Relevant bibliographies by topics / Songs (High voice) with violin

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Songs (High voice) with violin'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Songs (High voice) with violin"

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Richmond, Sam W., Miriam Gideon, Christina Rossetti, Dante Gabriel Rossetti, Walter de la Mare, Michael Berkeley, and Thomas Hardy. "Wing'd Hour (a Song Cycle); for High Voice, Flute, Oboe, Vibraphone, Violin, and Violoncello." Notes 45, no. 3 (March 1989): 636. http://dx.doi.org/10.2307/940839.

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Bialosky, Marshall, Andrew Imbrie, Theodore Roethke, and Donald Aird. "Roethke Songs [For] High Voice and Piano." Notes 50, no. 1 (September 1993): 395. http://dx.doi.org/10.2307/898783.

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McCauley, John, Lee Hoiby, and Emily Dickinson. "Four Dickinson Songs for High Voice and Piano." Notes 47, no. 1 (September 1990): 230. http://dx.doi.org/10.2307/940571.

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Leonardi, Gene, and David Amram. "Four Shakespeare Songs; For High Voice and Piano." Notes 44, no. 1 (September 1987): 168. http://dx.doi.org/10.2307/941014.

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Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (January 2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.

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Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the final text of Knussen's Whitman Settings.
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Geringer, John M., Rebecca B. Macleod, and Justine K. Sasanfar. "High School String Players’ Perception of Violin, Trumpet, and Voice Intonation." String Research Journal 3, no. 1 (July 2012): 81–96. http://dx.doi.org/10.1177/194849921200300106.

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Cassaro, James P., Alun Hoddinott, William Bergsma, Wilhelm Killmayer, Richard Wernick, and Stephen Oliver. "Six Welsh Folk-Songs; Arr. for High Voice and Piano." Notes 45, no. 1 (September 1988): 162. http://dx.doi.org/10.2307/941418.

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Kostohryz, S. О. "Genre-style priorities for the development of composer’s work for the balalaika in Slobozhanska Ukraine." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 87–99. http://dx.doi.org/10.34064/khnum2-13.07.

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The article proposes analyze of the balalaika art and technical potential. The complex of texture- and register and timbreand phonic methods of suites performing, which represent the Ukrainian interpretation tradition of the genre, is determined. Instrumentalism principles and impacts in balalaika performance in the composer’s works of the twentieth century are revealed. Texture features of the works for balalaika suite genre are considered, the characteristics on the genesis stage of balalaika are marked: simplifi ed chord texture with narrow range, predominant two and three-voice texture in cantilena, minute passage technique with a small set of traditional rotations. Texture types of musical thematic presentment and the level of virtuosity of the stringed instruments in the sound formation are determined. The object of research is the professional performance on the balalaika. The subject of research is performing on balalaikas of Kharkiv as a component of Ukrainian musical art. In terms of instrumentalism as a type of thinking the method of sound production on the balalaika, dependent by the direct contact of the right hand fi ngers with a string, which is basic, creating countless bar, dynamic and timbral combinations, is revealed. In for balalaika M. Stetsun “With Balalaika in Spain” analyzed genre prototypes of the, that the impacts of the new romantic suite, characterized by a compound of stable (required) and free-variable cycle parts, based on the experience of the other genre forms of music-making, are immediately traced. Attention is paid to the unplugged (where violin takes the leading position), dynamic (where piano owns leading positions) and texture capabilities. Balalaika qualities are analyzed: limitation of natural acoustic properties requires texture mobility and frequent use of the tremolo; dynamic capabilities are also limited, as the result the “step” dynamics development is applied; texture possibilities are largely constrained by the range and technology. The principle of genre and stylistic synthesis, in which song and dance origins of national folklore and shaping structural logic borrowed from the experience of the Ukraine tradition are organically combined, is formulated. Multiple ties with folk traditions, which include: reliance on folklore themes and quotes; development techniques of the song thematic (inner thematic variation, imitation roll, undervoice polyphony, hidden two-voice texture); metro-rhythmic formula, coming from the dance genre; irregular accent, intended to the saturation of images with internal dynamics are revealed in the Concerto for balalaika and orchestra by A. Gaidenko. The use of styling techniques of playing folk music instruments in the balalaika party, which was used for the creation of a bright and deep national painted images typing, is specially emphasized. Overbalance of the lyrical narrative thematic invention, where folk type of the thematic invention makes to rearrange semantic accents in the genre interpretation, is identifi ed in “Variations on the Ukrainian Theme” by Gregory Tsitsalyuk. Improvisation, interpreted by the composer as a fi xed freedom, numerous brilliant colored soloist’s ritornels together with the main themes performing at the piano, broken chords, scale-wise passages – all marked methods indicate a high level of both externally-demonstrative and deep-semantic level of the music content. The arsenal of technical complexity methods of performing (articulation, strokes, complex elements), running on the disclosure of the musical work style; diversity of the texture design of musical thematic invention; genre and semantic specifi city (landscapes, personal experiences, household sketches, dance and song images), which is also connected with the balalaika specifi cs; and the dynamic profi le of musical drama cycle is detected. The idea of the historically formed specifi cs of textured and tonal articulation intoning on the balalaika in its academic status is adopted. Such levels of analysis like detection of existing texture and melodic formulas and connected with it fi ngering and articulation complex; timbre and texture and register variance confi rmed the instrumentalism genre specifi city. Articulation, timbre and texture technological formulas of balalaika performance, in terms of suite genre, which are universal from the point of view of the instrumental thinking specifi city, are found; their role in other genre and stylistic creativity conditions for balalaika are justifi ed. There are identifi ed such outlooks of research as the Concerto for balalaika and orchestra by P. Haydamakа, A. Gaidenko and the creation of a special “dictionary” as a system of typical historically selected texture and genre formulas. Piece, which reveal the balalaika evolution in the musical performing culture, served the basis for research. Current stylistic processes and their transformation in modern concert- and pedagogical practice were depicted in f piece for balalaika by G. Tsitsalyuk, P. Haydamakа, A. Gaidenko like in the mirror. Analyzed examples demonstrate the individual stylistic interpretation of genre, typical for the development of academic instrumentalism in the XX century. It was found, that art of balalaika performing infl uences the instrumental style of composing and keeps a memory of genre of composing and performing art in this sphere (methods of instrumental phonation and timbre- and phonic development).
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Hadlock, Heather. "Return of the repressed: The prima donna from Hoffmann's Tales to Offenbach's Contes." Cambridge Opera Journal 6, no. 3 (November 1994): 221–43. http://dx.doi.org/10.1017/s0954586700004316.

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The operatic diva, a singer of strange songs, and too often a turbulent, unkind girl, haunted the nineteenth-century imagination, as evidenced by the musical tales of E. T. A. Hoffmann and numerous retellings of those tales in theatre, ballet and opera. Each adaptation of Hoffmann's ‘Rat Krespel’, ‘Der Sandmann’ and ‘Don Juan’ reflects an ambivalent attitude towards women performers, whose potent voices make them simultaneously desirable and fearsome. How do these stories about female singers contrive to contain and manage the singing woman’s authority? And how does the prima donna's voice repeatedly make itself heard, eluding and overcoming narrative attempts to shape or contain its turbulent noise?Let me begin with an excerpt from ‘Rat Krespel’ (1818), which might serve as a parable for relationships between female singers and male music lovers in the Romantic imagination. Krespel, a young German musician, travelled in Italy and was fortunate enough to win the heart of a celebrated diva, Angela, whose name seemed only appropriate to her heavenly voice. Unfortunately, her personality was less than heavenly, and when she was not actually singing he found her violent whims and demands for attention very trying. One day, as he stood playing his violin:[Angela] embraced her husband, overwhelmed him with sweet and languishing glances, and rested her pretty head on his shoulder. But Krespel, carried away into the world of music, continued to play on until the walls echoed again; thus he chanced to touch the Signora somewhat ungently with his arm and the fiddle bow.
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Klinck, Anne L. "Lyric Voice and the Feminine in Some Ancient and Mediaeval Frauenlieder." Florilegium 13, no. 1 (January 1994): 13–36. http://dx.doi.org/10.3138/flor.13.002.

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In the study of mediaeval European literature, especially that of France and Germany, the terms chanson de femme and Frauenlied have come to be conventional designations for a distinct type of poem—more broadly defined than a genre: a female-voice love-lyric in a popular rather than a courtly mode. To use the language of Pierre Bec, femininity here is “textual” rather than “genetic.” Most of these “women’s songs” are attributed to male authors, although there has been a tendency to trace the type back to preliterate songs actually composed by women. Goethe, Jakob Grimm, and others saw in the early German and Balkan Frauenlieder and Frauenstrophen the traces of “das älteste Volkspoesie.” The use of this terminology to designate a lyric in the female voice—irrespective of its authorship—goes back to Alfred Jeanroy, at the end of the last century, who defined chanson de femme as a woman’s monologue, usually sad, relating to love (158). Theodor Frings, whose description of the Frauenlied is probably the one that has been the most influential, makes clear that it is a universal, not merely a mediaeval, type. Although he focusses on Middle High German, Provençal, and Old French poetry, he includes examples ranging from Greek to Chinese.
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Dissertations / Theses on the topic "Songs (High voice) with violin"

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Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.
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Rutland, John Paul. "Violin and voice as partners in three early twentieth century English works for voice and violin." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/rutland%5Fjohn%5Fpaul/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Apr. 18, 2002, and Oct. 25, 2005. Includes bibliographical references (p. 95-96).
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Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.

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Thesis (M.M.)--Bowling Green State University, 2007.
Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.
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Lee, Hyun Min. "French art songs for high voice by famous opera composers." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3198.

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Mitchell, Mark Howard. "Season songs : a song cycle for voice and orchestra." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.

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Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work. The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs. The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface.
Arts, Faculty of
Music, School of
Graduate
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Chao, Ching-Wen. "Requiem Moksa /." May be available electronically:, 2002. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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D.M.A. final project--Department of Music, Stanford University, 2002.
For solo violin (1st mvmt.), 12 singers with 4-channel tape (2nd mvmt.), and solo bass with live electronics (3rd mvmt.). Words also printed as texts in pref. Includes performance notes and abstract. Sound disc contains 2-channel tape accompaniment for 2nd mvmt.
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Weirmeir, Jude Thomas. "Aspic trails : [for soprano, flute, and 'cello : 2004-06 : opus -1] /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236632.

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Nakano, Koji. "Time song II : howling through time : for female singer, flutist, and percussionist /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236635.

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Walls, Jay Alan. "Autographs 1928 : Four Songs for Soprano and Chamber Ensemble." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279054/.

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Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender and humorous nature of the lyrics.
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Frehner, Paul (Paul Anton). "Souvenirs du vent : pour soprano et orchestre de chambre = for soprano and chamber for orchestra." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28027.

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Souvenirs du vent is a composition for soprano and chamber orchestra with a duration of approximately 16'.30". The piece consists of three movements, a prelude, two interludes and a postlude. The poems set in the three movements were chosen for their similar subject matter, the wind. This common subject is emphasized by a music in which both the large-scale and small-scale formal divisions are blurred through structural counterpoint. The poets of the three poems are all from the Montreal area; they are: Emile Nelligan, Claude Brouille and Remi-Paul Forgues.
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Books on the topic "Songs (High voice) with violin"

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Waxman, Donald. Lovesongs: For soprano, violin and piano. New York: Galaxy Music Corp., 1989.

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Barab, Seymour. Airs and fancies: For high voice, violin, cello and harpsichord or piano. New York: Galaxy Music Corp., 1988.

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Zappa, Enric Andrew. Trilogy: For soprano, clarinet in B♭, violin, piano. New York, NY: Seesaw Music, 1996.

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Bauer, Ross. Ritual fragments: Soprano, flute (piccolo, alto), clarinet (bass clarinet), violin, violoncello, percussion, and piano. New York: C.F. Peters, 1996.

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Phly, Jacques Du. Pièces de clavecin avec violon: 1756. Monaco: Editions de l'Oiseau-Lyre, 1990.

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Johnston, Ben. Invocation: For soprano voice, flute, oboe, clarinet in B♭, bassoon, horn in F, trumpet in B♭, trombone, violin, viola, cello, d. bass : 1997. Baltimore, MD: Smith Publications, 1998.

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Liszt, Franz. 25 songs for voice and piano: High [voice]. New York: International Music Co., 1998.

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Franz, Robert. 32 songs for voice and piano: High [voice]. New York: International Music Co., 1993.

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Duke, John. Three songs: High voice and piano. San Antonio, Tex: Southern Music Co., 1989.

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Imbrie, Andrew. Roethke songs: High voice and piano. New York: C.F. Peters Corp., 1990.

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Book chapters on the topic "Songs (High voice) with violin"

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Manning, Jane. "CECILIA McDOWALL (b. 1951)Four Shakespeare Songs (1991)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 177–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0050.

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This chapter examines Cecilia McDowall's works. It shows that the cycle featured here is suitable for a youthful, light-voiced soprano with a well-placed upper range. McDowall, justifiably admired for her choral writing, has a great empathy with the way the voice works and feels, and she consistently displays a deft touch and fine ear, combined with a strong awareness of practicalities. The four songs are well contrasted, and they offer ample scope for the singer to exhibit a degree of vocal virtuosity without being unduly stretched in portraying these disparate characters with skill and aplomb. The tonal idiom, notated in standard fashion, replete with key signatures, is agreeably fresh and direct, and the music flows along with a natural momentum and openness of expression. A relatively simple but effective piano part supports the voice, often illustrating and embellishing the texts. Vocal lines cover a broad compass, and some sit rather high, but in these instances the composer wisely avoids strain by allowing the voice to relax while refocusing on the lower range.
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Manning, Jane. "THOMAS HYDE (b. 1978)Three Larkin Songs (2003)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 112–14. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0036.

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This chapter assesses Thomas Hyde’s Three Larkin Songs (2003). These three short, contrasting songs to richly-layered Philip Larkin texts constitute a cycle that is a boon for young singers seeking a piece of modest demands and unobtrusive craftsmanship which lies easily in the voice. A touching slow movement is framed by two fast-moving numbers, distinct in character. Even a baritone should not be taxed by the tessitura—the range is highly practical for all except basses and altos. Obligingly, the composer even offers to transpose the songs to suit individual singers. This is a return to an earlier practice, when vocal sheet music was issued in different keys: Low, Medium, or High. Piano parts, economically structured and relatively undemanding, are tailored sensitively to the voice part in perfect balance.
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Manning, Jane. "KAREL HUSA (1921–2016)Twelve Moravian Songs (1957)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 139–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0040.

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This chapter presents folk songs from Czech-born composer and conductor Karel Husa. These folk songs demonstrate Husa’s unfailing sensitivity and expertise when confronted by a modest canvas. The twelve songs provide plenty of contrast in mood and style, despite the overall simplicity of the vocal lines. The composer states that he has barely altered the original melodies, and certain idiomatic inflections are reflected in the judicious use of grace notes. Here, the composer skilfully blends traditional and modern elements. With such plain, exposed lines, often in mid-voice, purity of tone is essential to convey the words clearly. Piano parts are, however, more elaborate, transforming the pieces into high-quality ‘art songs’.
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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer Learns Her Craft." In Madeleine Dring, 85–114. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0005.

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The period of Dring’s life as a full-time student at the Royal College of Music overlapped with the concluding years of World War II. The director of the RCM, George Dyson, decided to keep the school open, and Dring’s diaries provide a picture of her life during the first years of the war. Principal teachers included W.H. Reed in violin, Lilian Gaskell in piano, Topliss Green in voice, and Margaret Rubel in “dramatic.” Dring continued to be active as a performer, earning her ARCM certificate in piano, and she performed in many plays and scenes as part of the dramatic class. She also had the opportunity to produce, direct, and write the music for The Emperor and the Nightingale, the annual Christmas play for the Junior Department. Her most important instructor was Herbert Howells in composition, with whom she studied for her entire four years as a full-time student, and she also took occasional lessons with Ralph Vaughan Williams. Her musical style is discussed through an examination of “Under the Greenwood Tree,” the first of her Three Shakespeare Songs, written and first performed during these years.
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Manning, Jane. "DAVID DEL TREDICI (b. 1937)Four Songs (1958–1960)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 81–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0023.

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This chapter discusses some James Joyce settings composed by David Del Tredici. It shows how these songs can stretch the singer’s resources, but in a constructive way. Here, Del Tredici has an innate understanding of the voice and its capabilities, and there is an enticing array of vocal figurations which can engage the performer. A high level of musicianship is called for, however, as well as an accomplished pianist. All four songs are direct and persuasive in their communicative appeal, aided by the well-loved texts. These pieces date from an earlier period in Joyce’s output, when he embraced modernism and atonality, but the skill and fluency of his writing is always evident.
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Manning, Jane. "HUW WATKINS (b. 1976)Three Auden Songs (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 223–25. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0069.

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This chapter explores Welsh composer Huw Watkins’s Three Auden Songs (2008). Written for the flexible high-lying voice of the tenor Mark Padmore, these three settings of W. H. Auden constitute an attractive and well-varied cycle which will sit well amongst more established pieces, and should prove a valuable addition to the tenor repertoire. It was commissioned by the Théâtre Royale de la Monnaie in Brussels. The musical language is chromatic, quasi-tonal, and highly accessible, and, as to be expected, the composer’s writing for piano is idiomatic, achieving a distinctive character for each song. Vocal lines are rewardingly lyrical and words are set with care for clarity and ease of attack. The music is phrased naturally to match the flow of the text, so the singer should have no difficulty in planning breaths. The ability to launch and sustain an even tone will be shown to full advantage.
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Manning, Jane. "BENJAMIN LEES (1924–2010)Songs of the Night (1952)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 161–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0046.

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This chapter takes a look at six songs by Benjamin Lees. Here, the songs are well balanced to complement one another. The fourth, with its evocative, pictorial piano figurations and ecstatically floating vocal lines, is the most substantial. This cycle needs a singer with a distinctive, sumptuous but focused tone, and the requisite stamina to scale long, luxuriant phrases which go from rapturous lyricism to forthright declamation. The chapter shows how the singer is often left suspended on high notes at the ends of phrases, which means keeping a firm grip on support muscles up to the very last moment. Arrestingly bold piano parts pilot the voice along, and illustrate the words in a manner reminiscent of French vocal masters. The resonant texts are by a poet whose work Lees has often set, and with whom he feels a strong kinship.
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Manning, Jane. "MARK-ANTHONY TURNAGE (b. 1960)Three Songs (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 220–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0068.

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This chapter describes British composer Mark-Anthony Turnage’s Three Songs (2000). This assured, agreeably compact cycle should prove a boon to baritones seeking a winning concert item by an established British composer. Phrase lengths are judged perfectly and the range and timbres of the baritone voice are heard with unfailing accuracy. Word-setting is impeccable and plentiful dynamics and nuances help to guide the interpretation. The first two poems celebrate cats (‘The Singing Cat’ and ‘Mourned’—a eulogy for a departed pet); and the last song reflects on the merits of animals in general (‘Last Words’). The score is presented with exemplary clarity, so that performers can assimilate it quickly. The ‘friendly postmodern’ idiom should not prove a barrier—piano parts are light and spare, so useful pitch-cues can be easily heard. The singer will need to be conscientious about tuning intervals. As the piece progresses, there are some wide leaps, but these are vocally gratifying. Although the work is not particularly taxing, it needs a crisp, neat delivery and a secure high range, as well as a lively presence and an instinct for characterization.
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Manning, Jane. "ROB KEELEY (b. 1960)Five Songs on Poems by Stevie Smith (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 123–26. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0039.

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Abstract:
This chapter explores British composer and pianist Robert Keeley’s Five Songs on Poems by Stevie Smith (2000). The distinctive flavour of Stevie Smith’s poems—wistful, fey, and mordantly perceptive by turn—is captured in music of fluency and confidence, the subtle layers of the texts unpeeled with skill and empathy. Though the range indicates a mezzo, one or two high-lying repeated fragments do require the special lightness and agility more usually found in sopranos. The lowest notes, however, must have ‘bite’, and a weightier, more dramatic voice will have the advantage in riding the denser textures of the final song. The singer needs to be versatile, able to convey unaffected joy, bitter foreboding, and heart-on-sleeve longing, with the lithe, quirky exuberance of Song No. 3 (‘Le Singe qui swing’) providing a cheerful interlude. In general, lines move easily and cover a wide range. Keeley has a penchant for repeated, catchy ‘motto’ fragments in both voice and piano. These linger in the memory and contribute to a disciplined, clear structural impression.
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10

Manning, Jane. "CHARLOTTE BRAY (b. 1982)Sonnets and Love Songs (2011)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 15–19. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0006.

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Abstract:
This chapter assesses British composer Charlotte Bray’s Sonnets and Love Songs (2011). Bray’s musical style is cohesive, fluent, and evocative, with a strong harmonic sense and tonalities occasionally reminiscent of the English Romantics, albeit with a modernist ‘take’. The texts are by the distinguished Portuguese poet Fernando Pessoa, who revered Shakespeare as his model. They concern complex philosophical issues and dilemmas of life and love—three of the poems are actual sonnets. The composer has assembled her selection to describe a clear trajectory: from musings on innocence, through turbulence, to eventual liberation—an ambitious, bold concept, achieved with assurance. There is no getting away from the fact that the cycle demands a singer of exceptional accomplishment—the wide compass might indicate a bass-baritone, but the upper range is exploited mercilessly. Indeed, notes frequently have be held high in the voice, and many end with diminuendos, requiring technical skill in travelling through register changes.
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