On Hearing of Love by Michael Scherperel

On hearing of Love

A life-cycle of songs from the poetry of Constantin Cavafy as rendered in English by Rae Dalven

for baritone and string quintet

by

Michael Scherperel

www.michaelscherperel.com V0027-001-F2011

On hearing of Love   ~ a life-cycle of songs from the poetry of Constantin Cavafy ~ for baritone and string quintet    . l’histoire . dans la chambre . sur la mer . dans le miroir . au cimitière . le verbe

Music copyright© 2005 Michael Scherperel. All rights reserved.

Poems from THE COMPLETE POEMS OF CAVAFY, translated by Rae Dalven. English translation copyright © 1961, renewed 1989 by Rae Dalven. Used by permission of Houghton Miflin Harcourt Publishing Company. All rights reserved.

Cover illustration: Grigoriev Ruslan/Shutterstock.

V0027-001-F2010 www.michaelscherperel.com

The poems as they are distributed through the six movements: —. l’histoire— DAYS OF 1901 FOR THEM TO COME AFTERNOON SUN DAYS OF 1903 HAD YOU LOVED ME —. dans la chambre— HE SWEARS AND I RECLINED AND LAY DOWN ON THEIR BEDS PERILOUS THINGS MORNING SEA BEFORE TIME CHANGES THEM ON THE SHIP THE MIRROR IN THE HALL IN THE SAME SPACE WALLS AS MUCH AS YOU CAN OUR DEAREST WHITE YOUTH VOICES DESIRES

—. sur la mer—

—. dans le miroir—

—. au cimitière—

—. le verbe— “NOUS N’OSONS PLUS CHANTER LES ROSES” THEATER OF SIDON (A.D. 400) I BROUGHT TO ART THERE IS A BLESSED JOY HIDDEN THINGS

The complete texts of the 23 poems used in this work: —. l’histoire—

DAYS OF 1901 This he had in him that set him apart, that in spite of all his dissoluteness and his great experience in love, despite the habitual harmony that existed between his attitude and his age there happened to be moments—however, rare moments, to be sure—when he gave the impression of a flesh almost untouched.

The beauty of his twenty-nine years, so tested by sensual delight, at moments paradoxically recalled a young man who—rather gawkily—surrenders his pure body to love for the very first time.

FOR THEM TO COME One candle is enough. is more appropriate, when Shadows come,

Its dim light it will be kindlier the Shadows of Love.

One candle is enough.

Tonight the room must not have too much light.

Immersed entirely in revery and in suggestion, and in the low light— Thus deep in revery I will dream a vision so that Shadows may come,

the Shadows of love.

AFTERNOON SUN This room, how well I know it.

Now this one and the one next door are rented as business offices. The whole house has become offices for agents, and merchants, and Companies.

Ah, this room, how familiar it is.

Near the door over here was a sofa, and in front of it a Turkish rug; close by, the shelf with two yellow vases.

On the right; no, opposite, a closet with a mirror.

In the center the table where he used to write; and the three large wicker chairs.

Beside the window was the bed where we made love so many times.

The poor objects must still be somewhere around.

Beside the window was the bed; the afternoon sun reached it down to the middle. . . . One afternoon at four o’clock we separated for a week only . . . Ah me, that week lasted forever.

DAYS OF 1903 I never found them again—those things so speedily lost . . . the poetic eyes, the pallid face . . . in the dusk of the road. . . .

I never found them again—those quite haphazardly acquired, that I gave up so lightly; and that later in agony I craved.

The poetic eyes, the pallid face, I never found those lips again.

HAD YOU LOVED ME If a shining ray of love should warm the darkness of my life, the first throb of my grief-stricken soul would be a happy rhapsody.

I do not dare to whisper what I wish to tell you: that to live without you is an unbearable penalty for me— Had you loved me . . . but alas, this is a deceptive hope!

Had you loved me, I would see the end of tears and hidden pains.

Indeed the guileful hesitations would no longer dare to show their crafty face.

You would be found amid divine visions.

Rose blossoms would have adorned the bramble of life.— Had you loved me . . . but alas, this is a deceptive hope!

—. dans la chambre— HE SWEARS Every so often he swears to start a finer life.

But when night comes with its own counsels, its compromises, and its promises; but when night comes with its own vigor of the body, craving and seeking, he returns, forlorn, to the same fatal joy.

AND I RECLINED AND LAY DOWN ON THEIR BEDS When I entered the house of pleasure, I did not remain in the room where they celebrate recognized loves with some semblance of order.

I went into the hidden rooms and I reclined and lay down on their beds.

I went into the hidden rooms that they are even ashamed to name.

But not shameful to me—for then what kind of poet or craftsman would I be?

I’d rather lead a hermit’s life. It would be more consonant, much more consonant with my poetry; than for me to enjoy myself in the commonplace room.

PERILOUS THINGS Said Myrtias (a Syrian student in Alexandria; in the reign of Augustus Constans and Augustus Constantius; in part a pagan and in part a christian), “Fortified by theory and by study, I shall not fear my passions like a coward.

I shall yield my body to sensual delights, to enjoyments that one dreams about, to the most audacious amorous desires, to the wanton impulses of my blood, without a single fear, for whenever I wish— and I shall have the will, fortified as I shall be by theory and by study— at moments of crisis, I shall find again my spirit, as before, ascetic.”

—. sur la mer—

MORNING SEA Let me stand here. Let me also look at nature a while.

The shore of the morning sea and the cloudless sky brilliant blue and yellow all illuminated lovely and large.

Let me stand here. Let me delude myself that I see these things (I really did see them a moment when I first stopped); and not that here too I see my fantasies, my memories, my visions of sensual delight.

BEFORE TIME CHANGES THEM They were both deeply grieved at their separation.

They did not desire it; it was circumstances.

The needs of a living obliged one of them to go to a distant place— New York or Canada.

Their love certainly was not what it had been before; for the attraction had gradually waned, for love’s attraction had considerably waned.

But they did not desire to be separated.

It was circumstances.— Or perhaps Destiny had appeared as an artist separating them now before their feeling should fade, before Time had changed them; so each for the other will remain forever as he had been, a handsome young man of twenty-four years.

ON THE SHIP Certainly this little drawing in pencil resembles him.

Hurriedly drawn, on the deck of the ship one enchanting afternoon.

The Ionian Sea all around us.

It resembles him. But I recall him as handsomer.

He was sensitive to the point of suffering, and that illumined his expression.

He comes to mind as handsomer now that my soul evokes him out of Time.

Out of Time. All of these things are exceedingly old— the sketch, and the ship, and the afternoon.

—. dans le miroir— THE MIRROR IN THE HALL The wealthy home had in its entrance an enormous, extremely old mirror, that must have been bought at least eighty years ago.

An unusually handsome lad, a tailor’s employee (on Sundays an amateur athlete), stood holding a parcel. He delivered it to someone in the house, who carried it inside to fetch the receipt. The tailor’s employee was left by himself, and he waited.

He approached the mirror and took a look at himself, and he straightened his tie. Five minutes later they brought back the receipt. He took it and left.

But the old mirror that had seen and seen, during the long, long years of its existence, thousands of objects and faces; but this time the old mirror was delighted, and it felt proud that it had received unto itself for a few moments an image of flawless beauty.

IN THE SAME SPACE The surroundings of the house, centers, neighborhoods which I see and where I walk; for years and years.

I have created you in joy and in sorrows: Out of so many circumstances, out of so many things.

You have become all feeling for me.

WALLS Without consideration, without pity, without shame they have built big and high walls around me.

And now I sit here despairing.

I think of nothing else: this fate gnaws at my mind; for I had many things to do outside.

Ah why didn’t I observe them when they were building the walls?

But I never heard the noise or the sounds of the builders.

Imperceptibly they shut me out of the world.

AS MUCH AS YOU CAN And if you cannot make your life as you want it, at least try this as much as you can: do not disgrace it in the crowding contact with the world, in the many movements and all the talk.

Do not disgrace it by taking it, dragging it around often and exposing it to the daily folly of relationships and associations, till it becomes like an alien burdensome life.

—. au cimitière— OUR DEAREST WHITE YOUTH Our dearest, our white youth, ah, our white, our snow-white youth, that is infinite, and yet so brief, spreads over us like the wings of an archangel! . . .

It is forever exhausted, forever loving; and it melts and faints among white horizons.

Ah, it goes there, is lost in white horizons, goes forever.

Forever, no. It will return, it will come back, it will return.

With its white limbs, its white grace, our white youth will come and take us.

It will seize us with its white hands, and with a thin shroud drawn from its whiteness, a snow-white shroud drawn from its whiteness, it will cover us.

VOICES Ideal and dearly beloved voices of those who are dead, or of those who are lost to us like the dead.

Sometimes they speak to us in our dreams; sometimes in thought the mind hears them.

And for a moment with their echo other echoes return from the first poetry of our lives— like music that extinguishes the far-off night.

DESIRES Like beautiful bodies of the dead who had not grown old and they shut them, with tears, in a magnificent mausoleum, with roses at the head and jasmine at the feet— that is how desires look that have passed without fulfillment; without one of them having achieved a night of sensual delight, or a moonlit morn.

—le verbe— “NOUS N’OSONS PLUS CHANTER LES ROSES” Fearing the commonplace I leave many words unuttered.

Many poems are written in my heart; and those interred songs are the ones that I love.

O first, pure, only freedom of youth for pleasure!

O sweet intoxication of the senses!

I fear lest some platitude abuse your divine form.

THEATER OF SIDON (A.D. 400) Son of an esteemed citizen— above all, a handsome young man of the theater, agreeable in many a way, once in a while I compose in the Greek language very daring verses, which I circulate clandestinely, to be sure— Gods! Those dark-clad people chattering about morals— mustn’t catch sight of these verses about pleasure choice pleasure leading to sterile love and love that is rejected.

I BROUGHT TO ART I sit and meditate. desires and feelings— faces or lines; of unfulfilled loves.

She knows how to fashion almost imperceptibly combining impressions,

I brought to art some things half seen, some indistinct memories Let me rely on her. a Figure of Beauty; rounding out life, combining the days.

THERE IS A BLESSED JOY But there is a blessed joy a consolation in this sorrow.

How many multitudes of vulgar days how much boredom are spared this end!

A poet said, “That music is beloved that cannot be sounded.”

And I think that the choicest life is the life that cannot be lived.

HIDDEN THINGS Let them not seek to discover who I was from all that I have done and said.

An obstacle was there that transformed the deeds and the manner of my life.

An obstacle was there that stopped me many times when I was about to speak.

Only from my most imperceptible deeds and my most covert writings— from these alone will they understand me.

But perhaps it isn’t worth exerting such care and such effort for them to know me.

Later, in the more perfect society, surely some other person created like me will appear and act freely.

On hearing of Love Tremble and be aesthetically moved when you hear of strong love. However, in your happiness, remember how many things your imagination created for you; these first; and then the other—lesser things—that you experienced and enjoyed in your life, the more genuine and palpable.— Of such loves you were not deprived.

(Constantin Cavafy)

The composer requests that, whenever possible, the above eponymous poem be included in the printed program for any performance of this work.

Individual poem titles should not be listed in the program but rather the movement titles alone.

The poems were chosen and grouped together to tell stories within each movement.

Poems from THE COMPLETE POEMS OF CAVAFY, translated by Rae Dalven. English translation copyright © 1961, renewed 1989 by Rae Dalven. Used by permission of Houghton Miflin Harcourt Publishing Company. All rights reserved.

Notes on Notation For the singer Several passages of text are set to be spoken. The sprechstimme style should never be used.

Spoken text should always be simply spoken. In some instances, x-style noteheads are used and a rhythm is indicated; in other instances, the text is freely printed across one or more measures. For the first cases, the rhythm indicated is approximate and need not be adhered to with such rigor as to render the words stilted. For the second cases, the words are to be freely delivered in an appropriate dramatic style as interpreted by the performers.

For the strings Harmonics and open strings are indicated identically with the open-circle notation. Which is intended will be clear to the performers from the range of the notes in question. Occasionally sul indications are used for clarification. The double-bass part, which is sometimes extremely high, is always notated one octave above sounding pitch regardless of the clef employed. Trills carry an accidental above them indicating the spelling of the next scale note. For example a trill on an f-sharp with a natural sign above means to trill f-sharp to g; a trill on an f-natural with a natural sign above means to trill f to g; a trill on an f-natural with a flat sign above means trill f to g-flat (or f-sharp if you prefer!).

For the piano (reduction) Most pizzicato passages are marked as staccato. This does not in any way imply an accented nor an extremely short touch. Every attempt has been made to reflect as closely as possible the timbre effects intended in the string writing which occasions the transposition of some voices down or up an octave, the inclusion of arpeggiated chords, and other variations from the original string notation. It may be quite helpful for interpretation to consult the full score. Trills carry an accidental above them indicating the spelling of the next scale note. For example a trill on an fsharp with a natural sign above means to trill f-sharp to g; a trill on an f-natural with a natural sign above means to trill f to g; a trill on an f-natural with a flat sign above means trill f to g-flat (or f-sharp if you prefer!).

On Hearing of Love Constantin Cavafy

Michael Scherperel

English by Rae Dalven

. L'histoire Allegro giocoso  = 89

Violin I

Violin II

                                 Allegro giocoso  = 89

 



Allegro giocoso  = 89

Viola

 

Cello

 

Contrabass

 

Baritone

 



Allegro giocoso  = 89



Allegro giocoso  = 89



Allegro giocoso  = 89



                                                                  























Copyright 2005 Michael Scherperel All Rights Reserved

6

Vln. I

Vln. II

Vla.

Vc.

Cb.



     

                                                                                          6

Bar.

11

Vln. I

Vln. II

Vla.

Vc.

Cb.



  

  

      



      



     

    



















     

       

                                            

 

    

      11

Bar.

  









  

              

 -2-









  



                   

Vln. I

Vln. II

Vla.

Vc.

Cb.

 



 





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

Vla.



Vc.

Cb.





















   



          





  

 

  

 



                             

This



 





        

  



     

  

he had

  

that set him a -











       

 



 



 



 

 

 

 

          

        

   

 

 

 

          

        

  20

Bar.





 

Vln. II

      







20

Vln. I



  16

Bar.

  



      



16

part,





  

      



4:3

that in spite

-3-

of

all his dis - sol - ute

-

ness



Vln. I

Vln. II

Vla.

Vc.

Cb.

                  23     

                                     arco                                      

          

       

                          



 

  

     

and his great

ex - pe - rience in

  27

Vln. I

Vln. II

Vla.

Vc.

Cb.

   

 

pizz.

 

 

 





       



love,

 





de - spite the ha - bit - u - al

   





arco







             

     

 

         

     

 

 

 

  

har - mon - y

 that

  

ex - ist

 -

ed



  

   



  

be - tween his

at - ti - tude

and

his

-4-

     

 arco       

                

27

Bar.

pizz.

        

23

Bar.



age,

 

 

        

 

31

Vln. I

Vln. II

Vla.

Vc.

Cb.





   

  

     



 



 31

Bar.

                      

  

 

                   

  

  

  

  

  

 



Vln. I

Vln. II

Vla.

Vc.



Cb.





 

Bar.



   

    35







 









      ritenuto

how - e - ver,

hap

 

 

  

-

     





  



pened

to be

mo

  

-























      molto ritenuto

mo - ments,



 

     

to be sure

-5-









     

  

pizz.    

    





   

pizz.



ments__

a tempo   

                   a tempo

a tempo   





 pizz.      







     

pizz.





rare

     









  



 there

35



  



a tempo





       









40

Vln. I



Vln. II



Vla.



Vc.

Cb.



   

         



                          

        

   

         







    

 

     

Bar.

when





40

he gave

Vln. II

the

Vla.

Vc.

Cb.

    

  

      



 



 44

Bar.







im - pres

            



 

44

Vln. I

      

 

 

 

The

-



sion

of



   

    

  a



  





 beaut

  

-

  

 

flesh

al - most



         



 











2

                     

    



y

his twent - y - nine

years,

-6-

2

un - touched.

   of

2

arco

    2

  

      2







     





        



  

 

 

  

  

 

so

 

47

Vln. I



 



                 pizz.

Vln. II

Vla.

Vc.

Cb.

      47

Bar.

Vln. II

  



-

ed

by sens - ual



Vc.

Cb.





 

 





  

  







    

de - light,











 

 

    

 

at mo - ments



        

  

     2

2

par - a - dox - i - cally re - called

  

  

        

    

                   

  

  







       

    



sul tasto

  



 





 51

Bar.



        

      

sul tasto

Vla.

 



 

51

Vln. I







arco         

     

 test

 











        







  a



pizz.







young

man

who__



  

     2

rath - er

-7-



gawk - i - ly__





Vln. I

Vln. II

Vla.

Vc.

Cb.



    

 

 



con sordino



 

con sordino

  pizz.           rit.





        rit.      colla voce rit.



arco



rit.

 rit.





55

Bar.

 





 

con sordino



55

rit.







        

Vln. I

Vln. II

Languido  = 60

    



Languido  = 60

   



Vla.

Vc.

Cb.

     

 Languido  = 60  con sordino

 

Languido  = 60



Languido  = 60

  60

Bar.





to love

     

sim.







































  



sim.





 







sim.

 

  

 

arco

  









 



 





for the ver - y first time.



sim.

Languido  = 60

pure bod - y

 



 

ad lib.





sur - rend - ers his

60



 



  



 

  

sim.



3           



One

-8-

can - dle

is e - nough.



    Its

66

Vln. I

 















Vln. II

 















 



Vla.

Vc.

Cb.

  

 

dim

Vln. I

 

Vln. II

 

Vla.

Vc.

Cb.

is

 

 

Shad

 







 



ows

of





 

 

 

       



when Shad - ows

 

   

Love.

 

the













        One

-9-

come,



 



  





      













 



it will be kind - li - er





3









senza sordino

    





 





-







 



more ap - pro - pri - ate,



  





3







       

light

70

Bar.





70





      66

Bar.



can - dle

is

e - nough.

 

To -

 

  75

Vln. I

Vln. II

Vla.

Vc.

Cb.







80

Vln. I

Vln. II

Vla.

Vc.

Cb.

  















 

















 









          a tempo poco rit. 







senza sordino

         



too much light.





  

 

      

    





 

    



       

 



 



    

and in sug - ges - tion,

and in the

- 10 -

en - tire - ly in



con sordino

 

 





Im - mersed





       

re - ver - y,







   

   pizz.



the room must not have

80

Bar.



      

night









senza sordino













   





  

75

Bar.





senza sordino

pizz. sul tasto

  





low light__

    con sordino

    





pizz. sul tasto

    con sordino 

 G lissando



  Thus

  

deep

in

ADDITIONAL PAGES REDACTED

. Dans la chambre

Allegro moderato  = 120

Violin I

Violin II

Viola

Cello

Contrabass

Baritone

               Allegro moderato  = 120

               Allegro moderato  = 120       Allegro moderato  = 120         

Allegro moderato  = 120          Allegro moderato  = 120

 





   

        



  









 

  

   

 

  

  





  







7

Vln. I

Vln. II

Vla.

Vc.

Cb.

                                    7

Bar.



  

  

  

 



  

  

  

  

  

  

 



  

  

  

  

 



  

  

  

  



  

  

swears

to start

a

   

 

Eve - ry

so

oft - en

27

he

fin - er

 life.

    

   

          

  

14

Vln. I

Vln. II

Vla.

Vc.

Cb.

       

  



Bar.

Vln. I

Vln. II

Vla.

Vc.





 

               20

Bar.



            rit.  rit.

Cb.

                 





 



         

                 



20





            



14

 

        



 

















 pizz.   = 72      = 72     







28

 

col legno battuto









           

 = 72

    sul tasto

 = 72

   

     

arco               

      

 = 72

         comes

 col legno battuto

sul tasto

 = 72



But when night



with its own

sul tasto











  





coun - sels,

     



      



   









  







27

Vln. I

Vln. II

Vla.

Vc.

Cb.





Bar.



3

  





sul C



its

 pizz. 

 

col legno battuto

          



27

col legno battuto ord.



                  ando5  Gliss          sul D             ord.           sul G Glissando       arco                  Glissando   ord.

 







 

com-pro-mis-es,

and

Vln. I











Vln. II











32

Vla.

Vc.

Cb.

    



(sul A)

 





 

 

pizz.



        32

Bar.

  

col legno battuto

3

poco mosso

 







  its

                

      poco mosso sul D



      arco 





     

      

poco mosso



pro - mis - es;

29













36

Vln. I

Vln. II

Vla.

Vc.

Cb.

3





 







 





   3

3



Bar.

    40

Vln. I

3

accel.

3

Vla.

Vc.

 

accel.

      































   

comes





3

with its

       accel.

  40

Bar.

own

     3



 

 





 

 



 accel.   crav

-

ing

and





 







 

 





  

 



 

of

the

 

3

bod

-































ing,

he

re

-

turns,







  

y,

3



 

30



               

 

-

 

vig - or

 



seek



3

3

accel.

Cb.

3



3

    

3





accel.

3



night

3

3



                    3

3

Vln. II

3

3



      

  poco mosso  

But when

3





    poco mosso

battuto col legno  

3



3





poco mosso

3

sul G

36

  



   pizz.

     

  

molto ritenuto

for -







 = 72







 = 72

44

Vln. I

Vln. II

   

Vla.

molto ritenuto

Vc.

   







molto ritenuto

Cb.



  44

Bar.

   

  

to the

same fat - al

lorn, 50

Vln. I



Vln. II



Vla.



Vc.

Cb.



 













 

  

                  

 = 72

                          arco  = 72          = 72 joy.



  

  

 





When



 

I

en - tered





 

 





   

the house of

 

pleas - ure,













   

 

   









         

    

 

   















  50

Bar.



 = 72



pizz.



  



 3           I did not

re - main in the

room

   



         3

where they cel - e - brate

31

3

rec - og - nized loves

   with





 

3

some sem - blance of

Vln. I

Vln. II

Vla.

Vc.

Cb.



   





 

            

     

     



                





  54

Bar.





54







            

    arco      arco



           







or - der.

           colla voce 59

Vln. I

Vln. II

Vla.

Vc.

Cb.

       colla voce         colla voce        colla voce  





                 3   3    59

Bar.

I - went in - to the hid - den rooms

and I re - clined

and lay down on

32

their beds.

 



 

  

   

ADDITIONAL PAGES REDACTED

. Sur la mer

Moderato fluente  = 136

                                               Moderato fluente  = 136        

Violin I

Violin II

Moderato fluente  = 136

 

Viola



Moderato fluente  = 136

 

Cello



Moderato fluente  = 136

Contrabass

 

Baritone

 

5

Vln. I

Vln. II

Vla.

Vc.

Cb.

 



























                                        



 



 

 

 

















5

Bar.







pizz.

Moderato fluente  = 136

 

 



















 

  

- 44 -

 







   

9

Vln. I



                                       

Vln. II









Vla.









 



 



 

  



 

Vc.

Cb.

 13

Vln. I

Vln. II

Vla.

Vc.

Cb.

  

Bar.



 



 



  

  











 

 



    



















          

                                       



13

 



9

Bar.

  



  

 



 

 







 

- 45 -



 

  

17

Vln. I

Vln. II

Vla.

Vc.

Cb.



                                       

                       











 



Bar.

21

Vln. I

Vln. II

Vla.

Vc.

Cb.



 

Bar.

 

 

 

      



pizz.









         



21



   

 









 



     



17





   





con sordino

arco



    







 

con sordino



     



 

     







   

   

 

con sordino





                            

 - 46 -

     



         

arco



26

Vln. I

Vln. II







Vc.

              

Cb.

   

Vln. II

Vla.

Vc.

Cb.











31











26

      





    



      

















    

 



      





Let me

stand

here.

 

            

         

    

arco

     pizz.



               

31

Bar.



                                       



Vln. I



                                            

Vla.

Bar.







 - 47 -







             



               

      Let me al

-





 

    

so

look at

na - ture a



36

Vln. I





               

senza sordino

Vln. II

Vla.

Vc.

Cb.







      

senza sordino

    sub. 

                   



 



36

Bar.

                           





   



pizz.

loco

sub.



















 







while.

40

Vln. I

Vln. II

Vla.

Vc.

Cb.





   

     





        40

Bar.

                                       

  





    

 



  - 48 -

 

 



  

The

   shore

         



  of

the

44

Vln. I

Vln. II

Vla.

Vc.

Cb.

 

                                                                               

Vla.

Vc.

Cb.



 













 





less

sky

 











 



 

 

 





sea

 

and

the

cloud

-

                             

         

                               

         

       



 

         48

Bar.

 



48

Vln. II





morn - ing

Vln. I

   

 

  

44

Bar.







   

    

     

bril - liant blue



   



  

   and

 

  

yel - low

  

 

 

         

   





 

 



  



 







  

all

il - lum - i

- 49 -



-

nat - ed

52

Vln. I

Vln. II

Vla.

Vc.

Cb.

   

                                                 

   

 

   



   



   

 

   



 

Vln. II

Vla.

Vc.

Cb.

   

Bar.



 

 

   

-

ly

arco



 

 





and

         





 



arco

pizz.





large.

           

pizz.





  







  











 





 

 











    

 





 

 

   





 













                    









 

  56

         



love

Vln. I



         

   

 

56

         

          

52

Bar.









 

- 50 -



   

         









 



 

 60

Vln. I

Vln. II

Vla.







             

Cb.

                           





Bar.

arco

 

 





60





con sordino

    











con sordino

pizz.

Vc.

    

con sordino

  arco     







              



    







      Let me



65

Vln. I

Vln. II

Vla.

Vc.

Cb.



    



       

            

      

    





  65

Bar.



stand

 here.







    

    

 

pizz.



 

    



- 51 -

      









        arco

    





Let me de - lude







     

    my - self that I

see

 these

      70

Vln. I

Vln. II

Vla.

Vc.

Cb.

 

 









  



 



     



     



 



 

Vla.

Vc.

Cb.

 

 

  

 

   





                  

when

I

first stopped);

see

them



  



did



 



a mom - ent

                  





   

real - ly



                                   

 

74

Bar.

   

(I











  



 

  

arco

pizz.



74

Vln. II





 

things

Vln. I



         

70

Bar.











  

     

       and

- 52 -



not

that here

too

   

 I



see

 

my

78

Vln. I

Vln. II

Vla.

Vc.

Cb.

                                                                                                               

pizz.

    

 

  

78

Bar.

fan

Vln. II

Vla.

  











sul tasto

Vc.

Cb.

  83

Bar.



ta - sies,

my

me

-



     poco meno mosso     

poco meno mosso



 

 

    



      



senza sordino



senza sordino

  ord.

                 poco meno mosso            poco meno mosso

         3

 senza sordino

    

poco menomosso   

 

    

mo - ries,

poco meno mosso







    



  



   





83

Vln. I

-



3

my vi - sions of sen - sual de - light.

- 53 -

They were

ADDITIONAL PAGES REDACTED

Andante piacevole

Violin I

     

Viola

Cello



 = 72

Andante piacevole

 = 72

Andante piacevole

 = 72

 



 

Contrabass

Baritone

 

 

Andante piacevole



   

 = 72

 

Vla.

Cb.

 















  



The wealth - y home

  



 



 







en - trance





            

      - 66 -



           



had in its







         

      



  



 









       

7

Bar.



                  

pizz.

Vc.



   





7

Vln. II



  

 = 72

Andante piacevole

 

Vln. I

dans le miroir

                                        Andante piacevole pizz.

Violin II

 = 72



 



    an e -



12

Vln. I

Vln. II

Vla.

Vc.

Cb.



      

Vla.

Vc.

Cb.

     

 







   

                    

 



 

   





       

 

 



  







       3

eight - y years

a - go.

 











   







  

  

       









 

  

3

that must have been bought at least



arco       







 

mir - ror,



 

  



 

ex - treme - ly old





 

  

17

Bar.

  



      

17

Vln. II





nor - mous,

Vln. I



 

12

Bar.





   









 

   

pizz.                                                     





    



  - 67 -















22

Vln. I

Vln. II



 













 



Vla.



Vc.

                



Cb.











 



 



22

Bar.

27

Vln. I

Vln. II

Vla.

Vc.

Cb.







 







 



 

  



col legno battutuo

  



 





   

col legno battutuo























 



















                        

An unusually handsome lad,



a tailor's employee

- 68 -













col legno battutuo

 = 





(spoken)

  

 __ _  = 





_

                               3 3 3 3 3 3 __ _ pizz.





 

 __ _  = 

arco







col legno battutuo

__ _  = 

arco



  

 = 

 

27

Bar.





 __



                  



 __ _  = 



  

      arco

     arco  arco

 

31

Vln. I



Vln. II



Vla.



Vc.

Cb.

      

arco













 



 

Vla.

Vc.

Cb.









col legno battutuo





   

col legno battutuo





 





 







 







 





stood holding a parcel.



He delivered it to someone in the house,





 









 



 

  



 



  



 



  



 



   arco     

  



 





arco

 



 



arco

 



 



 



 



 



 

  

                                              35

Bar.







   35

Vln. II



col legno battutuo

(on Sundays an amateur athlete)

Vln. I



                                             31

Bar.



col legno battutuo

who carried it inside to

fetch the receipt

- 69 -

 



The tailor's employee was left by h









39

Vln. I

Vln. II

Vla.

Vc.

Cb.

 



   

col legno battutuo









col legno battutuo





  





  



 



 



              



              

                   





                















and he waited.

Vln. I

     

Vln. II

     

Vla.

     

Vc.

 

Cb.

 



 



45

45

Bar.





39

Bar.



col legno battutuo



 

          arco               arco    





     

He approached the mirror and took a look at himself.

 

 



 



 

 

 



 



 

 

 



 



 

 



 



 

 



 



  



  





and he straightened his tie.

pizz.                          

- 70 -

 

Five minutes later they brought back the receipt.

  



49

Vln. I

Vln. II

Vla.

Vc.

Cb.

  



  



  



 

Vln. II

Vla.

Cb.

 



   

 __



_

 



  pizz.                    _

 = 







 

        







 __ _  = 

 _ __  = 



He took it and left.

sul tasto

  

sul tasto

       

 

  

 

54

Bar.



 = 

 __





arco

 

pizz.

Vc.



   

       

 

54

Vln. I



_

 =  



arco

  

                                          49

Bar.



 __

 



  



 __

 

3

_

 = 

 

 

 

 

 

 

 

 

 



old

mir - ror that had

- 71 -

 

 

 

             But the



 



arco



 

   

3



 

sul tasto

3

seen and seen,

 

arco

  

  

    dur - ing the

     long,

  

long

   60

Vln. I

Vln. II

Vla.

Vc.

Cb.

  

 

 



 

 









     







         60

Bar.

years

66

Vln. I

Vln. II

Vla.

Vc.

Cb.

Bar.

  

 

     

of its ex - is - tence,



ord.

 

 

  



 



pizz.







   

ord.



of





      

thous - ands



       





 







ob - jects

 and

 

fac - es;

           

     

  

     

       

 

           

           

     











  

       ord.



     66    but

this

 



 

 

time

the

 

 

      

old

   

       

  





mir - ror was de - light - ed,

- 72 -

 



arco

 

 

    

and it felt

 

    

  proud

72

Vln. I

Vln. II

Vla.

Vc.

Cb.

 

                 

              

 



 

 





 

       72

Bar.

  

  

Vln. I

Vln. II

Vla.

Vc.

Cb.







    

   pizz.



   for a few

   

         

pizz.

    

   mo - ments









arco



arco



  



    

    

 





an i - mage

   

of

flaw - less beaut -

       

                                   

  



 

 

 





  78

Bar.



pizz.

arco  

       

78

y.

     





  

that it had re - ceived un - to it - self







    



pizz.











 









  







    







pizz.



- 73 -





        

   

      



The sur - round - ings of the

house,



ADDITIONAL PAGES REDACTED

Solennemente  = 64

 



Violin II

 



Viola

 

Cello

  TACET 

Violin I

au cimitière

      

con sordino

Solennemente  = 64 con sordino

TACET

      

 

Solennemente  = 64 molto espressivo

Contrabass

            Solennemente  = 64

Baritone

 





      





















3      

      









Vln. I







    





Vln. II







   





Vla.





















5

Vc.

Cb.

  5

Bar.

      

     Our dear - est,



    



our white youth,

- 86 -



       

  





       Ah,

our white,

our

Vln. I











Vln. II











Vla.





















9

Vc.

Cb.

 

  

 

 

9

Bar.







Vln. I

    

Vln. II

    

Vla.

Vc.

Cb.













  13

Bar.

brief,

 





snow - white youth, 13



            



       



 

      that is

     

     



      



 - 87 -



so









  

 





   

 



and yet

 

       

  

in - fi - nite,

     



 



  spreads

   3   o - ver us

 

 17

Vln. I

 





Vln. II



Vla.









Vc.

Cb.



    





 









3             

like the wings





     3   3    3   3   3  

of an arch - an

-

















        





17

Bar.

    





gel!...

Vln. I









Vln. II









Vla.

















21

Vc.

Cb.

    21

Bar.





         It

is for - e - ver



  

  

  

ex - haust

-

ed,

       

- 88 -

for - e

-

ver

  

    lov

   -

ing;



ritenuto

 

ritenuto

and it

      

Vln. I









Vln. II









Vla.

















24

Vc.

Cb.

 





 



 

a tempo

            a tempo

24

Bar.

melts

and faints



28

Vln. I

Vln. II

Vla.

Vc.

Cb.

  







=

=









    



  



 

 



 



 

  

 





   





 











 











=

 





  

For

- 89 -

-

 

  

e - ver,

  







 





       

goes for - e - ver.

  

 

      





white hor - i - zons,

         

 

    

=             28

Bar.



a - long



   

    no.

   

  

34

Vln. I



 



  

 



  

  



 

 

  





 

   

 

 

Vln. II



Vla.

































Vc.

Cb.

 

 



 

     

Bar.

It will re - turn,

    41

Vln. I

Vln. II

Vla.

Vc.

Cb.

 

 

will

  



 

come

  



 























   

  





41

Bar.



it

  

 

  

 



34



  

  

white

limbs,

    

its

   white



  

 



  

      

back,



it will re - turn.

      



  With its





  































  

              





grace,

- 90 -











    





















48

Vln. I

Vln. II

Vla.

Vc.

Cb.





    

 48

Bar.



our

white

       

Vln. I

  



    

 

54







    

    

    

    



    

















 



 







    

youth

will







come

and

   

Vln. II



Vla.











 











 

Vc.

Cb.

  54

Bar.

    seize

 

  

  

 

  



us

with

    

    

    



    

 



    - 91 -

its



 



 



take







   





 

us.

It will

   







          



white



hands,



  



   





60

Vln. I

Vln. II

Vla.

Vc.

Cb.



  



Vln. II

Vla.

Vc.

Cb.





  



  



 



  

  

































       

  







and with a



thin



  

 

shroud

 



drawn

from

   

 

  its

  

   



















    



      

a snow - white shroud



  



drawn from its white - ness,

- 92 -

      

white - ness,



  

 



  



65

Bar.

 







65

Vln. I



  



60

Bar.

  

              

       



3       

     



     



69

Vln. I

Vln. II

Vla.

Vc.

Cb.

Vla.

Vc.

 











 









      



pizz.

  3        3      



it will cov - er us.

poco piu mosso (=72)

    3   

    



     3  



   

(=72)

    3

     

 





  

 

  3    3   

  







































     73

Bar.

     

poco piu mosso

Cb.



      



poco piu mosso

Vln. II









73

Vln. I





69

Bar.



  

(=72)

poco piu mosso (=72)







 - 93 -

 dolce     I - deal

3     

and dear - ly be -

  

     79

Vln. I

Vln. II

Vla.

Vc.

Cb.

3

  

  













    

Vln. II

Vla.

Vc.

Cb.

Bar.























  3  

of

those who are dead

 



 





















who are

lost to

us



 



 

   3   







85

 















85



     3  





lov - ed voic - es

Vln. I

 

 





79

Bar.

  3  



3

  

 



or of those

   

 

 

  

 

































    like

  

the dead.

- 94 -

  



91

Vln. I







Vla.







Cb.

3   3    







  3











3



they

speak

to

us

 





















94

Vln. I





91

Bar.











Vln. II

Vc.















  3   3 



 



  3

Some - times



 



3

3







 3

3

 



Vln. II



Vla.

























Vc.

Cb.

 94

Bar.







in

our

dreams;

 

 - 95 -

3

some - times





in

thought

 3



97

Vln. I









  3





 

 3





  3





 3

 





  3





Vln. II



Vla.

























Vc.

Cb.

  97

Bar.

100

Vln. I









the

mind



  3   3 





hears

them.

  

 







Vla.































Cb.

 100

Bar.





 - 96 -





Vln. II

Vc.

3



 



     And for

a

  ten. 

mom - ent



  with their

        

tempo primo

   104

Vln. I

Vln. II

Vla.

Vc.

Cb.

 



































tempo primo

    

 3                    







 3  



o - ther ech - oes



Vla.



















arco

 



109

of

3

  our lives__

      

re - turn

      





Bar.





Vln. II

Cb.



3     



109

Vc.







ech - o

Vln. I

          







104

Bar.

 

tempo primo

 



  

from the

      





 

   



3



 - 97 -

first





 



po - et - ry

 

 















 dolce      like mu - sic

115

Vln. I

Vln. II

Vla.

Vc.

Cb.

     

    

 

Vla.

Vc.

Cb.

























   

3       

  

the

    



    



far - off





     





 



 

 

   

    



 

 



 

































  

  

Like

 

  



  

  

beau - ti - ful

bo - dies



  



  



  



of

dead

had not grown

old

- 98 -

the

 

who

 

    

night.

    







   



120

Bar.

            





120

Vln. II

  



that ex - tin - guish - es

Vln. I





115

Bar.

    

       

 

  

  

    127

Vln. I

Vln. II

Vla.

Vc.

Cb.



 

 

Vla.

Vc.

Cb.

  

   



  

































       

    





 

shut them,

with

  





in

  

  

   

  

  



 

 

  

tears,

  



 

  

  

   

 

a

mag -

  

 



 



   ni - fi - cent

   







































    134

Bar.

  

  



134

Vln. II

      

 





and they

Vln. I



 



127

Bar.

 



mau

-

so

-

 

  

le - um,

 





 

- 99 -

     

with

 



ros - es

    at

 

  the

 head

 

and

   141

Vln. I



  

 







 

 

 



 



Vla.









 









 

Cb.

   141

Bar.



   

jas - mine

147

Vln. I





 at

     

 

  

  

 the



    

 





   

    





Vla.







 









 



Cb.

  147

Bar.

  



   

arco





   



    

   



 











 

   





  

pizz.





feet__

Vln. II

Vc.

   



     



 

   

 

Vln. II

Vc.

  

       

        - 100 -

  















     

   

        that is how

de -

     

 152

Vln. I

Vln. II

Vla.

Vc.

Cb.



















    





  



152

Bar.

Vln. I

Vln. II

Vla.

Vc.

Cb.



 

 





 









 





        

    







  



3 3   3       3      3   



    

  







     that have

passed



      









 



 









with - out ful - fill - ment;



 



 



 











 











 







       157

Bar.









sir - es look 157

  

with - out one of them

 3   hav-ing achieved

  a

- 101 -

        



night



       



 3    

of

sens - ual de - light,

 

               



161

Vln. I

        3

Vln. II

Vla.

 



Vc.

 



Cb.

       161

Bar.

     

 





 

Vln. I

Vln. II

   







   









  







 

      





 



   



moon - lit



   













       

 morn.











 









































 

 3   





167

Bar.



or a



Cb.

 

  



ten.

   

Vc.



 

167

Vla.



3

  

       

 

- 102 -



 



ADDITIONAL PAGES REDACTED

Violin I

Violin II

 

       



(senza sordino)



(senza sordino)

Allegro espansivo  = 120

Viola

    

Allegro espansivo  = 120

 

  

     

     

. le verbe

Allegro espansivo  = 120

      

  



 

              

      

Allegro espansivo  = 120

Cello

  

            

Allegro espansivo  = 120

Contrabass

Baritone

                                           Allegro espansivo  = 120

 



     6

Vln. I

Vln. II

Vla.

Vc.

Cb.

    







   

                       

   

                       

                                                                       6

Bar.







 - 103 -

 

     



 







        

11

Vln. I

Vln. II

Vla.

Vc.

Cb.



       

Vln. II











Vc.

Cb.







  









con sordino





 

 

  





pizz.











 



















pizz.

   

 





 





arco

 

 



arco



 



    

    

  

      

 con sordino

     









16

Bar.

 









                 

pizz.

Vla.



                   

16

Vln. I



                 

11

Bar.



pizz.









 

- 104 -

  



 

   

arco

   

arco

 

 



  



Fear-ing

the

Vln. I



   







Vln. II



   







22

Vla.

Vc.

Cb.









  22

Bar.

 

 



  



pizz.



pizz.





  



com - mon-place

     26

Vln. I

Vln. II

       

arco

Vla.

Vc.

Cb.

       26

Bar.

      



     



    I leave

man - y words

un - ut

 

 

 

 

 

 

 















  

 

 

 

 

 

 



-

  

 





 



 



 

tered.

  



   



  

                            arco  pizz.                   



arco









- 105 -



 

  

  

       

 

   



















32

Vln. I

Vln. II

Vla.

Vc.

Cb.

      32

Bar.

    





  

  



 





 

  

 





 

















    

    

    

   







 

pizz.







   

  

Man - y poems 38

Vln. I

Vln. II

Vla.

Vc.

Cb.





  

  





 



 











          













   



      38

Bar.



writ - ten

in my

heart;

 











 

















  



 - 106 -

are

  





















45

Vln. I

Vln. II

Vla.

Vc.

Cb.

   

























 











 



 



 



 

























    

 45

Bar.



 arco

 

    









  and those

Vln. I





Vln. II







Vla.

















































 

52

Vc.

Cb.





        52

Bar.

in - terred

songs





 

















 





   3

are

the

- 107 -

 ones



     ritenuto

that

 

I

love.

 59

Vln. I

Vln. II

Vla.

Vc.

Cb.

                





    



59

Bar.

     



    

 



O

   

   







first,



pure,

Vln. I

                                        

Vln. II

     

Vla.

     

64

Vc.

Cb.

                                             

   

   

   

   

   





 64

Bar.

on - ly

free - dom

of

youth for

pleas

 -

ure!

- 108 -



   

Vln. I

                                        

Vln. II

     

Vla.

     

69

Vc.

Cb.

                                             



 



 

69

Bar.

O

sweet

  

   





   



in - tox - i

-

ca

    -

tion

                              74

Vln. I

rit.

Vln. II

                               rit.

Vla.

                                                                rit.

Vc.

rit.

Cb.

 



of

the

   

                                          74

Bar.

   



sens



-

-

-

es!

rit.

 - 109 -

rit.





79



Vln. I



quasi adagio



quasi adagio

Vln. II

Vla.

Vc.

 



quasi adagio pizz.

    



quasi adagio

      79

Bar.

84

Vln. I

Vln. II

Vla.

Vc.

Cb.

 

 ~= 60  ~= 60

 

quasi adagio

Cb.

 ~= 60

quasi adagio



 ~= 60



       I

fear



    

 











      





 

  



lest some

plat - i - tude

a

   

a tempo  = 60



accel.

a tempo  = 60



 a tempo  = 60       

rit.

rit.



rit.



rit.



accel.

accel.

   

  

 



 

pizz.



 ~= 60

    

form.





84

Bar.





rit.

 



rit.



 



  

 ~= 60

    





        



-

buse

 = 80

 = 80

 = 80

 

 

 

  





your di - vine



















    

arco

  a tempo  = 60      = 80                                accel. a tempo  = 60   pizz.      = 80        accel.  

a tempo  = 60



- 110 -

accel.



     

 = 80

Son of an es - teemed

 

cit - i - zen__

 

Vln. I

 





Vln. II

 





     



  

 









 





90

Vla.

Vc.

Cb.

       

90

Bar.

 

       



















     

      

        

        























 

a-bove all, a handsome young man of the theater,













Vln. II









Vla.



Vc.

Cb.

          95

Bar.





 



 





  Once

  in

 



 













- 111 -







a while

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

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

Vln. I

95

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I

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98

Vln. I

Vln. II

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        98

Bar.

Greek

  101

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Vln. II

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lan - guage

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which

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colla voce

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colla voce

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101

Bar.

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clan - des - tin - ely,

- 112 -

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  

to

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be sure__



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