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Homeless
Классика/Песня • 2002 • Автор текста: Michael Flack
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For mezzo-soprano and piano (priced for 2 copies)
Название пользователя: Homeless — for mezzo-soprano and piano (priced for 2 copies)
Инструменты |
Фортепиано, Меццо-сопрано |
Состав исполнителей |
Соло, Аккомпанирующее фортепиано |
Тип нот |
Клавир с вокальной партией |
Издатель |
Enchanted Knickers Music |
Язык |
Английский |
Уровень сложности |
Выше среднего |
Время звучания |
2'45 |
Michael Flack was born in 1920 in Lvov, which was then part of Poland. Of Czech descent, he was imprisoned in Terezin and also Auschwitz. After liberation, served as an interpreter for the U.S. Army, which helped pave the way for him to come to America.
I met Michael in the early 1990s in Washington, DC, following a concert of Holocaust music, and we became good friends.
Michael’s talent, compassion and empathy are evident in this poem. The free-flowing descending accompaniment that opens the song invokes the idea of the spiral downward to homelessness, while the vocal line floats above. The irregular meters settle into a more regular pattern to accompany the story of this “beautiful savage.” The song closes with a return to the opening motif. The song is available for mezzo-soprano or baritone.
For baritone and piano (priced for 2 copies)
Название пользователя: Homeless — for baritone and piano (priced for 2 copies)
Инструменты |
Фортепиано, Баритон |
Состав исполнителей |
Соло, Аккомпанирующее фортепиано |
Тип нот |
Клавир с вокальной партией |
Издатель |
Enchanted Knickers Music |
Язык |
Английский |
Уровень сложности |
Выше среднего |
Время звучания |
2'45 |
Michael Flack was born in 1920 in Lvov, which was then part of Poland. Of Czech descent, he was imprisoned in Terezin and also Auschwitz. After liberation, served as an interpreter for the U.S. Army, which helped pave the way for him to come to America.
I met Michael in the early 1990s in Washington, DC, following a concert of Holocaust music, and we became good friends.
Michael’s talent, compassion and empathy are evident in this poem. The free- flowing descending accompaniment that opens the song invokes the idea of the spiral downward to homelessness, while the vocal line floats above. The irregular meters settle into a more regular pattern to accompany the story of this “beautiful savage.” The song closes with a return to the opening motif. The song is available for mezzo-soprano or baritone.
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