The Lake and I

for violin and piano

Nate Weil
Duration: approx. 11 minutes
by
with additional poem by the composer
Performance notes
This score begins and ends with unmetered sections. These represent the lake with the waves rising
and falling on the beach, and the constant motion underneath. Theres two parts to this:
First is the water, as an animated body. The figure is soft and stays underneath everything else for its
duration. Its best to think of it as a bed of sound, on which the melodies will rest. The pianist will find a
set of notes within a black box; those notes are to be arpeggiated constantly until told to stop. The notes can
be played in any order, and dont need to have a completely regular rhythmic interval - this is water, after
all! Let it breathe naturally with a gentle dynamic pulse. In general it should be a fast arpeggiation, and it
may be helpful to think of it as sixteenth notes. The goal is to be an undercurrent to the waves, so use the
una corda pedal and play gently, although youre free to swell. When you first begin, ease into it. You may
find it helpful to start with a few small bursts, before beginning the steady bed of notes.
Second is the waves rushing up the shore and receding. These are musical phrases; each phrase
represents one waves journey. Theyre paired together in each system, divided by a dashed bar line. In each
pair, the piano speaks and then the violin answers. There should be about one second between the two
phrases, and several seconds (approximately) between the end of one pair and the start of the next.
Each phrases is free rhythmically, but keep in mind that they represent fluid water. They should flow
naturally its not about rhythm as much as its about notes accented by their length, while others rush to
approach the next accent. You are ultimately responsible for shaping each phrase rhythmically and
dynamically, but tenuto marks indicate notes that should probably be extended, and dynamics are written
to remind you to let each phrase swell and then recede.
Bowing for the violinist is not included for the unmetered sections, you are responsible for choosing
how to bow based on how you shape each phrase.
Instructions unique to this score are boxed for easy identification. They primarily concern the
unmetered sections, with some notes for pedaling.
On page three of the full score, there are a couple vertical lines. Each indicates a spot where the pianist
must play his note with the violins note. In the violin part, the same is indicated with cue notes.
Harmonics are open string, indicated by a circle above the note.
To get the most out of this piece, you must keep the setting in mind. Youre on a sandy beach at
night waves are rolling onto the shore with calm intensity. The sky is full of stars, and the faint glow of
the Milky Way reaches across the sky. Theres an important dichotomy at play here: the lake is an
ever-changing body which is constantly in motion, both on the surface and underneath. The night sky is the
opposite - to the observer, its silent and still. In addition to this, theres another difference: the lake is
infinitesimally small and unimportant when compared to the night sky, which is a window into the vast
expanse of the universe. The themes within this piece seek to explore and portray those qualities, as it mixes
them together and paints the scene.
* * * * *
* * * * *
AMBIENCE:
Whether performed inside or outside, a low-light atmosphere is ideal and so lights should be dimmed
if possible.
* * * * *
Poem reading
(optional)
If you have elected to perform this piece with the accompanying poem (recommended), these are your
directions:
1. The piece begins like normal, with the violin solo.
2. At rehearsal mark A, the piano "bed of water" figure begins.
3. After allowing enough time for the piano figure to "settle in" with the steady pattern, the poem begins.
4. As the poem is being read, the "bed of water" figure does NOT stop. It will accompany the full poem.
5. During the poem, the pianist can move between the figure at rehearsal mark A, and the one located at
rehearsal mark C. They're the same but with a different chord.
6. When the poem is complete, the piece continues. If the pianist is playing the rehearsal mark C figure,
he must transition back to the first one before moving on with the piece.
The Lake and I
by Nate Weil
On moonlit sand with the stars above
I walk.
The lake beckons me over;
I oblige
and together we look up at the skies.
Twinkling stars shine down upon
the lake and I
winking as if to say,
"you're a friend among us!"
But we stay on the ground.
We don't mind their friendly joke,
though a walk among the stars
would be a dream.
But our place is to stay below
and bathe in their glow.
So we sit and chat
(the lake and I)
though he talks the most.
I listen as I rest my head
on his moonlit coast.
Time has passed
though the stars have not -
it's time to go back home.
I don't mind, I know I'll be back
no matter how far I roam.
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Nate Weil
2014 Nate Weil. All rights reserved.
Score
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