Softly, as in a Morning Sunrise

Softly, as in a Morning Sunrise is a song that Sigmund Romberg, composed to a text by Oscar Hammerstein II and in 1928 was for his operetta The New Moon. The song has become a pop and a jazz standard.

Features of the song

Softly, as in a Morning Sunrise is actually a song full of bitterness, in which a lost love is deplored. He compares the beginning and the end of love with the rising and setting of the sun. Consolation donates that the light of love is einniste again in the new day as smooth as the regular morning sunrise.

The song is written in the AABA song form. Decorated in A- minor parts each have a II-VI cadence. " In the B part of the motif of the A - part is processed imaginative "; while the jump from E-flat major seventh chord on C major seventh chord provides as well as the tritone for surprise and tension. Rhythmically reminiscent of the Song of the Argentinean tango.

Reception history

The piece was recorded by Nat Shilkret and the Troubadors with vocalist Franklyn Baur. Your recording reached number five on the American charts in 1929. Other recordings of the piece at first were not made.

The stage success of the New York version of the operetta led but to the fact that MGM 1931 film version of the play by Jack Conway with Grace Moore and Lawrence Tibbett sent to theaters, where the scene from New Orleans in the late 18th century was changed into the old Russia. 1940 remake of the film was presented in the Nelson Eddy and Jeanette MacDonald had the lead roles.

Only in 1938 was a version of Artie Shaw, in an arrangement by Jerry Gray, who opened the song the way forward as standard.

Important jazz versions

Few musicians of the older styles of jazz such as Joe Venuti or Bobby Hackett have recorded the song. The Modern Jazz Quartet took Softly as in the Morning Sunrise twice. It was in his version of the song in 1955 ahead of a fugal, which built on the Canon à 2 of Musical Offering. Relevant Hardbop versions played a Sonny Rollins (1957 ), Sonny Clark ( 1957) or Wynton Kelly ( 1959). Ron Carter recorded the song as a cellist with Eric Dolphy on ( 1961). In the same year John Coltrane interpreted the song on the soprano saxophone ( Live! at the Village Vanguard ); his version in turn influenced the organist Larry Young ( Unity, 1965) with Joe Henderson and Woody Shaw. In 1979, a Duoversion of Chet Baker and Wolfgang Lackerschmid ( Ballads for Two ), 1991 was the song for another conversation between Stan Getz and Kenny Barron. Hiromi Uehara increased in 2008, as well as Dave Weckl (1990 ) before a fusion version. Even singers like June Christy (1955), Abbey Lincoln (1958), Jenny Evans ( 1997), Jay Clayton ( with Don Lanphere, 1998) or Lisa Bassenge have taken the piece in their repertoire.

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