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			David Stybr: Life and Afterlife: IV. Farewell (8:50)
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David Stybr: Engineer and Composer

It's Left Brain vs. Right Brain: best 2 falls out of 3

Life and Afterlife: Four Elegies for Soprano and Orchestra: IV. Farewell (8:50)

The Departed: Now I must leave you, Though it pains to bereave you. I must go. My time is come, When I must leave all that I love. Always remember That our love is an ember, And it glows among the Stars, As I watch you from above, my love. We walked the sands together, Our souls entwined forever. How we were happy then! My sands of time have come due. Now I, asleep, await you, Till we embrace again! In youth my wings were strong, I soared far and long, Attained my goals, and conquered Mountains, oceans, and the World seemed to be mine. Then I found the love of my life: Evermore as husband and wife. Now stronger still I sing Of joys love can bring. Oh blessed ring! For earthly glories fade, but love endures, Grows, and now my Heart is ever thine!

The first time I saw your face, The first time I felt your embrace, 'Twas Heaven's grace! Shed not a tear At my funeral bier, For my soul knows eternal light. Spring's breeze caresses It is I who you blesses Till you meet me in Paradise. Sorrow and grief are ended As our two souls are blended. Earth and Paradise become as one, As we two are one. Life is the Prélude To the great Afterlife, an étude. Now we must prepare, As eternity has just begun. The music of our soul Ever makes us whole. Because my key to joy is thee. Soon we shall reunite In Heaven's realm. Farewell my love.

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Right Brain: "This 4th and final movement of my song cycle was composed in December 2001 on the Garden Island of Kauai, perhaps the most beautiful in the entire Aloha State of Hawaii. How's about you tell us its musical and geographical history?"

Left Brain: "My music is often tri-thematic, with an Exposition in which the 3rd theme generally emerges out of the previous 2. Development and growth continue throughout the entire work. For example, Theme II grows from an ascending phrase in Theme I. Most surprising in retrospect, Theme III is based on an inversion of the 1st phrase of Theme II, plus the 2nd phrase of Theme I. Originally my lyrical cantabile Theme III was slated for development, however it proved to be the result, not the source, of development. The central Development section deals with Theme I and the quasi-Baroque accompaniment of Theme III. Twice it also briefly recalls the main theme of the 1st movement of this song cycle. After a varied Recapitulation of themes, the work ends with a serene Coda."

Right Brain: "It's tonal music, but some phrases modulate into distant keys almost from bar to bar. After episodes in G Minor, B-Flat Major and B Minor, the piece shifts to D Major, but concludes in a radiant G Major. The woodwinds and brass are big players. Strings are important, but theirs is mostly a supporting rôle, with plenty of long resonant chords. The episodes for string quintet and wind quintet are nice touches."