Kassia Database: Art Song By Women Composers
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ComposerComposer DatesNationalityMusical EraSong TitleSong Set or CycleDate of CompositionVoice TypeLevelRangeTessituraLanguageAccompanimentVocal LineScore Available
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Anne Boleyn1501/07-1536EnglishBaroqueO Deathe, rock me asleepe1536MediumBeginnerF4-D5G4-D5EnglishDepending 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
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Francesca Caccini1587-1640ItalianBaroquePer la piu vaga e bellaHighIntermediateG4-F5G4-E5ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueCh'amor sio nudo1618LowIntermediateD4-E5G4-D5ItalianBasso 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)
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Francesca Caccini1587-1640ItalianBaroqueLaudate Dominum1618MediumIntermediateD4-F5F4-F5LatinIndependent 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
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Francesca Caccini1587-1640ItalianBaroqueMaria, dolce Maria1618MediumIntermediateC4-E5F4-D5ItalianIndependent 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
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Francesca Caccini1587-1640ItalianBaroqueAria of the Shepherd1625HighIntermediateG4-F5G4-E5ItalianAccompanied 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
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Francesca Caccini1587-1640ItalianBaroqueWhere I BelievedMediumBeginnerE4-F5F4-D5ItalianSimple 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
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Francesca Caccini1587-1640ItalianBaroqueArdo infelicePrimo Libro delle Musiche1618MediumAdvancedD4-F5G4-D5ItalianBasso 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)
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Francesca Caccini1587-1640ItalianBaroqueIo mi distruggo, et ardoPrimo Libro delle Musiche1618LowAdvancedS: D4-G5; B: F2-D4S: G4-D5; B: C3-C4ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueLasciatemi qui soloPrimo Libro delle Musiche1618MediumAdvancedC4-D5D4-B-flat4ItalianBasso 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)
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Francesca Caccini1587-1640ItalianBaroqueIo veggio I campi verdeggiar fecondiPrimo Libro delle Musiche1618MediumAdvancedC4-D5F4-C5ItalianBasso 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)
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Francesca Caccini1587-1640ItalianBaroqueLa pastorella miaPrimo Libro delle Musiche1618HighIntermediateD4-G5G4-D5ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueRendi alle mie speranze il verdePrimo Libro delle Musiche1618HighAdvancedE-flat4-G5G4-F5ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueDov'io credea le mie speranze verePrimo Libro delle Musiche1618HighAdvancedC4-G5G4-D5ItalianBasso 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)
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Francesca Caccini1587-1640ItalianBaroqueS'io men vòPrimo Libro delle Musiche1618DuetIntermediateS: C4-E5; B: F2-B-flat3S: F4-D5; B: G2-A3ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueNon sò se quel sorrisoPrimo Libro delle Musiche1618MediumIntermediateF4-F5A4-E5ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueChi desia di saper che cosa è AmorePrimo Libro delle Musiche1618LowBeginnerD4-D5F4-B4ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueChe t'ho fatt'ioPrimo Libro delle Musiche1618MediumIntermediateF4-F5G4-D5ItalianBasso 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)
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Francesca Caccini1587-1640ItalianBaroqueO vive rosePrimo Libro delle Musiche1618LowIntermediateS: D4-F5; B: F2-D4S: G4-D5; B: C3-A3ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueSe muove a guirar fedePrimo Libro delle Musiche1618HighIntermediateF4-F5G4-D5ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueCh'Amor sia nudoPrimo Libro delle Musiche1618MediumIntermediateD4-E5G4-C5ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueFresche aurettePrimo Libro delle Musiche1618DuetIntermediateS: F4-E5; B: G2-D4S: G4-D5; B: C3-B3ItalianBasso 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
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Francesca Caccini1587-1640ItalianBaroqueDispiegate guancie amatePrimo Libro delle Musiche1618MediumIntermediateG4-F5G4-D5ItalianBasso 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)
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Francesca Caccini1587-1640ItalianBaroqueO chiome bellePrimo Libro delle Musiche1618MediumBeginnerG4-F5G4-D5ItalianBasso 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
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Settimia Caccini1591-1661ItalianBaroqueCore di questo coreMediumBeginnerD4-F5G4-D5ItalianBasso 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
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Barbara Strozzi1619-1677ItalianBaroqueChiamata a nuovi amoriItalian"Cantatas" https://www.worldcat.org/title/cantatas/oclc/12917976
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Barbara Strozzi1619-1677ItalianBaroqueSpesso per entro al pettoItalian"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
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Barbara Strozzi1619-1677ItalianBaroqueAmor dormiglioneCantate, ariette e duetti, Op. 21651MediumIntermediateD-sharp4-F-sharp5A4-E5ItalianBasso 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
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Barbara Strozzi1619-1677ItalianBaroqueL'Eraclito amorosoCantate, ariette e duetti, Op. 2:1651HighIntermediateB3-G5E4-E5ItalianBasso 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)
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Barbara Strozzi1619-1677ItalianBaroqueCuore Che Reprime Alle Lingua Di Manifestare Il Nome Della Sua Cara1654MediumAdvancedC4-G5D4-E5ItalianBasso 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
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Barbara Strozzi1619-1677ItalianBaroqueMoralità Amorosa1654HighAdvancedD4-A5G4-E5ItalianBasso 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
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Barbara Strozzi1619-1677ItalianBaroqueIl Lamento1654AdvancedC4-G5Italian
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Barbara Strozzi1619-1677ItalianBaroqueLagrime mieItalian
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Barbara Strozzi1619-1677ItalianBaroqueHor che Apollo, Arie, Op. 81664HighAdvancedD4-G5G4-G5ItalianCantata 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)
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Barbara Strozzi1619-1677ItalianBaroqueAmore è bandito, Ariette a voce sola, Op.61657HighIntermediateB-flat3-G5F4-F5ItalianBasso 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)
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Isabella Leonarda1620-1704ItalianBaroqueIam diu dilecte mi IesusMotteti solo voceHighAdvancedC4-F-sharp5E4-E5LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueCara ReginaMotteti solo voceHighAdvancedD4-G5G4-E5LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroquePurpurei floresMotteti solo voceHighAdvancedC4-F-sharp5E4-E5LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueAd Caeli nuptiasMotteti solo voceMediumIntermediateD4-G5G4-E5LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueAbite fugacesMotteti solo voceMediumAdvancedB3-G5G4-E5LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroquePupillae caraeMotteti solo voceLowAdvancedG3-D5D4-A4LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueEia sentiMotteti solo voceLowAdvancedG3-E5B3-B4LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueO MariaMotteti solo voceLowAdvancedG3-C-sharp5B3-B4LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueQui Mariam amatisMotteti solo voceLowAdvancedG-sharp3-D5A3-A4LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueAttende filiaMotteti solo voceLowAdvancedG3-D5B3-B4LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueAudita est voxMotteti solo voceLowAdvancedG-sharp3-D5B3-B4LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueVenite laetantesMotteti solo voceLowAdvancedG3-C5B3-B4LatinFor 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)
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Isabella Leonarda1620-1704ItalianBaroqueCare plageMotteti solo voceLowAdvancedA2-E4D3-D4LatinCantata 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)
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Isabella Leonarda1620-1704ItalianBaroqueLitanieMotteti solo voceQuartetIntermediateNANALatinFor 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)
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Mary Harvey1629-1704EnglishBaroqueIn Vain Fair Cloris You DesignBeginnerF-sharp4-G5G4-F5Englishdoubles 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
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Élisabeth Jacquet de La Guerre1665-1729FrenchBaroqueSemelé, Cantate avec Simphonie1715AdvancedD4-G5F4-F5FrenchHarpsichord 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
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Élisabeth Jacquet de La Guerre1665-1729FrenchBaroqueFrench
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Élisabeth Jacquet de La Guerre1665-1729FrenchBaroqueFrench
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueI. Io ti voglio adorarTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueII. In questo giornoTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueIII. Quand'io miro in orienteTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueIV. Solcare il mar tranquilloTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueV. Dunque fia veroTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueVI. Mirar quei chiari lumiTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueVII. Arde quest'almaTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueVIII. Ferma, Fileno ingratoTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueIX. Mio cor, alfin sei vintoTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueX. Arder di due pupilleTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueXI. Ecco il momentoTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueXII. Se mai non sienoTwelve Cantatas for Alto Voice and Basso ContinuoItalian
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Rosanna Scalfi Marcello1704/05 – 1742ItalianBaroqueItalian
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Wilhelmine von Bayreuth1709-1758GermanBaroqueUn certo freddo orrore1740MediumAdvancedC4-G5E4-F-sharp5ItalianFor voice and stringsFrom 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)
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Wilhelmine von Bayreuth1709-1758GermanBaroqueHuomo. Ah chiaro splendi intorno alma rettor1754ItalianFor voice and strings
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Wilhelmine von Bayreuth1709-1758GermanBaroqueGerman
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Anna Amalia1739-1807GermanClassicalAuf dem Land und in der StadtLowIntermediateC4-C5D4-C5Germandoubles 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
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Marianna von Martinez1744-1812AustrianClassicalGermanhttp://imslp.org/wiki/Category:Martinez,_Marianne
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Corona Schröter1751-1802GermanClassicalFür Männer uns zu plagen1782HighIntermediateE4-A5A4-G5Germandoubles 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
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Corona Schröter1751-1802GermanClassicalDer Erlkönig1782LowBeginnerC-sharp4-C-sharp5E4-A5Germandoubles 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
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Corona Schröter1751-1802GermanClassicalManchen langen tag1786HighIntermediateG4-G5A-flat4-E-flat5Germandoubles 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
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Corona Schröter1751-1802GermanClassicalAn den Abendstern1794MediumBeginnerD4-E-flat5F4-C5GermanMostly 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
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Maria Theresia Paradis1759-1824AustrianClassicalAn das KlavierZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86HighIntermediateD4-G5G4-F5GermanMostly 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
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Maria Theresia Paradis1759-1824AustrianClassicalSophie an SiegwartZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86HighIntermediateF-sharp4-G5B-flat4-G5Germandoubles 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
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Maria Theresia Paradis1759-1824AustrianClassicalAus "Siegwart"Zwölf Lieder auf ihrer Reise in Musik gesetzt1784-86HighBeginnerE4-F5F4-D5Germandoubles 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
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Maria Theresia Paradis1759-1824AustrianClassicalDas Gärtnerliedchen aus dem SiegwartZwölf Lieder auf ihrer Reise in Musik gesetzt1786MediumBeginnerF4-F5F4-D5Germandoubles 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
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Maria Theresia Paradis1759-1824AustrianClassicalDie Tanne : An DorisZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86MediumBeginnerF-sharp4-E5A4-D5GermanDoes 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
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Maria Theresia Paradis1759-1824AustrianClassicalErinnerung ans SchicksalZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86HighIntermediateF4-A5B-flat4-F5GermanAccompaniment 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
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Maria Theresia Paradis1759-1824AustrianClassicalDer AuferstehungsmorgenZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86HighIntermediateC4-G5A4-F5Germandoubles 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 Paradis1759-1824AustrianClassicalMorgenlied eines armes MannesZwölf Lieder auf ihrer Reise in Musik gesetzt1778HighIntermediateG4-G5B-flat4-E-flat5GermanIndependent 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
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Maria Theresia Paradis1759-1824AustrianClassicalVaterlandsliedZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86MediumIntermediateB3-G5G4-D5GermanDifficult 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
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Maria Theresia Paradis1759-1824AustrianClassicalDa eben seinen Lauf vollbrachtZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86MediumIntermediateD4-G5G4-D5Germandoubles 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
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Maria Theresia Paradis1759-1824AustrianClassicalWenn ich der Kaiser wäreZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86MediumBeginnerF4-F5F4-D5Germandoubles 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
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Maria Theresia Paradis1759-1824AustrianClassicalAn meine entfernte LiebenZwölf Lieder auf ihrer Reise in Musik gesetzt1784-86MediumBeginnerE4-E5G4-C5Germandoubles 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
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Maria Theresia Paradis1759-1824AustrianClassicalLeonoreHighAdvancedGermanBallad 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
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Margaret Essex1775-?EnglishClassicalThe ButterflyMediumBeginnerE4-F5G4-E5Englishdoubles 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
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Sophie Mercken1776-1821FrenchClassicalLa DormeuseMediumBeginnerE4-E5A4-D5FrenchIndependent 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 Duchambge1778-1858SpanishRomanticAdieu toutHighBeginnerE-flat4-F5F4-F5FrenchOccasionally 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
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Louise Reichardt1779-1826GermanRomanticVanne felice rio1806HighIntermediateF4-A5F4-F5ItalianIndependent 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
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Louise Reichardt1779-1826GermanRomanticGiusto amorVII Deutsche und italiänische romantische Gesänge1806HighBeginnerE-flat4-G5B-flat4-G-flat5ItalianIndependent 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
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Louise Reichardt1779-1826GermanRomanticKaeuzleinHighBeginnerD4-F5G4-E5GermanIndependent 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)
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Louise Reichardt1779-1826GermanRomanticHier liegt ein spielmann begrabenLowBeginnerD4-E5A4-D5GermanIndependent 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 Reichardt1779-1826GermanRomanticHerbstliedMediumBeginnerD4-E5G4-D5GermanIndependent 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
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Louise Reichardt1779-1826GermanRomanticDie Blume der BlumenHighBeginnerE-flat4-G5A-flat4-E-flat5GermanIndependent 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 Reichardt1779-1826GermanRomanticGenovevaMediumBeginnerF4-D-flat5F4-C5GermanOccasionally 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 Reichardt1779-1826GermanRomanticHinüber wall' ichMediumIntermediateB-flat3-F5D4-C5GermanIndependent 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
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