Claude Vivier wrote 49 works.  This is a fairly large output, considering he only composed for a period of about 15 years, until his death at 34.  His early works, written in Quebec while studying with Tremblay, are the String Quartet (1968), Ojikawa (1968), and Proliferation (1968 or 69).  The works dating from 1971-74 reflect his studies in Europe, especially the influence of Stockhausen on his compositional technique.  These works show solid compositional technique, temperment, and the emergence of Vivier’s favourite themes:  death, childhood, love, and immortality.  Some examples are Musik fur das Ende (1971), Desintegration (1974), and Chants (1973) (which he called “the first moment of my existence as a composer."

The works written after Vivier's return to Montreal in 1974 show a more flexible writing technique and assertive personality.  The works dating from this point show Vivier’s interest in writing for the voice, and the use of his invented language, a language of sounds, both of which he used to express his spiritual preoccupations.  Examples are Lettura di Dante (1974), Liebesgedichte (1976), Journal (1977), Siddhartha (1976), Zipangu (1980), Kopernikus (1979), Lonely Child (1980), Wo bist du Licht (1981), Prologue pour un Marco Polo (1981), and Orion (1979).  With the exception of Siddhartha, Zipangu and Orion (these are orchestral), all these major works are vocal (with orchestra, chamber group, solo, choral, or operatic).  Most of these works were written as commissions.  Many of these works were also influenced by Vivier’s trip to the Orient in 1976 (to Iran, Thailand, and Bali), especially by Vivier’s stay on the island of Bali.  This was a period of stylistic evolution and maturation for Vivier, characterized by affirmation, certainty and self-discovery.  His spiritual searchings were clarified, and his ways of articulating them in his music were refined.  All of his music after 1976 was influenced by his stay in Bali, and many of his works have Oriental titles:  Shiraz (1977) for piano, Pulau Dewata (1977) for percussion, and Paramirabo (1978) for instrumental chamber group.

In 1982, Vivier returned to Paris on a Canada Council Grant.  At the time of his death, he had finished Trois airs pour un opera imaginaire (1983), and left unfinished a second opera and Crois-tu en l’immortalite de l’ame (Do you believe in the immortality of the soul) (1983) — a very ironic title, considering his early death.