| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | |
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1 | Composer | Composer Dates | Nationality | Musical Era | Song Title | Song Set or Cycle | Date of Composition | Poet | Voice Type | Level | Range | Tessitura | Language | Accompaniment | Vocal Line | Score Available | ||||||||||
2 | Anne Boleyn | 1501/07-1536 | English | Baroque | O Deathe, rock me asleepe | 1536 | Medium | Beginner | F4-D5 | G4-D5 | English | Depending on the adaptation. Occasionally doubles the vocal melodic line. Blocked chords. | Small vocal range. Requires sostenuto singing and frequent quiet dynamics. Good for working on text interpretation. Melody is primarily scalar. | "Historical Anthology of Music by Women," Indiana University Press https://www.worldcat.org/title/historical-anthology-of-music-by-women/oclc/13945768 | ||||||||||||
3 | Francesca Caccini | 1587-1640 | Italian | Baroque | Per la piu vaga e bella | High | Intermediate | G4-F5 | G4-E5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Repetitive scalar figures throughout. Simple vocal line and rhythms with a smaller range. Would be good for an intermediate singer working on stylistic interpretation. Shorter song. Only sustains at the ends of phrases. | "Old Masters of Bel Canto," Masters Music Publications (realized accompaniment) https://www.jwpepper.com/Old-Masters-of-Bel-Canto-Vol-1/7957657.item#/submit | |||||||||||||
4 | Francesca Caccini | 1587-1640 | Italian | Baroque | Ch'amor sio nudo | 1618 | Low | Intermediate | D4-E5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Mixed meter but is straight forward. Can be done by any voice type depending on their comfortable range. Primarily stays in the middle of the register. More sustained. Opportunities for ornamentation. | IMSLP https://imslp.org/wiki/Ch%27amor_sio_nudo_(Caccini,_Francesca) | ||||||||||||
5 | Francesca Caccini | 1587-1640 | Italian | Baroque | Laudate Dominum | 1618 | Medium | Intermediate | D4-F5 | F4-F5 | Latin | Independent piano. Does not double the vocal line. Blocked chords. | Vocal line is both sustained and includes fioritura. Good for a singer looking to work on light coloratura and trills - mostly in the middle register. Requires knowledge of performance practice. Movement is primarily scalar and some leaps of fourths or fifths. Rather long in length. Would be good to program on a recital. | "Historical Anthology of Music by Women," Indiana University Press (basso continuo) https://www.worldcat.org/title/historical-anthology-of-music-by-women/oclc/13945768 | ||||||||||||
6 | Francesca Caccini | 1587-1640 | Italian | Baroque | Maria, dolce Maria | 1618 | Medium | Intermediate | C4-E5 | F4-D5 | Italian | Independent piano. Does not double the vocal line. Blocked chords. | Vocal line is both sustained and includes fioritura. Fioritura mostly occurs in the middle register. Requires knowledge of Baroque performance practice. Movement is primarily scalar and some leaps of thirds, or fourths. | "Historical Anthology of Music by Women," Indiana University Press (basso continuo) https://www.worldcat.org/title/historical-anthology-of-music-by-women/oclc/13945768 | ||||||||||||
7 | Francesca Caccini | 1587-1640 | Italian | Baroque | Aria of the Shepherd | 1625 | High | Intermediate | G4-F5 | G4-E5 | Italian | Accompanied by three flutes. Independent - does not double the voice. | Primarily sostenuto singing. Some leaps and scalar melodic line. Would be good for a younger soprano looking to work on legato. | "Historical Anthology of Music by Women," Indiana University Press (basso continuo) https://www.worldcat.org/title/historical-anthology-of-music-by-women/oclc/13945768 | ||||||||||||
8 | Francesca Caccini | 1587-1640 | Italian | Baroque | Where I Believed | Medium | Beginner | E4-F5 | F4-D5 | Italian | Simple realized accompaniment. Block cords, mostly doubles the vocal melodic line. | Simplified English adaptation of "Dov'io credea le mie speranze vere" appropriate for beginning singers. Does not include ornamented lines and advanced coloratura. | "Royal Conservatory of Music Toronto Songbook Series 6," https://bookstore.rcmusic.com/voice-repertoire-6.html | |||||||||||||
9 | Francesca Caccini | 1587-1640 | Italian | Baroque | Ardo infelice | Primo Libro delle Musiche | 1618 | Medium | Advanced | D4-F5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Quite lengthy - in six parts. Combination of sostenuto singing and more ornamented sections. Fioritura is almost entirely scalar. Has frequent trills. Could be performed by either lower or high voices, as the piece primarily sits in the middle register. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798; "Il primo libro delle musiche," Furore Verlag (continuo realized) | |||||||||||
10 | Francesca Caccini | 1587-1640 | Italian | Baroque | Io mi distruggo, et ardo | Primo Libro delle Musiche | 1618 | Low | Advanced | S: D4-G5; B: F2-D4 | S: G4-D5; B: C3-C4 | Italian | Basso continuo. Some editions will not have a realized accompaniment. Bass line of duet could be played by second instrument or in second hand of the piano. | Duet for soprano and bass. The soprano line has a lower register and mostly stays in the middle register. The bass line has a larger range and wider tessitura. Duet could possibly be done by a mezzo-soprano and baritone as well (baritones may need to find alternative notes). Both lines feature a fair amount of fioritura. Rhythm is more complex - some moving lines include a combination of sixteenth and thirty-second notes. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
11 | Francesca Caccini | 1587-1640 | Italian | Baroque | Lasciatemi qui solo | Primo Libro delle Musiche | 1618 | Medium | Advanced | C4-D5 | D4-B-flat4 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Lengthy - in five parts. Stays in the lower and middle register, could be done by any voice type. Most of the fioritura is in the lower and middle register. Very slow tempo, requires more sostenuto singing. Hauntingly beautiful vocal line. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798; "Il primo libro delle musiche," Furore Verlag (continuo realized) | |||||||||||
12 | Francesca Caccini | 1587-1640 | Italian | Baroque | Io veggio I campi verdeggiar fecondi | Primo Libro delle Musiche | 1618 | Medium | Advanced | C4-D5 | F4-C5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | lower register. Stays in the middle register. Slightly faster tempo and more frequent fioritura. Vocal line and moving passages are scalar. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798; "Il primo libro delle musiche," Furore Verlag (continuo realized) | |||||||||||
13 | Francesca Caccini | 1587-1640 | Italian | Baroque | La pastorella mia | Primo Libro delle Musiche | 1618 | High | Intermediate | D4-G5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Slightly less ornamented in comparison to other compositions from this collection. Vocal line is mostly scalar with some longer phrases. Tempo is slightly faster. Can be done by beginning/intermediate students as long as they are comfortable with more quickly moving passages. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
14 | Francesca Caccini | 1587-1640 | Italian | Baroque | Rendi alle mie speranze il verde | Primo Libro delle Musiche | 1618 | High | Advanced | E-flat4-G5 | G4-F5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Shows off the upper-middle register of the voice - most frequently stays around B-flat4-F5. fioritura increases throughout. Rhythmically more complex in terms of combination of sixteenth and thirty-second rhythms. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
15 | Francesca Caccini | 1587-1640 | Italian | Baroque | Dov'io credea le mie speranze vere | Primo Libro delle Musiche | 1618 | High | Advanced | C4-G5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Rhythmically complex. Moving lines feature a lot of ornamentation in the middle register. Vocal line is scalar with some chromaticism in four parts, but is not too lengthy. Interesting melodic line construction. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798); "Il primo libro delle musiche," Furore Verlag (continuo realized) | |||||||||||
16 | Francesca Caccini | 1587-1640 | Italian | Baroque | S'io men vò | Primo Libro delle Musiche | 1618 | Duet | Intermediate | S: C4-E5; B: F2-B-flat3 | S: F4-D5; B: G2-A3 | Italian | Basso continuo. Some editions will not have a realized accompaniment. Bass line of duet could be played by second instrument or in second hand of the piano. | Duet for soprano and bass. Rhythm and fioritura more simple. Upbeat, lively duet. Both voices tend to move at the same time and are equally active. Treble voice could be done by either mezzo-soprano or soprano because of range and tessitura. Bass line generally sits in the lower part of the voice, but could possibly be changed to better suit a lower baritone. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
17 | Francesca Caccini | 1587-1640 | Italian | Baroque | Non sò se quel sorriso | Primo Libro delle Musiche | 1618 | Medium | Intermediate | F4-F5 | A4-E5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Strophic with 4 verses. Rhythmically simple. fioritura more simple. Tessitura is fairly low. Scalar vocal that moves through the registers. Sustained at the ends of phrases. Lively tempo, good for working fioritura in the middle register. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
18 | Francesca Caccini | 1587-1640 | Italian | Baroque | Chi desia di saper che cosa è Amore | Primo Libro delle Musiche | 1618 | Low | Beginner | D4-D5 | F4-B4 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Strophic with 4 verses. Rhythmically simple. Contains mixed meters, which could be challenging to younger singers. Can be done by any voice type given lower register and tessitura. Vocal line is syllabically set and scalar, featuring almost no leaps. Upbeat and dance-like. More advanced singers should add ornamentation. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798; "Historical Anthology of Music by Women, Volume II" Indiana University Press (basso continuo) http://store.hildegard.com/index.php?main_page=product_info&cPath=124&products_id=445 | |||||||||||
19 | Francesca Caccini | 1587-1640 | Italian | Baroque | Che t'ho fatt'io | Primo Libro delle Musiche | 1618 | Medium | Intermediate | F4-F5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Strophic with 4 verses. Rhythmically simple. Vocal line less ornamented. Features larger intervallic leaps, but vocal line is primarily scalar. In two sections. More advanced singers should add ornamentation. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798; "Il primo libro delle musiche," Furore Verlag (continuo realized) | |||||||||||
20 | Francesca Caccini | 1587-1640 | Italian | Baroque | O vive rose | Primo Libro delle Musiche | 1618 | Low | Intermediate | S: D4-F5; B: F2-D4 | S: G4-D5; B: C3-A3 | Italian | Basso continuo. Some editions will not have a realized accompaniment. Bass line of duet could be played by second instrument or in second hand of the piano. | Duet for soprano and bass. Upbeat and faster tempo. Strophic with 4 verses. Both voices move together and are equally active. Both lines are primarily scalar. Could be done by a mezzo-soprano and baritone (baritone would have to make some adjustments to the lower register). | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
21 | Francesca Caccini | 1587-1640 | Italian | Baroque | Se muove a guirar fede | Primo Libro delle Musiche | 1618 | High | Intermediate | F4-F5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Strophic with 3 verses. Upbeat tempo, not overly complex rhythmically. Moving lines are scalar through the middle register up to the passaggio. Features frequent trills. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
22 | Francesca Caccini | 1587-1640 | Italian | Baroque | Ch'Amor sia nudo | Primo Libro delle Musiche | 1618 | Medium | Intermediate | D4-E5 | G4-C5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Strophic with 4 verses. Overall simple rhythmically but some syncopation could prove more difficult. Primarily scalar. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
23 | Francesca Caccini | 1587-1640 | Italian | Baroque | Fresche aurette | Primo Libro delle Musiche | 1618 | Duet | Intermediate | S: F4-E5; B: G2-D4 | S: G4-D5; B: C3-B3 | Italian | Basso continuo. Some editions will not have a realized accompaniment. Bass line of duet could be played by second instrument or in second hand of the piano. | Duet for soprano and bass. Strophic with 4 verses. Rhythmically more simple. Some ornamentation. Upbeat, lively duet. Both voices tend to move at the same time and are equally active. Treble voice could be done by either mezzo-soprano or soprano because of range and tessitura. Bass line generally sits in the lower part of the voice, but could possibly be changed to better suit a lower baritone. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
24 | Francesca Caccini | 1587-1640 | Italian | Baroque | Dispiegate guancie amate | Primo Libro delle Musiche | 1618 | Medium | Intermediate | G4-F5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Strophic with 5 verses. Shorter overall. Not overly ornamented, good for introducing ornamentation to student. Stays primarily in the middle register. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798; "Il primo libro delle musiche," Furore Verlag (continuo realized) | |||||||||||
25 | Francesca Caccini | 1587-1640 | Italian | Baroque | O chiome belle | Primo Libro delle Musiche | 1618 | Medium | Beginner | G4-F5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Strophic with 5 verses. Rhythmically and vocally simple. Very light ornamentation added by editor. Could be good for introducing Baroque style to younger singers. | "Francesca Caccini's Il primo libro delle musiche of 1618," Indiana University Press (basso continuo) http://www.iupress.indiana.edu/product_info.php?products_id=21798 | |||||||||||
26 | Settimia Caccini | 1591-1661 | Italian | Baroque | Core di questo core | Medium | Beginner | D4-F5 | G4-D5 | Italian | Basso continuo. Some editions will not have a realized accompaniment. | Each verse is in three parts. Each section in a different time signature. Vocal line primarily scalar. Stays in the middle register. Sustained singing. | "The First Solos: Songs by Women Composers, Volume II: Medium Voice" Hildegard Publishing Company http://store.hildegard.com/index.php?main_page=product_info&cPath=124&products_id=445 | |||||||||||||
27 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Chiamata a nuovi amori | Italian | "Cantatas" https://www.worldcat.org/title/cantatas/oclc/12917976 | |||||||||||||||||||
28 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Spesso per entro al petto | Italian | "Women Composers - A Heritage of Song," Hal Leonard https://www.sheetmusicplus.com/title/women-composers-a-heritage-of-song-sheet-music/5543246?aff_id=50330 | |||||||||||||||||||
29 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Amor dormiglione | Cantate, ariette e duetti, Op. 2 | 1651 | Medium | Intermediate | D-sharp4-F-sharp5 | A4-E5 | Italian | Basso continuo - accompaniment not realized. Independent. | Shorter aria. Primarily sostenuto singing. Sections of more declamatory setting with fioritura/ornamentation. Lighter, upbeat. | http://www.acadiau.ca/~gcallon/www/archive/amor.pdf | |||||||||||
30 | Barbara Strozzi | 1619-1677 | Italian | Baroque | L'Eraclito amoroso | Cantate, ariette e duetti, Op. 2: | 1651 | High | Intermediate | B3-G5 | E4-E5 | Italian | Basso continuo - accompaniment not realized. Independent. | Recit section at the beginning. Aria is slower, sostenuto singing, includes some fioritura and ornamentation. Dramatic setting. Approximately 5-6 minutes in length. | https://imslp.org/wiki/Cantate%2C_ariette%2C_e_duetti%2C_Op.2_(Strozzi%2C_Barbara) | |||||||||||
31 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Cuore Che Reprime Alle Lingua Di Manifestare Il Nome Della Sua Cara | 1654 | Medium | Advanced | C4-G5 | D4-E5 | Italian | Basso continuo - accompaniment not realized. Independent. | Lengthy cantata with three sections; could be performed by mezzo-soprano or soprano depending comfortable tessitura. Often sits in the lower and middle registers of the voice. Long phrases containing scalar melismas. Vocal line also includes arpeggiated and octave leaps. | https://search.alexanderstreet.com/view/work/bibliographic_entity|score|852140 | ||||||||||||
32 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Moralità Amorosa | 1654 | High | Advanced | D4-A5 | G4-E5 | Italian | Basso continuo - accompaniment not realized. Independent. | Cantata in four sections; could be performed by mezzo-soprano or soprano depending comfortable tessitura. Often sits in the lower and middle register of the voice. Long phrases containing scalar and sequential melismas. | https://search.alexanderstreet.com/view/work/bibliographic_entity|score|852141 | ||||||||||||
33 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Il Lamento | 1654 | Advanced | C4-G5 | Italian | |||||||||||||||||
34 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Lagrime mie | Italian | ||||||||||||||||||||
35 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Hor che Apollo, Arie, Op. 8 | 1664 | High | Advanced | D4-G5 | G4-G5 | Italian | Cantata soprano, two violins, and continuo. Alternates ensemble and continue for recitatives. | Approximately 13-14 minutes in length. Moments of fioritura and sostenuto. Some of the sections more difficult. Dramatic setting, many opportunities for strong acting and musical choices. | https://imslp.org/wiki/Arie%2C_Op.8_(Strozzi%2C_Barbara) | ||||||||||||
36 | Barbara Strozzi | 1619-1677 | Italian | Baroque | Amore è bandito, Ariette a voce sola, Op.6 | 1657 | High | Intermediate | B-flat3-G5 | F4-F5 | Italian | Basso continuo - accompaniment not realized. Independent. IMSLP edition includes realized basso continuo for piano. | Musically repetitive. Declamatory setting. End of phrases tend to have a higher tessitura. Vocal line is scalar and triadic. Good for more intermediate singer working on Baroque stylistic elements. | https://imslp.org/wiki/Ariette_a_voce_sola%2C_Op.6_(Strozzi%2C_Barbara) | ||||||||||||
37 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Iam diu dilecte mi Iesus | Motteti solo voce | High | Advanced | C4-F-sharp5 | E4-E5 | Latin | Cantata for solo voice, two violin, and continuo. | Sacred text. Multiple sections, includes sostenuto and fioritura. Often syllabically set. Vocal may include octave or other large interval jumps. Several phrases begin in the upper register. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
38 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Cara Regina | Motteti solo voce | High | Advanced | D4-G5 | G4-E5 | Latin | Cantata for solo voice, two violin, and continuo. | Sacred text. Multiple sections. Some shorter phrases with syllabic setting. Vocal line features frequent interval leaps. Frequent dotted rhythms. Several phrases begin in the upper register. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
39 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Purpurei flores | Motteti solo voce | High | Advanced | C4-F-sharp5 | E4-E5 | Latin | Cantata for solo voice, two violin, and continuo. | Sacred text. Multiple sections alternating recitative and aria. Most often syllabically set. More fioritura throughout - agility is scalar. Vocal line features frequent leaps. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
40 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Ad Caeli nuptias | Motteti solo voce | Medium | Intermediate | D4-G5 | G4-E5 | Latin | Cantata for solo voice, two violin, and continuo. | Sacred text. Multiple sections. Shorter than the previous movements. More fioritura. Frequent leaps in the vocal line. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
41 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Abite fugaces | Motteti solo voce | Medium | Advanced | B3-G5 | G4-E5 | Latin | Cantata for solo voice, two violin, and continuo. | Sacred text. Multiple sections, includes sostenuto and agility. Often syllabically set. Vocal may include octave or other large interval jumps. Last section has lower tessitura. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
42 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Pupillae carae | Motteti solo voce | Low | Advanced | G3-D5 | D4-A4 | Latin | Cantata for solo alto voice, two violin, and continuo. | Very low tessitura. Multiple sections. Frequent fioritura in the lower register. Vocal line primarily scalar. More syllabic than sostenuto. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
43 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Eia senti | Motteti solo voce | Low | Advanced | G3-E5 | B3-B4 | Latin | Cantata for solo alto voice, two violin, and continuo. | Very low tessitura. Multiple sections. Frequent fioritura in the lower register. Vocal line primarily scalar. More syllabic than sostenuto. Constant shifting meters. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
44 | Isabella Leonarda | 1620-1704 | Italian | Baroque | O Maria | Motteti solo voce | Low | Advanced | G3-C-sharp5 | B3-B4 | Latin | Cantata for solo alto voice, two violin, and continuo. | Very low tessitura. Multiple sections. Frequent fioritura in the lower register. Vocal line primarily scalar. More syllabic than sostenuto. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
45 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Qui Mariam amatis | Motteti solo voce | Low | Advanced | G-sharp3-D5 | A3-A4 | Latin | Cantata for solo alto voice, two violin, and continuo. | Very low tessitura. Multiple sections. Frequent fioritura in the lower register, vocal line constantly moving. Vocal line primarily scalar. Constant shifting meters. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
46 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Attende filia | Motteti solo voce | Low | Advanced | G3-D5 | B3-B4 | Latin | Cantata for solo alto voice, two violin, and continuo. | Very low tessitura. Multiple sections. Frequent fioritura in the lower register, vocal line constantly moving. Vocal line primarily scalar. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
47 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Audita est vox | Motteti solo voce | Low | Advanced | G-sharp3-D5 | B3-B4 | Latin | Cantata for solo alto voice, two violin, and continuo. | Very low tessitura. Multiple sections. More sustained, but still includes fioritura in the lower register. Vocal line primarily scalar. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
48 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Venite laetantes | Motteti solo voce | Low | Advanced | G3-C5 | B3-B4 | Latin | For alto solo and organ. Accompaniment not realized. | Slightly shorter than other cantatas. Very low tessitura and range. In several sections. Sostenuto and agility in the voice. Scalar with some larger jumps. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
49 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Care plage | Motteti solo voce | Low | Advanced | A2-E4 | D3-D4 | Latin | Cantata for solo bass voice, two violin, and continuo. | Sustains on D4 frequently. Both sostenuto singing and fioritura passages. In multiple sections. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
50 | Isabella Leonarda | 1620-1704 | Italian | Baroque | Litanie | Motteti solo voce | Quartet | Intermediate | NA | NA | Latin | For four part voices and organ. | Tenore voices have prominent melody. Final chorale of cantatas. | https://imslp.org/wiki/Motetti_a_voce_sola_con_istromenti%2C_Op.20_(Leonarda%2C_Isabella) | ||||||||||||
51 | Mary Harvey | 1629-1704 | English | Baroque | In Vain Fair Cloris You Design | Beginner | F-sharp4-G5 | G4-F5 | English | doubles the vocal melodic line. Blocked chords. Lighter texture. | Singer must be comfortable sustaining in passaggio. Syllabically set text on repetitive notes in passaggio. Short and simple song with a scalar melodic line. Strophic. | "The First Solos: Songs by Women Composers," Hildegard Publishing Company http://store.hildegard.com/index.php?main_page=product_info&products_id=444 | ||||||||||||||
52 | Élisabeth Jacquet de La Guerre | 1665-1729 | French | Baroque | Semelé, Cantate avec Simphonie | 1715 | Advanced | D4-G5 | F4-F5 | French | Harpsichord and treble instrument (flute or violin) | Order of cantata numbers: opening with ensemble, recitative, first aria, instrumental prelude, recitative, second aria, instrumental prelude, recitative, and third aria. Total time around 15 minutes. Movements are contrasting. Would be good for a soprano recital. Some light agility required. | "Historical Anthology of Music by Women," Indiana University Press http://www.iupress.indiana.edu/product_info.php?products_id=21626; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||||
53 | Élisabeth Jacquet de La Guerre | 1665-1729 | French | Baroque | French | |||||||||||||||||||||
54 | Élisabeth Jacquet de La Guerre | 1665-1729 | French | Baroque | French | |||||||||||||||||||||
55 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | I. Io ti voglio adorar | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
56 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | II. In questo giorno | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
57 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | III. Quand'io miro in oriente | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
58 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | IV. Solcare il mar tranquillo | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
59 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | V. Dunque fia vero | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
60 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | VI. Mirar quei chiari lumi | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
61 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | VII. Arde quest'alma | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
62 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | VIII. Ferma, Fileno ingrato | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
63 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | IX. Mio cor, alfin sei vinto | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
64 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | X. Arder di due pupille | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
65 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | XI. Ecco il momento | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
66 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | XII. Se mai non sieno | Twelve Cantatas for Alto Voice and Basso Continuo | Italian | |||||||||||||||||||
67 | Rosanna Scalfi Marcello | 1704/05 – 1742 | Italian | Baroque | Italian | |||||||||||||||||||||
68 | Wilhelmine von Bayreuth | 1709-1758 | German | Baroque | Un certo freddo orrore | 1740 | Medium | Advanced | C4-G5 | E4-F-sharp5 | Italian | For voice and strings | From opera "Argenore." Aria. Melisma's, fioritura, staccato repeated notes. Could be for mezzo-soprano or soprano depending on comfortable tessitura. | https://imslp.org/wiki/Argenore_(Von_Bayreuth%2C_Wilhelmine) | ||||||||||||
69 | Wilhelmine von Bayreuth | 1709-1758 | German | Baroque | Huomo. Ah chiaro splendi intorno alma rettor | 1754 | Italian | For voice and strings | ||||||||||||||||||
70 | Wilhelmine von Bayreuth | 1709-1758 | German | Baroque | German | |||||||||||||||||||||
71 | Anna Amalia | 1739-1807 | German | Classical | Auf dem Land und in der Stadt | Low | Intermediate | C4-C5 | D4-C5 | German | doubles the vocal melodic line. Blocked chords throughout, fuller texture. | More syllabically set, does not require too much sustained singing. Vocal line often follows scalar pattern, but also includes seventh and octave leaps. Octave range overall. Rhythm looks more complicated, but with the slow tempo is manageable. Short song. | Women composers : a heritage of song : low voice https://www.halleonard.com/product/viewproduct.action?itemid=00740271&subsiteid=27 | |||||||||||||
72 | Marianna von Martinez | 1744-1812 | Austrian | Classical | German | http://imslp.org/wiki/Category:Martinez,_Marianne | ||||||||||||||||||||
73 | Corona Schröter | 1751-1802 | German | Classical | Für Männer uns zu plagen | 1782 | High | Intermediate | E4-A5 | A4-G5 | German | doubles the vocal melodic line. Blocked chords. Lighter texture. | Higher tessitura later on in the song. The last page stays around C5-A5 and may prove taxing for some younger singers. Melody is simple and primarily syllabic. Does not require much sostenuto singing, and only occurs in the passaggio. | "The First Solos: Songs by Women Composers, Volume I: High Voice" Hildegard Publishing Company https://www.hildegard.com/catalog.php?keyword=491-00510 | ||||||||||||
74 | Corona Schröter | 1751-1802 | German | Classical | Der Erlkönig | 1782 | Low | Beginner | C-sharp4-C-sharp5 | E4-A5 | German | doubles the vocal melodic line. Blocked chords. Lighter texture. | Strophic with 8 verses. Melodically simple, mostly following a triadic pattern. Repetitive dotted rhythms throughout. Each verse is short. | "Frauen komponieren," Schott https://www.worldcat.org/title/frauen-komponieren-25-lieder-fur-singstimme-und-klavier-female-composers/oclc/315818883&referer=brief_results | ||||||||||||
75 | Corona Schröter | 1751-1802 | German | Classical | Manchen langen tag | 1786 | High | Intermediate | G4-G5 | A-flat4-E-flat5 | German | doubles the vocal melodic line. Blocked chords. Lighter texture. | Strophic with 4 verses (first verse repeated twice). General higher tessitura. Constant moving eighth notes throughout, very little sustained singing. Relatively short verses. | "Frauen komponieren," Schott https://www.worldcat.org/title/frauen-komponieren-25-lieder-fur-singstimme-und-klavier-female-composers/oclc/315818883&referer=brief_results | ||||||||||||
76 | Corona Schröter | 1751-1802 | German | Classical | An den Abendstern | 1794 | Medium | Beginner | D4-E-flat5 | F4-C5 | German | Mostly doubles the vocal melodic line. Chordal and arpeggiated. Lighter texture. | Strophic with 2 verses. Vocal line primarily scalar in the lower middle register. Mostly syllabic. | "The First Solos: Songs by Women Composers, Volume II" Hildegard Publishing Company http://store.hildegard.com/index.php?main_page=product_info&cPath=124&products_id=445 | ||||||||||||
77 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | An das Klavier | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | High | Intermediate | D4-G5 | G4-F5 | German | Mostly doubles the vocal melodic line. Lighter texture, not demanding. | Strophic with 3 verses. Vocal line has some larger intervallic leaps and light agility. Sustains in the middle and upper register. Verses are relatively short. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
78 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Sophie an Siegwart | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | High | Intermediate | F-sharp4-G5 | B-flat4-G5 | German | doubles the vocal melodic line. Chordal. Lighter texture. | Strophic with 7 shorter verses - some strophes may not be set with music in score. Several phrases begin on G5 and may be difficult for some. Vocal line primarily scalar (descending motion). | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
79 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Aus "Siegwart" | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | High | Beginner | E4-F5 | F4-D5 | German | doubles the vocal melodic line. Arpeggiated. Lighter texture. | Strophic with 2 verses. Simple melodic line that follows descending scalar motion. Several phrases begin on F5. Does not require much sustained singing. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
80 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Das Gärtnerliedchen aus dem Siegwart | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1786 | Medium | Beginner | F4-F5 | F4-D5 | German | doubles the vocal melodic line. Chordal. | Simple strophic song with 7 verses. Good for beginners. Simple melodic line allows the singer to focus on text expression. | https://imslp.org/wiki/Das_Gärtnerliedchen_aus_dem_Siegwart_(Paradis%2C_Maria_Theresia_von); https://www.worldcat.org/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-86/oclc/19223184; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
81 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Die Tanne : An Doris | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | Medium | Beginner | F-sharp4-E5 | A4-D5 | German | Does not double the voice. Arpeggiated. Lighter texture. | Strophic with 9 verses. Very simple vocal line that follows scalar and triadic pattern. Small range and narrow tessitura. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
82 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Erinnerung ans Schicksal | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | High | Intermediate | F4-A5 | B-flat4-F5 | German | Accompaniment for piano and solo violin. Violin and piano play triple against duple in the vocal line. | Higher tessitura and sustained A5. Light ornamentation. Vocal rhythm is duple over accompaniment triple. Shows off more of the higher range of the singer. Strophic with 4 voices. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
83 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Der Auferstehungsmorgen | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | High | Intermediate | C4-G5 | A4-F5 | German | doubles the vocal melodic line. Chordal and arpeggiated. | Strophic with 3 verses. Vocal line is scalar and triadic. Some difficult rhythms. Constant moving rhythms, some light ornamentation. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
84 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Morgenlied eines armes Mannes | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1778 | High | Intermediate | G4-G5 | B-flat4-E-flat5 | German | Independent piano. Chordal and arpeggiated. | Strophic with 4 verses. Scalar melody. Opportunity for working on dramatic interpretations. Phrases are generally shorter. Singer required to begin phrase on G5 and sustain in upper register. | "Historical Anthology of Music by Women," Indiana University Press http://www.iupress.indiana.edu/product_info.php?products_id=21626; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
85 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Vaterlandslied | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | Medium | Intermediate | B3-G5 | G4-D5 | German | Difficult piano line. Fast arpeggiated and chordal motion. Requires triple against duple rhythms. | Through composed with intermittent repeating A sections. Set to German patriotic poem. Good for dramatic expression in singing. Singer required to sustain in lower, middle, and upper registers. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
86 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Da eben seinen Lauf vollbracht | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | Medium | Intermediate | D4-G5 | G4-D5 | German | doubles the vocal melodic line. Chordal and arpeggiated. Lighter texture. | Double variation form - ABABA. Vocal line scalar with several larger jumps. Some light ornamentation. Longer song. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
87 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Wenn ich der Kaiser wäre | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | Medium | Beginner | F4-F5 | F4-D5 | German | doubles the vocal melodic line. Chordal. Lighter texture. | Strophic with 6 verses - some strophes may not be set to music in some editions. Simple melodic line, primarily scalar motion, occasionally triadic. Good for beginning singer. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
88 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | An meine entfernte Lieben | Zwölf Lieder auf ihrer Reise in Musik gesetzt | 1784-86 | Medium | Beginner | E4-E5 | G4-C5 | German | doubles the vocal melodic line. Chordal. Lighter texture. | Strophic with 3 verses. Simple vocal line with scalar and triadic motion. Dotted rhythms throughout. Good for beginning singer. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | |||||||||||
89 | Maria Theresia Paradis | 1759-1824 | Austrian | Classical | Leonore | High | Advanced | German | Ballad for Soprano and Piano. | https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1; https://www.sheetmusicplus.com/title/zwolf-lieder-auf-ihrer-reise-in-musik-gesetzt-1784-1786-sheet-music/18394220?aff_link=plg1 | ||||||||||||||||
90 | Margaret Essex | 1775-? | English | Classical | The Butterfly | Medium | Beginner | E4-F5 | G4-E5 | English | doubles the vocal melodic line. Blocked chords. Lighter texture. | Simple melody, syllabically set. Very repetitive. Would be good for a younger singer. | "The First Solos: Songs by Women Composers, Volume I: High Voice" Hildegard Publishing Company https://www.hildegard.com/catalog.php?keyword=491-00510 | |||||||||||||
91 | Sophie Mercken | 1776-1821 | French | Classical | La Dormeuse | Medium | Beginner | E4-E5 | A4-D5 | French | Independent piano. Does not double the vocal melodic line. Arpeggiated. Brief intro` and postlude. | Strophic with 2 verses. Simple vocal line that stays in the middle register. Some light ornamentation. | "The First Solos: Songs by Women Composers, Volume II" Hildegard Publishing Company http://store.hildegard.com/index.php?main_page=product_info&cPath=124&products_id=445 | |||||||||||||
92 | Pauline Duchambge | 1778-1858 | Spanish | Romantic | Adieu tout | High | Beginner | E-flat4-F5 | F4-F5 | French | Occasionally doubles the vocal melodic line. Arpeggiated ostinato. Light texture. | Good introductory French song. Simple melody and rhythm. Few larger intervallic leaps. | "The First Solos: Songs by Women Composers," Hildegard Publishing Company http://store.hildegard.com/index.php?main_page=product_info&products_id=444 | |||||||||||||
93 | Louise Reichardt | 1779-1826 | German | Romantic | Vanne felice rio | 1806 | High | Intermediate | F4-A5 | F4-F5 | Italian | Independent piano. Does not double the vocal melodic line. Arpeggio ostinato. | From VII Deutsche und italiänische romantische Gesänge. Simple melody with some larger intervallic leaps. Good for working style of 18th Century German song. | "A Collection of Art Songs by Women Composers," HERS Publishing https://www.worldcat.org/title/collection-of-art-songs-by-women-composers/oclc/18481095 | ||||||||||||
94 | Louise Reichardt | 1779-1826 | German | Romantic | Giusto amor | VII Deutsche und italiänische romantische Gesänge | 1806 | High | Beginner | E-flat4-G5 | B-flat4-G-flat5 | Italian | Independent piano. Does not double the vocal melodic line. Arpeggio ostinato. | Simple, repetitive melody. Vocal line is mostly scalar. Good for working style of 18th Century German song. | "A Collection of Art Songs by Women Composers," HERS Publishing https://www.worldcat.org/title/collection-of-art-songs-by-women-composers/oclc/18481095 | |||||||||||
95 | Louise Reichardt | 1779-1826 | German | Romantic | Kaeuzlein | High | Beginner | D4-F5 | G4-E5 | German | Independent piano. Does not double the vocal melodic line. Arpeggiated ostinato and prominent bass. Lighter texture. | Short, strophic song with a simple melody. Primarily stays in the middle register. Good for working on dramatic interpretation with a repeated melody. | IMSLP https://imslp.org/wiki/12_Gesänge%2C_Op.3_(Reichardt%2C_Louise) | |||||||||||||
96 | Louise Reichardt | 1779-1826 | German | Romantic | Hier liegt ein spielmann begraben | Low | Beginner | D4-E5 | A4-D5 | German | Independent piano. Blocked chords which happen to double the voice, but not direct melody in the piano accompaniment. Slow harmonic movement. | Short, strophic song with a simple melody. Primarily stays in the middle register. Good for working on dramatic interpretation with a repeated melody. | IMSLP https://imslp.org/wiki/12_Gesänge%2C_Op.3_(Reichardt%2C_Louise) | |||||||||||||
97 | Louise Reichardt | 1779-1826 | German | Romantic | Herbstlied | Medium | Beginner | D4-E5 | G4-D5 | German | Independent piano. Does not double the vocal melodic line. Arpeggiated. | Shorter song with 2 verses. Stays in the middle register of the voice. Repeated rhythmic patterns. Very simple. | "The First Solos: Songs by Women Composers, Volume II" Hildegard Publishing Company http://store.hildegard.com/index.php?main_page=product_info&cPath=124&products_id=445 | |||||||||||||
98 | Louise Reichardt | 1779-1826 | German | Romantic | Die Blume der Blumen | High | Beginner | E-flat4-G5 | A-flat4-E-flat5 | German | Independent piano. Does not double the vocal melodic line. Arpeggiated and chordal. Lighter texture. | Strophic with 3 verses. Vocal line primarily scalar, some leaps of a fourth or fifth. | "Frauen komponieren," Schott https://www.worldcat.org/title/frauen-komponieren-25-lieder-fur-singstimme-und-klavier-female-composers/oclc/315818883&referer=brief_results | |||||||||||||
99 | Louise Reichardt | 1779-1826 | German | Romantic | Genoveva | Medium | Beginner | F4-D-flat5 | F4-C5 | German | Occasionally double the voice. Chordal. Lighter texture. | Strophic with 3 verses. Vocal line primarily scalar. Very simple and short. | "Frauen komponieren," Schott https://www.worldcat.org/title/frauen-komponieren-25-lieder-fur-singstimme-und-klavier-female-composers/oclc/315818883&referer=brief_results | |||||||||||||
100 | Louise Reichardt | 1779-1826 | German | Romantic | Hinüber wall' ich | Medium | Intermediate | B-flat3-F5 | D4-C5 | German | Independent piano. Does not double the vocal melodic line. Arpeggiated and chordal. First half of the song the piano plays triple again duple in the voice. | Through composed. Mostly sustained, end of song more syllabic. Stays in the lower and middle register before sustaining E-flat5. Putting together may be difficult for more novice singers. | "Frauen komponieren," Schott https://www.worldcat.org/title/frauen-komponieren-25-lieder-fur-singstimme-und-klavier-female-composers/oclc/315818883&referer=brief_results |