Michael's Songbook

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The Michael PaumanokSongbookShapiroPressMusicPublishersChappaqua,NewYork

Contents CANCIÓNES 1. Farewell .............................................................................................................. 1 2. The Spinster at Mass .......................................................................................... 3 3. It Is True ............................................................................................................ 5 4. Silly Song ........................................................................................................... 8 5. Rider’s Song ..................................................................................................... 10 DUBLIN SONGS 1. Song from A Portrait of the Artist as a Young Man ........................................... 14 2. Strings in the Earth and Air .............................................................................. 17 3. O Cool is the Valley Now ................................................................................. 20 4. All day I hear the noise of waters ...................................................................... 22 5. Because your voice was at my side .................................................................... 26 6. A Lover’s Tale ................................................................................................... 29 7. In the dark pine-wood ...................................................................................... 32 8. Lightly come or lightly go ................................................................................ 37 9. Love came to us in time gone by ...................................................................... 41 10. O, it was out by Donnycarney ........................................................................ 43 11. Rain has fallen all the day ............................................................................... 44 12. Sleep now, O sleep now .................................................................................. 47 WORDSWORTH SONGS 1. My Heart Leaps Up When I Behold ................................................................. 51 2. Andrew Jones ................................................................................................... 54 3. The Cottager to Her Infant .............................................................................. 62 4. Composed Upon Westminster Bridge, Sept. 3, 1802 ........................................ 65

EROTIC SONGS 1. The Man Under the Bed .......................................................................................70 2. Bedtime ................................................................................................................78 3. The Mutes .............................................................................................................81 SONGS FOR AMERICAN POETS 1. Grass .....................................................................................................................91 2. Noon Song ............................................................................................................95 3. From Song of Myself .............................................................................................99 WHITMAN SONGS 1. As Adam Early in the Morning ............................................................................107 2. A Farm Picture ....................................................................................................109 3. Look Down, Fair Moon ......................................................................................111

                                                          Slowly ( = 63–66) simply If I   die,   leave the   bal co ny o pen                   Voice Piano                                                              The   lit tle boy is   eat ing o ran ges               V Pno             5                                                                             poco accel. (From my atempo bal co ny I can   see him.)   The               V Pno ten         8 Canciones Copyright © 2020 by Michael Shapiro (ASCAP) All Rights Reserved FEDERICO GARCÍA LORCA Translation byW S Merwin MICHAEL SHAPIRO (1986) 1. Farewell

                                               Moderately slow and sardonic ( = 76) Be ad lib.   neath the   Mo ses                     Voice Piano                                                                               of the   in cense,   poco rit. drows ing.   atempo                               V Pno 4                                                                                                           un poco cresc riten. = 66 Bull slightly detached eyes ob serve you your   ro sa ry rain ing.                       V Pno    9 FEDERICO GARCÍA LORCA Translation by Edwin Honig MICHAEL SHAPIRO 2.The Spinster at Mass

                                                          Very slowlywith great intensity ( = 58 60) Oh,   what an   ef fort it                     Voice Piano *                                                is to love you as I             V. Pno 4                                   do! For   love of   you the                     V Pno      7 * using tense ngertips, strike the lowest ve or six strings with pedal sustained FEDERICO GARCÍA LORCA Translation by Harriet de Onfs MICHAEL SHAPIRO 3. It IsTrue

                                                            Moderately,with motion ( = 78) Ma   plaintively ma, I wish   I were sil   ver                         Voice Piano dolce                                                       Son,   you’d   be ve ry               V. Pno      5                                                       cold.   Ma   ma, I wish   I were                   V Pno   10 FEDERICO GARCÍA LORCA Translation by Harriet de Onfs MICHAEL SHAPIRO 4. Silly Song

                                       Grave and majestic ( = 56) Cór   do ba Far a way   and a                     Voice Piano ten                                                                              lone.   Black misterioso po   ny, big   misterioso             V Pno              4                                                                                                   moon, and o   lives in my sad   dle bag.               V Pno              7 FEDERICO GARCÍA LORCA Translation by Stephen Spender and J L Gili MICHAEL SHAPIRO 5. Rider’s Song

                                    Andante ma nontroppo ( = 69)                     Piano sim                                                               semplice Ding dong!   The cas tle bell!                     V Pno      5                                                        riten. atempo   cresc un poco Fare     well, my                         V. Pno non accel.       8 Dublin Songs Copyright © 1983 by Michael Shapiro (ASCAP) All Rights Reserved JAMES JOYCE MICHAEL SHAPIRO (1983) 1. Song from A Portrait of the Artist as aYoung Man

                                       Moderato ( = c.108) Strings in the earth and air Make maestoso       Voice Piano                                                           L H mu sic sweet; Strings by the poco accel. riv er where the wil poco riten. lows meet V Pno   5                                                                            Meno mosso ( = c.76) cantabilePno       9 JAMES JOYCE MICHAEL SHAPIRO 2. Strings in the earth and air

                                                  Slowly butwith motion semplice O cool is the val ley now and there, love, will we       Voice Piano                                                                         go For   man y a choir is sing ing now           V Pno          4                                                                        Where Love did some time   go. And non rit. hear you not the           V Pno    7 JAMES JOYCE MICHAEL SHAPIRO 3. O Cool is theValley Now

                                                                                With motion ( = 84) All   day I hear the dolce           Voice Piano                                                      cresc poco cresc. poco noise of wa   poco rall. ters mak   poco rall. ing               V. Pno  4                                                moan, Sad   atempo as the sea bird is                 V Pno 7 JAMES JOYCE MICHAEL SHAPIRO 4.All day I hear the noise of waters

                                                                                                     With energy ( = 126)   Be angrily cause   your   agitated                   Voice Piano                                                                                                           cresc poco voice was at   my side   più I                     V. Pno                       4                                                                           gave him pain   più Be cause   with in                     V Pno    7 JAMES JOYCE MICHAEL SHAPIRO 5. Because your voice was at my side

                                                   Moderately fast   O Sweet heart,   hear you your                     Voice Piano                                                                                                   dim molto   lov er’s tale; A   man shall have   sor rows when friends him                     V Pno       4                                                  fail   A bit slower For he shall   know then                     V Pno           7 JAMES JOYCE MICHAEL SHAPIRO 6.A Lover’sTale

                                         Moderatelywith motion cantabile     Piano                                                 piùPno    3                                             In the dark pine wood I would we V Pno 5 JAMES JOYCE MICHAEL SHAPIRO 7. In the dark pine-wood

                                                Quickly   Light ly come or light ly go:   semplice       Voice Piano                                                     Though thy heart pres age thee   woe, Vales and man y a   wast ed sun, O  V. Pno [4]                                                                        read let thy laugh ter   run, Till the ir rev er ent moun tain   air Rip ple  V Pno 7 JAMES JOYCE MICHAEL SHAPIRO 8. Lightly come or lightly go

                                                                     Moderately ( = 76) Love came to us in       Voice Piano                                                                               cresc. poco a poco  time gone by When poco one at twi light shy ly played And one in V Pno    4                                                                                                                      fear was stand ing nigh For Love at first is all a fraid. V Pno    7 JAMES JOYCE MICHAEL SHAPIRO 9. Love came to us in time gone by

                                        Andante ( = 76) semplice Rain has fal len all the day O semplice e tranquillo       Voice Piano                                          come a mong the lad en trees: The leaves lie thick up on the V. Pno    4                                         way Of memo ries. Stay ing a lit tle by the V Pno    7 JAMES JOYCE MICHAEL SHAPIRO 11. Rain has fallen all the day

                                             Moderately slow                         Voice Piano                                                                          Sleep now, O   sleep           V. Pno                 5                                                 now,   O you   un qui et   heart!   A                       V Pno    9 JAMES JOYCE MICHAEL SHAPIRO 12. Sleep now, O sleep now

                                                                         poco a poco cre scen do Andante My heart leaps up sempre legato       Voice Piano                                                                     cre scen do poco a poco  poco dim when I be hold A rain bow in the sky: V Pno 4                                                                         dim un poco cresc poco So was it when my life be gan; V. Pno       7 Wordsworth Songs Copyright © 1987 by Michael Shapiro (ASCAP) All Rights Reserved WILLIAMWORDSWORTH MICHAEL SHAPIRO (1987) 1. My Heart Leaps UpWhen I Behold

                                                                       Allegro molto e agitato quasi parlando I hate that   An drew Jones;   he’ll breed   his chil dren up                         Voice Piano                                                                                     to waste and   pil lage,   I wish the   pess gang or the drum                         V. Pno 5                                                                                                             Would, with its rat tling   mu sic, come,                 V. Pno  9 WILLIAMWORDSWORTH MICHAEL SHAPIRO 2.Andrew Jones

                                       Andantino semplice The days are cold, the   nights are long, The   north wind sings a   semplice                   Voice Piano                                                                                dole ful song;   Then hush a gain u pon my breast; All mer ry things are                 V. Pno  4                                         new at rest,   Save thee, my pret ty   Love!                     V Pno    8 WILLIAMWORDSWORTH MICHAEL SHAPIRO 3.The Cottager to Her Infant

                                                                   Maestoso     Piano                                                                                          Earth has not a ny thing to show more V. Pno  3                                                                    cresc. poco a poco  cresc. poco a poco fair; Dull would he be of soul who could pass by V Pno    5 WILLIAMWORDSWORTH MICHAEL SHAPIRO 4. Composed UponWestminster Bridge, Sept. 3, 1802

                                                       Moderatelywith motion = 76 cantando e liberamente The man un der the bed. The man who has been there for years wait ing.       Voice Piano                                                       The man who waits for my float ing bare foot The man who is V Pno     5                                                       si lent sub. as dust balls rid ing the dark ness The man whose V Pno  8 Copyright © 1987 by Michael Shapiro All Rights Reserved Erotic Songs ERICA MANN JONG MICHAEL SHAPIRO 1.The Man Under the Bed

                                                 Delicately ( = c.76–80) calmo ed ad libitum       Voice Piano                                      calmo ed ad libitum We are a mead ow where the bees hum, V. Pno     5                                   un poco espressivo mind and bo dy are al most one un poco espressivo V. Pno 8 DENISE LEVERTOV MICAHEL SHAPIRO 2. Bedtime

                                                                                                                               port. g liss. g liss.  g liss.         Allegro agitato ma nontroppo   poco riten. Those                 Voice Piano con pedale                                                                                                          port     passionato groans men use pass ing a wo man on the             V Pno 3                                                                                     gliss.         street or on the   steps of atempo the                 V. Pno ad libitum    5 DENISE LEVERTOV MICHAEL SHAPIRO 3.The Mutes

                                                              Allegro moderato     with rage Pile the                     Voice Piano                                                                       bo dies high at   Aus ter litz and   Wa ter loo,               V Pno      4                                                                                                     Sho vel them un der and   let me work   I am the               V Pno                  7 Copyright © 1973 by Michael Shapiro (ASCAP) All Rights Reserved CARL SANDBURG Songs for American Poets MICHAEL SHAPIRO (1973) to Harris Poor 1. Grass

                                           Moderately,butwith motion                   Voice Piano (stop string)                                         Where   ho ly   you be   hold,                         V. Pno sotto voce        4                                                in the   place where the   sun riten.   ris es                         V Pno      8 TETON SIOUX MICHAEL SHAPIRO (1973) 2. Noon Song

                                                             Moderately,butwith motion semplice Twen ty eight young men   bathe by the shore; Twen ty eight young men, and   rmly               Voice Piano                                                                                                                    all so friend ly: Twen ty eight years of   wo man ly life, and                 V. Pno       4                                                                                         all so lone some.   un poco più mosso   poco riten.               V. Pno              7 WALTWHITMAN MICHAEL SHAPIRO (1973) 3. From Song of Myself

                                                  Andante ( = 80) As A dam, as A dam, ear maestoso e legatissimo       Baritone Piano                                           ly in the morn ing, espressivo Bar. Pno       5                                          Walk ing forth from the bow er, re freshed with sleep; Bar Pno    8 Copyright © 2019 by Michael Shapiro All Rights Reserved WALTWHITMAN MICHAEL SHAPIRO Whitman Songs 1.As Adam Early in the Morning

                   Lento   Through calmo the am ple o pen           Baritone Piano strike with pedal down; sustain chiaro                                  door of the peace ful coun try barn,   A           Bar. Pno  3                              sun lit pas ture field with   cat tle and hor ses                 Bar Pno    6 WALTWHITMAN MICHAEL SHAPIRO 2.A Farm Picture

                                                          Lentotriste Look down, fair moon,             Baritone Piano tranquillo                                                             and bathe   this scene;           Bar Pno  4                                                                 Pour soft ly down night’s           Bar. Pno delicato 7 WALTWHITMAN MICHAEL SHAPIRO 3. Look Down, Fair Moon

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