(For High Voice And Piano). By Lowell Liebermann. For high voice solo, piano. Contemporary. Piano reduction/Vocal Score. Standard notation. Opus 22. 8 pages. Duration 6 minutes. Published by Theodore Presser Company

(High Voice Edition with CD of Piano Accompaniments). By Various. For High Voice, Piano Accompaniments. Vocal Collection. Book with CD. 64 pages. Published by Hal Leonard

(5 Songs for High Voice and Orchestra). By Ricky Ian Gordon. Solo instrument with accompaniment. For Voice, Piano. E. e. cummings. East Lansing, MI; Soprano, Melanie Helton, conducted by Raphael Jimenez.. Contemporary. Performance score. Standard notation. Duration 21 minutes. Published by Theodore Presser Company

By Donald Martino (1931-2005). For High Voice and Piano. This edition: High Voice and Piano. Contemporary Classical. Contemporary Classical. Grade 5. Sheet Music

(10 Contemporary Solos for Female Voice and Piano). Edited by Sally K. Albrecht. For with Piano (Female voice). Book; CD; Vocal Collection. Contemporary; Love. Published by Alfred Music Publishing

By Donald Martino. For High Voice and Piano. This edition: High Voice and Piano. Contemporary Classical. Contemporary Classical. Sheet Music. Published by Dantalian, Inc.
Level: Grade 5.

(A Cycle of 10 Songs to Poems by Women for High Voice and Piano). By David Leisner (1953-). Solo instrument with accompaniment. For High Voice, Piano. This edition: High Voice and Piano. Poems by Emily Dickinson, Emily Bronte, Gene Scaramellino, and Elissa Ely. World Premiere: Jordan Hall, Boston: Sanford Sylvan, Baritone; Patricia Thom, Piano. Contemporary. Piano reduction/vocal score. Standard notation. 52 pages. Duration 30 minutes. Published by Theodore Presser Company

(10 Contemporary Arrangements for Solo Voice and Piano (High Voice)). Edited by Sally K. Albrecht. For with Piano (High voice (Medium-High)). Book; CD; Vocal Collection. 72 pages. Published by Alfred Music Publishing

By John Craton. Voice and piano. For High voice, piano. Vocal music. Setting of 6 traditional children's poems. Contemporary. Sheet music. 44 pages. Duration various. Published by Wolfhead Music. (WM704) Level: Moderate.

By John Craton. Voice and piano. For High voice, piano. Vocal music. Setting of 8 traditional children's poems. Contemporary. Sheet music. 43 pages. Duration various. Published by Wolfhead Music. (WM703) Level: Moderate.

By John Craton. Voice and piano. For High voice, piano. Vocal music. A cycle of five songs with poetic texts by French-Canadian poet Emile Nelligan. Contemporary. Sheet music. 18 pages. Duration 16:00. Published by Wolfhead Music. (WM701) Level: Moderately advanced.

Chamber Music High voice, Piano

SKU: PR.UE037980

Op. 21. Composed by Richard Strauss. Collection - Score. 16 pages. Universal Edition #UE037980. Published by Universal Edition (PR.UE037980).

ISBN 9783702475505. UPC: 803452072614. German, English.

Richard Strauss, an early Modern composer and contemporary of Gustav Mahler, is best known for his operas (Salome, Der Rosenkavalier, Elektra, and many more) and was also a prolific composer of lieder. This new edition of his Schlichte Weisen is based on the Richard Strauss Works Critical Edition with English translation by John Bernhoff.

By Thomas Fettke. For high voice (medium voice), piano. Sacred Vocal. Book/CD Combo. Published by Lillenas Publishing Company

(12 Contemporary Settings of Favorites from the Great American Songbook for Solo Voice and Piano (High Voice)). Arranged by Jay Althouse. For Medium High Voice. Vocal Collection. Book. 64 pages. Published by Alfred Music Publishing

(Three Decades of Inspirational Song). By Thomas Fettke. For medium high voice solo and piano. Sacred Vocal. Published by Lillenas Publishing Company

Chamber Music High voice, Piano

SKU: PR.111402890

Composed by Ricky Ian Gordon. Full score. 44 pages. Duration 20 minutes. Theodore Presser Company #111-40289. Published by Theodore Presser Company (PR.111402890).

ISBN 9781491134672. UPC: 680160685264.

What� �??s in a name? While the title is French for â??Eight Flower Songs,â? the texts are all in English. The poemsâ?? flowers metaphorically evoke fragrance, love and loss, life and death, rebirth and regrowth. Perhaps the texture and beauty of Gordonâ??s music are themselves French. The 20-minute song cycle draws on poems from Wordsworth to Dorothy Parker, as well as from contemporary poets including the composer himself.
When So-Chung Shinn came to me with the idea of commissioning a song cycle with her spectacular husband Tony Lee, she had in mind something having to do with flowers. Tony had asked her what she wanted for her birthday, and she said she wanted to be behind the creating of a new work. Lucky me, I was the recipient of the commission. So-Chung sent me a little description of all the flowers she loves, but I had to take the idea and create a narrative in my head.It is always a matter of pleasing the commissioner, yet coming up with something you can get behind and hear music for as well. I already knew I wanted to use my â??Tulipsâ? poem which is really about the arc of a relationship as represented through the life span of the Tulips, and, in many ways, disappointment; and Dorothy Parkerâ??s â??One Perfect Rose,â? which is wry, bitter, cynical, and funny, in a way only Dorothy Parker can so pithily express.I thought of Jane Kenyonâ??s exquisite â??Peonies at Dusk,â? because knowing she died so young (46) of leukemia, the poem has such a particular resonance, almost humanizing the Peonies, casting the moon as a sentient being, illustrating so beautifully how connected everything is, alive here, and revolving around these exquisite blossoms. Then, I remembered her husband Donald Hallâ??s poem â??Her Garden,â? which he wrote after Jane died, his grief intermingled with his inability to care for what she had created, to keep alive what so represented her aliveness, broken as he was, and I felt I already had a story.I found the Wordsworth, because it felt like pure joy to me, but also, if each of the songs has a color in my head, â??The Daffodilsâ? is pure yellow and a good place to start. My partner Kevin and I live on a lake, and every year, the first Daffodils, the shock of yellows, the oranges, the blinding whites, after the long snowy winters, sing of the newness that is about to enfold us in its green miraculousness.At first, the cycle ended with the Langston Hughes poem â??Cycle,â? or â??New Flowers,â? because it was lovely, and about rebirth, which is obviously optimistic, and apt, but then, my friend Telmo Dos Santos, a wonderful Canadian poet whom I met at Banff, sent me his poem â??Afterlife With Lilacs,â? having no idea what I was working on. I felt I had to add it because it is so dazzling, and it immediately felt like the missing link. Finally, there were unfortunately rights issues, namely, we could not, no how, get in touch with the Langston Hughes Estate, after so many happy collaborations.After almost a yearâ??s frustration, I wrote my own text, â??Play, Orpheus,â? which ended up being fortuitous, because the first time I met So-Chung, she entered the room and the most exquisite scent of Lillies of the Valley, Muguet de Bois, filled the room. I went right over to her and rudely put my nose to her neck, for the intoxication of the scent. So â??Play, Orpheusâ? is for So-Chung, to remind us of the precious treasures of this world flowers remind us of. Everything and everyone lives and dies, lives and dies. Death and resurrection.And of course, this is music, this is song, so the inclusion of the God of music, Orpheus, seems apt. Huit Chansons de Fleurs is really about what flowers represent, their radiance, their flickering impermanence, the way they are used to celebrate, as well as to mourn...... and of course, their fragrance. Their fragrance.Ricky Ian GordonJuly 28, 2021.

12 Contemporary Settings of Favorites from the Great American Songbook for Solo Voice and Piano. Arranged by Jay Althouse. For Voice. (Medium High Voice). Vocal Collection. Level: High School and Adult. Book and CD. 64 pages. Published by Alfred Publishing.