| |
For mezzo (or soprano) with piano (priced for 2 copies)
Título por Autor: The Silver Swan — for mezzo (or soprano) with piano (priced for 2 copies)
Instrumentação |
Piano, Soprano, Mezzo-soprano |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
duração |
3'10 |
When Dr. Carol Kimball approached me about composing a new setting of “The Silver Swan” I was very hesitant, as I consider the original Gibbons madrigal so magical. As a result, setting these words was a particularly difficult task, and I wound up destroying many an attempt in the process. The song is lyrical and flowing in nature, and the melody glides over the accompaniment the way the swan glides over the water. The swan’s own speech is preceded by wordless “aahs”—as if the swan were warming up to the task of speaking. Carol Kimball commented: “I think the song has — like all good death scenes — its own particular ‘operatic moment,’ when the emotions of the text are underlined in an especially poignant way.” For Carol, this moment was the high note phrase accompanying “Farewell all joys.” The last low note, held for as long as possible, represents the swan’s dying breath. The song is available for
several voice types — which can be performed with or without a flute obbligato.
You can hear the version without flute on Spotify on my Within These Spaces CD — and the version with flute on my Living in the Body CD.
For mezzo (or soprano) with flute and piano (priced for 3 copies)
Título por Autor: The Silver Swan — for mezzo (or soprano) with flute and piano (priced for 3 copies)
Instrumentação |
Piano, Flauta, Soprano, Mezzo-soprano |
Composição para |
Trio |
Tipo de composição |
Partitura completa, Parte de solo |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
duração |
3'10 |
When Dr. Carol Kimball approached me about composing a new setting of “The Silver Swan” I was very hesitant, as I consider the original Gibbons madrigal so magical. As a result, setting these words was a particularly difficult task, and I wound up destroying many an attempt in the process. The song is lyrical and flowing in nature, and the melody glides over the accompaniment the way the swan glides over the water. The swan’s own speech is preceded by wordless “aahs”—as if the swan were warming up to the task of speaking. Carol Kimball commented: “I think the song has — like all good death scenes — its own particular ‘operatic moment,’ when the emotions of the text are underlined in an especially poignant way.” For Carol, this moment was the high note phrase accompanying “Farewell all joys.” The last low note, held for as long as possible, represents the swan’s dying breath. The song is available for
several voice types — which can be performed with or without a flute obbligato.
You can hear the version without flute on Spotify on my Within These Spaces CD — and the version with flute on my Living in the Body CD.
For countertenor (or contralto) with piano (priced for 2 copies)
Título por Autor: The Silver Swan — for countertenor (or contralto) with piano (priced for 2 copies)
Instrumentação |
Piano, Contra Alto, Contra Tenor |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
dificuldade |
Medium |
duração |
3'10 |
When Dr. Carol Kimball approached me about composing a new setting of “The Silver Swan” I was very hesitant, as I consider the original Gibbons madrigal so magical. As a result, setting these words was a particularly difficult task, and I wound up destroying many an attempt in the process. The song is lyrical and flowing in nature, and the melody glides over the accompaniment the way the swan glides over the water. The swan’s own speech is preceded by wordless “aahs”—as if the swan were warming up to the task of speaking. Carol Kimball commented: “I think the song has — like all good death scenes — its own particular ‘operatic moment,’ when the emotions of the text are underlined in an especially poignant way.” For Carol, this moment was the high note phrase accompanying “Farewell all joys.” The last low note, held for as long as possible, represents the swan’s dying breath. The song is available for
several voice types — which can be performed with or without a flute obbligato.
You can hear the version without flute on Spotify on my Within These Spaces CD — and the version with flute on my Living in the Body CD.
For countertenor (or contralto) with flute and piano (priced for 3 copies)
Título por Autor: The Silver Swan — for countertenor (or contralto) with flute and piano (priced for 3 copies)
Instrumentação |
Piano, Flauta, Contra Alto, Contra Tenor |
Composição para |
Trio |
Tipo de composição |
Partitura completa |
Editora |
Enchanted Knickers Music |
idioma |
Inglês |
duração |
3'10 |
When Dr. Carol Kimball approached me about composing a new setting of “The Silver Swan” I was very hesitant, as I consider the original Gibbons madrigal so magical. As a result, setting these words was a particularly difficult task, and I wound up destroying many an attempt in the process. The song is lyrical and flowing in nature, and the melody glides over the accompaniment the way the swan glides over the water. The swan’s own speech is preceded by wordless “aahs”—as if the swan were warming up to the task of speaking. Carol Kimball commented: “I think the song has — like all good death scenes — its own particular ‘operatic moment,’ when the emotions of the text are underlined in an especially poignant way.” For Carol, this moment was the high note phrase accompanying “Farewell all joys.” The last low note, held for as long as possible, represents the swan’s dying breath. The song is available for
several voice types — which can be performed with or without a flute obbligato.
You can hear the version without flute on Spotify on my Within These Spaces CD — and the version with flute on my Living in the Body CD.
|
|
|