Darley's music for
_Shadowy
Waters_ was supposed to be played
upon Forgael's magic harp, and it accompanied words of Dectora's and
Aibric's.
upon Forgael's magic harp, and it accompanied words of Dectora's and
Aibric's.
Yeats
That it may give this
sense of something half-forgotten, it must be sung with a certain lack
of minute feeling for the meaning of the words, which, however, must
always remain words. The songs in _Deirdre_, especially the last dirge,
which is supposed to be the creation of the moment, must, upon the
other hand, at any rate when Miss Farr's or Miss Allgood's music is
used, be sung or spoken with minute passionate understanding. I have
rehearsed the part of the Angel in the _Hour-Glass_ with recorded notes
throughout, and believe this is the right way; but in practice, owing
to the difficulty of finding a player who did not sing too much the
moment the notes were written down, have left it to the player's own
unrecorded inspiration, except at the 'exit,' where it is well for the
player to go nearer to ordinary song.
I have not yet put Miss Farr's _Deirdre_ music to the test of
performances, but, as she and I have worked out all this art of spoken
song together, I have little doubt but I shall find it all I would have
it. Mr. Darley's music was used at the first production of the play and
at its revival last spring, and was dramatically effective. I could
hear the words perfectly, and I think they must have been audible to
anyone hearing the play for the first or second time. They had not,
however, the full animation of speech, as one heard it in the dirge
at the end of the play set by Miss Allgood herself, who played the
principal musician. It is very difficult for a musician who is not a
speaker to do exactly what I want. Mr. Darley has written for singers
not for speakers. His music is, perhaps, too elaborate, simple though
it is. I have not had sufficient opportunity to experiment with the
play to find out the exact distance from ordinary speech necessary in
the first two lyrics, which must prolong the mood of the dialogue while
being a rest from its passions. Miss Farr's music will be used at the
next revival of the play.
Mr.
Darley's music for _Shadowy Waters_ was supposed to be played
upon Forgael's magic harp, and it accompanied words of Dectora's and
Aibric's. It was played in reality upon a violin, always pizzicato,
and gave the effect of harp playing, at any rate of a magic harp. The
'cues' are all given and the words are printed under the music. The
violinist followed the voice, except in the case of the 'O', where it
was the actress that had to follow.
W. B. YEATS.
_March, 1908. _
THE KING'S THRESHOLD.
_THE FOUR RIVERS. _
FLORENCE FARR.
The four rivers that run there,
Through well-mown level ground
Have come out of a blessed well
That is all bound and wound
By the great roots of an apple,
And all fowls of the air
Have gathered in the wide branches
And Keep singing there.
ON BAILE'S STRAND.
_THE FOOL'S SONG. _
FLORENCE FARR.
Cuchulain has killed kings,
Kings and sons of kings,
Dragons out of the water and witches out of the air,
Banachas and Bonachas and people of the woods.
sense of something half-forgotten, it must be sung with a certain lack
of minute feeling for the meaning of the words, which, however, must
always remain words. The songs in _Deirdre_, especially the last dirge,
which is supposed to be the creation of the moment, must, upon the
other hand, at any rate when Miss Farr's or Miss Allgood's music is
used, be sung or spoken with minute passionate understanding. I have
rehearsed the part of the Angel in the _Hour-Glass_ with recorded notes
throughout, and believe this is the right way; but in practice, owing
to the difficulty of finding a player who did not sing too much the
moment the notes were written down, have left it to the player's own
unrecorded inspiration, except at the 'exit,' where it is well for the
player to go nearer to ordinary song.
I have not yet put Miss Farr's _Deirdre_ music to the test of
performances, but, as she and I have worked out all this art of spoken
song together, I have little doubt but I shall find it all I would have
it. Mr. Darley's music was used at the first production of the play and
at its revival last spring, and was dramatically effective. I could
hear the words perfectly, and I think they must have been audible to
anyone hearing the play for the first or second time. They had not,
however, the full animation of speech, as one heard it in the dirge
at the end of the play set by Miss Allgood herself, who played the
principal musician. It is very difficult for a musician who is not a
speaker to do exactly what I want. Mr. Darley has written for singers
not for speakers. His music is, perhaps, too elaborate, simple though
it is. I have not had sufficient opportunity to experiment with the
play to find out the exact distance from ordinary speech necessary in
the first two lyrics, which must prolong the mood of the dialogue while
being a rest from its passions. Miss Farr's music will be used at the
next revival of the play.
Mr.
Darley's music for _Shadowy Waters_ was supposed to be played
upon Forgael's magic harp, and it accompanied words of Dectora's and
Aibric's. It was played in reality upon a violin, always pizzicato,
and gave the effect of harp playing, at any rate of a magic harp. The
'cues' are all given and the words are printed under the music. The
violinist followed the voice, except in the case of the 'O', where it
was the actress that had to follow.
W. B. YEATS.
_March, 1908. _
THE KING'S THRESHOLD.
_THE FOUR RIVERS. _
FLORENCE FARR.
The four rivers that run there,
Through well-mown level ground
Have come out of a blessed well
That is all bound and wound
By the great roots of an apple,
And all fowls of the air
Have gathered in the wide branches
And Keep singing there.
ON BAILE'S STRAND.
_THE FOOL'S SONG. _
FLORENCE FARR.
Cuchulain has killed kings,
Kings and sons of kings,
Dragons out of the water and witches out of the air,
Banachas and Bonachas and people of the woods.
