Partition complète, Strange chansons, Robinson, Bill

Bill Robinson

Description

Jouez les partitions de musique Strange chansons partition complète, chansons, fruit du travail de Robinson, Bill. La partition de musique moderne dédiée aux instruments tels que:

• baryton
• SATBariB chœur
• orchestre

La partition propose 4 mouvements et l'on retrouve ce genre de musique classifiée dans les genres

• chansons
• pour voix, chœur mixte, orchestre
• pour voix et chœur avec orchestre
• partitions pour voix
• partitions pour baryton voix
• partitions chœur mixte
• partitions pour orchestre
• langue anglaise
• langue allemande

Redécouvrez de la même façon tout une collection de musique pour baryton, orchestre, SATBariB chœur sur YouScribe, dans la rubrique Partitions de musique variée.
Date composition: 2010
Edition: Bill Robinson
Durée / duration: 20 minutes
Libbretiste: Bill RobinsonLewis Carroll (1832-1898), translated by Robert Scott (1811-1887)

Sujets

• Modernité
• Orchestre
• Choeur
• Baryton
• Robinson

Informations

• Publié par: ROBINSON0
• Nombre de lectures: 41
• Licence : En savoir +
  Paternité, pas d'utilisation commerciale, partage des conditions initiales à l'identique
• Langue: EnglishDeutsch
• Poids de l'ouvrage: 1 Mo

Extrait

STRANGE SONGS
for Baritone, SATBariB Chorus,
and Orchestra

1979—Sept. 9, 2010 Duration: about 21 minutes

This is a collection of four vocal works; in the case of the first,
second, and fourth, these are much expanded from original chamber
versions during the summer of 2010.
In 2004, as I was about to graduate with a BS in physics from
NCSU, I wrote an odd little poem called I'm a Physicist and That's
Just Fine. Not long after, I set it for baritone and piano. The
arrangement here is much longer and more complex than the original
song.
I attended a macrobiotic meeting in Boston in 1979 where there
was to be an entertainment at the end given by attendees. I quickly
wrote Little Miss Nonfat as a composition that anyone who could read
music could perform; it was for spoken chorus in four parts. However,
my search for performers was in vain. This orchestral version is far
longer and more involved than the very simple original, which was
under two minutes long.
Lo these many years ago (over thirty, I believe) I read Martin
Gardner’s Annotated Alice, which included Robert Scott’s 1872
translation of Jabberwocky into German. Since then, Jabberwocky
has been translated into many languages, but to my ear, Scott’s is
the best, even better than the English original.
I knew at once that I would set Der Jammerwock to music, but
life intervened and it was not until the summer of 2005 that
composition started. Having heard the Czech Nonet in Raleigh, I
decided to write it for nonet and baritone; and as I had no surviving
orchestral works, this version for baritone and chamber orchestra.
The total time composing this short piece, from July 19, 2005 to
March 1, 2006, is exceptionally long, and indicates the peculiar
difficulty in composition.
In the summer of 2003, I was doing physics at the University of
Michigan at Ann Arbor, and decided to write a satirical song about the
decades of rejection I had suffered from musicians. Thus, I dedicated
it to the many musicians who gave me so much material from 1984
through 2005 by turning down my music because it was too easy, too
hard, too long, too brief, too classical, too popular, too modern, too
old-fashioned, too secular, too religious, too fast, too slow, too
serious, too humorous, they’re busy playing something else, or in
short, because I wouldn’t give them money. Thankfully, since 2006
things are much better and I have found some wonderful performers.

Bill Robinson

Publisher Parrish Press Raleigh NC First Edition Sept. 2010
billrobinsonmusic.com
Cover photo by Lon Cooper, 1975, of me in front of the NTSU library Der Jammerwoch I’m a Physicist and
That’s Just Fine Robert Scott

Es brillig war. Die schlichte Toven I’m a Physicist and that’s just fine—
Wirrten und wimmelten in Waben; It’s much better than a life of crime.
If you really want to see me sneer, Und aller-mümsige Burggoven
Just imply I’m an engineer. Die mohmen Räth' ausgraben.

I fuss with numbers transcendental; »Bewahre doch vor Jammerwoch!
When I was young they called me Die Zähne knirschen, Krallen kratzen!
mental. Bewahr' vor Jubjub-Vogel, vor
If it can’t be measured, it don’t Frumiösen Banderschnatzchen!«
exist—
In this here science, that’s the gist. Er griff sein vorpals Schwertchen zu,
We need evidence, with fame for Er suchte lang das manchsan' Ding;
finders. Dann, stehend unterm Tumtum Baum,
For spooky things, we’ve got on Er an-zu-denken-fing.
blinders—
Als stand er tief in Andacht auf,
UFOs and ghosts and prayer, Des Jammerwochen's Augen-feuer
Durch tulgen Wald mit Wiffek kam Hippies, preachers, tall blue
Ein burblend Ungeheuer! hair.

Eins, Zwei! Eins, Zwei! Und durch und I’m a skeptic, tried and true;
durch
My origin is Cosmic Goo.
Sein vorpals Schwert zerschnifer-schnück, I can calculate the odds,
Da blieb es todt! Er, Kopf in Hand, Which, though Zero, admit no Gods.
Geläumfig zog zurück.
I sit inside and study all day;
»Und schlugst Du ja den Jammerwoch? My eyes are dim, my skin is gray.
Umarme mich, mien Böhm'sches Kind! My way with women is legen-dary—
O Freuden-Tag! O Halloo-Schlag!« I’ll meet one someday, don’t mean
Er schortelt froh-gesinnt. maybe!

Es brillig war. Die schlichte Toven I’m a Physicist and that’s just fine— Wirrten und wimmelten in Waben;
It’s much better than a life of crime.
Und aller-mümsige Burggoven From Giga to Femto, from Cosmos
Die mohmen Räth' ausgraben. to Quark,
One man’s Genius is another man’s
Dork.
If Dork I must be, then Dork I must
be;
Original source (text slightly altered by Wilhelm The Answer to Everything is—
von Rubensohn): Twenty-three!
Scott, Robert. "The Jabberwock Traced to Its True
Source", MacMillan's Magazine, Feb 1872. Bill Robinson January 2004 Your counterpoint is sorry;
You wear a frown, What I Hear After
You’re zipper’s down--
Where is your Check? It’s tardy! Submitting a Score
Chorus: You wear a frown,
You’re zipper’s down--
Solo: Well-versed in matters Physical,
Your attitude is Mystical.
We cannot play without some Pay-- Solo: No funding is your excuse;
That, or your left Testicle. Your Music can find no use.
Chorus: We cannot play without some It’s as we feared,
Pay- You’re just too weird—
e. Your Score is in the Refuse!
Chorus: It’s as we feared,
You’re just too weird—
Solo: With claims to be Devotional,
Your morals are Contortional.
We cannot play without some Pay-- --Bill Robinson
And also Tips, proportional.
Chorus: We cannot play without some Performance notes
Pay-
All accidentals hold through
the measure and not beyond, and do

not apply to octaves. Solo: In Theory you’re a dumb-dumb;
When notes below low E are A Doctorate you have none.
written for the Double Basses, I We cannot sing without that thing
Called Money, in a lump sum. include a complimentary note an
Chorus: We cannot sing without that thing octave up to be played by those
without extensions.
This C score, without
transpositions, I find convenient; Solo: Your Music has no Power;
those conductors preferring a Your face is set to glower.
transposed score may contact me You’ve been to jail,
and I will make them a custom You’re going to fail—
You really need a shower! printing.
Chorus: You’ve been to jail, I wrote rather thick orchestration behind the baritone
You reallysoloist, with the assumption that

high-quality amplification would be
available and entirely appropriate. In Solo: You sometimes write for Trumpet;
the case of very small numbers of You’d rather have a Strumpet.
singers for the chorus, these singers We have your Score,
Now pay some more also may be amplified.
Or we shall surely dump it. In the case that a chamber
Chorus: We have your Score, performance is preferred, or an
Noorchestra is not available, it is

permissible to perform with the
vocal score and its two-piano
accompaniment. Solo: You want a pity party; [C score] STRANGE SONGS
[6:10]I. I'm A Physicist and That's Just Fine
Bill Robinson{q = 96} With Calculated Abandon1 4 ∑ ∑ ∑ ∑Piccolo 4&
œ œbœ bœ
1 œ b œ œ b œ4 J J∑  ‰  ‰ ∑2 Flutes & 4 f
1 œ œbœ bœ4 ∑  ‰  ‰ ∑œ œ2 Oboes & 4 œ œJ Jf
1 œ œbœ bœ4 œ œ∑  ‰ bœ  ‰ bœ ∑2 Clarinets & 4 J Jb in B f j jœ œ1 bœ bœ ‰  ‰4? ∑ ∑2 Bassoons 4 ∑ ∑f
1 ∑ ∑œ œœ œ? 41 ∑ ∑4 J J2 ‰  ‰ f
Horns in F j j
1 ‰ œ  ‰ œ  ∑bœ bœ? 43 ∑ w w œ44 Œ f
1 4 ∑ ∑ ∑ ∑2 Trumpets & 4b in B
1? 4 ∑ ∑ ∑ ∑2 Trombones 4
1? 4 ∑ ∑ ∑ ∑BTbn. 4
1? 4 ∑ ∑ ∑ ∑Tuba 4
Ÿ~~~~~~~~~~~? 4 Œ Timpani w œ œ œ œ œ œ œ œ œ4 œ œ œ œ œ œ œ œ>π f {q = 96} 1 With Calculated Abandon? 4Solo ∑ ∑ ∑ ∑4
Baritone
1 4 ∑ ∑ ∑ ∑Soprano & 4Chorus Alto
1 4Tenor ∑ ∑ ∑ ∑V 4
1? 4 ∑ ∑ ∑ ∑Baritone 4
Bass
bœœ œœ œ bœœ œ œ œ œbœ bœ bœ œ4 bœ∑ ‰  ‰ I & 4 J Jf
Violin unis.
div. j j4 œ œ∑ ‰ bœ  ‰ bœ  bœœ œ œ œII & 4 œ œ œ œ bœœ œ œbœ œ bœf bœœ œœ œœ œ œ œ4 bœ bœ bœB ∑ ‰  ‰  ŒViola 4 J Jf bœœ œœ œ? 4 œ œ œ œbœ bœ bœ∑ ‰  ‰  ŒVioloncello 4 J Jf
? 4 ∑ Œ w w œDouble Bass 4 f
© 2010I'm a Physicist
2
ƒ (roll "r")5 bœœ œ bœ œœ œ #œ œ nœ? œ #œ œbœ œ œ∑ œ œSolo
Bari.
I'm a Phys--i cist and that's just fine, It's much bet-ter than a life of crime.
˙ b˙#œ ˙ œ bœœœœ œ#œ œ œœ œ œ#œ œI & #œ
Vln. ˙ b˙#œ ˙ œ bœœII & œœ œ#œ œ œœ œ œ#œ œ#œ
bœbœ nœ œœ œ œbœ nœ jbœ nœ œB œ ‰Œ  ∑œ bœVla. œ œ.
.bœ jbœ nœ œ j.? œ œ œ #œbœ nœ bœbœ nœ œ ‰ ‰ ‰ ‰œ ‰ ‰œ œVc. .œ bœ œœ . bœœ œ. ..
. .jœ j. .? #œbœ∑ ‰ ‰ ‰ ‰œ ‰ ‰œDB œbœ. œ..
8 . . . .œ œ œ œ3 4 ‰ 2∑ ∑ ‰ ‰ ‰ ∑Fl. 1 & 4 4 J J 4f#œ œ#œ#œ .#œ œ œ.3 4 2#œ œ #œ∑ ‰ ‰ ‰ ‰ ‰ ‰ ‰b #œB Cl. 1 .& 4 4 œ #œ 4#œ œ ‰ œ. .#œ œ .#œ œ . jf . .œ œ. œ8 œ œ ‰ ‰ ‰Œ. .œ œ .? 3 4 2∑ ∑ ‰ ‰ ‰ ‰œ œ2 Bsn. 4 4 4œ ∑.œ.fŸ~~~~~~~~~~~~~~