Two salient elements in Hodge's music are the incorporation of timbre as an integral form-bearing compositional device and an approach to musical structure that emphasizes gradual change over time. As such, his music bears traces of American
Minimalism[2] and Franco-European
Spectralism,[3] though Jonathan Bernard questions this ascription, pointing out that his music is somewhat iconoclastic in its reliance on philosophical ideas as the impetus and justification for its materials and structures.[4]
His music is also characterized by its incorporation of techniques drawn from
electroacoustic composition,[5] its response to light patterns found in nature,[6] and its approach to dialogue with the music of previous centuries.[7]
Catalog of works
Toccata for piano solo (1998)
Concerto for Cello and Chamber Orchestra (1999)
Widerspiegelung | Mirror Image (2000): for tenor saxophone and piano.
Zeremonie (2001): for computerized sound
AntEroica (2001): for piano, live electronics and video projection.
Kandinsky Studies (2001): for computer-synthesized sound (programmed in C Sound).
String Quintet (2001)
Zeremonie (2002): version for large ensemble, computerized sound and dance. In collaboration with the NYU New Music and Dance Ensemble.
The Awakeneing (2002): for full orchestra.
De Nativitate (2003): for piano quintet.
Between Light and Shade (2003): for flute, cello and percussion trio.
Seeds of Fire (2003): for piano and computerized sound.
Early Lyrics (2004): for chamber ensemble (Sop, Fl, Cl/Bcl, Vln, Vcl, Pno and Electronics).
Psalm XIII (2004): for SSAATTB choir.
. . .como un respiro (2005): for solo cello and eleven strings.
Parallaxes (2005): for Chamber Orchestra.
Out of a Dark Sea (2006): for chamber ensemble (Fl/Alto Fl, Cl/Bcl, Hrn, Perc, Harp, Pno, Vln, Vcl and Electronics). Commissioned by The Stony Brook Contemporary Chamber Players, ((Gilbert Kalish)), Director, as part of the 19th Annual World Premieres Commission Series
Phantasie (2006): for amplified cello. Commissioned by Musik der Jahrhunderte for cellist Adrian Fung as part of the ISCM World New Music Festival, 2006.
Remix-Asyla (2006): for large ensemble. In collaboration with members of Ensemble Modern and the Berlin Philharmonic.
A Distant Mirror (2006): for bass clarinet/clarinet and piano.
Efflux (2007): for clarinet and violin.
In Lumine (2007): for SATB choir.
Two Preludes (2007): for harp solo.
Apparent Motion (2008) for 2 pianos and 2 percussion.
String Quartet (2008): commissioned by the American Composers Forum with funding from the Jerome Foundation.
Transfigured Etudes (2009): for piano solo; written for the 2010 ISCM World New Music Days, Sydney, Australia.
Alêtheia (2010/11): for large chamber ensemble. Commissioned Muziek Centrum Nederland for the
Ensemble Aleph and Ensemble Insomnio as part of the Laboratoire Instrumental Europeén.
from the language of shadows (2010/11): for symphonic wind ensemble, 2 amplified pianos, 3 amplified Contrabasses and silent film. 24-member CBDNA consortium commission.
I think that the Root of the Wind is Water (2011): for computer-realized sound. Commissioned by the American Academy in Rome.
pools of shadow from an older sky (2011): for live-processed bent Piano, computer-realized sound and video projection in collaboration with video artist Karen Yasinsky. Commissioned by the American Academy in Rome.
Départ (2011): for violin solo. Written as part of a musical Festschrift for Tristan Murail.
Tetzahuitl (2012): for chamber orchestra. Written for the Talea Ensemble / Contempuls Festival (Prague).
re((f)use) (2012): for live-processed melodica, amplified string quartet and electronics.[8] Commissioned by Music at the Anthology.
Time is the substance I am made of (2013): for 32 singers, computer-realized sound, video, choreography and lighting design; commissioned by the National Concert Hall of Taiwan for the Taipei Chamber Singers.
Apophenia (2014): for large mixed chamber ensemble and dancers. Commissioned by the Barlow Endowment and the Rondó Festival with funding from the Ernst von Siemens Musikstiftung.
Unicinium (2014): for microtonal (19-division) trumpet, written for Stephen Altoft.
pulse – cut – seethe – blur (2015): for chamber orchestra; commissioned by the Seattle Symphony, premiere October 23, 2015.[9]
The Topography of Desire (2016): for string quartet; commissioned by Harvard's Fromm Foundation, premiere April 29, 2016 by the Daedalus Quartet at University of Washington, Meany Hall.
At dawn I chant my own weird hymn (2017): for solo offstage trumpet, symphonic wind and percussion ensemble, 2 amplified harps, 2 amplified pianos, and 3 amplified contrabasses.
mi'ma'amakin (2018): for organ.
Innigkeit (nach außen) (2018): for clarinet solo.
Fracture (2019): for percussion and piano.
Time is the substance I am made of (2019): for large mixed chorus and electronics.
The Shape of the Wind, the Shadow of Time (2020): concerto for percussion soloist, tape recorders, sheet metal, styrofoam and sinfonietta; commissioned by the Koussevitzky Music Foundation at the Library of Congress.
The simple and unvarying geometry of breaths (2020): for chamber ensemble (Vln, Alto Sax, Piano, 2 guitars and contrabass).
Time and its arbitrary measurements (2020): for mixed chamber ensemble (Fl, Cl, Hrp, Pno, Perc, Vln, Vcl)