MOHAMMED FAIROUZ
The New Prince Libretto by David Ignatius
Commissioned by the Dutch National Opera, Amsterdam
Piano-Vocal Score
MAJOR CHARACTERS: (in order of appearance) Niccolò Machiavelli, Florentine philosopher, poet and playwright Fortuna, his muse Henry Kissinger, statesman and adviser President Wu Virtu, leader of Amerasiopia Eliza Hamilton, wife of Alexander Hamilton Alexander Hamilton, first treasury secretary of the United States Bill Clinton, 42nd president of the United States Hillary Clinton, first lady to the 42nd president of the United States Monica Lewinsky, White House intern Osama bin Laden, leader of Al Qaeda Dick Cheney, 46th vice president of the United States Prince Saud al-Faisal, foreign minister of Saudi Arabia
MINOR CHARACTERS: Prince of Revolution: Savonarola/Hitler/Mao Hannah Kamal, Egyptian student activist President Mohammed Morsi, president of Egypt, later deposed Gen. Abdel-Fattah el-Sisi, president of Egypt Maria Reynolds, lover of Alexander Hamilton CIA Medical Officer John Yoo, attorney at Office of Legal Counsel, Justice Department
INSTRUMENTATION 2 Flutes (both doubling piccolo) 2 Oboes 2 Clarinets in A 2 Bassoons Tenor Saxophone 2 Trumpets in C 3 Trombones Timpani Percussion: Tam-tam Chimes Bass Drum Glockenspiel Whip 2 Suspended Cymbals Xylophone Snare Drum Triangle Congas Piano Mixed Chorus (SATB) Strings
Piano/Vocal Score
The New Prince
DAVID IGNATIUS
MOHAMMED FAIROUZ (2016)
Prologue
Offstage, the sound of feet shuffling to the edge of a ledge, a sudden drop from a high place and the snap of a rope; the tearing of muscle and crack of breaking bones; and then a piercing scream. A door opens. Out stumbles Machiavelli in a tattered, bloodied robe of state. As he enters, we hear again, as in echo, the ghastly sound of the snapping rope and ripping sinews.
q = 120
rit.
fff (high shriek)
(spitting the word, wounded but undefeated)
MACHIAVELLI
4 4
Machiavelli
Ahh!
p
Strap
picc.
4 4
Fl.
fff
4 4
Piano
fff
4 4
q = 72
accel.
4
(gesturing toward the door of the prison, as we hear the sound once more)
fff
Mach.
pa
do!
Strap Vn.
p
© Copyright 2016 by Song of Peer, Ltd. International Copyright Secured All Rights Reserved
2
Prologue
q = 69 (subito)
q = 120
7
3 4
Mach.
pa
do!
Strap pa
do!
The gift
to
me, six times of
3 4
p
fff
3 4
accel. 9
Mach.
3 4 dear Giu lia
no
de
Me di ci,
who false ly
thought me a con spi ra tor:
Strap
Fl.
3 4 3 4
f
12
ff
q = 80
q = 50
3
3
4 4
Mach.
pa
do! They call
it
Strap pa
do!
pp
Six
4 4 ff
pp
4 4
pulls of the chord on my shoul ders, from
3
Prologue (to the monks, imploring) p
14
Mach.
one whose pa tro nage I craved. One
I
a dored.
Where
is
my
prince,
f
p
poor
Flo
My
p
16
q = 66
Mach.
per
fect
prince,
to
res
cue
rence?
Fls.
p
p
6
6
ff
18
p
f
6
6
q = 60 A
p
Mach.
Where is the man
of
vir
tue,
Who will
lis ten
to my
ad
vice? (enter chanting as if at vespers)
p
CHORUS (Monks)
TB Ky rie
ff
p
E
lei
son
4
Prologue
f
21
Mach.
For tu na!
For
p (sempre)
TB Chris te E lei
son;
Ky
rie E
lei
son
Ky rie
E
lei
son
Fls.
p
f
Tpts.
p
25
Mach.
tu
na!
Chris
te
For
tu
na...
TB E
lei
son;
Ky
rie
E
lei
son
Ky rie
Chimes
p p
28
3
Mach.
I
crave
for tune,
And I
des pise
God.
I have nei ther.
TB E
lei
son
Chris
te
E
lei
son;
at the pri
son,"La
30
Mach.
I have nei ther.
What
tor men ted me the most
TB Ky
rie
E
lei
son
Ky
rie
5
Prologue
32
Mach.
Stin che," was hear ing the false
pi ous monks say:
"We are pray ing
for you."
Tor ture and
TB E
lei
son
Chris
te
E
lei
son;
q = 144 B (throws off his bloody cape, stands erect and defiant) fff
34
Mach.
prayer, at once!
And they call me a hy po crite? Ha! What shit!
I
am
TB Ky
rie E
lei
son
q = 144 ff
37
Mach.
Nic
co
lò
Mach
ia
vel
li.
They
6
Prologue 40
Mach.
call
me
the
an
ti
Christ.
44
Mach.
I
CHORUS (Florentine citizens) fff
am
Nic
co
lò
Mach
ia
is
Nic
co
lò
Mach
ia
SA He
47
Mach.
vel
li.
They
call
me
the
vel
li.
We
call
him
the
SA
7
Prologue 50
Mach.
an
ti
Christ.
My
ve
ry
SA an
ti
Christ.
His
ve
ry
His
ve
ry
TB
53
Mach.
name
is
a
curse
of
shame.
My
name
is
a
curse
of
shame.
His
name
is
a
curse
of
shame.
His
SA
TB
8
Prologue
56
Mach.
ve
ry
name
is
a
curse
of
ve
ry
name
is
a
curse
of
ve
ry
name
is
a
curse
of
SA
TB
59
molto rit.
C q = 63
Mach.
shame. g lis
SA
s.
shame. TB shame.
q = 63
molto rit.
Tpts.
sf Cl.
p
9
Prologue
64
(A woman enters. The assembled Florentines part to make way. She is as luminous and full of life as a lustful Carmen. The Florentine subjects retreat before her. She is Fortuna. Machiaelli's goddess.)
F (eyeing her lustily but also callously)
pp
p
Mach.
My be
lo ved
For
tu
na.
You
are
a
p
66
p
Mach.
god
dess of fate but you be have like a cap ri cious wo man,
poco mosso 68
Be guiled by wild and
hand some young
ff
Mach.
men, Who can com mand you,
and beat you.
You want
to be sub ju ga ted, don't you?
ff
10
Prologue (we hear the crack of a whip, born by Fortuna) FORTUNA
a tempo
ff
70
rit.
q = 50 p
F No! Not true.
I love men who suc ceed. You fail.
Mach.
But you re ject me,
rit.
a tempo
f
ff
Des pise me...
q = 50
p Bsns.
73
5
3 4
F I
am
as
in
dif fe rent
to
sen ti ment as are you,
Ob.
pale
4 4 Nic co
lò.
3 4
4 4 Celesta
3 4 75
F
4 4
4 4 Search Picc.
4 4 Cel.
4 4
p
for me
o ver cen tu ries.
o ver
cen
turies, wait and see.
You will
11
Prologue
q = 108
77
F not
be for e
ver un luck y. f gl is s
SA
.
Il Mac chia! Il
f
TB Il Mac chia! Il
q = 108
f
80
Mach.
They call
SA
gli
Mac TB
g
Mac
me "Il
Mac
chia, The Stain."
Be cause they could not rub me out.
ss .
chia!
Il
. liss
chia!
Il
12
Prologue
rit.
freely
p
83
Mach.
My dear prince Giu gli
SA
86
tor tured me,
And
still
I wrote
him
a
chia!
s glis
Mac
no
ss .
Mac TB
lia
.
chia!
rit.
q = 50
3
Mach.
flat te rer's ad vice.
What of it?
I need ed mo ney,
p
accel. 88
Mach.
ten
tion.
accel.
What's
so
wrong with that?
I craved at
13
Prologue
D q = 66
90
(recognizing familiar faces among the Florentine crowds)
pp
3
Mach.
Mi a bri ga ta
Str.
ppp
pp
93
3
p
Mach.
Mi a bri
ga
ta,
Mia
bri
pp
3
96
3
Mach.
ga
ta,
Mia
bri ga
ta
Mi a bri
ga
ta,
It is a
14
Prologue 99
3
3
Mach.
mi
ra cle
I am a
live.
It
is a
mi
ra cle
I am a
Ob. Cl.
102
3
3
Mach.
live.
I was de prived
of my of fice,
and on the verge of lo sing my life.
I
Ob. Cl.
105
3
Mach.
told
p
my prince what I
saw,
In
the tor
tu rer's
cell
what I
15
Prologue ff
108
Mach.
saw
Chains and irons,
Chains and irons
pound ings of
Glock.
Pno.
Obs.
ff
fff
111
Mach.
locks,
Keys and bars,
keys and bars;
Shrieks
as the rope falls. I did
fff
ff
E 114
poco accel.
p
q = 84
Mach.
love
that
pp
boy
Giu
lia
no
in my
youth.
I
loved
him, I
16
Prologue
rit.
117
2 4
Mach.
loved
him
so.
He had the
hair
of
A
pol
lo, and the
4 4 eyes
2 4
of
Me
rit.
4 4
ppp f
120
Mach.
4 4
2 4
q = 66
4 4
3
du sa.
What did
he care
for my
thought
to give
him my
4 4 4 4 123
Mach.
pain?
No thing.
126
Still,
I
pp
3
Mach.
mas
ter
piece.
What did
he
care?
No
thing.
17
Prologue
q = 92
129
p
3
Mach.
No p
thing 3
3
3
3
SA No
130
thing
from
no
f
thing
from,
No
3
3
thing
from
no
thing
from,
3
3
SA No f
thing
from
no
3
thing
from,
No
thing
from
no
3
3
thing
from,
3
T. No
131
thing
from
no
thing
from,
No
3
3
thing
from
no
thing
from,
3
3
SA No
thing
from
no
3
thing
from,
No
3
thing
from
no
3
thing
from,
3
T. No f
thing
from
no
3
thing
from,
No
thing
from
no
from,
3
3
3
thing
B. No
thing
from
no
thing
from,
No
thing
from
no
thing
from,
18
Prologue 132
F No
thing! 3
No
3
thing! 3
3
SA No
thing
from
no
3
thing
from,
No
3
thing
from
no
3
thing
from,
3
T. No
thing
from
no
3
thing
from,
No
thing
from
no
3
3
thing
from,
3
B. No
thing
from
no
thing
from,
No
thing
from
no
thing
from,
accel. 133
3
3
3
3
F No
thing
from
no
thing
from,
No
thing
from
no
thing
from, ff
Mach.
I SA no
thing
no
thing
no
thing
T.
B.
Fls. accel.
f
3
3
3
3
19
Prologue
F ffq = 132
134
F no thing! 3
p
Mach.
dared
to
speak
truth
to
the
pi
"A
prince
ous
and
q = 132
p
ff
ff
137
3
Mach.
po wer ful.
Say it with me: p
who wi shes to main
f
Tpts.
ff
141
5 4
Mach.
tain
his
po
si
tion
must
learn
how
not
to
be
5 4 5 4
20
Prologue 144
Mach.
p
ff
5 4
4 4 good."
5 4
SA
I ff
p
Lord
said
that ap pear ing to be
good
is
bet ter
than be ing
4 4
have mer cy
p
ff
5 4
TB
p
4 4 Lord
have mer cy
5 4
4 4 ff
5 4
4 4
148
Mach.
good.
And
worst
152
of all, I
said that
if
we must choose bet ween be ing
fff
(bold)
5 4
Mach.
loved
and
feared
we must choose
to be
feared.
5 4 5 4
fff
To in
21
Prologue
q = 50
rit.
p
3
156
Mach.
sure
res pect, we must choose
to be
feared.
Am I? My
p
CHORUS (Sopranos and Altos)
SA He is re viled,
q = 50
for
got ten and re viled.
rit.
Tbns. pp
160
q = 40
Mach.
prin ces will be
for got ten.
But Mach i
a
vel
li, Mach ia
vel
li,
Mach ia
p
p
3
162
12 8
Mach.
vel
li will al ways be
the
name
of truth!
The
name
of
12 8 12 8 p
22
Prologue
q. = 50 165 G
ff
12 8
Mach.
9 8
12 8
9 8
12 8
9 8
12 8
truth!
q. = 50
Vn. I
12 8
ff
6
12 8
6
6
6
ff 6
6
6
6
6
6
6
6
6
12 8
167
6
9 8
12 8
12 8 6
12 8
6
6
6
6
6
6
6
12 8 f
169
9 8
Mach.
I've sat
6
in
6
a thou sand
6
town
12 8 squares,
6
seen
9 8
12 8
9 8
12 8
9 8
6
6
6
12 8
23
Prologue
171
Mach.
12 8 thou
sands
of
em
pires rise
and fall,
12 8
12 8
6
6
6
6
12 8 172
Mach.
Prin
6
ces
thrive
6
and
fail...
6
But
6
173
9 8
Mach.
here
is the rid
dle
of Mach
i
a
vel
li:
9 8 sf fp
Tpts.
sf
9 8
fp 6
6
6
6
9 8
24
Prologue 174
Mach.
9 8
12 8 When
will
they lis
ten?
9 8
Must
the er
rors
12 8 ff
9 8
12 8 ff 6
6
6
6
9 8
6
6
6
12 8
176
Mach.
al
ways
6
re
turn?
6
6
6
177
Mach.
Here
is
the
rid
dle
of
Fls., Xylo., Vn.
6
6
6
6
25
Prologue 178
4 4
Mach.
Mach
ia
vel
li:
4 4 6
6
6
6
4 4
179
Mach.
4 4 4 4
q = 112 H
ff
When
S.
accel.
q = 66
will they
lis
ten,
When
will they ff
CHORUS
3
Cas sa A.
B.
ff
4 4
ve runt,
pri ma
accel.
Cas sa
ve runt,
pri ma
ve runt et to 3
q = 112 Glock.
4 4 ff
4 4 fff
ve runt et to 3
Cas sa
q = 66
ve runt et to 3
ff
4 4
4 4
pri ma
ff
4 4
Cas sa T.
ve runt,
ff Tpts.
ve runt,
pri ma
ve runt et to
26
Prologue
183
3
S.
ta
li ter
a mo
ve runt.
Cas
sa
ve runt,
pri ma
ve runt et
to
3
A.
ta
li ter
a mo
ve runt.
Cas
sa
ve runt,
pri ma
ve runt et
to
3
T.
ta
li ter
a mo
ve runt.
Cas
sa
ve runt,
pri ma
ve runt et
to
3
B.
ta
li ter
a mo
ve runt.
Cas
sa
ve runt,
pri ma
ve runt et
to
27
Prologue
185
S.
ta
li ter
a mo
ve runt.
ta
li ter
a mo
ve runt.
A.
T.
ta
li ter
a mo
li ter
4 4
3 4
4 4
3 4
4 4
3 4
4 4
3 4
4 4
3 4
4 4
ve runt.
B.
ta
3 4
a mo
ve runt.
q = 50 187
Mach.
p
4 4
3 4 Dis missed, de prived
4 4
q = 50
and
4 4 to tal ly re moved
by
For tune and For tu
na
3 4
4 4
3 4
4 4
Tpts. p
4 4
28
Prologue 191
F
q = 72
accel.
4 4
p
You will
4 4
Mach.
My hate ful God dess, Please love me, as I
fall to ward my grave.
accel.
Obs.
q = 72
4 4 p
p
pp
4 4
197
F
find me,
You will find
me, but
not
in this life.
Mach.
I will not lie.
I may be
vel
will re
202
Mach.
scorned
by luck,
na ked to the world,
but
3
Mach
ia
3
li
29
Prologue
rit.
206
Mach.
main,
but
Mach
ia
vel
li
will re main,
clothed in the
rit.
3
I 211
q = 50
accel.
Mach.
robes
of truth.
p intense
Brass
Cb.
217
3
3
3
f
ff Bsns., Pno.
q = 120 223
3
3
3
3
3
ff
f 3
3
3
3
3
3
3
3
3
3
3
30
Prologue 226
3
3
3
f 3
3
3
3
3
3
3
3
3
3
229
ff 3
3
3
3
3
3
3
f 3
3
molto rall. 232
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
a tempo J Fls.
235
fff 3
3
3
3
3
3
3
3
3
3
3
3
Obs.
fff 3
3
3
3
3
3
3
3
3
3
3
3
31
Prologue
Obs.
238
fff 3
3
3
accel. 242
3
245
248
3
3
3
3
3
3
3
3
32
Prologue
K
q = 160
251
3 cresc.
254
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mf cresc.
257
f cresc.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
260
ff
3
3
3
263
Large Tam-t f
3
fff
3
3
3
33
ACT I Scene 1
We are in a timeless future. A calendar projected on a screen cloaking the stage marks the year as 2032. The costumes are contemporary, stylish, modern Italian—Gucci and Armani, evocative of the political and media worlds of Manhattan or London or Amsterdam. Machiavelli is wearing the sleek garb of a media man trying to make his name in the world. Fortuna is a chic, sexy woman dressed in a power suit and black pump heels. She looks like a woman who could run a publishing company or a movie studio. Machiavelli steps gingerly onstage, as if trying out his muscles and joints after 500 years; he is mystified, looking at his modern clothing, at the surroundings, wondering where he is.
q = 60
FORTUNA
4 4
F
(seductively) Life begins at five hundred, Your somnambulant excellence. But you will be very dead, Unless you find a new audience.
4 I am so 4 dead.
Mach
q = 60
p
Rea der ship
is
the
Fls.
4 4
pp
p
Vc.
4 4 6 Was my masterwork, Il Principe, ever published?
F
on
10
ly must
for
such
as
us.
A qp = 69
3
F
Dear
des per ate sir:
q = 69
p
"The Prince"
was pub lished
Five Vn. I
f
years 3
34
Act I, Scene 1
14
3
F
af
ter your death.
Peo ple have read it
e ver since.
p
Bet ter than
3
Mach
And is
it
loved?
3
p
16
3
F
that, sir.
It
is des pised.
It has
been vil i fied.
Au thors dream of be ing ha ted like this.
3
p
18
F You've been banned, my dear, for four hun dred and se ven ty three years. Dear be sot ted au Fl.
p ff
thor, You must be
Xylo.
p
35
Act I, Scene 1
20
F
re
le
vant.
Post it on the In
ter
net.
"The New Prince: Five Hun dredth An ni
3
p
22
B
rit.
f
q = 60 p
F
ver sa ry E di tion." That
I can sell It will go vi ral.
Frank ly sir, frank ly sir, p
f Mach
I
crave
suc cess.
Pub lish me.
Love
me. Love
me.
q = 60
rit.
f
p
p 25
F
frank
ly sir, frank ly sir
your
Mach
Pub
lish
me,
Love
me.
cha rac ters
put
me
to sleep.
36
Act I, Scene 1
accel.
27
F
Ce
sa re
Bor gia,
Fran
ces co
p
q = 60
q = 80
30
F
Sfor
za.
Fer di nand of A ra gon.
Hon est ly,
who
are
these peo ple?
I want
f
32
(seductive)
p
F
bank
a ble names.
Find a
p (arms crossed, petulantly)
Mach
They are my prin ces.
They tell my sto ry.
37
Act I, Scene 1
35
F
new prince, Mack, find a
new prince.
It's
Two
Thou
sand Thir
ty Two. There's
p
37
F
got
39
F
to be some one mo
Do a rewrite. Make your manifesto The candidate's libretto. Catch the buzz! Venti espresso.
dern for you
to ad vise.
p
Mach
Per haps I might con ceive
a
38
Act I, Scene 1
poco mosso f
42
Mach
few
new
chap
ters. They must
be
true.
They
must
be true. But al
so
f
accel.
a tempo
45
p
2 4
F
Truth is fine
p
Mach ia
vel,
if it
sells.
Re mem ber this e
di
tion is
Mach
new
a tempo
Ho
F
4 4
q = 76 gra phic, Three D Five Hun dredth Ann i ver sa ry,
4 4 4 4
q = 76
lo
2 4
4 4
2 4
4 4
2 4
C
4 4
accel.
p
49
ff
signed by the au thor for a
fee.
ff
4 4
39
Act I, Scene 1
52 I'll find you a co-author, A ghost-writer for a ghost! How’s that? I know just the fellow for the post.
F
The familiar face of Henry Kissinger strides on stage, still eager for success despite his years.
Kiss. And who might he be, This humble apprentice scribe?
Mach
55
f
3
Kiss.
I am Doc tor Hen
ry
Kis sin ger.
I need no in
tro duc tion,
58
but I like one just the
3
Kiss.
same.
I am a
dip
lo mat and ad
vi ser,
Friend of beau ti ful
40
Act I, Scene 1
61
Like yourself, perhaps. I am available. The illegal we do immediately. The unconstitutional takes a little longer.
Kiss.
wo men and pow er ful men.
D 65
q = 60 I like this man. What say you, Doctor Henry? If you are to be my assistant scribe, I need a test, some wit from your tongue.
Mach
Fls., Xylo., Pno.
p
66
67
68
rit.
41
Act I, Scene 1
p
69
Kiss.
The
most
fun
da
men
tal
con
trol
of
li
mi
Obs., Vn. I
70
Kiss.
prob
lem
of
po
li
tics
is
not
the
but
the
71
Kiss.
wick
ed
ness,
etc.
72
Kiss.
ta
tion of right eous ness
Fls., Xylo, Pno. continue through m 88
p Cls., Brass, Str.
3
42
Act I, Scene 1
75
(smiling, as if hearing a student's recital) Oh yes, clever man, That works.
Mach
Obs.
Vn., O b.
78 It is not what is true that counts, But what is perceived to be true.
Kiss.
Ho-ho! Most excellent. I might have written it myself.
Mach
81
Kiss.
Mach
(cavalier, sing-song, like a comedian's patter) The nice thing for me About being a celebrity Is that, if you bore people, They think it's their fault. Me, I have known only ignominy. But I take your point.
43
Act I, Scene 1
f
84
Kiss.
pow
er
is
the
ul
ti mate a phro di si ac,
the
87
Kiss.
ul ti mate a phro di si ac,
the
ul
ti mate
a phro di
si ac.
ff
E 89
rit.
q = 44
Kiss.
6 8
q. = 40 (taking Kissinger's hand and raising it next to his)
so, Doctor Henry, 6 Just pass my test. You shall be 8 You My scribe and jester.
Mach
rit.
6 8 p
pp
p
6 8
(Kissinger nods to his mentor)
44
Act I, Scene 1
q = 80 accel.
93
p
all we need is a prince 4 Now, 4 A worthy, needy prince...
Mach
3 4
...whom we can advise
on Fls.
4 4
how
to be
Vns.
3 4
4 4 98
Mach
3 4
q = 108
3 4
wise
Fls., Pno.
Obs.
3 4 3 4
pp
pp
103
pp
F
F
A
midst
3
this pro
3
test
and
un
rest,
3
3
3
3
3
ar
rives
here
in
rio
our
3
3
p
107
F
un
hum
ble
prince
tous New Co
Fls.
3
3
3
3
p 3
3
3
3
3
3
3
3
45
Act I, Scene 1
111
F lum bi
a,
p
You
called
3
3
it
Shang
hai
3
3
Mach
Where? Fls.
3
3
3
3
3
the
Tri
3
3
3
115
F of
One
3
3
3
ca
3
3
3
pi
tals
3
of
3
3
118
F A
3
me ra
si
3
3
o
pi
3
a.
A
3
long
with
3
3
Mi
a
mi and Du
3
3
3
3
3
46
Act I, Scene 1
f
122
F
bai,
3
3
3
3
3
Our
man
3
3
ad
3
tes
3
ted.
3
He
3
3
6 Only if you help him play. Politics is not croquet. 8
F
needs
sore
G q. = 69
ff
126
is
So look: You have a best-selling book to rewrite. Your sales and life depend on your wit. Get to it!
vice.
6 8
Will he love me, this prince?
Mach
6 8 ff
p
6 8 3
3
3
q. = 69
Tbns.
p
ff
accel. 131
p
F
Your
sales
and
life
de
pend on your
wit.
47
Act I Scene 2
President Wu enters, surrounded by a cheering throng. He looks like a cross between a pop star and an Eastern despot. Big, virile, sunglasses, cape over his shoulders. Fortuna, our publisher and vamp of destiny, takes his coat and receives a tip, as if she’s a mere valet. Wu’s face and physique are Amer-Asian, a fusion of East and West. He is the rock star as politician in the synthesized, polyglot, global world. The set is a futuristic political rally, with banners in twenty languages and references to events unknown to us, but evocative of the world's stormy course: sectarian strife between Muslims and non-Muslims; the dangers of growing ecological menace as oceans rise, climate changes and populations are stressed. All these political issues should be hinted subtly, through sound and light, images that draw the future as a place just over the hill. The music swells as the president arrives. Behind him, we see that the mass has begun to divide. On one side, liberal posters proclaim: "Liberty," "Save the Planet." On the other, conservative posters demand: "Jobs!" "Prosperity," "Order," "Security through Strength." We see that the world of 2032 is divided by ideology and sect, into "red states" and "blue states," no less than ours. Wu is facing a crisis: His global kingdom is beset by war; his personal life is tarnished by scandal. He seeks escape, as desperate leaders often do, by raising a mass movement that will unite and exhaust his people in revolution.
q. = 80
F.
6 f 8
Get
6 8
to it!
ff
B. D.
6 8 5
(Fl.)
fff
9
fff
13
etc., till m 18
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
48
accel.
17
B.D.
7 8
Timp.
A q. = 92 22
7 8
7 8
5 8
7 8
5 8
7 8
5 8
5 8
7 8
5 8
7 8
5 8
fff
7 8
27
5 8
q = 126
6 4
3 4
2 4
6 4
3 4
2 4
6 4
p
5 8 32
6 4 6 4
36
6 4
3 4 3 4
(‰=‰)
2 4
7 8
2 4
7 8
fff
(‰=‰)
6 4
4 4 ff
6 4
4 4
Act I, Scene 2
40
4 4
49
q = 63 fff
4 4 ff
B WU VIRTU 42
p soft, intimidating
W.V. Wu
Vir
tu
is
my
name.
p
ff 44
W.V. Strength is
what
I
claim
for my peo
ple.
Wu
Vir
tu
is
what
I
p 46
W.V. name.
Strength
is
my
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
50 48
W.V. claim
for
my
peo
ple.
We
50
glo
bal
des
ti ny
is no
p
W.V.
4 4 know
4 4
54
W.V.
our
3 4
W.V.
52
know
our
glo
bal
des
ti ny
(Tpt.)
4 4 ac ci dent
of
his to ry,
We
3 4
4 4
3 4
4 4
3 4
4 4
is no
ac ci dent
of...
3 4
4 4
4 4
3 4
4 4
4 4
3 4
4 4
4 4
pp
...his to ry!
We
4 4
(Flts.)
4 4 4 4
pp
are the new
ci ty on a hill.
Luck
is
for
the
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
51
56
flippant
2 4
W.V. weak.
We
are the new
ci ty on a hill.
Luck
is
for
the
2 4
2 4 2 4
(‰=‰) 58
W.V.
ff thunderous
2 4
6 8 weak.
The
2 4
vir
tu ous
lead
er
makes his
6 8
2 4
6 8
ff
61
9 8
W.V. vir
own for
tu ous
lead
er
makes
9 8 9 8
6 8 his
own
for
tune.
6 8 6 8
f
tune,
the
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
52
accel.
64
ff
5 8
6 8
5 8
6 8
5 8
6 8
5 8
6 8
p
sffp
C 70
Mach.
q. = 69 ff brash
6 8
5 8
6 8
5 8
6 8
6 8
5 8
6 8
5 8
6 8
6 8
5 8
6 8
5 8
6 8
Wel come
75
Mach.
6 8
5 8 Wel come, my prince
79
Mach.
and
6 8 pre si dent.
5 8 You are the ri
sing
sun in
6 8
5 8
6 8
5 8
6 8
5 8
6 8
5 8
6 8
5 8 And the
set
ting
the East
6 8 sun in
the West.
6 8
5 8
6 8
6 8
5 8
6 8
Act I, Scene 2 Act I Scene 1
Act I, Scene 2 83
Mach.
6 8
53
pp sycophantic, desperate
You
are
the
ri
sing
sun
in
the East
and
the
set
ting
6 8 pp
6 8
ff
86
Mach. sun
in
the West.
You con test
the
prin ces
of
old.
The
f
89
5 8
Mach. Me di
93
Mach.
ci
But
6 8
Bor
gia
are dust in your path
to
glo ry
5 8
6 8
5 8
6 8
p
6 8 6 8
and the
6 8
p
great Wu,
there is brute ru mor of dys to
pi a
In your
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
54 97
Mach. me
ta king
dom
of
A
me ra
si
o
pi a.
D ff
100
5 8
Mach.
6 8
I
am
ff
103
Mach.
Mach.
5 8
6 8
5 8
6 8
6 8
5 8 man,
106
your
Me ga Sire.
6 8 There
is
no
weak
ness,
Re gal
or
6 8
5 8
6 8
6 8
5 8
6 8
6 8
5 8 per
6 8 6 8
6 8
so nal,
p
per
5 8 5 8
6 8 6 8
p
so nal,
no
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
55
ff
109
p
Mach. weak
ness
to which
I
have
not
born wit
ness.
5 8
Thus,
5 8 ff
p
5 8 112
Mach.
5 8
6 8 Thus,
115
Mach.
I
have
pre
5 8
pared
for
you
a
6 8 mo dest gift...
5 8
6 8
5 8
6 8
5 8
6 8
5 8
6 8
pp
6 8
5 8
6 8
5 8
6 8
5 8
6 8
of my coun sel.
6 8 pp
6 8
119
Mach.
ff
6 8 Wel
6 8 6 8
ff
5 8
6 8
5 8
6 8
5 8
6 8
come
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
56 122
W.V.
6 8
(loud sigh) Even a great leader Needs advice. Once or twice.
fff
6 8
Mach.
4 4 Wel
come
my
prince
and
pres
i
dent!
6 8 6 8
4 4 fff
4 4
E q = 120
125
W.V.
p (spoken confidingly)
4 4
A scandal they say surrounds me. Mere sex! YouTube is so petty.
My world is af flic ted,
my sub jects con flic ted.
4 4 p
4 4 129
4 4
p
p
3 My order 4 is untidy.
W.V.
In my...
3 4
grand
3 4 ff
133
W.V. em
pire
of
home
which
ff
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
136
57
p
W.V. binds
up
A
sia, A
me
ri
ca and
Eu
rope,
the
p
140
ff
W.V. sur
ly
tribes
now rage and fight.
(Vns.) p
They must u
ff
ff
144
W.V. nite!
They must u nite!
I
ff (loco)
am
the
strong
man
who can
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
58 148
p
W.V. lead,
I know.
But
p
where?
Hear the crowd.
Mach. Yes you are
p
p
accel.
ff
153
4 4
W.V. They
rage
for
de
ci
sion,
in
both
di
rec tions
4 4 ff
4 4 ff
4 4
158 q = 120
W.V.
Mach.
I need... advice.
F
q = 104 (gently, proudly) Of course you do, my president. It is only a foolish prince who would be convinced He knows the answers before the test. He must study, examine, then decide.
p
Act I, Scene 2 Act I Scene 1
Act I, Scene 2 163
Mach.
3 4
4 4
3 4
4 4
3 4
4 4
167
59 So with my assistant, Dr. Henry, I have prepared a little dictionary Of advice for my prince. With some new chapters From unworthy…me.
3 4
Kiss.
KISSINGER
4 And me! 4
3 4
4 4
3 4
4 4
172
Thank you, Mr....
W.V.
Kissinger. And it's Doctor, Actually.
Kiss.
(interrupting his assistant) Sire, if I may repeat a few dedicatory words I wrote a mere five hundred years or so ago:
Mach.
p
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
60 176
p
5 4
Mach.
4 4
Your Mag
ni
5 4
4 4
5 4
4 4
179
fi cence, Take this small
3 4
W.V. f
ff
3 4
Mach. pit tance,
that you
may
ar
rive
at
the great
ness that
For
3 4 ff
3 4
182
(nonchalant) What is Fortune?
W.V.
4 4
fff
4 4
Mach. tune
pro mi
ses.
4 4 fff
4 4
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
G 186
61
Picc., Fl.
q = 132 4 4
fff
fff
4 4 4 4
6
5
ff
ff Cb.
fff
5
6
188 3
3 3
3
3
ff delirious
3
6 Picc.
190
Picc.
Xylo.
f
etc.
Vn. I
Tpt., Ob.
f
ff 192 mf
mf
mf Vla.
Timp.
f
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
62
etc.
194
etc.
etc. 196
f
3
Tpt. f
T bns. etc.
198
3
Tpt.
3
6 3 3
200
ff 3
3
3
3
3
3
202
3
3
3
3
3
3
3
3
(Vla.)
3
3
3
3
3
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
63 3
204
3
3
3
3
207
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
209
3
3
3
3
3 3
3
3
ff
3
211
3
(molto) pp
213
3
Obs., Cls.
3
3
3
3
3
3
3
3
3
3
3
3
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
64
215
H
217
Vcl. p
219
Cb.
Tpts. 3 221
(molto)
mf f
3
f
Vc.
6
6
Cb. 6
6
6
6
6
6
6
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
65
223
p 6
6
6
6
6
6
6
6
6
6
6
6
pp
Obs.
3
225
Cls. 6
6
6
6
227
3 6
3
229
6
6
3
6
3
6
3
6
6
6
3
3
I
Tbns. f
f 6
mf
3
3
6
6
6
etc. f
3
3
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
66
Xylo. 231
Tpt. f
3
3
3
3
3
3
3
3
233
3
3 6
3
3
3
3
6
3
3
235
3
3
3
furioso 6
6
6
3
237
6
3
6
6
f
3
6
6
6
6
6
6
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
67
239
ff 6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
241
3 6
6
6
6
Obs., Cls.
243
f
6
6
6
6
245
3 6
6
3
6
6
6
3
247
3 6
6
6
6
Act I, Scene 2 Act I Scene 1
Act I, Scene 2
68
3
248
3 6
6
6
6
249
3
250
q = 60
Vn. I 251
5
5
5
6
6
6
3
6
6
ff
p
rit.
Act I, Scene 2
69
ACT II Scene 1
Fortuna enters, as publisher and stage director, accompanied by Henry Kissinger, who acts as narrator for this opening chapter of "The New Prince.” He’s an eager showman, gesturing alternately to the box where President Wu is seated and to the stage where the drama will be enacted. Above the set, painted across a banner, or illuminated in lights or a video projection, are the words: “Chapter One: Why Princes Should Beware of Revolutions” and then, trailing along, like a streaming sub-hed, “Revolutions, Like Children, Are Lovable When Young, but Become Dark and Surly When They Age.” This first chapter should have the raucous energy of a circus or a magic show, with tricks of light and image to enhance the history that Machiavelli and his alter ego, Kissinger, wish to impart. We should feel in the boisterous chorus and the reactions of Wu, the raw ideological battles and charismatic personalities that drive politics, eternally.
HENRY KISSINGER: Most princely prince and president. Your realm is in ferment. My mentor appoints me to impart this first testament. I f a surly public demands action—revolution-- I nstead, sweet sire, be contrarian. “Choose the right side of history,” they will say. Nay! For history has no side. Nor is it a straight line to anywhere, up or down. T hat is illusion. I t is a circle, a wave, a recursive function. I t comes back to where it began and starts again, toward the same dysfunction.
4 4
Henry Kissinger
q = 44
4 4
4 4 5
4 4
p
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4 p
4 4 8
9
Kiss.
5 4
4 4
5 4
5 4
4 4
5 4
4 4 See him now, Savonarola, fanatic prince of revolution,
4 Spinning his believers, telling them he speaks with God, 4 Bidding them throw books and jewels into the blaze. His eyes an inferno, too. Niccolo warned in his days
4 4 pp
4 4
(pp)
T hat this
Act I, Scene 2
70
Act II, Scene 1 12
PRINCE OF REVOLUTION as SAVONAROLA
A
pp
p (mesmerizing)
PoR as Sav. O
l'I
tal
ia!
O
P rin
ci
pi! O
pre
Kiss. priest would ru in Flo rence with his god fired ways.
p
g l is s .
14
PoR as Sav. la
ti
del la chie sa
l'i
g l is s .
ra
di
Di
o
è
su
di
3
17
PoR as Sav. vo, N on vi è al cu na sper an za per voi, A Pious Weepers p
S.A. l'i ra di Pious Weepers p
Di
o
l'i
Di
o
T.B. ra
di
me
no che
non
vi sia con ver ti to al Sig
Act I, Scene 2
71
Act II, Scene 1
20
PoR as Sav. nore
Rav ve
de te vi pri ma che la spa da
S.A. l'i
ra
di D i
o
l'i
ra
di D i
o
T.B.
p
23
ff
PoR as Sav. sguai na ta
es se re See him now cavort in the brown shirt of Adolf H itler,
Kiss.
f
p
ff
p
Act I, Scene 2
72
Act II, Scene 1 26
A face I know too well, from a Hell I fled. T hese book-burners would torch the dead.
Kiss.
In a
28
accel.
Kiss. trans form ing pyre
of
rage
and de sire
T heyfeed their
bon
fire
with a hu man fuel,
ff
30
Kiss. a head y mix
that pro claims we can all
be
cleansed
through
pol i tics.
= 63 B qHITLER 32
ff
PoR as Hitler Je
ff
de Ge walt,
Je
de Ge walt
D ie
nicht
ein er fest
en
geis
ti gen
73
Act II, Scene 1 34
PoR as Hitler Grund la
Nazis
ge
ent
sprießt, wird schwank end und un
si cher
bil i
tät,
die
Wel
tan schauung, fa
S.A. Je
de
Ge
walt
de
Ge
walt
Nazis T.B. Je
36
PoR as Hitler sein.
I hr
fehlt
die
Sta
die Sta bil i
tät,
38
PoR as Hitler nur
in
ei
ner fa na
ti schen
na
ti schen,
fa
Act I, Scene 2
74
Act II, Scene 1 40
PoR as Hitler na
ti schen
Wel
tan schauung zu
ru
hen
ver
42
PoR as Hitler mag
p
44
We warn you, princely Wu, that even you...
Kiss.
Are
46
C
Kiss. close to the iron fenced pri son na tion forged
by
Act I, Scene 2
75
Act II, Scene 1 48
I , K issinger, opened Mao’s escape from death
Kiss. Mao.
50
p
Kiss. and
re
vo
lu
tion
to
the
52
Kiss. glit
tering wealth that to day
a
dorns
the
Chi
nese
na
tion
p
54
3 4
Kiss. Migh
ty Wu:
His
to ry
does not al
ways pro gress;
3 4 3 4
Act I, Scene 2
76
Act II, Scene 1 56
Kiss.
accel.
3 4
ff
4 4
it re curs.
We
3 4
q = 72
p
coun
sel
de ceit
and
cun ning
4 4 p
ff
3 4
4 4 accel.
59
Kiss. lest
we
cre ate
curse
that
makes
mar
tyrs of
us
q = 80
62
Kiss. all
65
a
as we seek
God
here on
accel.
ff
Kiss. Earth.
ff
5
5
ff
5
5
Act I, Scene 2
77
Act II, Scene 1 67
5
ff
5
5 4
4 4
5 4
4 4
q = 120 D MAO 69
PoR as Mao
ff
4 4 Gé
ming
bù
shi
q ng
kè
chī
fàn,
ming
bù
shi
q ng
kè
chī
fàn,
bù
shi
q ng
kè
chī
fàn,
bù
shi
q ng
kè
chī
fàn,
4 4 4 4
ff
71
PoR as Mao Gé
Red Guards ff
S.A. Gé
ming
Red Guards ff
T.B. Gé
ming
f
Act I, Scene 2
78
Act II, Scene 1
73
2 4
PoR as Mao Bù
shi
zuò
4 4 wén
zhāng,
2 4
S.A.
ming
bù
shi
Gé
ming
bù
shi
Gé
ming
bù
shi
4 4
2 4
T.B.
Gé
4 4
2 4
4 4
2 4
4 4 f
76
2 4
PoR as Mao q ng
kè
chī
fàn,
S.A. q ng
kè
chī
kè
chī
shi
zuò
wén
zhāng,
2 4
4 4
2 4
4 4
2 4
4 4
2 4
4 4
fàn,
T.B. q ng
Bù
4 4
fàn,
Act I, Scene 2
79
Act II, Scene 1
79
PoR as Mao
4 4 Bù
shì
huì
huà,
huì
huà
xiù
huā,
Bù
shì
huì
huà,
huì
huà
xiù
huā,
Bù
shì
huì
huà,
huì
huà
xiù
huā,
cì
xiù.
4 4
S.A.
4 4
T.B.
4 4 4 4
81
PoR as Mao huò
zuò
S.A. cì
T.B. huò
zuò
xiù.
Act I, Scene 2
80
Act II, Scene 1
83
2 4
PoR as Mao Tā
85
PoR as Mao
bù
néng
4 4 zuò
jīng,
2 4
4 4
2 4
4 4
4 4 Zuò
yōu
rán
wēn
hé
ér
wēn
róu,
liáng,
l
mào,
4 4 4 4
87
PoR as Mao Su
y
shàn
Act I, Scene 2
81
Act II, Scene 1 89
2 4
PoR as Mao nèi
li n
hé
4 4 t n
dàng.
2 4
S.A. nèi
li n
hé
4 4 t n
dàng.
2 4
T.B. nèi
92
W.V.
li n
hé
E q = 44
4 4
4 4 t n
dàng.
2 4
4 4
2 4
4 4
Great men sometimes make Great mistakes,
4 4
5 4
5 4
4 4
5 4
5 4
4 4
5 4
5 4
4 4
5 4
5 4
sffp
4 4
PoR as Mao
Gé
mìng shì
bào dòng.
4 4 sffp
4 4
97
W.V.
5 4
p
4 4
But we must dare and do.
5 4 T his is the es sence
of what we call "vir tue."
5 4
4 4
5 4
5 4
4 4
5 4
Act I, Scene 2
82
Act II, Scene 2 q = 100
4 4 ff
fff
3
4 4
3
fff 3
q = 92 6
FORTUNA (fleeting across the stage with a flirtatious wave) Bold Wu, whom your new advisers in vain instruct, Perhaps you’re truly bold enough to try your luck.
F
5
p tentative
p
KISSINGER: (looking to Machiavelli, in despair) 10
Kiss.
He has not understood, our prince, so one more tableaux, perhaps, to convince. becoming more certain
It’s modern, this affair, set in a place called Tahrir Square. Watch with us now, most esteemed Khazar, how the boy of revolution becomes what he meant to destroy.
Act I, Scene 2
83
Act II, Scene 2 13
f energico
I am ruler of men, not a copybook and pen. I don’t take dictation. But I will watch, dear tutors, and then ignore, your final gutless warning tale of revolution.
15
W.V.
17
ff
19
The set is transformed into Tahrir Square in Egypt. At first, we see it in the guise of the Arab Spring of February 2011, with crowds jeering at a giant poster of President Gen. Hosni Mubarak, the military dictator they want to depose. Then the Square, circa 2012, is filled with Muslim Brotherhood devotees of President Mohammed Morsi, as lights flash the date of his election in June 2012. Then it becomes the scene of the bloody coup against Morsi, illuminated for the audience as July 2013.And finally, we see the crowds chanting adoringly toward a poster of President Gen. Abdel-Fattah al-Sisi, as the wheel of revolution and counter-revolution comes full circle. The different figures in this process are illuminated in different corners of the square, each under the spotlight as he speaks a part of the story.
A 21
q = 108 ff
5
Act I, Scene 2
84
Act II, Scene 2 23
25
ff
S.A. CHORUS
ff Ash
T.B. Ash
5
5
5
5
5
5
27
S.A. sha
'b
yu rīd
is
qā
an
ni
ām
Ash
sha
'b
yu rīd
is
sha
'b
yu rīd
is
qā
an
ni
ām
Ash
sha
'b
yu rīd
is
3
3
T.B.
ff
3
3
3
3
3
3
3
3
3
3
accel.
30
S.A. qā
an
ni
ām
Ash
sha
'b
yu rīd
is
qā
an
ni
ām
Ash
qā
an
ni
ām
Ash
sha
'b
yu rīd
is
qā
an
ni
ām
Ash
T.B.
3
3
3
3
3
3
3
3
3
3
3
3
Act I, Scene 2
85
Act II, Scene 2 33
4 4
S.A. sha
'b
yu rīd
is
qā
an
ni
ām
Ghour
T.B. sha
'b
yu rīd
is
3
3
qā
ni
3 4 Mu ba
rak,
4 4
3 4
4 4
3 4
ff
3 4
ām
3
3
3
an
q = 120
ff
3
3
3
4 4 36
S.A.
3 4
4 4 ghour!
Ghour!
A
3 4
T.B.
la
shan
misr'
4 4
3 4
4 4
39
3 4
S.A. Mu ba
rak,
in' noor ff
rek! Mu
ba
rak,
Ghour
Mu
4 4 ghour!
Ghour!
3 4
T.B. ba
shoof
4 4
3 4
Ghour
it
Ghour!
A
la
shan
misr'
it
A
la
shan
misr'
it
4 4 Ghour!
3 4
4 4
3 4
4 4
Act I, Scene 2
86
Act II, Scene 2
rall.
42
S.A. shoof
in' noor
shoof
in' noor
JOURNALISTt: "Who are you? What is this spring? What do you want?`
T.B.
3
f
ff
= 104 B qHANNAH KAMAL (takes mic from journalist)
47
p (young, veiled, fierce)
HK I'm H an nah K a mal.
I 'm twen
ty se ven.
We
are the E gypt
o
I s our na tio na li ty.
ian
p
50
HK Youth
re
vo
lu
tion.
O ur i
de
lo gy
53
HK We
are the young
P ha raohs
We say
Ghour
p
Mu ba
rak! Mu ba
rak go out!
He
Act I, Scene 2
87
Act II, Scene 2
ff
57
HK sells
our souls. He makes us
live
in the dark.
Ghour ff
Mu ba
rak! Mu
Ghour
Mu ba
rak!
Ghour
Mu ba
rak!
S.A. ff
T.B.
ff
accel.
60
HK ba
rak go
out!
Let
E
Ghour
Mu ba
gypt
see
the
light!
S.A. Ghour
Mu ba
rak!
Ghour
Mu ba
rak!
T.B.
rak!
Ghour
Mu ba
rak!
Act I, Scene 2
88
C 63
q = 120
Act II, Scene 2
S.A. Ghour
Mu ba
rak!
Ghour
Mu ba
rak!
T.B.
fff
67
Morsi
MORSI (shouting as he sings, half speech, half sermon) My people of great Egypt, We all are happy and we celebrate This great democracy, The elections and triumph of the will of our nation.
3
ff
ff 71
I will drain the swamp in Allah's name. I will never disobey Him.
Morsi na
tion. dolce
p dolce
75
Act I, Scene 2
89
Act II, Scene 2
rall.
ff
79
Morsi "Fear
f
the day
of
J udge ment
the day we
ff 3
p
D q = 100
82
p
Morsi re
turn
to
Him."
p
S.A. CHORUS
Al p
la
Al
la
T.B.
4 4
3 4
4 4 akh
bar,
3 4 hu
p
S.A.
4 4
hu
T.B.
85
3 4
4 4 akh
bar,
3 4
4 4
3 4
4 4
accel. Al
la
hu
akh
bar,
Al
la
hu
akh
bar,
4 4 4 4 4 4
Act I, Scene 2
90
Act II, Scene 2 87
3 4
S.A. Al
la
hu
akh
Al
la
hu
akh
4 4
3 4
4 4
ff
92
5
9
94
96
AL-SISI The Armed Forces, Based on its insightfulness,
Al-Sisi
ff
4 4
3 4
4 4 4 4
ff
bar,
q = 120 89
4 4
bar,
3 4
T.B.
ff
Act I, Scene 2
91
Act II, Scene 2 98
Al-Sisi
Has been called by the Egyptian people for help,
fff
101
E
104
ff
Al-Sisi not
to
hold
the
reins
of
po
bil
i
ty
wer,
fff
107
Al-Sisi but
to
dis
charge
our
ci
fff
vil
re spon si
and
Act I, Scene 2
92
Act II, Scene 2 110
Al-Sisi ans wer the
call
of
our
no
ble
ci ti zen
ry.
113
The Armed Forces, Based on its insightfulness, Has been called by the Egyptian people for help,
Al-Sisi
fff
116
119
ff
Al-Sisi not
fff
to
hold
the
reins
of
po
wer
Act I, Scene 2
93
Act II, Scene 2 122
Al-Sisi but
to
dis
charge
our
ci
vil
re spons i
bil
no
ble
ci
i
ty
and
fff
125
Al-Sisi ans
wer
the
call
of
our
ti zen
ry.
F 127
fff
130
Mach.
q = 60
(pleading as much as counseling) Beware revolutionary panache, my prince. Some things that appear virtues will ruin you. And some
p
Act I, Scene 2
94
Act II, Scene 2
ff
134
Mach. vi
ces,
you
will
see,
bring sec
u
ri
ty
and pros pe
ri
ty.
f
ff The lights come back up on a teeming, tumultuous crowd. President Wu ignores his counsellor and descends to the stage, trying to calm the people, barking out a series of contradictory slogans that are repeated and chanted by the crowd, even though they make little sense. He seeks the mantle of leadership that he imagines as “virtue." 136
f
fff
138
3
ff
3
fff 3
140
3
ff
ff
WU VIRTU
W.V. Free dom,
3
ff
3
fff 3
3
Sec u ri ty,
D ig ni ty,
P ros per i ty.
Act I, Scene 2
95
Act II, Scene 2
rit. 143 p
W.V. Ri
vers
of
con
crete,
T he
fu
ture
p
145
q = 52
pp
W.V. bloom. pp
S. Free dom, Sec u
ri ty.
D ig ni ty, P ros per i ty. T he
ri
vers of con crete the
fu ture in bloom
ri ty.
D ig ni ty, pros per i ty. T he
ri
vers of con crete the
fu ture in bloom
ri ty.
D ig ni ty, pros per i ty. T he
ri
vers of con crete the
fu ture in bloom
ri ty.
D ig ni ty pros per i ty. T he
ri
vers of con crete the
fu ture in bloom
pp
A. Free dom, Sec u pp
T. Free dom, Sec u pp
B. Free dom, Sec u
pp
in
I, Scene Act II,Act Scene 1 2 (no2 break)
96
ACT III Scene 1 Fortuna sashays once more onto the set, and like a TV director, she cues screens that project more of those tawdry “You Tube” video images of President Wu; then she conjures tabloid headlines about sex and scandal, and we hear a din of gossiping voices offstage. Finally, Fortuna calls forth the bannered title of this next installment: “Chapter Two: Why Princes Must Control (or Conceal) Their Human Desires.” The curtain is withdrawn to reveal the set. Scene One is set in a Manhattan drawing room of the 1790s, fine silk curtains, well-made furniture from London, portraits of Dutch ancestors on the wall. A proper home for a revolutionary war hero, and secretary of the Treasury and his Dutch heiress wife. The drawing room opens to a garden and beyond that, the teeming metropolis of downtown New York. Just beyond to the west, along the river, appear two faint and mysterious beams of light. Machiavelli is in his box. He sings to President Wu, but then descends to the stage.
q = 88
Picc., Fl.
4 4 4 4
p
6
WU VIRTU A man's private parts Belong to his private life, surely.
W.V. MACHIAVELLI (imploring his prince) Are you ready for a delicate lesson, sire? A prince must have heat to light a fire. But sometimes the embers are deep. They burn in his cock and balls. The fire destroys him there, Before he can light the world. Beware, my prince, the inner fall.
Mach.
3
3
3
3
3
3
3
3
accel.
9
Mach.
3
I have prepared for you a twinned novella From the miracle country, which was America.
3
3
3
3
3
3
3
q = 126
A fantasy, my prince.
3
3
3
3
3
3
3
3
I, Scene Act II,Act Scene 1 2 (no2 break)
97
Act III, Scene 1
12
3
3
3
3
3
3
15
3
3
3
3
3
3
We start long ago with the man who made this nation. It was not Washington, or even Lincoln, But Alexander Hamilton. Yes: He gave America its money, its bank,
Mach.
3
3
3
3
3
3
3
3
17
3
19
3
3
3
3
3
3
3
Its vision, its empire. Yet I will show you that he was a creature Of forces he could not control Could not touch, or understand
Mach.
3
3
3
3
3
3
3
3
I, Scene Act II,Act Scene 1 2 (no2 break)
98
Act III, Scene 1
A
(haughtily)
21
f
q = 88
ff
W.V. We
are mo dern now. A man's cock Is outside history. So take stock:
Mach.
f
p
ff
3
24
3
3
3
3
3
3
3
f
3
Mach. Watch the great est wea ver
3
27
3
of the A
3
me
ri can dream
3
Be
set by in ner night mare.
f
q = 58
3 4
Mach. His wife E li
za
a
waits his re turn
from the bat tle field of the Re vo lu tion
3 4 sfp
p
3 4
99
Act III, Scene 1
31
E.H.
ELIZA HAMILTON q = 46 (to the chorus and to us) They think me a princess, Because I married a prince: Colonel Hamilton, The hero of our independence. I married genius, ambition, The very brick of greatness and power. How could I know this tower Was built with a mortar of shame?
4 4
Machiavelli jumps down on stage to mingle with the players. Kissinger sits beside the president, holding his hand.
Mach.
4 4
T.
4 4
CHORUS
Revolutionary Press
p
4 4
B. Bas tard boy.
Bas tard boy. A "nose" as
long
as his leg,
4 4 p
p
4 4
q = 108
36
T.
B.
4 4 4 4
ff
Bas ff
tard
boy!
Bas
tard
boy!
A
"nose"
as
long
Bas
tard
boy!
Bas
tard
boy!
A
"nose"
as
long
4 4 f
4 4 ff
3
3
3
I, Scene Act II,Act Scene 1 2 (no2 break)
100
Act III, Scene 1 39
T. as
his
leg,
Bas
tard
boy!
Bas
tard
boy!
A
as
his
leg,
Bas
tard
boy!
Bas
tard
boy!
A
B.
3
3
3
3
3
42
3
T. nose
as
long
as
his
leg,
and
al
ways stick ing
his
nose
as
long
as
his
leg,
and
al
ways stick ing
his
3
B.
3
3
3
3
3
B
f (spoken with courage)
45
3
colonel led the bayonet charge at Yorktown. Sure death it was. Glory was his mistress then.
E.H. My dear est
T. peg
in
to
a
new
pud ding.
peg
in
to
a
new
pud ding.
B.
f
3
3
3
3
3
3
3
3
I, Scene Act II,Act Scene 1 2 (no2 break)
101
Act III, Scene 1 48
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
51
The vanquished Cornwallis ordered his band to sound: "The world turned upside down."
E.H.
3
3
3
3
3
3
3
3
3
3
3
3
f
53
E.H.
In a week, Hamilton was in my bed again.
f
3
3
3
3
3
3
3
3
3
3
3
3
56
3
3
3
3
f 3
3
3
3
3
I, Scene Act II,Act Scene 1 2 (no2 break)
102
Act III, Scene 1
59
(bursts through the door in uniform)
3 4
A.H.
q = 69 ff
I am back, my
3 4 3
63
accel.
E.H.
sff
4 4
p
3
3
3
3 4
q = 88
f
p (leads him to bed; gazes at him) And he was back. But he was not. At
4 4
A.H. sau cy lit tle char mer!
4 4 p
4 4
67
E.H. night a sleep, he shook.
I
won dered at the de mons. But I
could not re shape the hard
I, Scene Act II,Act Scene 1 2 (no2 break)
103
Act III, Scene 1 70
(they fall asleep in each other's arms)
E.H. clay of my he ro.
pp
q = 60 74
C
q = 92
(sits up suddenly, as if awakening from a dream) f fff
tortured!
A.H. Bas
tard
boy!
Bas
tard
boy!
"Son
of
Bas
tard
a
fff
78
A.H. whore
of the Ca
rib
be an."
Bas
tard
boy!
fff thunderous
sub f
81
A.H. boy!
I hear
the
lads
on
St.
Ne vis.
"Son
ff fff
f sub
of
a
I, Scene Act II,Act Scene 1 2 (no2 break)
104
Act III, Scene 1
fff
rall.!
84
A tempo (q = 92)
A.H. whore
of the Ca
rib
be
an."
p
fff
88
rit.
f
A.H. A ban doned by my fa ther at
e
le ven.
My mo ther dead of
f
q = 63
3
91
p (like an exhalation)
A.H. fe ver
when I was twelve.
A ban doned
D ead...
p
94
A.H. lone,
pen ni
less,
with
out
friend
or
pro
tec
tor.
A
I, Scene Act II,Act Scene 1 2 (no2 break)
105
Act III, Scene 1 97
rit.
q = 56
pp
p
A.H. Love
is
loss.
p
pp
morendo
3
102
2 4
A.H. Love
is
loss.
Mach.
107
A.H.
4 4
Mach.
4 4
Machiavelli appears
4 4 4 4
pp
What is
dear will dis
ap
ppp
4 4
pear.
2 4
4 4
2 4
4 4
2 4
4 4
(stealing on stage) I know you, brother prince. We are marked by poverty and shame. In whore-mongering, we find release.
I, Scene Act II,Act Scene 1 2 (no2 break)
106
Act III, Scene 1 110
Who are you, sir? How dare you presume?
A.H.
(confides) I am your counsellor, sire. I hold up the...
In the blackness our stain disappears.
Mach.
pp
D 112 q = 132 Mach. mir ror.
Men
of low for tune rare ly
rise
with out
force
or
de
pp
f
116
3 4
Mach. cep
tion.
Force
a lone
is
ne
ver e nough, though de
cep
3 4 f
3 4
tion
can
I, Scene Act II,Act Scene 1 2 (no2 break)
107
Act III, Scene 1
q = 58
rit.
ff
120
p
4 4
Mach. be.
Steel
your self,
sir.
You are
a man who knows how
4 4 ff
p
4 4 123
p
E.H. You found your war, (dressing Hamilton)
my
dear
one.
You
Mach. not
to be good.
p
p
6
6
6
6
pp
126
E.H. framed
our
6
6
vic
tory
6
But
6
the
I, Scene Act II,Act Scene 1 2 (no2 break)
108
Act III, Scene 1 127
(
)
E q = 132
E.H. shakes and whis pers of those dreams ne ver left you. (strides off, briefcase in hand) Kisses, to all. The business of government awaits.
A.H.
p
130
When he was away, in Philadelphia, My darling founder,
E.H.
3
134
I heard the rumors, certainly. Hamilton was a man for the ladies.
E.H.
3
p vn. I
137
E.H.
What secret, there? And there were whispers of one, Maria Reynolds, who had him in a mad embrace.
3
I, Scene Act II,Act Scene 1 2 (no2 break)
109
Act III, Scene 1 140
3
F 143
q = 60 But I was his queen, what mattered these door mice?
E.H.
(steals furtively inside a door, he looks like a haunted man now, not the hero we have watched) Not love, but something else I cannot escape.
A.H.
p
147
3
A.H. I s it the hun ger to be caught,
151
3 4
A.H. po sure to be freed, that com
Mach.
4 4 pels
3 4
q = 69
accel.
me
p
4 4
It
3 4 3 4
4 4 4 4
and in ex
p
is
an ad dic
tion, my
I, Scene Act II,Act Scene 1 2 (no2 break)
110
Act III, Scene 1 155
accel.
3 4
Mach. prince.
T his
ill
I
can
not
4 4 cure
in my self,
much less
you.
Since you can
not be
3 4
4 4
3 4
4 4 q = 80
158
Mach.
4 4
ff
3 4 wise,
then dis guise.
You
can not es cape.
4 4
3 4
4 4
3 4
4 4
She ar rives!
She ar
4 4 ff
4 4
G q = 58 161
M.R.
4 4 4 4
Mach.
4 4 4 4
Maria Reynolds, Hamilton’s illicit lover, emerges from the chorus, dressed in a low-cut vampy gown, looking like a modern hooker though she stalks 1790 Philadelphia.
MARIA REYNOLDS p
p
Come to my arms, brave
rives!
p
p
165
(strictly in time)
M.R. haun ted man.
I
know your shame.
I
live there.
Do I
look
like your mo ther?
I
I, Scene Act II,Act Scene 1 2 (no2 break)
111
Act III, Scene 1 169
M.R. think so.
E nough
of the
pe des tal, in the light.
En
ter the
dark
ness,
A.H.
(seductively, but menacingly puts cuffs on his wrists)
172
M.R. "he
ro."
Caught, and
p
re leased. You have
3
A.H. You know me.
174
I
do not
pre
tend.
3
M.R. rived. You will not es cape.
My
smell
3
A.H. You know me. I do not pre tend.
is
on
you.
ar
I, Scene Act II,Act Scene 1 2 (no2 break)
112
Act III, Scene 1
177
M.R.
accel. And perhaps, from time to time, You can give my poor cuckold husband, James Reynolds, a few bills, To ease his wrongs and ills. (reaches for his wallet) A bribe!
A.H.
181
(as she strips off her clothes) I need more, For you to adore.
M.R.
A.H.
q = 132
184
M.R.
(showers her naked body with bills) Yes.
(greedily) And more. fff
A.H. I
fff
will
I, Scene Act II,Act Scene 1 2 (no2 break)
113
Act III, Scene 1
H q = 120
187
A.H. ne
ver
es
cape!
S.A. (The journalists surround them as they orgasm)
CHORUS
fff
T.B. O
beau
ti ful,
for
spa
cious skies,
for 3
fff
190
S.A. For
cocks
and
cunts,
and
For
cocks
and
cunts,
and
T.B. am
ber
waves of
grain,
ff
q = 69
193
S.A. bas
tard runts,
a
bove
the
frui
ted
plain.
bas
tard runts,
a
bove
the
frui
ted
plain.
T.B.
p
I, Scene Act II,Act Scene 1 2 (no2 break)
114
Act III, Scene 1 196
He did escape, my husband. In the only way he could clear his name.
E.H.
He published to the world his shame, And was not its prisoner anymore.
p
rit. 200
q = 54
No detail too sordid. If he left one word unsaid, The blackmailers would use it to torment him more. Nothing spared.
E.H.
Me, the least.
q = 66
(Fortuna dashes across the stage, dressed in the clothes of Hamilton’s time, pointing an accusatory gossip’s finger at Eliza.)
205
F.
3 4
f
4 4
Art thou a wife?
3 4
4 4
3 4
4 4
ff (hold pedal down and let sound vibrate)
rit.
I, Scene Act II,Act Scene 1 2 (no2 break)
115
Act III, Scene 1
208
q = 46
I
pp
3 4
E.H. My
4 4
wounds
a
dorn his
3 4 pp
p
3
great
ness,
3 4
H e whose pro
4 4
3 4
4 4
3 4
p
3 4 p
211
E.H.
3 4
4 4 tec
215
E.H.
tion
is
my
3 4 des
4 4 ti ny
and de
5 4 vo
tion.
3 4
4 4
3 4
4 4
5 4
3 4
4 4
3 4
4 4
5 4
5 4
pp
For tune may
5 4 5 4
4 4 be a wo man,
but so
is
p
Vir tue
4 4 4 4
p
I, Scene Act II,Act Scene 1 2 (no2 break)
116
Act III, Scene 2
Act III Scene 2 The stage is dark. The Orchestra plays a sensual musical theme that animates this chapter of "The New Prince." At the sound of the music, Machiavelli steals up from the stage and opens the back door of the presidential box to find Wu in the arms of a beautiful woman in lingerie. Wu throws a robe on her and hands her on to Kissinger. The president opens the window to the crowd below, which is surging forward. Wu is transformed in an instant from furtive lover to would-be Sun King. He barks orders to his guards to quell the protestor. Kissinger discreetly escorts the woman in lingerie out a side of the box, giving her his card as she goes.
q = 132
4 4
Mach.
Have you heard a word, my prince?
4 4 Perc. (Congas)
ff
4 4 6
q = 76
ff
W.V.
Filed for later consideration. H eard, seen, di ges ted Have you digested this counsel I have lived?
Mach.
f
p
p
10
W.V.
It is old thinking. T his is
6 8 6 8 6 8
ff
q. = 40
Twen
p
ff
9 8 ty thir
ty
two.
Sex is just
a
9 8 p
9 8
I, Scene Act II,Act Scene 1 2 (no2 break)
117
Act III, Scene 2
A 16
W.V.
q = 63
9 8
4 4
three let ter word,
9 8
Mach.
e ven for
9 8
4 4
you. Since you did not see the lesson the first time, My priapic prince, I will show it twice.
4 4
9 8
4 4
p
This time (snaps his fingers) with a modern man, An American of your century.
Mach.
q = 50
rit.
20
Sax.
3
3
An exquisite politician, but needy. A nearly fatal flaw, you will see.
3
3
3
3
3
3
p
q = 116 24
BILL CLINTON (into the phone) Not you, congressman. Hold on a minute.
B.C. No I
don't want
to
p
Cb. pizz.
(Muffles the phone and turns back toward her) No, because it would be sex,
I, Scene Act II,Act Scene 1 2 (no2 break)
118
Act III, Scene 2
Hillary Clinton stirs slightly at the muffled noise from the other room. She doesn't know what it is and doesn't want to. Her aria begins as a low rumble of anger but rises to something clear and firm. She's declaiming policy, but this is her nightingale song.
HILLARY CLINTON
q = 50 HILLARY CLINTON
29
H.C.
We box it off. (He emerges alone, caught in the lights, zipping his trousers, at once boasting and ashamed) 3
3
if I went…all the way.
B.C.
No
Sex.
J ust
be cause I could. 3
3
p
q = 76
33
Why the parade, little Niccolò?
W.V.
Because with these Clintons, magical couple, you can almost believe it's true.
Mach.
p
B 38
q = 120
f
B.C. From
f
this
joy
ful
moun tain top,
I, Scene Act II,Act Scene 1 2 (no2 break)
119
Act III, Scene 2 42
f
H.C. From
this
joy
ful
moun tain top,
ff
46
H.C. From
this
joy
ful
moun tain top
of
this
joy
ful
moun tain top
of
B.C. From
f
p
50
H.C. ce
le
bra
tion, p ff
B.C. ce
le
bra
tion.
p
We
I, Scene Act II,Act Scene 1 2 (no2 break)
120
Act III, Scene 2 54
B.C. hear
a
call
to
ser
vice in
the
val
ley.
ff
58
B.C. We
ff
have
heard
Tpt.
60
ff
H.C. We
B.C. the
trum
pets,
I, Scene Act II,Act Scene 1 2 (no2 break)
121
Act III, Scene 2
C 62
H.C. hear
a
call
to
ser
vice in
the
val
ley.
B.C.
ff
66
H.C. We
have
heard
ff
B.C. We
have
heard
68
H.C. the
trum
pets,
B.C. the
trum
pets.
I, Scene Act II,Act Scene 1 2 (no2 break)
122
Act III, Scene 2 70
H.C. We
have
changed
We
have
changed
B.C.
72
H.C. the
guard.
the
guard.
And
now,
B.C.
74
And
now,
D
p
H.C. each
in
our
own
way, p
B.C. each
p
in
our
own
way,
I, Scene Act II,Act Scene 1 2 (no2 break)
123
Act III, Scene 2 78
H.C. Each
in
our
own
way,
And
with God's
help
Each
in
our
own
way,
And
with
help
B.C.
83
God's
ff
H.C. We ff
must
an
We
must
an
B.C.
ff
86
H.C. swer
the
call
We
must
an
swer
the
call
We
must
an
B.C.
I, Scene Act II,Act Scene 1 2 (no2 break)
124
Act III, Scene 2 89
H.C. swer
the
call.
the
call.
B.C. swer
ff
E 92
q = 108
fff
MONICA LEWINSKY (admirably frank, with a mix of pride and disgust) I am assistant to the President For Blow Jobs.
M.L. Congas
p
96
A few months ago, he did me With a cigar,
M.L.
p
So that it would not be “sex.”
125
Act III, Scene 2
100
F
q = 69
rit.
M.L.
q = 112
How strange men are. 3
f
104
H.C.
p p
p
(singing solemnly in the next room) We have been re-elected. Welfare is reformed. Budgets are balanced.
T he mar kets as cend.
108
H.C. We are in the up lands. T his is what I
al
ways dreamed.
p
I, Scene Act II,Act Scene 1 2 (no2 break)
126
Act III, Scene 2
112
We hear moans that mix into the aria that Hillary is singing. Clinton crumples toward Lewinsky and her famous blue dress, which will become the prime exhibit in his trial for "high crimes and misdemeanors." The lights go dark in the anteroom and come up on Hillary Clinton, downstage.
H.C.
G 116
q = 100 p
p
121
You know, we've been married For twenty-two-years. Twenty-two. I learned a long time ago That the only people who count in a marriage Are the two who are in it.
H.C.
p
125
Sax.
3
3
I, Scene Act II,Act Scene 1 2 (no2 break)
127
Act III, Scene 2 130
We know everything there is to know About each other.
H.C.
The stage lights darken and the set shifts to something closer to a legal trial. Bill Clinton is dressed as if for a funeral. He comes downstage and sits in something that is between a witness box and a TV interview set.
B.C. I
3
H 134
q = 116
B.C. want you to lis ten to me.
I 'm gon na say this a gain.
I
f
p
138
B.C. did not have Sax.
ff
sex
u
al re la tions with that wo man,
Miss
Le win sky.
I, Scene Act II,Act Scene 1 2 (no2 break)
128
Act III, Scene 2 142
rit.
pp
q = 72
q = 116 p
B.C. I
ne ver told
a ny one to
lie,
N ot a sin gle time,
pp
p
accel.
146
B.C. N ot
a sin gle time, N ot a sin gle time,
p
ff
150
q = 144
I
q = 108
B.C. Not a sin gle time,
B.C.
4 4
p
4 4
3 4
4 4
3 4
4 4
N e ver.
ff
154
3 4
p
3 4
N ot a sin gle time,
4 4
3 4
4 4
ne ver.
4 4
3 4
4 4
3 4
4 4
4 4
3 4
4 4
3 4
4 4
I, Scene Act II,Act Scene 1 2 (no2 break)
129
Act III, Scene 2 158
B.C.
4 4
3 4 N ot
4 4
a sin gle time,
4 4 ne ver.
3 4
4 4 pp
4 4
3 4
4 4
162
He understands the deceit part, This prince, he survives, but...
Mach.
J 166
ff
170
to what end?
I, Scene Act II,Act Scene 1 2 (no2 break)
130
Act III, Scene 2
Xylo. 174
p
K 178 Sax.
p
f
182
3
p
L 187
p
q = 54
3
B.C. "N ot
Chimes
ff
mp
p
ap prop pri ate..."
pp
191
3
B.C. "Cri ti cal lapse of judge ment..." "Per so nal fai lure on my part..."
"Le gal ly
p
ac cu rate..."
p
131
Act III, Scene 1
q = 50
rit.
195
H.C. W hen he told me,It was a ter ri ble mo ment.
p
199
3
H.C. I could hard ly breathe,
I could hard ly breathe.
Gul ping for air, Oboes
3
accel.
q = 72
202
f
H.C. cry ing
and yel ling
at him.
"W hat
f
3
do you mean?"
"What are you say ing?"
I star ted
I, Scene Act II,Act Scene 1 2 (no2 break)
132
Act III, Scene 2
205
H.C. "Why
did
you
lie
to
Vns., trem.
rall.
A tempo (q = 72)
207 ff
H.C. me?"
"What
do
you
mean?"
ff
3
209
H.C. "W hat
are
you
say ing?"
"Why
did
you
I, Scene Act II,Act Scene 1 2 (no2 break)
133
Act III, Scene 2
rit.
q = 50
211
H.C. lie
to
me?"
Al
Vns., trem.
ff
p
213
3
H.C. though
I
was heart
bro
ken
and dis
a
poin ted with Bill,
Still,
my
long
p Tbns.
q = 40
rit.
215
vulnerable
cold
H.C. hours
a lone made me ad mit
to my self that I
loved him,
I
loved him.
5 4
H e was not
5 4 5 4 N 217
H.C.
5 4
4 4 on
ly my hus band.
He was al
so
my
q = 50 pre si
5 4
4 4
5 4
4 4
p
dent.
I, Scene Act II,Act Scene 1 2 (no2 break)
134
Act III, Scene 2
As Machiavelli listens to Hillary, he is moved to leave Wu's box and descend to the stage. He places himself at her feet, where he sings an aria to Hillary Clinton. Fortuna watches him from the wings. As she hears him sing, we sense that she is coming to realize Machiavelli’s genius. 219
H.C. p
Mach. She has come to my place,
ff
223
Mach. mia
bri ga
ta.
She
is
be yond
good
and e vil.
Could she
ff
226 p
Mach. be,
Could she be,
mia
bri ga ta,
could she
be
my
new
prince, who
I, Scene Act II,Act Scene 1 2 (no2 break)
135
Act III, Scene 2
ff
229
Mach. knows
on
ly strength,
she con
ceals
what she tru ly feels,
she con
ff
231
Mach. ceals
what she tru ly feels,
But
per
haps
she is
in
a
no ther place,
3
233 p
Mach. tem
pered vir tue
reigns,
Where tem
p
p
236
Mach. pered vir tue reigns, Where
tem
pered vir
tue reigns.
Where
I, Scene Act II,Act Scene 1 2 (no2 break)
136
Act III, Scene 2
pp
239
3
Mach. T he hus band, Bill. He has a warm heart, Ve ry nice.
T hrow it a way,
But the
pp
p
O
242 p
Mach. wife,
Hil la ry,
has
a
cold
heart
more pre cious than a dia mond, A
p
246
accel.
3
Mach. cold
heart more pre
cious be
cause
it stays
true.
cresc.
249
Vns. trem.
3 4 ff
3 4
I, Scene Act II,Act Scene 1 2 (no2 break)
137
Act III, Scene 2
252
3 4
q = 76
3 4
255
4 4 ff
4 4
Fl. 258
260
ff
Tpt.
262
fff
138
ACT IV Act IV Scene 1 Fortuna prances onto a stage once again obscured by a curtain. She does her magic, as Machiavelli’s editor and stage director. She displays the title of this final episode: “Chapter Three: Why Princes Should Avoid a 'Clash of Civilizations.'” Machiavelli paces below President Wu's box. Wu is anxious to conclude his lessons and beckons to his advisor. We hear offstage the noise of crowds, angrier than before, and we hear music, not just in English but in Arabic and Urdu and Hindi and Chinese. Angry voices.
q = 108 CHORUS
fff
S. T he
bar ri
er
of
fear
is
bro
ken.
We must have
bar ri
er
of
fear
is
bro
ken.
We must have
T he fff
bar ri
er
of
fear
is
bro
ken.
We must have
T he
bar ri
er
of
fear
is
bro
ken.
We must have
fff
A. T he fff
T.
B.
q = 108 (Chorus)
fff
Act IV, Scene 1
q = 72
rit.
4
139
p
S. dig ni ty. War will
cleanse us.
O ur gods com
mand
it.
We want
it.
We want
it.
We want
it.
We want
p
A. dig ni ty. War will
cleanse us.
O ur gods com
mand p
T. dig ni ty. War will
cleanse us.
O ur gods com
mand p
B. dig ni ty. War will
cleanse us.
rit.
O ur gods com
mand
q = 72 p
Act IV, Scene 1
140
9
MACHIAVELLI p
A
Mach A prince must have no
o ther
ob jec
tive,
No
o
ther
S. blood.
O n ly
blood.
blood.
O n ly
blood.
blood.
O n ly
blood.
blood.
O n ly
blood.
A.
T.
B.
Bsn.
3
3
3
14
3
3
Mach thought, no
o
ther pro
3
3
fes
sion
But
3
that
of
Act IV, Scene 1
18
141
So I advised the Medici. But there is a war enfolding thee, My prince, That would tear apart the very glue of life.
Mach war
3
3
3
3
22
Mach T hat would break
the world in
two
3
3
ff
25
Mach Ob
3
3
Act IV, Scene 1
142 B
p
29
3
Mach serve
and
hear,
Ob
serve
and hear and I
will show
you
two
men a
Flutes
p
ff
p
ff
35
Mach like
in
rage
and
fear
ob
serve
and
hear,
ob
3
ff
ff
39
p
3
Mach serve
and
hear
and
I
will
show
p
you
Two
men
a
Act IV, Scene 1
rit.
143
q = 80
43
Mach like in rage and
fear,
a
q = 80
rit.
p
49
Mach
pp
like
in rage
and fear.
Act IV, Scene 1
144
The set rumbles and the Tower shakes, as the first plane, heavy with fuel, bursts the skin of the building. The rumble and searing heat are simulated, with the wailing of the victims jumping from windows, until the South Tower collapses--bringing it down onstage in a hideous pile of rubble. People are screaming, running, struggling to understand the incomprehensible, some panicking but more stopping to help and comfort others. As the dust settles stage left, we move back stage right to Jalalabad with Bin Laden who is already preparing to flee. He points toward what he knows is the ruin half a world away.
C
q = 132
55
fff
58
61
3
3
64
Act IV, Scene 1
145 3
3
6
67
3
6
70
p
ff
D 74
p
ff
p
fff
78
3
81
3
Act IV, Scene 1
146 84
3
87
3
6
6
90
Flute 94
fff
97
E
3
Act IV, Scene 1
100
T. Sax
fff
104
147
Picc.
p
f sf p
F
rit.
106
fff
ff
Act IV, Scene 1
148
(rit.) 110
3
ffp
3
114
fff
p
117
q = 54
OSAMA BIN LADEN
G
p
OBL T here is A me ri ca,
struck by God in its Flute
q = 54
p
p
Act IV, Scene 1
149
pp (whispered)
123
OBL sof
test spot
I ts grea test buil dings were des troyed
T hank God for that
pp
p
128
OBL T here
is
A
me
ri
ca
filled
with
fear
from its
north
to
its south
for
that
Flutes
pp
131
OBL east
to
its
west
T hank
pp
God
from its
Act IV, Scene 1
150
p
133
OBL T here is
A
me ri ca
T oo
strong
to de stroy
but
split
world
ea
sy
to
pro
two,
A
p
136
OBL voke
and
short
of
breath
3
3
139
pp
OBL T hank God for that.
f
T his
day
pp
has
the
in
Act IV, Scene 1
151
143
OBL me
ri ca
will
ne ver dream
a gain.
H ow
un
health y
is
the bed
3
146
pp
(whispered)
OBL ty ran ny
T hank God for that
p
T hank God for that.
of
152
Act IV Scene 2 Ground Zero. American flags hang from every window. The chorus sounds a low lament as the curtain opens, a continuing dirge of sadness for the lost souls of September 11, 2001. We hear sirens and commotion as police and Secret Service make way for a visitor. It is Vice President Dick Cheney, his face an implacable mask of will and determination. He sings in a voice that is measured but insistent. He believes that his job is to ignore sentiment and small rules, and obey the larger laws of strength and survival. Behind him in a pinstripe suit, among his aides, is the familiar figure of Machiavelli.
q = 80
4 4 4 4
p
DICK CHENEY A
9
DC
We
have been
at
tacked
by a
Tpt. solo
f
p
15
3
DC
ruth
less
e
ne my
3
wil ling to slaugh ter
3
in no cents
in
an eff fort
Act IV, Scene 2
153 21
DC
to bring A
me
ri
ca
to
her knees.
We
are at war.
We
must
work the
p
B
26
3
ff agitato
3
DC
dark
side.
We are deal ing with
e
vil
peo
ple
who
3 3
ff agitato
30
DC
dwell
in
the
sha dows
plan
ning
Act IV, Scene 2
154
C
p
34
DC
vio
lence and de struc
tion. We have no
al
ter na tive
but to meet the e ne my where he
p
39
DC
dwells.
We
must
and we will,
We
must
and
we
p
p
44
DC
will
use
e very means
at our dis po sal
to en
sure p
the
Act IV, Scene 2
155
poco rit.
lunga
49
4 4
DC
free dom
and se
cur i ty
of
the
A
mer i can peo
ple
poco rit.
4 4 pp
lunga
pp
4 4 pp
The lights illuminate two people who are tasked with carrying out Cheney's decision to use every means necessary: John Yoo, the Justice Department lawyer who wrote the memo defining torture; and a CIA medical officer attending the first waterboarding session with Abu Zubaydah at a secret site in Thailand. Yoo, the Justice Department attorney is seen in half-light as he prepares his memo explaining why waterboarding and other "enhanced interrogation techniques" are not torture.
D 54
Yoo
q = 40
4 4
JOHN YOO What is ʺtorture,ʺ As a matter of law? T he infliction of severe pain must be the defendantʹs precise objective. Susp. Cymbal,
4 4
(scraped with coin)
4 4 4 4
p
58
But even if the defendant knows that severe pain will result from his actions, I f causing such harm is not his objective, he lacks the requisite specific intent.
Yoo
p
Act IV, Scene 2
156
A CIA medical officer is seen in half light, depicting a cable from a "black site" in Thailand on August 2002, the day the torture of Abu Zubayda begins. As he composes his cable, we see behind him, through a veil of gause, the act of waterboarding, with the screams and grunts and curses interwoven with the CIA officer's careful prose. 61
E CIA MEDICAL OFFICER 64
CIA
And
67
Longest time with the cloth over his face so far Has been seventeen seconds. T his is sure to increase shortly.
CIA
p
71
so
it
be gins:
Act IV, Scene 2
157
F
75
p
80
p
DC
We have an ob li ga tion
We hear the whir of the helicopters of the Seal Team Six Nearing Abbottabad
84
OBL
DC
to
do
what
it
takes
to
de
fend A
me ri ca
pp ghostly
Act IV, Scene 2
158 OSAMA BIN LADEN 88
(looking skyward towar the noise, and heaven itself)
OBL
You have tried pre ven ting us from li ving,
You have tried pre ven ting us from li ving an
91
5 4
OBL
hono ra ble life,
You have tried
pre ven ting us from li ving
an hon
ra ble
5 4 p
5 4
93
OBL
G
4 4
5 4 life,
5 4
But
you
will
4 4 p
5 4
4 4
not de ny
us
a
Act IV, Scene 2
159
95
OBL
mar
tyr's death!
You
will
not
de
a
mar
ny
us
a
accel. 97
OBL
mar
tyr's death!
No you will
not de ny
us
tyr's death!
You
q = 80
100
ff (screaming pitches distorted)
OBL
You will
not
6
ff
6
de
6
6
Act IV, Scene 2
160
102
OBL
ny
us
a
6
6
6
6
6
6
6
6
6
6
6
6
103
OBL
mar
104
OBL
tyr's
fff
6
6
gliss.
105
OBL
death!
6
6
Act IV, Scene 2
161 Lights come up on both sides of the stage. Cheney and Bin Laden walk toward the edge of their worlds, not crossing into the other's; that would be impossible. But they reflect on the same things and they contemplate the intertwined layers of victory and defeat.
q = 46
106
OBL
q = 46 6
6
6
6
pp
H
109
p
OBL
I did
the
right. I was strong.
Vir tue was my guide
p
DC
I
did the right. I was strong.
p
Vir
tue was my guide. I
Act IV, Scene 2
162 113
OBL
I
did
the
right.
the
right.
Peo ple fol
Peo ple fol
lowed.
Vir
tue
was
my guide. The
tue
was
my guide. The
DC
did
lowed.
Vir
ff
115
p
3
3
OBL
wea pons must be hard
when the ends
are so just.
What did I miss?
ff 3
3
p
DC
wea pons must be hard
when the ends
are so
just. The strong man
does not look back
p
118
OBL
The strong man
does
not look back
ward 3
DC
vir
tue is his
guide.
What
did
I
miss?
ward.
Act IV, Scene 2
163 120
OBL
vir
tue
is
his
guide
the
3
121
3
3
OBL
wea
pons
must be
hard
when the
ends
are
so
war
is
war.
just.
I
DC
The
end
of
3
p
3
123
I
ff
OBL
did
the
right.
I was strong.
did
the
Vir
tue was my
guide.
tue was my
guide.
ff
DC
I f
ff
right.
I was strong.
Vir
I
Act IV, Scene 2
164
125
OBL
did
the
right.
Peo
I
did
the
ple
fol
lowed
DC
right.
Peo
126
ple
fol
lowed.
3
OBL
Vir
tue
was
my
guide. The
wea pons
must be hard
when the
3
DC
Vir
tue
was
my
guide. The
wea pons
p
3
128
3 4
OBL
ends
are so
just.
DC
are
so
3
What did
3 4 when the ends
4 4
I miss? p
4 4
just.
must be hard
3
What did I miss?
3 4
4 4
3 4
4 4
p
the
Act IV, Scene 2
165
131
3
OBL
the
end
of
war
is
war.
of
war
is
war.
3
What did
I miss? The
DC
end
What did
I miss?
The
p
133
OBL
end
of
war
is
war.
If
there
are
on
ly li ars,
then whose
end
of
war
is
war.
If
there
are
on
ly li ars,
Then whose
DC
pp
Act IV, Scene 2
166
135
3
3
WV
The wea pons
3
must be
hard
when the ends
are so
OBL
sto
ry will you be lieve? 3
DC
sto
ry will you
be lieve? 3
p
accel.
138
WV
just.
The end of war
is
war. (throws up his hands)
Mach.
Does a
accel.
ny one
list en?
Can a
ny power
Act IV, Scene 2
167
J q = 108
140
Mach.
bend the chain Of prince ly er ror?
CHORUS: ALL CITIZENS
fff
S.
The bar ri er
of fear is
bro ken.
We must have dig ni ty. War will
The bar ri er
of fear is
bro ken.
We must have dig ni ty. War will
The bar ri er
of fear is
bro ken.
We must have dig ni ty. War will
The bar ri er
of fear is
bro ken.
We must have dig ni ty. War will
fff
A.
fff
T. fff
B.
q = 108
Act IV, Scene 2
168
rit. 144
Mach.
(Machiavelli looks to Kissinger, in Wu's box, and summons him.) Nimble Henry, I despair. Can our diplomacy ever repair The rigid folly of the doctrinaire? p
S.
cleanse us.
Our gods com mand
it.
We want blood.
On ly
blood.
The
it.
We want blood.
On ly
blood.
The
it.
We want blood.
On ly
blood.
The
it.
We want blood.
On ly
blood.
The
p
A.
cleanse us.
Our gods com mand p
T.
cleanse us.
Our gods com mand p
B.
cleanse us.
Our gods com mand
q = 54 150
(Kissinger bounds down to the stage, eager, as ever, to assist.)
Kiss.
A match
less di plo mat known by all
for his sage
S.
bar ri er of fear is bro ken. We must have dig ni ty. War
will cleanse
us.
Our gods com
bar ri er of fear is bro ken. We must have dig ni ty. War
will cleanse
us.
Our gods com
bar ri er of fear is bro ken. We must have dig ni ty. War
will cleanse
us.
Our gods com
bar ri er of fear is bro ken. We must have dig ni ty. War
will cleanse
us.
Our gods com
A.
T.
B.
Act IV, Scene 2
169 155
Kiss.
coun sel
Bin La
den's bet ter coun try man
ud al Fai sal.
Prince Sa
S.
mand
it.
We
want
mand
it.
We
want
mand
it.
We
want
mand
it.
We
want
blood.
On ly
blood.
On ly
blood.
blood.
On ly
blood.
blood.
On ly
blood.
A.
blood.
T.
B.
Offstage, we hear a pure voice, a capella, a high and holy sound, almost a priest’s chanting. He sings slowly and deliberately, in the precious words of one who suffers from Parkinson’s disease. PRINCE SAUD (at first offstage) p
160
P.S.
I
be lieve,
I
be
A tall, austere Saud moves slowly onstage, dressed in an immaculate white thobe and goldthreaded robe. His head is shrouded by a checkered kaffiya, which he removes, making him seem more intimate and unguarded. He lets the robe fall to the stage, singing to us, still a capella. 164
K
4 4
3 4
P.S.
lieve,
I
be lieve,
I
be
lieve,
I
be
lieve,
3 4
4 4
3 4
4 4
I
be lieve,
I
be lieve,
I
be lieve,
I
be
Act IV, Scene 2
170 168
P.S.
lieve,
I
be lieve,
I
be lieve,
I
be lieve,
I
be lieve
there can ne ver be
171
a clash of
3
P.S.
cul
tures be tween us
it
is
a con
tra dic
tion
in terms.
Ci vil i
p
S.
The bar ri er of fear is bro ken. We must havedig ni ty war will cleanse us
The
The bar ri er of fear is bro ken. We must havedig ni ty war will cleanse us
The
The bar ri er of fear is bro ken. We must havedig ni ty war will cleanse us
The
The bar ri er of fear is bro ken. We must havedig ni ty war will cleanse us
The
p
A. p
T. p
B.
Act IV, Scene 2
171
174
P.S.
za
tions
are not
com pet
ing
pro ducts
in some mar ket place but
S.
bar ri er of fear is
bro ken.
We must have dig ni ty war will cleanse us.
The
bar ri er of fear is
bro ken.
We must have dig ni ty war will cleanse us.
The
bar ri er of fear is
bro ken.
We must have dig ni ty war will cleanse us.
The
bar ri er of fear is
bro ken.
We must have dig ni ty war will cleanse us.
The
A.
T.
B.
176
P.S.
ra
ther
the ef fort of hu
man
gen
ius built on con tri bu tions from our
S.
bar ri er of fear is
bro
ken.
We must have dig ni ty war
will cleanse us.
The
bar ri er of fear is
bro
ken.
We must have dig ni ty war
will cleanse us.
The
bar ri er of fear is
bro
ken.
We must have dig ni ty war
will cleanse us.
The
bar ri er of fear is
bro
ken.
We must have dig ni ty war
will cleanse us.
The
A.
T.
B.
Act IV, Scene 2
172
accel. 178
P.S.
coun
tries
I
be lieve,
I
be
lieve,
I
be lieve,
bar ri
er of fear
is
bro ken.
We must have dig ni ty. War will cleanse us.
bar ri
er of fear
is
bro ken.
We must have dig ni ty. War will cleanse us.
bar ri
er of fear
is
bro ken.
We must have dig ni ty. War will cleanse us.
bar ri
er of fear
is
bro ken.
We must have dig ni ty. War will cleanse us.
S.
A.
T.
B.
accel.
I
be
Act IV, Scene 2
173
q = 80 f
180
P.S.
lieve,
I
be lieve,
I
be lieve,
S.
bro ken.
A.
bro ken.
T.
bro ken.
B.
bro ken.
3 4
4 4
3 4
4 4
3 4
4 4
We must have dig ni ty war will cleanse us. f
bar ri er of fear is
4 4
We must have dig ni ty war will cleanse us. f
bar ri er of fear is
3 4
We must have dig ni ty war will cleanse us. f
bar ri er of fear is
4 4
So f
bar ri er of fear is
3 4
We must have dig ni ty war will cleanse us.
q = 80
L 183
P.S.
3 4
4 4
3 4
4 4
q = 54
4p 4
no
q = 54
4 4 4 4
hu man gen
ius can not
be
claimed
by
a
ny sin
gle na
tion or creed.
So
Act IV, Scene 2
174
187
P.S.
no
hu man gen
ius can not
be
claimed
So
I
be lieve
So
(Saud stretches out his hands, like a sheik leading prayers, in a supplication and admonition)
191
P.S.
no
hu man gen ius can not
be mo no po lized.
So
I
be lieve.
Act IV, Scene 2
175
M 195
WV
accel.
q = 80
Citizens, Brothers, I hear you! I am you!
P.S. ff
S.
Wu must die!
Wu must die!
Wu must die!
The bar ri er
of fear is
Wu must die!
Wu must die!
The bar ri er
of fear is
Wu must die!
Wu must die!
The bar ri er
of fear is
Wu must die!
Wu must die!
The bar ri er
of fear is
ff
A.
Wu must die! ff
T.
Wu must die! ff
B.
Wu must die!
accel. (Chorus)
ff
q = 80
Act IV, Scene 2
176 200
S.
bro ken.
We must have dig ni ty. War will cleanse us.
Our gods com mand
it.
bro ken.
We must have dig ni ty. War will cleanse us.
Our gods com mand
it.
bro ken.
We must have dig ni ty. War will cleanse us.
Our gods com mand
it.
bro ken.
We must have dig ni ty. War will cleanse us.
Our gods com mand
it.
A.
T.
B.
N 206
WU VIRTU
q = 63
(brightening with false hope) p ff
WV
I
will
S.
blood.
On
ly
blood
blood.
On
ly
blood
blood.
On
ly
blood
blood.
On
ly
blood
A.
T.
B.
q = 63
p
is
sue a state
ment
in
Piano/Vocal Score Act IV, Scene 2
177
q = 132
210
f
3
WV
which
I
dis cuss
star ting a
new
phase
to re gain
the
q = 132
f
213
WV
trust
of
those
who
lost
trust.
MACHIAVELLI
p
Mach.
No.
It will
not
do, My
feared
than
p
218
Mach.
prince.
It will not do.
p
You are more
Piano/Vocal Score Act IV, Scene 2
178 221
Mach.
loved, My prince.
And
worse:
you are
des
pised.
You
are
225
Mach.
pised.
My prince,
My
prince
You have risked
have
failed.
229
Mach.
But
you
all,
des
Piano/Vocal Score Act IV, Scene 2
179 They both vanish in an explosion, and two mobs surge onstage. They are the distillation of all the rage we have seen before. This is the "clash of civilizations" that Machiavelli warned against, but the tableau he has staged for Wu has only galvanized the enraged and the avengers. The mobs battle each other and surge toward President Wu's box, shaking its pillars and threatening to topple it to the ground. The competing chants of the chorus converge into one theme that is overpowering, frightening, and incoherent. Wu’s reign is threatened by this anarchy.
232
O
fff
S. fff
The
bar
ri
er
of
fear
is
The
bar
ri
er
of
fear
is
The
bar
ri
er
of
fear
is
The
bar
ri
er
of
fear
is
A. fff
T. fff
B.
Tpts.
ff
fff
Piano/Vocal Score Act IV, Scene 2
180 235
f
S.
bro
ken
We must have dig
ni
ty,
ni
ty,
f
A.
bro
ken
We must have dig f
T.
bro
ken
We must have dig
ni ty,
f
B.
bro
ken
We must have dig
f
238
S.
dig
ni
ty
War
dig
nit
ty
War
A.
T.
dig
ni
ty
War
dig
ni
ty
War
B.
ni ty,
Piano/Vocal Score Act IV, Scene 2
181
241
S.
will
cleanse
us
our
Gods
com
cleanse
us
our
Gods
com
will cleanse
us
our
Gods
com
will cleanse
us
our
Gods
com
A.
will T.
B.
244
S.
mand
it,
our
Gods,
our Gods
com
A.
mand
it,
our
Gods,
our
Gods
com
mand it,
our Gods,
our
Gods
com
mand it,
our Gods,
our
Gods
com
T.
B.
Piano/Vocal Score Act IV, Scene 2
182 247
p
S.
mand
it.
We
want
blood.
On
ly
blood,
blood,
Our
On
ly
blood,
blood,
Our
ly
blood
blood,
Our
blood,
blood,
Our
p
A.
mand
it.
We
want blood. p
T.
mand
it.
We
want
blood.
On
mand
it.
We
want
blood.
On
p
B.
ly
mf
f
250
S.
Gods
com
mand
it,
our Gods
Gods
com
mand
it, our
com
f
A.
Gods
f
com
T.
Gods
com
mand
it, our Gods
com
f
B.
Gods
com
mand
it, our
Gods
f
com
Piano/Vocal Score Act IV, Scene 2
183 A terrified President Wu, nearly toppled into this swirling throng of destruction, seizes Machiavelli by the collar and hauls him to the edge of the platform.
P
253
WV
I
have
the sin ner,
I
have the sin
ner.
He
S.
mand
it.
mand
it.
mand
it.
mand
it.
A.
T.
B.
f
fff
3
256
WV
sweet
p
ly
calls
me
"prince,"
But my
peo
ple, my
Piano/Vocal Score Act IV, Scene 2
184
259
WV
peo ple,
262
He writes
3
3
with the black
ink of
death.
3
WV
He would hu mil i ate you with his "truth."
He means
to des troy
all our Gods
and be
Piano/Vocal Score Act IV, Scene 2
185
Q
265
WV
liefs.
f (with the staccato two-beat cadence of an army march)
S.
Pun ish him. Si lence him.
Kill him.
f
Pun ish him. Si lence him. f
A.
Pun ish him. Si lence him.
Kill him.
Pun ish him. Si lence him.
Pun ish him. Si lence him.
Kill him.
Pun ish him. Si lence him.
Kill him.
Pun ish him. Si lence him.
f
T. f
B.
Pun ish him. Si lence him.
p
269
S.
Kill
him.
Throw him down to us,
Throw him down to us,
So we will have
Kill
him.
Throw him down to us,
Throw him down to us,
So we will have
Kill
him.
Throw him down to us,
Throw him down to us,
So we will have
Kill
him.
Throw him down to us,
Throw him down to us,
So we will have
A.
T.
B.
Piano/Vocal Score Act IV, Scene 2
186 f
273
WV
And what
is
jus
tice,
And
S.
just
tice.
just
tice.
just
tice.
just
tice.
A.
T.
B. Oboe
f
277
WV
jus
tice
for this man
who be
lieves
what
is
Piano/Vocal Score Act IV, Scene 2
187
R
280
WV
no
thing,
no thing?
fff
S.
Strap
pa
do!
Strap
pa
do!
Strap
pa
do!
Strap
pa
do!
Strap
fff
A.
Strap fff
T.
Strap fff
B.
Strap
fff
Piano/Vocal Score Act IV, Scene 2
188
283
S.
pa
do!
Strap pa
do!
Strap
pa
do!
Strap pa
do!
Strap
pa
do!
Strap pa
do!
Strap
pa
do!
Strap pa
do!
Strap
pa
do!
Strap pa do!
Strap pa do!
pa
do!
Strap pa do!
Strap pa do!
pa
do!
Strap pa do!
Strap pa do!
pa
do!
Strap pa do!
Strap pa do!
A.
T.
B.
286
S.
A.
T.
B.
fff
Piano/Vocal Score Act IV, Scene 2 Machiavelli's body is tossed to the waiting crowd, unified in blood lust. Kissinger bravely tries to come to his rescue, but he is hacked down. They carry Machiavelli upstage, to the leather straps that are fitted to him, as in the play's opening scene. He is cranked to the rafters and then dropped...in a spectacular, gut-wrenching image of cruelty and human incomprehension. The crowd rushes back toward the pavilion and takes President Wu on its shoulders, singing, chanting, and reveling. Fireworks illuminate the night sky upstage, banners wave proclaiming the triumph of belief and self-delusion. There is a final rousing chorus as President Wu is carried off the stage in triumph.
189
S
290
S.
Won
drous mis er y,
Won
drous mis er y,
Won
drous mis er y,
Won
drous mis er y,
A.
T.
B.
S
ff Snare Dr. etc. 3
3
296
S.
Won
drous mis er y,
war
un end
ing,
Won
drous mis er y,
war
un end
ing,
Won
drous mis er y,
war
un end
ing,
Won
drous mis er y,
war
un end
ing,
A.
T.
B.
ff 3
3
3
3
Piano/Vocal Score Act IV, Scene 2
190 300
S.
vir
tue re war
ded,
war
un end
ing,
vir
tue re war
ded,
war
un end
ing,
vir
tue re war
ded,
war
un end
ing,
vir
tue re war
ded,
war
un end
ing,
A.
T.
B.
3
3
3
3
304
S.
vir
tue
re war
ded.
Won
drous mis er y,
vir
tue
re war
ded.
Won
drous mis er y,
vir
tue
re war
ded.
Won
drous mis er y,
vir
tue
re war
ded.
Won
drous mis er y,
A.
T.
B.
Tpts. 3
3
3
3
p
3
3
3
3
Piano/Vocal Score Act IV, Scene 2
191 308
S.
Won
drous mis er y.
War
un end
ing,
Won
drous mis er y.
War
un end
ing,
Won
drous mis er y.
War
un end
ing,
Won
drous mis er y.
War
un end
ing,
A.
T.
B.
3
3
3
3
3
3
3
3
3
3
3
3 312
S.
vir
tue re war
ded,
war
un end
ing,
vir
tue re war
ded,
war
un end
ing,
vir
tue re war
ded,
war
un end
ing,
vir
tue re war
ded,
war
un end
ing,
A.
T.
B.
3
3
3
3
3
3
3
3
3
3
3
3
Piano/Vocal Score Act IV, Scene 2
192
q = 54
316
S.
vir
tue
re war
ded.
Long
live
death.
vir
tue
re war
ded.
Long
live
death.
vir
tue
re war
ded.
Long
live
death
vir
tue
re war
ded.
Long
live
death.
A.
T.
B.
q = 54 3
3
3
3
3
3
3
3
The People march off, leaving the broken corpse of Machiavelli alone on a black stage. A body creeps toward him. It is Fortuna. She takes him from the straps, gently covers him with a cloak, nurses him, kisses and embraces him as the lights fall. 321
T
FORTUNA: Wake up, wake up...
F
p
193
Epilogue Machiavelli takes center stage, all alone, stripped down from any costume, simple white trousers and t-shirt. He has his arm around Fortuna, who appears as a loving wife, not a fickle sex goddess or publisher vamp, but a loving companion.
q = 56
FORTUNA p
Fortuna You have yourluck at last.
"T he
New
P rince" is pub lished.
I t will
Vn.
5
5 4
F. live
for ev er, I t will live
for ev
er, the
4 4 in dex of banned books is o ver
Mach.
thrown.
MACHIAVELLI
5 4
rit.
4 4
p (at peace)
I am
5 4
4 4
5 4
4 4
q = 48
9
Mach. li
p
be ra
ted to
be
who I
am:
A
think
er. A
wri ter.
A
Epilogue
194
13
5 4
Mach. man
who will
16 A
not
a
4 4 bide
Fake gods
but has
on ly
one
5 4
4 4
5 4
4 4
3 4
3
F. I am your muse. My dar ling po et of life.
Mach.
I
god, who is
4 4
want you to be
on ly who you are, so go
3 4
4 4
3 4
4 4
3 4
4 4
truth.
20
F. in
p
to your stu
dy. T he dark ness has come.
Take
up your pen.
Go
Epilogue
195
molto rit.
24
F. in
to your stu
dy,
take
up your pen,
no
thing else.
B 27
Very slow, deliberate (q = 46)
F. with a haunting voice
pp
p
When
eve
pp
p
Mach. Fl. Ob.
Cl.
p
p
Cello Solo
31
p
Mach. ning comes,
I
re turn
to
my stu dy.
When Cel. soli
p
p
eve
Epilogue
196 35
Mach. ning comes,
I
re turn
to my stu dy.
Cel., Glock.
mf
p
p 38
2 4
Mach. On
the
thre shold,
I strip
off the
mud
dy
clothes
of
2 4 2 4 41
Mach.
f
2 4 eve
ry
day,
p
4 4
and
2 4
put
on
the
robes
of
4 4 Cel. f
mf
2 4
4 4
p
43
Mach. court
and
pa lace,
And in this
Epilogue
197
C
pp
45
Mach. gra
ver dress
I
p
48
en
ter the
courts
of the an cients,
I
pp
p
Mach. en
ter the courts
of the an cients,
of the an
p
pp
51
3
3 4
Mach. cients.
Being wel comed by them, I taste the food that a
3 4 3 4 54
Mach.
3 4
4 4 lone
3 4 3 4
is mine, and for
p
which
4 4 4 4
p
p
I
was
Epilogue
198
pp
57
Mach. born,
and for which
I was born,
pp
60
3
Mach. I
en
ter the courts
of the an cients,
64
of the
pp
Mach. an
cients.
Being
Epilogue
67
199
3
3 4
Mach. wel comed
by them,
I
taste
the food
that a
4 4 lone
is mine, and for
S.A.
3 4
4 4
T.B.
3 4
4 4
3 4
4 4
3 4
4 4
D 69
Mach.
4 4
p
which
S.
A.
4 4
I
was
born,
CHORUS
ahh
ahh
ahh
ahh
ahh
ahh
ahh
ahh
ahh
ahh
ahh
ahh
ahh
ahh
4 4 4 4 4 4
p
ahh
ahh
Epilogue
200 pp
72
pp
3
Mach. and for which pp
I was born,
And
S. ahh
ahh pp
A. ahh
ahh
pp
76
Excruciatingly slow, almost out of time (q = 36) p
3
Mach. in the gra ver dress
I
en
ter the courts,
I
S. ahh
ahh
ahh
ahh
A.
pp
cresc.
T.B. ahh
p
en
ter the
Epilogue
ffff 79
201
pp lunga
Mach. courts,
I
en ter
the courts
of the an
cients.
ffff
lunga
ffff
lunga
S. ahh
A. ahh ff
lunga
T.B.
lunga
ffff
pp
lunga