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Carol Barnett
Carol Barnett (Beady Eyes)
Epitaph of Two Piping-Bullfinches of Lady Ossory’s, Buried under a Rose-Bush in her Garden (from Epigrams, Epitaphs)
A waltz, reminiscent of Brahms in texture, motives and harmonies.
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The Lady Who Offers Her Looking-Glass to Venus
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My Own Epitaph
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On the Setting up Mr. Butler’s Monument in Westminster Abbey
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On My First Son
SATB, 4-hand piano
Of the five movements, “Epitaph on Two Piping-Bullfinches of Lady Ossory’s, Buried under a Rose-Bush in her Garden” is the most obvious parody of the Brahmsian style, in keeping with the mock solemnity of the epitaph itself.
Composer’s Notes
Epigrams, Epitaphs was written for the Grand Rapids Area Community Chorus. Director James Clarke wanted a companion piece to Brahms Liebeslieder Waltzes, hence the piano four-hand accompaniment.
– Carol Barnett
Text
Epitaph on Two Piping-Bullfinches of
Lady Ossory’s, Buried under a Rose-Bush
in her Garden
All flesh is grass, and so are feathers too:
Finches must die, as well as I and you.
Beneath a damask rose, in good old age,
Here lies the tenant of a noble cage.
For forty moons he charmed his lady’s ear,
And piped obedient oft as she drew near,
Though now stretched out upon a clay-cold bier.
But when the last shrill flageolet shall sound,
And raise all dickybirds from holy ground,
His little corpse again its wings shall plume,
And sing eternally the self-same tune,
From everlasting night to everlasting noon.
On the Other Bull-finch, Buried in the Same Place
Beneath the same bush rests his brother–
What serves for one will serve for t’other.
– Horace Walpole, Earl of Orford (1717-1797)
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