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For countertenor and piano (priced for 2 copies)
Titel nach Uploader: Sable Pride — for countertenor and piano (priced for 2 copies)
Instrumentierung |
Klavier, Countertenor |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Klavierauszug mit Singstimmen |
Verleger |
Enchanted Knickers Music |
Sprache |
Englisch |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
7'39 |
Sable Pride was commissioned by countertenor Darryl Taylor. It sets three poems by Harlem Renaissance poet Countee Cullen. Cullen’s poems display great lyricism, craft and content that is extremely powerful. Each poem addresses the issue of race from a different angle. A Brown Girl Dead focuses on the profound bond between mother and child. The language in Incident is simple, but the use of the “N” word creates a searing portrait of a child whose life was changed by racial hatred. To capture this enormous emotional impact, I use a leitmotif in the piano, where the piano descends to the bottom of its range over a sustained pedal, creating a booming, blurred and dark atmosphere. To end the cycle, I looked for a poem that would provide an antidote to hatred, and found this in Tableau. The poem tells the story of racial harmony (and most likely homosexual love). The beautiful image of the two boys, one white and one black, walking arm in arm, is mirrored by the use of the piano. Overlapping in range, the left hand plays on the white keys, while the right hand plays on the black keys, thus creating a physical representation of interlocked arms. The cycle ends with the piano descending, almost as if pulling back cinematically from the scene.
The premiere recording by Darryl Taylor and Andrew Rosenblum can be found on my Living in the Body CD set, released by Naxos.
For soprano and piano (priced for 2 copies)
Titel nach Uploader: Sable Pride — for soprano and piano (priced for 2 copies)
Instrumentierung |
Klavier, Sopran |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Klavierauszug mit Singstimmen |
Verleger |
Enchanted Knickers Music |
Sprache |
Englisch |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
7'39 |
Sable Pride was commissioned by countertenor Darryl Taylor. It sets three poems by Harlem Renaissance poet Countee Cullen. Cullen’s poems display great lyricism, craft and content that is extremely powerful. Each poem addresses the issue of race from a different angle. A Brown Girl Dead focuses on the profound bond between mother and child. The language in Incident is simple, but the use of the “N” word creates a searing portrait of a child whose life was changed by racial hatred. To capture this enormous emotional impact, I use a leitmotif in the piano, where the piano descends to the bottom of its range over a sustained pedal, creating a booming, blurred and dark atmosphere. To end the cycle, I looked for a poem that would provide an antidote to hatred, and found this in Tableau. The poem tells the story of racial harmony (and most likely homosexual love). The beautiful image of the two boys, one white and one black, walking arm in arm, is mirrored by the use of the piano. Overlapping in range, the left hand plays on the white keys, while the right hand plays on the black keys, thus creating a physical representation of interlocked arms. The cycle ends with the piano descending, almost as if pulling back cinematically from the scene.
The premiere recording by Darryl Taylor and Andrew Rosenblum can be found on my Living in the Body CD set, released by Naxos.
For tenor and piano (priced for 2 copies)
Titel nach Uploader: Sable Pride — for tenor and piano (priced for 2 copies)
Instrumentierung |
Klavier, Tenor |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Klavierauszug mit Singstimmen |
Verleger |
Enchanted Knickers Music |
Sprache |
Englisch |
Länge |
7'39 |
Sable Pride was commissioned by countertenor Darryl Taylor. It sets three poems by Harlem Renaissance poet Countee Cullen. Cullen’s poems display great lyricism, craft and content that is extremely powerful. Each poem addresses the issue of race from a different angle. A Brown Girl Dead focuses on the profound bond between mother and child. The language in Incident is simple, but the use of the “N” word creates a searing portrait of a child whose life was changed by racial hatred. To capture this enormous emotional impact, I use a leitmotif in the piano, where the piano descends to the bottom of its range over a sustained pedal, creating a booming, blurred and dark atmosphere. To end the cycle, I looked for a poem that would provide an antidote to hatred, and found this in Tableau. The poem tells the story of racial harmony (and most likely homosexual love). The beautiful image of the two boys, one white and one black, walking arm in arm, is mirrored by the use of the piano. Overlapping in range, the left hand plays on the white keys, while the right hand plays on the black keys, thus creating a physical representation of interlocked arms. The cycle ends with the piano descending, almost as if pulling back cinematically from the scene.
The premiere recording by Darryl Taylor and Andrew Rosenblum can be found on my Living in the Body CD set, released by Naxos.
For baritone and piano (priced for 2 copies)
Titel nach Uploader: Sable Pride — for baritone and piano (priced for 2 copies)
Instrumentierung |
Klavier, Bariton |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Klavierauszug mit Singstimmen |
Verleger |
Enchanted Knickers Music |
Sprache |
Englisch |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
7'39 |
Sable Pride was commissioned by countertenor Darryl Taylor. It sets three poems by Harlem Renaissance poet Countee Cullen. Cullen’s poems display great lyricism, craft and content that is extremely powerful. Each poem addresses the issue of race from a different angle. A Brown Girl Dead focuses on the profound bond between mother and child. The language in Incident is simple, but the use of the “N” word creates a searing portrait of a child whose life was changed by racial hatred. To capture this enormous emotional impact, I use a leitmotif in the piano, where the piano descends to the bottom of its range over a sustained pedal, creating a booming, blurred and dark atmosphere. To end the cycle, I looked for a poem that would provide an antidote to hatred, and found this in Tableau. The poem tells the story of racial harmony (and most likely homosexual love). The beautiful image of the two boys, one white and one black, walking arm in arm, is mirrored by the use of the piano. Overlapping in range, the left hand plays on the white keys, while the right hand plays on the black keys, thus creating a physical representation of interlocked arms. The cycle ends with the piano descending, almost as if pulling back cinematically from the scene.
The premiere recording by Darryl Taylor and Andrew Rosenblum can be found on my Living in the Body CD set, released by Naxos.
For mezzo-soprano and piano (priced for 2 copies)
Titel nach Uploader: Sable Pride — for mezzo-soprano and piano (priced for 2 copies)
Instrumentierung |
Klavier, Mezzosopran |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Klavierauszug mit Singstimmen |
Verleger |
Enchanted Knickers Music |
Sprache |
Englisch |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
7'39 |
Sable Pride was commissioned by countertenor Darryl Taylor. It sets three poems by Harlem Renaissance poet Countee Cullen. Cullen’s poems display great lyricism, craft and content that is extremely powerful. Each poem addresses the issue of race from a different angle. A Brown Girl Dead focuses on the profound bond between mother and child. The language in Incident is simple, but the use of the “N” word creates a searing portrait of a child whose life was changed by racial hatred. To capture this enormous emotional impact, I use a leitmotif in the piano, where the piano descends to the bottom of its range over a sustained pedal, creating a booming, blurred and dark atmosphere. To end the cycle, I looked for a poem that would provide an antidote to hatred, and found this in Tableau. The poem tells the story of racial harmony (and most likely homosexual love). The beautiful image of the two boys, one white and one black, walking arm in arm, is mirrored by the use of the piano. Overlapping in range, the left hand plays on the white keys, while the right hand plays on the black keys, thus creating a physical representation of interlocked arms. The cycle ends with the piano descending, almost as if pulling back cinematically from the scene.
The premiere recording by Darryl Taylor and Andrew Rosenblum can be found on my Living in the Body CD set, released by Naxos.
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