LIST OF FUTURE WORKS / WORKS IN VARIOUS STAGES OF INCOMPLETION:

...........................................................................................................................other works here

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Symphony No. 4:

The Nativity

for orchestra, organ, soloists and chorus

text: excerpts from Luke 1 & 2 (King James Version)

[Wingate’s first choral symphony, using as its libretto those portions of the Lukan infancy narratives in which the evangelist puts dialogues or monologues directly in the mouths of his dramatis personae. The four vocal soloists are scored in character (Mary: soprano; Gabriel: tenor; Elisabeth: contralto; Zechariah: bass). Arranged in seven movements/scenes with many orchestral interludes and an epilogical ‘Amen’ choral finale.]

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Symphony No. 5 (or 6):

Symphonie zoölogique: Grand concert des animaux (avec des excuses à Saint-Saëns)

for orchestra of concerto soloists

[Conceived as a cross between an aggrandized Carnival of the Animals and a narrativeless Peter and the Wolf, the Symphonie zoölogique is a large set of virtuosic show-piece movements ostensibly designed to introduce the listener to the instruments of the orchestra via instrumental ‘portrayals’ of diverse fauna, arranged into three overarching sections: I. Le domaine de la terre (The Realm of Earth); II. Le domaine du ciel (The Realm of Air); III. Le domaine de la mer (The Realm of the Sea). The symphony’s apothéose is a grand chorale for brass choir and full orchestra called Les baleines (‘The Whales’).]

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Symphony No. 6 (or 5):

The Song of Songs

for large orchestra, soloists and chorus

text: original Hebrew text of the biblical Song of Solomon

[A lush and rhapsodic symphony-length love duet for soprano (the Shulamite) and tenor (her unnamed lover), which sets the Hebrew text in its entirety. The libretto supervisor for the project is Yaniv Gafner.]

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Medea [new version]:

grand opera in one act with libretto by the composer after Pindar, Euripides, Ovid, Seneca, and Apollonius of Rhodes.

[A new operatic version of the ancient myth with a fulgurating score of luxuriant post-tonal chromaticism supporting a complex lead role for dramatic soprano of a difficulty on par with an Isolde or an Elektra.]

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The Widow of Ephesus:

chamber opera in one act with libretto by the composer after Petronius

[A strangely dark and serious setting of the ostensibly comic tale told by Eumolpus in Chapters 111-112 of the Satyricon by the ancient Roman author Petronius.]

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