1
SE VEN POEMS O F DO RO T HY PA RK E R O r c h e s t r a l r e d u c t i o n f o r Vo i c e a n d P i a n o
BRAXTON BLAKE
BRAXTON
BLAKE MUSIC
2
SEVEN POEMS OF DOROTHY PARKER DOROTHY PARKER (22.08.1893-07.06.1967) was one of New York City’s (and America’s) most colorful and gifted writers. No one who met her could doubt her brilliance, wit, and strength. A woman who lived a full and passionate life, Mrs. Parker was the toast of New York City (and to some extent, later in Hollywood). She was the one dinner guest a host could count on to enliven any gathering, for Mrs. Parker possessed one of the great wits of all time as well as an intellect as sharp as they come. Her presence at the famed Algonquin “Round Table” (where fellow writers, actors, etc. regularly met for lunch) was larger than any subsequent legend. In many ways, Dorothy Parker and her writing exemplify the energy, vitality, and spirit of America before 1941. Yet Dorothy Parker’s life was far from one grand party after another. Her brilliant wit, often simultaneously hilarious and penetrating, was not infrequently acidic and hurtful, devastating the unfortunate soul who happened to cross her path at the wrong time. The sharp edges in her personality certainly had something to do with the sadness and tragedy that accompanied her throughout her life. For me, the contrasting layers of her life are fascinating: optimism, energy, laughter, and wit joined at the hip with loneliness, abandonment, and a heavy, hurting heart. And it is this mixture with which her poetry is woven. Her art is direct, strong, elegant, and sure. A slow worker who labored until every word was just right, her sentences are strings of pearls. In her poetry, Dorothy Parker uses a direct, rich, and engaging language to express the profundity and sorrow of the human condition. Irony and despair are the message, with wit and laughter serving as the vehicle. In composing these songs, I decided to mirror the directness of the poetry in my music. I enjoy composing in a variety of styles, and it seems appropriate to borrow just a bit from Dorothy Parker’s era. There’s no need for a description here, as it is very clear. These songs are cabaret songs ‑ though not specifically meant for a cabaret. Rather, they are, like many cabaret songs, narrative scenes, all with contrasting music. The SEVEN POEMS of Dorothy Parker were composed in the spring and summer of 1999 and were written expressly for Mette Ejsing and the Sønderjyllands Sympfoniorkester. - Braxton Blake
The composer wishes to thank the National Association for the Advancement of Colored People for authorizing this use of Dorothy Parker’s works.
“Star Light, Star Bright‑” ..... Ultimatum ..... Salome’s Dancing‑Lesson ..... Sanctuary ..... Ballade Of A Talked-Off Ear ..... Midnight ..... The Little Old Lady in Lavender Silk ..... orchestra reduction The Little Old Lady in Lavender Silk ..... piano verion
page 5 page 10 page 18 page 30 page 34 page 44 page 50 page 64
3
“Star Light, Star Bright‑”
Salome’s Dancing‑Lesson
Star, that gives a gracious dole, What am I to choose? Oh, will it be a shriven soul, Or little buckled shoes?
She that begs a little boon (Heel and toe! Heel and toe!) Little gets‑ and nothing, soon. (No, no, no! No, no, no!) She that calls for costly things Priceless finds her offerings‑ What’s impossible to kings? (Heel and toe! Heel and toe!)
Shall I wish a wedding‑ring, Bright and thin and round, Or plead you send me covering‑ A newly spaded mound? Gentle beam, shall I implore Gold, or sailing‑ships, Or beg I hate forevermore A pair of lying lips? Swing you low or high away, Burn you hot or dim; My only wish I dare not say‑ Lest you should grant me him.
Kings are shaped as other men. (Step and turn! Step and turn!) Ask what none may ask again. (Will you learn? Will you learn?) Lovers whine, and kisses pall, Jewels tarnish, kingdoms fall‑ Death’s the rarest prize of all! (Step and turn! Step and turn!) Veils are woven to be dropped. (One, two, three! One, two, three!) Aging eyes are slowest stopped. (Quietly! Quietly!) She whose body’s young and cool Has no need of dancing‑school‑ Scratch a king and find a fool! (One, two, three! One, two, three!)
Ultimatum I’m wearied of wearying love, my friend, Of worry and strain and doubt; Before we begin, let us view the end, And maybe I’ll do without. There’s never the pang that was worth the tear, And toss in the night I won’t‑ So either you do or you don’t, my dear, Either you do or you don’t! The table is ready, so lay your cards And if they should augur pain, I’ll tender you ever my kind regards And run for the fastest train. I haven’t the will to be spent and sad; My heart’s to be gay and true‑ Then either you don’t or you do, my lad, Either you don’t or you do!
Sanctuary My land is bare of chattering folk; The clouds are low along the ridges, And sweet’s the air with curly smoke From all my burning bridges.
4
Ballade Of A Talked-Off Ear
Midnight
Daily I listen to wonder and woe, Nightly I hearken to knave or to ace, Telling me stories of lava and snow, Delicate fables of ribbon and lace, Tales of the quarry, the kill, the chase, Longer than heaven and duller than hellNever you blame me, who cry my case: “Poets alone should kiss and tell!”
The stars are soft as flowers, and as near; The hills are webs of shadow, slowly spun; No separate leaf or single blade is here‑ All blend to one. No moonbeam cuts the air; a sapphire light Rolls lazily. and slips again to rest. There is no edged thing in all this night, Save in my breast.
Dumbly I hear what I never should know, Gently I counsel of pride and of grace; Into minutiae gayly they go, Telling the name and the time and the place. Cede them your silence and grant them spaceWho tenders an inch shall be raped of an ell! Sympathy’s ever the boaster’s brace; Poets alone should kiss and tell.
The Little Old Lady in Lavender Silk
Why am I tithed what I never did owe? Choked with vicarious saffron and mace? Weary my lids, and my fingers are slowGentlemen, damn you, you’ve halted my pace. Only the lads of the cursed race, Only the knights of the desolate spell, May point me the lines the blood-drops tracePoets alone should kiss and tell.
When you come to this time of abatement, To this passing from Summer to Fall, It is manners to issue a statement As to what you got out of it all.
L’ENVOI Prince or commoner, tenor or bass, Painter or plumber or never-do-well, Do me a favor and shut your face Poets alone should kiss and tell.
I was seventy‑seven, come August, I shall shortly be losing my bloom; I’ve experienced zephyr and raw gust And (symbolical) flood and simoom.
So I’ll say, though reflection unnerves me And pronouncements I dodge as I can, That I think (if my memory serves me) There was nothing more fun than a man! In my youth, when the crescent was too wan To embarrass with beams from above, By the aid of some local Don Juan I fell into the habit of love. And I learned how to kiss and be merry‑ an Education left better unsung. My neglect of the waters Pierian Was a scandal, when Grandma was young. Though the shabby unbalanced the splendid, And the bitter outmeasured the sweet, I should certainly do as I then did, Were I given the chance to repeat. For contrition is hollow and wraithful, And regret is no part of my plan, And I think (if my memory’s faithful) There was nothing more fun than a man!
5
SEVEN POEMS OF DOROTHY PARKER "STAR LIGHT, - STAR BRIGHT"
Braxton Blake
=64-72 Flowing
=64-72 Flowing
con poco rubato
sempre sost.
5
9
13
poco rit.
10
poco rit.
copyright © 1999 Braxton Blake All Rights Reserved
a tempo
a tempo
6 17
20
semplice
that
Star,
gives
a
gra
cious dole,
21
What
am
I
to
26
shri ven soul,
30
Or
choose
Oh,
poco rit.
a tempo
lit tle buck led poco rit.
shoes? a tempo
poco rit.
a tempo
poco rit.
Shall a tempo
I
will it
wish
be
a
a
7 34
wed
ing
ring
Bright
and
thin
and
round,
40
38
Or
poco rit.
plead
you
send
me
co
ver
ing
A
subito a tempo
43
new ly poco rit.
spade ed
mound? subito a tempo
50
47
Gen
sempre sost.
tle
beam,
shall
I
8
53
im
plore
Gold,
58
or
sail
ing
ships,
Or
beg I
hate
60
sempre sost.
62
ev
er
more
A
pair
of
ly
ing
lips? con poco rubato
66
sempre
for
9 70
74
poco rit.
ancora poco rit.
a tempo
ancora poco rit.
a tempo
Swing
you
low
or
high a
way,
8ba
80
79
Burn
85
poco rit.
on ly wish I poco rit.
you
hot
or
meno mosso
dare not say—
Lest you grant me meno mosso
dim;
My
a tempo rit.
him. a tempo rit.
90
10
ULTIMATUM Determined .=56
8va
Determined .=56 (sost.)
(secco)
8ba
8ba
4
I’m
wea
ried,
I’m wea
ried,
10
8
I’m wea
ried of
wea
ry
ing
love,
my friend
Of wor
ry
and
11 12
strain
and
doubt;
Be fore we be gin;
let us
poco meno stacc.
16
view
the
end,
And may be I’ll
do
with
20
19
out.
There’s ne ver the
pang
22
that was worth
the
tear,
And toss in the
night
I
12 25
cresc.
won’t—
28
So ei ther you do or you don’t
my dear,
ei
31
(do)
or you don’t!
5
8ba
So ei ther you
30
cresc. poco a poco
do or you don’t,
34
my dear
ther
you
do
13
36
The
ta
ble
is
rea
dy,
so
lay
out
rit.
38
a tempo con rubato
cards
And if
rit.
a tempo
au
a tempo
they
should
a tempo con rubato
12
40
your
gur
pain,
3
3
14 42
molto rit.
molto rubato
I’ll ten der you ev er my kind
molto rubato
molto rit.
44
a tempo (subito)
piĂš mosso
gards a tempo (subito)
46
accel.
(run)
accel.
And run
piĂš mosso
a tempo, con rubato
for the
a tempo
fast
est train.
a tempo, con rubato
a tempo
sost. 3
8ba
50 49
re
15 51
53
55
I
have n’t the
57
will
to be spent
and
sad;
My heart’s to be
16 60
cresc.
gay
and true—
Then ei ther you don’t or you do,
cresc. poco a poco
63
lad,
Then ei ther you
don’t or you do,
my lad,
66
ei ther you
don’t
or you do!
5
my
17
70 69
rit. 72
8ba
18
SALOME’S DANCING-LESSON =92-96 Energico
=92-96 Energico
4
7
6
3
9
6
6
6
10
She that
begs
a
19
13
lit
tle
boon
16
(Heel and
toe!
Heel and
Lit
toe!)
7
20
no
thing, soon.
3
tle gets—
and
20
24
(No,
no,
no!
No,
no,
no!)
8ba
30
accel. 28
=52 subito
31
8va
Cadenza - ad lib.
lento r.h.
accel. poco a poco
molto rit.
r.h.
8va
r.h.
l.h.
r.h.
l.h. l.h.
21
33
a tempo
molto rubato
She that
molto rubato
for
cost
ly
things
a tempo
8va
38
40
Price
42
calls
less
finds
her
of
fer ings—
poco rit.
accel.
What’s im pos
poco rit.
accel.
si
ble to
22
46
Tempo I
kings?
Tempo I
50 49
52
(Heel
and toe!
Heel
and
toe!)
Kings are shaped as
o
ther
23
56
men.
59
(Step and
turn!
Ask what none may ask
Step and turn!)
a
60
gain.
(Will you learn?
Lo vers whine, and kis
Will you learn?)
62
pall,
Je
wels tar
nish, king
doms
fall—
ses
24
molto meno mosso
65
Death’s the
rar
rit.
est
prize
molto meno mosso
68
70
a tempo (Tempo I)
of
all!
rit.
a tempo (Tempo I)
8va
8va
3
3
3
73
3
3
3
3
3
3
3
3
3
3
3
3
25
77
80
(Step and turn!
Step and
poco rit.
turn!)
poco rit.
81
poco rit.
poco meno mosso
Veils are wo
poco rit.
ven
to
be
dropped.
poco meno mosso
ancora rit.
86
(One,
two, three!
One,
two, three!)
ancora rit.
26
89
Subito Tempo I molto accel.
molto rit. 90
a tempo (to
=52)
Ag
Subito Tempo I molto accel.
molto rit.
ing eyes
a tempo
92
slow
est stopped.
(l.h.)
3
96
100
(Qui et
ly!
Qui
et
ly!)
accel.
8ba
3
accel.
are
27
accel.
=52 sub. 8va
101
8ba
Cadenza - ad lib. 104
8va
lento r.h.
accel. poco a poco
ad lib.
8va
r.h.
r.h.
l.h.
l.h.
105
molto rit.
r.h.
l.h.
molto rit.
= circa 60
She whose bo dy’s young and
ad lib.
8va
molto rit.
(molto)
28
109
accel. poco a poco 110
cool
Has
no
need
of
danc
ing
accel. poco a poco
112
=48 sub. molto meno mosso rit.
Scratch a
king
and
find
=48 sub. molto meno mosso rit.
Tempo I (sub.)
a
fool!
Tempo I (sub.) unis.
115
school—
29 118
120
poco accel.
3
3
3
accel.
3
rit.
3
3
3
3
3
3
3
3
Tempo I
122
3
125
3
3
rit. poco a poco
(One, two, three! rit. poco a poco
rit.
Calmo - poco meno mosso
two,
three!)
rit.
Calmo - poco meno mosso
130
One,
30
SANCTUARY =56 Freely
=56 Freely
8va
9
poco lontano
sempre
4
3
5
8va
7
9
sonoro
31 8va
10
9 3
13 5
3
17
My
20
land
is
bare
of
3
chat
ter
ing folk;
The
clouds
are
low
a
long
the
32 23
rid
ges,
And
sweet’s
molto rit.
the
air
with
cur
ly
smoke
a tempo
26
all
my
burn
ing
brid
molto rit.
ges.
8va
a tempo
9
sonoro
8va
30
9 5
3
6
5
From
33 33
3
3
3
3
3
3
3
36
3
5
sempre legato
8va
rit.
40
9
44
rit.
34
BALLADE OF A TALKED-OFF EAR =80
=48
=80 =48
sost.
somewhat wearily 5
3
Dai ly
8
3
I
3
lis ten to won der and
3
woe,
Night ly
3
ace.
3
Tel ling me sto ries of la
3
3
I
heark en to knave or to
10
va and
3
snow,
35
11
3
De li
14
3
cate fa
bles of
3
rib bon and
lace,
Tales of
accel.
=72
kill,
the chase,
Long er
than hea ven
and
dul ler
than hell -
accel.
=72
=48 17
rit. 3
=80
=48
cry
my case:
rit.
3
20
3
3
Ne ver you blame me, who
3
the quar ry
“Po ets a =80
3
lone should
kiss
and tell!�
the
36 21
=88 piĂš mosso
Dumb ly
=88 piĂš mosso
I
hear what
24
I
ne ver
should
3
3
know,
Gent ly I coun sel of pride and of
30
28
grace;
In
to
mi nu
tiae
gay ly
they
37
32
go,
Tel
ling
the
name
and the
35
time
and the place.
Cede them
your si
lence
and
grant
them space -
Who
8ba
8ba
molto rit. 38
40
ten ders
an inch shall
be
raped of
an ell!
3
3
Sym pa thy’s ev er
3
the
boas
ter’s brace;
molto rit.
3
3
3
38 42
=88
“Po ets a
=
lone should
kiss
and tell!�
=88 =
poco a poco accel. 47
8va
50
poco a poco accel.
.=66
52
8va
rit. 57
60 .= 6
6
6
39 rit.
=48
61
3
Why rit.
am
I
tithed what
=48
6
6
6
3
3
I
nev
er
did
6
6
6
63
3
owe?
Choked with vi 3
ca
ri
ous
saf fron and
6
3
3
3
3
6 6
6
66
3
mace?
Wea
ry
6
3
my
lids, and
3
my fing
ers
3
6
6
3
3
6
6
6
are
40 70
69
3
slow -
Gen tle
6
6
3
3
3
3
3
men, damn you, you’ve halt ed
6
6
my
6
=88 subito
72
pace.
On ly
the lads of
the
=88 subito 6 3
6
3
3
8ba
poco accel.
75
cur
sed race,
On
ly the knights of
poco accel.
7
8ba
the
de
so
late
spell,
May
41
molto rit. 78
3
point me thelines the
=80
80
3
3
blood drops trace -
“Po ets a
molto rit.
=80
8va
3
82
3
3
.=88 piu Ă osso
molto accel.
86
molto accel.
90
=56 meno mosso - con rubato 3 dramatico
Prince
lone should kiss and tell!�
.=66
or
com mon er, 6
=56 meno mosso
3
3
3
Ten or or bass,
6
3
42 93
Paint
er
or
plumb er 3
3
3
3
3
ne
ver-
do-
well,
Do me a =56 accel.
100
3
3
3
=56 accel.
6
6
6
99
3
6
3
3
95
or
ad lib. - molto rubato
molto rit.
fa
vor and
shut
your
molto rit.
face
“Po
ets
43
104
=56
molto rit.
a lone should
kiss
114
and
molto rit.
=56
110
=88 molto accel.
tell. =88 molto accel.
=48 molto accel.
molto accel.
=48 3
molto rit.
5 3 6
44
MIDNIGHT =38-44
poco rit.
=38-44 poco rit.
semplice ma esp.
3
3
3
3
sempre sostenuto
a tempo 5 3
3
3
3
3
10
The
3
3
3
stars
are soft as
45 13
3
flo
wers,
and as
near;
The
3
3
3
3
3
16
hills
are
webs
of
sha
dow,
slow
ly
5
ad lib.
accel.
20
spun;
No
accel. 3
Tempo I
3
3
3
sepa rate leaf
Tempo I
3 3
or
46 23
sin
gle
blade
is
here—
All
sempre sost.
27
one. 3
3 3
poco piĂš mosso
30
3
ad lib.
8va
blend
to
47 34
No
moon
beam
cuts
the
8va
rit. poco a poco 37
air;
a
sap
phire
light
Rolls
rit. poco a poco
8va
40
rit. poco a poco poco a poco dim.
(Rolls)
la
zi
ly,
and
slips
a
gain
rit. poco a poco 3
3
3
3
3
3
48 44
meno mosso
3
to
rest.
meno mosso
3
3
ad lib.
accel.
Tempo I
47
3
50
There esp.
is
no
edg
èd
thing
in
all
this
49
54
night,
Save
3
3
3
60
59
poco a poco lontano e scuro
in
my
3
rit.
morendo
lunga
breast.
poco a poco lontano e scuro
rit.
lunga
50
THE LITTLE OLD LADY IN LAVENDER SILK orchestral reduction
=58-64
3
I
was
se
ven ty
se ven, come Au
gust,
I
shall
=58-64
sost.
5
3
3
short
ly
be los ing
my
10
poco rit. 9
bloom;
I’ve ex
pe
rienced
ze phyr and
li
poco rit.
gust
And (sym
a tempo 3
3
bo
raw
cal) flood and si
moom. a tempo
When you
come to
this time of
a
poco rit.
13
poco meno mosso
ossia
bate
ment,
To this pas
sing from sum
mer to
3
fall,
It is
poco rit.
rit.
17
state ment
As to
you got out
of it
rit.
21
man ners to
is
sue a
poco meno mosso
20
=84 rit.
what
51
all.
So
I’ll
=84 rit.
=62-80 con rubato
say,
though re
flec
tion
un
nerves
me
And pro
=62-80 con rubato
3
cresc. poco a poco 3
3
52 25
nounce
ments
I
dodge
as
I
can,
That
I
cresc. poco a poco
3
30
29
think
(if
my
me
mo
ry
serves
me)
There was
cresc. poco a poco
3
33
rit.
no
rit.
molto rit.
thing
more
fun
than
a
man!
molto rit.
53
Presto =162-176
36
8va
40
41
45
49
53
50
54
Largo
circa 6"
57
In circa 6"
my
Largo
10
60
.=52-60
youth,
when the cres cent was too
wan
To em
bar
rass with
.=52-60
65
beams from a
bove,
By the
aid
of some
lo
cal
Don
55 70
Juan
I
3
72
rit.
fell
in
to
the
ha
bit
of
rit.
74
molto rit.
=52-60
love.
molto rit.
=52-60
3 3
3
56 3
5
77
3
80
3
5
rit.
83
=90-96 con rubato
molto rit.
And
rit.
molto rit.
I
=90-96 con rubato
3
3
90
87
learned
how to
kiss
and
be
mer
ry—
cresc. poco a poco
cresc. poco a poco
an
3
3 3
Ed
u
57
91
ca
tion
left
bet
ter
un
sung.
My
ne
cresc. poco a poco
3
95
glect
of
the
wa
ters Pi
e
rian
Was a
3
99
100
rit.
scan
dal,
when
molto rit.
Grand
ma
was
Presto =162-176
young. Presto =162-176
rit.
molto rit.
8va
58 103
110
107
111
115
120 119
Largo
circa 6"
123
a tempo .=52-60
Though the
a tempo .=52-60
Largo
circa 6"
10
126
.=52-60 a tempo
shab
by
un
130
ba
lanced the
splen
did,
And the
bit
ter
out
.=52-60 a tempo
131
mea sured the
sweet,
I should cer
tain ly
do
as
I
59
60
rit.
136
then
did,
Were
I
gi
ven the
rit.
3
139
140
rit.
chance
to
re
peat.
rit.
141
molto rit.
molto rit.
molto rit.
For
molto rit.
=62-80 con rubato
con
tri
tion
is
hol
low
and
wraith
ful,
=62-80 con rubato
3 3
61
145
And
re
gret
is
no
part
of
my
plan,
3
3
150
149
And I
think
(if
my
me
mo
ry’s
faith
ful)
no
thing
3
153
rit.
=72 poco a poco accel. cresc. poco a poco
There
rit.
was
no
thing
more
=72 poco a poco accel.
fun
There
was
more
62 157
accel. poco a poco cresc. poco a poco
fun
There
was
no
thing
more
accel. poco a poco
5
=52-56
Pesante
160
fun
than
a
man!
Pesante 8va
=52-56
3
8ba
163 Hummed
5
3 3
3
63
166
3
3
5
169
rit.
rit.
170
lunga
8va
64
THE LITTLE OLD LADY IN LAVENDER SILK piano version
=58-64
3
I
=58-64
was
se
ven ty
se ven, come Au
gust,
I
shall
sost.
5
short
9
3
3
ly
be los ing
my
bloom;
I’ve ex
pe
rienced
ze phyr and
3
3
li
poco rit.
And (sym
10 a tempo
poco rit.
bo
raw gust
cal) flood and si
moom. a tempo
When you
come to
this time of
a
poco rit.
13
65
poco meno mosso 3
bate
ment,
To this pas
sing from sum
mer to
rit.
17
state ment
As to
It is
what
you got out
of it
man ners to is sue a poco meno mosso
20
=84 rit.
rit.
21
fall, poco rit.
all.
So
I’ll
=84 rit.
=62-80 con rubato
say,
though re
flec
tion
un
nerves
me
And pro
=62-80 con rubato
3
cresc. poco a poco 3
3
25
nounce
ments
I
dodge
as
I
can,
cresc. poco a poco
3
That
I
66 29
30
think
(if
my
me
mo
ry
serves
me)
There was
cresc. poco a poco
3
33
rit.
molto rit.
noth
ing
more
fun
than
a
man!
rit.
molto rit.
accel.
=52-60
36 3
3
5 3
5
40
3
3
39
3
67 42 3
5
rit.
45
a tempo .=52–60
molto rit.
In my
rit.
a tempo .=52–60
molto rit. 3
3
49
.=52-60
youth,
50
when the cres cent was
too
wan
To em
bar
rass
with
.=52-60
54
beams from
a
bove,
By the
aid
of some
lo
cal
Don
68 59
60 Juan
I
3
61
rit.
fell rit.
63
in
to
the
ha
molto rit.
bit
a tempo
love. molto rit.
For
con
learned
a tempo
of
=62-80 con rubato
how to
kiss
and
be
=62-80 con rubato
cresc. poco a poco 3
67
70
mer
ry—
cresc. poco a poco
an
Ed
u
ca
tion
left
bet
ter
un
3
3
3
69
71
sung.
My ne
glect
of
the
wa
ters Pi
cresc. poco a poco
3
rit.
75
e
rian
Was a
scan
dal,
when
Grand
ma
was
rit.
79
molto rit.
80
accel.
=52-60
accel.
=52-60
young. molto rit.
3
5 3
5
82 3 3
3
70 85
3
3
5
88
90
molto rit.
91
a tempo .=52-60
Largo
Though
molto rit.
.=52-60 a tempo
the
shab
a tempo .=52-60
Largo
3
rit.
by
un
.=52-60 a tempo
3 10
94
ba
lanced
the
splen
did,
And
the
bit
ter
out
71
98
100
mea sured the
sweet,
I should cer
tain ly
do
as
I
rit.
103
then
did,
Were
I
gi rit.
and
wraith
ven the
3
106
rit.
molto rit.
chance rit.
108
to
molto rit.
For
molto rit.
re
peat. molto rit.
=62-80 con rubato
con
tri
tion
is
110
hol
low
ful,
=62-80 con rubato
3 3
72 112
And
re
gret
is
no
part
of
my
plan,
3
3
116
And I
think
(if
my
me
mo
ry’s
faith
ful)
3
120
rit.
=72 poco a poco accel. cresc. poco a poco
There
was
rit.
124
noth
ing
more
fun
There
was
noth
ing
more
=72 poco a poco accel.
accel. poco a poco cresc. poco a poco fun There was accel. poco a poco
noth
ing
more
5
73
=52-56
Pesante
127
fun Pesante
than
a
man! 8va
=52-56
3
8ba
130
hummed
5
3
3 3
133
3
5
136
3
rit.
rit.
lunga
8va
74
B R A X T O N
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based on Talk About a Child That Do Love Jesus
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Three Songs
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Six Songs
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Rückert‑Lieder von Gustav Mahler
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Orchestrations for Mezzo‑soprano and Chamber Orchestra Flute/Piccolo/Alto Flute • Oboe/English Horn • Clarinet in Bb • Clarinet in Bb/Bass Clarinet • Bassoon • Horn • Percussion • Harp • Celesta • Strings (1 • 1 • 1 • 1 • 1) 25’
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Weihnachtslieder von Peter Cornelius
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Arrangements for Soprano and Chamber Ensemble
Chorus (S.A.T.B.) • Piano 14’
I’m Troubled
(2009)
Baritone • Piano 8’
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Four Pieces
(2010)
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based on Deep River and Great Day
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Mezzo-soprano • Piano 13’
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Orchestrations for Middle Voice and Chamber Orchestra
Liszt Lieder
Flute • Oboe • Clarinet in Bb • Bassoon • Trumpet in C • Horn • Piano • 2 Violins • Viola • Cello • Bass 6’
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(2000) Chorus (S.A.T.B.) 4’
The Burning Babe (1997) poem by Robert Southwell Chorus (S.A.T.B.) 5’
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(1982)
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BRAXTON
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