PASSING BY

Songs by Jake Heggie

Isabel Bayrakdarian Zheng Cao
Joyce DiDonato Susan Graham
Paul Groves Keith Phares
Frederica von Stade

Dawn Harms, violin

CarlaMaria Rodrigues, viola
Emil Miland, cello
Jake Heggie, piano

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PASSING BY
Songs by Jake Heggie
poetry and texts by Charlene Baldridge, Raymond Carver, Jake Heggie, A.E. Housman, Here and Gone 19:19
Vachel Lindsay, Armistead Maupin, Terrence McNally, Edna St. Vincent Millay, songs and duets for tenor, baritone and piano quartet
Rainer Maria Rilke, Eugenia Zukerman 9. The Farms of Home (Housman) 4:32
10. In Praise of Songs That Die (Lindsay) 2:59
1. A Lucky Child, from At the Statue of Venus (McNally) 5:44 11. Stars (Housman) 1:53
Susan Graham 12. The Factory Window Song (Lindsay) 2:32
13. In the Morning (Housman) 1:00
Some Times of Day (Carver) 11:00 14. Because I Liked You Better (Housman) 3:06
three songs for mezzo-soprano and piano trio 15. The Half-Moon Westers Low (Housman) 3:26
2. The Minuet 3:04 Paul Groves and Keith Phares
3. Simple 3:53
4. The Best Time of the Day 4:10 16. To Say Before Going to Sleep (Rilke, trans. by A.E. Flemming) 2:48
Zheng Cao Joyce DiDonato

Facing Forward/Looking Back 16:14 Songs and Sonnets to Ophelia 11:32

duets for two women and piano 17. Ophelia’s Song (Heggie) 2:39
5. Motherwit (Baldridge)* 4:27 18. Women Have Loved Before (Millay) 3:20
6 Grounded (Zukerman)** 4:09 19. Not in a Silver Casket (Millay) 2:17
7. Mother in the Mirror (Maupin)* 3:18 20. Spring (Millay) 3:23
8. Facing Forward (Heggie)** 4:29 Isabel Bayrakdarian
Frederica von Stade with Susan Graham* and Joyce DiDonato**
21. Final Monologue from Master Class (McNally) 6:28
Joyce DiDonato

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Recorded June 21-24, 2007, and January 12-13, 2008 at Skywalker Sound, This recording was made possible by and to my work; to the writers whose ex-
Nicasio, California, USA generous support from the Ann & traordinary work inspires the music, and
Gordon Getty Foundation, David Stein, to their estates and publishers; to Steve,
Producer and Digital Editor: Steve Barnett Richard & Lucille Janssen, Franci Crane, Preston, Dann and Mark for their skills,
(Barnett Music Productions, Minneapolis, MN) William & Cerina Criss, Betty Freeman, ears and hearts; to Leslie Ann Jones,
Recording Engineer: Preston Smith (Perfect Record, St. Paul, MN) Frank Jernigan and Andrew Faulk, Susan Glenn Kiser and the generous people at
Assistant Engineer: Dan Thompson and Jeremy Shamos, Thomas Terry, Skywalker Sound; to Janice Mayer, Char-
Piano Technician: Mark Schecter Peggy & Reid Dennis, John & Bernice lie Hamlen and Classical Action; to Welz
Lindstrom, Jack & Morleen “Moe” Kaufman and The Steans Institute at
Translations Rouse, Stephen McClellan & Elizabeth the Ravinia Festival; to Bill Holab, Don
German – Elke Hockings Barlow, Robert & Susan Hasl. Franzen and Jennifer Hughes; to the
French – Marie-Stella Pâris memories and legacies of Johana Harris,
Special thanks to all of the performers James Low and James Schwabacher; to
Design and Art Direction: Alan Trugman who managed to find time to record in my wonderful family, and the remarkable
Cover Photo: Jay Elliott www.jayelliottphoto.com the midst of ridiculously busy schedules family of friends and artists who stand
Back Photo and Session Photos: Janna Waldinger: and whose work on this CD represents a by me always; and especially to Grayson
Back inlay and inlay Photo: Alan Trugman true labor of love; to all of the funders Sorci and Curt Branom, super heroes.
for their commitment to this project
Joyce DiDonato appears by kind permission of Virgin Classics

All texts used by permission of the authors or their estates and publishers
To Say Before Going to Sleep is published by Associated Music Publishers, Inc.
All other songs published by Bent Pen Music, Inc. (BMI)
For information, visit www.billholabmusic.com.

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PASSING BY Notes
Songs by Jake Heggie “A Lucky Child” is the aria from At The me permission to set these poems, which
Statue of Venus (2005), a musical scene I imagine as the journey through a day:
Introduction for soprano and piano with an original a metaphor for life’s journey. “The
libretto by Terrence McNally. Composed Minuet” is morning, when we wake to
Here are songs that tell stories about Ernst Bacon, taught me when I was 17 for the opening of Denver’s Ellie see an idealized version of ourselves
now and then. Reflections of family, years old to finish everything, and never Caulkins Opera House, the complete young, dancing, magical. “Simple” is
friends and lovers passing by. A missed throw anything away. Wise advice, for as I work tells the story of a single woman noon, the middle of life when, even
or mistaken connection, a moment when get older, I find my younger self teaches waiting for a blind date in a museum surrounded by beauty, a question of
everything might have been different. me more and more about what it is to at the statue of Venus. She is a nervous ending it all suddenly enters. To live or
People who entered our lives and would stay hopeful, adventurous and true. jumble as she waits and hopes to meet die - is it that simple? “The Best Time
be there forever, then suddenly were not “Mr. Right,” for he is surely out there. As of the Day” is evening, the last part of
there at all. This recording is dedicated to the time passes, she moves from hopeful to life, with a reflective appreciation for
mentors and teachers in our lives; the angry, thinking perhaps he’s already been love, peace, beauty and bounty. The
Though much of my life the past 12 ones who recognize something more there, seen her and left without a word. songs were commissioned for mezzo-
years has been devoted to composing than we know or see ourselves. You know Just as she’s about to storm out, she soprano Zheng Cao and the Harmida
opera (Dead Man Walking, Moby-Dick, Three who you are. stops herself and sings this aria. Soprano Piano Trio (violinist Dawn Harms,
Decembers, The End of the Affair), my heart and Kristin Clayton gave the premiere of cellist Emil Miland, pianist Laura Dahl)
musical soul lie in storytelling through Jake Heggie the scene, which is dedicated to Karen through Stanford University. The first
song. In between major projects, I Kriendler Nelson. performance was at San Francisco’s
always allow several months to return to Temple Emanu-El.
songwriting. Many of the recent songs on Some Times of Day (2004) is a set of
this recording come from those periods, three short songs based on poetry by the Facing Forward/Looking Back (2007)
though some have origins dating back to late American poet Raymond Carver. His was composed on a commission from
the 1980s. My first composition teacher, widow, the poet Tess Gallagher, granted Welz Kaufman and the Ravinia Festival

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for the Steans Institute, with Margo never really knew him, and this was my childhood friend, only to discover his new works on his well-known series.
Garrett as its godmother. The set way of trying to stay connected and work friend is dead, the town has changed, I had long ago composed “Ophelia’s
explores the fraught and ever-shifting things through. The premiere took place and he is now a stranger. Three of the Song” when one gorgeous spring day in
mother/daughter relationship through in July 2007 at Ravinia with soprano songs (“The Farms of Home”, “In the 1983, Johana Harris said to me: “The
five duets for two women (four are Michele Bogadanowicz , mezzo Tamara Morning”, and “The Half-Moon Westers hills are green, my dear one.” The lyrics
recorded here). For this project, I Mumford and pianist Vlad Iftinca. Low”) are reworkings of songs I wrote and tune came to me immediately, and
went to three of my writer friends and back in 1987 at UCLA. Much of the cycle I just needed the right place to put the
asked for texts on this theme. Charlene Here and Gone (2005) was also was composed in Madison, WI, while I song. 16 years later, I found it in this
Baldridge gave me two poems about a composed for the Steans Institute. My was in residence at Edenfred. The first cycle inspired by Shakespeare’s Ophelia.
daughter wishing she could bring her great friend, mentor and teacher, the performance was given in July 2005 And who is Ophelia but an extraordinary
mother back now that she’s grown, sure late Johana Harris, introduced me to by tenor Nicholas Phan and baritone young woman - pushed, pulled and used
they would have a better understanding. the poetry of A.E. Housman and Vachel Andrew Garland. in a world dominated by men – seeking
Eugenia Zukerman wrote a new poem Lindsay in my student days at UCLA. I connection and agonizing over love.
based on a personal experience with her returned to those poets and devised a “To Say Before Going to Sleep” was In the early 20th century, such a young
aging mother, where the roles shift and story based on their work for this set: composed in 1987 at UCLA and is a woman might have turned to poetry by
the daughter becomes the parent figure one that holds resonance in both their response to the longing and fragility Edna St. Vincent Millay. So I did just
for her own mother. Armistead Maupin lives, I believe, and certainly in my own. expressed in one stanza from Rilke’s that, and these three Millay poems,
wrote a new text about the harrowing The baritone, a wanderer, returns to beloved poem. though not related in her collected
experience of looking in the mirror and the town of his youth, now grown and poetry, seemed to work well for the
seeing your mother looking back, even ready to make things right with his friend Songs and Sonnets to Ophelia (1999) journey of this cycle.
long after she’s gone. The final duet is (the tenor). Long ago, the tenor had was composed for soprano Peggy
based on a poem and melody I wrote in declared that he was in love with him, Kriha-Dye for her recital on the James The CD ends as it began, with a text by
1980 when I lived in Paris. I was 19, and but the baritone didn’t know what to do Schwabacher Series at San Francisco’s Terrence McNally, this time from his
to get me through tough times I would with that kind of affection and rejected Old First Church. Jimmy was one of the Tony Award–winning play, Master Class.
create conversations with my father. He him utterly. Now the baritone hopes most ardent champions of song I have This is the final monologue, spoken by
committed suicide when I was 10 and I to reconnect and begin again with his ever met, and he strove always to include the character of Maria Callas. In this

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moment she is alone onstage, having The Singers
been berated by an enraged student who
has accused her of being selfish, hard Soprano Isabel Bayrakdarian burst Penelope and Idamante, she has also
hearted and reckless. She ponders the onto the international opera scene after created leading roles in the world
moment – what it means to sing and to winning first prize in Placido Domingo’s premieres of The Bonesetter’s Daughter at
be a singer – what really matters. Final 2000 Operalia competition. Since then, San Francisco Opera and Salsipuedes
Monologue from Master Class (2007) she has performed in concert and opera at Houston Grand Opera. A favorite
was composed for Joyce DiDonato in at the world’s major houses, admired as of conductor Seiji Ozawa, she has
memory of our mutual friend, James much for her stunning stage presence performed with him at the Saito
Schwabacher. It was commissioned by as for her exceptional musicality. For Kinen Festival, the Boston Symphony
Rusty Rolland for the Merola Opera her many recordings, she has received Orchestra, and at the 1998 Winter
Program’s 50th anniversary gala concert four Canadian Juno awards (Canada’s Olympic Games in Japan. Ms. Cao holds
in honor of Jimmy. highest prize) and two Grammy award degrees from the Shanghai Conservatory
nominations; she also sings on the and the Curtis Institute.
Grammy award-winning soundtrack of
the film, The Lord of the Rings: The Two Towers. “Incomparable…Dazzling…Divine”
Born in Lebanon of proud Armenian effuse the critics in describing Joyce
heritage, she is now a citizen of Canada. DiDonato’s ascent to the top of
www.bayrakdarian.com the opera world where she enjoys an
enthusiastic international following.
Mezzo-soprano Zheng Cao performs Notable performances with the
regularly with great opera companies Metropolitan Opera, Opéra National
and orchestras throughout the United de Paris, Royal Opera House Covent
States, Europe and Asia. Noted for her Garden, and La Scala, have earned
interpretations of classic roles such as critical acclamation, as has her growing
Cherubino, Niklaus, Suzuki, Rosina, discography as an EMI/Virgin Classics

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recording artist. Born in Kansas, the Metropolitan Opera National Council also widely noted for his commitment to Previn, Leonard Slatkin, Patrick
singer trained with the young artist Auditions, the Schwabacher Award from bringing the works of living composers Summers and Michael Tilson Thomas.
programs of San Francisco, Houston, San Francisco Opera, and a Career Grant to the stage. Most recently, he created Her more than 70 recordings have
and Santa Fe Opera companies. from the Richard Tucker Music Foundation. the role of Charlie in Jake Heggie’s Three garnered numerous international
DiDonato’s honors include the Winner of the 1995 Richard Tucker Decembers opposite Frederica von Stade as awards. In addition to honorary
Met’s Beverly Sills Award, the Royal Foundation Award, American tenor well as the title role in Robert Aldridge’s doctorates from Yale, Boston University,
Philharmonic Society’s Singer of the Elmer Gantry. Career highlights include Mannes School, and the San Francisco
Year, citations from Operalia, and the Paul Groves has established himself as a appearances with the Metropolitan Conservatory, she was awarded France’s
Richard Tucker, George London, and leading lyric tenor with the world’s most Opera, San Francisco Opera, Houston highest honor in the arts as an officer of
Sullivan Foundations. prominent opera houses and symphony Grand Opera, Washington National L’ordre des arts et des lettres.
orchestras including the Metropolitan Opera, Santa Fe Opera, Glimmerglass
The Grammy Award-winning mezzo- Opera, Opéra de Paris, Royal Opera Opera, Opera Theater of Saint Louis, The Instrumentalists
soprano Susan Graham is one of the Covent Garden, Salzburg Festival, New New York Philharmonic, San Francisco
world’s foremost stars of opera and York Philharmonic, Boston Symphony Symphony, Saint Louis Symphony and
recital. An expert in French music, she Orchestra, and Vienna Philharmonic. the Los Angeles Philharmonic. Violinist Dawn Harms’ diverse career
holds the French government’s highest His repertoire encompasses a broad has included performing a Haiti
honorary title “Chevalier de la Légion range of roles from bel canto to lyric and Mezzo-soprano Frederica von relief benefit with Frederica von Stade
d’honneur.” Graham is also beloved for heroic roles. A favorite artist of the great Stade is one of the music world’s most and Take Me Out to the Ballgame at a San
her portrayals of Handel, Mozart and conductors, he has recorded for all the beloved figures. For four decades, her Francisco Giants game, to chamber
Strauss trouser roles, and has starred major labels. He also extends his artistry extraordinary career has taken her to music with violinist Nadja Salerno-
in three world premiere operas – Jake to recitals with recent performances in the stages of the world’s great concert Sonnenberg, and playing on her cousin
Heggie’s Dead Man Walking, Tobias Picker’s New York, Milan and Amsterdam. halls and opera houses where she has Tom Waits’ recordings Alice and Blood
An American Tragedy, and John Harbison’s collaborated with the finest conductors, Money. A member of the San Francisco
Great Gatsby. Her extensive discography A critically acclaimed interpreter of the including Claudio Abbado, Charles Opera Orchestra and the New Century
includes recitals, complete operas, and operas of Rossini, Donizetti, Mozart Dutoit, James Levine, Kurt Masur, Chamber Orchestra, Dawn is also
concert performances. She has won the and Britten, baritone Keith Phares is Riccardo Muti, Seiji Ozawa, André co-concertmaster with the Oakland

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 Cellist Emil Miland performs to North America, Australia, Europe and
East Bay Symphony. She was recently
Israel in chamber music performances
a fellow at the Aspen Music Festival’s international acclaim, and has frequently
with artists such as Sir Yehudi Menuhin,
American Academy of Conducting and collaborated with great singers like
Pinchas Zukerman and Rudolf Serkin.
she is co-founder and music director of Zheng Cao, Joyce Castle, Susan Graham,
She has also participated at numerous
the Music at Kirkwood chamber music Marilyn Horne, the late Lorraine
international festivals including
festival. Dawn is a member of Stanford Hunt-Lieberson, and Frederica von
Marlboro, Savannah and Prussia Cove.
University’s music faculty. Stade at Carnegie Hall. Composers who
Her professional appointments have
have created works especially for him
included Assistant Principal Viola of the
Pianist Jake Heggie is the composer include Ernst Bacon, David Carlson,
Minnesota Orchestra, Principal Viola of
of the acclaimed operas Moby-Dick, Dead Shinji Eshiima, Lou Harrison, Richard
the Australian Chamber Orchestra and
Man Walking, Three Decembers, To Hell and Hervig, Jake Heggie, Andrew Imbrie, currently, Principal Viola of the
Back, For a Look or a Touch, The End of the Affair, James Meredith and Dwight Okamura. San Francisco Opera.
more than 200 art songs, orchestral The SF Classical Voice described Miland as
and chamber music. His works are “a unique phenomenon. There is just
heard internationally and his operas something about the way he connects the
are among the most produced of any by qualities of style, grace, virtuosity, and
an American composer. The recipient real soul that remind one of no other
of a Guggenheim Fellowship and other cellist.”
honors, he is also an accomplished
pianist who collaborates with many of CarlaMaria Rodrigues, a native
the world’s great singers in recital and of London, studied at The Yehudi
on recordings. Heggie makes his home Menuhin School.She appeared regularly
in San Francisco with his husband, the as soloist and chamber musician in
actor Curt Branom. London’s major concert halls and was
www.jakeheggie.com heard on the BBC Radio and Television
network. She has performed throughout

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 Frederica von Stade

Recording
PASSING BY

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 Dawn Harms, Emil Miland
CarlaMaria Rodrigues,
Jake Heggie

Zheng Cao

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Paul Groves, Jake Heggie, Keith Phares

Frederica von Stade, Joyce DiDonato, Jake Heggie

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 Frederica von Stade, Susan Graham

Isabel Bayrakdarian, Jake Heggie

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 Jake Heggie

Preston Smith, Susan Graham,

Jake Heggie, Frederica von Stade, Steve Barnett

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The Song Texts [3] Simple These summer nights.
A break in the clouds. The blue Even more, I think,
[1] A Lucky Child That love is what I’m seeking, to feel again I outline of the mountains. than those other times.
Dark yellow of the fields. The work finished for the day.
text by Terrence McNally am safe and protected, to wake each morning
Black river. What am I doing here, And no one who can reach us now.
(from the scene At the Statue of Venus) filled with hope, and to know I am loved. Oh
lonely and filled with remorse? Or ever.
God, I was a lucky, lucky child.
At night we dream of love, of loving and being I go on casually eating from the bowl “The Minuet”, “Simple”, and “The Best Time of the
loved like when we were children; if we were Some Times of the Day of raspberries. If I were dead, Day” published in ULTRA-MARINE (Vintage Books)
lucky, as I was. I knew my parents loved me poetry by Raymond Carver I remind myself, I wouldn’t and in ALL OF US, Complete Poems of Raymond Carver
and I loved them. I felt safe and protected. I be eating them. It’s not so simple. (Knopf & Vintage Books). Copyright Raymond
knew that morning would always come. And I [2] The Minuet It is that simple. Carver 1986, 1988; 1989 to the present copyright by
knew I was loved. Oh God, I was a lucky, lucky Bright mornings. Tess Gallagher. Used by permission.
child. Days when I want so much I want nothing. [4] The Best Time of the Day
Cool summer nights. Facing Forward/Looking Back
Just this life, and no more. Still,
Windows open. [5] Motherwit
Sunday night dinners over at Grandma’s, we’d I hope no one comes along.
Lamps burning. by Charlene Baldridge
all be together; playing piano, singing along, But if someone does, I hope it’s her. Fruit in the bowl.
not in tune or too much in measure. Wres- The one with the little diamond stars And your head on my shoulder. If I could bring her back,
tling with cousins, the stories we’d share, the at the toes of her shoes. These the happiest moments of the day. Now that I’ve matured;
night Randall kissed me. Then, pretending The girl I saw dance the minuet. If we could really talk
to sleep in the car riding home with my father That antique dance. Next to the early morning hours, Perhaps I’d be reassured
and mother; wanting to hear the secrets they’d The minuet. She danced that of course. And the time her disapproval was imagined;
share. But mostly, just wanting to be carried the way it should be danced. just before lunch. the pattern she had in mind
upstairs in my father’s arms, then he’d kiss And the way she wanted. And the afternoon, and was not perfection.
early evening hours.
me and say: “Good night, my little pumpkin.
But I do love I do not discard
Sleep soundly, my little love. Angel from
Nor do I hate
heaven. Star from above.” And I’d sleep.

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The what-I’ve-beens. The final trip I seem to be late for? “If you’d given me grandchildren like I asked, I might not Here and Gone
They are part of me. have moved into you.” poetry by A.E. Housman and Vachel Lindsay
We’ve just had lunch and she calls to say I “Lovely,” I said. “That’s just lovely.”
Instead I begin never see you and “Nevertheless, it’s true. A mother has to live somewhere. So [9] The Farms of Home (Housman)
Reassembling Why did you steal my car? we’ll both just have to make do.” The farms of home lie lost in even,
Fragments I found She claims a man named Arthur has moved “Piss off,” I said. “I don’t want you here. I I see far off the steeple stand;
After I forgave. into her closet. have other plans for this face.” West and away from here to heaven
The tales she’s invented! I fear she’s de- “That’s no way to talk to yourself, dear. Now why don’t Still is the land.
[6] Grounded mented. you clean up this place?”
by Eugenia Zukerman There if I go no girl will greet me,
They say the nightingale in captivity cannot [8] Facing Forward No comrade hollo from the hill,
Like a bird that flies into the picture window survive. And neither will I. by Jake Heggie No dog run down the yard to meet me:
of time Life was once fine feathers and so much The land is still.
I’m stunned and none too thrilled to be wait- delight. Let it go. Let it out of your heart.
ing for a bus. Now there’s blood on my wings, no hope for Set it free. Let it be a part set apart The land is still by farm and steeple,
Why did they take my Honda away without my flight. and maybe then you will see And still for me the land may stay:
accord? maybe then it will be There I was friends with perished people,
[7] Mother in the Mirror a little easier to let go and be free. And there lie they.
She’s got double vision and drives with one by Armistead Maupin And you want to be free, don’t you?
eye shut. Which way are you looking?
Playing bumpercars on the interstate, she’s a I saw my mother in the mirror last night – as What are you looking for? [10] In Praise of Songs that Die (Lindsay)
terror behind the wheel. plain as the nose on my face. She’d been Go on. Be strong. There’s so much to be Ah, they are passing, passing by,
I thought she understood. It’s all for her own lurking inside me all along, smirking at my living for Wonderful songs, but born to die!
good. disgrace: and so many other people to give to. Cries from the infinite human seas,
“I’m not one to say ‘I told you so’…“ Let it go. Let it out of your heart. Waves thrice-winged with harmonies.
Blood on my wings. My heart pounds at the “The hell you’re not,” I replied. “And I really Set it free. Here I stand on a pier in the foam
cage of my ribs. don’t need to hear this fifteen years after you And maybe then, baby, you’ll see Seeing the songs to the beach go home,
When will it come, the ride I wait for, died.” yourself. Dying in sand while the tide flows back,

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As it flowed of old in its fated track. Factory windows are always broken. The dead man’s knoll, you pass, I would like to be the only person
Oh, hurrying tide that will not hear Something or other is going wrong. And no tall flower to meet you in the house who knew: the night outside was
Your own foam-children dying near: Something is rotten – I think, Starts in the trefoiled grass, cold.
Is there no refuge-house of song, in Denmark. And would like to listen here to you
No home, no haven where songs belong? End of the factory-window song. Halt by the headstone naming and outside to the world and to the woods.
Oh, precious hymns that come and go! The heart no longer stirred.
You perish, and I love you so! [13] In the Morning (Housman) And say the lad that loved you The text of To Say Before Going to Sleep is from
In the morning, in the morning, Was one that kept his word. Rainer Maria Rilke: Selected Poems, trans-
[11] Stars (Housman) In the happy field of hay, lated by Albert Ernest Flemming. Copyright ©
Stars, I have seen them fall, Oh they looked at one another [15] The Half-Moon Westers Low 1990. Used by permission of Routledge, Inc.
But when they drop and die By the light of day. (Housman)
No star is lost at all In the blue and silver morning Songs and Sonnets to Ophelia
From all the star-sown sky. On the haycock as they lay, The half-moon westers low, my love, poetry by Edna St. Vincent Millay and Jake
The toil of all that be Oh they looked at one another And the wind brings up the rain; Heggie
Helps not the primal fault; And they looked away. And wide apart lie we, my love,
It rains into the sea, And seas between the twain. [17] Ophelia’s Song (Heggie)
And still the sea is salt. [14] Because I Liked You Better (Housman) I know not if it rains, my love, The hills are green, my dear one,
Because I liked you better In the land where you do lie; and blossoms are filling the air.
[12] The Factory Window Song (Lindsay) Than suits a man to say, And oh, so sound you sleep, my love, The spring is arisen and I am a prisoner
Factory windows are always broken. It irked you, and I promised You know no more than I. there.
Somebody’s always throwing bricks, To throw the thought away.
Somebody’s always heaving cinders, [16] To Say Before Going to Sleep In this flowery field I’ll lay me
Playing ugly Yahoo tricks. To put the world between us poetry by Rainer Maria Rilke (translated by and dream of the open air.
We parted, stiff and dry; Albert Ernest Flemming) The spring is arisen and I am a prisoner there.
Factory windows are always broken. ‘Good-bye’, said you, ‘forget me.’ I would like to sing someone to sleep, Taste of the honey. Sip of the wine.
Other windows are let alone. ‘I will, no fear’, said I. have someone to sit by and be with. Pine for a chalice of gold.
No one throws through the chapel-window I would like to cradle you and softly sing, I have a dear one and he is mine.
The bitter, snarling, derisive stone. If here, where clover whitens be your companion while you sleep or wak. Thicker than water. Water so cold.

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In this flowery field I’ll lay me Not in a lovers’- knot, not in a ring It is not enough that yearly, down this hill, You must know what you want to do in life,
and dream of the open air. Worked in such fashion, and the legend plain – April you must decide, for we cannot do everything.
The spring is arisen and I am a prisoner Semper fidelis, where a secret spring Comes like an idiot, babbling and strewing Do not think singing is an easy career. It is a
there. Kennels a drop of mischief for the brain: flowers. lifetime’s work; it does not stop here. Whether
Love in the open hand, no thing but that, I continue singing or not doesn’t matter.
[18] Women Have Loved Before (Millay) Ungemmed, unhidden, wishing not to hurt, Poetry by Edna St. Vincent Millay. All rights reserved. Besides, it’s all there in the recordings. What
Women have loved before as I love now; As one should bring you cowslips in a hat Copyright 1921, 1931, 1948, 1958 by Edna St. matters is that you use whatever you have
At least, in lively chronicles of the past - Swung from the hand, or apples in her skirt, Vincent Millay and Norma Millay Ellis. Reprinted by learned wisely. Think of the expression of the
Of Irish waters by a Cornish prow I bring you, calling out as children do: permission of Elizabeth Barnett, Literary Executor, words, of good diction, and of your own deep
Or Trojan waters by a Spartan mast “Look what I have! – And these are all for The Millay Society. feelings. The only thanks I ask is that you sing
Much to their cost invaded – here and there, you.” properly and honestly. If you do this, I will
Hunting the amorous line, skimming the rest, [21] Final Monologue from Master Class feel repaid.
I find some woman bearing as I bear [20] Spring (Millay) by Terrence McNally (from the play Master Class)
Love like a burning city in the breast. To what purpose, April, do you return again? Well, that’s that.
I think however that of all alive Beauty is not enough. If I have seemed harsh, it is because I have
I only in such utter, ancient way You can no longer quiet me with the redness been harsh with myself. I’m not good with © 1995 by Terrence McNally. Used by kind
Do suffer love; in me alone survive Of little leaves opening stickily. words, but I have tried to reach you. To com- permission of the author.
The unregenerate passions of a day I know what I know. municate something of what I feel about what
When treacherous queens, with death upon The sun is hot on my neck as I observe we do as artists, as musicians and as human
the tread, The spikes of the crocus. beings. The sun will not fall down from the
Heedless and willful, took their knights to The smell of the earth is good. sky if there are no more Traviatas. The world
bed. It is apparent that there is no death. can and will go on without us but I have to
But what does that signify? think that we have made the world a better
[19] Not In A Silver Casket (Millay) Not only under ground are the brains of men place. That we have left it richer, wiser than
Not in a silver casket cool with pearls Eaten by maggots. had we not chosen the way of art. The older I
Or rich with red corundum or with blue, Life in itself get, the less I know, but I am certain that what
Locked, and the key withheld, as other girls Is nothing, we do matters. If I didn’t believe that.
Have given their loves, I give my love to you; An empty cup, a flight of uncarpeted stairs.

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