"What We Did Not Know" by Scott Gendel, on the poetry of Perry Brass. Performed by bass-baritone Zach Coates and pianist Allan Armstrong.

What We Did Not Know

A Feather At Times Square

"How to Believe in Magic" by Scott Gendel, 7 songs for voice and piano on the poetry of Camille Inkwell.  Demo versions performed (both voice & piano) by the composer.

How to Believe in Magic

magic

your letter

like a river

gravity

my broken heart

in love with love

too much time

"The Masculine" excerpt from mvt. 1 of "Women Who Kill" a contemporary song cycle by Victoria Malawey. Score available from dulcamarapress.com

Women Who Kill

Women Who Kill Mvt 1 Excerpt

"The Witch" excerpt from mvt 5 of "Women Who Kill" contemporary song cycle by Victoria Malawey. Score available at dulcamarapress.com

Women Who Kill Mvt 5 Excerpt

"Come slowly, Eden" excerpt from 3rd movement of "Four Poems by Emily Dickinson", a contemporary choral song cycle by Leslee Wood. Sheet music available at dulcamarapress.com

Four Poems by Emily Dickinson

Four Poems by Emily Dickinson mvt.3 clip

"To Make a Prairie" excerpt from mvt 4 of "Four Poems by Emily Dickinson", a contemporary choral song cycle by Leslee Wood. Sheet music available from Dulcamara Press. dulcamarapress.com

Four Poems by Emily Dickinson mvt. 4 clip

"Wild Nights" excerpt from mvt 2 of "Four Poems by Emily Dickinson", a contemporary choral song cycle by Leslee Wood. Sheet music available from Dulcamara Press. dulcamarapress.com

Four Poems by Emily Dickinson mvt 2 clip

The seemingly unconnected nature of words mingling with instrumental sounds lend themselves to an air of pretentious flourishes of superficiality, whose echoes of veracity and untruth reverberate in equal measure. Our realities and perceptions shaped by the expectations of what may be expressed, a palimpsest of all our cumulative experiences makes us question, anticipate, and judge the message or the art of the poet, their intention. Funnily enough in this absurd notion of how or what should the work of the composer be with the text, in all its tedium and criticism, they deftly try to fuse their and the poet’s figure in a bizarre pentimento to make every inquisitive notion both suggested and negated. To share their words and the poet’s music. Accepted and denied. North and south. Up and down.

Nada, poem by Julia de Burgos

Premiered at Elebash Hall, Graduate Center CUNY by:
Christopher Herbert
Josh Modney
Yezu Woo
Martine Thomas
Mariel Roberts

II. Nada, from reflejo cristalino, onírico, pétreo

Pentimenti means 'regrets' in Italian, yet it is also a term used in art history to describe a visible trace of earlier painting on a canvas. The music and the words play with that double definition in this piece. 

Recording by Eve Codman (soprano) and Helena Zyskowska (organ).

Pentimenti | Regrets

Dreamer, a song for soprano, piano and violin, written for soprano Megan Mead's final recital at Trinity Laban Conservatoire of Music and Dance. Performed in the Peacock Room, Old Royal Naval College, Greenwich, London. Soprano - Megan Mead, Piano - Rianka Bouwmeester, Violin - Grace Byrne.

Dreamer (Live) - from 'Just Keep Blooming' song cycle

PHCD 126 brings together three of Ned Rorem’s most compelling vocal cycles, each revealing his unmatched sensitivity to text, color, and emotional nuance. Ariel, written for soprano Phyllis Curtin, sets Sylvia Plath’s searing poems with a clarity and intensity that mirror the poet’s inner landscape. Gloria, for mixed voices and soloists, blends devotional lyricism with Rorem’s characteristic harmonic warmth. King Midas, a dramatic scena for tenor and ensemble, showcases the composer’s gift for narrative pacing and expressive detail. Featuring performances by Curtin, Helen Vanni, Sandra Walker, John Stewart, Joseph Rabbai, and Rorem himself at the piano, this collection stands as a definitive document of the composer’s intimate, text‑driven style.

“Ariel” was a gift to my friend Phyllis Curtin. the cycle was composed in New York during May, 1971, and first performed by Phyllis Curtin, with clarinetist David Glazer and pianist Ryan Edwards, at the library of Congress in Washington on November 26. Ariel is a setting of five poems of Sylvia Plath.

“Gloria” was composed during May and June of 1970, in new York and at the MacDowell Colony in New Hampshire. It is a gift to all singers who bemoan the lack of duets. These nine Latin songs are only part of an unending series I am projecting, for various pairings and combinations, of varying difficulty, trios and quartets and-why not?-vocal octets, mostly in England, and mostly for the fun of it. The first performance took place on James Holmes’ Chapel Concerts Series, on November 26, 1972, when Phyllis Curtin was joined by mezzo Helen Vanni, and by the composer at the piano, at the Chapel of the Intercession in New York City.

“King Midas”, a cycle of ten songs for two voices alternating, was composed in Paris during the late spring of 1961 (except for “The Princess’ Song” which was written in 1956 and published as “See How They Love Me). The first complete performance was given on March 11, 1962 at the fourth and final Rorem-Flanagan recital in Carnegie Recital Hall, by tenor David Lloyd, soprano Veronica Tyler, with the composer at the piano. www.phoenixcd.com

NED ROREM: Ariel, Gloria, King Midas

Buy PHCD 126

Ariel - Five Poems Of Sylvia Plath - WORDS

Composer / Pianist / Vocal Coach / Tenor / Composition Teacher / Rock Musician / Musical Polymath

Phoenix USA Recordings is an independent American label dedicated to preserving and presenting exceptional performances across classical, jazz, film music, and instrumental traditions. The catalog spans newly restored historical recordings, important contemporary releases, and rare archival material rescued from private collections, radio broadcasts, and long‑unavailable LPs.

With a focus on clarity, authenticity, and historical accuracy, Phoenix USA specializes in meticulous audio restoration and authoritative documentation. Its classical catalog highlights major 20th‑century performers and ensembles; its Four Star Jazz and related jazz releases preserve essential American studio and live sessions; and its music‑from‑the‑movies and wide range of instrumental recordings broaden the label’s reach across genres and audiences.

Phoenix USA releases are available worldwide on all major streaming platforms, with physical and digital editions offered through the label’s online store. The mission remains constant: to bring important performances—classical, jazz, cinematic, and instrumental—back into the public ear with the respect and fidelity they deserve.

Known for his compelling, expressive and socially aware music, Puerto Rican composer Julio Elvin Quiñones writes works that are imbued with visceral gestures, intuition and represent every aspect of his identity.

His music has been performed by many ensembles like the Conservatory of Music of Puerto Rico’s Symphony Orchestra and Concert Band, the Omnibus Ensemble, the JACK Quartet, loadbang, Ensemble Dal Niente and Talea Ensemble; additionally he’s also been performed by known soloists: Katsyarina Shaposhka, James Alexander, Hakeem Davison and Katherine Needleman. 

Julio is currently pursuing his doctoral studies at the Graduate Center CUNY, having studied with Suzanne Farrin, Jason Eckhardt and Jeff Nichols. He holds a Master's degree from the Peabody Conservatory with Michael Hersch and a Bachelor's Degree from the Conservatorio de Música de Puerto Rico with Alfonso Fuentes.

Leo Holder, a London-based composer, orchestrator, arranger and producer.

New tracks tagged #songcycle