Richard Danielpour
MARGARET GARNER opera in two acts Libretto by
Toni Morrison Piano Vocal score
from the G. Schirmer Rental Library date of printing___________
Associated Music Publishers, Inc. New York, NY
Richard Danielpour
MARGARET GARNER opera in two acts Libretto by
Toni Morrison Piano Vocal score Act I Prologue................................................................................1 Scene 1................................................................................21 Scene 2................................................................................95 Scene 3..............................................................................149 Act II Scene 1..............................................................................201 Scene 2..............................................................................240 Intermezzo.........................................................................269 Scene 3..............................................................................274 Scene 4..............................................................................313 Epilogue.............................................................................322
Commissioned by the Michigan Opera Theatre, Cincinnati Opera Association, and The Opera Company of Philadelphia.
Associated Music Publishers, Inc. New York, NY
Cast of Characters
Principal Roles Margaret Garner*, a slave in her mid-20s, Robert’s wife Robert Garner*, a slave in his early 30s, Margaret’s husband Cilla*, a slave about 50 years old, Robert’s mother Edward Gaines, the handsome and charismatic Master of Maplewood Plantation, in his late 30s or early 40s
Mezzo-Soprano Lyric Baritone Dramatic Soprano Lyric Baritone
Secondary Roles Casey, the Foreman of Maplewood Plantation Caroline Gaines, the daughter of Edward Gaines, engaged to George Hancock George Hancock, engaged to Caroline Gaines Auctioneer, a Professional Salesman [doubles as Judge I] 16 Slave Catchers ** A Foreman/The Hangman 3 Judges** [Judge I doubles as Auctioneer] 2 Militia Officers Margaret’s 2 Children*, a 5-year-old girl and a 2-year-old boy
Dramatic Tenor Light Lyric Soprano Tenor Lyric Tenor
8T; 8Bar (divisi: lyric and Verdi Baritones) non-singing role T, Bar, B non-singing roles non-singing roles
The Townspeople/The Guests (aka, “White Chorus”) The Slaves* (aka, “Black Chorus”)*
SATB: min. 36 voices SATB: min. 36 voices
* Although much latitude is possible in casting, these roles must be sung by Black performers. ** These roles can be sung by members of the White Chorus. The composer has approved the following cuts: Act I, Scene 3: bars 136-144 inclusive Act I, Scene 3: bars 248-250 inclusive Act I, Scene 3: bars 308-327 inclusive Act I, Scene 3: bars 493-501 inclusive Act II, Scene 3: bars 259-263 inclusive These cuts are marked as “Vide” in the score and parts. Also, the composer suggests a single intermission of no more than 20 minutes.
Synopsis Act I, Scene 1: Kentucky, April 1856 The opera begins in total darkness, without any sense of location or time period. A large group of slaves gradually becomes visible, shackled and caged on a trading block. In a call-and-response song, they beg for deliverance from their suffering. The scene shifts to the lively town square in Richwood Station, Kentucky; it is April 1856. In preparation for an auction, members of slave families are separated from each other, so that they can be sold individually. The local townsfolk bid enthusiastically for these “picknies and mammies and breeders and bucks,” even though they consider them nothing more than personal burdens in need of civilizing. In the crowd of onlookers is a handsome man named Edward Gaines, a native of the region but absent for twenty years, accompanied by his daughter Caroline. He interrupts the auction when an “old estate rich in history” is brought to the block, asserting that this property, Maplewood Plantation, belonged to his deceased brother and therefore cannot be sold. As no one disputes the claim, Gaines acquires Maplewood. However, the self-assured Gaines is dismayed to learn that none of the townsfolk remembers him, only his well-respected older brother. The younger Gaines informs them that he has survived life’s challenges; once happily married, he now is a widower with a child to raise. He grandiosely proclaims that he will fill Maplewood with a multitude of possessions, and announces that he intends to retain all the plantation’s “goods and property” (i.e., its slaves). The enslaved who were waiting to be auctioned therefore are reunited with their families. While Gaines signs the ownership papers for Maplewood Plantation, the slaves celebrate with dance and music. The singing of Margaret Garner, an attractive young slave, captivates Gaines; after the crowd disperses, he takes her red scarf, which she had dropped accidentally. He nostalgically recalls his childhood, even though he had been forced to leave town under purportedly disreputable circumstances. He promises himself that this time the townsfolk will not forget him. Scene 2: Harvest time, about six months later Singing a wry, somewhat defiant work song, the slaves head back to their quarters after a day toiling in the fields. Cilla, the mother of Margaret’s husband, Robert, joins the couple for supper; their spirits are light-hearted while they prepare the evening meal. Yet when Margaret insists upon seeing her baby immediately after saying grace, Cilla, warm-hearted yet world-wise, cautions her against such an intense attachment to the child. Margaret persists, however, and sings a Lullaby to the baby while Robert and his mother eat dinner. Casey, the treacherous foreman at Maplewood Plantation, unexpectedly appears at the cabin and delivers shocking news: Robert is being sent away that night to another plantation. Margaret is to remain at Maplewood, but now will work in the plantation’s main house. When Casey tosses a fancy dress at Margaret, it is clear that Gaines expects sexual favors from her. Robert voices his anger, but Margaret reassures him of her faithfulness, and the two pledge their love. Scene 3: Maplewood Plantation, in the early summer of 1858 In the parlor at Maplewood Plantation, a reception is being held to celebrate the marriage of Caroline Gaines to George Hancock. The guests include the local townspeople, whom Edward is very eager to impress. However, a discussion at the party about the nature of love quickly develops into a heated disagreement between Edward and George. To break the tension, the newlyweds begin the reception’s traditional “first dance.” The guests quickly join in the waltz; ironically, only Gaines is without a partner. When the dance concludes, Gaines graciously toasts the couple. But then Caroline accidentally makes matters worse again by asking Margaret, now the house servant, for her opinions on love. The i
guests are outraged that a person of “quality” would ask a slave for her opinion. To show their disapproval of Gaines, and the social manners he seemingly allows at Maplewood, the haughty guests leave the party abruptly. Distressed by their rudeness, Gaines lashes out at Caroline, who ruined what he had hoped would be a proud moment; now, he claims, his neighbors have “more reason to gossip and despise” him. He dismisses her attempts to mollify him, yet watches wistfully as the newlyweds leave for their honeymoon. After the party, Gaines notices Margaret returning to clear the glasses, and lingers to observe her. Unaware of his presence, she continues to reflect upon the nature of love. Edward emerges from his hiding place and accosts her. She resists his advances and begins to struggle vigorously. But Edward is determined to have his way; he overpowers her and drags her forcibly from the parlor. Act II, Scene 1: Maplewood Plantation; Sunday, February 24, 1861, in the early evening Margaret, whose life has been sustained by her quest for freedom, begins to cry when Robert arrives and confirms that they are scheduled to leave in just three hours. He attempts to calm her anxieties, and Margaret is overwhelmed by love for her husband, a man of great moral courage and strength of character. Suddenly, Margaret notices that Cilla is not packing any of her own things. In spite of Margaret’s pleas to join them, Cilla proclaims that she is too old to begin a new life; her joy is simply to see her son’s family safe and living elsewhere. Although sympathetic with Margaret and Robert’s dreams for a free life, Cilla has made peace with her own, and sings of her reliance upon God. Footsteps are heard approaching, and Cilla and Margaret are terrified when Casey storms into the cabin. At the same time, Robert inadvertently walks into the trap when he returns with the children. Casey pulls out a pistol, and Robert impulsively attacks him. A violent struggle ensues, but Robert hesitates and cannot bring himself to shoot Casey. Yet when Casey calls Margaret a “black slut,” Robert strangles him to death. Cilla instantly understands that Robert’s action has doomed the family, and she and Margaret beg him to run, regardless of any personal danger they might be in. Cilla drags Casey’s body away; Robert and Margaret sing of their love and make plans to meet later. Scene 2: In the Free State of Ohio, March 1861 Three weeks have passed since Robert and Margaret successfully escaped from Maplewood, and crossed the frozen Ohio River on the Kentucky border to reach Cincinnati, a city in the “Free State” of Ohio. Now both outlaws, they live with their children in an underground shed, in hopes of avoiding recapture by their masters. Standing outside underneath a huge elm tree, Robert and Margaret discuss speculation about the country’s new President. Margaret shudders when she hears of Lincoln’s belief that the “Union is Sacred” and that “A House Divided Cannot Stand,” for she knows that means war is inevitable. Ever hopeful, and sharing Margaret’s dream for a better future, Robert asserts that freedom is nearly theirs–after all, they now live in a state whose name means “beautiful”! Here, their children will be able to grow up with dignity, and their own marriage will be respected as sacred. He will protect Margaret always, just as the elm tree always protects them. Only moments after Robert insists that they return to the shed because of the potential dangers facing them outside, Edward Gaines arrives, accompanied by slave catchers. He pounds on the shed door, promising that no harm will be done; he just wants to claim his property. Intoxicated, Gaines breaks down the shed door. An exchange of gunfire leaves neither man hurt, but the slave catchers tie up Robert. As he is being dragged outside, Gaines grabs Margaret. He laments that his bed is cold; he wants her to heat it up, just as she once did with hot coals. Breaking loose, Margaret recklessly plunges her bare hands into the ii
fire and grabs several pieces of coal; she lunges at Gaines, attempting to burn him. Gaines yells that she can pretend to be as crazy as she likes, he doesn’t care even if she mangles herself in the process. Margaret sees Robert outside, standing on a tall box underneath the elm tree. A noose has been placed around his neck, and he is surrounded by fiery torches planted in the ground. His cries of love to her are cut off when one of Gaines’s men kicks the box away. Determined that her children not be forced to endure a lifetime filled with slavery’s horrors, Margaret violently attacks and murders them: first slitting the throat of her daughter, then stabbing the younger one. Shocked by the bloody carnage, Gaines and his men surround Margaret. Intermezzo: In this moment “out of time,” total darkness envelops the stage. Gradually, the image of Margaret, alone, becomes visible. With defiant and noble grandeur, she embraces her life’s circumstances. Scene 3: In a Courtroom, in early April 1861 Margaret Garner sits in the middle of a courtroom, surrounded by militia officers. After capturing the runaway slave in Ohio, Edward Gaines had her transported back to Kentucky, where she now stands trial for the “theft and destruction” of the two dead children, considered his property. Local citizens fill the courtroom gallery, for they have followed the case with great interest and curiosity, and eagerly await Margaret’s sentencing by the three presiding judges. Caroline Gaines tries to rationalize with her father, and contends that Margaret stands wrongly accused: a mother who kills her children cannot be said to steal them. The proper charge, she insists, is murder–for Margaret killed human beings. The judges argue vehemently that Margaret’s case is one of “property” and the financial loss suffered by Gaines. Furthermore, Margaret has no legal right or claim to her children; slaves own nothing, least of all their master’s other slaves. The onlookers concur rowdily. Laughing cynically at Caroline’s perceived naiveté, the judges add that the veracity of their beliefs is confirmed and defended by the Bible. Caroline senses the hopelessness of the situation, and makes a personal appeal to her father on Margaret’s behalf. She pleads that a man of her father’s stature could influence the debate on slavery that is tearing apart the country, as well as their family. Margaret is not the only one guilty of a crime, she admonishes; everyone bears some of the blame for the discord. But Gaines merely reiterates that he has committed no crime; society and the law affirm his behavior. When the judges declare that Margaret is to be executed for theft, the onlookers express relief–for it confirms their deeply held conviction that they are superior to Margaret. Having sat quietly throughout the proceedings, Margaret suddenly rises from her chair, and glares at those in the courtroom. She states emphatically that indeed she is not like them; she is a unique individual over whom no one present has any power. Citing their full legal authority, the judges officially sentence Margaret to be executed by sunrise. They quickly recess to their chambers, and the condemned prisoner is led from the courtroom. Dismayed by the verdict, Caroline again begs her father to urge the court for clemency. Betraying no sign of emotion, although secretly disturbed by the trial, Edward coolly states that Margaret must suffer the consequences of what she has done. Caroline retorts that her father also must accept responsibility for his actions, then walks out. Left alone in the silent courtroom, Edward Gaines contemplates the course of his life, and wonders why he feels so troubled. His relationship with Caroline, once so close and loving, has deteriorated badly. Feeling under tremendous stress, Gaines realizes that he must choose between the love of his radical daughter and the traditional way of life to which he has always aspired. iii
Scene 4: In the town square of Richwood Station, Kentucky; the next morning, at dawn A group of local citizens–including the town authorities; Caroline and George; and Cilla, as well as some slaves transported from nearby plantations–processes somberly into the town square. Great sorrow fills the air, for they are accompanying Margaret Garner to her execution. All are sobered by the imminence of death. Seemingly, the only person not in the crowded plaza is Edward Gaines. The hangman brings forth the condemned prisoner, whose hands still are bandaged from the burns she suffered while defending herself against Gaines’s unwanted advances. Margaret is led up the scaffold steps. When she reaches the top of the platform, the hangman places a noose around her neck and positions her on the gallows’ raised platform (or stool). Edward Gaines runs in, excitedly waving a legal document–the judges have granted Margaret clemency! All will be well again, if Margaret admits and repents her crime; she simply will be returned to his custody. Although Caroline is overjoyed and relieved by this turn of events, as well as proud of her father’s decision to seek justice, Gaines’s fails to find any sign of approval or appreciation from his neighbors. The hangman leaves Margaret’s side, and walks over to accept the document from Edward for careful review. Upon hearing the judges’ decree, Cilla immediately offers words of gratitude and praise to her God. Margaret, still standing on the gallows, expresses her desire to live peacefully in a just world. Yet when the crowd is momentarily distracted, she seizes the opportunity for “freedom”–by deliberately kicking away the stool and hanging herself. The crowd is stunned by her suicide, yet a sense of awe permeates their sorrow. Caroline notices Margaret’s red scarf in her father’s front pocket; she removes it, then silently ascends the scaffold and reverently ties it around Margaret’s arm. Edward–as bewildered as anyone by Margaret’s deed – realizes that peace will always elude him. For though he made the “right” choice–to fight for Margaret’s freedom–he did it for the wrong reason. His actions were motivated by a desire to win his daughter’s respect, and not from any deeply held moral convictions. All of the onlookers–townspeople and slaves alike–express their need for repentance; Cilla proclaims her desire to join Margaret soon in heaven. As the curtain descends slowly, the crowd in the town square prays that Margaret’s final journey home be a peaceful one.
—Mary Lou Humphrey
iv
MARGARET GARNER Opera in two acts Act I, Scene 1: Prologue Kentucky, April 1856.
Toni Morrison
Richard Danielpour (2003)
(The opera begins in total darkness, without any sense of location or time period.)
Misterioso = 60–63
7
r. h.
r. h.
(Out of the blackness, a large group of slaves gradually becomes visible. They are huddled together on an elevated platform in the center of the stage.)
13 3
3
6
3
espr.
Premiere: 5/2006 Revised: 04/2007
Copyright Š 2005 by Associated Music Publishers, Inc. (BMI) and G. Schrimer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
Property of:
G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY
2
Act I–Scene 1
17 Cilla:
No,
3
no
more.
No
Margaret Garner: 3
No,
no
more.
No
no
more.
No
Robert Garner:
3
No,
*The Slaves (“Black Chorus”), visible, on stage: *The Townspeople (“White Chorus”), unseen: 3
S No,
no
more.
No
3
A No,
no
more.
No
No,
no
more.
No
No,
no
more.
No
Ch.
T 8
3
B 3
*Although they must not be seen in the opening prologue (mm. 17 through 184), the SATB White Chorus should sing the opening chorus with the Black Chorus.
3
Act I–Scene 1
espr.
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3
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Act I–Scene 1
27
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port. 8
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3
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Act I–Scene 1
Con energia, with rhythmic vitality 32
= 152 sotto voce
C.
sotto voce M.G.
sotto voce R.G.
sotto voce S
sotto voce A
Ch. sotto voce T
sotto voce B
Con energia, with rhythmic vitality = 152
sempre stacc.
5
6
Act I–Scene 1
38
47
with an “edge”, confident, defiant
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no
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no
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more!
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no,
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with an “edge”, confident, defiant M.G. No,
no,
no,
no,
no
with an “edge”, confident, defiant R.G. no,
No,
no,
no,
no,
no more!
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no,
with an “edge”, confident, defiant S No,
no,
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no,
no
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no
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with an “edge”, confident, defiant A No,
Ch.
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with an “edge”, confident, defiant T No,
no,
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no more!
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with an “edge”, confident, defiant B No,
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sempre stacc.
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7
53 C. No, no, no,
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no
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M.G.
R.G. No,
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no more!
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S No, no, no,
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A
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B
8
Act I–Scene 1
59 C. No, no, no, no,
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no
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no,
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no
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M.G.
R.G. more.
No,
no,
no,
no
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S No, no, no, no,
no,
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no,
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A
Ch. T
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B
9
Act I–Scene 1
65
sub.
S No,
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no,
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no,
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sub. A No,
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Ch. sub. T No,
no,
no,
no,
no
more!
No, no, no, sub.
B No,
no,
marcato
no,
no,
no
more!
No, no, no,
sub.
Margaret: 71
An
sempre stacc.
kles
cir
cled
10
Act I–Scene 1
77 M.G. 3
with
a
chain.
S No,
no,
no,
no,
no
more.
No, no
more!
No,
no,
no,
no,
no
more.
No, no
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Please, God,
no, no
more!
A Ch. T 8
No,
no,
no
No,
no,
no
more.
B more.
Please, God, no
more!
84 M.G. Skin
bro
ken
by
11
Act I–Scene 1
91
3
.
port
M.G. a
cane.
S No, no, no,
no, no, no,
no
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No, no, no,
no, no, no,
no
more!
A Ch. T 8
No,
no,
no
more.
No
more.
No,
no,
no
more.
No
more.
B
97 M.G. Blood S No,
no,
no,
no,
no
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No,
no,
no,
no,
no
more!
A Ch. T 8
No,
no,
no,
no,
no
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No,
no,
no,
no,
no
more!
B
y
12
Act I–Scene 1
103 M.G. pil
lows sub.
S No,
no,
no,
no,
no, no
more!
No, no, no.
more!
No, no, no.
more!
No, no, no.
sub. A No,
no,
no,
no,
no, no
Ch. sub. T 8
No,
no,
no,
no,
no, no sub.
B No,
no,
no,
no.
Please, God,
no
more!
110 M.G. un
der
my
head.
13
Act I–Scene 1
115 M.G.
S No, no,
no
more.
No,
no
more.
No,
no
more.
No, no,
no.
No, no,
no
more.
No,
no
more.
No,
no
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No, no,
no.
No, no,
no
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No,
no
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No,
no
more.
No, no,
no.
A Ch. T 8
B No,
no,
no
more.
No
more.
Dear
God,
no
more!
120 M.G. Wish ing,
pray
ing
I
S No, no, no, no,
no,
no,
no
more!
No, no, no, no,
no,
no,
no
more!
No, no, no, no,
no,
no,
no
more!
A Ch. T 8
B Dear
sotto voce
God,
no
more.
No
more!
14
Act I–Scene 1
127 M.G. 3
was
dead.
sub.
133
Cilla:
No,
no,
no,
no,
no
more!
No,
no,
no,
no,
no
more!
No,
no,
no,
no,
no
more!
No,
no,
no,
no,
no
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No,
no,
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no,
no
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No,
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No,
no,
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no,
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No,
no,
no,
no,
no
more!
No,
no,
no,
no,
no
more!
No,
no,
no,
no,
no
more!
No,
no,
no,
no,
no
more!
No,
no,
no,
no,
no
more!
Robert:
S
A
Ch.
T 8
B
15
Act I–Scene 1
139 C. No, no, no,
no, no, no! Dear God, please,
no
more!
No, no, no,
no, no, no! Dear God, please,
no
more!
No, no, no,
no, no, no! Dear God, please,
no
more!
No, no, no,
no, no, no! Dear God, please,
no
more!
No, no, no,
no, no, no! Dear God, please,
no
more!
No, no, no,
no, no, no! Dear God, please,
no
more!
R.G.
S
A
Ch.
T 8
B
16
Act I–Scene 1
144
147
150
Don’t hurry, più pesante ( = 144 sempre)
S Dear
God,
no
more,
not
more.
Please,
no
more.
Dear
God,
no
more,
not
more.
Please,
no
more.
Dear
God,
no
more,
not
more.
Please,
no
more.
Dear
God,
no
more,
not
more.
Please,
no
more.
A Ch. T 8
B
Don’t hurry, più pesante ( = 144 sempre)
154
Margaret:
Blood
sim.
y
pil
lows
un
der my head;
17
Act I–Scene 1
158 M.G. wish ing,
pray
ing
Cilla: 161
Please
God,
no
more.
Please
God,
no
more.
Please
God,
no
more.
Please
God,
no
more.
Please
God,
no
more.
Please
God,
no
more.
Robert:
S
A Ch. T 8
B
I
was
dead.
18
Act I–Scene 1
Margaret: 164
Mas
ter’s
brand
is
166
fol
low
ing
me;
full, rich
M.G. rope
169
can
swing
from
Cilla: pleading
Please Robert: pleading
God,
no
more.
Please pleading
God,
no
more.
Please pleading
God,
no
more.
Please pleading
God,
no
more.
Please pleading
God,
no
more.
Please
God,
no
more.
S
A Ch. T 8
B
an
y
old
tree.
19
Act I–Scene 1
172
176 C. Please
God,
no
more.
Please
God,
Please
God,
no
more.
Please
God,
Please
God,
no
more.
Please
God,
Please
God,
no
more.
Please
God,
Please
God,
no
more.
Please
God,
Please
God,
no
more.
Please
God,
R.G.
S
A Ch. T 8
B
20
Act I–Scene 1
molto
180 C. no
more.
No
more! molto
R.G. no
more.
No
more! molto
S no
more.
No
more! molto
A no
more.
No
more!
Ch. molto T 8
no
more.
No
more! molto
B no
more.
No
more!
21
Act I, Scene 1: (The lights go up, and illuminate the entire stage. The “elevated platform� on which the slaves stood at the beginning of the opera is revealed now to be a trading block situated in the middle of the busy town square in Richwood Station, Kentucky. It is April 1856. The local townspeople are gathering eagerly for a slave auction. Also in the crowd is Edward Gaines, accompanied by his daughter Caroline.)
(In preparation for the auction, members of slave families are being separated from one another, grouped according to gender and age.)
185
sim.
188
191
194
rall.
22 198
Act I–Scene 1
Auctioneer: come recitativo, freely
= ca. 104
3
8
201
By
the
rall.
3
pow ers in vest ed and by cus toms in gest
ed
I
a tempo
Auc. 8
3
here by de clare and al low:
204 Auc. 8
The
6
6
6
6
206 Auc. 8
3
sale
of
3
3
all
goods
and
cat
tle
and
wood land,
espr.
23
Act I–Scene 1
208 Auc. 8
slaves
and plant ing
fields
3
dark
with
loam.
210 Auc. 8
6
6
espr.
3
212 Auc. 8
I
here by
de clare and al
low
6
6 3
3
214 Auc. 8
3
3
an
old
es
3
tate rich
in
his t’ry
3
is
now on
3
the mar ket for
a
gen tle man’s
24
Act I–Scene 1
216 Auc. 8
pock
et,
a
prize
in
3
espr.
219 Auc. 3
8
the
whole
coun
ty.
6
6
6
3
221 Auc. 8
Your
shrewd
3
eyes
will
light
up
3
3
espr.
223 Auc. 8
3
3
3
3
pound for pound,thebest
est
val
ue
for
miles
a
3
3
dol lar for dol lar,
round.
25
Act I–Scene 1
225
(A foreman approaches the slaves.)
espr.
3
(The foreman cracks his bullwhip, and the slaves immediately assume different positions for inspection: they bare their teeth, expose their backs, stretch out their necks, etc.)
228
Subito più mosso
= 116 6
6
6
6
Slapstick
The Townspeople (“White Chorus”): 232 S How
much?
How
much?
How
much?
How
much?
How
much?
How
much?
How
much?
How
much?
A
T 8
B
6
6
26
Act I–Scene 1
234 S 3
3
3
3
For pick nies and mam mies and breed ers and bucks?
How
much? How much?
How
much? How much?
How
much? How much?
How
much? How much?
3
A 3
3
3
3
3
For pick nies and mam mies and breed ers and bucks?
T.C. T 8
3
3
For pick nies and mam mies and breed ers and bucks?
B 3
3
3
3
For pick nies and mam mies and breed ers and bucks?
6
6
(Slapstick)
6
6
236 S 3
What say? What say?
3
3
3
For milk ing and plow ing and spin ning and 3
A What say? What say?
T.C.
3
3
3
3
3
For milk ing and plow ing and spin ning and
T 8
What say? What say?
3
3
For milk ing and plow ing and spin ning and
B 3
What say? What say?
3
3
3
For milk ing and plow ing and spin ning and
6
6
6
6
27
Act I–Scene 1
238
tutta forza
S 3
can ning and such.
O,
what a
prob
lem
to
de
O, tutta forza
what a
prob
lem
to
de
O, tutta forza
what a
prob
lem
to
de
O,
what a
prob
lem
to
de
tutta forza A 3
can ning and such.
T.C. T 8
3
can ning and such.
B 3
can ning and such.
241 S cide.
O,
what
a
cide.
O,
what
a
cide.
O,
what
a
cide.
O,
what
a
A T.C. T 8
B
6
6
6
28
Act I–Scene 1
243 S bur
den on
our
shoul
3
ders:
for
3
A bur
den on
our
shoul
ders:
bur
den on
our
shoul
ders:
bur
den on
our
shoul
ders:
for
T.C. T 8
3
for
B 3
for
6
6
6
Slapstick
246 S 3
those who have
3
3
no thing, are
no thing, do
3
3
no thing ex
3
cept
for
we
for
we
for
we
for
we
3
A 3
those who have
T.C.
3
no thing, are
no thing, do
3
no thing ex
cept
T 8
3
those who have
3
no thing, are
3
no thing, do
3
no thing ex
3
cept
B 3
those who have
3
no thing, are
3
no thing, do
3
3
no thing ex
cept
3
29
Act I–Scene 1
249 S 3
3
who
3
3
clothe them and feed them and
let
them
3
sleep
3
3
3
A T.C.
3
who
clothe them and feed them and
who
clothe them and feed them and
3
let
them
sleep
them
sleep
them
sleep
T 3
3
8
3
3
let
3
B 3
3
who
3
3
clothe them and feed them and
let
3
3
3
252 S 3
3
3
when they are
ill.
We
teach
them
all
3
they 3
A 3
when they are
T.C.
3
ill.
3
We
teach
We
teach
them
all
them
all
them
all
they
T 8
3
3
3
when they are
ill.
B 3
when they are
3
3
ill.
We
teach
3
3
they
3
3
3
3
they
3
30
Act I–Scene 1
255 S 3
3
3
will ev er know, all they
will ev er know
of
God
and
work
and
of
God
and
work
and
of
God
and
work
and
of
God
and
work
and
3
3
3
A 3
will ev er know, all they
3
will ev er know
T.C. T 3 8
B
3
3
will ev er know, all they
3
will ev er know
3
3
will ev er know, all they
will ev er know
3
3
3 (Hns.)
259 S home! A home!
T.C. T 8
home!
B home!
3
3
3
3
3
3
3
3
31
Act I–Scene 1
263
Auctioneer:
molto 3
8
By
the
pow ers
3
3
in vest ed and by cus toms in gest ed,
I
265 Auc. 8
3
here by
3
3
de clare and al low this sale
to be now
o
pen!
268 S What say?
What
say?
What say?
What
say?
What say?
What
say?
What say?
What
say?
3
For
A 3
For
T.C. T 8
3
For
B 3
For
(Hns.)
32
Act I–Scene 1
271 S 3
3
3
milk ing and plow ing and spin ning and
3
can ning and such.
3
A 3
3
milk ing and plow ing and spin ning and
T.C.
3
can ning and such.
T 8
3
3
3
milk ing and plow ing and spin ning and
B
3
3
3
milk ing and plow ing and spin ning and
3
can ning and such.
3
can ning and such. 3
3 3
274
3
3
S How
much?
How
much?
For 3
A How
T.C.
much?
How
much?
For 3
T 8
How
much?
How
much?
For 3
B How
much?
How
much?
For
3
33
Act I–Scene 1
277 S 3
3
3
pick nies and mam mies and
3
breed ers and bucks, who know
3
no
thing
of
no
thing
of
no
thing
of
no
thing
of
3
A 3
pick nies and mam mies and
3
breed ers and bucks, who know
T.C. T 8
3
3
pick nies and mam mies and
3
3
breed ers and bucks, who know
B 3
3
pick nies and mam mies and
3
3
3
3
280 S God
and
home!
God
and
home!
God
and
home!
God
and
home!
A T.C. T 8
3
breed ers and bucks, who know
B
3
34
Act I–Scene 1 (Auctioneer brings forth the first slave for sale.)
rit.
283
3
Poch. meno mosso
3
3
3
= 96–104
Auctioneer: come recitativo, freely chanted 287 port.
8
3
this here is Cil la.
Now
3
3
A bout fif ty, she thinks. A cook,a child nurse,laun dress and seam
stress.
colla voce
accel.
ben misurato
290
freely
Auc. 3
8
This bid be gins at two
colla voce
(A customer raises his hand, thereby upping the bid.)
293
a tempo
(accel.)
Auc. 8
hun
dred
dol lars. Do
I hear
two
for ty, two
for ty,
two for ty,
two
for ty?
35
Act I–Scene 1
rall.
295
a tempo
Auc. 8
Yes!
Two
hun dred
emphatically S for
Two
ty.
emphatically A Two T.C.
for
ty.
emphatically
T 8
Two
for
ty.
emphatically B Two
for
ty.
rall.
a tempo
accel.
298 Auc. 8
3
3
for ty. Do I hear three hun dred,three hun dred,three hun dred? I need three hun dred dol
colla voce
lars.
36
Act I–Scene 1
a tempo (enthusiastically)
rall.
a tempo
rall.
a tempo
300 Auc. 8
Yes!
S Three
hun
dred!
Three
hun
dred!
Three
hun
dred!
Three
hun
dred!
A T.C. T 8
B
a tempo (enthusiastically)
302 Auc. 3
8
Three
hun
6
dred
6 6
dol lars. Do I hear
6 6
four
6 6
6
37
Act I–Scene 1
304 Auc. 8
3
3
3
3
hun dred,four hun dred, four hun dred,four hun dred dol
lars‌
excitedly S 3
Four
3
3
3
hun dred,four hun dred, four hun dred, four hun dred,
excitedly A Four
3
3
3
3
3
3
3
3
hun dred, four hun dred, four hun dred, four hun dred,
T.C. excitedly T 8
Four
hun dred, four hun dred, four hun dred, four hun dred,
excitedly B 3
Four
6
6
6
3
3
3
hun dred, four hun dred, four hun dred, four hun dred,
6
6
6
6
6
38
Act I–Scene 1
Maestoso
306
= 52–54
Auc. 8
impatient, forcefully Edward Gaines:
Hold
on!
Hold
S four
hun
dred!
four
hun
dred!
four
hun
dred!
four
hun
dred!
A T.C. T 8
B
Maestoso
= 52–54
Perc.
più pesante 309 E.G. 3
on!
3
I’m tell ing you to
hold
on!
39
Act I–Scene 1
313
Playfully, but a little agitated = 104–108
(startled, a little nervously) sim.
S Who is it? Who is it? (startled, a little nervously) sim.
Who
Who is it?
Who
A Who is it?
T.C.
(startled, a little nervously) sim.
T 8
What is it?
What is it?
(startled, a little nervously) sim. B What is it?
What is it?
Playfully, but a little agitated = 104–108 3
3
3
3
3 3 3
3
3 3
3
3
3
3
3 3
always well articlulated 317 S is it?
Who
is it?
is it?
Who
is it?
Who is it?
Who is it?
Who
A Who is it?
Who is it?
T.C. T 8
What is it?
What is it?
What is it?
What is it?
Who is it?
Who is it?
B
3
Who is it?
3
Who is it?
3
3
3
3 3
3
3
3
3
3
3
3
3
3
40
Act I–Scene 1
321 S is
it?
Who
is
it?
Who
is
it?
Who is
it?
Who
Who
is
it?
Who is
it?
Who
A Who is
T.C.
it?
Who is
it?
T 8
Who is
it?
What is
it?
What is
it?
What is
it?
What is
it?
What is
it?
B Who is
it?
What is
it?
3 3
3
3
3
3
3
3
3
L’istesso tempo ( = 104–108) Auctioneer:
8
Ex
S is it?
Who is it?
is it?
Who is it?
A
T 8
3
3
324
T.C.
3
What is it?
What is it?
What is it?
What is it?
B
L’istesso tempo ( = 104–108)
3
3 3 3
41
Act I–Scene 1
328
(polite, but annoyed)
Auc. 8
cuse
me,
sir.
4
331 Auc. 8
Le
gal
bus ’ness is
in pro
gress
here.
poco
335 Auc. 8
3
By
3
3
the
pow ers in vest ed and by cus toms in
gest
ed…
(interrupting the Auctioneer)
Edward:
I
dolce
beg
your
42
Act I–Scene 1
338 E.G. par
don!
Moderato 342
più espr.
= 48
E.G. 3
This
farm
be longed to my bro
ther.
It
dolce
346 E.G. 3
can’t
(
be
sold
to an
oth
er.
)
3
349
= 104 Auctioneer:
meno
3
8
It
3
3
is true.
If
3
3
3
a
3
fam i ly mem ber calls the claim, no
3
3
43
Act I–Scene 1
351 port.
Auc. 8
sale
here
3
3
354
3
can take place
and
now.
3
più sonore
= 63–72
sotto voce
Edward:
I
am a Gaines.
Ed
ward Gaines,
bro
espr.
358 E.G. 3
ther of the de ceased.
(increduously)
363
quasi sotto voce
E.G. 3
Don’t
you re mem
3
ber
me?
44
Act I–Scene 1
Con moto (un poco agitato) = 144–152 Townspeople: (their curiosity aroused)
366 S Ed ward Gaines?
Who is he?
Did
old Gaines have a bro
Did
old Gaines have a bro
A Who is he?
Ed ward Gaines?
T.C. T 8
Ed ward Gaines?
Who is he?
Who
is
he?
Ed ward Gaines?
B Who is
he?
Ed ward Gaines?
Who is he?
Con moto (un poco agitato) = 144–152
369 S ther? A ther?
T.C. T 8
Who
is
he?
Ed
ward
Gaines?
Ed
B Gaines?
Who
is
he?
Ed
ward Gaines?
ward Gaines?
Ed ward
45
Act I–Scene 1
= 72–80 371
Edward: 3 3
I was born
a
mong
3
you
and
now
I’ve
re
374 E.G.
3
turned.
Does n’t
an y one
re mem
ber me? 3
Con moto (un poco agitato) = 144–152 377
sempre stacc.
legato 3
S No, no, no.
No, no, no.
Was
sempre stacc.
it legato
a
3
A No, no,
T.C.
no.
No, no, no.
Was
it
a
sempre stacc.
T 8
No, no, no.
No, no, no.
No, no, no.
No, no, no.
sempre stacc. B No, no.
Con moto (un poco agitato) = 144–152
No, no.
No, no.
No, no.
46
Act I–Scene 1
rall.
380 S long
time
a
go?
long
time
a
go?
A T.C. T 8
No, no, no.
No, no, no.
No.
No.
no, no, no.
No, no, no.
B No, no.
No, no,
rall.
sotto voce
3
Come sopra 384
= 80
full
Edward: 3
You thought I was slow grace note, on the beat
(Perc.)
3
lost,
did n’t you,
in
a
rough
life
of
the
47
Act I–Scene 1
388
sotto voce
E.G. game.
(Well,
You were wrong.
Più mosso
391
= 92
E.G. no,
394
you were n’t…)
Più maestoso = 80
E.G. Well, 6
yes, 6
you 6
were!
6
3
With swing
3
3
= 160
396
3
3
3
3
48
Act I–Scene 1
secco
400
più cantabile
E.G.
3
was
I
just a
3
boy
3
when an y of
3
you
3
last
saw
me.
3
3
404 E.G. 3 3
3
3
But I’ve been
3
3
3
3
3
3
407 E.G. 3
3
3
hap pi ly mar
3
3
3
3
ried
with a
daugh
3
ter
we
both
a dored.
3 3
410 3
3
3
3
3
3
3
3
3
3 3
3
3
49
Act I–Scene 1
L’istesso tempo 413
3
3
3
3
sub.
416 E.G.
3
Now
I’m
3
3
a
wid
ow
er,
a man
più dolce
420 E.G.
3
3
3
of
3
3
means,
a fa
3
ther
with a
3
child
to
raise. 3
424 3
3
3
3
50
Act I–Scene 1 (pointedly)
428 E.G.
3
What
my
bro
ther
3
3
owned
I
3
have
right
of first
3
full, grand 431 E.G.
3
of
3
fer to
buy.
3
3
3
3
Which I
do
3
now,
friends.
3
434 E.G.
3
3
3
Which I
do
now. 3
3
3
3
437 3
3
3
3
3 3
3
3
3
3
3
3
3
3
51
Act I–Scene 1
Auctioneer:
441
8
port 3 .
It
is true.
3
It is
the law.
7
6
445 Auc. 8
S It
is
true.
A It
T.C.
is
true.
It
is
true,
it
is
the
law.
It
is
true,
it
is
the
law.
it
is
the
law.
T 8
It
is
true.
B It
is
true,
52
Act I–Scene 1
447
3
3
3
Auc. 8
We
must
en
ter
tain
3
his
right
un
3
der the
law.
3
3
6
dolce
6
3
450 Auc. 8
secco S Un der the law. secco A Un der the law.
T.C.
secco
T 8
Un
der
the law.
secco B der
Un
3
3
the law.
3
3
3
3
3
3
3
53
Act I–Scene 1
453
3
Auc. 3
8
What is
3
3
your pleas ure, Mis
ter Gaines,
sempre stacc. (solicitously)
457
poss.
3
Auc. 8
sir?
What 3
3
461
3
3
3
3
parts
in t’rest you?
3
3
poss.
Edward:
3
3
I want it
3
3
all.
I’ll have it
all.
3
3
3
3
sempre non legato (poco marcato)
465 E.G. 3
Ev
’ry
box
of
Chi
na
3
tea
3
be longs
to
me. 3
sub.
3
3
3
3
54
Act I–Scene 1
469 E.G.
3
Ev
3
’ry bod
3
y,
3
ev
’ry
3
3
3
3
broom,
ev
’ry
3
mule
3
3
3
3
and ev
’ry
loom. 3
3
(pointing at the slaves) molto
472 E.G.
3
all
Keep
the goods
3
3
475 E.G.
3
3
3
and pro per ty
3
to geth er. 3
3 3
3
3
3
3
3
3
3
479 E.G.
3
3
I’ll
have
it
all. 3 3 3
3
3
3
3 3
55
Act I–Scene 1
482
3
3
3
3
3
3
3
3
3
3
3
3
(The auctioneer and Edward shake hands after agreeing on terms for the sale of Maplewood Plantation.)
485
3
3
3
3
3
(Edward shakes hands with his neighbors.)
489
(The auctioneer hands Gaines some legal paperwork to examine, and the townspeople begin to disperse. Several prominent businessmen remain to witness the transaction, as does Edward’s daughter Caroline, who will inherit Maplewood one day.)
3 3
3 3
3
3
3 3
3
3
493
3 3
3
3
3
3
3
3
3
56
Act I–Scene 1
(The slave families, now allowed to stay together thanks to Edward’s generosity, celebrate in dance and song.)
498
With rhythmic vitality (like a gospel chorus), but not hurried = 104 Clap (follow piano part); improvise shouts, mm. 498–501
Cilla:
A Clap (follow piano part); improvise shouts, mm. 498–501
Margaret:
A Clap (follow piano part)
Robert:
A Chorus of Slaves: Clap (follow piano part); improvise shouts, mm. 498–501 S A Clap (follow piano part); improvise shouts, mm. 498–501 A A Clap (follow piano part); improvise shouts, mm. 498–501 T 8
A Clap (follow piano part); improvise shouts, mm. 498–501
B A
With rhythmic vitality (like a gospel chorus), but not hurried = 104
claps
57
Act I–Scene 1
502 C. lit
tle more
time,
a
lit
tle more
time,
more
time
lit
tle more
time,
a
lit
tle more
time,
more
time
lit
tle more
time,
a
lit
tle more
time,
more
time
lit
tle more
time,
a
lit
tle more
time,
more
time
lit
tle more
time,
a
lit
tle more
time,
more
time
lit
tle more
time,
a
lit
tle more
time,
more
time
lit
tle more
time,
a
lit
tle more
time,
more
time
M.G.
R.G.
S
A S.C. T 8
B
58
Act I–Scene 1
506
meno
C. with
the
child
ren we
love. meno
M.G. with
the
child
ren we
love. meno
R.G. with
the
child
ren we
love. meno
S with
the
child
ren we
love. meno
A S.C.
with
the
child
ren we
love.
with
the
child
ren we
love,
with
the
child
ren we
love.
T 8
B
time
with meno
our bro
thers.
59
Act I–Scene 1
510 C. We
feel
the
mer
cy
of
our
Lord
God
with
the
We
feel
the
mer
cy
of
our
Lord
God
with
the
We
feel
the
mer
cy
of
our
Lord
God
with
the
We
feel
the
mer
cy
of
our
Lord
God
with
the
We
feel
the
mer
cy
of
our
Lord
God
with
the
We
feel
the
mer
cy
of
our
Lord
God
with
the
We
feel
the
mer
cy
of
our
Lord
God
with
the
M.G.
R.G.
S
A S.C. T 8
B
non legato
60
Act I–Scene 1
514 C. grace
of
a
lit
tle
more
time.
grace
of
a
lit
tle
more
time.
grace
of
a
lit
tle
more
time.
M.G.
R.G.
keep clapping S grace
of
a
lit
tle
more
time. keep clapping
A grace
S.C.
of
a
lit
tle
more
time. keep clapping
T 8
grace
of
a
lit
tle
more
time. keep clapping
B grace
of
a
lit
tle
more
time.
sub.
61
Act I–Scene 1
518
(Cilla, Margaret, and Chorus improvise shouts, mm. 518 through 521)
C. An M.G. An
end claps
522 C. oth
er
sea
son
of
friend
ship
tell ing
sto
oth
er
sea
son
of
friend
ship
tell ing
sto
M.G.
526
più sonore
C. ries,
shar
ing
se
crets by
the
fire.
crets by
the
fire.
più sonore M.G. ries,
shar
ing
se
62 530
Act I–Scene 1
resume clapping
S We
feel
the
mer
cy
of
our
Lord
God
with
the
the
mer
cy
of
our
Lord
God
with
the
the
mer
cy
of
our
Lord
God
with
the
the
mer
cy
of
our
Lord
God
with
the
resume clapping A We
S.C.
feel
resume clapping T 8
We
feel
resume clapping B We
feel
claps
534
keep clapping
S grace
of
a
lit tle
more
time. keep clapping
A grace
S.C.
of
a
lit tle
more
time. keep clapping
T 8
grace
of
a
lit tle
more
time. keep clapping
B grace
of
a
lit
tle
more
time.
63
Act I–Scene 1
538
Margaret: full voice
More
nights
to
curl
like
a
vine
542 M.G. in
our
hus
band’s
arms.
Robert: 546
More
days
to
bask
in
the
light
64
Act I–Scene 1
full voice
550
Cilla:
Our full voice Margaret:
Our
R.G. of
our
lov
er’s
eyes.
554 C. fa
thers’
graves
we
can
still at
tend
with
fa
thers’
graves
we
can
still at
tend
with
M.G.
65
Act I–Scene 1
558 C. Sweet
Will
iam
and
col
um
bine.
Sweet
Will
iam
and
col
um
bine.
Will
iam
and
col
um
bine.
Will
iam
and
col
um
bine.
Will
iam
and
col
um
bine.
Will
iam
and
col
um
bine.
M.G.
sempre S Sweet sempre A Sweet S.C. sempre T 8
Sweet sempre
B Sweet
66
Act I–Scene 1
molto 562 C. Lit tle
more
time,
a
Lit tle
more
time,
a
Lit tle
more
time,
a
Lit tle
more
time,
a
Lit tle
more
time,
a
Lit tle
more
time,
a
molto M.G.
Robert:
molto
S
molto A
molto
S.C.
T 8
molto
B
(Hn.)
67
Act I–Scene 1
566 C. lit
tle
more
time,
more
time
with
the
child
ren we
love.
lit
tle
more
time,
more
time
with
the
child
ren we
love.
lit
tle
more
time,
more
time
with
the
child
ren we
love.
lit
tle
more
time,
more
time
with
the
child
ren we
love,
lit
tle
more
time,
more
time
with
the
child
ren we
love.
lit
tle
more
time,
more
time
with
the
child
ren we
love.
R.G.
S
A
S.C.
T 8
B
68
Act I–Scene 1
570 C. We
feel
the
mer
cy
of
our
We
feel
the
mer
cy
of
our
We
feel
the
mer
cy
of
our
We
feel
the
mer
cy
of
our
We
feel
the
mer
cy
of
our
We
feel
the
mer
cy
of
our
R.G.
S
tutta forza A time
with
our mo
thers.
S.C.
T 8
B
69
Act I–Scene 1
574 C. Lord
God
with
the
grace
of
a
lit
tle
more
time.
Lord
God
with
the
grace
of
a
lit
tle
more
time.
Lord
God
with
the
grace
of
a
lit
tle
more
time.
Lord
God
with
the
grace
of
a
lit
tle
more
time.
Lord
God
with
the
grace
of
a
lit
tle
more
time.
Lord
God
with
grace
of
a
lit
tle
more
time.
R.G.
S
A
S.C.
T 8
B the
70
Act I–Scene 1
578
continue clapping
C.
continue clapping R.G.
continue clapping S
continue clapping A
S.C. continue clapping T 8
continue clapping B
poco marc.
71
Act I–Scene 1
(continue clapping)
clapping:
584
end clapping
L’istesso tempo = 104
(Gaines nods in assent to the contract’s terms, then turns to the businessman standing next to him and asks for a pen with which to sign the contract.)
590 (Cl.)
dolce
(Holding a homemade play doll.)
596
Margaret:
tenderly
I
made
600 M.G. doll
for
my
ba
a
lit
tle
play
72
Act I–Scene 1
604 M.G. by,
with
but ton
eyes
and
608 M.G. hair
of
yarn;
dolce
612
full voice
M.G. The
lips
are
made
of
(Distracted from his paperwork, Edward turns around and notices Margaret, who is wearing a red scarf. He is captivated, and grateful for his good fortune to have just purchased her.)
616 M.G. rose – col ored thread.
One
73
Act I–Scene 1
621
meno
M.G. day
will
she
625 M.G. love
it;
I
am
629 M.G. wait
ing
for
her
(Edward turns around again, and finishes signing the contract. The businessmen extend handshakes of con-gratulations to him on the acquisition of Maplewood.)
633 port.
M.G. love
it
to
74
Act I–Scene 1
637 M.G. When
she
is
old
e
(
641
nough
to
(When one of the slaves brings in Margaret’s infant daughter, wrapped in a white cloth, Margaret puts the play doll in her pocket in order to cradle the baby tenderly in her arms.)
= 104)
M.G. hold
it.
647 M.G. I’m
652
watch
ing
this
mys
full, rich
ter
y
resume clapping
M.G. child.
claps
called
75
Act I–Scene 1
a tempo = 104
658
Cilla:
A Robert:
A
S A
A A S.C. T 8
A
B A
a tempo = 104
cresc.
76
Act I–Scene 1
662 C. lit
tle
more
time,
a
lit
tle
more
time,
more
time
lit
tle
more
time,
a
lit
tle
more
time,
more
time
lit
tle
more
time,
a
lit
tle
more
time,
more
time
lit
tle
more
time,
a
lit
tle
more
time,
more
time
lit
tle
more
time,
a
lit
tle
more
time,
more
time
lit
tle
more
time,
a
lit
tle
more
time,
more
time
R.G.
S
A
S.C. T 8
B
l. h.
77
Act I–Scene 1
666
sub.
C. with
the
child
ren
we
love. sub.
R.G. with
the
child
ren
we
love.
sub. S with
the
child
ren
we
love.
with
the
child
ren
we
love,
A time
S.C. sub. T 8
with
the
child
ren
we
love. sub.
B with
the
child
ren
we
love.
with
our mo
thers.
78
Act I–Scene 1
670 C. We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
R.G.
S
A
S.C. T 8
B
Act I–Scene 1
674 C. gift
of
a
lit
tle
more
time.
gift
of
a
lit
tle
more
time.
gift
of
a
lit
tle
more
time.
gift
of
a
lit
tle
more
time.
gift
of
a
lit
tle
more
time.
gift
of
a
lit
tle
more
time.
R.G.
S
A
S.C. T 8
B
79
80
Act I–Scene 1
678 C. We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
We
feel
the
breath
of
our
Lord
God
with
the
R.G.
S
A
S.C. T 8
B
Act I–Scene 1
682
81 end clapping
C. gift
of
a
lit
tle
more
time.
end clapping R.G. gift
of
a
lit
tle
more
time.
end clapping S gift
of
a
lit
tle
more
time. end clapping
A gift
of
a
lit
tle
more
time.
S.C. end clapping T 8
gift
of
a
lit
tle
more
time. end clapping
B gift
of
a
lit
tle
more
time.
end clapping
82
Act I–Scene 1
686
sub.
S We
feel
the
breath
of
our
Lord
God. sub.
A We
S.C.
feel
the
breath
of
our
Lord
God. sub.
T 8
We
feel
the
breath
of
our
Lord
God. sub.
B We
690
feel
of
our
Lord
Cilla:
S mmm A mmm
T 8
breath
poco meno mosso
We
S.C.
the
mmm
B mmm
poco meno mosso
feel
the
breath
God.
Act I–Scene 1
A tempo primo = 104
693
83
C. of our Lord
God.
Margaret:
We feel
the breath
of our Lord
God.
Robert:
We
feel
the breath of our Lord
God.
S With the
A With the S.C. T 8
With the
B With the
A tempo primo = 104
84
Act I–Scene 1 (The slaves exit slowly; Margaret is the last of the slaves to leave.)
700
all slaves clap
S gift
of
a
lit tle more
time. all slaves clap
A gift
of
a
lit tle more
time.
S.C. all slaves clap T 8
gift
of
a
lit tle more
time. all slaves clap
B gift
of
a
lit tle more
time.
molto legato non legato
706
claps
(After completing his transaction with Edward, the auctioneer departs with the businessmen. Caroline remains, cheerfully conversing with their wives.)
712
716
lunga
r. h. clapping ends
85
Act I–Scene 1 (Edward watches the last townspeople leave.)
721
freely Edward: (disappointed, somewhat disgusted)
Moderato = 88–92 (don’t drag)
3
3
Look at them.
They were my neigh
bors
(as needed) 725
(freely)
E.G. 3
3
once.
They pre
tend
they don’t re mem ber me.
3
729
Casey:
8
It
3
3
3
3
3
3
was a long
3 3
732 Ca. 8
a go,
sir.
You’ve
been a way
for twen ty years.
(turning back around, facing Casey)
Edward: (to himself)
Twen
ty years.
time
86
Act I–Scene 1
full voice
736 E.G. They pre tend.
3
3
3
3
They lie,
and they say
3
they don’t re mem ber me.
3
(Margaret’s scarf, still lying on the ground, catches Edward’s attention; he starts walking towards it.)
740
3
3
3
3
3
3
3
(looking in the opposite direction from Gaines)
743
Casey:
8
Some
747
rit.
thing
3
in the past,
Adagio ma non troppo
= 72
Ca. 8
Some thing best for got
(Edward picks up Margaret’s scarf, and mindlessly puts it in his pocket.)
ten?
Edward:
I
rit.
was just
a
Adagio ma non troppo
sub.
boy.
= 72
sir?
87
Act I–Scene 1
751 E.G.
3
The trou
ble I caused was in
es cap
3
3
a ble
for a
boy
Casey:
754
8
But
ev
’ry
3
boy
has an ap pe tite,
3
sir.
E.G. 3
with an ap pe tite.
3
Subito più mosso = 88–92 3
3
3
rit. 3
3
3
757
3
Misterioso = 60 760
6
6
6
6
88
Act I–Scene 1
floating, somewhat lightly
761 E.G.
3
I
un
left
6
6
der
a
6
6
762 E.G. 3
cloud
of
6
sus
pi
6
cion.
6
6
763 E.G. It
6
6
was
6
6
764 E.G. no
thing,
6
no
6
thing
6
to
raise
6
89
Act I–Scene 1
765 E.G. eye
brows.
6
6
6
6
Subito più mosso 766
= 88–92 poco
half voice
E.G. 3
3
The girl 6
was so
young,
3
3
3
3
6
768 E.G.
3
3
3
and from such
770
a
3
fine
3
fam
i
ly;
3
3
3
3
3
3
3
3
freely, sotto voce (quasi whisper)
not completely in full voice cantabile
E.G. 3
3
things got a lit tle out of hand.
So now
espr.
they pre
90
Act I–Scene 1
Come sopra
773
= 60
E.G. 3
tend
nei ther I
nor it
ev er
hap
pened.
6
6
776
6 6 6
6
6
6
6
6
lunga
778 E.G. What a shame.
I
re mem ber!
I
re mem ber
ev
’ry thing.
Andantino grazioso = 88–92 (wistful, yet still optimistic)
784 E.G. I
re
mem
ber
the
curve
of
ev ’ry
hill,
sim.
the
swans
in
the
91
Act I–Scene 1
789 E.G. pond;
I
ev
’ry
re
mem
ber them
still.
I
re
mem
ber
794 E.G.
799
tree:
ma
ple,
birch,
wil
lows and
più sonoro
E.G. I
pine.
can
see
them now,
shad
ing
3
the drive,
3
804 E.G. shel
t’ring
me
from the
heat.
Ma
ple,
92
Act I–Scene 1
809 E.G. birch
and the
o
dor
of
pine.
I
re
mem
ber
ev
’ry
814 E.G. tree,
but
none
of
them
re
mem
bers
me.
dolce, espr. 820
sub.
824
cantabile
E.G. The
well,
the
93
Act I–Scene 1
829 E.G. creek,
fish
ing by
the lake.
Eve nings
834
of
laugh ter
3
with girls who
full voice
E.G. 3
want
ed
to
play.
I
re mem
ber
839 E.G. ev
’ry
tree,
844
but
none
of
them
(Edward catches Caroline’s glance, and motions for her to join him.)
E.G. mem
bers
me. dolce
re
94
Act I–Scene 1
849
poco rit.
854
a tempo
E.G. 3
They
espr.
won’t
for
get
3
(Edward exits, with Caroline at his side. Casey follows them.)
858 E.G. me
a
gain!
ca. 25’
attacca
95
Act I, Scene 2: Harvest time, about six months later. (The slaves – some of whom are children, barely 10 or 12 years old – return to their quarters after a day of working in the fields. In time with the percussion’s strong, syncopated beat, they perform a series of domestic chores: chopping wood, pumping water, beating rags, etc.)
With rhythmic vitality = 96–100 Congas
8ba
7
13
8ba
18
8
8ba
96
Act I–Scene 2 Robert: full voice
23
Turn my
face
to the dy ing
sun
can’t The Slaves:
S Turn my face
to the dy ing
sun
Turn my face
to the dy ing
sun
Turn my face
to the dy ing
sun
Turn my face
to the dy ing
sun
A
T 8
B
25 R.G. straight en my back
’til the work is done.
S can’t
straight en my back
’til the work is
done.
can’t
straight en my back
’til the work is
done.
can’t
straight en my back
’til the work is
done.
can’t
straight en my back
’til the work is
done.
A S.C. T 8
B
97
Act I–Scene 2 27 R.G. Plowed the field,
baled thehay
S Plowed the field,
baled thehay
Plowed the field,
baled thehay
Plowed the field,
baled thehay
Plowed the field,
baled thehay
A S.C. T 8
B
29 R.G. go in’ to dance
on
the lead mule’s back some
day.
S go in’ to dance
on
the lead mule’s back some
go in’ to dance
on
the lead mule’s back some
go in’ to dance
on
the lead mule’s back some
go in’ to dance
on
the lead mule’s back some
A S.C. T 8
B
98
Act I–Scene 2
31 S day.
O
moth er,
O
fa ther,
don’t
a ban
don
day.
O
moth er,
O
fa ther,
don’t
a ban
don
day.
O
moth er,
O
fa ther,
don’t
a ban
don
day.
O
moth er,
O
fa ther,
don’t
a ban
don
A S.C. T 8
B
8ba
35 S me,
while my sweat still sweets
the rich brown soil
of
dear
old
Ken
me,
while my sweat still sweets
the rich brown soil
of
dear
old
Ken
me,
while my sweat still sweets
the rich brown soil
of
dear
old
Ken
me,
while my sweat still sweets
the rich brown soil
of
dear
old
Ken
A S.C. T 8
B
99
Act I–Scene 2 39
(non dim.)
S tuck y.
O moth er,
O
fa ther, don’t a ban don
me. (non dim.)
A tuck y.
S.C.
O moth er,
O
fa ther, don’t a ban don
me. (non dim.)
T 8
tuck y.
O moth er,
O
fa ther, don’t a ban don
tuck y.
O moth er,
O
fa ther, don’t a ban don
me.
(non dim.)
B me. (Congas)
8ba
44
Margaret:
Boss is hap
py
at his plate
If
S Long as he gets his fowl; A Long as he gets his fowl;
S.C. T 8
Long as he gets his fowl;
B Long as he gets his fowl;
100
Act I–Scene 2
shouted like a gospel singer 47 M.G. I stand
at
his cook ing stove,
Be lieve it! shouted like a gospel singer Robert:
Be lieve it!
S his
sup per
will
be
foul!
his
sup per
will
be
foul!
his
sup per
will
be
foul!
his
sup per
will
be
foul!
A
S.C. T 8
B
101
Act I–Scene 2
50 M.G. O
moth er,
O
fa ther,
don’t
a ban don
me
while my blood
floods
the
O
moth er,
O
fa ther,
don’t
a ban don
me
while my blood
floods
the
O
moth er,
O
fa ther,
don’t
a ban don
me
while my blood
floods
the
O
moth er,
O
fa ther,
don’t
a ban don
me
while my blood
floods
the
O
moth er,
O
fa ther,
don’t
a ban don
me
while my blood
floods
the
O
moth er,
O
fa ther,
don’t
a ban don
me
while my blood
floods
the
R.G.
S
A
S.C. T 8
B
8ba
102
Act I–Scene 2
55 M.G. vel vet dirt of
dear old
Ken
tuck y.
O
moth er,
O
fa ther,
vel vet dirt of
dear old
Ken
tuck y.
O
moth er,
O
fa ther,
vel vet dirt of
dear old
Ken
tuck y.
O
moth er,
O
fa ther,
vel vet dirt of
dear old
Ken
tuck y.
O
moth er,
O
fa ther,
vel vet dirt of
dear old
Ken
tuck y.
O
moth er,
O
fa ther,
vel vet dirt of
dear old
Ken
tuck y.
O
moth er,
O
fa ther,
R.G.
S
A
S.C.
T 8
B
103
Act I–Scene 2
60 M.G. don’t
a ban don
me
while
my sweat stillsweets the rich brown soil of
dear
old
Ken
don’t
a ban don
me
while
my sweat stillsweets the rich brown soil of
dear
old
Ken
don’t
a ban don
me
while
my sweat stillsweets the rich brown soil of
dear
old
Ken
don’t
a ban don
me
while
my sweat stillsweets the rich brown soil of
dear
old
Ken
don’t
a ban don
me
while
my sweat stillsweets the rich brown soil of
dear
old
Ken
don’t
a ban don
me
while
my sweat stillsweets the rich brown soil of
dear
old
Ken
R.G.
S
A
S.C. T 8
B
104
65
Act I–Scene 2
=
M.G. tuck y.
R.G. tuck y. (almost shouting)
S tuck y.
Crackuh back
cut uh cane
pull uh mule
chop uh cot ton
cut uh cane
pull uh mule
chop uh cot ton
cut uh cane
pull uh mule
chop uh cot ton
cut uh cane
pull uh mule
chop uh cot ton
(almost shouting)
A tuck y.
Crackuh back
S.C. (almost shouting)
T 8
tuck y.
Crackuh back (almost shouting)
B tuck y.
Crackuh back
=
105
Act I–Scene 2
70 M.G. Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
split uh wood
Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
split uh wood
Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
split uh wood
Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
split uh wood
Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
R.G.
S
A
S.C.
T 8
B
106
Act I–Scene 2
75 M.G. split uh wood
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
pull,
chop,
split;
split uh wood
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
pull,
chop,
split;
split uh wood
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
pull,
chop,
split;
split uh wood
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
pull,
chop,
split;
split uh wood
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
pull,
chop,
split;
split uh wood
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
pull,
chop,
split;
R.G.
S
A
S.C. T 8
B
107
Act I–Scene 2
tutta forza
80
=
=
M.G. Crack, cut,
pull, chop,
split!
pull, chop,
split!
pull, chop,
split!
pull, chop,
split!
pull, chop,
split!
pull, chop,
split!
tutta forza R.G. Crack, cut, tutta forza S Crack, cut, tutta forza A Crack, cut, S.C.
tutta forza
T 8
Crack, cut, tutta forza
B Crack, cut,
3
= 3
3
=
3
3 3
3
3 3 3
3
108
Act I–Scene 2
Soprano solo from the chorus: full voice
85
Boss is
hap
py
in his
bed
If
S Long
as his
pil low’s down
y;
Long
as his
pil low’s down
y;
A
S.C. T 8
B
109
Act I–Scene 2
87 (S. solo)
I
stood
by
his sleep y
head
S his
face would be
as
fluf fy.
his
face would be
as
fluf fy.
A
S.C. shouted like a gospel singer T 8
Tell it to me! shouted like a gospel singer
B Tell it to me!
110
Act I–Scene 2
Robert: 89
Plowed the field,
baled the hay
S Plowed the field,
baled the hay
Plowed the field,
baled the hay
Plowed the field,
baled the hay
Plowed the field,
baled the hay
A
S.C. T 8
B
111
Act I–Scene 2
91 R.G. go in’ to dance on thelead mule’s back some day.
S go in’ to dance on the lead mule’s back some
day.
go in’ to dance on the lead mule’s back some
day.
go in’ to dance on the lead mule’s back some
day.
go in’ to dance on the lead mule’s back some
day.
A
S.C. T 8
B
l.h.
112
94
Act I–Scene 2
Margaret:
O
moth er,
O
fa ther,
don’t a ban don
O
moth er,
O
fa ther,
don’t a ban don
R.G.
S O
moth er,
O
fa ther,
don’t a ban don
me
while my
O
moth er,
O
fa ther,
don’t a ban don
me
while my
O
moth er,
O
fa ther,
don’t a ban don
me
while my
O
moth er,
O
fa ther,
don’t a ban don
me
while my
A
S.C.
T 8
B
8ba
113
Act I–Scene 2
shouted like a gospel singer
99 M.G. me
Sing it to me!
O
moth er,
O
moth er,
shouted like a gospel singer R.G. me
Sing it to me!
S tears mud dy the rich brown soil of
dear
old
Ken tuck y.
O
moth er,
tears mud dy the rich brown soil of
dear
old
Ken tuck y.
O
moth er,
tears mud dy the rich brown soil of
dear
old
Ken tuck y.
O
moth er,
tears mud dy the rich brown soil of
dear
old
Ken tuck y.
O
moth er,
A
S.C. T 8
B
114
Act I–Scene 2
104 M.G. O
fa ther,
don’t
a ban don
me
of
O
fa ther,
don’t
a ban don
me
of
R.G.
S O
fa ther,
don’t
a ban don
me
while my blood floods the vel vet dirt of
O
fa ther,
don’t
a ban don
me
while my blood floods the vel vet dirt of
O
fa ther,
don’t
a ban don
me
while my blood floods the vel vet dirt of
O
fa ther,
don’t
a ban don
me
while my blood floods the vel vet dirt of
A
S.C. T 8
B
115
Act I–Scene 2
109
=
M.G. dear
old
Ken
tuck y.
dear
old
Ken
tuck y.
R.G.
(almost shouting)
S dear
old
Ken
tuck y.
Crackuh back
cut uh cane
pull uh mule
cut uh cane
pull uh mule
cut uh cane
pull uh mule
cut uh cane
pull uh mule
(almost shouting)
A dear
old
Ken
tuck y.
Crackuh back
S.C.
(almost shouting)
T 8
dear
old
Ken
tuck y.
Crackuh back (almost shouting)
B dear
old
Ken
tuck y.
Crackuh back
=
116
Act I–Scene 2
114
Crack uh back
cut uh cane
pull uh mule
Crack uh back
cut uh cane
pull uh mule
S chop uh cot ton
split uh wood;
Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
split uh wood;
Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
split uh wood;
Crack uh back
cut uh cane
pull uh mule
chop uh cot ton
split uh wood;
Crack uh back
cut uh cane
pull uh mule
A
S.C. T 8
B
117
Act I–Scene 2
119
chop uh cot ton
split uh wood;
chop uh cot ton
split uh wood;
chop uh cot ton
split uh wood;
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
chop uh cot ton
split uh wood;
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
chop uh cot ton
split uh wood;
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
chop uh cot ton
split uh wood;
Crack,
cut,
pull,
chop,
split;
Crack,
cut,
S
A
S.C. T 8
B
118
Act I–Scene 2
=
124 S pull, chop,
split;
Crack, cut,
pull, chop,
split!
pull, chop,
split;
Crack, cut,
pull, chop,
split!
pull, chop,
split;
Crack, cut,
pull, chop,
split!
pull, chop,
split;
Crack, cut,
pull, chop,
split!
A
S.C. T 8
B
3
= 3
3
3
3
3
129
3
3
3
3
8ba 3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3 3
3
119
Act I–Scene 2 (Upon hearing the bell that signals the day’s end, the workers wash up for supper. Cilla is waiting at Margaret and Robert’s cabin to welcome them home.)
134
Moderato, ma non troppo = 80 (don’t drag)
6
Cilla:
141
3
You left the light be hind
you.
3 6 6
145
3
C. Did 6
you have
a
wor ri some day?
6
(Cilla, Robert and Margaret go inside the cabin, and begin preparing dinner.)
148
6 6
meno
120
Act I–Scene 2
Poco più mosso Robert: 151
= 84 full voice
3
Ev
’ry
new
day
3
3
is
like
yes
ter day.
*
154 R.G. 3
Work
the crops,
for get a bout pay.
End
each
meno 6
157 R.G. 3
daylike the one
3
3
be
fore.
Don’t
leave the field
6 6
*A slight interruption of the trill is necessary to facilitate this passage.
’til the light’s too
121
Act I–Scene 2
Più mosso 161
= 92
Cilla:
This Gaines
is
not
like
the last
one.
R.G. poor.
Più mosso
= 92
sub.
165
3
C. A mean
streak
rides his
brow.
più
jokingly
168 C. The oth er one
had
3
a heart—
some times!
122 L’istesso tempo
Act I–Scene 2
= ca. 92 don’t hurry 171
scherzando
Margaret:
No
such thing
as a bos s’s heart. He
can’t
waste
the space. Robert:
If
= ca. 92 don’t hurry
6
6
6
6
6
6
6
6
6
6
6
6
174 M.G. 3
out his own 3 heart’s
he would lease
R.G. he could har
vest
corn
3
in his chest,he would lease
6
out his own
6
6
6
6
6
molto rit. (Margaret and Robert laugh heartily.)
176
3
heart’s
6
6
6
Solemn and soulful = ca. 80
6
(Cilla beckons for Robert and Margaret to sit down at the dinner table.)
Cilla:
Ease M.G. place!
R.G. place!
molto rit. 6
6
6
6
Solemn and soulful
= ca. 80
123
Act I–Scene 2
full voice
179 C. your selves,
3
ease
your selves.
183 C. The
ta
ble
is
laid.
The sup
per
is
188
plain
but
(All three sit down to dinner.)
C. warm. Margaret:
3
3 port.
You’ve got milk and
straw
ber ries too.
poco rit.
192
Meno mosso
= ca. 69–72
Cilla:
C. Dear
cant.
Lord
in
124
Act I–Scene 2
197
3
C. Hea
ven,
make
us grate
ful
for our food.
Margaret: (like a responsorial)
Bless ed Lord
Sweet
Je
Sweet
Je
Robert: (like a responsorial)
Bless ed Lord
200
3
3
C. Keep us welland in Your
sight.
Pro
M.G. sus
mmm
sus
mmm
R.G.
tect
125
Act I–Scene 2
203
3
C. those
in
dan
ger,
and
let us be guid
M.G. Take my
hand…
Take my
hand…
R.G.
206
don’t drag 3
3
C. ed byYour Hea
Mmm
ven ly Light.
M.G. Pre cious Lord…
mmm
Pre cious Lord…
mmm
R.G.
don’t drag
126
Act I–Scene 2
210 r po t.
C. 3
A
men.
cant.
A piacere Robert: (exuberantly, quasi parlando) 215 3
You are a har vest time bles sing,ma ma.
ben articulato
218
Moderato
Margaret:
= 72
(to Cilla)
dolce, cantando
How’s 3
3
my ba
by?
3
dolce, espr.
3
3
3
3
3
3
3
3
3
3
3
3
più espr.
221
3
M.G. Not
cry ing for
me?
How’s
3
dolce 3
3
3
3
3
3
3
3
3
3
3
3
127
Act I–Scene 2
224
3
M.G. my sweet
ness?
Not
mis sing
me?
3 3
3
3
3
3
3
3
3
3
227
Cilla: darkly
3
sotto voce
3
ing, Mar g’ret,
She’s sleep
3
sleep
3
5
ing.
Not a frown on her su gar but ter face.
sotto voce
231
A little more lively (poco più mosso)
C. (laughing) Robert:
Did you ev
er
see
a moth er like that?
meno
234
The child
sup
not quite full voice
R.G. 3
3
posed to need the moth er;
now here
dolce
the
3
moth er needs the child
more.
128
Act I–Scene 2
Margaret:
237
3
I
need
3
to smell her breath.
R.G.
241
Cilla:
The ba
by
needs her
rest. 3
M.G. I
need
to
see her eyes,
don’t drag emphatically
245 C.
It’s dan M.G. her smile.
don’t drag
g’r ous, daugh ter,
129
Act I–Scene 2 quick grace note
249 C. to
love
too
much.
The
Più lento
full voice
253
Lord
= 58–60
freely
C. giv eth
and
the
Lord
tak
3
eth
più mosso come recitativo 257
3
C. way.
Come
to your sup per be fore you wake her.
= 80 Margaret: 261 peacefully
She
dolce
is
my
sup per,
the
food
of
my
heart.
a
130 265
Act I–Scene 2
Moderato
Pochiss. più mosso
= 72
(smiling, reaching out to Robert)
M.G. Oh,
no.
Oh,
no.
Robert:
And what am I?
The leav
ings?
Pochiss. più mosso
Moderato
= 72
Subito doppio movimento = 144 (
= )
269
3
M.G. 3
You
3
are
the pulse.
With 3
3
3
3
non troppo pesante
273
3
M.G. out
you
3
I
have no
heart. Robert: 3
3
And
with
out
you
non troppo pesante 3
3 3
3
3
3
3
3 3
3
3
I
131
Act I–Scene 2
277
(They embrace.)
R.G. have
3
no
pulse to give. 3
3
3
3
3
3
Il mezzo tempo Cilla:
281
= 72
(interrupting) poco agitato
E nough
3
3
3
3
3
3
3
cresc.
più mosso come recitativo 3
said.
Go get your heart
be fore you break mine.
3
molto cresc.
a tempo (don’t drag)
(As Cilla and Robert eat dinner, Margaret sings tenderly to the child.)
284 (Margaret goes to get the baby.)
espr.
290
Moderato semplice, flowing = 42–44 ( = 84–88) Margaret:
tenderly
Sad
3
things,
3
far
3
a way
3
132
Act I–Scene 2
294
3
3
M.G. 3
Soft
things,
por
3
come
and play
Love
ly
t. by…
ba
sim.
298
3
3
3
M.G. Sleep
in the mea dow,
sleep
in the hay
full, rich 302
3
3
3
3
3
3
M.G. 3
3
Ba by’s
got a dream in’
306
più cantabile
on the
3
way.
Bad
3
3
3
3
M.G. 3
things,
3
3
far
a way
Pret ty
things,
here
to stay
133
Act I–Scene 2
310
molto cantabile, full voice
3
3
3
M.G. 3
3
Sweet
ba
by,
3
3
smile
3
3
Love ly ba
at me
by,
go
to sleep.
più sonoro
314
full, vibrant
less full
3
3
3
3
3
3
3
M.G. Sleep in the mea dow,
sleep in the hay
Ba by’s
3
gon na dream
the night
3
a
full, warm hearted
318
3
3
M.G. way.
Love
ly
ba
by,
pret
sotto voce
dolce
323
3
M.G.
port.
ba
3
3
3
by
Ba by’s gon na dream
dolce
3
3
ty
3
the
134
Act I–Scene 2 (Casey approaches the cabin, armed with a double-barreled shotgun and carrying a satchel. He loiters for a few minutes, passing the time by cleaning his gun.)
327
3
3
(non rit.)
3
M.G. 3
night
a
way.
3
espr.
331
ancora meno mosso (slower still) = 66
Più lento, slower = ca. 72 3
3
’
3
3
3
M.G. Sleep
in
the meadow,
sleep
in
334
the hay
by’s
M.G. *
dream…
Ba
by’s
gon na dream…
going gradually from closed mouth to partially open mouth.
337
3
M.G.
port.
Ba
by’s
gon na dream…
*mm 335–336 ossia: “mmm” (humming)
gon na
=
3
3
port.
Ba
mmm
ah
135
Act I–Scene 2
341
Subito agitato = 92 (not hurried, ben misurato)
Casey: (quietly, standing in the cabin doorway)
Not
8
to
night.
marcato sempre (Perc.)
sim. 344 Ca. No
bo dy
dreams
to night.
(Perc.)
347 Robert:
What
349
8
d’you say?
(Casey enters the cabin abruptly, and confronts Robert.)
What’s that
Casey: molto
you say?
non troppo
sarcastically
What’s that
I
say?
R.G.
7 7
136
Act I–Scene 2 (Casey points his gun at Robert.)
353
molto
with anger
Ca. 8
357
What’s that
(a)
you
say.
Robert:
’
Ex
cuse
me, sir.
Yes,
sir.
marcato
360 R.G. What’s that you
rit. 365
8
Quasi andante
say,
= 80
Casey:
Bet ter.
Much
sempre marcato e secco
bet ter.
sir?
137
Act I–Scene 2
369 Ca. 8
What I say
is,
no
hap
py
dark
y dream in’
ta
Sost. sotto voce
373
3
Ca. 8
night.
Mis ter Gaines
has oth er plans…
oth er plans.
(Sost.) 378 Cilla:
What plans,
Mis ter Cas ey?
Ca. 8
I’m
(Grace notes before the beat)
talk in’ to your boy,
Cil la,
Sost. 381
(to Robert)
3 3
Ca. 8
3
not you.
You have been rent ed out,
(Perc.)
(Sost.)
Sost.
138
Act I–Scene 2 quasi parlando, aggressively
384
3
Ca. 8
boy.
Mis ter Gaines
wants you on your way
3
ta night
so you’ll be
(almost shouted)
387 Ca. 8
3
3
3
read y for work at sun rise.
Not Robert: 3
Where,
sir?
Where is he send ing me?
Sost.
391
Più agitato
= ca. 84
Ca. 3
8
your bus
’ness
6
3
to know;
on
6
3
ly
6
3
6
3
your bus ’ness 6
3
6
3
to
139
Act I–Scene 2
a tempo ( = ca. 80)
poco accel.
(almost shouted)
(pointing to the door)
393 Ca. 8
go.
The wa
gon’s on the road.
Hop
to it boy!
L’istesso tempo 396
poco riten.
Margaret:
I’ll
3
get read y.
Hold
the ba
by,
Ma ma.
a tempo
399 M.G. Casey:
8
402
Hold
on,
girl.
You’ll
get read y all
right.
But you won’t need
the wa gon.
(quietly, with innuendo)
Ca. 8
Mis ter Gaines wants you in the house,
his
house.
140 405
Act I–Scene 2
full voice
Ca. 8
408
Ain’t
that nice?
No
more field
più sonoro
work.
Ain’t
that nice?
più
3
po
rt.
Ca. 8
412
3
You can putyour feet up
in his house all day,
3
all
night,
too.
(Casey pulls a stylish housedress out of his satchel. He waves the dress, like a red flag, in Robert’s face, then tosses it at Margaret.) (Casey leaves.)
full voice
Ca. 8
Ain’t that nice?
Ain’t that nice?
Ain’t that nice?
Sost.
slightly faster (Robert and Margaret exchange troubled glances; 416 Cilla rocks the baby.)
(As he walks away, Casey sings a parody of Margaret’s “Lullaby”.)
(laughing derisively)
(mockingly, but coolly)
3
3
Ca. 3
8
La
sotto voce
3
da da da da
3
La
da da day.
3
Ha, ha, ha, ha, ha, ha, ha, ha.
141
Act I–Scene 2
a piacere (Robert tries at first to contain his emotions.)
Robert:
420
(erupting in rage) molto
sotto voce
3
Skunk,
son of a whore.
snake,
Sost.
(Robert paces the room, his anger at the boiling point.)
Con moto, ben misurato
= 126
425
Cilla:
429
Please!
Robert: 433
full voice
Yel
la bel ly!
3
That son of a dog.
Don’t
wake the ba by.
142 436
Act I–Scene 2
Margaret:
Cool
3
down,
Ro bert.
3
He will
hear
you.
440 M.G.
445 Robert: 3
3
I am a man,
ain’t I?
Margaret:
449
Ain’t I?
Ain’t I?
a
man?
quasi
Yes, R.G.
Ain’t I
you are.
143
Act I–Scene 2
453
3
M.G. To me,
456
and to
us.
Robert:
3
I know,
I know,
I
know
what is on
his
mind.
(lovingly) Margaret:
460
It
won’t
R.G. Bas
tard!
464 M.G. pen. It won’t
hap
pen, be lieve
me.
Be lieve
me!
hap
144 468
Act I–Scene 2
Robert:
How
can
you know?
How
can you
be
sure?
472 R.G. You
can’t
con trol
Margaret:
476
His R.G. 3
a
snake
in his own
nest.
480 M.G. He
will
be have.
daugh ter lives there
too.
145
Act I–Scene 2
484
Cilla:
3
Be lieve
her,
son.
It
can’t
be
sotto voce
espr.
488 C. long.
492
Margaret:
We
will
find
497
a
way.
(moving closer to Robert)
M.G. Stay
sempre
strong.
for too
146 503
Act I–Scene 2
mezza voce, legato
M.G. He
is
not
the mas ter
of
me.
511
(Standing downstage center, Robert and Margaret are holding hands. As they sing, they gradually move apart.)
rit.
519
Molto moderato = ca. 54–58
hold back
Margaret:
Hold
me.
transparent dolce cantando
524
a tempo
hold back a tempo
M.G. Robert:
dolce
Stay
sweet.
3
Hold
a tempo
on.
Stay
hold back a tempo
strong.
147
Act I–Scene 2
Poco più mosso = ca. 63
530
meno
M.G. Be
my
moon rise.
You meno
are
my
You
are
my
R.G. Be
my
dawn.
Poco più mosso = ca. 63
legato
535 M.G. shoul
der.
shoul
der.
R.G.
You
are
my cour
age.
You
are
my cour
age.
3
You
are my spine.
540 M.G. And you
are
the sign
That love
R.G.
is the on
ly
mas
ter
the
ly
mas
ter
the
3
That love
is the on
148
Act I–Scene 2
544 M.G. 3
heart
o
beys;
Love
heart
o
beys;
Love
R.G.
is the
on
3
is the
3
ly
mas
ly
mas
3
on
meno
548 M.G.
3
ter
that my
heart
o
beys.
heart
o
beys.
meno R.G. ter
3
that my
cant.
(Evening falls as Robert leaves.)
dolce
(fade to black)
552
ca. 47’
attacca
149
Act I, Scene 3: Maplewood Plantation, in the early summer of 1858. Grazioso con rubato = ca. 126 (Solo piano)
espr.
7
espr.
(The lights go up gradually; the guests begin to enter.) (In the candlelit parlor at Maplewood Plantation, a wedding reception is being held to celebrate the marriage of Caroline Gaines, Edward’s daughter, to George Hancock. The guests — the local townspeople whom Edward is very eager to impress — waltz to the gentle accompaniment of a parlor piano, and enjoy generous amounts of freely flowing champagne.)
13
legato ed espr.
19
espr.
150
Act I–Scene 3
27 (Orchestra)
espr.
34
Edward: 40
3
Please,
may I
have your
at
ten
tion?
Sost. 46
Sost. The Guests: (gathering around)
well articulated
S Mis ter Gaines
wants to
speak.
wants to
speak.
well articulated
A Mis ter Gaines well articulated
T Mis ter
8
Gaines
wants to
speak.
Gath er
wants to
speak.
Gath er
well articulated
B Mis ter
(cresc.)
dolce
Gaines
151
Act I–Scene 3
51 S Gath er ’round our gra cious host.
There is
no thing so
Gath er ’round our gra cious host.
There is
no thing so
A T.C. T 8
’round
our gra cious host.
There is
no thing so
’round
our gra cious host.
There is
no thing so
B
58
dolce
S fine
as
see ing a
cou ple in
love,
a
cou ple in
love!
cou ple in
love!
dolce A fine
T.C.
as
see ing a
cou ple a
cou ple in
love,
a
dolce T 8
fine
as
see ing a
cou ple in
love,
a
cou ple in
love!
cou ple in
love!
dolce B fine
as
see ing a
cou ple in
love,
a
152
Act I–Scene 3
a tempo, grazioso ma poco lento ( = ca. 120)
rit. 66
73
Edward:
I
prom
ised
Car
o line’s moth er
(non troppo
two
things.
a
wid
)
79 E.G. 3
One,
that
I
would
stay
86 E.G. two,
that
I
would
see
to our
daugh
ter’s
fu
ture care.
ow er;
153
Act I–Scene 3
92 E.G. Car
100 E.G. o
line
has
prov en
the
right
ness
of
those prom
is es.
108 quasi E.G. She will in her
it a
sound es tate–
which, I might add, has
grown
from mod est to
(An elegant display of crystal champagne glasses has been set out on a side table for the guests. A few of them replenish their drinks.)
tenderly
118 E.G. grand.
Sost.
And her choice
of
hus
band
is
Sost.
ev
’ry thing
her moth er would have
154
Act I–Scene 3
126 E.G. wished for. The Guests: molto legato
A
man
of
sta ture and
learn
S Beau ti ful words molto legato
from our gen er ous host!
Beau ti ful words molto legato
from our gen er ous host!
Beau ti ful words molto legato
from our gen er ous host!
Beau ti
from our gen er ous host!
A
T 8
B ful words
(The pompous guests blatantly examine the room’s furnishings to judge their quality.)
133
Vi– riten.
a tempo
E.G. ing. S And her
choice
of
hus
band
And her
choice
of
hus
band
And her
choice
of
hus
band
And her
choice
of
hus
band
A T.C. T 8
B
riten.
a tempo
dolce
155
Act I–Scene 3
–de
139
dolce
S is
ev
’ry
thing her moth
er wished for.
is ev dolce
’ry
thing her moth
er wished for.
ev
’ry
thing her moth
er wished for.
ev
’ry
thing her moth
er wished for.
dolce A T.C. T 8
is dolce
B is
espr.
Caroline: espr.
147
And
153
serene
por
t.
fath
you,
er?
what you have
Is he
wished
Edward:
3
3
Ex act ly so,
3
3
pre cise ly so.
3
Am I right,
George?
for me?
156
Act I–Scene 3
George: 159
8
I’m
not
sure
that
I
de serve
her,
but I will spend
my life
meno
165
’
G.H. 8
try
ing
to serve her and
earn
the de vo tion she
squan
ders on
172 G.H. 8
me. The Guests:
S There
is
noth
ing
so
won
drous
as
be
ing
in
There
is
noth
ing
so
won
drous
as
be
ing
in
There
is
noth
ing
so
won
drous
as
be
ing
in
There
is
noth
ing
so
won
drous
as
be
ing
in
A
T 8
B
Sost.
157
Act I–Scene 3 Caroline: 176
There is
noth ing so
won drous as
be ing in a
mar riage for
love!
There is
noth ing so
won drous as
be ing in a
mar riage for
love!
love. There is
noth ing so
won drous as
see ing a
mar riage for
love,
a meno
love. There is
noth ing so
won drous as
see ing a
mar riage for
love,
a
love. There is
noth ing so
won drous as
see ing a
mar riage for
love,
love. There is
noth ing so
won drous as
see ing a
mar riage for
love,
G.H. 8
meno
S
A T.C. T 8
B
dolce
Sost.
riten.
183 S mar riage for
love.
mar riage for meno
love.
A T.C. T 8
a meno
mar riage for love.
a
mar riage for love.
B
riten.
158
Act I–Scene 3
Meno mosso
= 104
dolce cant.
191 Edward: 3
3
Car
my a
o line,
dor
3
a ble Car o line.
Give
your
dolce cant.
dolce cant.
(Caroline walks across the room to her father, who is waiting with open arms. He embraces her too tightly, however.)
198 E.G. fath
er
a
daugh ter’s em
brace.
a tempo (lightheartedly)
accel. poco a poco Caroline:
204
Oh,
fa
ther,
I
can not breathe.
dim. poco a poco
210
rit.
(Caroline goes to mingle with the guests.)
C.G. 3
(dim.)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
159
Act I–Scene 3
Più comodo (don’t drag) 214 Edward:
= 92
(Caroline turns to her father upon hearing her name.)
warmly
3
For give me, Car o line,
my arms
are like my love. Strong
brac ing.
(Caroline suddenly lets go of her father’s hands, and turns away from him to walk towards George, who is downstage, on the other side of the room.)
(reassuringly, taking her father’s Caroline: hands in hers) 220 3
Nev er mind,
and all em
warm, pure
fath er.
I
have
pros pered so
much
in your
arms,
sotto voce
più sonoro
225
(George embraces Caroline tenderly.)
C.G. I
can
now
em
brace
an
oth
er.
più cant.
Meno mosso, stately 230 George:
= 84
(sensing that Edward feels somewhat rejected)
8
3
3
There is no
sotto voce
3
ri
val here.
Love
3
does not con quer or dis
160
Act I–Scene 3
(ten.)
234 G.H. 8
3
pose;
it
dou
bles
and
tri ples with use.
(ten.)
237 G.H. 8
3
3
The lan guage of love
3
is
al
ways
con fus
ing.
espr.
240
Poco piĂš mosso
= 92
come recitativo, freely
G.H. 8
3
3
3
dolce
3
3
It can nev er be as clear as the e mo tion it
tries
3
to con
vey.
3 3
3
161
Act I–Scene 3
243 G.H. 8
The
3
3
3 3
3
3
3 3
3
3
3
3
(Edward puts up his hand to interrupt George in mid-sentence.)
Con moto
= ca. 152
246
Vi–
–de
G.H. 8
lan guage of love…
251
255
Edward:
The
lan guage of
secco
love
is
162
Act I–Scene 3
259 E.G. an im pos
ter,
hid
ing in
dress
es
of
(emphatically)
262
(full voice) George:
8
The
lan guage of love is
a ma gi
cian,
E.G. verse.
sub.
secco
3 3
3
3
266 G.H. 8
turn
ing
ros
es in
to
doves
3
on the wing.
E.G. The
163
Act I–Scene 3
(not quite full voice) 270 G.H. 8
A
E.G. lan guage of love is an in
fant’s hand in
a
fath
274
er’s glove.
3
G.H. 8
raft
in
a storm
y sea,
off
er
ing
res
cue.
277 G.H. 8
The Guests:
S The
lan guage of love is of ten hard to ex plain.
It may
of fer true joy, but it can
The
lan guage of love is of ten hard to ex plain.
It may
of fer true joy, but it can
The
lan guage of love is of ten hard to ex plain.
It may
of fer true joy, but it can
The
lan guage of love is of ten hard to ex plain.
It may
of fer true joy, but it can
A
T 8
B
164
Act I–Scene 3
281 S end in such pain!
A end in such pain! T.C. T 8
end in such pain!
B end in such pain!
piĂš secco
285
288
8
George:
The
165
Act I–Scene 3
292 G.H. 8
lan guage of love
is a light
house to guide us
o ver heav
y waves.
Edward:
The
296
sub.
E.G.
3
lan guage of love is a thief
re spect
ing no house hold,
3
steal ing the loved ones a way. 3
3
301 E.G. The Guests: S The
lan guage of
love
is too com
plex
to be
known.
What is
The
lan guage of
love
is too com
plex
to be
known.
What is
The
lan guage of
love
is too com
plex
to be
known.
What is
The
lan guage of
love
is too com
plex
to be
known.
What is
A
T 8
B
166
Act I–Scene 3
304 S bought with out price,
can
nev
er
be
owned!
bought with out price,
can
nev
er
be
owned!
bought with out price,
can
nev
er
be
owned!
bought with out price,
can
nev
er
be
owned!
A
T.C. T 8
B
308
310
Vi–
Edward:
The
lan
guage of
love
is
an
im
167
Act I–Scene 3
313
George:
8
…is
a
ma
cian,
gi
turn ing
E.G. pos
ter,
is
an
in
fant’s hand
in
a
fa
316 G.H. 8
ros
es
in
to
doves
3
on
the
wing!
E.G. ther’s
glove. The Guests:
S The A The
T.C. T 8
The
B The
marc.
168
Act I–Scene 3
319 S. lan
guage of
love
is
a
dan
ger ous art.
It can
o pen your eyes
or
it will
lan
guage of
love
is
a
dan
ger ous art.
It can
o pen your eyes
or
it will
lan
guage of
love
is
a
dan
ger ous art.
It can
o pen your eyes
or
it will
lan
guage of
love
is
a
dan
ger ous art.
It can
o pen your eyes
or
it will
A. T.C. T. 8
B.
322 S. 3
tear
out
tear
out
tear
out
your
heart!
your
heart!
your
heart!
your
heart!
A. 3
T.C. T. 8
B.
3
3
tear
out
marc.
169
Act I–Scene 3
–de 325
marc.
(Embarrassed by the argument that has broken out between her father and her new husband, Caroline walks away. She goes over to the side table and picks up a crystal champagne glass.) George:
328
8
Is a ma gi
(getting angry)
Edward:
The
lan guage of love
is
an im pos
ter.
333 G.H. 8
ian.
It’s a light
house to guide
us.
E.G. It’s an in
fant’s hand in a fa
ther’s glove.
sempre sotto voce
It’s a thief
170
Act I–Scene 3 (definitively, ending the discussion)
full voice
338 E.G. re spect
ing
no
house
3
hold,
3
steal ing the loved ones a
way!
cresc.
Grazioso
rit.
= 116–120
(Caroline returns and makes a “grand entrance,” holding her champagne glass up high.) (in a celebratory mood)
342
Caroline:
3
It’s a
clip
per
ship
with
room
af ter room
for danc ing
and
E.G.
(cresc.)
cresc.
(The newlyweds Caroline and George begin the traditional “first dance”; the others join in the waltz one couple at a time. Ironically, only Gaines is without a partner; he is forced to watch the festivities.)
rit.
a tempo
Tempo primo
348 C.G. cakes
and
tea
and
cham pagne!
molto espressivo (cresc.)
= ca. 126
171
Act I–Scene 3
354
(As the guests waltz, Gaines continues to watch alone.)
360
meno
(Margaret enters the room to bring in another tray of glasses. Although she is dressed more nicely now, in the uniform befitting a house servant, she acts in a more subjugated manner. Gaines, standing alone, quietly takes notice of her arrival.)
366
molto espr.
372
espr.
172
Act I–Scene 3
(The guests gradually conclude dancing. Gaines once again plays the gracious host; he toasts the newlyweds as Margaret serves the guests.)
377
Edward: 3
Well,
that is our
an
swer then.
Cham
382 E.G. pagne
heals
all
wounds
and puts all
ar
gu ments to
quasi
bed.
espr.
dolce 387 E.G. 3
Con
grat u
la
tions,
son.
Bless
ings,
espr.
daugh ter.
173
Act I–Scene 3
392
hold back
A tempo
= 92
(Margaret starts to leave the room.)
398
(warmly)
Caroline:
3
Mar
3
g’ret,
wait a mo ment.
404 3
C.G. Come
to me.
What do you
dolce
poco meno mosso (somewhat surprised)
410
sotto voce
Margaret:
Ex
cuse
me,
ma’am?
think?
174
Act I–Scene 3
a tempo 415
Caroline:
What
do
you
420
a bout
think
love?
3
3
C.G. We
were dis cus
sing
the
words
to de
scribe
it.
dolce
425
Edward:
Child!
Dear
child!
6
428
Caroline:
6
6
(to Margaret)
3
3
Do they help 3
sub.
6
3
3
3
us to love? 3
3
3
3
Or hurt us be 3
3
3
3
3
yond 3
re pair? 3
3
3
3
175
Act I–Scene 3
(to her father)
433
3
C.G. I 3
want 3
3
3
to know. 3
3
I 3
3
want to know
what she 3
thinks. 3
3
3
(insistent)
438
Edward:
Child!
Please,
child,
no
more!
The Guests: (almost whispering)
S What is all this talk a bout, talk a bout?
What is all this talk a bout, talk a bout?
(almost whispering)
A What is all this talk a bout, talk a bout?
What is all this talk a bout, talk a bout?
(almost whispering)
T 8
What is all this talk a bout, talk a bout?
What is all this talk a bout, talk a bout?
(almost whispering)
B What is all this talk a bout, talk a bout?
sotto voce
What is all this talk a bout, talk a bout?
176
Act I–Scene 3
Poco più mosso = 120
440 E.G.
poco S talk a bout?
What is all thistalk a bout?
Oh, dear. poco
Oh,
dear.
We thought he was
talk a bout?
What is all thistalk a bout?
Oh, dear. poco
Oh,
dear.
We thought he was
talk a bout?
What is all thistalk a bout?
A T.C. T 8
Oh, dear.
Oh,
dear.
Oh, dear.
Oh,
dear.
poco B talk a bout?
What is all thistalk a bout?
Poco più mosso
6
6
= 120
6
443 S. qual
i ty.
Oh, dear.
Oh,
dear.
This is
a mis
qual
i ty.
Oh, dear.
Oh,
dear.
This is
a mis
We thought he was qual
i ty.
Oh, dear.
Oh,
dear.
This is
We thought he was qual
i ty.
Oh, dear.
Oh,
dear.
This is
A. T.C. T. 8
B.
177
Act I–Scene 3
447 S. take
qual
i ty folk would nev
er
make!
take
qual
i ty folk would nev
er
make!
A. T.C. T. 8
a
mis take
qual
i
ty folk would nev
er
make!
a
mis take
qual
i
ty folk would nev
er
make!
B.
450
8
Oh,
dear.
Oh,
dear.
This
is
a pro found
in
sult.
Oh,
dear.
Oh,
dear.
This
is
a pro found
in
sult.
Oh,
dear.
Oh,
dear.
This is
a pro found
in
sult.
Oh,
dear.
Oh,
dear.
This is
a pro found
in
sult.
marc. e secco
178
Act I–Scene 3
riten.
454
a tempo
S. This
is
a mis
take
qual
i ty folk would nev er
make!
This
is
a mis
take
qual
i ty folk would nev er
make!
This is
a mis
take
qual
i ty folk would nev er
make!
This is
a mis
take
qual
i ty folk would nev er
make!
A. T.C. T. 8
B.
a tempo
riten.
più pesante
458
Moderato = 80 (don’t drag)
Edward:
Car
3
o
line,
you
calmo
463 E.G. 3
are too will
ful.
She can’t
an
swer you.
179
Act I–Scene 3
469 E.G. She won’t
475 Caroline:
swer you.
an
a tempo ( = 80)
rit.
legato
3
Why
She has loved
not?
481
me,
served
3
C.G. 3
taught me
in thesefew years;
watch’d o
ver my
sleep.
ad lib. 487
meno
C.G. Who knows bet
3
ter than she
3
how to say
what love
is?
me,
180
Act I–Scene 3
Vi– 493
3
più
3
3
C.G. Can words do it
jus
tice, Mar g’ret?
En cour
age its suc
cess?
sotto voce
cant.
497
scherzando
3
3
–de 3
C.G. Or, as my fa ther
L’istesso tempo
says,
is the lan guage of love
an im
pos ter?
3
A thief in the
= 80
502 C.G. night?
His
Margaret: 3
Beg ging your
sotto voce
par don, Miss Car o line.
Mis ter
Gaines
is the ex pert here.
181
Act I–Scene 3
riten.
a tempo
508 C.G. 3
love is rough,
while
yours
is ten
der.
M.G. (emphatically) espr. Edward: 3
3
You see?
She has no thing to
a tempo riten.
rt.
full voice
po
513 E.G.
3
say
3
on the mat ter.
Love
is not
in her vo
cab
u lar y.
(thoughtfully)
518
Margaret:
Words E.G.
of love are
moths;
eas
y food for
flame.
182
Act I–Scene 3
524 M.G. Ac tions
a lone
say
what
love
529 M.G. be.
poco
= 80 3
535
5
5
3
3
5
5
3 3
3
3
5
3
5
5
5
Subito piĂš mosso agitated, wild
537 Edward:
angrily 3
3
3 3
E nough!
3
3 3
E nough!
We
have all
had e nough of this non sense.
may
183
Act I–Scene 3
542
= 80
E.G.
3
I re fuse 3
5
com ment
5
6 3
to hear a slave
appass.
6
dim.
3 3 3
5
5
545 E.G. 3
on
things
out
547
side
her
scope.
parlando
E.G. Our
6
sempre
6 3
3
guests are right.
6
6
6
3
3
3
Her views
6 3
6 3
3
6 3
are
184
Act I–Scene 3 (to Margaret)
549
sotto voce (parlando) port.
E.G. 3
worth
less.
3
You
are ex
6 3
6
6
6
3
3
3
cused.
Leave
6
6
6
us.
6
Sost. 551
(Margaret exits.)
E.G.
6
6
6
6
6
6
6
Sost.
Poco piĂš agitato
rit.
553
3
Caroline:
Fa
6
556
6
= 84
ther,
you
shame
me.
6
3
C.G. She is as com plete
8
a
hu
3
man
3
as
you George:
are.
3
Since she is a moth er,
185
Act I–Scene 3
(The parlor clock strikes 10 o’clock. A few of the guests realize that the late hour now gives them an alibi to leave the party.)
560 C.G.
G.H. 8
3
may be more
(to Caroline)
so.
Edward:
You
dis ap
564 E.G. point
me.
How
could love ex ist in a slave?
3
Pas sion, per haps.
(pleading with her father to be reasonable)
569
Caroline:
There E.G.
3
But how
would she know the
3
dif f’rence?
are
186
Act I–Scene 3
(looking into each other’s eyes)
574
port. 3
C.G. 3
man y kinds of love,
fa
ther.
And
man
And
man
George:
8
578
molto espr.
C.G. y
kinds
of
lov
ers.
kinds
of
lov
ers.
molto espr. G.H. 8
y
6
187
Act I–Scene 3
Poco agitato = 144–152 (ben misurato) 582
The Guests: leggiero e stacc.
S This
is too sub leggiero e stacc.
tle
for
me,
and
me,
and
me. Per
This
is too sub leggiero e stacc.
tle
for
me,
and
me,
and
me. Per
This
is too sub leggiero e stacc.
tle
for
me, and me,
and me,
and you, and
me.
Per
tle
for
me,
and me,
and you, and
me.
Per
A and
you,
T 8
B This
is
too
sub
6
sempre stacc., ma leggiero
588 S haps
it
is
time
to
say
good night,
good
night and
good
night.
haps
it
is
time
to
say
good night,
good
night and
good
night.
haps
it
is
time
to
say good night,
good night.
Ar
gu ment chills
a
haps
it
is
time
to
say good night,
good night.
Ar
gu ment chills
a
A T.C. T 8
B
188
Act I–Scene 3
594 S Good
night,
good
night,
good
night,
good
night
and
good
Good
night,
good
night,
good
night,
good
night
and
good
par
ty.
Good
night,
night,
good night,
good night
and
good
par
ty.
Good
night,
night,
good night,
good night
A T.C. T 8
B
(The guests leave, bowing stiffly; they disapprove of Gaines’s behavior and act coolly towards him. He is angered and annoyed by their early departure.)
600
Molto moderato = ca. 66 Edward:
quasi parlando
Fools, S night. A night.
T.C. T 8
night.
B good
night.
and
Molto moderato = ca. 66
3
id i ots.
What
189
Act I–Scene 3
604 E.G. 3
do they
know 3
3
a bout
“qual
3
i 3
3
3
ty”
3
folk? 3
3
cant.
3
(to Caroline and George, with regret)
come recit.
608 E.G.
3
This
was to be a proud
mo
ment.
Now
you
have
cant.
612 E.G. 3
giv en my neigh
3
bors
more
rea son
to gos sip
3
and de
spise
espr.
3
190
Act I–Scene 3
Più mosso 616
= 72
Caroline:
3
I
am sor George:
8
ry, fa
Don’t think
por
ther,
us
if
un grate
I up
ful
set
you.
3
forthis cel e bra
t.
E.G. me.
Più mosso
3
= 72
Poco più animando = 80
621 C.G.
We
did
not
mean
to
be rude,
We
did
not
mean
to
be rude,
G.H. 8
tion.
624 C.G. on
3
ly
to
say
what
we
be
lieve.
ly
to
say
what
we
be
lieve.
G.H. 8
3
on
cant.
191
Act I–Scene 3
627 C.G. Hon
es
ty
should not
of
Hon
es
ty
should not
of
G.H. 8
= 126
630 C.G. fend
you.
fend
you.
G.H. 8
Edward: come recit.
agitated 4
I
633
am
cantabile
7
E.G. not so weak as to be of fend
ed by
in
no cence.
But
192
Act I–Scene 3
poco
636 E.G. 7
I have a rep u ta
tion
to main tain.
like a church chorale
640
= ca. 63 Caroline:
Fa
ther,
please
try.
E.G. 3
My
sweet
Car o
643 E.G. it
does n’t
mat
ter.
All
is well.
line,
193
Act I–Scene 3
(kissing Caroline tenderly)
646
(shaking George’s hand)
more personal
E.G. 3
Take care
ofyour selves.
Good bye,
take
5
649
5
(Caroline and George leave, eager to depart on their honeymoon. Gaines pauses, and somewhat wistfully watches them walk away.)
E.G. care.
boldly
(regaining his inner strength)
breve
654 E.G. It
3
does n’t mat
3
ter at all.
I
3
have suc ceed
ed
just
3
3
as I said I would. breve
194 Adagio
Act I–Scene 3
= 72
Più mosso
= 80
Adagio
= 72
658 Edward: 3
En
vy
3
3
is the true price of wealth…
Ancora più mosso
which I eas
3
i ly,
= 80
664 E.G. 3
pi ly pay.
poco espr. (inwardly)
671
= 60
E.G. 3
A rich
6
man
has
man y
rem e dies.
6 6
6
8ba (Edward begins to leave, but when he notices Margaret returning to clear the champagne glasses, he lingers in a hiding place.)
675
6
6 6
6
8ba
hap
195
Act I–Scene 3
(Margaret picks up a glass and holds it to the light, peering into it as if it were a crystal ball.)
680
poco
Andante
= 84–88 (looking at the glass)
686
Margaret:
Are 3
3
there man y kinds 3
3
of love?
Show
me
3
3
691
dolcissimo
3
3
3
3
3
3
M.G. each and ev
’ry one.
can
3
3
3
3
3
696
You can’t,
3
3
por
3
3
3
3
t.
M.G. you?
For
there is just
cant. 3
3
kind.
3
dolce
3
one
3
3
3
3
3
3
3
196
Act I–Scene 3
Con moto = 104 ( = 52)
701 M.G. sempre cantando
3
706
3
3
3
3
3
with simplicity
M.G. On ly
un har
nessed hearts can sur
712
vive
a locked down life. Like a
riv
er
più sonoro
M.G. rush ing from the
719
grip of its banks, as
3
light
es
capes
the
cold
est
star;
sonoro
3
M.G. A qual i ty love–
the love of all loves–
will
break
a
espr. cresc.
197
Act I–Scene 3
725
3
M.G. way.
When
sor row clouds
the mind,
the spine
grows strong; no pret ty words can soothe or
dolce
732 M.G. cure what
heav y hands can break. When
sor row
is
deep,
the
se cret soul
keeps
dolce
739
3
3
M.G. its weap on of choice:
the love of all
sotto voce
loves.
espr.
745
espr.
M.G. No pret ty 3
198
Act I–Scene 3
751
3
M.G. words can ease or
cure
what heav y hands can
allarg. 757
When sor row is
deep,
L’istesso tempo (don’t drag) = 104
full voice sonoro
3
do.
M.G. the se cret soul keeps its
3
qual
i ty
love.
cresc.
764 M.G. When
sor
row
is
deep,
the
se cret soul
espr.
770
sotto voce
3
3
M.G. its weap on of
choice:
the love of all
loves!
dolce espr.
keeps
199
Act I–Scene 3 (Edward slowly emerges from his hiding place and walks towards Margaret, looking her over with unmistakable intent. She is unaware of his presence, however, as she is looking down at the glass in her hand.)
775
sotto voce
780
= 80
(coolly; unintentionally startling Margaret)
Edward:
Such
fine
sen
ti ments.
misterioso
pedale sempre
784 E.G. Too
(He gently takes the glass from her hand. Assuming an air of gentility, Edward then takes Margaret’s red scarf from his pocket and slowly ties it around her neck.)
fine,
I
think,
for a
full voice
787 E.G. slave.
But
I
have
my
remedies.
200 790
Act I–Scene 3 quasi
(Margaret resists his advances.)
E.G. A man
has
man y
rem e dies.
marc.
più cresc. molto cresc.
Più largamente 794 Margaret:
= 72
agitated
They
can not touch the
se
cret
soul. (losing control)
molto E.G.
Più largamente
(Margaret begins to struggle vehemently. But Edward overpowers her, and throws her forcibly to the floor.)
797 E.G.
Your soul
= 72
is
Più maestoso
3
not on my mind. 5
3
(The curtain falls slowly.)
800
(a2)
ca. 73’
Act II, Scene 1: Maplewood Plantation. Sunday, February 24, 1861, in the early evening.
201
(Fast curtain: in silence and darkness. Lights up on downbeat of measure 1.) (Anticipating a visit from Robert, who has been meeting her secretly on Sunday nights, Margaret goes to Cilla’s cabin. She is disturbed to find Casey lurking nearby.)
Con moto, poco agitato
= 104–108
Cilla:
Margaret:
Not
yet.
3 6
Has he come?
6
3 3
5
cresc. poco a poco
6
6
6
6
3
6
6
3
8 C. Not
yet.
But
soon.
M.G. Is he here? Has he come?
3 3
(Margaret suddenly notices that Cilla is packing a carpetbag.)
Agitato, ma meno mosso 12
= 84–88
unsettled
M.G. 3
What are you
do
ing?
Where
are
the
chil
dren?
202
Act II–Scene 1
rit.
16
Cilla: 20
A tempo
= 84–88
(with assurance)
Rob
ert
is
my
son
and
sotto voce
his
word
is
gold.
sempre
Sost. 28
più cantabile
C. Calm
your
self.
Your
sempre
daugh
ter
is
with
più cantabile
as needed
as needed (Margaret begins to search the room for signs of the children. She becomes increasingly anxious when she realizes they are not there.)
Subito più mosso = 104–108
quasi
34 C. Kate.
So
is the lit tle one. 3
203
Act II–Scene 1
38
L’istesso tempo = 104–108
41
Margaret:
agitated
3
Why
are you fold
ing
their
as needed 44 M.G. clothes?
You’re
pack
ing
3
them a way!
What
legato edespr.
Poco meno mosso = 92
47
’
M.G. 3
aren’t
as needed
3
you tell ing me? Has
Cas
ey
been here?
204
Act II–Scene 1
50 M.G. Is
he
tak
ing
them
a
way?
= 52–54 54
Cilla:
Mar
(
60
g’ret,
you
have changed
so.
Each time
you
3
vis it
I see
as needed)
a tempo
move forward
poco rit.
3
C. less of
64
you
and more of a wet
3
hen.
Moderato, flowing = 112
C. Don’t
cut up
so.
3
The
3
news
is
3
good.
3
205
Act II–Scene 1
67 C. Margaret:
3
What news?
Please, 3
3
3
3
Cil
la.
What
3
3
is
hap
3
3
pen ing? 6
6
6
6
70 6
6
Più maestoso 74
6
6
= 104
Cilla:
It’s time,
dar
Quasi Adagio
3
ling
girl.
At
= 60
78 C. 3
the time has
come.
The
plan
is set.
last,
206
Act II–Scene 1
83
3
3
3
3
C. That’s why your hus band is
late.
He is
mak
ing sure
that
all is
in place.
3
sim.
poco allarg.
87
a tempo
C. You’re leav
91
Lively
ing
to night!
più espr.
= 120
C. Sweet er than syr up and right
Margaret:
Sweet
Je
sus!
sub.
94 C. on
time.
207
Act II–Scene 1
97
Margaret:
Sleep
my ba
bies in the
100 M.G. mead ow,
Sleep
my ba
bies in the
hay;
My
103 M.G. ba
bies
got
some
dream in’
106 M.G. ’cause
free
dom’s
on
the way.
to do
208
Act II–Scene 1
109
marc.
Cilla: 111
with joyful exuberance
Sleep bies in the mead ow, my ba Margaret: with joyful exuberance
Sleep
my ba
bies in the mead ow,
Sleep
my ba
bies in the
Sleep
my ba
bies in the
114 C. hay;
My
ba
bies
got
some
hay;
My
ba
bies
got
some
M.G.
209
Act II–Scene 1
117 C. dream in’
to do
’cause
free dom’s
on
the
way.
dream in’
to do
’cause
free dom’s
on
the
way.
M.G.
120 C.
M.G.
(Robert arrives, and immediately embraces Margaret.)
123
marc.
210
Act II–Scene 1 (feigning anger at Robert)
127
Margaret:
You
did n’t say a word
last
Sun day. (taking her seriously)
Robert:
I could n’t.
I
stacc. sempre
(teasing)
131 M.G. You ought to tell me what R. had to be
sure.
(
)
(
)
(
)
(
)
marc.
134 M.G. you’re
do
ing...
some times!
R. You
( )
(
)
211
Act II–Scene 1
meno
138 R.
to keep it qui et in
need
here.
(
)
141
(
)
(
)
(
)
(
)
cresc.
= 72 143
Margaret:
Al
(
)
(
)
(
right.
) 6
146
6
=
M.G. 3
When
do
we
leave?
212 149
Act II–Scene 1
Half tempo
= 72
Margaret:
O
Lord,
I
Robert: 3
Three
152
hours
from
now.
3
3
M.G. am gon na cry.
as needed
155 Robert: 3
You?
3
Not you!
3
My
sol
dolce
dier girl’s
go ing
to cry?
legato e dolce
213
Act II–Scene 1
poco rall.
(Robert tries to embrace Margaret, but she pulls away, 158 embarrassed to show her tears.)
R.G. 3
3
It’s al
3
3
right.
It’s al
right.
dolce, cant.
Moderato ( = 84)
162
= 42 tenderly
R.G. light, transparent
Go
cry,
girl,
you have won
your tears;
go
sempre legato
166 R.G. cry,
girl,
o bey your ten
der years.
The string
is
cut,
170 R.G. 3
know.
Don’t
think
I don’t
know.
cant.
the tale
is told.
I
214
Act II–Scene 1 più cantabile
174 R.G.
The gate
cant.
is
o pen,
the
3
178 R.G. way
is
clear;
the work
is
done
and the time
has
come,
I know.
Don’t
più sonoro
182 R.G. 3
think
I don’t know.
Go
cry,
girl.
(Margaret feels overwhelmed with love for Robert.)
186 R.G. Girl,
go
cry.
215
Act II–Scene 1
cantabile
190
(Drawing closer, they kiss.)
194
’
Con moto
= 104
(recovering her composure, but still anxious) 198 Margaret: 3
Where
will we
go? Robert:
(reassuringly)
Are there oth ers?
3
3
It’s al
più mosso 201
right.
espr. 3
It’s al
3
M.G. Do R.G. right.
we have mon ey?
Where
will we hide?
216
Act II–Scene 1
a tempo 204
Robert:
emphatically
3
It’s al
3
I
right.
am in charge
now.
ort. (teasing) p
207 R.G. Ev
’ry
3
3
3
thing is read y—
ex
cept
you.
Now
you help
ing
for the
3
211 R.G. 3
ma ma fin ish pack
3
ing.
I’m
go
6
(Cilla looks around the room one more time, to make sure that all of Robert and Margaret’s belongings are packed.) (He leaves.)
213 R.G. child
ren.
riten.
217
Act II–Scene 1
Andante comodo = 72
217 (locking the last bag) Cilla:
All
done.
I’m
through. Margaret:
3
Where are your things?
220 C. Dar
3
ling girl,
I
M.G. I don’t see your things,
223
ma ma.
3
3
C. am
dolce
too old
to tread
new
wa ters.
I am bound
to stay
218
Act II–Scene 1
226 C. here.
229
Cilla:
No, più espr.
Margaret:
Ma ma!
232
You have
to come with us.
3
C. don’t.
You
know
I
won’t.
dolce
as needed
I
219
Act II–Scene 1 (Briefly overcome by painful emotions, Cilla looks away from Margaret, who is attempting to make direct eye contact with her mother-in-law.)
235
Recitativo, poco più mosso = 76
239
Cilla:
See
244
3
ing
you,
my
son
3
and my grand child
ren
3
C. gone from this place,
a
way
from
Sa tan’s breath
is
my bless ing.
248 C. Don’t
sotto voce
mourn me.
When my fam
sotto voce
220
Act II–Scene 1
253
meno
3
legato
C. 3
i ly is
safe,
I
will be
on ly near
the cross—
not
on
it.
5
259
quasi
Adagio 264
= 54
Cilla:
più cant.
floating
C. He
is by,
for
ev
er by
267
me.
In
His shad ow
I will lin ger on a
floating
C. while
’til
He calls
me.
He
is
by,
for
221
Act II–Scene 1
piĂš espr.
271 C. ev
er by
me.
trum
No
pets
or
streets
of
cant.
sub.
274 C. gold.
He
will
come
in
si
lence
277 C. me
in
espr.
His
arms.
cant.
and
gath
er
222
Act II–Scene 1
280
Cilla:
cantabile
is
He Margaret:
by,
for
ev
er
by
me.
cantabile 3
Please don’t con fine us
to
the
edge of your mind
in shad ow.
più cantabile
283 C. No
trum
pets
or
streets
of
gold.
We don’t want trum
pets
or
streets
of
gold.
He
will
come
M.G. As
espr.
286
(full voice)
C. in
si
lence
in
si
lence,
and gath
er
me
in
His
us
your
(full voice) M.G. we leave molto cantabile
give
223
Act II–Scene 1
poco rit.
Poco più mosso
= 72
289 C. arms.
M.G. arms.
espr.
Poco meno mosso
= ca. 60
293 C.
port
.
A
men.
M.G. port.
A
296
Con moto, ma non troppo = 108
men.
Margaret:
3
It ’ll
break
my
heart
know ing
224
Act II–Scene 1
300
3
M.G. that you are
still
here.
We
304 M.G. can’t
be
free
308
3
with
out
you.
3
M.G. Rob
ert
will in
sist.
Cilla: 312
Hush,
child.
Hear
me now:
Don’t waste mus cle where none is want
225
Act II–Scene 1
316
3
C. ed.
You will need
ev
’ry
bone
320 C. 3
and sin ew
plus your mind
to
3
get a
way
324 C. from
here.
Fol
low your hus band.
328 C. Save
your child ren, moth er!
meno
226
Act II–Scene 1
332 C. Rear
336
up,
now.
(They hear footsteps approaching the cabin.)
3
C. Help Rob
ert
with the chil
dren.
Here
340
=
C. 8va
cresc.
L’istesso tempo 344
he comes.
(Margaret and Cilla are shocked when Casey, not Robert, storms into the cabin.)
(Casey glances around the cabin, then picks up one of their carpetbags and throws it across the room.)
227
Act II–Scene 1
Pochiss. meno mosso = 96 rit.
347
Casey:
8
freely
Plan
350
6
ning a lit tle trip?
3
Ca. 3
3
8
Or
Poch. più mosso
just
clean in’ out
the sty?
= 104–108
(offstage)
353
Robert: 3
The child
ren
are com ing!
cresc.
cresc.
Subito agitato
= 120+
(Upon entering the cabin, Robert halts abruptly when he sees Casey.)
356 R.G. ren
are…
The child
228
Act II–Scene 1
Come sopra 359
8
= 96
Casey:
quasi parlando
Well, I’ll
be.
Well, I’ll
be.
= 48 ( = 96) 362 Ca. 3
8
Look
what
crawled
out
of
the
woods.
365 Ca. 8
Pap py bear.
Com
in’
3
to get
mam
my
bear
and all
the
(to Cilla)
369 Ca. 8
lit tle cubs?
I guess
3
you must be
Gold
i
locks.
229
Act II–Scene 1
373 Ca. 8
378
Seems
the
Pochiss. più mosso = 100
ridge
por
is
all
et
up.
3
Ca. 8
Let me
382
3
see
what I
(pulling a pistol out of his coat)
can
of
fer
3
Ca. 8
you.
Gun pow der might be a lit tle dry,
(Casey points the pistol at Cilla’s mouth.)
385 Ca. 8
3
but
Gold
sub.
i locks
got
to
eat,
don’t
she?
230
Act II–Scene 1
389
(motioning to Robert and Margaret with his free hand)
393
Casey:
darkly
3
8
Let’s just line
up
o
ver there.
dim.
(Impulsively, Robert attacks Casey. A violent struggle ensues, during which Robert manages to wrest away Casey’s pistol.)
398
Più agitato
= 108
sub.
(Robert grabs Casey from behind, yet hesitates to shoot him.)
400
231
Act II–Scene 1
402
3
3 3
poco rit. 406
dolce
dim.
= 92 412
quasi parlando Casey:
3
8
You
kill
piĂš cant.
3
me,
both
3
of us
is dead.
416 Ca. 8
fam
i ly
too.
(livid, filled with rage)
Robert:
And if you live,
will they?
Your
232
Act II–Scene 1
420
Margaret:
Don’t dolce
kill him.
He’s al
3
read y dead.
425 M.G. (to Margaret)
Casey: 3
8
You black
slut!
Don’t
ya beg
for
molto agitato
me!
forcefully
429 Robert:
Dog
with out teeth!
Re
mem
ber
233
Act II–Scene 1
Molto agitatissimo
432
= 126
R.G. hell?
Go
436
(Casey struggles to break free from Robert’s grasp.)
R.G. home
to
it
now!
(Robert strangles Casey to death.)
molto allarg.
440
(When Casey’s body begins to crumple to the ground, Robert finally lets go of him.)
Più maestoso
= 80
443
dim.
234
Act II–Scene 1
dolce espr. e legato 448
dim.
453
Più calmo = 72
Cilla:
3
Lap of God,
Rob ert.
What have you done? molto cant.
sub.
Come sopra = 72 457
Più largamente
(clasping her hands)
= 54
Cilla:
For give
Robert:
3
Proved my worth
as a man
and
your son.
235
Act II–Scene 1
460 C. him,
Fa ther.
This
3
may be the end. Margaret:
No!
No, we can’t
quasi parlando
463 M.G. change what is done.
Quick! Rob ert, you have to run! Robert:
3
I
466
can’t leave
3
M.G. Tell
3
me where to meet
R.G. 3
you all
here!
cant.
you.
Then go!
236
Act II–Scene 1
469 M.G. agitated R.G. The bot tom‌
by the mi mo
sa.
The grass is
poco espr.
473 R.G.
3
tall there.
When the moon
hits
the
477
top
of the
Cilla:
Hur ry, meno R.G. pines,
the
wag on
3
will be there.
3
son!
237
Act II–Scene 1 (She covers Casey’s body.)
481
molto rit.
3
C. 3
Make tracks, now!
484
Tranquillo
= 66
We’ll han dle God’s
out
cast.
Robert:
3
Mar
488
Margaret:
R.G.
3
sweet,
lov ing
wom an!
Oh, my
’ 3
espr.
g’ret.
The bot tom…
tall
grass… mi mo
sa…
238
Act II–Scene 1
491 M.G. …touch
es
pine.
…touch
es
pine.
R.G. 3
Be
there
when the
moon
light…
495 M.G. …wag
on
wheels.
for the wag
on
wheels.
a bit more anxious R.G. Lis ten
3
239
Act II–Scene 1
498 M.G. …moon
light.
R.G. 3
Watch for
Più largamente 502
freely
the moon
= 60
a piacere
light.
(Robert kisses her.)
almost whispered
3
M.G. We’ll meet you
(Robert runs away.)
506
in the
moon
light.
Go!
(Lights out.)
breve
ca. 24’
240
Act II, Scene 2: In the Free State of Ohio, three weeks later. (At twilight, on an evening in late March 1861. Three weeks have passed since Margaret and Robert successfully escaped from Maplewood, and crossed the frozen Ohio River on the Kentucky border to reach Cincinnati, a city in the “Free State” of Ohio.)
(Robert is standing underneath a huge elm tree, near the entrance to an underground shed where he and Margaret, now both outlaws, are hiding with their children in an attempt to avoid being recaptured and returned to their masters. Glimmering hot coals can be seen in a hole in the shed’s earthen floor.)
Misterioso, ma con moto = 92–96
5
(offstage Trumpet)
5
3
3
3
sub.
3
10
poco
17
(Tpt.)
Moderato 21
3
meno
= 80
(emerging from the shed)
Margaret:
What else
3
3
have you heard?
What are they say (Tpt.)
ing
a
241
Act II–Scene 2
Poco più mosso
24
= 84+
M.G. bout him? Robert: 3
3
3
They say this new
Pres i dent
does n’t hiss
dolce
sempre
(Tpt.)
sempre
28 R.G.
3
3
like a
snake;
that he talks
like
a
man.
sotto voce
Come sopra 33
= 80
Margaret: 3
What else
6
have you heard?
6
6
6
6
6
6
242
Act II–Scene 2
35
3
M.G. What
has
he
PiĂš mosso
said?
= 84 poco
38
Robert: 3 3
That a house
di
vid
ed
can not 3
3
3
3
3
stand.
3
3
3
full voice
40 R.G.
3
And
3
3
that
3
the
3
42 R.G. red.
dolce cant.
Un
ion
3
3
is
3
sac
3
243
Act II–Scene 2 Margaret: 45
come recitativo 3 3
That
means war‌
Poco meno mosso
48
You bet ter make your spir it read y, dar ling.
= 72
M.G. 3
Oh, 6
6
3
6
3
3
Ro
6
6
3
3
bert,
6
3
sempre 51 M.G. The 6
3dren are
chil
6
6
trou
bled.
6
6
6
3
3
(
3
3
3
3
sempre) ossia
cry
54 M.G. They
cry
6
in
6
6
3
3
(
sempre)
6
3
3
their
6
6
3
3
244
Act II–Scene 2
57 M.G. sleep. 6
6
6
6
3
3
3
(
3
sempre) cresc. poco a poco
59 Robert: 3
3
I know,
6
I know,
6
rit.
I
know,
I
know.
But
6
free
dom is
in our
6
PiĂš andante = ca. 76 (with hope)
62
Margaret:
3
Tell me a R.G. teeth.
espr.
3 espr.
gain:
What is
the
245
Act II–Scene 2
65 M.G. name
of
this place? Robert: 3
3
O
hi
3
o.
It
means
“beau
ti
ful.”
3
68
3
M.G. Is it?
Is
it beau
ti
molto cantabile
ful?
R.G.
3
So
I
hear.
A
3
71
beau
ti
cantabile
Margaret:
Tell R.G. place
for a fu
ture.
me.
ful
246 75
Act II–Scene 2
poco riten.
come recitativo 3
3
’
A tempo
= ca. 80
M.G. Tell me what the fu ture will be
like.
Robert:
not quite full voice
’ 3
It will be 3
with
legato 3
’ 3
3
3
3
3
3
3
3
molto cant.
più sonoro
78 R.G.
3 3
you as my wife
no oth er man
can
touch
3
or claim.
It
will be
3
accel. poco a poco 82 R.G.
3
3
the child ren
seat
ed, not bent.
3
Seat ed
in school rooms,
not
247
Act II–Scene 2
= 88–92
(accel.)
(più sonoro) 86 R.G.
3
3
3
bend ing through rows
of
corn.
It will be
me
paid for my la bor
cresc.
poco riten. 90
Grazioso
= 60
Margaret:
molto
Will I plant a
R.G.
gar den?
3
with
coin
of the realm.
(cresc.)
93 M.G. Mend your shirts by lamp
light?
Will I watch from a win dow
Robert: 3
It will be just so.
248
Act II–Scene 2
97
3
M.G. 3
our chil
dren
3
espressivo
tum bling in clov er and rose mar y? Robert:
Trust
Più mosso 100
me, Mar
= 80
Margaret: quasi
3
3
3
Will they swim in clear wa
ter
R.G. g’ret.
It will be
just so.
3
3
più
104 M.G.
3
un
3
til their
3
skin
glit
3
ters like
3
brass?
Tell
3
3
me…
249
Act II–Scene 2
108 M.G. Tell
non troppo
me. Robert:
3
They
3
will.
It will be
just
so.
Come sopra = ca. 76 111
Robert:
Look!
Do you
see
this
tree?
full, rich 115 R.G. How
it’s low
più sonoro
er
ing its branch
es
to
pro tect you
3
250
Act II–Scene 2
Poco più mosso = 92
accel. 118
Margaret:
That
R.G.
3
3
no
mat ter what the weath
3
3
er brings.
3
is
I mag
sempre
ine…
cantabile ed espr.
121 M.G. how
it
will
al
ways be… full voice
Robert:
That
124
is
Margaret:
That
is
( ) R.G. how
I
will
al
ways
be.
That
is
251
Act II–Scene 2
127
poco
’
meno port.
M.G. how
it
will
ways
al
be.
meno
poco
’
port.
R.G. how
it
will
al
ways
be.
poco
’
(
131
= 108
(suddenly coming to his senses)
)
Robert:
Come in
side.
It’s dan
g'rous
out
252
Act II–Scene 2
136
(As they walk back to the shed, Robert puts his arm protectively around Margaret.)
come recit.
R.G. here.
Some
3
3
one might see us.
played freely 3
3
6
6
*
139
(offstage) humming
Slave Catchers (8):
T 8
Mmm *
(offstage) humming
Slave Catchers (8):
B Mmm
6
6
6
*All male singers may accompany the Slave Catchers, offstage, if necessary, through m. 159.
6
6
6
6
6
253
Act II–Scene 2
141
port.
T 8
Cat. port.
B
6
sub.
6
6
6
143
6
6
3
port.
T 8
Cat.
Mmm port.
B Mmm 6
6
6
6
145
3
6
6
6
port.
T Cat.
8
Mmm port.
B Mmm 6
6
3 6
6
6
6
6
254
Act II–Scene 2 (Once inside the shed, Robert thinks he hears a group of men approaching, and grabs his pistol. Margaret runs to protect the children, who are sleeping in the corner behind a blanket.)
3
3
(Accompanied by several slave catchers, Edward Gaines—who appears to be somewhat intoxicated—pounds on the shed door.)
3
3
147
Edward: 151
(No sound is heard from inside the shed.)
O pen up!
O pen up!
If
Slave Catchers: T 8
O pen up!
O pen up!
O pen up!
O pen up!
B
3
3
155 E.G.
3
blood shed is
3
on
your mind,
don’t
wor ry.
I
3
255
Act II–Scene 2
159 E.G. 3
3
just want what is mine.
3
3
3
3
3
6
Edward:
L’istesso tempo
162
O pen up! Slave Catchers:
O pen up!
O pen up!
O pen up!
O pen up!
O pen up!
T 8
B
l.h. (sus. cym.)
(B )
più sonoro
dolce
166
port.
E.G. No
harm.
Come
T
port. 8
No
harm.
Cat. port.
B No
harm.
soft
ly.
256
Act II–Scene 2 Edward: quasi
169
(not quite full voice)
3
Slave Catchers:
There
is
no
thing
T 8
O pen up!
O pen up!
O pen up!
O pen up!
B
port
.
172 E.G. you
can
do.
3
3 3
3
3
3
(Gaines breaks down the shed door and fires his pistol in the air. Robert shoots at Gaines, but misses his target.)
Maestoso 175 3
3
178
3
3
3
3
3
3
= 92–96
257
Act II–Scene 2 (Overpowered, Robert is knocked to the ground and tied up. Margaret emerges from behind the children’s blanket.)
181
187
(grief–stricken)
(Emotionally spent, Margaret falls to her knees.)
Margaret:
No! 6
6
6
as needed 191 M.G. No 6
6
more! 6
6
6
6
6
6
6
6
6
194 M.G. No! 6
No 6
6
more! 6
6
No 6
6
258
Act II–Scene 2
accel.
a tempo
(getting up from the floor)
quasi recit.
197 M.G. more! 6
Why 6
6
6
6
6
sub.
200
(full voice)
M.G. 3
can’t you
3
leave us
3
be?
Why
sub.
204 M.G. lone? Edward:
Leave
sotto voce
3
can’t you leave us
a
259
Act II–Scene 2
208 E.G. mur
der ers
be?
I
own
him!
3
3
3
3
213 E.G.
3
I
own
your child ren!
3
3
3
3 5
3
quasi
218
(’)
sub.
E.G. I
own
you!
260
Act II–Scene 2 (pleading)
223
freely
Margaret:
Some
bod y
help
sub.
(
ten.
)
227
3
Margaret:
Please,
some
bod y!
sub. ten.
(
)
(Margaret weeps silently as Edward removes his hat, overcoat, and gloves.)
231 M.G. Please,
sub.
(
)
no
us!
more!
sub.
261
Act II–Scene 2 Edward:
235
port. 3
My
bed is
cold,
girl.
It wants
sub.
ing.
sub.
ten.
(
warm
)
239 E.G. Re mem
ber‌
sub. ten.
(
)
(with increasing vigor and excitement)
243 E.G. 3
Re mem
sub.
(
)
ber?
Re mem
ber?
Re mem
262
Act II–Scene 2
accel. 248 E.G. 3
ber the bed warm er
(accel.)
you ran
o
Margaret:
252
(almost shouted) E.G.
3
ver my sheets?
Più mosso
accel. molto
3
3
3
First
3
you filled it
= 108 wildly
Here
they are!
Take
6
with hot coals as I re call…
sub.
sub.
(Gaines manages to grasp Margaret’s wrists, and forces her to drop the coal. He notices that her hands have been scorched.)
(With her bare hands, Margaret grabs some coals out of the smoldering fire and lunges at Gaines, attempting to burn him.)
= 72
256 M.G. 3
them!
Take
them!
3
3
sub. 6
6
6
6
3
3
263
Act II–Scene 2
259
Edward: 3
262
(derisively)
3
Pre tend to be cra
zy
(derisively)
E.G. 3
as much as you like.
Man
3
gle your self,
sub.
265 E.G.
sub.
(B.D.)
I don’t
care.
264
Act II–Scene 2 quasi parlando full voice
268 E.G. 6
Cas ey was not e nough?
Will you
kill
= 54
me,
too?
Oh,
6
no,
my lit tle crow.
(A slave catcher returns to the shed.)
271
275
Slave Catcher:
He’s bound
and read y,
sir.
sub.
sub. (B.D.)
278
= 54
Margaret:
molto
rubato 3
Damn
your
mar
ble
eyes,
265
Act II–Scene 2
280
shouted
3
M.G. Damn
282
your
sli ther ing soul!
a piacere 3
Your
(don’t hurry) 3
M.G. mis ’ra ble, pu trid
heart. 6
6
6
(to the slave catcher)
come recit. Edward:
286
3
Take the young ones to the wag on.
Then light
sub.
the
sub.
289 E.G. fire.
The night
sub. sub.
is
cold
and
266
Act II–Scene 2
293 E.G. prom is
es
to
be
long.
sub.
(In the dim light, Robert can be seen standing outside on a tall box underneath the tree; a noose is hanging around his neck. One by one, the slave catchers plant their torches in the ground, surrounding the condemned man with fire.)
(don’t hurry) 296
300
304
267
Act II–Scene 2
308
a tempo 313
Con rubato
= ca. 54
poco rit.
Robert:
Mar
cant.
g’ret!
Mar
cantabile
as needed
318 R.G. g’ret!
I love
you!
I love!…
espr.
268
Act II–Scene 2
(Gaines’ pistol shot interrupts Robert’s cry, killing him instantly.)
rit. L’istesso tempo
323
= 54
Margaret:
6
* Ne
ver
to
3
be born a gain in to
sla
sub. (B.D.)
(Margaret violently attacks her daughter, murdering her by slitting her throat.)
327
v’ry! 6
6
6
6
= 54 (She stabs her younger child to death.)
329
(Margaret collapses, dropping the knife.) (Horrified, Gaines and his men lunga surround Margaret.)
(Lights out.)
(B.D., Tamtam)
lunga
ca. 40’ * text ossia: My children will not live a life in¡
attacca
269
Intermezzo (Total darkness envelops the stage.)
Adagio doloroso = ca. 92
lontano
Poch. pi첫 mosso = 96
5
pi첫 cantabile
espr.
9
cantabile
move forward
Poco pi첫 mosso = 104
13
(
) (
) dolce
17
espr.
270
Intermezzo 3
21
espr.
dolce
= 92
rall.
25
n 3
29
sub.
sub.
3
32
Don’t drag = 52 (in 2)
dolce 37
l.h. dolce
allarg. 41
271
Intermezzo (The image of Margaret, alone, gradually becomes visible. Her state of mind clearly is changing.)
Con rubato
= 72
= ca. 84
(consoling herself, almost like crying)
45
Margaret:
plaintive
Mm,
Ah, port.
PiĂš mosso accel.
50
= 96 cantabile
(slurring the words slightly)
po
M.G.
rt.
Mm, Ah‌
Like
a
riv
er
rush ing
from
the
espr.
55
grip
of
its
banks. 3
non troppo 60
dim. al niente non troppo
272
Intermezzo (With defiant grandeur, Margaret embraces her life’s circumstances.)
65
Adagio, con rubato = 69–72
(full voice) Margaret:
Dark ten.
ten.
ness,
I
sa
lute
you.
ten.
ten.
70
’
M.G. Rea
74 M.G. con
so late.
son has no
pow er
here,
o
ver
3
the dis
273
Intermezzo
78
Margaret:
3
Grief
is
my plea sure;
= 72, don’t drag
82 M.G. thief of life,
my
lov er
now.
86 M.G. Dark
(with quiet acceptance)
91
quasi
ness,
lunga
(fade to black)
M.G. I
sa
lute
you.
lunga
ca. 47’
Act II, Scene 3: In a Courtroom, in early April, 1861.
274
(Having followed the trial of Margaret Garner with great interest and curiosity, the townspeople fill the local courtroom in eager anticipation of her sentencing by the three presiding judges. Margaret sits in court surrounded by militia officers; Caroline, George, and Edward deliver final testimony.)
(The lights go up gradually.)
Moderato, ma con moto
= 88
(The stage is fully lit.)
( = 88)
6
Judge 1: 11
3
8
What Judge 2:
is the
charge?
3
What Judge 3:
What
is the
3
is the
charge?
charge? 3
Edward: 3
Theft, Your Hon ors.
3
6
6
275
Act II–Scene 3
15
poco pesante
J.1 3
8
And the val
ue
of the theft? poco pesante
J.2 3
And the val
ue
of
the
theft?
poco pesante J.3 3
And the val
ue
of
the
theft? 3
3
E.G. 3
Hun dreds, Your Hon ors.
18 J.1 8
Have
the
Have
the
Have
the
J.2
J.3
E.G. Hun 6
6
dreds of dol lars lost.
276
Act II–Scene 3
poco pesante
21 J.1 8
sto len goods been found? poco pesante
And
sto len goods been found? poco pesante
And
sto len goods been found?
And
J.2
J.3
E.G. They have,
sirs. 6
6 6
legato
24 J.1 8
what legato
is the
con
di
tion
of
these
goods?
what legato
is the
con
di
tion
of
these
goods?
what
is the
con
di
tion
of
these
goods?
J.2
J.3 (looking at Margaret)
E.G. Ru ined.
Use
277
Act II–Scene 3
28
3
J.1 3
8
3
How did they come to be
ru ined?
J.2 3
3
How did they come to be
3
ru ined?
J.3 3
3
How did they come to be
3
ru ined?
E.G. 3
less.
Poco piĂš mosso = 92
32
A tempo
= 88
J.1 8
By
ac ci dent or de lib er ate ly?
By
ac ci dent or de lib er ate ly?
By
ac ci dent or de lib er ate ly?
J.2
J.3
E.G. 3
3
The ac cused de stroyed
3
3
them, Your Hon ors.
Poco piĂš mosso = 92
De lib
A tempo
3
er ate ly.
= 88
278 36
Act II–Scene 3
legato
J.1 8
De scribe, please,
the de stroyed goods.
De scribe, please,
the de stroyed goods.
De scribe, please,
the de stroyed goods.
legato J.2 legato J.3 più cantando 3
E.G. Chil
Più mosso
accel.
= 92
dren,
Tempo I
sirs.
Two chil dren,
= 88
(in an aside to Gaines)
40
Caroline:
Fa
sub.
ther,
E.G. 3
both
mine.
I mean, both my pro per ty.
accel.
Più mosso
= 92
Tempo I
= 88
this is mad
279
Act II–Scene 3
43
(pleading)
Ca. 3
ness.
George:
All the more rea son to
(pleading)
8
Edward:
3
(retorting loudly, embarrassing Caroline)
Mad ness, yes–
All the more rea son to
Hers,
not mine.
(The judges nod their consent.)
47 Ca. 3
spare her.
Your Hon
ors,
may I
speak?
Geo. 8
spare her.
3
3
3
Più lento 51
3
= 60
Caroline:
The
charge
sotto voce
is
false.
280
Act II–Scene 3
Tempo I
= 88
55 Ca. Not theft,
but
mur
der
3
it should be.
Judge 1:
8
That
is
a
That
is
a
That
is
a
Judge 2:
Judge 3:
Tempo I
= 88
59 J.1 8
ver
y
dif
f’rent
mat
ter.
Yet
it
comes
to
the
ver
y
dif
f’rent
mat
ter.
Yet
it
comes
to
the
ver
y
dif
f’rent
mat
ter.
Yet
it
comes
to
the
J.2
J.3
281
Act II–Scene 3
63
meno
J.1 3
8
same thing.
The is sue be
fore us
is of
3
pro per ty;
3
3
a fi nan cial loss… meno
J.2 3
same thing.
3
The is sue be
fore us
is of
3
pro per ty;
3
a fi nan cial loss… meno
J.3 3
same thing.
The is sue be
fore us
is of
3
pro per ty;
3
3
a fi nan cial loss…
6
3
6
3
molto rit.
a tempo ( = 88)
67 J.1 8
not a
de bate a bout the hu
man soul
not a
de bate a bout the hu
man soul
not a
de bate a bout the hu
man soul
J.2
J.3
a tempo ( = 88) 6
6 3
6
molto rit. 6
poco
282
Act II–Scene 3
69 Caroline:
amabile
Re
spect amabile
ful
ly,
Re
spect
ful
ly,
George:
8
6
we
beg
to
we
beg
to
6
(emphatically)
72 Ca. dif fer.
A
mo
3
ther who
her
kills (emphatically)
3
Geo. 8
6
dif fer.
A
mo
ther who
her
kills
3
75
più legato
Ca. chil dren
can not be said più legato
to steal
them.
chil dren
can
to steal
them.
Geo. 8
not be said
Edward:
(interrupting angrily)
They did n’t be long
to her.
283
Act II–Scene 3 forcefully
rit.
80 E.G. 3
She
has no
right
to them,
liv ing or dead…
= 80 84 E.G. Liv
ing
or
dead.
It
is
clear
in
our
sys
tem
88 E.G. 3
she owns
least of all
no thing—
6
3
my slaves.
3
3
3
3
284
Act II–Scene 3
= 120 The Townspeople: Soprano: 92 (assertively)
Yes! Alto: div. (assertively)
Yes!
Yes! Tenor:
Yes!
Lis ten to him.
Lis ten
to him.
He
is
right.
unis.
div.
Lis ten to him.
Lis ten
to him.
He
is
right.
Lis ten
to
unis.
Lis ten
to
(assertively)
8
Yes! Bass:
Yes!
He
is right!
Lis ten
to him.
Lis ten
to him.
Yes!
He
is right!
Lis ten
to him.
Lis ten
to him.
(assertively)
Yes!
97 S him.
Lis ten
to
him.
Lis ten
to
him.
Lis ten
to
him.
him.
Lis ten
to
him.
Lis ten
to
him.
Lis ten
to
him.
A T.C. T 8
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten to him.He
is
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten to him.He
is
B
285
Act II–Scene 3
101
div.
S He
is
right.
He
is
right.
He
is
right.
A He
T.C.
div.
is
right.
unis.
T 8
right.
He
is
right.
He
is
right.
right.
He
is
right.
He
is
right.
B
tutta forza
106 S He
has
the
right
i
de
a.
has
the
right
i
de
a.
He tutta forza
has
the
right
i
de
a.
He
has
the
right
i
de
a.
tutta forza A He T.C.
tutta forza
T 8
B
286
Act II–Scene 3
Tempo I subito e deciso Judge 1: 112
8
= 88
rit.
with authority
3
3
Or der in the court! Or derin the with authority
court!
Judge 2:
3
emphatically, come recit.
Or der in the court! Judge 3:
Tempo I subito e deciso
= 88
Or
3
3
3
3
der in the court in the name of the law of this
rit.
sub.
a tempo (Silence suddenly fills the courtroom.)
114
Caroline:
quietly, with respect but also conviction
She
bore
them,
Your Hon ors.
They
are hers
J.3 coun try!
a tempo
119
3
3 3
Ca. un til they come
of
age.
She is re spon si ble for their lives.
legato
287
Act II–Scene 3
124
Più mosso (un poco agitato) = 92 Judge 1:
(sarcastically)
3
8
Where
have you been,
3
Ma dam?
On an is
Ma dam?
On an is
Ma dam?
On an is
land
(sarcastically)
Judge 2: 3
Where Judge 3:
have you been,
3
(sarcastically)
3
Where
have you been,
3
Più mosso (un poco agitato) = 92
129 J.1 8
land
in
the
sea?
You
are speak ing
of
a
slave,
in
the
sea?
You
are speak ing
of
a
slave,
in
the
sea?
You
are speak ing
of
a
slave,
J.2
J.3
land
288
Act II–Scene 3
133 J.1 3
8
not some one like
you
or
me.
you
or
me.
you
or
me.
The
J.2 3
not some one like
J.3 3
not some one like
3
136 J.1 8
law
is clear
in
the Bi
ble
and
here.
the
Bi
J.2 The law
is
clear
The
law
in
ble
and here.
J.3 is clear
in
the Bi
ble
and
289
Act II–Scene 3
Più maestoso
= 72
139 J.1 8
Slav
er
y
is
not
a
mat ter
for
a
slave
to judge.
J.2 Slav
er
y
is
not
a
mat ter
for
a
slave
to judge.
Slav
er
y
is
not
a
mat ter
for
a
slave
to judge.
for
a
slave
to judge.
J.3 here.
div.
unis.
S 8
Slav
er
y
is
not
a
mat ter
div.
unis.
A Slav
er
y
is
not
a
mat ter
for
a
slave
to judge.
Slav
er
y
is
not
a
mat ter
for
a
slave
to judge.
y
is
not
a
mat ter
for
a
slave
to judge.
T.C.
T 8
div. B Slav
er
Più maestoso
= 72
290
Act II–Scene 3
L’istesso tempo
= 88
(to Edward)
144
Fa
148
(looking at Margaret)
Caroline:
ther,
Mar
3
g’ret is
3
of
no
val
ue
to you,
or
meno 3
Ca. 3
an y one.
She was more
3
than a mo ther to me.
152
=
Ca. Now
her
3
si
Edward: quasi
lence
screams
a grief
(to himself)
3
I
have com mit ted
no
crime.
we
291
Act II–Scene 3
155
3
3
Ca. 3
dare not know.
But
you can help
change the de bate
= 92 158 Ca. rag
ing the land. (to Caroline and George) quasi
Edward: 3
I Judge 1:
8
have com mit ted
no
crime.
sempre staccatiss.
The
law
is
clear
in
the
Bi
ble
and
here.
is
clear
in
the
Bi
ble
and
here.
clear
in
the
Bi
ble
and
here.
Judge 2: sempre staccatiss.
The Judge 3:
law
sempre staccatiss.
The
law
Subito piĂš mosso = 92
is
292
Act II–Scene 3
161
3
3
Ca. Let the charge re
flect
our crimes
as
165 Ca. well as
hers. Edward: 3
I Judge 1:
8
have com mit ted
no
crime.
secco
He secco
legato
has
com
mit ted
no legato
Judge 2:
He Judge 3:
crime.
has
com
mit ted
no
secco
He
crime. legato
has
com
mit ted
no
crime.
293
Act II–Scene 3
Più decisio (l’istesso tempo) 168
con forza
J.1 8
The law
is
clear
in the
Bi ble
and
here.
con forza J.2 The
law
is clear
in the Bi ble
and
con forza J.3 The law
is
clear
sub.
in the
sub.
sub.
171 J.1 3
8
We
do
We
do
We
do
not make
laws
not make
laws
not make
laws
J.2 3
here.
J.3 3
Bi ble
and here.
3
294
Act II–Scene 3
174 J.1 8
or
for sake
laws,
or
for sake
laws,
or
for sake
laws,
J.2
J.3
6 6
6 6
con forza
176 J.1 8
we
fol
low
them
pre
cise
ly.
The
charge
con forza J.2 we
fol
low
them
pre
cise
ly.
The
charge
con forza J.3 we
fol
low
them
pre
cise
ly.
The 6 6
charge
295
Act II–Scene 3
179 J.1 8
is
theft,
the
sen
tence
just.
is
theft,
the
sen
tence
just.
is
theft,
the
sen
tence
just.
J.2
J.3 6
6
rit.
= 72 = .
182 J.1 8
This one will
be made read y
for
ex
e cu
tion.
This one will
be made read y
for
ex
e cu
tion.
This one will
be made read y
for
ex
e cu
tion.
J.2
J.3
rit.
= 72 = .
296
Act II–Scene 3 (While the judges confer with one another, Caroline pleads with her father to intervene and have the verdict overturned.)
Raucous, like a drinking song
. = 72
Townspeople Chorus: Soprano: 186 (relieved)
Bound and made read y, (relieved) Alto:
bound and made read y,
bound
and read y
for ex e
Bound and made read y, Tenor: (relieved)
bound and made read y,
bound
and read y
for ex e
Bound and made read y, (relieved) Bass:
bound and made read y,
bound
and read y
for ex e
Bound and made read y,
bound and made read y,
bound
and read y
for ex e
8
Raucous, like a drinking song
. = 72
189 S cu
tion.
Bound
and made read y,
bound
and made read y,
cu
tion.
Bound
and made read y,
bound
and made read y,
cu
tion.
Bound
and made read y,
bound
and made read y,
cu
tion.
Bound
and made read y,
bound
and made read y,
A T.C. T 8
B
297
Act II–Scene 3
192
div.
unis.
S bound
and
read y
for ex
e
cu
tion.
bound
and
read y
for ex
e
cu
tion.
bound
and
read y
for ex
e
cu
tion.
She
is
not
like
bound
and
read y
for ex
e
cu
tion.
She
is
not
like
A T.C. T 8
B
div.
195
unis.
S She
is
not
like
you
and you
or
A T.C.
She
is
not
like
you
or
me,
and
she
is
not
like
you
and you
or
you
or me,
and
she
is
not like you!
She
is
not
like
you
and
you
or
you
or me,
and
she
is
not like you!
She
is
not
like
you
and
you
or
T 8
B
298
Act II–Scene 3
199 S me! A me!
T.C. T 8
me!
B me!
203 S Bound and made read y,
bound and made read y,
bound
and read y
for ex e
Bound and made read y,
bound and made read y,
bound
and read y
for ex e
Bound and made read y,
bound and made read y,
bound
and read y
for ex e
Bound and made read y,
bound and made read y,
bound
and read y
for ex e
A T.C.
T 8
B
299
Act II–Scene 3 (quietly, to herself)
206
poco
Margaret:
I
am
like
not
you.
S cu
tion!
cu
tion!
cu
tion!
cu
tion!
A T.C. T 8
B
as needed 210 M.G. I am
me.
(to one another)
S She is
not
like you
or
She is
not
like you
or
(to one another)
A (to one another)
T.C. T 8
She
is
not
like you
or
me,
and she
is
not
like you
or
me,
and she
is
(to one another)
B She
is
300
Act II–Scene 3 (Margaret suddenly rises from her chair and glances around the courtroom, glaring at the onlookers.)
tutta forza
214
=
S me, and she is
not
like you or you
or
me! tutta forza
A T.C.
me, and she is
not
like you or you
or
me! tutta forza
T 8
not like you or
me, and she is not
like
me! tutta forza
B not like you or
218
Maestoso = 80
me, and she is not
like
me!
(emphatically) Margaret:
3
I
am
not
like
you.
I am me!
301
Act II–Scene 3 (to Margaret)
221 Judge 1:
8
rit.
Slower
= 60
rit.
Slower
= 60
3
3
lence!
Si
3
3
You have no au thor
i ty.
(to Margaret)
Judge 2:
3
3
3
lence!
Si
3
You have no au thor
i ty.
(to Margaret)
Judge 3:
3
3
3
Si
lence!
3
You have no au thor
i ty.
3
sub.
(to the Judges, refusing to sit down)
Margaret: 225
3
3
have
You
3
no au thor
i ty.
I am not
like you.
I am
quasi
= 72
accel. poco a poco
229
me!
I
3
am
(accel.)
me!
3 3 3 3
8ba
302
Act II–Scene 3
= 80
(accel.)
(The militia officers restrain Margaret.)
232
I
am! 3
3
8ba
Townspeople Chorus: Soprano: 236 div. 3
Bound and made read y, Alto:
bound and made read y…
3
div.
3
Bound and made read y,
3
bound and made read y…
Tenor: 3 8
3
Bound and made read y,
3
3
bound and made read y…
Bass: 3
3
Bound and made read y,
3
3
bound and made read y… 3
3
3
303
Act II–Scene 3
239
3
3
3
3
S Bound and made read y,
bound and made read y…
3
3
3
3
A Bound and made read y,
T.C.
bound and made read y…
T 8
3
3
Bound and made read y,
3
3
bound and made read y…
B 3
3
Bound and made read y,
3
3
bound and made read y… 3
(pointedly, looking directly at Margaret)
Judge 3: (quasi recitativo)
242
3
I
8ba
8ba
3
3
3
or der you in the name of the law of this land to be
8ba
304
Act II–Scene 3
245 J.3
(banging his gavel resolutely)
3
3
(The judges retire to their chambers.)
3
ex e cut ed by sun rise to mor
row! Townspeople Chorus: (reassured) Soprano: 3
3
She is not like you or me… Alto: 3
3
She is not like you or me… Tenor:
3
3
8
She is not like you or me… Bass: 3
She is
248
(Margaret is led away; the townspeople file out of the courtroom.)
T 8
T.C.
3
B not like you or me…
3
3 3
3
305
Act II–Scene 3
L’istesso tempo ( = 80), ma più amabile (cantando) (dismayed by the verdict) Caroline:
252
3
Fa
ther,
you must urge
256 Ca.
259
3
3
clem en cy
from the court.
They will hear
3
They will
3
lis ten to you.
as needed
Vi–
George:
8
3
Don’t
let her
die
with out dig ni ty.
Don’t
–de
262 Geo. 8
you.
3
for the wrong
rea
son.
let her hang
306
Act II–Scene 3
(disturbed, yet betraying no sign of emotion)
(coolly) 265 Edward:
secco 3
3
3
3
She must suf fer the con
se quenc
es
3
of what she has
done.
3
3 3
269
Caroline:
And
so
must
you.
And
so
must
you.
George:
8
(angrily) Edward:
3
3
3
Mean ing what, ex act ly?
Poco meno mosso full, rich
Caroline: 273
3
We are so at odds
3
in these past few years.
Our land
will not
sur vive
307
Act II–Scene 3
277
( )
Ca. 3
this vi
o lent test.
Edward:
3
Daugh
ter, are you
3
threat en ing me?
281 Caroline:
3
No,
no.
We
No,
no.
We
are beg
ging you.
are beg
ging you.
George:
3
8
(Edward turns away as Caroline and George start to leave the courtroom. Caroline looks back at her father, then impulsively runs over to him.)
284
Caroline:
Don’t fail
3
me.
3
It is all in your
hands.
3 3
308
Act II–Scene 3
289
(Caroline gently takes her father’s hands and presses one against her cheek, kissing his palm.) (Caroline and George exit.)
295
Don’t hurry
flowing, with motion (Alone in the courtroom, Edward contemplates the course of his life.)
= 72–80
(examining his hands)
Edward:
No thing.
dolce
as needed
300 E.G. 3
I see no
3
thing at all.
3
No wound, no rash.
Yet they
3
3
= 80
304 E.G. burn.
What lights
the
flame?
309
Act II–Scene 3
308
(Edward steps forward a few feet—thereby “leaving” the courtroom—and moves to a dimly lit area of the stage.)
3
E.G. 3
or Mar
Is it Car o line’s kiss,
g’ret’s
coals of
fire?
(dismissing any questions or doubts from his mind)
312
Subito più agitato = 88
E.G. 3
Damn
it to hell!
I
am ap proved.
r.h. 6
r.h.
3 6 l.h.
sub.
più cantabile (legato) meno
315 E.G. Clear
318
3
3
ly what the world
3
in sists I should
be.
Law
3
and cus tom en
dorse
rit.
6
3
espr.
each ½ beat
me.
310 Tempo primo
Act II–Scene 3
= 72–80
(reconsidering)
321
Edward:
cant.
3
3
Yet my on
ly
child
looks at me
with strange eyes:
as needed
= 80 325 E.G. 3
cold
ap
prais
al
where na ked
3
a dor
a
tion
Come sopra, più agitato
to
= 88
aggressively
accel.
329
used
E.G.
3
live.
Am
I not a le gal man?
rit.
332 E.G. God’s
blue print,
flawed
in mere ly
or
di nar y ways?
311
Act II–Scene 3
335
a tempo ( = 88)
(assuming an aristocratic air)
E.G. 3
Hats
still
tip,
gen
tle wo men dip their
senza
Poco piĂš largemente
Subito tempo primo
= 72
338 E.G. 3
heads cour
te ous ly to me. 6
6
(introspectively)
343 E.G. And yet.
And yet.
They sear
(inwardly, glancing at his hands)
347 E.G. like mol ten lead.
(Look at them.
3
Look at them!)
312
Act II–Scene 3
(upon reflection)
351 E.G.
3
If the flaw
is in the
blue
3
why
must I
più espr.
354 E.G. 3
choose?
If the flaw
is in the
blue
print–
(The lights dim slowly.)
357 E.G. then
3
I
must
(lights out)
360
choose.
lunga
sotto voce
ca. 62’
attacca
313
Act II, Scene 4: In the town square of Richwood Station, Kentucky; the next morning, at dawn. (At dawn, a group of local citizens—including the town authorities; Caroline and George; as well as some slaves from nearby plantations—processes somberly into the town square at Richwood Station. Great sorrow fills the air, for they are accompanying Margaret Garner to her execution. All are sobered by the imminence of death. Seemingly, the only person not in the crowded plaza is Edward Gaines.) (Cilla is standing at the base of an executioner’s scaffold.)
Moderato (in the manner of a procession) = 72 Cilla:
Mar
(The hangman brings forth the condemned prisoner. Margaret’s hands, bandaged from the burns she received from the hot coals, have not yet been tied up in preparation for execution.)
g’ret
Mar
g’ret
Mar
(Margaret is led up the scaffold steps. When she reaches the top of the platform, the hangman places a noose around her neck and positions her on the gallows’ trap door. Scattered about are a number of ropes, which will be used to secure her limbs tightly.)
6 C. g’ret
11
Dear
God
no
more.
Subito agitato = 108
Timp. gliss.
(Edward Gaines runs in, excitedly waving a document.)
314 17
Act II–Scene 4
= 108
Edward:
Hold
7
poco agitato
on!
Hold
on!
a tempo
20 E.G. I’m
24
tell in’
you
to
hold
on.
= 72
= 104
E.G. 3
The judg
es have grant ed
Timp. gliss.
(looking around at the faces in the crowd, seeking some sign of approval or acknowledgement of his beneficence) (in a pointed aside to George and Caroline)
poco meno espr.
26
full voice
E.G. 3
clem en
cy…
clem en
cy.
And
if the guil
sub.
315
Act II–Scene 4 not quite full voice 29 E.G. 3
3
ty par ty
re pents
3
her mon strous crime,
she
will
3
be re
3 3
3
32 E.G. 3
mand
ed
to my cus
(Upon hearing of the stay of execution— which eliminates the need for him to bind the prisoner’s body—the hangman leaves Margaret’s side and walks over to the edge of the gallows platform to accept the legal document from Edward.)
Come sopra
to dy.
(Overjoyed and relieved, Caroline embraces her father.)
= 72
(George shakes Edward’s hand.)
(still full voice)
35 Caroline:
Thank
God.
Thank
you.
Thank
you.
(still full voice)
George:
8
3
Thank
God.
316 Molto piĂš animato
Act II–Scene 4
= 108
(stepping forward, thrilled) (to Margaret)
39
Cilla:
3
po
3
rt
.
3
Thank
you, sweet Je sus.
Do you hear
that?
= 72
riten.
43
You will live,
less intense 3
C. daugh ter.
Praise my Mak er, you will live,
my
dim. poco a poco
46 C. an
gel.
= 80 (in a state of transcendence)
49
Margaret: 3
Oh,
yes.
I 3
3
will live.
I will live. 3
I 3
will 3
317
Act II–Scene 4
53 M.G. live
3
3
3
L’istesso tempo
3
3
3
l.h.
= 80 (don’t drag)
57
poco
3
M.G. a mong
the
cher ished.
It will be
just
so.
as needed
61
più cantabile
3
M.G. Side
by side
in our
gar
den
it will be
just
so.
= 100 65
Margaret:
3
Ringed 3
(
as needed)
by a 3
3
har
vest of 3
3
318
Act II–Scene 4
69
quasi
M.G. 3
3
love.
No more bru tal 3
3
3
3
3
days
or nights. 3
3
3
(making eye contact with Cilla in the crowd)
73 M.G.
3
3
3
Molto più lento
77
3
3
3
3
= 72
Margaret:
Good 6
6
6
6
6
3
sub. 3
(
3
3
3
bye,
6
6
3
3
6
3
3
as needed) port.
79
3
M.G. sor
row…
6
3
Death
6
3
6
3
6
3
6
3
is 6
3
6
3
6
3
319
Act II–Scene 4
81
poco
M.G. dead
for
ev er.
6
I 6
3
6
6
3
3
live.
6
3
3
6
6
3
3
6
3
83 M.G. Oh,
6
3
6
yes,
6
6
3
3
I
6
3
3
live!
6
3
6
3
Subito molto agitato (ma non troppo presto)
accel. M.G.
6
6
6
B.D. + Tamtam 3
3
3
= 96
(While the crowd’s attention is focused elsewhere, Margaret deliberately trips the trap door’s lever and hangs herself.)
85
6
6
3
3
320
87
Act II–Scene 4 (Startled by the onlookers’ screams, the hangman quickly turns around and is shocked to see Margaret’s limp body dangling just inches off the ground. He rushes over in a futile attempt to save her.)
rit.
Come sopra, ma più pesante ed agitato = 72 Cilla:
Mar
g’ret…
Mar
g’ret…
+Sus.Cym.
sub. molto molto
molto
90
po
po
rt.
rt
C. No!
Mar 8va
sub.
(
sub.
) (Caroline notices Margaret’s scarf in her father’s front pocket. She removes it, silently ascends the scaffold, and reverently ties it around Margaret’s waist.)
94 C. Dear God,
no
more. 3
(
)
.
g’ret!
321
Act II–Scene 4
Agitato
= 96
98
Timp. gliss.
(no break)
Quasi adagio
= ca. 63–66
(stunned; looking at his hands)
102
Edward:
No breeze,
8ba
no cool
stream
8ba
8ba
calm
8ba
these
palms.
8ba
sempre
(He walks away.)
106 E.G. Un healed,
there
is
no
peace.
attacca 8ba
8ba
322
Epilogue (The hangman unties the noose around Margaret’s neck, and holds her in his arms before the townspeople and slaves. The light begins to dim; eventually, all that is visible is Margaret’s body, which seems to float alone and above the crowd.)
Graceful, tenderly, don’t hurry (grazioso e teneremente) = ca. 80 110 Cilla:
Sweet
Je
sus,
help
us
break
through
the
Sweet Alto:
Je
sus,
help
us
break
through
the
Sweet Tenor:
Je
sus,
help
us
break
Sweet Bass:
Je
sus,
help
us
break
through
the
Sweet
Je
sus,
help
us
break
through
the
Sweet Alto:
Je
sus,
help
us
break
through
the
Sweet Tenor:
Je
sus,
help
us
break
through
the
Je
sus,
help
us
break
through unis.
the
break
through
the
The Slaves: Soprano:
8
through
the
The Townspeople: Soprano:
8
Sweet
Bass:
Sweet
div.
Je
sus,
help
us
Graceful, tenderly, don’t hurry (grazioso e teneremente) = ca. 80
sim.
323
Act II–Scene 4
116 C. night. S night.
Chast
ened
by
Thy
ho
ly
might,
night.
Chast
ened
by
Thy
ho
ly
might,
night.
Chast
ened
by
Thy
ho
ly
might,
night.
Chast
ened
by
Thy
ho
ly
might,
night.
Chast
ened
by
Thy
ho
ly
might,
night.
Chast
ened
by
Thy
ho
ly
might,
night.
Chast
ened
by
Thy
ho
ly
might,
night.
Chast
ened
by
Thy
ho
ly
might,
A S.C. T 8
div. B
S
A T.C. T 8
B
324
Act II–Scene 4
122 C. Guid
ed
by
Thy
ho
ly
light
in
to
Thy
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
S
A S.C. T 8
B
S
A T.C. T 8
B
325
Act II–Scene 4
128 C. bless
ed
sight.
bless
ed
sight.
Have
mer
cy. Have
bless
ed
sight.
Have
mer
cy. Have
bless
ed
sight.
Have
mer
cy. Have
bless
ed
sight.
Have
mer
cy. Have
Have
mer
cy. Have
Have
mer
cy. Have
S
A S.C. T 8
B
+Caroline: S bless
ed
sight.
bless
ed
sight.
A T.C.
+George:
T 8
bless
ed
sight.
Have
mer
cy. Have
bless
ed
sight.
Have
mer
cy. Have
B
cantabile
326
Act II–Scene 4
134
( )
S mer
cy on
us.
Help
us
Help
us
Help
us
Help
us
Help
us
Help
us
Help
us
Help
us
break
through
the
night.
through
the
night.
through
the
through
the
night.
through
the
night.
through
the
night.
through
the
through
the
( ) A mer
S.C.
cy on
us.
break
( )
T 8
mer
cy on
us.
break
night.
( ) B mer
cy on
us.
break
( )
S Ca. mer
cy on
us.
break
( ) A mer
T.C.
cy on
us.
break
( )
T Geo. 8
mer
cy on
us.
break
night.
( ) B mer
cy on
us.
break
night.
sim. 140
Cilla:
Soon,
soon
my
bold
quasi
–
heart
ed
327
Act II–Scene 4
poco rit. 145
meno
C. girl,
I’ll
L’istesso tempo
be
there.
I’ll
be
there.
= ca. 80
The Slaves: 150 Soprano:
Break Alto:
through
the
night,
break
through
the
Break Tenor:
through
the
night,
break
through
the
8 Break Bass:
through
the
night,
break
through
the
Break through * The Townspeople: Soprano:
the
night,
break
through
the
Break Alto:
through
the
night,
break
through
the
Break Tenor:
through
the
night,
break
through
the
8 Break Bass:
through
the
night,
break
through
the
Break
through
the
night,
break
through
the
* The SATB White Chorus should sing together with the Black Chorus in bars 150 through 168, but they must not be seen.
328
Act II–Scene 4
156
quasi
S night;
Let
her
lin
ger
a
while
a
while
a
while
a
while
a
while
a
while
a
while
a
while
quasi A night;
Let
her
lin
ger
S.C. quasi T 8
night;
Let
her
lin
ger quasi
B night;
Let
her
lin
ger
quasi S night;
Let
her
lin
ger quasi
A night;
Let
her
lin
ger
T.C. quasi T 8
night;
Let
her
lin
ger quasi
B night;
Let
her
lin
ger
329
Act II–Scene 4
162
L’istesso tempo = ca. 80 ( )
S and
ride
the
light,
and
ride
the
light.
and
ride
the
light,
and
ride
the
light.
and
ride
the
light,
and
ride
the
light.
and
ride
the
light,
and
ride
the
light.
and
ride
the
light,
and
ride
the
light.
and
ride
the
light,
and
ride
the
light.
and
ride
the
light,
and
ride
the
light.
and
ride
the
light,
and
ride
the
light.
( ) A S.C. ( ) T 8
( ) B
( ) S
( ) A T.C. ( ) T 8
( ) B
(The curtain descends slowly.)
169
ca. 74’