Songs from Liquid Days

Philip Glass (31 gennaio 1937): Songs from Liquid Days per voci e ensemble strumentale (1985) su testi di Paul Simon, Suzanne Vega, David Byrne e Laurie Anderson. Philip Glass Ensemble, dir. Michael Riesman.

  1. Changing Opinion, testo di Paul Simon. Con Bernard Fowler, voce
  2. Lightning, testo di Suzanne Vega. Con Janice Pendarvis, voce
  3. Freezing, testo di Suzanne Vega. Con The Kronos Quartet; Linda Ronstadt, voce
  4. Liquid Days (Part One), testo di David Byrne. Con The Roches, voci
  5. Open the Kingdom (Liquid Days, Part Two), testo di David Byrne. Con Douglas Perry, voce
  6. Forgetting, testo di Laurie Anderson. Con The Kronos Quartet; Linda Ronstadt e The Roches, voci

I. Changing opinion (Paul Simon)

Gradually
we became aware
of a hum in the room
an electrical hum in the room.
It went mmmmmm

We followed it from
corner to corner.
We pressed out ears
against the walls.
We crossed diagonals
and put our hands on the floor.
It went mmmmmm.

Sometimes it was
a murmur.
Sometimes it was
a pulse.
Sometimes it seemed
to disappear.
But then with a quarter-turn
of the head.
it would roll around the sofa.
A nimbus humming cloud
mmmmmm

Maybe it’s the hum
of a calm refrigerator
cooling on a big night.
Maybe it’s the hum
of our parents’ voices
long ago in a soft light
mmmmmm.
Maybe it’s the hum
of changing opinion
or a foreign language
in prayer.
Maybe it’s the mantra
of the walls and wiring.
Deep breathing
in soft air
mmmmmm

II. Lightning (Suzanne Vega)

Lightning struck a while ago
And it’s blazing much too fast
But give it rain of waiting time
And it will surely pass
Blow over
And it’s happening so quickly
As I feel the flaming time
And I grope about the embers
To relieve my stormy mind
Blow over

Shaken this has left me
And laughing and undone
With a blinding bolt of sleeplessness
That’s just begun
And a windy crazy running
Through the nights and through the days
And a crackling
Of the time burned away
Burned away

Now I feel it in my blood
All hot and sharp and white
With a whipcrack and a thunder
And a flash of flooding light
But there’ll be a thick and smoky
Silence in the air
When the fire finally dies
And I’m wondering who’ll be left there.

In the ashes of time
Burned away
Burned away

III. Freezing (Suzanne Vega)

If you had no name
If you had no history
If you have no books
If you had no family

If it were only you
Naked on the grass
Who would you be then?
This is what he asked
And I said I wasn’t really sure
But I would probably be
Cold

And now I’m freezing
Freezing

IV. Liquid Days (Part One) (David Byrne)

Oh Round Desire
Oh Red Delight
The River is Blood
The Time is Spent
Love likes me
Love takes it shoes off and sits on the couch
Love has an answer for everything
Love smiles gently…and crosses its legs well here we are well here we are

Sleep
Sleep

Sleep…Being in Air
Sleep…Turning to speak
Sleep…Losing our Way
Sleep…Pour it all Out

We are old Friends
I offer Love a Beer
Love watches Television
Love needs a bath
Love could use a shave
Love rolls out of the chair and wiggles on the floor
Jumps Up
I’m Laughing at Love
Drink Me
Drink Me
Drink Me
Drink Me

Drive…Why do You Ask?
Breaths…Still is the Night
Drive…It is much Further
Sleep…Than We Thought

In Liquid Days
Land Travel(s) Hard
Fly Home Daughter
Cover Your Ears

V. Open the Kingdom (Liquid Days, Part Two) (David Byrne)

Days of fishes
Distant roar
Turning to speak
Turning to hear

Open the Kingdom
Open the Kingdom
Open the Kingdom
Open the Kingdom…

In my way
In my way
Being most uncertain
And This Remains

Still for better
Birds of Voices
The Field of Living

I am Asking

I am Asking

I am Asking

Returning Love
Returning With Love
Then it was
Written with Love

VI. Forgetting (Laurie Anderson)

A man wakes up to the sound of rain
From a dream about his lovers
Who pass through his room.

They brush lightly by, these lovers.
They pass. Never touching.
These passing lovers move through his room.

The man is awake now
He can’t get to sleep again.
So he repeats these words
Over and over again:
Bravery. Kindness. Clarity.
Honesty. Compassion. Generosity.
Bravery. Honesty. Dignity.
Clarity. Kindness. Compassion.

La mente m’è confusa – VII

Hans Leo Hassler von Roseneck (1564 - 1612): Mein Gmüth ist mir verwirret, Lied a 5 voci (pub­blicato con il n. 24 nella raccolta Lustgarten Neuer Teutscher Gesäng, Balletti, Galliarden und Intraden mit 4. 5. 6. und 8. Stimmen, 1601). Ensemble Diapason.

Mein Gmüth ist mir verwirret,
das macht ein Jungfrau zart,
bin ganz und gar verirret,
mein Herz das kränckt sich hart,
hab tag und nacht kein Ruh,
führ allzeit grosse klag,
thu stets seufftzen und weinen,
in trauren schier verzag.

Ach daß sie mich thet fragen,
was doch die uersach sei,
warum ich führ solch klagen,
ich wolt irs sagen frei,
daß sie allein die ist,
die mich so sehr verwundt,
köndt ich ir Hertz erweichen,
würd ich bald wider g’sund.

Reichlich ist sie gezieret,
mit schön thugend ohn Ziel,
höflich wie sie gebüret,
ihrs gleichen ist nicht viel,
für andern Jungfraun zart
führt sie allzeit den Preiß,
wann ichs anschau, vermeine,
ich sei im Paradeiß.

Ich kann nicht ganz erzehlen,
Ihr schon und tugend viel,
Fur all’n wollt ich’s erwehlen,
wär es nur auch ihr will,
Dass sie ihr Herz und Lieb
geg’n mir wendet allzeit,
So wurd mein Schmerz und klagen,
verkehrt in grosse Freud.

[Aber ich muß auffgeben,
und allzeit traurig sein,
solts mir gleich kosten Leben,
das ist mein gröste Pein,
dann ich bin ir zu schlecht,
darumb sie mein nicht acht,
Gott wolts für leid bewahren,
durch sein Göttliche macht.]

Ed ecco il Lied di Hassler che ha fornito la melodia ad alcuni fra i più famosi e amati corali luterani. Il testo, ascrivibile forse allo stesso compositore, racconta le sofferenze patite da un giovanotto un po’ svenevole, innamorato cotto di una fanciulla carina assai: la mente m’è confusa — dice il nostro amico — per via di « ein Jungfrau zart », una dolce verginella. A confronto con la versione adattata ai testi spirituali, noterete sicuramente che la melodia originale è spiccatamente più vivace e saltellante, grazie a un arguto e ben dosato uso dell’emiolia, cioè dell’alternarsi di ritmo binario e ternario.

Per concludere, si segnala che al novero dei brani musicali costruiti sopra la melodia di Hassler va aggiunta, fra varie altre cose, una canzone di Paul Simon. Il cantautore statunitense dichiarò di averla composta traendo spunto dal corale inserito nella Matthäus-Passion. « Non scrivo canzoni apertamente politiche », aggiunse Simon, « ma questa si avvicina molto al genere, poiché è stata scritta subito dopo l’elezione di Nixon »; vi si racconta di com’è difficile la vita negli States, del duro lavoro, della stanchezza e, guarda un po’, della confusione: il titolo è American Tune, Melodia americana…

Hassler, Mein Gmüth