Composer
Setting of the poem “Emergency Guidelines”, by Martha McCollough. For soprano and ten instruments (woodwind quintet + string quintet). Duration ca. 4:00.
Performance (video, audio only), by Megan Cullen, soprano, with John Kendall Bailey conducting the San Francisco Composers Chamber Orchestra, May 13, 2023.
Aria for mezzo-soprano, composed for Really Spicy Opera‘s Aria Institute. Libretto by Sandra Flores-Strand.
Performance (YouTube) — Lisa Neher, mezzo, with Jodi Goble, piano.
The prompt was this brief scene in Deep Space Nine — see Wikipedia for more.
Setting of the poem by Charlotte Mew, for mezzo-soprano (or other voice) and piano. A bit in the vein of a jazz standard.
Score (PDF)
Performance (MP3) by Zahra Rothschild, mezzo, and me at the piano.
A Neapolitan Christmas carol. The tune is a bit different from the well-known version — I believe the source is The International Book of Christmas Carols (Prentice Hall, 1963). For choir SATB and piano.
Recording, by the San Francisco Bach Choir. (Magen Solomon, director — Steven Bailey, pianist.)
Duet for violin and piano, composed November 2021.
Score (PDF)
Violin part (PDF)
Synthesized demo of violin part (MP3)
Solo piece for trombone, written for Brent Mead in the Great Plains Composers’ Workshop.
A setting of the Herman Melville poem, for choir and piano. SATB with brief divisi.
Two songs for soprano and piano, from poems by William Morris. (Yes, that William Morris.)
Chamber opera in one act, after the play by W. B. Yeats. Four singing roles:
There’s also a non-singing part for a dancer, playing the hawk-spirit that guards the well.
Vocal score (PDF). I expect to arrange this for whatever small forces are available.
The only bit that’s been recorded is an aria, “I came like you”, with Caleb Lewis, baritone.
Songs for voice and piano, with texts from three different writers, composed over the last two years.
“Virtue” is performed by Morgan Balfour, soprano, with James Maverick, piano. “Piano” and “I came like you” are performed by Caleb Lewis, baritone, with Gabe Merrill-Steskal, piano.
The Yeats is part of a complete setting of the play At the Hawk’s Well as a one-act chamber opera.
Vance Maverick 