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The Wanderer and His Shadow

Songs for Voice and Cello from Nietzsches The Gay Science

2008

Lawrence Kramer

[email protected]


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The Wanderer and his Shadow

Songs for Voice and Cello from Nietzsches The Gay Science

Translated/adapted/condensed from Book IV: Sanctus Januarius

Book One

1. For the New Year. Today we allow ourselves to express our dearest wish and thought,

so I will, too: will tell the first thought to cross my heart this year. I want more and more

to learn to see the beauty of necessity; then I will be one of those who make thingsbeautiful. ( 276)

2. We should not count ourselves too wise when at times we are so surprised by the

wonderful harmony played on our instrumenta harmony too good for us to take thecredit. Yes, now and then someone plays with us: chance guides our hand, and the wisest

providence could not imagine a more beautiful music. (277)

3. Living amid this jumble of small lanes, needs, and voices gives me a melancholy

happiness. It is like the last moments before a ship departs: people have more to say than

ever, the hour is late, and the sea and its desolate silence patiently wait behind all the

noise. (278)

4. Delight in Blindness. My thoughts, said the wanderer to his shadow, should show

me where I am, not where Im going. I love not knowing the future; I dont want to dieof impatience or taste promised things before their time.(287)

5. History affords no examples. One day this might happen; not even the dice throws of

the luckiest chance could fix the conditions for its birth today. What has thus far enteredour souls only now and again, the exception at which we shudder, one day may be the

custom of future souls: perpetual motion between the high and low, the feeling of height

and depth, a constant ascent as on a flight of stairs yet a sense of reposing on clouds.(288)

6. We wish we could rise up on airy dust motes like beams of light, not away from thesun but towards it. But this we cannot do. So instead let us do the only thing we can: to

bear the light for the earth, to be the light of the earth. For this we have our wings and

our speed and our discipline; for this we are even terrible like fire. (293)

7. Sigh. I caught this insight in passing and quickly seized the poor words close at hand

to pin it down and keep it from flying off. And now it flutters and flaps in these stale

words and I scarcely know how catching this bird could have made me happy. (298)

8. How can we make things beautiful, delightful, and desirable for ourselves when they

are not? And I fear that in themselves they never are. (299)


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9. Did Prometheus first have to fantasize he had stolen the light and then pay the price

before he could learn he himself had created the light by wanting it for his own? The

men, the godmere clay in his hands, images of the maker: no less so than the fantasy,the theft, the Caucasus, the vulture--the entire tragicPromethiadof all seekers after

knowledge? (300)

10. We alone, only we, have created the world that concerns humankind. But we lack theknowledge of precisely this, and when at times we catch it for an instant, only an instant,

in that instant we forget it again. (301)

11. How much there is that says to me, tarry awhile! Armidas gardens beckon me

everywhere; everywhere I must tear my heart away and find new bitterness. I must

always lift my feet, however sore; and because I must go on I look back furious at the

beauties that could not hold me, because they could not hold me. (309)

12. How greedily this wave comes in, as if it were looking for something! And now

again, slower but white with excitement still. Is it disappointed? Has it found what itwas looking for? --But another wave is already moving in, more greedy and more savage

still, with seeming secrets in its soul and the lust for treasure. So live the waves, and so

live we who willmore I will not say. (310)

13. Soliloquy (for cello alone)

Book Two

14. Are you angry with me, waves? Afraid Ill betray your secret? Well, go ahead, be

angry; arch your green dangerous bodies as high as you can, blot out the sun with greentwilight and green lightning! Go ahead: dive and pour your emeralds into the depths and

cover them with your infinite mane of white foam. Everything suits me just as it suits

you. Im so fond of you for everythinghow could I ever betray you? Are we not one,you and I? Your secret and mine, are they not onesecret? (310)

15. Looking Back. Today a few musical chords reminded me of a winter and a houseand a life of great solitudeand the feelings too. I thought I would go on living that way

forever. (317)

16. The evil hour. Every philosopher has surely had an evil hour in which he thought:What do I matter if they dont accept my badarguments, too? And then flew by some

little bird all full of Schadenfreudeand twittered: What do you matter? What do you

matter?(332)

17. Our good will, our patience, our openness and gentleness find their reward at last in

what is strange: in something strange that little by little sheds its veil and turns out to be a

new and indescribable beauty. This is its thanks for our hospitality. (334)


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18. Could one burden oneself with all the past, the oldest and newest, the losses and

hopes, and endure all this, and contain it and compress it all into a single feeling--from

this would surely come a happiness never yet known: the happiness of a god full ofpower and love, of tears and laughter, a happiness that, like the sun at evening, constantly

bequeaths its inexhaustible riches, pouring them into the sea and feeling richest of all,

like the sun, only when even the poorest of fisherman rows with golden oars. (337)

19.Root and Branch. Do they get us mixed up? Its because we make ourselves up, we

remix ourselves all the time, we shuck off old bark, we shed our skins each spring, we

become ever younger, more to come, become taller, stronger, we thrust our roots evermore sharply in the depths. . . We grow like treesIts hard to understand, like life!not

in one place but everyplace, not this way or that way but just as much upward and

outward and inward and downward. Our force pulses the same through trunk, branches,

and roots. It leaves us free no more to do just a single thing--not even to bea singlething. (371; from Book V)

20. Postlude in Verse (for voice alone): Mein Glck (My Happy Lot) from Appendix:From the Songs of Prince Vogelfrei. The text appears below after that of the Epilogue.

21. Epilogue (from the text named at the end): What is done out of love is always done

beyond good and evil. Jenseits von Gut und Bse.

Postlude Text:

Once more I see the pigeons of San Marco.

The square is still, the morning lingers there.

In the soft coolness I send flocks of songsLike swarms of pigeons in the blue aloft

And lure them back,

Yet one more rhyme to dangle from their wingsMy happy lot, my happy lot.

You still and blue-lit silken roof of sky,Afloat, a canopy for the tinted building

That Iwhat am I saying?love, fear, envy

Whose soul Id truly drink up if I could!

--And give it back?Hush, no more of that, you glimpse of wonder

My happy lot, my happy lot.

You jutting tower, with what a lions forceYou mount on high here, glorious, free of cares!

You send your deep knell clear across the square

[In French would you become laccent aigue?]If I kept back


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Like you, Id know from what silk-soft snares. . .

--My happy lot, my happy lot.

Music, hold off! [First let the shadows darken

And grow into a brown and tender night!]

Its too soon for your tones; [the ornamentsOf gold dont glimmeryet in splendid hues of rose.]Much day remains,

Much day for shaping, slinking, murmuring

--My happy lot, my happy lot.

Program Note

Composed between 2006 and 2008, this song cycle explores the possibilities of

dialogue between a singing voice and an instrumental counterpart that sometimes

assents, sometimes dissents, sometimes mocks, sometimes comments, sometimesreinterprets, and so on, what its alter ego expresses. The standard combination of voice

and piano appeals to me greatly, and Ive composed for it often, but for texts as pungent

and elusive as these the piano is almost too versatile and multi-layered. What I wanted (or

rather needed) was a voice of great range and expressivity but with limited abilities toprovide its own harmony and counterpoint. Given that desire, the choice of the cello

seemed inevitable. Gyorgy KurtagsKafka Fragmentsfor voice and violin provided a

model; at the same time, the differences in style and feeling between that cycle and thisone are obvious, and the philosophical differenceKafkas infinite irony versus

Nietzsches affirmation of finitudeis just as strong.

The text is a critical hybrid. In choosing what to set, I found that most of thepassages excerpted had to be condensed to be musically effective. Tampering with

Nietzsches German was obviously out of the question. In making the English versions, I

would certainly interpolate a layer of interpretation between the original and the music,but the simple fact of excerpting and arranging would have done that in any case, even

had I been literal and even had I set the texts in German.

The result, like the dramatic result of all song cycles, is a fiction. It is fiction that,

like all fiction, aims by invention to find a certain truth. The cycle is not a rounded

portrait of Nietzsche as he presents himself in The Gay Scienceany more thanKafka

Fragmentsis an authentic portrait of Kafka. Instead The Wanderer and His Shadowisthe expression of a Nietzschean persona devised partly as an interpretation of Nietzsche

and partly as an adaptation of his voice. The chosen extracts show little of the arrogance

and posturing that a more faithful portrait would have revealed, but they still, I believe,

have plenty of bite. The persona they fashion is that of anyone who accepts theNietzschean challenge of creating the values by which one lives and judges oneself. This

is the task that Nietzsche famously called the transvaluation of all values and that he

always insisted was profoundly difficult. The persona of these songsthe twinned


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persona of the wanderer and his shadowis, like the creatures ofNietzsches

Prometheus (song 9), including Prometheus himself, an image of the maker.

The songs of The Wanderer and his Shadoware loosely linked by melodic andscalar patterns, with occasional quotation and cross reference from one number to

another. Family resemblances abound, fragments of recurrence attuned to Nietzsches

conception of eternal recurrencea conception eventually realized (but incompletely) insong 19. Like the individual songs, the large design of the cycle is dialogical. There aretwenty-one numbers. Just after midpoint, one of the texts is broken up and set by two

separate but closely related songs (12 and 14) separated by an intermezzo for cello alone.

Near the close, just after song 19 arrives at the destination of eternal recurrence, anothersolo number, this time for voice alone, arises to answer the first. The voice and cello

reunite for the final song, a postlude

The ideal performance of these songs is of course that of an unabridged traversalof the cycle. (Performance time would be about 55 minutes, inclusive of breaks between

the individual songs.) But equally of course the possibility remains of performing

selected songs in any number and in any order that the performers feel will make acoherent impression. With that in mind, I have put together my own abridgment under the

Promethean title (also from song 9)Bearing the Light.


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B 44Voice

Cello

3

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q76

3

B

4 4

j . j . j3

To day we al low our

3

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1. For the New Year

espress.


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?

17 j . jwill tell the

17 . J

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. J-

3

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22 j 22

53

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26 J p j 3

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beau ty of ne. J - -?

29 . ces si ty;

29

3

rit.

j J3then I will be one of

J a tempo

- -

?

33 . those who

33 J

make things

. . pizz. .

beau ti ful.

ww

J j . .- -

2 "For the New Year"


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? 44 44Voice

Cello

We should not

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count our selves

J con sord.

too wise

when at times

-

?

44

44

44

5

3

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5

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44

44

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9

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3

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44

44

13 . J j 3for us to take the

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3

now and then some one

J - -


10/62

?

44

17 plays with

17

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>

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> ?

44

44

20 j 3

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20 > 3

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>q = 58

- - - - -

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- - - - - - -

2


11/62

? 44Voice

Cello

q162p sul pont.

J Liv

p . J ing a

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?7 .

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ble of

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?19

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pi. .ordin..

ness.. .

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3. "Living Amid This Jumble"


12/62

B

25

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pp

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30 .parts.

30

..

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j sul pont.

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ordin.

e ver;

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ordi

- -

?

37 37

the

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B

45 .sea

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51 .si

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2 "Living Amid This Jumble"


13/62

?

59 J de

59

q116

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63 .63 .

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. p ordin.- - - - -

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68 68

q162 j

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72 72

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- - - -

3"Living Amid This Jumble"


14/62

78 .wait

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-

85 85

.Ritardando - - - - - - - - -

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.

4


15/62

44Voice

Cello

3

flautando

q = 104

. j "My thoughts,"

3

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3 3

3

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4 J 3 3de rer to his sha dow,

4

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3

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3 3

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4. "'My Thoughts . . .'"


16/62

?

14

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21 . J taste

21

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Bwtime.

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?

25 w25

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2 "' My Thoughts ' "


17/62

&

?

44

44

Voice

Cello

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q

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12 b b 3

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15 .b 3

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15 b > b> bB &

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wchance

b b n> n >b

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could fix the con di tions for its

b > - - - - - - -

5. "History Affords No Examples"


18/62

&

&~~~ ~~ ~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~

18 . . R birth to day.

18

b b

p

p

#> #

b What has thus far.

b b 3 3 3

en tered our souls on ly now and a gain,

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- - - -

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22

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&

?

27

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b n J J

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b b J n J

- - - -

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30

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30

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rit.

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2 "History Affords No Examples"


19/62

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33

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the ex cep tion at which we33

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- - - - - -

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42

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. Jba #

-

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"History Affords No Examples"


20/62

&

B

43

43

44

44

50

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r>3

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con stant a scent

50 # n

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b 3

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- -

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54 wstairs,

54

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57 3pos ing on

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b b

wU

U - - - - -

4

"History Affords No Examples"


21/62

? 44Voice

Cello

3

q 6. "We wish we could rise up . . ."

f ppizz. arco

. . . > 3

We

. . . 3

parco

pizz.

?

4 wish we could

4 pizz.

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> 33

on air ry

> 3

3

PP

-

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7 dust motes

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B j . J

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- . . 3

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wlight,

- . . . . 3

310

not a

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Ppunta d'arco

- - - -


22/62

?

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it,j j

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17

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20 Jthis we

20 > ?f

f j 3

can notb b strum

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j w

w

So in

Frecitati- -

2


23/62

?

26

stead let us do t he o n

26

ly thing we

jcan: to

cantabparcoF P

- - -

?

29 . j . bear the light for the

29 3p espress.

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3

rit. Frit.

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3 3

Slower, espress. Pf P

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32 . J . be "the light of the

32

3

wearth."

ff

w ?rit.

rit.

For

3

Tempo Iq p

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arco

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36 this we have our

36 . . . 3

3

wings and our

. . FF

speed and our

. Allarg.

Allarg.f

q96. dis ci

wsubito ppq96sul tasto

subito pp- -

3


24/62

?

40 wpline.

40 wnon cresc. j

> . J3

ordin.

f j

For

3

f wthis

.> J3

?

44 we are e ven

44

3

wter

wpizz.strum

w

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w

- - - - - - - - - - - -

?

49 w49

i ble,

pizz.

(hum)

. .

f parcosul pont. ordin.

. > > 3espress.

- - - - -

?

54 (hum)

54 j >3

p . J

rit.

rit.

like. j

a tempo Pa tempo

ten.

wfire

f w

w

w

J J pizz.

4


25/62

? 44Voice

Cello

JI

3

p

q = 88 Jcaught this in sight in

J3

3 3 3

Bp

pass ing and

J 3

3

- -

B

3

> J3quick ly seized the

3 > 3

J . jpoor words close at

- 3

jhand to

3

F-

B

6 j j jpin it down and

6 . F

3

keep it from fly ing.

off.

j . j3 B ?ff

-

?

9 . 9

3

3

Bp

AndwFF

now, and now it. J ff

7. "I Caught This Insight . . ."


26/62

B

12 J J 3flut ters, it flu ters and flaps,

12 .J

. J

3

3

33

P F J 3

f lut ter s and f laps, and. J ?p

p- - -

?

15 J3now, and now it

15 . . .

J 3flut ters, it flut ters and . . .

J flaps, flaps, flaps, . . . Bf

f f fpiu piu- -

B

18 J flaps,

18 . J

and I scarce l y

3

3

3 3 3

p

pwknow. . Jf

f

how catch

3

3p

p- - - -

?

22 ing this

22 > 3 3 3

wbird

3f

f- - - - -

?

24 could have

24 b b3

w

made. . me

rit.

rit.

hap py.O O O

wO-

2 "I Caught This Insight"


27/62

? 44Voice

Cello

q72

.How

can we

pp

make things

beau

-

?

7

3

7 N

ti

ful,

pp

J de light ful,

B

P

- -- - - - - -

B

12 3

and de si

12

FF

3ra ble

6

ff

- - - - - - - - - - - -

14 for our selves

14

.

3

-

8. "How Can We Make . . ."


28/62

16 3when they are not?

16

3 ?

(spoken)

F

And I

PP

.fear

J ?

20 3that in them

20 j j .

selves

pp

they

.ne

ver

.Uare.

- - - -

2"How Can We Make"


29/62

? 44Voice

Cello

b

q1629. "Did Prometheus first have to fantasize . . ."

f seccopizz.

X notehead = spoken, pitch approximate

> secco (= finger without bowing)

Did Pro >

F 3me the us

>- - -

?

5 first have to

5

.fan ta size,

.

>

3

fan ta

wsize

>- - - -

?

10

j that he had

10 .

sto len

the light,

> w >

>that he

?

3

-

?

15 . j 3had sto len the

15

wlight,

pizz. secco

w

pizz. secco

w > pizz.secco

J and then pay

>-


30/62

?

20

the price,

20

j

be fore

pizz.

secco

he could learn

pizz. secco

w

pizz.-

?

24 he him self

24

secco

3 3had cre at ed the

pizz. secco

. . Jlight by

.want

f w

pizz.secco

pizz

- - -

3

- - - -

?

29 w29

secco

3

ing it for his

wown:

pizz.

- - - - -

?

33 Jthe

33 >

F . Jmen, the

> B.

god, mere

>

. clay in his

>B

37 . hands,

37

.i ma ges

fsecco

3

of the mak er,

no

- - -

""Did Prometheus . . ."


31/62

?

41

less so than the

41

.fan t a sy,

pizz.

. Jthe

secco

. jtheft, the

pizz. secco

.Cau ca sus,

- - - -

46 . Jthe

46

.vul ture,

subito p . pizz. secco

the en

>

- -

?

50 wtire

50

> >

pizz.

tra gic Pro

b Fsecco

wme

b f w

>

pizz.

. the

b >

secco

- - - - - - - - - - -

?

55 wad

55 b w

of all

ppizz.

. seek ers

> w

snap

- - - - - - - -

?

61

af ter know

61

w secco

wledge?

w

wU

pizz.

- - - - - - -

"Did Prometheus . . .?"


32/62

? 44Voice

Cello

J .3p espress.

q84

3

3

B . j . j

.5

5

J> .

We aJ . ..

lone,w

on ly.b .

we,.b - -

?

11 3

have cre a ted the

11 pp w

world

. B

that con cerns..b

hu man kind.. - - - -

10. "We Alone . . ."


33/62

15 . j But we,

15 .

sul tasto

j we lack thewf

.know ledge

? . R . 3

of pre cise ly that,

. ordin.- - -

?

19 19 . .

3 + + j+w

pizz.

j+ j+ + + + + +3

.U Jand when at times weJ . p

snap

?

23 catch it for an

23 >parco in stant,

> 3

r >

> 3 -

27 3on ly an

27

3

3

j in stant, ?p

in that . J

con sord.

- -

2We Alone""


34/62

?

30

j in stant

30 Fw

we,w ?pp

Jwe for

. J- -?

34 j .get it,

34

we forJ>

3

. get it a

. JBwgain,. . j- -

B

38 j 38

. sul pont. J J J 3 3

for get it a gain.

slide to sul tasto

. j> j J .

- -

B41 41 j j J . ?p

rit.

>U 3

3"We Alone"


35/62

? 44Voice

Cello

j J 3 3How much there is that says to me,w

11. "How Much There Is . . ."

pizz.

q pf

"Tar ry a while,"

p. 3

"Tar ry a while."

- - - -

?

4

4

J Ar mi da's

. j J 3

gar dens beck on,. J

beck on 3

B- - - - -

B

8 wme,

8

non cresc.

cresc.

?f

3 3beck on me ev ery where.

3 3p f

- - -

?

11 J 11

b 3 3

3

B p

3

Ev ery where I must bear my heart a

rit. wwaywbb ?pf

- - -

88


36/62

?

14 3and taste new bit ter ness.

14 warcoC Stringpa tempo

"How Much There Is . . ."

j 3 3 3I m ust al ways lift my feet,

. . Jpizz.f p- - -

?

17 how e ver sore,

17 b j . J3 3

and be cause I must go

won

f

frit.

I lookback

wa tempo

- - -

?

21 fu ri ous

21

J 3 3at the beau ti es that

parcoC Stringp

could not hold

3

pizz.

. Ume:

3

- - -

?

25 J . Jbe cause they

25 33

q

could not hold

rit. . me.

-

2


37/62

?

44

Voice

Cello

3

q76

p

12. "How Greedily This Wave Comes In"

.

3

?

5 jHow

5 3 3 3

p 3

gree di ly this

3

B 3

wave comesin,. ?- -

?

9 3

3

asas if it were

9 3

3

look ing for

3 3

3

j .some thing.

3

3

-

?

13 J . And now a

13 3

. gain,

J

slow er,

. 3 3

pp

J J 3but white with ex

3

FF >

3- - -


38/62

?

18 . Jment

18 3

still.

J

3

BF

F

3 3

3

- -

B

22 3I s it dis ap

22 3

?p

point ed?

3

J

3

Has it found

3

F

F- - -

?

27 3

what it was l ook ing

27 3

J for?

3

But a. p

no ther wave .

3

- - -

?

32

3is al

32 3

. Jrea dy

mov ing

3

FF

in,

3

3more J

3

- - - - -

?

37 gree dy and more

37 . FF

ff

> 3

sa vage

.

still,

3

FF

J with seem ing

3

FF

se

3

ff

- - - -

2


39/62

?

42 crets in its

42

soul,

3

J and the

p

p sub.. j

lust for

-

?

46 trea sure.

46

3

rit.

3

So

3

a tempo . Jlive the

3

-

?

51 waves,

51 3

6

rit.

and

3

FF

a tempo . J>so live

?56

we who

56

will.

3

pp

3

3

J

Spoken:

More I will not say.

?64 64

3


40/62

?

4

4Cello

J .# J

3p

q = 76

b

3

. J .

J# w

?5

b b

3

q = 92

J

. . jj

F

q = 76

.Jb b

3

S. #

p

sul tasto

?10

b

3

ordin. b J .#

3

accel. #... #. #

3 3

q = 92

U

?14 .b J

.Jrit.

F

b bU

b3

3pf

q = 76

#

3

3

B b b rit.

B18 b b b b

fwa tempo

b .#

j

3

3

q = 92

B22

b . J#3

rit.

F # b

5

q = 76 #

p

3

?4

4 33

13. Soliloquy


41/62

?27

b n . Jb

S S

. b #

5

b

3fS

#... #. #

3 3

3 p

q = 92

?31

# # b

3 3p

rit.

.

U.

b..

3

q = 76

. J >

3

# bB

F

B35

J # # n

S

rit.

b ?

p S

a tempo

.R b>

S U j

b

?39

.

J

. J#

w

B J b

?

q = 92

J # b .

rit.

.

q = 76

wU

2Soliloquy


42/62

? 44Voice

Cello

q63f

14. "Are You Angry With Me, Waves?'

3S p

Are you

3

p> 3

ang ry with > J3

-

?

5 me,

5 > 5 6

.

6

5

waves?

3 3

JA

- 3 -

?

9 fraid I 'll be tray

9 3

your se cret?_______

3 3

accel.

3

J

3F- -

?

13 j Well, go a

13 J> 3 3 3

q76 head,

3

3

J > be ang ry,

f

f

J p

arch

f- -


43/62

?

18

18

J

J "Are You Angry With Me, Waves?'

Jyour J f

f >green dan

3

ger ous

> - -

23 bod ies as

23 ?high

3 3

as you

.

.3 3 J

can,

3 3

.

3 3

3blot out the

3

f

fsun

3

-

?

30 3

30

j withgreenj

p twi light

psul pont.

jand

ordin.

green light

3 3

ning.

j

- -

?

39 39

. JGo a

f j head,

3f

. Jdive and

3

pour your

eme ralds- -

?

46 3

in to the

46

depths,

p j

and

f

p

. Jco ver

- -

2


44/62

?

51 them with your

51

..pizz.

. in fi nite

...b

"Are You Angry With Me, Waves?'

mane

..b

J 3of white

rit.

rit.

foam

secco (finger without bowing)

- -

?

57 .

57

q63ppizz.

j arco

3

3

ten.

3

Eve ry thing

pp

J 3suits me J3

-

?

64 3just as it

64 j 3

suits you;

J J3I'm so

. Jfond of

3

. jyou for

3

?

69

eve ry thing,

69

F

F

3

how could I

p

p e ver be

tray you?

rit.

rit.

- - - -

3


45/62

?

75 3Are we not

75

3

q76 one,

3

"Are You Angry With Me, Waves?'

3

> 3

you and

3

?

79 I.

79

3

3

j 3Your se cret and

3

-

?

82 mine,

82 3

rit.

> > >are they not

3

one

3

q63ff

?

85

85

3

se cret?

3

rit.

prit.

UU-

4


46/62

? 44Voice

Cello

. J . Jq

. J 15. Looking Back

jTowp w

day,. j . Jp-

?

6 Jto

6 . J

day a few

3mu si cal chordsw

Jre. J . Jp

p. j

mind ed me

- - - -

?

11 of a

11 p J

win ter w .

and a house. j . jp

and a life. j -

?

15 J a life

15

jofwp w

great. J . J

. jsol i. J

wtude,

w- -


47/62

?

21 21 . j . j

. j Looking Back

. j

and the feel ingsw too..J

.

.j

p -

?

26 I

26

thought I would

go on

sul tasto

3

liv ing that

- - -

?

30 . Jway for

30

wev

wer.w

w

- - - - - -

2


48/62

? 44Voice

Cello

3Ev ery phi lo so

Pq = 100 spoken on pitch

pher has sure ly had an e vil

16. The Evil Hour

sung

x notehead = play behind the bridge

Jhour in

3

3Ppizz.

- - - - - -

? ~ ~~~~~~~~~~~~~

4 Jwhich he thought, he

4 3

3 3

spoken on pitch

arco

3

3

thought: "What d o I mat ter,

3 3 Bpizz.sung 3 3

what do I m at ter . J. arco

- -

B ~~~~ ~~~ ~~~~~~~~~~~~~~~~~~~ ~~~~~~

7 . 3if they do

7 . J

not ac cept my bad

. >

3

ar guments too?" 3

8va a piacere

- -

?

10 J And then flew

10 J3 3 3

pizz.

. j by some lit tle bir d

3 3 3

arco

F

F > 3all full of

w-


49/62

&

? ~~~~~

13 . JbScha

13

b

J>

J>

J>

pizz.

.Jb b

den freu

..

.. . ......3 3

33

The Evil Hour

arco

bde

..

.. . 3

3P

P J

and

b

# .

J#&

spoken:

~~~~~~

- - - - - - - - -

&

&~~~~~~~~~~~~~~~~~~~~~~~~

17

twittered,

17 # > . .3

twittered!

>

33

3 3

f exasperated

&

&

19

b b b b> b

3

3

"What do you mat ter?"

19 b b b

3

33

3

?

P

P

b b b b b

3

3


b b b b.. . .. b. b.

.pizz.

S

- -

&

?

21

b b b b b

3

3

What do you mat ter?" ter?"

21

.

. . . . . .J. .

3 3

3

3

p

p

arco

b b b b> b

3

3


b #

3

3

rit. a tempo

F

- -

&

?

23

b b b # U3

What do you mat

23

rit. widen vibratowb

ter?

normally

j

...

3

a tempo

- - - -

2


50/62

? 44Voice

Cello

.flautando

q

JOur

ordin.

17. Our Good Will . . .

good will,

J our pa tience,

3

-

?

6 j J 3our o pen ness

6

pp

3

and gen tle ness

3

find their re

b - - - -

?

10 ward at

10

3

last in what is

.strange:

j in some thing

b 3

-

?

15

strange

15

J 3that lit t le b y li t tle

3

.sheds

.

3

its

4

- -


51/62

?

19 .veil

19

>

4

Jand

4 B

turns out to

4

?.

be

>4 . .

.sul tasto

.

44

?

25 J a new

25

4 Bordin.p

and in de

5

?.

scri

5

- - - - - -

?

28 .28

> 5

.

5

ba ble.

beau ty.

3

flautando

.

3ordin.

- - - - - - - - -

?

33 33

4p

J 3This is its

p .thanks

for our

3hos pi ta li t y.

b - - - -

?

38 .38

3

rit.

rit.

.

3

.a tempo

a tempo

.

2


52/62

?

44

Voice

Cello

. q84

3Could one

18. "Could One Burden Oneself . . ."

p 3bur den one

p jself with

. . J

all the pas t, -- -

?

6 Jthe

6

P J

old est, the

P J

new est, the

FF

Jlos ses and

. . j>

hopes, and

.

en dure

f

f- - - -

?

12 all this,

12

J

3

and con tain it

p

p . 3 3and com press it all

3in to a

FF

- - -

?

17 . jsin gle

17 3 3

3

3

p

p

feel ing,

3

3

3

3

J from this would

3 3

3

3

- - - - - -

?

20 sure ly come a

20

3 3 3 3

whap

p sub.

p sub.sul G

3pi ness ne ver yet

wknown:

- - - - - - - -


53/62

?

24 24

J 3 3the hap pi ness of aJ . J .PP

j > Jgod full of J . j .

pow er andJ . J .w

love,J . J .FF

- - -

?

29 j J3of tears and

29 .. J . j

sotto voce

Jlaugh ter, a.. J . J

33

hap pi ness that like the. J .. J . Jsun at.. J .. J

ff

- - -

?

33 eve ning

33

PP

j . con stant ly be queaths its

- - - - - - -

?

35 . 3in ex haust i ble

35

B rich es,

f

f- - - - - - - - -

?

37 wpour

37 3 3 3 3

3 3

ing them in to the

3

33

3

wsea

33

33

P

P- - - - - - - - -

2

"Could One Burden Oneself . . ."


54/62

?

40 j J and feel ing

40

3 3

3 3

. rich est of

wall,

j J like the

- - - -

?

44 wsun,

44

3

like the sun,

. J

ff

. J

?

48 J 48 .

pp

j J J3on ly, on ly

. 3

when the poor est of fish er men

- - - - -

?

51 rows

51

3with gold

w

. J en oars..

w

rit. wU

U- - - - -

3

"Could One Burden Oneself. . ."


55/62

? 44 44 44Voice

Cello

wq80pizz.

f . J

Do they get us mixed

19. Root and Branchp

p 3up? It's be

J . P

arco

cause we make our selves

pizz.

arco

P p--

?

44

44

5 . j3up, we re mix our

5 . j

selves all the

time.> j . J

we shuck off old

-

?

44

44

9 bark,

9 J

we shed our

j skins each

p .spring

O

3

we be come e ver

- -

?

44

44

44

44

14 youn ger,

14

j more to come,

P

P . 3

be come tall er,

- --


56/62

?

44

44

17 Jstrong er, we

17 J

F

F.> J

thrust our roots

3

e ver more sharp ly in the

>

jdepths.

> f

f- - -

?

44

44

44

21 j We gr ow like

21 > J jtrees. It's

p .hard

>p

j3to un d er stand, like

f- -

?

44

44

44

44

25 life!

25 fJ . J

not in one. P

j

place, but

> ev ery pl ace,

-

2


57/62

?

44

44

29 29

frit. j J j jnot this way or

a tempo

a tempo

p j . j that way

q92 Jbut

j 3 3PP

?

33 33

just as much up ward and out

33 3

. . Jward, and

3

. Jin ward. and

3

FF

- - -

? ~~~~~~

36 . . jdown

36 > > wward.

> > ff

. jour

>

pp . 3

force pul ses the

- - - - -

~~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~~~ ~~~~~~~~~~

40

same

40 > j 3

through trunk and branch es and. J . jroots, and

bF

F Jroots. It

-

3


58/62

?

44 leaves us free.

44

. J3w.

ff

w .

w

It

b ?

49 . leaves us

49

> >free no more

j to do

3

rit. prit.

p 3

just a sing le

. . Jq

G string

-

?

53 . jthing, not

53 . . J O j 3e ven, not e ven to

. OG string.

be a

O O O O3

.. jsing le

O O J O3

wthing.

Ow-- -

?

58 w58 Ow

wOw Ow B

ten. OwU

4


59/62

4 4Voice 3

I see once more the

20. Postlude in Versep92 j .pi geons of San Mar co. JThe square is- - 4 4 45 Jstill, the

. Jmor n ing ling ers

3

there. In the

j 3soft cool ness

I send flocks of- - - 4 4 410 J

songs like

p J 3 3swarms of pi geons in the

. J

blue a loft

j and lure them

rit. jback, yet

a temp

- - - - - 415 . one more rhyme to dan gle

. 3from their wings:

j jmy hap py lot.

rit. j my hap py lot.- - - - 4 4 419 j

You

Pa tempo J 3still and blue lit silk en

. J roof of sky,

j Ja float, a- - - 4 423 3

ca no p y for the t int ed build ing

j that I

J 3what am I say ing?

F love,

P- - - - - - - 4 427

fear,

j jen vy, whose

p j 3 3

soul I'd tru ly drink up if I

P .could!

p J j And give it

rit.

- - -

4 432 J back?

J j Hush, no more of

a tempo J that, you glimpse of

. won der:- -

4 436 j jmy hap py lot,

rit. j my hap py lot.

jYou

a tempoF jut ting tower,

3with what a li on's

f- - - - -


60/62

4 441 Jforce you

mount on high here,

J splen did,

P free of cares!

p j You send your-

4 4 4 446

j 3

deep knell clear a cross the .square. j If I kept back,rit.

J Jlike you, I'da tempo

-

4 450 3know from what silk soft

. jsnare my

. hap py lot,

rit. j my hap py lot.

a tempo

- -- -

4 4 455 . 3

Mu sic, hold off!

j J .It's too soon j . for your tones; j Much day re mains,rit.

- - 459 j J much day f or mak ing,

a tempo

. slink ing,

3

mur mur ing:

rit.

- - - - 462 j my hap py lot,

a tempo j . my h ap py lot,rit. j U

my hap py lot.

- - -

2


61/62

? 44Voice

Cello

qpcon sord.

j j What

p j j

is done

.

?

5 J jout of

5 b J

love

> B.

is j >

10 J J al

10 >

ways

>

j j 3done be

> .

yond

> 5

- - - - -

14 be

14 .wyond. rit. .

j good >

a tempo . Jandw w-

21. "What Is Done . . ."


62/62

20 . .e

20

. w

vil.

w ?

Jen seitswx x

.

von Gutwx

xx x

- - - - - -

?

26 . j und

26 wx

. .

Bw x . j j .

sewux x x

- - - - -

2

(sprechstimme)

"What is Done"

Date post:	03-Jun-2018
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