy and Mehitabel,' poems by a former vers libre poet (Archy) now transmigrated into a cockroach, and his friend Mehitaebl, a cat with many past lives, all of them shady.

A song cycle in fraudulent French, Mots d'Heures: Gousses, Rames, with words by Louis d'Antin Van Rooten (and Mother Goose). The songs are Un petit d'un petit, Chacun Gille, Lit-elle messe moffette, and Eau la quille ne colle.