Medium: vocal music

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Laws for Creations (2008/Arr. 2024)

Tenor and piano. 3 1/2 mins.

Text by Walt Whitman.

Perusal Score

View perusal score.

Score available for purchase. Please direct inquiries to Nell Shaw Cohen at nell@nellshawcohen.com.

Program Note

“Presented here in a new version for tenor, Laws for Creations is one of my earliest compositions for classical voice: an art song originally written in 2008 for baritone. I was compelled by Walt Whitman’s treatment of the themes of creativity and self-determination, and sought to respond to the spirit of his poetry in my musical setting.”

Text

Laws for Creations,
For strong artists and leaders—for fresh broods of
teachers, and perfect literats for America,
For noble savans, and coming musicians.

All must have reference to the ensemble of the world,
and the compact truth of the world;
There shall be no subject too pronounced—All works
shall illustrate the divine law of indirections.

What do you suppose Creation is?
What do you suppose will satisfy the Soul, except to
walk free, and own no superior?
What do you suppose I would intimate to you in a hun-
dred ways, but that man or woman is as good as
God?
And that there is no God any more divine than Your-
self?
And that that is what the oldest and newest myths
finally mean?
And that you or any one must approach Creations
through such laws?

“Laws for Creations” by Walt Whitman from “Leaves of Grass” (1871 edition).

Performance History

Burchfield Penney Art Center,  Buffalo Opera Unlimited (Alexander Kosmowski, tenor and Matthew Marco, piano), Buffalo, NY, 8/4/24.

For performance history of baritone version, see Songs for Baritone.

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Proofs of Coming Fullness (2024)

Tenor and piano. 4 mins.

Text by Walt Whitman.

Perusal Score

View perusal score.

Score available for purchase. Please direct inquiries to Nell Shaw Cohen at nell@nellshawcohen.com.

Program Note

“In his 1882 autobiography Specimen Days, Walt Whitman penned a series of vividly observed miniature prose pieces documenting his impressions of the natural world. Excerpted from an entry dated April 6, the text of Proofs of Coming Fullness describes an early spring morning in which Whitman observes signs of seasonal change. This song was composed as a complementary work to my operatic monodrama The Coming of Spring— which also highlights the phenomena of early spring, as depicted in the art and journals of Charles E. Burchfield —and for World Premiere in conjuction with the Burchfield Penney Art Center’s exhibit Embracing Earth: Burch􏰄eld & Whitman.”

Text

“I am sitting in bright sunshine, at the edge of the creek, the surface just rippled by the wind. All is solitude, morning freshness, negligence. […] Then a poor little dead leaf, long frost-bound, whirls from somewhere up aloft in one wild escaped freedom-spree in space and sunlight, and then dashes down to the waters, which hold it closely and soon drown it out of sight. The bushes and trees are yet bare, but the beeches have their wrinkled yellow leaves of last season’s foliage largely left, frequent cedars and pines yet green, and the grass not without proofs of coming fullness. And over all a wonderfully fine dome of clear blue, the play of light coming and going, and great fleeces of white clouds swimming so silently.”

From “Specimen Days” (1882) by Walt Whitman.

Performance History

Burchfield Penney Art Center,  Buffalo Opera Unlimited (Joe Dan Harper, tenor and Matthew Marco, piano), Buffalo, NY, 8/4/24.

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The Open Road (2023/Arr. 2024)

Tenor and piano. 3 mins.

A selection from Sauntering Songs: a concert-length cantata on the theme of walking, commissioned by Skylark Vocal Ensemble.

Text by Walt Whitman.

Perusal Score

View perusal score.

Score available for purchase. Please direct inquiries to Nell Shaw Cohen at nell@nellshawcohen.com.

Program Note

“The Open Road” is a selection from Sauntering Songs: a concert-length cantata on the theme of walking, commissioned by Skylark Vocal Ensemble. This selection, which forms the opening number of the work, sets excerpts from Walt Whitman’s invigorating “Poem of The Road.” Originally scored for SATB choir with an instrumental quartet of flute, piano, electric guitar, and cello, the song is presented here in a reduced arrangement for solo tenor and piano.

Text

Afoot and light-hearted I take to the open road!
Healthy, free, the world before me!
The long brown path before me, leading wherever
I choose!

The earth expanding right hand and left hand, the picture alive, every part in its best light, the music falling in where it is wanted, and
stopping where it is not wanted,
The cheerful voice of the public road—the gay
fresh sentiment of the road.

From this hour, I ordain myself loosed of limits and imaginary lines!
Going where I list—my own master, total and absolute,

Afoot and light-hearted I take to the open road!
Healthy, free, the world before me!
The long brown path before me, leading wherever
I choose!

The cheerful voice of the public road—the gay fresh sentiment of the road.

The open road!

Excerpt from “Poem of The Road” by Walt Whitman, from Leaves of Grass (1856 edition).

Performance History

Burchfield Penney Art Center,  Buffalo Opera Unlimited (Joe Dan Harper, tenor and Matthew Marco, piano), Buffalo, NY, 8/4/24.

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Trespassing (2023)

Tenor, flute, and piano. 4 mins.

Selection from Sauntering Songs: a concert-length cantata on the theme of walking, commissioned by Skylark Vocal Ensemble.

Lyrics by Nell Shaw Cohen.

Watercolor painting of British countryside behind stone wall with gate.
“Trespassing” by Nell Shaw Cohen, 2023. Watercolor on paper.
Perusal Score

View perusal score.

Performance score available for purchase. Please direct inquiries to Nell Shaw Cohen at nell@nellshawcohen.com.

Program Note

A man rambles through a countryside of contested ownership, reclaiming his ancestral landscape.

“Trespassing” is a selection from Sauntering Songs: a concert-length cantata on the theme of walking, commissioned by Skylark Vocal Ensemble. My lyrics for this song were inuenced by historical and contemporary “right to roam” movements in Britain (captured in Ewan MacColl’s folk song “Manchester Rambler”); as well as Raja Shehadeh’s book Palestinian Walks: Notes on a Vanishing Landscape, a heartbreaking tribute to the Arab sarha (which means “to roam freely, at will, without restraint”).

This song is dedicated to walkers whose homelands have become someone else’s property.

Performance History

Visit the Sauntering Songs page for performance history.

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Rare Bird (2023)

Tenor, baritone, electric guitar, and piano. 4 1/2 mins.

Selection from Sauntering Songs: a concert-length cantata on the theme of walking, commissioned by Skylark Vocal Ensemble.

Lyrics by Nell Shaw Cohen.

Sensitivity Consultant: Dr. Kassandra Ford (Website).

Watercolor painting of an Indigo Bunting perched on a branch with yellow background
Painting by Nell Shaw Cohen
Perusal Score

View perusal score.

Performance score available for purchase. Please direct inquiries to Nell Shaw Cohen at nell@nellshawcohen.com.

Program Note

Two friends stroll in a suburb, identifying birds together.

“Rare Bird” is a selection from Sauntering Songs: a concert-length cantata on the theme of walking, commissioned by Skylark Vocal Ensemble. The lyrical works of author, poet, and wildlife biologist J. Drew Lanham were the animating inspiration behind this duet, including my use of the title phrase; alongside essays by Carolyn Finney and Evelyn C. White, among others, about their experiences of being Black outdoors.

This duet is dedicated to walkers for whom being outdoors alone isn’t always safe.

Performance History

Visit the Sauntering Songs page for performance history.

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Just Because (2023)

Mezzo-soprano, flute, electric guitar, and cello. 3 1/2 mins.

Selection from Sauntering Songs: a concert-length cantata on the theme of walking, commissioned by Skylark Vocal Ensemble.

Lyrics by Nell Shaw Cohen.

Perusal Score

View perusal score.

Performance score available for purchase. Please direct inquiries to Nell Shaw Cohen at nell@nellshawcohen.com.

Program Note
Watercolor painting of Appalachian mountain view from the point of a view of a hiker resting, with a pair of feet wearing Converse sneakers in the foreground
Painting by Nell Shaw Cohen

Having spent decades as a wife and mother, a woman redefines herself by thru-hiking a long distance trail alone.

“Just Because” is a selection from Sauntering Songs: a concert-length cantata on the theme of walking, commissioned by Skylark Vocal Ensemble. The life of Emma Gatewood, who in 1955 became the first solo female thru-hiker of the Appalachian Trail at the age of 67, (very) loosely inspired my lyrics.

This song is dedicated to those who venture down new paths late in life.

Performance History

Visit the Sauntering Songs page for performance history.