Bermel - Mar de setembro

DEREK BERMEL

Mar de Setembro for Mezzo Soprano and Chamber Orchestra

Mar de Setembro for chamber orchestra

Commissioned by the Los Angeles Chamber Orchestra Jeffrey Kahane, music director

With the generous support of Sound Investment:

Lynn K. Altman Barbara Aran Bob & Linda Attiyeh Bob Attiyeh & Mike Rosell Clare Baren & David Dwiggins Ken & Christine Bender J. Robert & Barbara Bragonier Wendy & Titus Brenninkmeijer George & Barbara Byrne Bill Cooney H. Allen Evans Joyce & Mal Fienberg Rachel Fine & Christopher Hawthorne Pat & Sandy Gage Debra Gastler & Andrew Malloy Alan Goldman Barbara Grenell Lawrence Hawley In Memory of Norman & Lila Henkel Dorothea K. Herreiner Ann & Jean Horton Jeffrey & Martha Kahane Stephen A. Kanter, M.D. Charles Kennel & Ellen Lehman Linda Kleiger Allan D. & Muriel Kotin Bill Krenz

Andrea Laguni Gary & Sandi Larsen Simon and June Li Ray & Ann Lowe Dwight & Rhoda Makoff Joel McNeely & Margaret Batjer Sunny Moss Mahnaz & David Newman Ned & Dana Newman Linda & Michael Parks Pierre's Fine Pianos David Rambo & Ted Heyck Martin & Dorothy Recchuite Judith & Ronald S. Rosen Linda & Michael Rosen Dr. & Mrs. Armin Sadoff Lora Schlesinger Doris & Hervey Segall Robert & Kerry Shuman K. Eugene Shutler Gregory J. Soukup & Mary Jo Carr Lois Tandy Larry & Jean Tistaert Brigitta B. Troy & Alden Lawrence Max & Diane Weissberg Gernot Wolfgang Bonnie Youngdahl

Text

by Eugénio de Andrado

Prólogo QUE VOZ LUNAR

WHAT MOONLIT VOICE

Que voz lunar insinua o que não pode ter voz?

What moonlit voice intimates what cannot find a voice?

Que rosto entorna na noite todo o azul da manhã?

What face spills upon the night all the bluish light of morning?

Que beijo de oiro procura uns lábios de brisa e água?

What golden kiss seeks after lips of breeze and water?

Que branca mão devagar quebra os ramos do silêncio?

What white hand slowly breaks the boughs of silence?

1.

MAR DE SETEMBRO

SEPTEMBER SEA

Tudo era claro: céu lábios, areias.

O mar estava perto, fremente de espumas.

Corpos ou ondas: iam, vinham, iam, dóceis, leves – só ritmo e brancura.

Felizes, cantam; seremos, dormem; despertos, amam, exaltam o silêncio.

It was all luminous: sky, lips, sand.

The sea was near, trembling with foam.

Bodies or waves: to and fro, to and fro, sweet, light -- just rhythm and whiteness.

Happy, they sing; calm, they sleep; awakened, they love, swelling the silence.

Tudo era claro, jovem, alado.

O mar estava perto, Puríssimo. Doirado.

It was all luminous, young, with wings.

The sea was near.

Golden. Utterly pure.

(Translation by Alexis Levitin)

(Translation by Alexis Levitin)

2.

CANÇAO O último passaro

SONG

3.

OCULTAS ÁGUAS

HIDDEN WATERS

The last bird sings in the poplars

Um sopro quase, esses lábios.

Almost a whisper of air, those lips.

The tired light stumbles over the branches

Lábios? Disse lábios, areias?

Lábios. Com sede ainda doutros lábios.

Lips? Did I say lips, or sands?

Lips. Thirsty still for other lips.

Sede de cal.

Quase lume.

Lume quase de orvalho.

Thirsting for white.

Almost flame.

Flame almost dew.

Lábios: ocultas águas.

Lips: hidden waters.

canta nos álamos.

A luz fatigada tropeça nos ramos.

A terra é só vaga memória de lábios.

Ah canta, canta rouxinol da água

The earth is but a vague memory of lips.

Ah, sing, sing water-nightingale.

(Translation by Derek Bermel)

(Translation by Alexis Levitin)

4.

FRUTOS

FRUITS

Pêssegos, pêras, laranjas, morangos, cerejas, figos, maçãs, melão, melancia, ó música de meus sentidos, pura delícia da lingua; deixai-me agora falar do fruto que me fascina, pelo sabor, pela cor, pelo aroma das sílabas: tangerina, tangerina.

Peaches, pears, oranges, strawberries, cherries, figs, apples, melon, honey dew, oh, music of my senses, pure pleasure of the tongue; let me speak now of fruit that fascinate, with the flavor, with the hues, with the fragrance of their syllables: oh tangerine, oh tangerine.

(Translation by Alexis Levitin)

Instrumentation 2 Flutes (2nd doubles Piccolo) 2 Oboes (2nd doubles English Horn) 2 Clarinets (2nd doubles Bass Clarinet) 2 Bassoons (2nd doubles Contrabassoon) 2 Horns in F 2 Trumpets in C 2 Percussion: I.

Aquaphone, Bell Tree, Castanets, Egg Shaker or Maracas (High), Large Shaker, Maracas, Mark Tree, Sand Blocks, Suspended Cymbal, Vibraphone (can be shared with Percussion II)

II.

Chimes, Glockenspiel, Vibraphone, Xylophone

Harp Strings

Composer’s Note When I first encountered the work of the great Portuguese poet Eugénio de Andrade (José Fontinhas), I was struck by the direct lyricism of his language, his bold depictions of the natural world's sensuality.

Andrade's translator of 25 years, Alexis Levitin, introduced me to his heir Gervásio Oliveira Moura, who generously approved my use of the poems. Throughout the daunting and humbling task of setting Andrade's work, it was comforting to know that the songs would be performed by Luciana Souza, Jeffrey Kahane, and the wonderful musicians of the Los Angeles Chamber Orchestra.

I wish to express special thanks to Luciana for her sensitivity and attention to detail; the collaboration with her has been nothing short of joyful. I would also like to thank many people who helped along the way, including Junia Flavia d'Affonseca, Clarice Assad, Jeff Myers, Andreia Pinto-Correia, Rafael Montes, Wendy S. Walters, and Mark Statman, as well as the Sociedade Portuguesa de Autores, the Sacatar Foundation, the Institute for Advanced Study, Peermusic Classical, and of course Andrea Laguni and the wonderful LACO staff.

—Derek Bermel, April 2011

page

Prólogo: Que voz lunar ....................................................... 1 1. Mar de Setembro ............................................................ 3 2. Canção .......................................................................... 16 3. Ocultas Águas............................................................... 20 4. Frutos ............................................................................ 29