World, for narrator and orchestra. His faculty work continued at the Juilliard School in 1986, and he has currently maintained a position at Yale since 1999. Schwantner retired from his position at Eastman in 1999. His most notable commissions include the song cycle Magabunda for orchestra in 1983, A Sudden Rainbow in 1986, the guitar concerto From Afar... in 1987, and a piano concerto in 1988. Compositional style One of Schwantner's early works, Diaphonia intervallum (1967) distinctly foreshadowed the important style traits that would later exist in his music. Beyond its serial structure such elements as individualized style, pedal points, timbre experimentation, instrumental groupings, and the use of extreme ranges were apparent even at this formative stage of Schwantner's career. Upon his appointment to the faculty of the Eastman School of Music, Schwantner's work Consortium I was premiered in 1970. This piece clearly illustrates his personal use of serialism, including many twelve-tone rows hidden among the texture and using a specific intervallic structure to provide cohesion. Consortium II also continued this emphasis on his personal application of serialism. From these works, Schwantner turned from this focus on serialism to delve into the effects of tone color in his compositions. This is clearly noticed in his extended use of percussion instruments. Examples of his use of timbre as an important compositional element are found in In aeternum (1973) and Elixir (1976). This can be seen in his larger works for band as well. In ...and the mountains rising nowhere (1977) the six percussionists play a total of 46 instruments in an effort to give the percussion section a more prominent role than what was typical for band works during the 1970s. From this stage he began to also concentrate on obtaining clearer tonal centers in works such as Music of Amber (1981) and New Morning for the World: 'Daybreak of Freedom''' (1982). Even as he embraces tonal centers, Schwantner resists the very conventional employment of the dominant-tonic relationships and the Western music expansion of that concept. Rather, Schwantner's tonal centers are created by pitch emphasis, perhaps like the American composer Aaron Copland in a piece like El Salón México. His serialism roots even purvey his tonal structures; clearly defined major and minor scales are scarce in Schwantner's music. Instead, he uses pitch sets to establish organization. Schwantner's later works have integrated minimalist elements. This can be seen in his monumental percussion