Abandoned Songs (Besset, Julian Raoul)

Contents

Performances

Recordings

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Synthesized/MIDI

Mooning Time (No.1)

For Bassoon and Piano

OGG file (audio)
Jurabe (2018/9/14)

Performers Composer
Publisher Info. Julian Raoul Besset, 2018.
Copyright
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The Scutch Fire Lament (No.10)

For Viola and Piano

MP3 file (audio)
Jurabe (2019/6/15)

Performers Composer
Publisher Info. Jurabe, 2019.
Copyright
Misc. Notes This arrangement is a prolongation of The Leaf Burners, the melodic line is this time taken up by the viola, with a few necessary adjustments, and is slightly extended.
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Sheet Music

Scores

PDF typeset by composer
Jurabe (2018/9/14)

PDF typeset by composer
Jurabe (2018/10/2)

Publisher. Info. Julian Raoul Besset, 2018.
Copyright
Misc. Notes Song no.1 was originally based on the poem The Rival by Sylvia Plath, but on deciding to take up this work again, owing to copyright limitations, the composer has put his own text to music without referring to his original manuscript. The music is therefore radically different, the only part retained was the opening four measures.

Song no.1a is a transcript of the original and very sketchy MS of the 1970s, based exclusively on the original poem, but associated with a second poem by the composer to allay copyright contingencies and written much later. Accordingly the song is retitled in the plural as befits the new (much inferior) text. The score is mostly bare of all interpretive markings save a tempo suggestion.

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PDF typeset by composer
Jurabe (2019/4/29)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes This second abandoned song proved impossible to salvage except for the opening 4 measures, again. Accordingly, it has been entirely recomposed. Longellow's poem revolves round the notion of silence, as initiated by the curfew bell, which would exclude it from being considered for a (noisy) music setting, but not more so than an opera solo lustily sung by a consumptive or dying hero(ine). The original manuscript is shown together with the complete new score.
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PDF typeset by composer
Jurabe (2019/5/1)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes This final version has corrected the first draft, dated 8th October 1971, but its closing measures which were unreadable, were recomposed; however, far less revision work was necessary than for nos.1 & 2.
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PDF typeset by composer
Jurabe (2019/5/10)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes This time, the attempt to copy the original version of the first stanza was abandoned in favor of a complete reconstruction. Only the original first measure was retained. The poem is sometimes less suitably called The World. Shortly after, a second, complete, undated and better version was found. Less labor was needed to revise the work, which therefore reveals the composer's style more closely in that period than the other version.
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PDF typeset by composer
Jurabe (2019/5/18)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes This song was put to music in two stages independently, only one of which was partly dated. The reason for this eludes me at this point, possibly due to a bout of absent-mindedness. The second version is probably the more successful as it better reflects the dirge-like character of the poem. Two lines by the composer were added when reworking the composition in order to balance the interplay between the voice and accompaniment.
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PDF typeset by composer
Jurabe (2019/5/21)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes Originally based on the poem Wants by Philip Larkin, replaced due to the copyright contingencies by the composer's own, much inferior, effort. This time at least, the song is completely reconstructed, the original lacked the closing line, and the ending was a mess anyway. In the process, the original song line has been modified entirely.
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PDF typeset by composer
Jurabe (2019/5/25)

Publisher. Info. Julian Raoul Besset
Copyright
Misc. Notes Only part of the first measure was retained for this recomposition, the rest, dutifully copied at first was deemed substandard and relinquished in favor of the present rendering, however one characteristic was maintained : the absence of time and key signatures. The composer's further wish would have been to do away with barlines as well, but this cannot be easily accomplished within his score editing program (Finale). The voice range (preferably soprano) is possibly irrealistic and may be termed theoretical.
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PDF typeset by composer
Jurabe (2019/5/29)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes This polytonal song has been reproduced unchanged except for the unsatisfactory second half. Interpretative indications have been added but no slurring and very few accents. The poem was set to music in the 70's in an abridged version as found in one of the class textbooks the composer then used as a teacher.
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PDF typeset by composer
Jurabe (2019/6/6)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes Like the preceding song, the style is predominantly polytonal, but this time the composition was found to be practically complete. It has been revised in the same way. A few passages have been excluded or rewritten, as best befitted the spirit of the (abridged) text. Again, time signatures, and also key signatures, as in the pictured manuscript, have been omitted.
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PDF typeset by composer
Jurabe (2019/6/15)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes This song has been completely recomposed, using the original first measure as a starting point. The rest of the felt tip written manuscript as pictured, proved too messy to be copied in its entirety, but its opening measures have been added as an afterthought and could serve as a comparison, or a foil.
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Arrangements and Transcriptions

Mooning Time (No.1)

For Bassoon and Piano

PDF typeset by composer
Jurabe (2018/9/14)

PDF typeset by composer
Jurabe (2018/9/14)

Publisher. Info. Julian Raoul Besset, 2018.
Copyright
Misc. Notes The bassoon part is an adaptation of the baritone part
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The Scutch Fire Lament (No.10)

For Viola and Piano

PDF typeset by composer
Jurabe (2019/6/15)

PDF typeset by composer
Jurabe (2019/6/15)

Publisher. Info. Julian Raoul Besset, 2019.
Copyright
Misc. Notes The song The Leaf Burners (No.10) is here slightly accommodated to be played on the viola, the composer having used that instrument to replace the vocal line when working at its reconstruction. The "scutch fire" in question is an allusion to Stanley Baldwin's heartfelt description of the English countryside in the olden days, where he remembers "(...) the smell of wood smoke coming up in an autumn evening, or the smell of the scutch fires (...)", this title transfer suggested itself on account of my reading S.B.'s evocation when a student.
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General Information

Work Title Abandoned Songs
Alternative. Title Reconsidered Lieder
Composer Besset, Julian Raoul
I-Catalogue NumberI-Cat. No. IJB 93
Movements/SectionsMov'ts/Sec's 9 pieces
1. The Rival (1970 ca.)
2. Curfew (1970s & 2019)
3. Echo (1971)
4. A Vision (Version 1. 1972 & 2019; Version 2. no date & 2019)
5. The Bourne (Versions 1 & 2 - 1972 & 2019)
6. Needs (undated & 2019)
7. Puritan Sonnet (1988 & 2019)
8. Life (n. d. & 2019)
9. The Bride (n.d. ca.1971, rev. 2019)
10. The Leaf Burners (1970s & 2019)
Year/Date of CompositionY/D of Comp. 1970-2019 (see listing)
First Publication. 2018, 2019
Librettist 1. Sylvia Plath (1932-1963) and Composer
2. Henry Wadsworth Longfellow (1807-1882)
3. Thomas Moore (1779-1852)
4. Henry Vaughan (1621-1695)
5. Christina Rossetti (1830-1894)
6. Composer J.R.B.
7. Elinor Wylie (1885-1928)
8. Anna Laetitia Barbauld (1743-1825)
9. John Suckling (1609-1642)
10. Ernest Rhys (1859-1946)
Language English
Composer Time PeriodComp. Period Modern
Piece Style Early 20th century
Instrumentation voice (or bassoon, or viola), piano

Misc. Comments

This segment is intended to serve as a 'reclaiming center' for those songs (as described in the composer's works list) that were abandoned at one point (before the advent of the personal computer) and never reconsidered. The composer intends to review those 'stumps' and eventually publish those that he believes are worthwhile. They will be numbered accordingly.