Vocal Compositions
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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 -
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 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 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 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 -
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 -
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 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 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 -
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 -
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 -
An ultra-romantic excerpt from Act I, Scene II of Lily, I Have Said I Love You / I Dare Not Dream moves from Selden’s declaration of love into an intimate duet with Lily. The music offers lyrical vocal writing, expressive pacing, and a dramatic progression from private longing to shared confession.
Instrumentation: tenor, soprano, piano
Original scoring: voices and orchestra
Duration: 6 minutes
Text / Source: libretto by Lisa VanAuken -
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 -
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 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 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 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 three-song cycle setting Gaelic texts by Cathal ó Searcaigh and Nuala O’Connor, Solas agus scáth brings together poetry, language, atmosphere, and expressive nuance. Commissioned by Christine Thomas, the set is well suited for vocal recitals, Irish-themed concerts, and contemporary art song programs.
Instrumentation: voice, piano
Publisher: North Star Music
Text / Source: Gaelic poems by Cathal ó Searcaigh and Nuala O’Connor
Songs: Samhain 1994 (November 1994); Tatú; Spadalán Frida Kahlo -
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 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 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 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” -
A set of three art songs for voice and piano, Three Poems from Edna St. Vincent Millay offers clear, lyrical settings of “Afternoon on a Hill,” “Lament,” and “Travel.” The songs may be performed individually or as a complete set, making them useful for recitals, student programs, and contemporary American art song concerts.
Category: Vocal Music / Art Song
Instrumentation: voice, piano
Text / Source: Poems by Edna St. Vincent Millay
Publisher: North Star Music
Songs: “Afternoon on a Hill”; “Lament”; “Travel” -
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 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 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