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For baritone and piano (priced for 2 copies)
Título por Autor: The Perfected Life — for baritone and piano (priced for 2 copies)
Instrumentação |
Piano, Barítono |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
dificuldade |
Advanced |
duração |
4'45 |
I have often turned to Emily Dickinson's poetry when writing songs as gifts.
An Amethyst Remembrance was composed as a 50th birthday present for my dear friend Joan Glick; Dear March celebrated my dear friend James Sinclair's 59th birthday, and The Perfected Life was written as a 90th birthday present for my dear father Milton Laitman (who would live almost another decade).
The cycle begins with a small musical motif in the piano: a leap of a 6th that is repeated. The voice enters with the same interval, and this piano motif reappears in between vocal phrases. The motif is extended at the end of the song by an echo of the “Amethyst remembrance” melody. Dear March is much sprightlier. In an attempt to capture the conversational nature of the poem, the meters change frequently to match each phrase of the poem. I use an upwards motif to portray the breathless excitement found in the line “I have so much to tell—”. The mid section of the song is more lyrical, but a motif of repeated notes interrupts, representing April’s “knocking” on the door. The Perfected Life seemed like the perfect poem for my dad’s 90th birthday, and the opening line is somewhat of an inside joke for me, as my mother's maiden name was Propp. Word painting is used: for example, the descending accompaniment melody as the “props withdraw”; the octave leap on the word “erect”; the elongation of the rhythm for the word “slowness” and the reversal of the accompaniment’s direction as the “soul” is revealed. I revised the markings and created new versions in November 2020, and the work is now available for soprano, mezzo-soprano, contralto, tenor, baritone and bass.
You can hear a recording with Randall Scarlata and Lori Laitman at these links:
An Amethyst Remembrance: https://www.youtube.com/watch?v=X6D1uKdkMxw
Dear March: https://www.youtube.com/watch?v=2KYSCMFPqPc
The Perfected Life: https://www.youtube.com/watch?v=lRV5-yZZ6Vc
For contralto and piano (priced for 2 copies)
Título por Autor: The Perfected Life — for contralto and piano (priced for 2 copies)
Instrumentação |
Piano, Contra Alto |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
dificuldade |
Advanced |
duração |
4'45 |
I have often turned to Emily Dickinson's poetry when writing songs as gifts.
An Amethyst Remembrance was composed as a 50th birthday present for my dear friend Joan Glick; Dear March celebrated my dear friend James Sinclair's 59th birthday, and The Perfected Life was written as a 90th birthday present for my dear father Milton Laitman (who would live almost another decade).
The cycle begins with a small musical motif in the piano: a leap of a 6th that is repeated. The voice enters with the same interval, and this piano motif reappears in between vocal phrases. The motif is extended at the end of the song by an echo of the “Amethyst remembrance” melody. Dear March is much sprightlier. In an attempt to capture the conversational nature of the poem, the meters change frequently to match each phrase of the poem. I use an upwards motif to portray the breathless excitement found in the line “I have so much to tell—”. The mid section of the song is more lyrical, but a motif of repeated notes interrupts, representing April’s “knocking” on the door. The Perfected Life seemed like the perfect poem for my dad’s 90th birthday, and the opening line is somewhat of an inside joke for me, as my mother's maiden name was Propp. Word painting is used: for example, the descending accompaniment melody as the “props withdraw”; the octave leap on the word “erect”; the elongation of the rhythm for the word “slowness” and the reversal of the accompaniment’s direction as the “soul” is revealed. I revised the markings and created new versions in November 2020, and the work is now available for soprano, mezzo-soprano, contralto, tenor, baritone and bass.
You can hear a recording with Randall Scarlata and Lori Laitman at these links:
An Amethyst Remembrance: https://www.youtube.com/watch?v=X6D1uKdkMxw
Dear March: https://www.youtube.com/watch?v=2KYSCMFPqPc
The Perfected Life: https://www.youtube.com/watch?v=lRV5-yZZ6Vc
For mezzo-soprano and piano (priced for 2 copies)
Título por Autor: The Perfected Life — for mezzo-soprano and piano (priced for 2 copies)
Instrumentação |
Piano, Mezzo-soprano |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
dificuldade |
Advanced |
duração |
4'45 |
I have often turned to Emily Dickinson's poetry when writing songs as gifts.
An Amethyst Remembrance was composed as a 50th birthday present for my dear friend Joan Glick; Dear March celebrated my dear friend James Sinclair's 59th birthday, and The Perfected Life was written as a 90th birthday present for my dear father Milton Laitman (who would live almost another decade).
The cycle begins with a small musical motif in the piano: a leap of a 6th that is repeated. The voice enters with the same interval, and this piano motif reappears in between vocal phrases. The motif is extended at the end of the song by an echo of the “Amethyst remembrance” melody. Dear March is much sprightlier. In an attempt to capture the conversational nature of the poem, the meters change frequently to match each phrase of the poem. I use an upwards motif to portray the breathless excitement found in the line “I have so much to tell—”. The mid section of the song is more lyrical, but a motif of repeated notes interrupts, representing April’s “knocking” on the door. The Perfected Life seemed like the perfect poem for my dad’s 90th birthday, and the opening line is somewhat of an inside joke for me, as my mother's maiden name was Propp. Word painting is used: for example, the descending accompaniment melody as the “props withdraw”; the octave leap on the word “erect”; the elongation of the rhythm for the word “slowness” and the reversal of the accompaniment’s direction as the “soul” is revealed. I revised the markings and created new versions in November 2020, and the work is now available for soprano, mezzo-soprano, contralto, tenor, baritone and bass.
You can hear a recording with Randall Scarlata and Lori Laitman at these links:
An Amethyst Remembrance: https://www.youtube.com/watch?v=X6D1uKdkMxw
Dear March: https://www.youtube.com/watch?v=2KYSCMFPqPc
The Perfected Life: https://www.youtube.com/watch?v=lRV5-yZZ6Vc
For soprano and piano (priced for 2 copies)
Título por Autor: The Perfected Life — for soprano and piano (priced for 2 copies)
Instrumentação |
Piano, Soprano |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
dificuldade |
Advanced |
duração |
4'45 |
I have often turned to Emily Dickinson's poetry when writing songs as gifts.
An Amethyst Remembrance was composed as a 50th birthday present for my dear friend Joan Glick; Dear March celebrated my dear friend James Sinclair's 59th birthday, and The Perfected Life was written as a 90th birthday present for my dear father Milton Laitman (who would live almost another decade).
The cycle begins with a small musical motif in the piano: a leap of a 6th that is repeated. The voice enters with the same interval, and this piano motif reappears in between vocal phrases. The motif is extended at the end of the song by an echo of the “Amethyst remembrance” melody. Dear March is much sprightlier. In an attempt to capture the conversational nature of the poem, the meters change frequently to match each phrase of the poem. I use an upwards motif to portray the breathless excitement found in the line “I have so much to tell—”. The mid section of the song is more lyrical, but a motif of repeated notes interrupts, representing April’s “knocking” on the door. The Perfected Life seemed like the perfect poem for my dad’s 90th birthday, and the opening line is somewhat of an inside joke for me, as my mother's maiden name was Propp. Word painting is used: for example, the descending accompaniment melody as the “props withdraw”; the octave leap on the word “erect”; the elongation of the rhythm for the word “slowness” and the reversal of the accompaniment’s direction as the “soul” is revealed. I revised the markings and created new versions in November 2020, and the work is now available for soprano, mezzo-soprano, contralto, tenor, baritone and bass.
You can hear a recording with Randall Scarlata and Lori Laitman at these links:
An Amethyst Remembrance: https://www.youtube.com/watch?v=X6D1uKdkMxw
Dear March: https://www.youtube.com/watch?v=2KYSCMFPqPc
The Perfected Life: https://www.youtube.com/watch?v=lRV5-yZZ6Vc
For tenor and piano (priced for 2 copies)
Título por Autor: The Perfected Life — for tenor and piano (priced for 2 copies)
Instrumentação |
Piano, Tenor |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
duração |
4'45 |
I have often turned to Emily Dickinson's poetry when writing songs as gifts.
An Amethyst Remembrance was composed as a 50th birthday present for my dear friend Joan Glick; Dear March celebrated my dear friend James Sinclair's 59th birthday, and The Perfected Life was written as a 90th birthday present for my dear father Milton Laitman (who would live almost another decade).
The cycle begins with a small musical motif in the piano: a leap of a 6th that is repeated. The voice enters with the same interval, and this piano motif reappears in between vocal phrases. The motif is extended at the end of the song by an echo of the “Amethyst remembrance” melody. Dear March is much sprightlier. In an attempt to capture the conversational nature of the poem, the meters change frequently to match each phrase of the poem. I use an upwards motif to portray the breathless excitement found in the line “I have so much to tell—”. The mid section of the song is more lyrical, but a motif of repeated notes interrupts, representing April’s “knocking” on the door. The Perfected Life seemed like the perfect poem for my dad’s 90th birthday, and the opening line is somewhat of an inside joke for me, as my mother's maiden name was Propp. Word painting is used: for example, the descending accompaniment melody as the “props withdraw”; the octave leap on the word “erect”; the elongation of the rhythm for the word “slowness” and the reversal of the accompaniment’s direction as the “soul” is revealed. I revised the markings and created new versions in November 2020, and the work is now available for soprano, mezzo-soprano, contralto, tenor, baritone and bass.
You can hear a recording with Randall Scarlata and Lori Laitman at these links:
An Amethyst Remembrance: https://www.youtube.com/watch?v=X6D1uKdkMxw
Dear March: https://www.youtube.com/watch?v=2KYSCMFPqPc
The Perfected Life: https://www.youtube.com/watch?v=lRV5-yZZ6Vc
For bass and piano (priced for 2 copies)
Título por Autor: The Perfected Life — for bass and piano (priced for 2 copies)
Instrumentação |
Piano, Baixo |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
dificuldade |
Advanced |
duração |
4'45 |
I have often turned to Emily Dickinson's poetry when writing songs as gifts.
An Amethyst Remembrance was composed as a 50th birthday present for my dear friend Joan Glick; Dear March celebrated my dear friend James Sinclair's 59th birthday, and The Perfected Life was written as a 90th birthday present for my dear father Milton Laitman (who would live almost another decade).
The cycle begins with a small musical motif in the piano: a leap of a 6th that is repeated. The voice enters with the same interval, and this piano motif reappears in between vocal phrases. The motif is extended at the end of the song by an echo of the “Amethyst remembrance” melody. Dear March is much sprightlier. In an attempt to capture the conversational nature of the poem, the meters change frequently to match each phrase of the poem. I use an upwards motif to portray the breathless excitement found in the line “I have so much to tell—”. The mid section of the song is more lyrical, but a motif of repeated notes interrupts, representing April’s “knocking” on the door. The Perfected Life seemed like the perfect poem for my dad’s 90th birthday, and the opening line is somewhat of an inside joke for me, as my mother's maiden name was Propp. Word painting is used: for example, the descending accompaniment melody as the “props withdraw”; the octave leap on the word “erect”; the elongation of the rhythm for the word “slowness” and the reversal of the accompaniment’s direction as the “soul” is revealed. I revised the markings and created new versions in November 2020, and the work is now available for soprano, mezzo-soprano, contralto, tenor, baritone and bass.
You can hear a recording with Randall Scarlata and Lori Laitman at these links:
An Amethyst Remembrance: https://www.youtube.com/watch?v=X6D1uKdkMxw
Dear March: https://www.youtube.com/watch?v=2KYSCMFPqPc
The Perfected Life: https://www.youtube.com/watch?v=lRV5-yZZ6Vc
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