Translator for Mode Records, New York since 1998

• Volker Straebel, "Morton Feldman: First Recordings: 1950s," Mode 66 (New York: Mode, 1998)
• Frank Denyer, "Christian Wolff - The Gentle Radical," Mode 69 (New York: Mode, 1998)
• Carol Oja, "Chamber Music of Henry Cowell," Mode 72/73 (New York: Mode, 1999)
• Christian Wolff, "Tilbury # 1-5 and Snowdrop," Mode 74 (New York: Mode, 1999)
• James Pritchett, "About Continuity and Five3," Mode 75 (New York: Mode, 1999)
• Olivia Mattis, "Theremin: Music from the Ether," Lydia Kavina, Mode 76 (New York: Mode, 1999)
• Chaya Czernowin, "Afatsim," Mode 77 (New York: Mode, 1999)
• Yvar Mikashoff, James Pritchett and Paul Schmidt, "Richard Strauss, The Melodramas," Mode 78 (New York: Mode, 1999)
• Sabine Feisst, "The Piano Music of Iannis Xenakis," Mode 80 (New York: Mode, 1999)
• Walter Zimmermann, "Morton Feldman's Complete Works for Violin and Piano," Mode 82/83 (New York: Mode, 2000)
• Richard Kostelanetz, "On Cage Reading," Mode 84/85 (New York: Mode, 1999)
• Stephen Drury, "John Cage's Etceteras," Mode 86 (New York: Mode, 2000)
• Marinella Ramazzotti, "Luigi Nono: A floresta, Donde estas Hermano, Djamila Boupacha," Mode 87 (New York: Mode, 2000)
• Stephen Drury, "John Cage: Two4 for Violin and Piano or Sho," Mode 88 (New York: Mode, 2000) -- David Felder, A pressure triggering dreams," Mode 89 (New York: Mode, 2000)
• Paul Koonce, "Walkabout and back," Mode 90 (New York: Mode, 2000)
• Sabine Feisst, "The Piano Music of Giacinto Scelsi," Mode 92 (New York: Mode, 2001)
• Carol Oja, "Aaron Copland, Piano Fantasy and Charles Ives, Piano Sonata No. 1," Mode 93 (New York: Mode, 2001)
• Margarita Fernández, "Gabriel Valverde: Luminar," Mode 94 (New York: Mode, 2001)
• Riccardo Schulz, "Giacinto Scelsi: The Composer - The Music," Mode 95 (New York: Mode, 2001) -- Rob Young, "Morton Subotnick: Scientist of the Ecstatic Laboratory," Mode 97 (New York: Mode, 2001)
• Stephen Drury, "A John Cage Dictionary," Mode 100 (New York: Mode, 2001)
• Leta Miller, "Dancing with Henry: New Discoveries in the Music of Henry Cowell," Mode 101 (New York: Mode, 2001)
• Carol Robinson, "Giacinto Scelsi: Music for High Winds," Mode 102 (New York: Mode, 2001)
• Sabine Feisst, "Morton Feldman's Indeterminate Music," Mode 103, (New York: Mode, 2001)
• Ulrich Krieger, "a CAGE of saxophones," Mode 104 (New York: Mode, 2002)
• Margaret Leng Tan, "The John Cage Box - Mining a Treasure-Trove," Mode 106 (New York: Mode, 2002)
• James Fulkerson, "Morton Feldman: Voices & Instruments," Mode 107 (New York: Mode, 2002)
• Rob Haskins, "One9 and 108," Mode 108 (New York: Mode, 2002)
• Christian Wolff and Robert Black, "Look She Said (Complete Works for Bass)," Mode 109 (New York: Mode, 2002)
• Peter Garland, "Another Sunrise, I have Had to Learn the Simplest Things Last, Dreaming of Immortality," Mode 110 (New York: Mode, 2002)
• Richard Toop, "Walter Zimmermann: Free But Alone," Mode 111 (New York: Mode, 2002)
• Christian Wolff, "Morton Feldman's String Quart No. 2," Mode 112 (New York: Mode, 2002)
• Chaya Czernowin, "Shu Hai Practices Javelin," Mode 117 (New York: Mode, 2002)
• Rob Haskins, "John Cage's One6 and Chorals," Mode 118 (New York: Mode, 2003)
• Carol Robinson, "Morton Feldman, Late Works With Clarinet," Mode 119 (New York: Mode, 2003) -- Leta Miller, "Lou Harrison: Marriage at the Eiffel Tower, Mass to St. Anthony, and other Works," Mode 122 (New York: Mode, 2003)
• Don Gillespie, "John Cage's Four Walls," Mode 123 (New York: Mode, 2003)
• Alvin Lucier, "Navigations for Strings and Small Waves," Mode 124 (New York: Mode, 2003)
• Charles Peltz, "Michael Colgrass: Déjà vu and Gunther Schuller: Dream Dancer," Mode 125 (New York: Mode, 2003)
• Christian Wolff, "Violinist & Pianist," Mode 126 (New York: Mode, 2003)
• Nicolas Isherwood, "Listening to Mauricio Kagel's Transición II and Phonophonie," Mode 127 (New York: Mode, 2004)
• Paul Griffiths, "The Music of Elliott Carter," Mode 128 (New York: Mode, 2004)
• John Cage, Variations I, II and III, Lecture on Nothing," Mode 129 (New York: Mode, 2004)
• Frank Scheffer, "John Cage: From Zero," Mode 130 (New York: Mode, 2004)
• Robert Ashley, Petr Kotik and Phill Niblock, "Disseminate and other Works," Mode 131 (New York: Mode, 2004)
• Morton Subotnik, Sidewinder and Until Spring," Mode 132 (New York: Mode, 2004)
• James Fulkerson, "Christian Wolff: (Re):Making Music. Works, 1962-99," Mode 133/134 (New York: Mode, 2004)
• Dean Suzuki, "From the Depth of Silence: Orchestral Music of Somei Satoh," Mode 135 (New York: Mode, 2004)
• Marilyn Nonken, "Morton Feldman: Triadic Memories," Mode 136 (New York: Mode, 2004)
• Richard Toop, "Joël-François Durand: La terre et le feu" Mode 140 (New York: Mode, 2004)
• Leta Miller, "Lou Harrison," Mode 141 (New York: Mode, 2004)
• Steven Bruns, "George Crumb's Makrokosmos I and II," Mode 142 (New York: Mode, 2004)
• James Pritchett, "John Cage's One8," Mode 143 (New York: Mode, 2004)
• Sabine Feisst, "Toward 'una nota sola': Notes on Giacinto Scelsi's World of Ideas and Piano Music," Mode 1944 (New York: Mode, 2005)
• James Pritchett, "John Cage: Imitations/Transformations, and Irvine Arditti, Cage's Harmonies," Mode 145 (New York: Mode, 2005)
• James Fulkerson, "Composing By Numbers," Mode 146 (New York: Mode, 2005)
• Harry Halbreich, "Interview with Iannis Xenakis," Mode 147 (New York: Mode, 2005)
• Makis Solomos, "La légende d'Eer and Diatope," Mode 147 (New York: Mode, 2005)
• Bruno Rastoin, "Iannis Xenakis: Musician of Light," Mode 147 (New York: Mode, 2005)
• Daniel Charles, "John Cage: La tentation de l'orient?" Mode 148 (New York: Mode, 2005)
• Richard Toop, "Hilda Paredes: Uy U T'an, Can Silim Tun and Ah Paxoo'ob"Mode 149 (New York: Mode, 2005)
• Walter Zimmermann, "Wüstenwanderung; Geduld und Gelegenheit; Lied im Wüstenvogelton; The Eccoing Green," Mode 151 (New York: Mode, 2005)
• Bob Gilmore, "The Music of Frank Denyer," Mode 150 (New York: Mode, 2005)
• Allen Otte, "Interview with John Luther Adams," Mode 152 (New York: Mode, 2005)
• Steven Schick, " John Luther Adams: Strange and Sacred Noise," Mode 152 (New York: Mode, 2005)
• John Luther Adams, "Strange and Sacred Noise,"Mode 152 (New York: Mode, 2005)
• Austin Clarkson and Yuval Shaked, "Stefan Wolpe in Jerusalem" Mode 1956 (New York: Mode, 2005)
• Austin Clarkson, "Stefan Wolpe's Passacaglia for Orchestra, Incidental Music for Molière's Malade Imaginaire, Three Small Canons, Hexachord Suite and Concerto for Nine Instruments," Mode 1956 (New York: Mode, 2005)
• Ivar Mikhashoff and Nils Vigeland, "Opera Transcriptions," Mode 1954/1955 (New York: Mode, 2005)
• M. L. Tan, "Chess Pieces by John Cage and Chess Serenade by Vittorio Rieti," Mode 158 (New York, 2006) M. L. Tan, "Prepared Piano Documentary" Mode 158 (New York: Mode, 2006)
• L. List, "Interview with Margaret Leng Tan" Mode 158 (New York: Mode, 2006)
• E. J. Bruskin, "Margaret Leng Tan's Recording of John Cage's Sonatas and Interludes" Mode 158 (New York: Mode, 2006)
• U. Krieger, "a CAGE of saxophones. The Works of the early and middle periods," (New York, 2006)
• M. Cappelli, "Extreme Guitar Project," Mode 157 (New York: Mode, 2006)
• E. Sharp, "Extreme Guitar Project," Mode 157 (New York: Mode, 2006)
• M. Ribot and others, "Notes to the Works of the Extreme Guitar Project," Mode 157 (New York: Mode, 2006)
• A. Olmstead, "Giacinto Scelsi: Piano Works," Mode 159 (New York: Mode, 2006)
• U. Krieger, " CAGE of saxophones. The Works of the early and middle periods," Mode 160 (New York: Mode, 2006)
• S. Feisst, "Exploring the Art of Solo Writing: Luciano Berios Sequenze and Nine Other Works," Mode 161-163 (New York: Mode, 2006)
• T. Hodgkinson, "Sketch of Now," Mode 164 (New York: Mode, 2006)
• J. Heward, "Steve Lacy," Mode avant 04 (New York: Mode, 2006)
• G. Montecchi, "Dallapiccola and Petrassi. Two Paths," Mode 166 (New York: Mode Records, 2006).
• P. Méfano, "About George Cacioppo," Mode 168 (New York: Mode Records, 2006). G. Mumma, "About George Cacioppo," Mode 168 (New York: Mode Records, 2006).
• G. Pape, "George Cacioppo (1925-1984)" Mode 168 (New York: Mode Records, 2006).
• G. Cacioppo, "About Composing with Sounds," Mode 168 (New York: Mode Records, 2006).
• B. Brandt, "Interview with Chaya Chernowin about PNIMA," Mode 169 (New York: Mode Records, 2006).
• C. Czernowin, "PNIMA - Ins Innere," Mode 169 (New York: Mode Records, 2006). E. J. Bruskin, "George Crumb's Black Angels and Music for a Summer Evening," Mode 170 (New York: Mode Records, 2006).
• S. Schick, "X is for Xenakis," Mode 171 (New York: Mode Records, 2006).
• J. Cage, "On One11 and 103," Mode 174 (New York: Mode Records, 2006).
• The Music of Gavin Bryars, 1969-1971," Mode 175 (New York: Mode Records, 2006).
• S. Drury, "John Cage: Winter Music," Mode 177 (New York: Mode Records, 2006). D. Gillespie, "John Cage: Atlas Eclipticalis," Mode 177 (New York: Mode Records, 2006).
• J. Cage, "Atlas Eclipticalis," Mode 177 (New York: Mode Records, 2006).
• M. Kocmieroski, "Cage in Seattle," Mode 177 (New York: Mode Records, 2006).
• A. Lucier, "Ever Present," Mode 178 (New York: Mode Records, 2007).
• C. Dufallo, "The Aesthetic of Impermanence: The Music of Earle Brown," Mode 179 (New York: Mode Records, 2007).
• J. Pritchett, "John Cage and the Prepared Piano: A Twelve-Year History in Six Parts", Mode 180 (New York: Mode Records, 2007)
• C. Dufallo, Micah Silver and Susan Sollins, "Interview about Earle Brown," Mode 179 (New York: Mode Records, 2007)
• James Pritchett, “John Cage and the Prepared Piano: A Twelve-Year History in Six Parts,” Mode 180/181 (New York: Mode, 2007)
  
• Stephen Snook, “Aldo Clementi: Works with Guitar,” Mode 182 (New York: Mode,2007)
  
• Harvey Sollberger, “Into the Great Epic Space – The Music of Roger Reynolds,” Mode 183 (New York: Mode, 2007)
• James Pritchett, “Frances White: Centre Bridge. Walking Across the Bridge,” Mode 184 (New York: Mode, 2007)
  
• James Fulkerson, “James Tenney: Melody, Ergodicity and Indeterminacy,” Mode 185 (New York: Mode, 2007)
  
• Maria de Alvear, “Asking,” Mode 186 (New York: Mode, 2007)
• James Harley, “Iannis Xenakis: Kraanerg,” Mode 187 (New York: Mode, 2007)
  
• James Harley and George Pape, “Interview with Xenakis about Kraanerg,” Mode 187(New York: Mode, 2007)
  
• Susan Kanach, “Incandescent Obscurity (or Scelsi by night),” Mode 188 (New York: Mode, 2007)
  
• Rob Haskins, “The Harmony of Emptiness: John Cage’s Two2,” Mode 193 (New York: Mode, 2007)
  
• Sorceress of the New Piano: The Artistry of Margaret Leng Tan, DVD subtitles, Mode 194 (New York: Mode, 2008)
  
• Bill Alves, “Por Gitaro,” Mode 195 (New York: Mode, 2008)
  
• Henning Lohner, “The Revenge of the Dead Indians:About the Question of the Documentary as Art Form,” DVD, Mode 197 (New York: Mode, 2008)
  
• Henning Lohner, The Revenge of the Dead Indians, DVD subtitles, Mode 197 (New York: Mode, 2008)
  
• Rob Haskins, “Words as Music, Perhaps: John Cage’s Text Compositions Empty Words and One7,” Mode 200 (New York: Mode, 209)
  
• Chris Newman, “Chris Newman’s Piano Sonatas,” Mode 201 (New York: Mode, 2008)
  
• John Cage, Takehisa Kosugi, Michael Pugliese, David Tudor and David Vaughan, “Five Stone Wind and Cartridge Music,” Mode 24 (New York: Mode, 2008)
  
• Alessandro Mastropietro, “Instrumental Music and Music Theatre in H. W. Henze’s Work,” Mode 202 (New York: Mode, 2008)
  
• Susan Kanach, “Xenakis’s Hibiki Hana Ma, Polytope de Cluny, 1972-74,” Mode 203 (New York: Mode, 2008)
  
• Makis Solomos, “Vasarely (NEG-ALE),” DVD and CD, Mode 203 (New York: Mode, 2008)
  
• Don Gillespie, “The Filming of John Cage’s 49 Waltzes,” DVD, Mode 204 (New York: Mode, 2008)
  
• Petr Kotik, “Remembering Cornelius Cardew,” Mode 205 (New York: Mode, 2009)
  
• Evan Johnson, “Like the Clear Blue Sky:” Peter Ablinger’s 33-127,” Mode 206 (New York: Mode, 2009)
  
• James Harley, “The String Quartets of Iannis Xenakis,” Mode 209 (New York: Mode, 2009)
  
• Yayoi Uno Everett, “Lei Liang’s Music,” Mode 210 (New York: Mode, 2009)
  
• Heather O’Donnel, “Responses to Ives,” Mode 211 (New York: Mode, 2009)
  
• Sabine Feisst, “Morton Feldman’s Trio,” Mode (New York: Mode, 2009)
• B. Gibson, “Xenakis’s Eonta and other works,” Mode 217 (New York: Mode, 2010)
  
• M. Iddon, “Both/Neither: On Elements of and in Chaya Czernowin’s Recent Music,” Mode 219 (New York: Mode, 2010)
  
• C. Czernowin, “Maim: A Short Introduction,” Mode 219 (New York: Mode, 2010)
  
• U. Krieger, “a CAGE of saxophones – indeterminacy 2 – just structures (Vol. 4),” Mode 222 (New York: Mode, 2010)
  
• U. Krieger, “a CAGE of saxophones – indeterminacy 1 – tools (Vol. 3),” Mode 223 (New York: Mode, 2010)
  
• H. Skempton, “Bolt from the Blue,” Mode 226 (New York: Mode, 2010)
  
• B. Levy, “Giacinto Scelsi and the Piano,” Mode 227 (New York: Mode, 2010)
  
• L. Ferrari, “Après presque rien, Visage 2, and Madame de Shanghai,” Mode 228 (New York: Mode, 2010)
  
• S. Feisst, “Some Remarks on Luc Ferrari’s Music,” Mode 228 (New York: Mode, 2010)
  
• P. Cox, “Cage’s Credo: The Discovery of New Imaginary Landscapes of Sound,” Mode 229 (New York Mode 2011)
  
• E. Levin, “Imaginary Landscape No. 1.,” Mode 229 (New York: Mode, 20011)
  
• N. Sani, “Fragments of Sad Serenity – György Kurtág,” Mode 230 (New York: Mode, 2011)
  
• F. Jaecker, “Giacinto Scelsi: Works for Viola,” Mode 231 (New York: Mode, 2011)
  
• S. Kanach, “Giacinto Scelsi: Manto” Mode 231 (New York: Mode, 2011)

• Margaret Len Tan, "Editor's Preface" John Cage, Works for Piano, Prepared Piano and Toy Piano, Vol. 4, 1933-52, Edition Peters No. 68030 (New York: Peters, 2004)
• George Crumb, "Performance and Program Notes," George Crumb, Night Music I for Soprano, Piano (and Celesta), and Percussion, Edition Peters No. 68047 (New York: Peters, 2004)
• George Crumb, "Performance and Program Notes," George Crumb, Eine kleine Mitternachtsmusik for piano, Edition Peters (New York: Peters, 2005)
• D. Gillespie, Preface for John Cage, Dance Music for Elfrid Ide for percussion (1941) Henmar Press     (New York: C. F. Peters, 2007)
  
• G. Crumb, “Performance and Program Notes,” George Crumb, Otherworldly Resonances for two pianos, Edition Peters (New York: C. F. Peters, 2008)
  
• G. Crumb, “Preface to Variazioni for Orchestra,” C. F. Peters 2009.
  
• M. Bach, “Vorwort für John Cages One13,” Henmar Press (New York: C. F. Peters, 2009)
  
• M.-A. Hamelin, “Preface to Marc-André Hamelin’s Etudes,” (New York: C. F. Peters, 2010)
  G. Crumb, “Preface to A Haunted Landscape” (New York: C. F. Peters, 2011)

• Ingram Marshall, "Modernism - Forget it!" in MusikTexte 105, 2005 pp. 31-35
• Dieter Schnebel, “Preface,” F. Rzweski, Writings, ed. Gisela Gronemeyer and Reinhardt Oehlschlägel (Cologne: MusikTexte 2007)
  
• Gisela Gronemeyer and Reinhardt Oehlschlagel, “Preface,” F. Rzweski, Writings, ed.Gisela Gronemeyer and Reinhardt Oehlschlägel (Cologne: MusikTexte 2007)¨
• Don Gillespie, “Interview with Chou Wen-chung about Edgard Varèse,” in MusikTexte 2008, 33-44
• G. Gronemeyer and R. Oehlschlägel, “Creative, Paradoxical,” in Outside of Time: Writings of Robert Ashley, ed. Ralf Dietrich (Cologne: MusikTexte, 2009)

Translator for Belmont Music Publishers, Pacific Palisades, California

• S. Neff with S. Feisst, Preface for Arnold Schoenberg-Allen Anderson,"My Horses Aint Hungry", (Pacific Palisades: Belmont Music Publishers, 2007)

Translator for Boosey and Hawkes

• Elliott Carter, “Eleven Program Notes,” Boosey & Hawkes 2009.
• A. Ginastera, “Notes on the Second Cello Concerto” (New York: Boosey & Hawkes 2009)