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Songs and Silences (Mezzo Soprano)

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Songs and Silences (Mezzo Soprano) Songs and Silences to Poems by Wallace Stevens For mezzo soprano and piano 2013 Lawrence Kramer [email protected] Songs and Silences to Poems by Wallace Stevens I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after. --“Thirteen Ways of Looking at a Blackbird” Six Significant Landscapes no. 1 An old man sits In the shadow of a pine tree In China. He sees larkspur, Blue and white, At the edge of the shadow, Move in the wind. His beard moves in the wind. The pine tree moves in the wind. Thus water flows Over weeds. Tattoo The light is like a spider. It crawls over the water. It crawls over the edges of the snow. It crawls under your eyelids And spreads its webs there-- Its two webs. The webs of your eyes Are fastened To the flesh and bones of you As to rafters of grass. There are filaments of your eyes On the surface of the water And in the edges of the snow. The Place of the Solitaires Let the place of the solitaires Be a place of perpetual undulation. Whether it be in mid-sea On the dark, green water-wheel, Or on the beaches, There must be no cessation Of motion, or of the noise of motion, The renewal of noise And manifold continuation; And, most, of the motion of thought And its restless iteration, In the place of the solitaires, Which is to be a place of perpetual undulation. The Valley Candle My candle burned alone in an immense valley. Beams of the huge night converged upon it, Until the wind blew. The beams of the huge night Converged upon its image, Until the wind blew. Fabliau of Florida Barque of phosphor On the palmy beach, Move outward into heaven, Into the alabasters And night blues. Foam and cloud are one. Sultry moon-monsters Are dissolving. Fill your black hull With white moonlight. There will never be an end To this droning of the surf. Gubbinal That strange flower, the sun, Is just what you say. Have it your way. The world is ugly, And the people are sad. That tuft of jungle feathers, That animal eye, Is just what you say. That savage of fire, That seed, Have it your way. The world is ugly, And the people are sad. Primordia no. 5 The birch trees draw up whiteness from the ground. In the swamps, bushes draw up dark red, Or yellow. O boatman, What are you drawing up from the rain-pointed water? O boatman, What are you drawing up from the rain-pointed water? Are you two boatmen Different from each other? The Disillusionment of Ten O' Clock The houses are haunted By white night-gowns. None are green, Or purple with green rings, Or green with yellow rings, Or yellow with blue rings. None of them are strange, With socks of lace And beaded ceintures. People are not going To dream of baboons and periwinkles. Only, here and there, an old sailor, Drunk and asleep in his boots, Catches tigers In red weather. Songs and Silences to Poems by Wallace Stevens was composed in connection with a conference, "Absence, Silence, and Ellipsis in Words and Music," held by the International Association of Word and Music Studies (WMA) in London in 2013. Why Stevens? The poems (chosen partly, I confess, because they are out of copyright) belong to the early phase of the poet’s career. The works from this phase typically set up a stark opposition between a banal, mundane reality and a sensuous, exotic, and fanciful imagination. What makes this opposition powerful rather than merely glaring is the constant intimation that the world without imagination is not banal for social or accidental reasons, but banal in essence. The unimagined world is in and of itself a void. Stevens’s regular word for its condition is “poverty.” Modernity, whose only wealth for Stevens was an abundance of lost illusions, made the knowledge of this poverty inescapable, however much we may wish to hide it from ourselves. And it is this surplus absence that compels the products of imagination to attain the force of surplus presence. The music of Songs and Silences seeks to unveil the haunting traces of this underlying emptiness--absence, silence, and ellipsis all in one--in ways that allow the paradoxical fullness of imagined things to find a voice. Duration: about 18 minutes. Significant Landscape I q = 88 3 % α 3 ∑ ∑ ∑ 3 ˙ 3 % α 3 Œ ‰ ≈ œ œ œ œ œ œ œ− œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ο > 3 ϖ α 3 ϖ ϖ 4 3 3 j % α Ó Œ ‰ j œ œ œ œ œ œ ‰ œ j‰ Ó Aœn oœld mœan sits in the sha - dœow œ œ oœf œa pine tœree œ in Cœhi- nœa. 4 w % α ∑ ∑ ∑ ∑ œ > α ∑ ∑ ∑ ∑ ˙.. J 9 % b ∑ ∑ 9 3 œ œ œ % b Œ ‰ ≈ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ ˙ ? ˙ b w ©2012 2 Significant Landscape 1 11 % b ∑ ∑ Ó œ œ He sees 11 œ œ œ œ ˙ œ. œ œ œ œ w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ % b œ œ œ 3 w ˙ ˙ ? b ∑ 14 3 3 % b ˙ œ Œ ˙ w œ Œ œ Œ ‰ œ œ œ œ œ œ œ œ lark - spur, blue. aœnd white, move at the edge of the sha-dow 14 ˙ w œ œ,. œ œ, œ œ,. œ. œ J J J , % b œ. œ œ. œ œ œ J J ? w b ∑ ∑ ∑ ∑ 19 % b œ ‰ œ œ ˙ œ. ‰ Ó ∑ in the wind. 19 ˙.. b œ. œ, œ. œ œ ∑ % J J J 3 œ œ ? ∑ œ œ œ œ œ œ œœ œ œ œ œ œ b œ œ œ œ œ. œ œ œ œ œ 3 œ 3 Significant Landscape 1 3 22 3 œ % b ∑ Œ œ œ. ‰ œ ‰ œ ˙ ˙ Ó Ó Œ ‰ j His beard moves in the wind. Tœhe 22 w ˙ ˙ ˙ œ œ, œ, œ œ, œ œ, œ, % b J J J J œ œ œ œ ? w ˙.. j w w b œ ∑ % 27 œ % b œ Œ œ Œ ˙ Œ œ w ˙ Ó pine trees move in the wind. 27 œ œ, œ œ, œ, œ œ, œ œ, œ œ 3 J J J œ % b œ œ ‰ œ œ ˙ œ œ œœœœ J œ. œ √ √ œ œ ˙ œ ˙ ˙ œ ? .. J % b Œ ‰ J Œ ‰ j ˙ œ 31 % b ∑ ∑ ∑ 31 3 b œ ˙ œœœœ œ w ≈ œ œ œœœœ œ œ œœœ % œ œ œ œ 3 œ 3 3 3 3 3 œ œ œ œ œ œ œ œ œ œ w ? œ œ œ b w ≈ 3 3 3 3 ° ) ° ) 4 Significant Landscape 1 34 œ œ œ. ˙ w w % b Œ ‰ J J Ó So wa - ter flows 34 œ œ œ œ œ œ œ œ œ œ œ œ œ w w % b ≈ 3 3 3 3 ∑ 3 3 3 3 ? b ≈œœ œ œœœœ œœ œ œœœ w w ∑ without Pedal ° 38 % b ˙. Œ Œ j ‰ Œ Ó œo - vœer we˙eds. 38 w % b ∑ ∑ ? b Ó Ó ∑ w ) ° ) Tattoo 41 q = 76 3 p 3 œ œ œ œ. œ œ ˙ œ œ œ œ % 3 ‰ j#œ ‰ œ J ‰ ‰ Œ œ #œ œ . ‰ ‰ Tœhe light is like a spi-der. It crawls o - ver the wJa-ter. It 41 3 Ó Ó ˙.. œ ˙ Œ ˙.. œ % 3 J œ J p ? 3 ∑ ∑ ∑ ∑ 45 3 #œ œ j j ˙ Œ œ œ ‰ ‰ ‰ Œ Œ ‰ j % 3 œ. œ #œ œ w œ crawls o- ver the eJd - ges of the snow. b Iœt 45 œ. œ œ ˙. #œ #œ % œ œ w ˙.. j J 3 bœ w w ? ? ∑ ∑ % 49 3 œ œ. œ œ œ œ b˙. œ ˙ % Œ #œ œ œ J ‰ Œ Ó Œ ‰ œ cbra˙wls un-der your eye-lids aJnd spreads its webs there: iJts 49 œ b˙. œ ˙ Œ ∑ % bw w œ 3 œ œ ? #œ œ œ Ó Œ œ J œ. œ. œ œ ‰ Œ Ó Œ J J ˙. w 3 6 Tattoo 54 a little softer f 3 j #˙ œ œ œ. % bœ Œ ˙ Œ Œ ‰ #œ œ œ ‰ ‰ œ J two webs: twœo weœbs. The webs oœf your eyes are fast -ened 54 œ. % bœ Œ Œ ∑ ∑ Ó ‰ bœ a little softer f ] œ œ ˙ ? ∑ œ Œ Œ #˙ œ. J 3 #˙ ˙ 58 3 3 , p œ bœ œ œ œ œ œ œ œ bœ œ. œ % ‰ ‰ ‰#œ œ œ œ J ‰ j #w to the flesh and bones of you as to raft-ers oœr grass. 58 œ √˙ j œ Œ Œ Œ ‰ œ œ œ w % œ œ œ. J S S p √#w ? ∑ Ó #˙ j‰ Œ % b˙ œ 62 3 3 j w œ j œ % œ ‰ Œ Œ ‰ œ œ œ œ œ œ œ ‰ œ œ ‰ #œ œ œ œ There are fi -la- ments of your eyes on thœe sur-face of the 62 œ w ˙ #œ œ J % ∑ ∑ J (√#)w œ œ œ œ œ œ ? #˙. % Œ Ó Œ F p 3 3 Tattoo 7 rit. 66 3 #œ œ. œ œ œ j % J J ‰ œ #œ œ. œ ‰ Ó wa - ter and in the edg - ges oœf tœhe swnow. ˙ 66 √ œ w #˙.
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