Barbara Harbach
Professor of Music
University of Missouri-St. Louis


CURRICULUM VITAE

OFFICE ADDRESS

EDUCATION

POSITIONS HELD

AWARDS AND HONORS

TEACHING

SOLO COMPACT DISC RECORDINGS

SOLO RECORDINGS (Record or Cassette)

ENSEMBLE COMPACT DISC RECORDINGS

ENSEMBLE RECORDINGS (Record or Cassette)

SELECTED PREMIERES AND COMMISSIONED WORKS

PUBLISHED SOLO, AND CHAMBER AND ORCHESTRAL COMPOSITIONS

PUBLISHED CHORAL COMPOSITIONS

ORIGINAL COMPOSITIONS ON COMPACT DISC

SELECTED PERFORMANCES OF COMPOSITIONS  

PUBLISHED ARRANGEMENTS AND EDITIONS

ARTICLES

CD AND MUSIC REVIEWS  

LINER NOTE PUBLICATIONS

SELECTED ORGAN AND HARPSICHORD ENGAGEMENTS

SELECTED SOLO TELEVISION AND RADIO PERFORMANCES

UNRELEASED COMPACT DISCS

SELECTED LECTURES AND LECTURE/RECITALS

ADDITIONAL POSITIONS IN MUSIC  

SELECTED UNIVERSITY SERVICE

OFFICE ADDRESS

221 Music Building
University of Missouri-St. Louis
One University Boulevard
St. Louis, MO 63121-4499

Phone: (314) 516-7776
Fax: (314) 516-6593
E-mail: mailto:harbach@uwsp.edu
Home Page

DEGREES
Honorary Doctorate, Doctor of Music, honoris causa, Wilmington College, Wilmington, OH, 2002
DMA, Eastman School of Music
Konzertdiplom, Musikhochschule, Frankfurt, Germany
MMA, Yale University
BA, Pennsylvania State University

POSITIONS HELD
University of Missouri-St. Louis, Professor of Music, 2004
University of Missouri-St. Louis, Visiting Professor of Music, 2003
University of Wisconsin-Stevens Point, Associate Professor of Mathematics and Computing, 2003
University of Wisconsin-Stevens Point, Visiting Professor of Fine Arts, 2000-2003
University of Wisconsin-Oshkosh, Visiting Professor of Music, 1997-2000
Washington State University, Professor of Music, 1991-1997
State University of New York at Buffalo, Coordinator of Keyboard Studies, 1985-1991
Nazareth College, Associate Professor, 1985; Assistant Professor, 1979-85; Lecturer, 1974-79
Alfred University, Lecturer, 1973-74

AWARDS AND HONORS
St. Louis Hellenic Spirit Foundation Award, 2007
Missouri Citizens for the Arts, Frederick H. Laas Memorial Award, 2006
Missouri Arts Council, Arts Education Award, 2006
Zonta Club of St. Louis, Yellow Rose Award, 2006
College of Fine Arts and Communication, UM-St. Louis, Faculty Excellence Award, 2006
Fellow in the Center for International Studies, UM-St. Louis 2004-2006
Honorary Professor of Women Studies, University of Missouri-St. Louis, 2003
Teaching Innovation Award, College of Letters and Science, University of Wisconsin-Oshkosh, 1998
Faculty Development Research Grant for Women in Music Textbook, University of Wisconsin-Oshkosh, 1998
Alumni Achievement Award, College of Arts and Architecture, Pennsylvania State University, 1997
Mortar Board Distinguished Professor of the Year, Washington State University, 1996
Susan Armitage Award in Women Studies, Washington State University, 1994
Merit Award for Teaching in Women Studies, Washington State University, 1993
Outstanding Classical Keyboard Artists, Keyboard Magazine, 1992
Faculty Exchange Scholar, State Universities of New York, State University of New York at Buffalo, 1990
Outstanding Classical Keyboard Artists, Keyboard Magazine, 1990
Eastman School of Music, Doctoral Marshall (awarded to top graduate), 1981

TEACHING
Composition, scoring and arranging, theory for non-majors, music history courses for music majors, women in music, music appreciation,  American music for non-majors, organ, harpsichord, piano, class piano, freshmen theory, and skills for freshmen. The literature courses contain an Internet, e-mail, and computer component. Technology courses include Survey of the Internet, Technology, and New Media Arts, and Creativity and the Arts.

SOLO COMPACT DISC RECORDINGS
Orchestra Music of Barbara Harbach – Symphony, Reverie & Rhapsody,
Vol. 1, MSR Classics 1252, Newtown, CT, 2007
Chamber Music of Barbara Harbach – Ensemble, String Quartet & Woodwind Quintet,
Vol. 2, MSR Classics 1253, Newtown, CT, 2007
Organ Music of Barbara Harbach – Toccatas, Flourishes and Fugues on Familiar Hymn Tunes,
Vol. 3, MSR Classics 1254, Newtown, CT,
    2008 (in press)
Sonatas of Anna Bon for Harpsichord, Hester Park, Stevens Point, WI, 2008 (in press)
Goldberg Variations for Harpsichord, Gasparo Records (Gallante), Peterborough, NH, GG 1018, 2002
Contemporary Harpsichord, Volume IV, Gasparo Records, Peterborough, NH, GSCD-290, 2000
Pachelbel Canons, Barbara Harbach, Organist, Gasparo Records, Peterborough, NH, GSS-2001, 1999
Bach & Handel: Music for Two Trumpets and Organ, Barbara Harbach, Organist, Gasparo Records, Peterborough, NH, GSS-2002, 1999
Summershimmer: Women Organ Composers, Hester Park, Stevens Point, WI, 1996
Classical Prodigies: Elizabeth Weichsell Billington / Wolfgang Amadeus Mozart, Hester Park, Stevens Point, WI, 1995
Eighteenth Century Women Composers: Music for Solo Harpsichord, Volume I, Gasparo Records, Peterborough, NH, 1995
Sonatas by Elizabeth: Elisabetta de Gambarini / Elizabeth Hardin, Hester Park, Stevens Point, WI, 1995
Women Composers for the Organ, Gasparo Records, Peterborough, NH, 1993
Art of the Fugue, Gasparo Records, Peterborough, NH, 1990
Goldberg Variations, Gasparo Records, Peterborough, NH, 1990
Karl Höller, Gasparo Records, Peterborough, NH, 1990
Contemporary Harpsichord, Volume II, Gasparo Records, Peterborough, NH, 1990
Contemporary Harpsichord, Volume III, Gasparo Records, Peterborough, NH, 1990
American Hymn Preludes, Gasparo Records, Peterborough, NH, 1990
Contemporary Organ: Samuel Adler / Dan Locklair, Gasparo Records, Peterborough, NH, 1990
Eighteenth Century Women Composers Volume II, Gasparo Records, Peterborough, NH, 1990
Women Harpsichord Composers of the Eighteenth Century, Kingdom Records, London, UK, 1989
Twentieth Century Harpsichord Music, Kingdom Records, London, UK, 1988

SOLO RECORDINGS
(Record or Cassette)
Harbach Plays More Bach, Volume II, Gasparo Records, Peterborough, NH, 1987
Music for Trumpets and Organs, Gasparo Records, Peterborough, NH, 1987
Harbach Plays Hymns, Gasparo Records, Peterborough, NH, 1986
Harbach Harpsichord Baroque Recital, Gasparo Records, Peterborough, NH, 1985
Harbach Modern Harpsichord, Gasparo Records, Peterborough, NH, 1985
American Hymn Preludes, Gasparo Records, Peterborough, NH, 1985
Harbach Plays Bach, Gasparo Records, Peterborough, NH, 1983
 
ENSEMBLE COMPACT DISC RECORDINGS
Herman Berlinski,
organ, Naxos American Classics 2006
Samuel Adler, Naxos American Classics, 2004
Mario Castelnuovo-Tedesco, Prayers My Grandfather Wrote (organ), Naxos American Classics, 2003
An American Voice: The Music of Randall Thompson, Albany Records, NY 1999
Music of Leo Sowerby, Albany Records, NY, 1997
Hanson Conducts Hanson,
Citadel, NY, 1996
The Chamber Music of Gardner Read,
Northeastern Records, Saxonville, MA, 1995
Contemporary Harpsichord Ensemble, Albany Records, Albany, NY, 1991
American Voices II, Bay Cities, Albany, NY, 1991
American Voices I, Bay Cities, Albany, NY, 1990

ENSEMBLE RECORDINGS
(Record or Cassette)
Choral Anthems by the Rochester Singers, Vivace Press, Stevens Point, WI
Motets of Anton Bruckner, Roberts Wesleyan College, Rochester, NY
Americana: Choral Masterworks of American Composers, Roberts Wesleyan College, Rochester, NY
To Freedom! A Passover Celebration, WXXI Recordings, NPR Rochester, NY
Birthday of the World -- A High Holy Days Celebration, WXXI Recordings, NPR Rochester, NY
Let There be Light! A Hanukkah Celebration, WXXI Recordings, NPR Rochester, NY
Day of Joy! A Sabbath Celebration, WXXI Recordings, NPR Rochester, NY
Music for Flute, Clarinet and Piano, Mark Records, Buffalo, NY
Music of Richard Donovan, CRI, Composers Recording Incorporated, NY
Jewish Choral Music, Transcontinental Publications, NY
Jewish Organ Music, Transcontinental Publications, NY
Beautiful Dreamers, Popular Music from the Revolution to the Civil War, Rochester, NY
Anthems from Christ Church, Christ Church, Rochester, NY

ORCHESTRAL COMPOSITIONS
 The Soul of Ra for String Orchestra, Vivace Press, 2008
        In Memoriam is for all our lost loves, loved ones and the many war dead.  The throbbing pulse of pain alternates with the soaring
        melody of hope and heart's ease.

        Phoenix Rising personifies the indomitable human spirit that transcends loss and this world's suffering.  Amidst our joy there is always
        a reminder of In Memoriam and the gentle ache of remembrances past.

Transformations for String Orchestra, Vivace Press, 2007
I. Pastorale • II. Towards Liberty • III. Re-strain • IV. Commandment • V. For Life • VI. One Out of Many • VII. Profit • VIII. Return
Transformations for String Orchestra began life as string quartet with the same name. The expansion included divided strings and an added double bass part.  This eight-movement work for string Orchestra was inspired by pioneer director Alice Guy Blaché’s 1912 silent film Making an American Citizen. The moods range from nostalgia to agitation to resolution. This haunting score captures a vein of folk America and utilizes the distinctive voice of each instrument.

Click here to view a page of the score.

Frontier Fancies for Violin and Orchestra, Vivace Press, 2007
This exuberant violin concerto features spirited interaction between violin and orchestra. Fiddleflirt is a dual of speed and energy. Twilight Dream is an evocative aria and lush respite before the wild tarantella of Dancedevil.

Click here to view a page of Fiddleflirt.
Click here to view a page of Twilight Dream.
Click here to view a page of Dancedevil.

 Veneration for Orchestra, Vivace Press, 2004
      
I. Blessings: Gift of Blood
       II. Charity – Caress
       III. Grace: Pleasure Heart
       The first movement features flowing melodies, pulses of rhythm and energy, and alternating currents of intensity and release. Charity – Caress is an idyll, a tender evocation that began life as a work for cello and voice. The fugal and imitative elements reflect those intertwined voices in a dialogue both intimate and playful. Grace: Pleasure Heart is a rondo for orchestra, beginning with a yearning theme reminiscent of the first movement and a relentlessly driving undercurrent and percussive piano part. The next section features contrapuntal interplay based on an expansive rising melody.  After a brief return of the opening material, these elements are combined in a spirited frolic.
      
        Click here to view a page of Blessings: Gift of Blood.
        Click here to view a page of Charity – Caress.
        Click here to view a page of Grace: Pleasure Heart.

One of Ours - A Cather Symphony, Vivace Press, 2004
        I. On Lovely Creek
        II. Autumn in Beaufort
        II. Honor at Boar’s Head

One of Ours is based Cather’s 1922 Pulitzer Prizewinner about a World War I hero Claude Wheeler from central Nebraska. “On Lovely Creek” is an American pastorale, evoking Claude’s youth on the Great Nebraska Prairie and the innocence of a youngish America just beginning to face the tragedies of the twentieth-century. “Autumn in Beaufort” is a charming interlude in the War, the celebration of a town newly liberated from the Germans. The dead have been buried and honored, and those who remain savor the small joys of life. “Honor at Boar’s Head” is a remembering of the life and service of the many thousands of war dead whose bravery and self-sacrifice ensures the many freedoms we enjoy.

Click here to view a page of On Lovely Creek.
Click here to view a page of Autumn in Beaufort.
Click here to view a page of Honor at Boar’s Head

Arcadian Reverie for String Orchestra, Vivace Press, 2004
      Arcadian Reverie begins with a simple setting of the pastoral theme that recurs in many forms from theme with gentle counterpoint to pulsing           rhythms and undercurrents. A faster middle section with punctuating, slightly dissonant chords herald the introduction of melodic and rhythmic ostinatos and the melody in 6/8 time. The original theme makes several attempts at disrupting the frolicking fugue before gathering all the string forces into a lush concluding statement.

Click here to view a page of the score.

Rhapsodie Jardine for Oboe and Strings, Vivace Press, 1996
This work vividly evokes a landscape full of lush harmonies and exotic melodic perfumes, a musical vista of resonant colors and aromatic counterpoint. The opening fantasie-like section juxtaposes a minimalistic ostinato pattern in the lower strings with the evocative and expansive melodic line of the oboe. A somewhat askew waltz follows, an off-beat dance with a wry oboe serenading a slightly awry orchestra. A return to the fantasie material follows a brief contrapuntal transition. The fugue, alternating between 6/8 and 9/8, is passed among the strings and soloist. This leads to a plaintive duet between the oboe and cello and a unison statement of the fugal subject bring the piece to the end with a flourish.
Click here to view a page of the score.

 

Chamber

Echoes from Tomorrow for Chamber Ensemble, Vivace Press, 2008

Echoes from Tomorrow was inspired by Adolf Mérei’s silent film, Simon Judit (Judith Simon; 1915), based on the nineteenth-century ballad by Jewish poet József Kiss.  The movements reflect life’s passages from youthful Anticipation to the many difficult and often poignant Choices we face as we mature. Life is full of Transitions from childhood to young adult to Remembrances, often the comfort we have left.  Echoes from Tomorrow is written for Flute, Clarinet, Bassoon, Piano, Violin, Viola and Cello.

 

Carondolet Caprice for Chamber Ensemble, Vivace Press, 2007

Carondelet Caprice for Chamber Ensemble was inspired by pioneer American director Lois Weber’s 1913 silent film How Men Propose. The moods and themes range from vibrant to nostalgic and feature a distinctly American idiom. The whimsical interaction between the instruments reflects the engaging nature of Weber’s film. Carondelet Caprice is written for flute, clarinet in B-flat, piano, violin, viola and violoncello.
Click here to view a page of the score.

Separately Together: Synesthesia for Chamber Ensemble, Vivace Press, 2006
I. Lilting Lines – Careening Melodies

II. Spattering Notes
III. Dancing Rhythms
IV. Lyrical Re-vision
V. Crescendo of Colors

Separately Together, a five-movement work for chamber ensemble, was inspired by pioneer director Alice Guy Blaché’s 1913 silent film A House Divided. The piece explores a variety of emotions and atmospheres that reflect the sensory images of the film. The instruments form an integrated tapestry of sound yet retain their separate colors. Separately Together is written for flute, clarinet in B-flat, piano, violin, viola and violoncello.
Click here to view a page of the score.
 

American Solstice for Chamber Ensemble, Vivace Press, 2006
American Solstice is loosely based on an original fiddle tune that captures something of the flavor and independence of the American frontier spirit. The second theme reflects the influence of the American hymn collection known as The Sacred Harp, yet it features unexpected harmonies and yearning melodic lines. This is followed by a sprightly section of playful imitation and canon. The three themes develop and interweave, with an extended fugue built on the fiddle tune that culminates in an exhilarating crowning statement. American Solstice is written for flute, clarinet in B-flat, piano, 2 violins I, 2 violins II, 2 violas, 2 violoncelli, and doublebass.
Click here to view a page of the score.
 

Transformations for String Quartet, Vivace Press, 2006
I. Pastorale • II. Towards Liberty • III. Re-strain • IV. Commandment • V. For Life
VI. One Out of Many • VII. Profit • VIII. Return

This eight-movement work for string quartet was inspired by pioneer director Alice Guy Blaché’s 1912 silent film Making an American Citizen. The moods range from nostalgia to agitation to resolution. This haunting score captures a vein of folk America and utilizes the distinctive voice of each instrument.
Click here to view a page of the score.
 

Forces at Play for Chamber Ensemble, Vivace Press, 2005

Forces at Play was conceived as a modern ballet or a landscaped musical journey conveyed through dance. The distinctive voice of each instrument weaves and interacts, collides, dances and floats through time and space. Forces at Play is written for flute/piccolo, clarinet in B-flat, violin, viola, cello, and percussion.
Click here to view a page of the score

A Morning Trumpet for Organ and Oboe, Vivace Press, 2005

A  Morning Trumpet is based upon five early American hymns from the Sacred Harp: “The Morning Trumpet”, “Morning Hymn”, “Come Away to the Skies”, “How Firm a Foundation” and “Swing Low, Sweet Chariot”, entwined in the interplay between the organ,  that “great beast that never breathes” and the oboe, “an ill-wind no one blows good”.       

Rustic Scene for Viola and Piano, Vivace Press, 2005

Rustic Scene for Viola and Piano evokes the quintessentially American frontier character and spirit.  Viola and piano imitate, chase, and call out to the other as they explore the full range and dynamic possibilities of both instruments.  Folk-like melodies, harmonies built on fourths, dissonances of rubbing seconds, clashing sevenths, and devilish fourths (diabolous in musica) give color to the dialogues, vividly evoking a landscape full of lush harmonies and exotic melodic perfumes, a musical vista of resonant colors and aromatic counterpoint.
Click here to view a page of the score.
 

Emanations of the Sacred Harp for Cello and Piano, Vivace Press, 2004

The first movement, Morning Fantasy, is an eloquent fantasy beginning and ending with a quasi-improvisatory setting for the central hymn tune “The Morning Trumpet.” The second movement, Reeling Chester, begins with an introductory fragment and then a complete statement of “Chester” in the cello, clothed in a polyphonic texture in the piano and evoking the energy and drive of the early New England style.  The counterpoint then becomes the subject of a vintage Harbach fugue that weaves “Chester” into its fabric along with another fugue, reels and more hymns.
Click here to view a page of the score

Perambulation for Trumpet and Piano, Vivace Press, 2004
Perambulations for Trumpet and Piano showcases the lyric possibilities and rhythmic energy of the trumpet. It opens with a blues-tinged melodic theme before moving to a bright Vivace toccata in the piano with emphatic chords and considerable interplay between the two instruments. Development of each theme is followed by a playfully relaxed trumpet cadenza before joining with the piano for a bravura finish.
Click here to view a page of the score

Rhapsody Ritmico for Brass Quintet, Vivace Press, 2004
Rhapsody Ritmico for Brass Quintet opens majestically with fanfare punctuations. The second section is a gently lilting lullaby with imitation in the upper brasses and a melodic and rhythmic ostinato in the lower brasses. The horn introduces a merry fugue subject, and then each instrument joins the frolic. The various themes and sections are richly interwoven before a dramatic final flourish.
Click here to view a page of the score.
 

American Dialogues for Flute and Piano, Vivace Press, 2004
American Dialogues for Flute and Piano evokes the quintessentially American frontier character and spirit. Flute and piano imitate, chase, and call out to the other as they explore the full range and dynamic possibilities of both instruments. Folk-like melodies, harmonies built on fourths, dissonances of rubbing seconds, clashing sevenths, and devilish fourths (diabolous in musica) give color to the dialogues. The musical terrain includes calm, quiet conversations, ecstatic dancing, and fiery musical competition before settling on a common vision.  
Click here to view a page of the score

Four Dances for Two for Oboe and Violin, Vivace Press, 2004
Rococo Promenade • Afternoon Divertimento • Get Reel • Holiday Glide
Rococo Promenade
is based on the Baroque French overture style with a galloping fugal middle section before a return to the jaggedly dotted style of the beginning. Afternoon Divertimento alternates a calm, lullaby-like mood with bursts of frenzied energy typical of a weekend afternoon. Get Reel portrays a whimsically reeling, roiling, reel (really!) with rapid and smoothly flowing figures. Holiday Glide features clockwork precision interpolated with slides and glides and glissandi.
Click here to view a page of the score 

Frontier Fancies for Violin and Piano, Vivace Press, 1996
Fiddleflirt • Twilight Dream • Dancedevil

This exuberant set showcases the interaction between the violin and the piano. In Fiddleflirt, the two instruments are protagonists in a duel of speed and energy. Twilight Dream is an evocative aria and lush respite before the wild tarantella of Dancedevil.
Click here to view a page of the score.

Daystream Dances for Oboe and Piano, Vivace Press, 1996
Rolling Brightness
Reeling Dusk
This exuberant set showcases the abilities of both pianist and oboist. Rolling Brightness is a rollicking and upbeat dialogue between oboe and piano.  Its soaring lines and frequent key changes give it a playful character.  Reeling Dusk is a headlong rush into a whirl of sound and sense.  The unusual meter signature of 11/8 creates a slightly off-kilter sway.  Rhythmic complexities lead to a dramatic oboe cadenza before returning to the opening theme and meter.

Wind
Emanations from the Sacred Harp
for Concert Band, Vivace Press, 2008 (in press)
Emanations from the Sacred Harp
for Concert Band began life and a piece for cello and piano. The first movement, Morning Fantasy, is an eloquent fantasy beginning and ending with a quasi-improvisatory setting for the central hymn tune “The Morning Trumpet.” The second movement, Reeling Chester, begins with an introductory fragment and then a complete statement of “Chester” in the cello, clothed in a polyphonic texture in the piano and evoking the energy and drive of the early New England style.  The counterpoint then becomes the subject of a vintage Harbach fugue that weaves “Chester” into its fabric along with another fugue, reels and more hymns.

Freeing the Caged Bird for Woodwind Quintet, Vivace Pres, 2007
      Freeing the Caged Bird
is a four-movement tribute inspired by the literary works of four native St. Louis women who struggled to give

voice to their creativity. The first movement is based on the book I

Know Why the Caged Bird Sings, by Maya Angelou, who is regarded as one

of the great voices of contemporary literature. The second movement

represents Kate Chopin’s then notorious novel The Awakening, first

published in 1899. Inspired by Sara Teasdale's (1884-1933) poem 

“Sunset St. Louis” the third movement evokes the swirling, twilight

imagery of her  poem. The last movement, Hong Kong Holiday,

based on Emily Hahn’s book, expresses the joie de vivre of a woman who

refused to accept society’s dictums.

Fantasy and Fugue on Swing Low, Sweet Chariot for Woodwind Quintet, Vivace Press, 2006
A woodwind quintet setting of one of America’s most popular spirituals. The dramatic fantasy section includes a lyrical rendition of the melody; this is followed by a lively fugue.
Click here to view a page of the score.

 

Organ

Come, Join the Dance: Folktunes and Spirituals for Organ, Augsburg Fortress Press, 2008

Come, Join the Dance is a collection of seventeen arrangements in a variety of styles from trios to toccatas to fugues.

 

Wade in the Water for Organ, Augsburg’s Organ Library: Baptism and Communion, Augsburg Fortress Press, 2006


Azmon for Organ, Baptism and Communion, Augsburg Organ Library, 2006 (Also included in
On Our Way Rejoicing – A Collection of Organ Music, Augsburg Fortress Press, 2002)

 

Fantasy and Fugue on a Hungarian Melody for Organ, Vivace Press, 2005

Fantasy and Fugue on a Hungarian Melody is based on the Hungarian folk melody Erre Gyre and features toccata figurations, canon, inversion, retrograde and fugue.
Click here to view a page of the score.

 

Gloria! Organ Music for Advent and Christmas, Augsburg Fortress Press, 2005
Skillfully constructed, this collection includes energetic settings of favorite carols, an exciting recessional for Christmas called "Gloria," and a delightful quodlibet of carols. Harbach writes music at the moderate level to fit any size instrument.
Tunes: Besancon; Veni Emmanuel; Wie schon leuchtet; Picardy; Antioch; In dulci jubilo; Stille Nacht; The Shepherds Went Their Hasty Way; Puer nobis, Carol, The First Nowell;Quelle est cette odeur agreable.

 

Hosanna, Loud Hosanna: Organ Settings for Lent and the Passion, Augsburg Fortress Press,
2004
A variety of moods are expressed in this collection of hymn settings for Lent and Holy Week. Harbach expresses a thoughtful approach to the texts of these ecumenical hymns, providing some new voluntaries for the church musician. The setting of Were You There is short yet poignant.
Tunes: Christ Lag In Todesbanden; Ellacombe; St. Drostane; Valet Will Ich Dir Geben; Were You There; Wondrous Love

Toccatas and Fugues on Hymns from the Sacred Harp for Solo Organ, Vivace Press, 2003
William Billings Chester • David Walker Hebrew Children • B.F. White The Morning Trumpet
Toccatas and Fugues on Hymns from the Sacred Harp is a collection based on hymns from early American composers William Billings, David Walker and B.F. White. The various works feature lively toccatas, modal tonalities and the compelling melodies of three of America’s most memorable hymns.
Click here to view a page of the score.

Toccatas and Fugues on Hymns by European Women for Solo Organ, Vivace Press, 2003

Toccatas and Fugues on Hymns by European Women features Charlotte Barnard’s Give of Your Best. It opens with toccata figures with a full statement of the hymn melody in the pedal.  A four-voice fugue follows with toccata interspersions, and finishes with a short toccata section with the melody in the left hand. Suite on Jubilee is based on Frances Chattock’s hymn Ye Boundless Realms of Joy.  The Suite opens with t proclamation using gestures of the opening measures of the hymn tune.  A two-part pedal section introduces the entire hymn tune, and then ends with the opening proclamation.  The next movement uses canon at the octave as the unifying factor.  The final movement is a rhythmic toccata with the hymn melody in the pedal.  Who is on the Lord’s Side? Was written by C. Luise Reichardt.  Harbach’s arrangement opens with an improvisatory-fantasia style, followed by a toccata with the hymn tune in the pedal.  A four-voice fugue evolves interspersed with the improvisatory-fantasia material, and toccata elements.

 

As We Gather - A Collection of Organ Music, Augsburg Fortress Press, 2003
As a companion to On Our Way Rejoicing, this collection contains five festive hymn settings that are appropriate gathering music as well as voluntary-style pieces for worship. Barbara Harbach chose sturdy hymns which cross a variety of ecumenical settings making this a volume with broad appeal in the organ world.
Tunes: American Hymn; Cwm Rhondda; Grosser Gott; Unser Herrscher; Wunderbarer König

Swing Low, Sweet Chariot in Augsburg Organ Library: Autumn, Augsburg Fortress Press,
2003

Darwall’s 148th , Augsburg Organ Library: Autumn, Augsburg Fortress Press, 2003

 

Ein Feste Burg for Organ, Augsburg Organ Library: Autumn, Augsburg Fortress Press, 2003

 

Festival Flourish for Organ in Organ Music for the Seasons, Vol. 3, Augsburg Fortress Press, 2002

 

On Our Way Rejoicing – a collection of organ music, Augsburg Fortress Press, 2002
Postludes, voluntaries and fantasies on sending hymns. Perfect to close the service with feeling and quality. Ideal for extending the spirit of a rousing sending hymn as the people move out into the world.

 

Suite on German Chorales, Augsburg Fortress Press, 2002
This suite includes seven movements in a variety of styles based on the German chorales of Martin Luther; the movements include a rhapsody, toccata, reverie, ricercare/motet, and bold harmonic statements of the tunes. Useful voluntaries, either separately or as a complete suite for an extended prelude or concert repertoire.

 

Toccata and Variations on The Lord is My Shepherd for Organ, Augsburg Fortress Press, 2000

An organ voluntary based on the Jesse Seymour Irvine tune "Crimond." Also found in Augsburg Organ Library: Easter.

French Suite on Adeste Fideles for Organ, Vivace Press, 1998
These four variations are based on Baroque dance forms. The opening French Overture is regal and rhythmic. The quiet Allemande recalls Bach's chorale preludes for manuals alone. The sprightly Trio has the melody in the pedal, with scales and joyous leaps in the manuals. The final Toccata exhibits a propulsive and breathless charm.
Click here to view a page of the score.

Toccata on All Hail the Power for Organ, Vivace Press, 1998
This appealing and exciting setting of the hymn tune Diadem features trumpet flourishes, a majestic setting of the melody in the pedal with toccata figurations in the manuals, and a lively fugue that combines the fanfare motives, the fugal subject, and the toccata elements, all leading toward a breathless ending.
Click here to view a page of the score.

Swing Low, Sweet Chariot for Organ, Vivace Press, 1997
(Also included in Autumn, Augsburg Fortress Press, 2003) The dramatic fantasy section also includes a lyrical rendition of the melody; this is followed by a lively fugue based on this beloved tune.
Click here to view a page of the score.

Toccatas and Fugues on American Hymns for Organ, Vivace Press, 1996
Blessed Assurance, Jesus is Mine
There's a Wideness in God's mercyNearer, Still Nearer
This edition offers engaging interpretations of several beloved American hymns. Each is arranged with an opening toccata, a fugal section, and a closing flourish. Appropriate throughout the year, these appealing arrangements will quickly become favorites of the congregation or audience. Excellent historical notes included.
Click here to view a page of the score.

Easter Toccata for Organ, Vivace Press, 1996
This blazing toccata is built on the well-known seasonal hymn, "Jesus Christ is Risen Today" (Easter Hymn). It is a dynamic piece that features the melody in the pedals and bravura sixteenth-note motion in the manuals. A more introspective middle section offsets the two toccata sections.
Click here to view a page of the score.

Summershimmer for Organ, Vivace Press, 1994
This immediately-appealing work was premiered to great acclaim in the summer of 1993 in Fairbanks, Alaska. Later broadcast throughout the Inland Northwest on PBS, the work features lyric playfulness, a challenging pedal part, and acrobatic ornaments.
Click here to view a page of the score.

A Suite of Holiday Trios for Organ, Vivace Press, 1994
Trio on O Come, All Ye Faithful • Trio on Silent Night Holiday Trio
Effective either as a single suite or as individual preludes or offertories, these charming compositions will be popular with congregations year after year.
Click here to view a page of the score.

Fanfare and Toccata on Lasst Uns Erfreuen for Organ, Vivace Press, 1993
This bright-sounding toccata is built on the easily-recognized "All Creatures of Our God and King." Appropriate for concert or for church, it opens and closes with full organ fanfare and features a central part of perpetual motion and interesting modulations. Also available on compact disc recording.
Click here to view a page of the score.

Piano

Phantasy and Phugue for Solo Piano, Vivace Press, 1995
Following a thunderclap opening, the mysterious atmosphere builds until the tolling of low octaves in the bass heralds a hypnotic middle section. One of the techniques employed in this section is a melody superimposed over a repeated rhythmic pattern. This moves into an athletic gigue-like fugue. Four or five minutes in duration, this is a spellbinding contemporary piece to round out a program.
Click here to view a page of the score

 

Suite Alternatives for Solo Piano, Vivace Press, 1995
I. Upturn • II. Nocturne • III. Return
The first piece is bright and imitative; the second composition has interesting contrasts between lyricism and unexpected melodic twists; the finale alternates between playfulness and percussiveness. This set is written for specific technical needs of advancing pianists. Playing in the outer ranges of the keyboard, accuracy with wide-spaced melodic lines, and balance between hands in imitative sections are just a few of the techniques these pieces will develop.
Click here to view a page of the score.

 

Harpsichord

Tres Danzas para Clavecin for Harpsichord, Vivace Press, 1993

Spaindango: a Caprice for Harpsichord, Vivace Press, 1992

 

Fantasy and Fugue Frantique for Solo Harpsichord, Barbara Harbach, Vivace Press
The dramatic fantasy opens with an unmeasured prelude section followed by a toccata area of mixed meter utilizing the full range of the harpsichord. These two sections combine and intertwine before introducing the jaunty fugue subject. A slower section interrupts the fugue and contrasts the sounds of the lute and regular string sound before returning to the bravura fantasy and toccata themes.
Click here to view a page of the score.

 

Contemporary Composers for Harpsichord, Vol. 1, Vivace Press
Arnold Rosner Sonatine d’Amour • Barbara Harbach Spaindango • Michael Rose B’rachah (Benediction)
This volume collects some of the most popular and widely-heard harpsichord music of the twentieth-century. CD Review has called Harbach’s Spaindango a "fetching piece, full of antique flourishes mixed with 20th-century rage and madness, a cauldron of churning notes." Click here to view a page of Barbara Harbach

 

Contemporary Composers for Harpsichord, Vol. 2, Vivace Press
Emma Lou Diemer Toccata • Barbara Harbach Tres Danzas para Clavecin
This second volume of Vivace’s contemporary harpsichord series pairs two rhythmically vibrant works. Barbara Harbach’s recordings of twentieth century repertoire have generated considerable enthusiasm and critical acclaim. Tres Danzas para Clavecin has a Spanish flavor and frenzied outer movements that feature flamenco clusters, glissandi, and fast arpeggios.
Click here to view a page of Barbara Harbach

 

Vocal

Emily for Mezzo Soprano, Trumpet and Piano, Vivace Press, 2008

This three-movement piece is based on poems of Emily Dickinson – I Taste a Liquor Never Brewed, If You Were Coming in the Fall, Compensation and Wild Nights! Wild Nights!

 

Abigail for Soprano and Chamber Ensemble of Flute, Clarinet/Bass Clarinet/ Bassoon, Harp, Violin, Viola and Cello, Vivace Press, 2008 
The four movements of Abigail tell the story of the love affair of Abigail and John Adams through their letters to each other.  Miss Adorable! is the exuberant flush of first love, Lady Adams tells of her advocacy for education for women; Remember the Ladies warns men to be generous and let women vote; and My Heart is Light and My Spirits are Dancing is Abigail’s farewell to John after fifty-four years of marriage.

 

Come Back, Oh Christ, Soprano and Piano, 2006

Come Back, Oh Christ was written for Little Flower Church in Richmond Heights, MO for Christmas Eve 2006.

 

Pleasure Flow, Tender Mist for Soprano and Piano, Vivace Press, 2006

Wind • Tend •  Mist • In the Calm in the Cool • Pleasure is flow
This song cycle for soprano creates a gently stirring atmosphere that draws on the simple but pleasing lyrics. Each movement is distinct in its affect and harmonic structure yet together form a flowing organic whole. The moods range from gently nostalgic to playful.
Click here to view a page of the score.

Cherish - Caress for Soprano and Cello, Vivace Press, 2004
Cherish – Caress is a lyrical duet for soprano and cello. It is based on a warm and playful treatment of the etymology of charity. Barbara Harbach transforms these lyrics into a searchingly beautiful lullaby.
Click here to view a page of the score

Pioneer Women: From Skagway to White Mountain for Soprano, Clarinet and Piano, Vivace Press, 2003
Pioneer Women is a collection of four portraits of American women who helped to settle the wilds of Alaska. Taken from their diaries, letters, monographs, and journals, the texts chronicle their journeys throughout Alaska, from Skagway, the Southeastern entrance into Alaska, to White Mountain, near Nome, on the western coast of the Bering Sea.
Click here to view a page of the score.

 

Musicals

Booth! The Story of Edwin Booth
“…think no more of him now as your brother. He is dead to us now.”

With these words Edwin Booth, the great American actor, would commence a tortured existence. His infamous brother John Wilkes Booth assassinated President Abraham Lincoln. In the search for the President’s assassin the Booth family once beloved by the American public, suddenly found themselves subjected to its ire and fury.  This prudent advice from Edwin to members of the Booth family was aimed at their preservation from vigilante justice.

Booth! is a reflection on the life of Edwin Booth. We journey into the atelier of this maverick actor and the significant events that have marked his life from the perspective of his daughter, Edwina Booth.

Engulfed in this reflection, we undertake a musical voyage into the sometimes-disturbing relationships that defined Edwin the son, the husband, the father, the brother and essentially the actor.   Undoubtedly, the dastardly act of his brother John Wilkes plays a major part in shaping and influencing Edwina’s reflection on the life of Edwin Booth.

 

Hester – The Scarlet Letter
Somber townspeople gather in a square dominated by a platform and pillory on one side and a prison on the other.  They sing of Puritan values and their sense of community in the hymn-like A Massachusetts Blessing  (Song 1).  A strident voice cries out scornfully, focusing the crowd on the prison in Death to Hester (Song 2).  Inside, Hester embroiders and sings of the lessons learned from Every Stitch on My Letter (Song 3). Hester emerges from the prison and is met with the ridicule and contempt of the crowd in Hester, Hussy (Song 4).  Her long-absent husband appears, learns of her adultery, and sings Ha! Chillingworth (Song 5).

 

The town elders recite the case against Hester, urge her to confess to Falsehoods of the Flesh (Song 6), and name the father of her child.  Standing on their Platform of Shame (Song 7), Hester refuses to implicate the Rev. Dimmesdale.  He sings Silent Shame (Song 8) which subtly reveals his dilemma and foreshadows his death.  Hester, condemned to the pillory, sings philosophically of her self-reliance in Here I Stand (Song 9).  The men sing Secrets of the Heart (Song 10), with the Governor, Dimmesdale, and Chillingworth each admitting he is drawn to Hester.

 

Chillingworth establishes a wary truce with Hester in Chain of Iron (Song 11) and convinces Hester to keep his identity secret. The Man of Iron Will (Song 12) underscores Chillingworth’s determination to find Dimmesdale. Interlude: Waiting and Watching (Song 13) reinforces what’s at stake for each of the three main characters, over the passage of seven years.

 

Act Two opens with Pearl’s Dance (Song 14) and Pearl, Priceless Pearl (Song 15) which establish the affection of mother and daughter. They appear before the elders who are torn between seeing Pearl as a Scarlet Elf (Song 16) and a witch in Hester’s Child (Song 17).  Hester rebuts the elders with a reprisal of Every Stitch (Song 18).  Dimmesdale comes to her defense, suggesting that Pearl is a Blessing Born of Sin (Song 19).

     

A strange chemistry is brewing between Chillingworth and Dimmesdale in Rival Elements (Song 20).  When Dimmesdale’s health fails, Chillingworth exults that My Victim’s on the Rack (Song 21). Dimmesdale stands at midnight on the pillory, seeking A Moment’s Peace (Song 22) from his inner torment.  He is joined by Hester and Pearl as One Family Hand in Hand (Song 23).

 

Hester confronts Chillingworth in A Black Flower (Song 24) and reminisces about her youth in What Happened (Song 25).  Meanwhile, Pearl meets a witch who suggests that all society hides behind The Cloak of Piety (Song 26).  Hester and Dimmesdale meet and discuss their hopes for the future in I’ll Be Your Heart (Song 27). With The Scarlet Letter’s Gone (Song 28), they would both at long last experience relief, and even joy.  Hester puts her letter back on and briefly reprises Every Stitch (Song 29). 

 

Events quickly reach a climax in the festive New England celebration of Election Day Chorus (Song 30) which moves directly into a reprise of the initial A Massachusetts Blessing (Song 31) as they file into church. Dimmesdale preaches an enigmatic and moving Election Day sermon about The Promised Land (Song 32) that he won’t reach.  Shocking everyone, he reaches out to Hester and Pearl.  They stand together on the pillory and publicly reprise One Family Hand in Hand (Song 33).  Chillingworth loses his victim, Dimmesdale dies, and Hester, standing with Pearl, reprises Here I Stand (Song 34).

 

Tom & Sally – A Slave to Love

The Love Story of Thomas Jefferson and His Slave Sally Hemings

The musical begins on the plantation of John Wayles (Jefferson’s father-in-law), where the slaves sing When I Cross That River (Song 1), a rousing spiritual that reflects their lives of hard work and their hopes for the future. Sally is the teenage daughter of Wayles and his slave Betty Hemings. Filled with typical teenage longings, she sings Looking for an Angel (Song 2).  Down Slavery’s Road (Song 3) is sung as the slaves move via wagon train to Monticello, because they have been willed to Martha Wayles Jefferson.  They are welcomed at the stately Monticello (Song 4) and join a celebratory Down-Home Hoedown (Song 5).

 

Jefferson comforts his dying wife by singing (Happily) Never After (Song 6).  The slaves of the Monticello estate share a rich culture As Old as the Hills (Song 7).  Meanwhile, Jefferson’s wife dies and Jefferson mourns her loss in The River Styx (Song 8).  The slaves mark her passing with the jubilant spiritual The Good Lord is Comin’ for Me (Song 9).

 

Tom responds to the growing American Independence movement in One Nation, Fair and Free (Song 10), along with chorus and Sally who simultaneously articulates her own vision of what it means to be free.  Tom is increasingly attracted to Sally, and sings She’s a Woman (Song 11).  With the independence movement coming to a climax, Jefferson writes the Declaration of Independence (Song 12) which he delivers along with the Virginian delegation from the Continental Congress. During a quiet moment in the celebration, Tom and Sally sing the love duet Passage to My Heart (Song 13). Act One ends with a great celebration in Virginia’s Real (Song 14).

 

Act Two opens with a festive slave wedding Jump the Broom (Song 15), a celebration involving several plantations.  Sally entertains the gathering with Evening Love (Song 16). After the event is over, Callender, a drunken politician, tries to rape Sally, who is saved by her brother, James.  Callender brutally whips James until finally discovered by Jefferson.  James sings angrily of A Human Soul (Song 17), and Callender promises Callender’s Revenge (Song 18).

 

A year later in Jefferson’s personal study, Sally sings A Mother’s Lullaby (Song 19) to their child Madison. They discuss his political travels and responsibilities.  She sings of her love for Jefferson in A Slave to Love (Song 20). 

 

Some years go by, and Jefferson is elected President.  Slavery continues to produce numerous personal tragedies, evoked in Many Thousands Gone (Song 21). The scandal of Jefferson and Sally’s relationship is broken by Callender, and immediately makes front pages across the nation.  A Yankee Doodle Scandal (Song 22) captures the eighteenth century media circus, and incorporates authentic lyrics from the lampooning ballads of the day.  Sally, back at Monticello, sings Love is the Loneliest Thing (Song 23), echoed by Jefferson.  Callender is found dead in a river, and Jefferson remains silent during the scandal.  Jefferson returns home to great acclaim in Jefferson, the Virginian (Song 24).  Since freeing Sally would be dangerous for both Tom and Sally, he frees their son Madison Hemings, who sings I’ll Head for a New Horizon (Song 25).  Tom and Sally (and chorus) envision a day when slavery is ended in America, The Promised Land (Song 26).

 

A Page from the Christmas Story (forty-minute Christmas musical for youth), Vivace Press, 1991

Find out what the journey to Bethlehem was really like as you travel with Zak, the young servant of the three Wise Men.  Despite the discomforts of endless sun, sand, and travel, the caravan finally reaches the manger and witnesses the wondrous event that has taken place.  Written for unison youth choir with optional two and three-part choruses.  35 minutes long. Songs include: Mystic Star, Magnet Bright; A Single-Page Disaster; A Thousand Miles from Nowhere; From Celestial Vaults sublime; A Small Step Forward; Polished Gold and Bitter Myrrh; This wondrous Place; and The Star Within.

 

Teaming the Shrew – A Mate for Kate

Teaming the Shrew is the wonderful retelling of Shakespeare’s Taming the Shrew.
Join the Party in Padua
(Song 1) chorus

A Single Glance (Song 2) Lucentio

Bianca, Bellissima (Song 3) suitors & chorus

Petruchio, the Rock (Song 4) Petruchio & servants

Papa’s Pampered Pet (Song 5) Katherine, Bianca, and Baptista

I’ll Out-Kate My Little Kat (Song 6) Petruchio

Who Knows Love (Song 7) Katherine

SOL, You are the Sun (Song 8) Hortensio (as music teacher)

Ardor in the Arbor (Song 9) Lucentio (as scholar)

Awfully, Lawfully Wed (Song 10) chorus

Reprise: Join the Party in Padua (Song 11) chorus

 

Drink Up, and Carpe Diem! (Song 12) servants to Petruchio

Reprise: I’ll Out-Kate My Little Kat (Song 13) Petruchio

The Art of Love (Song 14) Lucentio and Bianca

It Surely Shall Be So (Song 15) Katherine and Petruchio

Merry May Day (Song 16) chorus

The World’s a Stage (Song 17) Katherine

Reprise: Join the Party in Padua (Song 18) chorus

 

Daniel and the Beastly Night (thirty-minute musical for youth), Vivace Press, 1991

Experience this timeless Biblical drama of the prophet Daniel who faces death because of his commitment to prayer.  Incorporating humor and a variety of musical styles, this exciting story of intrigue and attempted assassination has captured the imagination of audiences and choirs throughout the country.  Daniel and the Beastly Night is written for unison or two-part choir.  35 minutes long, it promises to be an educational and entertaining addition to any worship service or special event.  Songs include: Daniel the Lion-Hearted; The Cause of Jealousy; The King of High Fashion; Daniel’s Prayer; The Beastly Night; Praise the Lord of Miracles; and Praise God! Raise a Clatter!

 

Film Scores

Judith Simon 40-minute, 1915 silent film for flute, clarinet bassoon, piano, violin, viola, cello and conductor, 2006

 

How Men Propose, 1913 silent film for flute, clarinet, piano, violin, viola, cello, 2005

 

A House Divided, 1913 silent film for flute, clarinet, piano, violin, viola, cello, 2005

 

Making an American Citizen, 1912 silent film for string quartet, 2004

 

Choral
I Know Who Holds Tomorrow
, 2006

Light Out of Darkness, SSA, 2005

      Love has Opened Wide the Door, Vivace Press, 1992

      Audible Light, Vivace Press, 1992

      Luther Cantata (seven movement SATB cantata) Vivace Press, 1991

      Rolled Away (arr.), Vivace Press, 1991

      Bathe My Soul, Vivace Press, 1991

      To Kindle Every Frozen Heart, Vivace Press, 1991

      As Sun Disperses the Mourning Clouds, Vivace Press, 1991

      Of Christ’s Dark Cup, Vivace Press, 1991

      He Will Care For Me, Vivace Press, 1991

      Praise Him with the Trumpet, Vivace Press, 1990

      This Night in Bethlehem, Vivace Press, 1990

      Sing! Christ is Born! Vivace Press, 1990

      Our Christmas Gift, Vivace Press, 1990

      What is the World to Me (arr.), Vivace Press, 1990

      We Proclaim the Wondrous Glories (arr.), Vivace Press, 1990

      There’s a City on a Hill, Vivace Press, 1990

      Sing, Alleluia, Vivace Press, 1990

      Infant of Light, Vivace Press, 1990

      The Christmas Babe, Vivace Press, 1990

      Praise Him with the Trumpet, Agape Press, 1977

 



PUBLISHED SOLO, CHAMBER AND ORCHESTRAL COMPOSITIONS
Wade in the Water
for Organ, Baptism and Communion, Augsburg Organ Library, 2006
Azmon for Organ, Baptism and Communion, Augsburg Organ Library, 2006 (Also included in
On Our
    Way Rejoicing –
A Collection of Organ Music, Augsburg Fortress Press, 2002)
Emanations from the Sacred Harp for Concert Band, Vivace Press, 2008 (in press)
Frontier Fancies for Violin and Orchestra, Vivace Press, 2006
Carondolet Caprice
for Chamber Ensemble, Vivace Press, 2006
Separately Together: Synesthesia for Chamber Ensemble, Vivace Press, 2006
American Solstice for Chamber Ensemble,
Vivace Press, 2006
Pleasure Flow, Tender Mist, Vivace Press, 2006
Transformations for String Quartet, Vivace Press, 2006
Fantasy and Fugue on Swing Low, Sweet Chariot for Woodwind Quintet,Vivace Press, 2006
Forces at Play for Chamber Ensemble, Vivace Press, 2005
A Morning Trumpet for Organ and Oboe, Vivace Press, 2005
Gloria! Organ Music for Advent and Christmas, Augsburg Fortress Press, 2005
Hosanna, Loud Hosanna: Organ Settings for Lent and the Passion, Augsburg Fortress Press, 2004
One of Ours - A Cather Symphony, Vivace Press, 2004
Veneration for Orchestra,
Vivace Press, 2004
Fantasy and Fugue Frantique for Harpsichord, Vivace Press, 2004
Emanations of the Sacred Harp for Cello and Piano, Vivace Press, 2004
Perambulations for Trumpet and Piano, Vivace Press, 2004  
Rustic Scene for Viola and Piano, Vivace Press, 2004
Cherish - Caress for Soprano and Cello, Vivace Press, 2004
Arcadian Reverie for String Orchestra, Vivace Press, 2004
Rhapsody Ritmico for Brass Quintet, Vivace Press, 2004
American Dialogues for Flute and Piano, Vivace Press, 2004
Four Dances for Two for Oboe and Violin, Vivace Press, 2004
Pioneer Women: From Skagway to White Mountain for Soprano, Clarinet and Piano, Vivace Press, 2003
Toccatas and Fugues on Hymns from the Sacred harp for Solo Organ, Vivace Press, 2003
Toccatas and Fugues on Hymns by European Women for Solo Organ, Vivace Press, 2003
As We Gather - A Collection of Organ Music, Augsburg Fortress Press, 2003
Swing Low, Sweet Chariot in Augsburg Organ Library: Autumn, Augsburg Fortress Press, 2003
Festival Flourish for Organ in "Organ Music for the Seasons," Augsburg Fortress Press, 2002
"On Our Way Rejoicing" -- a collection of organ music,
Augsburg Fortress Press, 2002
Suite on German Chorales
, Augsburg Fortress Press, 2002
Toccata and Variations on “The Lord is My Shepherdfor Organ, Augsburg Fortress Press, 2000
French Suite on “Adeste Fideles for Organ, Vivace Press, 1998
Toccata on “All Hail the Power” for Organ, Vivace Press, 1998
Swing Low, Sweet Chariot for Organ, Vivace Press, 1997
Toccatas and Fugues on American Hymns for Organ, Vivace Press, 1996
Rhapsodie Jardine for Oboe and Strings, Vivace Press, 1996
Frontier Fancies for Violin and Piano, Vivace Press, 1996
Easter Toccata for Organ, Vivace Press, 1996
Daystream Dances for Oboe and Piano, Vivace Press, 1996
Suite Alternatives for Piano, Vivace Press, 1995
Phantasy and Phugue for Piano, Vivace Press, 1995
Summershimmer for Organ, Vivace Press, 1994
A Suite of Holiday Trios for Organ, Vivace Press, 1994
Tres Danzas para Clavecin for Harpsichord, Vivace Press, 1993
Fanfare and Toccata on “Lasst Uns Erfreuen” for Organ, Vivace Press, 1993
Spaindango for Harpsichord, Vivace Press, 1992

PUBLISHED CHORAL COMPOSITIONS
“Love has Opened Wide the Door,” Vivace Press, 1992
“Audible Light,” Vivace Press, 1992
Luther Cantata (seven movement SATB cantata) Vivace Press, 1991
A Page from the Christmas Story (forty-minute musical for youth), Vivace Press, 1991
Daniel and the Beastly Night (thirty-minute musical for youth), Vivace Press, 1991
“Rolled Away” (arr.), Vivace Press, 1991
“Bathe My Soul,” Vivace Press, 1991
“To Kindle Every Frozen Heart,” Vivace Press, 1991
“As Sun Disperses the Mourning Clouds,” Vivace Press, 1991
“Of Christ’s Dark Cup,” Vivace Press, 1991
“He Will Care For Me,” Vivace Press, 1991
“Praise Him with the Trumpet,” Vivace Press, 1990
“This Night in Bethlehem,” Vivace Press, 1990
“Sing! Christ is Born!” Vivace Press, 1990
“Our Christmas Gift,” Vivace Press, 1990
“What is the World to Me” (arr.), Vivace Press, 1990
“We Proclaim the Wondrous Glories” (arr.), Vivace Press, 1990
“There’s a City on a Hill,” Vivace Press, 1990
“Sing, Alleluia,” Vivace Press, 1990
“Infant of Light,” Vivace Press, 1990
“The Christmas Babe,” Vivace Press, 1990
“Praise Him with the Trumpet,” Agape Press, 1977
 

SELECTED PREMIERES AND COMMISSIONED WORKS      
A House Divided for Chamber Ensemble for silent film, Women in the Arts, Webster University, 2005
How Men Propose
for Chamber Ensemble for silent film, Women in the Arts, Webster University, 2005

American Solstice
for Chamber Ensemble, a modern ballet, Women in the Arts, Touhill Performing Arts Center, 2005
Pleasure Flow, Tender Mist
for Soprano and Piano, Women in the Arts, Lee Theatre, 2005

Cherish – Caress
for Soprano and Cello, Women in the Arts, UM-St. Louis, Lee Theatre, 2005
When I Cross That River
for SATB Choir, Community Chorus, Touhill Performing Arts Center, 2005
A Morning Trumpet
for Oboe and Organ, Missouri State University, 2005
Land of Rest
for Organ, New Synagogue, Szeged, Hungary, 2005
O Waly Waly
for Organ, New Synagogue, Szeged, Hungary, 2005
Fantasy and Fugue on a Hungarian Melody
for Organ, New Synagogue, Szeged, Hungary, 2005
Rhapsody Ritmico for Brass Quintet, UM-St. Louis, Touhill Performing Arts Center, 2005
Fantasy and Fugue on Swing Low, Sweet Chariot for Woodwind Quintet, First Congregational Church in Webster Groves, MO, 2005
Making an American Citizen for Chamber Ensemble, St. Louis International Film Festival, Tivoli Theatre, St. Louis, MO, 2004
Forces at Play
for Chamber Ensemble, a modern ballet, UM-St. Louis, 2004
Emanations of the Sacred Harp
for Concert Band, Stevens Point City Band, Stevens Point, WI July, 2004
One of Ours – A Cather Symphony
for Orchestra, Central Wisconsin Symphony Orchestra, Stevens Point, WI, 2004 
Veneration for Orchestra
, Festival of Women in Music & Art, Wilmington College, Wilmington, OH, 2004
Arcadian Reverie for String Orchestra, Wilmington College, Wilmington, OH, 2002
Emanations of the Sacred Harp
for Cello and Piano, Wilmington College, Wilmington, OH, 2002
Frontier Fancies for Violin and Orchestra, Wilmington College, Wilmington, OH, 2002
Psalms from St. Peter’s
, St. Peter’s Church, Stevens Point, WI, 2002-2003

ORIGINAL COMPOSITIONS ON COMPACT DISC      
Psalms from St. Peter
, choir and organ, STPT, Stevens Point, WI, 2002 
        Dixi Domino Dominus
        Veni Creator Spiritus
        Sing a New Psalm (Cantate ei canticum novum)
        Sing Jubilation
        Into Your Hands
        Venite Adoramus
        Create in Me a Clean Heart
        Lauda, anima mea, Dominum
        Here I Am, O Lord
        Before You Lord We Bow for Organ
        Oh, for a Thousand Tongues to Sing for Organ
Tres Danzas para Clavecin for Harpsichord
on Contemporary Harpsichord, Volume IV, Gasparo Records, GSCD-290, 2000
Daystream Dances,
Hester Park, CD 7707, 1999
Fanfare and Toccata on “Lasst Uns Erfreuen,”
Arkay Records, CD 6151, 1996
Summershimmer, Hester Park, CD 7704, 1996
Fanfare and Toccata on “Lasst Uns Erfreuen,”
Gasparo Records, CD 294, 1993
Spaindango, Gasparo Records, CD 281, 1990

SELECTED PERFORMANCES OF COMPOSITIONS  
Arcadian Reverie
for String Orchestra, UM-St. Louis, Des Lee Collaborative, February, 2006
Fantasy and Fugue on a Hungarian Melody
for Organ, New Synagogue, Szeged, Hungary, April, 2005
One of Ours - A Cather Symphony,
Central Wisconsin Symphony Orchestra, Stevens Point, WI, 2004
Veneration for Orchestra,
Festival Orchestra, Wilmington College, Wilmington, OH, 2004
Pioneer Women: From Skagway to White Mountain, (soprano, clarinet, and piano) University of Missouri - 
   
St. Louis, 2004
Rustic Scene for Viola and Piano, Composers Concert, University of Missouri-St. Louis, St. Louis, MO, 2004

Frontier Fancies for Violin and Piano, St. Louis Symphony Players, Powell Hall, St. Louis, MO, 2004
Arcadian Reverie for String Orchestra,
Wilmington College, Wilmington, OH, 2002
Emanations of the Sacred Harp for Cello and Piano, Wilmington College, Wilmington, OH, 2002
Frontier Fancies for Solo Violin and Orchestra, Wilmington College, Wilmington, OH, 2002
Psalms from St. Peter's, St. Peter's Church, Stevens Point, WI, 2002
Frontier Fancies for Violin and Piano,
The Altíssona Duo, São Paulo, Brazil, 2001
Reformation Suite for Organ, St. John’s Episcopal, Wisconsin Rapids, WI, 2001  
Spaindango for Harpsichord and Swing Low, Sweet Charity for Organ, First Presbyterian Church, Lancaster, PA, 2001  
Blessed Assurance for Organ, Athena, Women in Music Festival, Murray State University, KY, 2001
Swing Low, Sweet Chariot for Organ, Plato, Women In Music Lecture/Recital, Madison, WI, 2000
Spaindango for Harpsichord, Plato, Women In Music Lecture/Recital, Madison, WI, 2000
Rhapsody Jardine for Oboe and String Quartet, Southwest Missouri State University, 2000
Spaindango for Harpsichord, Central Wisconsin Symphony Orchestra, Stevens Point, WI, 2000
Fanfare and Toccata on “Lasst Uns Erfreuen” for Organ, Rome, Italy, 2000
Pioneer Women: From Skagway to White Mountain, (soprano, clarinet, and piano) Sigma Alpha
   
Iota, University of Wisconsin-Madison, 2000 (Composer-in-Residence)
Rustic Scene for Viola and Piano, Sigma Alpha Iota, University of Wisconsin-Madison,  2000  
   
(Composer-in-Residence)
Spaindango for Harpsichord, University of Wisconsin-Milwaukee, 1999
Spaindango for Harpsichord, Athena, Women in Music Festival, Murray State University,
   
KY, 1999  
Daystream Dances for Oboe and Piano
, University of Arkansas, 1998
Daystream Dances for Oboe and Piano, MMTA Conference, 1998
Daystream Dances for Oboe and Piano, Southwest Missouri State University, 1998
Daystream Dances for Oboe and Piano, Musik vid Ringsjön, Sweden, 1998
Daystream Dances for Oboe and Piano, Kammarmusikkonsert, Stockholm, Sweden, 1998
Daystream Dances for Oboe and Piano, OLSOKIØYLO, Olyo, Norway, 1998
Four Dances for Two for Oboe and Violin, University of Wisconsin-Oshkosh, 1998
American Dialogues for Flute and Piano, University of Wisconsin-Oshkosh, 1998
Spaindango for Harpsichord, University of Wisconsin-Oshkosh, 1998
Phantasy and Phugue for Piano, Fifth Festival of Women Composers, Indiana University of
   
Pennsylvania, 1998
Pioneer Women: From Skagmore to White Mountain, Women in Music Concert, University of Wisconsin-Oshkosh, 1998
Swing Low, Sweet Chariot for Organ, First United Methodist Church, Oshkosh, WI, 1998
Phantasy and Phugue for Piano, Edinboro University, 1997
Spaindango, Elyveum Museum, Madison, WI, 1998
Swing Low, Sweet Chariot for Organ, Regional convention of the American Guild of Organists in
   
Appleton, WI, 1997
Toccatas and Fugues on American Hymns, Regional convention of the American Guild of
   
Organists in Appleton, WI, 1997
Phantasy and Phugue for Piano, Pennsylvania Music Teachers Association, Slippery Rock
   
University of Pennsylvania, 1997

ORIGINAL PUBLISHED ARRANGEMENTS AND EDITIONS      

Introduction and Fugue for Organ,
Ann Mounsey Bartholomew, 2005
Six Easy Lessons for the Harpsichord,
John Camidge, Vivace Press, 2004
Two Sonata Duets with Violin Obbligato for Piano or Harpsichord Four Hands, Maria Cosway, Vivace Press, 2004
A Favorite Duett and God Save the King for Piano or Harpsichord Four Hands, Jane Savage, Vivace Press, 2004

Sonata in F Major for the Piano or Harpsichord, Veronica Cianchettini, Vivace Press, 2004
Concerto for the Piano Forte or Harpsichord in E-flat Major (orchestrated),
Maria Hester Park, Vivace Press, 2004
Divertimento and Military Rondo for Piano Forte, Maria Parke, Vivace Press, 2004
Introduction & Variations on Non Piu Mesta from Taming of the Shrew, Olivia Dussek Buckley,
    
Vivace Press, 2004
Fantasia for the Piano Forte, Olivia Dussek, Vivace Press, 2004
The Capture of the Cape of Good Hope for Piano Forte or Harpsichord, Cecilia Barthelemon,
    
Vivace Press, 2004
Voluntaries I-V for Organ or Harpsichord, Op. 2, Vol. 1, George Berg, Vivace Press, 2004
Voluntaries VI-X for Organ or Harpsichord, Op. 2, Vol. 2, George Berg, Vivace Press, 2004
Overture to Astarto for Harpsichord, Felice Giardini, 2004
Sonatas for the Harpsichord or Piano Forte, Op. 1, Maria Reynolds (Park), 2004
      Sonata I in C Major
      Sonata II in B-flat Major       
      Sonata III in E-flat Major
      
      Sonata IV in G Major
      Sonata
V in D Major  
      Sonata VI in E Major

Divertimento for Piano or Pedal Harpe,
M. A. Bryan, 2004
Introduction and Fugue for Organ,
Ann Mounsey Bartholmew, 2004
Three Grand Sonatas for Forte-Piano
, Op. 1, Maria Parke, 2004
    Sonata I in F Major

    Sonata II in E-flat Major

    Sonata III in D Major
 
Concerto I for Trumpet and Organ,
Maddalena Lombardini Sirmen, Vivace Press, 2004 (in press)
Concerto I for Violin and Organ,
Maddalena Lombardini Sirmen, Vivace Press, 2004 (in press)
Concerto III for Trumpet and Organ,
Maddalena Lombardini Sirmen, Vivace Press, 2004 (in press)
Two Sonatas for Harpsichord or Harp, Caroline Campbell, Vivace Press, 1999
Sonata for Piano, Caroline Orger Reinagle, Vivace Press, 1999
Three Sonatas for the Harpsichord or Piano, Maria Hester Reynolds, Vivace Press, 1999
O Filii et Filiae for Organ, Mr. Benaut, Vivace Press, 1998
Sonata in A Major for Piano, Sophia Dussek, Vivace Press, 1998
Tarantella for Piano, Caroline Orger Reinagle, Vivace Press, 1998
Sonata in D Major for Two Trumpets and Organ, Giuseppe Tartini, Vivace Press, 1998
Sonata in C Major for Two Trumpets and Organ, Arcangelo Corelli, Vivace Press, 1998
Farewell from Rome for Solo Organ, Fanny Mendelssohn Hensel, Vivace Press, 1997

Sonata I in E-flat Major for Violin and Piano, Margarethe Danzi, Vivace Press, 1996
Sonata II in B-flat Major for Violin and Piano, Margarethe Danzi, Vivace Press, 1996
Sonata III in E Major for Violin and Piano, Margarethe Danzi, Vivace Press, 1996
Sonata in E-flat Major for Piano or Harpsichord, Maria Hester Park, Vivace Press, 1996
Two Pieces for Piano or Harpsichord, Teresa Agnesi, Vivace Press, 1996
Six Sonatas for Harpsichord or Piano, Jane Savage, Vivace Press, 1996
French Classical Noels and Magnificats for Solo Organ, Mr. Benaut, Vivace Press, 1996
Concerto I for Organ, Maddalena Lombardini Sirmen, Vivace Press, 1995
Six Sonatas for Harpsichord or Piano, Anna Bon, Vivace Press, 1995
Romantic Pieces for Organ, Elizabeth Stirling,Vivace Press, 1995  
Six Fugues for Organ,
Elizabeth Stirling, Vivace Press, 1995
Six Sonatas for Harpsichord or Piano, Op. 2,
Elizabeth Weichsell Billington, Vivace Press, 1995
Three Sonatas for Harpsichord or Piano, Op. 1, Elizabeth Weichsell Billington, Vivace Press, 1995
Concertos for Organ, Matthew Camidge, Vivace Press, 1995
Sonatas for the Piano, Cecilia Barthélemon, Vivace Press, 1995
Six Lessons for Harpsichord or Piano, Elizabeth Hardin, Vivace Press, 1995
Prelude and Fugue for Organ, Op. 16 No. 2, Clara Schumann, Vivace Press, 1995
Pickles and Peppers for Organ
, Adaline Shepherd, Vivace Press, 1995
Works for Organ, Antonio Soler, Vivace Press, 1994
What is the World to Me for Brass and Organ, Bach, Vivace Press, 1994
We Offer Thanks and Praise for Two Trumpets and Organ, Bach, Vivace Press, 1994   
Preludes and Fugues for Piano, Op. 16, Clara Schumann, Vivace Press, 1994
Sonatas for the Harpsichord, Elisabetta de Gambarini, Vivace Press, 1994
Six Sonatas for Harpsichord or Piano, Jane Freer, Vivace Press, 1994
Concerto in E-flat Major, Maria Hester Park, Vivace Press, 1993
Six Lessons for Harpsichord or Piano, Elizabeth Turner, Vivace Press, 1993
Prelude for Organ, Fanny Mendelssohn Hensel, Vivace Press, 1993
Prelude and Fugue for Organ, Op. 16 No. 3, Clara Schumann, Vivace Press, 1993
Arias for Trumpet and Organ, Bach, Vivace Press, 1992
Eighteenth Century Women Composers for the Harpsichord and Piano, Vol. I, Vivace Press, 1991
Eighteenth Century Women Composers for the Harpsichord and Piano, Vol. II, Vivace Press, 1991
Women Composers for the Harpsichord, Elkan Vogel, Bryn Mawr, PA, 1986
Festival Music for Organ and Brass, Augsburg Press, Minneapolis, MN, 1986
Gott der du Liebe heisst for Two Trumpets and Organ, Robert King Music, North Easton, MA, 1985
Two Italian Duets for Two Trumpets and Organ, Robert King Music, North Easton, MA, 1985
 
PROCEEDINGS:
“Creativity and the Emerging Technologies” Association for the Advancement of Computing in Education E-Learn 2003
    World Conference on E-Learning in Corporate, Government, Healthcare, & Higher Education
"Soundtrack Basics: Designing Music for Multimedia Presentations” Association for the Advancement of Computing in Education
    E-Learn 2003 World Conference on E-Learning in Corporate, Government, Healthcare, & Higher Education
“Exploring Creativity in the Digital Age” Association for the Advancement of Computing in Education Ed-Media 2003
    World Conference on Educational Multimedia, Hypermedia & Telecommunications
“Soundtracks Made Simple: Creating, Editing, and Streaming Audio and Video” Association for the  Advancement of Computing in
    Education Ed-Media 2003 World Conference on Educational Multimedia, Hypermedia & Telecommunication

ARTICLES
A Garden of Delights: Medieval Sacred Music,” Women of Note Quarterly, Vol. 8, No. 2, August 2000
Someone Will Remember Us”: Women of Note in the Ancient World,” Women of Note Quarterly, Vol.
      8, No. 2, May 2000
Review-Essay: Medieval Love songs,” Women of Note Quarterly, Vol. 6, No. 3, August 1998
“Violet Archer: A Life Long Learner,” Women of Note Quarterly, Vol. 6, No. 1, February 1998
“Violet Archer: A Bibliography,” Women of Note Quarterly, Vol. 6, No. 1, February 1998
“A Compact Discography: Women Composers on CD,” Women of Note Quarterly, Vol. 4, No. 4, November
      1996
“Roberta Bitgood: Active Octogenarian Composer and Concert Organist,” Women of Note Quarterly, Vol. 4,
      No. 2, May 1996
 “Organ Music by Women Composers: A Critical Survey of CDs and Music,” Women of Note Quarterly,
      Vol. 3, No. 2, May 1995
 “Cecilia Reclaimed: Feminist Perspectives on Gender and Music,” Women of Note Quarterly, Vol. 3, No. 1,
      February 1995
“Evelyn Glennie: Interview and Profile,” Women of Note Quarterly, Vol. 2, No. 4, November 1994
“Women Harpsichord Composers: An Essay and Review,” Women of Note Quarterly, Vol. 2, No. 4,
      November 1994
“Ruth Crawford: A Survey of Recordings,” Women of Note Quarterly, Vol. 2, No. 2, May 1994

CD AND MUSIC REVIEWS
“Thea Musgrave: Concerto for Clarinet and Orchestra, The Seasons, Autumn Sonata,” Women of Note
Quarterly, Vol. 8, No. 1, February 2000
“Ethel Smyth: Concerto for Violin, Horn & Orchestra, Serenade,” Women of Note Quarterly, Vol. 8, No.1, February 2000
“Mary Howe: Stars, Sand, Castellana,Women of Note Quarterly, Vol. 7, No. 4, November 1999
“Elinor Remick Warren: Singing Earth,” Women of Note Quarterly, Vol. 7, No. 3, August 1999
“Melinda Wagner: Sextet,Women of Note Quarterly, Vol. 7, No. 3, August 1999
“Ruth Gipps: Symphony No. 2,Women of Note Quarterly, Vol. 7, No. 2, May 1999
“Grace Williams,” Women of Note Quarterly, Vol. 7, No. 2 May 1999
“Doreen Carwithen: Concerto for Piano & Strings, Overtures,Women of Note Quarterly, Vol. 7, No. 2, May 1999
“Doreen Carwithen: Violin Sonata, String Quartets 1 & 2,Women of Note Quarterly, Vol. 7, No. 2, May 1999
“Baroque for the Mass: Ursuline Composers of the 17th Century,Women of Note Quarterly, Vol. 7, No.1 February 1999
“Musica De La Puebla De Los Angeles, Music by Women of Baroque Mexico, Cuba, and Europe,Women of Note Quarterly, Vol. 7, No. 1, February 1999
“Sunbursts: Solo Piano Works by 7 American Women, Vol. 7, No. 1, February 1999
“Dana Suesse: The Night is Young,” Concert Music of Dana Suesse, Women of Note Quarterly, Vol. 6, No. 4, November 
      1998
“Dana Suesse: Keyboard Wizards of the Gershwin Era, Vol. II,” Women of Note Quarterly, Vol. 6, No. 4, November 1998
“Pauline Alpert: Keyboard Wizards of the Gershwin Era, Vol. I,” Women of Note Quarterly, Vol. 6, No. 4, November 1998
“Elizabeth Lauer: Five Flower Rags, Music for Piano,” Women of Note Quarterly, Vol. 6, No. 4, November 1998
Francesca Caccini: La liberazione di Ruggiero,Women of Note Quarterly, Vol. 6, No. 2 May 1998
Deon Nielsen Price: SunRays: Music of Deon Nielsen Price,Women of Note Quarterly, Vol. 6, No. 2, May 1998
“From the Great Land: Violet Archer; Corey Field; Ravonna Martin,” Women of Note Quarterly, Vol. 6, No. 1, February 1998
“Miriam Hyde,” Women of Note Quarterly, Vol. 5, No. 4, November 1997
“Dulcie Holland,” Women of Note Quarterly, Vol. 5, No. 4, November 1997
“Germaine Tailleferre: Chamber Music,” Women of Note Quarterly, Vol. 4, No. 3, August 1996
“Kaleidoscope: Music by African American Women,” Women of Note Quarterly, Vol. 4, No. 2, May 1996
“Ruth Schonthal and Lowell Liebermann,” Women of Note Quarterly, Vol. 4, No. 1, February 1996
“Harpsichord and Clavichord Music of the Twentieth Century,” Notes, Quarterly Journal of The Music Library Association  June 1995
 “Character Sketches,” Women of Note Quarterly, Vol. 2, No. 3, August 1994
 “Elizabeth-Claude Jacquet de la Guerre,” Women of Note Quarterly, Vol. 2, No. 1, February 1994
 “Anna Bon di Venizia,” Women of Note Quarterly, Vol. 2, No. 1, February 1994
 “Tom Benjamin’s Semi-Suite,” Clavier, December 1993
 “Yinam Leef’s Elegy,” Clavier, December 1993
 “John Jeffrey’s Four Little English Dances,” Clavier, December 1993
 “Black Diamonds,” Women of Note Quarterly, Vol. 1, No. 3, November 1993
 “Cecile Chaminade Piano Works,” Women of Note Quarterly, Vol. 1, No. 3, November 1993
 “Feminine Endings,” Women of Note Quarterly, Vol. 1, No. 2, August 1993
 “Diemer: Three Pieces for Piano,” Women of Note Quarterly, Vol. 1, No. 2, August 1993
 “Clara Schumann’s Piano Concerto,Women of Note Quarterly, Vol. 1, No. 1, May 1993
 “Music by Women for Study and Analysis,” Women of Note Quarterly, Vol. 1, No. 1, May 1993
 “Eighteenth Century Women Keyboard Composers,” Keyboard Classics, Vol. 7, No. 5, September/October 1987
 “Music of Ferko, Kagel, Takemitsu and Zwilich,” Notes, Quarterly Journal of The Music Library Association, Volume 44,  No. 2, December 1987

LINER NOTE PUBLICATIONS
Anna Bon: Sonatas for Harpsichord, Hester Park, Stevens Point, WI, 2006 (in press)
Pièces Parisiennes: Madame de Villeblanche and Marie Bigot, Hester Park, Stevens Point, WI, 2000
Christmas in Dallas: Carols for Brass and Organ, Hester Park, Stevens Point, WI, 1996
Summershimmer: Women Organ Composers, Hester Park, Stevens Point, WI, 1996
Classical Prodigies: Elizabeth Weichsell Billington / Wolfgang Amadeus Mozart, Hester Park, Stevens Point, WI, 1995
Sonatas by Elizabeth: Elisabetta de Gambarini / Elizabeth Hardin, Hester Park, Stevens Point, WI, 1995
Eighteenth Century Women Composers: Music for Solo Harpsichord, Volume I, Gasparo Records, 
   
Peterborough, NH, 1995
Women Composers for the Organ, Gasparo Records, Peterborough, NH, 1993
Eighteenth Century Women Composers Volume II, Gasparo Records, Peterborough, NH, 1990
Women Harpsichord Composers of the Eighteenth Century, Kingdom Records, London, UK, 1989

SELECTED SOLO TELEVISION AND RADIO PERFORMANCES

A clip of the film Making an American Citizen aired on MTV2, Kultur Haz, or Culture House, a prominent cultural program
    in Hungary broadcast from Györ, 2005
KUAF 91.3FM, University of Arkansas-Fayetteville, Fayetteville, Arkansas, 2004
KWMU Cityscapes
, KWMU, UM-St. Louis, 2005
Women in the Arts with Nancy Kranzberg, “The Arts Interview,” KDHX studios, St. Louis, MO, 2005

PIPEDREAMS Minnesota Public Radio, Program No. 2009. Women’s Work. Recitalist and researcher Barbara Harbach offers an
    introduction to some music by women composers for the organ,  2000
PIPEDREAMS Minnesota Public Radio, Program No. 2004. Pachelbel’s Pals and Partisans, 2000
Sunday Afternoon Live from the Elvehjem, Harpsichord with University of Wisconsin-Oshkosh faculty, (Elvehjem Museum
      of Art and Wisconsin Public Radio), 1998
Keyboard Kaleidoscope: Harmonium, Harpsichord, Clavichord, and Piano, Northwest Public Television (KWSU and
    KTNW, PBS affiliates), 1995
Bryan Hall Organ: Bach to Harbach, Northwest Public Television (KWSU and KTNW), 1994
Harpsichord Music by Women from the Eighteenth to Twentieth Centuries, Northwest Public
      Television (KWSU and KTNW), 1993
A.M. Buffalo, WKBW (ABC affiliate), 1991
SELECTED COMPOSER, ORGAN, AND HARPSICHORD ENGAGEMENTS
The Integrated Scholar
, University of Arkansas-Fayetteville, Fayetteville, AR, 2005
Women Composers for the Organ, New Synagogue, Szeged, Hungary, 2005
Composer-in-residence, MUSIC!WORDS!OPERA! Opera Theater, St. Louis, Missouri, 2004
Composer-in-residence, Central Wisconsin Symphony Orchestra, Stevens Point, Wisconsin, 2004
Composer-in-residence, Women in the Arts Festival, Wilmington College, Wilmington, OH, 2004
Composer-in-Residence, Wilmington College, Wilmington, Ohio, 2002
Organ soloist with the UWSP Symphony Orchestra, Stevens Point, WI, 2001
St. John’s Episcopal, Women Composers for the Organ, Wisconsin Rapids, WI, 2001
Artist-in-Residence, Abendmusiken, First Presbyterian Church, Lancaster, PA, Women Composers for the
      Harpsichord and Organ, 2001
Athena Festival, Music for the Organ: Amy Beach and her Contemporaries, Murray State University,
       Murray, KY, 2001
Harpsichord soloist with the Central Wisconsin Symphony Orchestra, Stevens Point, WI, 2000
American Guild of Organists, Church of All Saints, Indianapolis, IN, 2000
University of Wisconsin Milwaukee, Harpsichord Dedication, Milwaukee, WI, 1999
Artist-in-Residence, Athena, Women in the Arts, Murray State University, Murray, KY, 1999
Artist-in-Residence, Women in the Arts, Lock Haven University, Lock Haven, PA
Artist-in-Residence, University of Wisconsin Stevens Point, Stevens Point, WI
First United Methodist Church, Victoria, TX
American Guild of Organists, Pasadena, CA
American Guild of Organists Regional Convention, WA
Sejong Cultural Center, Seoul, Korea
First Congregational Church, Fresno, CA
Vendsyssel Festival, Hjorring, Denmark
American Guild of Organists, 1992 National Convention, Atlanta, GA
Redlands Organ Festival, CA
House of Hope Presbyterian Church, St. Paul, MN
Rice University, TX
Augusta College, GA
Temppelaukio Church, Helsinki, Finland
Novosibirsk Music Conservatory, Novosibirsk, Siberia, Russia
L’Eglise du Sacre Coeur, Namur, Belgium
St. Peter’s Church, Belgrade, Yugoslavia
Musashino Academy of Music, Tokyo, Japan
St. Joseph’s Church, Prague, Czechoslovakia
Bishop’s University, Lennoxville, Quebec
Kaiser Wilhelm Gedachtnis-Kirche, Berlin, West Germany

SELECTED LECTURES AND LECTURE/RECITALS  
An Evolution from Organist to Composer, Keynote, Women in the Arts Conference, UM-St. Louis, MO, 2005
Party with a Purpose, Keynote, Legal Advocates for Abused Women, St. Louis, MO, 2005
“The Compositional Process” Learning Is For Ever, Stevens Point,
WI, 2004
“Was There a Female Mozart?” Stevens Point Kiwanis, Stevens Point, WI
, 2002

“Vivace Press and Hester Park,” University of Wisconsin-Madison, 2000 (Composer-in-Residence)
“Contemporary Composers for the Harpsichord and Organ,” University of Wisconsin-Madison,
      2000 (Composer-in-Residence)
 “E-mail as a Teaching Tool,” New Faculty Orientation, University of Wisconsin-Oshkosh, 1999
 “Harpsichord Performance Practice,” University of Wisconsin-Milwaukee, 1999
“And I thought I wanted to be an organist!” Athena, Women in Music Festival, Murray State
      University, KY, 1999
“Music: What Kind of Career is That?” Athena, Women in Music Festival, Murray State
University, KY, 1999
“Women and Keyboard Instruments,” Athena, Women in Music Festival, Murray State University, KY, 1999
“Madrigals, Maenads and Madonna: 1200 Years of Women in Music,” Athena, Women in
      Music Festival, Murray State University, KY, 1999
“Technology and Music: An Overview,” Athena, Women in Music Festival, Murray State
      University, KY, 1999
“Internet in the Classroom,” Academic Leadership Breakfast Workshop, University of Wisconsin-Oshkosh, 1998
 “Music and Technology,” Project FOCAL Point, University of Wisconsin-Stevens Point, 1998
“Goals and Ideas,” Mortarboard, Washington State University, 1996
“Women of Note,” Elderhostel, Washington State University, 1994 and 1995
“Women and Music,” lecture for WSU Mini-University, Washington State University, 1994
“Music On-Line: Anywhere, Anytime” for legislators and alums, Olympia, WA, 1997
“Music On-Line: Anywhere, Anytime” for music faculty and students, University of Wisconsin-Oshkosh, 1997
Compositional Creativity,” New Music Festival at Southwest Missouri State, Springfield, Missouri, 1997
“Music On-Line: Anywhere, Anytime,” University of Wisconsin-Oshkosh, WI, 1997
“Music On-Line: Anywhere, Anytime,” University of Wisconsin-Stevens Point, WI, 1997 
“Music On-Line: Anywhere, Anytime,” Lock Haven University, Lock Haven, PA, 1997
“Women of Note: 1000 Years of Women Composers,” Lock Haven University, Lock Haven, PA, 1997
“Lecture on Enterprising Women: Build, therefore, your own Convent,” Lock Haven University, Lock
     Haven, PA, 1997
“Women in Music: Four Women Keyboard Composers of the Eighteenth Century,” Women in Music
     Conference, SUNY-New Paltz, New Paltz, NY, 1987

ADDITIONAL POSITIONS IN MUSIC
Editor, Women of Note Quarterly, 1993-present
Partner, Vivace Press, 1990-present
Arts Editor, St. Louis – Women on the Move, 2005-present
Director of Music, St. Peter Catholic Church, Stevens Point, WI, 2001-2003
Organist, St. Stephen Roman Catholic Church, Stevens Point, WI, 2000-2001
 Board of Directors for the Central Wisconsin Symphony Orchestra, Stevens Point, WI, 2000-2003
Advisory Board for Athena, Women in Music Conference, Murray State University, KY 2000-present
Host, Palouse Performance, Northwest Public Television, Washington State University, 1991-1996
Music Director, Trinity Lutheran Church, Pullman, WA, 1991-1993
Conductor, Orchard Park Chorale, 100-voice Community Choir, Orchard Park, NY, 1990-91
Director, Women in Music Symposia 1-3 (annual conference at SUNY-Buffalo), 1987-1989
Music Director, St. Paul’s Lutheran, Buffalo, NY, 1989-1991
Music Director, St. Agnes Roman Catholic Parish, Buffalo, NY, 1988-1989
Director, Keyboards Contending, conference at SUNY-Buffalo, 1987
Music Director, Deerhurst Presbyterian Church, Kenmore, NY, 1986-1988
Music Director, B’rith Kodesh, Rochester, NY, 1976-1977
Music Director, Christ Church Episcopal, Rochester, NY, 1974-85
Music Director, Church of the Ascension Episcopal, Rochester, NY, 1972-74

SELECTED UNIVERSITY SERVICE

Board of Directors: Institute for Women and Gender Studies, University of Missouri-St. Louis, 2004
Board of Directors: University of Missouri-St. Louis Executive Leadership Institute, 2003
President, Commission on the Status of Women, Washington State University, 1997
Host, Palouse Performance, Northwest Public Television, Washington State University, 1992-1996
Committee for Marian E. Smith Faculty Achievement Award, Washington State University, 1994-1995
Library Committee for Music at Noon, Washington State University, 1994-1995
Committee for Carnegie Professor of the Year, Washington State University, 1994-1995
Committee for Sahlin Faculty Excellence Award, Washington State University, 1993-1995
Women’s Resource Center Advisory Committee, Washington State University, 1994-1995
Woman of the Year Committee, Commission on Status of Women, Washington State University, 1994-1996
Performing Arts Task Force, Washington State University, 1994-1995
WSU National Library Week Celebrity Questionnaire and Profile, Washington State University, 1995
Faculty Senate, Washington State University, 1992-1994
Association of Women Faculty, Executive Board, Washington State University, 1993-1994
Committee on Women’s Week, Women’s Resource Center, Washington State University, 1994
Moldenhauer Collection Board of Directors, Washington State University, 1992-1993
On-Air Radio Fundraising, KRFA/KWSU, Washington State University, 1992
On-Air Television Fundraising, KWSU/KTNW, Washington State University, 1992 and 1994
Washington State Artist Trust, Grant Adjudicator, 1992

GRANTS FUNDED
Judith Simon,
course release for composition of film score, Fellow in the Center for International Studies, 2006
A House Divided
and How Men Propose, course release for composition of film score, Fellow in the Center for International Studies, 2005
Small Grants
from UM-St. Louis for Brass Quintet premiere, Spring semester, 2005
Women in the Arts,
Gift of Mary Strauss, 2005
Alice Guy, the Mother of Cinema: A Retrospective,
course release for composition of film score, Fellow in the Center for I
    International Studies, 2004
Making an American Citizen,
course release for composition of film score, College of Fine Arts and Communication, 2004
Women in the Arts,
Gift, Ken and Nancy Kranzberg, 2005
Women in the Arts
, US Bank Gift, 2005
Alice Guy, the Mother of Cinema: A Retrospective,
Research Award, PI, Rita Csapo-Sweet, Co-PI, UM-St. Louis, 2004
Making an American Citizen,
musical score for French silent film by Alice Guy Blaché (1873-1968), Center for International Studies, 2004
Lecture on Alice Guy, St. Louis International Film Festival, honorarium for Dr. Alison McMahan, Center for the Humanities, 2004

Making an American Citizen
, music performance of original music, Office of Research Administration,2004
Grant for World Conference on Educational Multimedia, Hypermedia & Telecommunications,
    Department of Mathematics and Computing/Provost's Office, University of Wisconsin-Stevens Point, WI, 2003
Faculty Development Research Project, Women in Music Textbook, University of Wisconsin-Oshkosh, 1999
College of Letters and Science Teaching Innovation Award, University of Wisconsin-Oshkosh, 1998
Faculty Development Research Project, Women in Music Textbook, University of Wisconsin-Oshkosh, 1998
Conferences in the Disciplines Grant,
Women in Music Symposium III, SUNY-Buffalo, 1988
Peter C. Cornell Trust, for Women in Music Symposium II, Buffalo, NY, 1987
Union University Activities Board, Women in Music Symposium II, SUNY-Buffalo, 1987
Conferences in the Disciplines Grant, Women in Music Symposium II, SUNY-Buffalo, 1987
Grant for Women in Music Conference, SUNY-New Paltz, New Paltz, NY, 1987
Research Development Grant for Creative and Performing Artists, SUNY-Buffalo, 1987
Dean’s Office, Women in Music Symposium II, SUNY-Buffalo, 1987
Conferences in the Disciplines Grant, Women in Music Symposium I, SUNY-Buffalo, 1986
Research Development Grant for Four Neglected Eighteenth Century Women Keyboard Composers,
     SUNY-Buffalo, 1987
Conferences in the Disciplines Grant, Keyboards Contending, SUNY-Buffalo, 1986
Summer Research Grant, for Eighteenth Century Women Keyboard Composers, Nazareth College,
     Rochester, NY, 1984

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