Aveline Kirana
Grammy-nominated baritone and burgeoning composer Will Liverman has officially entered into a strategic publishing agreement with Just a Theory Press, marking a significant milestone in his transition from a celebrated vocal performer to a published creator of contemporary art song. This partnership aims to formalize the distribution of Liverman’s rapidly expanding catalog, ensuring that his compositions—ranging from original art songs to innovative arrangements of traditional spirituals—are accessible to vocalists, educators, and scholars worldwide. The inaugural release under this collaboration comprises three distinct works across four separate editions, all of which are currently available in both high-quality print formats and digital PDF downloads.
The Genesis of a Composer
The shift in Liverman’s artistic focus began during the global disruptions of the COVID-19 pandemic, a period that forced many performing artists to recalibrate their creative output as opera houses and concert halls shuttered worldwide. For Liverman, the forced stillness of the lockdown acted as a catalyst for a long-dormant ambition. While he had established himself as one of the most compelling voices in modern opera—garnering international acclaim for his performances at the Metropolitan Opera and beyond—he had previously harbored reservations about his identity as a composer.
"Though I’ve always loved writing music, I never studied composition and didn’t feel I had permission to create," Liverman stated regarding his foray into the craft. "That changed during the pandemic, when space and stillness invited me to explore. I began writing songs from a deep love of melody, text, and storytelling. I felt most fulfilled when combining those passions."
His first foray into the genre was a setting of Paul Laurence Dunbar’s poem "A Golden Day," commissioned by soprano Lauren Snouffer. This initial commission served as the threshold for a deeper investigation into the works of the American literary canon. Liverman found himself particularly drawn to the evocative, rhythmic, and emotionally resonant poetry of Dunbar, as well as the works of Alice Dunbar-Nelson, a prolific writer and the former wife of Paul Laurence Dunbar. This literary fascination has since become a cornerstone of his compositional style, defining the aesthetic trajectory of his "Collected Songs" volumes.
A Comprehensive Look at the Collected Songs
The centerpiece of this new publishing deal is the release of "Collected Songs," a two-volume set designed to accommodate a diverse range of vocal types. The publisher has strategically divided these volumes into "High/Medium Voice and Piano" and "Medium/Low Voice and Piano," ensuring that the repertoire is accessible to singers of varying ranges and tessituras.
The editorial philosophy behind these volumes reflects a commitment to both inclusivity and variety. While the two volumes share a core set of compositions, each book features unique material tailored to the specific voice types for which they were arranged. For example, the High/Medium volume features a sophisticated duet setting of the traditional spiritual "There Is a Balm in Gilead," a piece that showcases Liverman’s ability to weave modern harmonic sensibilities with time-honored melodies. Conversely, the Medium/Low volume includes poignant selections such as "A Tribute to Mr. JFK" and the evocative "Birmingham Sunday," works that demonstrate Liverman’s interest in historical narrative and social commentary through music.
These collections also feature pieces from "The Dunbar/Moore Sessions," a project that highlights the intersection of classical art song and the rich legacy of the Black American musical experience. By incorporating new arrangements of spirituals alongside his original compositions, Liverman is positioning himself as an artist who seeks to bridge the gap between historical musical preservation and contemporary creative expression.
Chronology of an Artistic Evolution
To understand the significance of this publishing deal, one must look at the timeline of Liverman’s professional life.
- Pre-2020: Liverman’s career was defined by his vocal performances, including his history-making turn in the Metropolitan Opera’s production of Terence Blanchard’s Fire Shut Up in My Bones. During this period, his compositional work was primarily private or limited to occasional performance-related arrangements.
- 2020–2021: The onset of the pandemic provided the "space and stillness" necessary for his creative pivot. The commissioning of "A Golden Day" by Lauren Snouffer served as the primary proof-of-concept for his songwriting abilities.
- 2022–2023: Liverman began integrating his own songs into recital programs, testing the reception of his work in live settings. The positive reception from critics and audiences alike confirmed that his compositions held standalone artistic value beyond his fame as a performer.
- 2024: The formal partnership with Just a Theory Press marks the professionalization of his catalog, moving his work from ephemeral performance pieces to permanent, published resources for the broader musical community.
Analyzing the Impact on the Art Song Canon
The publication of these works by a specialized house like Just a Theory Press is an important development for the modern art song canon. In the classical music industry, art song has historically been dominated by European traditions—specifically the German Lied and French mélodie. By centering his work on the poetry of Paul Laurence Dunbar and Alice Dunbar-Nelson, and by integrating the tradition of the Black American spiritual into the art song format, Liverman is contributing to the diversification of the repertoire.
From a pedagogical perspective, the availability of these works in multiple keys is a standard practice for professional sheet music, yet it is essential for the longevity of a composer’s work. By ensuring that his music is accessible to a wide variety of voice types, Liverman is encouraging the adoption of his pieces by music students and professionals alike, which is the primary driver for a composition to enter the standard performance repertoire.
Collaboration and the Piano
One of the most notable aspects of Liverman’s creative process is his relationship with the piano. Unlike some composers who view the instrument merely as a tool for orchestration, Liverman views the keyboard as a fundamental partner in his creative process.
"A special joy in this project has been collaborating from the piano—returning to my first musical love," Liverman noted. "To shape these pieces from the keyboard, as both composer and performer, has made the experience deeply personal and creatively complete."
This "keyboard-first" approach is evident in the harmonic language of his songs, which often prioritize the intimate dialogue between the voice and the accompaniment. By functioning as both the creator and the interpreter, Liverman avoids the "composer-performer divide," resulting in scores that are inherently idiomatic to the voice and expressive in their instrumental support. This dual perspective is likely to resonate with singers who appreciate scores that feel "written for the performer," rather than merely for the page.
Broader Implications for the Industry
The publishing deal also speaks to a shifting landscape in the music industry where performers are increasingly taking ownership of their creative output. The rise of independent and boutique publishing houses like Just a Theory Press provides artists with more agency over their scores, allowing them to bypass traditional barriers that have historically gatekept the world of professional music publishing.
For the academic and conservatory communities, the inclusion of Liverman’s work in the repertoire offers a fresh opportunity to explore American literature through a contemporary lens. As music programs continue to seek out diverse voices to balance their curricula, the "Collected Songs" volumes provide a readily available, high-quality resource that integrates poetry, history, and classical vocal technique.
Future Prospects
As Will Liverman continues to balance his demanding performance schedule with his work as a composer, this partnership with Just a Theory Press ensures that his creative legacy is being built in real-time. The initial release of three works in four editions is likely just the beginning. Given his stated commitment to "storytelling" and his ongoing interest in the vast body of African American literature, the music community can anticipate further volumes that expand upon these initial offerings.
By formalizing his work in print, Liverman is not only securing his place as a significant contributor to the 21st-century art song repertoire but is also inviting other vocalists to participate in the ongoing conversation he has initiated—one that honors the past while fearlessly exploring the possibilities of the present. Whether through his interpretation of Dunbar’s poetry or his modern arrangements of spirituals, Liverman’s transition into the world of publishing represents a vital maturation of an artist who is increasingly defined by his holistic approach to music-making.
