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Mary Ann Joyce
maryannjoyce-walter.com
maryannjoyce2003@yahoo.com

Mary Ann was born in Champaign-Urbana, Illinois, and received B.A. and B.Mus from Fontbonne University, St. Louis, and her M.A. and Ph.D in theory and composition from Washington University, St. Louis. After graduate school, she moved to the New York City area where she has remained. She is an active composer and Professor Emerita, Manhattanville College. Her works have been performed at international festivals through Europe, Russia, and the United States. Her recent works include song settings by the poets Pablo Neruda, W.B. Yeats, Joan Rudel, Heather Dubrow and Edward Hirsch. Mary Ann's works are published by Scribner and Sons, Pioneer Drama, Gold Branch, Ars Nova Music and are recorded by Capstone, Parma Records and Pioneer Drama. Parma Records is releasing "Immortal Diamond" for orchestra, soloists and chorus in 2014; the company released "Cantata for the Children of Terezin" in 2012. Mary Ann is a member of ASCAP, College Music Society, American Composers Forum, the American Music Center, and New York Women Composers.

Click on a CD
Cover for Details


Cantata for the Children of Terezin


An Evening with Gerard Manley Hopkins


Immortal Diamond


Points of Entry: Contemporary Works for Solo Flute by Women Composers, V. I


Vanguards Volume 2


Audio Samples:A Lament (opening excerpt)    Aceldama (excerpt 1)    
As the Circling Bird (opening excerpt)    Binsey Poplars (excerpt)    
Cantata For The Children Of Terezin - Birdsong    Girl with Cello (excerpt)    
Gothic Fantasy (opening excerpt)    I Am Ireland    
If I Can Let You Go (excerpt)    In Anguish and in Hope (opening excerpt)    
Note to Amadeus (opening excerpt)    Nothing Is So Beautiful as Spring (opening excerpt)    
Only For So Short Awhile (opening excerpt)    Pied Beauty - for women's chorus    
Prelude (excerpt)    Scherzatino - extended bass and piano (opening excerpt)    
The Ballad of Little Boy Blue (opening excerpt)    The Caged Skylark (excerpt)    
The Windhover - sop, pno (excerpt)    Waking Hours (sop, pno) (excerpt)    
Winter Weather Advisory (opening excerpt)    

Works in the NYWC Catalog:

Aceldama

Duration: 13'
Instrumentation: Fl,Vln,Vla,Vc,Cb
String ensemble and flute solo
This piece was commissioned and performed by Harold Jones’ Antara Ensemble, NYC in 2006. It won the competition “Muzyka Ogrodowa” Uniwersytetu Jagiellonskiego, Krakow, Poland, that same year. (Note: pdf is a mid-score excerpt)
View Score.
Play Audio.
Publisher:
Ars Nova Music
Po Box 45271
Seattle, WA  98145
USA
Office: (206) 551-2650
www.arsnovamusic.com
glenn@arsnovamusic.com


An Acre of Grass

Duration: 5'
Instrumentation: Bar,Bass,Pno,Vc
W. B. Yeats, poem. Premiered at NACUSA’s “Spring Counterpoint!” at Christ & St. Stephan’s Church, NYC, 2011 by Mark Kaczmarczyk, bass-baritone, Felice Kuan, cello, Flora Kuan, piano.
View Score.

As the Circling Bird

Duration: 4:30'
Instrumentation: Sop,Pno
This is one of Hopkins' earliest poems; it, like the The Windhover and The Caged Skylark, uses the image of a bird as metaphor and reveals a mystical and spiritual connection to these beautiful creatures. (Audio features Nancy Ellen Ogle, soprano, Ginger Hwalek, piano.)
View Score.
Play Audio.

As The Deer Yearns (Psalm)

Duration: 4'
Instrumentation: Sop, Alto, Ten, Bs, Pno
Psalm setting in a modal, polyphonic texture.
View Score.

The Ballad of Little Boy Blue

Duration: 5
Instrumentation: Sop,Pno
Eugene Field, text. Premiered by Sarah Paige Morris, Manhattanville College senior, in recital, February, 2012.
View Score.
Play Audio.

Binsey Poplars

Duration: 4'30"
Instrumentation: Ten/Sop,Pno (Alt. version: SA or Boys' chorus)
Written for the Newark Boys' Chorus; text by Gerard Manley Hopkins.
The musical setting attempts to express the poignancy of Hopkins’ theme in this poem: “nature is so tender to touch.”
View Score.
Play Audio.
Publisher:
Ars Nova Music
Po Box 45271
Seattle, WA  98145
USA
Office: (206) 551-2650
www.arsnovamusic.com
glenn@arsnovamusic.com


Bound To Rise

Duration: 30'
Instrumentation: Children's voices
Children's musical sung by children.

The Burial (Mckenna)

Duration:
Instrumentation: Pn, bar


By The Waters Of Babylon (Psalm)

Duration: 5'
Instrumentation: Pno,Sop,Alto,Ten,Bar,Cho,or~SSA
Psalm setting: nostalgic, but not sentimental. SATB, piano (Alt. version: SSA, piano)
View Score.

The Caged Skylark

Duration: 4'30"
Instrumentation: Ten/Sop,Pno
Text by G. M. Hopkins. The musical setting helps the listener move from feeling the human body as “cage” or “prison” to that of a “nest” where the human spirit can be “uncumbered” because of “bones risen.”
View Score.
Play Audio.

Cantata for the Children of Terezin

Duration: 37'
Instrumentation: Picc,2,2,2,2,4,3,1,1timp,1perc, piano, harp, SATB, children's choir,Sop solo
This work is dedicated to all children who suffer and die too soon. The work was composed with the intention of evoking compassion for the most innocent and vulnerable among us, along with the hope that acts of horror against the young and innocent throughout the world will happen never again. The piece is also a testimony to the transformative power of music, art and poetry in these children’s lives.
Cantata For The Children Of Terezin includes:
Transports 5:30 A.M.
Home
Birdsong
A Little Mouse
A Little Garden
A Little Song Without Words
The Rose
Evening Transports
Someday

(Featured audio is Birdsong, Oxnaya Oleskaya; Kiev Philharmonic Orchestra, Kiev King Singers)
Play Audio.

Catamorphosis

Duration: 2'
Instrumentation: Fl
“There is nothing in a caterpillar that tells you it is going to be a butterfly.” R. Buckmeister Fuller
View Score.

A Christmas Carol (C. Dickens)

Duration: 75'
Instrumentation:
Musical. Flexible cast of 20; chorus of carolers.
See Pioneer Drama for song samples.
Publisher:
Pioneer Drama Service
PO Box 4267
Englewood, CO  80155
Office: 303-779-4315
www.pioneerdrama.com/


A Cradle Song

Duration: 2'30"
Instrumentation: Sop,Pno
Text from a poem written by 20th–century Irish poet (Also part of the I Am Ireland song cycle). (Audio features Victoria Jessie, soprano; Mark Cherry, piano.)
View Score.
Play Audio.

The Crucifixion

Duration: 2'
Instrumentation: Sop/Ten,Pno
Medieval Irish text. Having heard Samuel Barber’s setting of “The Crucifixion,” I decided to do my own setting.
View Score.

Duns Scotus’ Oxford

Duration: 5'-6'
Instrumentation: Boys' Chorus, Pno, Male~Voice
Written for the Newark Boys' Chorus; text by G.M. Hopkins. (Also part of Epithalamion: A Masque)

The Eagle (Tennyson)

Duration: 1'
Instrumentation: Sop, Pno (alternate version for Baritone)
Premiered at Vox Novus Fifteen Minutes of Fame, 2014 by Shannon Roberts, soprano and Yumi Suehiro, piano.
View Score.

Epithalamion: A Masque

Duration: 5-6' each
Instrumentation: Pno,Hp,Fl,Female~Voice,Male~Voice,Vln,Vla,Vc
For string quartet, piano, harp and flute with four vocalists taking on the task of virtuosic solo parts, and a Boys Chorus and a dance ensemble. Each choral work 5-6 minutes, Total: 75 minutes
This major work, Epithalamion: A Masque, settings of poems by G. M. Hopkins, was presented in 1991 as a celebration of the poetry of Gerard Manley Hopkins.
Thou Art Indeed Just,
Spring and Death,
Carrion Comfort,
No Worst, There is None,
My Own Heart,
Duns Scotus’ Oxford,
To Seem the Stranger,
Henry Purcell,
God’s Grandeur,
I Wake and Feel the Fell of Dark

View Score.

A Fanfare for Feasts

Duration:
Instrumentation: SA,Female~Voice

View Score.

Fanfare on Te Deum

Duration: 6'
Instrumentation: brass quintet, 2 Timp
Based on the Gregorian chant, Te Deum Laudamus. The work was commissioned for Manhattanville College’s 150th Commencement. (Audio excerpt is transferred from a cassette tape performance recording with The Westchester Brass Ensemble.)
View Score.
Play Audio.

From Armgart

Duration: 3'
Instrumentation: Sop
Winner of the Boston Art Song Competition, 2006. Virtuosic, wide-range.
Premiered by Nancy Gurt Lind in Boston, 2006.
View Score.

from the womb to the tomb

Duration: 1'
Instrumentation: Cl
From Womb to the Tomb: a lifetime in sixty seconds is a miniature work, a "snapshot," that symbolizes human life from its beginning as a cell (opening motive), through the cycle of development, expansion, transformation and, in the final statement of the cell which represents death, a return to the essence of the person.
View Score.

Girl with Cello

Duration: 4'
Instrumentation: Sop,Pno,Vc
May Sarton, poem. Premiered by Nancy Ellen Ogle and Ginger Hwalek; recent performances include Sara Paar, soprano, Mary Robb, cello, and Catherine Miller, piano, NYC 2012. A dark but joyful poem: “….there had been no such music here until a girl came in from dark and snow….” (Audio excerpt is transferred from a cassette tape performance recording with Nancy Ellen Ogle, soprano;
Allison Moore, piano; and Lurene Ekwurtzel, cello.)
View Score.
Play Audio.

Gothic Fantasy on “Crux Fidelis”

Duration: 5'
Instrumentation: Pno
Theme and Variations on the Gregorian chant Crux Fidelis. Moderately advanced. (Audio features Diane Guernsey, piano)
View Score.
Play Audio.

The Heights of Macchu Picchu: Canto XII

Duration: 5'
Instrumentation: Sop/Ten,Pno,Perc
Pablo Neruda, poem. Commissioned and performed by Nancy Ellen Ogle in United States concerts in 2012. Winner of the Boston Metro Opera's 2013 Merit Award. (Audio features Faith Esham, soprano; Flora Kuan, piano; Ron Vincent, cajon peruvano.)
View Score.
Play Audio.

Hurrahing In Harvest (Hopkins, Poet)

Duration: 3'
Instrumentation: Sop, Alto, Ten, Bs
Gerard M. Hopkins sees the natural aesthetic of the world as a divine quality. He seeks to merge spiritual fervor with the physical experience of the world around him, reflecting the quality of discovery that guided his art and faith.
View Score.

I Am Ireland - set of eight songs

Duration: 3-5' each song
Instrumentation: Sop,Pno,Hp
Settings of eight poems written by 20th-century Irish poets for soprano or harp. Moods are varied: humorous, nostalgic, tender, sorrowful and love songs. I Am Ireland, I Want to Be Married, Cradle Song, The Taste of Famine, O Come With Me to Galway, The Burial, I Saw from the Beach, I Sing of a Maiden. (Audio features "I Am Ireland" Chelsey Jensen, soprano; Mark Cherry, piano.)
View Score.
Play Audio.

I Sing A Maiden

Duration: 1'30"
Instrumentation: Alto.,Pno
Text from a poem written by 20th–century Irish poet (Also part of the I Am Ireland song cycle). (Audio features Karen Lichti, mezzo-soprano; Lee Linden, piano.)
View Score.
Play Audio.

I Want to be Married and Cannot Tell How

Duration: 2:17
Instrumentation: Female~Voice,Sop,Pno
Text from a poem written by 20th–century Irish poet (Also part of the I Am Ireland song cycle). (Audio features Corrine Leary, soprano; Mark Cherry, piano.)
View Score.
Play Audio.

If I Can Let You Go

Duration: 4'30
Instrumentation: Pno,Sop,Vc
May Sarton, poem. Tender, poignant poem about the letting go of a lover. (Audio features Sara Paar, soprano, Mary Robb, cello and Catherine Miller, piano.)
View Score.
View Video.
Play Audio.

If I Speak

Duration: 12'
Instrumentation: Pn, Sop


Immortal Diamond

Duration: 30'
Instrumentation: Picc,2,3,4,5,4,3,1,2timp,3perc, piano, SATB
Composer Mary Ann Joyce-Walter wrote Immortal Diamond in honor of Dr. Martin Luther King, The form of the piece is modeled after the structure of Bach’s Passion of St. Matthew with the basic framework sung by choruses and soloists. The texts are from Martin Luther King, Jr., Gerard Manley Hopkins, Alice in Wonderland, Robert Frost, T.S. Eliot, as well as other texts and poems.

In Anguish and in Hope: A Psalm for Today

Duration: 7'
Instrumentation: SATB,Pno
Commissioned by Manhattan Chorale Ensemble, Tom Cunningham, conductor; performed at Columbia University, New York City. Text: portions of psalms and a passage from Micah that speak of peace and forgiveness. In composing this work, I realized that a far more difficult question (and perhaps more deeply personal) than that of asking God to forgive us is “Can we forgive God”?
View Score.
Play Audio.

Introibo

Duration: 6'
Instrumentation: Brass quintet, SATB (Alt. version: SATB, Pno)
From the Latin Mass, “I will go unto the altar of God, to God who gives joy to my youth….” Written for my brother, John, who loves the words he prayed as an altar boy.
View Score.

A Lament

Duration: 5'-6'
Instrumentation: Cl,Pno,Sop,Ten
Oscar Wilde, poet. Written in memory of Michael Fallacaro, a fine clarinetist and former student who perished in a car crash when he was a senior in college. Also performed at my retirement concert by Manhattanville alumnae.
View Score.
Play Audio.

Lament for America

Duration: 3'
Instrumentation: Mezzo,Pno,Vc
Composed in August, 2016 as a personal response to so much inexplicable pain and suffering all around us today.
View Score.

The Leaden Echo and The Golden Echo

Duration: 5'
Instrumentation: Female~Voice,Alto,Sop (Double Women's Chorus)
Text by G.M. Hopkins.

Listening for River in Urbana

Duration: 4'
Instrumentation: Ten/Sop,Pno
Ann Silsbee, poem. Written shortly after “Winter Weather Advisory”; about a river in Urbana, Illinois (called the “boneyard”) that was familiar to Ann and to me.
View Score.

Little Songs for Little Folks

Duration: 2'-3' each
Instrumentation: Pno
Picturesque scenes from around the world and in a child’s neighborhood. Easy-intermediate level written for young piano students.
A Minor Bird
A Song from the Highlands
Hong Kong Holiday
A Little Beethoven, Anyone?
Baseball Blues
Where or Where….?
Shannon Shindig
Lullaby for a Fawn

View Score.

The Little Vagabond

Duration: 3'15
Instrumentation: Sop,Pno
Text by William Blake. (Audio is a mid-piece excerpt transferred from a cassette tape performance recording with Nancy Ellen Ogle, soprano and Ginger Hwaleck, piano.)
View Score.
Play Audio.

Loveliest of Trees from Shropshire Lad II

Duration: 2'30"
Instrumentation: Ten,Pno
Housman’s poem is about the nature of life, here represented by the cherry tree. The poet feels he does not have enough time to appreciate this beautiful world, because, like all living things, he will die. The first stanza is a description of the cherry tree in its spring-time splendor. It is as 'wearing white for Eastertide” as if it is celebrating a religious festival. In the second stanza, the mood shifts from the tree to the poet himself, as he thinks about the inevitability of death. He, a twenty-year old, estimates that he has about fifty years left to live. The final stanza expresses the poet's feeling that fifty more years does not give him enough time to enjoy the beauties of nature. He decides that he will look at the cherry tree not only when it is “hung with bloom,” but also in winter when it is “hung with snow.” The poet thus celebrates the beauties of nature in all seasons, but also poignantly laments the inevitable passage from youth to old age and death, the “seasons” of his own life. I composed this setting of “Loveliest of Trees” to celebrate the 86th birthday of Joyce Hope Suskind, beloved friend, brilliant musician and composer par excellence.
View Score.
View Text.

Mass in Honor of Le Beau Dieu

Duration: 15'
Instrumentation: Children’s voices and Orff instruments
Alternate title: Glory to God in the Highest. Simple setting; not necessarily sung for liturgical purposes; based on motives from the medieval Play of Daniel.
View Score.

Mass Of The Transfiguration

Duration: 15'
Instrumentation: 2 Equal~Voices,Org


The Moon: Meditations

Duration: 5'
Instrumentation: Ten,Vc,Cl,Perc
3 Haiku on 5 Notes in 4 Minutes. Based on a Japanese pentatonic scale, the Hirajoski scale of 5 notes (G, Ab, C, D, Eb)
View Score.

A New Theology

Duration: 4'
Instrumentation: Sop/Ten,Pno
Edward Hirsch, poem. Premiered by Clarissa Lyons, soprano, and Shun-Yahg Lee, piano, “Voices Up: New Poems Set to Music” at Fordham University, 2011; performances by Gregory Wiest and Sara Paar, 2012. (Audio excerpt Clarissa Lyons, soprano, and Shun-Yahg Lee, piano. Video features Gregory Wiest, tenor, Akane Kubo, piano.)
View Score.
View Video.
Play Audio.

The Nightingale and the Mockingbird

Duration: 4'
Instrumentation: 2 Fl
The beauty of the nightingale’s song is mimicked by the second flute; the first flute then tries to mimic the mockingbird in an attempt to stop the annoying imitation. They then come together as friends in song, but the true nature of each of the birds ends the work. (original title: The Sparrow and the Mockingbird. Video features flutists Heather Breene and Jennifer Pyne.)
View Score.

Note to Amadeus

Duration: 4'
Instrumentation: Sop,Pno
Joan Rudel, poem. Premiered by Tara Gruszkiewicz in her Manhattanville Senior Recital (2008), and later sung by Tara in “A Faculty-Artist Recital” celebrating my compositions (2012). (Audio features Tara Gruszkiewicz, soprano, Mark Cherry, piano)
View Score.
Play Audio.

Nothing is so Beautiful as Spring

Duration: 5'
Instrumentation: Ten,Sop,Pno
G.M. Hopkins, text. The music aims to express Hopkins’ ecstasy over the beauties of spring. Premiered by Gregory Wiest in Licht und Schatten, 2011, Munich, Germany.
View Score.
Play Audio.

O, Only For So Short Awhile

Duration: 5'
Instrumentation: SATB, Perc (high/low drums), Pno
Beautiful text written by an unknown Aztec (“O, only for so short awhile have you loaned us to each other….” Winning performance by the Vanguard Voices, Dearborn, Michigan; Kevin Dewey, conductor, 2006.
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Play Audio.

Ode to an Elevator

Duration: 1'
Instrumentation: Cl
A very quick ride on a quirky elevator!
View Score.

Oh Come With Me To Galway

Duration: 2'
Instrumentation: Pno,Sop
From the I Am Ireland set of songs. (Audio features Karen Steinke, voice; Mark Cherry, piano.)
View Score.
Play Audio.

Pied Beauty (Hopkins)

Duration: 3'
Instrumentation: SATB or SSA,Female~Voice
G.M. Hopkins, text. The work is a joyful song in the Dorian mode with an ostinato bass. (Audio features Manhattanville College Musical Theatre 2012 Senior Class, Mark Cherry, Conductor)
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Play Audio.

The Piper on the Hill

Duration: 5'
Instrumentation: SATB
Dora Sigerman, text. Based on a frightening Irish tale about the wind in a village. Shifting moods throughout.
View Score.

Prairiescapes

Duration: 10'
Instrumentation: Pno
Moderately difficult pieces based on memories of Illinois farmland near my hometown, Champaign.
The Cornfields: Early Morning
The Old Giblin Farm
Endless Road
View Score.

Prelude

Duration: 4'
Instrumentation: Fl
The piece is based on the poem of the same name, “Prelude,” by the Irish writer, J.M. Synge This work was commissioned by Nina Assimakopoulis for this CD. I used it later in a new context: as the “wanderer” in Aceldama. (Audio features, Nina Assimakopoulis, flute.)
View Score.
Play Audio.

Put the City Up

Duration: 3'
Instrumentation: Pno
Put the City Up is a setting of part Carl Sandburg's The Windy City, Section 6. This section of the poem is about the nature of any American city, whether it be Chicago, New York, Los Angeles. In this work, I tried to capture the energy, work, dreams, play and noise you cannot escape when walking the streets of "the city."
View Score.

The Raven Himself is Hoarse

Duration: 3'
Instrumentation: Mezzo,Pno
From Shakespeare's Macbeth, Act 1 – Scene V
Piece begins with the first line spoken. “The raven himself is hoarse that croaks the fatal entrance of Duncan under my battlements.”
View Score.
View Text.

Sara Teasdale’s Christmas Carol

Duration: 3:30
Instrumentation: Pno
"A Christmas Carol," a poem of childlike simplicity and joy by Sara Teasdale. There have been so many calls for new Christmas carols, that I decided to write this one this year - in August!
View Score.

Scherzatina for Cello and Piano

Duration: 5'
Instrumentation: Vc,Pno
This work is a dialogue between cello and piano. The interplay between the two instruments through melodic fragments (based mainly on minor 2nds) spins through quick twists and turns. There are textural changes in electrically charged rhythms in the various registers of both instruments.
View Score.

Scherzatina for Extended Bass and Piano

Duration: 5'
Instrumentation: Cb (Extended double bass),Pno
This work, commissioned by Basso Moderno in 2008, is a dialogue between an extended solo bass and piano. The interplay between the two instruments through melodic fragments (based mainly on minor 2nds) spins through quick twists and turns. There are textural changes in electrically charged rhythms in the various registers of both instruments. (Audio features Basso Moderno Duo.)
View Score.
Play Audio.

Scherzato

Duration: 5'
Instrumentation: Pn
A virtuosic and contrapuntal work in sonata-like form. Performed by Elena Ivanina at the International Festival of Contemporary Music in Moscow and at the U.S. Embassy for the cultural leaders of Moscow, 1995. (The audio is transferred from a cassette tape performance recording with pianist, Elena Ivanina.)
Play Audio.

Sea Fever (Masefield)

Duration: 3'
Instrumentation: BS.


The Second Coming

Duration: 5'
Instrumentation: Bass,Bar,Pno,Vc
W. B. Yeats, poem. Premiered at NACUSA’s “Spring Counterpoint!” at Christ & St. Stephan’s Church, NYC, 2011 by Mark Kaczmarczyk, bass-baritone, Felice Kuan, cello, Flora Kuan, piano.
View Score.

Set Me As a Seal upon Your Heart (Song of Solomon)

Duration: 3'
Instrumentation: Sop,Pno,Female~Voice, (Alt. version: SA chorus)
“Love is strong as death….” This was written for a dear friend’s wedding in Ireland. Keri McCarthy, Manhattanville senior, recorded the song in 2008.
View Score.

Sic Transit Gloria Mundi

Duration: 5'
Instrumentation: SSAATTBB
Based on the Latin words spoken at the installation of a Pope. “The glories of this world quickly pass away ….”
View Score.

The Six "Terrible" Sonnets of Gerald Manley Hopkins

Duration: 5' each
Instrumentation: Double vocal Quartet, string quartet (piano substitute)
No Worst, There is None,
Patience,
Carrion Comfort,
To Seem the Stranger,
My Own Heart,
I Wake and Feel

Spring And Fall

Duration: 5'45
Instrumentation: Ten/Sop,Pno
G.M. Hopkins, text. In this poem, Hopkins concludes that, when we grieve, it is for ourselves we grieve. (Audio opening excerpt is transferred from a cassette tape performance recording with Nancy Ellen Ogle, soprano and Ginger Hwaleck, piano.)
View Score.
Play Audio.

Stonehenge: Fragments

Duration: 15'
Instrumentation: Alto~Fl,Cl,Tpt,Perc,Prepared~Pno,Vc
This piece was commissioned by a group of the St. Louis Symphony’s “New Music Circle.” It was inspired by the composer’s impressions of Stonehenge at different times of the day. Stonehenge: Fragments is a colorful work with some staging and unusual instruments such as a clicking metronome and an incense holder with incense.
Prelude
Merlin’s Tale
The Druids’ Sacrifice
Phoebus Descends
View Score.

The Sweetness

Duration: 4'
Instrumentation: Sop/Ten,Pno
Edward Hirsch, poem. Premiered by Ilana Zarankin, soprano, and Shun-Yahg Lee, piano, “Voices Up: New Poems Set to Music” at Fordham University, 2011; performances by Gregory Wiest and Sara Paar, 2012. (Audio features Ilana Zarankin, soprano, and Shun-Yahg Lee, piano.)
View Score.
Play Audio.

Tattered Tom

Duration: 30'
Instrumentation: CHILDRENS' MUSICAL SUNG BY CHILDREN.


Tenebrae Factae Sunt

Duration: 4'
Instrumentation: SATB
Setting from the Good Friday liturgy in Latin. Dark, dissonant setting.
View Score.

Thou Art Indeed Just, Lord

Duration: 4'
Instrumentation: Pno,Male~Voice,Female~Voice
G.M. Hopkins’ poem in which he ask God about the meaning of evil with a quartet of voices singing Latin “answers” layered upon the setting. Reminiscent of Ives’ The Unanswered Question, but for voices. Premiered in 1993 as part of “Epithalamion”; sung by the Newark Boys Choir.

Three Love Songs

Duration: 8' (song cycle)
Instrumentation: Sop,Pno
Sara Teasdale, texts. These are very early tonal works.
Pierrot
Central Park at Dusk
Song

(Audio of Pierrot is transferred from a cassette tape performance recording with Karen Lichti, soprano; Joyce Bablink, mandolin.)
Play Audio.

Three Pieces on Paintings by Oviedo

Duration: 7'
Instrumentation: Guit
Inspired by the three of Oviedo’s paintings. This painter from the Dominican Republic is one of my favorite painters of modern times. (Score excerpt: Levantate Lazaro.)
La Protesta
La Familia
Levantate Lazaro

View Score.

Three Settings of Joan Rudel’s Poetry

Duration: 4'-5' each
Instrumentation: Sop,Pno
Written for a concert at the Berman Center in collaboration with Joan Rudel, poet and professor at Manhattanville College and composers Geoffrey Kidde and Binnette Lipper. Performed by Gayla Morgan, soprano and Christopher Oldfather, piano. (Score excerpt: I Dream Puccini. Video features Carmen, Listen to Me and Butterfly's Child.)
Carmen, Listen to Me,
I Dream Puccini,
Butterfly’s Child

View Score.
View Video.

Waking Hours

Duration: 5'
Instrumentation: Sop,Pno
Heather Dubrow, poem. Premiered by Ilana Zarankin, soprano and Shun-Yang Lee, piano: “Voices Up: New Poems Set to Music” at Fordham University, 2011.
View Score.
Play Audio.

Wild Nights! Wild Nights!

Duration:
Instrumentation: Sop,Pno
Wild Nights! Wild Nights! may come as a surprise to readers who have thought of Emily Dickinson as the Amherst recluse, purposely rejecting life, including thoughts of romance, for the “higher calling” of art. Moreover, the poem proves decidedly up-to-date in its erotic celebration of love by way of imagery easily understood by a generation exposed to Freud. Even at the time it was published, Dickinson’s friend and editor, Thomas Wentworth Higginson, expressed anxiety lest unscrupulous minds should read into the poetry more than the innocent Dickinson had intended. Yet the fact is that “Wild Nights—Wild Nights!” is but one of many poems Dickinson composed on the subject of love, several of them equally explicit.
View Score.

The Wild Swans at Coole

Duration: 5'
Instrumentation: Bar,Pno
W. B. Yeats, poem. Yeats’ reflections on the passing of his life.
View Score.

The Windhover

Duration: 4'
Instrumentation: Sop/Ten,Pno
Text by G. M. Hopkins.
View Score.
Play Audio.

Winter Weather Advisory

Duration: 4'
Instrumentation: Sop/Ten,Pno
Ann Silsbee, poem. Written in 2006 in a program, “Women’s Work,” at Renee Weiler Recital Hall, NYC, in honor of the poet who had been a member of New York Women Composers, and a fellow native of Champaign-Urbana, Illinois. Audio features Donna Schaeffer, soprano and Sarah Meneely-Kyder, piano.
View Score.
Play Audio.

Yellow: A Response to Gerard

Duration: 4'
Instrumentation: Sop/Ten,Pno
Nancy Lind, text. The poet gives many reasons why she agrees with Gerard that “nothing is so beautiful as spring”!
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