The Wanderer and His Shadow

Songs for Voice and Cello from Nietzsches The Gay Science

2008

Lawrence Kramer
























lkramer@fordham.edu
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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 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 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 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 of
the 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 the
sun 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 tragic Promethiad of 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 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 it
was 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 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 one secret? (310)

15. Looking Back. Today a few musical chords reminded me of a winter and a house
and 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 bad arguments, too? And then flew by some
little bird all full of Schadenfreude and 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 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. 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 ever
more 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 be a single
thing. (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 songs
Like 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 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 force
You 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 ornaments
Of gold dont glimmer yet 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, sometimes
reinterprets, 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 to
provide its own harmony and counterpoint. Given that desire, the choice of the cello
seemed inevitable. Gyorgy Kurtags Kafka Fragments for voice and violin provided a
model; at the same time, the differences 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 the
passages 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 Science any more than Kafka
Fragments is an authentic portrait of Kafka. Instead The Wanderer and His Shadow is
the 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 twinned
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persona of the wanderer and his shadowis, like the creatures of Nietzsches
Prometheus (song 9), including Prometheus himself, an image of the maker.
The songs of The Wanderer and his Shadow are loosely linked by melodic and
scalar 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) 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 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, another
solo 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 traversal
of 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 a
coherent 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
3
3

#

b
3
3
yet a sense of re

b


.

.

rit.
rit.
-
&
?
57



3
pos ing on
57

b
b
b

q
w
clouds.
b
b


w
U

U

- - - - -
4
"History Affords No Examples"
&
?
4
4
4
4
Voice
Cello

b

.

.

.


3
q
6. "We wish we could rise up . . ."
f
p
pizz. arco

b
.


b
.
b
.

.

>

3

We
#
.

.

.

p
arco
pizz.
&
?
4

wish we could
4



b

b

pizz.
f
arco
p
.
j

rise up

#
#

>


3
3



b
on air ry

b

b n


>


3
3
P
P
-
&
?
7

dust motes
7

#
#



b
>



.
3
3
B

. #
J

like beams of
b
-



.
#
.
#
.

.

.

.

.
3
F
F
w #
light,
b
-
b

b
.
n
.

.

.

.
b
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n
.

.
3
3
&
&
&
10

not a
10

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.
#
.

.

.

.
b

.

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b
3
3
?
f F
f
.
b
j


way from the
b
.

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b
.

>

J

F
w
sun
b

.

.
b
.

.

.
J

.

P
P
punta d'arco
- - - -
&
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j

but towards it,
13
b
.

.

.
b
.

.

.

col legno battuto
F

j
b
.
j

-

f

towards
j
b


b
j

pizz.
p

b
it,
j
b


b
j

cresc. F
&
?
17
b
towards
17
b
b

b


J

b

it.

b
b


b
b
B
non cresc.

j
b .

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b
b



>


&
B
20


J
b
this we
20

b
b

>

?
f
f

j
#
3
can not

strum
w b
do.

w
w
w
w

w
w
w
w


#
So in

F
recitative
- -
2
&
?
26
#

b

stead let us do the on
26

ly thing we

can: to

b




b

cantabile
p
arco
F
P
- - -
&
?
29
.
j
.
b
bear the light for the
29
#
#


-

-

3
p espress.
w
earth,

b


3
rit.
F
rit.

j

to

#
#



3
3
&
Slower, espress.
P
f P
q96
&
&
32
.
J
b
.

be "the light of the
32

#

b

3
w
earth."

b
f
f
w

?
rit.
rit.


For

b

.

.

.


3
Tempo I
q
p

pizz.
Tempo I
arco
p
&
?
36
b
this we have our
36
b
.


b
.
b
.

.
n
3
#
3
wings and our
b
.

b
b
.


F
F

b
b
speed and our
b
.



.

.

.
Allarg. f
Allarg.
f
q96
.

dis ci
w b

subito pp
q96
sul tasto
subito pp
- -
3
&
?
40
w
pline.
40
w

non cresc.
j

>

b
.

3
&
ordin.
f

j

For
b



3
f
w
this

# n

.
b
>
J

3
&
?
44

b
we are e ven
44


b

.

3
w
ter
w
w
w
w
pizz.

strum
w

b













3 3 3 3 3

- - - - - - - - - - - -
&
?
49
w
49

b



i ble,

pizz.

(hum)
b
.

.

.

f p
arco
sul pont. ordin.

b
>

b
b
>


3
espress.
3
- - - - -
&
?
54

(hum)
54

b
j
b

b

-
n
>
3
p

J
#
#
rit.
rit.

b
like
.

a tempo P
a tempo
ten.
w
fire

f
w

&
J

pizz.

4
&
?
4
4
4
4
Voice
Cello

b

3
p

q = 88
#
b

J

caught this in sight in

b
#

b


b

J

3
3 3 3
B
p
b
b
pass ing and

J
b
b


b

3
3
3
- -
&
B
3
b
b
n
>



J
b
3
quick ly seized the
3

>




b

3
J
b


.

j
b
poor words close at

#
b


b
-

-
3
b


j
b
hand to

#
b


b
3
F
-
&
B
6
j

#
j


j

pin it down and

6
.

b


&
F
b
b

b

3
keep it from fly ing
.

off.
b
j
b
.
b
j
b
3

B ?
f
f
-
&
?
9
.

b
#

b




b



3
3
B
p

And
w

F
F

now, and now it
.

f
f
7. "I Caught This Insight . . ."
&
B
12

J



J

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

J
b
.
J
b

b

#
b
#
b




3
3
3
3

P
F

J


3
flut ters and flaps, and
.

?
p
p
P
- - -
&
?
15

J
b
3
now, and now it
15

.
b
.

.
b
.
#
.

.

.

.
b


J

b

3
flut ters, it flut ters and

.
b
.

.
b
.
#
.

.

.

.

flaps, flaps, flaps,

.
b
.

.
b
.
#
.

.

.

.
B
f
f f f piu piu
- -
&
B
18

flaps,
18

#

and I scarce ly

b
#

b




b
#
3
3
3
3
3
&
p
p
w b
know
. .
J

?
f
f

how catch


b
#

3
3
p
p
3 3 3
- - - -
&
?
22

b

ing this
22

b



>




3 3 3
w
bird

#
b


b

3
f
f
- - - - -
&
?
24

b
could have
24

3
&
w b
made
.


.

b
me

b


rit.
rit.

hap py.
O

b
b
O
#
O

w
O
w
-
2
"I Caught This Insight"
&
?
4
3
4
3
Voice
Cello

q72

How

#

can we

p
p
#

make things

#
beau

3
-
&
?
7

#


#
3
7

N






ti

ful,

p
p

#
#
de light ful,

B
P

- - - - - - - -
&
B
12

#


3
and de si
12

&
F
F

#

3
ra ble

6
f
f
- - - - - - - - - - - -
&
&
14
#
for our selves
14

3
-
8. "How Can We Make . . ."
&
&
16


3
when they are not?
16

3
?
(spoken)
F

#
And I

P
P
. #
fear

&
?
20

#
3
that in them
20
j

. #
selves

p
p

#
they

.
ne

#
ver

. #
U
are.

U
- - - -
2
"How Can We Make"
&
?
4
4
4
4
Voice
Cello

b


b
q162
9. "Did Prometheus first have to fantasize . . ."
f
secco pizz.
X notehead = spoken, pitch approximate

>

#
secco (= finger without bowing)


Did Pro
b


>
b
F


3
me the us

>
- - -
&
?
5

first have to
5
b
#
n

b
.
fan ta size,



b
.

>
b
#

b
3
fan ta

b
w
size



>
- - - -
&
?
10

j

that he had
10

#
b

&
.

sto len

b

the light,

b
>

w

>

>
that he

b


?
3
-
&
?
15
.

#

b
3
had sto len the
15
b
#


w
light,

b
#
n
pizz. secco
w

b
#
pizz. secco
w

>
b
pizz.secco

b

and then pay



>
-
&
?
20

the price,
20
#

b
be fore

b

pizz.
secco

#

he could learn

b


pizz.
secco
w




pizz.
-
&
?
24

he himself
24
b


secco

3 3
had cre at ed the



pizz. secco
. .
J

light by

#
.
want

b


f
w



pizz.
secco
pizz.
~
~
- - -
3
- - - -
&
?
29
w
29
b



secco

b

#
3
ing it for his
#
b

w
own:
b
#

pizz.
- - - - -
&
?
33

J
b
the
33

>

F
.

J
b
men, the

>

b

B
.


god, mere
b




>

.
b


clay in his

b





>
&
B
37
.

hands,
37


?
b
.
i ma ges
b






f
secco
b n


3
of the mak er,

b
#

no
b




- - -
""Did Prometheus . . ."
&
?
41

b

less so than the
41

#
b

b
.
fan ta sy,

b

pizz.
.

J

the

b
secco
.

theft, the

b
pizz. secco

b
.
Cau ca sus,

b

&
- - - -
&
&
46
.
J

the
46

b

b
.

vul ture,

b
?
subito p
.

b




pizz. secco


#
the en

>




- -
&
?
50
w
tire
50

>

>
pizz.

tra gic Pro

F
secco
w
me

f
w


>

b
pizz.
.

the

>

secco
- - - - - - - - - -
-
&
?
55
w b
ad
55

of all

o

o

#
b
p
pizz.
.
seek
ers

#
>
b


p
w
#
b





snap
- - - - - - - -
&
?
61

af ter know
61

w
#
b






secco

#
b

w
ledge?

#
b




w
U
#
b

w b
U

pizz.
~
~
~
~
- - - - - - -
"Did Prometheus . . .?"
&
?
4
4
4
4
Voice
Cello

b


#

J
b . n
3
p
espress.
q84

#

#

b n
3
3
B
&

.
j

. b
&
&
5

n
#

>
. b

b
We a
J
. .

.

lone,
w

on ly
.
.

b

.

we,
.
.

b

- -
&
?
11






3
have cre a ted the
11
b

#
#

p
p
w
world

#

b n
.

b
that con cerns
.
.

hu man kind.
.
.

#

&
- - - -
10. "We Alone . . ."
&
&
15
.

j
# n
But we,
15
.
.

b n

sul tasto

j
b

#

we lack the
w #
f

.
know ledge


?

.
R

.

3
of pre cise ly that,
.
#

#
ordin.
- - -
&
?
19

19

..

#


b
..
n
..
3

+

+
j

+
w
pizz.

j

+
j

+
3
w

b
.
U
J

and when at times we

J

.

p

snap
&
?
23





catch it for an
23
b n


>
p
arco

in stant,
#


>
b

3

b
r

#

>

b
>
n
#
3

b


&
-
&
&
27




3
on ly an
27
#


.

.

.
#

n
3
3

in stant,

o

?
p

b n
in that

.
J
b

con sord.

- -
2
We Alone"
"
&
?
30
#
j

in stant
30
#

b n
#

&

#

#

b
F
w
we,
w b
?
p
p

J

we for

b

.

- -
&
?
34

.
get it,
34

b
#




we for
J
b
>
n



3
.


get it a
#

#

.

B
w b
gain,
. .

- -
&
B
38
j

38

sul pont.

J
#
J

3 3
for get it a gain.

slide to sul tasto

.

j
b
>
n
j

b n

#
J

.

p
- -
~
~
~
~
~
~
~
~
~
~
~
&
B
41

41
j
# n
j

b n

#
J

.

?
p
rit.

b n
#

b
>
U
n
3

3 "We Alone"
&
?
4
4
4
4
Voice
Cello

b


J

b


3
3
How much there is that says to me,
w
11. "How Much There Is . . ."
pizz.
q
p
f

b


"Tar ry a while,"

b

p
.

3
"Tar ry a while."
#


b
- - - -
&
?
4

b

J

Ar mi da's

b
.

j
b

b
J

3
gar dens beck on,
.
J

#

b

#

beck on
b


#



3
B
- - - - -
&
B
8
w
me,
8

b
#
non cresc.
cresc.

b

?
f

b

3
3
beck on me ev ery where.

b


b



3
3
p
f
- - -
&
?
11

11
b
b
b n

b

b

3 3
3
B

p
b



b n
b


3
Ev ery where I must bear my heart a
#

rit.
w
way
w
w
w
w
b
b
b
?
p
f
3
- - -
88
&
?
14

b
b



3
and taste new bit ter ness.
14
w
arco
C String
p
a tempo

# n

b

"How Much There Is . . ."

b

j
n
#

b
3 3
3
I must al ways lift my feet,
. .
J

pizz.
f
p
- - -
&
?
17


b

how e ver sore,
17
#

b
b

b


j
#
.
J
#
3
3
and be cause I must go
b


#

w
on
#
f
f
rit.

b

I lookback
w #
a tempo
- - -
&
?
21

fu ri ous
21

#

b
3
3
at the beau ties that

p
arco
C String
p

could not hold

b


3
pizz.
. b

U
me:

3
- - -
&
?
25

J
b
be cause they
25

b

3
3

b

could not hold


rit.
.

me.

-
2
&
?
4
2
4
2
Voice
Cello

b


3
q76
p
12. "How Greedily This Wave Comes In"

b



b

n
3
&
?
5
j

How
5 b
b

n

b

n




3 3 3
p

b


3
gree di ly this
b
b
b




3
B

b
3
wave comes

b
in,
.

?
3
3
- -
&
?
9


b
b

3
3
as as if it were
9




b
b



3

b

3
look ing for
b
b

n

b

n

b

b
3 3
3
j

.
some thing.

#
3
-
&
?
13

J
b
.
And now a
13

3
.

gain,

b

J

slow er,

b
b


. b

3 3
p
p

J
b
J

>

3
but white with ex
b
b
b

b


3
F
F
#
>

3
- - -
&
?
18
.
J

ment
18
#


3
#
still.
#

b



3
B
F
F

b



b



n
#
3 3
3
- -
&
B
22

b
3
Is it dis ap
22

#
3
?
p
b

point ed?

b


3

b
3

b

>
Has it found
b

b
3

b






F
F
- - -
&
?
27
b

3
what it was look ing
27

b






b
3

for?

.

b


3

But a
.
b

p
b

no ther wave
b
b


.

3
- - -
&
?
32


3
is al
32

b







3
.
J
b
rea dy

b

b
b




#
b

mov ing

b
b




3
F
F

in,
b


3

3
more

3
- - - - -
&
?
37

#


gree dy and more
37



.
b
b
F
F
f
f
b
>

3
sa vage
n



. b
b
b
still,

b




3
F
F

J
b


with seem ing
b
b

3
F
F
#
se
#

b
3
f
f
- - - -
2
&
?
42
n
crets in its
42

b

b

b
#

soul,

b


b



#
3
J

b
and the

b






p
p
sub.
. b
j
n
lust for

b






-
&
?
46

trea sure.
46

3
rit.

b
b




3

So
b

3
a tempo
. b
J
b
live the

#
3
-
&
?
51

waves,
51

b


b


b
3

b
b

b
6
rit.

and

b

3
F
F
a tempo
.
#
J
n
>
so live
#
#

#
#

n

&
?
56

b
we who
56

will.
b
b



3
p
p

Spoken:

More I will not say.

&
?
64

64

3
?
4
4
Cello

J

.
#
J

3
p
q = 76

b

3
.

.
J
#
w
?
5

b


b
3
q = 92

F
q = 76
.

J
b



b

3
S
. #
p
sul tasto
?
10
b



3
ordin.
b




J
. #
3
accel.

#
.

.

.
#
.



#

3 3
q = 92

U



?
14
.
b
J

.
J

rit.
F

b
b
U

b
3
3
p
f
q = 76

3
3
B
b
b
rit.
B
18
b
b
b
b
f
w
a tempo

b




.
#
j

3
3
q = 92
B
22

b


.
J
#
3
rit.
F

#

b



5
q = 76
#

p



3
?

3
3

13. Soliloquy
?
27

b n
.

J
b
S S
.

b



#

5

b




3
f
S
#
.

.

.
#
.



#

3 3
3

p
q = 92
?
31
#




#
b
3
3
p
rit.

U


.

b
.

.
3
q = 76
.
J

>



3
#
b

B
F
B
35

#
# n
S
rit.

b

?
p
S
a tempo

.
R
b
>

S


U
j

b



?
39
.
J

J
#


w
B

J

b


?

q = 92

#
b
.

rit.
.

q = 76
w
U
2
Soliloquy
&
?
4
2
4
2
Voice
Cello

q63
f
14. "Are You Angry With Me, Waves?'

3
S
p

Are you

#
#




3
p

>


3
ang ry with

b



>
J

3
-
&
?
5

me,
5

>
b
b

n




n
5
6
.

b

b


b



6
5

waves?
b

b

b

3 3

A
b

b

-

-
3
-
&
?
9
b



fraid I'll be tray
9

b







3
b

your se cret?_______
b
b








3 3
accel.

b
b
b




3

b
b


J

3
F
- -
&
?
13

b
Well, go a
13
J

>
b n
b
b n

3
3 3
q76

head,
b
b

3
3

J
b

>

be ang ry,

f
f
J

arch

f
- -
&
?
18
b

18

b


J

b






J

"Are You Angry With Me, Waves?'

your

f
f
b

b
>
green dan

3
ger ous
b
>
&
- -
&
&
23

bod ies as
23
>
?

high

.
3 3

as you

.
3 3

J
#

can,

.



.
3 3
.

.
3 3
b


3
blot out the

b
3
f
f

sun

3
-
&
?
30
b
3
30

withgreen
j

p
b

twi light

p
sul pont.

and
b

ordin.

green light

ning.

~
~
~
~
~
- -
&
?
39

39

Go a

f
j

head,

b




3
f

dive and

#
#
3
pour your
b
# n
eme ralds

- -
&
?
46
# n
#
3
in to the
46

b
b

#
depths,

#
#

#
p

and

f
p
.
J

co ver

- -
2
&
?
51

them with your
51

.
.
.
.

b
#
pizz.

in fi nite

.
.
.
.

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

mane

.
.
.
.

#
#
b

#
3
of white

rit.
rit.
#
foam
b




#


secco (finger without bowing)

#
#

n
b



- -
&
?
57

.
57

q63
p
pizz.
j

b
arco

#
#

3
ten.

3
Eve ry thing

p
p

J

3
suits me

3
-
&
?
64

b
3
just as it
64

j

3
suits you;

J

J

3
I'm so
b
. b
J
b
fond of
b
b


b


3
.
j
b
you for

b


-

-
3
&
?
69

eve ry thing,
69

b

F
F

b



3
how could I

p
p
#

e ver be

tray you?
b
rit.
rit.

- - - -
3
&
?
75

b
3
Are we not
75

b
b




3
q76

one,

b
b




3
"Are You Angry With Me, Waves?'

b
b




3


>
b
3
you and

b
b




3
&
?
79

I.
79

b
b




3

b
b




3

#


3
Your se cret and

b
b




3
-
&
?
82
b
mine,
82

b
b




3
rit.
b
>

>

>
are they not

b
b




3
N
one

b
b




3
q63
f
f
&
?
85

85

b
b




3
#

se cret?

b
b




3
rit.
p
p
rit.

U
-
4
&
?
4
4
4
4
Voice
Cello

. b
J

. b
J

15. Looking Back

b
b

j

To
w
w
p
w
day,
.

j
b
.
J

p
-
&
?
6

J

to
6
. b
J

b
day a few

b

3
mu si cal chords
w
w


J
b
re
.
J

.
b
J

p
p
.
b
j

mind ed me
b

- -
- -
&
?
11

of a
11

b
b
p

J

win ter
w
w

b

.

and a house
.

j
b
.
j

b

and a life
. b
j

-
&
?
15

J
b


a life
15

b

b

j
b
of
w
w
p
w b
great
.

J
b
.

b
.

sol i
. b
J

w
tude,

b
b

w
w
- -
&
?
21

21
. j

.
#
j

.
b
j

#
Looking Back

b
b

.
j

and the feel ings

w
w


too.
.

J
#
.
.

j
b
p

-
&
?
26


I
26

#

thought I would

b
go on

b
b

sul tasto


b
3
liv
ing that

- - -
&
?
30
b .
J

way for
30

b
b

w
ev

w
er.
w
w

- - - - - -
2
&
?
4
4
4
4
Voice
Cello

#

3
Ev ery phi lo so

P
q = 100
spoken on pitch

#


b

pher has sure ly had an e vil

16. The Evil Hour

sung
x notehead = play behind the bridge

J

hour in

.

.

.

.

.



3
3
P
pizz.
- - - - - -
&
?
~
~~~~~~
~~~~~~~
4

#

J

which he thought, he
4

.

.

.

.

.


.

.

3
3 3
spoken on pitch
arco
b
b
b
b
b

3
3
thought: "What do I mat ter,

.

.

.

.

.

3 3
B
pizz.
sung
b
b
b
b
b

3
3
what do I mat ter
.

J
#
.

#
arco
~
~
~
- -
&
B
~~~~ ~~~
~~~~~~~~~~~~~~~~~~~
~~~~~~
7

. b

3
if they do
7
.

J
#

b

b
not ac cept my bad

?
b
>
b
b

3
ar gumentstoo?"

-


.

.

.
3
8va a piacere
~
~
~
~
~
~
~
~
~
3
- -
&
?
10

J

#

And then flew
10

.

.


.

.


.

.

J

3 3 3
pizz.
.
j
b n


by some lit tle bird

b
b
b
b




3
3 3
arco
F
F
b

>



3
all full of
w b

-
&
?
~~~
~~
13
.
J
b
Scha
13
b

J

>

J

>

J

>
pizz.
.
J
b
b

den freu

.

.

.

.

.

.

.

.

.

.

.
3
3
3
3
The Evil Hour
arco

b
de

.

.

.

.

.

3
3
P
P

and

b
#

J
#
&
spoken:
~
~
~
~
~
~
- - - - - - - - -
&
&
~~~~~~~~~~
~~~~~~~~~~~~~~
17

twittered,
17

#

>

.

.
3

twittered!

>

3
3
3
3
f
exasperated
&
&
19
b
b
b
b
>
b

3
3
"What do you mat ter?"
19

b
b

b



3
3
3
3
?
P
P
b
b
b
b
b

3
3
"What do you mat ter?"

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
"What do you mat ter?"

b
#


3
3
rit. a tempo
F
- -
&
?
23
b
b
b

#

U
3
What do you mat
23

rit.

widen vibrato
w b
ter?

normally
j

.

.

.

3

a tempo
- - - -
2
&
?
4
3
4
3
Voice
Cello

flautando
q

b
b

J

Our

ordin.
17. Our Good Will . . .

b
good will,
b
b

our pa tience,

3
3
-
&
?
6
j

#
#

3
our o pen ness
6
#

#

p
p


#


3
and gen tle ness

b
find their re

b
b

- - - -
&
?
10


ward at
10

b

b



3
last in what is

strange:

b

j
b

in some thing

b
b


b
3
-
&
?
15
b

strange
15

b

#



#
3
that lit tle by lit tle

#

#


3
.
sheds

.


3

#
#
its

4
4
- -
&
?
19
.
veil
19
b
b

b
>
4

and

4
B


turns out to

#

#
4
?
.

be

#
> 4
.
.

sul tasto

4
4
&
?
25

J

b
a new
25

4
B
ordin.
p



b
and in de
b



b
5
?
.
scri

5
- - - - - -
&
?
28
.
28
#
#
#
>


5
.

b


5

b

ba ble
.

beau ty.

o

o


3
flautando
.

b

b
b
3
ordin.
- - - - - - - - -
&
?
33

33

4
p

J

#
#
3
This is its

#
p
. #
thanks

for our

b


3
hos pi ta li ty.

b

b
- - - -
&
?
38
.
38



3
rit.
rit.
.

b
b

3

a tempo
a tempo

2
&
?
4
4
4
4
Voice
Cello

q84

3
Could one
#


18. "Could One Burden Oneself . . ."
p
#

3
bur den one

b
p


j

self with

.

.
b
J

all the past,

- - -
&
?
6

the
6
#

P


J
#
old est, the

b
P
#


J

new est, the

F
F


J
#
los ses and

#
.

#

.
.

j

>
hopes, and
#


.


b
.

b

en dure

b

.



.
f
f
- - - -
&
?
12

all this,
12

.



.

b
#


b
b

3
and con tain it
#

b
p
p
.


b


3 3
and com press it all
b
b n




3
in to a

b




F
F
- - -
&
?
17
# .
j

sin gle
17


#


b

#


b
n
3 3
3
3
p
p

feel ing,
#


b




b



3
3
3
3

J
b


from this would

b




b




#
3
3
3
3
- - - - - -
&
?
20


#

sure ly come a
20

#







3 3 3 3
w
hap


#





p
sub.
p sub.
sul G






3
pi ness ne ver yet
#


b


b

w
known:

b


b



- - - - - - - -
&
?
24


24







#

J


#
3
3
the hap pi ness of a
J

. #
P
P

>
J
b
god full of
J
#
.

j
.

pow er and
J

.
b
J
b
.
w
love,
J

.
J
.

F
F
- - -
&
?
29

j

b
J

3
of tears and
29
.
.

#
J
.
.

sotto voce

laugh ter, a
.
.

b
J
b .
.

3
3
hap pi ness that like the
.
.

b
J

.
.

#
J
#
b
.

sun at
.
.

#
J

.
.

b
J

f
f
- - -
&
?
33


eve ning
33
#







P
P

j



.

con stant ly be queaths its

b




- - - - - - -
&
?
35
#

.
b

3
in ex haust i ble
35

b


b


#
B

rich es,

#





?
f
f
- - - - - - - - -
&
?
37
w
>
pour
37

#




3 3
3 3


b


3
3
ing them in to the

b



n
b

3
3
3
3
w
sea

b




b


b
3
3
3
3
P
P
- - - - - - - - -
2
"Could One Burden Oneself . . ."
&
?
40
j

J
#

and feel ing
40

b


#

b


#

3
3
3 3

#
rich est of

# n
w
all,
b
b n
j

J


like the
b n

#
- - - -
&
?
44
w
sun,
44
# n
b

3
like the sun,

.


.

.
J
b

.
b


.

f
f
.
J

b

.

.
#
&
?
48

48

#
.

p
p

j



J

J

3
on ly, on ly

b




3
when the poor est of fish er men
b


- - - - -
&
?
51


rows
51

#




3
with gold

.
J

en oars.
.
b


w

#
rit.
w
U

U
- - - - -
3
"Could One Burden Oneself. . ."
&
?
4
4
4
4
4
3
4
3
4
4
4
4
Voice
Cello

w
q80
pizz.
f

b
.
J
n
Do they get us mixed

19. Root and Branch
p
p



3
up? It's be
J
b
.

P
arco
b


b


cause we make our selves

pizz.
arco
P p
- -
&
?
4
3
4
3
4
4
4
4
5

3
up, we re mix our
5

.
j

selves all the

b




b
time.
b
>

j


.

J
b
we shuck off old

-
&
?
4
3
4
3
4
4
4
4
9
b
bark,
9

J


we shed our

skins each
b


p
p
.

spring

b
b

3
we be come e ver

- -
&
?
4
4
4
4
4
3
4
3
4
4
4
4
4
3
4
3
14
b
b

youn ger,
14

#
more to come,

P
P

b

n .
j

3
be come tall er,

- - -
&
?
4
3
4
3
4
4
4
4
17

strong er, we
17

J
b n

b
F
F
.
b
>
J

thrust our roots

b




b
3
e ver more sharp ly in the

>
b
j

depths.

b

>
n
f
f
- - -
&
?
4
3
4
3
4
4
4
4
4
3
4
3
21
j

We grow like
21
b

>

j
b
trees. It's
b n
b
p
.
b
hard

>
p

n


j
b
3
to un der stand, like

b
f
- -
&
?
4
3
4
3
4
4
4
4
4
3
4
3
4
4
4
4
25

life!
25

f
J

.
b
J

not in one
.
.

place, but

>


b


ev ery place,

-
2
&
?
4
3
4
3
4
4
4
4
29

b
29

f
rit.
j

j

j
n
not this way or

a tempo
a tempo
p
j
.
j

that way

q92

J
#
but

3 3
P
P
3
&
?
33
#




3
3
just as much up ward and out
33

b
b




3
. .
b
J

ward, and
b
b







3
b

.

J
b
in ward. and

b n






3
F
F
- - -
&
?
~~~~~~
36
. .
b
j

down
36
b


>



b
>
b
B
&
w #
ward.
b
b
n
>
n



>
b
f
f
.

j

our

b

>

p
p
.
b

3
force pul ses the

b
b

- - - - -
&
&
~~~~~
~~ ~~~~~~~~~~~~~~~~
~~~~~~ ~~~~~
~~~~~
40


same
40
#

>
#

j

b



3
through trunk and branch es and
.

J
.
b
j

roots, and
#

b
?
F
F
b


J

roots. It

#

-
~
~
~
3
&
?
44

b


leaves us free.
44

#


.
J

3
w
.
# n
f
f
w

b
It

b

n



&
?
49
.
leaves us
49

b
b


# n
>

>
free no more
b
b



n

b
to do

b


3
rit. p
rit.
p
b


3
just a sing le

J
O

#
#
q
G string
-
&
?
53
.

j
b
thing, not
53
.
.
O

J
O

b

3
e ven, not e ven to

.

O

G string

.
b
be a
O

#
#
O

. .

j
b
sing le
O

#
#
O

J
O

3
w
thing.
O
w #
- - -
&
?
58
w
58
O
w
b
n
w
O
w

#

O
w
B
ten.

O
w
U

4
& 4
4
4
3
Voice

b


b
3
I see once more the
20. Postlude in Verse
p
q92

.
pi geons of San Mar co.

The

square is - -
& 4
4
4
3
4
4
4
3
5

J
b
still, the

.
J

morn ing ling ers

#
3
there. In the


j

3
soft cool ness

b


I send flocks of - - -
& 4
3
4
4
4
3
10

songs like
p
b
J
#



#

3
3
swarms of pi geons in the
.
J
b

blue a loft

b
and lure them

rit.

back, yet
a tempo
- - - - -
& 4
4
4
3
15
b

.

#
b

one more rhyme to dan gle

b
.

3
from their wings:

b


j

my hap py lot.
rit.
j

#
b

my hap py lot. - - - -
& 4
3
4
4
4
3
4
4
19

You
P
a tempo
b
J

b
3
still and blue lit silk en
.
#
J
b

roof of sky,

J
b
a float, a - - -
& 4
4
4
3
23
b







3
ca no py for the tint ed build ing

b
that I

b

J

3
what am I say ing?
F


love,
P
- - - - - - -
& 4
4
4
3
27
b
fear,

j
b
en vy, whose
p
b
j
#





b
3
3
soul I'd tru ly drink up if I
P
.

could!
p
J

b
And give it
rit.
- - -
& 4
4
4
3
4
4
32

back?

b
Hush, no more of
a tempo

J
#
b

that, you glimpse of

won der: - -
& 4
4
4
3
36
j

#
b

j

my hap py lot,
rit.

b


my hap py lot.

j
b
You
a tempo
F


jut ting tower,

b




3
with what a li on's
f
- - - - -
& 4
4
4
3
4
4
41


J
b
force you

b
# n
mount on high here,

splen did,
P



free of cares!
p

j

b

You send your -
& 4
4
4
3
4
4
4
3
4
4
46

b
j

3
deep knell clear a cross the
.
square.

b

If I kept back,
rit.
J

b
J

like you, I'd

a tempo
-
& 4
4
4
3
4
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50

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3
know from what silk soft
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snare my
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hap py lot,
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4
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55

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Mu sic, hold off!

J
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for your tones;

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Much day re mains,
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3
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59

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much day for mak ing,
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slink ing,



3
mur mur ing:
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my hap py lot.

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2
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Voice
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con sord.
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out of
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love
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is

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done be

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be
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and
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-
21. "What Is Done . . ."
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20

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e
20

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vil.

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Jen seits
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x x

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von Gut
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b
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~~~~~~~~~
- - - - -
2
(sprechstimme)
"What is Done"