The Wanderer and His Shadow

Transcription

1 The Wanderer and His Shado Songs or Voice and Cello rom Nietzsche s The Gay Science Larence Kramer

2 2 The Wanderer and his Shado Songs or Voice and Cello rom Nietzsche s The Gay Science Translated/adated/condensed rom ook IV: Sanctus anuarius ook One 1. or the Ne Year. Today e allo ourselves to exress our dearest ish and thought, so I ill, too: ill tell the irst thought to cross my heart this year. I ant more and more to learn to see the beauty o necessity; then I ill be one o those ho make things beautiul. ( 276) 2. We should not count ourselves too ise hen at times e are so surrised by the onderul harmony layed on our instrument a harmony too good or us to take the credit. Yes, no and then someone lays ith us: chance guides our hand, and the isest rovidence could not imagine a more beautiul music. ( 277). Living amid this umble o small lanes, needs, and voices gives me a melancholy hainess. It is like the last moments beore a shi dearts: eole have more to say than ever, the hour is late, and the sea and its desolate silence atiently ait behind all the noise. ( 278). Delight in lindness. My thoughts, said the anderer to his shado, should sho me here I am, not here I m going. I love not knoing the uture; I don t ant to die o imatience or taste romised things beore their time. ( 287) 5. History aords no examles. One day this might haen; not even the dice thros o the luckiest chance could ix the conditions or its birth today. What has thus ar entered our souls only no and again, the excetion at hich e shudder, one day may be the custom o uture souls: eretual motion beteen the high and lo, the eeling o height and deth, a constant ascent as on a light o stairs yet a sense o reosing on clouds. ( 288) 6. We ish e could rise u on airy dust motes like beams o light, not aay rom the sun but toards it. ut this e cannot do. So instead let us do the only thing e can: to bring the light to earth, to be the light o the earth. or this e have our ings and our seed and our disciline; or this e are even terrible like ire. ( 29) 7. Sigh. I caught this insight in assing and quickly seized the oor ords close at hand to in it don and kee it rom lying o. And no it lutters and las in these stale ords and I scarcely kno ho catching this bird could have made me hay. ( 298) 8. Ho can e make things beautiul, delightul, and desirable or ourselves hen they are not And I ear that in themselves they never are. ( 299)

3 9. Did rometheus irst have to antasize he had stolen the light and then ay the rice beore he could learn he himsel had created the light by anting it or his on The men, the god mere clay in his hands, images o the maker: no less so than the antasy, the thet, the Caucasus, the vulture--the entire tragic romethiad o all seekers ater knoledge ( 00) 10. We alone, only e, have created the orld that concerns humankind. ut e lack the knoledge o recisely this, and hen at times e catch it or an instant, only an instant, in that instant e orget it again. ( 01) 11. Ho much there is that says to me, tarry ahile! Armida s gardens beckon me everyhere; everyhere I must tear my heart aay and ind ne bitterness. I must alays lit my eet, hoever sore; and because I must go on I look back urious at the beauties that could not hold me, because they could not hold me. ( 09) 12. Ho greedily this ave comes in, as i it ere looking or something! And no again, sloer but hite ith excitement still. Is it disaointed Has it ound hat it as looking or --ut another ave is already moving in, more greedy and more savage still, ith seeming secrets in its soul and the lust or treasure. So live the aves, and so live e ho ill more I ill not say. ( 10) 1. Intermezzo (or cello alone) ook To 1. Are you angry ith me, aves Araid I ll betray your secret Well, go ahead, be angry; arch your green dangerous bodies as high as you can, blot out the sun ith green tilight and green lightning! Go ahead: dive and our your emeralds into the deths and cover them ith your ininite mane o hite oam. Everything suits me ust as it suits you. I m so ond o you or everything ho could I ever betray you Are e not one, you and I Your secret and mine, are they not one secret ( 10) 15. Looking ack. Today a e musical chords reminded me o a inter and a house and a lie o great solitude and the eelings too. I thought I ould go on living that ay orever. ( 17) 16. The evil hour. Every hilosoher has surely had an evil hour in hich he thought: What do I matter i they don t accet my bad arguments, too And then le by some little bird all ull o Schadenreude and tittered: What do you matter What do you matter ( 2) 17. Our good ill, our atience, our oenness and gentleness ind their reard at last in hat is strange: in something strange that little by little sheds its veil and turns out to be a ne and indescribable beauty. This is its thanks or our hositality. ( )

4 18. Could one burden onesel ith all the ast, the oldest and neest, the losses and hoes, and endure all this, and contain it and comress it all into a single eeling--rom this ould surely come a hainess never yet knon: the hainess o a god ull o oer and love, o tears and laughter, a hainess that, like the sun at evening, constantly bequeaths its inexhaustible riches, ouring them into the sea and eeling richest o all, like the sun, only hen even the oorest o isherman ros ith golden oars. ( 7) 19. The greatest eight. What i some day or night a demon cret into your solitude and said: This lie you live and have lived you ill have to live once more and countless times more; and it ill bring nothing ne, but every ain and every oy and every thought ill return to you in the same order, even I mysel and this sider and the moonlight in the trees. Would you cast your sel don and gnash your teeth and curse the demon ho soke thus Or have you once knon a moment in hich you ould anser, You are a god and I have never heard anything more beautiul ( 1) 20. ostlude in Verse (or voice alone): Mein Glück (My Hay Lot) rom Aendix: rom the Songs o rince Vogelrei. The text aears belo ater that o the Eilogue. 21. Eilogue (rom the text named at the end): What is done out o love is alays done beyond good and evil. enseits von Gut und öse. ostlude Text: Once more I see the igeons o San Marco. The square is still; the morning lingers there. In the sot coolness I send locks o songs Like sarms o igeons in the blue alot And lure them back, Yet one more rhyme to dangle rom their ings My hay lot, my hay lot. You still and blue-lit silken roo o sky, Aloat, a canoy or the tinted building That I hat am I saying love, ear, envy Whose soul I d truly drink u i I could! --And give it back Hush, no more o that, you glimse o onder My hay lot, my hay lot. You utting toer, ith hat a lion s orce You mount on high here, glorious, ree o care! You send your dee knell clear across the square [In rench ould you become l accent aigue ] I I stayed back Like you, I d kno by hat silken snare

5 5 My hay lot, my hay lot. Music, hold o! irst let the shados darken And gro into a bron and tender night! It s too soon or your tones; the ornaments O gold don t glimmer yet in slendid hues o rose. Much day remains, Much day or shaing, slinking, murmuring --My hay lot, my hay lot. rogram Note Comosed beteen 2006 and 2008, this song cycle exlores the ossibilities o dialogue beteen a singing voice and an instrumental counterart that sometimes assents, sometimes dissents, sometimes mocks, sometimes comments, sometimes reinterrets, and so on, hat its alter ego exresses. The standard combination o voice and iano aeals to me greatly, and I ve comosed or it oten, but or resent uroses the iano is almost too versatile and multidimensional. What I anted as a voice o great range and exressivity but ith limited abilities to rovide its on harmony and counteroint. Given that desire, the choice o the cello seemed inevitable. Gyorgy Kurtag s Kaka ragments or voice and violin rovided a model; at the same time, the dierences in style and eeling beteen that cycle and this one are obvious, and the hilosohical dierence Kaka s ininite irony versus Nietzsche s airmation o initude is ust as strong. The text is a critical hybrid. In choosing hat to set, I ound that most o the assages excerted had to be condensed to be musically eective. Tamering ith Nietzsche s German as obviously out o the question. In making the English versions, I ould certainly interolate a layer o interretation beteen the original and the music, but the simle act o excerting and arranging ould 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 o all song cycles, is a iction. It is iction that, like all iction, aims by invention to ind a certain truth. The cycle is not a rounded ortrait o Nietzsche as he resents himsel in The Gay Science any more than Kaka ragments is an authentic ortrait o Kaka. Instead The Wanderer and His Shado is the exression o a Nietzschean ersona devised artly as an interretation o Nietzsche and artly as an adatation o his voice. The chosen extracts sho little o the arrogance and osturing that a more aithul ortrait ould have revealed, but they still, I believe, have lenty o bite. The ersona they ashion is that o anyone ho accets the Nietzschean challenge o creating the values by hich one lives and udges onesel. This is the task that Nietzsche amously called the transvaluation o all values and that he alays insisted as rooundly diicult. The ersona o these songs the tinned ersona o the anderer and his shado is, like the creatures o Nietzsche s rometheus (song 9), including rometheus himsel, an image o the maker.

6 6 The songs o The Wanderer and his Shado are loosely linked by melodic and scalar atterns, ith occasional quotation and cross reerence rom one number to another. amily resemblances abound, ragments o recurrence attuned to Nietzche s concetion o eternal recurrence a concetion eventually realized (but incomletely) in song 19. Like the individual songs, the large design o the cycle is dialogical. There are tenty-one numbers. ust ater midoint, one o the texts is broken u and set by to searate but closely related songs (12 and 1) searated by an intermezzo or cello alone. Near the close, ust ater song 19 arrives at the destination o eternal recurrence, another solo number, this time or voice alone, arises to anser the irst. The voice and cello reunite or the inal song, a ostlude The ideal erormance o these songs is o course that o an unabridged traversal o the cycle. ut abridged erormances are ossible i certain conditions are observed: any selection should begin ith no. 1 and end ith no. 21. No. 12 may be included by itsel, but i both nos. 12 and 1 are included, they should be searated by no. 1, the cello intermezzo, and no. 20 or unaccomanied voice should also be included. The order o the songs, hich corresonds ith that o Nietzsche s text, should be strictly observed. A comact version o the hole, hich reserves the essentials o its design, can be erormed on rograms ithout enough room or more. This abridgment, under the title Song Suite rom The Wanderer and his Shado, consists o numbers 1, 2,, 6, 9, 12, 1, 1, 18, 19, 20, and 21.

7 Voice q» 1. or the Ne Year Cello b b esress. b b b #. #. To-day e al-lo our - selves to ex - ress our dear - est b.. b. ish and 9 9 thought, b b. #. b b n b.. b b n. b 1 1 b b #. b b b so. I ill # b. too: > b.

8 2 17 b. ill tell the. irst "or the Ne Year" thought. b to cross my b. heart b this 17 # year.. b - - b, 25 a temo I ant more and a temo b. more 5 to b b b. learn to see. b the b b Allarg b # b U b U ƒ b beau-ty o ne-. b 29 b b. b n # 29 ces -si - ty; b b # b b.. then I ill be one o... b b. those ho make things beau - ti - ul.... izz.. b b..

9 Voice Cello Tranquil q» b We should not 2. "We Should Not Count Ourselves" b count our-selves con sord. b too ise b hen at times b 5 5 b e are so sur-rised by the on - der - ul har - mo-ny layed b b b b b. b on our 9 b n in -stru-ment a har - mo- ny too good b n b 9 b b b Ȯ 1. b 1 or us to take the b cre - dit. Yes, no and then some-one mute o b n b

10 2 17 b "We Should Not Count Ourselves" b n. lays 17 b ith us; chance guides > our hand, b n > b b b and the is - est ro -vi -dence could not i - ma - > b n b b q = 58 > gine a 2 2 b. more beau ti - ul mu b > # U sic.. U

11 . "Living Amid This umble" Voice q»162.. Cello # # #. sul ont..... Liv ing a -... mid this um 7 # # # ble o small. lanes,. needs.. and ordin # # # # # #. voi. b # ces gives me a mel - an- sul ont. b b..... cho -ly ha i - ness. ordin..... b... ~~~.. slide to sul ont It is like the b... lasṭ.

12 2 "Living Amid This umble" 25 # # # mo ment, the last mo-ment be-ore a shi de -. ^ #.. #.. ordin... # b sul ont. 0 0 # # #. arts... ordin. # eo - le.. have more to say # than sul ont.. ordin. # ever; - sul ont.... ordin # # #. b.... # the. sul.. ont. hour. # is. #. late,.. the... hour... is. ritard. # # late and the ritard. a temo 5.. # # #.. # 5 # # # sea a temo ordin.... # and its de sul ont. # so-late ordin # # #. si - sul ont. n. b b lence, n ordin.. ṡlide to sul ont.... de - so late ordin... - # silence, - sul ont..

13 59 q»116 "Living Amid This umble". de 59 # # #. æ æ. æ. æ 6. 6 # # #. æ. æ so-late. si æ æ æ æ.. lence æ. ordin. 68 q» # # # 72 # # #. # sul ont. # ordin. a - tient -ly... a - tient - ly ordin. # ait, sul ont. ritard. a -tient -ly slide to sul ont.. ritard.

14 78 a temo..... ait 78 # # # ordin. a temo... be - hind all. the noise. sul ont. 85 Ritardando # # # Ritardando

15 Voice Cello qȻ lautando # #. "'My Thoughts...'". # # "My thoughts," # # said the an # # - b # # #.. #. # #. - de-rer to his sha-do, should sho me ~~~~~~~~~~~~~~~~~~~~ ٠I here I am,. # # 9 9 # should sho me here I # # am, # # > not # # # sul tasto 12 # 12 here I'm go - ing. b. # # 5 #.. - # - I

16 2 "' My Thoughts ' " 15. love 15 not # knoing - the u -.. ture. # #. b I 19 b.. b. 19 don't ant, I Ÿ. don't #. ant to col legno tratto die o im - # # a - tience or taste ro - # # b # #. #. # mised things # # # # #. be - ore their # # # # time. ordin. # sul tasto # # lautando U

17 Voice q» 5. "History Aords No Examles" Cello 6 6 # O G string.. # #O ochiss. n bo riten. O O O O O a temo b b. luck 15 One day b b > this may O. O ##O O O O b. b His-story a-ords no ex - am-les. q»92 # #Ȯ O O O ha-en: not e-ven the dice thros o the b b #. b n i -est chance could ix the con-di -tions or > b b b b > n n > b its b >

18 2 "History Aords No Examles" birth b b R - Ÿ~~~ Ÿ~~~~ Ÿ~ Ÿ~~~~~~~~~~ # Ÿ What has thus ar en -tered our souls on-ly no and a-gain, > #. Ÿ~~~ Ÿ~~~~~~~~~~~~~~~~ ~~~~~~~~~~ Ÿb # to day. b b b a temo a temo # # no and a - gain, no and a - gain, # #. #. n. # 27 #. b 27 b n the ex-ce - tion, the ex -ce-tion at hich e b b b b n 0 b q»72 0 shud - der, b.. # #O O.. O O

19 "History Aords No Examles" #. the exce - -tion at hich e shud - der be the cus -tom. O #. #Ȯ # O O O # may one day # #Ȯ O O O #. # O 7 7 n b O # o u-ture souls: er-et - u-al mo-tion be- O # O bȯ. q»92 O # b b r 2... b 2 teen the. b. b high and b.. ÿ ÿ lo, b. b. esress. b # n b b. the eel - ing. o b >. -. height. b and b.... deth b. #> n.. b a #

20 "History Aords No Examles" accel. b con stant a - accel. # n b scent as on a q»72.. light. o 5 5 stairs, # 56 q» #. b b b yet a sense o re - b U.. 56 os ing on b b b b clouds. b U

21 Voice q» 6. "We ish e could rise u..." Cello izz. arco b... b. b. b.. >. #. arco. izz. We izz. b ish e could arco b. rise u # # > b b b n > on air - ry 7 #. # 7 dust motes # # b>. likebeams o b-. #. #..... light, b - b b. n.... b. n #. #... b. ÿ not a.. b b. - ay rom the b... b. >. sun unta b. d'arco. b....

22 2 1 1 but toards it, col legno battuto b... b... b b 20 toards b b b this e b b > ƒ b b. - non cresc. b # b it. izz. b b b b b toards b b cresc. b it, b. b b ut this, > can - not do. So in- strum b b b b # recitative

23 26 26 # b stead let us do the on ly thing e can: to b b arco cantabile b bring the light to # # - - esress. esress. earth, b Sloer, esress. q»96 to # # 2 2. b. be "the light o the # b earth." b q» Temo I Temo I izz. arco ƒ b or b b. this e have our b. b.. n # b. ings b b. and our Allarg. seed Allarg. b b.... b q»96. subito and our dis - ci - q»96 sul tasto b æ subito

24 0 non cresc. 0 line. æ ordin. > b. or b this # n b>. b ƒ b 9 9 e are e - ven ter b. ƒ b i-ble, izz. strum U izz. U (hum) arco sul ont. b... ordin. esress.. b > b b> 5 a temo b like 5 b b (hum) b - - n>. # # a temo. ten. ire izz. ƒ

25 Voice q» 7. "I Caught This Insight...". # b Cello b b b # I caught this in - sight in b # b b b b ass-ing and quick - ly seized the b b b b b b > b b. b oor ords close at # b b b hand b to # b b #. in it don and. b b b kee it rom ly. b b b ing b o. b. b b # b b And

26 2 1 no, and no it lut-ters, it lu-ters and las,. b. b b # b # b lut-ters and las, and no, and no it lut-ters, it lut-ters and.. 19 b.. 22 b iu iu las, las, las, b kno b. #... ho catch b 26 # b could have b. b. b.. b. #. ƒ las,. # b b made "I Caught This Insight".. b b ing b b. b.. b. #.... # and I scarce - ly # b b this b > b me b ha - b bo # Ȯ y. O # bird # b b # O O

27 8. "Ho Can We Make..." Voice q»72. Ho # can e # make things # beau - Cello ul, # # de - light - ul, 11 # # and de - si ra - ble #. 1 or our - selves

28 (soken) hen they are not # that in them #. "Ho Can We Make" # And I - selves they ne #. #. ear # ver U #. are. U

29 9. "Did rometheus irst have to antasize..." secco (= inger ithout boing) X notehead = soken, itch aroximate Voice q»156 Did ro - me - the -us Cello b izz. secco b > # b b > > 5 5 irst b # n have to b. an - ta-size, an - ta - b. > b # b b size > that he had # b. sto - len b b the light, b > > > that he b 15. # b b 15 b # had sto-len the light, izz. secco b # n izz. secco b # and then ay izz.secco b > >

30 the rice, # he secco b 29 secco b > 7 b be izz. secco - b ore # he could learn b izz. secco him-sel had cre-at-ed the light by ant b. hands, b 7 the izz. secco b # # b ing it or his.. b. b men, > b b b ""Did rometheus...". the on: b. god, b ~~ #. # b mere > i - ma-ges o the mak - er, secco b n b izz. b b. clay # izz. izz. secco b > b izz. in his no

31 "Did rometheus..." 1 b b... b. 1 less so than the # b an - ta -sy, the thet, the Cau - ca -sus, izz. b secco b izz. b secco b 6. subito b.. # 6 b the vul - ture, the en - b izz. b secco > tire izz. > > tra -gic ro - me the - secco b b izz. > b b secco > b ad b b o all seek - izz. o o # b. ers #> b sna # b a -ter kno secco # b # b ledge # b # b izz. b U ~~~~

32 10. "We Alone..." Voice q»6 Cello b. n #.. b b b n b # b n. esress. 6 a temo 6 # # b n.. b. # b. 11. b We.. æ a - lone, æ on b. - ly e b. have cre-a - b # # ted the orld # b n b. b that con - cerns hu-man kind. #.. b. # n ut e, n

33 2 "We Alone" 20 b... R 20 # e lack the kno - ledge o re-cise -ly sul tasto #. that, # 2 2. # b. n. izz. arco, ordin. non cresc. b. ƒ sna. and hen at times e

34 27 catch it or an 27 arco b n #. >. # ly n an # in -stant, on - # # # b b > n e or - get b> n. b n in-stant, o > b e, b it a # #. # "We Alone" b -. b n o b gain, b n # b con sord... n b.. # n b. n # n in that e. æ # b or U # in #. - b stant # b - sul ont. U b b n # n. it, # # # orget - it a-gain. ordin. O O b n # b>u n Í

35 Voice Cello q» º izz. b b Ho much there is that says to me, 11. "Ho Much There Is..." "Tar b - ry a-hile," "Tarry - a - hile." b # b b b. Ar-mi-da's gar -dens beck - on, beck-on b b. b # # b # 8 8 non cresc. me, cresc. b # b b beck - on me ev - ery - here. b b b bn b b b b b n b Ev-ery-here I must bear my heart a - # ay b b b

36 2 "Ho Much There Is..." 1 b 1 b and taste ne bit - ter-ness. I must al - ays lit my eet, arco C String izz. # n ÿ b ÿ ÿ b.. n # b b ho -e-ver sore, and because - I must go # b b b #. # b # on # b # I lookback ƒ 21 # b b. U 21 u - ri - ous at the beau-ties that arco C String could not izz. hold b me: 25 Sloer. b b be - cause they could not hold me. 25 b

37 Voice Cello q»76 b b gree -di - ly this b b. b 12. "Ho Greedily This Wave Comes In" ave b # b b comes b in, b b. b b b b n as i it ere b b. b some - thing. And no a - gain, slo - er, b > b b b but b hite ith ex b 11 # > b b n b ment # # b # still. Is it dis - a - oint -ed # b b b Ho b n b b 9 look ing or 9 b b 9 b b b b b b 9 b > Has it ound b b

38 b b b is al b sa b hat it as look. b 7 b - ing or ut a - no - ther ave b b. b b b b b. - rea dy mov - ing in, more gree - dy and more b 9 b b n b b b - vage still, ith seem-ing b b b 50 oco sub. oco 50 b 56 b. live e b b the b ho 56 and the aves, b b. lust n or b b b b b b b ill. b b b b trea - sure. se b b b b 6 Soken: b U and b b crets in its b b U More I ill not say. b. so b b b n # b b a temo a temo > live b b b b. soul, 9 b # b b b So b

39 Cello 5 Cantabile q» b b. b 10 b b b b b 1 ten. b 17 b 22 b> n b b b b 26 b b b > 0 b. b 1. Intermezzo b b b b # n ten. b -. b. b b # # # n. b b b n # > b # b b b b b b b n b b b b. b b Ÿ b b b b b >. b - -. b

40 2 5 8 r b r r b # n # # # nb b 5 57 a temo. loco b b b b b ƒ b b b b # b.. b b n b b # n b b b b b n b #. Ÿ b n b b Ÿ b b b b b b b 5 b> # n b b > b > b b b ƒ a temo b b # b U b

41 1. "Are You Angry With Me, Waves' Voice 2 q»6 > Cello 2 b b S # # Are you ang - ry ith b > 5. a temo 5 me, b b n n 5 6 b b b 5 aves b b b A- b b b raid I'll be - tray your se - cret b b accel. b b b b b b b 1 q»76 b b > 1 b S Well, go n a bbn b b # - head, be ang-ry, arch b

42 2 18 b 18 2 ƒ b ƒ "Are You Angry With Me, Waves' your b b ƒ. b green b> dan - ger-ous b > b bod - ies 2 > b 6 b # n as high.. ith green ÿ. Go # b ti as you.. # ƒ can, light and green light - sul ont. ordin. b æ æ æ æ # æ æ æ æ ~~~ ~~~ blot out ning. the b a - head, dive and our your eme-ralds b. # # in - to the deths, and co - b # # # # b. sun # n ver

43 "Are You Angry With Me, Waves' 51. # # 51 them ith your b. ƒ izz. # in b b. - i-nite mane b # #. o hite oam b # secco (inger ithout boing) # # n b 57 q»6 b izz. suits you; ho arco b b could I b b I'm so # b Ÿ ten. # # b. ond b b o b b e-ver be - tray b you. you Eve-ry thing b or b - - q»76 b suits me eve - ry - thing, b b Are e not b one, ust as b it b b

44 "Are You Angry With Me, Waves' 77 > b you and I. Your # se-cret and 77 b b b b b b b b b b 82 b b> > > N q»6 mine, are they not one b b b b # b b U 85 b b se - b cret b b U

45 Voice q» 15. Looking ack Cello. b. b. bb To - day,. b. 6 to b b b b. 6 b. day b b a e mu -si-cal chords re - mind -. b. b ed me bb o a in - ter b and a house.. b. b and a lie b b b a lie b b o b great. Í b. b. sol b. - i - tude, b b

46 Looking ack #. b. b # # b I thought I ould b b. ay 0 bb or b b go æ b b. on sul tasto and the eel b b æ - ev b b er. æ Ø - ings too.. #.. Í b b liv ing that b æ b æ

47 16. The Evil Hour Voice q = 100 # # b Cello Ev-ery hi-lo -so - her has sure -ly had an e - vil x notehead = lay behind bridge on indicated string hour in izz. # hich he thought, he arco b b b b b thought: "What do I mat-ter, - izz. b b b b b hat do I mat ter arco Ÿ~ Ÿ~~~~~~~~~ # Ÿ~~~~~~. # 7 i 7.. b they do b Ÿ~~~ # Ÿ~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~. b b > b b not ac - cet my bad ar -gu - ments too" 10 #. b n b > 10 And then le by some lit - tle bird izz. arco b b b b b æ all ull o

48 Scha b b den -reu izz. arco soken:. The Evil Hour b b > and Ÿ~~~~ Ÿ~~~~ tittered, 16 Ÿ~~~~~~ b #. # # > b b b b b exaserated b de tittered! "What do you mat-ter" "What do you mat-ter" b 2 2 Ÿ b b b b b b b b b What do you mat-ter" ter" "What do you mat-ter" arco b b b What do you mat U b b b b b b b b ter b > Ÿ Ÿ b b b b b b a temo a temo " izz.

49 Voice Cello q» b Our good ill, b 17. Our Good Will... b our a-tience, our o -en ness # # # # 5 5 and # gen-tle-ness ind their re - ard # b b b at b b last in hat is 10. b b # # 10 strange: # b b in some-thing strange that lit-tle by lit -tle b b b # # 15. # #. 15 sheds. its veil b b b> and turns out # # to

50 be #> sul tasto. Our Good Will... b a ordin. b ne b b and in - de - scri - b ba - ble beau-ty. # # # 5 b Ȯ. 5 # # # This is its # #. thanks # Ȯ # or O lautando our b b ordin. b hos - i -ta -li -ty. b b b 6.. a temo 6 b b. a temo.

51 18. "Could One urden Onesel..." Voice Cello 6 q»72 # 6 11 b the # # # Could one bur - den one - sel b old - est, the ne -est, the los - ses and b # # #. #. ith b. all the ast,. hoes, #. b b > and b en - dure all this, and con - tain it b.. b.. b # #. # b 15 b b and com-ress it all in-to a sin gle eel - n b # b # b n ing, # b b b b rom this ould b # sure ly come a ha # sub. sul G sub. #

52 2 "Could One urden Onesel..." i-ness ne - ver yet 22 # b b knon: b b # # the ha-i -ness o a god ull o o - er and. #. #.. sotto voce b o tears and #.. b laugh-ter, a ha-i-ness b. # 5 eve # b. b. b. that like the b.. # # love,.. b. sun #.. b ning con - stant - ly be - queaths its. b b. at 5 in - ex - haust i - ble rich - b b # # es,

53 "Could One urden Onesel..." 7 > b our b ing them in - to the # # b # b n and eel -ing rich est o #. # n # b all, b b sea b n b b b n like # the 8 sun, # n b.. like the sun,.. b b.. b. #. b 8 51 #.. on - ly, on - ly hen the oor -est o ish - er - men b. U 51 ros # ith gold b en oars. # U

54 Voice Cello q» izz. b >. What i some day or 19. The Heaviest Weight. mute on q»66 night arco b a b b. de-mon cret in-to your sol - i tude b and said: b b> 8. This lie you live 8 b b and b have lived b you ill have to live b once 12. b more and count-less times more; and it ill bring 12 b b Ȯ b

55 no-thing ne, but ev-ery ain and ev-ery oy and ev -ery mute o.. thought b n > The Heaviest Weight. b b ill re > n b turn b n b b. b or-der, e-ven I my-sel. b b to b. b you > and. in the same b b b > this si der and the

56 29 a temo The Heaviest Weight. q»92 29 moon - light in the a temo trees." #.. b. b Would you cast b b your sel don b and b gnash your b n 6 b.. teeth b > b de mon ho soke b b Ÿ~~~~ > b n and b # curse b b > n n > b ƒ.. the b > ƒ > b b. thus Ÿ~~~~~ Ÿ~~ Ÿ~~~~~~~~~ # Ÿ Or have you once knon a > #. Ÿ~~~~ Ÿ~~~~~~~~~ ~~~~~ Ÿb #

57 b The Heaviest Weight. b mo-ment in hich you ould ans - er, # #. #. n. ƒ 7 va 8 a iacere b "You # ƒ b b b and I, n are q» G string.. I a god b have # # O.. ne O.. b b b b n - ver heard a - ny - O O. G string O b thing more #Ȯ # O O O.. beau # #Ȯ - ti - O O O ul. # O n bo O O UO

58 Voice 5 q»92 I see once more 20. ostlude in Verse b b the i-geons o San Mar-co. The square is b # still, the morn-ing ling - ers there. In the sot cool -ness b b # # b 9 I send locks o songs like sarms o i-geons in the blue a-lot - b a temo b # b b and lure them back, yet one more rhyme to dan -gle rom their ings: - a temo b # b b b 17 - my ha-y lot. my ha -y lot. You still and blue -lit silk -en b b b b 21. roo o sky, a - loat, a ca-no-y or the tint-ed build-ing that I - 25 b b hat am I say -ing - love, ear, en -vy, hose b # b. b 29 soul I'd tru - ly drink u i I a temo could! And give b # b Hush, no more o that, you glimse o it back on-der: b

59 2 6 # b b b a temo - my ha - y lot, my ha-y lot. You ut -ting b b 0 ith hat a b # n toer, li-on's orce you mount on high here, slen-did, b b. ree o care! You send your dee knell clear a - cross the a temo b b # b b 8 52 I I stayed back, like you, I'd square. kno by hat sil - ken snare: - a temo b # b b. ha -y lot, my ha - y lot. Mu - sic, hold o! b b # n b 56 irst let the sha -dos dark - en and gro in - to a bron and ten - der a temo b b 5 59 night. It's too soon or your tones; the # b. # b 62 my b b or -na-ments o gold don't glim-mer b yet in slen - did hues o rose. Much day re -mains, a temo b # b b much day or mak-ing, slink - ing, mur-mur -ing: my ha-y lot, # b my ha - y lot, my ha - y lot. b U #

60 Voice Cello q» con sord. b b b b b 21. "What Is Done..." What b b is b done. b b b 5 5. out. o b b b b love b> b. b b is b b b b > b al b b> ays done be - - b > b. b >. yond b> b b 5 1 b good 1 b > b. b and b.. e b vil.

61 2 20 ( ) 20 b Í æ b x b x b x x x.. x b x en -seits von Gut und ö - - æ "What is Done" (srechstimme) # æ Í b.. æ x. N æ u b x x x ~ ~ se U. gliss.