Film Music

Lifeboat- electro-acoustic recorded score (2018). Documentary Short Film about the refugee crisis in Northern Africa into Europe, commissioned by Spin Films. The film won multiple festival "best of" awards, was nominated for an IDA Award, an Academy Award (Oscar), and a News & Documentary Emmy.

50 Feet from Syria– electro-acoustic recorded score (2015). Documentary Short Film about the refugee crisis in Syria, commissioned by Spin Films.

A Cadaver Christmas - electro-acoustic recorded score (2010).  Full-length feature film.

Finding Face - electro-acoustic recorded score (2009).  Full-length feature documentary about acid attacks against women in Cambodia, commissioned by Spin Films.

BombHunters - electro-acoustic recorded score (2005). Full-length feature documentary about people in Cambodia who hunt bombs for a living, commissioned by Spin Films.

Curve 155 - for alto saxophone, percussion, electronics (2001).  Epiphany Productions, Skye Fitzgerald.  Six different pieces of music underlay for use throughout full-feature length documentary.

Large Ensemble

Where the River Bends – for Orchestra (2015).  Commissioned by the Quad City Symphony Orchestra for their 100th Anniversary Season, premiered March 7 & 8, 2015.

Coyote Dances - for Orchestra (2012). Commissioned and premiered by the Quad City Symphony Orchestra, March 31 & April 1, 2012.

Open Vistas – for Concert Band (2007). Commissioned by the South Central Iowa Bandmasters for the 2008 9-10 Grade Honor Band.

Heartwood - for Concert Band (2006). Commissioned by the St. Ambrose University Symphonic Band and its Alumni in honor of Dr. Charles B. DCamp, Emeritus Professor of Music.

Coyote Dances - for Wind Ensemble (2005). First performed March 14, 2005 by the Missouri State Wind Ensemble. Received the Penfield Music Commission Prize, 2006.

Concerto for Alto Saxophone & Chamber Orchestra (2003).  First performed April 26 & 27, 2003.  Commissioned by Michael Hester and the Catalina Chamber Orchestra, Tucson AZ.

Sinfonietta (1994) - first performed 20 April, 1995. Received the 1995 Jim Highsmith Award, San Francisco Conservatory of Music. 

Concerto Solstice - for solo cello and chamber orchestra (1993, rev. 94).  First performed 21 December, 1993.  Commissioned by Mick Carrera, cellist, and the Sutter Symphony Orchestra, Sacramento, California.

Transparency of the Veil - for chamber orchestra (1992). First performed 21 February 1993. Received of the 1993 University of Arizona President's Concert Competition Award.


Five Ambrosian Hymns – for SATB chorus (2014-2016).  Based on 4th Century hymns by St. Ambrose of Milan. Commissioned by Richard Geiger and the Academy for the Study of St. Ambrose of Milan.

Among the Trees – for SATB chorus & piano (2014) on text by Wendell Berry, "The Clearing Rests," "I Go Among the Trees," and "All the Earth Shall Sing."

Benediction - for SATB chorus (2013).  Setting of the tri-fold blessing in Latin.

Deep Peace to You - for SATB chorus and piano (2002).  A setting of words adapted from an ancient Gaelic rune, using techniques of canon and repetition to musically evoke celtic knot work.

Earth Mass - for vocal soloists, mixed chorus and ensemble (2001). First presented October 6, 2001.  A large, eight movement work following the traditional liturgical order of mass, yet with non-hierarchical language.

Chamber & Mixed Ensemble

Green Fire Variations – for cello and piano (2013).  Premiered September 16, 2013.  A single-movement work expressing the nature of wild things that combines dark and light, dramatic and virtuosic moments.  Approximately 6 minutes in duration. 

Piano Quintet  - for piano and string quartet (2011). Premiered April 28, 2011.  Commissioned for the 25th Anniversary of Churches United, premiered at St. Paul Lutheran Church, Davenport, Iowa with the Maia Quartet and the composer at the piano.  Four movements; approximately 22 minutes in duration.  

Dance of the Waterflame - cello and violin duet (2009). First performed 2 November, 2009. A reworking of the cello duo version; an energetic piece of melodic and pattern-music sections culminating in a big climax.  Approximately 7 minutes in duration.

Snake Eyes: for Viola & Ensemble - for amplified mixed ensemble:  solo viola; alto sax; elect guitar; cello; doublebass; percussion (1998).  first performed 19 April, 1998.  An exploration into the world of octatonicism and its "snakey"-ness, this single-movement work combines the virtuosic ability of the violist with the power of  a mixed ensemble in a combination of dramatic and virtuosic moments (arrangement of same piece for violin and marimba).

Frontal Lobe - for amplified mixed ensemble:   flute; clarinet; violin; cello; percussion; piano (1996, rev. 98). first performed 29 April, 1996.  An adrenaline-raising, experience that explores the more driving and repetitive nature of music.  Owing a lot to rock music, this piece expresses contemporary life from a willful perspective.  Musically, it is based on an incessant two-against-three rhythm, a minor-third melody figure, and a single harmonic area that shifts up only at the end, with varying combinations of instruments in exciting Formally, the composition follows a three-part plan, moving from a loud section into a softer section of release, and a final section that is even more boisterous than the first.

Snake Eyes for Violin & Marimba (1996) first performed 29 April, 1996.  Commissioned by Alice Blankenship, violin.  An exploration into the world of octatonicism and its "snakey"-ness, this single-movement work combines the virtuosic ability of both performers in a combination of dramatic and virtuosic moments.

Thoughts Behind A Whisper - for alto flute; clarinet; violin; cello; vibraphone; piano (1995).  First performed 11 April 1995.  A gentle piece of color and melodic weavings in an evocative tapestry that recalls "La belle epoque" of Paris in the early 20th Century.

Dance of the Waterflame - for cello duo (1992, rev. 93) first performed 2 November, 1993. An energetic piece of melodic and pattern-music sections culminating in a big climax.

Solo Piano

Finding Peace (2018).

Piano Songs (2011) collection of eleven pieces for piano on CD released in spring, 2011.  

Open Vistas (2007) first performed October 5, 2007.  Commissioned for the Inauguration of Sister Joan Lescinski, 13th President of St. Ambrose University.

Kaleidoscope (2001) first performed 4 February, 2001.  Based on a single melodic motive as a foundation for improvisation, this piece explores various pointillistic effects, employing the full register and depth of the piano.

In Half-Light (1995) first performed 5 February, 1995.  Commissioned by Peggy Salkind, piano. A single-movement piece that evokes beauty throughout.

Solo Guitar

Meditation (2012) - recorded on Phil Hemmo's CD "Guitar Recital"

Toccata: Turn & Return (2013) - recorded on Phil Hemmo's CD "Guitar Recital"

Songs *

Songs of Cloak and Light - for low voice and piano, poems by Nathalie Kuroiwa-Lewis (2017). First performed October 2017. With words drawn from the story of St. Martin of Tours, this four-movement song cycle moves through various genres to express an interplay between the cosmic and worldly.

Autumn Winds - for high voice and piano, poem by William Campbell (2004).  Autumn Winds was written shortly after a move from Tucson, Arizona to Springfield, Missouri.  One early autumn evening in Springfield I was taking in the beautiful colored leaves, and found myself missing many of the things we left behind in Arizona.  This song recalls some of those things while pondering a life change.  (Duration:  ca. 5:00)

Waiting - for mezzo-soprano and piano, poem by William Campbell (1997). First performed March 16, 1997.  Open harmonies grow organically and melodically to support the voice in a hopeful song for light and happiness. As we anticipated the birth of our second son, we were also awaiting the reemergence of the sun to the Pacific Northwest after its extended absence in the winter.

Kyrie - for solo tenor (1995) first performed 29 April, 1996. A dramatic setting of the Greek text from the Roman Mass, in plainchant style.

Create in Me A Clean Heart - for tenor and piano (1995) first performed 29 April, 1996.  A traditional setting with some surprising shifts in harmony.

Five Songs - for mezzo-soprano; fl/alto fl; cl/bass cl; horn; piano; perc; vln 1; vln 2; vla; vc (1995) first performed 24 February, 1995. Poems by David Campbell, composed for Sylvie Desouches, mezzo-soprano. Personal, moving, and orchestral in nature, these pieces move from atonal movements to pentatonic pattern music to show the complex layer of poetry written by the composer's brother.

* in addition to the songs listed, William has also written approximately thirty sacred songs in a popular music context, and has been commissioned by churches to write multiple masses and anthems in that style.

Incidental Music for Theatre

Music for Oediups Rex - electronic score (2009). Commissioned by the St. Ambrose University Theatre Department. Awarded by the Kennedy Center American College Theater Festival

Music for Much Ado About Nothing - for recorder consort, guitar, percussion and voices (2006). Commissioned by St. Ambrose University Theatre Department.

Music for Geometries - electro-acoustic work featuring voice, strings, piano and sampled sounds (2004).  Theatrical Mime Theater, for world-wide touring production.

Music for The Sins of Sor Juana - for alto; soprano; guitar; ocarina; percussion; cello; bass; harpsichord; electronics (2002).  Commissioned for Borderlands Theater Production, Tucson, Arizona, September 12 – 29, 2002.  Performance suite for chorus and small ensemble available from composer.

Music for Blood Wedding - for soprano; alto; chorus; flute; guitar; percussion (1998). Commissioned for University of Oregon Theatre Arts Department Production, Winter 1998.  Songs, set-changes and underlay for this production of Garcia Lorca's masterfully dark play.

Music for Shadowlands - for flute; oboe; clarinet; horn; violin; viola; piano (1997).  University of Oregon Theatre Arts Department Production, Spring 1997.  A gorgeous set of musical underlay in the tradition of Ralph Vaughan Williams, scored for a small ensemble that approaches a symphonic texture.  Performance suite is available.