Herbst By Franz Lachner Benjamin Boskoff, Tenor Valerie Sly, Horn Maggie Hinchliffe, Piano

Jeremy Harr, Bass performs “Come, Master” from Stravinsky’s The Rake’s Progress with pianist Maggie Hinchliffe (8/9/2024)

Strip Tease from "All We Have is Our Voice" Music by Clare Glackin Poetry by Carole Stone Julia Holoman, mezzo-soprano Maggie Hinchliffe, piano Recorded at Stephen F. Austin State University School of Music Audio and video by Byron Reinhardt Text: Strip Tease In Newark's Empire Burlesque dark, where the sign outside reads No Women Allowed, I twirl my boa under the spotlight, throw kisses to sweaty faced men. To the rhythm of Bolero, I open and close an ostrich fan. My G string's sequins glistened, fringed nipples shake like tambourines. Robed, I am no one. Naked I arise from anonymity like a candle flaming before it's extinguished.

Amalia, Fadista from "All We Have is Our Voice" Music by Clare Glackin Poetry by Carole Stone Julia Holoman, mezzo-soprano Maggie Hinchliffe, piano Recorded at Stephen F. Austin State University School of Music Audio and video by Byron Reinhardt Text: Amalia, Fadista In a Lisbon café I throw my head back like a dove. My red high heels click like castanets as I sing. The guitarist's strings inflame the memory of my first yes. The creaking mattress, the morning disentanglement. The joy, the hurt. Fado.

Recorded 3/11/2020 in Grusin Concert Hall, University of Colorado Boulder. Maureen Bailey — soprano Maggie Hinchliffe — piano Mimi Harding — cover art I. Morning Eyelids heavy, like the moon concedes to morning air, sliding into consciousness and into childcare. Eardrums on the radio while navigating dawn, each routinely wondering the composer of the song. Ah, he sighs, I’m rarely right, so Bach will be my guess. I will guess Bach every day until I am correct. Ears and eyes awaken with surprise as they discover: Bach is playing every morning now and through October! II. Afternoon Afternoon of black and white (a usual routine), with repetitious ivories the center of the scene. Rarely resting, only for her father’s inquiry–– a dialogue of dinnertime and daily wondering. Mozart Meatballs? he suggests, adding then, Beethoven Bread? Concluding cleverly, of course, Chopin Casserole? he said. Stunning——his ability to generate delight, routinely adding color to a life of black and white. III. Evening Wild nights were I with thee, enchanting tune and poetry; arpeggiating, racing piano conversing with the star soprano. Swirling skirts, they dance offstage, breathless on their escapade, collaboratively hypnotized by lingering melodic lines. Reciprocating compliments, soprano to accompanist: I saw your father——second row, Did you see his face aglow? Genuinely in surprise because she never realized while worryingly harmonizing, he routinely beamed. #artsong #newartsong #piano #mezzosoprano

Charles Ives from Three Songs of War 1. In Flanders Fields Nicholas Saxton, tenor Maggie Hinchliffe, piano Recorded in Kilbourn Hall at the Eastman School of Music.