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the added direction of lontano (distant) representing the lover’s departing footsteps. The voice
enters pianissimo, gradually becoming a whisper molto sottovoce (much under the breath) as the
performer sings “e ascolterò i tuoi passi allontanarsi” (“and I will listen to your steps as they
turn away”).
EXAMPLE 5.6 measures 96-100
For the remainder of the lirica, the vocal line is conversational. The text is set on many
repeated notes, in a very narrow range, written in the lower-middle register of the singer’s voice
and should be sung in a parlando style. The lirica comes full circle with the return of the
opening motive in the accompaniment (example 5.6.) Now, however the initial tempo is
modified by the added direction ma sempre più tranquillo (but always more tranquil) at the
beginning of the final statement “Arrivaderci nella eterna Primavera!” (“Until we meet again in
the eternal Spring!”) The voice must clearly display the sense of calmness that comes with the
act of acceptance without fear. The final vocal direction dolce e molto espressivo (sweet and very
expressive) appears above the word “Primavera!” (“Spring!”), the season of rebirth. The lirica
ends as it began with the harmonic instability of an unknown future.
Luce
Unlike most of Alfano’s other liriche, which were originally composed for voice and
piano, Luce is one of four liriche composed for voice and orchestra. Quattro liriche per canto e
orchestra (Perché il giorno è finito – Cento e cento – Tu camminavi – Luce) was composed in
Rome and premiered at the Teatro Argentina in 1947. Zerboni, G. Ricordi’s biggest publishing
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