Three Old Cat Songs
for medium-high voice and piano
“Three Old Cat Songs started as an innocuous and unserious song book about cats. However, as I dove further into research about the poets and poems, I realized there was room to make some meta-commentary about these poems through musical choices.
For example, Arthur Davison Ficke wrote his poem Opus 181 in a hyperbolically serious manner (as reflected in the title) as a response on the experimental nature of literature at the time. I tried to take this even further by setting his serious tone against a 12-tone pitch system. What was once an attempt at irony on Ficke’s part becomes a genuine example of the 1900’s experimental aesthetic, rendering his conservative view of literature meaningless.”
Performance time: approx. 8 minutes
Purchase includes a digital score and performance rights.
for medium-high voice and piano
“Three Old Cat Songs started as an innocuous and unserious song book about cats. However, as I dove further into research about the poets and poems, I realized there was room to make some meta-commentary about these poems through musical choices.
For example, Arthur Davison Ficke wrote his poem Opus 181 in a hyperbolically serious manner (as reflected in the title) as a response on the experimental nature of literature at the time. I tried to take this even further by setting his serious tone against a 12-tone pitch system. What was once an attempt at irony on Ficke’s part becomes a genuine example of the 1900’s experimental aesthetic, rendering his conservative view of literature meaningless.”
Performance time: approx. 8 minutes
Purchase includes a digital score and performance rights.
for medium-high voice and piano
“Three Old Cat Songs started as an innocuous and unserious song book about cats. However, as I dove further into research about the poets and poems, I realized there was room to make some meta-commentary about these poems through musical choices.
For example, Arthur Davison Ficke wrote his poem Opus 181 in a hyperbolically serious manner (as reflected in the title) as a response on the experimental nature of literature at the time. I tried to take this even further by setting his serious tone against a 12-tone pitch system. What was once an attempt at irony on Ficke’s part becomes a genuine example of the 1900’s experimental aesthetic, rendering his conservative view of literature meaningless.”
Performance time: approx. 8 minutes
Purchase includes a digital score and performance rights.
