Maria Thompson Corley, PHD.
Composer, Arranger and Pianist
(Born 1966)
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Dr. Maria Thompson Corley was born in 1966 in Savanna-la-Mar, raised in Leduc, Alberta, and currently resides in Lancaster, Pennsylvania. She has appeared as a solo or collaborative pianist on radio, television, and/or concert stages in North and Central America, the Caribbean, Bermuda and Europe, performing with artists like acclaimed British Jamaican soprano Nadine Benjamin, Metropolitan Opera soprano Priscilla Baskerville, Juno Award-winning clarinetist James Campbell, Grammy-winning clarinetist Doris Hall-Gulati, Grammy-nominated baritone Randall Scarlata, renowned countertenor Darryl Taylor, and members of the New York Philharmonic and Philadelphia Orchestras. Venues include Wigmore Hall, Bruno Walter Auditorium, Smithsonian Museum of African American History, Liszt Academy, Weill Hall, and the Epidaurus Festival in Cavtat, Croatia. Her performances as soloist with orchestra include engagements with the Tallahassee Symphony Orchestra under the baton of Gunther Schuller. She has also performed and recorded with the Philadelphia-based Black Pearl Chamber Orchestra, directed by Jeri-Lynne Johnson.
Early life Although both sides of her family tree include professional musicians, Dr. Corley’s exposure to the Western European classical tradition can be directly traced to her grandmother, Cecily Richardson Caisey, whose stint at the New England Conservatory included classes with two of Florence Price’s instructors, George Chadwick and Frederick Converse. After graduating in 1930, Cecily Caisey returned to her birthplace, the island of Bermuda, married, and had four children. Her eldest daughter, Eva, is Maria Thompson Corley’s mother and first piano teacher. Dr. Corley’s grandmother was a well-known piano pedagogue on the island, however, her duties as a mother led her to forego the rigorous practice schedule that was required to maintain the skills necessary to give concerts. Her grandma’s admonishment to never relinquish her hard-earned pianistic skills has remained an inspiration to Dr. Corley throughout her career, particularly after the births of her daughter, Kiana, who excels as a singer-songwriter, guitarist and bassist, and her son, Malcolm, an award-winning visual artist. After two years of constant requests, Maria received her first piano lessons from her mother when she was four years old. When she was eight, she began studying with Thelma Johannes O’Neal, who was her instructor when she received first class honors for the Royal Conservatory of Music grade eight examination a year later. At the age of eleven, Dr. Corley became a student of Alexandra Munn, whose teacher at Juilliard was Irwin Freundlich. Maria remained Munn’s student throughout her undergraduate studies at the University of Alberta, from which she graduated with flying colors at the age of twenty. Professor Munn insisted that Juilliard was the only school Dr. Corley should consider attending (rather unsound advice). All’s well that ends well; Maria Corley received both Masters and Doctor of Musical Arts degrees from the specified institution, under the tutelage of renowned Hungarian pianist Gyorgy Sandor. She was the only pianist admitted into the doctoral program for the span of two years. |
From Pianist to Composer
Corley’s career as a composer was an unexpected plot twist, though perhaps it shouldn’t have been. When she was about ten, her late brother, Terry, a supremely gifted writer and actor, talked the neighborhood children into participating in the first of four Super 8 movies, for which Maria wrote the incidental music and small portions of the scripts. In her teens, she wrote and recorded pop songs using a four-track tape recorder. Her mother took note of her creativity and found her a composition teacher, Lydia Pals, with whom she studied for a year beginning at the age of 13. The short piano suite that resulted, “Naughtycal Glimpses: Tales of a Kindergarten Class,” won first place in the Edmonton Kiwanis Music Festival and has been performed by several professional and student pianists. In her early 20’s, Dr. Corley began arranging Christmas carols and spirituals for choir, beginning with a version of Holst’s “In the Bleak Midwinter” in the style of Take 6 that was recently recorded by Musica Intima, a professional Canadian ensemble. Her first professional commission came about five years later from Randye Jones, a noted scholar of the Negro spiritual. This request was followed by commissions from Dr. Odell Hobbs, who was one of the directors of the Florida A&M University Concert Choir while Dr. Corley was a visiting professor there.
Still, she never though of herself as a composer until approximately ten years ago, after her friend Darryl Taylor decided to record her version of “Steal Away” eleven years after she gave him a copy of the handwritten score she had arranged for her then-fiance’s Juilliard Masters recital. From there, Dr. Taylor encouraged her to join luminaries like Adolphus Hailstork in writing songs to texts by Countee Cullen as part of a project initiated for the 2014 African American Art Song Alliance conference. Dr. Taylor, who founded the alliance, used one of the resulting songs, “Simon the Cyrenian Speaks,” to open a series of concerts in the United States and Spain. Approximately a year later, soprano Kristin Sims, a friend and colleague of Maria’s from Millersville University in Lancaster, suggested setting an epic email rant to music. “Three Heart Riddles” became the first three songs in Dr. Corley’s most popular song cycle, Grasping Water, the first songs incorporating her own poetry since her attempts at songwriting as a teenager, and the start of her tendency to create her own texts. Grasping Water was included in the curricula of courses about art song at University of Michigan, University of California at Irvine, and the Jackdaws Music Education Trust in the U.K. From there, more performances and commissions resulted. It should be noted that although Dr. Corley’s formal instruction lasted one year, her musical education after the age of forty included mentorships from Evan Mack, who encouraged her to write more operas, and renowned Canadian composer Jeffrey Ryan. In addition, her many musical experiences, which include playing with worship groups, in the pit for musical theater shows, as part of orchestras, and collaborating with every instrument in the orchestra from piccolo to tuba to marimba, have informed her eclectic compositional language. She has always enjoyed all kinds of music, including calypso, reggae, R&B, soul, pop, rock and beyond. To her, music has no heirarchy; she holds anything that takes her on a journey or feeds her soul in equal esteem, drawing on that philosophy when she creates.
Notable commissions, nominations, and awards
Maria Thompson Corley’s compositions and arrangements have been commissioned and/or recorded by Canadian Art Song Project, Castle of our Skins, Renaissance City Winds, Tacoma Orchestral Recital Series, Juventas New Music Ensemble, Deus Ex Musica, the Florida A&M University Concert Choir, MUSE: Cincinnati’s Womens Choir, Musica Intima, Xavier University in New Orleans, California State University East Bay, tubists Daniel Rowland and Chris Combest, French hornist Bernhard Scully (along with pianist Casey Robards), countertenor Darryl Taylor, mezzo-soprano Raehann Bryce-Davis and sopranos Sequina Dubose, Louise Toppin and Randye Jones, among others. Dr. Thompson Corley’s choral and solo vocal literature is published by Cimmaron, Gentry, Walton, NoteNova, Classical Vocal Reprints, and North Star. Her art song “Big Yellow Taxi” was featured on the Hampsongs Foundation website on July 4, 2020, a few weeks after she participated in a livestreamed panel discussion that included Thomas Hampson, Louise Toppin, Bill Banfield and Mark Clague. Maria Thompson Corley’s debut mini-opera, The Sky Where You Are, commissioned by An Opera Theatre in 2020, is part of the Decameron Opera Coalition’s award-winning online production, Tales From a Safe Distance. The entire series was added to the Library of Congress in 2021. She was commissioned by Lyric Opera of the North to write The Place for the DOC’s second online anthology, Heroes, which premiered in October, 2021. Sanctuary, a medley of two of her spirituals, was choreographed by Katlyn Addison, a prima ballerina with Ballet West, and premiered in 2022. Her song, “Welcome to Guntown,” with poetry by AddieRose Brown, was the winner of the live portion of the 2023 New York City songSlam. The Fox and the Cookie, a children’s opera for which she was also the librettist, premiered at University of Texas at El Paso in March, 2023. Around the same time, Canadian Art Song Project commissioned her to write The Colour of Joy, a song cycle which premiered in 2024, for soprano Jonelle Sills. It was recorded by Ms. Sills and pianist Steven Philcox as part of the Juno-nominated Centrediscs release Known to Dreamers. The cycle, which tells the story of a Caribbean immigrant from childhood to old age, has texts by three Canadian women of West Indian descent: Kanika Ambrose, Christene Browne, and Maria Thompson Corley. It was the honorable mention for the 2025 NATS Song Cycle competition. Maria was also the co-recipient of a 2021 Opera America IDEA grant, along with librettist Diana Solomon-Glover, for John Lewis: Good Trouble (originally entitled The Boy From Troy). An expanded version of this project has been commissioned by Cincinatti Opera and is scheduled to premiere in the summer of 2027. Later that year, her chamber opera Dragonfly, loosely based on librettist Lara Rae’s autobiographical play, will be premiered by Manitoba Opera. Maria’s instrumental works have also won awards: “Lucid Dreaming” for piano was the winner in the atonal category of the Fidelio International Competition in 2023 and “Helicity” for piano and trumpet won the instrumental portion of the 2020 Ansonia Competition.
Recordings
Dr. Corley’s first CD, Dreamer, released internationally on Naxos, contains collaborations with then-tenor Darryl Taylor. Subsequent discs, on Albany, include a recording of the first twelve of African American composer Leslie Adams’s etudes for solo piano (seven of which she world-premiered) and Soulscapes, consisting of music for solo piano by African American women. Maria Corley’s recordings of selections from Valerie Capers’ Portraits in Jazz, included in Soulscapes, were featured in the HBO Family documentary, Kebreeya’s Salad Days. Her performance of Leslie Adams’s Etude in C sharp Minor is included in Timothy Greenfield-Sanders’s documentary, Toni Morrison: The Pieces I Am. She was featured twice in the 2020 African Composers London virtual concert series, once as a solo performer and once as a pianist/writer. Soul Sanctuary, a disc of her arrangements of spirituals and hymns, with Maria Clark, soprano and Ismail Akbar, cello, was released by Navona Records in February, 2022. Her recording Soulscapes 2 (MSR Classics), consisting of music by Black women from all over the diaspora, was released in November, 2021. WRTI’s John T.K. Scherch included it on his list of 12 “don’t miss” classical releases for 2022.
Additional information
Aside from being an accomplished pianist, Maria Corley is a voice actor, an award-winning poet, and an author who has contributed to Broad Street Review and blogged for Huffington Post. Her novels include Choices (Kensington), Letting Go (Createspace) and More Than Enough (Kindle Vella). Her poems and short stories have appeared in Chaleur, Fledgling Rag, Kaleidoscope, Midnight and Indigo, and The Write Launch.
She is also half of Duo Chiaroscuro (with Sara Male, cello). Their endeavors have included “Silence Optional” concerts for people who can’t attend classical concerts because of difficulties with remaning absolutely quiet or perfectly still. Duo Chiaroscuro were inspired to create their own version of an existing model by Maria’s son, Malcolm, who is otherwise unable to attend her concerts because of his autism. Despite the demands of being a caregiver and maintaining a career as a pianist, church organist/music director, composer, occasional writer and voice actor, Dr. Corley continues to uphold a pledge to donate her musical gifts at least once a year in support of a cause she believes in. Her busy schedule doesn’t permit her to use her certification as a life coach professionally, however, she also gives back by encouraging her piano students, choir members, and members of the community in holistic ways that go beyond the realm of music-making.
She is grateful to God for her talents, to her mother, who introduced her to the piano and encouraged her various interests, and to her father, Dr. Lloyd Thompson, who spent many hours driving her and her siblings to piano and theory lessons (Maria also studied violin for twelve years, while her sisters studied guitar and cello). He was one of two dentists in Leduc (both of whom were Jamaican) and his legacy includes founding the Leduc Rotary Music Festival in 1977, during his tenure as president of the sponsoring service organization. Maria Thompson Corley is acutely aware that without the strong support of a family blessed with the resources to underwrite her education, her path would have been far more challenging.
Dr. Corley left Jamaica before the age of two, however, her parents made sure that their children were connected to their roots in both Bermuda and Jamaica through family friendships with West Indian expats, visits from relatives, folk dancing lessons, and exposure to West Indian folk songs, reggae and calypso. Although her time in Jamaica has been relatively limited, being on the island always makes her feel as if a part of her soul is truly at home.
Website:
www.mariacorley.com
Link for purchasing scores:
https://www.sheetmusicplus.com/en/explore?q=maria%20thompson%20corley
They are also available directly from me.
My YouTube channel:
https://www.youtube.com/@mtcpianist
There are various subcategories on my page.
MARIA THOMPSON CORLEY
Selected Compositions/Arrangements
Choral
Sacred: Christmas
In the Bleak Midwinter (SSAATB; 1991)--recorded by Musica Intima (ca. 3’05”)
Behold that Star (TTBB; 1993)--written for the FAMU Concert Choir (ca. 3’25”)
Mary had a Baby (SATB; 1995)--written for the FAMU Concert Choir (ca. 1’50”)
The Angel Gabriel (SSAA; 1995)--written for the FAMU ConcertChoir
Little Drummer Boy (TTBB, steel drum (marimba), drums, flute, oboe; 1995)--written for the FAMU Concert Choir
Mary had a Baby (SSAA-S or SA-S, piano; 1995?)--published by Walton in 2011 (ca. 2’35”)
Some Children See Him (SSA and piano; 1996?)--handwritten copy, arranged for the FAMU Concert Choir
Silent Night (SSAATTBB-solo SSA; 1997)—Commissioned by FAMU Choir
A Christmas Benediction (SSAATTBB; 1998. SATB version 2024)—Commissioned and recorded by Florida A & M University Concert Choir; performed annually by the same. (ca. 1’30”)
Sacred: Other
The BCT Song (TTBB; ca. 1996)—Commissioned and recorded by Boys Choir of Tallahassee (ca. 1’04”)
Were You There? (SSAATTBB; 1996?)--handwritten copy, arranged for the FAMU Concert Choir
Fairest Lord Jesus (SSAATTBB; 1997, rev. 2019)--written for the FAMU Concert Choir (ca. 2’40”)
Ain’t Got Time to Die (SSAATTBB-ST; 1996)—Written for and recorded by FAMU Choir; published by NoteNova (ca. 2’30”)
If I Can Help Somebody (SSAA, solo, piano; 2018)--Commissioned by MUSE; Cincinnati’s Womens Choir
(ca. 5’20”)
A Lenten Song (SATB; 2021)—Text by Eva Thompson. (ca. 4’45”)
Dust, You Are (SATB; 2021)--Text by Eva Thompson (ca. 3’)
Lift Every Voice and Sing (TTBB, piano; 2020)--Commissioned by California State University East Bay (ca. 3’34”)
Psalm 150 (SATB or SATBB; 2023)--written for Kent Carlson (ca. 3’10”)
Fix Me (SATB; 2023)--published by Gentry (ca. 3’45”)
Jubilate Domino (SSAA, tambourine; 2024)--written for Kent Carlson (ca. 2’50”)
Secular
When All Falls Silent (SATBBB; 2020)--text by Charles Anthony Silvestri. Published by NoteNova (ca. 3’09”)
Invitation to Love (SATB, a capella; 2021, rev. 2022)--Text by Paul Laurence Dunbar (ca. 4’40”)
Hope (SATB; 2023)--text by Gary Davis. (ca. 4’50”)
Another Room (SSAATTBB; 2023) –text by Jacqueline Goldfinger (ca. 3’47”)
Peace, Peace My Soul—(SAT, S solo, piano; 2023)--test by the composer. Commissioned by Castle of our Skins; published by Rising Tide Music. For intermediate choir and pianist. (ca. 3’39”)
Vocal Music for Solo or Duet
Solo Voice and Instrument
“Big Yellow Taxi” (2020)—medium voice and piano; text by the composer. Contains music by Leonin and Perotin. Featured on Hampsongs Foundation website, July 4, 2020. (ca. 3’40”)
“Archaeology” (2021, rev. 2024)—soprano and clarinet. Text by the composer. (ca. 7’15”)
“Distance” (2020)—countertenor (medium voice) and piano. Commissioned by Cincinnati Song Initiative. Text by James R. Fitzpatrick (ca. 5’14”)
“I Am Not An Angry Black Woman” (2021)—mezzo-soprano and piano. Text by the composer. For Aundi Moore Barnett (ca. 4’22”)
“S_Oppressed” (2021)—medium voice and piano. Text by Leberta Lorál. Commissioned by Leberta Lorál.
(ca. 2’51”)
“Welcome to Guntown” (2022)—medium-high voice and piano. Text by AddieRose Forstman (ca. 3’40”)
“The Beauty in my Blackness” (2022)—mezzo-soprano and piano, or mezzo-soprano, violin and cello. Text by the composer. Commissioned by Raehann Bryce-Davis (ca. 3’25”)
“Exile”(2022)—soprano and piano. Text by AddieRose Forstman (ca. 3’45”)
“Victory” (2022)—soprano and piano. Text by Susanna Musser (ca. 5’)
“Black Rider’s Freedom Song”(2023)--mezzo-soprano and piano, or mezzo-soprano, piano and string quartet. Commissioned by Raehann Bryce-Davis. (ca. 6’30”)
“I Am” (2023)—tenor and piano. Text by Frank Clark. For Johnny Felder, commissioned by the poet. (ca. 3’38”)
“Groping Towards Grace” (2024)--soprano and piano. Text by the composer. Commissioned by Gwendolyn Alfred. (ca. 3’25”)
“In Utero” (2024)--soprano or mezzo-soprano and piano. Text by Frank Clark. Commissioned by the poet.
“Life’s Blueprint” (2025)—soprano and piano. Text by Frank Clark. Commissioned for Laura Strickland Dixon by the poet. (ca. 3’05”)
“There Is No Underground” (2025)--mezzo-soprano or baritone and piano. Text by Jessica Murphy Moo. Commissioned by Katie Hannigan for We Go On, Oswego, a conference and concert in memory of refugees who were housed in Oswego during WW II. Multiple composers, including Lori Laitman and John Musto, contributed songs. Published by Just A Theory Press.
Song Cycles
Three Countee Cullen Songs (2013)—Commissioned by Darryl Taylor
She of the Dancing Feet Sings (ca. 2’55”)
Simon the Cyrenian Speaks (ca. 3’15”)
The Wise (ca. 1’50”)
Grasping Water (2016)--voice and piano. Commissioned by Kristin Sims, soprano; text by the composer. “Three Heart Riddles” were originally conceived as a complete set. They can be performed at the beginning or end of the cycle.
Heart Riddle #1 (ca. 1’47”)
Heart Riddle #2 (ca. 3’25”)
Heart Riddle #3 (ca. 1’45”)
The Fortress (ca. 1’57”)
Violin (ca. 2’40”)
My Heart is Awake (ca. 1’05”)
Drop Your Mask (ca. 2’10”)
Jumbo's Revenge (A Love Song) (ca. 1’55”--includes “The Elephant” by Saint-Saens)
I, of the Hurricane (ca. 1’41”)
Long Goodbye (ca. 3’10”)
For Terry (2019)—soprano and piano, commissioned by Louise Toppin, soprano; text by the composer and Terence Thompson).
For Terry
Poem
L’orangerie
The Visitor
Four Foxy Fables (2020)—medium voice and piano; Aesop, texts adapted by Maria Thompson Corley. Published by North Star Music
The Fox and the Grapes (ca. 1’46”)
The Fox and the Stork (ca. 1’40”)
The Fox and the Goat (ca. 2’57”)
To Meditate in His Temple: Songs of Hope and Comfort (2020)--soprano and piano. Commissioned by Loyola University, New Orleans for Taylor J. White, soprano.
Psalm 90: 1-2 (ca. 2’23”)
Psalm 27: 1-4 (ca. 4’52”)
Romans 8: 28-31 (ca. 3’)
Romans 8: 16-18 (ca. 2’42”)
Philippians 4: 6-7 (ca. 3’19”)
The Aftermath (2021)—soprano and piano. Text by the composer. Commissioned and recorded by Sequina Dubose.
Angst (ca. 5’12”)
Divergence (ca. 3’35”)
Ricochet (ca. 3’10”)
The Pilgrim (2022)--baritone and piano. Text by Gary Davis.
The Pilgrim (ca. 2’57”)
Salvation (ca. 3’52”)
Ascend, My Soul (ca. 4’08”)
Heart Song (ca. 3’53”)
The Colour of Joy (2021-23)—soprano and piano. Texts by the composer, Kamika Ambrose, and Christene A. Browne. Commissioned by the Canadian Art Song Project. Recorded by Jonelle Sills, soprano, and Steven Philcox, piano
When The World Was Green (ca. 6’38”)
Transitions (ca. 1’42”)
Elias 511 (ca. 4’53”)
Ode To Our Joy (ca. 6’05”)
Uncommon Sense (2023)--soprano and piano. Text by Shana Oshiro. Commissioned by the poet.
Anonymous (ca. 2’48”)
Wild Wounds (ca. 2’34”)
Simply Put (ca. 1’48”)
Two Serious Songs (2023)--baritone and piano. Text by Frank Clark
Warning (ca. 4’07”)
One Dimensional (ca. 2’43”)
The Convex Beauty of Sailing Souls (2024)--baritone voice and piano. Texts by Terence Thompson. Written for James Martin.
Shipwreck (ca. 2’15”)
L’automne (ca. 2’01”)
memos (ca. 3’57”)
for a high school friend (ca. 2’50”)
October 7, 1983 (ca. 1’50”)
The Dream Keeper (2024-5)--soprano and piano. Texts by Langston Hughes
Dreams—Commissioned by Sarah Rosales, soprano, for the George Shirley Vocal Competition Gala (ca. 3’40”)
The Dream Keeper—written for Alexandra Lang, soprano (ca. 3’16”)
Operatic Goddess (2025)--mezzo-soprano and piano. Texts by Frank Clark. Commissioned by the poet for Kylee Slee. Tribute to Maria Callas; includes music by Verdi and Bellini.
La Divina (ca. 5’35”)
La Donna (ca. 5’22”)
For Michael (2025)--soprano and violin. Texts by Michael Harper. Composed for Lisa Edwards Burrs and Naima Burrs.
99.8% (ca. 3’52”)
A la mauvaise herbe (ca. 1’04”)
The rush at the top of the bay hedge (ca. 1’02”)
What, to me, is the garden? (ca. 2’27”)
Vocal Duet
“Blessed Assurance/Great is Thy Faithfulness” (1995)—high baritone/tenor and bass-baritone. Commissioned by Herbert Corbin (ca. 5’30)
“On Mount Nebo” (2021)—soprano, baritone and piano. Text by the composer. Commissioned by Juventas New Music Ensemble. Includes “Battle Hymn of the Republic” by Julia Ward Howe and William Steffe. (ca. 9’50”)
Voice and Instrumental Ensemble
“I Want Jesus to Walk With Me” (2003; with cello 2022)—transcription for soprano, piano and cello commissioned by Maria Clark (ca. 6’)
Crossing Jordan: Three Spirituals (2019)—soprano or high mezzo-soprano, piano and cello
His Name So Sweet (ca. 4’40”)
Deep River (Commissioned by Kiana Corley, mezzo-soprano; ca. 4’25”)
Wade in the Water (ca. 2’40”)
“Deep River” (2019; tenor/viola 2023)—transcription for tenor, viola and piano commissioned by Julia Carey (ca. 4’25”)
“Wade in the Water” (2019; tenor/viola 2023)—transcription for tenor, viola and piano commissioned by Julia Carey (ca. 2’40”)
Three Spirituals for Soprano and String Quartet (1999)
Plenty Good Room (1999, revised 2020; ca. 2’30”)
Motherless Child (1999, revised 2019; ca. 4’30”)
Soon I will be Done (1998, revised 2020; ca. 4’10”)
“Steal Away” (1992; transcribed 2023)—Soprano and orchestra (ca. 4’15”)
“I Want Jesus to Walk With Me” (2003; transcribed 2023)—Soprano and orchestra (ca. 6’)
“His Name So Sweet” (2019; transcribed 2023)—Soprano and orchestra (ca. 4’50”)
Spirituals and Hymns for Solo Voice and Piano
“Steal Away” (1992)—Commissioned by Christopher Corley, baritone; recorded by Randye Jones, Darryl Taylor, and Maria Clark. (ca. 4’15”)
“Glory, glory, Hallelujah” (1992, rev. 2019)—Commissioned by Christopher Corley; recorded by Maria Clark (2’40”)
“In the Bleak Midwinter”, version 2 (1995)--transcribed from an improvisation with baritone Herb Corbin. (ca. 4’)
“Plenty Good Room” (1999, rev. 2020; transcribed 2022)—recorded by Maria Clark (ca. 2’30”)
“Motherless Child” (1999, rev. 2019)—recorded by Maria Clark (ca. 4’30”)
“No Hiding Place” (2001)--Commissioned by Benjamin Polite, bass; Recorded by Maria Clark (ca. 2’)
“I Want Jesus to Walk With Me” (2003)—Commissioned by Randye Jones, soprano; recorded by Maria Clark (ca. 5’30”)
“Lord, I Want to be a Christian” (2013)—Commissioned by Darryl Taylor, countertenor (ca. 4’30”)
“Away in a Manger” (2013)--written for Eva Thompson and Fern Richardson (ca. 3’)
“Unto the Hills” (2018)—Commissioned by Eva Thompson, piano, and Fern Richardson, soprano; recorded by Maria Clark (ca. 5’)
“His Eye is on the Sparrow” (2021)—transcribed improvisation recorded by Maria Clark and Maria Thompson Corley (ca. 6’)
“Lord, I’ll Go” (2021)--transcribed improvisation recorded by Maria Clark and Maria Thompson Corley (ca. 3’)
“Hold On” (2022)--transcribed from piano improvisation in 2024. Solo piano version recorded by Maria Thompson Corley. (ca. 3’)
“Give Me Jesus” (2023)--transcribed from piano improvisation in 2025. Solo piano version recorded by Maria Thompson Corley. (ca. 3’55”)
“Lo, How a Rose E’er Blooming” (2023)—written for Eva Thompson and Fern Richardson (ca. 4’10”)
Opera
The Sky Where You Are (2020)—Commissioned for the Decameron Opera Coalition’s Tales from a Safe Distance series of mini-operas by An Opera Theatre. Libretto by Jenny O’Connell, in collaboration with Brenisen Wheeler and Women’s Advocates. Soprano, mezzo-soprano, baritone, piano and violin. Added to the Library of Congress. One act, ca. 11’
The Place (2021)--Commissioned for the Decameron Opera Coalition’s Heroes series of mini-operas by Lyric Opera of the North. Libretto by Sandra Oyinloye. Soprano, mezzo-soprano, baritone, alto saxophone, marimba, vibraphone, cello and percussion. One act, ca. 15’
The Fox and the Cookie (2022)--Children’s opera commissioned by UTEP Opera Workshop. For soprano, mezzo-soprano, tenor, baritone, three additional soprano/mezzo-sopranos and piano. One act, ca. 32’
John Lewis: Good Trouble (2021-26)--Commissioned by Cincinnati Opera. Libretto by Diana Solomon-Glover. For two solo sopranos, mezzo-soprano, two solo tenors, baritone, bass-baritone, bass and SATB chorus. Orchestrated for 2 flutes, 2 oboes, 2 B flat clarinets, 2 bassoons, 2 horns, 1 trumpet, 1 trombone, strings, piano/hammond organ (keyboard), harp, and percussion (timpani, snare drum, suspended crash cymbal, crash cymbals, wood blocks,
tam-tam, tambourine, xylophone, djembe, bass drum, glockenspiel). Two acts, ca. 1hr 45’
Dragonfly (2026)--Commissioned by Manitoba Opera. Libretto by Lara Rae. Work in progress. For mezzo-soprano, tenor, flute, cello and piano. One act, ca. 1hr 15’
Instrumental
Solo instrument, with or without piano
“Motherless Child” (with Swing Low, Sweet Chariot; 1999, rev. 2019)—transcribed for cello and piano (ca. 5’)
Three Spirituals (2019)—transcribed for clarinet (trumpet, violin or flute), piano, and cello
His Name So Sweet (ca. 4’40”)
Deep River (ca. 4’25”)
Wade in the Water (ca. 2’40”)
“Pax Aeternam” (2021)—tuba and piano. Commissioned and recorded by Daniel Rowland. Transcribed for cello and piano in 2021 (ca. 5’)
“Cerulean Blues” (2022)—violin, viola or flute and piano (ca. 5’50”)
“Psalm 121” (2022)—solo viola. Commissioned by Deus ex musica (ca. 4’45”)
“Morning Stretch and Run” (2023)--French horn and piano. Commissioned by Bernhard Scully and Casey Robards. (ca. 3’32”)
Properties of Light (2022-3)—trumpet and piano. Written for Justin Griffin, trumpet, and Alicia Thompson, piano
Radiance (ca. 4’)
Luminosity (ca. 3’50”)
Helicity (ca. 2’40”)
Other chamber ensembles
Naughtycal Glimpses: Tales of a Kindergarten Class (1980; rev. 2020)—Nonet, transcribed in 2021. (violin, viola, cello, double bass, flute, oboe, clarinet, bassoon, horn)
The Early Morning March, ca. 1’20”
Recess, ca. 50”
Teacher Tells a Mythical Tale, ca 2’30”
Skipping Home, ca. 40”
“Behold That Star” (1993)—flute quartet (transcribed in 2019) and brass quartet (2 trumpets, trombone and tuba; transcribed in 2023) (ca. 3’23”)
“Mary Had A Baby” (1995)--brass quartet (transcribed 2023) (ca. 1’50”)
“Pax Aeternam” (2021)--tuba and wind ensemble; transcribed in 2023 (ca. 5’)
“Christ is Alive” (2025)--brass quartet (two trumpets, trombone, and tuba) and organ. (ca. 3’)
“Malaise and Rejuvenation” (2020)—string quartet (ca. 4’20”)
Three Folk Songs (2020)--viola and cello or two violas; written for Peter Kenote, viola, and Sara Male, cello.
The Ash Grove (ca. 6’40”)
Londonderry Air (4’30”)
Tom Dooley (3’30”)
Sextet in C’s (2022)--flute, oboe, clarinet, bassoon, horn and piano. Commissioned by Renaissance Winds
Coadunation (ca. 4’)
Commiseration (ca. 4’40”)
Co-motion (ca. 2’35”)
E-Suite (2023)--tuba and percussion. Commissioned by Chris Combest and Brian Mueller
Enchantment (ca. 4’12”)
Estrangement (ca. 5’)
Excitement (ca. 2’)
Solo piano
Spirituals
“Motherless Child” (with Swing Low, Sweet Chariot; 1999, rev. 2019)—transcribed for solo piano, ca. 4’40”
“I Want Jesus to Walk With Me” (2003)—transcribed for solo piano, ca. 5’
“Swing Low, Sweet Chariot” (version two) (2020)--transcribed from an improvisation in 2025. Recorded by Maria Thompson Corley (ca. 4’10”)
“Sanctuary” (2021)—I Want Jesus to Walk With Me/Motherless Child (with Swing Low, Sweet Chariot) medley, commissioned by choreographer Katlyn Addison for a performance by the Kansas City Ballet, March, 2022, ca. 10’
“Hold On” (2022)--transcribed from an improvisation in 2024. Recorded by Maria Thompson Corley. (ca. 3’05”)
“Give Me Jesus” (2023)--transcribed from an improvisation in 2024. Recorded by Maria Thompson Corley (ca. 3’55”)
Original works
Naughtycal Glimpses: Tales of a Kindergarten Class (1980, rev. 2020)--recorded by Maria Thompson Corley
The Early Morning March (ca. 1’20”)
Recess (ca. 50”)
Teacher Tells a Mythical Tale (ca. 2’30”)
Skipping Home (ca. 40”)
“Lucid Dreaming” (2020)--recorded by Maria Thompson Corley (ca. 3’40”)
“Blissful Ignorance” (2020)--recorded by Maria Thompson Corley (ca. 1’04”)
“Willful Ignorance” (2020)--recorded by Maria Thompson Corley (ca. 2’40”)
“Piano Man” (2024)—piano and optional narrator; poetry by Shana Oshiro. (ca. 4’35”)
“Trinity” (2024)--Solo organ. Commissioned by Deus Ex Musica (ca. 2’40”)
Self-portraits by Malcolm (2025-26)--inspired by paintings by my son, Malcolm Corley, an award-winning artist (work in progress)
Self-portrait in Brown and White (ca. 2’25”)
Self-portrait on a Teapot (ca. 2’15”)
Self-portrait in a Top Hat (ca. 2’19”)
Self-portrait in Prayer (ca. 4’30”)
Self-portrait with a Mustache (ca. 4’)
“Everlasting Love: Variations on an Inside Joke” (2026)--based on a childhood original melody. (ca. 11’)
Concerto
Piano Concerto in C (2022-23)—Commissioned by Orchestral Recital Series of Tacoma.
Two movements, for advanced intermediate pianist and chamber orchestra. (ca. 11’)
Corley’s career as a composer was an unexpected plot twist, though perhaps it shouldn’t have been. When she was about ten, her late brother, Terry, a supremely gifted writer and actor, talked the neighborhood children into participating in the first of four Super 8 movies, for which Maria wrote the incidental music and small portions of the scripts. In her teens, she wrote and recorded pop songs using a four-track tape recorder. Her mother took note of her creativity and found her a composition teacher, Lydia Pals, with whom she studied for a year beginning at the age of 13. The short piano suite that resulted, “Naughtycal Glimpses: Tales of a Kindergarten Class,” won first place in the Edmonton Kiwanis Music Festival and has been performed by several professional and student pianists. In her early 20’s, Dr. Corley began arranging Christmas carols and spirituals for choir, beginning with a version of Holst’s “In the Bleak Midwinter” in the style of Take 6 that was recently recorded by Musica Intima, a professional Canadian ensemble. Her first professional commission came about five years later from Randye Jones, a noted scholar of the Negro spiritual. This request was followed by commissions from Dr. Odell Hobbs, who was one of the directors of the Florida A&M University Concert Choir while Dr. Corley was a visiting professor there.
Still, she never though of herself as a composer until approximately ten years ago, after her friend Darryl Taylor decided to record her version of “Steal Away” eleven years after she gave him a copy of the handwritten score she had arranged for her then-fiance’s Juilliard Masters recital. From there, Dr. Taylor encouraged her to join luminaries like Adolphus Hailstork in writing songs to texts by Countee Cullen as part of a project initiated for the 2014 African American Art Song Alliance conference. Dr. Taylor, who founded the alliance, used one of the resulting songs, “Simon the Cyrenian Speaks,” to open a series of concerts in the United States and Spain. Approximately a year later, soprano Kristin Sims, a friend and colleague of Maria’s from Millersville University in Lancaster, suggested setting an epic email rant to music. “Three Heart Riddles” became the first three songs in Dr. Corley’s most popular song cycle, Grasping Water, the first songs incorporating her own poetry since her attempts at songwriting as a teenager, and the start of her tendency to create her own texts. Grasping Water was included in the curricula of courses about art song at University of Michigan, University of California at Irvine, and the Jackdaws Music Education Trust in the U.K. From there, more performances and commissions resulted. It should be noted that although Dr. Corley’s formal instruction lasted one year, her musical education after the age of forty included mentorships from Evan Mack, who encouraged her to write more operas, and renowned Canadian composer Jeffrey Ryan. In addition, her many musical experiences, which include playing with worship groups, in the pit for musical theater shows, as part of orchestras, and collaborating with every instrument in the orchestra from piccolo to tuba to marimba, have informed her eclectic compositional language. She has always enjoyed all kinds of music, including calypso, reggae, R&B, soul, pop, rock and beyond. To her, music has no heirarchy; she holds anything that takes her on a journey or feeds her soul in equal esteem, drawing on that philosophy when she creates.
Notable commissions, nominations, and awards
Maria Thompson Corley’s compositions and arrangements have been commissioned and/or recorded by Canadian Art Song Project, Castle of our Skins, Renaissance City Winds, Tacoma Orchestral Recital Series, Juventas New Music Ensemble, Deus Ex Musica, the Florida A&M University Concert Choir, MUSE: Cincinnati’s Womens Choir, Musica Intima, Xavier University in New Orleans, California State University East Bay, tubists Daniel Rowland and Chris Combest, French hornist Bernhard Scully (along with pianist Casey Robards), countertenor Darryl Taylor, mezzo-soprano Raehann Bryce-Davis and sopranos Sequina Dubose, Louise Toppin and Randye Jones, among others. Dr. Thompson Corley’s choral and solo vocal literature is published by Cimmaron, Gentry, Walton, NoteNova, Classical Vocal Reprints, and North Star. Her art song “Big Yellow Taxi” was featured on the Hampsongs Foundation website on July 4, 2020, a few weeks after she participated in a livestreamed panel discussion that included Thomas Hampson, Louise Toppin, Bill Banfield and Mark Clague. Maria Thompson Corley’s debut mini-opera, The Sky Where You Are, commissioned by An Opera Theatre in 2020, is part of the Decameron Opera Coalition’s award-winning online production, Tales From a Safe Distance. The entire series was added to the Library of Congress in 2021. She was commissioned by Lyric Opera of the North to write The Place for the DOC’s second online anthology, Heroes, which premiered in October, 2021. Sanctuary, a medley of two of her spirituals, was choreographed by Katlyn Addison, a prima ballerina with Ballet West, and premiered in 2022. Her song, “Welcome to Guntown,” with poetry by AddieRose Brown, was the winner of the live portion of the 2023 New York City songSlam. The Fox and the Cookie, a children’s opera for which she was also the librettist, premiered at University of Texas at El Paso in March, 2023. Around the same time, Canadian Art Song Project commissioned her to write The Colour of Joy, a song cycle which premiered in 2024, for soprano Jonelle Sills. It was recorded by Ms. Sills and pianist Steven Philcox as part of the Juno-nominated Centrediscs release Known to Dreamers. The cycle, which tells the story of a Caribbean immigrant from childhood to old age, has texts by three Canadian women of West Indian descent: Kanika Ambrose, Christene Browne, and Maria Thompson Corley. It was the honorable mention for the 2025 NATS Song Cycle competition. Maria was also the co-recipient of a 2021 Opera America IDEA grant, along with librettist Diana Solomon-Glover, for John Lewis: Good Trouble (originally entitled The Boy From Troy). An expanded version of this project has been commissioned by Cincinatti Opera and is scheduled to premiere in the summer of 2027. Later that year, her chamber opera Dragonfly, loosely based on librettist Lara Rae’s autobiographical play, will be premiered by Manitoba Opera. Maria’s instrumental works have also won awards: “Lucid Dreaming” for piano was the winner in the atonal category of the Fidelio International Competition in 2023 and “Helicity” for piano and trumpet won the instrumental portion of the 2020 Ansonia Competition.
Recordings
Dr. Corley’s first CD, Dreamer, released internationally on Naxos, contains collaborations with then-tenor Darryl Taylor. Subsequent discs, on Albany, include a recording of the first twelve of African American composer Leslie Adams’s etudes for solo piano (seven of which she world-premiered) and Soulscapes, consisting of music for solo piano by African American women. Maria Corley’s recordings of selections from Valerie Capers’ Portraits in Jazz, included in Soulscapes, were featured in the HBO Family documentary, Kebreeya’s Salad Days. Her performance of Leslie Adams’s Etude in C sharp Minor is included in Timothy Greenfield-Sanders’s documentary, Toni Morrison: The Pieces I Am. She was featured twice in the 2020 African Composers London virtual concert series, once as a solo performer and once as a pianist/writer. Soul Sanctuary, a disc of her arrangements of spirituals and hymns, with Maria Clark, soprano and Ismail Akbar, cello, was released by Navona Records in February, 2022. Her recording Soulscapes 2 (MSR Classics), consisting of music by Black women from all over the diaspora, was released in November, 2021. WRTI’s John T.K. Scherch included it on his list of 12 “don’t miss” classical releases for 2022.
Additional information
Aside from being an accomplished pianist, Maria Corley is a voice actor, an award-winning poet, and an author who has contributed to Broad Street Review and blogged for Huffington Post. Her novels include Choices (Kensington), Letting Go (Createspace) and More Than Enough (Kindle Vella). Her poems and short stories have appeared in Chaleur, Fledgling Rag, Kaleidoscope, Midnight and Indigo, and The Write Launch.
She is also half of Duo Chiaroscuro (with Sara Male, cello). Their endeavors have included “Silence Optional” concerts for people who can’t attend classical concerts because of difficulties with remaning absolutely quiet or perfectly still. Duo Chiaroscuro were inspired to create their own version of an existing model by Maria’s son, Malcolm, who is otherwise unable to attend her concerts because of his autism. Despite the demands of being a caregiver and maintaining a career as a pianist, church organist/music director, composer, occasional writer and voice actor, Dr. Corley continues to uphold a pledge to donate her musical gifts at least once a year in support of a cause she believes in. Her busy schedule doesn’t permit her to use her certification as a life coach professionally, however, she also gives back by encouraging her piano students, choir members, and members of the community in holistic ways that go beyond the realm of music-making.
She is grateful to God for her talents, to her mother, who introduced her to the piano and encouraged her various interests, and to her father, Dr. Lloyd Thompson, who spent many hours driving her and her siblings to piano and theory lessons (Maria also studied violin for twelve years, while her sisters studied guitar and cello). He was one of two dentists in Leduc (both of whom were Jamaican) and his legacy includes founding the Leduc Rotary Music Festival in 1977, during his tenure as president of the sponsoring service organization. Maria Thompson Corley is acutely aware that without the strong support of a family blessed with the resources to underwrite her education, her path would have been far more challenging.
Dr. Corley left Jamaica before the age of two, however, her parents made sure that their children were connected to their roots in both Bermuda and Jamaica through family friendships with West Indian expats, visits from relatives, folk dancing lessons, and exposure to West Indian folk songs, reggae and calypso. Although her time in Jamaica has been relatively limited, being on the island always makes her feel as if a part of her soul is truly at home.
Website:
www.mariacorley.com
Link for purchasing scores:
https://www.sheetmusicplus.com/en/explore?q=maria%20thompson%20corley
They are also available directly from me.
My YouTube channel:
https://www.youtube.com/@mtcpianist
There are various subcategories on my page.
MARIA THOMPSON CORLEY
Selected Compositions/Arrangements
Choral
Sacred: Christmas
In the Bleak Midwinter (SSAATB; 1991)--recorded by Musica Intima (ca. 3’05”)
Behold that Star (TTBB; 1993)--written for the FAMU Concert Choir (ca. 3’25”)
Mary had a Baby (SATB; 1995)--written for the FAMU Concert Choir (ca. 1’50”)
The Angel Gabriel (SSAA; 1995)--written for the FAMU ConcertChoir
Little Drummer Boy (TTBB, steel drum (marimba), drums, flute, oboe; 1995)--written for the FAMU Concert Choir
Mary had a Baby (SSAA-S or SA-S, piano; 1995?)--published by Walton in 2011 (ca. 2’35”)
Some Children See Him (SSA and piano; 1996?)--handwritten copy, arranged for the FAMU Concert Choir
Silent Night (SSAATTBB-solo SSA; 1997)—Commissioned by FAMU Choir
A Christmas Benediction (SSAATTBB; 1998. SATB version 2024)—Commissioned and recorded by Florida A & M University Concert Choir; performed annually by the same. (ca. 1’30”)
Sacred: Other
The BCT Song (TTBB; ca. 1996)—Commissioned and recorded by Boys Choir of Tallahassee (ca. 1’04”)
Were You There? (SSAATTBB; 1996?)--handwritten copy, arranged for the FAMU Concert Choir
Fairest Lord Jesus (SSAATTBB; 1997, rev. 2019)--written for the FAMU Concert Choir (ca. 2’40”)
Ain’t Got Time to Die (SSAATTBB-ST; 1996)—Written for and recorded by FAMU Choir; published by NoteNova (ca. 2’30”)
If I Can Help Somebody (SSAA, solo, piano; 2018)--Commissioned by MUSE; Cincinnati’s Womens Choir
(ca. 5’20”)
A Lenten Song (SATB; 2021)—Text by Eva Thompson. (ca. 4’45”)
Dust, You Are (SATB; 2021)--Text by Eva Thompson (ca. 3’)
Lift Every Voice and Sing (TTBB, piano; 2020)--Commissioned by California State University East Bay (ca. 3’34”)
Psalm 150 (SATB or SATBB; 2023)--written for Kent Carlson (ca. 3’10”)
Fix Me (SATB; 2023)--published by Gentry (ca. 3’45”)
Jubilate Domino (SSAA, tambourine; 2024)--written for Kent Carlson (ca. 2’50”)
Secular
When All Falls Silent (SATBBB; 2020)--text by Charles Anthony Silvestri. Published by NoteNova (ca. 3’09”)
Invitation to Love (SATB, a capella; 2021, rev. 2022)--Text by Paul Laurence Dunbar (ca. 4’40”)
Hope (SATB; 2023)--text by Gary Davis. (ca. 4’50”)
Another Room (SSAATTBB; 2023) –text by Jacqueline Goldfinger (ca. 3’47”)
Peace, Peace My Soul—(SAT, S solo, piano; 2023)--test by the composer. Commissioned by Castle of our Skins; published by Rising Tide Music. For intermediate choir and pianist. (ca. 3’39”)
Vocal Music for Solo or Duet
Solo Voice and Instrument
“Big Yellow Taxi” (2020)—medium voice and piano; text by the composer. Contains music by Leonin and Perotin. Featured on Hampsongs Foundation website, July 4, 2020. (ca. 3’40”)
“Archaeology” (2021, rev. 2024)—soprano and clarinet. Text by the composer. (ca. 7’15”)
“Distance” (2020)—countertenor (medium voice) and piano. Commissioned by Cincinnati Song Initiative. Text by James R. Fitzpatrick (ca. 5’14”)
“I Am Not An Angry Black Woman” (2021)—mezzo-soprano and piano. Text by the composer. For Aundi Moore Barnett (ca. 4’22”)
“S_Oppressed” (2021)—medium voice and piano. Text by Leberta Lorál. Commissioned by Leberta Lorál.
(ca. 2’51”)
“Welcome to Guntown” (2022)—medium-high voice and piano. Text by AddieRose Forstman (ca. 3’40”)
“The Beauty in my Blackness” (2022)—mezzo-soprano and piano, or mezzo-soprano, violin and cello. Text by the composer. Commissioned by Raehann Bryce-Davis (ca. 3’25”)
“Exile”(2022)—soprano and piano. Text by AddieRose Forstman (ca. 3’45”)
“Victory” (2022)—soprano and piano. Text by Susanna Musser (ca. 5’)
“Black Rider’s Freedom Song”(2023)--mezzo-soprano and piano, or mezzo-soprano, piano and string quartet. Commissioned by Raehann Bryce-Davis. (ca. 6’30”)
“I Am” (2023)—tenor and piano. Text by Frank Clark. For Johnny Felder, commissioned by the poet. (ca. 3’38”)
“Groping Towards Grace” (2024)--soprano and piano. Text by the composer. Commissioned by Gwendolyn Alfred. (ca. 3’25”)
“In Utero” (2024)--soprano or mezzo-soprano and piano. Text by Frank Clark. Commissioned by the poet.
“Life’s Blueprint” (2025)—soprano and piano. Text by Frank Clark. Commissioned for Laura Strickland Dixon by the poet. (ca. 3’05”)
“There Is No Underground” (2025)--mezzo-soprano or baritone and piano. Text by Jessica Murphy Moo. Commissioned by Katie Hannigan for We Go On, Oswego, a conference and concert in memory of refugees who were housed in Oswego during WW II. Multiple composers, including Lori Laitman and John Musto, contributed songs. Published by Just A Theory Press.
Song Cycles
Three Countee Cullen Songs (2013)—Commissioned by Darryl Taylor
She of the Dancing Feet Sings (ca. 2’55”)
Simon the Cyrenian Speaks (ca. 3’15”)
The Wise (ca. 1’50”)
Grasping Water (2016)--voice and piano. Commissioned by Kristin Sims, soprano; text by the composer. “Three Heart Riddles” were originally conceived as a complete set. They can be performed at the beginning or end of the cycle.
Heart Riddle #1 (ca. 1’47”)
Heart Riddle #2 (ca. 3’25”)
Heart Riddle #3 (ca. 1’45”)
The Fortress (ca. 1’57”)
Violin (ca. 2’40”)
My Heart is Awake (ca. 1’05”)
Drop Your Mask (ca. 2’10”)
Jumbo's Revenge (A Love Song) (ca. 1’55”--includes “The Elephant” by Saint-Saens)
I, of the Hurricane (ca. 1’41”)
Long Goodbye (ca. 3’10”)
For Terry (2019)—soprano and piano, commissioned by Louise Toppin, soprano; text by the composer and Terence Thompson).
For Terry
Poem
L’orangerie
The Visitor
Four Foxy Fables (2020)—medium voice and piano; Aesop, texts adapted by Maria Thompson Corley. Published by North Star Music
The Fox and the Grapes (ca. 1’46”)
The Fox and the Stork (ca. 1’40”)
The Fox and the Goat (ca. 2’57”)
To Meditate in His Temple: Songs of Hope and Comfort (2020)--soprano and piano. Commissioned by Loyola University, New Orleans for Taylor J. White, soprano.
Psalm 90: 1-2 (ca. 2’23”)
Psalm 27: 1-4 (ca. 4’52”)
Romans 8: 28-31 (ca. 3’)
Romans 8: 16-18 (ca. 2’42”)
Philippians 4: 6-7 (ca. 3’19”)
The Aftermath (2021)—soprano and piano. Text by the composer. Commissioned and recorded by Sequina Dubose.
Angst (ca. 5’12”)
Divergence (ca. 3’35”)
Ricochet (ca. 3’10”)
The Pilgrim (2022)--baritone and piano. Text by Gary Davis.
The Pilgrim (ca. 2’57”)
Salvation (ca. 3’52”)
Ascend, My Soul (ca. 4’08”)
Heart Song (ca. 3’53”)
The Colour of Joy (2021-23)—soprano and piano. Texts by the composer, Kamika Ambrose, and Christene A. Browne. Commissioned by the Canadian Art Song Project. Recorded by Jonelle Sills, soprano, and Steven Philcox, piano
When The World Was Green (ca. 6’38”)
Transitions (ca. 1’42”)
Elias 511 (ca. 4’53”)
Ode To Our Joy (ca. 6’05”)
Uncommon Sense (2023)--soprano and piano. Text by Shana Oshiro. Commissioned by the poet.
Anonymous (ca. 2’48”)
Wild Wounds (ca. 2’34”)
Simply Put (ca. 1’48”)
Two Serious Songs (2023)--baritone and piano. Text by Frank Clark
Warning (ca. 4’07”)
One Dimensional (ca. 2’43”)
The Convex Beauty of Sailing Souls (2024)--baritone voice and piano. Texts by Terence Thompson. Written for James Martin.
Shipwreck (ca. 2’15”)
L’automne (ca. 2’01”)
memos (ca. 3’57”)
for a high school friend (ca. 2’50”)
October 7, 1983 (ca. 1’50”)
The Dream Keeper (2024-5)--soprano and piano. Texts by Langston Hughes
Dreams—Commissioned by Sarah Rosales, soprano, for the George Shirley Vocal Competition Gala (ca. 3’40”)
The Dream Keeper—written for Alexandra Lang, soprano (ca. 3’16”)
Operatic Goddess (2025)--mezzo-soprano and piano. Texts by Frank Clark. Commissioned by the poet for Kylee Slee. Tribute to Maria Callas; includes music by Verdi and Bellini.
La Divina (ca. 5’35”)
La Donna (ca. 5’22”)
For Michael (2025)--soprano and violin. Texts by Michael Harper. Composed for Lisa Edwards Burrs and Naima Burrs.
99.8% (ca. 3’52”)
A la mauvaise herbe (ca. 1’04”)
The rush at the top of the bay hedge (ca. 1’02”)
What, to me, is the garden? (ca. 2’27”)
Vocal Duet
“Blessed Assurance/Great is Thy Faithfulness” (1995)—high baritone/tenor and bass-baritone. Commissioned by Herbert Corbin (ca. 5’30)
“On Mount Nebo” (2021)—soprano, baritone and piano. Text by the composer. Commissioned by Juventas New Music Ensemble. Includes “Battle Hymn of the Republic” by Julia Ward Howe and William Steffe. (ca. 9’50”)
Voice and Instrumental Ensemble
“I Want Jesus to Walk With Me” (2003; with cello 2022)—transcription for soprano, piano and cello commissioned by Maria Clark (ca. 6’)
Crossing Jordan: Three Spirituals (2019)—soprano or high mezzo-soprano, piano and cello
His Name So Sweet (ca. 4’40”)
Deep River (Commissioned by Kiana Corley, mezzo-soprano; ca. 4’25”)
Wade in the Water (ca. 2’40”)
“Deep River” (2019; tenor/viola 2023)—transcription for tenor, viola and piano commissioned by Julia Carey (ca. 4’25”)
“Wade in the Water” (2019; tenor/viola 2023)—transcription for tenor, viola and piano commissioned by Julia Carey (ca. 2’40”)
Three Spirituals for Soprano and String Quartet (1999)
Plenty Good Room (1999, revised 2020; ca. 2’30”)
Motherless Child (1999, revised 2019; ca. 4’30”)
Soon I will be Done (1998, revised 2020; ca. 4’10”)
“Steal Away” (1992; transcribed 2023)—Soprano and orchestra (ca. 4’15”)
“I Want Jesus to Walk With Me” (2003; transcribed 2023)—Soprano and orchestra (ca. 6’)
“His Name So Sweet” (2019; transcribed 2023)—Soprano and orchestra (ca. 4’50”)
Spirituals and Hymns for Solo Voice and Piano
“Steal Away” (1992)—Commissioned by Christopher Corley, baritone; recorded by Randye Jones, Darryl Taylor, and Maria Clark. (ca. 4’15”)
“Glory, glory, Hallelujah” (1992, rev. 2019)—Commissioned by Christopher Corley; recorded by Maria Clark (2’40”)
“In the Bleak Midwinter”, version 2 (1995)--transcribed from an improvisation with baritone Herb Corbin. (ca. 4’)
“Plenty Good Room” (1999, rev. 2020; transcribed 2022)—recorded by Maria Clark (ca. 2’30”)
“Motherless Child” (1999, rev. 2019)—recorded by Maria Clark (ca. 4’30”)
“No Hiding Place” (2001)--Commissioned by Benjamin Polite, bass; Recorded by Maria Clark (ca. 2’)
“I Want Jesus to Walk With Me” (2003)—Commissioned by Randye Jones, soprano; recorded by Maria Clark (ca. 5’30”)
“Lord, I Want to be a Christian” (2013)—Commissioned by Darryl Taylor, countertenor (ca. 4’30”)
“Away in a Manger” (2013)--written for Eva Thompson and Fern Richardson (ca. 3’)
“Unto the Hills” (2018)—Commissioned by Eva Thompson, piano, and Fern Richardson, soprano; recorded by Maria Clark (ca. 5’)
“His Eye is on the Sparrow” (2021)—transcribed improvisation recorded by Maria Clark and Maria Thompson Corley (ca. 6’)
“Lord, I’ll Go” (2021)--transcribed improvisation recorded by Maria Clark and Maria Thompson Corley (ca. 3’)
“Hold On” (2022)--transcribed from piano improvisation in 2024. Solo piano version recorded by Maria Thompson Corley. (ca. 3’)
“Give Me Jesus” (2023)--transcribed from piano improvisation in 2025. Solo piano version recorded by Maria Thompson Corley. (ca. 3’55”)
“Lo, How a Rose E’er Blooming” (2023)—written for Eva Thompson and Fern Richardson (ca. 4’10”)
Opera
The Sky Where You Are (2020)—Commissioned for the Decameron Opera Coalition’s Tales from a Safe Distance series of mini-operas by An Opera Theatre. Libretto by Jenny O’Connell, in collaboration with Brenisen Wheeler and Women’s Advocates. Soprano, mezzo-soprano, baritone, piano and violin. Added to the Library of Congress. One act, ca. 11’
The Place (2021)--Commissioned for the Decameron Opera Coalition’s Heroes series of mini-operas by Lyric Opera of the North. Libretto by Sandra Oyinloye. Soprano, mezzo-soprano, baritone, alto saxophone, marimba, vibraphone, cello and percussion. One act, ca. 15’
The Fox and the Cookie (2022)--Children’s opera commissioned by UTEP Opera Workshop. For soprano, mezzo-soprano, tenor, baritone, three additional soprano/mezzo-sopranos and piano. One act, ca. 32’
John Lewis: Good Trouble (2021-26)--Commissioned by Cincinnati Opera. Libretto by Diana Solomon-Glover. For two solo sopranos, mezzo-soprano, two solo tenors, baritone, bass-baritone, bass and SATB chorus. Orchestrated for 2 flutes, 2 oboes, 2 B flat clarinets, 2 bassoons, 2 horns, 1 trumpet, 1 trombone, strings, piano/hammond organ (keyboard), harp, and percussion (timpani, snare drum, suspended crash cymbal, crash cymbals, wood blocks,
tam-tam, tambourine, xylophone, djembe, bass drum, glockenspiel). Two acts, ca. 1hr 45’
Dragonfly (2026)--Commissioned by Manitoba Opera. Libretto by Lara Rae. Work in progress. For mezzo-soprano, tenor, flute, cello and piano. One act, ca. 1hr 15’
Instrumental
Solo instrument, with or without piano
“Motherless Child” (with Swing Low, Sweet Chariot; 1999, rev. 2019)—transcribed for cello and piano (ca. 5’)
Three Spirituals (2019)—transcribed for clarinet (trumpet, violin or flute), piano, and cello
His Name So Sweet (ca. 4’40”)
Deep River (ca. 4’25”)
Wade in the Water (ca. 2’40”)
“Pax Aeternam” (2021)—tuba and piano. Commissioned and recorded by Daniel Rowland. Transcribed for cello and piano in 2021 (ca. 5’)
“Cerulean Blues” (2022)—violin, viola or flute and piano (ca. 5’50”)
“Psalm 121” (2022)—solo viola. Commissioned by Deus ex musica (ca. 4’45”)
“Morning Stretch and Run” (2023)--French horn and piano. Commissioned by Bernhard Scully and Casey Robards. (ca. 3’32”)
Properties of Light (2022-3)—trumpet and piano. Written for Justin Griffin, trumpet, and Alicia Thompson, piano
Radiance (ca. 4’)
Luminosity (ca. 3’50”)
Helicity (ca. 2’40”)
Other chamber ensembles
Naughtycal Glimpses: Tales of a Kindergarten Class (1980; rev. 2020)—Nonet, transcribed in 2021. (violin, viola, cello, double bass, flute, oboe, clarinet, bassoon, horn)
The Early Morning March, ca. 1’20”
Recess, ca. 50”
Teacher Tells a Mythical Tale, ca 2’30”
Skipping Home, ca. 40”
“Behold That Star” (1993)—flute quartet (transcribed in 2019) and brass quartet (2 trumpets, trombone and tuba; transcribed in 2023) (ca. 3’23”)
“Mary Had A Baby” (1995)--brass quartet (transcribed 2023) (ca. 1’50”)
“Pax Aeternam” (2021)--tuba and wind ensemble; transcribed in 2023 (ca. 5’)
“Christ is Alive” (2025)--brass quartet (two trumpets, trombone, and tuba) and organ. (ca. 3’)
“Malaise and Rejuvenation” (2020)—string quartet (ca. 4’20”)
Three Folk Songs (2020)--viola and cello or two violas; written for Peter Kenote, viola, and Sara Male, cello.
The Ash Grove (ca. 6’40”)
Londonderry Air (4’30”)
Tom Dooley (3’30”)
Sextet in C’s (2022)--flute, oboe, clarinet, bassoon, horn and piano. Commissioned by Renaissance Winds
Coadunation (ca. 4’)
Commiseration (ca. 4’40”)
Co-motion (ca. 2’35”)
E-Suite (2023)--tuba and percussion. Commissioned by Chris Combest and Brian Mueller
Enchantment (ca. 4’12”)
Estrangement (ca. 5’)
Excitement (ca. 2’)
Solo piano
Spirituals
“Motherless Child” (with Swing Low, Sweet Chariot; 1999, rev. 2019)—transcribed for solo piano, ca. 4’40”
“I Want Jesus to Walk With Me” (2003)—transcribed for solo piano, ca. 5’
“Swing Low, Sweet Chariot” (version two) (2020)--transcribed from an improvisation in 2025. Recorded by Maria Thompson Corley (ca. 4’10”)
“Sanctuary” (2021)—I Want Jesus to Walk With Me/Motherless Child (with Swing Low, Sweet Chariot) medley, commissioned by choreographer Katlyn Addison for a performance by the Kansas City Ballet, March, 2022, ca. 10’
“Hold On” (2022)--transcribed from an improvisation in 2024. Recorded by Maria Thompson Corley. (ca. 3’05”)
“Give Me Jesus” (2023)--transcribed from an improvisation in 2024. Recorded by Maria Thompson Corley (ca. 3’55”)
Original works
Naughtycal Glimpses: Tales of a Kindergarten Class (1980, rev. 2020)--recorded by Maria Thompson Corley
The Early Morning March (ca. 1’20”)
Recess (ca. 50”)
Teacher Tells a Mythical Tale (ca. 2’30”)
Skipping Home (ca. 40”)
“Lucid Dreaming” (2020)--recorded by Maria Thompson Corley (ca. 3’40”)
“Blissful Ignorance” (2020)--recorded by Maria Thompson Corley (ca. 1’04”)
“Willful Ignorance” (2020)--recorded by Maria Thompson Corley (ca. 2’40”)
“Piano Man” (2024)—piano and optional narrator; poetry by Shana Oshiro. (ca. 4’35”)
“Trinity” (2024)--Solo organ. Commissioned by Deus Ex Musica (ca. 2’40”)
Self-portraits by Malcolm (2025-26)--inspired by paintings by my son, Malcolm Corley, an award-winning artist (work in progress)
Self-portrait in Brown and White (ca. 2’25”)
Self-portrait on a Teapot (ca. 2’15”)
Self-portrait in a Top Hat (ca. 2’19”)
Self-portrait in Prayer (ca. 4’30”)
Self-portrait with a Mustache (ca. 4’)
“Everlasting Love: Variations on an Inside Joke” (2026)--based on a childhood original melody. (ca. 11’)
Concerto
Piano Concerto in C (2022-23)—Commissioned by Orchestral Recital Series of Tacoma.
Two movements, for advanced intermediate pianist and chamber orchestra. (ca. 11’)
