“Demonic, Dionysian … Playwright Tommy Smith’s drama is elegantly geometric in its construction and viscerally potent.’” – LOS ANGELES TIMES
“Smith’s subjects are Arnold Schoenberg, Piotr Ilyich Tchaikovsky and Carlo Gesualdo – heralded composers from different centuries and from varying cultures. The truths that this fascinating piece aspires to divulge are of the broadest nature, having to do with the artist’s struggle to balance life and work, and his or her efforts to painfully wrestle with the most basic human desires while preserving enough focus to fashion great art.” – LA WEEKLY
“An arresting theatrical opus … Smith’s juxtaposition of three encounters simultaneously in his score of a script is impressive. And his language is poetic, charged and supple.” – SEATTLE TIMES
Online publication made possible by The Carnegie Fund, The Bob Rauschenberg Foundation, PEN America, Dramatists Guild, Author’s League Fund, American Society of Journalists and Authors, Haven Foundation, Mayer Foundation, Actor’s Fund, Max’s Kansas City Projects, and The Society of Authors.
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Late 19th Century Russia:
PIOTR TCHAIKOVSKY
ANTONINA TCHAIKOVKY
VLADIMIR “BOB” DAVIDOV
also plays VOICE
Early 20th Century Vienna:
ARNOLD SCHOENBERG
MATHILDE SCHOENBERG
RICHARD GERSTL
Early 17th Century Italy:
CARLO GESUALDO
DONNA MARIA GESUALDO
DUKE FABRIZIO
also plays PRIEST
ACT ONE
1.1
Moscow, Russia
Late 19th Century.
Backstage of concert hall.
TCHAIKOVSKY
Yes a couple reminders before you begin.
ANTONINA
Okay.
TCHAIKOVSKY
Remember to play for your audience. I know you and I have been spending a lot of time with each other alone in the rehearsal room but today we add the audience. And the audience is like a stupid pet. A pet is stupid so you have to trick a pet into doing what you want but because you are always smarter than that stupid pet, you can manipulate its underdeveloped sense of emotion.
ANTONINA
I think I understand.
TCHAIKOVSKY
What I mean to say is that with a performer like yourself it is more about confidence than actually being good.
ANTONINA
You … don’t think I’m good?
TCHAIKOVSKY
My darling Antonina your playing is magnificent for your level.
ANTONINA
Oh.
TCHAIKOVSKY
So I will go out and tell them you are ready?
ANTONINA
No just –
TCHAIKOVSKY
Hn?
ANTONINA
Can you wait here a minute with me?
TCHAIKOVSKY
Nina they’re waiting for me –
ANTONINA
Go then if you need.
TCHAIKOVSKY
I have to introduce the program.
ANTONINA
…
TCHAIKOVSKY
What’s wrong Nina?
ANTONINA
Can you … look at me?
TCHAIKOVSKY
Can I –
ANTONINA
In my eyes, look in my eyes. Your eyes make me feel good. I’m nervous. I’m nervous I won’t play well. What are you thinking about?
TCHAIKOVSKY
Oh uh. That’s funny. Would you really like to know?
ANTONINA
Yes.
TCHAIKOVSKY
A melody for Bob.
ANTONINA
Who is … Bob?
TCHAIKOVSKY
My nephew Vladimir. We call him Bob.
ANTONINA
Why would anyone ever do that? Vladimir is such a nice name.
TCHAIKOVSKY
He spent a month in America.
ANTONINA
Okay.
TCHAIKOVSKY
Americans can’t pronounce Vladimir and so they called him Bob.
ANTONINA
Oh Bob is a dreadful name. Have I met Bob?
TCHAIKOVSKY
I don’t think so.
ANTONINA
Why are you writing him a melody?
TCHAIKOVSKY
Because he’s my nephew and I love him.
ANTONINA
You’re still writing one for me?
TCHAIKOVSKY
Yes, oh … yes.
ANTONINA
Is it beautiful?
TCHAIKOVSKY
I think so.
ANTONINA
Hum it for me.
TCHAIKOVSKY
I’m not sure if I can yet.
ANTONINA
Just a little bit.
TCHAIKOVSKY
I might as well.
ANTONINA
Oh yes please.
TCHAIKOVSKY
(hums opening strains of “sixth symphony”)
ANTONINA
That’s lovely.
TCHAIKOVSKY
Something like that.
ANTONINA
Will I be able to hear it, when can I hear that?
TCHAIKOVSKY
Spring. It’s a commission from the Czar. Not something I would normally accept but the pay was good. I hate the rest of the piece. Only that melody is worth anything.
ANTONINA
Don’t do that.
TCHAIKOVSKY
Do what?
ANTONINA
You don’t need to talk bad about your music. Some people really like it. They really love the sounds you have created for us.
TCHAIKOVSKY
Very well, Nina. The piece I just composed is amazing. It is brilliant. People will listen to it for years to come and worship every note.
ANTONINA
That’s better. After I leave being your student, I mean, this concert is the last time you and I are teacher and student.
TCHAIKOVSKY
You are heading on to a great appointment in the symphony.
ANTONINA
Yes I feel very lucky to be playing in Petersburg but –
TCHAIKOVSKY
I should tell them to start, yes?
ANTONINA
After the concert, I want you to make me a promise? After the concert, after I play good, I’ll play good if you promise to see me after the concert?
1.2
Naples, Italy
Early 17th century
The family palace of Donna Maria.
Donna Maria dresses.
Prince Carlo Gesualdo stands behind her, watching.
DONNA MARIA
Keep your eyes on the ground.
GESUALDO
Hmn?
DONNA MARIA
Keep your eyes on the ground.
GESUALDO
I was not looking.
DONNA MARIA
I’m changing.
GESUALDO
Donna Maria I did not look.
DONNA MARIA
Stop looking Goodness you’ll make us late for Mass.
GESUALDO
My father is waiting outside.
DONNA MARIA
Make him wait.
GESUALDO
The ruler of all of Southern Italy who is also my father is not accustomed to the act of waiting.
DONNA MARIA
He won’t mind once he sees what I’m wearing. So you’re almost nothing. Goddamn I can’t get this dress on.
GESUALDO
You are very … You have a peculiar way of expressing yourself
DONNA MARIA
Oh yes I should carry around more fans is it? Wear perfume around the palace halls?
GESUALDO
Women are here to please men.
DONNA MARIA
Yes well we’re here for a lot of reasons aren’t we?
GESUALDO
(shields his eyes) Please will you warn me before you –
DONNA MARIA
Remove my clothing?
GESUALDO
No it is not something I should see.
DONNA MARIA
And why not?
GESUALDO
You are another man’s wife.
DONNA MARIA
Every one of us is a child of God.
GESUALDO
I must respect your husband.
DONNA MARIA
The old man’s off somewhere chasing something with a stick that explodes and then some bunny in the distance falls down dead. I am about to reveal my breast once again.
GESUALDO
Thank you. (shields eyes) We will certainly miss the service now.
DONNA MARIA
I’m afraid I have no control over how fast I change my clothing cousin. Isn’t your father waiting?
GESUALDO
Yes.
DONNA MARIA
He sent you up here to fetch me?
GESUALDO
Yes there’s a carriage.
DONNA MARIA
I love this.
GESUALDO
What?
DONNA MARIA
Power hmm do you think the green or the red brooch?
GESUALDO
The white.
DONNA MARIA
That’s not an option cheater. Today’s looking a little red. Lace this for me, will you?
GESUALDO
No, I should not.
DONNA MARIA
Then we can’t go.
GESUALDO
You stubborn bitch.
DONNA MARIA
I’m just playing like children do with dirt.
GESUALDO
I should not be touching you.
DONNA MARIA
You know what helps? Imagine this is a story. Imagine these are verses from your Bible. You’re worried about desire but there isn’t any of that really. Not here. The laces on my back are just part of the parable. Something happens when they’re laced. Or when someone undoes them.
GESUALDO
Do you have something I can write on?
DONNA MARIA
And he chooses nothing.
GESUALDO
Something just came and I have to write something down rather quick.
DONNA MARIA
What are you writing?
GESUALDO
I need to remember a strain.
DONNA MARIA
It looks like music.
GESUALDO
It’s not music.
DONNA MARIA
You are writing notes on a page so obviously it’s music.
GESUALDO
Quiet.
DONNA MARIA
I didn’t know Princes were allowed to be / so sensitive.
GESUALDO
Could you please be quiet!
DONNA MARIA
…
GESUALDO
Done. Thank you. I will help you lace your dress now.
DONNA MARIA
I can’t figure out what causes you to do what you do and it is very frustrating.
GESUALDO
Breathe in.
DONNA MARIA
Yes suck in my fat belly huh?
GESUALDO
How does this go?
DONNA MARIA
The rabbit slips through the hole and jumps the fence.
GESUALDO
Yes I see.
DONNA MARIA
What does it say?
GESUALDO
What does what say?
DONNA MARIA
What you wrote down.
GESUALDO
“She who could give me life.”
DONNA MARIA
Cryptic. Tell me then.
GESUALDO
Tell you what?
DONNA MARIA
About your music.
GESUALDO
I don’t know what there is to say.
DONNA MARIA
Then just speak.
GESUALDO
I have … many voices in my head?
DONNA MARIA
Like a madman?
GESUALDO
And there will be these voices that keep repeating a phrase.
DONNA MARIA
What do you mean?
GESUALDO
A voice comes into my head. “She who could give me life”. Another voice repeats the first voice. A third voice repeats the first and second. The fourth voice combines the other three and a fifth moves in the opposite direction, like the underbelly of a wave. But if you can hear them all at once, all the voices at the same time, you’ll hear a sixth voice.
DONNA MARIA
And what’s the sixth voice?
GESUALDO
A voice that isn’t there. The sixth voice is all the other voices speaking as one.
DONNA MARIA
A quintet.
GESUALDO
Sextet. If we had the mind of God we could hear everyone suffering at the same time but all we have are our ears. There. We’re ready.
DONNA MARIA
Yes.
GESUALDO
Time to go to church.
DONNA MARIA
You should come around more.
GESUALDO
I just might.
DONNA MARIA
I could entertain you. I can be … entertaining.
1.3
Vienna, Austria
Early 20th Century
Art Gallery
Mathilde Schoenberg staring at painting.
Richard Gerstl stands behind her.
After a long beat:
RICHARD
Whadya thinka that?
MATHILDE
Excuse me are you speaking to me?
RICHARD
Yes.
MATHILDE
Oh and what did you say?
RICHARD
I asked you about that painting.
MATHILDE
I suppose I don’t have an opinion.
RICHARD
No? A pretty young thing like yourself with no opinion?
MATHILDE
I’m not young and I’m waiting for my husband.
RICHARD
A young woman waits for her mother.
MATHILDE
Husband.
RICHARD
Don’t let me bother you.
MATHILDE
I’m not letting you bother me.
RICHARD
Because I can bother you if you want.
MATHILDE
No thank you.
RICHARD
Just an offer. I’ll be sitting on this bench admiring that painting. You can look at other paintings but I’ll be sitting here admiring this painting.
MATHILDE
Look, why do you keep talking about that painting
RICHARD
Because obviously I painted it of course and I’m always seeking a little friendly criticism from women in gloves.
MATHILDE
Oh.
RICHARD
I see you are suitably impressed.
MATHILDE
No, not really.
RICHARD
Hmm.
MATHILDE
My husband has taught me not to be kind to artists.
RICHARD
Your husband’s in the majority.
MATHILDE
I perhaps misspoke when I said that I shouldn’t be kind. It is more that, as a regular Austrian without much education, I have little respect for the arts.
RICHARD
Oh you should talk to my friend.
MATHILDE
Oh yeah your friend?
RICHARD
He’s the man in that painting.
MATHILDE
There’s a man in that painting?
RICHARD
Yes well if you look at it for more than a brief second, if you peel your locks from your brow.
MATHILDE
Huh yes I can see him.
RICHARD
The master composer Arnold Schoenberg.
MATHILDE
He looks like he has a disease. I mean the way you painted him maybe.
RICHARD
I’ve been getting tired of faces so I no longer complete them and sometimes I become tempted to obscure or “slash” the face as I’ve done here.
MATHILDE
And this is your friend.
RICHARD
I think I was talking about him taking issue with your philosophy?
MATHILDE
We maybe left there.
RICHARD
My friend Arnold believes that the entirety of society has been created to benefit the existence of two creatures: Cats and artists.
MATHILDE
Cats and artists.
RICHARD
Cats and artists are the only beings who consume resources and give nothing in return.
MATHILDE
Well I wouldn’t say nothing.
RICHARD
Oh no?
MATHILDE
Pleasure. Artists give pleasure.
RICHARD
Same way a cat lets you pet where her butt meets her tail.
MATHILDE
Da Vinci. I like DaVinci. I get pleasure from DaVinci.
RICHARD
Oh a lady of culture.
MATHILDE
I’ve traveled.
RICHARD
I’ve never left Vienna.
MATHILDE
Oh you should really travel sometime.
RICHARD
The price of paint keeps me an honest homebody and of course intoxicants.
MATHILDE
Yes I spend money on that as well.
RICHARD
Is young miss a drinker?
MATHILDE
Only when it’s dark.
RICHARD
Good answer. Me, my hand too often animates itself to clutch a bottle.
MATHILDE
You shouldn’t be a drunk.
RICHARD
Why not?
MATHILDE
Your wife wouldn’t like it.
RICHARD
What wife?
MATHILDE
Well you’ll eventually marry we all do.
RICHARD
And she oozes with confidence. I think I’m in love with you. I think I’m in love with this girl. Regardless of any promises you might have made to the man you’ve forced yourself to call “husband,” would you like to go to the country with me?
MATHILDE
No I can’t.
RICHARD
Come on we’ll go away just you and I.
MATHILDE
No. I’m sorry. The man in that painting?
RICHARD
Yes?
MATHILDE
That is my husband.
RICHARD
Oh. Arnold is your husband.
MATHILDE
Indeed.
RICHARD
So. You’re Mathilde
MATHILDE
Pleased. You’re that crazy artist fuck he’s been spending nights with.
RICHARD
Nice to finally meet you, frau Schoenberg.
1.4
Vienna, Austria
Apartment of Arnold Schoenberg
At door:
SCHOENBERG
Come in out of the cold.
RICHARD
What have you been doing since last night?
SCHOENBERG
Writing. You?
RICHARD
Drinking. How was the concert?
SCHOENBERG
You weren’t there?
RICHARD
No I was with your wife.
SCHOENBERG
You were supposed to meet me at the concert.
RICHARD
You didn’t notice we had not arrived?
SCHOENBERG
I suppose I was concentrated on the music.
RICHARD
We decided to have a coffee and take a stroll.
SCHOENBERG
Count yourself lucky then you did not make it.
RICHARD
Why?
SCHOENBERG
The keys. They brought out the keys.
RICHARD
Oh dear.
SCHOENBERG
Yes.
RICHARD
What did Loos call the keys? “The mating call of the masses”?
SCHOENBERG
Loos says a lot he’s an art dealer and they all take cocaine.
RICHARD
Well, come on. Don’t spare the details.
SCHOENBERG
Webern was first on the program. The players are not three minutes in when the hissing starts. Actually yelling at the musicians to stop playing. Of course there’s a small minority who actually like Webern, myself included, and we start yelling Fuck you. The audience divides itself. The musicians keep playing but no one is listening. Which was a pity because they played so well, considering the difficulty of Anton’s work.
RICHARD
And considering the screaming mob.
SCHOENBERG
Quite. I don’t understand the idiocy of those people sitting in the seats, paying money to see something they’re just going to hate. They know they’re going to hate the work. So can we please let the poor musicians do their work? But no. Out with the keys.
RICHARD
(blows through hole in his door key)
SCHOENBERG
Yes, but two hundred of them. All at once. The dissonance of the mob.
RICHARD
That’s funny.
SCHOENBERG
What?
RICHARD
You complaining about dissonance.
SCHOENBERG
My dissonance is planned.
RICHARD
Oh, of course it is.
SCHOENBERG
And then at the second piece, which was Berg, they broke into riot. Half the audience stormed the stage. They destroyed the cello player’s cello. Everyone was getting in fistfights. A couple people yelling Let them play! Let them play! But there was nothing to be done. Madness had infected everyone’s minds.
RICHARD
A common trend these days.
SCHOENBERG
We’re getting stupid, friend. As a race.
RICHARD
Not the Viennesse, Arnold. We’re the “apex of society.”
SCHOENBERG
We’re still Austrians, Richard. We’ll never escape that.
RICHARD
And you say you’re not an Elitist.
SCHOENBERG
I’m not. I just think everyone is an idiot.
RICHARD
What did Loos say? “If you know the definition of intelligentsia, you’re a part of it.”
SCHOENBERG
Loos is a fool.
RICHARD
Loos is your paycheck.
SCHOENBERG
Loos supports everyone because he feels guilty he’s secretly a trust fund shitfuck. But the whole of the Vienna art scene would go under if he went broke.
RICHARD
So how did you escape the riot?
SCHOENBERG
That fucking Loos herded us out the back.
RICHARD
My God.
SCHOENBERG
I wish I’d had my gun.
RICHARD
Just don’t load any bullets. It’s not good to walk around with a loaded gun. They confiscated mine. The police.
SCHOENBERG
People generally do not tolerate a man walking around an art gallery with a loaded weapon.
RICHARD
I wanted to shoot those paintings but I couldn’t work up enough courage. So I got very drunk and just told stories about the gun. Told everyone the things I’ve shot with it. Pigeons. Chicken. Pigs.
SCHOENBERG
I remember because I paid your bail.
RICHARD
I still owe you for that.
SCHOENBERG
I know you don’t have any money.
RICHARD
Will you lend me your gun?
SCHOENBERG
No.
RICHARD
I’ve got to buy another gun. Will you lend me some money for supplies?
SCHOENBERG
Supplies?
RICHARD
Painting supplies.
SCHOENBERG
No. You’ll have to steal them again.
RICHARD
Not making anything from your compositions?
SCHOENBERG
No. I can’t even afford paper these days. How is the work coming? Aside from lack of adequate supplies.
RICHARD
Slow. I’m … distracted.
SCHOENBERG
You’ll find it. I have faith in your work.
RICHARD
Oh yeah?
SCHOENBERG
You’re the best painter we have.
RICHARD
Ha.
SCHOENBERG
As much as it pains me to give another artist a compliment. Yes, you’re a genius I’d say. And you’re twenty-five. You have plenty of time to become mediocre. “The Demons in Gerstl’s Mind”? What was that one piece where you drew the demon without hands?
RICHARD
No I called that piece, “The Demons in Demon Minds.”
SCHOENBERG
I can’t stop thinking about that piece. I wrote a little strain of music about that painting. Here.
Schoenberg plays first thirty five seconds of “Suite for Piano, op. 25.”
RICHARD
They’ll hate that.
SCHOENBERG
I know, right?
RICHARD
You wrote that because of my painting?
SCHOENBERG
You’re the best painter in walking distance. The best we have.
RICHARD
Where’s my cut?
SCHOENBERG
Ha.
RICHARD
I’m serious.
SCHOENBERG
Like I said, I’m broke. But I’ll give you a copy of the sheet music. You can play it in your mind until I can afford to pay musicians again.
RICHARD
I can’t sell a fucking thing.
SCHOENBERG
Oh but you’re getting quite a reputation around town. Your name keeps coming up around coffeeshops.
RICHARD
About my work?
SCHOENBERG
Mostly about your drinking. The Madman, they say. They say you destroyed your own painting.
RICHARD
I can’t deny it.
SCHOENBERG
They say you destroyed it because someone gave it a compliment.
RICHARD
I was trying to make a point.
SCHEONBERG
So you kicked in your canvas.
RICHARD
I was making a point to Klimt about a painting only really being something made of material and therefore of no value.
SCHOENBERG
Wait it was Klimt who complimented you Gustav Klimt?
RICHARD
They wanted to hang his color orgies next to my handless men so instead of being insulted like that I destroyed them.
SCHOENBERG
No wonder you’re always poor.
RICHARD
No I’m poor because I drink.
SCHOENBERG
You don’t need to drink for inspiration, Richard.
RICHARD
I don’t drink for inspiration. I drink so they’ll all shut up.
SCHOENBERG
Who all?
RICHARD
You know your conscience? You know when it speaks to you?
SCHOENBERG
Yes, of course.
RICHARD
I have five or six of those. Your wife says you never smile.
SCHOENBERG
There’s this formula to the music that’s eluding me. If I just didn’t have to spend the whole of my life on this ephemera. These obligations.
RICHARD
Your children. Your wife. I never want that. I never want to be serious like you.
SCHOENBERG
I know I can be serious. But it’s important to be like this. If I don’t go outside prepared to face a public who hates me, I’ll be eaten alive. You’re not a Jew. You don’t understand.
RICHARD
“The Merchant Of Vienna.”
SCHOENBERG
I’m sorry for sounding so melodramatic.
RICHARD
No, no. I like when you get animated. It happens so rarely.
SCHOENBERG
I’m animated. Who says I’m not animated?
RICHARD
Well, your wife.
SCHOENBERG
When did my wife say that?
RICHARD
(coughing violently)
SCHOENBERG
My handkerchief.
RICHARD
Thank you. I’ve been out too late drinking and smoking and smoking.
SCHOENBERG
You should stay away from the coffeehouses. Gossips and flaneurs populate their tables, not artists.
RICHARD
You’re just mad because they despise your work.
SCHOENBERG
Well, someone has to be the most hated composer in Vienna. It might as well be me. And without the rabble of the coffeehouse crowd, I’d have no audience. So out of sheer necessity, I have to surround myself with people who despise me.
RICHARD
Like me?
SCHOENBERG
How’s my wife? You spent the evening with my wife. How is my wife?
RICHARD
Good.
SCHOENBERG
I’ve been at writing all week and haven’t actually seen her … she looks well?
RICHARD
She always looks radiant.
MATHILDE
(comes in, tired, whispers) You’re waking the children.
RICHARD
(whispers) Sorry, are we being loud?
MATHILDE
(whispers) You woke up one of the children.
SCHOENBERG
(whispers) Mathilde, make us some coffee.
MATHILDE
(whispers) It is very late my husband.
SCHOENBERG
(whispers) I am speaking with Richard please bring us two coffees.
MATHILDE
(whispers) Sugar?
SCHOENBERG
(whispers) Black. What are you doing tomorrow?
RICHARD
(whispers) Hn?
SCHOENBERG
(whispers) I am buying a domino set tomorrow and would like to practice. Come over again tomorrow?
RICHARD
Sure thing.
SCHOENBERG
I’m bursting with piss. (slaps Richard on back) I’ll be back to say goodnight.
Schoenberg goes.
Mathilde appears in the room.
A moment where Richard stares at Mathilde.
Then he rushes to her.
They quickly embrace, kissing each other madly, his hand running down her thighs and up her neck as she grins wild.
1.5
Moscow, Russia.
Concert Hall
Tchaikovsky comes on stage.
A VOICE from the audience.
(Note: The VOICE actor stands behind the last row in the space.)
VOICE
Good morning.
TCHAIKOVSKY
Do you mind ... ?
VOICE
No, no
TCHAIKOVSKY
I mean, please – I’m about to start rehearsing for the premiere and I can’t have you in here.
VOICE
Yes I know what you were doing.
TCHAIKOVSKY
I'm sorry you're – ?
VOICE
I work for the ministry of arts. Where were you?
TCHAIKOVSKY
Mmn?
VOICE
Just now you were gone from concert hall.
TCHAIKOVSKY
I told my assistant to rehearse the orchestra in my absence.
VOICE
Oh yes I excused him.
TCHAIKOVSKY
You … excused my assistant?
VOICE
So where were you?
TCHAIKOVSKY
Visiting my nephew.
VOICE
Your nephew “Bob.”
TCHAIKOVSKY
That’s right.
VOICE
Well we've been rehearsing this new piece in your absence. I hope you don't mind I tried my hand at conducting?
TCHAIKOVSKY
N – no.
VOICE
“Sixth symphony.” Very depressing.
TCHAIKOVSKY
I do not think that it is.
VOICE
You see I was performing a little compare-and-contrast.
TCHAIKOVSKY
With what?
VOICE
“Swan Lake.”
TCHAIKOVSKY
Yes but the players do not know it.
VOICE
The ministry provided copies of the sheet music and I have distributed them to the players in your absence. Do you mind if I show you? I will conduct for you. Players?
Orchestra plays Swan Lake.
Then:
VOICE
Good now yes thank you.
TCHAIKOVSKY
I have not heard that in years.
VOICE
You should know it’s my favorite piece of music.
TCHAIKOVSKY
T – Thank you.
VOICE
Now. Your new piece. The Sixth. Players!
Orchestra plays opening strains of The Sixth.
Then:
VOICE
Okay enough, enough. Hear that? Very different.
TCHAIKOVSKY
They're not getting the transition yet.
VOICE
The Czar will not like this.
TCHAIKOVSKY
(to players) Yes players please go eat your meagre lunches, thank you! (to Voice) The music sounds strange because they don't know how to play it yet.
VOICE
Why are you writing this?
TCHAIKOVSKY
What ... What kind of question is that?
VOICE
Try.
TCHAIKOVSKY
Inspiration comes from places I don't understand.
VOICE
But why? Explain to me why.
TCHAIKOVSKY
I don't think I could ever explain it in a way that a man like yourself could understand.
VOICE
Do you have a good life?
TCHAIKOVSKY
Reasonably so.
VOICE
There is nothing you need?
TCHAIKOVSKY
No.
VOICE
Strange for an artist to live in comfort.
TCHAIKOVSKY
I am lucky to have benefactors.
VOICE
Most composers have terrible lives. Isn't that so?
TCHAIKOVSKY
Yes.
VOICE
Beethoven deaf, Wolfgang inna ditch.
TCHAIKOVSKY
Vivaldi.
VOICE
Yes, the “red-haired priest.”
TCHAIKOVSKY
Lusted after nuns.
VOICE
Tisk tisk.
TCHAIKOVSKY
Church kicked him to the street.
VOICE
And his music’s so nice.
TCHAIKOVSKY
Sometimes horrible minds bear beautiful things.
VOICE
And you?
TCHAIKOVSKY
Me?
VOICE
What will be your downfall?
TCHAIKOVSKY
Old age, I hope.
VOICE
No I do not think it will be that.
TCHAIKOVSKY
...
VOICE
What do you think it will be?
TCHAIKOVSKY
I could not say.
VOICE
I suppose I'm asking you to guess.
TCHAIKOVSKY
Please illuminate me.
VOICE
I suppose it's a question of legacy.
TCHAIKOVSKY
Is my legacy in doubt?
VOICE
People have a way of forgetting what once was popular.
TCHAIKOVSKY
If they are made to forget.
VOICE
...
TCHAIKOVSKY
You are here to censor the symphony.
VOICE
...
TCHAIKOVSKY
So, what?
VOICE
Just a couple questions.
TCHAIKOVSKY
Fine.
VOICE
Your wife.
TCHAIKOVSKY
Yes Antonina.
VOICE
Where is she?
TCHAIKOVSKY
At home.
VOICE
And where's home?
TCHAIKOVSKY
I don't think I need to tell you where I live.
VOICE
No I'm asking you what you regard as home.
TCHAIKOVSKY
Where my wife lives.
VOICE
But you haven't been there for a week.
TCHAIKOVSKY
Yes sometimes I stay with my nephew.
VOICE
Your nephew?
TCHAIKOVSKY
My nephew's apartment is closer.
VOICE
I didn't ask about your nephew.
TCHAIKOVSKY
Yes but that's why –
VOICE
I didn't ask about it so why are you bringing it up?
TCHAIKOVSKY
That's enough.
VOICE
What are you saying – ?
TCHAIKOVSKY
I've had enough speaking with you, thank you –
VOICE
You can't just say that.
TCHAIKOVSKY
No?
VOICE
You can’t just treat / me like –
TCHAIKOVSKY
I can't just treat you like what? I eat dinner with the Czar. I'll bring you up next time because you march to my music every holiday you pompous cunt.
VOICE
...
TCHAIKOVSKY
Excuse me.
VOICE
Not wise.
TCHAIKOVSKY
I've been under … stress.
VOICE
Then it is agreed between you and I that I will tell the Czar you will the change symphony.
TCHAIKOVSKY
… Yes.
VOICE
You use a strain from a peasant song of patriotism and loyalty in the second movement.
TCHAIKOVSKY
Yes.
VOICE
Embellish the melody and make the peasant song its own movement.
TCHAIKOVSKY
It feels like the temperature in this room has changed.
VOICE
Colder?
TCHAIKOVSKY
… I cannot tell.
1.6
Naples, Italy
Church altar
PRIEST
And you love her?
GESUALDO
Yes it is a similar feeling to love.
PRIEST
And you plan to wed?
GESUALDO
Well she is wed to another man, and older man, this older man has her kept in her his love and I wish to extricate her from it. Is this clear? Is what I said clear?
PRIEST
You wish this husband of Donna Maria to vanish.
GESUALDO
Just to the North.
PRIEST
He owns land?
GESUALDO
Yes I will own his land now.
PRIEST
As a member of the church you must know that as a representative of the church I must report that the church has no official opinion and will take no official action against this man.
GESUALDO
Understood.
PRIEST
But of course I will send notice of any news of the church relocating his household to the North.
GESUALDO
He is an old man. Old men have no place in this world. You are a young man.
PRIEST
Not so young.
GESUALDO
Did you ever?
PRIEST
Ever?
GESUALDO
Have you ever?
PRIEST
You mean … ?
GESUALDO
Ladies. A woman.
PRIEST
No.
GESUALDO
Nor I.
PRIEST
Prince –
GESUALDO
Like you I have not been with a woman. There are books. I’ve been reading books.
PRIEST
The Bible.
GESUALDO
Always the Bible. But other books.
PRIEST
Books about what?
GESUALDO
Strange subjects.
PRIEST
Such as?
GESUALDO
We made that library. You know the one?
PRIEST
The stone library at the edge of the harbor.
GESUALDO
There are these books they brought from some country I do no know. Translated verses. Some Germanic tribe. There’s a formula for the Devil. There’s a formula for the Devil that reduces the triangulation of the skeleton to a series of pentagrams in the body here. Here. And here.
PRIEST
Careful my … head.
GESUALDO
These pentagrams turn the human body into a tuning fork of the Devil. In men, this ability is muted. With the knowledge of innate sin, men purge the world of evil. But women crave this knowledge. The crucifix of pentagrams affixed to the skeleton of all women – six, six, six – attests to their demon born mind. You can see it when they sleep. You can see it when they promise their love. Six. Six. Six.
PRIEST
Y - yes?
GESUALDO
I’ve been seeing combinations of three sixes. I’ve been putting it backwards into the music. People won’t hear but they’ll know. You lay a voice backwards in the structure of music and you begin to hear another voice. A being. A physical being made manifest in the room.
PRIEST
If you could just unclutch my robe –
GESUALDO
Do you feel this being? This other being in the room with us? Watching. I want to put Him in the music. If I can just put Him in the music then He’ll live in the minds of everyone. What do you think?
PRIEST
Of what?
GESUALDO
As a priest. Your opinion of me.
PRIEST
I think you need a wife.
GESUALDO
Then get me Donna Maria, eh?
Interlude.
Vienna, Austria
Concert Hall
SCHOENBERG
(to unseen players) Again. And this time, just the notes. The piece has a logic of its own. Respect that the composition may be smarter than you. Just read the note. Play it. Read the next note. Play that. And so on. It is not your job to create. Players are always only interpretive artists. But within this restraint lies invention. Like dancing in a narrow hallway. The shackles of form force creativity. You must imprison yourself to learn what freedom means. So, please. Again.
ACT TWO
2.1
Naples, Italy
Palace Bedroom of Carlo Gesualdo
Moscow, Russia
Home of Piotr Tchaikovsky
Vienna, Austria
Apartment of Arnold Schoenberg
Donna Maria painting herself with makeup in a mirror.
Antonina plays Tchaikovsky’s “Fugue for piano in g sharp minor, mvt. 2, Op. 21.”
Schoenberg and Richard play dominoes.
Gesualdo enters on Donna Maria:
GESUALDO
Wife.
DONNA MARIA
You have returned sooner than expected.
GESUALDO
Yes.
DONNA MARIA
How was your concert?
GESUALDO
Of course they loved it. What have you been doing?
DONNA MARIA
Waiting for you, of course.
GESUALDO
You didn’t take the carriage to my concert.
DONNA MARIA
You said I could wait for the next one.
GESUALDO
What I really meant was I wanted you to come.
DONNA MARIA
But they loved your music anyway?
GESUALDO
They’re my subjects so they say they love it because they think if they lie they’ll lose their situation.
RICHARD
Okay your move.
SCHOENBERG
Finally.
DONNA MARIA
I thought you were staying at your study tonight.
RICHARD
How did the concert go?
SCHOENBERG
Very badly.
DONNA MARIA + RICHARD
What happened?
GESUALDO
I lost the song.
SCHOENBERG
The audience didn’t like the piece so they started screaming so I told them to shut up and listen but someone threw a bottle at me so I leapt through the crowd and kicked a woman in the head.
RICHARD
Ouch.
SCHOENBERG
Accidentally.
RICHARD
Of course.
GESUALDO
I had the song this morning but when I went to put it down on paper I lost it.
DONNA MARIA
That’s nice.
GESUALDO + SCHOENBERG
What brings you out?
DONNA MARIA + RICHARD
What brings me out?
SCHOENBERG
What brings you out into the night and into my home at one in the morning.
DONNA MARIA + RICHARD
I couldn’t sleep.
DONNA MARIA
I can’t sleep. I haven’t slept. These thoughts I keep having and my mind racing and it feels like something’s coming to get me.
RICHARD
I saw a dead man earlier this week. I keep thinking about him instead of sleeping. I was passing in the park and found a dead man on a bench. Homeless. He was clutching a crucifix without a head. It was actually comforting to watch him. So cold and still. I imagined his dead lips whispering
GESUALDO + RICHARD
God has punished us.
DONNA MARIA
Whatever for?
GESUALDO
I have yet to find out.
RICHARD
How’s your wife?
GESUALDO
How’s your Latin?
DONNA MARIA + SCHOENBERG
Good.
DONNA MARIA
The Duke Fabrizio is very good.
SCHOENBERG
My wife is well.
RICHARD
I like your wife.
SCHOENBERG
So do I.
GESUALDO
How are the Duke Fabrizio’s lessons?
DONNA MARIA
Very nice.
GESUALDO
Are they difficult?
DONNA MARIA
They are very hard.
SCHOENBERG
That’s really your move?
RICHARD
That’s really my move.
SCHOENBERG
If you play the triple six I’ve got you. Try again.
Schoenberg hums “Oh my dear friend Augustin” throughout:
Tchaikovsky enters.
TCHAIKOVSKY
Nice piece.
ANTONINA
(stops playing) Oh you’re soaking wet.
TCHAIKOVSKY
Yes, I noticed.
ANTONINA
What happened to you?
TCHAIKOVSKY
I fell outside the concert hall on those damn frozen steps.
ANTONINA
Did you walk home?
TCHAIKOVSKY
Help me with this boot.
ANTONINA
I can’t believe you walked all the – Oh dear. Oh dear.
TCHAIKOVSKY
I think my sock is frozen.
ANTONINA
But the concert was good?
TCHAIKOVSKY
They don’t follow me. The players don’t follow me. My conducting. They can’t follow my conducting. It’s not me. I wrote it, I know how to conduct my own work.
ANTONINA
You’re so cold.
TCHAIKOVSKY
Could you please run a hot washcloth?
ANTONINA
Oh yes, yes.
TCHAIKOVSKY
Thank you.
ANTONINA
What piece did you play?
TCHAIKOVSKY
The First.
ANTONINA
Did they love it?
TCHAIKOVSKY
Of course they loved it.
ANTONINA
You don’t sound happy.
TCHAIKOVSKY
I’m not. My benefactress did not send a check. We are out of money until my benefactress sends a check.
ANTONINA
Peter?
GESUALDO
Maria?
DONNA MARIA
That is the name people gave me.
GESUALDO + ANTONINA
Can I show you what I did?
ANTONINA
Do you want to know what I did while you were gone because I’ve frankly been very excited to show you what I’ve been doing, can I show you?
DONNA MARIA
If you wish.
GESUALDO + ANTONINA
I wrote something for you.
ANTONINA
A poem.
TCHAIKOVSKY
Oh. Lovely.
ANTONINA
Here.
DONNA MARIA
I don’t read music.
GESUALDO
Just read the words.
RICHARD
What are you humming?
SCHOENBERG
Some children’s song, some stupid little melody that infects your mind like poison.
Schoenberg keeps humming:
ANTONINA
Do you like it?
TCHAIKOVSKY
Well, it’s very romantic.
GESUALDO + ANTONINA
It’s all about you.
DONNA MARIA
“My flesh is yours and my body must die to feel your passion”?
TCHAIKOVSKY
And am I the “quivering cuckoo” or “black stallion”?
ANTONINA
Both.
DONNA MARIA + TCHAIKOVSKY
How very –
DONNA MARIA
– lovely.
GESUALDO
You like it?
DONNA MARIA
I said lovely.
RICHARD
You’ve stuck it in my head.
SCHOENBERG
Annoying, isn’t it?
RICHARD
(singing) Oh my dear friend Augustin Augustin, Augustin –
SCHOENBERG & RICHARD
(singing) Oh my dear friend Augustin, everything’s lost.
GESUALDO + TCHAIKOVSKY + SCHOENBERG
(sneezes)
DONNA MARIA + ANTONINA + RICHARD
Are you sick?
GESUALDO + TCHAIKOVSKY + SCHOENBERG
It’s nothing.
SCHOENBERG
Just a leftover cold.
TCHAIKOVSKY
Just this freezing Moscow rain.
GESUALDO
Sometimes my chest burns for no reason.
ANTONINA
You’ve been coughing two weeks straight.
DONNA MARIA
You should see one of your three hundred doctors.
GESUALDO + TCHAIKOVSKY
I’m fine.
ANTONINA
You’ve been sick since our wedding.
TCHAIKOVSKY
I’ll be fine.
SCHOENBERG
I don’t have all evening for your process.
RICHARD
I’m thinking.
SCHOENBERG
You don’t have any threes.
RICHARD
You angry about something?
SCHOENBERG
Do I look angry?
RICHARD
You always look calm and sort of angry, yes.
SCHOENBERG
I’m not angry.
RICHARD
I’m not attacking you.
SCHOENBERG
Then stop acting like you are.
RICHARD
I’m your friend, Arnold.
SCHOENBERG
No. You’re young and the young don’t have friends, only acquaintances they haven’t yet disappointed.
GESUALDO
Why are you wearing makeup?
DONNA MARIA
Hmn?
GESUALDO
It’s very late and you’re wearing makeup.
DONNA MARIA
Yes.
GESUALDO
You’re just putting it on?
DONNA MARIA
I’m just putting it on.
GESUALDO
You’re not going anywhere?
DONNA MARIA
I’m not going anywhere.
GESUALDO
But you thought I was asleep.
DONNA MARIA
Yes. I thought I’d be in peace.
ANTONINA
It’s our anniversary today.
TCHAIKOVSKY
What?
ANTONINA
Our two-week anniversary.
TCHAIKOVSKY
Happy Two Weeks.
ANTONINA
It’s okay if you don’t remember.
TCHAIKOVSKY
I’m sorry I’ve nothing planned.
GESUALDO
I’ll take a bath then.
DONNA MARIA
Keep the lights on this time.
GESUALDO
I love it without the lights.
DONNA MARIA
It’s repulsive. Wet water in darkness.
GESUALDO
Like the womb.
SCHOENBERG
Triple six.
RICHARD
Fuck.
DONNA MARIA
You are a bizarre little man.
ANTONINA
Do you think we could –
TCHAIKOVSKY
Not now.
ANTONINA
All right.
TCHAIKOVSKY
Not tonight.
ANTONINA
Okay.
GESUALDO
You are so beautiful, Maria.
DONNA MARIA
That’s just something to say.
GESUALDO
The most beautiful woman in Naples.
DONNA MARIA
God made me.
GESUALDO
It must have been the Devil.
DONNA MARIA
I’m your wife.
GESUALDO
I thought you were too but you’ve also become something else.
RICHARD
Is this your wife here?
SCHOENBERG
That’s our wedding picture.
RICHARD
She’s so young.
SCHOENBERG
Before the children.
GESUALDO
We’re going to church tomorrow, Maria.
DONNA MARIA
Church is tedious. It makes me think I’m wrong.
GESUALDO
We’re all wrong, Maria.
SCHOENBERG
Mathilde stopped coming to my concerts because she thinks music is a waste of time and surely a waste of money.
DONNA MARIA
You love God over me.
GESUALDO
No. I love my music above all because that’s how I talk to Him.
DONNA MARIA
Oh and does He talk back?
GESUALDO
Not yet –
GESUALDO + ANTONINA
But soon.
TCHAIKOVSKY
Hmn?
ANTONINA
But soon?
TCHAIKOVSKY
Oh. Yes. Soon.
ANTONINA
When?
TCHAIKOVSKY
When I feel better.
ANTONINA
When will that be?
TCHAIKOVSKY
I do not know.
ANTONINA
I heard about it, someone told me about it and I think I want it so do you think you can do that?
TCHAIKOVSKY
I do not know.
ANTONINA
Why not?
TCHAIKOVSKY
It is difficult to say.
DONNA MARIA
Were you going to take a bath or just loom and stare?
GESUALDO
I’m deciding what to do with you.
RICHARD
Your wife is quite striking.
SCHOENBERG
Nn.
RICHARD
In the photo.
SCHOENBERG
You don’t have to say that.
ANTONINA
That washcloth.
TCHAIKOVSKY
Thank you.
ANTONINA
Let me.
TCHAIKOVSKY
Just my neck.
RICHARD
You don’t think she’s beautiful?
SCHOENBERG
You have a painter’s eye and only a painter could find my wife beautiful.
DONNA MARIA
Cousin by the look in your eye reflected in this mirror it seems you need something.
GESUALDO
Yes.
DONNA MARIA
Shall I release you?
GESUALDO
Yes.
DONNA MARIA
Which way?
GESUALDO
(handing dagger, handle first) Dagger handle.
DONNA MARIA
(grasping the dagger’s cross in her palm) Dangerous.
ANTONINA
Will you play me something?
TCHAIKOVSKY
Such as?
ANTONINA
You choose.
TCHAIKOVSKY
One of mine?
ANTONINA
Of course.
TCHAIKOVSKY
Something new?
ANTONINA
Oh please.
TCHAIKOVSKY
I just finished this at my nephew’s.
GESUALDO
(bent over a chair) I’m ready.
TCHAIKOVSKY
This is from the ending.
Tchaikovsky plays end of “1812 Overture” through:
DONNA MARIA
Here comes the hedgehog –
GESUALDO
(as Donna Maria presses the dagger handle into his anus) Oh fuck.
SCHOENBERG
It’s not my intention to be malicious.
GESUALDO
Oh fuck.
SCHOENBERG
I love my wife. But it’s the truth. I didn’t marry Mathilde because she’s pretty. I married her because she would make a good wife. They’re mutually exclusive qualities.
DONNA MARIA
(slow with the handle) So red.
GESUALDO
Oh FUCK.
SCHOENBERG
I love my wife because she’s not beautiful. Beautiful things have nothing to offer me. I want to go past The Beautiful. But I can’t do it with these damned audiences. They only like the familiar. Nothing innovative or intelligent or daring.
DONNA MARIA
(faster, whispering) Is this what you wanted?
GESUALDO
Nn hn.
SCHOENBERG
Love melodies. That’s what they like.
DONNA MARIA
Oh cousin.
GESUALDO
No don’t stop.
SCHOENBERG
I honestly don’t know why I continue writing.
GESUALDO
Don’t stop.
SCHOENBERG
These half-wits with fat wallets, doctors and lawyers and aesthetic types who demand moronic simplicity from their intellectual superiors.
GESUALDO
Don’t stoahhhrk! –
Gesualdo comes, collapses.
Tchaikovsky finishes playing “1812 Overture.”
ANTONINA
Oh, that’s just marvelous.
TCHAIKOVSKY
It’s very noisy, I’ll give you that.
ANTONINA
(kissing him wildly) Oh you’re a genius, a genius.
RICHARD
What does this have to do with your wife?
SCHOENBERG
Was I talking about my wife?
DONNA MARIA
(wiping dagger handle on her dress) All better.
TCHAIKOVSKY
Stop, stop it.
ANTONINA
I’m sorry I’m sorry.
TCHAIKOVSKY
There’s nothing wrong, just don’t do that, thank you.
SCHOENBERG
What are those?
RICHARD
What are what?
SCHOENBERG
You seem to have fresh cuts on your wrist.
TCHAIKOVSKY
Please don’t cry, Nina.
ANTONINA
I’m doing something wrong. I must be doing something wrong.
GESUALDO
Did you see that?
RICHARD
Oh these cuts?
SCHOENBERG
Yes.
RICHARD
I remember cutting myself but the funny thing was the pain made me finish two portraits.
SCHOENBERG
You should really sort out your problems.
RICHARD
I don’t think I could work if I didn’t have problems.
GESUALDO
My shadow –
TCHAIKOVSKY
I’m going for a walk.
ANTONINA
You just got home.
TCHAIKOVSKY
I would like to go for a walk.
GESUALDO
My shadow waved at me –
DONNA MARIA
Are you going to pull your pants up?
SCHOENBERG
We’re headed out to the country next weekend.
ANTONINA + RICHARD
Where are you going?
TCHAIKOVSKY
Just a stroll by the Moscow.
SCHOENBERG
To our shack in the country.
ANTONINA
You’ll freeze.
GESUALDO
I’ll be fine.
SCHOENBERG
Did you want to come out to the country?
ANTONINA
Please don’t go.
TCHAIKOVSKY
I really should.
GESUALDO
Look at my shadow.
SCHOENBERG
You need some time away from Vienna and my wife would love you coming to the country with us.
GESUALDO
What does my shadow look like?
DONNA MARIA
A man with his pants down.
ANTONINA
Where have you been sleeping?
TCHAIKOVSKY
At the apartment of my nephew.
GESUALDO
Doesn’t my shadow look like a rooster?
ANTONINA
I don’t like being alone.
RICHARD
I can’t afford the trip.
SCHOENBERG
I’ll pay you.
RICHARD
I can’t just take your money.
GESUALDO
An old rooster? An old cuckold?
SCHOENBERG
I’m commissioning you then.
RICHARD
What’s the subject?
SCHOENBERG
My wife. My wife in the countryside. You paint my wife in the countryside.
RICHARD
I won’t say no.
ANTONINA
Can you please stop dressing!
TCHAIKOVSKY
Oh, I – are you upset?
ANTONINA
Yes.
TCHAIKOVSKY
Why?
ANTONINA
I do not know.
TCHAIKOVSKY
Then what is it?
ANTONINA
I have been having terrible dreams.
TCHAIKOVSKY
About me?
ANTONINA
I’m playing the violin. I don’t play the violin, I know, but in the dream I could play very well. But no one was listening. The concert hall, this great concert hall with red velvet curtain on all the walls. It was empty. And I played faster and faster and the strings broke off, just whipped right off the instrument, and they cut my forearms and I tried to brush it away, brush the blood away but my fingernails cut my skin and I tried to call out but the space swallowed the sound. But I could hear you. In that silence, I could hear you. I’m coming. I’m coming. But you never did. You never came.
2.2
Apartment of Arnold Schoenberg
Home of Vladimir Davidov
Palace Study of Carlo Gesualdo.
Schoenberg plays opening to Six Little Piano Pieces #2 throughout:
Duke Fabrizio correcting lesson while Gesualdo watches.
Tchaikovsky composing on sheet of paper while Vladimir watches.
TCHAIKOVSKY
The concert was terrible. They don’t like my conducting. I don’t see anything wrong with it. I wrote the piece. I should know how to conduct the damned thing.
VLADIMIR
I loved the piece.
TCHAIKOVSKY
Well unlike my musicians you have taste.
VLADIMIR
Who are they to tell the Great Tchaikovsky how to play his own piece?
TCHAIKOVSKY
Please don’t call me Great Tchaikovsky.
VLADIMIR
Don’t be so sensitive, uncle. Just face it. You’re a great composer. Say it.
TCHAIKOVSKY
This is foolish –
VLADIMIR
I’m a great composer.
TCHAIKOVSKY
I’m a great composer.
FABRIZIO
She uses her verbs improperly.
GESUALDO
Do you mind if I see the lesson?
FABRIZIO
Let me finish correcting –
GESUALDO
I don’t mind watching in the meantime.
FABRIZIO
Whatever suits the Prince.
GESUALDO + VLADIMIR + MATHILDE
Do you want anything?
FABRIZIO
I am satisfied, Prince.
VLADIMIR + MATHILDE
Do you want anything?
TCHAIKOVSKY
Were you saying something?
VLADIMIR
Do you want something to drink?
GESUALDO
How about some wine from my vineyard?
FABRIZIO + TCHAIKOVSKY
Yes, that’s fine.
VLADIMIR
Vodka?
TCHAIKOVSKY
Water.
MATHILDE
Do you want anything?
SCHOENBERG
(stops playing) I’m working on a little something right now so please be very quiet.
MATHILDE
I’m making tea.
SCHOENBERG
I’ll have a cup.
He plays Six Little Piano Pieces #3, throughout:
VLADIMIR + MATHILDE
I’ll put the kettle on.
TCHAIKOVSKY
Don’t bother.
VLADIMIR
Moscow water makes most people ill.
TCHAIKOVSKY
I like parasites.
GESUALDO
I’ve never been to the vineyard but I hear it’s beautiful. There’s so much of my domain I haven’t even seen but my servants tell other servants to tell me that my vineyards are beautiful.
GESUALDO + VLADIMIR
Here you are.
VLADIMIR
One unboiled glass of Moscow water.
TCHAIKOVSKY
The ice kills the bacteria.
MATHILDE
You’ve been tuning that thing all afternoon.
SCHOENBERG
(stops playing) These are new compositions.
MATHILDE
Oh it sounded like ...
SCHOENBERG
Like what?
MATHILDE
Like you were tuning the piano.
SCHOENBERG
Do you mind?
MATHILDE
No.
SCHOENBERG
Thank you.
He plays Six Little Piano Pieces #5, throughout:
GESUALDO + VLADIMIR
How is it?
FABRIZIO + TCHAIKOVSKY
Fine.
GESUALDO
Many say it’s the best wine in Italy, which infuriates the Northerners of course.
FABRIZIO
Of course.
GESUALDO
A filthy Neapolitan Prince bleeding his vineyards into the finest wine of God’s kingdom.
FABRIZIO + TCHAIKOVSKY
It tastes just fine –
TCHAIKOVSKY
– and in fact it may be the best hrgk. Something’s – hrgk! – wrong. I can’t – hrgk! – breathe.
VLADIMIR
Stop that, uncle.
TCHAIKOVSKY
Help! Poison! Murder!
GESUALDO
Would you say that this is the best wine you’ve tasted?
FABRIZIO
It is very delicious indeed.
GESUALDO
I give this wine to the priests in the city. They wave their hands and it becomes blood. You’re drinking the Blood of Christ, Fabrizio.
VLADIMIR
You’re not much of an actor.
TCHAIKOVSKY
That was actually pretty convincing.
VLADIMIR
They’d boo you off the stage.
TCHAIKOVSKY
Harsh critic.
VLADIMIR
Stick to composing.
TCHAIKOVSKY
Uhk, I wish I could quit.
VLADIMIR
Don’t say that. You could write a symphony in your sleep.
TCHAIKOVSKY
You’ve been reading too many newspapers. You make me sound like the Czar.
VLADIMIR
You’re certainly more popular than the Czar.
TCHAIKOVSKY
Just don’t say that in front of him.
VLADIMIR
Why not?
TCHAIKOVSKY
The Czar can be a very difficult man. He loves my music. But he doesn’t like people like us.
VLADIMIR
What do you mean?
TCHAIKOVSKY
What do you think I mean, nephew?
MATHILDE
We might need food, Arnold.
SCHOENBERG
(stops playing) No. No.
MATHILDE
Arnold?
SCHOENBERG
What?
MATHILDE
We need to get some food.
SCHOENBERG
I’m teaching later this week.
MATHILDE
What will we eat for dinner?
SCHOENBERG
Just make anything. I don’t care.
MATHILDE
We don’t have anything.
SCHOENBERG
Just give me a minute, please.
He plays Six Little Piano Pieces #1, throughout:
GESUALDO
Ask about my wife.
FABRIZIO + VLADIMIR
How is your wife?
GESUALDO + TCHAIKOVSKY
My wife is well.
GESUALDO
She loves your Latin lessons.
TCHAIKOVSKY
We don’t really know each other yet.
VLADIMIR
But you married her?
TCHAIKOVSKY
She was a student and sent me love letters and I didn’t feel the same but she threatened to kill herself so I said yes.
GESUALDO
I compose music, Duke.
FABRIZIO
Yes, your wife said.
GESUALDO
So you’ve heard my work?
FABRIZIO
Unfortunately no.
GESUALDO + VLADIMIR
That is unfortunate.
TCHAIKOVSKY
Why?
VLADIMIR
Living with a stranger.
TCHAIKOVSKY
It’s not so bad as long as I can work here.
GESUALDO + VLADIMIR
Of course –
GESUALDO
– I’m not known as a composer yet because musical composition is a servant’s duty when really it should be our rulers who decide what sounds the people hear. Don’t you agree?
FABRIZIO
I do appreciate music approved by the church.
.
GESUALDO
Then you would not like my music.
VLADIMIR + MATHILDE
What are you working on?
TCHAIKOVSKY
Opera.
SCHOENBERG
Restructuring the hierarchy of Western tonal scales.
MATHILDE
Will it make us money?
SCHOENBERG
Only idiots write for money.
GESUALDO
Music is prayer. (takes corrected paper from Fabrizio) We speak words but sound paves the true path to God.
FABRIZIO
What do you mean?
GESUALDO + TCHAIKOVSKY + SCHOENBERG
(crumpling paper) Let’s start over.
FABRIZIO + VLADIMIR + MATHILDE
What’s wrong?
GESUALDO + TCHAIKOVSKY + SCHOENBERG
It’s not coming together.
FABRIZIO + VLADIMIR + MATHILDE
But what’s wrong?
GESUALDO + TCHAIKOVSKY + SCHOENBERG
Let me explain it clearly.
SCHOENBERG
My music is not about anything –
TCHAIKOVSKY
My music is a love story that ends badly –
GESUALDO
My music is Latin scripture –
TCHAIKOVSKY
This country girl falls in love with a man from the city –
SCHOENBERG
(making a diagram for Mathilde) Think of a chessboard –
GESUALDO
(reading from Bible) “All my friends have betrayed me” –
TCHAIKOVSKY
The country girl sends the city man a love letter –
SCHOENBERG
The rules of chess state that some pieces have more power than others –
GESUALDO
“They have given me vinegar to drink” –
SCHOENBERG
Now imagine every chess piece as a musical note –
TCHAIKOVSKY
But the city man tells her he cannot love her –
GESUALDO
“They have cast me out amongt the damned” –
TCHAIKOVSKY
Then the man makes a pass at her sister –
SCHOENBERG
What if every chess piece – every note – was the same?
GESUALDO
“And even the wicked look upon me with hate.”
SCHOENBERG
What if every note had the same power?
TCHAIKOVSKY
So her sister’s lover challenges the man to a duel and the man shoots the country girl’s sister’s lover in the heart –
MATHILDE
I don’t understand.
TCHAIKOVSKY
It’s a comedy.
SCHOENBERG
Of course you don’t understand.
MATHILDE
Shit, your tea.
TCHAIKOVSKY
This is from the prelude.
He plays prelude to “Eugene Onegin,” throughout:
FABRIZIO
I don’t know those verses.
GESUALDO
Book of Job. Lovely story. A man loves God so much that God kills everything he loves. Here’s a Bible, look it up.
FABRIZIO
Thank you.
GESUALDO
Read it.
FABRIZIO
(uncrumpling paper) Let me finish correcting.
SCHOENBERG
They’re publishing my piece you know.
MATHILDE
That’s nice.
SCHOENBERG
That operatic song cycle.
MATHILDE
Which one?
SCHOENBERG
The Gurrelieder.
MATHILDE
I don’t remember that one.
SCHOENBERG
The king loves his mistress. Remember? The king’s wife is jealous. The king’s wife’s lover captures the lusty mistress. He scalds her to death in volcanic steam. The king finds his mistress’ boiled body. He damns God and in turn damns himself. But the king gets his revenge. He stuffs his wife’s lover in a barrel bristling with nails and rolls him down a hill.
MATHILDE
I never liked that one.
SCHOENBERG
Your name’s on the dedication.
TCHAIKOVSKY
(finishes playing) Something like that.
VLADIMIR
I can’t wait for the rest.
TCHAIKOVSKY
It just came to me while I was here in your house.
SCHOENBERG
And they’re actually paying me for the score.
MATHILDE
That’s good.
SCHOENBERG
I seem to remember you saying I couldn’t make a living at this.
TCHAIKOVSKY + MATHILDE
Can we talk about something else?
VLADIMIR + SCHOENBERG
What do you mean?
TCHAIKOVSKY + MATHILDE
We’ve been talking about music all day.
VLADIMIR + SCHOENBERG
We can talk about something else.
MATHILDE
You can’t keep having Richard over.
TCHAIKOVSKY
I get so bored talking about myself.
MATHILDE
I was up so late because you and Richard were playing that loud child’s game.
SCHOENBERG
Dominoes is actually very complicated.
He plays “Six Little Piano Pieces #2,” throughout:
GESUALDO + TCHAIKOVSKY
What about you?
FABRIZIO + VLADIMIR
What about me?
TCHAIKOVSKY
You look like your father.
VLADIMIR
That’s what they say.
TCHAIKOVSKY
Your father was handsome.
VLADIMIR
That’s what they said.
GESUALDO + TCHAIKOVSKY
You’re really an attractive young boy.
VLADIMIR + FABRIZIO
I’m a man.
GESUALDO
I can see that.
TCHAIKOVSKY
You don’t have a wife yet.
GESUALDO
Did you know I own everybody? Was that made clear to you, Fabrizio? I hope someone explained at some point that I own everything you see. Fields. Rocks. The city. I own the people and the fishermen and the priests. The messengers. People who carry messages to and from this Palace? Even the ones who do it in secret? I own their messages. I own their thoughts.
SCHOENBERG
I invited Richard to the country.
TCHAIKOVSKY
You’re an attractive young man and you don’t have a wife.
VLADIMIR
I haven’t fallen in love yet.
TCHAIKOVSKY
Is that really the reason?
SCHOENBERG
I said it was you who wanted him to come.
MATHILDE
I never said that.
SCHOENBERG
I thought you liked Richard.
MATHILDE
I didn’t say I wanted him to come.
GESUALDO + TCHAIKOVSKY + SCHOENBERG
You blushed just then.
MATHILDE
Why did you do that?
GESUALDO + TCHAIKOVSKY + SCHOENBERG
Why did you blush?
VLADIMIR
I was thinking about this young woman.
FABRIZIO
I was thinking about something difficult to explain.
MATHILDE
Don’t say things I didn’t say.
VLADIMIR
I know this young woman who’s fallen in love.
SCHOENBERG
Don’t you and Richard like spending time together?
MATHILDE
Just us and him alone in the country?
GESUALDO
Look up Job.
VLADIMIR
The young girl has fallen in love with a wonderful man.
GESUALDO
Look up Job.
SCHOENBERG
But Richard likes you.
VLADIMIR
Everyone loves this man and worships his music.
SCHOENBERG
He likes how you look.
MATHILDE
Did he say that?
SCHOENBERG
Looking at our wedding picture.
VLADIMIR
But she just loves him.
FABRIZIO
What’s this?
GESUALDO
What did you find?
FABRIZIO
A letter between the pages.
VLADIMIR
This person just loves this other person.
FABRIZIO
This letter is not mine.
GESUALDO
Yet it bears your name.
TCHAIKOVSKY
What will she do?
VLADIMIR
She wants to kiss him.
GESUALDO
Read it to me.
TCHAIKOVSKY
She should kiss him.
GESUALDO
Read it to me.
TCHAIKOVSKY
She should kiss this man.
VLADIMIR
You’re my uncle.
TCHAIKOVSKY
You’re my nephew.
VLADIMIR
You’re a man and you’re my uncle.
FABRIZIO
“If you remember the knives that I told you about again and again, the knives that lay nestled in the drawer in the cupboard of my husband’s kitchen?
FABRIZIO + DONNA MARIA
At night sometimes I have been caressing my wrists with the soft metal blade of the butcher’s knife –
DONNA MARIA
– my flesh waiting for the hot kiss of pain pealing up my arm. If for some reason you cannot have me then maybe I can finally answer the question I posed to my own body: How much damage must I do to you before you fall motionless? What pain must I inflict to wrench the oyster of my soul from the husk I call me?”
MATHILDE
The sun keeps coming up.
SCHOENBERG
Hmn?
MATHILDE
The sun just rises and sets.
TCHAIKOVSKY
You know what I’ve been saying all day, right?
VLADIMIR
No.
TCHAIKOVSKY
I think you do. This thing I’m talking about. This thing we do by ourselves. You and I. I think you know what it is.
GESUALDO
You look scared.
SCHOENBERG
You look tired.
MATHILDE
I’m awake.
TCHAIKOVSKY
We could do that together.
VLADIMIR
Peter –
TCHAIKOVSKY
I have a secret.
VLADIMIR
What is it?
TCHAIKOVSKY
(removing Bob’s coat) I have to whisper.
SCHOENBERG
(stops playing) You’re acting strange today.
MATHILDE
It’s nothing.
SCHOENBERG
You’re sure?
MATHILDE
Yes.
FABRIZIO + VLADIMIR
What will you do?
GESUALDO
Nothing yet.
TCHAIKOVSKY
I can show you how.
VLADIMIR
How do you show me?
TCHAIKOVSKY
I’ve tried it.
VLADIMIR
How do you try it?
TCHAIKOVSKY
Like this. (kissing Bob’s neck)
GESUALDO
What will you do?
FABRIZIO
Nothing more.
SCHOENBERG
Do you mind if I – ?
MATHILDE
No, keep playing.
SCHOENBERG
Thank you. (continues playing Six Little Piano Pieces #2)
GESUALDO
This weekend I’m hunting stag.
FABRIZIO
Noble game.
GESUALDO
When I return you’re gone.
FABRIZIO
As you wish.
GESUALDO
We’ve had enough of your lessons, Duke. You are excused.
FABRIZIO
(kisses Gesualdo’s hand) Prince. (goes)
TCHAIKOVSKY
I’m sorry about the beard.
VLADIMIR
I like the beard.
TCHAIKOVSKY
I could be your father.
VLADIMIR
I don’t like my father.
MATHILDE
I suppose I’ll see what the children are doing.
SCHOENBERG
Thank you.
MATHILDE
Let me know when you want dinner.
2.3
Country Home of Arnold Schoenberg
Apartment of Piotr Tchaikovsky
Palace Bedroom of Carlo Gesualdo
Rain.
Donna Maria & Fabrizio in bed.
Mathilde & Richard in bed.
Antonina at piano; Tchaikovsky stands over her, watching.
TCHAIKOVSKY
Let’s hear that last piece again.
ANTONINA
Yes of course.
She plays Tchaikovsky’s “Chanson Triste,” throughout:
MATHILDE
I told myself this can’t be happening. It can’t be happening. I’m not going to let it happen again, Richard. I’m sorry but I’ve been lying here thinking about it all and I don’t feel comfortable around you. I’m sorry for saying that like this but there it is. I feel very committed to this feeling. So you’re going to have to get up and go back to Vienna. You hate the countryside anyway. I told Arnold but he didn’t believe me, he didn’t believe you hated the country but you do. You hate it here.
FABRIZIO + MATHILDE
Are you awake?
RICHARD
No.
DONNA MARIA
Yes.
FABRIZIO
What are you thinking?
DONNA MARIA
Nothing.
FABRIZIO
I can feel you thinking.
DONNA MARIA
Oh yes?
FABRIZIO
I can feel your thoughts.
DONNA MARIA
Imagine my husband. Right here. Scribbling the sounds. Our screams, our moans.
FABRIZIO
But he’s gone.
DONNA MARIA + MATHILDE
I’m a whore.
FABRIZIO
You’re not a whore.
DONNA MARIA + MATHILDE
Do you think I’m a whore?
RICHARD
You’re not a whore.
DONNA MARIA + MATHILDE
I’m a whore.
RICHARD
I can give you money if it would make you feel better.
DONNA MARIA + MATHILDE
Did I say I was upset?
FABRIZIO
No, but it’s something, yes?
DONNA MARIA + MATHILDE
Sometimes it helps to know exactly what you are.
FABRIZIO + RICHARD
Come here.
DONNA MARIA
Yes.
MATHILDE
No.
FABRIZIO + RICHARD
Come here.
DONNA MARIA
Yes.
MATHILDE
Oh God.
RICHARD
You’re so warm.
MATHILDE
The oven’s warm. The sun is warm.
RICHARD
Your armpits are warm.
MATHILDE
Stop that.
RICHARD
Just a little spider crawling up your armpits.
MATHILDE
Stop that!
RICHARD
But you’re smiling.
MATHILDE
I’m not smiling.
RICHARD
But yet your lips puncture your cheeks. I’m sleeping. I’m still asleep.
MATHILDE
You’re awake, Richard.
RICHARD
I’m dreaming about you.
MATHILDE
Come on. He’ll be back from town soon.
RICHARD
I’m dreaming about your face. I don’t know what it looks like. I’m trying to dream about your face but I can’t hold on to it. It fades every time I look and only when I look away do I catch a glimpse.
MATHILDE
Stop speaking madness.
RICHARD
I’m speaking about love, darling.
MATHILDE
It sounds like madness.
RICHARD
There’s a difference?
FABRIZIO + MATHILDE
What are we going to do?
DONNA MARIA
I don’t know.
FABRIZIO
He seemed angry like he might harm us or at least me.
DONNA MARIA
He can’t do that.
FABRIZIO
I don’t think you realize what he’s really like.
DONNA MARIA + MATHILDE
He doesn’t know.
RICHARD
He may not think he does. But he’s very a smart man. On some level –
FABRIZIO + RICHARD
– he’s figured it out.
DONNA MARIA
The letter?
FABRIZIO
Yes.
DONNA MARIA
I’ll merely convince him I was practicing my Latin.
FABRIZIO
I’m going home.
MATHILDE
You’re going home.
DONNA MARIA + RICHARD
Why?
MATHILDE
Sometimes I need you but I don’t need you now.
FABRIZIO
This has to be the last time.
DONNA MARIA + RICHARD
You don’t appreciate my company?
MATHILDE
You can have me again in the city.
DONNA MARIA
Such a troubled forehead.
FABRIZIO
Yes.
DONNA MARIA
Let me straighten those wrinkles. (kisses Fabrizio.)
FABRIZIO
(whispers) You taste sweet. Your lips are sweet. Your tongue tastes sweet.
DONNA MARIA
That’s enough.
FABRIZIO
What’s wrong?
DONNA MARIA
No flattery, Duke.
FABRIZIO
How about this part? Can I flatter this part of you?
DONNA MARIA
I like it when you flatter that.
FABRIZIO
Can I flatter it some more?
DONNA MARIA
Go on. Flatter me.
Fabrizio disappears underneath her dress.
Richard swigs from a bottle.
MATHILDE
It’s early.
RICHARD
It certainly is.
MATHILDE
You’re drinking.
RICHARD
I certainly am.
MATHILDE
Not even the afternoon.
RICHARD
Keeps my compass calibrated.
MATHILDE
I really don’t like you very much Richard.
RICHARD
Oh?
MATHILDE
I really dislike you.
DONNA MARIA
Oh God.
RICHARD
Then tell me to leave.
MATHILDE
I want you to leave.
RICHARD
I’ll leave then.
MATHILDE
Good.
RICHARD
Do you have any money?
MATHILDE
No.
RICHARD
Just give me a little money for little something at the station.
MATHILDE
I don’t have any money.
RICHARD
I know where you have some.
MATHILDE
Get your hands off.
RICHARD
You have it hidden.
MATHILDE
Not there.
RICHARD
Down here? Is it down here? Don’t say anything if it’s down here.
MATHILDE
It’s there.
RICHARD
I told you not to say anything.
MATHILDE
I broke the rules.
RICHARD
Bad girl.
MATHILDE
What are you going to do?
RICHARD
I’ll show you.
DONNA MARIA
Touch me.
MATHILDE
Don’t touch me.
DONNA MARIA
Touch me.
MATHILDE
Don’t touch me Oh God.
DONNA MARIA
Oh God.
TCHAIKOVSKY
Oh God.
ANTONINA
What?
TCHAIKOVSKY
You’re not ... the piece is fine it’s just you’re not getting the spirit of it really.
ANTONINA
(stops playing) What’s wrong?
TCHAIKOVSKY
The technique is there but you’re missing something.
ANTONINA
What am I missing?
TCHAIKOVSKY
Oh dear –
ANTONINA
What would you like me to do different?
TCHAIKOVSKY
Look at the time.
ANTONINA
You’re going out again?
TCHAIKOVSKY
I have a dinner.
ANTONINA
With whom?
TCHAIKOVSKY
Some players from the orchestra.
ANTONINA
Some dinner with some boys.
TCHAIKOVSKY
Yes.
ANTONINA
Would you mind if I came?
TCHAIKOVSKY
We’re just talking about the symphony.
ANTONINA
I’m a musician.
TCHAIKOVSKY
These are actual players
ANTONINA
I’m an actual player.
TCHAIKOVSKY
Really it’s not the best idea. Maybe some other night?
VLADIMIR
(enters) Good evening.
TCHAIKOVSKY
Hello Vladimir.
VLADIMIR
It’s gotten colder outside, if you can imagine that. Every year this place drops a degree. Hello there.
ANTONINA
Hello.
MATHILDE
(low) Fuck you.
VLADIMIR
Do you want to come with us?
ANTONINA
What?
VLADIMIR
To dinner. Surely we can fit in another.
DONNA MARIA
(low) Lord Christ Above.
ANTONINA
No, that’s all right.
TCHAIKOVSKY
It’s funny you both here.
ANTONINA
Really?
TCHAIKOVSKY
Yes. It’s really very odd. I’ve never seen you both in the same room.
ANTONINA
Our wedding.
TCHAIKOVSKY
Yes.
VLADIMIR
Are you all right, uncle?
DONNA MARIA + MATHILDE
Just, you’re just –
TCHAIKOVSKY
Yes. I’ll be right back. You’ll be all right?
ANTONINA
Yes.
VLADIMIR
Yes.
TCHAIKOVSKY
I’ll be right back. (exits)
ANTONINA
Hello, Bobdimir.
VLADIMIR
Hello.
ANTONINA
I’m Antonina.
VLADIMIR
Yes of course I know that.
ANTONINA
I thought I would remind you who I was.
DONNA MARIA + MATHILDE
(coming) Fuck you Mary CHRIST Jesus Christ.
ANTONINA
We don’t have to speak.
VLADIMIR
All right.
Antonina plays “Chanson Triste”; Vladimir stares out window.
A Calm.
Then:
DONNA MARIA + MATHILDE
You’re very good at that.
FABRIZIO + RICHARD
You’re welcome.
RICHARD
One of my skills.
MATHILDE
Your slender fingers.
FABRIZIO + RICHARD
You smell good.
DONNA MARIA + MATHILDE
Do I?
RICHARD
You don’t normally smell so good.
MATHILDE
Richard.
RICHARD
You usually stink of the city.
DONNA MARIA + MATHILDE
And what do I smell like now?
FABRIZIO
Crushed dandelions.
RICHARD
Rain water.
MATHILDE
Rain water.
FABRIZIO + RICHARD
That’s a compliment.
FABRIZIO
Everyone loves roses but you smell like the acid of the earth.
DONNA MARIA
Aren’t you my lover?
FABRIZIO
Of course.
DONNA MARIA
Aren’t you supposed to praise more?
FABRIZIO
Well I don’t know how this works, do I?
DONNA MARIA
How what works?
FABRIZIO
Seducing the Prince’s wife.
DONNA MARIA
I’m a Princess.
FABRIZIO
You certainly are.
MATHILDE
What does rain water even smell like?
RICHARD
You never smelled it?
MATHILDE
No.
RICHARD
You should try it.
MATHILDE
What does it smell like?
RICHARD
A handful of sky.
FABRIZIO
I never thought I would be here.
VLADIMIR
It’s raining again.
MATHILDE
You’re occasionally charming, you know that?
RICHARD
I know that.
MATHILDE
Modesty, huh?
RICHARD
On an artist budget pride’s the only thing I can afford.
VLADIMIR
Do you mind the rain?
FABRIZIO
I never thought I would be in your bed.
DONNA MARIA + MATHILDE
Are you proud of me?
FABRIZIO
I watched you so long.
MATHILDE
Are you proud you got me?
RICHARD
It makes me sad.
MATHILDE
Snatched me from Arnold.
RICHARD
It makes me lonely.
VLADIMIR
I don’t mind the rain.
FABRIZIO
So many nights I fell asleep with you next to me, your shape always with me.
DONNA MARIA
But now I’m here.
FABRIZIO
Yes. Now that you’re real I don’t know what to do with you.
MATHILDE
He doesn’t care.
VLADIMIR
I could look at rain all evening. But I wouldn’t like to be outside. I’m very glad I’m inside your warm apartment.
ANTONINA
I’m glad too.
MATHILDE
We’re doing this because he doesn’t care.
RICHARD
I’m not religious but still feel a residue of religious guilt.
VLADIMIR
Is something the matter, Antonina?
ANTONINA
Everything’s fine.
FABRIZIO
We should not continue with him knowing.
DONNA MARIA
My husband only cares about music.
FABRIZIO
He’s fixed on you.
DONNA MARIA
I’m just his pretty distraction.
FABRIZIO
I’ve been telling Jesus about what we do but he doesn’t speak back.
DONNA MARIA
He’s not there.
FABRIZIO
You can’t say that.
DONNA MARIA
Why not?
FABRIZIO
It’s against God to speak against God.
DONNA MARIA
I keep having these visions of Mary and I want to see the look on her face when she sees you and me pressing into one single thing and I want to ask her where she thinks our God might be.
ANTONINA
(stops playing, cries) Oh Jesus.
FABRIZIO + RICHARD
Did you hear that?
DONNA MARIA + MATHILDE
No.
FABRIZIO + RICHARD
Someone’s coming.
VLADIMIR
What’s wrong?
ANTONINA
I’m fine.
FABRIZIO + RICHARD
I should go.
MATHILDE
I agree.
DONNA MARIA
No, stay.
FABRIZIO + RICHARD
Where’s my shirt?
VLADIMIR
Why are you crying?
ANTONINA
I’m just … crying.
VLADIMIR
Do you ... need anything?
ANTONINA
What would I need?
VLADIMIR
I could walk out in the rain and get something if you needed it. Food. Some ... drugs. I don’t know.
ANTONINA
Why are you being nice to me?
VLADIMIR
You’re my aunt.
ANTONINA
Don’t call me that.
VLADIMIR
Call you what?
ANTONINA
I’m no goddamned aunt.
VLADIMIR
I’m sorry.
ANTONINA
I’m younger than you.
DONNA MARIA + MATHILDE
Wait.
FABRIZIO + RICHARD
What?
DONNA MARIA + MATHILDE
Don’t go.
FABRIZIO + RICHARD
I should go.
VLADIMIR
Do you know why Peter married you?
ANTONINA
Because he loves me.
VLADIMIR
Did he say that?
ANTONINA
I’m his muse.
VLADIMIR
He didn’t tell you.
ANTONINA
Tell me what?
VLADIMIR
You don’t know?
ANTONINA
Know what?
VLADIMIR
He should have told you.
ANTONINA
Told me what?
VLADIMIR
He lives with me.
ANTONINA
Did you say something?
VLADIMIR
Peter lives with me.
ANTONINA
But he lives here with me.
VLADIMIR
Peter lives at my house.
ANTONINA
But my husband lives here with me here.
VLADIMIR
No, I’m sorry.
ANTONINA
No, that’s not right.
VLADIMIR
You must have known.
ANTONINA
Goddamn you it would have worked fine if nobody said anything. If everyone shut up and minded their own business and not spread rumors about him. Because they’re jealous he found me and overcame his proclivities. That’s all in the past and you come into my home and dredge up this business in the past and tell me you love him, your uncle, he’s your uncle, he’s your uncle. It’s sick and I won’t stand for this kind of sickness because I am a lovely young girl and I’m very attractive, he said so, he said any man would be lucky to have me as a wife but I’m his wife and he’s my husband and that’s the end of it. He’s no longer ... he doesn’t like to ... there’s not even a word for it. We don’t have a word for it. Because it’s not happening. This is not happening. Nothing just happened. How is your mother?
DONNA MARIA + MATHILDE
Stop.
FABRIZIO + RICHARD
I’m going.
VLADIMIR
My mother’s … fine.
ANTONINA
Good. All settled. Was there anything else you needed?
VLADIMIR
No.
ANTONINA
Good.
DONNA MARIA + MATHILDE
Why are you looking at me like that?
RICHARD
Like what?
MATHILDE
You’re looking at me like that.
FABRIZIO
I forgot to go to church today.
DONNA MARIA
You don’t need church.
RICHARD
How am I looking at you?
MATHILDE
Like you want something.
RICHARD
What could I want?
MATHILDE
I don’t know.
DONNA MARIA
You may kneel before the altar but you worship on a softer stoop.
FABRIZIO + RICHARD
I’ll show you what I want.
MATHILDE
You know, Richard, I really -
FABRIZIO + RICHARD
Let me show you.
MATHILDE
I really really hate you -
FABRIZIO
Maria why do you tempt me?
DONNA MARIA
I don’t tempt.
FABRIZIO
No?
DONNA MARIA
I gave you a choice.
FABRIZIO
That’s what The Devil says.
DONNA MARIA
You think I’m The Devil?
MATHILDE
Don’t touch me.
FABRIZIO
Perhaps.
MATHILDE
Don’t touch me.
DONNA MARIA
But you love me?
FABRIZIO
Yes.
DONNA MARIA
You love The Devil then.
FABRIZIO
Yes.
DONNA MARIA
You love the Devil.
She kisses Fabrizio.
Mathilde kisses Richard.
Schoenberg appears in a doorway.
Gesualdo appears in a doorway.
Tchaikovsky – dripping in water – appears in a doorway.
Faintly, Gesualdo’s “Moro Laso” becomes audible.
TCHAIKOVSKY
Could someone help me?
ANTONINA
What happened?
TCHAIKOVSKY
I went for a swim in the river just now.
ANTONINA
Oh no.
TCHAIKOVSKY
It was the strangest sensation.
ANTONINA
Oh, Peter, you’re blue –
TCHAIKOVSKY
So very nice ...
VLADIMIR
We need to get you to the doctor.
ANTONINA
Oh, Peter, that was so very stupid, you’ll kill yourself.
TCHAIKOVSKY
Yes, I believe that was the idea that originated such an action.
ANTONINA
W – Why?
TCHAIKOVSKY
Because when I saw you both I realized that I’m only in love with my nephew.
ANTONINA
Oh God.
MATHILDE
(seeing him) Arnold.
DONNA MARIA
(seeing him) Carlo.
SCHOENBERG
What’s happening?
ANTONINA
Oh God.
GESUALDO
What is this?
FABRIZIO + TCHAIKOVSKY + RICHARD
It’s not what you –
GESUALDO
Silence!
DONNA MARIA + VLADIMIR + MATHILDE
I love him.
SCHOENBERG
I won’t accept this.
GESUALDO + ANTONINA
I won’t allow this.
ANTONINA + SCHOENBERG
I won’t accept this!
DONNA MARIA
Carlo –
ANTONINA
I’ll kill myself –
TCHAIKOVSKY & VLADIMIR
Nina –
RICHARD
Arnold –
GESUALDO + ANTONINA + SCHOENBERG
What?
FABRIZIO + TCHAIKOVSKY + RICHARD
I didn’t mean this.
GESUALDO + ANTONINA + SCHOENBERG
But you did it.
DONNA MARIA
Your music is shit.
FABRIZIO + VLADIMIR + MATHILDE
We should go.
GESUALDO + ANTONINA
No.
SCHOENBERG
Say goodbye then.
ANTONINA
No.
DONNA MARIA
God will forget you.
RICHARD
Goodbye.
GESUALDO
(whispers sweetly) Whores go to hell.
Gesualdo pulls a rifle to his shoulder.
DONNA MARIA
What are you going to do? Shoot us?
A loud shot goes off.
Flash of light.
Fabrizio jerks back, clutches his face, dimly-lit blood spraying in the air.
Fabrizio wails.
Gesualdo pulls out a very long knife.
GESUALDO
Shall a Gesualdo be made a cuckold?
He slits Fabrizio’s throat.
Blood pours down.
DONNA MARIA
Husband!
He jams the knife in Donna Maria’s belly, tosses her body on bed.
GESUALDO
I can’t believe she’s dead.
DONNA MARIA
For the love of God.
GESUALDO
I can’t believe she’s dead.
DONNA MARIA
Please, for the love of God, husband –
Gesualdo slides the dagger into Donna Maria, making love to her with dagger, gently pushing into her, whispering in her ear:
GESUALDO
I can’t believe she’s dead. I can’t believe she’s dead. I can’t believe she’s dead ...
As Gesualdo finishes Donna Maria, he begins to listen to “Moro Laso,” enraptured and entranced by the gorgeous sound.
As the voices crescendo, Gesualdo brings a hand to his forehead, wipes a long bloody handprint over his face.
Then, softly:
GESUALDO
I have it. I have it now.
Interlude 2
Vienna, Austria
Concert Hall
SCHOENBERG
Reduce your expectations. There is this terrifyingly dull idea floating the circles of critics that a piece of music should culminate in a crescendo. This is an idea that is absolute garbage. This is an idea espoused by philistines who equate the narrative with their own limited understanding of their own pitiful orgasms. As if the act of creating music, like love-making, should peak after four minutes with the subsequent thirty seconds of reflection. The way in which one writes is the way in which one fucks. So I would like for you to keep that in mind as you play this next piece. The middle builds to the children's song but there is no second crescendo. It just ... ends. So let it end.
ACT THREE
3.1
Attic
RICHARD
Mathilde?
MATHILDE
(offstage) I’m in the bathroom.
RICHARD
What time is it?
MATHILDE
(offstage) It’s morning.
RICHARD
Good morning then.
MATHILDE
(offstage) Everything’s settled.
RICHARD
Mmm.
MATHILDE
(offstage) I mean we’re together.
RICHARD
Yes.
MATHILDE
(offstage) I feel good today.
RICHARD
Oh yes?
MATHILDE
(offstage) Yes, I feel very happy now.
RICHARD
Good.
MATHILDE
(offstage) How was your sleep?
RICHARD
Fine.
MATHILDE
(offstage) Would you like a coffee when I get out?
RICHARD
Thank you, yes.
MATHILDE
(offstage) Nice out.
RICHARD
Mm.
MATHILDE
(offstage) Should we go out?
RICHARD
N?
MATHILDE
(offstage) Of your attic?
RICHARD
I suppose we’ve been in bed for days.
MATHILDE
(offstage) When do you ever paint?
RICHARD
When I’m alone.
MATHILDE
(offstage) Put on a record, would you?
RICHARD
Which one?
MATHILDE
(offstage) You choose.
RICHARD
(putting on Beethoven’s “Prometheus Overture,” which plays throughout following action) Home town hero.
MATHILDE
(offstage) When I get done in here can I come in and have you?
RICHARD + VLADIMIR
I’m ready whenever.
3.2
Apartment
TCHAIKOVSKY
Let me put on my glasses.
VLADIMIR
Okay but we only have an hour til they close the post.
TCHAIKOVSKY
(reading letter) “To the Most Excellent Czar Alexander. Your letter today gave me such joy. What boundless pleasure that, in reading the sheet music to my Sixth Symphony the other evening, you experienced the same feelings that filled me when I wrote it. You asked me about my inspirations. But how can I convey the vague sensation of composition? Composing is a musical cleansing of the soul, a boiling over that naturally seeks its outlet in tones, just as a lyric poet will express himself in verse. But music possesses an infinitely more powerful and subtle language for expressing the myriad shifts and shades of our spiritual life. The kernel of a new work usually appears violently, in the mind of the composer. If the soil is fertile, this seed will sprout roots with irrepressible strength and speed, breaking through the ground, sprouting branches, leaves, twigs, and, finally, blossoms. This spark of inspiration often occurs at a breaking point in the composer’s life, a point when past regrets collide with an uncertain future, the music reassembling the jagged pieces of the artist’s soul. But what delight, this creation! Emotion coursing through your body. You forget everything, all your insides quiver and throb, you become a madman, a sheer madman! So if that state of the soul called inspiration continued without interruption, one wouldn’t be able to endure a single day. The strings would break, and the instrument would shatter into smithereens. And that, my dear Czar, is all I can tell you about the symphony. Of course, it’s neither a clear nor complete explanation. But the nature of instrumental music naturally resists detailed analysis. Or, as Heine put it, Where words fail, music speaks.”
Beethoven fades through:
TCHAIKOVSKY
… So?
VLADIMIR
So.
TCHAIKOVSKY
You think old Alex will like it?
VLADIMIR
The Czar doesn’t have any imagination so yes of course he will.
TCHAIKOVSKY
But I suppose what I’m asking is Do you think it skillfully obscures the real reason I wrote the piece?
VLADIMIR
You were the one who wrote that inscription
TCHAIKOVSKY
And now they’re wondering
VLADIMIR
We’re fine, uncle.
TCHAIKOVSKY
(sealing the letter) It will have to do.
VLADIMIR
(snatching letter) I’ll go drop it in the mail.
TCHAIKOVSKY
No not yet.
VLADIMIR
Okay.
TCHAIKOVSKY
There’s something I need you for.
VLADIMIR
Okay what is it?
TCHAIKOVSKY + MATHILDE
It’s over here in the bedroom.
3.3
Attic
RICHARD
I can see the sunrise from the window.
MATHILDE
Come on drunky come with me to the bedroom.
RICHARD
What’s in the bedroom?
MATHILDE
Me.
RICHARD
Yes I should lie down with you now.
MATHILDE
You left me here.
RICHARD
Hn?
MATHILDE
Last night I woke up and you weren’t here.
RICHARD
I’ve been wandering around all night.
MATHILDE
This is my first week in your apartment and you know I don’t like strange places.
RICHARD
Let me comfort you a little then.
MATHILDE
You’re a little too drunk to hoist the sail Richard.
RICHARD
Shipwreck.
MATHILDE
Should we take off our clothes now?
RICHARD
I’m a shipwreck.
MATHILDE + VLADIMIR
I’m going to take off my clothes now, okay?
3.4
Apartment
TCHAIKOVSKY
There’s no need to ask my permission Bob we’re in our apartment.
VLADIMIR
Is something bothering you Uncle?
TCHAIKOVSKY
There was a man at my concert earlier. His eyes closed and swaying back and forth like his mind composed the notes, like the orchestra conducted the rhythms of his body.
VLADIMIR
A man enjoying the music.
TCHAIKOVSKY
Presuming the greatness before realizing it’s shit.
VLADIMIR
How would you prefer your audience act?
TCHAIKOVSKY
They should just listen.
VLADIMIR
Everyone does that different.
TCHAIKOVSKY
They should listen how I want them to.
VLADIMIR
And how’s that?
TCHAIKOVSKY
In silence.
VLADIMIR
Oh please –
TCHAIKOVSKY
I hate my music and everyone who loves it.
VLADIMIR
I love it.
TCHAIKOVSKY
Well I hate you too.
VLADIMIR + MATHILDE
I’m drawing a bath would you like a bath?
3.5
Attic
RICHARD
Do I need one?
MATHILDE
You smell like a farm.
RICHARD
But it’s sort of attractive in a rustic way, yes?
MATHILDE
No.
RICHARD
Okay yes then.
MATHILDE
If we’re going to -
RICHARD
Yes.
MATHILDE
If I’m going to live here.
RICHARD
Yes.
MATHILDE
(offstage) I’ll be in the bathroom starting the water.
RICHARD
Mm.
MATHILDE + VLADIMIR
Good morning, by the way.
3.6
Apartment
TCHAIKOVSKY
Is it morning?
VLADIMIR
The sun is coming up.
TCHAIKOVSKY
Have we been drinking since –
VLADIMIR
Yes all night we have been drinking.
TCHAIKOVSKY
Tonight I have a performance.
VLADIMIR
Another then bed?
TCHAIKOVSKY
Yes, why not?
VLADIMIR
Double it maybe?
TCHAIKOVSKY
Yes, why not? You’re only young once.
VLADIMIR
Or maybe two or three times.
TCHAIKOVSKY
This room is at times spinning, but then jumps into remarkable clarity.
VLADIMIR
I’ve had more than you, uncle.
TCHAIKOVSKY
Don’t –
VLADIMIR
What?
TCHAIKOVSKY
“Uncle.”
VLADIMIR
Yes, of course.
TCHAIKOVSKY
We’re beyond –
VLADIMIR
Yes.
TCHAIKOVSKY
Categories of –
VLADIMIR
Yes I know.
TCHAIKOVSKY
Lover.
VLADIMIR
I like that word, lover.
TCHAIKOVSKY + MATHILDE
Come here, lover.
3.7
Attic
RICHARD
No I’m still sleeping.
MATHILDE
But I want it.
RICHARD
It is not available at the moment.
MATHILDE
Do you mind if I do it myself?
RICHARD
No, please.
MATHILDE
I’ll just be in the bathroom.
RICHARD
I don’t think I see color anymore.
MATHILDE
(offstage) You’re colorblind?
RICHARD
No, I see it, I register that something is blue but I don’t actually see it as blue, it doesn’t make me feel one way or another. What do you think that means?
MATHILDE
(offstage) It means you should get a job.
RICHARD
I have a job.
MATHILDE
(offstage) Painting is not a job.
RICHARD
Well it keeps me occupied.
MATHILDE
(offstage) We are almost all out of money.
RICHARD
I wonder what Arnold’s doing.
MATHILDE
(offstage) What?
RICHARD
Do you ever think about Arnold?
MATHILDE
(offstage) … sometimes.
RICHARD
I think about the look on his face.
MATHILDE
(offstage) Oh Jesus.
RICHARD + VLADIMIR
I think about it all the time.
3.8
Apartment
TCHAIKOVSKY
This dream you had of me.
VLADIMIR
Yes in the dream I’m sitting naked on all this rotten meat.
TCHAIKOVSKY
You sat naked on meat?
VLADIMIR
In the dream you placed me naked in a bed of rotten meat.
TCHAIKOVSKY
What you dreamt is not me, Vladimir.
VLADIMIR
But you’re the cause, Uncle.
TCHAIKOVSKY
Nonsense.
VLADIMIR
Something in you causes this.
TCHAIKOVSKY
How can I defend myself?
VLADIMIR
You can’t.
TCHAIKOVSKY
Then what can I do?
VLADIMIR
Nothing.
TCHAIKOVSKY
You sound like Nina.
VLADIMIR
What did you say?
TCHAIKOVSKY
I said you sound like Antonina.
VLADIMIR
I am nothing like that woman.
TCHAIKOVSKY
Bob I didn’t mean to –
VLADIMIR
I am taking my coat and going –
TCHAIKOVSKY
Please it’s near freezing out.
VLADIMIR + SCHOENBERG
Stay away from me.
3.9
Street
RICHARD
It’s a public street.
SCHOENBERG
I do not wish to speak with you.
RICHARD
I heard the piece.
SCHOENBERG
Richard you cannot keep showing up on concert hall steps.
RICHARD
I was inside just now, I snuck in and I heard it and it’s really … it’s very terrifying.
SCHOENBERG
…. Thank you.
RICHARD
Another riot-starter.
SCHOENBERG
I’m only writing for myself now. You know I recently finished an opera?
RICHARD
What’s it about?
SCHOENBERG
A woman searches for her lover in the forest. Right when she gives up hope she finds her lover’s corpse rotting in a pile of maple leaves.
RICHARD
Subtle.
SCHOENBERG
Why do you keep coming here?
RICHARD
I … brought my domino set?
SCHOENBERG
Richard you live with my wife.
RICHARD
Yes.
SCHOENBERG
Do you understand that you live with my wife?
RICHARD
Yes.
SCHOENBERG
Do you understand that this negates us playing dominoes?
RICHARD
We are so much better for each other now.
SCHOENBERG
What?
RICHARD
Because I did this.
SCHOENBERG
Wait –
RICHARD
You always complained about inspiration and now your work is so much better now.
SCHOENBERG
Should I thank you?
RICHARD
Yes.
SCHOENBERG
You want me to thank you?
RICHARD
No, I –
SCHOENBERG
Thank you. (shaking his hand) Thank you, Richard.
RICHARD
Arnold, I –
SCHOENBERG
What is it?
RICHARD
I’m … I’m your friend.
SCHOENBERG
Are you really?
RICHARD
I was your friend.
SCHOENBERG
Were you?
RICHARD
Yes, I … I thought we were … Why can’t we simply … It can’t be finished, this shouldn’t end our –
SCHOENBERG + ANTONINA
Let go of my hand.
3.10
Restaurant
TCHAIKOVSKY
Oh, uh –
ANTONINA
I understand that you mean to comfort me by slipping your hand over the dinner table and touching my hand but I have to warn you that I have been very emotional over the course of the last month and do not wish to be touched right now.
TCHAIKOVSKY
I just want to make sure you’re going to be okay on your own.
ANTONINA
I’m fine.
TCHAIKOVSKY
How is your sister?
ANTONINA
I’m sorry it’s loud in here with all the people talking could you please repeat what you just asked me?
TCHAIKOVSKY
I said how is living with your sister?
ANTONINA
Oh it’s very lovely.
TCHAIKOVSKY
That’s good.
ANTONINA
This is a nice place.
TCHAIKOVSKY
I dined here with Czar Alexandar.
ANTONINA
So many people around.
TCHAIKOVSKY
Yes, well, let’s have a nice meal now.
ANTONINA
I spied something with the tip of my eye, Peter.
TCHAIKOVSKY
There is roast duck on the menu.
ANTONINA
A roast cock.
TCHAIKOVSKY
I’m having the lamb.
ANTONINA
Don’t you want to know what the tip of my eye spied, Mister Peter Tchaikovsky
TCHAIKOVSKY
Yes, of course Antonina.
ANTONINA
Your hand and your cousin – er – brother – no – your nephew’s hand. Where is my mind today?
TCHAIKOVSKY
You saw our hands.
ANTONINA
And they were touching.
TCHAIKOVSKY
And?
ANTONINA
They were holding each other.
TCHAIKOVSKY
You didn’t actually see that.
ANTONINA
Oh but I did, Peter.
TCHAIKOVSKY
No, Antonina, you’re mistaken.
ANTONINA
Oh, but Peter I stood outside your window, your apartment window, with a little bag of nuts and ate the little nuts one by one waiting for something to appear and finally your fingers crept close in candlelight and met much younger fingers with your own blood in them, the same blood running through both hands.
TCHAIKOVSKY
Nina, there are people who if they saw or heard this might infer suspicion on the part of our marriage and ask people who have influence on the course of our lives to have influence on the course of our lives.
ANTONINA
They have borscht on the menu.
TCHAIKOVSKY
What?
ANTONINA
I think I will have the borscht on this menu.
TCHAIKOVSKY
Did you listen to what I said, Nina?
ANTONINA
A funny thing for fancy place to have borscht on the menu.
TCHAIKOVSKY
Nina, it is very important – You cannot tell anyone. My work – You have to forgive me.
ANTONINA
Forgive you?
TCHAIKOVSKY + GESUALDO
Forgive me.
3.11
Confession
GESUALDO
Forgive me, Father, for I have sinned.
PRIEST
What is your sin?
GESUALDO
Murder.
PRIEST
Have you murdered someone, Prince?
GESUALDO
Yes.
PRIEST
Who have you murdered?
GESUALDO
My wife.
PRIEST
You – ?
GESUALDO
And her lover.
PRIEST
I see.
GESUALDO
How will I be punished?
PRIEST
There will be no punishment.
GESUALDO
It seems sensible that I should be punished.
PRIEST
You are forgiven, Prince.
GESUALDO
Father –
PRIEST
The church forgives you.
GESUALDO
No.
PRIEST
As if she was living.
GESUALDO
But she is not.
PRIEST
But in the eyes of the church, her death and life is the property of your royal household.
GESUALDO
It’s very strange Father. Ever since … Ever since that night. My music. My music is beautiful now. I think of her blood and I can write the most beautiful music.
PRIEST
Then that is what you should commit yourself to doing.
GESUALDO
Writing music?
PRIEST
The Church agrees with the general public in that perhaps it is best that you stay inside your palace for some time.
GESUALDO
Yes then I will stay in my household and write.
PRIEST
As long as you make the attempt to keep your thoughts pure.
GESUALDO
I keep imagining the face of the Devil. It looks like every living person. People are a hive forming face of the Devil.
PRIEST
Prince –
GESUALDO
The Devil is just a wave and we’re the drops of water broken on the rocks.
PRIEST + MATHILDE
You can not think such things.
3.12
Apartment
RICHARD
Why not?
MATHILDE
Are you really thinking about … ?
RICHARD
I went down to the water. I stood at the edge of the water. When I looked left there was a crow. Hopping down the shore. It seemed a sign. It seemed like I should walk into the water with stones in my pants.
MATHILDE
You can't think like that.
RICHARD
I didn't end up doing it of course.
MATHILDE
You have to promise me.
RICHARD
Promise you what?
MATHILDE
Promise when I’m gone you won’t hurt yourself.
RICHARD
Oh you’re, you’re headed out?
MATHILDE
Yes I’m heading out.
RICHARD
Buy some beer will you?
MATHILDE
Do you promise me?
RICHARD
Have you heard from him?
MATHILDE
No.
RICHARD
Nothing in the post?
MATHILDE
It hasn’t come.
RICHARD
I sent him a letter. It should have come by now if he sent a letter. I can’t stop thinking about him reading that letter.
3.13
Coffee Shop
Tchaikovsky’s “Swan Lake” plays on a phonograph.
SCHOENBERG
He sent me a letter.
MATHILDE
Yes he told me.
SCHOENBERG
I am returning it to you now.
MATHILDE
Did you read it?
SCHOENBERG
No. I also have your check.
MATHILDE
Thank you.
SCHOENBERG
Is it enough for basics?
MATHILDE
It’s actually quite a lot, Arnold, thank you.
SCHOENBERG
My work has been selling. Did you order yet?
MATHILDE
Yes I ordered two coffees.
SCHOENBERG
That sounds fine.
MATHILDE
Black no sweet.
SCHOENBERG
That sounds fine.
MATHILDE
Good.
SCHOENBERG
…
MATHILDE
Richard tells me you invented something.
SCHOENBERG
Richard.
MATHILDE
“A new way of music.”
SCHOENBERG
I explained before.
MATHILDE
Yes, well …
SCHOENBERG
The twelve tone technique.
MATHILDE
Okay
SCHOENBERG
A map of composition that favors no note above the other so the act of creation follows a theoretical structure.
MATHILDE
So it’s just a bunch of notes.
SCHOENBERG
More or less.
MATHILDE
I think I get it.
SCHOENBERG
You do?
MATHILDE
Yes I think so. How did you find it?
SCHOENBERG
I tried to distract myself from the images in my head. You and my friend Richard. But then it just came. The pattern. The pattern saved me from having to think. What is that noise?
MATHILDE
This place has a phonograph.
SCHOENBERG
Tchaikovsky.
MATHILDE
If you’ll excuse me I’m also ordering wine.
SCHOENBERG
(mocks the melody in a high pitched voice)
MATHILDE
Will you have a glass with me?
SCHOENBERG
I wonder if we can get them to shut that shit off.
MATHILDE + VLADIMIR
Will you have a glass of wine with me too?
3.14
Apartment
“Swan Lake” fades through:
TCHAIKOVSKY
Yes just a little to take off the chill.
VLADIMIR
We are down to our last bottle.
TCHAIKOVSKY
I’ll have more sent over. Here.
VLADIMIR
What’s this?
TCHAIKOVSKY
A cheque.
VLADIMIR
For what?
TCHAIKOVSKY
I’m renting your spare room.
VLADIMIR
You’re not serious.
TCHAIKOVSKY
I’m renting your spare room to work. That’s what we should say. In case people ask.
VLADIMIR
I can’t take your money.
TCHAIKOVSKY
It’s not my money.
VLADIMIR
No?
TCHAIKOVSKY
Benefactors.
VLADIMIR
I’ll pay for dinner then.
TCHAIKOVSKY
Oh are we going to dinner?
VLADIMIR
Remember we have dinner plans?
TCHAIKOVSKY
Hmn?
VLADIMIR
At the conservatory, remember?
TCHAIKOVSKY
Yes, we shouldn’t do that.
VLADIMIR
I think they’re serving something French.
TCHAIKOVSKY
I don’t feel like going outside tonight.
VLADIMIR
Peter –
TCHAIKOVSKY
You can go if you like.
VLADIMIR
I want you to come with me, naturally.
TCHAIKOVSKY
I don’t think we should be seen.
VLADIMIR
As in?
TCHAIKOVSKY
Together, we can’t be seen together.
VLADIMIR
Oh.
TCHAIKOVSKY
Just until Nina –
VLADIMIR
You saw Nina?
TCHAIKOVSKY
Just to make sure she’s quiet.
VLADIMIR
You saw Nina and you didn’t say anything to me?
TCHAIKOVSKY
I’m telling you now.
VLADIMIR
We’re … completely normal in public.
TCHAIKOVSKY + SCHOENBERG
But now we have to be quiet
3.15
Schoenberg’s study
RICHARD
Oh yes right the children.
SCHOENBERG
Okay now round the corner here.
RICHARD
Arnold where are you taking me?
SCHOENBERG
Just a little further.
RICHARD
Can I open my eyes now?
SCHOENBERG
When I tell you.
RICHARD
It smells like cigarettes we’re in your study, yes?
SCHOENBERG
Yes now stay right here.
RICHARD
Thank you for inviting me into your home I mean I never though I’d be back here in my life.
SCHOENBERG
Oh, this will be brief.
RICHARD
Oh uh – What uh – What is this? What are we doing?
SCHOENBERG
Your paintings.
RICHARD
I’m a painter, yes.
SCHOENBERG
They have been selling well?
RICHARD
Yes.
SCHOENBERG
Some … anonymous patron, was it?
RICHARD
I suppose the rich are good for something.
SCHOENBERG
Open your eyes.
RICHARD
My … work.
SCHOENBERG
Yes.
RICHARD
How did you … ?
SCHOENBERG
I bought them.
RICHARD
You have covered the walls of your study with my paintings of your wife.
SCHOENBERG
All I could find.
RICHARD
These are not for you
SCHOENBERG
Actually I legally own most of your work. My compositions have been selling since my wife left. So I used that money to buy all your paintings. And I placed all of your paintings here in my study. Facing me. Her. How you see her. Facing me.
RICHARD
You … shouldn’t have these.
SCHOENBERG
But they’re mine now.
RICHARD + GESUALDO
I can’t breathe –
3.17
Bedroom
PRIEST
Prince?
GESUALDO
Water please Father I cannot breathe.
PRIEST
You were crying in your sleep.
GESUALDO
Do you not see her?
PRIEST
See who?
GESUALDO
The woman in the room ...
PRIEST
I see nothing, Prince.
GESUALDO
She’s ... She’s gone.
PRIEST
You saw a woman?
GESUALDO
What time is it?
PRIEST
Just past midnight.
GESUALDO
This was the time.
PRIEST
The time?
GESUALDO
When I … When she … That man was here. He was over by her. And I called something into the air and then they did not move. I kept poking them but then they did not move.
PRIEST
May I … be dismissed?
GESUALDO
No, please, stay.
PRIEST
Very well.
GESUALDO
Do you remember my wife?
PRIEST
Yes.
GESUALDO
She was so beautiful. She was an angel. Don’t you agree?
PRIEST
Yes.
GESUALDO
You don’t think she deceived me?
PRIEST
… No.
GESUALDO
She did. She planted horns in my skull. And she’s always smiling at me. Cuckold. Cuckold. Cuckold! Come here.
PRIEST
What do you want?
Gesualdo throws a dagger on ground.
GESUALDO
Hand me that dagger.
PRIEST
Why?
GESUALDO
I am your Prince. I do what I please.
PRIEST
(gives) Prince.
GESUALDO
Such a nice instrument. Now. I’ve thought this through. I want you to beat me.
PRIEST
What?
GESUALDO
I want you to beat me.
An orchestra playing opening of Tchaikovsky’s Sixth begins to play, low at first, rising throughout:
GESUALDO
Don’t worry. I’m not worried about the pain. Don’t hit my head. And my hands, I need my hands to write. But anywhere else is fine. If you just started wanting to beat me, if you just went ahead and beat me that would be fine with me. You can go ahead and do it. I’m not going to hurt you. Don’t worry about the dagger I’m holding. You are my subject. You don’t defy my word, everyone knows this, you don’t go against me. I can put this knife into people. And people don’t mind. No one says anything. Put a knife into someone. Pull it out. Wipe the blade. Do it. Go on. I won’t resist. Do it. Please. DO IT!
PRIEST
Stay back!
The Priest strikes Gesualdo.
Gesualdo falls.
GESUALDO
Why did you strike me?
PRIEST
You told / me to –
GESUALDO
You actually struck me.
PRIEST
I’m sorry.
GESUALDO
You’re surprised?
PRIEST
Yes.
GESUALDO
Have you ever been struck?
PRIEST
Yes.
GESUALDO
How did you feel?
PRIEST
It hurt.
GESUALDO
Not excited?
PRIEST
No.
GESUALDO
It did not excite you?
PRIEST
No.
GESUALDO
Well, again.
PRIEST
Prince –
GESUALDO
Again.
PRIEST
Please, stay away.
GESUALDO
I know you.
PRIEST
Prince Don Carlo, please, lower your weapon.
GESUALDO
I know you. You’re him, aren’t you? You’re not really here, are you? Yes. I could put my hand right through you. Because you’re him. You’re the man who was here. You’re the man with my wife. My wife doesn’t love you. She tells me in my sleep. She whispers in my ear. Death … Death … Death … DEATH!
The Priest strikes Gesualdo harder.
Gesualdo falls.
GESUALDO
There’s music playing. Do you hear that music?
The Priest kicks Gesualdo in the ribs.
GESUALDO
I must write. I must … write it down.
The Priest kicks Gesusaldo again.
GESUALDO + ANTONINA
Such … beautiful music.
3.18
Concert hall
TCHAIKOVSKY
Nina.
ANTONINA
Hello Peter.
TCHAIKOVSKY
(waving to orchestra) Gentlemen, gentlemen.
The Sixth stops.
TCHAIKOVSKY
(to players) Very good. It’s coming along. Let’s take an early dinner, thank you.
ANTONINA
I don’t mean to interrupt.
TCHAIKOVSKY
No no I just … thought you were in the country.
ANTONINA
I saw the program. The inscription. I actually saw it. “For Bob.”
TCHAIKOVSKY
Did you … get better? Have you gotten better
ANTONINA
Yes. The country is calming. There’s a piano. I get to play the piano. I know all your work now. I learned it all. I don’t need to read the notes. They’re in my head now. You’re here in my head.
TCHAIKOVSKY
I suppose I should say that I am flattered.
ANTONINA
You look well.
TCHAIKOVSKY
Don’t lie.
ANTONINA
You’ve aged suddenly.
TCHAIKOVSKY
Yes, it’s happening fast. I get … sick easily.
ANTONINA
From when you tried to drown yourself?
TCHAIKOVSKY
Yes.
ANTONINA
From when you told me / about your –
TCHAIKOVSKY
Yes, that’s when it happened.
ANTONINA
You probably deserve it.
TCHAIKOVSKY
Why would you say that?
ANTONINA
I don’t know. You might deserve hearing that from me because I have the right to say anything to you. I’m still your wife.
TCHAIKOVSKY
Yes, but we’re not really …
ANTONINA
You were mine. I had you once.
TCHAIKOVSKY
I’m sorry but I / should be going –
ANTONINA
I felt I should tell you. In case anyone asks.
TCHAIKOVSKY
What is it?
ANTONINA
In the country some men came. Some of the Czar’s men. They asked me questions.
TCHAIKOVSKY
What did you say?
ANTONINA
I’m not sure. I wasn’t feeling well so I said a lot of things about you, about what I saw and what went on in the household and why he wasn’t visiting me if he was my husband. And I might have alluded to something I maybe shouldn’t have. I think I did it. I think I did do that.
3.19
Apartment
TCHAIKOVSKY
Don’t do that!
VLADIMIR
What?
TCHAIKOVSKY
Don’t hold my hand!
VLADIMIR
I thought I was allowed.
TCHAIKOVSKY
Not here, not –
VLADIMIR
We’re at home.
TCHAIKOVKY
There’s nothing we can – They will kill us they might send men to come here and kill us or poison us, maybe we’re poisoned already and Oh my God I don’t –
VLADIMIR
Please be calm I don’t like this.
TCHAIKOVSKY
We should save the music I mean I should do something to save the music.
VLADIMIR
Uncle you’re scaring me, you –
TCHAIKOVSKY
Turn the lights out.
VLADIMIR
Peter –
TCHAIKOVSKY
Turn out the lights!
VLADIMIR
Yes okay.
Total darkness.
TCHAIKOVSKY
Yes better.
VLADIMIR
We can’t see anything.
TCHAIKOVSKY
Good.
VLADIMIR
Total darkness.
TCHAIKOVSKY
That’s how we’ll do it. That’s how we’ll live. We’ll live right here. We’ll never change from this moment.
TCHAIKOVSKY + RICHARD
This is the rest of our lives.
3.20
Attic
RICHARD
Sitting in the attic. Staring at each other’s faces. I can’t imagine you older. Can you imagine me older? I’ll be dead before I’m older.
MATHILDE
Richard God you’ve got to let me sleep.
RICHARD
Your … children.
MATHILDE
Yes?
RICHARD
They are … with Arnold?
MATHILDE
Yes.
RICHARD
Your two children.
MATHILDE
I had almost forgot.
RICHARD
You are welcome.
MATHILDE
For what?
RICHARD
I have blown your life full of amnesia.
MATHILDE
Don’t flatter yourself so much Fuck now I’m awake.
RICHARD
You’re a mother.
MATHILDE
Yes, you don’t need to keep reminding me.
RICHARD
That man was on top of you and his hips filling your hips then later something with arms crawls out the slit in your legs, pulling your skin apart with his little bloody fingers and screaming fills his lungs with air. I was there once. You were there.
MATHILDE + SCHOENBERG
It is very late.
3.21
Doorstep
RICHARD
I know.
SCHOENBERG
It is very late and you are on my doorstep.
RICHARD
I don’t see the point.
SCHOENBERG
To what?
RICHARD
Living anymore.
SCHOENBERG
Always the same tune with you.
RICHARD
Same places, same colors, same arrangement of colors and shapes, same sayings and attitudes and phrases arranged in the same manner. I don’t see the point.
SCHOENBERG
I’m having a concert tomorrow and I would have invited you but I made all the invitations secret so you would never find out about it because I don’t want you to come.
RICHARD
Okay.
SCHOENBERG
Please leave.
RICHARD
I am so sorry, Arnold.
SCHOENBERG
The children are upstairs sleeping so I need to close the door on you now.
RICHARD
I feel very terrible and I would like to do something for you.
SCHOENBERG
Kill yourself.
RICHARD
D – Don’t say that.
SCHOENBERG + MATHILDE
I think you should kill yourself.
3.22
Attic
RICHARD
That's what he said.
MATHILDE
It doesn't sound like Arnold.
RICHARD
Well he said it where did you put my supplies? Where are my brushes, my fucking brushes? You hid them, didn’t you? Cleaning up like a puttering wife.
MATHILDE
They’re right by the door.
RICHARD
I just want to get this painting done. Arnold gave me money for this painting and I really should finish it for him. Freeze. I said freeze. There. Stay still. Stay there. Now tilt your head back. Back, tilt your head back!
MATHILDE
Ow, Arnold, stop it, stop pulling my hair!
RICHARD
You called me Arnold.
MATHILDE
I did not.
RICHARD
I heard Arnold you called me Arnold.
MATHILDE
You’re imagining things, Richard.
RICHARD
I need you to go now.
MATHILDE
Why?
RICHARD
I need to finish this painting for Arnold so you need to leave now.
MATHILDE
It’s the middle of the night.
RICHARD
You are not going to want to watch what I do now, Mathilde.
MATHILDE + SCHOENBERG
What are you doing?
RICHARD
Watch.
3.23
Doorstep
MATHILDE
Can I come in?
SCHOENBERG
Um ah.
MATHILDE
I’ll just stand inside our doorway your doorway.
SCHOENBERG
You look … terrible.
MATHILDE
Richard’s gone mad. You probably don’t care to hear this. Tell me if you want me to go. Just tell me to go and I’ll go. I’m going to stand here and talk if that’s fine with you.
SCHOENBERG
I just put the children down again.
MATHILDE
… his paintings?
SCHOENBERG
Yes?
MATHILDE
He was just … destroying them.
SCHOENBERG
What do you mean?
MATHILDE
He wanted me to leave but I wouldn’t leave so he just very calmly picked up a really beautiful painting and ran a razor blade across the canvas. I told him to stop but he got … very angry. When I left he was stuffing his work in the burning fireplace.
SCHOENBERG
Well you can’t go back.
MATHILDE
No.
SCHOENBERG
You can stay here the night.
MATHILDE
The ... night?
SCHOENBERG
We will get you a hotel tomorrow.
MATHILDE
I was thinking um.
SCHOENBERG
Yes?
MATHILDE
There’s that … side room?
SCHOENBERG
You mean in this apartment?
MATHILDE
Where we store the baby clothes.
SCHOENBERG
What about it?
MATHILDE
I could … clean it and … live there?
SCHOENBERG
You want to live here again?
MATHILDE
Yes.
SCHOENBERG
You really want to live with me?
MATHILDE
I can resume care of the children.
Schoenberg pulls out notepad and pencil.
SCHOENBERG
Would you … mind telling me?
MATHILDE
About?
SCHOENBERG
You and Richard.
MATHILDE
You do not need to know that.
SCHOENBERG
Please.
MATHILDE
Really.
SCHOENBERG
I might as well know now.
MATHILDE
Okay we … barely kissed?
SCHOENBERG
(writing) And?
MATHILDE
He would put it in too soon … and finish too soon.
SCHOENBERG
(writing) And then?
MATHILDE
Sometimes he would … pass out in the middle.
SCHOENBERG
(writing) What was the worst part?
MATHILDE
He … said your name once.
SCHOENBERG
As in?
MATHILDE
During.
SCHOENBERG
(writing, to himself) So … wonderful.
Schoenberg puts away notepad and pencil.
SCHOENBERG
I have one more condition for your return.
MATHILDE
And what’s that?
SCHOENBERG
That you allow me to go to him and tell him everything we just said.
MATHILDE
No.
SCHOENBERG
He wants it this way.
MATHILDE + VLADIMIR
Don’t do it.
3.24
Apartment
TCHAIKOVSKY
I bought the tincture.
VLADIMIR
It’s poison.
TCHAIKOVSKY
Very inexpensive. Just two drops on the tongue.
VLADIMIR
I can’t believe you’re doing this.
TCHAIKOVSKY
No I would like you to do it for me Bob.
VLADIMIR
Uncle no.
TCHAIKOVSKY
I’ve been summoned to the wilderness. A prison in the woods. Hard labor. But I have a choice. They said I have one other choice. Here’s the dropper.
VLADIMIR
No.
Singers begin singing Gesualdo’s “Moro lasso,” low at first, rising throughout:
TCHAIKOVSKY
They’re going to destroy my music. Would you want that? Gone. Forever. The only reason I lived. They’re going to burn / it all if I don’t -
VLADIMIR
(quiet) I’m not going to kill you
TCHAIKOVSKY
You don’t have to do anything. You just bring the dropper to my mouth. It’s really very easy. Not like drowning yourself. What was I thinking? Drowning myself. Drama. I’m not like that anymore. I will sit across from you and look into your eyes. Because this is the best way for both of us. They know who you are. They know what we do. They’ll do the same thing to you. And Antonina. Everyone will know. And my music will be forgotten. Like it was never there. I’m sorry it has to be like this. We weren’t meant to be alive.
Vladimir brings the dropper to Tchaikovsky’s mouth.
He drops in two drops.
Vladimir sits across from Tchaikovsky, holding his hand.
He watches him die.
3.25
Bedroom
GESUALDO
Marvelous. Just marvelous.
FABRIZIO
Who are you talking to?
Gesualdo’s “Moro lasso” fades.
GESUALDO
Don’t you see those people?
FABRIZIO
No.
GESUALDO
Those people singing.
FABRIZIO
We are the only two people here.
GESUALDO
I could have sworn I heard them singing.
FABRIZIO
Maybe you would like to write down what you heard?
GESUALDO
Oh, yes.
FABRIZIO
Write on this.
GESUALDO
Thank you.
FABRIZIO
Write with this.
GESUALDO
Thank you.
FABRIZIO
I will sit here in bed with you and watch you write.
GESUALDO
That is very kind of you.
FABRIZIO
You are bruised quite badly.
GESUALDO
(writing) It’s just the beatings.
FABRIZIO
Ah.
GESUALDO
I notice you too are bleeding quite heavily.
FABRIZIO
I had not noticed.
GESUALDO
(writing) I could bring you a cloth.
FABRIZIO
I don’t mind if you do not.
GESUALDO
(writing) No?
FABRIZIO
No use wasting a cloth.
GESUALDO
(writing) I suppose you are correct.
FABRIZIO
I woke up in a cold place …
GESUALDO
(writing) You seem upset.
FABRIZIO
I am not entirely here yet.
GESUALDO
(writing) Your voice is so cold.
FABRIZIO
Why are you crying?
GESUALDO
(writing) I am very afraid, Duke.
FABRIZIO
You are the Prince and therefore afraid of nothing.
GESUALDO
(writing) That’s right.
FABRIZIO
You are above the Sovereign Laws of God and man and therefore have nothing to fear.
GESUALDO
(writing) Yes, that’s right.
FABRIZIO
You are the magnanimous –
GESUALDO
Could you – ?
FABRIZIO
What is it?
GESUALDO
Could you move a little away?
FABRIZIO
What is wrong?
GESUALDO
You’re just very close to my face and my sheets –
FABRIZIO
Oh yes.
GESUALDO
The blood on the sheets.
FABRIZIO
The blood. On your sheets.
GESUALDO
Yes, we replaced them already.
FABRIZIO
The sheets. Stained with blood.
GESUALDO
Yes, as I said –
FABRIZIO
Whose blood?
GESUALDO
Well –
FABRIZIO
Whose blood?
GESUALDO
I don’t know how to say it –
FABRIZIO
WHOSE BLOOD?
GESUALDO
Yours, yours and my wife.
FABRIZIO
Oh. Yes. Thank you. I remember.
GESUALDO
Will you … take me now?
Players begin playing Schoenberg’s “String Quartet #2.2,” low at first, rising throughout, starting at 1:43:
FABRIZIO
Take you?
GESUALDO
Will you take me with you?
FABRIZIO
Where will I take you?
GESUALDO
Where you … where you came from?
FABRIZIO
I came from down the hall.
GESUALDO
Before that.
FABRIZIO
Before that the lawn. Before that the field. Before that the river. Yes. That was the first thing. The river. I woke up in the river. And I missed everything. I missed the light in the morning. I missed the wind. You can’t see it but it moves the branches. It moves the grass in waves with an invisible hand. Like me now. Like me brushing your hair with my hand. My hand is the wind of the wave that brushes through your hair, brushing the grass and the leaves and the branches like your hair brushing my hand … (grabs Gesualdo’s face) She’s coming.
3.26
Attic
SCHOENBERG
She’s never coming back.
RICHARD
I understand.
SCHOENBERG
And you’re not mad?
RICHARD
This is what I always wanted for you.
SCHOENBERG
All right then.
RICHARD
I keep an idiot in my head.
SCHOENBERG
I’m leaving now.
RICHARD
I sometimes let him make decisions.
SCHOENBERG
Will you say goodbye to me?
RICHARD
I sometimes let this idiot decide. Don’t worry, this is an art experiment. (stands on a chair)
SCHOENBERG
What are you doing?
RICHARD
An art experiment. (pulls a noose down around his neck during) You once said this thing about my paintings. My hands. I couldn’t do hands. They were always deformed. And you were right.
SCHOENBERG
Richard –
RICHARD
I don’t why I did that. I don’t know why I made all the hands all deformed. (pulls out a large knife) I don’t even remember doing it. Now you have everything. (He stabs himself in the heart.)
SCHOENBERG
Richard NO –
Richard’s body falls back.
The rope catches and snaps his neck.
Schoenberg’s “String Quartet #2.2” continues through:
3.27
Bedroom
Gesualdo enters pulling a gigantic pail of water.
He hums to music in his head.
He begins to bathe himself in darkness, moonlight reflecting off the water, casting waving blue shadows.
Donna Maria approaches.
DONNA MARIA
Hello?
GESUALDO
Finally.
DONNA MARIA
Your face is bruised.
GESUALDO
I made them bruise me.
DONNA MARIA
Someone beat you?
GESUALDO
I made them beat it.
DONNA MARIA
You are so near death, Prince.
GESUALDO
Your eyes. I forgot your eyes. They’re so black. Like stones.
DONNA MARIA
Stones sink to the bottom.
Donna Maria pushes Gesualdo’s head under water.
A long moment passes.
Gesualdo bursts from water.
GESUALDO
Let me breathe, let me breathe! No. Please. Don’t make me –
She drowns him again.
A long moment passes.
Gesualdo bursts from water.
GESUALDO
Show me your eyes! Show me!
DONNA MARIA
There.
GESUALDO
Yes.
DONNA MARIA
I want you to suffer.
GESUALDO
They already beat me.
DONNA MARIA
Not enough.
GESUALDO
I’m frightened, Maria.
DONNA MARIA
Don’t worry, Carlo. I’m here with you.
GESUALDO
Oh, Maria.
DONNA MARIA
You’re the only rooster in the hen house.
She drowns him again.
A long moment passes.
She releases her hand on his neck.
He slowly raises his head from underneath the water.
GESUALDO
Am I dead now?
DONNA MARIA
nods yes.
GESUALDO
Oh thank God thank God.
DONNA MARIA
Shh.
GESUALDO
Your hands. I love your cold hands.
DONNA MARIA
Do you hear that?
GESUALDO
You’re with me.
DONNA MARIA
Listen.
GESUALDO
You’re with me now.
DONNA MARIA
Listen.
They listen.
Schoenberg’s “String Quartet #2.2” rises:
Outro
Concert hall
SCHOENBERG
(sings along to the children’s song embedded midway through “String Quartet #2.2”)
Oh my dear friend Augustin
Augustin, Augustin
Oh my dear friend Augustin
Everything’s lost.
(Schoenberg waves to the players.)
Let me just – Players, yes? Players! Please halt.
(Schoenberg’s “String Quartet #2.2” stops)
You’re excused.
Thank you.
That was much better.
Lights fade slowly on:
Donna Maria holding the motionless Gesualdo.
Vladimir holding the motionless Tchaikovsky.
Schoenberg gazing up at Richard’s swinging body.
End of play.
––
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