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Postlude For Trio

Maman's First Aria

Maman's Second Aria

Maman's Third Aria

Maman's Fourth Aria

Les Pas

Twilight Of The Wood

Piano Concerto, Mvt 1

The Cloisters

Easter Scene From The Village

The Falling Of The Leaves: 10. Under Ben Bulben, IV

Psalm 121

With Primeval Candor Song 1

With Primeval Candor Song 2

With Primeval Candor Song 3

With Primeval Candor Song 4

With Primeval Candor Song 5

Diatonic Study for Harp

Chromatic Study for Harp

Excerpt from "Nine Preludes"

Excerpt from "Nine Preludes"​

Study on the 7th partial for woodwind quintet

Excerpt from 2nd Woodwind Quintet

The five songs that comprise the cycle With Primeval Candor represent my first foray into the poems of May Sarton. Sarton's poetry was first brought to my attention by my wife, Ellen, who found strength and consolation in a number of her poems. I have admired Sarton's poems for the feelings they evoke; for their directness of communication; for the absence of the obfuscation that modernity seems to bring to all the arts and for the craftsmanship with which she gives her works form. I also feel a sense of shelter in association with works in a language that would have been understood and admired a century ago and could reach a public without having first to abjure the use of the language previously in use. Would that concert music have provided a similar space!

As the first of my settings of Sarton poems, the five songs are an homage to her and a portrait of her poetic persona. The first four songs involve precious contacts that seem to relieve solitude, even as they are tenuous and even partly impersonal. From the girl in the first song before whose arrival "there had been no such music" to the intimate companion of the fourth song at whose departure "there would be no music" the sense of companionship weaves a delicate music. In the second song, connectedness is to an unknown stranger who might be renewed by a glass of water from the poet's well. In the third song the connectedness is between the unicorn and the lady of the tapestries and its centerpiece is the unicorn's acknowledgement that the lady's beauty "was not cast for me". The artistic process, a lingering focus in Sarton's work, is very much a part of the first, third and fourth songs, and the glass of water in the second song could easily be a metaphor for the poem itself: everything said of the water fits if her poetry is substituted. There is intense passion in these poems, but understated. The settings are, on the whole, quiet. The mood of the fourth song is retained in a ruminative coda, and the need for release becomes acute. The fifth song is that release as, with utmost ardor, Love is invoked out of the earth, the wave and the air to "touch us everywhere/ With primeval candor."

This is an excerpt from my 2nd Woodwind Quintet, composed entirely in 31-tone equal temperament and performed by Johnny Reinhard's group for which it was written. This passage "pins down" some of the blue notes of jazz. The chordal basis is a series of parallel piles of augmented seconds which, in 31-tone temperament, are smaller than minor thirds. A pile of three of them renders a very in-tune minor sixth (an additional voice adds a recognizable major seventh to the pile). The augmented second which is the basis of the pile is a close rendering of the just interval 7:6. As the pile slithers up and down in a simple, syncopated rhythm, the instruments take turns with riffs suggesting improvisation.

This is a piece intended to "tame" the 7th [partial and make it part of ordinary usage. Throughout the piece, the flute is tuned a third of a semitone flat, so that all its pitches are the 7th partial of pitches of the other instruments. The horn uses its true 7th partial to provide rich color to the sounds, and support the flute. In the middle section the horn plays a sustained 7th partial, and the flute plays an extended solo above it: thus the music has modulated to a key that is inaccessible using ordinary tuning. This pure 7th sounds "right" enough that people used to the tempered seventh can easily confuse it with the more ordinary and less poignant out-of-tune representation that we have in 12-tone tuning. In fact, the NY Times critic, at its premiere performance complained that he could not hear the microtones promised in the program.
What that critic missed was that the whole point of this piece and other microtonal pieces I have composed is that microtones can be added to the vocabulary of music, enriching it, without seriously disturbing our relationship to music already in existence.

Here the premise is to explore some advantages in using the 12-tone serial technique when an additional 7 tones are available, and the 12 intervals are NOT equal. First, there IS a selected original position for the inversion: it is the only way to have the same intervals as in the original set while using the same pitch classes. Second, even while using the 12-tone set consistently and exclusively, the music can travel away from the original "key" and then return.
At the very end, I depart from the premise stated above, and transpose the inversion so that it will end on the starting pitch of the piece. Were this piece to be played multiple times on an instrument capable of rendering it, I would hope that alternate readings would transpose the final twelve notes to the pitches in which the inversion initially appeared. I now rather wish I hadn't made the concession to "ordinary" usage in 12-tone music that chose to select the home inversion on the basis of its ending on the p[itch where the original began.

These preludes were composed to illustrate various possible uses of 19-tone temperament. The scores can be accessed from this website as part of the dissertation MULTIPLE DIVISION OF THE OCTAVE AND THE TONAL RESOURCES OF 19-TONE TEMPERAMENT. 19 being a prime number, any interval can generate a complete circle the way the fifth does in 12-tone temperament. In this prelude, the whole tone: 3/19 of the octave is the generating interval. The melody fans outward by major seconds, and the contrasting key is a whole tone above the original tonic. While some of the attractive vagueness we ordinarily associate with the whole-tone scale is present, the fact that the whole tones pull away from the tonic rather than back toward it gives a physiognomy to the scale lacking in 12-tone temperament.

You can find the text of each song at the page number indicated. The first number is for the hard-cover: Collected Poems of May Sarton 1930-1993 (ISBN0-393-03493-3). The second number is for the paperback: Selected Poems of May Sarton (ISBN 0-393-04505-6). both volumes are published by W.W.Norton.

Then for each poem, under text, give the page numbers as follows:

Girl With Cello 337 35

A Glass of Water 313 110

The Lady and the Unicorn 84 16

Evening Music 112 49

Invocation 364 45

You can find the text of each song at the page number indicated. The first number is for the hard-cover: Collected Poems of May Sarton 1930-1993 (ISBN0-393-03493-3). The second number is for the paperback: Selected Poems of May Sarton (ISBN 0-393-04505-6). both volumes are published by W.W.Norton.

Then for each poem, under text, give the page numbers as follows:

Girl With Cello 337 35

A Glass of Water 313 110

The Lady and the Unicorn 84 16

Evening Music 112 49

Invocation 364 45

You can find the text of each song at the page number indicated. The first number is for the hard-cover: Collected Poems of May Sarton 1930-1993 (ISBN0-393-03493-3). The second number is for the paperback: Selected Poems of May Sarton (ISBN 0-393-04505-6). both volumes are published by W.W.Norton.

Then for each poem, under text, give the page numbers as follows:

Girl With Cello 337 35

A Glass of Water 313 110

The Lady and the Unicorn 84 16

Evening Music 112 49

Invocation 364 45

You can find the text of each song at the page number indicated. The first number is for the hard-cover: Collected Poems of May Sarton 1930-1993 (ISBN0-393-03493-3). The second number is for the paperback: Selected Poems of May Sarton (ISBN 0-393-04505-6). both volumes are published by W.W.Norton.

Then for each poem, under text, give the page numbers as follows:

Girl With Cello 337 35

A Glass of Water 313 110

The Lady and the Unicorn 84 16

Evening Music 112 49

Invocation 364 45

You can find the text of each song at the page number indicated. The first number is for the hard-cover: Collected Poems of May Sarton 1930-1993 (ISBN0-393-03493-3). The second number is for the paperback: Selected Poems of May Sarton (ISBN 0-393-04505-6). both volumes are published by W.W.Norton.

Then for each poem, under text, give the page numbers as follows:

Girl With Cello 337 35

A Glass of Water 313 110

The Lady and the Unicorn 84 16

Evening Music 112 49

Invocation 364 45

to be added

The idea for the Chromatic study came first; it seemed to me that the diatonically tuned harp was somewhat out of its element in an era where many composers had buried the diatonic scale completely. I wondered what would happen if one gave the harp a special tuning that de-diatonicized the instrument. A five-note cluster around the D is created by raising the pitches of the B and C strings while lowering the pitches of the E and F strings. The two other strings, at G and Ab complete the gamut. Occasionally the B string reverts to B natural to provide an E major chord to go with the C major chord and Ab major chord that are present in the tuning. Since I still compose with a tonal bias, the chromatic tuning has the possibly unexpected effect of focusing the field on its more limited centers.

The Diatonic study was a kind of reaction to the Chromatic study: the harp asserting itself as a truly diatonic instrument. Paradoxically, there is far more pedal action, changing the pitches, than in the Chromatic Study.

These two pieces were written in 1990 to celebrate the graduation at Queens College of Laura Sherman, and premiered by her on her senior recital. They have recently been published by Ms. Sherman's company, Gotham Harp Publishers, Miami FL

A readily playable, rather Hindemithian work with a songlike middle movement, and a jazzy middle section to the quick finale. Has had some successful student performances in the distant past.

A commissioned work for chamber orchestra, based on impressions made by the glass in Ste. Chapelle in Paris. Premiere March 2002 in Minneapolis by the MN Sinfonia under Jay Fishman. Queens performance Feb. 6, 2003. Performance underDong Hyun Kim in New York in March 2010. Some drama in the middle portion of the work resulting from my discovery, while in the middle of composing the piece, that the windows that had appeared the loveliest, depicted the Book of Revelation, joyously heralding the end of the world by fire, the veneration of which makes it seem to me to be a most dangerous text. Has recently been recorded as part of Harmonize Your Spirit With My Calm by Ravello Records.

I thought originally that this would be the first movement of a cello concerto, but the resolution at its conclusion seems so complete that I have been loath to add anything despite having had sketches for more. Sonata form, but with some interesting surprises, especially in how the recapitulation reconstructs the exposition. Dae-il Yang performed this with Munoz in 2007.

Inspired by Tolstoy's War and Peace, the first movement finds the trumpet in its conventional martial role in a music full of extremes; the second movement is relatively peaceful and steady throughout. Richard Titone has played this a number of times over 40 years.

What starts out as a framed, contained expression becomes unexpectedly intensified upon the return of the opening theme. This work has had five performances, each with a different conductor.

Requires good soloists and a very attentive orchestra. As the texture is fuller than in my other works, clarity must be sought in performance. To my ears it is always tuneful, clear, well worked through and interesting. A piano reduction of the orchestral music exists, (MS) making this piece also performable as a quintet. A piano 4-hand arrangement also exists. (MS) Commissioned by Burt and Judy Malkiel who asked for something patterned after the Baroque concerto grosso and containing "rhythmic counterpoint", it was first performed at Queens College about 10 years later. The first movement was performed at my 2007 concert. Of particular interest is the form of the middle movement in which a 9-measure harmonic theme (with horn microtones) is treated alternately as a chaconne with expanding textures and a series of free variations alternately featuring the different soloists. In between an orchestral ritornello appears periodically, expanding each time.

A risk-taking work with perhaps greater strengths and greater weaknesses than my other early works. Inspired by the peroration demanding fulfillment of the psalmic command to "give thanks" and by the detail of Gregorian melody I had found most beautiful while serving the Army chaplains (the Sursum Corda, whose text declares the saying of thanks to be right and just), the piece is a kind of programmatic survey of aspirations and setbacks, eventually finding reasons to give thanks fully and freely. A passionate work. Had a very recent first public performance by the Nova Philharmonic at Queens College. This was the last of three works written in response to my military experience with the Chaplains Corps. The others were my Mass (#11 section J) and The Four Chaplains, (#17, section K).

Later used as Overture for #17. A readily performable work. Its first performance, as an entreacte to an evening of theater presented by the National Convocation of Methodist Youth in Lafayette IN in 1951, had the largest audience before which any work of mine was performed. It has had four performances since, most recently in New York in 2011 by the Nova Philharmonic under Donghyun Kim.

I do not know whether parts exist. This piece has not been played since an MENC convention in St. Louis in 1950. My recent re-evaluation of very early works has caused me to give this work a number. It was written to put a humorous spin on a disciplinary episode at Interlochen and to give me practice at orchestration. The performance was seriously rehearsed and well received. I treasure a recently discovered photograph of the occasion.

I will lift mine eyes unto the hills. Whence cometh my help?
My help cometh from the Lord who made heaven and earth.
I will lift mine eyes unto the mountains. From whence doth my help come?
My help cometh from the Lord who made heaven and earth.
He will not suffer thy foot to be moved.
He who keepeth thee never shall slumber
shall never sleep.
Behold, the Lord God of Israel neither slumbereth nor sleepeth.
The Lord is thy keeper. The Lord is thy shade upon thy right hand.
The sun shall not smite thee by day. The moon shall not smite thee by night.
(The Lord God of Israel neither slumbereth nor sleepeth).
The Lord shall protect thee from all evil. He shall protect thy soul.
(The moon shall not smite thee by night)
(He will not suffer thy foot to be moved. The Lord God of Israel shall protect thee from all evil).
The Lord protect thy going out and thy coming in (I will lift mine eyes)
From this time forth and forever more! Amen.

This widely known Psalm has been set by many composers. I originally paired it with a setting
of Psalm 120. I was studying with Harold Shapero at Brandeis University in 1957 when working
on it. It received its first performance under Hugh Johnson while I was studying at Indiana
University. It is performed here at Queens College, conducted by James John.

Under bare Ben Bulben’s head
In Drumcliff churchyard Yeats is laid.
An ancestor was rector there
Long years ago, a church stands near,
By the road an ancient cross.
No marble, no conventional phrase;
On limestone quarried near the spot
By his command these words are cut:
Cast a cold eye
On life, on death.
Horseman, pass by!

This setting of Yeats’ own epitaph was composed in 1964 as the finale to a ten-song cycle based
on Yeats poems. I originally wrote it for vocal quartet with four-hand piano accompaniment as
a possible companion work for Brahms’ Liebeslieder Waltzes, which some outstanding students
at Queens College were performing at the time. In this cycle each of the four singers has one
solo. There are also two duets, one trio, and three quartets of which this is one.

The Priest:
Victimae paschali laudes immolent Christiani. Agnus redemit omnes, Christus innocens Patri reconciliavit peccatores.

The Villagers and Soldiers
Praise ye his sacrifice! The lamb who died for thee! Christians praise the lamb whose death blesses thee! Sing praise of the sacrifice: the sinless one died, suffered for thee. Died for thy sin that his death may recover thy life! He died for thy life, for thee! Death for life!

The Priest:
Sepulcrum Christi viventis: et gloriam vidi resurgentis.

Maman:
Vit gadal v’yit kadash sh’meh rabah (the Kaddish is continued throughout)

The Villagers and Soldiers:
Mary, speak to us! What was it that you saw? Tell us what you found when you came to the tomb! Believers, I entered there: where he had lain was empty and cold! Glory to God whose death ends in holy rebirth! The tomb is no tomb! He lives! He is raised!
Sunrise and risen god! Christ is raised for thee! Glory to the lamb whose death blesses thee! God rose from the grave this day: Died for thy sins! Triumphed and rose! Life battled death and eternity triumphed for thee! He lives! He rose from the grave! We are saved!
Gloria patri et filio et spiritui sancto sicut erat in principio et nunc et semper et in saecula saeculorum. Alleluia. Amen.

Maman’s concluding words:
……V’al kol Yisraeil v’imru amein,

Easter 1944: This French village is occupied by German troops. David, the boy whose Jewish
identity is being kept secret by the villagers, has now absorbed sufficient Christian camouflage
to participate visibly in the ceremonies. The Priest intones the Easter gradual, and the
villagers, including David, sing along in the vernacular. The German soldiers, at a signal from
their captain, join with the villagers in the Easter procession. Meanwhile, in Paris, David’s
mother sings the Kaddish.
This performance, without orchestra, is at a Queens College choral concert. Horns are present,
however, to supply occasional supporting microtones.

THE CLOISTERS- - - Fort Tryon Park, New York

by Samuel Yellen

Here in the Cloisters a fourth dimension evolves
A remote time-place of monk, knight and herald.
Here other men once made their peace with the world,
And that much harder peace, peace with themselves.

Today I walk alone in the silence almost heard,
The seven-century hush transported stone by stone
To this alien ground. I listen here alone,
The little fountain trills the clear song of a bird.

Though much here is "restored", much remains the same:
Carved angel, beast, placid and tormented soul
Gaze down from corbel, lintel, capital
Upon the same fevered flesh in frantic search of balm.

The cloister flowers, blue, gold, purple, pink and white,
Are those once stained in glass, woven in tapestries--
Jonquils, hyacinths, daisies, violets, fleurs-de-lys.
Their colors somewhat slack  in this less brilliant light.

Through the western arches, as in painted fantasy,
Beyond the broad Hudson's rippling sheens and shades
Rise the riven rusts of the sculptured Palisades,
And there for perspective against the sky a gull soars free.

Oh, I, I am a  cheerless  captive the cloister stones embrace.
I touch one stone decayed,  not by time or rain,
But by ingesting sorrow, passion, guilt and pain.
A stone worn soft and gentle as a human  face.

The sour corrupting acids are sucked up from my breast.
Who gives me this stone gives me a healing herb
With infinite capacity to draw out and absorb.
A smile denotes the cheerless captive become the cheerful guest.

With 4 fl. hn. trn. va. vc. db. hp. or 4 recorders, cornetto, sackbut, treble viol, viola de gamba, bass viol. and 2 lutes. There have been three performances to date, all with the modern instruments. The work is conceived to sound structurally somewhat different in the two versions, with the middle stanzas, set in a quasi-Medieval style, emerging as more significant with the early instruments.

Samuel Yellen taught the Writing of Poetry at Indiana University.  Having occasionally written texts for my own setting, I took his course in order to improve my own possibilities as a librettist.   He was an excellent teacher and broadened my horizons enough to see such beauties in other poets’ works, that I never assayed a libretto or song text of my own thereafter.   A year after I had left Indiana, Prof. Yellen sent this lovely poem about this great site.  James John leads the Queens College Vocal Ensemble in this performance.

This concerto was composed in 1952-3 for Ann Besser Scott, a fellow student in Cambridge and premiered by her.  This 2007 performance of the first movement is conducted by Tito Munoz and played by Hadassah Guttmann.  A new cadenza, written for this performance, is based on Hadassah’s name (in German usage, H is B-natural and S is E-flat).

Leaf is no more now than corruption’s scent
But beautiful are the trees above their dead,
This hour with their summer beauties spent,
When desolate of the thousand sweets they shed,
As to that last and western rite made bare,
Their boughs let drop the amber-yielding cup
That leaves no stain upon the crystal air;
And thinly in their midst a tune goes up:
Then who might sing in all the muted wood?
Its water locked, no single bird, no leaf;
It is not higher than the living blood
Will sound in bodies stony-dull with grief;
And thus, when death has taken all the rest,
Life’s self is heard within earth’s icy breast.

Leonie Adams was a poet, active and published from her college days around 1920. Though I
knew her as a college roommate and lifelong friend of my mother’s, her work was also highly
praised by such figures as Edmund Wilson and Edna St. Vincent Millay. I have set nine of her
poems in two cycles. There is in much of her poetry a sense of regret at being passed over by
some of the passionate delights of the Summer of life. Notwithstanding, her poems show a
confidence in dealing with its winter. Years after setting this poem, I took the gentle
recitative-like melody set to the words “then who might sing in all the muted wood...its waters
still, no single bird, no leaf?” and made it the main theme of my Postlude for String Trio posted
above. This performance is by Kathryn Wieckhorst.

Your father’s proud of you, my son!
He knows how brave you are,
How strong.
He knows your hidden tears.
Oh my son we hear! We hear you!
We all watch over you.
Your father in his prison knows your tears –
They flow from his own eyes.
Your cousins in Poland have sent you a gift –
A drawing –
A funny old man in Warsaw,
Selling fish.
Your grandmother kisses your brow.
Her smile is wisdom,
Her eyes are casks of wine.
She kisses you.
Don’t be afraid, my son: we’re safe.
Paris is as Paris was.
All the lights are lit.
The bakers bake their bread with secret flour.
Your cousins in Poland long to see you.
Your grandmother kisses your brow.
I kiss you, my beloved boy.
I hear your tears and send you all my strength.

This Postlude was composed together with a Prelude, with the thought that combining them and placing between them any movement or combination of movements from Waiting for the Thaw would create a usable complete trio.  The themes are derived from lines of the song Twilight of the Wood.  This is the premiere performance, with Blanca Gonzalez, violin; Benjamin Larsen, cello, and Mandelbaum, piano

All our loves betrayed!
Paris is as Paris was –
the trains move east
still east
to ashes still.
My mother’s smile was wisdom,
her eyes were casks of wine.
Paris waits for its generals
while the trains move east.
Six million.
Six million gassed and burned.
Six million starved in India.
Twenty million Soviets starved and shot.
We walked beneath the plane trees
all of us together –
the alleys smelled of bread –
remember! remember! –
oh my soul the longing –
all the cities smell of ash.
The cities will be ovens -
flesh and wood and hope all ash –
steel will run like water –
the sky will plume with death –
the sky will bury cities – the sky itself will burn – all earth
to ash –
All ash.

(August 15, 1944. The departing Germans have tied explosives to the bridge. Antoine has just been killed trying to approach the wires that tie detonators to the explosives on the bridge. Sophie, after the guards have left, approaches the spot where Antoine fell, takes the wire cutters and, during this aria, cuts the wire, saving the bridge. At the end of the aria, dawn comes and with it the first allied troops. David is rescued, while Sophie mourns by Antoine’s body)

Freedom!
Freedom!
Paris will dance in freedom
While live children burn!
Rome will drape itself in flowers
While the ovens spew their ash!
I hear the children tremble!
I hear ashes
Settle over forests.
I hear cities
Crumble.
I hear missiles fall.
Freedom!
What does freedom mean
In a world of murder?
What can freedom mean?

(June 6, 1944. The villagers, sent home by curfew, retire peacefully in celebration of their anticipated freedom  after having celebrated the news of the landing of Allied troops in Normandy)

Your grandmother kisses your brow, my son!
Your father hears your longing!
I kiss you, my beloved boy.
I hear your tears and send you
All my strength.
Paris is as Paris was, my son.
All the lights are lit.
The bakers bake their bread with secret flour.
The whores have taken German names.
Poets sing and poets die.
The bakers bake their bread.
Paris is as Paris was.
Warsaw rises!
Warsaw blazes blood!
The courage! The courage!
Blood for blood
And rage for murder
Warsaw rises, oh my proud brave son!
We long for you.
Your father hears your tears.
Your cousins in Poland!
Your cousins in Poland!
Your cousins in Poland!

(May 1943. In the previous scene, the villagers, while celebrating May Day, broke into hostility when the sounds of people singing the Internationale reached their ears. The Mayor calmed them, and a feast was served. Echoes of the scene are heard in the musical transition.)

The Village is an opera celebrating the heroic actions of the citizens of a small village in France in concealing from the German occupiers the identity of a Jewish boy sent from Paris for his protection.

The Village (1995) is an opera based on the experiences of Steve Orenstein, who survived the Holocaust as a boy in a French village, his Jewish identity concealed from the occupying forces.

In the opera he is “David” and these four arias are communications from his mother, in Paris, initially to him, but eventually to the world.  The librettist, Susan Fox is married to Mr. Orenstein.

(November 1942. This takes place after David, coached by the Priest and the family with whom he is staying, finally accepts the name that will conceal his Jewish origin and proceeds to enter the school, surrounded by other villagers)

Sung by: Erika Sunnegardh

Conductor: Tito Munoz

A companion piece to In Sainte Chapel/e, this work, inspired by Ellen's glass at Marian Woods, Hartsdale, NY, focuses, sequentially, on various window groups ending with the Resurrection. The two final sections, depicting the Crucifixion Chapel and the Resurrection triptych, use Gregorian melodies as their themes. Portions of the bassoon part are  microtonally notated, owing to the availability of Johnny Reinhard to play it.  If your bassoonist prefers not to deal in microtones, the nearest higher pitch is acceptable.

Les Pas by Paul Valery                                                                                     Translation by Marcella Buxbaum

Tes pas, enfants de mon silence,                                                                Your footsteps, children of my silence,
Saintement, lentement places,                                                                                  Saintly, slowly placed
Vers le lit de ma vigilance                                                                              Towards the bed of my watchfulness
Procedent muets et glaces.                                                                                  Approach, muted and frozen.

Personne pure, ombre  divine,                                                                             Pure one, divine shadow,
Qu’ils sont doux, tes pas retenus!                                                               How gentle your cautious steps are!
Dieux!..tous les dons que je devine                                                             Gods!...all the gifts that I can guess
Viennent a moi sur ces pieds nus!                                                                 Come to me on those naked feet!

Si, de tes levres avancees,                                                                                    If, with your lips advancing,
Tu prepares pour l’apaiser,                                                                                You are preparing to appease
A l’habitant de mes pensees                                                                             The inhabitant of my thoughts
La nourriture d’un baiser,                                                                                  With the sustenance of a kiss,

Ne hate pas cet acte tendre,                                                                               Do not hurry this tender act,
Douceur d’etre et de n’entre pas,                                                                      Bliss of being and not being,
Car j’ai vecu de vous attendre,                                                                       For I have lived for waiting for you,
Et mon Coeur n’etait que vos pas.                                                              And my heart was only your footsteps.

Was begun when I was first unsuccessful in my search for a preexisting setting of Valery for use in Gestalt at 60 (opus 84). When I found the Honneger work I set this song aside, but finished it later.