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Catalog: Song Information: Page 22 of 83Please keep this site alive by contributing song listings and other information to the catalog. See the bottom of every catalog page for how. "First Goddess: Deverra"Song 2 (extractable) from set Household Tales
This entry contributed by Andy Vores around 11/21/98
Know this song? Add your review! Music Comments: Duration 2:30 Episodic, changes character often--more so in the accompaniment. This entry contributed by Andy Vores around 11/21/98. The contributor(s) composed the song. "Floral Decorations for Bananas"Song 1 (extractable) from set O Florida
This entry contributed by G&K around 11/10/98 Know this song? Add your review! Music Comments: Begins briefly "Languid" quarter = 88; then "Allegro moderato" quarter = 120. Hoiby's style is singable, audience-pleasing, and musically satisfying. Text Comments: I'm afraid I've always had trouble with making sense of Stevens, and I can't quote the whole poem for copyright reasons. It seems like it would be clever and funny if I understood it! Here's the start though: "Well, nuncle, this plainly won't do. These insolent, linear peels and sullen hurricane shapes Won't do with your eglantine. They require something serpentine. Blunt yellow in such a room! You should have had plums tonight, In an eighteenth century dish, And pettifogging buds For the women of primrose and purl, Each one in her decent curl. Good God! What a precious light!" That's about half of the poem. Recordings: Recorded by Peter Stewart and Lee Hoiby on a CD, Continual Conversation with a Silent Man (CRI CD 685). Link below is to this recording. See Continual Conversation with a Silent Man (Stewart, Hoiby) (Recordings) This entry contributed by G&K around 11/10/98. The contributor(s) looked over the song. "For Louise and Tom Gossett"Song 1 (extractable) from set Bird by Bird
This entry contributed by G&K around 4/27/99 Know this song? Add your review! Music Comments: quarter = 52. flute introduction. Despite relatively slow tempo piece uses fast subdivisions in flute and voice for fast perceived tempo. For coloratura soprano--requires fast movements and a trill. tonal implications. I'm afraid I don't know enough about the flute to comment on difficulty, but the part hangs primarily quite above the staff, and only occasionally goes down. range for flute is C4 to B6; requires flutter tongue and quick motion. Text Comments: [vocalese followed by...] After a creek drink the goldfish lights in the bank willow which drops the brook a yellow leaf. This entry contributed by G&K around 4/27/99. The contributor(s) looked over the song. "Forme de la Ferme"Song 2 (extractable) from set Three Queneau Songs
This entry contributed by Andy Vores around 11/22/98 Know this song? Add your review! Music Comments: Duration 1:30 Loud and boisterous moving to simple triadic music at close. Text Comments: (Translation) The cow chews her cud the sow soughs at the trough the kid cavorts the cat crouches on her haunches and crunches catbirds against the fence the horse in his harness harrows long rows the farmhand on his Harley raises dollops of dirt the brussel sprouts sprout the dungheap heats up the farmer cools down the farm's form is parallelepipedical the chimney's cylindrical and the backside of the milkmaid is spherical This entry contributed by Andy Vores around 11/22/98. The contributor(s) composed the song. "Found Frozen"Song 1 (extractable) from set Found Frozen
This entry contributed by Jeffrey Ryan around 10/17/99 Know this song? Add your review! Music Comments:
Timing ca. 2'45"
This entry contributed by Jeffrey Ryan around 10/17/99. The contributor(s) composed the song. "Frammento cantato (1967) [Vocal Fragment]"Song not from a cycle or set
This entry contributed by Benjamin René around 2/20/99 Know this song? Add your review! Music Comments:
Initial marking: Lento. Senza misura, tempo libero. 3 pages, approximately 2 min.
Recordings: Not recorded. See Sorabji: A Critical Celebration (Biographies) This entry contributed by Benjamin René around 2/20/99. The contributor(s) looked over the song. "Fraught"Song not from a cycle or set
This entry contributed by G&K around 5/8/99 Know this song? Add your review! Music Comments: "Tempo and style of a Cole Porter torch song". Much speaking on pitch (a la sprechstimme) marked as high as Bb5, but presumably the goal is just as high as you can go (?). Optional sung G5 to replace the climactic final Eb5. Text Comments: [spoken] Do you know what I am about you? I'll tell you what I am about you. [sung] I'm fraught, simply fraught, utterly fraught with you. I've got you under my nails, between my teeth, around, about above and underneath, oh with you I am simply, utterly fraught! Satan only knows I'm caught, tense and taut, fairly distraught with you. I'll be your light overhead, your mat underfoot, I'm a slow-creeping vine, but I've well taken root for with you I am simply frantic'ly fraught! you know, yes, indeedy boy! Wanta shriek, wanta shout, wanta tell the folks about it! Can't keep quiet. Though my brain's a fog, my foolish tongue runs riot, yes! Hurdy gurdy blues I've got, overwordy blues, I've got them! [sprechstimme] Oh my dear, still and all, all through the night--night and day, body and breath without end of all my dreams and hopes and summer madness--I and you, you and I, ME and WE, oh my dear, we both of us knew it was [spoken without a pause] not to be, this thing between us, I said to myself, and yet and yet you positively go to my bedroom!--down the hall and turn to the left, if I'm a little late, just start without me! [sprechstimme] You're stuck, simply stuck, utterly stuck with me! [sung] I plan to paw you and beat you, and taste you and eat you, I'll gorge me and glut me till no one's there but me! With you only with you just with you and I do mean you--I'm--What was that word again? O yes--fraught! This entry contributed by G&K around 5/8/99. The contributor(s) looked over the song. "From "Calamus""Song not from a cycle or set
This entry contributed by G&K around 4/6/99 Know this song? Add your review! Music Comments:
Subtitled "Song with simultaneous Piano Nocturne in homage to the composer Kaikhosru Sapurji Sorabji". The following is an excerpt from the piece's introduction by the composer. Text Comments: When I heard at the close of the day how my name had been receiv'd with plaudits in the capitol, still it was not a happy night for me that followed. And else when I carous'd, or when my plans were accomplish'd, still I was not happy. But the day when I rose at dawn in the bed of perfect health, refresh'd, singing, inhaling the ripe breath of autumn, when I saw the full moon in the west grow pale and disappear in the morning light, When I wander'd alone over the beach, and undressing, bathed, laughing with the cool waters, and saw the sunrise And when I thought how my dear friend my lover was on his way coming, O then I was happy, O then each breath tasted sweeter and all that day my food nourish'd me more, and the beautiful day pass'd well, And the next came with equal joy, and with the next at evening came my friend And that night while all was still I heard the waters roll slowly continually up the shores, I heard the hissing rustle of the liquid and sands as directed to me whispering to congratulate me, For the one I love most lay sleeping by me under the same cover in the cool night, In the stillness in the autumn moonbeams his face inclined toward me And his arm lay tightly around my breast--and that night I was happy. This entry contributed by G&K around 4/6/99. The contributor(s) looked over the song. Please contribute to the catalog
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