Occasionally composers have made more than one use out of a particular tune during their lifetime, often in a different guise. 'New Tomorrows' was a song I wrote back in 1974, but the melody has often suggested an alternative instrumental treatment. Whilst the original was for soprano, I felt that the singing quality of the cello would be ideally suited, and the wider range gave me some opportunities to embellish the original setting. Whilst not intended to copy Fauré's similarly-named work for ... (more)

Occasionally composers have made more than one use out of a particular tune during their lifetime, often in a different guise. 'New Tomorrows' was a song I wrote back in 1974, but the melody has often suggested an alternative instrumental treatment. Whilst the original was for soprano, I felt that the singing quality of the cello would be ideally suited, and the wider range gave me some opportunities to embellish the original setting. Whilst not intended to copy Fauré's similarly-named work for the instrument, I just thought that Elegy was a fitting title for this essentially 'sad' melody in the minor key.

There is now an alternative version for Euphonium/Baritone.

All Reviews

There are 2 reviews for this score

Not exactly what I'd call an elegy, but. . .
This is quite a stunning piece, and I am happy that you chose the cello (my instrument) to carry the melody; the piece is well suited for the cello's range and tone. However, I would be hesitant to call this an elegy: while many aspects of it are indeed melancholy, it lacks the solemnity, weight, and structure that I believe define the elegy. Perhaps a more suitable title would be "rhapsody" or "song without words" to more accurately summarize the qualities of the piece. This is really only a knit-picky issue; I mention it only because the title of a piece can sometimes create expectations in the listener before the piece is played, and thus can be disconcerting if its content does not match the listener's predictions. Otherwise, it is a wonderfully conceived piece. I really like the lyrical feel to the cello line, and you really explore what the instrument has to offer.

Nick Hersh

Elegant Elegy
This melody longs to be sung by any instrument. The composer's choice of violincello is most satisfying. But it's the strength of the melody and well thought out accompaniment that makes it so accessible. Many instrumentalists forget to sing on their instrument. This piece would help them in that direction. Originally composed for voice, I can't help thinking that the purity of melody sans lyrics longs to stand alone. Many singers fail to play music with their voice. They simply sing. "Elegy" represents pure and good music that would manage to surface in either camp.

Richard McKinney