2 Partsongs, Op.7 (Legge, Philip)

Free public domain sheet music from IMSLP / Petrucci Music Library
Jump to: navigation, search

Sheet Music

Scores

 1. Music, when Soft Voices die
#82417 - 0.12MB, 5 pp. -  3.0/10 2 4 6 8 10 (2- !N/!N/!N - 542x

PDF typeset by PML, using Sibelius
Philip Legge (2010/10/21)

 2. Jabberwocky
#82418 - 0.21MB, 6 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 362x

PDF typeset by PML, using Sibelius
Philip Legge (2010/10/21)

PML Jabberwocky.jpg
Editor:

Philip Legge (1972*)

Publisher Info.:

Joint Issue: IMSLP and CPDL, 21 October 2010

Copyright:

Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]

Misc. Notes:

Lyrics, notation (Sibelius) and sound (MIDI) files may be found at Choral Public Domain Library: Music, when Soft Voices die; Jabberwocky

Purchase:

Javascript is required for this feature.

Javascript is required to submit files.

General Information

Work Title 2 Partsongs
Alternative Title
Composer Legge, Philip
Opus/Catalogue Number Op. 7
Key E major; G major
Movements/Sections 2
Year/Date of Composition 2009–10
First Performance 22 October 2010
First Publication 2010
Librettist Percy Bysshe Shelley (1792–1822)
Lewis Carroll (1832–98)
Language English
Average Duration 7 minutes (4’ + 3’)
Piece Style Modern
Instrumentation SATB–SATB; Bass solo, SATB


Misc. Comments

Text for inclusion in programme notes

Music, when Soft Voices die, mainly written in August 2009, is a grave, intricate setting of a short poem in two stanzas by the romantic poet Shelley (1792–1822). The work is written for two SATB choirs, the second of which (marked semplice, or “simple”) holds long, sustained chords in the fashion of a drone, against which the voices of the first choir slowly weave dissonant and highly chromatic lines, producing dense chord clusters. The music, always specified to be quiet and calm, briefly becomes more active at the end of the first stanza as the first choir, followed by the second, seize on the phrase “within the sense they quicken”. After a short pause the second stanza begins almost at the same starting point as the first, but the exploratory chromatic harmonies of the first verse are gradually nullified, whereupon a diatonic canon takes over the first choir, during which the second choir disappears entirely. The last phrase ambiguously presents successive chords of C major, B major and G minor against the second choirs’ anchoring D major before the last chord tilts the ensemble up to the minor instance of the initial key of E.

Jabberwocky, written in the space of a few days in May 2010, is something of a mini-cantata version of Lewis Carroll’s famous poem from Through the Looking-Glass, in which the eponymous beast is hunted and slain by a young hero. The hero’s father has a singing rôle in verses 2 and 6, given to a solo bass and the entire tenor section respectively, which musically employ palindromic mirror-writing: in verse 2 the nervous, tremulous fear of the father is represented by an inflected, minor-key arabesque which is identical both forwards and backwards and is unsupported by ambiguous floating harmonies, whereas the triumphant hero’s return in verse 6 gives rise to an extroverted major-key scale passage: here the mirror version of the vocal line is inverted. The central verses 3, 4, and 5 vocally depict the dramatic action: long, loping phrases for the searching out of the foe in verse 3, followed by agitated semiquaver oscillations before the appearance of the whiffling and burbling Jabberwock in verse 4, which is duly dispatched by the heroic treble line in the next verse, ably abetted by the rhythmic hacking and galumphing of the underneath parts.

Verses 1 and 7 frame this little drama with Carroll’s best-known lines “’Twas brillig, and the slithy toves did gyre and gimble in the wabe: all mimsy were the borogoves, and the mome raths outgrabe.” Verse 1, not surprisingly, consists of musical mirror-writing and is presented as a short, fast, self-contained overture, to be heard once backwards (exactly like the curious backwards poem that Alice finds in Looking-Glass Land) and once forwards. In Verse 7, the same motif initially heard in the soprano part becomes a reversible two-part canon at the distance of half a bar, while the altos and basses sing a slow, non-retrogradable accompaniment to finish the work in subdued and elegaic fashion.

Personal tools
Variants
Actions
Navigation
Browse scores
Browse recordings
Participate
Other
For iPhone & iPad

Purchase

Toolbox
Associated with