Page 1

GHOST PATROL an opera in four scenes

by

Stuart MacRae with a libretto by

Louise Welsh

Vocal score

Novello & Co. Ltd.


GHOST PATROL an opera in four scenes by Stuart MacRae with a libretto by Louise Welsh

Dramatis Personae: Sam (tenor)

An ex-army sergeant in his thirties, who has fallen on hard times

Alasdair (baritone)

An ex-army captain in his thirties; proprietor of the pub where the action takes place; Vicki’s boyfriend

Vicki (soprano)

An aspiring singer in her late twenties or early thirties; Alasdair’s girlfriend

Setting:

The opera is set in a contemporary British city five years from now. The country is at war in a distant land, but it’s business as usual at home. There are no bombs or armed combat in the streets, but images of the conflict and its victims dominate TV news reports. The opera takes place entirely in the barroom of Alasdair’s chichi gastro-pub. The hostelry is equipped with all the usual comforts, a well-stocked bar flanked by high stools, a flat screen TV, a few tables and chairs and a comfortable looking couch. A vase of spring flowers sits on the bar. A pair of French doors opens out onto a beer garden, where a tree is heavy with blossom. The far wall is decorated with a poster advertising Vicki’s forthcoming performance. It shows Vicki in dress uniform, her cap tipped at a jaunty angle.

Duration: ca. 58’00” Scene 1 ca.14’30” Scene 2 ca. 6’00”

Scene 3 ca. 21’00”

Scene 4 ca. 16’30”

Text © Copyright 2010 Louise Welsh. Extract from “Ode of Remembrance” by Laurence Binyon By permission of The Society of Authors as Literary Representative of the Estate of Laurence Binyon. All Rights Reserved. International Copyright Secured. Stuart MacRae’s Ghost Patrol was co-commissioned by Scottish Opera and Music Theatre Wales. It was first performed on 30 August 2012 at the Traverse Theatre, Edinburgh, conducted by Michael Rafferty and directed by Matthew Richardson.


GHOST PATROL Text: Louise Welsh

Music: Stuart MacRae

Scene 1 [ Lights up on the interior of a pub. It’s closed for the night. The room is almost in darkness. ] 2"

ca. 5"

2"

ca. 5"

2"

ca. 5"

= ca.120 (

= ca.240)

Vicki

Sam 8

Alasdair (High bongo)

2"

= ca.120

( = ca.150)

(

3

= ca.240)

ca. 5" Vlc., Cb.

Pf.

5

(gliss.)

A 9

3

Scorrevole ed agitato ( = ca.104)

3

3

= ca.104

3

6

6

3

3 6

6

3

Vla., Vlc. (trem.)

6 6

12

6

6

6

3

3

3

3

6

3 3

Copyright © 2011 Novello & Co. Ltd.

3

3

3


2 3

3

15

3

3

3

6

6

3

6

6

3 3

6

17

6

3

3

6

3

3

3

6

3

6

3

6

3

19 6

3

3

3

6

3

3

3

6

6

6

3

3

21

3

6

6

6

3

6

3

6

6

6

3

3

23

6

6

3

3

3

3 5

6

5


3 6 6

3

6

25

3

3

6

3

3

6

cresc.

3 3

3

3 3

6

6

6

27

3

6

3

6

6

3 3

[Sam is emptying the till when ALASDAIR enters, turning on the light. Alasdair quickly takes in the scene and a violent tussle commences. The two are well matched and it’s anyone’s guess who will win. ]

B

29

3

3

3

3

6

6

6

3

3

3

5

Tpt., Tbn. (fltg.)

31 3

3

3

6

6

6

6

6


4 33

3

3

3

6

6

36

3

3

3

7

3

3

38

3

7

7 7

7

7

3

marcato

40

7 3

3

3

5

5

5


5

C

3

43

3

3

3

3

5

5

3

m 46

3

=

o

= ca.78

3

3

3

5

49

3

5 3

3

51

6

3

3


6

53

3

cresc.

3

3

3

[ A punch throws the men apart and they see each others’ faces. Their combat shudders to a halt. The two men are still wary, but there is something between them which will not allow the fight to continue. ] 8va

55

(loco)

3

57

3

3

D

3

(dim.)

3

[ Alasdair goes to the gantry and opens a bottle of whisky. He throws the bottle’s cap on the floor, pours two drams, sets the bottle on the counter and takes a seat on the customer side of the bar. Sam joins him, leaving a vacant stool between them. His eyes wander round the room. ] 60


7

E 66

3 3

Meno mosso = ca.60

73

3

[ Sam’s gaze rests for a moment on the photograph of Vicki. ] High Bongo

3

[ The men are both exhausted by the fight.They maintain eye contact as, out of breath, they raise their glasses and drink, without making any toasts. (The pair continue to drink throughout the scene.) ]

79

F

High bongo

Moderato = ca.100

Fl.,Vlns.

stacc.

86

ALASDAIR

Night

man oeuv

res

Ser

geant

Scott?


8

Meno mosso 88

ten.

= ca.90

3

SAM

8

I

have

no

in

rank

Civ

vy

3

street,

sir.

Meno mosso = ca.90

3 3

rall.

90

= ca.90

S. 8

mockingly 3

ALASDAIR

3

So you go

rall.

on Ghost

= ca.90

3

Poco meno mosso = ca.84 provocatively

92 A.

Ser geant?

Poco meno mosso 3

3 3

3

= ca.84

Pa trol,

3

3

3

3

3 3 3 3

3

3

[ Alasdair takes out a pack of cigarettes. He selects one for himself and then offers one to SAM who accepts. Alasdair lights them both up with a bashed Zippo. ]


9

95

3

3

5

3

5

97

G

ALASDAIR

x

Blood y nois 3

3

x

x

x

x

for a ghost.

y

G 3

3

Largo

Poco più mosso

= ca.54 99

SAM

8

= ca.60

parlando

3

strongly

5

If I’d known this place was yours I...

would

have

left

well

a lone.

parlando 6

3

A.

Largo = ca.54

...would have been qui et

er?

Poco più mosso = ca.60

5 3


10

101

[ Alasdair refreshes their glasses. ]

S. 8

.

3

A. Ghost

Pa

trol,

Ghost

Pa trol.

Night

man oeuv res.

3 3 3

3 3

103

[ Sam pushes his glass away and gets to his feet, ready to leave the way he came. ]

3

A. You used

to dream,

Pi첫 mosso = ca.80

3

3

107

m = o

3

3

A. dream

of

leav

ing

Pi첫 mosso 3

m = o

3

= ca.80 3 3

the

fight,

rais


11

H

109

ten.

parlando, dismissively

A. ing

a

fam

i

But you were saf er

H

ly.

in the ar my.

8va

ord.

Meno mosso = ca.60 [ Sam turns to face Alasdair, his expression incredulous. ](to himself) incredulously ten. 111 SAM

8

Saf

er?

Saf

er.

Meno mosso = ca.60 8va

3 3

3

3 3

114

3

116

3 3

3

3

3

I SAM

3

Pi첫 mosso = ca.80 3

Stand

8

I 3 3

3

Pi첫 mosso = ca.80

3

ing

all


12

3

3

118

3

3

S. 8

night

on

a

stag

a

lone

in

8ba

120

3

3

3

3

S. 8

the

dark

and

the

black

feel

loco

3

3

3

8ba

3

122

3

3

3

S. 8

- ing

the cold

on

your

face,

the

weight

cresc.

125 S. 8

of the

kit

(cresc.)

on

your

back.

quasi rall.

molto


13

Pi첫 mosso (Moderato) = ca.100 tenderly

128

J

S. Re

8

cal

Pi첫 mosso (Moderato) = ca.100

7

5

7

5

132

ling

the

soft

ness

of

girls,

J

3

3

S. 8

the

fizz

of

beer

on

your

tongue.

Your 3

5

5 3

5

5

6

3

molto 135 S. 8

ears

fuck ing

strain

ing

for the sound 8va

3 3

of a

cock

ing


14 afraid, almost a whisper

K

138

Poco meccanico = ca.80

S. 8

gun.

roughly, but jaunty— a bit grotesque

ALASDAIR

Head

K

8va

ing out

on

Poco meccanico = ca.80

marcato

142 A. Pat

rol,

pock

ets

packed

with

sweets.

Meno mosso (ma giocoso) = ca.60

144

3

A. Kids

swarm

ing

Meno mosso (ma giocoso) = ca.60 Bass Clar.

3

3

3

3

3

3

3

3

3

3

3

3

3

3


15

146

3

3

3

3

A. the squad

like

a fuck ing

paed

o’s

treat.

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

jaunty 3

148

3

3

3

3

3

3

A. Wait ing for an or

phan

to de

- coy you to

3 3

3

3

3

3

loco

3

rall. 151

3

3

3

3

that

8va

3

3

a bomb

3

3

3

3

3

3

Meno mosso = ca.54

falsetto

3

3

A. blows your brains

to fuck ing

rall.

8va

3

loco

hell

and your bol locks

to

Hong

Kong.

Meno mosso = ca.54 8va

3

3 3

3

3

3

8ba


16

155 SAM

L

8

= ca.66

3

Hear

ing

a

shout

down

the wire:

“The

A.

L

= ca.66 (Strings, sul pont.)

9

9

9

9

9

3

157

3

S. 8

whole

thing

just

kicked

off.”

9

Scream

9

9

9

9

3

158

3

S. 8

ing

9

long

in

9

9 9

8ba

a

9

9

the wag on,

9


17

Più mosso = ca.80

159

3

3

5

3

S. 8

Più mosso

and the

of

fi

cer’s

a

toff,

he

would n’t

= ca.80

cresc.

5

160

5

S. 8

your tow

er

block

but

you

3 3

161 S. 8

fol

low

him

just

5

8ba

last


18

Con moto

(resigned, darkly)

162

rit.

= ca.100

S. 8

the same

cos

or

ders

is

or

ders

is

Con moto rit.

= ca.100 Fl., Cl.

Bsn.

3 3

165

= ca.60

3

(bitterly)

3

S. 8

or

ders

and

war’s

a

blood

y

= ca.60

168

M

3

S. 8

game.

ALASDAIR

3 3

Ly ing on a pave

ment

3

3

3

your face in shat tered glass

your

M 3 3

3

sempre stacc. 3

3

3


19 = ca.50 3

171

3

=

more wistfully

x

A. eye

on

a gun site,

a

gun site on

your

Re

arse.

= ca.50 =

3

3

3 3

174

3 3

3

3

=

= ca.67

A. mem

ber ing

the jobs

moth

er

prayed

you’d =

Cb. (pizz.), Hp.

= ca.67

[ ]

[ ] 3

3

3

3

[ ]

[ ]

Poco meccanico = ca.72

176

3

3

3

3

3

3

A. do.

And

the on

ly prize if you

sur vive

is

a mug

of

Poco meccanico = ca.72 8va

Picc.

3

3

5

3 5

5

3

3

3

5

3

3 3 3

3

8ba

3

3

3

3

3

3

3

3

3


20 [ The men grow physically closer. ]

179

=

S. 8

A. NAA

FI brew. =

8va

6

7

Picc.

6

6

6

6

6

6

6

6

6

6

Tbn. (loco)

6

6

6

7

6

7

8ba

N

(

182

= ca.48)

8

3

=

( = ca.72)

SAM

Know ing

ev’ ry day

might be your

=

last. 3

3

A. A pla toon

N

(

= ca.48)

grow ing up

too

( = ca.72)

5

=

Ob.

Ob., Vla.

5

cresc.

5

5

5

8ba

of vir gins

5

(loco)

3

=

Ob., Vln.

Ob., Cl.

5

6

5

6

5

6

3

3

3

3


21

(

184

= ca.144)

S. 8

Be

ing

one

of

man

y,

an

A. fast. (

Picc.

= ca.144)

Cl.

Tpt.

187

( = ca.108)

S. at

8

om

in

( = ca.108)

a

5

bomb.

3

Picc.

5

3

Ob.

Tpt.

5

3

3

5

3

3

3

5

3

3

3

5 5

3

189

5

3

3

3

S. 8

ALASDAIR

A

rock

3

A

tread

on a

et

in

a

tyre,

Tbn.

5

5 5

5 5

5 5

5

5

5

5 5

5

5 5

5


22

191

3

S. laun

8

cher

read y

to

ex

plode.

A. a

bul let

in

a

gun,

a

Picc.

5

5

5

5

5

5

poco 5

5

5

5

5

5

193 S. A

8

fin

ger

3

A. hun

dred

march

ing

feet,

8va Picc.

3

3

3

3

3

3

3

3

5

5

5 5

5

5


23

196 S. 8

on

a trig ger,

an

edge

3

3

A. march

ing

down a

road.

A

glint on

Picc.

Hp.

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

198 S. 8

on

a

3

blade. 3

3

3

3

A. bay

o

net,

an

or

der

that’s o

beyed.

8va (Picc.)

cresc. Tbn., Vlc.

cresc.

5

cresc.

cresc.

5

5 Vlc., Cb. (pizz.)

5 5

5

5

5

5

5

6

5

6 3

a


24

200

O

S. 8

Fear

was

our

friend

our

friend.

a gainst

the

A. Fear

was

O Picc. 8va

3

dim.

3

3

Tbn.

3

3

3

Tpt.

molto

5

5

6

7

dim. (arco)

6

5

5

3

202 S. 8

en

e

my. 3

3

A. But

we

did

n’t

fight

for coun

try

Cl.

3

5

5

dim.

7

stacc.

3

3

5

5

3

dim.

3

3

dim. 5


25

Meno mosso = ca.92

204

3

S. 8

We

fought

for each oth

er

A. or

for

Meno mosso

Queen,

= ca.92 Cl.

3

3

3

3

3

3

3

3

3

3

3

3

dim.

206 S. 8

Com

rades

and

broth

ers,

Com

rades

and

broth

ers,

A.

3

3

3

3

3

sempre

Ancora meno mosso 209

= ca.80

3

3

3

3

5

P

Calmo

P

Calmo

= ca.60

S. 8

Com

rades

and

broth

ers.

Com

rades

and

broth

ers.

A.

Ancora meno mosso = ca.80 5

5 5

3

= ca.60

[ The mood changes. It takes on a sinister, less exuberant edge. The past has entered the room. ]


26

[ Alasdair moves away from Sam and refills their glasses. Alasdair tries to maintain the jaunty tone, but ultimately cannot resist Sam’s melancholy. ]

Calmo

= ca.40 3

213 freely

= ca.60

S. 8

Broth ers

in

blood.

I

sleep no

more. 3

A. You

Calmo = ca.60

= ca.40

3

espr.

3

Cor. Ang.

marc.

216 S. 8

I

taste

no

thing. 3

3

3

A. miss

218

8

the com

3

Col ours

lack

pa ny...

...the ca ma ra

de rie.

3

lus tre.

freely, relaxed 3

You miss

3

the

ar

my.

3

3

5

3


27

Q 220

Largo dreamily, remembering

= ca.40-48

S. 8

Q

I closemy eyes and see

a

lone ly road,

Largo = ca.40-48

3

8va

223 S. 8

a

pret

ty

girl,

and

far

a

way, Tpt.

8va

sim.

sim.

8va

8va

sim.

226 S. 8

far,

an

old

man. 3

ALASDAIR

You see

no

5

Bsn.

6

thing.


28

228

3

3

S. 8

A

bird

sings

and

I

hear

scream

ing.

marcato, pointedly 3

A. The night

3 Tpt.,Tbn.

3

3

3

Pi첫 mosso

= ca.56

3

230

3

S. 8

Day

dawns,

I smell the

A. is

si lent.

Pi첫 mosso = ca.56 Fl.,Ob.,Cl.

cresc. poco a poco

233

3

S. 8

street

van

smell

of

roast

ing

flesh

3

5

5 5

5

cresc.

5

5

cresc.

5

5

5

5


29 3

234

3

3

S. 8

the

old

man

turns

his

head

and...

(cresc. poco a poco)

6

3

(cresc.)

3

6

R

235

Meno mosso (flexibly)

[ VICKI enters. She’s wrapped in a dressing gown, tousled and sleepy, but still glamorous. ]

[ Alasdair makes an expansive movement with his arm and a glass smashes to the floor. ]

breve

VICKI

3

Wok en by

night mares?

= ca.50 espr.

My

poor

S. 8

ALASDAIR 3

A. E nough!

Meno mosso (flexibly)

R 3

= ca.50

3

breve

sul tasto

breve


30

238 V. A las dair,

still fight

ing

the war

in

[ Vicki makes a noise that is half scream, half gasp. ]

[ Vicki takes in the scene: Sam, the broken window, rifled till and smashed glass. The men are frozen, as if caught in the middle of a criminal act. ]

your

sleep.

[ The spell is broken. Sam looks stunned. Alasdair rushes to Vicki and puts an arm around her. He is back in control. ]

= ca.60

241

3

3

3

3

7

molto

molto

molto

7

[ VICKI’s daze seems more than sleep induced. She touches Alasdair’s cheek. ]

244 VICKI

There’s ALASDAIR

Meet

my

man,

Ser

3 3 3

6 6

3

geant

Sam.


31

agitato

247

[ She takes Alasdair’s hands in hers and recoils. ]

= ca.72

V. blood on your

face.

agitato

And

on your

hands.

= ca.72

softly

energico

3

6

3

[ Alasdair is determinedly bright. ] ALASDAIR 251

Ser

geant Sam.

our

Tpt.

new 3

3

3

3

7

7

7

cresc.

+Vln.

Ob. (full size)

7

cresc.

+Vla. Cl.

3

3

3

cresc.

(non stacc.)

7

7

8ba

[ Alasdair pulls away the throw covering the couch and starts to arrange it into a makeshift bed, using cushion for pillows etc. His movements are economical and efficient. Sam hesitates on the sidelines, torn between the prospect of a bed for the night, the possibility of a job and his embarrassment. ]

S

8va Picc.

3

loco

253

m =

3

6

3

3

poco 3

3

3

man.

+Vln.

3

3

bar

3

o,

= ca.108


32

256

VICKI

3

He

in

broke

but

you

give

him

the

leggero Fl.

3

3

3

3

3

leggero

3

259 V. to

the door. vigorously

ALASDAIR

We

3

3

for

fought

each

oth er,

3 3

3

3

cresc.

262 A. com

4

4

rades

and

5

key


33

265

rall.

T

VICKI

[ This news galvanises Sam. He steps forward, allying himself with Alasdair. ]

Meno mosso = ca.90 softly

In five

years

I

nev er heard his

name.

A. broth

ers.

rall.

268

T

Meno mosso = ca.90

SAM

8

Com

rades

and

broth

ers.

3 3

3 Tbn. (Solo)

271

sonore

marcato

S. 8

We

lived

for

each

oth

er


34

pointedly

274

3

3

3

S. 8

long be fore

he

ev er knew

your name.

ALASDAIR

Cease

fire!

3

3

3

3

[ Alasdair takes hold of Vicki and Sam’s hand and stands between them. He addresses Sam. ]

U

= ca.50 freely, con rubato

Senza misura

277

3 3

A. Vic

ki

makes

2 Cb. oAlasdair

1 BCl., Cb. together

1

2

poco

ad lib. Cb., BCl.

Vlc.

= 40 and

man.

= 50 poco

rall. poco a poco

= ca.45

1

an hon est

Cb. 3 oVlc. Vary tempo between

U Senza misura

me

(BCl. goes out of sync with Contrabass)

3

poco

ad lib.


35 = ca.40 Bass drum roll

Hp.

près de la table

3

3

8 Alasdair oHp. plainly

6 Alasdair oPerc.

più

Alasdair oBCl., Vc., Cb.

9

A. with

out

her

I’m

just

a sol

dier

4 Alasdair oVln.1

who’s lost

his

war.

7 Alasdair oVla.

= ca.35 = ca.40

Vln.1

x2

Vla.

= ca.35 Vln.2

x2

poco

2

Play boxes 1 and 2 in order first, then repeat in any order. When signalled to stop, complete the motive within the current box, then stop.

*

Play boxes 1, 2 and 3 in order first, then repeat in any order. When signalled to stop, complete the motive within the current box, then stop.

*

* Stop at the end of current motive.

rit.

Bassd drum

278 [ Alasdair turns to Vicki. ]

Alasdair 3 oBCl., Cbsn.

Senza misura

= ca.45

= ca.78 (più mosso) 3

3

3

3

A. Sam

278 Vla.

= ca.45

Cb., Bass drum

is the hard

est man

Senza misura 1 Alasdair oBCl., Cbsn., Hp. in together

to

face an en

Alasdair 2 oVlc.1,2 Vlc., col legno battuto

( = ca.45) poch. rit.

BCl.,Cbsn.,Cb. 8

Vary upper pitches. Also alternate between upper and lower pitches (i.e. upper only or lower only.

e my.


36

Perc.

sim.

rit.

[ Alasdair steps aside, joining joining Sam and Vicki’s hands. ]

= ca.45

280

molto 3

A. Alasdair 3 oVlc.1,2

The kind of arse hole you want on your

side.

Alasdair 4 oVlc.1

Vlc.1,2 (pizz.)

= ca.45

3

poco

281

molto

BCl.,Cbsn,Cb.

dim.

Dolce

( = ca.45) semplice

= ca.60

A. I want you to be good

friends.

Dolce = ca.60 3

[ They let go of each other’s hands suddenly, as if shocked by an electric current, and step apart. ALASDAIR puts an arm around Vicki’s shoulder and leads her towards offstage and bed. Vicki pulls away from him. ] Tranquillo = ca.52 VICKI

V

284

In

V

3

Tranquillo

3

= ca.52

3 3

3

a

gar

ri


37

286

3

V. - son

town

you

meet

man

y

Fl. grazioso

3

3 3

3 3

288

3

V. men,

who

are

ghosts.

They

3

290 V. walk

like

men

and Ob.

talk

and

look

like

men. Fl.

Hp.,Vlc.,Cb. (pizz.)


38

293 V. But the

297

best

part

of

them

is

lost.

W

V. Ghosts

hate

liv

the

ing

and

their

love

is

W 3

3

3

cresc. 3

3

3

300

Con moto

= ca.63

V. cursed.

Con moto

= ca.63

Tpt.

Cbsn.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3


39

302

optional:

spoken 3

V.

x

x

x

x

x

x

x x

x

x

He’ll steal ev’ ry thing you ev er worked for.

3

5

5

3

X Transition I–II [ Alasdair shrugs his shoulders at Sam in a ‘women, can’t live with them, can’t live without them’ gesture. He leads Vicki off stage. Sam is left standing alone in the dim light of the empty bar. ] 304

306

( = ca.63)

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

309

3

3

3

3

espr.

3

3

3

3

3

3

3

3 3

3 3

3

3

3


40

Meno mosso = ca.60

3

313

3

3

3

8ba

Scene 2 Senza misura 1 [ Sam sits down on the couch. He looks up at the ceiling, following the progress of Alasdair and Vicki’s footsteps 1 across their bedroom floor. ]

319

8

2 Sam oFlute = ca.60 SAM regretfully

Scene 2

His

1 Senza misura

= ca.60 ( con rubato

heav

y

Fl.

= ca.48)

Bsn.

Fl.

cresc. poco a poco = ca.60 Cl.

piĂš mosso Bsn.

3 SamoCl., Vlc. 1,2

4 SamoBsn. 3

3

3

3

S. 8

stride, (no pause first time) Vlc.1

Vlc.2

her

light er

tread.

He folds

his clothes up on

the chair.

5 Bsn.oFl., Cl., Vlc. 1,2


41

2 Sam oOb., Bsn.

1 2

3 Sam oOb., Bsn.

[ Sam clicks on the bar’s television. the news is on, the war playing out on the screen. Sam turns away from the television. He seems to be ignoring the broadcast, but the TV is a conduit which returns his subconscious to the past. ]

= ca.60

3

S. Her robe

falls

to the floor.

I

sit here

a lone.

Ob.,Bsn.

espr.

= ca.60 3

3

3

3

3

3

Largo = ca.40

4

3

3

S. Too far

to see,

Largo 3

Fl. (Solo)

too far

to know,

veloce e grazioso

= ca.40

3

3

7

3

3

3

S. 8

We meant no sim.

harm.

[ We hear a chorus of newsreaders, who read out the headlines. ]


42

Semplice

A

= ca.69

10

Chorus

*

To

3

day

two

sol

diers

joined the

lists

of

the

fal

len.

of

the

fal

len.

3

To

day

two

sol

joined the

diers

lists

14

Re

la

tives

have been

in

formed

but

names

have

names

have

unis.

Re

la

tives

have been

in

but

formed

Meno mosso = ca.60

B

20

not

yet been

re

leased.

Their names

can not

be

spok

en.

They

not

yet been

re

leased.

Their names

can not

be

spok

en.

They

Meno mosso = ca.60

* This gap may be omitted; it should never be longer than one beat.

B


43

Pi첫 mosso * = ca.72

Chorus

=

are

the

new

ly

dead,

fresh

ly

lost,

are

the

new

ly

dead,

fresh

ly

lost,

= ca.48 24

remembering the past: SAM haunted and increasingly troubled

8

A

lone ly

road,

a

pret

ty

girl,

and

= ca.48

(sempre

= 72)

and

we must

not,

can

not

whis

per,

and

we must

not,

can

not

whis

per,

Doppio movimento = ca.96

27

becoming somewhat panicky

S. 8

far

a

way

an

old

man.

Too

Doppio movimento = ca.96

cresc.

pi첫 pesante

* Independent of conducted tempo

far

to see,

too


44

whis

per

their

names.

Rel

a

tives.

whis

per

their

names.

Rel

a

tives.

31

3

5

more reflective

S. 8

far

to hear,

too far

We meant

to know

cresc.

Rel

a

tives.

Rel

a

tives.

C

35 S. 8

no

harm.

Too

far

to run,

C

sim.

sim.


45

38

3

S. 8

too

far

to stop,

my hand

touch ing

3

3 3

3

8

41

3

S. 8

her

face,

wip

ing

the

tears

cresc. poco a poco

43

3

3

becoming more panicky, almost desperate 3

S. 8

from her face,

try

ing

to smooth

the

cresc.

3

5

5 5

5


46 [ Sam gets up from the couch. The intensity of the flashback is still upon him, but he is shifting from the past into his war-infected present. He knows that the memory of the atrocity will continue to contaminate his life, especially when he is on his own. From here to bar 65 Sam is overwhelmed by what may be an episode of Post-Traumatic Stress Disorder. ] 46

8

fear

from

her

face. cresc.

3

3

3

3

sim.

5

3

cresc. poco a poco

3

5

3

3

3

3

sim.

8va

48

cresc. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

8va

50

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3


47

8va

52

D

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

8va

54

cresc. poco a poco

[ SAM’s symptoms gradually subside. ]

Senza misura ca.22" 8va

60

bisbigliando gradually introduce rests

dim.

E

Meno mosso = ca.96

65

Chorus

E

= ca.72

Must

not,

can

not

whisp

er

their

names.

Must

not,

can

not

whisp

er

their

names.

Meno mosso = ca.96

= ca.72


48

Chorus

Must

not,

can

not

whisp

er

their

names.

Must

not,

can

not

whisp

er

their

names.

F

71

SAM

8

3

This night

lies

F

76

3

[ SAM collapses back on the couch and the stage fades to black. ]

[ SAM looks up at the ceiling. ] 3

3

S. 8

long er

than that road.

I

G 81

walk

it

a lone.

Transition II窶的II Adagio = ca.54

89

molto


49

H

Meno mosso Con moto

A tempo ( = ca.54) =

96

=

[ Lights up. Some time has passed since that first night and small changes have taken place in the pub. The flower arrangement on the bar is composed of autumnal blooms. The large portrait of Vicki now shows her in combat gear, her mouth set in the same shining smile, her cap tipped at the same jaunty angle as before. Beyond the French windows, the tree in the beer garden sheds russet leaves (this may begin during the previous transition). It’s early evening. Sam springs into business, tying a black apron around his waist, setting to polishing glasses and slicing lemons. ]

Scene 3 Più mosso

Poco più mosso 1

= ca.60

= ca.72

Vlc.,Cb. gliss.

Adagio

Più mosso

= ca.50

5

= ca.60

[ Vicki enters dressed to the nines, ready to entertain the customers. No audience awaits her. Sam starts to mix Vicki a cocktail. ]

8

11

3

3 Hp., Vc., Db. (pizz.)

3

3

3

3

3

3

3


50

A 14

VICKI

8

A

3

3

Si

as a morgue

lent

Allegretto

= ca.90 3

3

poco

Più mosso 17

sotto voce playfully

lunga

3

3

= ca.114

(

=

)

(

=

)

V. af ter the un der tak er’s had his fun.

Allegretto

Più mosso

= ca.114

= ca.90

3

poco

3

3

Meno mosso

Più mosso, poco stringendo

3

3

3

3

( = ca.57)

3

3

3

19

3

= ca.60

S. 8

A road side bomb

sent four

men

home

to

glor

y

Meno mosso ( = ca.57)

Più mosso, poco stringendo

= ca.60

to day.


51

22

3

S. 8

Brave

men.

A

tes ta ment

to

Meno mosso = ca.54 25

our reg

i ment.

Quasi senza tempo

lunga

VICKI

freely, solemnly

3

lunga 3

The

3

To the wo men who weep for them.

3

S. 8

towns

peo ple

mourn.

lunga

Meno mosso

8va

Quasi senza tempo

= ca.54

5

lunga

5

Quasi senza misura (Pi첫 mosso, colla parte)

moto ( ) freely, congliss.

28

( )

V. A

quite freely, unhurried

man who picks up

a

gun

should

ex

S. To the men

who

died

Quasi senza misura

8va

( ) (Pi첫 mosso, colla parte) sim.

accel. (independently)

( )


52

Andante sostenuto

( )

B

3

31

= ca.63 tenderly, with emotion

V. pect

My

to die.

( )

B

8va

fa

ther

was a sol

dier

and

Andante sostenuto = ca.63

3

3

Meno mosso = ca.52

35 V. his

fa

SAM

8

Meno mosso 8va

ther

too. tenderly, with emotion

My

fa

ther was a

= ca.52

5

sol

dier

and


53

Subito più pesante =ca.54

poco agitato 39

ten.

cresc.

V. So

I

al

ways

knew

I’d

nev

er

be

a

cresc. S. 8

his

fa

ther

too.

I

al

ways

knew

I’d

Subito più pesante =ca.54 8va

poco agitato

3

43

emphatically

3

rubato, teneramente

3

V. sol

dier,

or

the moth er

of a

sol

dier,

or

3

3

S. 8

be

a

8va

3

(irregular accents)

sol

the

dier.


54

C

Adagio

allarg.

45

PiĂš mosso

= ca.48

ten.

= ca.60

V. lov

er

of

sol

a

dier.

Nev

er.

S. 8

So

I

al

ways

C 8va

warmly

Adagio 49

= ca.48

V. Nev

er

a

sol

dier.

3

proudly 3

S. 8

knew

Adagio = ca.48

3

I’d

be a sol

dier

like my fa

ther

and his

fath er

be fore

him.


55 [ From here to bar 70, SAM and VICKI are drawn physically closer as their words both chorus and contradict each other. Although they profess different attitudes, they’ve discovered a common background and this pulls them to each other. Whereas before they have been singing to themselves, now they sing to each other. ]

D = ca.60

52 V.

Nev

er

be

a

sol

dier,

S. 8

I’ll

al

ways

be

a

sol

dier,

8va

= ca.60

dim.

Meno mosso = ca.54

57

ten.

V. a

lov

er

of

a

sol

dier.

Nev

er

ten. S. 8

a

sol

dier,

Meno mosso 8va

= ca.54

a

sol

dier.

I’ll

al


56

Pi첫 adagio = ca.50

62 V.

be

a

sol

dier,

be

a

sol

dier,

a

moth

er

of

a

S. 8

ways

a sol

dier,

a

sol

8va

Pi첫 adagio = ca.50

[ Sam and Vicki are standing very close to each other. ]

68 V. sol

dier.

Nev

er.

dier.

Al

ways.

S. 8

(slowly and audibly) etc. 8va

8va

3

5

5


57

72

Awkwardly

E

pensively

(mimicking Alasdair’s manner and singing)

= ca.72

S. 8

Nev

er.

8va

Lov

Awkwardly

E

Tbn.

= ca.72

er roughly

of

a sol

dier.

3

Cb. pizz.

roughly

3

Poco meccanico 75

= ca.80

VICKI

parlando

sarcastically

Our

5

lord

and mas

ter?

S. Where is

A

las

dair?

Poco meccanico = ca.80

77 V. Armed

with

bot tles,

he bat tles

with bank ers,

3 3 3

3

3

3

3


58

79

3

V. mor

tars

of wine,

bar rag es

3

of

beer.

3

3

3

3

3

81 V. A 3 6 12 6

3

12

F 82 V. sol

dier?

No,

(sigh)

F stacc.

5

5

stacc.

5

5

5

5

5

5

5

5

he’s

a


59

84

slightly melodramatic

port.

3

3

V. reck

less

sail

or

3

3

read y

to

3

drown

3

3

3

3 3

3

3

3 3

3

Meno mosso = ca.72 86

[ Vicki covers her face to hide her tears. Sam takes her in his arms to comfort her. ]

more sadly

V. in

whis

ky.

Meno mosso = ca.72 3

3

3

3

3

3

3

89

with passion

SAM

8

He

should

3

6

3

6 3 6 3

6

3


60

90 V.

S. 8

soak

in

your

3

6

3

6

6

3

[ Vicki pulls away from Sam’s embrace. ]

91 V.

S. 8

voice.

espr.

3

3

pochiss.

molto 6

6

espr.

3

3

molto

pochiss.

3

espr. 6

6

3

6


61

92

Meno mosso, tranquillo = ca.66

VICKI

G I

sing.

S. 8

Meno mosso, tranquillo tranquillo = ca.66 6

G

6

dim.

6

6

6

6

dim.

95

allargando

3

= ca.57-60

V. No

one

lis

tens

I

raise my

allargando

3

voice

= ca.57-60

dolce

99

ten.

V. but

laugh

ter

drowns

my


62

(Pi첫 mosso)

H

103

= ca.72

V. song. SAM

8

Some

times

in

(Pi첫 mosso)

H

= ca.72

3

105

8

3

bat

tle

si

lence

3

3

106

3

S. 8

breaks

through the

gun

fire,

3

107

3

108

S. 8

and

bird

song 3

6

3

6


63

S. 8

ris

es 3

3 3

cresc.

6

6

3

3

3

109

3

S. 8

through

the

air.

6

3

3

6

(cresc.)

6

3

3

6

110 S. 8

Your

voice 3

6

eco 3

112

8

is

bird

song 3

6

3

6 6


64

Meno mosso = ca.63

113 S. 8

af

ter

the

rat

tle

of

gun

Meno mosso = ca.63

3

colla voce espr.

6

[ The light drops, suggesting the incoming night, and reflecting [ Sam and Vicki look into each others eyes as if they the patterns of the falling leaves are really seeing each other the first time. Sam puts his beyond the window. ] hand gently on Vicki’s face, their heads move closer. ]

= ca.54

115 S. 8

fire. 8va

= ca.54

3

3

[ Alasdair enters but Vicki and Sam are so focussed on each other, they don’t see him. He stands unnoticed in the shadows helping [ They kiss, and then quickly pull himself to a dram from his hip flask while apart, unsure of themselves. ] he watches the couple. ] 119

8va

Vln., Tbn.

non troppo

sim.

3


65 = ca.60–72

J

[ Alasdair steps from the shadows. ]

SAM

124

8

3

Your

[ Sam and Vicki spring apart, unsure of how much Alasdair has witnessed. ]

voice

is

3

sweet

er

than

bird

song...

ALASDAIR

J

Sweet

= ca.60–72

er

than

8va

pochiss.

pochiss.

Vln.

3

3

pochiss.

freely Vlc.

[ Alasdair’s attitude is determinedly cheery, but there is steel beneath his bluff exterior. ] [ Alasdair helps himself to a drink from the bar. His movements are clumsy and it’s clear he has had several before this. ] Senza misura 128

3

A.

x song. 8va

Senza misura ( = 72, coordinated with Vlc. and Cb.) Vln.

( = 72) Vlc., Cb. pizz.

x

x

x

x x x

x

So pipe up, give us a song!

rall.

bird


66

= ca.72

129 V.

The town grieves—

ev’ ry

shade

down,

ev’ ry cur tain

drawn

= ca.72 8va

Meno mosso = ca.60

133 V.

ALASDAIR 3

3

3

3

3

3

A. Good men

died to day,

but we’re

a live

Meno mosso = ca.60 8va

to day.

The dead will sleep,

we’ll car


67

[ Sam looks at Vicki, unsure of whether he should intervene, but she steps forward, ready to perform. ] 136

3

V. My

heart

is too heav

SAM

8

y.

5

The flags

hang

low.

A. ry on.

Sing!

Sing!

8va

3

[ Vicki looks at Sam when she is singing the opening lines, but her attention shifts to Alasdair for the final, pointed line of each verse. ]

Verse 1

ca.5" G.P.

To be sung with freedom, and a folk-song sensibility. Although plenty of rubato is encouraged, the rhythm and its variants should always retain a strongly dotted character.

Ballad K Con rubato

= ca.60

140

3

V. Out

ca.5" G.P.

Ballad

on a

lone

K Con rubato

= ca.60

ly

high

way walks a

girl

in

a


68

145

white

gown,

she’s

look

ing

for her

broth

er,

but the

poco meno

a tempo

held back

( = ca.60)

more heavily 5

5

150

5

V. sol

diers

shot

him

a tempo

held back Ob.

down.

( = ca.60)

5

5

5

cresc.

154

L

Verse 2

Più rubato

3

V. High

L

on

a

bar

ren

Verse 2

Più rubato

poco

cliff

top stands a


69

158 V. girl

in

a

white

gown,

she’s

search ing

for her

dim. poco

163 V. fa

ther,

but the

sol

him

down.

Verse 3

M

167

diers shot

very quiet and deep

V. Deep

M

Cor Ang.

espr.

3

3

in

a

si

lent

Verse 3

louder

172

[

]

V. val

ley

weeps a

girl

in

a

white

gown,

she’s


70

177

ten.

V. wait

ing

for her

lov

er,

but the

sol

diers

ten.

181 V. shot

him

down.

cresc.

N

186

Verse 4 freely

3

V. Sev

en

years,

N

freely, with a sense of drama

3

189

ten.

V. she’sbeen gone

now,

the

girl

in the

wed

ding gown, ten.


71

193

più espr.

simply

poco

V. some

say

the

fair ies

tookher,

but

I

know,

the

sol diers

dim.

[ Alasdair shakes his head, displeased by the tone of Vicki’s song, but Sam is visibly moved. The men’s varying attitudes are reflected in their recollection of the atrocity they were involved in, though Alasdair’s defences begin to waver towards the end of the scene. Vicki is relegated to the sidelines. She didn’t share their experience and so cannot understand its significance. ]

Più mosso 200

= ca.72–76

poco

V. shot her

Più mosso

down.

= ca.72–76

molto

O 206

Energico = ca.60 ( = ca.90)

=

SAM

8

O

A

Energico = ca.60 ( = ca.90)

=

ly

lone Clar.

3

3

sub.

3

3

3

3

3


72

209 S. 8

road,

a

3

3

3

pret

ty

girl

3

3

3 3

3

3

3 3

211 S. 8

and

an

old

man

far

poco 3

3

3

213 S. 8

a

way.

3

cresc.

3

3 3

3

3

3

3

3

3


73

215

5

S. 8

Too

far

to see,

too

far

to

hear,

Clar.

3

3

3

3

6

6

3

3

217

3

S. 8

too

far

to know 3

3

3

3

3 3

219

P

3

6

3

6

3

3

6

3

3

3

3

meno

S. 8

we

P

3

meant

no

3

harm.

3 3


74

221 S. 8

Too

6

5

3

far

to

3

run,

6

3

5

223 S. 8

too

far

to stop.

3

225

My

6

5

3

S. 8

hand

touch ing

her

wip

face,

ing

the

3 3

3

3

espr.

3

6


75 3

228

3

3

3

3

S. 8

tears

from

her

face,

try

ing

to smooth 3

3

3

3

231 S. 8

the

fear

from

her

face. 3

3

3

5 3

234

3

3

3

espr. poco

Q 238

Q

Pi첫 mosso = ca.120 ALASDAIR

=

= ca.80

A lone

Pi첫 mosso = ca.120

= ca.80 =

ly road,

a pret

ty girl,


76 241 A. a

lone

ly

road,

a

pret

ty

girl,

243

=

A. and hid

ing close

a

young

gun.

=

poco

= ca.120 245

SAM

8

I

saw

the

boy,

a

= ca.120 3

3

3

3

3

3

3

3

247

3

3

3

3

3

S. 8

young

3

boy

3

3

3

3

heard a

3

3

pop and

a


77 249

3

3

S. 8

crack,

saw

him fall

and looked back,

saw

3

3

3

3

3

3

3

3

3

your

251 S. 8

ri

fle

3

3

saw

raised,

a

smile

3

cresc.

3

R

253 S. 8

on

your

face. 3

ALASDAIR

R

I

saw

Vibraphone, Fl.

3

255

3

3

3

A. girl

and a young

gun,

saw yourhand on her

face,

3

3

3

3

cresc.

the


78

257 A. saw

5

his ri ossia: ri

fle

5

5

raised, fle raised,

5

5

5

5

5

cresc.

3

259 A. let

my

3

3

bul

lets

blaze.

3 3

3

262

VICKI 3

Your

A.

war

is

o

ver.


79

265

S

V.

SAM

8

I

S

saw 3

the

3

old

3

3

3

3

3

3

267 S. 8

man,

saw

3

3

3

3

3

him

lift ing his hand,

3

3

3

3

269 S. 8

saw 3

3

3

3

your 3

3

3

3

ri 3

fle 3

3

raised, 3


80

271 S. 8

saw

a

smile

on

your

cresc.

273

5

VICKI

3

O

ver,

your

S. 8

face. 3

6

3

3

3

5 3

Meno mosso = ca.90

275 V. wars

are

o

ver. 3

ALASDAIR

At

Meno mosso = ca.90


81

T

3

279

3

A. home

they turn

the

ra

di o down

when the dead

T Tbn.,Fl.

3 Tbn.

3

3

3

3

3

282 A. are

Our

named.

boys

3

3

285 A. lie

dead

3 3

3

3

3

in

a

box.


82

288

3

A. Ci

vil

ians

look

a

way.

8va

3

6

poco

poco

poco

Meno mosso 291

= ca.84

3

A. They

talk

through

si lence,

they

talk

through

Meno mosso = ca.84

8va

3

3

3

295

3

3

A. si

lence.

8va

trem. rall.

3

3

3


U

83

Sostenuto

= ca.72

298

SAM

8

She

U

Sostenuto

trem

bled, 8va

3

Ob.

like

= ca.72 Hp.

Ob. (loco) poco

poco

Cb. col legno (8ba)

302

8

3

3

blos som

trem

3

3

bles

in

the breeze,

sun 8va

8va

(loco)

(loco)

poco

poco

poco

poco

3

305 S. 8

shine

dap pled

through the leaves,

my

hand 8va

8va

3 poco

poco

3

poco

poco

still


84

Agitato = ca.96

308

V

S. 8

wet

with

her

tears. 3

angrily

ALASDAIR

Rules

Agitato = ca.96

of

V

3

3

312

3

A. con

flict

made by men who nev

er struck a blow.

3

3

3

Meno mosso 316

= ca.72

3

3

A. Sol

diers

Meno mosso = ca.72

molto

dim.

caught

in bat tle

know how it goes:

their

blood

or


85 [ Alasdair puts his hand on the back of Sam’s head drawing his friend’s face close to his in a gesture that is both intimate and dominating. The men’s conjoined

320

3

3

A. ours,

their

blood

or

ours.

We

3 Cor Ang.

espr.

silhouette is reminiscent of the shape of Vicki’s and Sam’s physical closeness during their kiss earlier in the scene. ] 3

325

3

3

A. killed

to live,

killed

to live,

Cb. pizz.

[ Alasdair pushes Sam away and makes a defeated gesture with his hands, that somehow manages to encompass the country and the futility of war. Drink and memories have suddenly sapped his his strength and his shoulders slump. ] 329

3

3

[ Vicki puts her arms around Alasdair in a hug. ]

W

Tranquillo = ca.66

A. all this.

so they can keep

W

Tranquillo

8va

= ca.66


86

rall.

334 VICKI

[ Vicki holds out her hand to Sam and after a moment’s hesitation he grasps it. She sings to Sam over Alasdair’s bowed head. ]

= ca.60

Più largo

3

V. O

ver,

your

8va

wars

are

rall.

o

ver.

= ca.60

Più largo

warmly

teneramente

rall.

Andante 339

= ca.66

ossia:

X

be hind.

V. Leave

Andante = ca.66

your

dead

and your

bat tles

be

hind.

X

(

sempre)

[ Vicki lets go of Sam’s hand and leads Alasdair off stage in a reversal of roles that is nevertheless reminiscent of the end of Scene 1. She looks back 343 at Sam whose expression twists as if he’s in pain. He slumps at a table. ]

5

346

5

5

5

5

5

5

3 3


87

Y

349

poco

poco

3

3

3

3

3

3

351

Fl.,Vln.

3

3

Strings

5

3

poco

poco

poco

poco

poco

poco

Tpt.,Tbn.

Bcl.,Bsn.,Cb.

[ Vicki re-enters the bar. She stands alone looking at Sam. He raises his head and their eyes meet. Sam gets to his feet. The scene ends with the couple staring at each other across the deserted bar room, each unwilling to make the first move. ] tenderly

Largo = ca.40

355

dolce

Z Transition III窶的V

poco marcato

363

5

5

5


88

Scene 4 [ Lights up. It is the morning after the night before. The tree in the beer garden is bare. Alasdair is sitting at one of the tables going over accounts. Although it’s early, a glass of whisky sits next to a half empty bottle beside his ledgers. Sam climbs up from the cellar, wearing a drayman’s apron and carrying a crate of beer. A vase of poppies sits on the bar and both Alasdair and Sam wear red poppies in their lapels. Vicki enters dressed in jeans and a T-shirt. A poppy is stuck in her disarrayed hair and a duster hangs from her back pocket. She looks at Sam. Sexual tension crackles between them. Vicki half-heartedly starts cleaning. Sam descends back down to the cellar. He makes the trip several times, trying to ignore the domestic drama playing out in the bar. ] 3

m   o

1 3

= ca.60

3

3

3

poco marc.

3

3

3

sim.

3 Hp., Vc., Db. (pizz.)

3

3

5

3 3

sim.

3

3 Tbn., BCl., CBsn.

6

6 3

6


89

7

Hp., Vc., Db. (pizz.)

6

7

7

6

8

Ob.

cresc.

5

5

6

cresc. 3

7

3 3

poco accel.

= 76

9 (cresc.)

7

(cresc.)

6

6

6

6

5 5

6 5

3


90

A 10

8va

8va

= ca.60

3

3 3

3 3

3

3

(rall.

8ba 8ba 8va

8va

12

3

accel. rall.

) 3

3

3

8ba

16

ALASDAIR

B

quite freely 3

3

The bal ance

is

red.

8va

3

3

3

3

3

8ba

19

3

3

3

3

A. I

pay

in blood, sweat and

tears,

but the scales are weighed

Tam-tam (scrape) Bass drum

3


91

22

3

A. a gainst

me.

8va

3

loco (Cl.)

Cl.

espr., con rubato 3

8

C Andante = ca.69

27

Chorus (prerecorded)

Age

shall not

wear

y

them,

nor

the years

con

Age

shall not

wear

y

them,

nor

the years

con

31

demn.

They

shall

not

grow

old

as

demn.

They

shall

not

grow

old

as


92

Meno mosso

D

34

= ca.60

we.

we. (accel.)

ALASDAIR

I

3

3

ne ver saw a charm ing corpse.

Meno mosso = ca.60

D Bass drum

Cl.

Vlc.

8ba

poco 37

3

3

3

Bombs have a way

of

3

darkly

3

A. blow

ing you to piec es.

The bal ance 8va

3 Bass drum

3

8ba

40

3

3

A. red

Tam-tam

al

ways

red.

Bass drum

is


93

8va

3

loco 43

Cl.

3

3

Kick drum

8ba

E 3

46

Ch.

We

that

are

left

to

grow

old,

will

re

We

that

are

left

to

grow

old,

will

re

E (Cl.)

50

Ch.

mem

mem

ber

ber

them.

At

the

go

ing

them.

At

the

go

ing

ALASDAIR

down

(lag behind beat of tape = ca.52 part and instruments)

Now

I

en


94

53

of

the

sun,

staunch

the

sun,

to

Ch. of

the

sun,

down

of

= ca.52 (lag behind) 3

3

= 60 (in tempo)

3

A. vy

the dead,

vile

as they are,

Vln. 1

57

the

end.

staunch

to

We

will

re

mem

ber

them,

re

mem

ber

them,

re

mem

ber

them,

Ch. the

end. the

staunch

to

end.

the

end.

= 60 (in tempo) A. on

ly

the

dead


95

61

Ch.

re

mem

ber

re

mem

ber

them

age

them

age

them

A. have

will

65

seen

not

will

not

the

of

F

wear

y

nor

will

y re

nor mem

wear

we

end

war.

Vicki, she staggers and falls. Alasdair kills the screen and throws the remote into a far corner. Sam puts down his knife, removes his apron and steps from behind the bar. He helps Vicki to her feet. ]

8va

ber

F Cl.

3

Kick drum

3

8ba

Più agitato = ca.72 70

SAM 3

8

If

death

is look ing for me,

he’ll find me

back

in the ranks.

Più agitato = ca.72

8va

3

3

3

3

3

3

Tpt.

3


96 VICKI 73

3 3

No!

A

new

life

is

wait

ing, 3

3

6

3

75 V. make

peace 3

6

76

6

3

3

3

G

3

V. with

peace,

and

your

G

3

6

leave

6 poco

3

78

poco rit.

= ca.60

poco rit.

= ca.60

V. be hind.

bat tles


97

80

SAM

8

In

the

fog

of

bat tle

ev’

3

sim.

82

3

3

S. 8

ry thing’s clear,

but

here

love

3

(no accents)

3

des troys

3

3

cresc.

84

3

S. 8

lo yal ty.

3

To

mor

row

I’ll


98

86

3

S. 8

be

gone.

3

3 Tpt.

3

3

3

3

3

3

3

3

3

3

3

12

H 3

3

87 VICKI

Death

is

H

con

stant,

but

love

is a trai

poco

poco

89

3

3

V. tor.

I

thought

I’d

be

yours

for e

cresc.

ver.


99

92

poco accel.

= ca.72

3

V.

poco accel.

= ca.72

(no accents)

3

3

5

3

3

held back 94

cresc.

3

= ca.60

Pi첫 mosso

ma dolce

= ca.72

3

3

3

Andante

3

= ca.60

3

V. My

heart

may

have

held back

Pi첫 mosso

= ca.60

= ca.72

no

hon

our,

but

Andante = ca.60

3

3

97

I

3

ossia:

V. I

must hon

our

my

heart.

SAM

8

Death

I poco

dim.


100

100

3

3

S. 8

is

al

ways

wait

ing.

poco

sim.

Tpt.

sim.

102

VICKI

Leave 3

your

dead

Vln. 1

3

3

3

(no accents)

poco

104 V. and

your

bat tles

be

hind.

Tpt.

cresc. 3

poco

3

cresc.

3

3

3

3

poco

3

3

3


101

Appassionato = ca.54 passionately

106 V.

Love spitefully, but with irony

3

You al

a la

is

life!

ALASDAIR

3

ways were

dy kil ler.

Appassionato = ca.54

3

3

110 V. 3 3

A. His

love

is

the kiss 3

3 Tbn.

3

114 A. of

death.

Ob.

Fl.

Bsn., Cb.

Cb.

port.


102

J 117

Lento = ca.66

3

A. A

J

lone ly

road.

A

pret ty

girl.

We should have strode

Lento = ca.66

3

3 3

3

3

3

3

120

3

A. on our way.

She

cast

her

eyes

down to the ground,

you

de

3

6 3

6

3

7:4

124 A. ci

ded to stay,

we

3

3

3

3

should

6 6

have picked up

6

our pace

6

6

6


103 3

3

126 A. you

put

your

hand

on

her

face.

6

6

3

3 3

6

3

K 128

3

SAM

3

To

wipe

3

the

3

3

fear

from

her

face.

3

A. From

K 3

3

3

3

3 Tpt.

3 Tbn.

Poco pi첫 agitato 130

= ca.72 3

3

3

A. be hind

a cor

ner

I

heard

her broth er

call

Poco pi첫 agitato

3

= ca.72

3

3

3

3

3

3 3

3

her,

3

3 3


104

3

132 A. saw

his

3

3

3

3

ri

fle

raised,

3

6

3

6 3

cresc.

3

molto

Meno mosso = ca.66

133 A. let

my

bul

lets

blaze.

Meno mosso = ca.66

5

5

(cresc.)

5

5

5

5

5

5


105 134 A.

6

3

6

3

(Tpt.)

6

L 135

Held back

molto

Lento

= ca.54

= ca.66

3

A. Then

the

man,

an old

6

3

3

6

3

man,

3 3

3

3 Tbn.

3 6 3

137

3 3

3

A. had a

gun

in his hand,

a

gun

in

his 8va

3

3

3

hand.


106 139 A. I

blew

him a

way.

8va

141

8

3

3

3

3

3

3

3

3

3

3

3

3

3

3

SAM

From

3 3

3

be hind

3 3

3

a

3

3

cor

ner,

I

heard her

broth

er call her

A. marcato 3

3

3

3

3

3

3 3

3 3

3

8ba

143 S. 8

saw

a

broom

in ALASDAIR

his

hand, 3

It

3


107

145

3

S. 8

3

3

A. was

a

gun.

3 3

3

3

147

M

3

3

S. 8

saw

M 3

3

3

him

3

3

crum

ple

3

and

3

148

land,

3

3

3

3

S. 8

saw

your

ri

fle

raised,

saw

a

Tbn.

3

6

6

6

3 6


108 149

3

S. 8

smile

on

your

face.

I

Ob., Tpt., Vln. 1

5

5

5

3 3

(Tbn.)

3

6

6

6

7

3 3

150 S. 8

saw

5

the

old

man

sim.

6

6 6

3 3

6

sim. 151

3

3

S. 8

with

a

phone

in

his

hand,

ALASDAIR A Ob., Tpt.

Tbn.

3

sim.

sim.

6

6

3

6

6

6

sub.

sub. 6

6

6

6

3

sim. sim.

6

sub.


109 153 S. 8

saw

him

try

ing

to

run,

saw

3

A. gun (Ob., Tpt.)

(Tbn.)

3

6

6

6

3

6 6

6

6

6

3

6

5

155 S. 8

you

aim

ing

your

gun,

(Tbn.)

3

3

6

156 S. 8

then (Tbn.)

3

3

3

6


110

157 S. 8

the

3

girl

3

158 S. 8

was

3

160 S. 8

gone.


111

[ Vicki has moved away from both men now she looks from one to the other, horrified. ]

N

Pi첫 mosso = ca.80

= ca.60

161

3

sub.

163

Flessibile

VICKI stunned (freely)

= ca.74

What have you done? SAM

8

I

fol lowed

espr. Ob.

3

3

Cbsn.

espr.

poco dolce

166

3

3

S. 8

or

ders

I

pulled the trig ger.

6

3

3

3


112

Pi첫 lento 169

= ca.56 3

3

3

3

S. 8

The blood

a round her

head

a

red

ha

lo,

Pi첫 lento = ca.56

Hp., Str. (harm.)

3

3

Fl. Cl.

172

3

S. 8

my

still

wet

with

her

Agitato

O 176

hand

= ca.90

rit.

VICKI

You

killed

her?

3

S. 8

tears.

O

Agitato

rit.

3

= ca.90

Cl.

3 3

3


113

= ca.66 179

ALASDAIR

3

forcefully

port.

3

You took com mand,

her

blood

on your

hands. (Fl.)

8ba

Adagio = ca.54

182 SAM

8

3

Adagio

3

3

3

You raised your gun,

told me

3

to shoot,

= ca.54

con rubato 185

3

3

3

3

3

S. 8

I

did n’t stop

to dis pute.

She

ran

I thought I’d missed her

Fl., Ob., Cl.

3

3

3


114 3

188

3

S. 8

prayed

I’d

missed

her

cresc. Tpt.

3

3

5

cresc. Cb.

5

5

accel.

( = ca.72)

189

sub. 5

6

6

6

6

6

(cresc.) 5

P

6

= ca.60

190 poco

SAM

8

3

She fell

P

3

and I knew

= ca.60

poco

poco

3

3 3

3

I’d hit her,


115

193 S. 8

Christ,

I knew I’d hit her!

cresc.

poco

3

VICKI 195

You ALASDAIR

3

3

killed

Q

= ca.66

her!?

3

cynical and ugly (con rubato)

3

You

Più mosso

killed

3

her!

3

And while he cried

Più mosso

Q

Tpt.

3

3

3 Tbn.

3

= ca.66

3

I


116

Largo rall.

198

= ca.48 3

ossia

SAM

8

A boy with a broom. 3

3

An old man with a phone.

3

A. made up lies

to save

his

arse

Largo rall.

= ca.48

to Sam—imploring, forgiving 201

VICKI

A

con rubato

3

3

3

3

3

new

3

A. Men

with guns

and a cause.

A girl

with tears

in her eyes.

3

cresc.

[ Alasdair lunges for Sam. Sam grabs the knife he was using to cut lemons. The two men start to fight. The action mirrors their first meeting, except that this time Vicki is on the edge of the battle, scared, panicking and unsure of how to stop them. She screams at the men to stop, but they are caught in the fight. ] [ Alasdair twitches with irritation. ]

204

R

V. is wai

ting

R

C.A.

life


117

207

(continues)

3

Tpt. 3

(C.A.)

3

cresc.

3

3

3

3

3

[ Alasdair raises a hand, the knife is in it, we see his arm rise and fall three times. ]

209

3 (C.A.)

3

3

3

3

3

3

6

3

Senza misura 2–3''

(210)

*

(wood)

[ Alasdair throws his knife away and slumps on the floor cradling Sam’s bloody body. ]

2–3''

4–5''

(wood)

molto

Bass drum

3

Hp.

* Randomly and rapidly change between short glissandi and knocking on the body of the instrument.


118

Intenso

[ Vicki screams. ]

S

= ca.48

[ Alasdair holds out a bloody hand to her in supplication. She hesitates, clutching her face in horror. ]

= ca.78

215

3

3

Meno mosso = ca.60

218

=

=

ALASDAIR

weakly

He

Meno mosso = ca.60

poco

=

3

poco

=

molto

3

marcato, con rubato 222

VICKI

But you

killed

T

Molto adagio = ca.38

Ancora meno mosso = ca.33

him.

A. was

We dreamed

my bro ther

T

Molto adagio = ca.38

dim.

Ancora meno mosso = ca.33


119

tornando

al

Con moto

= ca.56

= ca.63

226 A. of

how

tornando

it

would

be

al

the

lunga

war

was

Con moto

= ca.56

3

230

when

= ca.63

Adagio

U

= ca.48

ten.

A. won.

But

the

war

nev er end

ed,

now

U lunga

both

Adagio

ten.

= ca.48

lunga

pi첫

lunga

[ Vicki sinks to her knees close to where the two men are slumped. ] VICKI

234

Dead 3

A. of

us

are

dead.


120

238

3

V. as

the

dead

you

mur

dered,

dead

as

the

Adagio Poco più mosso 241

= ca.54

tenuto

= ca.48 breve

marcato

V

V. he

ex

e

cut

ed, ALASDAIR

All

Adagio Poco più mosso

tenuto

= ca.48

dead. 3

of

3

us…

V

= ca.54

breve

244

= ca.40

rit.

= ca.40

rit.

V.

248

Poco meno mosso

= ca.40

perdendosi

girl


MacRae GHOST PATROL  

Opera; Vocal score; Novello; musicsalesclassical.com; 47410

Read more
Read more
Similar to
Popular now
Just for you