JOHN CORIGLIANO
THE GHOSTS OF VERSAILLES A Grand Opera Buffa in Two Acts
Suggested by La Mère coupable of Pierre-Augustin Caron de Beaumarchais
libretto by William M. Hoffman
Full Score Act II
From the G. Schirmer Rental Library Date of Printing________________
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CONTENTS
Act I (bound separately) Prologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Scene 5, Finale . . . . . . . . . . . . . . . . . . . . . 219 Act II Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Scene 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Scene 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Finale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
SYNOPSIS The Ghosts of Versailles is set in Marie Antoinette’s private theater at Versailles in the present. The ghost of the playwright Beaumarchais, author of The Barber of Seville and The Marriage of Figaro, has fallen madly in love with the ghost of the executed Queen Marie Antoinette, who after two centuries still grieves for her lost life. Although Beaumarchais’ love is unrequited, he offers to cure the queen’s melancholy by means of a performance of his new opera, which has the power to change history. It features the latest exploits of Figaro and the Almaviva family, who attempt to save the queen from death in the French Revolution by effecting her escape from prison and transporting her to America. The other ghosts warn Beaumarchais that this will endanger his immortal soul, but he wishes only Marie Antoinette’s happiness. Through Beaumarchais’ willingness to sacrifice himself during a performance of his opera, Marie Antoinette realizes the depth of his love for her and learns to love him. Just as Beaumarchais is about to unsuccessfully save Marie Antoinette, she rejects “salvation” and allows history to continue as it was. The two are joined for eternity.
CHARACTERS (in order of appearance) Ghosts: WOMAN WITH HAT, elegant woman in her thirties . . . . . . . . . . . . Mezzo-soprano LOUIS XVI, slow, self-important, in his late thirties. . . . . . . . . . . . . . . . . . . . . Bass MARQUIS, Louis’s young confidant, a dandy . . . . . . . . . . . . . . . . . . . . . . . . .Tenor TRIO of GOSSIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.S.A. JADED ARISTOCRATS AT THE OPERA (Ghost Quartet) . . . . . . . . . . . . . S.A.T.B PIERRE-AUGUSTIN CARON de BEAUMARCHAIS, author of The Barber of Seville and The Marriage of Figaro, passionate, quick, middle-aged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Baritone MARIE ANTOINETTE, soulfully beautiful, vulnerable, warm, yet willful, in her thirties . . . . . . . . . . . . . . . . . . . .Lyric or Lirico-spinto Soprano Players in the Opera: FIGARO, Count Almaviva’s wily servant, middle-aged . . . . . . . . . . . Lyric Baritone SUSANNA, Figaro’s loyal but independent wife, middle-aged . . . . . . . . . . . . . . . . . . . . . . . Mezzo-soprano or Mezzo-contralto COUNT ALMAVIVA, a proud, stubborn Spanish aristocrat, middle-aged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Tenor ROSINA, his still-beautiful, grieving wife, in her forties . . . . . . . . . . . Lyric Soprano LÉON, Rosina’s son by Cherubino, about twenty . . . . . . . . . . . . . . . . . Lyric Tenor FLORESTINE, Almaviva’s daughter, about twenty . . . . . . . . . . . . . . . . . . . . High Lyric or Lyric-Coloratura Soprano PATRICK HONORÉ BÉGEARSS, Almaviva’s treacherous friend, middle-aged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dramatic Tenor WILHELM, doltish young servant of Bégearss . . . . . . . . . . . . . . . . . . . . . Baritone CHERUBINO, a former page of Almaviva, handsome, in his late teens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Mezzo-soprano SULEYMAN PASHA, Turkish ambassador, heavy, bald, middle-aged or older . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bass ENGLISH AMBASSADOR, distinguished older gentleman . . . . . . . . . . . Baritone SAMIRA, sultry Egyptian singer . . . . . . . . . . . . . . . . . . . . . . . . . . . Mezzo-soprano DUCHESS, (living version of Woman with Hat) . . . . . . . . . . . . . . . Mezzo-soprano (sung by WOMAN WITH HAT) LIVING MARIE ANTOINETTE, careworn figure of David’s portrait, humbled by great suffering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soprano (acted part with written vocal line sung by an Ensemble Soprano) ENSEMBLE of MULTIPLE SUPPORTING ROLES Minimum Ten singers . . . . . . . . . . . . . . . . . . . . . . . . . . . (4 S., 2 M-s., 2 T., 2 Bar.) Pursuers of Figaro, Turkish Duelists, Page, Dancing and Harem Girls, “Rhieta” Players, Acrobats, Revolutionary Guards, Revolutionary Women, Courtiers, Dancers, Prison Guards, Prisoners, Soldiers.
TIME: The present and the autumn of 1793. PLACE: Marie Antoinette’s theater in the Petit Trianon, Versailles
PRODUCTION NOTE The basic premise of The Ghosts of Versailles is that a group of ghosts is watching an opera. Because of this structure, the opera takes place on three planes of reality: 1) The world of eternity, inhabited by ghosts 2) The world of the stage, populated by dramatic characters 3) The world of history, populated by mortals Our opera begins in the ghost world, which is the most fantastic and the most contemporary. It enters the stage world when spectral playwright Beaumarchais raises the curtain on A Figaro for Antonia, the buffa-withinthe-opera that he has written to amuse Marie Antoinette two hundred years after their deaths. The ghostly characters watching the onstage production are fantasy creatures themselves. If the makeup or costumes of the onstage characters outdo those of the ghosts, or if the sets are too ambiguous or surrealistic, it will be difficult for the audience to distinguish among the worlds. Therefore, the production on the stage-within-a-stage should almost always be more realistic than the ghost world. The ghost and the stage worlds are distinct until the second scene of Act II, when Beaumarchais enters the opera-within-the-opera and Figaro is summoned by Marie Antoinette to the afterworld. At that point the two worlds blend and we enter a third realm: the historical (or objective) universe of the Paris streets, the Almaviva ballroom, and the Place de la Révolution. The scenic design of this last world should be grand operatic: representational sets, realistic costumes. The Ghosts of Versailles represents a journey from the most fantastic to the most realistic. In the last scene, however, all three planes are juxtaposed: the historical Marie Antoinette is executed in the Place de la Révolution, the cast of A Figaro for Antonia makes their escape to London in a balloon, and the ghosts of the queen and Beaumarchais walk off together into the land of eternal delight—the gardens of Aguas Frescas. —W.M.H.
The Ghosts of Versailles was commissioned by the Metropolitan Opera Company for its 100th anniversary. The first performance took place on 19 December 1991 at the Metropolitan Opera House James Levine, conductor
A DVD of the Metropolitan Opera’s 10 January 1992 performance conducted by Maestro James Levine is available from www.metoperashop.org.
CAST Marie Antoinette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Teresa Stratas Woman with Hat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jane Shaulis Louis XVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .James Courtney Marquis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Drews Trio of Gossips: . . . . . . . . . . . . . . . Betsy Norden, Kitt Reuter-Foss, Wendy Hoffman Jaded Aristocrats at the Opera (Ghost Quartet): . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lauren Flanigan, Sondra Kelly, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Best, Kevin Short Beaumarchais . . . . . . . . . . . . . . . . . . . . . . . . . . . . Håkan Hagegård Figaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gino Quilico Susanna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Judith Christin Count Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Kazaras Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Renée Fleming Florestine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tracy Dahl Léon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Neil Rosenshein Bégearss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Graham Clark Wilhelm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wilbur Pauley Cherubino. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stella Zambalis Suleyman Pasha . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ara Berberian English Ambassador . . . . . . . . . . . . . . . . . . . . . . . .Philip Cokorinos Samira . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marilyn Horne Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Colin Graham Set and Costume Designer . . . . . . . . . . . . . . . . . . . . . John Conklin Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gil Wechsler Choregrapher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra Brown Technical Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Clark
The reduced orchestration of The Ghosts of Versailles was created by John David Earnest on commission from Opera Theatre of Saint Louis for its Thirty-fourth Festival Season and was made possible with a generous leadership gift from The Andrew W. Mellon Foundation with major support from the Susan and Elihu Rose Foundation, the National Endowment for the Arts, Mrs. Walter F. Brissenden, and the estate of Colin Graham. With special thanks to Centene Corporation, lead corporate sponsor The world premiere of the opera with its reduced orchestration was given on 17 June 2009, at Opera Theatre of Saint Louis with members of the Saint Louis Symphony Orchestra, Michael Christie, conductor
CAST Marie Antoinette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maria Kanyova Woman with Hat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erin Holland Louis XVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Glavin Marquis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Park Trio of Gossips: . . . . . . . . . . . . . . .Megan Radder, Corinne Winters, Candra Savage Jaded Aristocrats at the Opera (Ghost Quartet): . . . . . . . . . . . . . . . . . . . . . . . . .Catherine O’Rourke, Melody Wilson, . . . . . . . . . . . . . . . . . . . . . . . . . . .Zach Borichevsky, Matthew Young Beaumarchais . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Westman Figaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Feigum Susanna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dorothy Byrne Count Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sean Panikkar Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hanan Alattar Florestine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeanette Vecchione Léon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Samuel Read Levine Bégearss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew DiBattista Wilhelm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lee Gregory Cherubino. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paula Murrihy Suleyman Pasha . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven Humes English Ambassador . . . . . . . . . . . . . . . . . . . . . . . . . . . .James Ivey Samira . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Elizabeth Batton
Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Robinson Set Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allen Moyer Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . James Schuette Video Designer. . . . . . . . . . . . . . . . . . . . . . . . . . Wendall Harrington Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Palazzo Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Seán Curran
INSTRUMENTATION (Full Orchestra Version) 3 Flutes (2nd and 3rd doubling Piccolo) 3 Oboes (3rd doubling English Horn) 3 Clarinets (1st on B ; 2nd on B and A; 3rd on B , A, E and Bass Clarinet) 3 Bassoons (3rd doubling Contrabassoon) 4 Horns in F 4 Trumpets in C 3 Trombones Tuba Timpani Percussion (4 players): I: Vibraphone (bow required), Xylophone, Glockenspiel (bow required), Tambourine, Crotales, Wind Machine, Chimes, Suspended Cymbal II: Glockenspiel, Chimes, Slapstick, Temple Blocks, Bell Tree, Ratchet, Vibraphone (bow required), Tambourine, Crotales, Suspended Cymbal, Triangle, Thunder Sheet, Bass Drum, Castanets, Snare Drum, Xylophone, Tenor Drum III: Vibraphone, Crotales (bow required), Bell Tree, Tambourine, Suspended Cymbal, Temple Blocks, Lion’s Roar, 3 Tom-toms, Snare Drum, Tenor Drum, Low Drum, Castanets, Triangle, Ratchet, 2 Dumbec Drums, 2 Wood Blocks, Anvil, Large Bass Drum IV: Suspended Cymbal, Snare Drum, Small Tamtam, Low Gong, Bell Tree, Large Bass Drum, Tenor Drum, Low Drum, Tambourine, 2 Wood Blocks, Temple Blocks, Triangle, Wind Machine, Ratchet
Synthesizer Piano/Celesta Harp Strings Note: The original production included players appearing in ensembles on stage: On Stage Players: Harpsichord, Mandolin, Guitar, Harp, 1 Violin, 1 Viola, 3 Cellos, 2 Basses Rhieta Band: (Act I, Scene V) Oboe, 2 Percussion Ball Orchestra: (Act II, Scene V) Flute, 1 Violin, 1 Viola, 1 Cello Marchers: (used throughout) 2 Horns, 2 Trumpets (optional), Percussion (ad lib.) This edition incorporates these parts into the Pit Orchestra musicians’ materials.
INSTRUMENTATION (Reduced Orchestra Version)
2 Flutes (both doubling Piccolo) 2 Oboes (2nd doubling English Horn) 2 Clarinets (1st on B and A; 2nd on B , A, E , and Bass Clarinet) 2 Bassoons (2nd doubling Contrabassoon) 2 Horns in F 2 Trumpets in C 2 Trombones Timpani: also plays Tambourine, Large Tamtam, Roto-tom, Bass Drum, and Ratchet
Percussion (3 players): I: Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone (bow required), Triangle, Xylophone, Wind Machine II: Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, Triangle, Xylophone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, Wood Blocks, Anvil, Chimes, Lion’s Roar, Slapstick III: Bass Drum, Crotales (bow required), Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, Wood Blocks, 2 Dumbec Drums, Crash Cymbals, Low Drum, Low Gong, Small Tamtam
Synthesizer Piano/Celesta Harp Strings (6.6.4.4.3 players) Note: Parts played by onstage musicians in the original version of the opera are incorporated into the Pit Orchestra parts in the Reduced Version.
ROLE DISTRIBUTION FOR CASTING WITH MINIMUM NUMBER OF SINGERS 14 Principals (soloists playing one role only) Florestine Marie Antoinette Rosina Susanna Léon Almaviva Bégearss Figaro Beaumarchais Louis 1, 7
4 Sopranos 4 Gossip 1/Pursuer of Figaro 1/5 Dancer 1 (Pursuer at Turkish Embassy 1)/6 Rev. Woman 1/Finale Pursuer 1 4
Gossip 2/Pursuer of Figaro 2/ 5 Dancer 2 (Pursuer at Turkish Embassy 2) /Rev. Woman 2/Finale Pursuer 2 Pursuer of Figaro 3/Pursuer at Turkish Embassy 4/Rev. Woman 3/Finale Pursuer 3 Embassy Pursuer 5/Madeléine (Almaviva Guest 1)/Living Marie Antoinette/Finale Pursuer 4
Ghost Quartet (SATB)
4 Associate Principals (soloists playing one main role among other supporting roles) Cherubino (also: Pursuer of Figaro 5 / P u r s u e r a t Tu r k i s h E m b a s s y 6/2 Revolutionary Woman 5 Samira (also: Pursuer of Figaro 6/ Revolutionary Woman 6) Wilhelm (also: Other Man (Pursuer of Figaro 9)/(Pursuer at Turkish Embassy 10)/3 Juror 2/Finale Pursuer 10)
2
(soloists playing multiple supporting roles)
Suleyman Pasha (also: Muscovite 3/Juror 4/ Prisoner 1/Finale Pursuer 12 Ensemble Players:
2 Mezzo-sopranos Gossip 3/Pursuer of Figaro 4/5 Dancer 3 (Pursuer at Turkish Embassy 3)/Rev. Woman 4/Finale Pursuer 5 4
Woman with Hat (Wagnerian)/Almaviva Guest 2/Duchess/Finale Pursuer 6 2 Tenors 1, 7 Marquis/Man on Ladder (Pursuer of Figaro 7)/Page with Crotale (8 Pursuer at Turkish Embassy 7)/9 Juror 1/Guard 1 (Finale Pursuer 7) Swordsman 1 (Pursuer at Turkish Embassy 8)/Bishop (Almaviva Guest 3)/Prisoner 2/ Guard 2 (Finale Pursuer 8) 2 Baritones Muscovite 1 (Pursuer of Figaro 10)/ English Ambassador (Pursuer at Turkish Embassy 9)/ Young Man (Almaviva Guest 3)/Guard 3 (Finale Pursuer 9) Muscovite 2/Swordsman 2 (Pursuer at Turkish Embassy 11)/Juror 3/Finale Pursuer 11
1
Requires Ghost Quartet to cover Gossips’/Marquis’ lines in Act 2, Scene 5, at 57 and 5th measure of 65 . Act 2, Scene 2: also covers Mezzo Citizen from 2nd measure of 37 and ad libs Citizen shouts. 3 Requires Wilhelm to move, visibly in character, from Trial Scene (Act 2, Scene 2) to Bégearss’ “Rat” aria. 4 Requires Gossips to be tacet Act I, 23 — 25 and 104 — 105 ; requires Gossips’ lines to be reassigned to women of Ghost Quartet in Act 1, measures 5-7 of rehearsal number 65 ; requires Gossips’ lines to be reassigned to Dancing Girls in Act I, 7th measure of 141 , and also 10th measure of 143 . 5 Act I, Finale, Dancers 1-3 also cover Embassy Pursuers 1-3. 6 Act 2, Scene 2: also covers Soprano Citizen from 2nd measure of rehearsal number 37 and ad libs Citizen shouts. 7 Requires Marquis to be tacet Act I, rehearsal numbers 23 — 25 ; and for Marquis’ lines to be reassigned to Tenor of Ghost Quartet Act 2, 3rd measure after 3 , 7th measure after 9 , 4th measure after 10 , and 7th measure after 22 . 8 If needed, Page may omit Crotale ossia, Act 1, 2nd measure of 142 . 9 Requires Juror 1 to be designated for Tenor, Act 2, Scene 2, 4th measure of 39 ; also sings Tenor Citizen, 2nd measure of 37 . 2
EXPLANATION OF SYMBOLS Indicates free measures cued by the conductor. The number inside the triangle is the number of “beats” in the bar. (Dotted barlines indicate these “beats.”)
An extension line indicates you sustain the note(s) or pattern for the duration of the line.
Indicates to improvise a figuration between (and including) the two notes. The speed of the figuration is indicated by the slashes. (e.g. two slashes = sixteenths, three slashes = as fast as possible.) for example:
etc.
might be realized as:
etc. Keep the figuration chromatic and constantly changing.
The player should improvise a melodic figure that follows the contour of the line. Vary melodic intervals and avoid diatonic scale patterns.
Indicates to repeat the note in fast, irregular groups for the notated duration. The effect should be similar to Morse Code. The above might be realized as:
Indicates to play the notes as fast as possible for the duration indicated. When the notehead changes to an X, continue the figuration ad lib. in a chromatic, sinewy manner.
ACT II
Scene 1
II – 1
Curtain
non vib.
a2
1 2 cold
Fl.
non vib.
3 cold non vib.
a2
1 2 cold non vib.
Ob. 3
cold non vib.
a2
1 2 cold non vib.
Cl. in B 3
cold a2
1 2 Bn. to Contrabassoon
3 a2
1 2 Hn. in F
a2
3 4 accel.
accel.
1 accel.
Tpt. in C
accel.
2 accel.
3.
accel.
3 4 a2, with straight mute
1 2 3., with straight mute
Tbn.
remove mute
3 Tba. Xyl.
1 Perc.
S.D. (r.s.)
3
Piano
Harp
arco pizz.
0
Vn. I solo arco pizz.
molto
0
Vn. I gli altri arco pizz.
0
Vn. II arco pizz.
1 sola
1 sola
0
Va. le altre
(pizz.)
0
molto arco
2 soli, div.
2 soli
Vc. gli altri arco
(sounds 8ba)
Cb.
Corrected 8/2009 Corrected 8/2014
molto
II – 2
= ca. 48 ** Piccolo
1
Flute 2 to Piccolo
1 2 Fl.
molto
** Piccolo
to Piccolo
3 molto
1.
***
1 2 Ob.
molto
3 molto
1 2 Cl. in B
molto
3 molto
1 2
Bn.
Cbn. open
1 2
Hn. in F
molto open
3 4 molto
1., with straight mute ***
take straight mute
1 2 Tpt. in C
3.
3 4 remove mute
1 2 Tbn.
molto
3 Tba. Glock., bowed
1 Perc.
Vib., bowed
asynchronous
2 Pedal
asynchronous
8va
*
sempre, legato
Synth.
Beaumarchais: (spoken)
Beau. Hurry!…
Hurry!…
(Beaumarchais is trying to begin Act II of his opera, but the ghosts are dawdling over intermission. They are slowly returning to their seats, carrying glasses of wine and chatting animatedly about the opera. One of the ghosts hovers above the stage and then descends into his or her seat.) sul ponticello
ord., free bows 8va
*
Vn. I solo legato ord., free bows
poss.
8va
*
sul ponticello
Vn. I gli altri legato sul ponticello
Vn. II sul ponticello
Va. sola poss.
arco, sul ponticello
Va. le altre
Vc. 2 soli poss.
Vc. gli altri molto
Cb. molto *Continue in exact tempo without conductor after double bar. **Slow, even rallentando, ignoring conductor. ***Play slowly and evenly. Do not align with or match the tempo of Violin I.
It’s late!…
II – 11
Synth.
M.A.
lieve
you.
Florestine Count Almaviva: (to Susanna)
Almaviva 8
3
Tell
me,
where is
that
hus
band
of
yours?
Louis
Beau.
At
last.
Watch.
1 solo, pizz.
I Vn. II 1 sola, pizz.
Va.
3 soli, div. a3
Vc.
gli altri
pizz.
Cb.
7 = ca. 96
Hpschd.
Synth.
A
Harp
Susanna: 3
Susanna
Where have you been? Almaviva 3
8
Fi nal ly. Figaro:
(Figaro enters looking dissheveled.)
Figaro 3
All
o ver.
I was fol lowed.
Louis 3
Fi nal ly.
(spoken)
(to Marie Antoinette)
Beau.
Now
= ca. 96
Figaro comes back.
Lis-ten…
Figaro
1 solo, arco
I Vn. II 1 sola, arco
Va. (div.) arco
Vc. 2 soli
pizz.
Vc. 1 solo 1 solo, arco
Cb.
1.
1., 2., div., arco
II – 12 (Hpschd.)
Slightly slower
rall.
Synth.
(Figaro takes the necklace out of his pocket. He toys with the necklace and paces. Count Almaviva follows him.)
Susanna
Just give it to him. Almaviva 3
8
3
Just give me the neck lace.
The neck lace.
Figaro
I…
was think ing…
a bout that neck lace.
Beau.
returns the necklace and then he and the Count rescue you from prison.
Vn.
What?
The idiot hasn’t learned his lines.
I
Va. 1.
Vc. 2 soli
8
Synth.
Almaviva 8
To save the
Queen,
id i ot!
Figaro 3
I
said to my self,
why does my mas ter want it?
Why save her?
She’s (spoken)
Louis
I love it! shouts
Beau.
Just give it to him!
How dare he improvise? Singers have no minds. (1 solo)
Vn.
I (1 sola)
Va. (1.)
Vc. 2 soli
Why save her?!
II – 13
(in tempo) accel. poco a poco
(accel.)
Synth.
E G
A
Harp
D F
(Count Almaviva lunges for the jewels.)
Marie Antoinette:
M.A. 3
What?
3
I am in no cent.
Susanna:
Susanna
Fi ga ro!
(getting excited)
Figaro
3
3
spoiled,
ar ro gant,
de ca dent.
And
a trai tor to France.
3
Save your fam’ ly in
Louis
What an idea!
Figaro rebels against Beaumarchais!
Beau.
(in tempo) accel. poco a poco
What?
(accel.)
(1 solo)
I Vn.
cresc.
II (1 sola)
Va. cresc. div., arco
Vc. 2 soli
unis., arco
pizz. cresc.
pizz.
arco
Vc. 1 solo
2 soli, div.
Cb.
II – 14
9
= ca. 108 (accel.)
=
= 112–120 a2
1 2 Fl.
Flute
3
1 2 Ob. 3
1 Cl. in B
a2
2 3
1 2 Bn.
to Contrabassoon
3
1 2
Hn. in F
3 4 with straight mute
1 2 Tpt. in C
with straight mute
3 4 with straight mute
1 2 Tbn.
3. with straight mute
3 Tba.
Timp.
Perc.
1 2 3 4 (Hpschd.)
Synth.
G
Harp
(Figaro dodges him.)
(spoken, to Beaumarchais)
M.A.
Why are you doing this to me? Count Almaviva:
Almaviva 8
I’ll
kill
him!
Figaro
stead. Louis
A theatrical revolution!
Brilliant! (yelling at the stage)
Beau.
Those are not my
words!
= ca. 108 (accel.) (1 solo)
I’ll kill him!
= 112–120 =
I Vn. II (1 sola)
Va.
Vc.
(2 soli, div.)
tutti, pizz.
(1 solo)
tutti, pizz.
(2 soli, div.)
Cb.
tutti, pizz.
II – 15 1 2 Fl. 3
1 2 Ob. 3
1 Cl. in B
2 3
1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 remove mute
1 2 Tpt. in C
remove mute
3 4 remove mute
1 2 Tbn.
remove mute
3 Tba.
Timp. 1 2 3 4
Perc.
Synth.
Harp
(overlapping to Figaro)
M.A.
They
Woman with Hat: (applauding)
called
Woman w. Hat
Bra
vo!
Bra
vo!
Marquis: (applauding)
Marquis 8
Figaro
She’s a
vam
pire.
She’s a
vul
ture.
Beau. 1 solo
tutti, unis.
I Vn.
tutti, unis.
II 1 sola tutti, unis.
Va. 2 soli
arco
Vc. 1 solo 2 soli, arco
Cb.
tutti, pizz.
me
II – 16
10
=
a2
1 2 Fl. 3
1 2 Ob.
to English Horn
3
1 Cl. in B
a2
2 3 1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 1 2 3 4
Tpt. in C
1., open
1 2 Tbn. 3 Tba.
1 2 3 4
Perc.
(Hpschd.)
Synth.
Piano
Harp
D
M.A.
that. (spoken)
Woman w. Hat
How cruel! Susanna:
Susanna
Lis ten to me! (spoken)
Marquis 8
What fun!
Figaro
What do
I
care
if
she
los es her head? Louis:
(spoken)
Louis 1 solo
He goes too far. tutti
=
I Vn.
pizz.
II 1 sola
tutti
pizz.
Va. 2 soli
tutti (arco)
Vc.
1 solo 2 soli, arco
Cb.
tutti, pizz.
pizz.
II – 17
Fl.
1 2 3
Ob.
1 2
=
English Horn
E.H.
1 2 Cl. in B 3 1 2
Bn.
Contrabassoon
Cbn. 1., 2., a2
1 2 3 4
Hn. in F
open
1 2 Tpt. in C
open
3.
3 4 (1.)
1.
1 2 Tbn. 3 Tba.
Timp. Xyl.
Perc.
1
Piano
Harp
Florestine:
Florestine
Fi
ga
ro!
Fi
ga
ro!
Fi
ga
ro!
Rosina:
Rosina Susanna:
Susanna Count Almaviva: (spoken)
Almaviva 8
Give me the jewels!
(angry)
Figaro
What pizz.
has the Queen
ev
er
Vn. I solo pizz.
(pizz.)
arco
arco
pizz.
(pizz.)
arco
arco
pizz.
arco
pizz.
pizz.
arco
Vn. I gli altri
Vn. II
arco
Va. sola Va. le altre 2 soli, div., arco
Vc. gli altri, div., arco
(pizz.)
Cb.
arco
done
for =
arco
1 solo
gli altri, pizz.
arco pizz.
II – 18
Fl.
11 1., 2. 3.
1 2 3
marc.
1 Cl. in B
a2
marc.
2 3 marc.
Bn.
a2
1 2
Cbn.
Hn. in F
1 2 marc.
3 4 marc.
1 2 Tpt. in C
marc. 3.
3 4 Tbn.
marc.
1 2 3
marc.
Timp. (Hpschd.)
Synth.
Piano
Harp
secco
Marie Antoinette: (shouts)
(anguished)
M.A.
What have I done to deserve this?
Oh,
Florestine
Fi ga ro!
Fi ga ro
no!
Give him the
Fi ga ro!
Fi ga ro
no!
Give him the
Fi ga ro!
Fi ga ro
no!
Give him the
Rosina
Susanna
Almaviva 8
Give me the
jewels!
Beaumarchais:
Beau.
Who
told
him
to
say
Figaro
Fi
ga
ro?
Vn. I solo Vn. I gli altri
Vn. II arco
Va. sola marc.
Va. le altre
3 soli, arco, non div.
1 solo, arco
Vc. 3 soli
1 solo
2 soli, pizz.
marc.
pizz.
Vc. gli altri pizz.
2 soli
Cb. gli altri
2 soli
that?
II – 19 1 2 Fl.
to Piccolo
Piccolo
3
Ob.
1 2 3
Cl. in B
1 2 3
Bn.
1 2
(a2)
cresc.
Cbn. cresc.
1 2 3 4
Hn. in F
1., 2., 3.
1 2
Tpt. in C
3.
3 4
1 2 Tbn.
Tba.
3 Tba.
Timp. cresc. Xyl.
Perc.
1
Synth.
Harp
cresc. M.A.
What
have
I
done?
cresc. Florestine
Give him
jewels!
the jewels!
Give him
the
jewels!
Give him
the
the jewels!
Give him
the
jewels!
Give him
the
the jewels!
Give him
the
jewels!
Give him
the
cresc. Rosina
Give him
jewels!
cresc. Susanna
Give him
jewels!
Almaviva
Give me
8
Beau. tutti
Vn. I
Vn. II Va. sola
Va. le altre Vc. 3 soli
Vc. gli altri (2 soli)
Cb. (gli altri)
the
jewels!
Give me
the
jewels!
Give me
the
II – 20
II – 21
II – 22
II – 23 2.
Cl. in B
1 2
Bn.
1 2
Cbn. a2
remove mute
a2
remove mute
1 2 Tbn. 3 Tba.
Timp.
Piano
Beau.
free.
The
chil
dren
were sup posed to
mar
ry.
The
vil
lain
was sup posed to
die.
Vc.
Cb.
Slower
rall.
= ca. 76
15 1 2 Fl. 3 3
(2.)
Cl. in B
3
3
3
3
1 2
Bs. Cl.
Bn.
1 2
Cbn. 1. stopped, 2. open
2.
Hn. in F
1 2 3 4 open
Tbn.
1 2
Timp.
Piano
(actual pitch)
Harp
rall. (ignore conductor) dolce
(
Beau.
You
3
were sup posed
to
)
3
3
3
3
I
rall.
al sord.
3
3
3
3
3
dolce
(together with the accompaniment)
flee.
3
Slower
risk my soul
= ca. 76
Va. al sord.
Vc. arco
Cb.
al sord.
for you,
23
II – 41
Scene 2
(HARPSICHORD UNTIL 31 ) 3
3
3
3
3
3
3
Synth.
3
33
3
3
3
Harp
3 3
3
Susanna
I don’t know where he
(to Susanna) 3
went.
3
3
Almaviva 8
Damn that Fi ga ro!
He’s your
hus band.
You
find him. (To Marquis)
Woman w. Hat
He’s looking for Figaro. (to Woman w. Hat)
Marq.
Well, where’s Beaumarchais?
1 solo 3
I Vn. II 1 sola
Va. 3
1 solo
1 3
1 solo
Vc.
2 3
1 solo
3 3
Cb.
Synth.
Harp
(to Rosina and Florestine)
Almaviva 3
8
Find
him,
3
or
3
3
I’ll throw you
out. Rosina:
Come, (spoken)
Rosina (1 solo)
I Vn. II (1 sola)
Va. 1 solo
1 1 solo
Vc.
2 1 solo
3 2 soli, pizz.
Cb.
It’s not Susanna’s fault.
3
3
we have to pre pare for the ball
3
to
night.
II – 42
Synth.
(Count Almaviva and Florestine exit.) Susanna:
dolce
Susanna
On
my moth er’s
Rosina 3
I’ll be
3
a long in
a
mo ment.
3
Almaviva 3
8
3
It looks as
3
if this will be the last
one. (3 soli, div.)
Vc.
(2 soli, div.)
Cb.
24
Synth.
Susanna
grave.
3
3
I swear
3
I
don’t know where he
is.
3
Rosina 3 3
My dear
lit tle Su san
na…
I
be lieve
you.
My hus band is gross ly
un
Synth.
3
3
3
Susanna
And mine is
too.
He
gets us both in to trou ble and then runs a way,
leav ing me to deal with the Count.
Rosina
fair
Mine was al ways dif fi cult, but now he’s im
= ca. 58
rall. Synth.
3
3
3
3
Susanna
Mine used to be
gen tle.
But what’s the use of com plain ing? 3
Rosina
pos si ble.
Mine used to be
lov
ing.
Time
rall. 1 solo, con sord.
Vn.
I 1 sola, con sord.
Va. con sord.
1 Vc. soli
div., con sord.
2 3 2 soli, con sord.
Cb.
chan
= ca. 58
ges
all.
25
II – 43
Duet Andante ( = ca. 58)
1 2 Fl. 3
1.
1 2 Ob. 3
1 2 Cl. in B 3
1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Synth.
Piano
Harp
Rosina dolce
Susanna
As
sum
Andante ( = ca. 58) I con sord.
Vn. II
con sord.
Va. div., con sord.
Vc. pizz., con sord.
Cb.
mer
brings
a
wist
ful
breeze,
II – 44 1 2 Fl. 3 1 2 Ob. 3 3
1 2 Cl. in B
legatissimo
3
1 2
Bn.
Cbn.
1.
1 2
Hn. in F
3.
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Synth.
Piano
Harp
Rosina
Susanna
Cool
ing
hous
es,
blow
ing
trees,
wo
div., con sord.
I Vn. II
Va. unis.
Vc. arco
Cb.
men
dream
their
II – 45 1 2 Fl. 3
1 2 Ob. 3 3
1 2 Cl. in B 3
1 2
Bn.
Cbn.
(1.)
1 2
Hn. in F
(3.)
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Synth.
Piano
Harp
dolce
Rosina
As
aut
umn
Susanna
bri
dal
days
I Vn. II
Va.
Vc. div. half arco half pizz.
Cb.
brings
its
win
dy
chill
and
II – 46
26 1 2 Fl. 3
1 2 3
3
3
3
3
3
Ob. 3 3
3
1 2 Cl. in B 3 a2
1 2
Bn.
Cbn.
1.
1 2
Hn. in F
3.
3 4 with straight mute
1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
Perc.
1 2 3 4
Synth.
Piano
Harp
Rosina
wa
ter
freez
es
on
the
hill,
wo
men
Susanna
I Vn. II div.
Va.
Vc. unis., arco
Cb.
love
and
II – 47 Piccolo
27
Slower
Picc.
1 2
Fl.
1 2 Ob. 3 a2
1 2 Cl. in B 3
1 2
Bn.
Cbn. (1.)
con sord.
1 2 Hn. in F
(3.)
con sord.
3 4 1. (with straight mute)
1 2
Tpt. in C
3 4 (with straight mute)
1 2 Tbn.
(with straight mute)
3 Tba.
Timp.
Perc.
1 2 3 4
Synth.
sim.
D CB E FG A
Harp
sim.
espr. Rosina
hate
their
men,
wish
ing
they
were young a
gain.
O
time,
Susanna
1 solo
I Vn. II
unis.
1 sola
Va. le altre 1 solo
2 soli
Vc. gli altri
2 soli
1 Cb.
gli altri
2
Slower
o
time,
II – 48 a tempo ( = ca. 58)
rall.
= Picc.
1 2
Fl.
1 2 Ob. 3
1 2 Cl. in B 3
1 2
Bn.
Cbn.
1 2 Hn. in F 3 4 1.
1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
Perc.
1 2 3 4
Synth.
A
Harp
G
Rosina
O
thiev
ing
time,
Give
me
back
my
sto
len
years.
Susanna
rall. (solo)
=
a tempo ( = ca. 58)
As
win
ter
tutti gli altri
I Vn. II le altre (sola)
tutti
Va. (sola) (solo)
1 (2 soli, div.)
Vc.
2 3
gli altri (2 soli, div.)
1 2 Cb. gli altri
II – 49
Picc.
1 2
Fl.
1 2 3
Ob.
3
3
3
3
3 3
3
1 2 Cl. in B 3
1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 (with straight mutes)
1 2
Tpt. in C
3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Synth.
Piano
Harp
Rosina
Susanna
brings
a
long
er
night,
And
wom div.
I Vn. II
Va.
Vc.
Cb.
en
read
by
can
dle
II – 50
28
to Flute
Picc. 1.
1 2
Fl.
1 2 3
Ob. 3 a2
1 2 Cl. in B 3
1 2
Bn.
Cbn. 1., open
1 2 Hn. in F
3., open
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Synth.
Harp
Rosina:
Rosina
They
come
to
know,
like
sun,
like
rain,
Noth
ing
They
come
to
know,
like
sun,
like
rain,
Noth
ing
Susanna
light,
unis.
I Vn. II div.
unis.
Va.
Vc. pizz.
Cb. div.
(arco)
II – 51
29
=
1 2 Fl. 3
1 2 Ob. 3
1 2 Cl. in B 3
1 2
Bn.
Cbn. con sord.
1 2 Hn. in F
con sord.
3 4 1., with straight mute
1 2 Tpt. in C 3 4 with straight mute
1 2 Tbn. 3 Tba.
Timp.
Perc.
1 2 3 4
Synth.
sim.
Harp
sim.
espr. Rosina
lasts,
not
love
or
pain.
O
time,
o
time,
o
thiev ing time,
o
time,
o
thiev ing time,
espr. Sussana
lasts,
not
love
or
pain.
O
time,
solo (solo)
I Vn. II sola (sola)
Va. solo
solo
Vc.
gli altri
solo
arco, solo
Cb.
solo
=
II – 52 = 1 2 Fl. 3
1 2 Ob. 3
Cl. in B
1 2 3
Bn.
1 2
Cbn.
1 2 Hn. in F 3 4
3 3
1 2
Tpt. in C
3., with straight mute
3
3 4
1 2 Tbn. 3 Tba.
Timp.
Perc.
1 2 3 4
Synth.
G
Harp
A
G
D
A
3
Rosina
Give me
back my
sto
len
years.
Give me
back my
sto
len
years.
O
3
time,
O
time,
O
thiev ing
time,
O
thiev ing
time,
Susanna
(solo)
I Vn. II (sola)
Va. (solo)
1 (solo)
Vc.
2 (solo)
3 (solo)
1 Cb.
(solo)
2
O
time,
O
time,
=
II – 53 Slower
rall. 1 2 Fl. 3 1.
1 2 Ob. 3 1.
1 2 Cl. in B 3
1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 2.
remove mute
1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
Perc.
1 2 3 4
Synth.
non arp.
(sim.)
D
Harp
G
Marie Antoinette: (to herself)
M.A.
My
sto
len
years.
Rosina
Give
me
back
my
sto
len
years.
Give
me
back
my
sto
len
years.
Susanna Louis: (spoken to himself)
Louis
rall. (solo)
Oh, let her go.
Slower
tutti, div.
I Vn. II (sola)
le altre
tutte
Va. (solo)
1 (solo)
Vc.
2 tutti
(3. solo)
3 gli altri (solo)
1 Cb.
tutti
(solo)
2 gli altri
II – 54
30 1 2 Fl. 3
1 2 Ob. 3
1 2 Cl. in B 3
1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Synth.
[Harpsichord]
Piano
Harp
(The women embrace and kiss each other on the cheek.) (Rosina exits.) 3
3
Rosina
And now I must go. 3
(spoken)
(gasp)
3
3
3
3
Susanna
Bless you, ma dam,
bless you. What a kind woman.
Ha!
(Immediately, Figaro enters through a window.)
Where were you?
That’s what you said the
Figaro: (Looking over his shoulder.)
Figaro 3
Quick, I Vn. II
Va.
Vc.
Cb.
hide me!
3
I was fol
lowed
II – 55 1 2 Fl. 3
1 2 Ob. 3
1 2 Cl. in B 3
1 2
Bn.
Cbn.
1 2 Hn. in F 3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2 Bell Tree
3
3
Synth.
3
Piano
Harp
(Beaumarchais suddenly appears from nowhere behind Figaro’s back.) 3
3
3
Susanna
last time.
I don’t be
lieve
you.
3
O my God,
how did he get in?
It’s witch craft! (to Beaumarchais)
Figaro 3
3
It’s true.
That’s him!
Louis: (spoken)
Louis
Oh, there he is. 1 solo, senza sord.
I Vn. II senza sord. 1 sola
Va. senza sord. 2 soli
Vc.
Cb.
div.
Who
are you, sir?
Scene 5 to Flute
II – 123
57
Picc. = 84
*
1 Fl. 2 1 2
Ob.
E.H. 1 2 Cl. in B 3 1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3 4 1 2 Tbn. 3 Tba.
Timp.
Perc.
1 2 3 4
Synth.
(The peers of Paris—those who have not fled or been thrown in jail or executed— assemble for one last time. Liveried servants take their wraps. The aristocrats are decked out with a pre-revolutionary splendor. They are dressed “a la victime,” with thin ribbons around their necks, commemorating relatives and loved ones lost to the guillotine. 1st Gossip (Soprano):
1st Gossip Ghost
I
knew
that
wo
man.
Ma
de leine!
Rosina: (spoken)
Rosina:
Welcome, Madeleine, welcome. Almaviva: (spoken)
Almaviva 8
*
Your excellency, welcome.
1 solo = 84
Vn. I solo 8
(7 stands) al sord.
Vn. I gli altri (5 stands) al sord.
Vn. II * 1 sola = 84
Va. sola div. a3
Va. le altre * 1 solo, pizz. = 84
1 solo
Vc. gli altri
(1 stand)
al sord.
al sord.
Cb. (2 stands) * A Flute, Violin, Viola, and Violoncello create the “Ball Orchestra” which plays its music independently of the conductor. The Violinist should conduct the others as if they were in a chamber ensemble. The group continues to play their music until Almaviva cuts them off by clapping hands.
II – 124
Fl.
Solo Vn.
Sola Va. arco
(pizz.)
arco
pizz.
Solo Vc.
Fl.
Solo Vn.
Sola Va. pizz.
arco
Solo Vc.
Fl.
Solo Vn.
Sola Va.
pizz.
arco
Solo Vc.
rall. Fl. (Play only if low B is not available on Flute) Solo Vn.
Sola Va.
Solo Vc.
(Three ghosts—the gossips—haunt the ball. They are dressed in the same fashion as the guests, but their clothing is all white and their makeup has a waxy pallor. The First and Second Ghosts mingle with the guests; the Third Ghost sits on a chandelier. The Ghosts cannot be seen, heard, or touched. Rosina and Almaviva stand to one side, greeting people. Nearby, next to the pillar, Florestine paces nervously.)
Ghost Gossips
Mar gue ri
2nd Gossip (Soprano):
3
Florestine:
3
Her young
man
left
Florestine
Have
you seen Lé
on?
Marquis:
Marquis 8
stands 1, 2, 3, 4 con sord.
No,
I’m sor
ry.
stands 5, 6 con sord.
Vn. I gli altri stand 7 con sord.
Vn. II
al sord.
Va. le altre al sord.
Vc.
Cb.
2 players, div., con sord.
her.
te
II – 125 1st Gossip Ghost:
Ghost Gossips
Poor Bishop:
Bishop 8
We must ne
ver give
up hope.
2nd Young Man:
2nd Yng. Man
Not since Eas
Florestine: (to another young man)
ter.
(she cries in her friend’s arms)
Florestine
Have you seen Lé
on?
I
don’t know where he
is.
Ball Orch.
Vn. I gli altri
div. a3, con sord.
Vn. II 1, 2 unis., con sord.
Va. le altre tutti, div. (con sord.)
Vc. gli altri div., con sord.
Cb.
(Count Almaviva claps for silence. The players stop.)
vuota girl.
Ghost Gossips
2nd Gossip Ghost:
Poor
Flo
res
tine.
Florestine
Where did
he
go?
Almaviva: (clapping for silence.)
(Almaviva goes to where the musicians are seated.)
Almaviva 8
Ball Orch.
(div.)
vuota Vn. I gli altri via sord.
Vn. II gli altri via sord.
Va. le altre via sord.
Vc. gli altri via sord.
Cb.
II – 126
58
Almaviva 8
Friends,
wel
come.
For
one
last
time
we
have come
3
to
ge ther in the name of
love
and
am
i
ty.
I Vn. II *
div., senza sord. 6 players
Va. dolce 2 players *
div., senza sord. 3 players
Vc. dolce 5 players unis., senza sord.
Cb. dolce
Almaviva 8
But
e
ven
as
I speak,
all
of France
suf
fers,
and
our
queen
a
waits
her
ver
dict.
I Vn. II (div.)
Va. (div.)
Vc.
Cb.
Almaviva 8
When I think
of
her
I
re proach my self the
air
I
breathe,
and am torn
be tween pain
and rage,
I Vn. II unis. (8 players)
Va. sub. 4 players
Vc. sub. 4 players
Cb. sub.
Almaviva 8
3
But
to night,
3
let us for get our sor rows
and ce le brate this mo ment
I Vn. II div. 6 players
Va. 2 players div. 3 players
Vc. 5 players
Cb. *Soli Viola and Violoncello rejoin their sections until rehearsal number 59, when they join the Ball Orchestra again.
of free
dom.
Let the gold
en
days
re
turn!
II – 127
59 Tempo di minuetto *
C
Fl. gracefully
Solo Vn.
Sola Va. gracefully
Solo Vc.
A
Fl.
Solo Vn.
Sola Va.
Solo Vc.
Synth.
Piano
Harp
(Everyone dances—even the Ghosts—except the Almaviva household. For a moment all pains are forgotten as the salad days of the monarchy are revived. After a while Léon enters furtively. He stands partially hidden near Florestine.)
** Léon: (spoken, sotto voce)
Léon 8
Florestine! (spoken)
Almaviva 8
Musicians!
I Vn. II
Va.
Vc.
Cb. *Ball Orchestra is independent of singers and pit orchestra. Continue playing until cue to fade at rehearsal 60 . **After dance has been established.
II – 128
Fl.
Solo Vn.
Sola Va.
Solo Vc.
Fl.
Solo Vn.
Sola Va.
Solo Vc.
60 = 60–66 a2 Fl.
1 2 1. (solo)
Ob.
1
Cl. in B
1 2
Bn.
1 2
dolce
dolce
1.
1 2 Hn. in F
3.
3 4 Tpt. in C
1 2
Perc.
1 2 3 4
Synth.
Florestine: (Florestine embraces Léon.)
(Léon holds her. Almaviva sees them.)
Florestine
Lé
on!
I don’t care!
Thank God you’re safe! Rosina:
(Rosina restrains Almaviva.)
Rosina
Don’t! Léon 8
Your
fath
er!
(Pointing out Léon to Rosina)
Almaviva 8
Your
son!
* Ball Orchestra
= 60–66 I Vn. II tutte unis.
Va. espr., curved, lyrical div.
Vc.
Cb.
*:If the Ball Orchestra is on stage, it mimes playing after the fade to niente until rehearsal 65 .
(espr.)
II – 129 (a2)
Fl.
1 2
Cl. in B
1
(1.)
2.
(3.)
4.
1 2 Hn. in F 3 4
3
3
Florestine
I
thought you had left me.
I was so fright ened.
Rosina
Will you? Will you? Léon 8
Dar
ling.
Leave you?
(aside) (Almaviva tries to speak, but Rosina cuts him off.)
Almaviva 3
8
How dare he come here?
3
3
I’ll have him thrown out!
I know she’s right.
Va. (div.)
Vc.
rall.
English Horn
E.H.
Bn.
1 2.
1 2 Hn. in F
4.
3 4 (aside)
Rosina 3
What
can
I
do
to
make him
for
give
me? dolce
Léon 8
How
could
Almaviva 3
8
mit
Va.
Vc.
ted
3
the same
sin…
yet
I
can’t for
give
her.
I
leave
you?
We com
II – 130
61 Fl.
1 2 3
Ob.
1 2
Quartet = ca. 60
E.H. 2.
1 2 Cl. in B 3
1 2
Bn.
Cbn. (2.)
1.
3
3
1 2 Hn. in F
(4.)
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp. Crotales
1
Perc.
2
3 4
Piano
Harp
(The dancers continue dancing, even though the Ball Orchestra’s music has faded away.)
Florestine:
Florestine
You took me
Rosina
3
Léon 3
8
Re
mem ber
the chest
nut
trees
in
the
gar dens of
the Tuil
er
ies?
Ball Orchestra 8
= ca. 60
tutti unis. (con sord.)
I Vn. II div.
Va.
Vc. 3
Cb.
by the
II – 131
Fl.
1 2 3
Ob.
1 2
E.H.
1 2 Cl. in B 3
1 2
Bn.
Cbn. 1.
1 2 Hn. in F 3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Harp
Florestine
hand. Rosina: Rosina
I wish he’d
take my
hand.
Léon 8
Re
mem ber
the mist
Almaviva: Almaviva 8
I’d like to touch her hand. (From Rehearsal Letter A in the Minuet)
Ball Orchestra
I Vn.
div., senza sord.
II
1 1
Va. div. a4
5 1 (div.)
Vc.
Cb.
div.
div.
on the
Seine
And the
brid ges
in
the ea
sy
II – 132
62 Fl.
1 2 3
Ob.
1 2
1.
3
E.H. 1.
2.
1 2 Cl. in B 3
1 2
Bn.
Cbn. (1.)
1 2
Hn. in F
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp. Crot.
1
Perc.
2
3 4
Harp
3
Florestine
You held my face and
kissed
me.
Re
mem
ber
Rosina
Léon 8
rain?
I
held
you.
I
kissed
you.
Almaviva 8
(con sord.)
I Vn.
(div.)
II
(div. a4)
div. a3
4
Va. 4 (div.)
Vc.
Cb.
div. a2
the
fal
len
II – 133
Fl.
1 2 3
Ob.
1 2
(1.)
3
E.H. (2.)
1.
1 2 Cl. in B 3
1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1 Vib., motor off
Perc.
2
Ped.
3 4
Harp
Florestine 3
birch
in
the
clois ter
of
the lit
tle
church?
Re
mem ber
Rosina
Léon 8
I
took you by the
hand.
Almaviva 8
I Vn.
div.
II 1 1 5
Va. div. a4
1 (div.)
4
Vc. 4 3
Cb.
us drift ing,
a
II – 134 1.
Fl.
1 2 3
Ob.
1 2
E.H. (1.)
1 2 Cl. in B 3
1 2
Bn.
Cbn.
1 2 Hn. in F 3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1 Vib. (motor off)
Perc.
2 Ped.
3 4
Harp
Florestine
float,
In
the
si
lence of
the glid
ing
boat?
(t)
You
shiv
ered
Rosina
Léon 8
I
held your face and
kissed
you.
Almaviva 8
(sord.) via sord.
I Vn.
(div.)
II
(div.)
Va. div. a4
(div.)
(div.)
Vc. pizz.
Cb.
and
II – 135
63 Fl.
1 2 3
Ob.
1 2
(1.)
English Horn
3
E.H. 1.
1 2 Cl. in B 3 1.
a2
1 2
Bn.
Cbn.
2.
1 2 Hn. in F
4.
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Harp
Florestine
trem
bled. Rosina:
dolce
Rosina
Look
how he loves
her. dolce
Léon 8
3
Almaviva:
You
quiv
ered
and
sighed.
Re
mem ber
the
fra grance of
dolce
Almaviva 8
Look
3
how she loves him. (From Rehearsal Letter B in the Minuet)
Ball Orchestra
senza sord.
3
I Vn.
dolce
last 4 players
II
4 (div.)
Va. unis.
4 div.
Vc. arco
Cb.
div.
II – 136 1 2 Fl. 3 3
2.
1 2
Ob.
3
to Oboe
E.H.
1 2 Cl. in B 3 (a2)
*
1 2
Bn.
Cbn.
*
1 2 Hn. in F
* *
3 4 1 2
Tpt. in C
3 4 *
1 2 Tbn.
*
3 Tba.
Timp. Glock. 3
1 Vib.
2 3
Perc.
Ped.
Sus. Cym.
3
Florestine
I (impassioned) Rosina 3
I
3
re mem ber a
3
shim mer ing light.
Léon 8
mush rooms in
the air? (impassioned)
Almaviva 3
8
I
Vn. I div.
3 3 Vn. II div. a3
middle 3 players
4
Va.
Vc.
Cb.
*Ossia:
first 3 players
3
re mem ber a star filled
night.
re mem ber there were rain
drops
in
your
hair.
II – 137
64 1 2 Fl. 3
1 2 Ob. 3
1 2 Cl. in B
to Bass Clarinet
3
1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 1 2 Tpt. in C 3 4 1 2 Tbn.
3.
3 Tba.
Timp. Glock.
Perc.
1
Piano
(actual pitch)
Harp
floating
Florestine
I
swore
to
love
you
al
ways.
I
gave
my
self
to
you
for
ev
er.
my
self
to
you
for
ev
er.
floating
Léon 8
I
swore
to
love
you
al
ways.
I
gave
Almaviva 8
I tutti div.
al sord.
I Vn.
div. a2
unis.
tutti div.
unis.
unis., pizz.
arco
unis., pizz.
arco
II
Va.
Vc.
Cb.
unis., con sord.
II – 138 1 2 Fl. 3
1 2 Ob. 3
Cl. in B
1 2
Bs. Cl.
1 2
Bn.
Cbn.
1 2
Hn. in F
3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1
Perc.
2
3 4
Pno.
Harp
Florestine
Rosina:
Rosina
I
gave
my
self
to
him
for
ev
er.
Léon 8
Almaviva 8
swore
to
love
her
al
ways. via sord.
I Vn. II
Va.
Vc.
Cb.
II – 151
70 a2
*
a2
*
1 2 Hn. in F 3 4
(to Figaro) (to Wilhelm)
(spoken)
(to Almaviva)
(to Ball Orchestra)
Almaviva, I’ll see you at dawn.
Musicians, play. Amuse the aristocrats as they go
Bégearss 8
Your friend is mad.
Take them to prison.
(Again nothing happens.)
Beau. 3
I
com
mand you!
I am as weak as smoke.
(div. a4)
1 solo forms Ball Orchestra
I (non cresc.)
Vn.
(sul pont.)
*
II (sul pont.)
*
1 solo forms Ball Orchestra
*
1 solo forms Ball Orchestra
Va. (sul pont.)
Vc. 4 soli, div., non vib.
Cb.
Elegant
= 84
** (in Ball Orchestra)
Fl.
1 (The Ghosts dance. Susanna takes Figaro aside.) Susanna: (to Figaro)
Susanna
No, that way and be quick about it! Go! Wilhelm: (to the prisoners)
Wilhelm
This way and be quick about it! (exit Bégearss.)
Bégearss 8
off to their cell. Elegant = 84 ** 1 solo (in Ball Orchestra)
I Vn. II Elegant = 84 ** 1 sola (in Ball Orchestra)
Va. Elegant = 84 1 solo, pizz. ** (in Ball Orchestra)
Vc. (div. a4)
Cb. * Improvise a chromatic line, following the shape of the squiggly line. ** As before, Flute, Violin, Viola, and Violoncello create the “Ball Orchestra” and play independently. They play continuously, alternating endings 1. and 2. until their cue to fade at the orchestral 4/4, marked “Adagio = 48.”
arco
II – 152
Flute
Solo Vn.
Sola Va. pizz.
arco
pizz.
arco
Solo Vc.
Flute
Solo Vn.
Sola Va.
Solo Vc.
(Figaro returns to fetch Beaumarchais. Wilhelm notices.)
Wilhelm
What’s this? What’s this?
Flute (play only if Flute cannot play B )
Solo Vn.
Sola Va.
pizz.
arco
Solo Vc.
rall. 1
Flute
Solo Vn.
Sola Va.
Solo Vc.
(Susanna tries to distract Wilhelm as Figaro and Beaumarchais sneak away.)
(Wilhelm traps Susanna as she is about to join Figaro.)
Susanna
Go, Figaro, go!
II – 153 2
Flute
Solo Vn.
Sola Va.
pizz.
arco
Solo Vc.
Flute
Solo Vn.
Sola Va.
Solo Vc.
(Turmoil as the aristocrats are herded off, Susanna among them, and Figaro and Beaumarchais escape.) Wilhelm
Not you, woman.
Susanna
Fly, Figaro, fly! (Wilhelm holds Susanna.)
Wilhelm
Stop them! They’re escaping, you fools! Master will kill me!
Ball Orch.
II – 154
71 *
Fl.
2
Ob.
1 2
Cl. in B
1
1.
*
*
(Wilhelm, the Soldiers, Revolutionary Women, guests, and the Almaviva household all leave. The stage is empty, except for the musicians and the Ghosts. The stage is silent but for the music. The Ghosts start dancing a spectral version of the ball, gracefully exchanging heads and limbs.)
Susanna
Wilhelm
Ball Orch.
I Vn. II 1/2 section, div., senza vib.
Va. 1/2 section, div., senza vib.
Vc.
Cb.
2 Fl. 3 2.
Ob.
1 2
1
Cl. in B
2 *
3
Ball Orch.
Vn.
I
II (div.)
Va.
div., senza vib.
(div.)
Vc.
div., senza vib.
Cb. * Play (pp) at approximate positions within cue.
II – 155
rall.
fade away
Flute
Solo Vn.
Solo Va.
Solo Vc.
Adagio
= 48
2 Fl. 3
1 Ob. 2 2.
1.
1 2 Cl. in B
to Bass Clarinet
3
(Curtin slowly comes down) (Marie Antoinette enters) Marie Antoinette: (to herself)
(Curtain is down)
(Marie continues senza fermata, independent of orchestra.)
free
M.A.
He sac ri ficed his pow ers,
Adagio
and he risked his soul.
= 48
unis., arco
Vn. I gli altri legatissimo
Vn. II legatissimo div.
Va. gli altri
(div.)
(div.)
Vc. gli altri
Cb.
(div.)
unis.
Be cause he
loves me.
He loves me.
II-229
= ca. 60–72
110 1 2 Fl.
Flute
3/Picc. 1. 1 2
English Horn
Ob. 3/E.H.
stagger breathing 1 slow legato gliss. stagger breathing
Cl. in B 2
slow legato gliss.
Bass Clarinet
stagger breathing
3/Bs. Cl. slow legato gliss. Bn. 1 2
Contrabassoon 3/Cbn.
a2 stagger breathing 1 2 slow legato gliss.
Hn. in F
a2 stagger breathing 3 4 slow legato gliss.
1 Tpt. 2 in C 3 4 1 2 Tbn. 3 Tba.
Timp.
1 Perc.
Bass Drum
2
Piano
Harp
Marie Antoinette (Spoken)
3
M.A.
No, Beaumarchais, it is as it should have been.
She
must
stay
and
ride
= ca. 60–72 I Vn. II free bows Va. *(div. a4) 1-4 Vc.
*(div. a4)
5-8
*(div. a3) 1-3 Cb.
*(div. a3)
4-6
*:Divide by half step between pitches in boxes.
slow legato gliss.
the
II-230
a2 fltg. 1 2 Fl.
fltg. 3
(1.)
Ob.
1.
1 2
3
1
Cl. in B 2
3
Bn. 1 2 Cbn.
1 2 Hn. in F 3 4
1 Tpt. 2 in C 3 4 1 2 Tbn. 3 Tba.
Timp. Anvil 1 Perc. 2
Piano
Harp
M.A.
cart I Vn. II
Va.
1-4 Vc. 5-8
1-3
Cb. 4-6
And
see
the
crowds
And
hear
the
drums
And
count
the
111
II-231
1 2 Fl. 3
1.
1.
1 2
2.
Ob.
to Oboe 3
E.H.
1 Cl. in B 2
to Clarinet in B
Clarinet in B
Bs. Cl.
Bn. 1 2
Cbn. (a2) 1 2 Hn. in F
(a2) 3 4 harmon mute
Tpt. in C
1 2 3., harmon mute 3 4
1 2 Tbn.. 3 Tba.
Timp. Glock. (Anvil) 1 Perc.
(B.D.)
2 8va
Piano
8va
Harp
3
3
M.A.
stairs And feel the
blade.
She must stay, Beau mar chais,
And she must die
I Vn. II non div. Va.
non div. 1-4 Vc.
non div.
5-8
pizz. 1-3 Cb. 4-6
pizz.
Once there was a
II-232
1 2 Fl. 3
1 2 Ob. 3
1 Cl. in B 2
to Bass Clarinet 3
Bn. 1 2
Cbn.
1 2 Hn. in F 3 4
Tpt. in C
1 2
3 4
1 2 Tbn.. 3 Tba.
Timp.
1 Perc. 2
Piano
Harp
3
M.A.
gold en bird,
A
bird
who lived in
a
sil ver cage
I Vn. II
Va. unis. Vc.
Cb.
I
nev
er saw the world out
side.
I
nev er knew the
II-233 112 1 2 Fl. 3
a2
a2
1 2 espr.
Ob.
to E.H. 3 espr. 1
Cl. in B
to A Cl. 2
Bs. Cl. a2 Bn. 1 2
Cbn. 2. 1 2 Hn. in F 3 4 open 1 2 Tpt. in C
3. con sord.
open
3 4
4.
espr. 3. 1 2 Tbn.. 3 Tba.
Timp. T.D. 1 Perc. B.D. 2
Piano
Harp
3
M.A. 3
world of pain.
I
did not know,
did not know!
I have to
stay,
Beau mar chais,
Vn. I gliss.
gliss. Vn. II gliss.
1
2
gliss.
3
gliss.
4
gliss.
Va.
1-4 Vc. 5-8
arco 1-3 Cb. 4-6
arco
II-234 113 1 2 Fl. 3
(a2) 1 2 Ob. E.H.
Cl. 1 in B lontano Cl. 2 in A
Bs. Cl.
Bn. 1 2
to Bn. 3 Cbn.
1 2
subito subito
Hn. in F 3 4
1 2 Tpt. in C 3 4 al sord. 1 2 Tbn..
al sord.
3 Tba.
Timp. (T.D.) 1 Perc.
(B.D.)
2
Piano
Harp
(slower, free)
(a tempo)
M.A.
And I
have to
die.
For there was
unis., con sord. I desolate
Vn.
unis., con sord.
II desolate Va.
Vc.
Cb.
no
peace,
II-235
1 2 Fl. 3
1 2 Ob. E.H.
Cl. 1 in B
Cl. 2 in A
Bs. Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4
1 2 Tpt. in C 3 4
1 2 Tbn.. 3 Tba.
Timp.
1 Perc. 2
Piano
Harp
M.A.
I
wan
dered,
cold, 8va
I Vn. II
Va.
Vc.
Cb.
bit ter,
emp ty,
II-236
1 2 Fl. 3
1 2 Ob. E.H. solo
(quasi
)
(quasi
)
3
(quasi
)
3
3
3
3
3
3
3
3
3
3
3
Cl. 1 in B sost. Cl. 2 in A
sost.
to B Cl.
Bs. Cl. sost. 1 2 Bn. 3 2. 1 2 Hn. in F 3 4
1 2 Tpt. in C 3 4
1 2 Tbn..
con sord.
3 Tba.
Timp.
1 Perc. 2
Piano
non arpeggio
Harp
M.A.
Un
til
with
your
art
and
love
you
called
I Vn. II
(quasi
)
div.
3
3
3
3
3
3
Va.
3
(quasi
)
div.
Vc. 3
div. Cb.
me.
II-237 114
3
1.
1 2 Fl. 3 1. 1 2 Ob.
solo
to Oboe 3
3
E.H.
Cl. 1 in B 3 3
Cl. 2 in A
Cl. 3 in B (quasi
)
1 2 3
Bn.
(quasi
3.
)
sost.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 sost.
1 2 Hn. in F
3. 3 4
1 2 Tpt. in C 3 4 con sord.
(quasi
)
(quasi
3. (con ) sord.)
1 2 3
Tbn..
sost.
3
3 Tba. sost.
Timp.
1 Perc. 2
Piano
richly
Harp
3
M.A.
You
taught
me
that ac
cep
tance is
the
on
ly road
to
free
dom
And for 8va
I Vn. II div.
unis. Va. 3
unis.
pizz.
3
Vc.
pizz. Cb.
3
arco, unis.
pizz.
arco, div.
II-238
stringendo 115
(1.)
Faster = ca. 96
1. solo
1 2 Fl. 3 (1.) 1 2 Ob. 3
Cl. in B 1 Cl. in A 2 Cl. in B 3 3
1 2 Bn. 3
3
(quasi
)
1. solo
1 2 3
Hn. in F
(quasi
)
richly
3
3
3
3
3
3
3
3. solo
3 4 richly
1., solo, senza sord.
con sord. 1 2 Tpt. in C
4. con sord. 3 4 3. senza sord. 1 2
Tbn..
senza sord.
3 Tba.
Timp.
1 Perc. B.D.
3
2
Piano
non arp.
Harp
joyous
3
3
M.A.
give
ness
sets our spir its
free to
fly.
Float
ing,
ris ing,
soar
ing,
Faster = ca. 96
stringendo 8
div., senza sord. I Vn.
senza sord.
div.
II (quasi (div.)
) 3
3
3
3
3
3
3
3
Va.
richly (quasi (div.)
)
div. a2, pizz.
Vc. richly arco, div. a3
div. a2, pizz.
Cb. 3
unis.
= ca. 84
tratt.
1.
rall. * a2
1 2 Fl.
* 3
1. solo 1 2 Ob. 3
*
Cl. in B 1
*
Cl. in A 2
*
Cl. in B 3
1 2 Bn. 3
a2 1 2 Hn. in F
a2 3 4 (1.)
senza sord.
1 2 rich
Tpt. in C
3., senza sord. 3 4 rich 1 2 rich
Tbn.. 3 Tba.
Timp. Sus. Cym. 1 Perc.
B.D.
2
Piano
* Harp
M.A.
De light,
rap
ture.
par
a
dise!
Thank
= ca. 84
tratt.
rall.
unis.
(div.) I
espr.
Vn.
(div.) II espr.
(div.)
div. a4
unis.
Va.
espr. unis., arco
div. a3
Vc.
arco Cb.
* Flutes, Clarinets and Harp play free wave of arpeggios on the given note chords. All should be legatissimo, blurred and non-synchronized with other players. They can be played at any speed, but must always sound etherial.
div.
II-239
II-240
= 72
Slower
rall.
= 60
1 2
Fl.
solo
to Picc.
Picc.
Picc. 1. 1 2 Ob. 3
Cl. in B 1
Cl. in A 2
Cl. in B 3
1 2 Bn. 3
1 2 Hn. in F 3 4
1 2 Tpt. in C 3 4
1 2 Tbn.. 3 Tba.
Timp.
1 Perc. 2
Piano
Harp
M.A.
you
for this
mo ment
of
peace.
I
= 72
suf fered here in
Slower
rall. unis. div., con sord.
I Vn.
div., con sord.
unis.
II
unis., con sord. Va.
unis., con sord. Vc.
unis., con sord. Cb.
= 60
end less
II–241
rall.
116 1 2
Fl.
Picc. (1.) 1 2 Ob. 3
Cl. in B 1
Cl. in A 2
Cl. in B 3
1 2 Bn. 3
1. 1 2
Hn. in F
3. 3 4
1 2 Tpt. in B 3 4
1 2 Tbn..
con sord.
3 Tba.
Timp.
1
2 Perc. 3
4
Piano
Harp
(She kneels before him.) M.A.
night.
And div.
then you
cameandbroughtme
light.
rall.
I
love
I Vn.
div.
half section
div.
unis.
II
Va. div. Vc. div. (arco) Cb.
pizz.
you.
II-242
II-243
II-244
II-245
II-246
II-247
II-248
II-249
II-250