Alas I Mourn The Morning Dew

Alas I Mourn The Morning Dew


for unaccompanied (Mezzo-) Soprano Solo

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Expressing as much variety and expression that can be achieved from an ensemble with its variety of possible textures and timbres is possibly the greatest challenge for the composer of an unaccompanied Solo work, and even more for the performer. The text of this work is at the very core of the compositional ideas, and it should be the centre of interpretation for any performer who, almost like the poet himself, presents the story of this work like a narration, paraphrasing in musical ideas what is given in the text.  An unaccompanied work for solo voice, the performer can free from the boundaries of systematic tuning or temperament explore a free vocal intonation: Justly tuned intervals and nuances in vowel shapes (particularly in the long notes) that also have an effect on intonation can be really played with by the performer. I would like to encourage the singer to explore the differences between bright vowels /oo/, /aw/, /ah/ which have a tendency to lower the pitch in contrast to the darker vowels that often lower pitch. Special attention should be given to the second, third, and sixth scale degrees; they can vary from tempered intonation to a great degree when sung justly. Intonation and temperament that way becomes a tool for musical interpretation by the performer: just intonation can portray rest and relaxation while a Pythagorean intonation, for example, can express movement and tension more effectively. Intonation in leading-tones or ambiguous or chromatic movements can be deliberately tuned following careful interpretation.

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