All Compositions and Works
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A brief, easy art song setting a poem by Edna St. Vincent Millay, Afternoon on a Hill captures a moment of quiet happiness and gentle charm. Its simplicity, lyricism, and clear expression make it well suited for student singers and short recital programs.
Instrumentation: voice, piano
Duration: approximately 1 minute
Publisher: North Star Music
Text / Source: poem by Edna St. Vincent Millay -
Item descriptionA powerful choral-orchestral setting of Dylan Thomas’s visionary poem, And Death Shall Have No Dominion moves between romantic lyricism and dramatic declaration. Written for upper-intermediate to advanced ensembles, it offers ceremonial breadth, expressive intensity, and a practical reduced-instrumentation version.
Instrumentation: treble voices, SATB chorus, and orchestra
Duration: 9 minutes
Difficulty: Upper intermediate to advanced
Text / Source: And Death Shall Have No Dominion by Dylan Thomas
Alternate version: organ, piano, trumpet, percussion, and children’s choir -
An aria from Baxter’s opera Lily, And Tonight I Have Blessed News gives the baritone character Gus a moment of warmth, charm, and romantic anticipation. The piece offers performers an opportunity to reveal vulnerability and sincerity within a dramatically complex role.
Instrumentation: baritone, piano
Duration: 2+ minutes -
A lyrical chamber song setting a poem by Willa Cather, April Twilight combines expressive vocal writing with the intimate colors of flute and guitar or piano. The work is well suited for recital programs exploring memory, poetry, and American literary sources.
Instrumentation: voice, flute, guitar/piano
Duration: 4 minutes
Publisher: Doberman YPPAN / DO 1232 -
A Christmas vocal duet with words drawn from several public-domain sources, Arise, O Earth combines sacred seasonal imagery with Baxter’s lyrical vocal writing. Its warm duet texture and graceful musical dialogue make it well suited for Advent and Christmas services, holiday concerts, and sacred recital programs.
Instrumentation: vocal duet, piano
Publisher: North Star Music
Text / Source: words drawn from several public-domain sources -
A quiet solo guitar work written for Candice Mowbray, At the Last Ember Light reflects Baxter’s lyrical voice through the guitar’s warm resonance and expressive subtlety. Its poetic restraint and inward character make it well suited for solo recitals and reflective concert programs.
Instrumentation: solo guitar
Duration: 4 minutes 30 seconds
Publisher: Les Productions d’OZ -
A blues-inflected art song from Two Remembrances, August sets words by Susan Laura Lugo in a warm, atmospheric setting that evokes the stillness of a sweltering summer afternoon. Its compact scale and expressive color make it well suited for recital programs exploring contemporary American song.
Instrumentation: voice, guitar
Duration: 2 minutes
Publisher: Columbia Music -
An advanced solo piano work inspired by the spirit of 19th-century ballades, Ballade for a Princess combines restless motivic writing with a later lyrical, romantic theme. Its dramatic pacing, contemporary harmonic color, and expressive contrast make it well suited for solo recitals and Romantic-influenced contemporary programs.
Instrumentation: piano solo
Duration: 10 minutes
Difficulty: Advanced
Publisher: Alymar -
A dramatic choral movement setting a poem by Thomas Hardy, The Battle combines martial rhythms, vivid choral writing, and an atmospheric piano part to portray the momentum and horror of war. The work is well suited for ensembles seeking compact, dramatically charged contemporary repertoire.
Instrumentation: SATB chorus, piano
Duration: 2.5 minutes -
A 15-minute cantata setting poems by Thomas Hardy, The Battle Cry (A Tragedy) reflects on the human cost of war through scenes of departure, battle, death, grief, and remembrance. Its varied choral textures make it well suited for programs centered on war, peace, literature, and moral reflection.
Instrumentation: SATB chorus and piano; two movements a cappella
Duration: 15 minutes
Difficulty: varies by movement
Text / Source: poems by Thomas Hardy -
One of six short works from Songs Without Words in Miniature, Beneath the Hawthorn Tree reimagines Baxter’s art song material for piano alone. Its lyrical line and focused miniature form make it well suited for solo recitals, teaching settings, or performance as a standalone character piece.
Instrumentation: solo piano
Collection: Songs Without Words in Miniature -
A two-song cycle for voice and piano, Between the Shadow and Soulhonors the experience of lost love through poetry by Cathal ó Searcaigh and Thomas Hardy. Its intimate scoring, lyrical vocal writing, and concentrated emotional arc make it well suited for art song recitals.
Instrumentation: voice, piano
Text / Source: words by Cathal ó Searcaigh, translated by Nigel McGloughlin; Thomas Hardy
Songs: Samhain 1994 (November 1994); If You Had Known -
A blues-inflected art song setting an elegiac poem by Linda Pastan, Caroline combines a spare vocal line with an expressive piano prelude, postlude, and extended accompaniment. Its restrained emotional character makes it well suited for recital programs exploring grief, memory, and contemporary American poetry.
Instrumentation: voice, piano
Duration: approximately 2.5–3 minutes
Publisher: North Star Music, LLC -
The opening song from Songs of Life, A Chart of a Small Sea sets poetry by Sara Teasdale in a lyrical, formally clear setting centered on identity and self-knowledge. Its flexible scoring makes it especially suitable for youth, school, community, and treble-voice ensembles.
Instrumentation: SATB and piano, or children's chorus or two treble voices and piano
Publisher: Alymar Publications -
The closing movement of The Battle Cry / A Tragedy, Coda is a brief, chromatic a cappella setting of Thomas Hardy that turns from battlefield tragedy toward a searching moral and spiritual question. Its exposed texture demands secure intonation, expressive restraint, and clear textual focus.
Instrumentation: SATB chorus a cappella
Duration: 1.5 minutes -
A theatrical song setting Shakespeare’s words from Twelfth Night, Come Away, Come Away Death blends melancholy with gentle humor and mock-tragic character. Written for voice and guitar, its approachable scoring and expressive theatricality make it well suited for vocal recitals, Shakespeare programs, and dramatic performance settings.
Instrumentation: voice, guitar
Duration: 2.5 minutes
Publisher: Les Productions D'Oz -
A romantic chamber work for violin and piano, Could You Dream What I Dream transforms material from Baxter’s opera Lily into a songful instrumental dialogue. Its lyrical character and clear contemporary tonal language make it well suited for violin recital and chamber music programs.
Instrumentation: violin, piano
Duration: 6+ minutes -
A lyrical setting of William Blake, A Cradle Song moves from the intimacy of a mother’s lullaby to a gentle sacred reflection on the Christ child. Its chromatic opening and simpler, folk-like second section make it well suited for recital, Advent, Christmas, and sacred programs.
Instrumentation: voice and guitar, or voice and piano
Duration: 3 minutes
Publisher: Les Productions D'OZ (voice and guitar); Doberman-Yppan (voice and piano) -
A lyrical art song with text by Miesha Lowery, Crossing Over the Border reflects on movement, transition, and the courage of beginning again. Its clear vocal writing and intimate storytelling make it well suited for contemporary art song recitals and programs exploring personal journey.
Instrumentation: voice, piano
Publisher: North Star Music
Text / Source: text by Miesha Lowery -
A poignant work for flute and piano, The Darkness Between Us traces an emotional arc from childhood innocence through trauma toward resilience and hope. Its expressive contemporary language and clear narrative shape make it well suited for recital programs exploring memory, conflict, healing, and dignity.
Instrumentation: flute, piano
Publisher: Alry Publications -
A simple, folk-like song from Act I, Scene I of Lily, The Date Seller appears within the opera’s tableaux vivants sequence. Sung by Marie-Lucette Fabienne as she portrays Edwin Longsden Long’s painting, the piece offers a brief moment of grace, charm, and theatrical clarity.
Instrumentation: voice, piano
Original scoring: voice and orchestra
Duration: 2 minutes
Text / Source: libretto by Lisa VanAuken -
A lyrical chamber work for alto saxophone and piano, Des larmes encadrées blends blues-inflected melody, folk reference, and expressive contemporary tonality. Written for Romain Gravier, the piece treats both instruments as equal partners in a reflective, conversational recital work.
Instrumentation: alto saxophone, piano
Duration: 7 minutes
Difficulty: Intermediate to upper intermediate
Publisher: ALRY Publications -
Dos Canciones de La casa de Bernarda Alba, two short vocal works inspired by Federico García Lorca’s play, these songs contrast the intimate solo character of Ovejita with the folk-like choral energy of Ya salen los segadores. Flexible and direct, they are well suited for theatrical programs and concerts connected to Spanish literature.
Instrumentation: female voice a cappella or with guitar; men’s chorus and guitar
Difficulty: Easy to intermediate
Publisher: Alymar Publications / Les Productions d’OZ
Songs: Ovejita; Ya salen los segadores -
An intimate a cappella setting of Thomas Hardy, Drummer Hodge reflects on the innocence of a young soldier lost in war. Its exposed choral texture and brief soprano solo bring quiet dignity, grief, and remembrance to the text.
Instrumentation: SATB chorus a cappella, with short soprano solo
Duration: 2.5 minutes -
A tonal work for guitar duo, Edgefield begins with lyrical material loosely based on the hymn tune of the same name before moving into a more dramatic, chromatic middle section. Its clear ternary design and intimate contrapuntal interplay make it well suited for guitar duo recitals.
Instrumentation: two guitars
Duration: 8 minutes
Difficulty: Upper intermediate
Publisher: Les Productions D’OZ -
Fantasy on Were You There, a reflective organ fantasy on the Lenten spiritual Were You There, this work allows the familiar melody to emerge through allusion, contrast, and expressive harmonic color. Its blend of homophonic and polyphonic textures makes it well suited for Holy Week services, sacred concerts, and organ recitals.
Instrumentation: organ
Duration: 4 minutes
Difficulty: Intermediate
Publisher: Alymar -
A brief, lyrical setting of Sara Teasdale, February Twilight captures a mood of romantic escape and quiet inward reflection. Its direct melodic language and approachable writing make it especially well suited for student recitals, art song programs, and performers seeking concise, expressive contemporary repertoire.
Instrumentation: voice, guitar
Duration: 1.5 minutes
Publisher: Columbia Music -
A 15-minute collection for solo guitar, Five Renaissance Pieces presents Renaissance material through elegant contemporary arrangement and variation. Balancing dance-like energy, lyricism, and idiomatic guitar writing, the set is well suited for recital programs, teaching repertoire, and early-music-inspired concerts.
Instrumentation: solo guitar
Duration: 15 minutes total
Difficulty: Intermediate
Publisher: Les Productions D’Oz -
A humorous art song for soprano and piano, Flirt sets words by Nuala O’Connor in a light theatrical scene about a flirtatious encounter with a butcher. Compact and engaging, the song offers clear storytelling, comic timing, and playful recital charm.
Instrumentation: soprano, piano
Duration: 2 minutes
Publisher: North Star Music
Text / Source: words by Nuala O’Connor
Publication: Modern Music for New Singers: 21st Century American Art Songs, Soprano, Volume 1 -
A deeply tender art song setting words by Nuala O’Connor, Foetal, Miscarriage and Dream moves from maternal closeness to grief, loss, and spiritual consolation. Intimate and compassionate, the song is well suited for programs exploring motherhood, faith, remembrance, and healing.
Instrumentation: voice, piano
Duration: 3 minutes
Publisher: North Star Music
Text / Source: words by Nuala O’Connor -
A set of four songs for voice and guitar using words by Shakespeare, The Four Songs from Twelfth Night reflects the play’s wit, melancholy, love, and theatrical song. Flexible keys, folk-like immediacy, and lyrical clarity make the set well suited for vocal recitals and Shakespeare-themed programs.
Instrumentation: voice, guitar
Duration: 8 minutes
Publisher: Les Productions D’Oz
Text / Source: words by William Shakespeare, from Twelfth Night
Songs: O Mistress Mine; Come Away, Come Away Death; I Am Gone Sir; When That I Was and a Little Tiny Boy -
A prizewinning song cycle for voice and piano, Four Views of Love presents four contrasting romantic moods through poems by W. B. Yeats, Sara Teasdale, and Thomas Hardy. The cycle may be performed complete or excerpted individually for vocal recitals and contemporary art song programs.
Instrumentation: voice, piano
Duration: 8–9 minutes
Difficulty: varies by song
Publisher: North Star Music / Alymar
Text / Source: poems by W. B. Yeats, Sara Teasdale, and Thomas Hardy -
A romantic one-movement piano trio, From the Headwaters moves from dark lyricism to a lighter, more animated middle section before returning to an expressive reprise. Dedicated to the memory of Gari Baxter, the work offers each player an active role within a clear formal design.
Instrumentation: violin, cello, piano
Duration: 9 minutes
Difficulty: Upper intermediate
Publisher: Alymar -
A nine-song cycle in three mini-volumes, From the Heart: Three American Women sets poetry by Sara Teasdale, Susan Laura Lugo, and Willa Cather. The cycle may be performed complete or by volume, offering varied expressive worlds for American art song and voice-guitar recitals.
Instrumentation: voice, guitar
Duration: 17–20 minutes
Difficulty: varies by song
Publisher: Columbia Music
Text / Source: poems by Sara Teasdale, Susan Laura Lugo, and Willa Cather -
A tender song of remembrance setting words by Susan Laura Lugo, Gone With the Wind reflects on grief, memory, and enduring love after the loss of a daughter. Its recurring refrain and intimate voice-and-guitar scoring give the work a quiet emotional continuity well suited to reflective recital programs.
Instrumentation: voice, guitar
Duration: 3 minutes
Publisher: Columbia Music -
A tender art song for voice and guitar, Grandmother, Think Not I Forget offers a warm and intimate reflection on memory, love, and loss. Freely adapted from Willa Cather, the song is well suited for vocal recitals, memorial programs, and poetry-centered concerts.
Instrumentation: voice, piano, guitar
Duration: 3.5 minutes
Difficulty: Intermediate
Publisher: Les Productions D’OZ
Text / Source: words by Garth Baxter and Katherine Baxter, freely adapted from a poem by Willa Cather -
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Music selections for Hardwater, a documentary film by Ryan Brod and Daniel Sites about ice fishing culture in Maine. Created in collaboration with Amit Kumar, Baxter’s contributions support the film’s atmosphere, landscape, and portrait of winter life on the ice.
Category: Theater / Film
Film: Hardwater
Instrumentation: film music selections
Collaborator: Amit Kumar
Filmmakers: Ryan Brod and Daniel Sites -
A tender love song setting a poem by Willa Cather, The Hawthorn Tree uses a modified strophic design to shape two verses with warmth and lyrical simplicity. Its intimate character and accessible writing make it well suited for student recitals and contemporary American art song programs.
Instrumentation: voice, guitar
Duration: 2 minutes
Publisher: Columbia Music -
A solo piano miniature from Songs Without Words in Miniature, Hearts As One translates Baxter’s art song lyricism into a warm and intimate pianistic form. Its songful melody, tonal grounding, and concise design make it effective as part of the complete set or as an individual recital piece.
Instrumentation: solo piano
Collection:Songs Without Words in Miniature -
A folk-like theatrical chorus drawn from Baxter’s music for Federico García Lorca’s The House of Bernarda Alba, Here Come the Reapers combines men’s voices with simple, rhythmic guitar writing. Its direct character evokes the workers in the fields and the outside world beyond the play’s enclosed domestic setting.
Instrumentation: men’s chorus, guitar
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The second song from Songs of Life, The House of Dreams sets poetry by Sara Teasdale in a lyrical, reflective choral setting that balances imagination with a sense of grounded reality. Its flexible scoring makes it especially suitable for youth, school, community, and treble-voice ensembles.
Instrumentation: SATB and piano, or children's chorus or two treble voices and piano
Publisher: Alymar Publications -
An aria from Act II, Scene I of Lily, How Can These Hands reveals Lily’s humiliation and vulnerability as she is forced into work for which she is unprepared. The aria combines lyrical vocal writing with dramatic sensitivity and emotional honesty.
Instrumentation: voice, piano
Original scoring: voice and orchestra
Duration: 4.5 minutes
Text / Source: libretto by Lisa VanAuken -
An aria from the final scene of Lily, How Strange to Think shows Lily preparing to announce her engagement to Gus while reflecting on class, circumstance, and compromise. The music contrasts outward elegance with inward unease, calling for poise, introspection, and dramatic nuance.
Instrumentation: voice, piano
Original scoring: voice and orchestra
Duration: 5+ minutes
Text / Source: libretto by Lisa VanAuken -
Hymn Fantasia on Prospect, a concise organ fantasia on the hymn tune Prospect, this work brings contemporary tonal color to familiar sacred material. Its blend of homophonic and polyphonic textures makes it well suited for worship services, sacred concerts, and reflective organ recitals.
Instrumentation: organ
Duration: 4 minutes
Difficulty: Intermediate
Publisher: Alymar -
A brief comic song from The Four Songs from Twelfth Night, I Am Gone Sir sets Shakespeare’s text with wit, lightness, and theatrical directness. Its concise form and accessible voice-and-guitar writing make it well suited for student recitals, Shakespeare programs, and character-driven performance settings.
Instrumentation: voice, guitar
Duration: 1 minute
Publisher: Les Productions D'Oz -
A romantic excerpt from Lily, I Have Said I Love You / I Dare Not Dream moves from Selden’s declaration of love into an intimate duet with Lily. Baxter’s lyrical writing gives the scene warmth, tenderness, and a natural progression from private longing to shared confession.
Instrumentation: tenor, soprano, piano
Duration: 6 minutes -
An art song for male voice and piano, If You Had Known sets a poem by Thomas Hardy as a direct and heartfelt tribute to an adored woman. Its lyrical vocal writing and sensitive piano support make it well suited for baritone recitals and student singers.
Instrumentation: male voice, piano
Publisher: North Star Music
Text / Source: poem by Thomas Hardy
Publication: Modern Music for New Singers: 21st Century American Art Songs, Baritone, Volume 2 -
A romantic work for violin and piano, Il y a longtemps draws on aria material from Act I, Scene III of Baxter’s opera Lily. Written for Nicholas Currie and Diana Greene, the piece reshapes operatic lyricism into an intimate instrumental dialogue.
Instrumentation: violin, piano
Duration: 5 minutes
Publisher: Alymar Publications -
A moving choral work setting Ewart Alan Mackintosh’s 1916 poem of wartime remembrance, In Memoriam combines modal, folk-like melody with expressive restraint. Its quiet dignity and distinctive harp-and-piano color make it well suited for memorial programs and concerts exploring war, loss, and remembrance.
Instrumentation: SATB chorus, harp, and piano
Duration: 5 minutes
Difficulty: Medium
Publisher: Alymar Publications
Text / Source: poem by Lieutenant Ewart Alan Mackintosh -
A jazz-inflected setting of Sara Teasdale, The Inn of Earth combines lyrical writing with darker harmonic colors to reflect on suffering, hardship, and the world’s indifference. Its expressive tension and social consciousness make it a distinctive choice for contemporary art song and thematically focused recital programs.
Instrumentation: voice, guitar
Duration: 2 minutes
Publisher: Columbia Music -
A humorous contemporary art song with lyrics by Nuala O'Connor, Insomnia captures the restless thoughts and familiar rituals of trying to fall asleep. Baxter’s lively rhythmic writing and theatrical pacing make it an engaging character piece for recital programs that benefit from wit, personality, and clear text delivery.
Instrumentation: voice, piano
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A deeply romantic aria from the final scene of Lily, I Shall Forever Love You gives Selden a moment of anguish, devotion, and wounded recognition after learning of Lily’s engagement to Gus. The aria calls for passionate lyricism, emotional restraint, and dramatic nobility.
Instrumentation: voice, piano
Original scoring: voice and orchestra
Arrangement: piano version available
Text / Source: libretto by Lisa VanAuken -
An intimate tenor aria from Act I, Scene II of Lily, I Want to Imagine captures Selden’s private longing as he finds Lily resting in the garden. The music unfolds with warmth, restraint, and romantic expectation, offering a tender portrait of imagined love.
Instrumentation: tenor, piano
Original scoring: tenor and orchestra
Duration: 3 minutes
Text / Source: libretto by Lisa VanAuken -
An aria from Act I, Scene I of Lily, I Will Always Be Beholden reveals Lily’s charm, vulnerability, and dependence on others to maintain her social standing. Written in a traditional operatic style, the piece offers lyrical vocal writing within a clear dramatic and formal design.
Instrumentation: voice, piano
Original scoring: voice and orchestra
Arrangement: arranged for voice and piano
Text / Source: libretto by Lisa VanAuken -
Lily’s tragic final aria from Act II, Scene II of Lily, Is This the Cost? The Penalty I Pay? follows the news of Selden’s death. The aria brings the opera’s emotional arc to an intimate point of grief, self-reckoning, and dramatic finality.
Instrumentation: voice, piano
Original scoring: voice and orchestra
Arrangement: piano version available
Text / Source: libretto by Lisa VanAuken -
A lively chamber work for woodwind quintet and piano, A Jagged Path draws on two themes from Baxter’s opera Lily. Rhythmically energetic and colorfully scored, the piece offers a recital-friendly blend of lyrical material, contemporary tonal language, and clear ensemble writing.
Instrumentation: flute, oboe, clarinet, bassoon, French horn, piano
Duration: approximately 7 minutes
Publisher: ALRY Publications -
An uplifting choral work with text by Lisa VanAuken after C. P. Cavafy, Journey to Ithaca reflects on life as a journey of growth, hope, and discovery. Its folk-like melodic character, rondo form, and dramatic conclusion make it especially effective for collaborative choral programs.
Instrumentation: SATB chorus, children’s chorus, organ, and piano
Text / Source: text by Lisa VanAuken, based on a poem by C. P. Cavafy -
An aria from A Pregnant Pause, A Tiny Seed gives the Pro Angel a lyrical, persuasive moment in Serena’s inner conflict. Its intimate character and direct emotional appeal make it effective both within the opera and as a standalone soprano recital excerpt.
Instrumentation: soprano, piano
Duration: approximately 3½ minutes -
An energetic solo guitar arrangement from Five Renaissance Pieces, Kemp’s Jig brings an anonymous Renaissance dance to life with rhythmic vitality, clarity, and lightness. Its buoyant character makes it an effective contrast piece within the full set or as a lively standalone selection.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
A concise four-minute setting of the Mass text, Kyrie combines formal clarity with expressive sacred character. Written for intermediate SATB chorus, the work alternates homorhythmic and polyphonic textures within a tonal language enriched by chromatic color.
Instrumentation: SATB chorus
Duration: 4 minutes
Difficulty: Intermediate
Publisher: Alymar Publications
Text / Source: Kyrie text from the Ordinary of the Mass -
A simple, expressive chamber work for clarinet and guitar, La Nostalgie reimagines the Jewish folk songs Tumbalalyka and Dundai in a slower, reflective setting. Its intimate scoring and gentle melancholy make it well suited for chamber recitals and folk-inspired programs.
Instrumentation: clarinet, guitar
Alternate version: flute and guitar
Publisher: ALRY Publications -
A powerful orchestral work in sonata form, La Sagesse combines strong melodic character, rhythmic vitality, and clear formal design. Commissioned by the Frederick Youth Orchestra, the piece is well suited for youth, university, and community orchestras seeking a contemporary tonal work with dramatic momentum.
Instrumentation: orchestra
Duration: 8 minutes
Difficulty: Intermediate to upper intermediate
Publisher: Alymar Publications -
An elegiac art song setting a poem by Edna St. Vincent Millay, Lament gives grief a direct and lyrical musical expression. Baxter’s tonal clarity and sensitive piano writing support the text with restraint and depth, making the song well suited for recitals centered on loss, remembrance, and reflection.
Instrumentation: voice, piano
Duration: 2 minutes 45 seconds
Publisher: North Star Music -
A reflective setting of Willa Cather, L’envoi explores solitude through lyrical repetition and carefully balanced musical framing. Repeated poetic lines return with shared musical material, while the introduction and codetta create a poised structure that makes the song well suited for intimate recital and contemporary American art song programs.
Instrumentation: voice, guitar
Duration: 2.5 minutes
Publisher: Columbia Music -
A melancholy setting of Sara Teasdale from Four Views of Love, Let It Be Forgotten reflects on memory, sorrow, and emotional release. Its lyrical vocal writing and recurring piano figure give the song a continuous, introspective character well suited for expressive recital programming.
Instrumentation: voice, piano
Duration: 2.5 minutes
Publisher: North Star Music / Alymar -
A tender setting of Sara Teasdale from Four Views of Love, Let It Be You expresses deep affection through lyrical melody and gently chromatic harmony. Its intimate scale and direct emotional warmth make it well suited for recital programs centered on love, devotion, and contemporary American song.
Instrumentation: voice, piano
Duration: 1.5 minutes
Publisher: North Star Music / Alymar -
A concise brass quintet written for the Lyric Brass Quintet, Let’s End With a Waltz moves from darker motivic writing toward a lighter, graceful waltz. The work gives each instrument an active role, with clear formal design and balanced chamber writing throughout.
Instrumentation: 2 trumpets, French horn, trombone, tuba
Duration: 5 minutes
Difficulty: Upper intermediate to lower advanced -
Lily is a two-act opera with libretto by Lisa VanAuken, loosely based on Edith Wharton’s The House of Mirth. Combining lyrical arias, dramatic scenes, chorus, and full orchestra, the work is suited for opera companies, university opera programs, and concert presentations.
Instrumentation: voices, chorus, full orchestra
Structure: opera in two acts
Text / Source: libretto by Lisa VanAuken, loosely based on The House of Mirth by Edith Wharton -
The Little Flirt
A playful solo piano miniature from Songs Without Words in Miniature, The Little Flirt offers a lighter, more characterful contrast within the set. Its clear melodic writing, compact design, and graceful wit make it well suited for recitals, encores, or performance as part of the complete cycle.
Instrumentation: solo piano
Collection:Songs Without Words in Miniature -
The English-language version of Ovejita, Little Lamb sets Emily Mann’s translation of Federico García Lorca with lyrical, folk-inflected simplicity. Sung by Maria Josefa in The House of Bernarda Alba, the song offers an intimate and dramatically focused portrait of vulnerability and fragile humanity.
Instrumentation: voice, guitar
Publisher: Les Productions d’OZ -
An aria from near the end of Act I of Lily, Long Ago captures Lily at an emotional turning point as she longs for an earlier, more secure life. The music combines nostalgia, fear, and tenderness within an elegant lyrical vocal line.
Instrumentation: voice, piano
Original scoring: voice and orchestra
Duration: 5 minutes
Text / Source: libretto by Lisa VanAuken -
A concise art song setting a poem by Sara Teasdale, The Long Hill reflects on the quiet realization that one cannot always meet one’s own expectations. Its ternary form, lyrical vocal line, and intimate piano writing make it well suited for contemporary art song recitals.
Instrumentation: female voice, piano
Duration: 2.5 minutes
Difficulty: Intermediate
Publisher: Alymar
Text / Source: poem by Sara Teasdale -
A lighthearted a cappella setting of an anonymous Renaissance poem, Love Me Not For Comely Grace combines lyrical writing with clear, singable choral textures. Its affectionate character and graceful brevity make it well suited for chamber choirs, school and collegiate ensembles, and programs pairing early poetry with contemporary music.
Instrumentation: a cappella voices
Duration: 2 minutes
Publisher: North Star Music -
A lively waltz for symphonic band, Luxembourg Gardens / Le Jardin du Luxembourg captures the charm, color, and movement of the celebrated Parisian gardens. Blending original material with the Catalan folk song El Noi de la Mare, the work offers graceful rhythms and richly varied instrumental color.
Instrumentation: symphonic band
Duration: 7 minutes
Publisher: Alymar Publications -
A seven-minute string quartet inspired by the traditional Scottish tune, MacPherson’s Lament transforms folk-derived melodic material into a lyrical, elegiac chamber work. Suitable for intermediate players, the piece is well suited for programs connecting classical quartet writing with Scottish tradition, folklore, and historical narrative.
Instrumentation: string quartet
Duration: 7 minutes
Difficulty: Intermediate
Text / Source: inspired by the traditional Scottish tune MacPherson’s Lament -
A simple solo song from The Battle Cry / A Tragedy, The Man He Killed sets Thomas Hardy’s stark reflection on war and shared humanity. Written for baritone or tenor and piano, the song’s restrained directness allows the poem’s irony and quiet sadness to speak clearly.
Instrumentation: baritone or tenor, piano
Duration: 1.5 minutes
Difficulty: Easy
Text / Source: poem by Thomas Hardy -
A witty art song setting a poem by Linda Pastan, Marks gives voice to a modern woman resisting the judgments and expectations placed upon her. Its quick dramatic energy, recurring melodic ideas, and sharply characterized text make it especially effective for singers with strong diction, comic timing, and theatrical presence.
Instrumentation: female voice, piano
Duration: approximately 1.5 minutes
Publisher: North Star Music, LLC -
A short solo work for viola, A Meadow Calls evokes memories of walks through meadows and woods as an invitation to explore nature. Written for Carlos Boltes Palma, the piece offers a reflective, intimate landscape shaped by memory, solitude, and Baxter’s lyrical voice.
Instrumentation: solo viola
Alternate version: solo violin -
A lyrical solo guitar arrangement and variation on music by Thomas Morley, Mistress Mine Well May You Fare brings Renaissance songfulness into an intimate instrumental setting. Its graceful melodic line and transparent texture make it especially effective in recitals highlighting the guitar’s vocal and lute-like qualities.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
A graceful solo guitar arrangement and variation on music by John Dowland, Mistress Winter’s Jump preserves the rhythmic lift and elegance of Renaissance dance music while adapting it to the modern classical guitar. Its light character and compact design make it effective both within the full set and as a standalone recital piece.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
Garth Baxter’s arrangement of three dances from Moritz Moszkowski’s Spanish Dances, Op. 12 brings the music’s light melodic character and rhythmic clarity into an intimate flute-and-guitar setting. The set may be performed complete or excerpted individually for recital and teaching programs.
Instrumentation: flute, guitar
Duration: 9 minutes total
Difficulty: Intermediate to upper intermediate
Original composer: Moritz Moszkowski
Publisher: Mel Bay Publications -
A folk-like choral movement from The Battle Cry / A Tragedy, My Love’s Gone A-Fightin’ contrasts a dramatic piano introduction with the simple, innocent voice of a young woman whose lover has gone to war. Its direct melodic character gives the movement both sweetness and quiet poignancy.
Instrumentation: SA voices, piano
Duration: 3 minutes -
Music Set to Fragmented Lyrics Referenced in Twelfth Night is a collection of brief vocal settings drawn from lyric fragments referenced in Shakespeare’s Twelfth Night, this set places Baxter’s lyrical contemporary style in conversation with the play’s theatrical wit and musical atmosphere. The songs are well suited for performers interested in Shakespearean repertoire, art song, and compact dramatic character pieces.
Category: Vocal Music / Theater / Shakespeare / Art Song
Instrumentation: voice and piano, unless otherwise specified
Text / Source: Fragmented lyrics referenced in William Shakespeare’s Twelfth Night
Songs: “Hold Thy Peace”; “Three Merry Men Be We”; “There Dwelt a Man in Babylon”; “O’ the Twelfth Day of December”; “Farewell, Dear Heart”; “Hey Robin, Jolly Robin” -
A compact collection of theatrical music connected to Federico García Lorca’s final play, this set gathers concise, songful works that serve the dramatic world of The House of Bernarda Alba. The pieces may also function as stand-alone vocal, choral, or guitar selections.
Category: Theater Music / Vocal Music / Choral Music / Guitar
Text / Source: Federico García Lorca, La Casa de Bernarda Alba (The House of Bernarda Alba)
Publisher: Les Productions d’OZ, where noted
Pieces: “Ovejita”; “Little Lamb”; “Here Come the Reapers” -
A reflective art song setting words by Gabriel Rosenstock in translation by Michael S. Begnal, Music's Path traces the journey and enduring life of music with lyrical clarity and contemporary harmonic color. As the closing song of Songs From Irish Poets, it offers a thoughtful conclusion centered on artistic origins, discovery, and song across time.
Instrumentation: voice, piano
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A reflective solo piano miniature from Songs Without Words in Miniature, The Night Grew Cold Without carries the expressive imprint of Baxter’s art song writing into a lyrical pianistic setting. Its jazz-tinged romantic color makes it well suited for recitals exploring contemporary songful piano music.
Instrumentation: solo piano
Collection:Songs Without Words in Miniature -
A short, deeply personal art song setting words by Sara Teasdale, Nights Without Sleep / A Composer’s Thoughts reflects the restlessness, vulnerability, and inward intensity of creative work. Intimate and concentrated, it is well suited for recitals exploring poetry, creativity, and the inner life of the artist.
Instrumentation: voice, piano
Duration: 2.5 minutes
Publisher: North Star Music
Text / Source: poem by Sara Teasdale -
A lighthearted, folk-like setting of Shakespeare from Twelfth Night, O Mistress Mine combines an upbeat vocal line with bright, accessible guitar writing. Its rhythmic lift and theatrical charm make it well suited for student recitals, Shakespeare programs, and voice-and-guitar performances.
Instrumentation: voice, guitar
Publisher: Les Productions D'Oz -
A lyrical theater song from La Casa De Bernarda Alba, Ovejita gives Maria Josefa one of the drama’s most exposed and haunting moments. Its direct melodic writing and sensitive harmonic color create an intimate portrait of vulnerability within Lorca’s severe dramatic world.
Instrumentation: voice, guitar
Publisher: Les Productions d’OZ -
An elegant solo guitar arrangement and variation on an anonymous Renaissance source, Packington’s Pound combines rhythmic poise, clear melodic motion, and refined period character. As the opening work in Five Renaissance Pieces, it makes an effective recital opener for intermediate guitarists.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
A warmly evocative chamber work inspired by Irish folk sources, A Parting Glass draws motives from The Parting Glass and quotes Katie ni Dhuibhir. Its lyrical contemporary tonal language and colorful woodwind writing make it well suited for programs exploring travel, memory, folk tradition, or national identity.
Instrumentation: woodwind quintet
Duration: 6+ minutes
Publisher: ALRY Publications
Text / Source: inspired by The Parting Glass; quotes Katie ni Dhuibhir -
The closing song from Songs of Life, A Prayer sets poetry by Sara Teasdale in a warm, affirming choral setting centered on gratitude, love of life, and lived experience. Its lyrical directness and flexible scoring make it especially well suited for school, youth, community, and church ensembles.
Instrumentation: SATB and piano, or children's chorus or two treble voices and piano
Publisher: Alymar Publications -
A chamber opera for three sopranos and piano, A Pregnant Pause follows Serena as she waits for the result of a home pregnancy test. With libretto by Alize Rozsnyai, the opera unfolds as an intimate real-time drama shaped by uncertainty, inner conflict, and lyrical vocal writing.
Instrumentation: three sopranos and piano
Duration: approximately 29 minutes
Libretto: Alize Rozsnyai, after an idea by Annie Gill with input from Caitlin Vincent
Featured excerpts: The Greatest Gift; Just a Tiny Seed; The Serenity Prayer -
A powerful art song addressing mental health, inner struggle, and the pressure to appear “normal,” Pretend gives voice to private suffering behind an outward mask. Its lyrical vocal writing and intimate piano part make it well suited for contemporary art song programs and recitals centered on vulnerability and resilience.
Instrumentation: voice, piano
Duration: 2.5 minutes
Publisher: North Star Music LLC
Text / Source: words by Marguerite -
A dramatic solo piano work for advanced performers, Resistance moves from atonal tension toward a strongly tonal conclusion. Related to classical sonata form, the piece combines chromatic drive, angular passagework, and moments of expansive lyricism within a clear emotional arc.
Category: Piano
Instrumentation: piano solo
Duration: 6 minutes
Difficulty: Advanced
Publisher: Alymar -
A concise chamber vocal work inspired by Miesha Lowery’s poem Resting, this piece combines lyrical mezzo-soprano writing with the intimate colors of clarinet and vibraphone. Its jazz-inflected sound world and romantic expressive character make it well suited for contemporary song recitals.
Instrumentation: mezzo-soprano, clarinet, vibraphone
Duration: 4 minutes
Publisher: ALRY Publications
Text / Source: inspired by Resting by Miesha Lowery -
A dramatic excerpt from Lily, The Revenge Duet brings Lily Bart and Gus Trenor together in a tense exchange that moves from confrontation toward an uneasy alliance. Baxter’s contemporary tonal writing gives the soprano and baritone opportunities for sharp characterization, dramatic contrast, and theatrical momentum.
Instrumentation: soprano, baritone, piano
Duration: approximately 5 minutes -
A highly romantic solo piano work in the style of a Chopin nocturne, Romance Without Words / Romance sans paroles draws its themes from Act I, Scene II of Lily. The piece transforms operatic material into an intimate, recital-friendly work requiring expressive rubato, tonal depth, and lyrical phrasing.
From:Lily
Category: Piano
Instrumentation: piano solo
Duration: 6+ minutes
Difficulty: Advanced
Publisher: Alymar -
A lively solo guitar work in ternary form, Rusticola contrasts jazzy, energetic outer sections with a more lyrical and expressive middle section. Concise and engaging, it is well suited for guitar recitals and contemporary solo programs.
Instrumentation: solo guitar
Duration: 4.5 minutes
Difficulty: Moderately difficult
Publisher: Les Productions D’OZ -
An atmospheric art song from Solas agus scáth, Samhain 1994 (November 1994) sets a Gaelic poem by Cathal ó Searcaigh in a reflective musical landscape shaped by transition, memory, and the threshold between light and darkness. It is especially suited to programs exploring Irish poetry and contemporary song.
Instrumentation: voice, piano
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A reflective art song setting a poem by Linda Pastan, Self Portrait at 44 explores middle age, vulnerability, and the acceptance of human limitations with warmth and lyrical restraint. A recurring romantic piano melody gives the through-composed setting continuity and supports the poem’s poised, introspective character.
Instrumentation: voice, piano
Duration: approximately 2.5–3 minutes
Publisher: North Star Music, LLC -
A brief a cappella excerpt from A Pregnant Pause, The Serenity Prayer brings three soprano voices together in a moment of stillness, reflection, and emotional balance. Its transparent texture and intimate dramatic character make it effective both within the opera and as a concise standalone ensemble piece.
Instrumentation: three sopranos, a cappella
Duration: approximately 1+ minute -
A 10-minute fantasy for guitar ensemble, Shenandoah: A Fantasy places the folk song Shenandoah at the center of a clear arch form. Dedicated to Glenn Caluda and the Shenandoah Conservatory of Music, the work is well suited for university guitar programs and American folk-inspired concerts.
Instrumentation: guitar ensemble
Duration: 10 minutes
Difficulty: Intermediate; first guitar part is slightly more difficult
Publisher: Guitar Chamber Music Press -
A two-movement neo-romantic work for flute and piano, The Silver Run evokes the natural beauty of Carroll County’s Silver Run area through lyrical melody, clear formal design, and contemporary harmonic color. Substantial yet accessible, it is well suited for recitals and contemporary tonal chamber programs.
Instrumentation: flute and piano
Duration: 9 minutes
Difficulty: Upper intermediate
Publisher: ALRY Publications -
A chromatic a cappella setting of Christopher Hatton’s well-known Renaissance poem, The Silver Swan explores beauty, silence, and mortality through expressive melodic writing and clear formal design. Its tonal but demanding language makes it especially well suited for advanced chamber choirs and collegiate ensembles.
Instrumentation: a cappella voices
Duration: 2.5 minutes
Publisher: North Star Music -
A song cycle for voice and piano setting poems by Linda Pastan, Skywriting moves through artistic reflection, seasonal renewal, theological imagination, and the balance of darkness and joy. Written for Jessica Satava, the cycle is well suited for vocal recitals and contemporary art song programs.
Instrumentation: voice, piano
Publisher: North Star Music
Text / Source: poems by Linda Pastan
Songs:There Are Poems; Spring; The Imperfect Paradise; Why are your poems so dark? -
A three-song cycle setting Gaelic poetry by Cathal ó Searcaigh and Nuala O'Connor, Solas agus scáth explores contrasting worlds of light, shadow, memory, identity, and atmosphere. Baxter’s lyrical vocal writing and contemporary tonal language make the cycle especially well suited for recital programs centered on Irish poetry and language.
Instrumentation: voice, piano
Publisher: North Star Music -
A concise six-song cycle for voice and piano, Songs From Irish Poets sets poems by Cathal ó Searcaigh, Nuala O’Connor, and Gabriel Rosenstock. Commissioned by mezzo-soprano Christine Thomas-O’Meally, the cycle offers lyrical vocal writing and contemporary harmonic color in a recital-friendly format.
Category: Vocal Music / Art Song
Instrumentation: voice, piano
Duration: 6 minutes
Text / Source: Poems by Cathal ó Searcaigh, Nuala O’Connor, and Gabriel Rosenstock
Songs: “November 1994”; “Tattoo”; “Frida Kahlo’s Palette”; “Woman and Cosmetics”; “Insomnia”; “Music’s Path” -
A three-song choral cycle setting poems by Sara Teasdale, Songs of Life offers direct, expressive writing for SATB chorus or children’s chorus / 2 treble voices with piano. Its flexible voicing and lyrical style make it well suited for school, community, church, and youth choir programs.
Instrumentation: SATB and piano, or children’s chorus / 2 treble voices and piano
Duration: 7–8 minutes
Publisher: Alymar Publications
Text / Source: poems by Sara Teasdale -
A set of six short solo piano works based on Garth Baxter’s art songs, Songs Without Words in Miniature transforms vocal material into intimate, recital-friendly piano miniatures. Written for pianist Bonghee Lee, the approximately 12-minute collection may be performed complete or excerpted individually.
Instrumentation: solo piano
Duration: approximately 12 minutes
Recording:Ask of Me What the Birds Sang
Click Here to View Work -
The closing song from Solas agus scáth, Spadalán Frida Kahlo sets a Gaelic poem by Nuala O'Connor in a vivid, atmospheric musical world shaped by image, identity, and expressive color. Its lyrical vocal writing and contemporary harmonic language make it especially suited for recitals connecting poetry, visual art, and Irish culture.
Instrumentation: voice, piano
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A graceful chamber arrangement of Moritz Moszkowski’s Spanish Dance No. 2, this version for flute and guitar preserves the work’s Romantic lyricism and rhythmic elegance. The flute carries the singing melodic line while the guitar provides buoyant support and transparent harmonic color.
Instrumentation: flute, guitar
Publisher: Mel Bay Publications -
A graceful flute-and-guitar arrangement of Moritz Moszkowski’s Spanish Dance No. 4, this chamber version combines Romantic lyricism with lively Spanish-inflected rhythm. The flute and guitar share the work’s melodic lift, rhythmic vitality, and coloristic contrast in an intimate recital setting.
Instrumentation: flute, guitar
Publisher: Mel Bay Publications -
A lively flute-and-guitar arrangement of Moritz Moszkowski’s Spanish Dance No. 5, this chamber version brings the set to a bright and engaging close. Its melodic charm, rhythmic energy, and colorful scoring make it effective both as a finale and as a standalone recital selection.
Instrumentation: flute, guitar
Publisher: Mel Bay Publications -
A vivid narrative art song setting a poem by Willa Cather, Spanish Johnny follows a criminal figure from the old West through a through-composed design shaped by recurring vocal and guitar material. Spanish-inflected gestures and mandolin-like tremolo give the work distinctive color and dramatic character.
Instrumentation: voice, guitar
Duration: 3 minutes
Publisher: Columbia Music -
A brief solo piano miniature from Songs Without Words in Miniature, Starry Wondrous Nights transforms one of Baxter’s art songs into a wordless meditation of stillness and expressive color. Its delicate, atmospheric texture makes it well suited for reflective recital programs.
Category: Solo Piano
Instrumentation: solo piano
From:Songs Without Words in Miniature -
A lyrical and powerful setting of Dame Edith Sitwell’s Blitz-era poem, Still Falls the Rain moves from darkness and intensity toward spiritual consolation. Written for SATB chorus and organ, the work is well suited for sacred concerts, Lenten programs, memorial observances, and themes of war, suffering, faith, and hope.
Instrumentation: SATB chorus and organ
Duration: 7–8 minutes
Difficulty: Medium
Publisher: Alymar Publications
Text / Source:Still Falls the Rain by Dame Edith Sitwell -
An intimate art song from Solas agus scáth, Tatú sets a Gaelic poem by Nuala O'Connor with lyrical clarity and close attention to text and phrase. Its expressive vocal line and sensitive piano writing make it well suited for recitals exploring Irish poetry, Gaelic language, and contemporary art song.
Instrumentation: voice, piano
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A deeply expressive setting of Willa Cather, The Tavern explores loneliness, emotional exposure, and the ache of human disconnection. Its four-stanza design uses recurring musical material to create formal clarity while allowing each verse to deepen the song’s sense of isolation and longing.
Instrumentation: voice, guitar
Duration: 3 minutes
Publisher: Columbia Music -
Garth Baxter’s arrangement of June: Barcarolle from Tchaikovsky’s The Seasons adapts the work’s graceful melody and gently rocking character for flute and guitar. This concise Romantic transcription is well suited for recital programs and flute-guitar duos seeking lyrical, audience-friendly repertoire.
Instrumentation: flute and guitar
Duration: 4 minutes
Difficulty: Intermediate
Original composer: Pyotr Ilyich Tchaikovsky
Publisher: ALRY Publications / UMMP, FG14 -
A lyrical a cappella setting of an anonymous Renaissance poem, There Is A Lady Sweet And Kind blends romantic innocence with a subtle touch of melancholy. Its clear formal design and gently varied repeated material make it well suited for chamber choirs, collegiate ensembles, and programs pairing early poetry with contemporary choral writing.
Instrumentation: a cappella voices
Duration: 2.5 minutes
Publisher: North Star Music -
A restrained, folk-like setting of Sara Teasdale, There Will Come Soft Rains contrasts the enduring beauty of the natural world with the devastation of war. Its direct melodic language and quiet moral force make it well suited for recital programs exploring peace, remembrance, and social reflection.
Instrumentation: voice, guitar
Duration: 2.5 minutes
Publisher: Columbia Music -
A lively setting of Thomas Hardy from Four Views of Love, A Thunderstorm in Town captures the charm and playful energy of young love. Its chromatic writing, vocal leaps, and free strophic form give the song wit, sparkle, and an appealing sense of dramatic motion.
Instrumentation: voice, piano
Duration: 1.5 minutes
Publisher: North Star Music / Alymar -
A set of a cappella songs based on Renaissance poetry, Three Madrigals combines lyrical directness, clear musical architecture, and contemporary harmonic color. Commissioned by Western Maryland College, the set is well suited for chamber choirs, collegiate ensembles, and vocal groups exploring early English poetry.
Instrumentation: a cappella voices
Duration: 8 minutes
Publisher: North Star Music
Text / Source: anonymous Renaissance poems; The Silver Swan by Christopher Hatton -
A three-song set for voice and piano, Three Poems From Edna St. Vincent Millay moves from the quiet happiness of Afternoon on a Hill through the grief of Lament to the nostalgic longing of Travel. Baxter’s lyrical writing and contemporary tonal language give each poem a distinct emotional character.
Instrumentation: voice, piano
Publisher: North Star Music -
A three-song set for voice and piano, Three Poems by Linda Pastan offers lyrical settings of “Self Portrait at 44,” “Marks,” and “Caroline.” With contemporary harmonic color and clear attention to text, the songs move from reflection and humor to elegiac meditation.
Category: Vocal Music / Art Song
Instrumentation: voice, piano
Duration: 8 minutes
Text / Source: Poems by Linda Pastan
Publisher: North Star Music, LLC
Songs: “Self Portrait at 44”; “Marks”; “Caroline” -
An expressive guitar ensemble work, To Aegir brings together atonal, tonal, and bitonal writing within a compact dramatic form. Romantic and lyrical in character, the piece is well suited for college guitar ensembles and contemporary programs exploring modern harmonic color with clear emotional direction.
Instrumentation: guitar ensemble
Duration: 5–6 minutes
Difficulty: Intermediate
Publisher: Les Productions D’OZ -
A freely arranged medley for flute and guitar, A Touch O’Carolan draws on four tunes by the Irish harpist Turlough O’Carolan. Baxter adds harmony, counterpoint, and ornamentation while preserving the folk character of the melodies in a polished, recital-friendly form.
Instrumentation: flute and guitar
Duration: 6 minutes
Difficulty: Intermediate
Publisher: ALRY Publications / UMMP Music, FG12
Source: four tunes by Turlough O’Carolan -
A lyrical art song setting a poem by Edna St. Vincent Millay, Travel explores longing, distance, and the persistent desire to journey beyond the familiar. Its reflective character and clear contemporary tonal language make it well suited for recital programs centered on memory, restlessness, and personal aspiration.
Instrumentation: voice, piano
Duration: 2 minutes 45 seconds
Publisher: North Star Music -
A pair of art songs written for soprano Annie Gill, Two Last Songs sets poems by Linda Pastan and Christina Rossetti in meditations on age, memory, grief, and mortality. The set calls for lyrical clarity, emotional restraint, and close attention to poetic nuance.
Instrumentation: voice, piano
Text / Source: words by Linda Pastan and Christina Rossetti
Performer connection: written for soprano Annie Gill
Songs: 1932; When I Am Dead, My Dearest -
A reflective pair of art songs, Two Songs of Reflection sets texts by William Blake and Chaim Stern. Moving from lullaby and sacred imagery to grief, memory, and bereavement, the set offers flexible scoring for voice with either guitar or piano.
Instrumentation: voice and guitar, or voice and piano
Duration: 6 minutes
Publisher: Les Productions D’OZ for voice and guitar; Doberman-Yppan for voice and piano
Text / Source: poems by William Blake and Chaim Stern
Songs: A Cradle Song; What Death Can Touch -
A romantic five-minute work for flute and guitar, Une Belle Fleur highlights Baxter’s lyrical writing and warm contemporary tonal language. Commissioned by the Friedman-Wysong Duo, the piece treats both instruments as equal partners in a graceful, intimate chamber dialogue.
Instrumentation: flute and guitar
Duration: 5 minutes
Difficulty: Upper intermediate
Publisher: Les Productions d’OZ, DZ 3687 -
A concise set of four variations for solo flute or alto flute, Variations on the Willow Tree is based on the English folk song The Willow Tree. Framed by statements of the original melody, the work offers accessible opportunities for lyrical phrasing, tone color, and expressive contrast.
Instrumentation: flute or alto flute
Difficulty: Lower intermediate
Publisher: ALRY Publications / UMMP, A11
Text / Source: based on the English folk song The Willow Tree -
A Christmas choral work for SATB chorus and piano, A Virgin Most Pure combines traditional warmth with fresh harmonic color. Its clear ABA design, lyrical opening material, and jazz-inflected middle section make it well suited for Christmas concerts, Lessons and Carols services, and seasonal choral programs.
Instrumentation: SATB chorus and piano
Duration: 4–5 minutes
Difficulty: Intermediate
Publisher: Alymar Publications
Text / Source: words from various public-domain sources -
A dramatic choral setting of Stephen Crane’s bitterly ironic poem, War Is Kind contrasts public rhetoric with private grief. Its recurring refrain, sharp changes of mood, and clear dramatic pacing make it well suited for programs addressing war, loss, remembrance, social critique, or American poetry.
Instrumentation: SATB chorus and piano
Duration: 6 minutes
Difficulty: Upper intermediate
Publisher: Alymar Publications
Text / Source: War Is Kind by Stephen Crane -
A short solo piano work from Songs Without Words in Miniature, We Sat Snug and Warm draws on Baxter’s art-song writing to create an intimate, lyrical miniature. Centered on melodic line and warm tone, it may be performed within the complete set or as a brief standalone recital piece.
Category: Solo Piano
From:Songs Without Words in Miniature -
What Death Can Touch
A deeply reflective setting of words by Chaim Stern, What Death Can Touch explores grief, remembrance, and enduring affection with lyrical restraint. Its intimate vocal writing and flexible accompaniment make it especially well suited for memorial programs, sacred services, and recitals centered on loss and remembrance.
Instrumentation: voice and guitar, or voice and piano
Duration: 3 minutes
Publisher: Les Productions D'OZ (voice and guitar); Doberman-Yppan (voice and piano) -
A graceful trio for flute, clarinet, and guitar, When Lights Begin to Show was written to celebrate the marriage of Amit and Rajni. Its lyrical wind writing, intimate guitar resonance, and warm contemporary tonal language make it well suited for mixed chamber recitals and special occasions.
Instrumentation: flute, clarinet, guitar
Duration: 5 minutes
Publisher: Les Productions d’OZ, DZ 3037 -
The closing work from Five Renaissance Pieces, When That I Was and a Little Tiny Boy blends anonymous Renaissance material with Baxter’s own musical contribution. Its songful character and reflective tone create a graceful bridge between early-music tradition and contemporary guitar writing.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
A lyrical setting of W. B. Yeats from Four Views of Love, When You Are Old reflects on lost love, memory, and regret. Its through-composed design builds toward a soaring climax before returning to the opening thought with renewed emotional weight.
Instrumentation: male voice, piano
Duration: 2.5 minutes
Publisher: North Star Music / Alymar -
A heartbreaking song for soprano or tenor and piano, A Wife in Londonsets Thomas Hardy’s poem of wartime loss and cruelly delayed hope. Drawn from The Battle Cry / A Tragedy, the work calls for clear narrative pacing, emotional restraint, and sensitive ensemble between singer and pianist.
From:The Battle Cry / A Tragedy
Category: Vocal Music / Art Song
Instrumentation: high voice, piano
Voice Type: soprano or tenor
Duration: 3 minutes
Difficulty: Intermediate to upper intermediate
Text / Source: Poem by Thomas Hardy -
A romantic a cappella setting for SATB chorus, Wild Mountain Thyme draws on the traditional song while adding newly composed music for several verses. Its direct melodic character and warm choral resonance make it well suited for school, church, community, and chamber choirs.
Instrumentation: SATB chorus a cappella
Duration: 4 minutes
Difficulty: Moderately easy
Text / Source: traditional song text -
A thoughtful art song with lyrics by Nuala O'Connor, Woman and Cosmetics explores self-image, vulnerability, and the desire to alter perceived imperfections. Baxter’s sensitive vocal writing and nuanced piano accompaniment create an intimate character study well suited for recitals focused on identity, beauty, and contemporary women’s perspectives.
Instrumentation: voice, piano
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A reflective two-movement work for clarinet and piano, Wrapped in the Wind and the Sun highlights the clarinet’s lyrical warmth within Baxter’s clear contemporary tonal language. Written for Jennifer Hughson, the piece has an intimate, cyclical design that gives performers a strong expressive arc.
Instrumentation: clarinet and piano
Publisher: ALRY Publications -
A brief lyrical art song setting a poem by Sara Teasdale, Your Face Is Beautiful offers a direct and tender expression of love. Its concise ABA′ form, warm melodic writing, and lower-intermediate difficulty make it well suited for recitals, student programs, and American art song concerts.
Instrumentation: voice, piano
Duration: 2 minutes
Difficulty: Lower intermediate
Publisher: Alymar
Text / Source: poem by Sara Teasdale