The following list of compositions by Deborah Kavasch (BMI) includes works for both traditional and extended techniques.  Those with  extended techniques are indicated by an asterisk.

Solo Voice       

  • Bee! I'm expecting you! (unaccompanied soprano*) 1986
  • The Crow and the Pitcher (unaccompanied soprano*) 1984
  • Soliloquy (unaccompanied soprano*) 1981

Solo Vocal Chamber

  • Admonition (soprano, prerecorded voices*) 2012
  • The Ant and the Grasshopper (soprano, soprano sax, violin, cello) 1998
  • Beauty and the Beast (soprano, bass voice, cello) 1985
  • Double, Double (3 sopranos*) 1987
  • Falling Asleep (soprano, contralto, flute, violin) 2006
  • Flight of the Swan Maiden: The Wildness of Women (soprano, harp) 2018
  • The Fox and the Grapes (soprano*, English horn*) 2003 FCM    
  • Heloise and Abelard (song cycle in 4 movements):
    • Night Cycle (soprano, piccolo/flute/alto flute) 1998
    • Revolution (soprano, viola, cello) 1997
    • Abelard (soprano, viola) 1983
    • Lumière (soprano, piccolo/flute/alto flute, viola, cello) 1999
  • I Died for Beauty (soprano, piano; or soprano, viola & cello) 1968
  • The Lion and the Mouse (soprano*, trombone*) 1986
  • Medea (2 sopranos*, or soprano* & mezzosoprano*) 1985
  • Metamorphosis (soprano, clarinet, piano) 1995
  • Miserere (soprano*, clarinet*) 1983
  • O Captain! My Captain! (baritone voice, alto sax, percussion) 2001
  • O Lacrimosa (trilogy for soprano*, baritone, piano*) 2003
  • Out of the Aviary (4 songs for soprano*, harp*) 1998
  • Pigeons (soprano, French horn, trombone) 1989
  • The Ravens, the Sexton and the Earthworm  (soprano, narrator, clarinet/bass clarinet) 1989, rev. 1999
  • Refugee (soprano, piano) 2023
  • Songs of the Swan Maiden (soprano, English horn, harp) 2005  FCM 
  • The Tortoise and the Hare (soprano, bass voice [or tenor or baritone], clarinet/bass clarinet) 1983
  • Three Poe Songs (for low voice, flute, piano) 1995
    • Annabel Lee (low voice, piano)
    • Lines on Ale (low voice, flute)
    • Alone (low voice, flute, piano)

Mixed Chorus (SATB)

  • Amor (mixed chorus and percussion) 2001
  • The Bells (mixed chorus*, percussion/handbells) 1978, rev. 1980
  • A Choral Benediction (mixed chorus) 1996
  • Feather on God’s Breath (mixed chorus a capella) 2003
  • I Will Lift Up Mine Eyes (mixed chorus a capella) 1969
  • Make a Joyful Noise (mixed chorus a capella) 1998
  • O Come, O Come, Emanuel (mixed chorus a cappella) 2012
  • The Owl and the Pussycat (narrator*, 6 voices*) 1974
  • Requiem (4 soloists* and 8-voice mixed chorus [or prerecorded voices]* ) 1978
  • Voices of the Psalms (narrator, mixed chorus*), recording only 2015

Women's Chorus

  • Double, Double (originally for 3 sopranos, arr. for SSA chorus*) 2000
  • Sweet Talk (SSA chorus*) 1976
  • SSA arrangements:
    • Hallowed Be Thy Name (arr. 1993)
    • Built on a Rock (arr. 1998)
    • Rock of Ages (arr. 1998)
    • We All Believe in One True God  (arr. 1993)
  • SSAA arrangements:
    • Sigma Alpha Iota Chorale
    • The Star Spangled Banner (national anthem arr. 2004)

Instrumental Solo

  • Aviary Suite (5 movements for solo clarinet*) 1984
    • Peacock
    •  Swan
    •  Hummingbird
    •  Eagle
    •  Ostrich
  • Celestial Dreamscape (2 movements for solo clarinet*) 1997
    • A stillness of moondrift
    • A sparkle of starlight
  • Dragonslayer (solo horn*) 2002
  • Kaleidoscope (5 movements for solo tuba*) 1997
    • Vermilion Swirl
    • Mandarin Orange
    • Polka Dot
    • Black Hole
    • Hunter Green
  • Nocturne (2 movements for solo clarinet*) 1982
    • Moonbeams
    • Starstreams
  • Nocturne (piano) 2002
  • …perchance to dream (trombone* and piano*) 2010

Instrumental Chamber

  • Collage (chamber winds) 2007
  • Duo for Alto Saxophone and Bassoon (4 movements) 2020
    • Butterflies
    • Beehive
    • Praying Mantis
    • Grasshopper
  • Duo for Violin and Viola (2 movements) 2015
    • Pensive
    • Lively
  • Five Miniatures for Reed Quintet 2016
    • Sprightly
    • Reflectively
    • Lively
    • Lazily
    • Pointedly (homage to Igor)
  • Frammento (2-3 treble instruments) 2001
  • From Here to There (piano, violin, cello), in progress
    • From Here to There
    • Reflection
    • Snow
    • As Goes the River
  • Suite for Two Pianos, in progress
    • Barcarolle
    • La nuit…L’amour…
    • Les Larmes
    • Pâques
  • Trio for Flute, Clarinet, Piano (4 movements) 2019
    • Joyfully
    • Quiet, peaceful
    • Slowly, with yearning
    • Joyously
  • Trio for Violin, Clarinet, Piano (8 movements) 1994, rev. 2002
    • The Heavens Declare the Glory of God (tutti)
    • My God, My God, Why Hast Thou Forsaken Me? (clarinet, piano)
    • As the Deer Pants for Streams of Water (piano)
    • My Soul is in Anguish (violin/clarinet duet with tutti middle section)
    • Why do the Nations Rage So Furiously? (tutti)
    • He Who Dwells in the Shadow (tutti featuring clarinet)
    • Save Me, Oh God (tutti featuring violin)
    • Praise the Lord (tutti)

Band/Wind Ensemble

  • Burning Bright! 2010
  • Celebration 2000
  • The Elements 2004
  • Fanfare for Those Who Served 1999
  • Inaugural Fanfare (brass, percussion)  1995


  • Desert Storm 1991
  • Evolutions (2 movements) 1989
    • Andante
    • Allegro con fuoco
  • Lost Voices 2009


  • The Race: an Aesop's Fables Mashup (2020), libretto by Linda Bunney-Sarhad, commissioned by Opera Modesto and premiered as a film in 2020.  A mashup of five Aesop’s fables. Available to stream on demand at
  • Annabel (2022), libretto by Linda Bunney-Sarhad, commissioned and premiered by Opera Modesto in January 2023.  Inspired by the Edgar Allen Poe poem, Annabel Lee.
  • Gingerbread (in progress), libretto by Linda Bunney-Sarhad. A new look at Hansel and Gretel.

Other Arrangements

  • Alma Mater (California State University, Stanislaus) 1996
    • Solo voice, piano
    • Solo voice, brass quintet
    • Solo voice, wind ensemble
    • Mixed chorus (SATB) a capella
    • Mixed chorus (SATB) wind ensemble
  • Amazing Grace (arr. soprano or tenor, bassoon, piano) 2001
  • Beautiful Savior (arr. voice, piano) 2002
  • Day by Day (arr. voice, violin, piano) 2000
  • Hallelujah from “Mount of Olives,” Beethoven (arr. mixed chorus, fl, ob, 2 cl, 2 tpt, 2 trb, tba, timp, organ) 2007
  • O God, Our Help in Ages Past, Croft tune (arr mixed chorus, 2 tpt, 2 trb, tba, timp, organ) 2009
  • Peace I Leave with You, Mendelssohn (arr mixed chorus, brass quartet, quintet, sextet) 2007-2009
  • Star-Spangled Banner (national anthem) arrangements
    • Violin solo 2014
    • Voice, violin 2016
    • Women’s Chorus (SSAA) 2003
  • Wherefore Do the Heathens Clamor, Saint-Saëns (arr. mixed chorus, 2 tpt, 2 trb, timp, organ) 2007
  • Who are These?, Stainer (arr. mixed chorus, hn, 2 tpt, tbn, tba) 2007

Scores and parts of pieces indicated by FCM are available at Fish Creek Music.
All other scores are available from Deborah Kavasch. Email:

Deborah Kavasch Selected Composition Reviews

 May 2022  “’Lost Voices’ emits a busy demeanor of deep brass, sweeping strings and bold percussion thanks to Deborah Kavasch’s vision.” Take Effect music reviews.

Mar 2022  “Lost Voices follows with greater drama, moving from dissonance and brass exclamations that almost sound like attacks, through periods of grieving exemplified by strings and winds, to an eventual calm conclusion.” Family-Focused Reviews.

Feb 2022   “Lost Voices is a reflection of those whose lives have been tragically cut short by violence with a musical exploration to underscore the different traumatic stages as well of those left behind in Deborah Kavasch’s work.  There are some quite touching moments in this work where we move from dissonance into a richer, consonant glimmer of hope with subtle shades of wind color to help against shimmering strings.”  Cinemusical compact disc review.

Jan 2022    Els timbals presenten un moment dolorós a Lost Voices (‘Veus perdudes’), de Deborah Kavasch, compositora especialitzada en tècniques vocals que dedica aquesta obra a totes les víctimes d’actes de violència naturals o provocats per l’home. Kavasch vol donar presència al dolor traumàtic que provoca la violència. A mesura que avança l’obra, els instruments de vent de fusta de la Reial Orquestra Nacional Escocesa aplanen el camí i mostren la ruta (difícil) de l’esperança. Carme Miró, Sonograma Magazine, compact disc review

2010          “Celestial Dreamscape…begins hauntingly…morphs into ever-changing phrases…The second movement…with its irregular rhythms and relentless motion made for breathless listening.” Pamela J. Marshall, compact disc review, International Alliance for Women in Music Journal Vol. 16, No. 1

Dec 2009   (Celestial Dreamscape) “The first movement, ‘a stillness of moondrift,’ is slow and atmospheric… the second, ‘a sparkle of starlight,’ is quick and rhythmically interesting, with changing meters and some use of microtones.” Jane Ellsworth, compact disc review, The Clarinet.

Mar 2009  “Kavasch’s meditative Celestial Dreamscape seemed to have an appealing combination of technical challenge, include some cool sounding multi-phonics, and musical depth.” (David H Thomas, Columbus Symphony principal clarinet, The Buzzing Reed—Clarinet and Classical Music blog)

Aug 1995  "Exploring all the vocal possibilities one can imagine, Kavasch created an entertaining and unusual series of vocal sounds that cleverly depicted the intended flavor of the text (The Crow and the Pitcher and Bee! I'm expecting you!""  Nancy Bloomer Deussen, Twentieth Century Music

Oct 1993   "splendidly diabolical high clusters of Deborah Kavasch's Double, Double."  Hilary Tann, International League of Women Composers JOURNAL

Mar 1992  "wonderfully sassy setting of the witches' scene from Shakespeare's MacBeth, Double, Double...Kavasch is a brilliant composer who demonstrated that extended techniques can produce wonderfully musical effects in gifted hands."  Sally Reid, International League of Women Composers JOURNAL

Jun 1988    "From operatic drama to pitched throat rattles her 'extended vocal techniques' virtuosically created a short, concentrated sound picture (Kavasch Miserere)."  ck,  Bremen Weser Kurier, Germany

Sum 1986 "a Greek tragedy that rivalled 'Halloween II' for thrills and chills (Kavasch Medea)"  Dwight Winenger, Living Music

Mar 1982  "Soliloquy, by Kavasch, gave the composer an opportunity to display her rich soprano voice in a solo context.  Darkly lyrical and technically demanding, the music accurately underlined the frightened, despairing mood of the text. . . (Kavasch Requiem) fitted the Ensemble's range of sounds and molded them within the emotionally devastating framework of the Catholic Mass for the Dead. At times calm and purifying, but just as often terrifying, the Requiem was a fine indication of just how much feeling avant-garde music can contain."  Anthony Fischera, Turlock Signal

Nov 1979  "solemn timbre-and-texture piece (Kavasch Requiem). . . Effectively stretching historic approaches to the mass, the lengthy work made a strong emotional impact."  Wilma Salisbury, Cleveland Plain Dealer

Jun 1979    "I sat transfixed...a work of deep mystery and, yes, beauty (Kavasch Requiem)."  Alan Rich, New West

Jan/Feb'78   "electrifying" (Kavasch Requiem) Eric Valinsky, Synapse

Jan 1978    "(Kavasch Requiem) seemed to be exploiting the elemental impact of certain sound qualities, in particular the almost inhuman hollowness and depth of some of the extended effects."  Susan Mertens, The Vancouver Sun

Dec 1977   "(Kavasch Requiem) covered an extraordinary gamut of sounds...very engrossing."  John Von Rhein, Chicago Tribune