Lauridsen - Six Duets (sample pages) by Peermusic Classical

Morten Lauridsen Six Duets for Mixed Voices and Piano Poems by Rainer Maria Rilke, Dana Gioia, Harold Witt, Pablo Neruda, and James Agee

My esteem for mixed duets traces principally to the many splendid examples from the Broadway musical, a genre for which I have had a lifelong affection and admiration. The artistic ability of those outstanding composers and lyricists to combine timeless, unforgettable lyric melodies and texts has been a constant source of inspiration throughout my long career composing vocal music. I'm delighted that Peermusic has now chosen to publish my six mixed duets in this album, four of which have been previously available as single works. Dirait-on (So They Say), from my Les Chansons des Roses on poems by Rilke, is cast as a chanson populaire, or French folksong, composed originally as the concluding movement of the choral cycle. Compositionally constructed from manipulations of a major triad with an added second, it should be performed with a great deal of rubato in a charming manner with lighter voices. Solo versions of Dirait-on are also available for medium or high voice and piano, and for high voice with guitar. Dana Gioia's stunning poem Prayer was written in memory of his infant son, Michael Jasper Gioia, whose brief life was tragically ended by Sudden Infant Death Syndrome. Mr. Gioia, previously Chair of the National Endowment for the Arts and California Poet Laureate, has authored several books of poems, numerous anthologies, articles, essays and four opera libretti. His recent "99 Poems" received the prestigious Poets' Prize, one of his many honors that include the American Book Award and Presidential Citizen's Medal. Dana Gioia is a national treasure. Prayer initially presents a series of slightly unsettling images leading to an entreaty to God, nature and/or spirits to watch over Dana and Mary's son, “as a mountain guards its covert ore and the harsh falcon its flightless young.” Both Dana and I have received many communications from parents who have lost their child to SIDS, grateful that the song has become a significant part of their healing process. Additional versions of Prayer for baritone and piano (premiered by international opera star Rod Gilfry with the composer at the piano) and for chorus and piano are published by Peermusic. Contre qui, rose, also from Les Chansons des Roses, has long been one of my personal favorites among my works. Stereophile Magazine critic John Marks, in reviewing the Polyphony recording of the choral version, wrote “Lauridsen’s a cappella setting of Rilke’s Contre qui, rose is one of the most singularly beautiful pieces of vocal music in the history of Western Civilization.” Rilke's poignant series of unanswered questions are reflected in my quiet musical setting where all the phrases and non-harmonic tones remain unresolved. Starting with a hollow perfect fifth, the piece builds to a climax on the “Au contraire” section and then folds back on itself. I have kept the mixed duet version as close to the original choral setting as possible, with the piano maintaining a quiet and supporting background. Californian Harold Witt wrote three poems about his young children which became my song cycle A Backyard Universe. The first of these, Girl, describes his daughter learning ballet. The mixed duet version is now included in this collection. The solo version of Girl performed by baritone Jeremy Huw Williams and pianist Paula Fan is included in the acclaimed “Prayer” CD, along with four mixed duets and numerous other solo songs. The CD is highly recommended as a comprehensive guide to performance to any singer and collaborative pianist wishing to program my songs! Chilean poet Pablo Neruda dedicated his Cien Sonetos de Amor to his wife, Matilde, and they remain among the world's most revered collections of love poems. I composed music for this gorgeous sonnet as a tender, intimate song between two individuals pledging their eternal love to each other: and now you are mine – no one else....

I set James Agee's marvelous, iconic poem Sure on this Shining Night as a dialogue expressing the awe and joy of sharing a profound pantheistic experience where all is healed, all is health. Originally a movement from my Nocturnes for chorus and piano, there is also a published setting for solo voice and piano paired with Prayer as my Two Songs on American Poems. These duets were originally premiered by Rod Gilfry and his daughter, Carin, with the composer at the piano and later recorded by Jeremy Huw Williams and Caryl Hughes accompanied by Paula Fan on Prayer – The Songs of Morten Lauridsen. This disc, available through my composer page at halleonard.com, contains nearly all of my songs and duets, including the complete vocal cycles A Winter Come (Moss), A Backyard Universe (Witt) and Cuatro Canciones (Lorca), and the solo settings of O Magnum Mysterium and my cabaret song, Where Have The Actors Gone. Those wishing to prepare and perform my songs will find this recording invaluable and are urged to obtain a copy. Additionally, a splendid live performance of four of the duets by Mr. Williams, Ms. Fan and New York Metropolitan Opera soprano Maria Lindsey is posted on YouTube. These duets may be performed singly, in smaller groupings (Prayer and Sure on this Shining Night make a fine pairing) or as a complete set in the order presented in this album. All these songs should be performed with a great deal of tempo flexibility and rubato, and I always suggest to those performers I accompany to imagine themselves performing these duets as if they were part of a Broadway musical. The CD Prayer – The Songs of Morten Lauridsen and the many recordings that I accompany at the piano for the original choral versions (also seen and heard on YouTube) can serve as performance guides. —Morten Lauridsen

The music of Morten Lauridsen, Distinguished Professor Emeritus of Composition at the University of Southern California Thornton School of Music, occupies a permanent place in the standard vocal repertoire of the Twenty-First Century. He was Composer-in-Residence of the Los Angeles Master Chorale from 1994-2001 and serves as Honorary Artistic President of INTERKULTUR/World Choir Games. His compositions, including eight vocal cycles, individual songs, choral and instrumental works and a series of sacred motets, are regularly performed throughout the world and have been recorded on over 200 CDs, several of which have received Grammy nominations. An award-winning documentary by filmmaker Michael Stillwater, Shining Night: A Portrait of Composer Morten Lauridsen, was released in 2012. Information about the film is at songwithoutborders.net. Named an “American Choral Master” by the National Endowment for the Arts in 2006, he was awarded the 2007 National Medal of Arts, the highest artistic award in the United States, by the President in a White House ceremony “for his composition of radiant choral works combining musical beauty, power, and spiritual depth that have thrilled audiences worldwide.” In 2016 Mr. Lauridsen received the ASCAP Foundation “Life in Music” Award at Lincoln Center.

For more about Morten Lauridsen: www.peermusicClassical.com www.mortenlauridsen.net

Dirait-on Rainer Maria Rilke, from Les Roses Abandon entouré d'abandon, tendresse touchant aux tendresses... C'est ton intérieur qui sans cesse se caresse, dirait-on;

Abandon surrounding abandon, tenderness touching tenderness... Your oneness endlessly caresses itself, so they say;

se caresse en soi-même, par son propre reflet éclairé. Ainsi tu inventes le thème du Narcisse exaucé.

self-caressing through its own clear reflection. Thus you invent the theme of Narcissus fulfilled.

Prayer Dana Gioia Echo of the clocktower, footstep in the alleyway, sweep of the wind sifting the leaves. Jeweller of the spiderweb, connoisseur of autumn’s opulence, blade of lightning harvesting the sky. Keeper of the small gate, choreographer of entrances and exits, midnight whisper traveling the wires. Seducer, healer, deity or thief, I will see you soon enough – in the shadow of the rainfall, in the brief violet darkening a sunset – but until then I pray watch over him as a mountain guards its covert ore and the harsh falcon its flightless young. © Copyright by Dana Gioia.

Contre qui, rose Rainer Maria Rilke, from Les Roses Contre qui, rose, avez-vous adopté ces épines? Votre joie trop fine vous a-t-elle forcée de devenir cette chose armée?

Against whom, rose, have you assumed these thorns? Is it your too fragile joy that forced you to become this armed thing?

Mais de qui vous protégé cette arme exagérée? Combien d’ennemis vous ai-je enlevés qui ne la craignaient point? Au contraire, d’été en automne, vous blessez les soins qu’on vous donne.

But from whom does it protect you, this exaggerated defense? How many enemies have I lifted from you who did not fear it at all? On the contrary, from summer to autumn you wound the affection that is given you.

Girl Harold Witt Girl in a world that now begins to spin, twirling on toes, in tights, your first ballet, girl in a whirl of equilibrium, revolving stormy planet blue with moon that, copernican, turns around the sun; sauntering daughter who can also run meadows of morning or by the evening sea leave in fading sand your shadow feet, who fall and try again in a small room lessons of limitation, danilova discipline of rigid digits, an alphabet that tends, curved like a clock or turning world, toward Z, moving through Junes of sun to winter moons and then curves back to April A again, girl in a world that is not flat but bends— the dancer, not the dance, begins and ends. © Copyright 1961 by Harold Witt.

Ya eres mía (Now You Are Mine) Pablo Neruda: Soneto LXXXI/Sonnet 81 Ya eres mía. Reposa con tu sueño en mi sueño. Amor, dolor, trabajos, deben dormir ahora. Gira la noche sobre sus invisibles ruedas y junto a mí eres pura como el ámbar dormido.

Now you are mine. Rest with your dream inside my dream. Love, sorrow, labor now must sleep as well. The night revolves on its invisible wheels And joined to me you are as pure as sleeping amber.

Ninguna más, amor, dormirá con mis sueños. Irás, iremos juntos por las aguas del tiempo. Ninguna viajará por la sombra conmigo, sólo tú, siempreviva, siempre sol, siempre luna.

No one else, my love, will ever sleep in my dreams. You go, we go together through the waters of time. No one else will journey through the shadows with me, Only you, eternally alive, eternal sun, eternal moon.

Ya tus manos abrieron los puños delicados y dejaron caer suaves signos sin rumbo, tus ojos se cerraron como dos alas grises,

Your hands unfold their delicate grip, Their gentle gestures falling aimlessly, Your eyes close on themselves like two gray wings,

mientras yo sigo el agua que llevas y me lleva: la noche, el mundo, el viento devanan su destino, y ya no soy sin ti sino sólo tu sueño.

While I follow the waters you bear which bear me away: The night, the world, and the wind unfold their destiny, No longer with you, I am nothing but your dream. English translation by Dana Gioia

Sure on this Shining Night James Agee Sure on this shining night Of starmade shadows round, Kindness must watch for me This side the ground. The late year lies down the north. All is healed, all is health. High summer holds the earth. Hearts all whole. Sure on this shining night I weep for wonder Wand’ring far alone Of shadows on the stars. © Copyright 1968 by The James Agee Trust.

TABLE OF CONTENTS 1. Dirait-on ...............................................................1 2. Prayer ...................................................................8 3. Contre qui, rose ..................................................16 4. Girl .....................................................................19 5. Ya eres mía ........................................................25 6. Sure On This Shining Night...............................32

to Diana Rand Fairclough

Dirait-on Rainer Maria Rilke

Morten Lauridsen

Tempo rubato {q = ca 108}

b & b b 43

Soprano or Alto

b V b b 43

Tenor or Baritone

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Piano

a tempo

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Tempo rubato {q = ca 108}

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for Michael Jasper Gioia

Prayer Morten Lauridsen

Dana Gioia

Moderato, tempo rubato (q = ca. 66)

Soprano or Alto

Tenor or Baritone

b & b b b b 44

∑

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Meno mosso

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Moderato, tempo rubato (q = ca. 66)

Piano

a tempo

poco rit.

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sweep

a tempo

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poco rit.

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Poco più mosso (q = ca. 76)

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16 to Dana and Mary Gioia

Contre Qui, Rose Rainer Maria Rilke

Morten Lauridsen

ο œ œ œ œ œ œ

Molto espressivo (e = ca. 74)

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Tenor or Baritone

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joie

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fine

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Molto espressivo (e = ca. 74)

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fine

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a tempo

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˙˙

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craig - naient point?

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2 3

bien d'en - ne -

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Com - bien d'en - ne - mis

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a tempo

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rit.

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con

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a tempo

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Play bracketed notes slightly before the beat.

to Rod and Carin Gilfry

Girl Harold Witt

Morten Lauridsen Fast and Delightful {q = ca. 160}

Soprano or Alto Tenor or Baritone

8 &8

∑

8 V8

∑

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Fast and Delightful {q = ca. 160}

Piano

& 68

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F V 68 œ œ œ b œ Girl in

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P & 68 j œ œ

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that

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∑

re - volv - ing

b œb œ œ b œ œ

68 85 b œ b œ œ. b œ œ. b œ b œ b œ. b œ œ.

œœ . œ ..

Più mosso (q = ca. 192) (h. = 66)

& 43 ˙ .

∑

œ b œJ 85 b œ œ œ Œ

j bœ œ

F bœ œ œ.

Œ ‰ bœ œœ œ bœ œ

24 b b œœ œ b œ - . b œ- œ . 24 ∑

6 b œ b œ b œ. b œ 8 bœ bœ .

bœ

. Œ b œ Œ ‰ œœJ œ. 44 ‰ b œ n œ ‰ b œj œ- ‰ b œ b œ J bœ bœ b œ- J ◊ 44 Œ b œ. œ Œ œ.œ jauntily

43 43

to Amber Kim Lauridsen

Ya eres mía (Now You Are Mine)

Pablo Neruda

Molto rubato e espressivo (q = ca. 66) rit. a tempo

Soprano or Alto Tenor or Baritone

### 3 & 4 Œ ### 3 V 4 Œ

4 4

∑

4 4

∑

Piano

### 4 & 4

a tempo

### 4 V 4

3 4

rit.

a tempo

∑ ∑

### 4 & 4 œ˙ . œ œ ‰ j œ j ‰ ‰ ? # # # 4 ˙ . œ œ œ œ œj 4 a tempo

### 4 & 4 A

a tempo

### 4 V 4 œ

mí

### 4 Œ & 4

a tempo

rit.

∑ ˙

3 4

∑

rit.

4 4

∑

molto rit.

∑

œ œ œ œœ œœ

˙.

poco accel.rit.

∑

e - res mí

˙.

œœ œ

a tempo

∑

a tempo

u̇

4 4 4 4

4 œ œ 4

res

‰ j œ ˙ P ‰ œJ œ œ œ

U̇

4 4

4 4 4 4

∑

po - sa con tu sue -

Poco più mosso

Œ ‰ œj 43 œ œ œ œ œ œ

3 4 Œ 4 œ œ 4 œ ˙ œ œ œ œ˙ œ Œ j œ 3 œ œ œœ œœ 4 ‰œ œœ ˙ 4 4 w ‰ poco accel.rit.

Œ ‰ j œ ˙

molto rit.

rit.

∑

U P

rit.

44 ‰ j 43 œ . œ œ œ œ œ œ œ œ œ

∑

a tempo poco accel.

rit.

3 4 œŒ œ œ‰ œœ œœ œ œœ œ ˙˙ J 43

3 4

4 4

rit.

4 3 4 œ˙ . œ œ ‰ œj 4 œ œ œ œ œ . œ ‰ œj œ œ œ œ 3 œ œ œ œ œ œ 4 ˙. ‰ J 4 4

a tempo

3 4

a tempo poco accel.

rit.

∑

Molto rubato e espressivo (q = ca. 66) rit. a tempo freely

### 3 & 4 ‰ œj œ œ œ œœ œ P ? # # # 3 ‰ œJ œ œ ˙ 4 °

Morten Lauridsen

3 4 œ œ œ œ œ œ Poco più mosso

œ 43

### &

V &

∑

### -

###

‰ œJ œ œ œ

œœ œ

ño,

re - po - sa

∑

œ. œ œ

∑

Tempo primo (q = ca. 66)

UF œ ‰ j

sue - ño

A - mor,

œ œœ œœ

###

### œ V

mor,

de - ben dor

u U

u̇

∑

4 œ œ œ 4 œ œœ

œ˙ . œ œ œ œ .

œ œ œœ œœ ˙.

∑ œ

˙œ˙ .. œ

œ œœ œœ

‰ j œ œ

mir a - ho - ra.

Gi - ra

∑

œ œ œ œ œ œ

do - lor, tra - ba

∑

rit.

### 4 V 4 œœ Œ e - das

rit. ### 4 & 4 wœw œ

∑

la no - che so - bre

F ‰ œj œ œ

y jun - toIa

e - res

pu - ra

‰ œj œ œ ˙ ? # # # 44 w

œœ œ

˙˙

co - moIel ám - bar

F ‰ œj œ œ ˙ w

43 Œ

Tempo primo rit.

‰ j œ ˙ U U

œœ

P U ‰ œj œ œ œ 43 ˙ .

4 4

œ œœ œœ

œ˙ . œ œ œ œ œ 4 4

Molto meno mosso

Meno mosso

œ œ œ œ œ Œ 43 œ œ œ œ mí

sus in - vi - si - bles ru -

Molto meno mosso

∑

a -

œ œ œ œ œ 43 œ œ œ œ œ . œ 44

3 4 Œ

Meno mosso

jos,

∑

###

### 4 & 4

‰ œj

œ œ œ œ œœœ œ œœœ œ œ œ œœœœ œœ F œœ œœ œ œ œ œ œ œ œ œ ˙ œ œœ œ œ œ œ œ

4 œ ˙ 3 œ œœ œ œ œ 4 4 œ œ œœ œœ œœ œ œ œ œ œœ œ œœ œ œ œœ f ? # # # œ œ œ œ œ œ 4 œ œ˙ .œ œ œ œ œ œw œ œ œ œ œ œ œ 3 4 œ œ œ œ 4 œ ˙. &

∑

Tempo primo (q = ca. 66)

rit.

? ### œ œ œ œ œ ˙. 18

rit.

œ œ

res

j Œ ‰ œ œ œ dor

Tempo primo rit.

œœ œœ œ œœ œ œœ œ œ

to Dana Gioia

Sure On This Shining Night James Agee

Morten Lauridsen Flowing, tempo rubato (q = ca. 72)

Soprano or Alto

Tenor or Baritone

a tempo

poco rit.

° bb b 3 & b b4

∑

4 4

∑

3 4

∑

bbb 3 b & b4 ¢ ‹

∑

4 4

∑

3 4

∑ a tempo

poco rit. Flowing, tempo rubato (q = ca. 72)

b 3 & b bbb 4

4 4 œ œ œ œ œ œ

3œ œ 4 œ œ œ œ œ œœœ œ œœ œ œ œ œ œ œ œ

Piano p espressivo

{

? bb b 43 œ œ œ b b ˙˙.. °

4 4œ œ œ ˙. °

œj œœ œ œ

œ œ 43 œ. œœ œ ° °

A 4

a tempo

rit.

° bb b & bb

∑

4 4

∑ mp

bb b ¢& b b ‹

∑

‰

Sure a tempo

rit.

bb & b b b œ˙

{

œj

œ œ

4 4 œ

this

shin - ing

4 4

œ œ

? b b œj bbb ˙

j œ

˙. œ œ œ˙. œ ˙. °

œ˙. œ ˙. °

4 4

poco rit.

° bb b 4 & b b4

∑

j bbb 4 b ‰ œ ¢& b 4 œ œ œ œ œ œ œ œ œ ‹ night of star - made shad - ows round,

∑

3 4

3 ‰ 4 œ œ j œ œ œ œ œ œ œ œ œ

kind - ness must watch for me this

side

the ground, on this

poco rit.

bb 4 &b b b 4

œ œ œ

{

œ œ

œœœ œ œœœ œ

œ œ ˙ œœ ˙ ° °

? bb b 44 œ œ œ b b ˙. °

œ œ

œ ˙ ˙˙

3 4 œ œ œœ œœ œ œ ˙ œ œJ œ œJ œ œ j j j œ 43 œ œ œœ œ˙ œ J œ

33 a tempo

rit.

a tempo

° bb 3 &b b b 4

4 4

∑

3 4

∑

bbb 3 œ œ 44 j œ b 4 & b œ œ ¢ œ œ œ ‹ shin -

3 . 4˙

’ j œ œ œ œ œ -

ing night, this

∑

a tempo

shin

a tempo rit.

b 3 & b bbb 4 œœ œ ? bb b 43 œ bb œ

{

œœ

œœœ

œ œ

œœ

4 4 œ˙. œ œ œj œœ œ 4 œj œ 4˙ ° °

3 4 ˙œœ œ œ œ œœœ œ

œœ œœ

œœ œ

œ 3 4 œœ œ œ ° °

a tempo

rit. rit.

° bb &b b b

∑

bb œ ¢& b b b ‹

œ œ -

∑

‰ œ

œ ing

œ œj

{

night. a tempo

rit.

œ œ

? bb b œ˙j bb

Œ ˙

rit.

bb & b b b œ˙

j œ

∑

œ œ °

œ˙. œ ˙. °

œœ

œ œ ˙ °

œœ °

œ œ

B a tempo 16

° bb b ‰ mp j 4 & bb œ œ œ œ œ 4 œ œ œ œ œ œ Sure on this shin -ing

‰ œj œ œ

night of star - made shad - ows round,

œ œ œ œ

kind - ness must watch for me this

bbb Œ b & b ¢ ‹

‰ œj œ œ 44 œ œ œ Sure on this

‰

shin - ing night,

œ œ

œ.

œ sure

on this

shin

œ J -

œ œ œ œ œ -

ing

a tempo

b 4 4 & b bbb œ œ œ œ œ œ œ œ œ œ œ œ œ

{

? bb b œ œ œ b b ˙˙.. °

4 4œ œ œ ˙. °

œœœ œ

œ˙ œ œ œ

œœ œ ˙˙ œ ° °

œ œ œ œ ˙˙ ˙ °