they accept it as a given." Thus, according to this analysis, his style is primarily tonal and neo-romantic. However, Moravec himself asserts: The term ‘new tonalist’ is a little outdated simply because of the passage of time[.] It had more relevance a few decades ago, when late modernism was dying or even dead. For my work, I regard the term only as a point of departure before considering each composition on a case-by-case basis. As a composer, I try always to make beautiful things, and I use whatever techniques and materials are useful for the particular composition at hand[.] Some of those materials are atonal or nontonal, but the overall harmonic context of my music derives from the tonal tradition, which after all is the lingua franca of Western music — essentially, Monteverdi to the Beatles and beyond. Critic Jens F. Laurson described Moravec's Pulitzer Prize-winning Tempest Fantasy as "remarkably accessible music. Picturesque, conventionally beautiful at times, but without pandering to the ears’ lowest harmonic expectations. [It is] music that works with all the traditional tools from the composer’s workshop[,] which have changed surprisingly little since Bach - but Moravec uses them to create music anew." He named Federico Mompou, Claude Debussy, Paul Hindemith, Francis Poulenc, and Elliott Carter as clear musical influences in Moravec's music. He also noted a clear disparity between Moravec's music and that of minimalist composers Steve Reich, Philip Glass, and John Adams. Critic Victor Carr Jr. characterizes Moravec's musical language as "generally tonal--and although it's not consistently melodic, it's always accessible. More than that, it's highly engrossing[.]" Musical works His best-known pieces include the Pulitzer-winning, Shakespeare-inspired Tempest Fantasy, a 30-minute chamber work scored for clarinet, violin, cello, and piano, which was premiered on May 2, 2003, at the Morgan Library in New York City by David Krakauer and Trio Solisti, for whom it was written; Northern Lights Electric, a 1994 work that combines a musical illustration of the Northern Lights with a musical depiction of electric light; and the 1998 cantata Fire/Ice/Air, which contrasts the journeys of Captain Robert Falcon Scott, on his expedition to the Antarctic, and Charles Lindbergh, on his trans-Atlantic flight. An oratorio, Blizzard Voices, about the Schoolhouse Blizzard of 1888, was commissioned by Opera Omaha and was premiered there in September 2008. He collaborated with Terry Teachout on The Letter, an opera based on the 1927 play by W. Somerset Maugham