![](https://elizabethvercoe.com/wp-content/uploads/2023/12/alafinb.jpg)
A la fin-tout seul for mandolin & optional piano
(1985)
“An impressionistic new work” –Boston Globe
![](https://elizabethvercoe.com/wp-content/uploads/image/corollariecover.jpg)
Corollaries for horn in F
(2007)
![](https://elizabethvercoe.com/wp-content/uploads/images/electricbebopanthology.jpg)
Electric Bebop
(1987)
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/parodiab.png)
Parodia sopra “lasciate mi morire”
for harp
(1983)
![](https://elizabethvercoe.com/wp-content/uploads/image/sonaria.jpg)
Sonaria for Cello
(1981)
“A lyrical work for unaccompanied cello”–The Belmont Herald
“Skillfully exploits the qualities and possibilities of the instrument” –The Jewish Advocate
![](https://elizabethvercoe.com/wp-content/uploads/2024/01/StillKicking.jpg)
Still Kicking
(2022)
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/suitefrancaise.cover_.png)
Suite francaise
for unaccompanied violin
(1983)
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/tomusic2-1.jpg)
To Music
for solo flute
(2003)
“…sensitivity in Vercoe’s four short movements for solo flute.”–Infodad.com
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/alafinb.jpg)
A la fin-tout seul for mandolin & optional piano
(1985)
“An impressionistic new work” –Boston Globe
![](https://elizabethvercoe.com/wp-content/uploads/image/balance1.jpg)
Balance: Duo for Violin and Cello
(1974)
![](https://elizabethvercoe.com/wp-content/uploads/images/butterflycover.jpg)
Butterfly Effects for flute and harp
(2008-2009)
“A delicate fantasia…her gorgeous music is explored with striking inventiveness” –ConcertoNet
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/butterflycertosa.jpg)
Butterfly Effects for oboe and harp
(2010)
“A suite of contrastingly nuanced sound and space, Butterflies fittingly ends a recording that is breathtaking, fresh, and an emotional point of arrival.” –IAWM Journal
![](https://elizabethvercoe.com/wp-content/uploads/image/elegyb.png)
Elegy for viola and piano
(1989)
“A moody, somber, interesting work with moments of real beauty”–Journal of the American Viola Society)
“Poised, soulful”–Boston Globe
![](https://elizabethvercoe.com/wp-content/uploads/image/fantavia.cover_.jpg)
Fantavia for Flute and Percussion
(1982)
“Timbral adventures and some lovely moments”–New York Times
“A delicate, birdcall-inspired fantasia”–St. Louis Post-Dispatch
“The twists, turns and trills of the flute were gorgeous”–The Columbus Dispatch
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/fiveinventionsb.png)
Five inventions for horn and piano
(2005)
![](https://elizabethvercoe.com/wp-content/uploads/image/fourhumorsc.png)
Four humors for clarinet & piano
(1992)
![](https://elizabethvercoe.com/wp-content/uploads/image/kleemation.scorecover.jpg)
Kleemation for flute & piano
(2003)
“Highly abstract yet accessible”–WRUV Reviews
![](https://elizabethvercoe.com/wp-content/uploads/2024/01/PASTICCIO3.jpg)
Pasticcio
(1965)
![](https://elizabethvercoe.com/wp-content/uploads/2024/01/Three-Carols.jpg)
![](https://elizabethvercoe.com/wp-content/uploads/image/despite1b.png)
Despite our differences #1
for violin, cello & piano
(1984)
“The piece displayed an attractive warmth of feeling with some stormy passages for the piano making a particularly compelling grab for the attention.” –Boston Herald
“Real interest lies in the dialogues and differences” –Boston Globe
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/fanfare2.png)
Fanfare for 3 trumpets & timpani
(1981)
![](https://elizabethvercoe.com/wp-content/uploads/2024/01/In-The-Storm.jpg)
In The Storm
(1989)
![](https://elizabethvercoe.com/wp-content/uploads/image/irreveriesg.png)
Irreveries from Sappho for clarinet quartet
(2016)
“Fresh and fun” –William Bolcom
![](https://elizabethvercoe.com/wp-content/uploads/image/changesb.png)
Changes for chamber orchestra
(1991)
“a very attractive piece; the doublings in the orchestration glisten.” –Boston Globe
“An ethereal and airy elegy” –San Francisco Bay Times
“Attractive and craftsmanly” –Boston Herald
“Subtly orchestrated and a pleasure to listen to” –Vivian Fine
![](https://elizabethvercoe.com/wp-content/uploads/image/adangerousman3.png)
A Dangerous Man for baritone & piano
(1990)
“I don’t know of another composer who has created a special genre like this and made it her own” –Composers USA
![](https://elizabethvercoe.com/wp-content/uploads/2024/01/Herstory.jpg)
Herstory I: for soprano, piano & vibraphone
(1975)
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/herstory2c.jpg)
Herstory II: Thirteen Japanese Lyrics for sop/piano/perc.
(1979)
“Spare, reticent and suggestive” –Boston Globe
![](https://elizabethvercoe.com/wp-content/uploads/image/herstory3.jpg)
Herstory III: Jehanne de Lorraine for mezzo & piano
(1986)
“This extraordinary work would be a wonderful second half for any vocal recital.” (The NATS Journal)
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/herstory4.pub_.jpg)
Herstory IV for mezzo & mandolin or marimba
(1997)
Neil Gladd Publications
P.O, Box 5861
Hyattsville, MD
![](https://elizabethvercoe.com/wp-content/uploads/2024/01/In-The-Storm.jpg)
In The Storm
(1989)
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/irreveriesa.jpg)
Irreveries from Sappho for voice and piano
(1981)
“Fresh and fun” –William Bolcom
![](https://elizabethvercoe.com/wp-content/uploads/image/nineepigrams.png)
Nine Epigrams from Poor Richard
For voice & tape
(1986)
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/varietiesb.png)
Varieties of Amorous Experience
for soprano or mezzo & piano
(1998)
“Her unique combination of high intellect and musical spontaneity sets her apart in her vocal offerings. This time she gives both singer and pianist a finely woven texture of color and melodic intricacies.” –The NATS Journal
![](https://elizabethvercoe.com/wp-content/uploads/image/god.jpg)
God Be In My Head for chorus and keyboard
(1995)
“And the closing, starting with a knell of finger cymbals, is perfect…” –IAWM Journal
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/irreveriesa.jpg)
Irreveries from Sappho for SSA & piano
(1985)
“Hugely funny, elegant”–The Post-Standard, Ithaca
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/american-fancy.jpg)
American Fancy
For 4 hands of 2 pianos
(1985)
![](https://elizabethvercoe.com/wp-content/uploads/2024/01/chorale-copy.jpg)
Chorale Prelude on “O Heilger Geist, du Troster mein”
For organ
(2021)
Certosa Verlag
![](https://elizabethvercoe.com/wp-content/uploads/image/fantasya.jpg)
![](https://elizabethvercoe.com/wp-content/uploads/2024/01/persona.jpg)
Persona for Piano
(1980)
“A haunting atmosphere” (Boston Phoenix)
“Interesting and well-shaped” (Concord Journal)
![](https://elizabethvercoe.com/wp-content/uploads/images/zweiklavierstuckecover.jpg)
Pour Christine
for piano
(1984)
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/zweiklavierstuckecover-1.jpg)
Supplication for Piano
League ISCM, Boston, Piano Book
(1995)
Supplication is an arrangement of the final prayer in Herstory III, a monodrama on the life of Joan of Arc.The League ISCM Piano Book consists of 33 Easy-to-Intermediate Pieces by Contemporary Boston-Area Composers. The book is available from the League-ISCM. Supplication is also available separately from the German publisher, Certosa Verlag.
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/threestudies.jpg)
Three studies
for piano
(1998)
“It is a pleasure to meet these three arresting pieces.”–The Piano Quarterly
“Mirrors is a study in melodic inversions; Daydream has a languid, imaginative use of fifths… All three short pieces are contemporary in sound..” –Clavier
![](https://elizabethvercoe.com/wp-content/uploads/2023/12/zweiklavierstuckecover.jpg)