Songs Of Glory

Songs of Glory

A Song Cycle

For Solo Soprano and Piano

From Poems by Walt Whitman

Contents:

I. A Perfect Pilot

II. On The Beach At Night, Alone

III. To You, Part I

~~Interlude~~

IV. A Noiseless Patient Spider

V. Beat! Beat! Drums!

VI. To You, Part II

Link to recordings

Just in anticipation of some notes I may recieve:

Yes, I have a soprano who can sing these. Yes, the piano parts are playable.

THE POEMS

I. The Perfect Pilot

What ship, puzzled at sea, cons for the true reckoning?

Or, coming in, to avoid the bars[…] a perfect pilot needs?

Here, sailor! Here, ship! take aboard the most perfect pilot,

Whom, in a little boat, putting off, and rowing, I, hailing you, offer.

II. On The Beach At Night, Alone

“On the beach at night alone,

As the old mother sways her to and fro, singing her husky song,

As I watch the bright stars shining—I think a thought of the clef of the universes, and of the future.”

A vast similitude interlocks all,

All spheres, grown, ungrown, small, large, suns, moons, planets, comets, asteroids,

All the substances of the same, and all that is spiritual upon the same,

All distances of place, however wide,

All distances of time—all inanimate forms,

All Souls—all living bodies, though they be ever so different, or in different worlds,

All gaseous, watery, vegetable, mineral processes—the fishes, the brutes,

All men and women—me also;

All nations, colors, barbarisms, civilizations, languages;

All identities that have existed, or may exist, on this globe, or any globe;

All lives and deaths—all of the past, present, future;

This vast similitude spans them, and always has spann’d, and shall forever span them, and compactly hold them, and enclose them.

III. To You, Part I

Whoever you are, now I place my hand upon you, that you be my poem;

I whisper with my lips close to your ear,

I have loved many women and men, but I love none better than you.

~~~~~~INTERLUDE~~~~~~~~~~

IV. A Noiseless Patient Spider

A noiseless patient spider,

I marked where on a promontory it stood isolated,

Marked how to explore the vacant vast surrounding,

It launched forth filament, filament, filament, out of itself,

Ever unreeling them, ever tirelessly speeding them.

And you O my soul where you stand,

Surrounded, detached, in measureless oceans of space,

Ceaselessly musing, venturing, throwing, seeking the spheres to connect them,

Till the bridge you will need be formed, till the ductile anchor hold,

Till the gossamer thread you fling catch somewhere, O my soul.

V. Beat! Beat! Drums!

1

Beat! beat! drums!—Blow! bugles! blow!

Through the windows—through doors—burst like a ruthless force,

Into the solemn church, and scatter the congregation;

Into the school where the scholar is studying;

Leave not the bridegroom quiet—no happiness must he have now with his bride;

Nor the peaceful farmer any peace, plowing his field or gathering his grain;

So fierce you whirr and pound, you drums—so shrill you bugles blow.

2

Beat! beat! drums!—Blow! bugles! blow!

Over the traffic of cities—over the rumble of wheels in the streets:

Are beds prepared for sleepers at night in the houses? No sleepers must sleep in those beds;

No bargainers’ bargains by day—no brokers or speculators—Would they continue?

Would the talkers be talking? would the singer attempt to sing?

Would the lawyer rise in the court to state his case before the judge?

Then rattle quicker, heavier drums—you bugles wilder blow.

3

Beat! beat! drums!—Blow! bugles! blow!

Make no parley—stop for no expostulation;

Mind not the timid—mind not the weeper or prayer;

Mind not the old man beseeching the young man;

Let not the child’s voice be heard, nor the mother’s entreaties;

Make even the trestles to shake the dead, where they lie awaiting the hearses,

So strong you thump, O terrible drums—so loud you bugles blow.

VI. To You, Part II

There is no endowment in man or woman that is not tallied in you;

There is no virtue, no beauty, in man or woman, but as good is in you;

No pluck, no endurance in others, but as good is in you;

No pleasure waiting for others, but an equal pleasure waits for you.

As for me, I give nothing to any one, except I give the like carefully to you;

I sing the songs of the glory of none, not God, sooner than I sing the songs

of the glory of you.

The Notes:

COMPOSER’S NOTES

Walt Whitman’s poetry displays a great deal of interconnectedness, and it was this aspect of his writing that I wished to capture in this song cycle. The first movement (A Perfect Pilot) is an invitation by the singer to the audience to follow her, as its guide, through the songs, and the

interconnected web that Whitman weaves. The second movement (On The Beach At Night, Alone) explains this interconnectedness in simple language, on a vast scale, weaving the entire network of connections between all things in the universe. The third movement (To You, Part I), is very personal, relating the audience to the singer. The Interlude is a chorale. Whitman’s poetry is highly mystical in its language and philosophy, and the chorale lends its holy solemnity to this atmosphere. The fourth movement (A Noiseless Patient Spider) describes a relationship between the singer and the universe, and therefore, each member of the audience and the universe. The fifth movement (Beat! Beat! Drums!) describes the enormity of a catastrophic event (in this case, war) in all aspects of life, tying together the audience and its actions. The final movement (To You, Part II), brings the cycle to a close by relating all the previously explored connections in a final proclamation of universal and personal interdependence, equality, and blessing.

PERFORMANCE NOTES

Dynamics throughout the cycle are relative. A forte in one movement may not be the same as a forte in another, depending on the purpose of that particular part. “Beat! Beat! Drums!” is especially notable for this; its purpose is to drive the text forward with continuous, sweeping intensity. Therefore, its forte may sound as much as a fortissimo in another movement. By the same token, the forte in the final movement may only be as loud as a mezzo-forte in another part. Through all the movements, the singer should try to emphasize the text as much as possible, for it is the foundation of the entire cycle. The singer should also make a personal connection with her audience, to draw them into the world of interdependence that Whitman has portrayed so well in his poetry.

perfectpilot.pdf

beachnightalone.pdf

whoeveryouare.pdf

interlude.pdf

npspider.pdf

beatbeatdrums.pdf

toyouII.pdf

review:

musically I have nothing to say, I enjoyed this very much.

the setting of the text to music, on the other hand, gives me much to question. I find far too many uncomfortable accents and rythmes, which seem to be almost anti-musical. Too many times my eye was drawn to peculiar moments of awkward prosody, accents on a passing "the", and other such items.

I am not personally a great fan of sprechgesang, and actually found the instances of it (for example in "Beat, Beat Drum") more off-putting and gratuitously "modern" than anything else.

I'd just like to add an acknowledgement to Mike, for help with formatting this post.

Thanks Mike!

review:

the setting of the text to music, on the other hand, gives me much to question. I find far too many uncomfortable accents and rythmes, which seem to be almost anti-musical. Too many times my eye was drawn to peculiar moments of awkward prosody, accents on a passing "the", and other such items.

Can you give me specific examples? I scanned the poems before setting them to melody, so I'm unsure as to why there are odd accents, unless it's a notational thing.

Can you give me specific examples? I scanned the poems before setting them to melody, so I'm unsure as to why there are odd accents, unless it's a notational thing.

well, minor examples, but bothersome none the less

in the first song, measure 8, "the" on the highest note of the phrase.

measure 13, the long "whom".

measure 14, again the highest note of the phrase on "lit-TLE".

I'm sure they may seem like minor compaints to you, and they're nothing really major, but they did stick out to my eye.

My personal preference is for a considerably more natural prosody. I like the text to flow as though it were being spoken. I know that's not everyone's style, but then, we ARE here asking people's opinions on our pieces.

Of course. I don't mean to challenge anything anyone says, I'm just asking for clarification.

I find it interesting that you look at agogic accents, where my emphatical standpoint looks to the meter for its accent.

Of course. I don't mean to challenge anything anyone says, I'm just asking for clarification.

I find it interesting that you look at agogic accents, where my emphatical standpoint looks to the meter for its accent.

I look to the sound of the words and the "normal" inflection of their pronunciation as a guide to their metrical accent. Words do not exist alone, but in context, at least to my perception.

I don't think what you did is wrong, and I don't want you thinking I'm trying to correct you. There are PLENTY of contemporary composers who set words to music in many different ways. I heppen to be one of those who feels that the music should bend itself to the will of the word, rather than the other way 'round.

Just to explain the two examples I noted, when speaking, I wouldn't naturally raise my voice on a "the" unless it actually WAS the highpoint of my phrase.

I bolded the syllables that seem natural to me:

This is the phrase I am singing

and in this case, the one that seems unnatural to me:

This is the phrase I am singing

(nota: unless one were SPECIFICALLY saying that THAT very phrase is the one I am singing)

Likewise with the word "little". I don't think I would let my voice rise on the second half of the word when saying it.

I hope that made my minor complaint a little clearer :P

Oh, absolutely. I understand what you mean entirely. I just think that it's really interesting how two different viewpoints of accent can make for completely different interpretations of rhythmic and melodic expression.

Oh, absolutely. I understand what you mean entirely. I just think that it's really interesting how two different viewpoints of accent can make for completely different interpretations of rhythmic and melodic expression.

as I said, I ALSO think your songs are wonderful musically!

If you are particularly interested in text settings, you might find it instructive to read up on how Strawinski set the English text in The Rake's Progress and the near-scandal it caused :P

Apparently his Russian text-settings are just as skewered as his English and Latin. He had a particular way of looking at text and music (which I, needless to say, do not share... not meaning he was wrong, it's just something I feel differently about).

English is a difficult language to set to music naturally. When spoken, it has very few pure vowels, and far too many nasal consonants. Even Russian, with its massive consonant-clusters, is less of a challenge to set to music.

Oh, I know ALL about how much English is a crap language for text-setting. It also has one of the most irregular metrical organizations of any language, EVER. I admire the English madrigalists so much for their ability to organize that in a consistent meter.

Thanks for the compliments on the music. Is there anything you can think of that needs cleaning in that area?

Chris, these pieces are beautiful. I've listened to the first three and wanted to stop and give some comments now. I like the coherent textural style that you have set up across the first three movements. It shows that these pieces are related, that they are all part of the same cyclic unit. And yet each of the three has its own distinct character, as it should, given that each of the poems is its own separate statement.

Unlike QC, I do not object to some of the seemingly contradictory accenting that you have placed on certain syllables throughout these pieces. There is no obligation for a composer to put every strong syllable on the highest or longest note of the phrase. On the contrary, often a prolonged high "and" or "the" on which the soprano must float before coming down to an accented word is a delightful musical effect; of course you must find the musicians that have the sensitivity to pull this off.

I think the main reason your text-setting works (to my ear) boils down to the fundamental rhythmic aspect in these pieces. You have set the text in a rhythmic style which, while free enough to follow the texts, still makes sense in terms of the underlying pulse. The rhythms of the soprano both define and contribute to your sense of what constitutes a musical phrase, as well as a literary thought. A good soprano and pianist will realize that the time signatures are rather arbitrary, and that it is the phrase, not some organized division of beats, that is the final arbiter of emphasis in this piece.

Have you considered removing time signatures altogether in these works? Samuel Barber and Olivier Messiaen did it for many of their piano pieces and vocal works, as did several other composers; such an idea is not practical for works with larger ensembles, but for the intimate medium of voice and piano I think it will actually increase the quality of any performances of this piece.

If there is any constructive criticism I have about these pieces, it is that I think you could have used more of the expressive potential of the piano in these first three movements. I say this with reservation because there is indeed a certain charm in the bare simplicity of your piano writing; however, in a lot of the climactic moments when the soprano is screaming out above the staff, I was aching to hear some running arpeggios or some scales or something that uses the less block-chordal textures of the piano. Another way of saying it is, why not let your piano writing come to more extreme climaxes and reposes? Because you certainly achieve this with your vocal writing. Of course, if your musical intuitions told you to write the piano part this way, then I wouldn't touch a note, but it is something to think about for future works involving the piano.

Also, whichever pianist you find to play this piece, make sure you take a quick glance at their hands before asking them to play! Some pianists do not have the reach of a tenth, and without that, you'll have to contend with a lot of rolled chords that you probably never intended. (If you're looking for a pianist at Oberlin, consider either InSoo Jung or Chien-Lin Lu; both were good friends of mine at Interlochen, and they are marvelous pianists and consummate musicians. Mention that you know Michael Alfera if you need a way to strike up a conversation. :-) ...And I think they both have big-enough hands.) Also make sure your soprano is a musician, and not just a singer. You know what I mean. Nothing in this piece is impossibly difficult to sing, but you want someone that will faithfully reproduce your notes, not just give approximations.

I will listen to the others soon, but I have been putting off getting to the piano all day long and I gotta go before it gets too late!

Have you considered removing time signatures altogether in these works? Samuel Barber and Olivier Messiaen did it for many of their piano pieces and vocal works, as did several other composers; such an idea is not practical for works with larger ensembles, but for the intimate medium of voice and piano I think it will actually increase the quality of any performances of this piece.

[...]

Also, whichever pianist you find to play this piece, make sure you take a quick glance at their hands before asking them to play! Some pianists do not have the reach of a tenth, and without that, you'll have to contend with a lot of rolled chords that you probably never intended.

Thanks for the suggestions.

I never considered removing time signatures. That might actually work really well, for most of the movements at least, and certainly the ones you listened to.

As far as pianists and tenths, I'd never ask any tenth that I didn't want blocked, rather than rolled. That is to say, when a tenth is marked unrolled, it means that a block is suggested, but a roll can, and should, be taken if necessary. When a tenth (or above) is marked as rolled, it means it MUST be rolled.

As a side note:

Joy Chen just told me that you two are good friends! Small world, isn't it?

Actually, an interesting story about the first time I read through this cycle with Sophie, my soprano:

I didn't even know it was possible to sing an extended Db6 pianissimo. But the first time we went through "To You, Part I" she sang that high Db light and floating, and pp. It was absolutely incredible.

So there's no real screaming above the staff, mostly due to the fact that Sophie's voice is kind of the most amazing I've ever heard.

Hi Chris,

I do not know anything about this style of music, but these songs are beautiful ;)

I especially like "To You, part II". Very nice.

"A Noiseless Patient Spider" was very interesting, I liked how when I read the poem and listened to the music they went together very well.

I listened to them all, very nice work! Sorry I don't have much to offer as far as advice or critique, just wanted to say I enjoyed listening. :D

Bravo, Chris! :whistling:

Thoghts on each individually:

Whoever You Are - I wasn't too sure about the constant texture at first, but later I realized how perfectly mesmerizing it was. Some of the best parts were the "that you be my poem" ones and also "but I love none better than you." Very interesting.

A Perfect Pilot - To me, this is an amazing description of sea, even if you didn't intend it to be so. I love the beginning, great mood to start the cycle, and very very enjoyable too.

On a Beach at Night Alone - WOW, I am speechless! Although the music is completely different, the way you aim at release at certain words is definitely Puccinian, and some lines sent chills down my spine, like "All souls". Also, the beginning completelu transported me to a nocturnal landscape. Perfect.

A Noiseless Patient Spider - Delightfully bizarre, almost grotesque. The right hand grace notes really made it unique. The "my soul" line and the ending were absolutely masterful.

Beat Beat Drums - Great characterization once more, especially the recurring drum figure, and the chaos you imply, but musically it didn't speak to me as strongly. I'm pretty sure it'll be much better live though.

To You Part II - I feel this is more majestic and less personal than Whoever You Are, and I *love* the harmony here. Great conclusion.

I really like the last movement. Seems like you have a knack for vocal music, eh?

Just curious - Do you mark the stress/float patterns on the text before you start setting it?

I really like the last movement. Seems like you have a knack for vocal music, eh?

Just curious - Do you mark the stress/float patterns on the text before you start setting it?

No - I speak each vocal line as I come to it, usually about three times. Then I sing the preceding line, and speak the current line in rhythm - which is just a slightly more artificial reading of the original speech pattern, about three times, again.

Stress patterns, when I mark them in, tend to actually make my text settings more artificial, and I want them to be, for the most part, very easy and speech-rhythmic.

Melodic contour is also based on the rhythm of speech, and more particularly, the natural pitch contour of the voice as it speaks.

On the beach at night alone -

I had a question about measure 40, is that an ossia for the voice (the small notes). I was curious, because later those high notes happen again only without an alternative (if that is what that means.)

You have some parallel fifths in these piece you should watch out for... (just kidding!)

Anyways, I liked the irregularity of the meter, esp ms 6-11, it went along with the texture you were using and definitely created a sense of metrical confusion. Although, the quarter-notey texture can become tiresome after a while, especially at this tempo. The changes in rhythm, for example ms 60 provide an overdue sense of relief to this 'wandering' although this may be what you intended.

On the beach at night alone -

I had a question about measure 40, is that an ossia for the voice (the small notes). I was curious, because later those high notes happen again only without an alternative (if that is what that means.)

Yes. When small notes occur simultaneously to large notes, it's an ossia. When they happen on their own, they're just graces and appogiaturas (but not so much appogiaturas).

You have some parallel fifths in these piece you should watch out for... (just kidding!)

I loves my fifths. So many chords to be made just by stacking them and moving them in different directions.

Anyways, I liked the irregularity of the meter, esp ms 6-11, it went along with the texture you were using and definitely created a sense of metrical confusion. Although, the quarter-notey texture can become tiresome after a while, especially at this tempo. The changes in rhythm, for example ms 60 provide an overdue sense of relief to this 'wandering' although this may be what you intended.

The piece is a meditation. The quarter-note texture is designed to allow the music to drift while driving the audience's attention to the text. I agree that on this particular rendition (not having text) the texture becomes very tiresome. I met with a soprano and had this sung through, and it came off very different, and my hope is that it will continue to do so.

I've listened through all the songs and I have to say I really enjoyed it. I can't say much more than that cause I don't know too much about contemporary music to be honest, but I liked it :D I thought the songs all had a different feel and it didn't become too abstract or too "unvaried" for me to like it.

It'd be fun to hear a real recording of it someday!

These are perfect. Wonderful. Performance worthy.

Yes, you are right in that having the actual words sung will make it very different, and give a whole new dimension that we can't actually hear yet! Sometimes I forget these things.

But you bring up a valid point, nonetheless. Sometimes the effect a composer WANTS and the effect a composer GETS are two very different things, so thanks for speaking up anyway.