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The Perfected Life

Classical/Song • 2006 • Lyricist: Emily Dickinson
 
 
   
 

For baritone and piano (priced for 2 copies)

Title by uploader: The Perfected Life — for baritone and piano (priced for 2 copies)


20.00 USD

Seller Lori Laitman
PDF, 6.15 Mb ID: SM-000519657 Upload date: 10 Jan 2021
Instrumentation
Piano, Baritone
Scored for
Solo, Accompanying piano
Type of score
Piano-vocal score
Publisher
Enchanted Knickers Music
Language
English
Difficulty
Advanced
Duration
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
  • Comments

For contralto and piano (priced for 2 copies)

Title by uploader: The Perfected Life — for contralto and piano (priced for 2 copies)


20.00 USD

Seller Lori Laitman
PDF, 6.15 Mb ID: SM-000519662 Upload date: 10 Jan 2021
Instrumentation
Piano, Contralto
Scored for
Solo, Accompanying piano
Type of score
Piano-vocal score
Publisher
Enchanted Knickers Music
Language
English
Difficulty
Advanced
Duration
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
  • Comments

For mezzo-soprano and piano (priced for 2 copies)

Title by uploader: The Perfected Life — for mezzo-soprano and piano (priced for 2 copies)


20.00 USD

Seller Lori Laitman
PDF, 6.15 Mb ID: SM-000519663 Upload date: 10 Jan 2021
Instrumentation
Piano, Mezzo-soprano
Scored for
Solo, Accompanying piano
Type of score
Piano-vocal score
Publisher
Enchanted Knickers Music
Language
English
Difficulty
Advanced
Duration
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
  • Comments

For soprano and piano (priced for 2 copies)

Title by uploader: The Perfected Life — for soprano and piano (priced for 2 copies)


20.00 USD

Seller Lori Laitman
PDF, 6.14 Mb ID: SM-000519664 Upload date: 10 Jan 2021
Instrumentation
Piano, Soprano
Scored for
Solo, Accompanying piano
Type of score
Piano-vocal score
Publisher
Enchanted Knickers Music
Language
English
Difficulty
Advanced
Duration
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
  • Comments

For tenor and piano (priced for 2 copies)

Title by uploader: The Perfected Life — for tenor and piano (priced for 2 copies)


20.00 USD

Seller Lori Laitman
PDF, 6.14 Mb ID: SM-000519665 Upload date: 10 Jan 2021
Instrumentation
Piano, Tenor
Scored for
Solo, Accompanying piano
Type of score
Piano-vocal score
Publisher
Enchanted Knickers Music
Language
English
Duration
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
  • Comments

For bass and piano (priced for 2 copies)

Title by uploader: The Perfected Life — for bass and piano (priced for 2 copies)


20.00 USD

Seller Lori Laitman
PDF, 6.15 Mb ID: SM-000519666 Upload date: 10 Jan 2021
Instrumentation
Piano, Bass
Scored for
Solo, Accompanying piano
Type of score
Piano-vocal score
Publisher
Enchanted Knickers Music
Language
English
Difficulty
Advanced
Duration
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
  • Comments
 
 
   
 
 
   
 
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