Dear Emily (1973)

Abstract

Alison Bauld’s tremendous flair and feeling for the theatre, based on professional experience as an actress, is evident in all her works. The musical idiom is extremely straightforward. Many modern conventions of notation are used. In the passages without time signatures time is indicated in seconds (which need not be timed with a stop-watch), giving the performer extra freedom. There are various styles of delivery, including pitched speech and half singing. A modicum of theatrical props is needed: a writing-table and a lamp (or candles, if fire regulations allow). The singer takes the role of Augusta, an Austen-like character who writes a diary entry to her imaginary friend Emily, complaining of a problem with an unwanted suitor. She breaks off from her writing to muse and sing her song, Never seek to tell thy Love by Blake, and ends by signing the letter in a resigned manner. This poignant and delicately gauged piece is sensitive in its understatement. Audiences are certain to find it refreshing and it would make a delightful surprise item in a programme. It is a perfect vehicle for a young singer who wishes to try some music theatre in an advanced idiom without being stretched vocally. A good sense of pitch and strong breath control are essential. Although the notation allows a degree of freedom, the vocal effects are precisely conceived and all nuances, dynamic markings and verbal inflections must be closely observed. A Regency style of dress would be appropriate for the singer.