Duration: 1’30”

Text: “Reaching Out” by Kimberly Osberg

Range: Ab3 - C6**

Commissioner: Stephanie Lamprea (Website | YouTube)

Soprano Stephanie Lamprea commissioned this short work for unaccompanied voice as part of both the Commissions from Quarantine commissioning project, and for the first volume of her Tiny Works recordings. Using quick turns, expressive glissandi, powerful arrivals, audible breath, and a wide array of dynamics, Something About Isolation showcases both technical variety and emotional catharsis for any voice.

Pricing

Digital: $0!

All works in the Commissions from Quarantine series are available for free.

**Available in other keys upon request (no additional fee)

Duration: 6’00”

Text: “You, Us, Me” by Kimberly Osberg

Range: Bb2 - Bb4

Commissioner: Christopher Rodriguez (Website | YouTube)

You, Us, Me reflects on a past relationship. Throughout the course of the work, it becomes clear that the speaker and the person they were in a relationship with admired different things about their relationship. The speaker reflects “…you loved us, and I loved you.” With sharp contrasts in tone, an expansive range, and a variety of moods, this dynamic work creates a space for both empathy and reflection. This work was commissioned as part of the Spring Forward series.

Pricing

Digital: $8

Available in other keys at no additional cost.

Duration: 5’45”

Text: “Think’st Thou Then By Thy Feigning Sleep” by John Dunne

Range: F3 - A5

Commissioner: Jannis Wichmann

Commissioned as part of the Project 12 series, Jannis Wichmann (guitar) commissioned this setting of John Dunne’s Think’st Thou Then By Thy Feigning Sleep as part of a concert of works juxtaposing modern and traditional settings of the same text—tasking composers to draw out the somewhat problematic nature of some of his texts. In this poem, the speaker believes a woman to feigning sleep to fend off his advances, stating that a sleeping woman is no less tempting to touch (and may even be moreso). The work attempts to capture both the speaker’s perspective of playful sweetness, as well as a somewhat insidious undertone of how modern readers might approach these words.

Pricing

Digital: $8

Available in other keys at no additional cost

Justin Parish, vocalist

Duration: 8’00”

Text: “Hombres Necios” by Sor Inés de la Cruz (d. 1695). This poem is in Spanish.

Range: F#3 (Bb3) - F6

Commissioner: Whistling Hens (Website | YouTube | Bandcamp)

Commissioned by Whistling Hens (Natalie Groom, clarinet and Jennifer Piazza-Pick, soprano) in the fall of 2022, Hombres Necios is a setting of a poem by the same name from Sor Juana Inés de la Cruz—a Mexican writer, philosopher, composer, poet, and Hieronymite nun (1648-1695). Her clever turns of phrase and directness in sharing her insights (that are all too familiar today) inspired playful, wry, and lyrical lines that eventually transform into intense, dramatic gestures as the poem reaches its conclusion. This challenging work is a true showcase piece, providing ample opportunity for both singer and instrumentalist to highlight their artistic interpretation and technical skill.

Pricing

Digital: $25

PDF includes a full score, as well as solo parts for the flute, viola, and harp formatted for page turns.

This operetta is in multiple acts:

I. Trio I (2’45”)
II. Tenor Aria (6’30”)
III. Mezzo Aria (9’00”)
IV. Baritone Aria (10’45”)
V. Trio II (3’00”)

Ranges:

Mezzo-Soprano - G#3 (or B3) - Ab5
Tenor - C3 - B4
Baritone - G2 - G4

Instrumentation:
Flute, Oboe, Clarinet, Alto Saxophone, Bassoon, Horn 1&2, Trumpet (in C or Bb), Trombone, Bass Trombone (or Tuba), Percussion (2 players), Harp, Piano, String Quartet, and Double Bass

Percussion Instrumentation:
Bass Drum, Vibraphone, Triangle, Tambourine, Tam-Tam, Claves, Crash Cymbal, Suspended Cymbal, Timpani, Temple Blocks, Wind Chimes

Duration: 9’15”

Text: “Prometeo” by Mauricio Herrera (b. 1994). This text is in Spanish.

Commissioner: Conrad Sclar (Website)

Vocalist Range: G3-C6 or G2-C5

Commissioned by Conrad Sclar, Prometeo sets a poem by the same name by Mauricio Herrera. The poem is a contemplation on the Prometheus myth, and its consequences on humanity. Beginning dark and simple, the vocalist and violist weave in and out—slowly building and brightening as the music swells in preparation for the arrival of Prometheus. Mixing freely spoken text, rhythmic sprechstimme, and full-voiced singing, the vocalist and violist both work to create highly dramatic shifts in tone, as the text describes both the actions of Prometheus and their consequences on the land and its people. With a mix of coloristic effects in the viola, rich text painting, a wide array of textures, and theatrical pacing throughout, the work is a true showcase piece.

Pricing*

Digital: $12

PDF includes a full score, as well as an optional isolated part for viola. Also includes full text and translation.

*this work is in pre-order status. Delivery date is June 2024

Vocal Ranges:

Sopranos: Db4–B5
Soprano Solo: D4–Bb5

Altos: F3–E5
Alto Solo: Eb3–Eb4

Tenors: C3–A4
Tenor Solo: D3–Bb4

Basses: Db2–E4
Bass Solo: G2–D4

This work features a series of solos, which can either be performed by single soloists or split amongst chorus members as appropriate. A guide for splitting the solos up is included in the PDF.

This work is in 12 movements:

1. Introduction (0’10”)
2. Chapter One: My Father Meets The Cat (1’30”)
3. Chapter Two, Part One: My Father Wanted to Fly (3’30”)
4. Chapter Two, Part Two: My Father Runs Away (1’30”)
5. Chapter Three: My Father Finds the Island (2’15”)
6. Chapter Four: My Father Finds the River (1’30”)
7. Chapter Five: My Father Finds Some Tigers (2’00”)
8. Chapter Six: My Father Meets a Rhinoceros (3’15”)
9. Chapter Seven: My Father Meets a Lion (3’30”)
10. Chapter Eight: My Father Meets a Gorilla (2’30”)
11. Chapter Nine: My Father Makes a Bridge (3’30”)
12. Chapter Ten: My Father Finds the Dragon (3’30”)

Duration: 20’00” (creature feature) | 25’00” (instrumental) | 30’00” (complete)

Commissioner: tuo duo - Emlyn Johnson, Daniel Ketter (Website)

My Father's Dragon is a tone poem of the children's story of the same name by Ruth Stiles Gannett; the story is about a young boy, Elmer Elevator, who runs away to Wild Island to rescue a baby Dragon. The work follows Elmer through each segment of his adventure—from his fateful meeting with an old alley cat, to the shores of Tangerina, deep in the jungles of Wild Island, and in the face of every danger he comes across on his way to the dragon. Lyrical, whimsical, quirky, and dynamic, My Father's Dragon is sure to provide a unique and fun challenge to any duo—and an unforgettable experience for listeners of all ages.

About the versions:

This work is designed to be as modular as possible, with versions with and without narration, as well as the option to perform only only the second half the work (“creature feature option,” for a total of 15’00”). You can read more about the different versions below.

“Complete with narration” is a full score that includes the narration embedded into the score, and should be performed with a third person reading the text over the music. This version can be done in its entirety (about 30’00”), or with the option of starting halfway through for those wanting to focus solely on the animal movements (“creature feature” version, movements 7-12, 15’00”). This version is best for those who wish to perform the work with guest narrators. Those who wish to perform without narration may prefer one of the other options if the text proves distracting in the score.

“Narration between movements” is meant for duos who wish to include narration without a third person performing—the narration happening prior to each movement with a single instrument playing a vamp under the narration. After the reading is finished, the music can seamlessly continue from the vamp into the movement proper. Please note: While this makes the movements shorter (not having to vamp under a narrator), it can still result in a longer run time depending on the pace of whoever is reading. Due to the formatting, this version also includes the flexibility to play each movement without narration, and may be best for groups who wish to have the ability to do either option and without relying on a third person.

“Instrumental only” is best for groups that do NOT plan to incorporate the text at all, as it only includes the musical material. This is also the shortest version, usually taking about 23’00”-25’00” depending on tempos and durations between movements.

Pricing**

Complete with narration

Full score, digital: $70

Per movement, digital: $15

Narration between movements

Full score, digital: $65

Per movement, digital: $12

Instrumental only

Full score, digital: $55

Per movement, digital: $10

To read more about this work, visit the blog post linked here.

This work is in four movements:

1. Fully-Functional (5’30”)
2. Lost in Thought (5’30”)
3. Meditation (3’15”)
4. Just Background Noise (5’45”)

Difficulty: Intermediate college to professional

Instrumentation: Baritone and Mezzo Soprano Soloists, Piccolo, Flute 1&2, Oboe, Bassoon, Clarinet 1&2, Bass Clarinet, Alto Sax 1&2, Tenor Sax, Bari Sax, Horn in F 1-4, Trumpets in Bb 1-3, Trombones 1-3, Euphonium, Tuba, Piano, and Percussion (5 players)

Percussion Used: Snare Drum, Bongos, Toms (3), Bass Drum, Marimba, Bells, Vibraphone, Suspend Cymbal, Splash Cymbal, Hi-Hat, Tam-Tam, Tambourine, Temple Blocks, 3 bows needed

Duration: 20’00”

Text: “The Noise” by Kimberly R. Osberg

Range: Mezzo-Soprano (G3 - A5), Baritone (C3-G4)

Commissioner: Andrew Chybowski, Pittsburg State University Wind Ensemble (2019), and an updated version by Justin Mertz, University of Northern Iowa Symphonic Band (2023).

Commissioned by the Pittsburg State University Wind Ensemble (Dr. Andrew Chybowski). The Noise explores a personal experience living with, succumbing to, fighting against, and coping with anxiety. An excerpt from the final movement reflects what I feel to be the essence of the work’s message:

I don’t know if there are answers

to the despair, the loneliness, the pain.

But if the voices can’t be silenced,

I hope the noise can change.

Pricing

Full score, digital: $50

Per movement, digital: $25

PDF includes a full score (transposed and/or in C) and solo parts* for each performer, formatted for page turns.

*Piano reduction included for vocalists, but is not intended for performance.

Difficulty: Intermediate college to professional

Instrumentation: Flute, Clarinet in Bb, Bassoon, Percussion (1 player), Piano, and Strings [div 4.2.2.1], plus optional narration or projected text

Percussion Used: Snare Drum, Bass Drum, Marimba (Low Db), Suspended Cymbal, Temple Blocks

Difficulty: Intermediate college to professional

Instrumentation: Mezzo-Soprano Soloist, Flute, Oboe, Clarinet in Bb, Bassoon, Horn in F, Trumpet in C, Trombone, Bass Trombone, Percussion (2 players), Harp, Piano, String Quartet, and Double Bass

Percussion Used: Claves, Temple Blocks, Triangle, Suspended Cymbal, Vibraphone, Bass Drum, Snare Drum

Duration: 9’00”

Vocal Range: A3-B5

Text: “hashtagmasonjar” by Kimberly R. Osberg

I had long been fascinated with the process people undergo when they post on social media. hashtagmasonjar explores the inner monologue of a user as she puts together a simple post consisting of a selfie with some hashtags.

The work goes through details about the post itself, a lengthy attempt at picking a flattering filter for the posted photo, reactions to receiving likes to her post, as well as some passing thoughts about the comments left on her post and the people posting them. Throughout the work, we get glimpses of other relationships and conflicts she hasn’t shared.

The work’s innate theatricality, angular text-setting, simple pitch material, and melodramatic musical gestures contribute to a quirky—yet ultimately relatable—work about the social media we use every day.

Pricing

Digital: $35

PDF includes a full score (transposed and/or in C) and individual parts* formatted for page turns.

*Piano reduction included for vocalists, but is not intended for performance.