Armstrong GESUALDO

Craig Armstrong

GESUALDO (2007)

Vocal reduction score

Chester Music

Commissioned by Scottish Opera Sponsored by Accenture Major support from: The Binks Trust The Scottish Opera Endowment Trust Scottish Opera gratefully acknowledges additional financial support from: The John S Cohen Foundation, Òran Mór, The RVW Trust, PRS Foundation, The Helena Oldacre Trust, Britten-Pears Foundation

Duration: circa 20 minutes A full score and instrumental parts are available on hire from the publisher

Chester Music Limited www.chesternovello.com www.musicroom.com

GESUALDO

Libretto: Ian Rankin

Craig Armstrong

1. BEGINNING WE OPEN IN A BEDROOM. DONNA MARIA, GESUALDO’S WIFE, IS ON THE BED. HER LOVER, FABRIZIO, LYING ON THE FLOOR BESIDE IT. THEIR MURDER HAS ALREADY BEEN ACCOMPLISHED, BUT GESUALDO CONTINUES TO STAB HIS WIFE IN TIME TO THE MUSIC, WHILST HIS SERVANT, ANTONIO, DOES THE SELF-SAME THING TO FABRIZIO. THEIR LUNGES ARE FRANTIC AND COUNTERPOINTED. WE ARE IN “RESERVOIR DOGS” TERRITORY HERE AND THE AUDIENCE SHOULD BE SHOCKED BY THE RHYTHMIC CHOREOGRAPHY OF THE VIOLENCE. EACH ACTOR’S CLOTHING IS DRENCHED IN BLOOD. [GESUALDO WEARS WHITE; IN THE CHAPEL SCENE HE SHOULD BE IN BLACK.]

q = 72

  



Hn.

Tpt.







f

mp

  Tbn. 



  Pno.    R  O Vibr.                              f                                         mp



f

Vlc.

3

 







mp

 

 

 f



f

mp

                                        Vlns.

 

                                

5

 







mp

 

mp

      

                              © 2007 Chester Music Ltd.

 

 f

 f

                                 

2 7



  







 f

mp





mp

f

                                        

                  

           



2. FIRST SCENE [EVENTUALLY, GESUALDO AND ANTONIO BEGIN TO SING, BUT WHILE STILL LUNGING, ALTHOUGH CLOSE TO EXHAUSTION.]

L’istesso tempo (q = 72)

9

ANT.





ANTONIO

mf    

 

I think he’s dead,

GES.

   







GESUALDO

mf



Quite

  mp



mp

    Pno.

ff

mf

  

Vlas.

ff



 dead.

   

 

 

mf

                 

  

                  



ff

 

   



mf

  

       

  

    

 

3

      

   

    



12

ANT.

I’m sure he’s dead,

GES.

  



Well



   







bled!

    

 

 





  





Then

we



dead.

  

 

   

 

 

 

                         

             

  



Quite

 

   

  

My la - dy’s dead?

  

 

 





    

  

  

  













[THEY DO SO, SLOWLY COMING TO TERMS WITH THE RESULT OF THEIR ACTIONS.]

17

ANT.





can GES.

        

 

stop.

 

   

 



 

 



 

 

Pno.



  

  

 

    

My



 



 mf



 





hands are

   

mf

                     

    

  



  

  

4 22

ANT.

GES.



  





 red,

   







To

match

the

    









bed.





  





 

 

 

   

                              





26

ANT.

 



 

That much I know.

GES.

  

     







this bed must go,









this



 

 

   









cuck - old’s

   

 

  



    



 



  

  

The

tired.

 

                               Clt.                       



30

ANT.



      job

 

is done and we can



       

 





stop,

    

 

 

  

 

  

  

  

 



we can stop,

we can stop,

we can

stop.

 





               

 



 

 

   

    

 

  



5

[THEY GO ABOUT CLEANING THEIR SWORDS/ DAGGERS. ANTONIO GAZES INTENTLY AT HIS VICTIM.]

 

33

ANT.

 





f

 

 



Fa - bri







 



         





7

     



     



     

                

 

-



       





  

 

       



                  





 







7

 

                       Bsn.







  

proud.

Loathed

by

ev’ - ry

ser - vant







7

      

     



  



ger so per - fumed and

              

            



no



  

lon



An - dri - a,

       

39



f

               



 

Vln.2./Vla./Clt.

                            

 ANT.

  

f marc.

Duke of

       

7



    

    

36

ANT.

zi - o,

Vln.1/Flts./Vibr.

 



-

                             

7

       

   





 

who

met

                            

6

     

41

ANT.





you,

             



         



7

            



loathed

by











each ser - vant

7

Ob.

                             

                           

 

 

     

43

ANT.

who

   





met

you.

7

       





    

 

     





Now

re



6

     



  

     





  

          



 









ady

for

an

o - ver - due







 



                 



 



 [THREE SERVANTS HAVE ENTERED; THEY WILL CARRY FABRIZIO AWAY WHILE ANTONIO SINGS.]

    

45

ANT.

shroud.

         6

     

     







 





   

                

      

6



  









   

7



            



   

 



  

   

7









We

all

knew

you,









We SERVANTS mf 2&3



all



knew



you,

you

were

We

all

knew

you,

you

were

   

47

ANT.

mf

SERVANT 1

SVT 1

SVT

2 3

    

mf

   

          mf           



      

50

ANT.

       - ver;        -

SVT 1

SVT

2 3

ver;

  you

 

  





her



do



her



SVT 1

2 SVT 3

-

ting



hus

  

-

a’s

lo -

Ma - ri

-

a’s

lo -

 



do



-

her

do

-



-

band

last





ting



hus



-

band



last

to

ting

hus

-

band

last

to







It

was

I

It



It



know.

Ma - ri

 



   

      know.    

lo -



               

know.

a’s

  





53

ANT.



-

            

ver;



Ma - ri

                   

                                      -

 

  

were

 

 



 

 Vln. solo

                                 

 



to



                               















was





was

   

    

I

I

 Pno.                                     3

8

   

56

ANT.



who

SVT 1

2 SVT 3

 de

    





who

de

   

 



who

de

    







ci - ded

to

tell





 -

-

-

  3



him;





him;

ci - ded

to

tell

 

 

 

 

to

tell

him;

  3

ci - ded

 

   

 





ment of

me

the

 





me,

the



3

 

 





                                                  



   

59

ANT.

SVT 1

SVT

2 3

        



   

 your



your

 treat -



 

treat -

your

treat -

 

      

ment of

 

ment of



me,

   





last

straw.







last



straw.

the

last

straw.

   

  





 

                                                           

9

ANT.

   

SVT 1

    

ANTONIO, SPOKEN: “BUT MY LADY… FORGIVE ME MY LADY…”

62

SVT

2 3

   

     

  

 



















Strs. pizz.

     

                 

       

mp

  

  

  

  

        

 

  

  

prepared Piano

   

66

ANT.

GES.

[THE SAME THREE SERVANTS WILL TAKE AWAY MARIA'S BODY AS GESUALDO SINGS.]

   

Pochiss. più mosso q = 76





GESUALDO





   

     

GES.





God will for - give

me



me





and no man may judge me,

mp stacc.





   3 

                    

 3  

           







Strs. arco/ Flts.

        

 3 

God will for - give

        

70

mp





  3  



and no man may judge

      

 

      

 me.

  3 



3  

I did what was right, I

           

 

   

10

  3   



73

GES.





did what was right,

        

I

 



3





did what was right.

   

3

God’s mer - cy be with me.

Ob./Clt.



     



     









+Bsn.



 

     

      



     



      

76

GES.

An - ton - io,

    





say

tru





           

 -



ly,



when you

 3  

look at Fa - bri - zi - o,

 









 

3

 



  whose

      

         



3         

79

GES.

face do you see?

    



 

 3  

Whose face do you see?

       

 

                         





   

Whose

face

do you see?



      





     

 

             

11

  

82

ANT.



ANTONIO



3       

I

GES.

    





mp



see on - ly blood.





   

       



3

3

  

mp



Too

Pno.





              

   



   



late for your games now!

 



Whose

            

mp

          



                  

  

 





 





 

 



   

87

ANT.







 

 



Your youn - ger son,

GES.

 3      

your





face do you see?

 3  

youn

   -



ger

mf

  son.



 

Whose face do you see?

     



  

  

 

  mf

     loco   

My

mf

  



  



 

 

 

    



   

  

mf

  

     

12 92

ANT.









My

Lord?

My

Lord?





 My

[GESUALDO, WIPING HIS SWORD.]

GES.

 



 

youn - ger son,

 



   

     







 



98

   

 



 



 3   bring him to me.

  



   



  

   

   

 

   





bring him to me,



 



Lord?

 3  

go fetch him here,

      

ANT.

3      







  



    



 3 3        





104

ANT.

 

      mf

 



 

 

   

 

  

 





 



 





  



3

  



  

 3



    bring him to me.

 

 

    



 

3

       

  





Bring him to me,

      

   

3

3

you asked?

GES.

I not done all that

       



  

espr.





Have 3

Do you dare dis - o - bey me?

      



       



There’s been e - nough kill - ing.

GES.



  



[ANTONIO LEAVES.]













    





 

 

mp





13

111

GES.

mp

      

3

God will for - give me,









Ob.





     

  

God will for - give me, no

man may judge

3

no man may judge me,





 

  



3

[REFRAIN CONTINUES AS STAGE SLOWLY GOES DARK. SCENE/COSTUME CHANGES. YEARS HAVE PASSED AND WHAT FOLLOWS IS MORE STATELY, ELEGIAC AND MEASURED.]











 me.





espr.













3. THE CHAPEL WE ARE IN A CHAPEL, GLOOMY, WITH A STAINED GLASS WINDOW REPRESENTING THE MADONNA (but also Gesualdo’s first wife Maria), THE DAYLIGHT FADING SLOWLY BEHIND IT. GESUALDO IS BEING FLAGELLATED BY HIS SERVANT ANTONIO. (THEY SING TO THE RHYTHM OF THE LASHES.) 118

ANT.

Meno mosso q = 65















p

  



ANTONIO

For

GES.

  















3

  

Dark - ness is fall - ing,



  



   

Strs./prep. Pno. (Vln.1 harmonics 8ve higher than top notes)





p

pp

 

  

 



  

   

    





 

14

   

124

ANT.



     



you, my Lord, GES.

for you, my Lord,

  





  

ANT.



 

  

 

 

3

 

dark - ness is fall - ing,

 

  

 

 

   



 



p





 



3

   

Dark - ness is fall - ing,





   p



the great day of judg - ment draws near.



133

  



  

 

wel - come it!

   

  



I







    



Your days are end - ing,

   

      

    I

   

  

  



3

  

  

 

 



 

    

 

     

     

GES.





the great day of judg - ment draws near.



  

ANT.



 

     

you, my Lord,

GES.

 

 



128

3

for

dark - ness is fall - ing,

  

  



  

  









3

    

Hell’s fires are wait - ing,

  



wel - come it!

I’ll





   

    





15 137

ANT.

 

 







   

The day of our Lord God

GES.

    









draws

near,











bathe in them!











    

 

 

  

 

 

the

day of





 

The

day

of our





     

  

Vln.1

 

 



p

    

    



 

  

    

   

     



143

ANT.

   our Lord

GES.

  

 Lord

 

     

 





God





God

 





[THE FLAGELLATION IS AT AN END.]







[ANTONIO DOES SO.]



draws

near.





draws

near.





 





 

 

  

 

  

        

  

GESUALDO, SPOKEN: “RUB ASHES INTO THE WOUNDS, ANTONIO.”





  







  



  



16 149

ANT.

GES.



ANTONIO, SPOKEN: “ASPERGITE VOS CINERE. SPRINKLE YOURSELF WITH ASH.”







 



(Vln.1 harmonics 8ve higher than top notes)

  155

ANT.

 

 

mp

      

3

         

     



3

for you, my Lord,

    







Dark - ness is fall - ing,

     

mp

  



159

ANT.





    

3

dark - ness is fall - ing,

GES.

  

3

    













3

3

   

    

   

  

          





for you, my Lord,

    







 

 



   

   

for you, my Lord.



The day

     

  



3









of your judg - ment draws near.





GESUALDO, SPOKEN: “OFF WITH YOU, ANTONIO – MY PRAYERS ARE FOR GOD ALONE.”





dark - ness is fall - ing.

 



dark - ness is fall - ing,

Flts./Pno./Vibr

  



         

dark - ness is fall - ing,





 

       

    

Dark - ness is fall - ing, mp

GES.





   

3



GESUALDO, SPOKEN: “QUIA VENIET DIES DOMINI MAGNA.”



   



ANTONIO, SPOKEN: “THE GREAT DAY OF THE LORD DRAWS NEAR.”

 



 

   

  

   

  

   

  

17

[ANTONIO MOVES TO A CORNER OF THE STAGE. GESUALDO FALLS TO HIS KNEES, 164 FACING THE STAINED-GLASS WINDOW.]

ANT.









mp GES.



   



 

Ma

3

   



mp

 

 

-

 



ri - a

slain,

        

I am your hum - ble ser - vant, Lord,





mp





your faith - ful hy - po - crite.

     

 

 

 

 

 

 

 

3

 170

ANT.





 Fa

GES.

-



bri - zio





slain,

my

      3

  

My mu - sic 3

all







Mas - ter



in praise of





lives

in

   

  

you





but blood - ied to the hilt.

    

  

 

  

  

 

 

 

 The

         

 175

ANT.



 pain,

GES.

  







 

my Mas - ter

lives in

  

pe - nance I pay



    









pain.

I

helped

him

 

  

ev’ - ry day seems to please you not one

   

  

  

  

 

 

 bit,

 

   



kill,

for good or

    

       





you take a - way my son

   

 and

18 180

ANT.

GES.









  

ill

and

so

on



  

  

heir,

he will

[HE DRAWS A DAGGER FROM IT'S SCABBARD.]







a

kill



pay - ment for the blood

 -















gain.







I’ve spilt.

   

  

  

      

  

 

 

    

 

 

 

 

p

pp

 

 

 4. MARIA’S GHOST

[MARIA, OR RATHER HER GHOST, HAS BEEN ‘EMBEDDED’ WITHIN THE STAINED-GLASS WINDOW.]

Poco più mosso q = 75

MAR.

ANT.

  

MARIA

    

ff







An - ton - i - o!

  



         5

 Tpt.    ff

ff

 





 

 MAR.





      



  

190



5

    



  

   

 



I was your mis - tress once.

ANT.

 

   

3

 

 

   

5

 



           

5

 

   





My Mis - tress de - mands it.

      



Will you kill your mas - ter?

Who’s there?

W.W./Strs.

    



     

 

   

5

Ma - ri - a?

 

(Tpt. 8va.)

 

193

MAR.

ANT.





 3  



Lis - ten to

 

   

           



  



 

An - ton - i -

o.

If you





My La - dy?

  

5



me,

19

  



 

  

5

  

  

 

5

  

   5

  

  

     

 197

MAR.





   3 

3

kill



3

him, his suf - fe - ring dies

  



   

  

5



   with him;

  



 

 

   

kept

a - live,

     







his



soul

is

 

5

5

 

 

5

 

   

 

 200

MAR.

 



3

flayed ev’

 

-



ry

day.

   5

  



 



        5

     











5

5

 





 5





20 203

ANT.

ff

 

ANTONIO

  

If

  

  

If

SERVANTS 2&3

2 SVT 3

kill





him,

his





ff

SERVANT 1

SVT 1

I

he kills

  

ff

 

If

he kills

   

him,

his





him,

his

  

 

 



  

mu - sic dies with him.

3

     

3



Let him live, and

 



  

mu - sic dies with him.



Let him live, and

 

  



mu - sic dies with him.

  



5

  

3



Let him live, and

  



5



5

 



206

MAR.

ANT.



 3

  that

SVT 1

3

  

          mu - sic will be saved.

 

3

that



 3     





If he lives, you’ll

re - pay the debt that you owe

me

when





  

mf







    

mf

  

If

 

I

kill

 



him,

does my

















mu - sic will be saved.

     



mu - sic will be saved.

that

2 SVT 3

MARIA

5







 

  mf

  

    

  

   

    

  

21 210

MAR.









you help’d him 3

ANT.

    











to

kill

me

on

that





     

mf

  

    

day.

Can

    

 

  

this mon- ster he

made of

his

 



ser - vant

be

        



 

  

  



 

 



     

with him?

  



fate - ful



3

  

gu - il - ty cons - cience die

  

   

 

 

 215 mp

ANT.

 









saved?

GESUALDO [STILL AT PRAYER…]

GES.

  

mp

 3  I







am your hum - ble



ser - vant,



 3

Lord,









my soul stain’d dark - est

red.

                                                                  mp

  

 

 

 

 219

GES.

 





  3

Mu - sic

pours







out

from

my





pen,

 dipp’d





in

the

3

                                                      

 

 

22 222

GES.

  









blood

I

have

shed.





 



That so

much



 

3

sac - red mu - sic,

 Lord,

                                                

  

 

 



225

GES.

  





3

flows from

 a



 3

pro - fane





 



deed

 3



must give good men

                                                         

 

 

 



    3

228

GES.

a



mo - ment’s





pause:





Does

e

 

 -

-

-

  



vil fill

some

 

                                                             

 

   

 

 

23

 MARIA   

231

MAR.

 

mf

  3 

  

If he lives, you’ll re - pay

GES.

 mf    

 



the debt that you owe me



   

 

when you help’d him to kill me





need?

   

5                            mf                        5

      

  

on

that fate

235

MAR.

      ANTONIO mf

ANT.

If

  

-

ful



  





he dies,

does

my





guil - ty



 

cons -

MAR.

ANT.

   







That so much

sa - cred mu - sic,

Lord,

flows

from

mon -

GES.

ster

he

made of



his

ser - vant

GESUALDO [MIMES TO MARIA'S SINGING]









That so much









sa - cred mu - sic,

  

 

with him?

Can this



  

   

  

                                   

mf

            



cience die

mf

   



day.

                         

239

 



                                    

     



  

  



a pro - fane deed



must



be saved?







Lord,

flows

from

  

 



a pro - fane deed

 must

                                                                

 

 

 



24

 

    

244

MAR.

give good men

ANT.

GES.

         

 





give good men

   a





mo - ment’s pause: 3

   Can this mon

-

 



a



Does

  

                       



ser -





mo - ment’s pause:

e - vil fill some need?

Does



      

ster he made of his





    



Does

vant be saved?











e - vil fill some need?

Does

                                          

 

    





    





vil

fill

249

MAR.

e

ANT.

GES.

-

        

  e

-





vil

fill





some

need?



ANTONIO, SPOKEN: “WHICH IS CRUELLER – TO KILL OR NOT TO KILL? CAN THE MONSTER WITHIN ME BE SAVED?”

 

mp











some

need?





















                                                        

       

mp

 

 





25 [MARIA, WALKING AROUND THE KNEELING, PRAYING GESUALDO…]

254

MAR.







 mf



Your

         



 

  

   



  

3



cruel - ty that day knew no bounds,

 

  

 

3

 

   

  

   

  



258

MAR.





 



3

 

3





Sa - tan look’d out from your eyes.

  

    

You



thought

your

 son

 

 

  



   

  



  

Fa - bri - zi - o’s,

 

   

   and so

  

  

   

 







head,

my

fa - ther slain



262

MAR.



 3   en - ded his

ANT.

 



life.



A

  

   

kill him,

 



his

       



bul - let to my true love’s

mf

If I

  



     





mu - sic

 

   





dies

with

  





him.

 

        







 as



  Can the



   

  

26 267

MAR.

ANT.







well.

If

  



you weren’t al - rea - dy liv - ing





there,

I’d





with - in

me

be

saved?



    

    

    



ster

 

3





mon -



    

   



    3

see you

in

hell.







 

 

5. END OF PRAYER [GESUALDO ENDS HIS PRAYERS, CROSSES HIMSELF AND RISES TO HIS FEET. HE SEES THAT ANTONIO IS THERE, AND WITH A DAGGER DRAWN.]

271





  

  



   

  





ANTONIO



GESUALDO p

GES.

  



   

3

      

p

    

  

    





  

3

 

 

Dark - ness sur - rounds us,

    



3

 



    



 

 

 



  

Lord.

It

  

     3

sits in our hearts’ core;

      3

 

 



p

It

 

  

   

  

Yes, my



 

    

  

Yes, my Lord.



     

    

  

     

Dark - ness has fal - len,

      

  

     



     

ANT.

  



277

283

L’istesso tempo q = 75

 

27 288

MAR.





p

  

MARIA

 

The mo - ment of

ANT.





 

does, my

GES.

  

Lord.

  

 

    

 







  

 







near.

 



near.

 



 

 



mp

    Leo -

mp

judg - ment is



must not die.

mp

 





near. Your mas - ter

judg - ment is

 

The mo - ment of

    



 

judg - ment is

 

The mo - ment of





mp







 

 





  







293

MAR.

  





    You

ANT.

 

3

  

 

know











what

you

owe

me.







- no - ra de - mands it.

GES.

  

    

       







    

 

     3

3

 







[GESUALDO WALKS RIGHT UP TO ANTONIO SO THAT THE TIP OF THE BLADE TOUCHES HIS CHEST.]



  





    

    



   

 

28 299

ANT.

GES.



   

    

 

mp

 



mp



 

 

   

Then you know that I mean to



kill you?







   



 

   



  





  



  







   

It

is

 

 



I’ve

No fear now, An - to - ni - o.





  

right that

 



it



  



 304

ANT.



 

wait - ed such GES.

 

is

a





long time.





so.

   

 Then

         



kill

me you

  

must,

 

    

 



     3   

3

my judg - ment is

     

 

    



  

fi - nal - ly

here.

    

 

 





 309

ANT.







Your GES.

 



    



mu - sic











dies

with

you.



 3  Mu

 



    

 

-

sic



    

Leo - no - ra, she made



 can’t





me… My













 



die,



   



3





 

29 313

ANT.

GES.







      

    

ANT.

GES.

 



fi

 -







 



  

 

judg - ment is

here,

 



the

 



 

 







here,

the

day

of







the

day

of

day

  

day

  

of

 of





3

judg - ment is

 

judg - ment is

here

3



day

  

 

 

 

   

 



  

        

 

of



of

light,

day

3

day

see new

the

judg - ment is

the

I

here,

of



While



day







The



 





















3

 





  

 





     



  





re.

    

324

GES.

on

  

 ANT.

brain is

       



  



what is right.



319



 



You must do

 





of





 

here,



the

judg - ment is

here,

the



3









 

   

3













here.

   

3

judg - ment is





 

3

judg - ment is

judg - ment is



 



here.



   



 



30 [ANTONIO SEES THAT HIS MASTER REALLY WOULD WELCOME DEATH AT HIS HANDS. BUT ANTONIO CANNOT BRING HIMSELF TO DO IT.] 328 mf

ANT.

GES.

  

  

   



I can - not,

I





I

can

can - not,

3  3    

mf







 -



   

no - thing, that’s all

I



ask,

  

that’s all





   







 

 

 

 

 

 

335

[HE HOLDS ANTONIO’S ARM STEADY AND EASES HIMSELF ONTO THE TIP OF THE DAGGER, ALMOST EMBRACING HIS SERVANT AS HE SLIDES FURTHER UP THE DAGGER’S BLADE UNTIL IT IS EMBEDDED TO THE HILT.] mp 3 3

    





      

       

Dear An - to - ni - o,

dear An - to - ni - o,

341







 

 

 

 



    

     



      

mp





Is

that

  



ANTONIO



Tell Le - o - no - ra



for - give me,



mp

 

 



I lov’d

 

 

 

 







true?

 

her.

  

 

 

 

ask.

    3

that’s

all that I

ask.

 



Is

that

    



I





The gates



not.





GES.





mf

ANT.



Then do

 

GES.





of death







true?

Is



  

are

o - pen - ing,

 

   

 

 

31

[MARIA [STEPPING BACK INTO THE STAINED-GLASS WINDOW.] 348

MAR.

ANT.



 





that GES.

  







are

  

 o

















    u - ni - ver - si







At - ten - dite,

   -



At - ten - dite, mp

true?





mp

    u - ni - ver - si





pen - ing.



  

 



 

 



 



 

 





 

 



 

[THE STAGE IS SLIPPING INTO DARKNESS, THEIR VOICES FADING.] 353

MAR.



  

   3    

po - pu - li,

ANT.

et

           

do - lo - rem

me - um.

 

        3

po - pu - li,

GES.

vi - de - te

et mp







Te

 

  

vi - de - te

-



do - lo - rem

me - um.





ne - brae,



   At - ten - dite,

 



   

u - ni - ver - si

  

     

At - ten - dite,

 te



     

    

u - ni - ver - si

 -

ne

 -

brae,

  dim.

 

32 359

MAR.











po - pu - li,

ANT.

 







po - pu - li,



 3 



et

vi - de - te

do - lo - rem



  



et

vi - de - te

do - lo - rem

3

 

 

















me - um.





me - um.

[GESUALDO, WITH HIS FINAL DYING WHISPER…]

GES.

   te

   

 

 -

ne

 -







brae…

    



  







 

 

 