Richard Faith

American composer Richard Faith (born 1926) has been known primarily in university music circles as a concert pianist, professor of piano, and a published composer of piano pedagogy literature, orchestral and chamber works, opera and most prolifically, song. A neo-romantic, Faith has always been first and foremost a melodist.

Biography

Richard Bruce Faith was born on March 20, 1926, in Evansville, Indiana. His mother was a homemaker active in community affairs, and his father, a dentist. Both parents were very supportive of his choice to become a musician as they too came from musical backgrounds. Faith's mother studied piano before her five children were born; his father picked up musical skills without a teacher and played piano, violin and sang in the church choir. Around age eight, Richard began to study piano with his fifteen-year-old cousin and he soon began improvising melodies on the keyboard. Between the ages of eleven and twelve he began writing down his piano compositions, one of which later became a work for women's chorus entitled "Daffodils" (I Wandered Lonely as a Cloud) with poetry by William Wordsworth.^[1]

Before his natural bent toward composing could take root and grow, Faith embarked on a career as a concert pianist. In 1940 at age fourteen, he appeared with the Evansville Philharmonic Orchestra, and after a few years of study he entered Chicago Musical College, where he received both undergraduate and master's degrees in piano performance. At age nineteen he placed in a collegiate contest and was given the opportunity to perform in Chicago's Orchestra Hall. The work was Chopin's Concerto in F Minor (Op.21). This was followed in 1947 by his professional debut at Kimball Hall (Chicago) and, in 1948, by a return to Orchestra Hall for a solo recital and an engagement with the Chicago Symphony Orchestra. During the early fifties Faith concertized as a recital accompanist for both singers and instrumentalists in programs that included his own compositions.^[1]

Faith's first instructor in composition was Max Wald, with whom he worked from 1947-49. In the Fall of 1954 he began doctoral work in composition at Indiana University in Bloomington with Bernhard Heiden. Two years later Faith received his first full-time teaching appointment at Morningside College in Sioux City, Iowa. Although he was devoted to teaching piano, his great love for composition continued to flourish. In 1960 he went to Rome as a Fulbright Scholar, studying both piano and composition with Guido Agosti at the Accademia Nazionale di Santa Cecilia. He chose Italy because of his interest in Italian history and its early Renaissance art. He also was seeking the "clarity of Italian musical expression."^[1]

Faith spent the greatest part of his life at the University of Arizona in Tucson, where he assumed the position of Assistant Professor of Music (Piano) in 1961. He remained at the school until 1988, with an interim year at Morningside College in 1968. Many of his most popular compositions are the fruits of his tenure at Arizona: songs, choral works, piano concertos, orchestral and chamber works and opera.

Faith's first published work was the "Legend for Piano," printed by Summy-Birchard in 1967. Shawnee Press began publishing his compositions in 1968, followed by G.Schirmer Inc. in 1971 and Belwin Mills in 1974. In the late 1970s Faith's music achieved significant recognition with performances in London, Washington, D.C., and Tucson, and commercial recordings were released. From 1982-1988 he received annual awards from the American Society of Composers, Authors and Publishers (ASCAP).

Since his retirement from teaching in 1988, Richard Faith relocated from Tucson a number of times: to Washington, D.C., California, back to his home town of Evansville, to Denver and now he makes his home again in Tucson.In November of 2015 Faith, again, relocated to Savoy, Illinois. During the last 20 years performances, publications, dissertations and recordings of his works have flourished. To date he has written over 57 chamber works, 21 choral arrangements, 4 operas, 16 orchestral pieces, 61 keyboard works and over 121 songs, including an unofficial contribution to the AIDS Quilt Songbook with his "Winter Journey," with poetry by William Lavonis.

Musical Style and Songs

Faith's music displays a freely modulating harmonic language within the boundaries of tonality that combines neo-romantic and impressionistic qualities. With Debussy, Ravel, and Rachmaninoff as important influences on his music, and Brahms as a model with respect to form, Faith also shares musical traits with Vaughan Williams, particularly in the areas of modality and harmonic color and with Roger Quilter, the Victorian whose songs displayed a trait known as "decorous Romanticism." Faith's English flavor is even further highlighted by the composer's choice of poetry, much of which comes from British authors.

Faith's song output spans the years 1944 to the present—his entire life as a composer. The over 120 settings run the stylistic gamut from sophisticated concert pieces to simple miniatures, duets, vocalises and selections with obbligato instruments, including flute, cello, viola and harp. His settings are generally for medium voice. Some have been written for specific singers to whom he has dedicated the music. Many of the songs are grouped according to subject matter, but are not necessarily musically connected. They may be sung as sets or separately, and may be transposed to suit the singer. Faith's tempo indications use traditional Italian terminology and the metronome markings are only suggestions. He is a gracious composer who allows individuals to develop their own interpretations of his music.^[2]

Because Faith himself is an award-winning pianist, many of the songs have sophisticated accompaniments. Sometimes the piano doubles the voice, though hardly ever through an entire piece. At other times the piano will play a countermelody to the voice to form a kind of obbligato. Like Debussy, Faith has a fondness for triplets, because of the movement and flow they add to a song. Thomas Nashe's "Spring, the Sweet Spring" (1950) is an exercise in perpetual motion for the accompanist, with only brief repose at the end of each stanza. This inventive, florid accompaniment, along with Faith's strict use of ABA form, thin texture, and a definite key signature (G) lend a neo-baroque character to this Elizabethan poem. The harmony, however, remains contemporary, with Faith's use of incidental chromatics and added-note chords.^[2]

Like many composers who rely on modality rather than tonality, Faith rarely uses key signatures. His harmonic idiom displays a changing palette of colors marked by simultaneous cross-relations, the Lydian sharped fourth, and combinations of this sharped fourth and Mixolydian flatted seventh. Faith has denied any desire to pursue more avant-garde idioms.^[3] Earlier experiments in progressive styles met with little success, and if anything beyond the romantic exists in Faith's music, it may be the influence of Hindemith which was furthered by his studies at Indiana University with Bernhard Heiden, himself a Hindemith pupil. Traces of this influence can be discerned in the appearance of quartal/quintal harmony in many of the songs. This is seen in "The Blackbird" by the Victorian author William Ernest Henley composed in 1955. The accompaniment begins with broken ninth and tenth intervals supported by mildly dissonant chords; it is then followed by a hocket-like passage. This underlying texture continues through the first half of the song, contrasting with legato vocal melody.

Faith's use of arch form or "coming full circle" reflects the influence of Brahms, whose many songs fall into this structural category. He may end with a literal repeat, a transposed portion, or only a fragment of A, and may repeat text, music, or both in the process. Arch form is also reflected in the use of dynamics. Many songs begin quietly, reach a climax in an interior section, and then end as they began.

The composer's selection of poetry brings to the foreground some of literature's most famous writers in works that in this day and age have been unjustly neglected by the general public: Conrad Aiken, Edward Lear, Charles Cotton, and Christina Rossetti, to name a few. That Faith is well read is apparent not only in his choice of fine poetry to set to music, but also in his allusions to literature in many of his instrumental works. In addition, he often selects longer poems than would be considered usual for a song and writes few miniatures. The success of setting a lengthy piece of verse seems to depend upon Faith's ability to delay the listener's climactic expectations by moving through harmonic ambiguity until reaching an emotionally charged section that merits a cadence—usually on open sonorities without the thirds. This event may repeat itself many times with a greater or lesser dynamic level, thereby expanding his music resources.^[2]

Faith's songs adhere strictly to the rhythm dictated by the text of the poem. In fact, he simultaneously composes both melody and accompaniment by singing the text and playing the keyboard and immediately writing it down. Faith's adherence to the text rhythm results in shifting meters to accommodate phrases of varying length and text-derived rhythmic figures often provide the basis for his accompaniments

For subject matter Faith prefers nature imagery over love poetry and until 1994 with his Mother Goose Rhymes, there had been only one comical song—Edward Lear's "The Owl and the Pussycat," written in 1960. Many of Faith's settings reflect the nationality of the poet and the time period in which the poem was written. For example, Four Love Songs on Elizabethan lyrics (1982) display thin textures, balanced forms, and traditional harmonic progressions, while the Jean de La Ville de Mirmont fr:Jean de La Ville de Mirmont songs have a French character that reveals Faith's debt to Ravel and Debussy. More recently, Faith's songs on Moorish poetry evoke an exotic, middle eastern quality. In the beautiful setting of Ben Jonson's "To Celia" (commonly known as "Drink to Me Only with Thine Eyes"), Faith, by stressing the poem's inherent passion, brings a fresh outlook to a lyric which had become too familiar in arrangements of the old English setting. He achieves this through an operatically conceived vocal line: high and sustained, and encompassing a range of an octave and a fifth.

Two works that do not necessarily fall into specific stylistic categories, but deserve mention nonetheless, are Percy Bysshe Shelley's "Music When Soft Voices Die" and the miniature "Remember Me" by the Victorian Christina Rossetti. The spontaneous quality of the Shelley song reveals the poem's great effect on Faith, who, after nearly two years without song writing (1957), produced one of his most frequently performed pieces. The introduction's angular, twisting melody, taken later by the vocal line, lends a troubled, unsettling quality to the lyric. "Remember Me" was written in 1954 and is unusual for its brevity. The poet, Christina Rossetti, was an Englishwoman of Italian descent and is best known for her words to the hymns "In the Bleak Mid-Winter" and "Love Came Down at Christmas." Faith set three more of her poems which are included in the first published volume of songs by Leyerle Publications.^[4]

Many of Faith's songs have themes related to the sea, and there are a number of others in which the sea figures as an integral element in the poem. This stems from the composer"s extreme fascination with water, having been raised near the high banks of the wide Ohio River in Evansville, Indiana. "Sea Fever" (John Masefield), one of Faith's few biographically-influenced songs, displays such a depth of emotion rare for a nineteen-year-old. It is an important early song because it established many compositional techniques to which the composer returned throughout his lyrical output. Another "sea" example is "Ships" an English translation of "Vaisseaux, nous vous aurons aimés" by Jean de la Ville de Mirmont fr:Jean de La Ville de Mirmont, the French World War I poet killed in action in 1914. This poem was also set by Fauré in that composer's final song cycle L'horizon chimérique. Faith's song is scored for cello obbligato, piano, and female voice.

Faith skillfully translates into music the emotions behind the words of the world's greatest authors. Although many of his songs display common characteristics, each reveals an approach that allows the poem's individuality to shine through. Performers of art song, both singers and pianists, will appreciate Faith's output, considering the variety of poems he set to music and the gracious way he treats the voice and piano in his neo-romantic/impressionistic manner. Somewhat reticent of theoretical discussions, however, Faith considers himself only to be a composer of the heart, who relies on his musical gifts to bring joy to others.^[2]

Selected Works

Chamber and Instrumental Music

Air for Saxophone and Piano

Andante and Allegro for Bassoon and Piano 2011*

Chant and Movement for Viola and Piano 2002*

Concerto for Clarinet and Piano 1989; Southern Music Co.

Concerto for Two Pianos and Percussion

Doric Dances for English Horn (or Alto Saxophone) and Piano 2000

Elegy for Clarinet and Piano 1950*

Elegy for Clarinet Choir

Essays for Oboe and Piano 1964

Evocation for Trombone and Piano arr. from "Music I Heard With You" 1987*

Evocations for Trumpet (Bb or C) and Piano 2006

Fables for Viola and Piano 1974*

Fantasy for Violin and Piano

Fantasy Trio No. 1 for Violin, Clarinet or Oboe and Piano 1982

Fantasy Trio No. 2 for Violin, Clarinet and Piano 1988

Four Duets for Violin and Cello

Harvest Song for Baritone and Woodwind Quintet

Highland Skecthes for Baritone Saxophone and Piano 2011*

Incantations for Soprano, Viola and Piano 1994

Miniatures for Clarinet and Piano 1992; Belwin Mills

Miniatures for Oboe and Piano 1988; Belwin Mills

Moorish Dances for Violin, Percussion and Piano 2002

Movements for Horn and Piano 1966; Shawnee Press

Oboe Concerto 1982

Pastorale for English Horn (or Alto Saxophone) and Piano 2000

Phantasies for Saxophone and Piano 1985

Poems for Cello and Piano (based on four Faith songs) 1984

Quintet for Flute, Clarinet, Violin, Cello and Harp 1956

Rhapsody for Cello and Piano 1960*

Rhapsody for Flute and Piano 2007

Rhapsody for Violin and Piano in Four Movements 1954-55*

Romance for Violin and Piano 1952*

Second Fantasy Trio for Violin, Clarinet and Piano 1995

Sextet for Wind Quintet and Piano 2001

The Solitary Reaper for Baritone and Woodwind Quintet

Sonata for Cello and Piano 1985

Sonata for Flute and Piano 1957

Sonata for Trumpet and Piano 1957

Sonata No. 2 for Trumpet and Piano 1985

Sonata for Viola and Piano

Sonata for Violin and Piano 1948*

String Quartet 1955*

Suite for Bassoon and Piano 1989; Southern Music Co.

Suite for Clarinet and Piano 2007

Three Duets for Violin and Viola

Three Nocturnes for Violin and Piano 1970*

Three Pieces for Oboe and Piano

Trio for Flute, Cello and Harp 1984

Trio for Oboe, Bassoon and Piano 2003

Trio for Violin, Cello and Piano 1965

Trio for Violin, Horn and Piano

Two Pieces for Brass

Two Poems for Voice, Violin, Cello and Piano (Mirmont), arr 2010

Two Romances for Violin and Piano

Two Songs for Violin and Piano 2000*

Two Sea Pieces for Clarinet and Piano 1966

Various Pieces for Clarinet and Piano (Air, Eventide, Harlequin, Serenade) 1987*

Woodwind Quintet

* unpublished

Choral

All Day I Hear the Noise of Waters for SSA and Piano (James Joyce) 1966

The Blackbird for SATB and Piano (William Ernest Henley) 1965

Creation, A Cantata for Soloists and SSATBB 1993

Daffodils for SSA and Piano (William Wordsworth) 1970

God Be in my Head for SATB and Piano 1990

Hymn of Praise for SATB and Piano or Organ 1989

Indian Summer for SATB and Piano (Wilfred Campbell) 1964

Kyrie for SATB and String Orchestra (Organ version) 1990

Mass (Missa Hominum) for SATB, Soloists and Piano 1986

Music I Heard With You for SATB and Piano (Conrad Aiken) 1968; G. Schirmer

O Spirit of the Summertime for SATB and Piano or String Quartet (William Allingham)1970

On the Isle of Skye for TTBB (Richard Faith) 1986

Remember Me in various vocal arrangements (Christina Rossetti) 2003, 2006

Sea Fever for TBB and Piano (John Masefield) 1965; for SATB and Piano 1980

Sleep Child from The Little Match Girl for SATB and Piano (Michael Ard) 1994

Sonnet 54 for TTBB (William Shakespeare) 1986

Spring, the Sweet Spring for TTBB (Thomas Nashe) 1986

Though I Speak for SATB and Piano (St. Paul) 1991

The Waters of Babylon, A Cantata in 4 Movements for Baritone Solo, SATB Chorus and Piano (Jeremiah, Isaiah) 1976

The Wayfarer for SATB and Violin, Viola, Cello, Horn and Piano (Rainer Maria Rilke) 1996

What Sweeter Music for SATB and Piano (Robert Herrick) 1993

Opera

Beauty and the Beast in Three Acts for Piano, Orchestra or Small Chamber Orchestra (Michael Ard) 1992

The Little Match Girl an Opera in One Act for Piano or Chamber Orchestra (Michael Ard) 1979; orchestration 1990-91

Sleeping Beauty, an Opera in Two Acts for Piano or Orchestra (Michael Ard) 1970

The Wydah's Gold in Five Scenes for Piano or Chamber Orchestra (Robert Weller) 1997

Orchestra

Aureole 1981

Concert Overture 1988

Concerto for Clarinet and Chamber Orchestra

Concerto #1 for Piano and Orchestra 1969; kermitpeters.net

Concerto #2 for Piano and Orchestra 1975; Chamber arrangement 1998

Concerto #3 for Piano and Orchestra 1982

Concerto for Clarinet and Chamber Orchestra in Three Movements 1987

Elegy 1966;

Festivals in three movements 1980; originally Concerto for Two Pianos 1972;

Idylls in Three Movements for Oboe and Chamber Orchestra 1982

Lydian Overture 1984

Odyssey 1965

A Pastoral Overture 1964

Phantasie for Piano and Orchestra 1977

Processional for String Orchestra 1994

Sonata No. 1 for Piano in three movements; orchestrated 1995

Piano and Keyboard

Allegheny Serenade for Two Pianos 1998*

Andante and Allegro for Two Pianos 1998*

Arabesques 2000*

Carousels 1991; Belwin Mills

Celebration

Carousels for Two Pianos 1972*

Concerto for Two Pianos 1973-74; Shawnee Press, Hal Leonard

Dance Suite for 4 Hands 1990

Dances 1977; Shawnee Press, Hal Leonard

Differencias 1969*

Elegy for Organ (arr. of "Elegy for Orchestra") 1991*

Etude - "Stratification" 1984

Family Portraits 2006

Fantasy No. 1 1968*

Fantasy No. 2 1987; Shawnee Press

Finger Paintings 1966; Shawnee Press, Hal Leonard

Five Preludes and a Nocturne 1967; Shawnee Press

Floating

Four Cameos 1971; Shawnee Press

Four Timbres 2009

Gaelic Suite 1993*

Gallantries 2009

The Highwayman

Islands 1970,1985; Shawnee Press

Le Mont Saint Michel 2008*

Legend 1967; Summy Birchard

Little Preludes 1966*

Masquerades 1988; Belwin Mills

Moments in a Child's World 1968; Shawnee Press

Night Piece

Nocturne 1975

Pastoral Suite 1989, revised 2009; Shawnee Press

Piano Concerto #1 1969

Piano Concerto #2 1975

Piano Concerto #3 1982

Performance Practices in Late 20th Century Piano; Alfred Publishing Co.

Piano Transcriptions of Songs 2005-10*

Pipes 1987; Belwin Mills

Recollections, Nine Short Pieces 1969, 1974; Shawnee Press

Rhapsody 1980*

Russian Folk Tales 1990; Belwin Mills

Service Sonata for Organ 1970*

Six Preludes and a Nocturne

Skandian Suite 2008

Sketches 1987; Belwin Mills

Sonata No. 1 1962, revised 2010

Sonata No. 2 1957

Sonata No. 3 1958

Sonatina 1987

Sonatina 1987; Belwin Mills

Souvenir from 12 by 11 1979; Alfred Publishing Co.

Suite "Trouveres" for Harpsichord 2002*

Tableaus, four hands 1987; Belwin Mills

Three Etudes 1978, revised 2009

Three for Two for Two Pianos 1998*

Three Night Songs 1964, 1980, 2010

Three Sonatinas

Toccata- "The Dark Riders" 1969; Shawnee Press

Travels 1970; Shawnee

Two Nocturnes 1976

Voyages 2001*

Woodland Adventures 1988*

* unpublished

Songs

(published by Leyerle Publications unless otherwise indicated)

Noon (Robinson Jeffers) 1944-45; revised 2004*

Sea Fever (John Masefield) 1945

Music I Heard With You (Conrad Aiken) 1946-47

Granite (Lew Sarett) 1948*

She Weeps Over Rahoon (James Joyce) 1950*

Dark Hills (Edward Arlington Robinson) 1950

Spring, the Sweet Spring (Thomas Nashe) 1950-51

Tulmutuous Moment (Lew Sarett) 1951*

Desire in Spring (Francis Ledwidge) 1952

Evening (Rupert Brooke) 1952*

To Helen (Edgar Allan Poe) 1953

Remember Me (Christina Rossetti) 1954

The Blackbird (William Ernest Henley) 1955

Music When Soft Voices Die (Percy Bysshe Shelley) 1957

Dry Spell (Lizzi Morrison) 1957*

River Roses (D.H. Lawrence) 1958*

Dover Beach (Matthew Arnold) 1958

In the Evening of Inhabiting Mists (Linda Joy) 1959*

Spring (Jack Wertz) 1960*

The Owl and the Pussy-Cat (Edward Lear) 1960

Bobby Shafto (Mother Goose) 1961

Laura Sleeping (Charles Cotton) 1962

Hymn of Praise (The Jewish Union Prayerbook) 1962

The Sun has Set (Emily Brontë) 1964-65

The Solitary Reaper with flute and piano (William Wordsworth) 1966

Harvest Song with flute and piano (Joseph Campbell (poet))1967*

Caterpillar (Lillian Vaneda) 1967; Revised in 1992 as Firefly (June Presswood)

Night Piece (Joseph Campbell (poet)) 1970*

The River (Patrick MacDonogh) 1971, revised 2009*

On the Isle of Skye (Richard Faith) 1973

I have Embarked for voice, cello (and violin) and piano;(Jean de la Ville Mirmont fr:Jean de La Ville de Mirmont; trans. by Martha Belen) 1975

Chant with cello and piano (vocalise) 1976

It is a Beauteous Evening (William Wordsworth) 1978

The Lake Isle of Innisfree (William Butler Yeats) 1980

The Wild Swans at Coole (William Butler Yeats) 1981

The Wind Blows Out of the Gates of the Day (William Butler Yeats) 1981

To Celia (Drink to me only with thine eyes, Ben Jonson after Philostratus) 1982

He Remembers Forgotten Beauty (William Butler Yeats) 1982; Classical Vocal Reprints^[5]

O, the Month of May (Thomas Dekker (writer)) 1982

Sonnet 54 (O, how much more does beauty beauteous seem, William Shakespeare) 1982

In the Land of Sleeping Seeds for two high voices (Mary Stigers) 1982*

It was a Lover and his Lass (William Shakespeare) 1982

The Song of Wandering Aengus (William Butler Yeats) 1982

I Hear the Shadowy Horses (William Butler Yeats) 1982

If I Were (poet unknown) 1982

Ships for voice, cello (and violin) and piano (Jean de la Ville Mirmont fr:Jean de La Ville de Mirmont; trans. by Martha Belen) 1983

Stanzas Written in Dejection near Naples (Percy Bysshe Shelley) 1984*

Flight (James Wood) 1984*

Why Must I Go (James Wood) 1984*

Perhaps (James Wood) 1984*

Though I Speak (Corinthians I, 13, St. Paul) 1985*

Annabel Lee (Edgar Allan Poe) 1985

The Passionate Shepherd to his Love (Christopher Marlowe) 1985

Serenade (anon. medieval Latin; trans. by Helen Waddell) 1985

Sonnet 116 (Let me not to the marriage of true minds, William Shakespeare) 1986*

The City in the Sea (Edgar Allan Poe) 1989

To Jane or The Keen Stars were Twinkling (Percy Bysshe Shelley) 1989

Echo (Christina Rossetti) 1991

Spring Quiet (Christina Rossetti) 1991

No Music in the Wind (Lou Anna Thomas) 1991*

My Heart is like a Singing Bird (Christina Rossetti) 1992

Scenes from Macbeth for Soprano, Baritone and Piano (William Shakespeare) 1992*

Apollo and Daphne for Mezzo, Baritone and Piano (Richard Faith) 1992*

Return of Spring (Ssü-K'ung T'u [司空圖]; trans. by L. Cranmer Byng) 1992

Absence (Abū Bakr al-Turushi; trans. by Cola Franzen) 1993*

Serene Evening (Muhammad ibn Ghālib al-Rusāfi; trans. by Cola Franzen) 1993*

Split my Heart (Ibn Hazm; trans. by Cola Franzen) 1993*

Leavetaking (Ibn Jakh; trans. by Cola Franzen) 1993*

Oh, Fateful Night (Ibn Safr al-Marīnī; trans. by Cola Franzen) 1993*

Winter Journey (William Lavonis) 1993

All Day I Hear the Noise of Waters (James Joyce) 1993*

To Chloris (Sir Charles Sedley, 5th Baronet) 1993*

Where are you going to, my pretty maid? (Mother Goose) 1994

Jenny Wren (Mother Goose) 1994

I saw three ships (Mother Goose) 1994

The Queen of Hearts (Mother Goose) 1994

God Be in My Head (Sarum Primer) 1994

What Sweeter Music (Robert Herrick) 1994

So all day long the noise of battle rolled (Alfred, Lord Tennyson) 1994*

Crossing the Bar (Alfred, Lord Tennyson) 1994

Wisdom is Sweeter than Honey (Makeda, Queen of Sheba) 1994*

Come, my Beloved (Song of Songs: The Shulammite) 1994*

I Bind you by Oath (A Roman Spell) 1994*

I Cannot Dance, O Lord (Mechtild of Magdeburg) 1994*

So, we'll go no more a roving, duet for tenor and baritone (Lord Byron)1995; Classical Vocal Reprints^[5]

The Isles of Greece (Lord Byron) 1995

A Sailor's Song (Audrey Weinreis) 1995

The Isle of Pines (Po chü-i trans. by L. Cranmer Byng) 1995

Time does not bring relief (Edna St. Vincent Millay) 1995*

To a Waterfowl (William Cullen Bryant) 1996

The Death of a Conqueror (Jared Freedeen) 1996*

Though the Way be Dark (Carl A. Dallinger) 1996

Autumn Memories (Carl A. Dallinger) 1996

A Moment in Time (Carl A. Dallinger) 1997

Old Mother Goose (Mother Goose) 1997

My Mother Said (Mother Goose) 1997

Sing a Song of Sixpence (Mother Goose) 1997

Old Woman, Old Woman (Mother Goose) 1997

Love is not all (Edna St. Vincent Millay) 1998*

And you as well must die, beloved dust (Edna St. Vincent Millay) 1998*

Low Moon Land (Francis Ledwidge) 1998*

Apollo and Daphne for Mezzo, Baritone and Piano (Richard Faith) 2000*

Water (Michael Ard) 2000; revised 2010; Classical Vocal Reprints^[5]

The Stolen Child (William Butler Yeats) 2001; Classical Vocal Reprints

Prelude (John Millington Synge) 2001*

Vocalise 2001*

Fire (Michael Ard) 2001; revised 2010; Classical Vocal Reprints

Air (Michale Ard) 2002; revised 2010; Classical Vocal Reprints

Earth (Michael Ard) 2002; revised 2010; Classical Vocal Reprints

The Dead Poet, duet for tenor and baritone (Lord Alfred Douglas) 2002*

O Spirit of the Summertime for High Voice, Cello and Piano (William Allingham) 2003*

At the Mid Hour of Night (Thomas Moore) 2005*

Sudden Light (Dante Gabriel Rossetti) 2005*

The Fiddler of Dooney (William Butler Yeats) 2007; Classical Vocal Reprints

Verses from Lamentations (Jeremiah) 2007*

Sonnet 104 (William Shakespeare) 2007*

Drifting (Li Po (Li Bai) trans. by L. Cranmer Byng) 2009*

The Rose of Tralee (William Pembroke Mulchinock) 2009*

Echoes: Two Songs in One (John Todhunter, Thomas Moore) 2010*

Poems from the Voices of Gaia (Michael Ard) 2010; Classical Vocal Reprints^[5]

The Ancient Wind (Po chü-i trans. by L. Cranmer Byng) 2010*

Sonnet 116, new setting (William Shakespeare) 2011*

There Will Be Rest (Sara Teasdale); for Karen Krueger 2011*

* unpublished

Discography

Incantations & Rhymes: Music for Soprano, Viola, and Piano. Karen Peeler, soprano; Henrietta Neeley, viola; Robin Guy, piano. Superdups, Tewksbury, MA.

Music I heard With You — David Jimerson Sings Songs of Richard Faith^[6]

Remember Me: Songs by Richard Faith. Lesley Manning, soprano; Julie Simson, mezzo-soprano; William Lavonis, tenor; Kurt Ollmann, baritone; Elizabeth Rodgers, piano; Richard Faith, piano. eDream Studios, Milwaukee, WI.^[7]

Remember Me: Songs by Richard Faith. Brenda Baker, soprano; Richard Faith, piano.^[8]

Rhapsody-Chamber Music of Richard Faith^[9]

Songs of Love and Longing, Valerie Errante, soprano^[10]

The Songs of Richard Faith. Joseph Hopkins, baritone; Richard Faith, piano. Hopkins Recording Company

Incantations and Rhymes. Trio Ariana

The Ensemble da Camera of Washington. Fantasy Trio for Violin, Clarinet and Piano

New Works for Bassoon. Suite for Bassoon and Piano

The Catalina Chamber Orchestra. Concerto for Clarinet and Chamber Orchestra

Further reading

ASCAP Biographical Dictionary. 4th ed. New York: Jaques Cattell Press, 1980.

Anderson, Ruth. Contemporary American Composers, a Biographical Dictionary. 2nd ed. Boston: G.K. Hall & C0., 1982

Kimball, Carol. Song: A Guide to Art Song Style and Literature. Wisconsin: Hal Leonard Corporation, 2006.

References