david lang love fail

love fail

music by David Lang

with stories by Lydia Davis
and words by David Lang
after Gottfried von Strassburg, Beroul, Sir Thomas Malory,
Marie de France, Beatriz Comtessa de Dia, Thomas of Britain,
the Yom Kippur liturgy and Richard Wagner
written for and performed by Anonymous 4:
Ruth Cunningham, Marsha Genensky, Susan Hellauer,
Jacqueline Horner-Kwiatek
david lang love fail Anonymous 4

1. he was and she was . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:38

(words by David Lang, after Gottfried von Strassburg)

2. break #1 (three years) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0:24

(words by David Lang, after Beroul)

3. dureth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:12
(words by Sir Thomas Malory)

4. A Different Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:17

(words by Lydia Davis)

5. the wood and the vine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:01

(words by David Lang, after Marie de France)

6. Right and Wrong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:22

(words by Lydia Davis)

7. you will love me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:18

(words by David Lang, after Gottfried von Strassburg)
 8. Forbidden Subjects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:57
(words by Lydia Davis)
9. as love grows stronger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:41
(words by David Lang, after Gottfried von Strassburg)

10. break #2 (instrumental) ...................................................................................................... 0:19

11. The Outing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:48

(words by Lydia Davis)

12. I live in pain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:03

(words by David Lang, after Beatriz, Comtessa de Dia)

13. Head, Heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:11

(words by Lydia Davis)

14. break #3 (if I have to drown) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:47

(words by David Lang, after Thomas of Britain,
and the Yom Kippur liturgy)

15. mild, light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:46

(words by David Lang, after Richard Wagner)
Why is it that people still like the story of Tristan and Isolde? It has been told repeatedly for almost
1000 years, in many different versions, with all manner of strange details added or changed. The
greatest love story ever! But why? Of course, there is excitement, drama, love, lust, shame, death,
dragons. I think the real reason why is because the love of Tristan and Isolde begins by accident
they drink a love potion. They didnt mean to drink it, and they didnt mean to fall in love. They drink
andBAM!it starts. It is almost a laboratory experiment into what love might be like without any
of the complications of how real love begins or workswithout the excitement, embarrassment,
frustration, guilt or competition present in the courtships of ordinary people.
I thought I might learn something about love if I could explore this in a piece, putting details
abstracted from many different retellings of Tristan and Isolde next to texts that are more modern,
more recognizable to us, more real. First I scoured the literature and took my favorite weird
incidents from the originals; for example, in Marie de Frances version, Tristan carves his name
on a stick for Isolde to find, she sees it and immediately knows what message Tristan means to
convey, and that messageincrediblyis many many pages long. Another example: Tristan and
Isolde drink the potion, thinking it is wine, and Gottfried von Strassburg writes, dramatically, that
it isnt wine they are drinking, but a cup of their never-ending sorrow. (This, near the chapter in
which Gottfried lists all the other Germanic poets working in the 12th century, and then tells you
how he rates among them.) I compiled the oddest incidents from these versions of their romance,
took out all the names or technological information that would make the texts seem ancient, and
put them next to stories by the contemporary author Lydia Davis. These stories are oddly similar to
the Tristan storiesthey are also about love, honor and respect between two people, but they are
much more recognizable to us.
I based my words on scraps of the text I found on the internetthank you google translate! I do
want to acknowledge the translations of Robert W. Hanning & Joan Ferrante, A.T. Hatto, and Alan
S. Fedrick, whose versions of these texts I consulted more than once.
 love fail

1. he was and she was she was so masterful

(words by David Lang, after Gottfried von Strassburg) she was so diligent
he was a blessed man she was so refined
he was an understanding man she was so polite
he was an ecstatic man she was so accomplished
he was a joyful man she was so lovely
he was a delightful man she was so excellent
he was a free man she was so dexterous
he was a studious man he was a fair man
he was a masterful man he was a blessed man
she was so wise he was an admirable man
she was so fair he was a successful man
she was so shining he was a noble man
she was so lovely he was an excellent man
she was so studious he was a worthy man
she was so versed he was a cherished man
she was so young she was so sweet
she was so fair she was so soft
he was a persevering man (he was so persevering) she was so secret
he was a learned man (he was so learned) she was so wondrous
he was a skilful man (he was so skilful) she was so charming
he was a strong man (he was so strong) she was so lovely
he was a skilful man (he was so skilful) she was so good
he was an excelling man (he was so excelling) she was so young
he was a fortunate man (he was so fortunate)
he was a rare man (he was so rare)
2. break #1 (three years) it is the truth
(words by David Lang, after Beroul) the wood and the vine
three years we all know this story
three years after it started We have heard it before
it ended it was told to us by everyone
and everyone told it to you
3. dureth a man and a woman
(words by Sir Thomas Malory) they loved so much
and were so true
the joy of love is too short, and they suffered so much
and the sorrow thereof, and on a single day, they died.
and what cometh thereof,
dureth over long. their love was forbidden
he went back to the place
where he was born.
4. A Different Man but being apart made him
(words by Lydia Davis) sick with despair.
At night he was a different man. If she knew him as he dont be surprised
was in the morning, at night she hardly recognized him: a lover grieves
a pale man, a gray man, a man in a brown sweater, a when love is far away
man with dark eyes who kept his distance from her, sadness can make us all
who took offense, who was not reasonable. In the sick with despair
morning, he was a rosy king, gleaming, smooth-cheeked
and smooth-chinned, fragrant with perfumed talc, he stayed there for years, until, at last,
coming out into the sunlight with a wide embrace in he went back,
his royal red plaid robe to get, to try, to hope
to get a message to his love
he hid in the woods
5. the wood and the vine by where she lived
(words by David Lang, after Marie de France) and found a path
now Ill tell you a story where she might walk
that is also the truth he cut a branch and, on it,
he carved a single word she went a short way into the woods
his name and found him
and left it on the path and they wept.
where she might find it. they wept with joy when they were together
then she would know the message and they wept with sadness when they left.
and she would know just what the message meant. later he remembered the joy and the sadness
later she came along the same path and he wrote this song:
and saw the piece of wood the wood and the vine
she knew exactly what it was
she saw the single word carved upon it every word is true.
and she knew. all true.
this is what she knew:
dearest love 6. Right and Wrong
this is my message (words by Lydia Davis)
I send it to you She knows she is right, but to say she is right is wrong,
I have waited for you in this case. To be correct and say so is wrong, in
I have waited to see you certain cases.
even now I am waiting for you in the woods She may be correct, and she may say so, in certain cases.
I cannot live without you But if she insists too much, she becomes wrong, so wrong
I cannot live without you that even her correctness becomes wrong, by association.
you and I It is right to believe in what she thinks is right, but to say
we are like the vine that winds itself around the branch what she thinks is right is wrong, in certain cases.
it twines and pulls and digs into the flesh,
so tight that the two of them become one She is right to act on her beliefs, in her life. But she is
the two become one wrong to report her right actions, in most cases. Then
if someone pulls the two apart then both will die. even her right actions become wrong, by association.
so it is with us, my love, so it is with us. If she praises herself, she may be correct in what she
you cannot live without me. says, but her saying it is wrong, in most cases, and thus
I cannot live without you. cancels it, or reverses it, so that although she was for
I cannot live without you. a particular act deserving of praise, she is no longer in
you cannot live without me. general deserving of praise.
7. you will love me and lights off in the evening in summer, the piano, music
(words by David Lang, after Gottfried von Strassburg) in general, how much money he earns, what she earns,
you will love me what she spends, etc. But one day, after they have been
me, alone talking about a forbidden subject, though not the most
above all others dangerous of the forbidden subjects, she realizes it may
above all other things be possible, sometimes, to say something calm and
you will love me careful about a forbidden subject, so that it may once
again become a subject that can be talked about, and
we will live one life then to say something calm and careful about another
we will die one death forbidden subject, so that there will be another subject
we will share one joy that can be talked about once again, and that as more
we will share one sorrow subjects can be talked about once again there will be,
it is not wine gradually, more talk between them, and that as there is
it is our lasting sorrow more talk there will be more trust, and that when there
it is not wine is enough trust, they may dare to approach even the most
it is our never-ending anguish dangerous of the forbidden subjects.
and we drink it
we drink it 9. as love grows stronger
(words by David Lang, after Gottfried von Strassburg)
8. Forbidden Subjects as love grows stronger
(words by Lydia Davis) love holds us closer
Soon almost every subject they might want to talk about as love grows stronger
is associated with yet another unpleasant scene and love holds us tight
becomes a subject they cant talk about, so that as time
goes by there is less and less they can safely talk about, as love grows stronger
and eventually little else but the news and what theyre as love grows stronger
reading, though not all of what theyre reading. They cant we become more beautiful
talk about certain members of her family, his working to each other
hours, her working hours, rabbits, mice, dogs, certain this is the seed
foods, certain universities, hot weather, hot and cold from which love grows
room temperatures at night and in the day, lights on from which love never dies
 until I want to lie beside him
until in my bed
as it ever was I want him more
as it ever is than any long-forgotten lovers ever loved before
as it ever will be I want to give him everything
my heart
my love
10. break #2 (instrumental) my senses
my sight
my life
11. The Outing
(words by Lydia Davis) good friend, kind friend, fearless friend
when will I have you?
An outburst of anger near the road, a refusal to speak on when will you lie beside me?
the path, a silence in the pine woods, a silence across the when will I give you my love?
old railroad bridge, an attempt to be friendly in the water, you know how much I want you.
a refusal to end the argument on the flat stones, a cry of promise me
anger on the steep bank of dirt, a weeping among the bushes. you will do what I say
please.
do what I say
12. I live in pain
(words by David Lang, after Beatriz, Comtessa de Dia)
I live in pain 13. Head, Heart
for someone I once had, (words by Lydia Davis)
for someone I once wanted Heart weeps.
for someone I once knew Head tries to help heart.
for someone I once loved, without measure. Head tells heart how it is, again:
I see now that he left me You will lose the ones you love. They will all go. But even
because I did not give him all my love the earth will go, someday.
I see now I was wrong Heart feels better, then.
and now I sleep alone But the words of head do not remain long in the ears
I want to hold him of heart.
in my naked arms Heart is so new to this.
 I want them back, says heart. do you see it?
Head is all heart has. he shines so bright
Help, head. Help heart. like a star, rising
do you see it? oh, yes, I see it
14. break #3 (if I have to drown) do you hear his heart?
(words by David Lang, after Thomas of Britain, and the do you smell his sweet breath?
Yom Kippur liturgy) do you? yes, I do
if I have to drown, I know, that you will drown am I the only one
if I have to burn, I know, that you will burn who hears this music?
if God wills it oh, I hear it
if I have to bleed, I know, that you will bleed it is so soft
if I have to be devoured, I know, that you will be devoured it is so sad
if God wills it it comes from him
through me, and up
if I have to starve, I know, that you will starve and rises all around me
if I have to thirst, I know, that you will thirst
if I have to wander, all my days, I know, that you will I hear it, I breathe it in
wander, all your days I drink it, It is so sweet
if I have to suffer, I know, that you will suffer will we just fade?
if I have to be impoverished, I know, that you will be buried in the raging storm?
impoverished buried beneath the ringing sound?
if I have to be degraded, I know, that you will be degraded drowned
if God wills it engulfed
if God wills it, so be it. unconscious
so sweet
15. mild, light
(words by David Lang, after Richard Wagner)
mild, light
see him smile
see his eye, open
love fail was co-commissioned by The Brooklyn Academy of Musics 2012 Next Wave Festival,
The International Festival of Arts & Ideas, The John F. Kennedy Center Abe Fortas Memorial
Fund, The Center for the Art of Performance at UCLA, The Secrest Artists Series at Wake
Forest University, and Hancher Performances at the University of Iowa.
track 5, the wood and the vine, was commissioned by The Newman Center for the Performing
Arts at University of Denver, The University of California at Riverside, and the Santa Fe Concert
Association in Santa Fe, NM.
track 12, I live in pain, in a different version, was originally written for The Crossing,
Donald Nally, conductor.

love fail was premiered by Anonymous 4 on June 29, 2012, at the International Festival of Arts
& Ideas, New Haven CT, with support from the Yale Repertory Theatre, New Haven CT.
love fail was originally staged in collaboration with Jennifer Tipton (lighting), Jim Findlay
(set and video), Suzanne Bocanegra (costumes), and Jody Elff (sound design), produced by
Beth Morrison and directed by David Lang.

David Langs music is published by Red Poppy, Ltd. and administered worldwide by
G. Schirmer, Inc. (ASCAP). For more information, visit davidlangmusic.com.

The following works by Lydia Davis are used with permission of the
Denise Shannon Literary Agency, Inc., and the author:
A Different Man from Varieties of Disturbance (Farrar, Straus & Giroux, 2007).
Copyright 2006 by Lydia Davis.
Forbidden Subjects from Varieties of Disturbance (Farrar, Straus & Giroux, 2007).
Copyright 1989 by Lydia Davis.
Head, Heart from Varieties of Disturbance (Farrar, Straus & Giroux, 2007).
Copyright 2007 by Lydia Davis.
Right and Wrong from Samuel Johnson is Indignant (McSweeneys Books, 1976, 1981, 1989,
1990, 1993, 1997, 1998, 1999, 2000, 2001). Copyright 1998 by Lydia Davis.
The Outing from Almost No Memory (Picador, 1997). Copyright 1995 by Lydia Davis.
love fail was produced, recorded, engineered, mixed and mastered by Jody Elff, and it was recorded August 13-16, 2013 in Studio
Zonadolce (New York).
I would like to thank the Doris Duke Performing Artist Awards program and New Music USA for their support in making this cd.
Support from New Music USA is made possible by annual program support and/or endowment gifts from Mary Flagler Cary Charitable Trust.
Special thanks to Ruth, Marsha, Susan and Jaqcui, to Lydia Davis for letting me do such a thing to her stories, to Rob Robbins and
David Middleton, Steven A. Block, Kiki and David Gindler, Leslie Lassiter, Raulee Marcus, Mary Lou Aleskie and Cathy Edwards at the
International Festival of Arts and Ideas, Chuck Swanson and Jacob Yarrow at the University of Iowa, Lilian Shelton at Wake Forest,
Jamie Broumas and Michael Kaiser at the Kennedy Center, Kristy Edmunds at UCLA, and Joe Melillo, Alice Bernstein, Neil Kutner,
Karen Hopkins and everyone at BAM, and to the Newman Center in Denver, UC Riverside and the Santa Fe Concert Association,
and to Beth Morrison, Jennifer Tipton, Jim Findlay, Jody Elff and Jeff Sugg. Extra special thanks to Mike McCurdy, for helping out
with the percussion and many other things, to Randy Ezratty for the use of his home, to Denise Burt for the cd design, to Kurt-Owen
Richards for his ears, to NMUSA and to Tim Thomas, to Robina Young and Ren Goiffon at Harmonia Mundi, to Kenny Savelson,
Michael Gordon, Julia Wolfe, Bill Murphy, Adam Cuthbert, and everyone who does stuff at Cantaloupe. And extra extra special thanks
to Suzanne Bocanegra, Ike, Thea and Judah.

love fail is dedicated, with much love, to Joe Melillo.

executive producers: Michael Gordon, David Lang, Kenny Savelson and Julia Wolfe
label manager: Bill Murphy
cantaloupe sales manager: Adam Cuthbert
art direction: Denise Burt elevator-design.dk
Cover image: Courtesy of the Library of Congress, LC-USZ62-59208
Inside images: MWermuth /Shutterstock.com | Earthlinge / Source: Photocase
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