Surrender The Unexpected Songs – 1995

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Album Information – with tracks  Released 1995 CD Album Europe 3145277022

Surrender

1. SURRENDER”
2. UNEXPECTED SONG
3. CHANSON D’ENFANCE
4. TELL ME ON A SUNDAY
5. NOTHING LIKE YOU’VE EVER KNOWN”
6. MACAVITY: THE MYSTERY CAT
7. GUS: THE THEATRE CAT
8. PIANO
9.EVERYTHING’S ALRIGHT
10.THE LAST MAN IN MY LIFE
11.PIE JESU
12.AMIGOS PARA SIEMPRE
13. NO LLORES POR Ml ARGENTINA
14. GUARDAMI (WITH ONE LOOK)
15.THERE IS MORE TO LOVE
16. WISHING YOU WERE SOMEHOW HERE AGAIN
17. THE MUSIC OF THE NIGHT

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Surrender Promo Video

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Surrender – info from inside CD

I first worked with Sarah Brightman in 1980 when she joined the original cast of CATS. I was always very impressed by the potential of her voice and began writing for her in 1983.

Sarah and I were married between 1984 and 1990 and during that time Sarah created the original role of Christine in THE PHANTOM OF THE OPERA and premiered the soprano role in REQUIEM. She created “The Music of Andrew Lloyd Webber” in the United States and subsequently went on to play the role of Rose in ASPECTS OF LOVE, both in London and New York to critical acclaim.

I continue to have a very high regard for her growing talent as a singer. Over the past three years we have developed this album, which either features songs that have never been recorded to my satisfaction before, or different versions of songs that are better known.

ANDREW LLOYD WEBBER

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Surrender

Music by Andrew Lloyd Webber. Lyrics by Don Black & Christopher Hampton. From SUNSET BOULEVARD (1993)

This is a recurring theme in SUNSET BOULEVARD, here expanded as a complete song in its own right.

No more wars to fight
White flags fly tonight
You are out of danger now
Battle field is still
Wild poppies on the hill
Peace can only come when you surrender
Here the tracers fly
Lighting up the sky
But I’ll fight unto the end
Let them send their armies
I will never bend
I won’t see you now till I surrender
I’ll see you again when I surrender

Battle field is still
Wild poppies on the hill
Peace can only come when you surrender
Here the tracers fly
Lighting up the sky
But I’ll fight unto the end
Let them send their armies
I will never bend
I won’t see you now till I surrender
I’ll see you again when I surrender

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The Unexpected Song

Music by Andrew Lloyd Webber. Lyrics by Don Black. From SONG AND DANCE (1982)

This was originally written as Variation 5 of VARIATIONS (1970s), but when this was combined with TELL ME ON SUNDAY as SONG AND DANCE, lyrics by Don Black were set to it for its television premiere by Sarah Brightman in 4984.

Although a highlight of Sarah’s concert programme, it has never been recorded with a full orchestra.

For once I’m lost for words
Your smile has really thrown me
This is not like me at all
I never thought I’d know
The kind of love you’ve shown me

Now, no matter where I am
No matter what I do
I see your face appearing
Like an unexpected song
An unexpected song
That only we are hearing

I don’t know what is going on
Can’t work it out at all
Whatever made you choose me
I just can’t believe my eyes
You look at me as though
You couldn’t bear to lose me

Now, no matter where I am
No matter what I do
I see your face appearing
Like an unexpected song
An unexpected song
That only we are hearing

I have never felt like this
For once I’m lost for words
Your smile has really thrown me
This is not like me at all
I never thought I’d know
The kind of love you’ve shown me

Now, no matter where I am
No matter what I do
I see your face appearing
Like an unexpected song
An unexpected song
That only we are hearing

Like an unexpected song
An unexpected song
That only we are hearing

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Chanson d’enfance

Music by Andrew Lloyd Webber. Lyrics by Don Black and Charles Hart. From ASPECTS OF LOVE (1989)

This is the Pyrenean theme from ASPECTS OF LOVE, expanded with a new section composed this year with the proposed film of the musical in mind. Sarah Brightman had a major critical success both in London and on Broadway as Rose in this production.

Chanson d’enfance

Pas de tendresse
Et pas de joie,
Loin d’ici,
Loin de toi.

Rien de plus triste
Que mes soupirs,
Lorsque vient le jour
Ou il me faut partir.

Chanson d’enfance,
Tu vis toujours dans ma coeur.
Toi, la plus douce!
Toi, la plus tendre!

C’est la chanson
Qui dit toujours:
Dans ton esprit
Je vis toujours.

C’est la chanson
Qui dit toujours:
Dans ton esprit
Je vis toujours.
Song of childhood

Empty of tenderness
And empty of joy,
Faraway from here,
Faraway from you.

Translation

Nothing of more sadness
Than my sighs,
When the day comes
That I must leave.

Song of childhood,
You live always in my heart.
You, the most sweet!
You, the most tender!

It’s the song
That always says:
In your spirit
I will live forever.

It’s the song
That always says:
In your spirit
I will live forever.

translation from Jos Van Geffens website
http://josvg.home.xs4all.nl/cits/sb/sb203.html

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Tell me on a Sunday

Music by Andrew Lloyd Webber. Lyrics by Don Black. From TELL ME ON A SUNDAY (1979) / SONG AND DANCE (1982). 

The title song of the one-woman show, this is recorded here with a full orchestra by Sarah for the first time.

Don’t write a letter when you want to leave
Don’t call me at 3 a.m. from a friend’s apartment
I’d like to choose how I hear the news
Take me to a park that’s covered with trees
Tell me on a Sunday please

Let me down easy
No big song and dance
No long faces, no long looks
No deep conversation
I know the way we should spend that day
Take me to a zoo that’s got chimpanzees
Tell me on a Sunday please

Don’t want to know who’s to blame
It won’t help knowing
Don’t want to fight day and night
Bad enough you’re going

Don’t leave in silence with no word at all
Don’t get drunk and slam the door
That’s no way to end this
I know how I want you to say goodbye
Find a circus ring with a flying trapeze
Tell me on a Sunday please

Don’t want to fight day and night
Bad enough you’re going
Don’t leave in silence with no word at all
Don’t get drunk and slam the door
That’s no way to end this
I know how I want you to say goodbye

Don’t run off in the pouring rain
Don’t call me as they call your plane
Take the hurt out of all the pain
Take me to a park that’s covered with trees
Tell me on a Sunday please

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Nothing Like You’ve Ever Known

Music by Andrew Lloyd Webber. Lyrics by Don Black. From TELL ME ON A SUNDAY (1979) / SONG AND DANCE (1982) 

Another song from TELL ME ON A SUNDAY, here included with an orchestration by the late Larry Wilcox. It is the first time the orchestration has been played or recorded.

Nothing like you’ve ever known
That’s the life I thought that I was gonna show you
Lonely girls believe such things
That’s one happy ever after that I owe you
Married man always looking at
You watch
I wanted to spend more time than twelve till two
Loving you
And nothing like it should have been
Every time I think it’s gonna be the last time
Each time I expect to much
Being wrong can get to be a painful pastime

Something new that is all it was
You know
But when you need someone any love will do
Sad but true
And nothing like we’ve ever known
That is how I thought all our tomorrows would be
I thought we were all we’d need
Goes to show you just how wrong two people could be

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Macavity: the Mystery Cat

MACAVITY: THE MYSTERY CAT” Music by Andrew Lloyd Webber. Text by T. S. Eliot. From CATS (1981)

Written for CATS, Sarah and I wanted to include this song to show a completely different side of her voice.

Macavity’s a mystery cat, he’s called the hidden paw
For he’s the master criminal who can defy the law
He’s the bafflement of Scotland Yard, the Flying Squad’s despair
For when they reach the scene of crime Macavity’s not there!

Macavity, Macavity, there’s no one like Macavity
He’s broken every human law, he breaks the law of gravity
His powers of levitation would make a fakir stare
But when you reach the scene of crime Macavity’s not there!
You may seek him in the basement, you may look up in the air
But I tell you once and once again Macavity’s not there!

Macavity’s a ginger cat, he’s very tall and thin
You would know him if you saw him for his eyes are sunked in
His brow is deeply lined with thought, his head is highly domed
His coat is dusty from neglect, his whiskers are uncombed
He sways his head from side to side with movements like a snake
And when you think he’s half asleep, he’s always wide awake

Macavity, Macavity, there’s no one like Macavity
For he’s a fiend in feline shape, a monster of depravity
You may meet him in a by-street, you may see him in the square
But when a crime’s discovered then Macavity’s not there!

He’s outwardly respectable, I know he cheats at cards
And his footprints are not found in any files of Scotland Yard’s
And when the larder’s looted or the jewel case is rifled
Or when the milk is missing or another peke’s been stifled
Or the greenhouse glass is broken and the trellis past repair
There’s the wonder of the thing Macavity’s not there!

Macavity, Macavity, there’s no one like Macavity
There never was a cat of such deceitfulness and suavity
He always has an alibi and one or two to spare
What ever time the deed took place Macavity’s not there!

And they say that all the cats whose wicked deeds are widely known
I might mention Mungojerrie, I might mention Griddlebone
Are nothing more than agents for the cat who all the time
Just controls the operations: the Napolean of crime!

Macavity, Macavity, there’s no one like Macavity
He’s a fiend in feline shape, a monster of depravity
You may meet him in a by-street, you may see him in the square
But when a crime’s discovered then Macavity
Macavity, Macavity, Macavity

When a crime’s discovered then Macavity’s not there!

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Gus: the theatre cat – with Sir John Gielgud

Music by Andrew Lloyd Webber. Text by T.S.Eliot. From CATS (1981).

This is another song that has been in Sarah’s concert repertoire for a long time. We had the exciting opportunity of working with Sir John Gielgud on this occasion.

Sarah
Gus is the cat at the theatre door
His name, as I ought to have told you before
Is really Asparagus, but that’s a fuss to pronounce
That we usually call him just Gus
His coat’s very shabby, he’s thin as a rake
And he suffers from palsy that makes his paw shake
For he was in his youth quite the smartest of cats
But no longer a terror to mice or to rats

For he isn’t the cat that he was in his prime
Though his name was quite famous, he says, in his time
And whenever he joins his friends at their club
(Which takes place at the back of the neighbouring pub)
He loves to regale them, if someone else pays
With anecdotes drawn from his palmiest days
For he once was a star of the highest degree
He has acted with Irving, he’s acted with Tree
And he likes to relate his success on the halls
Where the gallery once gave him seven cat calls
But his grandest creation as he loves to tell
Was Firefrorefiddle, the fiend of the fell
Sir John
I have played in my time every possible part
And I used to know seventy speeches by heart
I’d extemporize backchat, I knew how to gag
And I knew how to let the cat out of the bag
I knew how to act with my back and my tail
With an hour of rehearsal, I never could fail
I’d a voice that would soften the hardest of hearts
Whether I took the lead, or in character parts
I have sat by the bedside of poor little Nell
When the curfew was rung then I swung on the bell
In the pantomime season, I never fell flat
And I once understudied Dick Whittington’s cat
But my grandest creation, as history will tell
was Firefrorefiddle, the fiend of the fell
Sarah
Then, if someone will give him a toothful of gin
He will tell how he once played a part in East Lynne
At a Shakespeare performance he once walked on pat
When some actor suggested the need for a cat
Sir John
And I say now these kittens, they do not get trained
As we did in the days when Victoria reigned
They never get drilled in a regular troupe
And they think they are smart just to jump through a hoop
Sarah
And he says as he scratches himself with his claws
Sir John
Well the theatre is certainly not what is was
These modern productions are all very well
But there’s nothing to equal from what I hear tell
That moment of mystery when I made history
As Firefrorefiddle, the fiend of the fell

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Piano – Memory – Italian version

Music by Andrew Lloyd Webber, original lyrics by Trevor Nunn after T.S. Eliot, Italian lyrics by Roberto Ferri. From CATS (1981).

Best known as “Memory” in CATS and premiered for a lower and very different voice than Sarah’s in that show, it was originally composed for an idea I had to write a short opera about the rivalry of the composers Leoncavallo and Puccini on the subject of La Boheme. Leoncavallo’s version opened to good reviews. Puccini’s did not and was an instant hit. There is not space to go into here what the role of this melody would have been if I had ever finished the piece, but suffice it to say that those who observe that “Memory” is Pucciniescjue are dead right. It was meant to be. The Italian translation gave us a chance to record the song in the way it might have been scored if the original idea had been completed.

 

Piano questi passi d’amore
Sulla strada del cuore
Che mi porta da te
Soffia il vento del tempo
Questa notte che va
Sempre qui ci troverà

Piano senza fare rumore
Gira il mondo le ore
Quanta fretta che ha
Un ricordo domani
Questa notte sarà
Sempre qui poi tornerà

Nasce il sole
Che cosi
Ci troverà abbracciati
La sua mano
Sulla porta piano
Spalanca il cielo al mattino

Giorno mentre arriva l’inverno
Un fedele ritorno
La sua neve cadrà
E la notte più chiara
Questa sera sarà
Quando il buio scenderà

Nasce il sole
Che cosi
Ci troverà abbracciati
La sua mano
Sulla porta piano
Spalanca il cielo al mattino

Forte e lo voglio gridare
Questo amore più forte
Questa notte sarà
Quante volte
Nel letto si è svegliato con me
Questo amore è per te

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Everything’s Alright

Music by Andrew Lloyd Webber. Lyrics by Tim Rice. From JESUS CHRIST SUPERSTAR (concept album 1970, first performed 1971).

Another song that has been part of Sarah’s concert programme over the last few years.

Mary Magdalene (Sarah Brightman)
Try not to get worried
Try not to turn on to
Problems that upset you
(oh) Don’t you know
Everything’s alright
Yes everything’s fine
And we want you to sleep well tonight
Let the world turn without you tonight
If we try
We’ll get by
So forget all about us tonight
Apostles’ Women
Everything’s all right
Yes everything’s all right yes
Mary Magdalene
Sleep and I shall soothe you
Calm you and anoint you
Myrrh for your hot forehead
(oh) Then you’ll feel
Everything’s all right
Yes everything’s fine
And it’s cool and the ointment’s sweet
For the fire in your head and feet
Close your eyes
Close your eyes
And relax
Think of nothing tonight
Apostles’ Women
Everything’s all right
Yes everything’s all right yes
Judas (Gary Martin)
Woman your fine ointment
Brand new and expensive
Could have been saved for the poor
Why has it been wasted?
We could have raised maybe
Three hundred silver pieces or more
People who are hungry
People who are starving
They matter more
Than your feet and hair
Mary Magdalene
Try not to get worried
Try not to turn on to
Problems that upset you
(oh) Don’t you know
Everything’s all right
Yes everything’s fine
And we want you to sleep well tonight
Let the world turn without you tonight
If we try
We’ll get by
So forget all about us tonight
Apostles’ Women
Everything’s all right
Yes everything’s all right yes
Jesus (Bogdan Kominowski)
Surely you’re not saying
We have the resources
To save the poor from their lot?
There will be poor always
Pathetically struggling
Look at the good things you’ve got!
Think
While you still have me
Move
While you still see me
You’ll be lost
You’ll be so, so sorry
When I’m gone
Mary Magdalene
Sleep and I shall soothe you
Calm you and anoint you
Myrrh for your hot forehead
(oh) then you’ll feel
Everything’s alright
Yes everything’s fine
And it’s cool and the ointment’s sweet
For the fire in your head and feet
Close your eyes
Close your eyes
And relax
Think of nothing tonight
Apostles’ Women & Mary Magdalene
Close your eyes
Alose your eyes
And relax
Think of nothing tonight
Men
Everything’s all right
Yes everything’s all right yes
(The last verses are repeated several times)

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The Last Man in My Life

Music by Andrew Lloyd Webber. Lyrics by Don Black. From SONG AND DANCE (1982).

Another song from TELL ME ON A SUNDAY and another highlight of Sarah’s concert programme. It too has not previously been recorded with its full orchestration.

I’m a lady when you kiss me,
I’m a child when you are leaving,
I’m a woman ev’ry time our bodies meet
complete.

Long lost feelings stir inside me,
used to think nights were for sleeping,
being wanted is a thrill I never knew
till you.

Now I’m alive, inside I’m glowing,
I’m how I want to be,
loving you I can be me,
just me.

It’s the first time when you touch me,
now I long for rainy mornings,
I am certain you’re the last man in my life.

I’m a woman ev’ry time our bodies meet
complete.

Long lost feelings stir inside me,
used to think nights were for sleeping,
being wanted is a thrill I never knew
till you.

Now I’m alive, inside I’m glowing,
I’m how I want to be,
loving you I can be me,
just me.

It’s the first time when you touch me,
now I long for rainy mornings,
tell each other to find all we’re looking for
and more.

Found the rainbow I was after,
no more dreams with one face missing,
I am certain you’re the last man in my life.

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Pie Jesu

Music by Andrew Lloyd Webber. From REQUIEM (1985).

This is the original recording from REQUIEM. I find it interesting to hear how much Sarah’s voice has changed in the last ten years.

Sarah
Pie Jesu, pie Jesu, pie Jesu, pie Jesu
Qui tollis peccata mundi
Dona eis requiem, dona eis requiem

Paul
Pie Jesu, pie Jesu, pie Jesu, pie Jesu

both
Qui tollis peccata mundi
Dona eis requiem, dona eis requiem

choir
Agnus Dei, Agnus Dei, Agnus Dei, Agnus Dei

both
Qui tollis peccata mundi
Dona eis requiem, dona eis requiem

choir
Dona eis requiem

both
Sempiternam
choir
Dona eis requiem

both
Sempiternam
Sarah
Requiem

Paul
Sempiternam
English Translations

Merciful Jesus,
who takest away the sins of
the world, grant them rest.

o Lamb of God, who takest away
the sins of the world,
grant them eternal rest.

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Amigos Para Siempre with José Carreras

Music by Andrew Lloyd Webber, Lyrics by Don Black. Official theme song for the Barcelona Games, 1992.

 This song was commissioned from me as the theme tune to the Olympic Games held in Barcelona in 1992 and performed live by Sarah Brightman and Jose Carreras at the closing ceremony, which was watched by a TV audience of 1.2 billion.

Sarah
I don’t have to say
A word to you
You seem to know
Whatever mood
I’m going through
Feels as though
I’ve known you forever

José
You
Can look into my eyes and see
The way I feel
And how
The world is treating me
Maybe I have known you forever

both
Amigos para siempre
Means you’ll always be my friend
Amics per sempre
Means a love that cannot end
Friends for life
Not just a summer or a spring
Amigos para siempre

I feel you near me
Even when we are apart
Just knowing you are in this world
Can warm my heart
Friends for life
Not just a summer or a spring
Amigos para siempre

Sarah
We share memories
I won’t forget
And we’ll share more,
My friend,
We haven’t started yet
Something happens
When we’re together

José
When
I look at you
I wonder why
There has to come
A time when we must say goodbye
I’m alive when we are together

both
Amigos para siempre
Means you’ll always be my friend
Amics per sempre
Means a love that cannot end
Friends for life
Not just a summer or a spring
Amigos para siempre

I feel you near me
Even when we are apart
Just knowing you are in this world
Can warm my heart
Friends for life
Not just a summer or a spring
Amigos para siempre

José
When
I look at you
I wonder why
There has to come
A time when we must say goodbye

both
I’m alive when we are together
Amigos para siempre
Means you’ll always be my friend
Amics per sempre
Means a love that cannot end
Friends for life
Not just a summer or a spring
Amigos para siempre

I feel you near me
Even when we are apart
Just knowing you are in this world
Can warm my heart
Friends for life
Not just a summer or a spring
Amigos para siempre

Amigos para siempre
Means you’ll always be my friend
Amics per sempre
Means a love that cannot end
Friends for life
Not just a summer or a spring
Amigos para siempre
Amigos para siempre

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No llores por mí Argentina

Don’t cry for me Argentina – Spanish version

Music By Andrew Lloyd Webber. Original lyrics by Tim Rice. Spanish lyrics by Ignacio Artime and Jaime Azpilicueta. From EVITA (concept album 1976, first performance 1978).

This song, too, has been part of Sarah’s concert repertoire for a long time, but never before in Spanish. This is the first version to be recorded with the original orchestrations since the concept album in 1976.

Será dificil de comprender
Que a pesar de estar hoy aquí
Soy del pueblo jamás lo podré olvidar
Debéis creerme, mis lujos son solamente un disfraz
Un juego burgués, nada más
Las reglas del ceremonial

Tenía que aceptar debí cambiar
Y dejar de vivir en lo gris
Siempre tras la ventana, sin lugar bajo el sol
Busqué ser libre, pero jamás dejaré de soñar
Y solo podré conseguir la fe que querrás compartir

No llores por mí Argentina
Mi alma está contigo
Mi vida entera te la dedico
Mas no te alejes, te necesito

Jamás poderes ambicioné
Mentiras dijeron de mí
Mi lugar vuestro es, por vosotros luché
Yo sólo quiero sentiros muy cerca, poder intentar
Abrir mi ventana y saber
Que nunca me vais a olvidar

No llores por mí Argentina …

No llores por mí Argentina
Mi alma está contigo
Mi vida entera te la dedico
Mas no te alejes, te necesito

Qué mas podré decir
Para convenceros de mi verdad
Si aún queréis dudar, mirad mis ojos ved
Cómo lloran de amor

No llores por mí Argentina …

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Guardami (With one look – Italian version)

Music by Andrew Lloyd Webber. Original lyrics by Don Black & Christopher Hampton, with contributions by Amy Powers. Italian lyrics by Marco Sabiu & Graziano Mallozzi. From SUNSET BOULEVARD (1993).

This is the Italian translation of “WITH ONE LOOK”from “SUNSET BOULEVARD”. This song was originally written for the role of Norma Desmond, the ageing and reclusive star of the silent screen, and therefore was composed for a far different voice from Sarah’s. But an early sketch of the melody reminded me that I had an idea to use it in a version of The Little Mermaid and of its potential for soprano. This project was never pursued. Somehow the words didn’t fit well at all in a high key in English, a problem I have had with “MEMORY”. One sing-through with an Italian translation solved the problem.

Guardami
Non andare via
Guardami
Non vorrai di più

Non lasciar che così sia
Con un si vedrai
Quello che vorrai

Guardami
Sono solo io
Quella che
Ti porterà via

La mia anima è con te
Non saprai di più

Mai più vedrai
La scena che farò
E non fingerò
Di saper di più

Tu sai che io
È lì che finirò
Mentre guardo te
Ti dirò cosa è

Guardami
Già non parlo più
Sento ormai
Che t’arrenderai

Piano piano tra di noi
È la musica che ti fa sognar

Guardami
Non ne posso più
Questa si è la vita mia

E nell’ombra
Troverai
Tutto quel che vuoi

Una dolce melodia
Che qualcuno avrà
Cantato giù

Guardami
Una fiamma ormai
Come me non ci saranno mai
Sono ancora qui tra voi

Sento che adesso
Io rimarrò qui
Solo adesso
Sento che con te
Sono io
Guarda

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There is More To Love

Music by Andrew Lloyd Webber. Lyrics by Don Black & Charles Hart. From ASPECTS OF LOVE (1989).

This was a late addition to the score of ASPECTS after its West End opening. It has been part of Sarah Brightman’s concert repertoire and, again, has not been previously recorded by her.

There is more to love,
So much more,
Than simply making love —
That’s easy.

Gazing into eyes,
Pretty eyes,
Which could be any eyes —
That’s crazy.

Hands are just hands,
A face is just a face …
They come and go —
They’re easy to replace …

There is more to love,
So much more,
Than moon-struck escapades —
That’s nothing.

There is peace of mind,
So much peace,
In quiet company —
That’s something.

Everyone but him
Seems wrong for me …
Every time I feel
There has to be
More …

If I could hear
The music I heard then,
I’d never let
It fade away again …

There is more to love,
So much more,
Than simply making love —
That’s easy.

Gazing into eyes,
Pretty eyes,
Which could be any eyes —
That’s crazy.

Now each time
Love reaches out to me,
I can only feel
There has to be
So much more
To love …

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Wishing You Were Somehow Here Again

Music by Andrew Lloyd Webber. Lyrics by Charles Hart, additional lyrics by Richard Stilgoe. From THE PHANTOM OF THE OPERA (1986).

This is another highlight of Sarah’s concert programme and was premiered by her when she played Christine in THE PHANTOM OF THE OPERA. Here it is newly recorded.

You were once my one companion
You were all that mattered
You were once a friend and father
Then my world was shattered

Wishing you were somehow here again
Wishing you were somehow near
Sometimes it seemed if I just dreamed
Somehow you would be here

Wishing I could hear your voice again
Knowing that I never would
Dreaming of you won’t help me to do
All that you dreamed I could

Passing bells and sculpted angels
Cold and monumental
Seem for you the wrong companions
You were warm and gentle

Too many years fighting back tears
Why can’t the past just die?

Wishing you were somehow here again
Knowing we must say goodbye
Try to forgive, teach me to live
Give me the strength to try

No more memories, no more silent tears
No more gazing across the wasted years
Help me say goodbye
Help me say goodbye

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The Music of the Night

Music by Andrew Lloyd Webber. Lyrics by Charles Hart, additional lyrics by Richard Stilgoe. From THE PHANTOM OF THE OPERA (1986).

The melody of this song was originally written for Sarah Brightman and was intended for an early draft of ASPECTS OF LOVE. However, it found its way into PHANTOM, sung by the Phantom. Sarah Brightman has sung the song in concert for several years and this is the first time she has reclaimed it on record.

Night time sharpens, heightens each sensation
Darkness stirs and wakes imagination
Silently the senses abandon their defences

Slowly, gently, night unfurls its splendour
Grasp it, sense it, tremulous and tender
Turn your face away from the garish light of day
Turn your face away from cold, unfeeling light
And listen to the music of the night

Close you eyes and surrender to your darkest dreams
Leave all thoughts of the world you knew before
Close your eyes, let your spirit start to soar
And you’ll live as you’ve never lived before

Softly, deftly, music shall caress you
Hear it, feel it, secretly possess you
Open up your mind, let your fantasies unwind
In this darkness which you know you cannot fight
The darkness of the music of the night

Let your mind start a journey through a strange, new world
Leave all thoughts of the world you knew before
Let your soul take you where you long to go
Only then can you belong to me

Floating, falling, sweet intoxication
Touch me, trust me, savour each sensation
Let the dream begin, let your darker side give in
To the harmony which dreams alone can write
The power of the music of the night

You alone can make my song take flight
Help me make the music of the night

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Promo / Rare / Collectible Versions

 

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