Yeats’ early poetry shows the influence of the ‘Celtic Renaissance’, where the poems centre on Irish mythology and legend.

1. He gives his beloved certain rhymes
2. He wishes for the cloths of heaven (Fig.G)
3. He hears the cry of the sedge (Fig. K)

The work opens with a wordless choral suggestion of a gentle breeze. The three poems run without a break, and textural vocal chord clustering highlights certain key words: sleep, dreams, golden, silver and softly.

The piano provides more than just an accompaniment. It is largely generated by a serial row (albeit a ‘tonal’ one: F A C B G# C# D D# F# Bflat G E where notes 1-5 deliberately suggest both a major and minor triad, and notes 10-12 imply its dominant seventh). The accompaniment, whilst underpinning the choral music, also supplies continuity throughout the three settings with motivic cross references.

Whilst largely tonal overall, the sense of key in the work concludes ambivalently. As at the very opening the major/minor ambiguity and the underpinning of keyless serialism mirrors the poet’s vulnerability when revealing his hopes and dreams to his beloved.

NOTES FOR PERFORMANCE:

The piano dynamics are relative to the size of the choir employed.  Pedalling is largely left to the discretion of the performer.  However, some indications are given to illustrate the stye of pedalling required.

The wordless portamenti  at the opening, suggesting a gentle breeze, must be subtle and tasteful.

The concluding exhalation must be ppp, with a very slight downward portamento, a niente. It is to start exactly where indicated, so as not to mask the piano part.  Allow a generous silent GP at the very end.