Nightingale Incorporated

My biggest problem with this piece is simply the setting of the text. I think it is probably more difficult to set a text that is so well known. Certain problems are sure to creep up on you. For instance, if a piece is known so well to the point that everyone has it memorized, the setting might have a tendancy to be rhythmic and choppy. Or it could be difficult to decide on an interpretation since there are so many available. Regardless, popular text like the one you've chosen will either be the greatest asset or the downfall of this setting.

In strictly a poetic sense, you the composer must make some decisions of your own in regards to interpretation. What are your thoughts when reading this poem. Do you actually think it's about an indecisive hiker? If the entire scene is based on choosing to traverse one path as opposed to another, then the poem shouldn't really have to be so long at all. Do you think the path is a metaphor for life, and the pass he comes to is like a crucial turning point for him? This is a popular interpretation of this poetry, and is almost as trite as the poem itself. You might decide on an interpretation that is unique to you. The only thing left to do then is express your interpretation through song.

Now let's talk about some really basic things. Whenever you work with a language (foreign or domestic) you have to be sensitive to the way the words are formed and how the poet chose them, and the order in which he chose to place them. The first thing you should do is lay out the text in front of you. Not in line and stanze form, but in one continuous line of text. Read through it and underline the strong syllables in the text. Then go through and find all the words that lead into the words that follow them. Do it a few times and consider different inflections and how they change the meaning of the text. You have to be completely familiar with the poetry in every way before you set pen to paper (or rather, notes to staff).

I notice that there are quite a few awkward usage of text that were more inflected by the music than the music was inflected by the text. For instance, the appagiatura on "long I stood". A better mellisma would be "long I stood" because English speakers tend to linger more on the word "long" than on the word "stood". Also, beat three is a stronger beat in 3/4 than beat 2. So resolving the appagiatura on a strong beat will sound odd unless you are striving for an effect. Similar in measure 49 you have "the passing there" with the emphasis on the word "the" which is actually one of the least important words in this poem. A much more important word is "passing", so "the passing there" with "the" on beat 3 preceeding the measure, and a mellisma on "passing" would suit quite nicely. Same thing in the next measure "had worn them" would be better than "had worn them".

I hope that makes some sense. Often thimes poetry is less about the words you say and more about the way you say them. Haphazardly placing words to notes will only set your singers up for failure.