percussionist (to play on the piano strings) (1971) La Grotte des Vents (The Cave of the Winds) for wind quintet (1972) String Quartet No. 2 "Divertissement pour Mica" (1973) String Quartet No. 3 (1975) Curriculum Vitae for accordion (1977); also version titled Curriculum Vitae with Time-Bomb (1980) Music for Six for any 6 treble-clef instruments (1977, revised 1978) Brass Quintet (1978); composer's orchestral transcription Quintets (1979) Round a Common Centre for 1 or 2 violins, viola, cello, piano, mezzo-soprano ad libitum, speaker ad libitum (1979); commissioned for the 1980 Olympic Games Curriculum Vitae with Time-Bomb for percussion solo and taped or live accordion (1980); 2nd version of Curriculum Vitae for accordion (1977) Solo Observed for piano and small ensemble (vibraphone or marimba, cello or harp, electronic organ or accordion) (1982); original version for solo piano; also version titled Solo Transformed (2000) Percussion Quartet (1983) Trio for horn, violin and piano (1983) Saxophone Quartet (1985) Tashi for clarinet, piano and string quartet (1986) Chaconne for guitar (1987) Central Park Reel for violin and piano (1989) For Toru for flute and string quintet (1996) (version of orchestral work) String Quartet No. 4 (1998); commissioned by the Buffalo Chamber Music Society for their 75th season String Quartet No. 5 (2000) Anniversary Fanfare for Aaron Copland for 3 trumpets, 2 horns, 2 trombones, tuba and 2 percussionists (2000) Today for 2 or more performers Organ Four Études (1967) War and Peace (1995) Piano Foss's solo piano music forms a relatively small part of his compositional output. Still, it demonstrates, as a whole, his lighter, neoclassical stylistic practice and associated techniques. This repertoire spans a 50-year period from 1938 to 1988 and includes: Four Two-Part Inventions (1938) Grotesque Dance (1938) Sonatina (1939) Set of Three Pieces for 2 pianos (1940) Passacaglia (1941) Fantasy Rondo (1944) Prelude in D (1949) Scherzo Ricercato (1953) Solo (1981); also versions titled Solo Observed and Solo Transformed For Lenny (1988), variation for solo piano on Bernstein's song "New York, New York"; also version for obbligato piano and orchestra The piece that stands apart from this largely neoclassical repertoire is Solo (1981), a hybrid minimalist and twelve-tone work employing as a guiding technical principle the gradual transformation of several pitch collections. At the conclusion of Solo, these pitch collections change from serial to tonal, effecting a remarkable surprise. Of For Lenny, the opera composer Daniel Felsenfeld has written that Foss "is