B. WITH RUE MY HFART IS LADEN, Op. 2, No. 2 (A. E. Housman). r:mi.n (high) & Brnin

(low)J e'--f" & c#'--d"l Tess-M, 3/4(4/4, 5/4), Andante cantabile, Length-2 PPI Diff-V/m, P/m. FOR: any lyric voice. MOOD: lyrical, melancholy poem about death. VOICE: lyrical and sustained, irregular rhythms;

some elusive pitches. PIANO: broken-chord figures throughout. DIFF: rhythms and phrasing. USES: fine recital song.

C. BESSIE BOBTAIL, Op. 2, No. 3 (James Stephens). !Anin; c'--f"l Tess-rnL: 2/2

( 3/2, 5/2), Andante, un poco mosso; Length-4 pp; Diff-V/m, P/m. FOR: all voices except extremely low. MOOD: dramatic; descriptive and narrative. VOICE: dramatic; short phrases fragmented by

rests. PIANO: chordal--m:>stly broken: scale fragments:

features contrary motion. DIFF: requires considerable dramatic and

descriptive skill1 words spoken by Bessie Bobtail are in a different musical style and must be set off with the voice.

USES: effective song for the right singer.

113. SONGS, OPUS 10, NOS. 1-3 (James Joyce). G. Schirmer, c1939, coli. #47, cl955.

A. RAIN HAS FALLEN, Op. 10, No. 1. X7 f'--g" & d'--e" (orig.); Tess-mil;

4/4(3/2), Moderato: Length-S pp; Diff-V/d, P/dd. FOR: any lyric voice. MOOD: lyrical love poem: nature i!Th:"lgery. VOICE: very sustained, builds to dramatic

climax, then subsides. PIANO: broken chords and arpeggiations; quite

chromatic7 independent of voice: evokes picture of rain.

DIFF: high phrase ending--g"-f#" (e"-d#") with cresc.7 pitches elusive7 rhythm requires care.

USES: fine recital song for secure musician.

B. SLEEP NCM, Op. 10, No. 2. X; eb'--g" & c'--e" (orig.)J Tess-M; 4/4(3/4, 5/8,

5/4), Andante tranquillo--Pih mosso e agitate: Length-4 pp; Diff-V/d, P/dd. FOR: all voices except extremely low. MCOD: lyrical; cry for peace at heart. VOICE: many skips and leaps; fragmented

phrases7 large dynamic contrasts. PIANO: chordal and contrapmtal7 rather

chranatic7 32nd-note figures in middle section.

DIFF: singer needs good sense of pitch and great vocal expressivity to handle the contrasts of drama and lyricism; ensemble.

C. I HEAR AN ARMY, Op. 10, No. 3. Onin (orig.) & Arnin: d'--ab" & b--f"; Tess-M;

4/4(2/4, 5/8, 3/4), Allegro con fuoco; Length-7 pp; Diff-V/d, P/dd. FOR: baritone or dramatic tenor.

22

MJOD: dramatic; descriptive; despairing love song using battle imagery.

VOICE: disjunct, many dotted rhythms7 sustain4 at end; dramatic and PJWerful.

PIANO: contrapuntal figures; broken chords: features a "hoof-beat" rhythrn7 large reach helpful.

DIFF: requires great dramatic skill7 strong middle voice needed; powerful, ringing ab"(f"); for mature voices only.

USES: very effective for the right voice.

114. SONGS, OPUS 13, NOS. 1-4. G. Schinner. cl9417 call. #47, cl955.

A. A NUN TAKES THE VEIL (Heaven-Haven), 0] 13, No. 1 (Gerard Manley Hopkins). D

& Bl:min (orig.); g'--g" & eb'--eb"; Tess-rnH: 3, (4/4, 2/4), Broad and sustained, in exact rhytl Length-2 pp; Diff-Vrn, P/rne. FOR: any female voice. MJOD: lyrical; philosophical; nature imagery VOICE: mostly step-wise7 sustained phrases:

rather static movement. PIANO: chordal, with many rolled chords7 larg'

reach helpful. DIFF: sustained, hovering phrases. USES: effective recital song.

B. TilE SEX:RETS OF THE OLD, Op. 13, No. 2 (William Butler Yeats). Onin & AI

(orig.): eb'--g" & c'--e"7 Tess-111 5/8(2/4, 3, 3/4), Allegro giocoso7 Length-4 pp; Diff-V, P/m. FOR: MJOD:

VOICE:

PIANO:

DIFF:

USES:

mezzo-soprano or soprano. rerniniscent7 descriptive7 somewhat gossipy. mostly conjunct with some skips; irreg lar phrasing; sustained middle section continuous 8th-note after-beat pattern dlordal7 changing meters. constantly shifting meters7 ensernble7 character delineation. excellent song for a good musician.

C. SURE ON THIS SHINING NIGHT, Op. 13, No. 3 (James Agee) Bl:l11aj & G

(orig.), d'--g" & b--e"7 Tess-M; 3/4(4/ Andante; Length-3 pp; Diff-V/m, P/rne. FOR: all lyric voices. MJOD: lyrical: philosophical, using nat1

imagery. VOICE: broad, sustained phrases; several

phrases begin high. PIANO: repeated chords throughout, with rnelod:

in canon with the voice and bits of unter411elody.

DIFF: high tessitura in middle section; dynamics 1 breathing.

USES: good teaching song; excellent recital song for a vibrant lyric voice.

D. NOCTURNE, Op. 13, No. 4 (Frederic Prokosch). D#rnin & C#rnin7 d#'--ab"

c#'--f#"; Tess-MI 4/4(3/2, 5/4), Andante, un p: rnosso; Length-6 pp; Diff-V/d, P/dd. FOR: all voices except very low. MOOD: lyrical; passionate love song. VOICE: broad and sustained; somewhat disjunct,

sane difficult intervals; long phrases.

B. WI'I.li RUE MY HE1>.RT LS LMlEN.. 0?. '2., ~~. '2. (A. E. Housman). r:roi.n (high) & Bmin

(low), e'--f" & c# 1 --d"7 Tess-M, 3/4(4/4, 5/4), Andante cantabile, Length-2 PPI Diff-V/m, P/m. FOR: any lyric voice. M

t

1

f"7 th-

ut

s

1y,

1.

r

1.

{I is.

lp.

?P1

VOICE:

PIANO:

DIFF: USES:

235.

(with P/m. FOR: MX>D: VOICE:

PIANO:

USES:

skips and leaps, sanewhat chromatic, two speakers. chordal7 des=iptive prelude, interlude, and postlude, trenolo; glissando7 specific articulations, tempo and dynamic changes abrupt. sane awkward pitches. odd text7 short dramatic song, perhaps useful as a surprise change of pace in a group.

~T (Countee Cullen). Carl Fischer, cl950. Bnin-r:maj, f#'--g"7 Tess-M; 6/8,

changes), Con moto; Length-3 pp; Diff-V/m, soprano or tenor. lyrical, elegy in reverse. skips along chord lines, sane modulating phrases, long tones at ends of phrases. linear, arpeggiated figures in l.h.J sane chordal sections, delicate. lovely, sensitive song, good for lyric voices.

BOOTT, FRANCIS (b. Boston, MA, 18137 d. Boston, MA, 1904)

236. BREAK, BREAK AT THE FO:Jl' OF THY CRAGS, 0 SEA, fran Florence (Alfred Lord

Tennyson). c1957 & Cell. #23, c1875 & #51, cl885. Fmin1 c'--f"7 Tess-M7 6/8, Andantino, Length-4-1/2 PP7 Diff-V/m, P/e. FOR: baritone or mezzo-soprano. MXO: dramatic, sorrowful, declamatory,

lyrical. VOICE: many skips and leaps of up to 6th7

strong climax on f", followed by leap dCMn to c'.

PIANO: chords in after-beat patterns, voice doubling, sane voice echoing, octave doubling of melody.

DIFF: sane leaps. USES: good for developing legato line in

declamatory style7 interesting com-parison with setting by Sidney Haner.

237.

2/4, P/e. FOR: MX>D:

JENNY KISSED ME (Leigh Hunt). Coll #52, c1887 & cl902. Atrnaj7 eb'--ab"7 Tess-r17

Allegretto moderato, Length-2 PP7 Diff-V/e,

baritone or tenor. playful.

VOICE: step-wise, with a few skips. after-beat style7 some irodtation7 sane doubling of voice.

PIANO:

USES: a clever, easy short song for an opening group.

238. KING MACBETH (0.-ren Meredith). Coll. #51, cl870. Onin7 c'--eb"7 Tess-M7 6/8,

Andantino con moto: Length-3 pp; Diff-V/me, P/e. FOR: baritone specified. MX>D: dramatic, ballad: dark and bleak. VOICE: conjunct, with easy skips7 sane dotted

rhythms; one long-ranged phrase. PIANO: open octaves and block chords; sane

doubling of vocal line7 register

43

USES: differences for color. easy ballad, good to teach ballad style7 effective.

239. THE SANDS OF DEE, fran Florence (Alton Locke). Coll. #51, c1857 & clB85. Dmin7

a--d"J Tess-MJ 4/4, Andante con moto1 Length-3 pp (4 stanzas); Diff-V/e, P/e. FOR: canposer says alto; good for bass,

if taken dCMn 1/2-step. MX>D: ballad of maiden and the sea. VOICE: step-wise and easy skips7 repeated notes

and words7 dotted rhythms; declamatory ballad style.

PIANO: chordal; sane octave trenolo in l.h.; sane doubling of voice.

USES: good for developing e1e imagination for ballad style7 program in a ballad group.

BOWLES 1 PAUL (b. Jamaica, NY, 1910)

340. BLUE MJUNTAIN BALLADS (Tennessee Williams). G. Schirmer, c1946J pili.

separately. M::ldal flavors & "blues" alterations of keys; b--f#"7 Tess--mL-mH7 meters regular but changing, varied tempos, Length-6:30; Diff-V /me-nrl, P /m-rrrl. FOR: mezzo-soprano best for set7 baritone

possible. MXJD: lyrical, folk-like, descriptive, "blues." VOICE: mostly step-wise, with easy skips7 easy

rhythms7 sane chromaticism, mostly syllabic.

PIANO: predaninantly chordal7 folk and jazz elements in harmonies, rhythms, and spacing, large reaches.

DIFF: singer must feel at heme in e1is "folksy" style; must be secure rhythmica.lly.

USES: useful group, could end a program.

a. HEAVENLY GRASS. (also in call. #41.) b--e"7 Tess-M7 3/4 (with changes), With flawing simplicity; Length-2:00.

b. I..CNESCME MAN. db'--eb" 7 Tess-t17 4/8 (7/16), Very rhythmically7 4 pp.

c. CABIN. (also in call. #41) d#'--c"7 Tess-mL7 6/8(9/8), Like a ballad; 1:30.

d. SlhAR IN THE CANE. d'--f#"7 Tess-M-mH7 4/4, In absolutely strict tempo7 2:00.

341. DAVID {Frances Frost). Coll. #52, cl945. Opening & closing center on D (with

chromaticism & hi-tonality), e'--d"7 Tess-M7 4/4, Adagio, molto tranquillo7 Length-2:007 Diff-V/nrl, P/me. FOR: meditnn or law voice. MOOD: quiet7 night-song, serene. VOICE: almost always step-wise, chromatic, some

syncopation; syllabic. PIANO: block chords; pedal-tones, rare doubling

of vocal line. DIFF: syncopation; chromaticism. USES: good song for well-prepared musician

with limited singing ability.

i2; rro

aj lL7 e,

Sf

s.

i hn

VOICE: PIANO:

DIFF:

USES:

long phrases7 some triplets. partly chordal, partly rapid arpeggiation. contrasting moods require interpretive facility. good for young male singers.

432. WHEN I HAVE SUNG MY SONGS (Ernest Charles). G. Schirmer, c1934. Fmaj

(high) & Dbnaj (lowl7 d'--g" & b-flat--eb"7 Tess-M7 4/4, Galmly7 Length-2:157 Diff-V/me, P/m. FOR: any voice. MOOD: lyrical: love song. VOICE: step-wise and small skips7 after-beat

PIANO:

USES:

phrase beginnings. chordal, 5-6-voice block and broken patterns, some doubling of voice. text more suitable for mature singers than young singers; somewhat sentimental; encore, or use in a group of American songs.

433. THE WHITE SWAN (Mona Bonelli). G. Schirmer, c1941. Gnin-BI::maj (med.) &

anin-Dnaj (high), c'-f" & e'--a"l Tess-t17 4/4, Dreamily, Length-2:00, Diff-V/m, P/rrrl. FOR: mez7rsoprano or soprano, baritone

or tenor. MOOD: descriptive, remembrance, dramatic

climax. VOICE: step-wise and small skips7 2-note slurs7

syncopation, same dotted rhythms. PIANO: chordal, broken and block; cross-hands;

does not double voice. DIFF: some long phrases7 sustained f" ff. USES: effective song; lyric, but with big

climax near end7 quiet ending.

CHENOWETH, WIILBUR (b. Tecumseh, NE, 1899)

434.

5 PPI FOR: MOOD: VOICE:

PIANO: DIFF:

USES:

VOCALISE. Call. #14, c1962. Grnaj; e'--b" 1 Tess-H7 6/8, Allegretto; Length-

Diff-V/d, P/me. coloratura soprano. lyrical. very florid; numerous triplet figures; grace-notes. chordal; regular rhythm, supp::Jrts voice. agility 1 high tones must be sung with ease. interesting shaw-piece for coloratura soprano.

CHILDS, BARNEY

435. VIRTUE (George He..rbert). Call. #2, cl982. Onaj7 c'--g"7 Tess-M7 unmetered,

Evenly steady, no rubato, all durations precise ( J =120), Length-ca.2:157 Diff-V/d, P/m. FOR: soprano or mezzo-soprano (p::Jssibly high

baritone). 1-KXID: all things must perish, only the soul

survives. VOICE: speech-like rhythms--very camplruq final

59

PIANO:

DIFF:

phrase uses entire range of song7 dynamics range fran p-ff 1 special instructions for dynamics and timbre. spare; staves appear only as needed and are fragmentary, sometimes only one. making durations precise as called for in score (for both performers) 7 ensemble 1 possibly the unusual "look" of the score.

CHING, J. MICHAEL (b. Honolulu, HI, 1958)

436. RIDDLES WITHIN RIDDLES. Four Settings of Anglo-Saxon Riddles for Baritone and

Piano. Columbia Univ. Press, c1984. X7 (A)Bb--gb'; Tess-H; changing meters; Length-7:3D-8:00; Diff-V/d, P/d. FOR: baritone. I>KXlD: riddles (musical as well as verbal) 7

answers for both given at end of set. VOICE: many accidentals; many skips, same

awkward; various subdivisions of the beat juxtap::Jsed7 mostly syllabic, some speaking, each song bears a resemblance, or contains a reference, to the answer to the musical riddle (e.g., no. 1 opens with patterning similar to Franz Schubert's "St:indchen").

PIANO: many accidentals7 canplex rhythms in no. 17 various subdivisions of beat juxtaposed in all four songs; trills in nos. 2 and 37 large reach helpful7 doubling of vocal line rare7 piano often answers the riddle.

DIFF: canplexities of rhythm and pitch7 ensemble.

USES: interesting group for recital, for audi-ence with sane musical sophistication.

a. I ("I saw a being "). X; B--gb' 1 changing meters, Moderately; 2:45; [TI1e moon and the sun; Schubert: "Serenade," French overture style].

b. II ("It is a splendid thing when one knows not its ways"). X; (A)Bb--e'l 2/2 predaninates (with changes), Moderately slow7 1: 35; [Shepherd's pipe; Debussy: "Syrinx"].

c. III ("I have a puffed breast and a 9\\Dllen neck"). X; eb--e' 7 6/8 predaninates (with changes), Not too fast7 1:167 [Weathercock, Schubert: "Die Wetterfahne," fran Die lvinterreise].

d. IV ("A warr1or 1s woridrously brought into the world "). X7 Bb--e"l changing meters, Freely, 1:557 [Fire, Scriabin: "Vers la Flarrme," op. 72].

CITKOWITZ, ISRAEL (b. Skierniewice, Russia [now in Poland],

19097 d. London, England, 1974) 437. FIVE S

~. J.

VOICE: many skips; accidentals; duplets and triplets; syncopation.

PIANO: broken-chord pattern with sane counter-melody; constant dotted rhythm; accidentals; does not double voice.

DIFF: 3 in voice vs 4 in piano. USES: effective song; light touch; could end

a group, but quietly.

647. I CARRY YOUR HEART (e. e. curmri.ngs ) G. Schirmer, cl962. Centers on E; c'--g#";

Tess-M-mH; 6/8, Andantino; Length-2:00; Diff-V/nrl, P/m. FOR: soprano. MCXlD: lyrical; love-song. VOICE: skips; duplet and triplet subdivision

of beat; many accidentals. DIFF: same intervals; 2 vs 3 in piano. USES: nice lyric song; useful for a Duke group

or a group of cummings settings; easier poem than cummings' usual style.

648. I RIDE THE GREAT BLACK HORSES (Robert Nathan). G. Schirmer, c1949. Centers on

E; cb'-f#"; Tess-M; 4/4, With a firm tempo and great rhythmic drive; Length-2:00; Diff-V/nrl, P/nrl. FOR: MCDD: VOICE:

PIANO:

DIFF: USES:

baritone. dramatic; pJWerful; intense. many skips; dramatic high tones; dotted rhythms; duplets vs piano triplets. chordal; repeated-chord pattern in triplets, some rolled chords; great dynamic contrasts. sustained high tones, dynamic control. dramatic, exciting song; good program ender.

649. I WATCHED THE Lli.DY CAROLINE (Walter de la Mare). Coll. #41, c1961. X;

b-flat--eb"; Tess-M; unmetered, with flowing rhythm and flexible tempo; Length-4 pp; Diff-V/m:i, P/d. FOR: baritone; contralto. M:XD: lyrical; rather abstract; descriptive. VOICE: flowing _r:hrases; much up and down

movement; same chrcrnaticism. PIANO: 2-voice texture; chromatic. DIFF: rhythm and meter; text. USES: good teaching song.

650. IN THE FIELDS (Charlotte Mew). Carl Fischer, cl960. Gnaj; a--e"; Tess-mL;

5/4 with changes, Slow and quiet; Length-2:15; Diff-V/me, P/me. FOR: low voices; good for contralto or bass-

MCDD: VOICE: PIANO:

DIFF:

USES:

baritone with warm, beautiful sound. lyrical; prayerful; spring song. many skips; speech rhythms; sustained. block-chord texture with some counter-melody; same large reaches; dynamic control important; does not double voice. ensemble; good dynamic control; sustained Pu-ases. excellent lyric song; good for recital.

92

651. JUST-SJ:'RING (e. e. curmU.ngs). Coll. #39, cl954. X; d'--b-flat"; Tess-M;

2/4, Joyousr Length-1:30; Diff-V/d, P/d. FOR: soprano. MOOD: light-hearted and imaginative. VOICE: disjunct; many large leaps; soft high

tonesr large dynamic contrasts. PIANO: broken chords and rapid passage-work;

same complicated rhythms. DIFF: messa di voce on b-flat". USES: gOOd song to end a group.

652.

c1959. Tess-M; P/d. FOR:

MOOD:

VOICE:

PIANO:

DIFF: USES:

THE LAST ~RD OF A BLUEBIRD (as told to a child) (Robert Frost). G. Schirmer, "For Louis Nicholas." Onin-ma j; a--f" 1

2/2, Strict tempo; Length-1:00; Diff-V/d,

mezzo-soprano; baritone; same sopranos and tenors. child-like; light-hearted; lightly humorous; narrative. many skips; duplets and triplets; conversational. broken-chord patterns; many arpeggios; cross-rhythms and accents; articulations important; does not double voice. rhythms. use for student who has trouble with being expressive, as this song is easy to make cane alive; good for a final light group, or as an encore.

653. LOVELIEST OF TREES (A. E. Housman). Call. #38, cl934. "To Lawrence Tibbett."

Ahnaj (high) & Fmaj (low), d#'--f" & c'--d"; Tess-mL; 2/4, Allegretto grazioso1 Length-6 PPI Diff-V /me, P/m. FOR: all lyric voices. MOOD: lyrical; philosophical. VOICE: many skips along chord lines; legato. PIANO: broken-chord figuration throughout. DIFF: good legato line. USES: good for teaching legato line; excellent

recital song for a quiet mood.

654. LOVE'S SECRET (William Blake) Boosey & Hawkes, cl955. rmin; a--f"; Tess-M; 6/8,

In gently rocking rhythm; Length-1:30; Diff-V/m, P/m. FOR: MOOD: VOICE: PIANO:

DIFF:

USES:

baritone. lyrical; sanber; nostalgic. many leaps; sane long-ranged Iirrases. broken and block chords; sane treroc>lo; trills; thin texture. irregular phrase lengths; ensemble; soft dynamics. good song; quiet ending.

655. LUKE HAVERGAL (Edward Arlington Robinson). Coll. #15, c1948. Gnaj

(high) & Ebnaj (low); eb'--a" & b--f"; Tess-mH; 2/4, Sadly, tenderly; Lengtil-4:00; Diff-V/d, P/d. FOR: tenor or soprano; baritone or mezzo-

soprano. MOOD: lyrico-dramatic; philosophical; poem

about death. VOICE: mostly step-wise movement; triplet

figures; sweeping phrases; dynamic contrasts.

nking-song) ~1905. Gnaj -c'; Tess-M; ked rhythm;

ls.

aps useful onq for a n up a

lased on an my, Pa.). ev. c1970; '; Tess-M; ngth-1:30;

'one triplets;

sonority Is, sane

. cresc.-

:>n.). . nr legrettor

:o.

es1

Coll. d'--f"7 >irited;

1 in ones.

Lne

and

#72, Tess-

mH, 2/2, P/m.

Grandly--Lively; Length-2 PP1 Diff-V/m,

FOR: l-DJD: VOICE:

PIAOO:

DIFF: USES:

sopranor tenor. wry statement about birds; light. small skips and step-wise motion; syncopation; "Scotch-snap;" triplets; final f" sustained 2-1/2 meas.; sanewhat fragmented. block chords with sane broken chords and sane counter-melody; accidentals; sane doubling of vocal line; accents; some staccato; 4-meas. prelude. mostly rhythmic. use in a group of Hundley songs.

1052. ca1E READY AND SEE ME (,James Purdy). Coll. #72, c1981; ccmp. 1971. Gl:rnaj;

db'-gb"; Tess-mH; 2/2, ( d =ca. 56) 1 Length-4 PP7 Diff-V/m, P/m. FOR: soprano. OCOD: lyrical; straightforward. VOICE: step-wise and skips along chords lines;

syncopation; sane triplets divisions of beat7 legato; dynamics ~f.

PIAOO: arpeggiated patterns; sanet:i.mes canbined with counter-melody, sane accidentals; doubling of vocal line is incidental.

DIFF: rhythm is trickiest aspect. USES: nice lyric song for a student; has

a "folksy" flavor.

1053. FOR YOUR DELIGHT (A Ranance) (Robert Louis Stevenson). General, c1962.

Ebmaj 1 c' --f" 1 Tess-M; 3/4(4/4), Gracefully, Length-S pp; Diff-V/m, P/m. FOR: lyric baritone. MOOD: lyrical; love song. VOICE: conjunct with sane skips; sane sustained

tones at ends of .tfl.rases; ends on eb" sustained softly for 15 beats.

PIAOO: linear-chordal canbination; open texture7 melodic interestr 10-meas. postlude.

DIFF: sane unexpected pitches. USES1 nice songr useful for teaching young

singers.

1054. I DO (Ji'llli9S Purdy). Coll. #72, cl981; canp. 1974. "To Paul Sperry." Dl:rnaj;

(f')gb'--ab"; Tess-H; 2/2, Allegro grazioso7 Length-2 pp; Diff-V/m, P/m. FOR: tenor. MOOD: light-hearted, jazzy marriage proposal. VOICE: step-wise and skips along chord lines;

syncopation; sane triplet divisions of beat7 sane poly-rhythms.

PIAOO: block chords and broken-chord p3tterns; some staccato; some accidentals; doubling of vocal line is incidental; 5-meas. prelude.

DIFF: rhythms. USES: "off-beat" love song.

155

FOR: MCXJD: VOICE:

PIAOO:

DIFF: USES:

soprano or tenor. epitaph; lyric and gentle. many accidentals; many small skips; triplets. block chords; accidentals; spare acccmpaniment; sane rolled chords; does not double vocal line. chranaticism in melody. lovely song; group with "The Astronaner~ and "Bartholanew Green" for a short grot of epitaphs, or group with other Hundle} songs.

1056. Ml\IDEN SNa-1 (Kenneth Patchen). General, cl96l; ccmp. 1960. "To Anna Hoffa.

Gnin; d'--g"; Tess-mH7 changing meters, Andant sostenuto; Length-2 pp; Diff-V/m, P/e. FOR: soprano or tenor. MX>D: lyrical; tranquil7 introspective. VOICE: mostly step-wise; sane wide skips; speed

rhythms. PIAOO: 3-5-voice texture; chordal; sane

arpeggios; melody in interludes DIFF: fluid rhythms. USES: nice song for a recital group.

1057. MY MASTER HATH A GARDEN (anon. Elizabethan verses) Coll. #72, c1981;

ccmp. 1963. Fm:tj; d'--g"; Tess-mH; 2/2 (witl. changes), Brightly-- d =96-Sostenuto cantabile7 Length-4 pp; Diff-V/m, P/m. FOR: soprano MOOD: prayerful. VOICE: many small skips; easy rhythms, although

changing meters create a few rhythmic and accent ccmplications; syllabic with 2-5-note slurs

PIANO: block chordsr 3-5-voice texturer sane stnccator 5-meas. prelude and 4-meas. interlude7 some doubling of vocal line; high notes are scrnewhat sustained.

DIFF: some rhythms. USES: for young lyric soprano with easy

"floating" high notesr see other settings of this text by Randall Thanpson and Virgil Thcmson (in Praises and Prayers)

1058. POSTCARD FROO SPAIN (Richard Hundley). General, c1964r comp. 1964. Ollaj;

f'--a"; Tess-H7 ITOstly 3/4, d, =66-freely, Length-l:OOr Diff-V/m, P/e. FOR: tenor. M:JOD: lyrical; humorousr waltz song. VOICE: many skips; sane syncopation,

fragmentary. PIANO: waltz styler sane tremolo; sane 5/4

meas.r independent of vocal line. DIFF: rhythms7 sustained g" at end. USES: nice P.ncorer final song in a groupr

anywhere scmething light is needed.

1059. SOFTLY THE SUHMER. General, cl963; canp. 1957. Dl:rnaj7 f'--b-flat"; Tess-Hr 3/4,

Tempo a piacere (gently flowing); Length-3 pp; Diff-V/m-md, P/m. FOR: high soprano. r-n:JD: lyrical; descriptive; lazy. VOICE: several leaps of 6th and 7th; dotted

notes; repetitive rhythmic and melodic patterns.

USES:

~rost of the scenes, especially where there is an imaginary dialogue." very effective cycle for the right singer; could end a recital (possibly in pande~roniuml); songs not individually titled, first lines given belO\v.

a. "Here we go--fasten your seat belt--no Siroking--Gennany, here I come."

b. "Sprechen sie English, ja?." c. "Ist das nicht ein sd10ner rcx:rn?" d. "Just the city tour, please." e. "Herr waiter--nore wine, please--

Danke schon." f. "Excuse me, who is the conductor?

Oh, so das ist Karajanl" g. "A call from overseas?"

1529. 0 YOU WHOM I OFTEN AND SILENTLY COME (Walt Whitman). Seesaw, cl971. X;