Soprano
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Title | View | Instrumentation | Duration | Composer | ||
|---|---|---|---|---|---|---|
for soprano and piano | 20' | Chicago Songs is my attempt to musically recreate something of the spirit and people found in Carl Sandburg’s iconic poetry. Sandburg’s world is one filled with the grit of burgeoning industrialization, the earnest hope of immigrant settlers, and the heartache and beauty found in the everyday. His characters are larger than life, yet tragically human — […] | ||||
for soprano and piano | 13'40" | High and Low (2013) is four song cycle on poems by Edna St. Vincent Millay and John Grimmett that in its musical journey brings together several very different sound worlds. From the Laurel Canyon 60s folky opening number “Afternoon on a Hill” to the chilling operatic drama of “distance is crueler…” to the Schubert/ Iron Maiden […] | ||||
for soprano and piano | 3'30" | Originally written for the musical The Ghost of Wu, musical that tells the story of Wu Chao, the only female ruler in Chinese history, who ruled in the 8th Century, “The World Rolls On” is, quite simply, a lullaby. | ||||
for Soprano and Piano | 8'30 | Created as part of my composer residency with San Francisco’s Lieder Alive!, Ich und Du simply would not have been possible without the inspiration, assistance, and sheer joy of working with soprano Heidi Moss. These works are personal to a unique degree, created as they were as a kind of courtship gift to this wonderful woman […] | ||||
for soprano and piano | 16' | Silver Apples can be heard on the CD Currents by Soprano Ann Moss, available from iTunes, CD Baby, Amazon and other venus. Liam composed this enchanting song cycle for me and pianist Steven Bailey to premiere on CMASH’s second annual New American Chamber Music program in 2008. Liam and I selected the moon-themed poems together, […] | ||||
for soprano and piano | 6'30" | I have a confession to make; my pieces come from a very personal, very private place. I know and admire many fellow composers who take a cooler, analytical stance towards their art and aesthetic, and I admire their craftsmanship and outward reserve. But that just doesn’t work for me (no judgement). From a technical standpoint, […] | ||||
for high voice and piano | 1'50" | The text comes from Whitman’s “When lilacs last in the dooryard bloom’d,” a lengthy elegy in memory of Abraham Lincoln. My choral setting of another part of this poem has been my most popular work to date. I composed “Sing on there in the swamp” just a few months later and it is in a […] | ||||
for female voice and piano | approx. 10 minutes | An affectionate tribute to dogs and the humans who love them, Bruce Lazarus’ song-cycle Going to the Dogs is a setting of five diverse, funny, and poignant poems by Dylan Thomas (“Song of the Mischievous Dog”), Alexander Pope (“Engraved on the Collar of His Highness’ Dog”), Herbert Asquith (“The Hairy Dog”), Jonathan Swift (“Advice to […] | ||||
for soprano and piano | 11' | The texts for the Songs of Pashtun Women were compiled from translations of an oral form of poetry known as the landay. These are two-line (“landay” is Pashto for “short”) free verse poems, not necessarily rhymed, that can be written or improvised. The poetry of Afghan women is usually anonymous, often song to the beat […] | ||||
for high voice and piano | 3'45" | A setting of a serene, winter poem by the great Elinor Wylie. |