I Shall Not Care

Program Notes

I love the snarkiness of Sara Teasdale’s I Shall Not Care. I think the brilliance of the verse comes from its construction—it is not until the final two lines that we learn what the poem is really about, requiring us to reevaluate the rest of the poem in light of this new information. For example, the line “I shall not care” transforms from a simple statement of truth into a lover’s ultimate revenge.

The music shares a similar construction. The opening section musically emphasizes the initial, naïve interpretation of a grieving beloved left behind by a lover now resting in peace. This section is first sung by the upper voices to represent the point-of-view of this poem, then with the full chorus repeating this text, thus delaying the “stinger” until the last moment. The music suddenly changes to reflect anger and frustration through a highly chromatic chordal progression, finally revealing the feelings motivating the entire piece.

I purposely deviate from Teasdale’s plan by adding a coda, giving the listener time to process this new information, simulating the process whereby a reader might simply re-read the entire poem in this new context. By reusing the opening line, “when I am dead”, I take the listener back to the start of the poem, but with the harmony now reflecting this newly-discovered ambivalence of the poet.

Performance Notes

A concentrated chromatic passage (mm. 55–62) that shifts all four parts simultaneously into a distant flat-key area, two metric modulations (quarter = eighth at mm. 25 and 54), and sustained soft dynamics (ppp–sfz) with a single climactic peak place I Shall Not Care at Level 3 (Intermediate). Comfortable ranges and a Level 2 rhythmic profile make it an efficient festival piece that showcases a cappella intonation and dynamic control.

Notes for Directors

• The piece begins with SA unison (mm. 1–12), expands to an SA duet (mm. 13–24), then opens to full SATB at m. 25. The double barline at m. 24 marks this structural division.
• Two metric modulations occur: quarter = eighth at m. 25 (halving the tempo) and again at m. 54 (restoring it for the “with growing anger” section).
• The chromatic passage at mm. 55–62 is the piece’s defining intonation challenge—all parts navigate simultaneous accidentals (Gb, Cb, Ab, Db, Eb) far from the home key of D minor. Targeted rehearsal of this section is essential.
• The entire piece lives in the soft-to-moderate dynamic range (pp–mp) with a single sfz peak at m. 62. No mf, f, or ff markings appear anywhere. Pair with a dynamically bold selection to show the ensemble’s full range.
• The bass ends on an optional D2 (“Dead.”)—a dramatic gesture for ensembles with a singer comfortable at that extreme.

Rehearsal Resources

The Text

About This Recording

Recorded by the Byrd Ensemble on Stories (2017), directed and produced by Markdavin Obenza.