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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

MUSIC FOR SOLO VOICE

CHORAL MUSIC Here’s One

B L A K E Cantate Domino

(2013)

based on Talk About a Child That Do Love Jesus

Voice • Piano 4’

Chorus (S.A.T.B.) • viola • organ 6’

Some Day

Four Poems of Christian Morgenstern Low voice • Chamber Orchestra 18’

(2013)

based on Heaven’s Beams by Charles Tindley

Three Songs

Chorus (S.A.T.B.) 5’

Motet

Six Songs

Chorus (S.A.T.B.) 5’

(1999)

poems by Dorothy Parker Low voice • Piano 20’

(2013)

based on Hush, Hush, Somebody’s Calling My Name and Swing Low

Autumn

Chorus (S.A.T.B.) 4’

(1998)

poem by John Clare

The Cherry Tree Carol (2011)

Mezzo-soprano • Clarinet in B-flat • Percussion • Piano 23’

Chorus (S.A.T.B.) 4’

Six Morgenstern Songs

Psalm 113

(1998)

poems by Christian Morgenstern

(2011) Chorus (S.A.T.B.) • harp 3’

Soprano • Mezzo-soprano • Baritone • Clarinet in Bb • Basset Horn • Bass Clarinet • Piano • Viola 14’

If Thou But Suffer God to Guide (2010)

Three Poems of Marianne Moore

Chorus (S.A.T.B.) • violin • organ 4’

Mezzo-soprano • Flute 9’

The Coventry Carol (2010) Chorus (S.A.T.B.) • violin • organ 5’ The Lord My Shepherd Is

(1995)

Rückert‑Lieder von Gustav Mahler

(1990)

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’

(2004)

based upon an American spiritual Soprano solo • Chorus (S.A.T.B.) 4’

Shepherds, Shake Off Your Drowsy Sleep (2001) based upon a medieval Besançon carol melody

Three Songs for Mezzo‑soprano and Piano

(1985)

poems by Theodore Roethke, Marianne Moore, and W. S. Merwin

Chorus (S.A.T.B.) 3’

Mezzo-soprano • Piano 11’

(2001)

Weihnachtslieder von Peter Cornelius

poems by William Carlos Williams

(1984)

Arrangements for Soprano and Chamber Ensemble

Chorus (S.A.T.B.) • Piano 14’

I’m Troubled

(2009)

Baritone • Piano 8’

(2013)

Four Pieces

(2010)

poems by William Carlos Williams

based on Deep River and Great Day

Motet

(2011)

Flute • Clarinet in Bb • Guitar • Violin • Viola • Cello 15’

(2002)

Three Poems of Amy Lowell

based upon an African–American spiritual

(1982)

Chorus (S.A.A.) • Piano 4’

Mezzo-soprano • Piano 13’

Lux Aeterna (2001) Chorus (S.A.T.B.) • Cello • Piano 7’

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’

I Will Sing

(2000) Chorus (S.A.T.B.) 4’

The Burning Babe (1997) poem by Robert Southwell Chorus (S.A.T.B.) 5’

Light and Remembrance

(1982)

(1995/96)

Based upon 17th and 18th century spirituals Chorus (S.A.T.B.) • Harp • Piano • Percussion • Glass Crystals • Handbells • String Quartet 25’

BRAXTON

BLAKE MUSIC braxtonblake.com 1508 Longshore Drive Ann Arbor, MI 48105-1632 Tel/Fax (734) 332-9277

Seven Poems of Dorothy Parker  

Seven Poems of Dorothy Parker, by Braxton Blake Piano reduction

Seven Poems of Dorothy Parker  

Seven Poems of Dorothy Parker, by Braxton Blake Piano reduction

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