Four Songs of Shakespeare in Madrigal Style for soprano duet

ric h ard russell

R ICHARD R USSELL

Four

Shakespeare Songs in madrigal style Unaccompanied Soprano duet DESIGN FOR LIGHTNING MUSIC WWW . RDRUSSELL . COM RICHARD . RUSSELL @ MAC . COM

FOUR SHAKESPEARE SONGS IN MADRIGAL STYLE

by Richard D. Russell PERFORMANCE NOTE The order of these songs may be changed to suit the performers’s sense of Shakespeare!

I.

II.

TAKE, O take those lips away, That so sweetly were forsworn; And those eyes, the break of day, Lights that do mislead the morn!

But my kisses bring again, !

Bring again; Seals of love, but seal'd in vain, !

Seal'd in vain!

TIRED with all these, for restful death I cry, As, to behold desert a beggar born, And needy nothing trimm'd in jollity, And purest faith unhappily forsworn, And guilded honour shamefully misplaced, And maiden virtue rudely strumpeted, And right perfection wrongfully disgraced, And strength by limping sway disabled, And art made tongue-tied by authority, And folly doctor-like controlling skill, And simple truth miscall'd simplicity, And captive good attending captain ill: !

Tired with all these, from these would I be gone, !

Save that, to die, I leave my love alone.

III.

IF MUSIC be the food of love, play on, Give me excess of it; that surfeiting, The appetite may sicken, and so die.

IV.

TELL me where is Fancy bred, Or in the heart or in the head?

How begot, how nourishèd? !

Reply, reply.

It is engender'd in the eyes, With gazing fed; and Fancy dies In the cradle where it lies. !

Let us all ring Fancy's knell: !

I'll begin it, —Ding, dong, bell. !

Ding, dong, bell.

FOUR SHAKESPEARE SONGS William Shakespeare

Richard D. Russell

1. Take, O Take Those Lips Away

mf ! !p $ & $ % $ % $ $ $ $ '$ # Soprano " ! $ # %$

$ %$ $ (

! & Soprano " ! $ # %$ $ $ "

& $ %$ %$

Andante (q = 100)

Take,

O take those

p

Take,

lips

$ $ %$ $ $ $#

lips

the break of day,

lights that do mis- lead the morn.

mf

S.

p

$ $ $ $ $# $ $ * %$ $ $ %$ $ $ %) " " ( eyes, those eyes, the break of day,

! %) S. " 10

S.

""

)

But my kis - ses bring a - gain!

ff

* %$ $ %$ $

But my kis - ses

)

* $ $ And those

ff

* $ $ %$ $ $ $ But my

+

kis - ses bring a -

#

lights that do mis- lead the morn.

* $ $ $ %$ %$ $

gain!

p

Allegro (q = 140)

mf

eyes,

And those

a - way, that so sweet - ly were for - sworn.

p # $ $ $ %$ * $ %$ $ '$ $ $ ) (

! )# S. " 5

* $ $ p

a - way, that so sweet - ly were for - sworn.

mf

O take those

)

$ %$ ) bring a - gain!

mf * '$ ,$ $ $ ,$ $ $ $ $ A - gain,

mf

$ $ $ $ ,$

$

My kiss - es bring a - gain

Copyright Š 2009 Design for Lightning Music (ASCAP)

a - gain,

$

a-

$ ,$ a -

! $,$ $'$ $ $ $ $,$ $ '$ $ $ ff$ $ $ ,$ ,$ $ $ '$ $ $$ $ S. " %$ $ $ 2

14

gain,

S.

a - gain,

" " ,$ $ $ $ gain,

! ) S. " 18

"" )

$ $ $

* $ $ $# mp

But my kiss

ff

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-

%$ $ '$ (

* ,$ $ $ #

+

bring a - gain,

! ,) " 22

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gain

)

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a - gain, bring

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es bring a -

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a - gain, bring a- gain,

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-

$ $ ,$ (

* '$ $ $ # ,$&

& $ $ %$ $ )

f

Bring

p

es bring a - gain,

mp

gain.

S.

a - gain, bring a - gain, bring a- gain, bring a - gain bring a- gain bring a-

a - gain, a - gain, bring a - gain, bring a- gain, bring a - gain bring a- gain bring a-

gain.

S.

a - gain,

bring a - gain,

rit.

)

a- gain, bring

,$

)

Bring

a - gain, bring

! ! & $ %$ %$ $ ) S. " ! $ # %$ 28

a - gain bring

Tempo I mp

Seals

of love but sealed in vain,

! & S. " ! $ # %$ $ $ " mp

Seals

$ $ %)

of love but sealed in vain,

$ $ ,)

mf

sealed in vain,

mf

%$ '$ ) sealed in vain,

a - gain

rit.

bring

)

')

sealed

in

a - gain.

p

.

vain!

p

$ $ $ %$ ' . sealed

in

*

a - gain.

f & ,$ & &$ * # $ S. " ,$ $ $ $ ' $ $ ! " $# $ $# $ $ $ %$ %) gain bring a gain.

a-

vain!

*

3

2. Tired with All These

! ,, - $ $ $ $ $ $ $ $ $ $ !! ) S. " !

/ $& $ $ $ # $ $ $ (

,S. " , ! "

/ $& $%$ $ # $& $ $

33

p

Lento (q = 72)

Ti - red with all these for

#

rest- ful death I

# mf

38

beg - gar born, and need - y

beg - gar born, and need - y

! ,) S. " ,

mp

As, to be - hold de- sert a

f

noth - ing trimm'd in

, , " %$ $ $ $ $ $ %$ # "

As, to be - hold de- sert a

$ $ %$ $ )

$ (

mp

-$ $ $ !

jol - li - ty,

and pur - est

& $ '$ %$ %$ '$ '$ %$ !- '$ %$ '$

mf

S.

cry,

!+ !

#

! ,, $ $ $ $ '$ %$ $ # S. "

mp

noth - ing trimm'd in

f

mp

jol - li - ty

and pur - est

$ $ $ $ $ !! )

mf & / $ $ $ $# $ $ $ $ $ (

p

, $ $ '$ $ !! ) S. " , %$ $ $ "

/ $& %$ $ $ # $& $ % $ $ %$

p

42

faith

faith

un - hap- pi - ly for - sworn,

and gild - ed hon - or shame - ful - ly mis- placed.

mf

un - hap- pi - ly for - sworn,

A Pi첫 mosso (q = 90) mf ! ,, # * %$ %$ %$ ') S. " !

47

And maid- en vir -

mf , S. " , ! " '$ %$ %$ ') And maid-en

vir

$ -

tue

!

)

!

)

and gild - ed hon - or shame - ful - ly mis- placed.

%$ %) tue,

vir

%$ -

#

tue;

* %$ %$

right per -

f

%$ $ '$ %$ '$ $ * %$ %$ $ ) rude - ly strump - et - ed

f

$

And right per - fec - tion

! ,, '$ S. " 4

53

B Allegro (q = 100) * 01 #

%$ %$ 'ff)

$ $ $ $ '$( ( (

$ $$ (

, %$ '$%$ $ %) '$ 0 $ %$ '$ $ '$ $& $& $ $ $& $& $ $ S. " , 1 " ( ( (

$ $ $&

fec - tion dis graced.

ff

mf

#

and art made tongue tied by au-

f

mf

wrong- ful- ly dis graced. And strength by limp- ing sway dis - ab- led and art made tongue tied by au-

$ ! ,, $ $ & / mp $ $/ $ $/ $ $ ( S. " 59

tho - ri - ty.

And fol - ly,

, &* S. " , % $ $ " $ '$

fol - ly,

f

$ $* '$ $ $ $ %$ '$ $& / $& !! ) %)

*

fol - ly,

fol - ly fol - ly, doc- tor like, con - trol - ling

C Tempo II (q = 90)mf ! ,# * $ $ $ ) S. " , !

64

and simp- le truth,

And simp - le

! ,, $ " 70

S.

ding

fol - ly, doc- tor like, con - trol - ling

mp

tho - ri - ty.

mf , S. " , ! " $ $ $

$ $ $ f$ / $ ! ) ) $ ( ( !

)

$

truth

mis

-

$

)

truth,

D Tempo I (q = 72) $ $ ff) * mp $ $ $ $ $ $ $ cap - tive ill:

ff

,$ $ $ $ ) * S. " , " tend - ing cap - tive ill:

#

) + !-

skill.

at - ten -

$ $ $

)

and cap - tive good

$ at -

$ $$ ) * $ $ $

Ti - red with all these, from these would I be gone

#

mf

* $ $

# f

sim - pli - ci - ty,

skill.

f

truth.

$$$ *

$ $ $ call'd

$

) + !-

mf

#

#

Save that, to

mp

$ $ $

Save that, to

! ,, mf $# $( $ $ $ %$ ) # S. " 77

die,

S.

"

, ",

p

Save that, to

pp

& $ %$ '$ $ ) # # $ $

die,

I leave my love a - lone.

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mf

die,

$ $ $ )#

mp

$ $ $ $# $( $

I leave my love a - lone.

5

p

I leave my love a - lone.

mp

Save that, to

pp

die,

I leave my love a - lone.

3. If Music Be the Food of Love ! ! mp Soprano " ! $ $ $ $ $ $ %$ $ $ ) # Andante (q = 80)

If

mu - sic be the food of love play on;

!

Soprano " ! " $ ) %) mp

If

! ) " 6

S.

f

it

be food;

give me ex- cess of

" " ,$ )

ing that

)

,)

sur - feit

S.

if

mu - sic be the food of love play on;

* ,$ ,$ $ $ $ ,$ $ ,$ %$ $ # '$ $ $ ) (

-

ing

it; give me ex - cess of

2

it, that sur - fei -

that

$ $ $ %$ $ ting,

that sur - feit-

ff f $ , $ % $ ' $ $ '$ * %$ * $ %$ * $ ,$ $ $ * the

ap- pe- tite,

$ $ $ $ %$ %$ -

$

f

f

sur

play

it, that sur - feit - ing,

$ ,$ $ $ $# '$& %$ $ $ ) give me ex - cess of

%)

,) #

,)

mp mf

on; give me ex - cess of it;

12

give me ex- cess of

2

$ $ ,$ ,) "" $ $ $

!

S. " ,)

play on,

mp mf

f

S.

,$ $ $ $ ,$

$ $ $ $ $ $ $ $ %$ )

$ )

mu - sic

$ )#

feit - ing, the

ap

-

the

$ %$

pe

ap- pe- tite,

$ ) -

tite,

the

ap- pe- tite,

the

ff

)

the

$ %$ )

ap

-

pe

-

mf ! $ '$ %$ * $ $ %$ $ %$ %) S. " 6

17

ap- pe- tite,

"" ) f

S.

may sick - en and so

mf

* $ %$ )

tite

S.

and

2

! " %$ $ $ $

p

* $

)

sick - en and so

die.

If

2

"" $ %$ % $ %$ % ) p

S.

sick - en and so

die,

*

*

die.

If

sick - en

and so

may

sick

-

mp

)

* %$

die,

may

en

and

mp

*

$ %)

$ %$ %$

%$

die,

%$

die,

may

rit.

$ $ $ $ %$ $ $ $

mu - sic

'$

$ %$ $ $ $ $

may

$ %)

may sick - en

22

* $

)

mu

-

be the

food of love play

)

)

sic

be

%$ $

food, play

)#

on.

)#

on.

4. Tell Me Where is Fancy Bred ! 3f $ Soprano " 3 $ $ $ $ $ $ Allegro (h = 60)

Tell me where is

3 Soprano " 3 * "

+

4

*

the head?

$ "" ( $ heart, or

*

. bred.

f

$ $ $ $ $ $ $

Tell me where is

! $ $ S. " $ S.

fan - cy

mf

$ $ $ $ $ $ $

fan - cy

f

Or in the heart,

or in

) bred.

$ $

/ $& $ $

Or in the

f

$ %$ $ %$ $ $( $

How be - got, how nour - ished? How be - got, how nour - ished?

mf

& $ $ $ $ in

/ $( $ $ $ ff

the head?

*

$ $ $

How be - got

$ %$ %$ $ $ $( $ #

f

How be - got, how nour - ished?

4%$5

mf

Re

! %$ / / # $$ / / # %$ 6 %) S. " !

7

ply,

re - ply,

re -

$ # $ $# $ 33 %) % $ # %$

ply,

re - ply, re - ply, re - ply,

mf $ $ / / # %$ $ / 6 / #'$ $# $ $# # S. " / ! %$ ) " Re - ply,

re - ply,

f

re - ply, re - ply, re - ply,

p

re - ply, re - ply, re- ply, re

f

E Allegretto (h = 50) * $ %$ %$ $ $ %$ $ mf

ply, re - ply, re - ply, re - ply, re - ply, re - ply, re - ply, re - ply.

p

S.

- $ " ! " %$ # $

ply, re - ply,

!

S. " ) 14

eyes,

S.

"" )

eyes,

3 $# $ 3 $ #%$ $ # $ $ # $ $ # $ ) f

re - ply, re - ply, re - ply, re - ply, re - ply.

/ %$& $ $ ,$ # $( $ $

with ga- zing fed; and fan - cy

Is it

en - gend-'red in the

mf

* %$ $ %$ $ $ %$ %$ Is it

en - gend - red in the

,$ # $ , $ $,$ ,$ # $ ,$ ,$ ) ( ( dies, and fan - cy

dies, and fan - cy

dies,

& / $& $ $ $# ,$ $ $ $ $# $( ,$ $,$ ,$ # ,$( $ ,$ ,) with ga- zing fed; and fan - cy

! $ $ ,$ ,$ ,) S. " 19

cra - dle where it

S.

re- ply, re

3 /# $ $# $ $# 3 %$ $# $ !

! - $ $#%$ $# $ 33 $ # $ $# $ $ # $ $# '$ %) S. " ! %$ # 10

$ # $ $# $ !

7

f

lies,

,) " " ,$ $ $ ,$ cra - dle where it

lies,

dies, and fan - cy

dies, and fan - cy

p

* ,$ $ ,$ $ ,$ $ %) '$ $ %) in the cra - dle where it

lies, where it

lies,

)

dies,

mp

* $$ in the

mp

* '$ $ in the

%$ $ %$ $ where it

p

* '$ $ ,$ $ $ $ $ ) %$ $ $ %) %$ $ $ $ in the cra - dle where it

lies, where it

lies,

where it

!

S. " 8

25

f

2 )

F

Tempo I

+

+

# $ $ $ $ $$$ )

*

lies.

f

2 S. " %) "

lies.

$ $-$ $ $$3 !

3

Let us all ring fan - cy's knell.

* '$ $ $ $ $ $ $

Let us all ring fan - cy's

Let us

$ $ $ $ $ $ !- $ $ $ $ 33

. knell.

Let us all ring, let us

! 3 %$ %$ ff$ $ $ $ - * f $ '$ * mf S. " 3 $ $ $ $ 33 ! $$ 30

all ring, let us all ring.

all ring, let us

Let us all ring,

all ring, let us

#

#

let us all ring.

3 3 $ ,) S. " 3 %$ '$ %$ $%$ " $ ! * %$ $ $ $ * $ $ $ $ 3 * $ $ $ ff

all ring, let us all ring.

! + S. " 35

S.

"" )

bell,

!

S. " 40

S.

"

mf

mf

f

Let us all ring,

let us all ring.

I'll be- gin it: Ding, dong,

mf

)

%$ %)

'$ %$ )

Ding,

dong, bell,

ding, dong, bell,

mf

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ding,

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dong,

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ding,

bell.

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ff

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bell. I'll be- gin

molto rit.

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it:

DESIGN for Lightning Music (ASCAP) Phone: 646-484-8187 mail:!

3725 Henry Hudson Pkwy #11C

" Riverdale, NY 10463

r ic h ard r u ssel l

R ICHARD R USSELL

web:!

RDRussell.com

!

RDRussellConcerts.blogspot.com

Works performed at (selected list) • Symphony Space Thalia, New York • Merkin Hall, New York • Bar-Ilan University, Israel • Naval House, Varna, Bulgaria • Ethical Culture Society, New York • CAMI Hall, New York • Saint Peter’s Church @ Citigroup Center, New York • Mannes College of Music, New York • Church of St. Paul & St. Andrew, Brooklyn • The Lucy Moses School, New York

Richard D. Russell, composer (b. 1968, Illinois)

• The LGBT Community Center, New York Works commissioned by (selected list)

An ASCAP Plus winner, Richard Russell’s music has been performed internationally and at prominent venues in New York. Highlights include a September 11, 2002, memorial performance of Remembrances at Merkin Concert Hall, and a performance of Design for Lightning by trombonist Haim Avitsur in Israel. As well, his music has been performed in Bulgaria and, in New York, Symphony Space, New York University, the Ethical Culture Society, and Mannes College of Music.

•Alaria Chamber Ensemble

Richard Russell has been awarded commissions by several professional, amateur, and student musicians. His work is published by Design for Lightning Music (ASCAP). He publishes Creativity and Composition, a blog for composers,.

•Tonal Center Trio

He began writing songs at an early age, beginning formal piano and composition study at 13. He earned his BA in Music Composition from Blackburn College (Illinois), graduating magna cum laude. He has also studied musical theater at New School University and participated in the BMI Musical Theater Workshop. He is currently pursuing his Masters at SUNY Empire State.

Richard Russell has been active in the New York Composers Circle for several years, having served on its Steering Committee and acted as Managing Director.

Currently, he is the NYCC webmaster and In The Loop newsletter editor.

•Prismatic Productions •Sofia Dimitrova, soprano •Aurora Borealis Duo •Ollom Dance Company •Haim Avitsur, trombone

Selected Works • Spirals, for piano trio • Conversations (Faces), for piano trio • Reverie, for flute and piano • Three States of Water, for flute trio • Two Rilke Songs, for sop, vln, pno • The Duel, for sop, marimba, bass cl • Three Elegies, for sop and percussion • Three Songs of Carl Sandburg, for sop and piano

download scores and learn more at

• Balance, for trombone and electronics

RDRussell.com

• Design for Lightning, for trombone and electronics

subscribe to Creativity and Composition blog at

• Violin Sonata, for vln and piano

RDRussell.wordpress.com

• NeverSummer, for flute, clarinet, piano