Edward T. Cone - Choral & Solo Vocal Works

Choral & Solo Vocal Works

CHORUS & ORCHESTRA
  • Two Psalms for Chorus and Orchestra (1948) SSATBB/orchestra.
CHORUS, SOLO VOICE, & ORCHESTRA
  • The Hollow Men (1950) TTBB/tenor & baritone soloists/winds/percussion.
  • The Lotos-Eaters (1946) TTBB/tenor & bass soloists/orchestra.
CHORUS & SMALL ENSEMBLE
  • Around the Year (1956) (SATB)/2 violins/viola/cello. Text: Walter de la Mare.
CHORUS & KEYBOARD
  • Fantasy on an Advent Hymn (1948) organ/ (optional TBB).
  • In the Last Days (1957) SATB/piano.
  • Let Us Now Praise Famous Men (1946) TTBB/tenor solo/organ.
  • A Memory (1947) TTBB/piano.
  • Veni Creator Spiritus (1950) TBB/organ.
A CAPELLA CHORUS
  • Excursions (1946) SSATBB.
  • Petit Chant de Noel (1955) SATBB. Text: Gabriel Vahanian.
  • Songs of Innocence and Experience (after 1996) SATB. Text: William Blake
  • Three Miniatures (1948) TTBB. Text: James Stephens.
  • Two Limericks (1965) SATB.
  • Two Songs from Shakespeare (1972) SATB.
SOLO VOICE & ORCHESTRA
  • Dover Beach (1941) baritone/orchestra.
  • The Duchess of Malfi (1954) contralto, tenor, bass/orchestra.
  • La Figlia che Piange (1962) tenor/chamber orchestra.
SOLO VOICE & SMALL ENSEMBLE
  • Four Lyrics from Yeats (after 1996) medium voice/2 violins/viola/cello. Text: W. B. Yeats.
  • Ozymandias (1989) soprano/oboe/clarinet/bassoon/piano.
  • Philomela (1970) soprano/flute/viola/piano.
  • Scarabs (1948) soprano/2 violins/viola/cello. Text: R. P. Blackmur.
  • Two Gardens (1986) soprano/2 violins/viola/cello/piano. Text: Joyce Carol Oates.
SOLO VOICE & SINGLE INSTRUMENT
  • Bells in Tower at Evening Toll (1940) voice/piano.
  • Cover Me Over, Clover (n.d.) voice/piano. Text: Richard Eberhart.
  • Dover Beach (1941) baritone/piano.
  • An Epitaph (1940) voice/piano.
  • Four Songs from Mythical Story (1961) soprano/piano.
  • If It Chance Your Eye Offend You (1940) voice/piano.
  • In the Morning (1940) voice/piano.
  • Into My Heart (1940) voice/piano.
  • Loveliest of Trees (1940) voice/piano.
  • Mona Lisa (1940) voice/piano.
  • New Weather (1993) tenor or soprano/piano. Text: Paul Muldoon.
  • Nine Lyrics from Tennyson's “In Memoriam” (1978) baritone/piano. Text: Alfred Tennyson
  • Parta Quies (1940) voice/piano.
  • Psalm CXXI (1973) soprano/organ.
  • The Shell (1948) contralto/piano.
  • Silent Noon (1959) soprano/piano.
  • Sir Thomas' House (1948) soprano/flute. Text: John Berryman.
  • Solace (1990) soprano/piano. Text: Richard Eberhart.
  • The Street Sounds to the Soldier’s Tread (1940) voice/piano.
  • Three Songs from Pippa Passes (after 1996) mezzo-soprano/piano. Text: Robert Browning.
  • Triptych (1950) tenor or soprano/piano. Text; John Berryman.
  • Two Women (1987) soprano/piano.
  • With Rue My Heart is Laden (1940) voice/piano.

Read more about this topic:  Edward T. Cone

Famous quotes containing the words solo, vocal and/or works:

    “All mothers need instruction, nurturing, and an understanding mentor after the birth of a baby, but in this age of fast foods, fast tracks, and fast lanes, it doesn’t always happen. While we live in a society that provides recognition for just about every life event—from baptisms to bar mitzvahs, from wedding vows to funeral rites—the entry into parenting seems to be a solo flight, with nothing and no one to mark formally the new mom’s entry into motherhood.”
    —Sally Placksin (20th century)

    “With sweet May dews my wings were wet,
    And Phoebus fir’d my vocal rage;
    He caught me in his silken net,
    And shut me in his golden cage.

    He loves to sit and hear me sing,
    Then, laughing, sports and plays with me;
    Then stretches out my golden wing,
    And mocks my loss of liberty.”
    —William Blake (1757–1827)

    “Artists, whatever their medium, make selections from the abounding materials of life, and organize these selections into works that are under the control of the artist.... In relation to the inclusiveness and literally endless intricacy of life, art is arbitrary, symbolic and abstracted. That is its value and the source of its own kind of order and coherence.”
    —Jane Jacobs (b. 1916)