Prince Kaspar. Michael Matthews. Per Brask. a fable. in 13 scenes. music by. libretto by

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1 rince Kasar a ale in 1 scenes music y Michael Matthes liret y er rask

3 rince Kasar a chamer oera in 1 scenes, ased on the sry o Kasar Hauser or singers, acr and small ensemle Michael Matthes Liret y er rask duration: ca 90 minutes

4 nstrumentation Clarinet/ass Clarinet Tromone ercussion: Glockensiel Marima Triangles Susended Cymals (ca and 0 cm) Chinese Gong (large, small) Tam Tam (ca 90, 70 and 0 cm) Shaker (amoo) Claves Wood locks Lion's Roar Tom Toms ass Drum iolin iola Contraass iano The score is notated at concert itch, ith the excetion o octave-transosing instuments (Glockensiel, Contraass) N Contraass harmonics sound an octave loer than ritten Accidentals aly or the entire measure in hich they aear; courtesy accidentals are occasionally used or the sake o clarity

5 Cast: KASAR, a oundling, aout 16 (Lyric Sorano) GEORG, a teacher (arine) MAA, a noleoman, erhas, could e in her 0s; a mother ho senses she s lost a child (Sorano) LUDWG, a hilosoher, mid 0s, s riend (Tenor) ANNA, a young oman, s sister (Soorano) THE MASKED MAN, there s alays a soiler lurking somehere (Acr) orard y er rask: Though the hisrical incidents uon hich this liret is ased occurred in the late 180s - early 180s, around Nuremerg, it is y no means intended e a hisrical drama The sry o Kasar Hauser merely rovides the eg on hich hang certain oservations aout ho e idealize our elies and ourselves hen e encounter innocence (ust as, in reverse, e o oten reect our on caacity or evil hen e encounter it) When e encounter innocence e tend see our on scientiic or moral or ethical values validated (nnocence easily ecomes the roo as ell as the disroo o our articular deity) Or, erhas some o us eel that e ve een unustly denied intercourse ith innocence and others that innocence someho cannot e trusted and needs e seen through, unmasked The resence o innocence can e trouling, a rolem e solved ts naiveté must e reined in, suugated our vie o reality; o hat s right, roer and good That ay innocence ill etter relect our on ideals n consequence, e reak it henever e see it That hich could have taught us see etter, see each other and ourselves etter, is let slintered Kasar is a stand-in or innocence in this liret, hich is a ale rather than a drama A drama requires that eole change, that they are, at least, somehat dierent at the end; that the rocess o the dramatic action has taken us a lace dierent rom here e started rince Kasar doesn t do that No one really changes and Kasar is not a dramatic hero A dramatic hero is usually someone ho is aced ith certain ostacles, hich must e overcome in order achieve a goal and in the rocess o hich e, and the rotagonist, gro iser, even in demise Kasar has no such goal, and though things haen him and he resonds, he isn t any the iser as a result ecause he as already ise, so seak (The other characters, on the other hand, could have ecome iser) erhas, then, he is a dramatic anti-hero n this treatment, Kasar is, ater all, merely a ciher, or etter, a mirror in hich most o the other characters ish see the etter arts o themselves relected A metahorical mirror, hich they thereore destroy, ecause he is not they and they ail see him or hat he is himsel Had they, instead, acceted him as himsel, they might have een ale see their on caacity or ild innocence, non-suugated innocence, and realized, and henceorth learned live ith the credo that, in good as in ill, Homo sum, humani nihil alienum u (Terence, am human and nothing human is oreign me )

6 Synosis Time and lace: Late 180s - early 180s, around Nuremerg The ork is resented as a series o vignettes, each exloring Kasar rom a slightly dierent ersective Kasar is a quasi-messianic igure, a metahor or the uncorruted sirit Everyone in Kasar s lie hoes ill him ith their on content Scene 1 (1): Kasar aears and is oserved y (Kasar, ) Scene (19): atches Kasar and imagines him e her lost child (, Kasar) Scene (1): and Kasar seak They are dran one another, each in their on ay interruts their interaction (, Kasar, ) Scene (7): and resent their diering vies o Kasar; Kasar is himsel, olivious their ideas (,, Kasar) Scene (6): Kasar s irst meeting ith the (Kasar, the, ) Scene 6 (81): and discuss their diering vies o love Kasar enters (,, Kasar) Scene 7 (10): and Kasar seak is amazed at Kasar s aility erectly mimic Latin; and also itness Kasar s skill (, Kasar,, ) Scene 8 (119): The accosts and threatens, attemting righten her in convincing s his ork ith Kasar (the, ) Scene 9 (18):, alone, exounds his hilosohy () Scene 10 (17): muses hile nas Kasar makes a surrising aearance rom underneath s skirt and are aalled, and lectures Kasar aout morality accuses o corruting Kasar (,, Kasar) Scene 11 (160): The seaks Kasar, and then attacks him ith a knie, staing him (the, Kasar) Scene 1 (170): attends Kasar s edside (Kasar, ) Scene 1 (180): Kasar lies dead; the memers o the cast relect on their vision o Kasar t is clear that he had ecome, or each o them, a vehicle or their individual orldvies (Entire cast) Setting A stage ith a laying area decorated ith slas o roken mirror everyhere (sides, loor, lot, i ossile) Outside the laying area, the singers sit in ull vie When outside the laying area, they are the chorus, hich announces each scene When they enter the laying area, they are in character

7 Liret y er rask rince Kasar Michael Matthes Clarinet/ass Clarinet Tromone = 7 Scene 1 Cu mute as i rom a distance Ÿ È ~~~~~~~~~ n = 6 ercussion iolin Gls n Shaker iola Contraass izz Kasar iano n n n n n n * n Ÿ~~~~~ n Ÿ~~~~~~~~ n n n 00 Michael Matthes

8 Tn 10 = 8 (Cu mute) erc ln la n (semre) rit un d' sul ont sul ont sul ont rit C Kasar izz Scene one, scene one in hich Kas - ar is ound in the Ton N Square, izz Scene one, scene one Scene one, scene one in hich Kas - ar is ound in the Ton in hich Kas - ar is ound in the Ton Square, Square, Scene one, scene one Scene one, scene one in hich Kas - ar is ound in the Ton in hich Kas - ar is ound in the Ton Square, Square, no n 6 knoing a e ords ut not their meaning arely ale alk on leeding eet - -

9 Tn erc ln 19 Ÿ i ~~~~~~~~~~~~~~~~~~~~~~ Ÿ i ~~~~~~~~~~~~~~~~~~~~ rit n dim = 7 = 10 n n Mrma n N n la C Kasar no n n and the light, the daylight's hurting his eyes ater having sent years incarcerated in a cellar n n n n no one knos hy ut the theories are many N n mol lega, misterioso - -

10 Tn 7 6 n rit a temo ( = 10) erc ln la C Gls izz n izz Kasar (Kasar enters alone His eet are leeding through his oots t is hard or him alk He holds a sealed letter in his hand He looks aout, scared, shielding his eyes against the light) no - -

11 Tn erc ln la C Kasar no Ÿ i ~~~~~~~~~~~~~~~~~~~~~~~~ 8 n n dim dim n (soken, struggling articulate) A Straight mute Tam Tam lv - -

12 Tn erc ln la C Kasar 0 cresc Mrma cresc n (izz) (izz) n n M M gl ant n n M n M no N cresc n * dim n cresc - 6 -

13 Tn erc ln la C Kasar 9 M ant n n dim ant cresc n Í senza sord cresc cresc cresc cresc cresc n n U ant e gl ( enters and oserves Kasar rom aar, as i in a dierent time) no n n * n U - 7 -

14 Tn erc ln la C Kasar 70 Claves ant ant ant izz ant izz ant e n No, Mrma No, no no, n n = 10 no n g - 8 -

15 81 rit a temo ( = 10) = 10 C Tn erc ln la C Kasar n ant R Gls izz ant ride Trgl ant lv ride Mrma ant n ride no dim n n g - 9 -

16 Tn 90 r r erc ln la C Kasar n on a dim horse W ust like! cresc cresc cresc my a ther izz izz WANT TO RDE A HORSE UST Mrma r LKE MY A - THER!!! r no dim cresc n n n n R

17 Tn erc ln la 99 Trgl lv rit a temo ( = 10) cresc Mrma C Kasar ant n dim n ride a horse dim ride izz (struggling, almost gutteral) no dim

18 Tn erc 108 R n ln la C Kasar izz (sung) N (again, struggling) (sung) n izz izz n (ith a mixture o ascination and disgust) 6 6 His ace! 6 His ace no * cresc n 6 6 g n

19 Tn erc ln la izz n = 80 D n esr n ( ) gl gl gl C Kasar n R (disrted quasi-seech) M M M M M M ant gl ride ant n ride gl his ace the lo - er art o his ace his ace He looks no 6 6 n 6 6 n - 1 -

20 19 Tn erc Tomms cresc l l ln la C cresc izz izz Kasar n n Ṁ M hor ri - le hor ri - le scream ing like that the ay his mouth ulls don as no * n n n * l l n g g - 1 -

21 Tn 17 = 8 Straight mute n n rit = 10 E erc Claves D ln la C Kasar n izz ant ride! i as i it could go on or - ev - er as i he could no n esr R cresc - cresc dim

22 Tn erc ln la C Kasar 10 ant ride R a horse gl n n n ha ha ha ha ha! ha ha ha ha izz ha! ha ha ha ha ha! Mrma ha ha ha ha ha ha ha! (Straight mute) = 7 izz Oh, dear God a laugh like that no () n * n

23 18 = 8 Tn erc ln g N Claves la C Kasar n ant ride ant ride! a horse ust like my a - ther could kill you ith oy Oh, dear God no n g g

24 17 6 rit a temo = 8 N Tn 6 (Straight mute) erc ln Trgl lv (aove) W 6 6 la C Kasar izz ride ride a horse ride a horse no 7-a/ 7-a/11 7-a/8 g g 6 6 n n n

25 Tn = 7 18 = 60 = = 7 erc D ln la C Kasar Scene, a no - le om - an, ho thinks she has Scene, in hich a moth - er a no le om - an, ho thinks she has Scene, a no - - le om - an, ho thinks she has Scene, a no - le om - an, ho thinks she has no 6 n W W W W

Five Loons LLC No Erik Ferguson. And he was FOR MIXED CHAMBER ENSEMBLE & NARRATOR. Text by Edwin Arlington Robinson.

Five Loons LLC No Erik Ferguson. And he was FOR MIXED CHAMBER ENSEMBLE & NARRATOR. Text by Edwin Arlington Robinson. ive Loons LLC No. 101 Erik erguson And he as OR MIXED CHAMBER ENSEMBLE NARRATOR Text by Edin Arlington Robinson Score arts Comosed 2012, Revised 201 Erik erguson And he as OR MIXED CHAMBER ENSEMBLE NARRATOR