John Harbison
THE SEVEN AGES for mezzo-soprano, flute, clarinet, violin, violoncello, piano, and vibraphone
poems by Louise Gl端ck
From the G. Schirmer Rental Library date of printing _________________
Associated Music Publishers, Inc. New York, NY
John Harbison
THE SEVEN AGES for mezzo-soprano, flute, clarinet, violin, violoncello, piano, and vibraphone
poems by Louise Glück for the Serge Koussevitzky Music Foundation in the Library of Congress, and dedicated to the memory of Serge and Natalie Koussevitzky
for performance by the New York New Music Ensemble and the San Francisco Contemporary Players
duration ca. 25 minutes I. The Seven Ages II. The Balcony III. Decade IV. Aubade V. Summer Night VI. Fable Based on the poems “The Seven Ages,” “The Balcony,” “Decade,” “Aubade,” “Summer Night,” and “Fable.” Copyright 2002 by Louise Glück, included with the permission of the Wylie Agency, Inc. All rights reserved.
Associated Music Publishers, Inc. New York, NY
Program Note The Seven Ages was commissioned by the Serge Koussevitsky Foundation in the Library of Congress, and is dedicated to the memory of Serge and Natalie Koussevitsky. The piece, which is about twenty-five minutes long is scored for mezzo-soprano, flute, clarinet, violin, violoncello and vibraphone. First performances have been entrusted to the New York New Music Ensemble and the San Francisco Contemporary Chamber Players, Pamela Dellal, mezzo-soprano. I am grateful to Louise Glück for her poems, both in this piece and wherever they have appeared, and to the Wylie Agency for use of six of them in this piece. This vocal chamber piece was composed during June and July of 2008 at Aspen and Tanglewood. As I wrote it I became convinced that every poem in the book – in fact every Glück poem – could be music, this in spite of the fact that her poems are often much larger than those composers tend to set. Her words are clear, strongly placed, deeply felt, vivid – all the things needed to suggest rhythm, melody, and a kind of “symphonic” structure. Once I chose the poems I began to “hear” the sequence as a whole, grouped thematically around “The Seven Ages,” the book’s title poem and the first in the collection. Composition began with the final lines of this first poem (although it was eventually the last to be completed), then moved into the other five poems, presented here in the order in which they appear in the book. Although the songs were all composed at once, they each made independent musical proposals. While visiting with the Tanglewood Composition Fellows in the summer of 2008, in connection with a performance of my Symphony 5, which includes a setting of her poem, “Relic,” Louise Glück gave colorful , reluctant testimony about her writing habits. Her work leaves her periodically, reappearing inconveniently and unbidden. This account confirmed, for me, the affinity I feel for her cadence, voice, and material. The Seven Ages, taken hold in the midst of an active summer schedule, after a “blank” period – which always feels irrevocable – felt like an urgent conversation with the poet. After living in these poems it was difficult to leave them. – John Harbison
to the memory of Serge and Natalie Koussevitzky
THE SEVEN AGES Louise Glück
I. The Seven Ages Moderato espressivo
John Harbison
= 80
3
Flute cresc. legato
3
Clarinet in B cresc. legato
Vibraphone
Piano
Mezzo-Soprano
Moderato espressivo
= 80
3
Violin cresc. legato
Violoncello 3
cresc. legato
7
(cresc.)
(cresc.)
(cresc.)
(cresc.)
corr. 08/09 corr. 10/09
Copyright © 2009 by Associated Music Publishers, Inc. (BMI) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY:
2 13
5
5
In
my
first
dream
the
world
18
5
3
3
the
salt,
the bit ter,
the
for bid den,
the sweet
ap peared
3 21
S.V.
3 5 3
3
In my 6
se cond
I
3
des cen
ded
I
was
3
24
delicato
staccatiss.
sensuale 3
hu man,
3
I could n’t just see
a thing
beast that I
am
I had to
4 27
cresc. 3
3
6
6
6
cresc.
3
Ped.
touch,
to
con tain
it
6 6
29
cresc.
6
3
3
6 6
6 6 6
pizz.
5 31
semplice Ped.
Ped.
Ped.
sim.
8ba
I
hid in the groves,
I worked in the fields
un til the fields were bare—
pizz.
36
accomp. solo
accomp. vago
5
5 5
5
Ped. 8va
sonoro
3
time arco
that will
ne ver come
a gain—
the dry solo
accomp. arco
accomp.
wheat
bound,
cas kets of
figs
and o
lives
6 Con calore
41
3
3 3
3
6
5
5
Ped.
3
Ped.
I
Con calore 3
e ven
3
45
cresc.
cresc.
loved
a few
times
dim.
in my dis gus ting hu man way
and
solo
6
6
like
7 49 5
5 5
ironico
3
ev
ery one
52
I called that ac com
plish ment
e
ro
tic
free
dom,
3
semplice
8ba
cresc. 3
surd as it seems
6
The wheat gath ered pizz.
pizz.
and stored,
the last
fruit
dried:
ab
8 58
accomp. solo
accomp.
sonoro
dim.
time solo
that is
3
3
hoard
ed,
that is
nev
3
er used,
does it
al so
end?
arco 0
espr.
accomp. arco
espr.
accomp.
63
espr.
In
my
first
dream
9 67
3
the
world
ap peared
the sweet,
the
for bid den
70
cresc.
cresc.
3
but there was
5
6
no
gar den,
on ly raw
el e ments
cresc.
I
was hu man:
10 74
tremolo
3
I
had to beg
3
to des cend
the salt,
the bit ter,
the
de mand ing,
the
pre emp tive pizz.
3
78
lunga
3
3
3
And
like
eve
ry one,
I
lunga arco
took,
I
3
3
was
tak en,
I
dreamed
I
11 83
was
be trayed:
legato
cresc.
legato
cresc.
legato
cresc.
Earth
was
legato
cresc.
legato
cresc.
giv
en
to
me
in
88
Ped.
In
a
dream
I
pos
sessed
it.
a
dream
12
II. The Balcony Alla danza
= 63
Flute
Clarinet in B
Vibraphone
legato, cantabile
Piano
poco
grazioso
Mezzo-Soprano It was a
Alla danza
night like this,
= 63
Violin
Violoncello
6
at the end
of
sum mer.
We had
rent ed,
13 11
’ I
re mem ber,
a room with a
bal
co ny.
How man y
days pizz.
pizz.
16
Five,
per haps—
no
more.
and nights?
14 21
E ven
when we weren’t
touch ing
we were mak
ing
love,
We
26
Ped.
Ped.
stood
on our
lit tle bal
Ped.
co
ny
in the sum mer night.
arco
arco
And
off
some where,
15 31
8va
parlando
the sounds
of
hu man
life.
We were the soon to be a
36
lirico
noin
ted
mon archs,
well dis posed
to
our
sub
jects.
Just
lirico
be
16 41
lirico
neath us,
sounds
of a
ra
di o play ing,
lirico
poco rit.
45
know.
poco rit.
an
a
ri
a
we
did
n’t in those years
17 a tempo 49
subito
cresc.
Some
one
dy
cresc.
ing
of
love.
Some one from whom
time
had tak
en
the
a tempo
53
grindando
on
ly
hap
pi
ness,
who was
a
lone
now,
im
18 57
cresc.
pov
er ished,
with out
beau
ty.
The
62
Ped.
Ped.
ben articulato
rap
tur ous
notes
of an un en
dur
a ble grief,
of
i
so
la
tion
and ter
ror,
19 65
cresc. Ped.
Ped.
the near
ly im
pos si ble to
sus tain
slow
phra
Ped.
ses
of the as
68
3
volante
cend
pizz.
ing fig
ures—
arco
3
3
3
3
3
20 71
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
74
3
3
3
sub.
3
3
they
3
3
drift
ed
pizz. 0
out
o
ver
the
21 77
dark
3
3
3
3
3
3
3
3
wa
3
3
ter
like
an
ec
sta sy.
arco
80 3
3
3
3
3
3
3
3
Ped.
col
pizz.
22 83 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3 3
3
3
3
3
G.P.
86
3
3
3
3
3
3 8ba
Such a
G.P. gliss.
arco
23 91
small mis take.
And man y
years
lat er,
the
on
ly thing
left
of that night,
0
97
â?‰
of
the
hours
in
that
room.
24
III. Decade Misterioso, appasionato
= 56
Flute
Clarinet in B
Vibraphone
Piano
sonoro, mecanico
5
5
Mezzo-Soprano What joy
touch es the sol
Violin
Violoncello
7
sussurrato
5
rit
u al?
A
void
ap pears
3
in the life.
ace of
25 Drammatico
13
secco
metallico Ped.
Ped.
Ped.
Ped.
secco
❉ 3
A
shock
so deep,
so
ter ri ble,
its force
lev els
the per ceived
Drammatico
secco
= 69 animando
Più mosso
= 60
accel.
18
cresc.
cresc.
Ped.
Ped.
Ped.
cresc. Ped.
cresc.
marcato
Ped.
senza pedale
3
8ba
world.
animando
Più mosso
cresc.
cresc.
= 60
accel.
= 69
26 22
Coma prima
= 56
3
You
Coma prima
3
were a beast at the edge of its cave,
on ly
3
3
3
wak ing and sleep ing.
= 56
29
sempre
8ba
3
Then
the mi nute
3
shift;
the
eye
3
tak en by some thing.
27 35
8ba
estasiante
3
Spring:
the
un
for seen
flood
ing
the
41
3
3
3
3
3
3
lustro
lustro
3
3
3
3
3
3
sempre, espr.
3
3
3
3
3
3
3
sempre, espr.
loco
8ba
3
3
byss.
And the
3
lustro 3
lustro
life
fill ing a
accomp.,
3 3
3
gain.
And
molto
3
sempre, espr.
3
3
fi nal ly
a
place
found
a
28 47
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
cresc. 3
3
3
for eve ry thing.
53
3
3
dim.
3 3
3
3
3
3
dim.
dim. Ped.
8ba
dim.
dim.
29
IV. Aubade Con fantasia
= 80
Flute 6
3
solo 5
3
3
Clarinet in B espressivo
Vibraphone
Piano
Mezzo-Soprano There was one
Con fantasia
sum mer
that re turned
= 80 0
Violin 3
(eco, lontano) 3
3
3
Violoncello 3
(eco, lontano)
3
3
3
5
3
6
6
3 3
3
(eco, lontano) Ped.
Ped.
rubato
man y times
o
ver
there was one
flow er
un
3
3
3
3
3 3
3
furl
6
30 9
6
3
3
3
3
3
3
3
Ped.
3
3
3
ing
tak 3
ing
man y forms
Crim son solo
3
3
of the mo nar 6
da, 6
3
3
12
3
3
3
Ped.
3
intenso
pale
gold
of
the
late
ro
ses solo
6
3
3
3
3
3
3
31 15
3
3
3
eco 3
3
3
3
3
eco
3
rubato
There was one
love
There was one 3
love,
3
3
6
lirico
eco
19
3
3
3
3
3
3
3
3
3
3
3
3
solo
3
3
cresc. 3
3
there were man y nights 6 3
3
Smell
6 3
3
3
3
32 22
3
5
3 3
3
5
3
3 3
of the mock or
ange
tree
Cor ri
mine
and
3
3
5
dors of jas
solo
5
3
3
26
3
3
legato
3
3
3
3
3
3
3
3
3
5
3
3
3
3
3
3
3
3
lil
ies
3
legato
Still
3
3
the wind
3
blew
3
33 30
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
34
3
There were man
(loco)
y
win ters
but
I
closed
my eyes
The
cold
air white with dis
34 38
5
5
3
dim. 5
3
5
dim.
solved wings
5 3
5
dim. 5
5
3
dim.
43
5
5
5
5
poco stacc. poco stacc.
5
solo
3
3
5 5
5
3
5
5 5
5
poco stacc.
Ped.
marc.
There was one
gar den (loco)
3
when the snow
melt ed
Az ure
and white;
I
poco stacc.
5
5
5
5
35 solo
47
legato
3
3 6 5
(
(eco)
poco stacc.)
3
3
(eco) 5
poco stacc.
rubato 3
5
3
could n’t tell my sol i tude
from love—
love; 5
There was one 3 5
(eco)
poco stacc.
5
poco stacc.
52
poco stacc.
solo
5
3
3 5
3
legato solo
poco stacc.
3
3 3
3
3 3
3
5
legato
5
poco stacc.
legato
he had man y voic es poco stacc.
solo
5
legato solo
3
legato
36 56
chiaro 3
non legato
3
3
There was one
dawn;
3
some times we watched it to geth er
dim.
3
3
3
3
3
3
3
dim.
61
Ped.
Ped. 8va
â?‰
I was here
I was here
8ba
â?‰
37 68
solo
3
3
5
6 3
espr.
6
Ped.
legato
There was one
sum mer
re turn ing 3
3
IV
3
3
3 6
non legato
non legato
3
3
o
ver
3
solo
73
dawn
o ver and
3
3
there was one
3
3
3
Ped.
3
I grew old
watch ing
V. Summer Night
38
Agitato (ma non affretato)
= 92
stacc.
Flute
Clarinet in B
Vibraphone stacc.
Piano
Mezzo-Soprano
Agitato (ma non affretato) Violin (pizz.)
Violoncello
6
= 92
39 11
secco, agitato
Or der ly,
and out of long
hab it,
my heart
con tin ues
to beat.
I
pizz.
incisivo
16
cresc.
cresc.
stacc.
when I wake,
o ver the mild
sound
of
the air
con di
tion er.
pizz. ord.
incisivo
hear
it,
nights
40 21
sub.
As I used
to hear
it
o ver the be
lov
ed’s heart,
or
va ri e ty of
hearts,
ow ing to there
26
sub.
hav ing been
sev
’ral.
And
as it beats,
it
con tin ues
to
41 31
cresc.
cresc.
drum
36
up
ri
dic
u lous
e mo
tion.
stacc.
stacc.
leggero
leggero
3
So man y arco
pas sion ate let ters pizz.
pizz. ord.
insistente
3
insistente
42 41
nev er sent!
So man y
ur
gent jour
neys
con cieved
of
on
46
3
sur prise vis its
to
3
men who where near ly com
plete
strang ers.
sum
mer nights,
43 51
secco
secco
The tick ets nev er bought,
the let ters nev er stamped.
And pride
ma evidente
ma evidente
56
sub.
And
the
life,
in a sense,
3
nev er com plete
3
ly
lived.
spared,
44 61
accomp. Ped.
3
3
And
the
art
al
ways
Ped.
3
in some dan ger of
grow ing
rep
e
ti
tious.
arco
66 6
6
6
6
3
Ped.
Ped.
Ped.
Ped.
6
6
3
45 71
6
6
6
6
6
6
6
6
6
6 3
3
Ped.
Ped.
3 3
6
6
6
6
6
6
6
6
3
3
3
6
Ped.
6
6 3
3
Ped.
6
75
3
3
3
3
6
Ped.
6
6
3
3
3
3
3
6
secco
Why 6
3
6
3
6
3
6
3
pizz.
46 80
not?
Why
not?
Why should my
po
ems
not
sempre energico
85
3
im i tate
my
life?
Whose les son
sempre energico
3
is
not
the a poth
3
e
47 90
3
o
sis
but the
3
pat
tern,
whose
mean
ing
is
not
in the ges
ture
but
95
cresc.
cresc.
cresc.
er
tia,
the
rev arco
cresc.
in the in
48 100
er
ie. solo
5 5 5
5
5
5
5
5
105
5
5
5
5
stacc. pizz. martellato
5
5
5
49 110
dolce
in fuori
chiaro
chiaro
senza 3
pieno, cantabile
De sire,
lone
li ness,
wind
in the
dolce arco
sub., dolce
115
legato
3
3
flow
er ing
al
mond—
sure
ly
these are the great,
legato
the
50 120
3
in
3
ex haus ti ble
3
3
sub
jects
to
which my
pred e ces sors
ap
pren ticed them selves.
125
cresc.
3
I
hear them
ech
o
in
my own
heart,
51 solo
130
3
3
3
cresc.
cantabile
5
col pedale
3
3
non leg., poco sost.
3
3
3
3
3
3
3
dis guised as con
ven tion.
3
rit. molto
136
5
3 3
3 3
3
5
cantabile
5
3 3
3
3
cantabile
rit. molto
3
52 Meno mosso
= 69
143 solo
rubato
solo
rubato
chiaro
intimo
Balm
of
3
the
Meno mosso
sum
mer night,
= 69
3
balm
3
3
of the
or
di
nar
y,
im pe ri al
solo
rubato
cantabile
148
cantabile
3
joy
and
sor
row
of
hu man ex ist
3
ence,
the
dreamed
53 153
eco col pedale
eco
col pedale 3
3
as
well as the
lived—
what
rit.
158
sempre
sempre
sempre
sonoro
3
dear
er
than
this,
giv
en the
close ness
of
death?
rit.
sempre
sonoro
could be
54 Poco meno mosso
= 66
rit.
163
col pedale
Poco meno mosso
168
Poco meno mosso
= 66
rit.
= 60 3
3
con forza
3
3
3
3
3
3
3
3
con forza
con forza Ped. 3
con forza
8ba
Poco meno mosso
con forza
marc. con forza
= 60 3
3
55 172
3 3
3
3
3
3
3
3
3
3
8ba
â?‰
3 3
3
3
3
solo
176
(Ped. al fine)
8ba
legato
8va
â?‰
56
VI. Fable Lento, solenne
= 60
Flute
Clarinet in B
Vibraphone pochiss. pedale
Piano
semplice
Mezzo-Soprano Then I looked
Lento, solenne
down
and
saw
the world
I
was
en
ter
ing,
= 60
Violin
Violoncello
7
dolciss.
that would
be
my
home.
And
I
turned
to
my com pan
57 13
poch.
ion,
and
I
said
Where
are
we?
And
he
re
19
plied
Nir
va
na.
And
I
said
a
gain
58 25
Ped. al fine
al fine
But
the
light
will
give
us
no
31
8va
senza vib.
senza vib.
peace.