the wanderer and his shadow

8/12/2019 The Wanderer and His Shadow

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The Wanderer and His Shadow

Songs for Voice and Cello from Nietzsches The Gay Science

Lawrence Kramer


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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 moreto learn to see the beauty of necessity; then I will be one of those who make things

beautiful. ( 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 the

credit. 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 thanever, 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 die

of impatience or taste promised things before their time. (287)

5. History affords no examples. One day this might happen; not even the dice throws ofthe luckiest chance could fix the conditions for its birth today. What has thus far entered

our 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

bring the light to 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 stalewords 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? Themen, the godmere clay in his hands, images of the maker: no less so than the fantasy,

the theft, the Caucasus, the vulture--the entire tragic Promethiadof all seekers after

knowledge? (300)

10. We alone, only we, have created the world that concerns humankind. But we lack the

knowledge 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 mustalways 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 solive we who willmore I will not say. (310)

13. Intermezzo (for cello alone)

Book Two

14. Are you angry with me, waves? Afraid Ill betray your secret? Well, go ahead, beangry; arch your green dangerous bodies as high as you can, blot out the sun with green

twilight 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 youmatter? (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 anew 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--fromthis would surely come a happiness never yet known: the happiness of a god full of

power 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. The greatest weight. What if some day or night a demon crept into your solitude and

said: This life you live and have lived you will have to live once more and countlesstimes more; and it will bring nothing new, but every pain and every joy and every

thought will return to you in the same order, even I myself and this spider and the

moonlight in the trees. Would you cast your self down and gnash your teeth and cursethe demon who spoke thus? Or have you once known a moment in which you would

answer, You are a god and I have never heard anything more beautiful? (341)

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 donebeyond 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 wings

My happy lot, my happy lot.

You still and blue-lit silken roof of sky,

Afloat, a canopy for the tinted buildingThat 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 ofwonder


You jutting tower, with what a lions force

You mount on high here, glorious, free of care!

You send your deep knell clear across the square

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

Like you, Id know by what silken snare


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Music, holdoff! First let the shadows darken

And grow into a brown and tender night!

Its too soon for yourtones;the ornaments

Of gold dont glimmer yet in splendid huesof rose.Muchday 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, sometimes

reinterprets, and so on, what its alter ego expresses. The standard combination of voiceand piano appeals to me greatly, and Ive composed for it often, but for present purposes

the piano is almost too versatile and multidimensional. What I wanted was a voice ofgreat range and expressivity but with limited abilities to provide its own harmony and

counterpoint. Given that desire, the choice of the cello seemed inevitable. Gyorgy

Kurtags Kafka Fragmentsfor voice and violin provided a model; at the same time, thedifferences in style and feeling between that cycle and this one 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, evenhad 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 than Kafka

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 the

Nietzschean 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 twinnedpersona of the wanderer and his shadowis, like the creatures of Nietzsches

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


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The songs of The Wanderer and his Shadoware loosely linked by melodic and

scalar patterns, with occasional quotation and cross reference from one number toanother. Family resemblances abound, fragments of recurrence attuned to Nietzches

conception of eternal recurrencea conception eventually realized (but incompletely) in

song 19. Like the individual songs, the large design of the cycle is dialogical. There are

twenty-one numbers. Just after midpoint, one of the texts is broken up and set by twoseparate 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, another

solo number, this time for voice alone, arises to answer the first. The voice and celloreunite for the final song, a postlude

The ideal performance of these songs is of course that of an unabridged traversalof the cycle. But abridged performances are possible if certain conditions are observed:

any selection should begin with no. 1 and end with no. 21. No. 12 may be included by

itself, but if both nos. 12 and 14 are included, they should be separated by no. 13, the

cello intermezzo, and no. 20 for unaccompanied voice should also be included. The

order of the songs, which corresponds with that of Nietzsches text, should be strictlyobserved. A compact version of the whole, which preserves the essentials of its design,

can be performed on programs without enough room for more. This abridgment, underthe title Song Suite from The Wanderer and his Shadow, consists of numbers 1, 2, 3, 6,

9, 12, 13, 14, 18, 19, 20, and 21.


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B 44Voice

Cello

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espress.


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?

17 j . jwill tell the

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ww

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"For the New Year"


9/61

? 44 44Voice

Cello

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44

17 plays with

17 J

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- - - - -

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11/61

? 44Voice

Cello

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37 37

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2 "Living Amid This Jumble"


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3"Living Amid This Jumble"


14/61


15/61

44Voice

Cello

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3

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4. "'My Thoughts . . .'"


16/61

B

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17/61

?

44

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Cello

. . J

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. O

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5. "History Affords No Examples"


18/61

~~~ ~~~~~ ~~~~~~~~~~ ~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~18 . . R

birth to day.

18 p

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2 "History Affords No Examples"


19/61

?

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20/61

B

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56 3pos ing on

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4

"History Affords No Examples"


21/61

? 44Voice

Cello

3

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

f ppizz. arco

. . . > 3

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4 wish we could

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22/61

?

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23/61

?

26 stead let us do the on

26

ly thing we

j

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29 . j . Jbring the light to

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32 . J . be "the light of the

32 3wearth." ff

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24/61

?

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25/61

? 44Voice

Cello

q . J

I p J

caught this in sight in J3

3 3 3

Bp-

B

4 pass ing and

4 J 3

3

3quick ly seized the >

3

. jpoor words close at -

3

- -

B

7 hand to

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10 . J ing off.

10 j . j3 ?ff .

3

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7. "I Caught This Insight . . ."


26/61


27/61

? 44Voice

Cello

q72

.

How

can we pp

make things

beau -

?

7 j33

7

ful, pp

J de light ful, BP

- -- - - -

B

11 3and de si

11 F

F 3

ra ble 6

ff

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

13 for our selves

13 . -

8. "How Can We Make . . ."


28/61

15 3when they are not?

15 3 ?(spoken)

F

And I

P

P.

fear

J ?

19 3that in them

19 j j .

selves

pp

they

.

ne

ver

.U

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- - - -

2"How Can We Make"


29/61

? 44Voice

Cello

q156

9. "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, . >

3fan ta

wsize >- - - -

?

10 j that he had

10 .

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the light, > w >

that he

-

?

15 . j 3had stolen the

15 wlight,

pizz. seccow pizz. secco

w > pizz.secco

J and then pay >

-


30/61

?

20 the price,

20 j

be fore

pizz.

secco

he could learn pizz. secco

w

pizz.

-

?

24 he him self

24 secco 3 3

had cre at ed the pizz. secco. . J

light by .

want

f w

pizz.secco

pizz

- - - - - - -

?

29 w29 secco

3ing it for his

wown:

pizz.- - - - -?

33 Jthe

33 > F . J

men, the > B.

god, mere > .

clay in his >B

37 . hands,

37

.i ma ges f

secco

3of the mak er,

no

- - -

""Did Prometheus . . ."


31/61

?

41 less so than the

41

.

fan ta sy, pizz.

. Jthe

secco

. jtheft, the

pizz. secco

.Cau ca sus,

- - - -

46 . Jthe

46 .

vul ture, subitop .

pizz. secco

the en

> - -

?

50 wtire

50 > >

pizz.

tra gic Pro Fsecco

wme

f w >

pizz..

the >

secco

- - - - - - - - - - -

?

55 wad

55 w

of all p

pizz.

. seek ers >

w snap

- - - - - - - -

?

61 af ter know

61 w secco

wledge?

w

wU pizz.

- - - - - - -

"Did Prometheus . . .?"


32/61

? 44Voice

Cello

. q63

.. .. J .

3p espress.?

6 6

33

B a tempo

. j . j

.

J .

11 . We a

11 J . . .

lone,w.

on ly. .

we. 3

have cre a ted the pp

- ---

?

16 wworld

16 B

that con cerns..

hu man kind.. .

But we,..

--

10. "We Alone . . ."


33/61

20 j we lack the

20 wf .

know ledge . R . 3

of pre cise ly that,

. - --

?

23 23 . .

3

jwj j 3w

. Jand when at times we

J . p

snap

2We Alone""

sul tasto

arco, ordin.

pizz.

non cresc.


34/61

?

27 catch it for an

27 >arcop in stant, on

> 3. j

3 .

3

- -

31 . ly an

31

3 j in stant,wp

w ?

in that

. J

con sord.

j in stant

--

36 36 F

wwe,w ?p

p J

we for . J j .

get it, -?

40 we for

40 J> 3

. get it a . J

gain,. .

. j U

j@ U

sul pont.

J J J 3 3forget it a gain. J J

ordin.

- ---

B

45 45

j> j J .

j j J . ?prit.

>U 3

3"We Alone"


35/61

? 44Voice

Cello

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

q 11. "How Much There Is . . ."ppizz.p

"Tar ry a while," J

3

"Tarry a while. - - - -

?

4 4

J Ar mi da's . j

J 3gar dens beck on,. J

beck on

3

B- - - - -

B

8 wme,

8 non cresc.

cresc.

?f 3 3

beck on me ev ery where. 3 3

p- - -

?

11 J 11

3 3

3

B 3Ev ery where I must bear my heart a

wwaywbb ?pf

- - -


36/61

?

14 3and taste new bit ter ness.

14 warcoC Stringp

"How Much There Is . . ."

j 3 3 3I must al ways liftmy feet,

. . Jpizz.f p- - -

?

17 how e ver sore,

17 j . J3 3

and because I must go won

ff

I lookback

w- - -

?

21 fu ri ous

21 J 3 3

at the beau ties that parcoC Stringp

could not hold

3

pizz.

. me:

3

- - -

?

25 J . Jbe cause they

25 33

Slower

could not hold

me. -

2


37/61

?

44

Voice

Cello

3

q76

p

12. "How Greedily This Wave Comes In"

3

jHow

9

p

?

6 3gree di ly this

6 3

B 3

wave comes in, ?

3 3

asas if it were 3

3look ing for 9- -

?

11 j .some thing.

11 3

3

J . And now a

3

. gain,

J slow er,

9

pp

- - -

?

16 J J 3but white with ex

16

3

F

F > 3

. Jment

3

still. 3

9

F

F- - - -

21 21 11

3Is it dis ap

3

?pp

point ed? 3

3

Has it found

3

- - -


38/61

?

26 26

3

3

what it was look ing 7

for?

3

But a

no ther wave .- - -

?

32 3is al

32 3. J

rea dy 9

mov ing 3

FF

in, 3

3more

3

gree dy and more .

FF

- - - - - -

?38 3

sa vage

38 7 still, 3

F

F J

with seem ing 3

FF

se 3

ff

crets in its soul, 9- - - -

?

44 J and the

44 poco rit. ppoco rit.

p sub. .j

lust for

trea sure. 3

3

a tempo

a tempo So

3

-

?

50 . Jlive the

50 3waves,

3 6

and

3FF

. Jso live

?

56 we who

56 will. 3p

p

3

3

U

UMore I will not say.

Spoken:

2


39/61


40/61

?35 r r r 3 .

3p? 38

3

3 3

3 3 3f p

?42 loco 3 3p

3 3 3

B ?p?46 w

3 3 3 3p > > 3? 50 . . 3 3

3

3 3 3rit.?54 . a tempoF

5 3 3

rit.

p 3a tempo

P?57 wf

> rit.

Up

2


41/61

? 44Voice

Cello

q63f

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

3S p

Are you

3

p > 3ang ry with > J

3

-

?

5

me,

5 5 6

. 6

5

rit.

waves? 3 3

a tempo 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

S

head,

3

3

J > be ang ry,

f

f

J p

arch f

- -


42/61

?

18 18

J

J

"Are You Angry With Me, Waves?' J your 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-

?

30 330

j withgreenj p

twi light psul pont.

jand ordin.

green light 3 3

ning.

j

- -

?

39 39

. JGo af j

head, 3f

. J

dive and 3

pour your eme ralds- -?

46 3in to the

46 depths, p j

and

f

p

. Jco ver - -

2


43/61

?

51 them with your

51 ..pizz..

in fi nite

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

mane

..b J 3

of white

rit.

rit.

foam secco (finger without bowing)

- -

?

57

.

57

q63p

pizz.

j arco

3

3 ten. 3

Every thingp

p J 3

suits me J3 3

just as it-?

65 j 3suits you;

65 J J3

I'm so

. J

fond of

3

. jyou for

3

eve ry thing, FF

- -

?

71 3how could I

71

p

p e ver be

tray you?rit.

rit.

3Are we not

3

q76one,

3

- -

3


44/61

?

77 77 3

> 3

you and

3

"Are You Angry With Me, Waves?'

I.

3 3

j 3Your se cret and

3-

?

82

mine,

82

3rit. > > >

are they not

3one

3q63f

f

?

85 85

3

se cret? 3

rit.

prit.

U

U-

4


45/61

? 44Voice

Cello

. J . Jq

. J 15. Looking Back

jTowp w

day,. j . Jp-

?

6 Jto

6 . J

day a few 3

mu si cal chordsw J

re. 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

j

ofwp w

great. J . J

. jsol i. J

wtude,

w- -


46/61

?

21 21 . j . j

. j Looking Back

. jand the feel ingsw too..

J..

jp

-

?

26 I

26

thought I would

go on sul tasto

3liv ing that

- - -

?

30 . Jway for

30 wev

wer.w

w- - - - - -

2


47/61

? 44Voice

Cello

3Ev ery phi lo so

Pq = 100x notehead = play behind bridge on indicated string

pher has sure ly had an e vil16. The Evil Hour

Jhour in

3

3Ppizz.

- - - - - -

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

4 Jwhich he thought, he

4 3

3 3

arco

3 3thought: "What do I mat ter,

3

3

Bpizz. 3 3

what do I mat ter . J arco- -

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

7 . 3if they do

7 . J

not ac cept my bad . > 3ar gu ments too?"

3

- - -

?

10 J And then flew

10 J3 3 3

pizz.

. j by some lit tle bird 3 3 3

Farco

F

> 3all full of

w-


48/61

?

13 . JScha

13

J J Jpizz.

. J den freu

> 3 3 3

3

The Evil Hour

arco

de

3 3

P

P- - - - - - - - - - - - -

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

16 Jand

16 . Jspoken:

twittered, > 3

twittered!>

33

3 3

f exasperated

19 3 3"What do you mat ter?"

19 3

33

3

?P 3 3

"What do you mat ter?" pizz.- -

?

21 3 3What do you mat ter?" ter?"

21 3

3 3

parco

p

3 3"What do you mat ter?"

3

3

rit. a tempo

- -

?

23 U3What do you mat

23 rit. w

ter J ?"

3a tempo

- - - - - - - -

2


49/61

? 44Voice

Cello

q

Our good will, 17. Our Good Will . . . J

our pa tience, 3

j J 3our o pen ness pp

- -

?

5 3and gen tle ness

5

3

find their re ward at

3last in what is - - -

?

10 .strange:

10

j in some thing

3

strange

J 3that lit tle by lit tle

3

- - -

?

15 .sheds

15 . 3

its 4

.veil >

4

Jand 4 B

turns out to

4

?


50/61

?

20 .be

20 >4 . . .

sul tasto

.

J a new

4 B

Our Good Will . . .

ordin.

p

and in de 5 ?.

scri

5

- - -

?

26 .26

5

.

5

ba ble.

beau ty. 3

flautando

.

3 ordin.- - - - - - - - -?

31 31

4p J 3

This is its p .

thanks

for our 3

hos pi ta li ty. - - - -

?

36 .36 3

rit.

rit.

.

3

.a tempo

a tempo

.

2


51/61

?

44

Voice

Cello

q72p

18. "Could One Burden Oneself . . ."

3 3Could one bur den one p j

self with . J

all the past, - -?

6 Jthe

6 P J

old est, the P J

new est, the F

F J

los ses and . . j>

hopes, and .- - -

?

11 en dure

11 ff

all this,

J

3and con tain it

pp

- -

?

15 . 3 3and com press it all

15 3

in to a F

F . j

sin gle 3 3

3

3

p

p

feel ing, 3

3

3

3

- - - - - - -

?

19 J from this would

19 3

3 3

3

sure ly come a

3 3 3 3

whap p sub.

p sub.sul G

- - - - - - - -


52/61

?

22 3pi ness ne ver yet

22 wknown:

- - - -

?

25 J 3 3the hap pi ness of a

25 J . J .PP

j Jgod full of J . j .

pow er andJ . J .

wlove,J . J .FF

- - -

?

29 j J3of tears and

29 .. J . j

sotto voce J

laugh ter, a.. J . J 3 3

hap pi ness that like the

. J .. J . Jsun at.. J

.. Jff

- - -

?

33 eve ning

33

P

P j .

con stant ly be queaths its - - - - - - - -?

35 . 3in ex haust i ble

35 B rich es, ff

- - - - - - - - - -

2

"Could One Burden Oneself . . ."


53/61

?

37 wpour

37 3 3 3 3

3 3ing them in to the 3

33

3

wsea 3

3

33

PP

- - - - - - - - -

?

40 J and feel ing

40 3 33 3

. rich est of

wall,

J like the - - - -

?

44 wsun,

44 J 3

like the sun,

. J

ff

. J ?

48 J 48 .

p

p j J J3

on ly, on ly 3

when the poor est of fish er men - - - - -?

51 rows

51 3

with gold w

. J en oars.

w

wU U- - - - -

3

"Could One Burden Oneself. . ."


54/61

? 44 44 44Voice

Cello

w

qpizz.

f > . J

What if some day or

19. The Heaviest Weight.p

pmute on

J jnight a J

q66 Parco

?44

44

44

4 3de mon crept in to your

4 . j

sol i tude j

and said: > - - -

?44

44

8 j . JThis life you live and

8

have lived

you will have to

live once ?

44

44

44

12 .more

12 O J

and count less times w

more; j

and it will bring -


55/61

?44

44

44

16 no thing new,

16 j

but ev ery J

The Heaviest Weight.

mute off

. J pain and ev ery

. J joy and ev ery >

- - - -

?

44

44

44

20 . . thought

20 >

f

f J

will re > turn to .you

p

pj

in the same ?44

44

25 or der,

25

e ven I. P j

my self and

3

this spi der and therit.

rit.

- - -

2


56/61

?

29 moon light in

29 f p j

the trees."

a tempo

a tempo

The Heaviest Weight.

q92 j 3 3P

-

?

33 3Would you cast your self

33 3P .. J

down and

3 . jgnash your

3FF

?

36 . . jteeth and

36 > > wcurse

> > ff

. . jthe

>

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

39 3de mon who spoke

39 pp

thus? >

j Or have you.

> . jonce known a b

3


57/61

?

43 mo ment in

43

which you would ans

. J3The Heaviest Weight. w

wer,

. ff

J .

- -

?

47 w"You

47

are a

8 a piacere

va wgod

?

51 j and I,

51 3

rit. prit.

pj j

I have

. . Jq G string

. . jne ver

. . J O 3

heard a ny

. OG string- - -

?

55 . thing more

55 O O O O3

. . jbeau tiO O J O

3

wful.Ow

wOw

wOw

Ow B

OwU- -

4


58/61

4 4Voice 3

I see once more the

p 20. Postlude in Verseq92 pi geons of San Mar co. JThe square is- - 4 45 Jstill, the

morn ing ling ers

3there. In the

j 3soft cool ness- - - 4 4 49

I send flocks of

Jsongs like

p J 3 3swarms of pi geons in the

3blue a loft- - - 413 j

and lure them

rit. jback, yet

a tempo one more rhyme to dan gle

J 3from their wings:- - - - 4 417 j j

my hap py lot.

rit. j my hap py lot.

jYou

Pa tempo J 3still and blue lit silk en- - - - - 4 4 421 . J

roof of sky,

j Ja float, a

3ca no py for the tint ed build ing

j that I- - - - - - 4 425 J 3

what am I say ing?

F love,

P fear,

j jen vy, whose

p- - - - - -

429 j 3 3soul I'd tru ly drink up if I

P .could!

p J j And give it

rit. J back?-

4 433 J j Hush, no more of

a tempo J that, you glimpse of

J won der:- - - -


59/61

4 436 j j my hap py lot,


jYou

a tempoF jut ting tower,- - - -

440 3

with what a li on's

f Jforce you mount on high here, J splen did,P

- -

4 4 444 free of care!

p j You send your

j 3deep knell clear a cross the

.square.-

4 4 4 448 j If I stayed back,

rit.

J Jlike you, I'da tempo 3

know by what sil ken

jsnare: my- - 452 j

hap py lot,


a tempo . 3Mu sic, hold off!- - - 456

3

First let the sha dows dark en

and grow in to a

brown and ten der

rit.

- - - - 4 459 j night. It's too soon

a tempo j 3for your tones; the

3

or na ments of gold don't glim mer- - - 462 j . jyet in splen did

p j hues of rose.

j Much day re mains,

rit.

- - 4 465 j J much day for mak ing,

a tempo jslink ing,

3mur mur ing:

j my hap py lot,

- - - - -69 j j

my hap py lot,

rit. j Umy hap py lot.

- -

2


60/61

? 44Voice

Cello

qpcon sord.

j j What

p j jis done

. ?

5 J . j .out of

5 J

love > .

is

j >

10 al

10 >.

ways >j . 3

done be > .

yond > 5

- - - - -

14

good

14 > . J

andw w . .

e .

w

vil. - - - - -

21. "What Is Done . . ."


61/61

()

20 20 w ?

Jen seitswx x

.

von Gutwx

xx x . j undw

x

. .

Bwx

. j j .sewu

x x x

- - -

2

(sprechstimme)

gliss.

"What is Done"

the wanderer and his shadow

Documents