Songs of Love and Parting for High Voice and Piano. 1. Gifts. James Thomson. 2. Shall I Compare Thee. William Shakespeare. 3. A Red, Red Rose. Robert Burns. 4. Peace. Emily Dickinson. 5. Parting. Emily Dickinson. 6. Time Does Not Bring Relief. Edna St. Vincent Millay. 7. Music, When Soft Voices Die. Percy Bysshe Shelley

Notes ◽  
1963 ◽  
Vol 21 (1/2) ◽  
pp. 264
Author(s):  
Eleanor Kulleseid ◽  
Ernest Gold ◽  
James Thomson ◽  
William Shakespeare ◽  
Robert Burns ◽  
...  
Keyword(s):  
William Shakespeare ◽  
Percy Bysshe Shelley ◽  
Emily Dickinson ◽  
High Voice ◽  
Voice And Piano ◽  
James Thomson

Four Dickinson Songs for High Voice and Piano

Notes ◽  
1990 ◽  
Vol 47 (1) ◽  
pp. 230
Author(s):  
John McCauley ◽  
Lee Hoiby ◽  
Emily Dickinson
Keyword(s):  
High Voice ◽  
Voice And Piano

Twelve Poems of Emily Dickinson. Voice and Piano

Notes ◽  
1953 ◽  
Vol 11 (1) ◽  
pp. 159
Author(s):  
Irving Fine ◽  
Emily Dickinson ◽  
Aaron Copland
Keyword(s):  
Emily Dickinson ◽  
Voice And Piano

Six Welsh Folk-Songs; Arr. for High Voice and Piano

Notes ◽  
1988 ◽  
Vol 45 (1) ◽  
pp. 162
Author(s):  
James P. Cassaro ◽  
Alun Hoddinott ◽  
William Bergsma ◽  
Wilhelm Killmayer ◽  
Richard Wernick ◽  
...  
Keyword(s):  
Folk Songs ◽  
High Voice ◽  
Voice And Piano

Thirty-Four Songs on Poems of Emily Dickinson; For Voice and Piano

Notes ◽  
1985 ◽  
Vol 42 (2) ◽  
pp. 408
Author(s):  
Neely Bruce ◽  
Arthur Farwell ◽  
Emily Dickinson
Keyword(s):  
Emily Dickinson ◽  
Voice And Piano

American Artsong Anthology, I: Contemporary American Songs for High Voice and Piano

Notes ◽  
1984 ◽  
Vol 40 (3) ◽  
pp. 651
Author(s):  
Karl Kroeger ◽  
John Belisle
Keyword(s):  
High Voice ◽  
Voice And Piano

Copland's Dickinson Songs

Tempo ◽  
1972 ◽  
pp. 33-37
Author(s):  
Douglas Young
Keyword(s):  
19Th Century ◽  
Song Cycle ◽  
Emily Dickinson ◽  
Art Music ◽  
Charles Ives ◽  
American Composers ◽  
Popular Songs ◽  
Rightful Place ◽  
American Tradition ◽  
Voice And Piano

More than twenty years have passed since the publication of Copland's Twelve Poems of Emily Dickinson, and although the work has been widely praised, it has still to find its rightful place in the repertoire. In several respects it is, indeed, an isolated work. Composed between March 1949 and March 1950, it was Copland's first music for solo voice and piano since 1928, and has remained his only song-cycle (apart from the sets of American popular songs). The choice of poems is unusual; but the genre itself is foreign to the American ‘tradition’. The fact that relatively few American composers have entered this field perhaps reflects a desire to avoid direct comparison with 19th century European models. Charles Ives wrote many songs but no cycles, and the best of them are without musical ancestry (or direct progeny); if influences can be discerned they are from outside the field of ‘art’ music. So it is remarkable that Copland's cycle calls to mind the French mélodie, and particularly Fauré.

Music That Brings Sweet Sleep; Song Cycle for High Voice and Piano

Notes ◽  
1974 ◽  
Vol 31 (2) ◽  
pp. 403
Author(s):  
Myron Myers ◽  
Richard Stoker ◽  
Tennyson ◽  
Du Maurier ◽  
Herrick ◽  
...  
Keyword(s):  
Song Cycle ◽  
High Voice ◽  
Voice And Piano

Four Shakespeare Songs; For High Voice and Piano

Notes ◽  
1987 ◽  
Vol 44 (1) ◽  
pp. 168
Author(s):  
Gene Leonardi ◽  
David Amram
Keyword(s):  
High Voice ◽  
Voice And Piano

Nachtlied; High Voice and Piano

Notes ◽  
1986 ◽  
Vol 42 (4) ◽  
pp. 865
Author(s):  
Ruth Landes Drucker ◽  
Charles Griffes ◽  
Donna K. Anderson ◽  
Emanuel Geibel
Keyword(s):  
High Voice ◽  
Voice And Piano
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