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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 Reduced Orchestration by John David Earnest FULL SCORE ACT I

From the G. Schirmer Rental Library Date of Printing ______________

G. Schirmer, Inc. New York, NY


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 Reduced Orchestration by John David Earnest

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originally commissioned by the Metropolitan Opera Company for its 100 anniversary this reduced orchestration was commissioned by Opera Theatre of Saint Louis for its Thirty-fourth Festival Season and 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.

G. Schirmer, Inc. New York, NY


CONTENTS

ACT I Prologue...........................................................................1 Scene 1.........................................................................142 Scene 2.........................................................................213 Scene 3.........................................................................220 Scene 4.........................................................................253 Scene 5.........................................................................269

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.....................................................................S.A.T.B PIERRE-AUGUSTIN CARON de BEAUMARCHAIS, author of The Barber of Seville and The Marriage of Figaro, passionate, quick, middle-aged........Bass-baritone MARIE ANTOINETTE, soulfully beautiful, vulnerable, warm, yet willful, in her thirties.........................................................................Soprano Players in the Opera: FIGARO, Count Almaviva’s wily servant, middle-aged.....................................................Baritone SUSANNA, Figaro’s loyal but independent wife, middle-aged..........................................Soprano COUNT ALMAVIVA, a proud, stubborn Spanish aristocrat, middle-aged.........................Tenor ROSINA, his still-beautiful, grieving wife, in her forties....................................................Soprano LEON, Rosina’s son by Cherubino, about twenty..................................................................Tenor FLORESTINE, Almaviva’s daughter, about twenty..........................................Coloratura soprano PATRICK HONORE BEGEARSS, Almaviva’s treacherous friend, middle-aged................Tenor WILHELM, doltish young servant of Bégearss...........................................................Speaking part CHERUBINO, a former page of Almaviva, handsome, in his late teens.................Mezzo-soprano SULEYMAN PASHA, Turkish ambassador, heavy, bald, middle-aged or older......................Bass ENGLISH AMBASSADOR, distinguished older gentlemen............................................Baritone SAMIRA, sultry Egyptian singer...............................................................................Mezzo-soprano DUTCHESS, (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 (sung by ghost of MARIE ANTOINETTE) CHORUS...................................................................................................Eighteen or more singers

Others: pursuers of Figaro, Turkish duelists, page, dancing and harem girls, “rhieta” players, acrobats, revolutionary guards, revolutionary women, courtiers, dancers, prison guards, prisoners, soldiers.


to Anthony Holland, friend and collaborator

May memory restore again and again The smallest color of the smallest day: Time is the school in which we learn, Time is the fire in which we burn. –Delmore Schwartz

ACKNOWLEDGMENTS Special thanks to Osama A. Abusitta, John Atkins, Bob Campell, Colin Graham, Joel Honig, Sandy Kadet, El-azza M’Hammed, Ross MacLean, Michael Mace, James McCourt, Steven Mercurio, Darragh Park, Philip Ramey, Sheldon Shkolnik, Mark Thalenberg, Deniz Ulben Hughes, Kalman Ullmann, Jean-Claude van Itallie, Serapio Walton, and MaryAnn Wrobleski for their help and patience. I am grateful to the National Endowment for the Arts for a librettist grant and to the Circle Repertory Company for their support. Credit is due for the lines from “Calmly We Walk Through This April’s Day,” by Delmore Schwartz (from Selected Poems: Summer Knowledge. Copyright © 1959 by Delmore Schwartz. Reprinted by permission of New Directions Publishing Company).

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-within-the-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 the 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.


Instrumentation 2 Flutes (both doubling Piccolo) 2 Oboes (2nd doubling English Horn) 2 Clarinets in B= (1st doubling Clarinet in A, 2nd doubling Clarinets in 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, Ratchet) Percussion (3 players) 1. Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone (bow needed), Triangle, Xylophone, W ind Machine 2. Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, Triangle, Xylophone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, W ood Blocks, Anvil, Chimes, Lion’s Roar, Slapstick, Thunder Sheet 3. Bass Drum, Crotales (bow needed), Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, W ood Blocks, 2 Dumbec drums, Crash Cymbals, Large Bass Drum, Low Drum, Low Gong, Small Tamtam

Synthesizer Piano/Celesta Harp Strings (6.6.4.4.3 players)

This reduced orchestra version of The Ghosts of Versailles was prepared by John David Earnest, with the composer’s and publisher’s approval, on commission from the Opera Theatre of St. Louis in 2008. The world premiere of the reduced orchestra version was given on 17 June 2009, Michael Christie, conductor

Marie Antoinette..............................Maria Kanyova Louis XVI.............................................Kevin Glavin Beaumarchais...................................James Westman Figaro.........................................Christopher Feigum Rosina................................................Hanan Alattar Bégearss......................................Matthew DiBattista Samira.............................................Elizabeth Batton

Stage Director...................................James Robinson Set Designer...........................................Allen Moyer Costume Designer..............................James Schuette Video Designer...........................Wendall Harrington Lighting Designer....................................Paul Palazzo

ACT I TIME: The present and the autumn of 1793 PLACE: Marie Antoinette’s theater in the Petit Trianon, Versailles The curtain rises, revealing a vast expanse of almost empty stage dimly lit and painted a friendly, glowing off-white. We see randomly placed pieces of Marie Antoinette’s intimate private theater at the Petit Trianon in Versailles: a pillar or two, a chair, a box, the front curtain. After a few measures of music, the theater will slowly assemble itself before our eyes. The beginning of the Prologue is also marked by the slow descent (from above the proscenium arch to the floor of the stage) of an elegant woman seated in a comfortable fauteuil. She is wearing an extremely large dress and vast hat depicting peace and plenty in land of France. She sings words (by Beaumarchais) to the tune of Marlborough s’en va-t-en guerre, (For He’s a Jolly Good Fellow). The following five sections of the Prologue—the descent of the Woman with hat, the card game between Louis XVI and the Marquis, and the quartet of bored ghosts in the opera box—form a collage of events that start, stop, overlap, and intertwine.


to Francis Goelet

THE GHOSTS OF VERSAILLES A Grand Opera Buffa in Two Acts (Reduced Orchestration)

William M. Hoffman *

John Corigliano

ACT I

Slowly

Prologue

ca. 5 seconds

1 Flute (Piccolo)

2

1 Oboe (English Horn)

to English Horn

2

1 Clarinet in B

to Bass Clarinet

(Bass Clarinet) (Clarinet in E ) 2

1 Bassoon (Contrabassoon) 2

1 Horn in F 2 take harmon mute

with harmon mute

take harmon mute

with harmon mute

1 Trumpet in C 2

1 Trombone 2 Timpani bend

Vibraphone, bowed

****alternate notes

1 Pedal

Percussion

2 Crotales, bowed

****alternate notes

3 (echo)

(white sound)

Synthesizer

Piano (Celesta)

Harp

*

Slowly

1 solo gliss.

div., con sord.

div. a3

*** sul pont.

**

ca. 5 seconds

I Violin

div., con sord.

gliss.

div. a3 **

*** sul pont.

II

Viola

Violoncello

Contrabass * Triangles with numbers within mean free cue beats. The number denotes the number of beats (cues) in the measure. Dotted barlines indicate secondary cues. ** Divide evenly between 1st and 2nd Violins (ie: 6 pitches, 12 players = 2 players per pitch.) *** Free, chromatic, squiggly runs following shape of lines. **** Percussionists prepare note in parenthesis but do not play on downbeat.

Score in C Corrected 8/2009

Copyright Š 1991 by G. Schirmer, Inc. (ASCAP), New York, NY This version copyright Š 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal Law and subject to criminal prosecution.

Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY


2

1 = ca. 40–48

**

*

Picc. *

Fl.

**

1

1 Ob. 2 *

Cl. in B

**

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

l.v.

**

1 Glockenspiel, with soft sticks *

Perc.

**

2 (Crot.)

l.v.

3 (WHITE SOUND) **

Synth.

sempre

Celesta *

**

Cel.

Harp

Woman with Hat: slow, dream-like (asynchronous with orchestra)

W. w/ H.

Mon

= ca. 40–48

cour

sier

solo, senza sord. *

**

Vn. I solo

Vn.

Vn.

div. a2 (con sord.)

slow gliss.

metà

slow gliss.

I

II sola 8va *

**

Va.

Vc.

Cb. *Following conductor, finger line of eighth notes, but do not play. Occasionally produce sound beginning niente, make slight crescendi and diminuendi, back to niente, through the passage, sempre legatissimo. **Continue in tempo (4/4) without conductor. Keep tempo steady. Slight misalignments may occur, but this phasing is not objectionable.


3 **

Picc.

Fl.

1

Ob.

1

**

*

E.H.

Cl. in B

1 *

Bs. Cl. **

Bn.

1 *

Cbn. *

**

1 Hn. in F

*

2 *

**

1 Tpt. in C

*

2 fltg.

**

1 Tbn.

*

2

Timp. (Vib.)

1 Glock.

Perc.

**

2 Crot. **

3

Synth.

Cel.

**

Harp

W. w/ H. hors

d’ha

lei

ne,

(Que

m o n coeur,

mon

coeur

a

d e pei

ne!)

(solo)

Vn. I solo div. a3

Vn. I gli altri tutti, div. a3

Vn. II (solo) 8

Va. sola div., con sord.

Va. le altre ** solo, con sord., sul pont.

Vc. solo div. a3, con sord. 1 2

Vc. gli altri

3

Cb. solo div. a2

Cb. gli altri *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente. **Play figure at approximate position in cue.

1, solo, con sord., col legno ** 0


4 5 seconds Picc.

Fl.

1 filagreed, free

Ob.

1 filagreed, free

E.H.

Cl. in B

1 filagreed, free

Bs. Cl.

Bn.

1 filagreed, free

Cbn.

1 Hn. in F 2 take whispa mute

1

Tpt. in C

2

1 Tbn. 2

Timp.

1 (Glock.)

Perc.

2 (Crot.)

3

Synth.

to Piano

Cel.

Harp

W. w/ H. Jer rais

d e plain

e

e n plain

e,

Au

grĂŠ

du

de

stri

er.

A u grĂŠ d u sul pont.

5 seconds

(trem.)

Vn. I solo

sul pont. (trem)

div.

Vn. I gli altri sul pont. (trem.)

div.

Vn. II

Va. sola Va. gli altre Vc. solo (div.)

Vc. gli altri

Cb. solo (div.)

Cb. gli altri

unis.


5

2 = ca. 40–48

*

Picc. **

Fl.

1

Ob.

1

E.H.

Cl. in B

**

*

1

Bs. Cl. *

Bn.

1

Cbn.

1 Hn. in F 2 ** with whispa mute

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib. **

1 Pedal

Perc.

2

3 (WHITE SOUND)

sempre

Synth.

**

Piano

**

Harp

W. w/ H. de

stri

er,

Sans var

let, n’é

cu

yer.

près

= ca. 40–48

ord. (div.)

d’une

fon

taine,

(Que

mon

coeur,

mon

coeur

solo **

I Vn.

ord. (div.)

II

div. a3

Va. div. a3

Vc. metà (sounds 8ba)

Cb. *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente. **Finger line of eighth notes, but do not play. Occasionally each player enters independently ad lib., slow, legatissimo crescendo and diminuendo. Continue as before.

a

de

pein


6 = 60 Picc.

Fl.

1

Ob.

1

E.H.

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

Harp

W. w/ H. e!)

Son

geant

Ă 

ma

Marr

aine.

Sen

tais m e s pleurs cou ler.

= 60 Vn. I solo div.

Vn. I 2-3

div. a3

Vn. I 4-6 div.

Vn. II 1-2 div. a3

Vn. II 3-6

3

4 5-6

(1 stand)

Va.

(Chomatic cluster) tutte, div., div. a4 div. a3 non vib. 1 2 3-4 liquid.

Vc.

Cb.


7

3 Picc.

Fl.

1

Ob.

1

E.H.

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F

(open)

2

1 Tpt. in C 2 (open)

1 Tbn.

(open)

2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

W. w/ H.

Marquis:

slow, free

Marquis 8

(Playing cards with Marquis) slow, free

The Queen

Louis XVI: Louis

My glass.Thank you,

(4., 3.)

my

friend.

I Vn.

(1., solo)

II (gliss.)

Va. via sord.

Vc.

Cb.

div. a3, senza sord.

lan guish es in

des pair, your Ma jes ty.


8

Picc. *

Fl.

1

Ob.

1

*

E.H.

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn. with straight mute

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1 Glock.

Pedal

Perc.

2 Crotales

3

Synth.

8va

8va

Piano

Harp

W. w/ H. 3

() ()

Marquis 8

Hope less, a fraid, (1. solo)

Vn. I

1 2

Vn. I

3

she clings to the past. div.

Vn. I 4-6 div. a3

Vn. II 1-3 div. a3

Vn. II 4-6 1 stand

Va. 1 solo, sul pont.

Vc. 1 solo, col legno (con sord.)

0

Cb. *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente.


9

Picc.

= ca. 40 Fl.

1 cold

Ob.

1 to Oboe

E.H. Cl. in B

1 to Clarinet in E

Bs. Cl.

Bn.

1 to Bassoon

Cbn. with straight mute

1 with straight mute

Hn. in F 2

take harmon mute

1 Tpt. in C

take harmon mute

2 with straight mute

1 with straight mute

Tbn. 2

Timp.

1

Perc.

2

3

Harp

W. w/ H.

Marquis 8

But will he

3

Louis

A com mon er

()

slow gliss.

slow gliss.

4-6

()

1-3

()

4-6

()

1-3

Vn. I

Vn. II

slow gliss.

is court ing

her.

2 soli

slow gliss.

2 soli 2 sole

slow gliss. 1-2

Va.

2 sole 3-4

2 soli, con sord. 1-2

Vc.

2 soli, con sord. 3-4 2 soli 1-2

Cb.

1 solo 3

have

her?


10

4 Subito

= 144

Picc. (continue in same tempo)

Fl.

1

1 Ob. 2

Cl. in B

1

Cl. in E *

1 *

Bn.

legato

2 legato

*

1 Hn. in F

legato *

2 legato

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 *

Synth.

(bns., hns.)

Harp

W. w/ H.

Trio of Gossips

S1

S2

He’s

in

love,

he’s in

love, he’s in

love!

A (furiously throwing down cards)

Beau mar chais’s

Louis

I don’t care! Let him

have

her!

Let him

have

her!

Subito

I don’t care!

= 144

2 soli (div.)**

I Vn. (solo)

II (sola)

Va. (solo)

Vc. (solo)

Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales. **Play as fast as possible. Do not synchronize.


11

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

Cl. in E

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

(Three elegantly dressed women skitter in from the back like insects. The first carries a parasol. The others wear under flouncy dresses. They are mindlessly gossiping and find each other hilarious.)

Harp

secco

Trio of Gossips

S1

He’s

in

love with

Ma

rie

An

toi

nette.

S2

A

in

love.

(2 soli)

Vn. I 2 soli senza sord., sul pont. *

Vn. I gli altri as fast as possible, asynchronous (1 solo)

* tutti, senza sord., sul pont.

Vn. II tutti, senza sord., sul pont. *

(1 sola)

Va.

(1 solo)

tutti, senza sord., sul pont.

as fast as possible, asynchronous

*

Vc. (1 solo)

as fast as possible, asynchronous * tutti, senza sord., sul pont.

Cb. *Play as fast as possible. Do not synchronize.

as fast as possible, asynchronous

as fast as possible, asynchronous


12

Picc.

Fl.

1 *

1

Ob.

*

2

*

Cl. in B

1

*

Cl. in E a2

Bn.

1 2

1 Hn. in F 2

with harmon mute

1 Tpt. in C

with harmon mute

2

Tbn.

1 2

Xyl.

*

1

Perc.

Bell Tree

3

Synth.

(bns.)

*

Piano

*

*

Harp

laughter

(sarcastically)

Trio of Gossips

S1

The Queen laughter

is

sad.

is

sad.

She longs

for

death.

She longs

for

death.

(sarcastically)

S2

The Queen

(sarcastically)

laughter

A

Sad. ord.

gli altri 2 soli

tutti

**

I Vn.

ord. **

II ord.

div.

Va. ord.

Vc. ord.

Cb. *Play as fast as possible. Do not synchronize. **Cut off at full sound.

metĂ 


13 *

Picc.

*

Fl.

1 a2

Ob.

1 2

Cl. in B

1

Cl. in E (a2)

Bn.

1 2 **

1 Hn. in F **

2 **

1 (with harmon mute)

Tpt. in C 2 (with straight mute)

1 Tbn.

(with straight mute)

2

Timp. Xyl.

Suspended Cymbal

1 Temple Blocks

Slap Stick

Perc.

**

2 Tambourine

3

Synth.

8va

Piano

Trio of Gossips

S1

She’s been dead for two hun dred

years!

She’s been dead for two hun dred

years!

She’s been dead for two hun dred

years!

(laughter)

S2 (laughter)

A

Death. 8va

I Vn. II (div.)

Va.

Vc.

Cb. *Overblow to articulate harmonics. Shape of passage should resemble line above. **Play as fast as possible. Do not synchronize.

(laughter)


14

5 Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

Cl. in E

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

(woodwinds)

Harp

Trio of Gossips

S1

She seeks

so

lace.

She longs

for

She longs

for

S2

She

will

not

rest.

A Marquis: (slow, as before)

She re grets

her

past.

Marquis 8

sul * pont.

The

Queen

I sul pont.*

Vn. II

unis., sul pont. *

Va.

Vc.

Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.

She

can’t

find

peace.


15

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

Cl. in E *

1 Bn.

*

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 Tamb.

Perc.

2 Snare Drum

r.s.

Small Tamtam

3

Synth.

Harp

Trio of Gossips

S1

death.

She’s been dead

for two hun dred

years!

death.

She’s been dead

for two hun dred

years!

She’s been dead

for two hun dred

years!

S2

A

Death. Marquis 8

lan

quish

es

in

I Vn. II sul pont.

Va. tutti, sul pont.

Vc.

sul pont.

Cb. *Play as fast as possible. Do not synchronize.


16 **

Fl.

1

Ob.

1 2

Cl. in B

1

a2

Cl. in E a2

Bn.

1 2 1

Hn. in F 2

1 Tpt. in C

*

2

1 Tbn. 2 Xyl.

1

(Sus. Cym.)

Perc.

Bell Tree

2 (Tam.)

l.v.

Sus. Cym.

3

Synth.

(flutes)

to Celesta

Piano

(chromatic)

Harp

Marquis 8

des

pair,

Trio of Gossips

S1 (laughter)

S2 (laughter)

He’s

A (laughter)

sul pont.

I Vn.

sul pont.

II 2 soli, div., ord. (2nd stand)

Va. 2 soli, div., ord.

Vc.

Cb. *Play as fast as possible. Do not synchronize. **Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.

in


17

6 Picc.

Fl.

1

1 Ob. 2

Cl. in B

1 to Bass Clarinet

Cl. in E

1 Bn.

to Contrabassoon

2

1 Hn. in F 2 take whispa mute

1 Tpt. in C

take straight mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Trio of Gossips

S1

He’s in

love with Ma

rie

An toin

ette.

S2

love,

he’s

in

love, he’s

in

love!

He’s in

A

Beau mar

chais’s

in

love

Marquis 8

your 2 soli, div., ord. (2nd stand)*

Ma

jes

continue ad lib.

I continue ad lib.

Vn.

2 soli, div., ord.*

continue ad lib.

II continue ad lib. (2 sole)

Va. sempre (2 soli)

Vc. sempre

Cb. *Ad lib. crescendo and diminuendo, asynchronous with other solo violins.


18

7 = ca. 40–48 *

Picc. *

Fl.

1

1 Ob. 2 *

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2 with whispa mute

*

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 *

Perc.

Glock, with soft sticks, l.v. sempre

2

3 (WHITE SOUND)

Synth.

sempre

Celesta

*

Celesta

exit and slow fade

dim.

exit and slow fade

dim.

exit and slow fade

dim.

Trio of Gossips

S1

S2

A

Marquis 8

ty.

Louis:

Louis

I

don’t care.

I

don’t care.

= ca. 40–48

don’t

care.

1 solo *

I gli altri

Vn. II 1 sola *

Va. gle altre

Vc.

Cb. *Following conductor, finger line of eighth notes, but do not play. Occasionally produce sound beginning niente, make slight crescendi and diminuendi, back to niente, through the passage.


19

Picc.

Fl.

1

Ob.

1 2

Cl. in B

1

Bs. Cl.

Bn.

1

Hn. in F

1 2

1 Tpt. in C 2

Tbn.

1 2 Vib.

1 (Glock.)

Perc.

2

3

Synth.

Celesta

Harp

Woman with Hat

as before

W. w/ H.

Mon

cour

sier

S Opera Quartet

3

An oth er eve ning A

T 8

B

Louis

don’t

Vn. solo

Vn. I gli altri

Vn. II

1 2

Vn. II

3 4 5 6

div.

Va. sola div.

Va. gle altre

Vc.

Cb. *Continue as before—ad lib. entrances, crescendo via niente and diminuendo al niente.

at the o

pe

ra.


20 *

= ca. 40–48

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2 (Vib.)

1 (Glock.)

Perc.

2

3

Synth.

Celesta

W. w/ H.

S

Opera Quartet

**

3:4

A

I’m

so

bored. 3:4

**

T 3:4

8

I’m

so

bored.

Bored

B 3

* (1 solo)

Per haps Beau mar chais can a muse us.

= ca. 40–48

I (3-6, div. a2

Vn.

(1-2)

II (1-2)

Va. solo

Va. gle altre div. a3

Vc. div.

Cb. *Conductor beats the following measures in the tempo of the Synthesizer. **Notes within can be rhythmically flexible.

3

as a


21

Picc.

Fl.

1 * a2

Ob.

1 2

Cl. in B

1 Bass Clarinet

Bs. Cl.

Bn.

1 Contrabassoon

Cbn.

1 Hn. in F 2

1 Tpt. in C

with straight mute

2 (with straight mute)

1 (with straight mute)

Tbn. 2 (Vib.)

1 Perc.

(Glock.)

2

Synth.

Celesta

Three Chattering Women: (racing blurs on high back level)

Allegro

Trio of Gossips

S1

S2

He’s in S3 sweetly

secco

S

Opera Quartet

Well,

3

I know you can’t.

I loathe

3:4

you.

A 3

Bored

as

an

egg.

T 8

3:4

rug.

Bored

as

B 3

(1 solo)

Oh, Lu cienne

3

how you bore

me.

Vn. I solo 4 soli, div.

Vn. I gli altri (1-2)

Vn. II (1 sola)

Va.

Vc.

Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.

a

po


22

8 Picc.

Fl.

1

Ob.

1 2

Cl. in B

1

2. to English Horn

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C

remove mute

open

2 remove mute

open

remove mute

open

1 Tbn. 2 (Vib.)

1 2

Perc.

(Glock.)

3

Synth.

Celesta

Trio of Gossips

S1

He’s in love with Ma rie An toi nette S2

love.

He’s in love. He’s in love.

A

Beau mar chais’s in

love.

S 3:4

Opera Quartet

I’m

so

bored.

A

rug

Oh,

T 8

3:4

ta to.

Egg.

I’m

so

bored.

B 3:4

I’m

so

Vn. I solo (4 soli)

Vn. I gli altri tutti, div., con sord.

Vn. II (sola)

Va. le altre, div., con sord. div., con sord.

Vc.

Cb.

bored.

3:2

I’m

so

bored.


23

9 (continue in tempo, following Synthesizer)

Picc. (continue in tempo, following Synthesizer)

Fl.

1

Ob.

1 2 (continue in tempo, following Synthesizer)

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

Hn. in F

1 2 (continue in tempo, following Synthesizer)

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

(continue in tempo, following Synthesizer)

(Glock.)

(continue in tempo, following Synthesizer)

1

Perc.

2

3 (continue in tempo)

Synth.

(continue in tempo, following Synthesizer)

Celesta

(Tempo as before)

Marquis 8

The Queen *

Bored.

Bored.

Opera Quartet

*

A

So

bored.

Bored. *

T 8

Bored.

Bored.

Bored.

Bored.

*

B

Bored. (solo)

Bored. (continue in tempo, following Synthesizer)

I Vn.

unis.

II (sola)

in

des pair,

Your Ma jes ty.

Alternate octaves, dynamics, and add yawns ad lib. on “Bored” producing a kind of tremolo.

S

Bored.

lan guish es

(continue in tempo, following Synthesizer)

Va. le altre, div., senza sord. div., senza sord.

Vc. senza sord.

Cb. *Continue in same tempo. Occasionally alter octave ranges of passage, ad lib. After several repeats, ad lib “yawns” with hand over mouth.


24

Picc.

Fl.

1

Ob.

1 English Horn

E.H.

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1

Tpt. in C

2

1 Tbn. 2 (Vib.)

1 (Glock.)

Perc.

2 (Crot.)

3

Synth.

Celesta

Harp

(original tempo)

(repeat as before, ad lib.)

W. w/ H.

Au

gré

Marquis 8

Hope less, a

fraid,

3

she clings to the past.

Louis Opera Quartet

I don’t care. I don’t care. S A T B (solo)

tutti, div.

I Vn. II

(1 sola)

Va. (gle altre, div.) (div.)

1 solo

Vc. 1 solo, col legno

Cb.

du

de

stri

er,


25

Picc.

Fl.

1 O

(stagger breathing)

O

(stagger breathing)

1 Ob.

to Oboe

Oboe

2

1 Cl. in B

to Clarinet in B

Clarinet in B

(stagger breathing)

2 (stagger breathing)

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3

Synth.

Harp

W. w/ H.

Marquis 8

But

will

he

have

Louis 3

Trio of Gossips

A

com mon er is court ing Three Chattering Women:(racing in and out of view)

her. (

= 144)

He’s

in

love.

He’s

in love.

He’s

in

love

Opera Quartet

Beau S A T B (div.)

I Vn.

(div.)

II div.

Va. div.

Vc. tutti

Cb.

unis., sul pont.

mar

chais’s

in


26

10 as before

Picc. as before

Fl.

1

Ob.

1 2 as before

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 with whispa mute, as before

1 Tpt. in C 2

1 2

Tbn.

as before Vib. l.v., sempre

1 Pedal

Perc.

Glock. l.v., sempre as before

2 (WHITE NOISE)

(WILD RUMBLE)

sempre

Synth.

gliss.

l.v. sempre

Celesta

(light appears upstage in the distance)

W. w/ H. (ad lib.)

Marquis 8

her?

(getting angrier and more petulant.)

But will he

have

her?

Louis

Trio of Gossips

I don’t care.

He’s in love with Ma rie An toin

I don’t care.

Don’t!

No!

Don’t care!

ette.

He’s in

Opera Quartet

love. S A T B gli altri

I 1 solo, as before (div.)

Vn.

*

II (as before)

Va. sola (div.)

*

(div.)

*

Va. gle altre

Vc. *

Cb. *One player at a time, change to next note. Do not synchronize. Complete change before end of cue.


ca. 5 sec.

27

Picc. molto

Fl.

1

Ob.

1 2

8va

molto

a2

molto

1 Cl. in B

molto

2 a2

molto

1 2

Bn.

molto

*

1 Hn. in F

molto

*

2

*

accel.

molto

1 Tpt. in C

accel.

*

2

accel. *

1 Tbn.

accel.

*

2

Timp. (Vib.)

Sus. Cym.

1 (Glock.)

Perc.

molto

2 cresc. Crot.

3 cresc. (WHITE SOUND) 8va

** (gliss.)

Synth.

to Piano

Celesta

(singers notice the light)

(the light grows and sparkles)

W. w/ H. Marquis 8

Louis

Opera Quartet

S1 Trio of S2 Gossips A

S A T B ca. 5 sec. ca. 2 sec.

(1 solo) tutti, div. a4, ord.

I gli altri

Vn.

(div.)

tutti, div. a3, ord.

molto

tutte, div. a4, ord.

molto

tutti, div. a3, ord.

molto

II (1 sola)

Va. le altre (div.)

Vc. molto

Cb. *Irregular pulses, getting louder little by little.

molto


28

11

In tempo = 82–84

= 82–84 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 take straight mute

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 8va

Synth.

Piano

(Continue in exact tempo. Do not align with voice.)

*

secco

Piano

( B C D E F G A

Harp

Beaumarchais:

) secco, brittle

*

con rubato (ignore accompaniment)

jaunty

Beau.

All

pow er ful Queen of Beau

= 82–84 al sord.

I Vn.

al sord.

II al sord.

Va.

Vc.

Cb. *Conductor: Place harp chords in between piano chords in the same tempo.

ty

and rul er

of

my will ing

heart.

In tempo = 82–84


29

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Continue in tempo. Do not align with voice.)

(

C

) D

M.A. in tempo again

con rubato

Beau.

To make you

I Vn. II

Va.

Vc.

Cb.

smile

is

my

du

ty.

To

make

you laugh

is

all

my


30 = 82–84

12

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

with fingernails

C F

brittle

Harp

free Marie Antoinette:

M.A.

Is there no

es cape

from you, Beau mar chais?

Why do

you

per

se

cute me

with

your

love?

Beau.

art.

= 82–84

div. a4, con sord.

I Vn.

div. a4, con sord.

II div. a3, con sord.

Va.

Vc.

Cb.


31

13 A tempo

= 82–84

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

I Beau.

A tempo (div. a4)

I Vn.

(div. a4)

II (div. a3)

Va. unis., pizz.

Vc. pizz.

Cb.

= 82–84

no

long

er

long

to

love.

Leave me

in

peace,

Beau mar

chais.


32

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

slower

M.A.

As col or fades from flow ers,

feel ing leaves the soul. slower, free

= ca. 60 dolce

Beau.

O

I Vn.

*

II *

Va.

Vc.

Cb. *Lyrical, expressive, slower gliss.

ri

on,

O


33

14

ARIA Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C

take straight mute

2 take straight mute

1 Tbn.

take straight mute

2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

quasi recit.

M.A.

They

are

Beau. 3

ri

on,

E

ven

the

moon

moves

And

is

laced gent

ly

by

leaves. div. a6

I unis., non vib.

Vn. II

div. a4

Va.

Vc.

Cb.

al

ways


34 non vib.

stagger breathing

icy non vib.

stagger breathing

icy non vib.

stagger breathing

icy non vib.

stagger breathing

icy non vib.

stagger breathing

icy non vib.

stagger breathing

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2 icy non vib.

stagger breathing

1 icy non vib.

Bn.

stagger breathing

2 icy cuivrĂŠ

1 Hn. in F

cuivrĂŠ

2 with straight mute

1 Tpt. in C

with straight mute

2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2 B.D.

3 (woodwinds) non vib.

(muted brass)

icy

Synth.

Piano

Harp

M.A.

with

me:

The unbounded wait ing,

(half-tone cluster, one player per note)

I Vn. II

Va. div.

Vc. secco div.

Cb. secco

The o

dor of

blood

on

steel.


35 to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 unstopped

1 Hn. in F

unstopped

2 (with straight mute)

remove mute

1 Tpt. in C

remove mute

2

remove mute

1 Tbn.

remove mute

2

Timp.

1

Perc.

2 B.D.

3

(violins)

Synth.

Piano

B C D E F G A

Harp

M.A.

The

ter

ri

ble

sound.

They

are

al

ways

with

me. half-step cluster

div. a6

I Vn.

div. a6

II

Va. (div.)

Vc. (div.)

Cb.

half-step cluster


36

1 Fl. 2

1

Ob. 2

1 Cl. in B 2

1 legato

Bn. 2

legato

1 Hn. in F

legato

2 open

legato

1 Tpt. in C 2 open

1 Tbn.

open

2

Timp. Xyl.

1

Perc.

2

3

(strings)

Synth.

Piano

E

Harp

M.A.

My cry ing child

ren,

The

crowds push

ing,

Sev ered

on **

(div. a6) via sord.

I Vn.

heads

** senza sord. ( )

(div. a6) via sord.

II via sord.

** div. a4, senza sord. (

)

Va. * div. a4 ** ( )

Vc. non div.

Cb. 0

*If more than four players are available, fill in A and B in middle of Vc. chord, and B and C in middle of Va. chord. ** Rapid, non-synchronized bows.

senza sord. ( )

pikes,


37 **

1 dolce Flute

Fl.

**

2 *

1 Ob.

*

2 **

1 Cl. in B

**

2

1 Bn. 2

1 Hn. in F 2 *

sim.

1 Tpt. in C

*

open

sim.

2

1 Tbn. 2

Timp. *

(Xyl.)

1 Glock.

Perc.

l.v.

2

3

Synth.

l.v.

8va

Piano

l.v.

Harp

M.A.

Ah

Ah

Ah

Lord,

let

I Vn. II

Va. pizz.

Vc.

Cb. *Play fast, irregular attacks—like fast Morse code. **Play legato as fast as possible between the highest note possible and a diminished 5th below. Vary patterns, use all chromatic tones, do not synchronize.

me

for

get!


38

15 1

Fl.

*

2

1 Ob. 2 *

1 Cl. in B

*

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib.*

1 Pedal

Perc.

2

3

Synth.

Piano

Harp

simply, poco rubato

M.A.

Once

there was

a

gold en bird

I Vn. II

Va.

Vc. (actual pitch)

Cb. *Slow, legatatissimo, asynchronous pulses with barely audible attacks. Keep the sound going.

In

a

gar den of

sil ver trees.

From

the court yard


39 = 60 1 3

Fl. 2

1 dolce

Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

could be heard

The

laugh

ter

of

wom en

at

their

ease.

= 60 I Vn. II

Va.

Vc.

Cb.

dolce

3


40 (continue in same tempo)

non vib.

1 icy non vib.

Fl. 2

icy non vib.

(continue in same tempo)

1 icy non vib.

Ob. 2

icy non vib.

1 Cl. in B

icy non vib.

2 icy non vib.

1 icy non vib.

Bn. 2

icy

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

(woodwinds) non vib.

icy

Synth.

Piano

Harp

cresc.

M.A.

They

are

div. a6

(half-step cluster)

div. a6

(half-step cluster)

al

ways

with

me:

I Vn. II div. a2

Va.

Vc.

Cb.

molto


41

1 Fl. 2

1 Ob. 2

Cl. in B

1 2

Bn.

1 2 solo, slow oscillations

(+) 1 Hn. in F 2

1 Tpt. in C 2 take straight mute

with straight mute

1 Tbn.

nasty

molto

2

Timp.

1 5 Temple Blocks

Perc.

2 B.D.

3

Piano

1/2-tone cluster

8ba

8ba

M.A.

The break ing

win

dows;

(s)

The

throngs push ing, (sul pont.)

*

Vn. I (sul pont.)

*

(sul pont.)

*

Vn. II *

*

Va.

*

*

(sul pont.)

(sul pont.)

(sul pont.)

(sul pont.)

Vc. *

*

Cb. *

*Sul ponticello, non legato.

(sul pont.)

(sul pont.)

(sul pont.)


42

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 open

1 Tbn. 2

Timp.

1

Perc.

2

3

(brass)

Synth.

Piano

Harp

3

M.A.

Hawk

ing

sou

ven

iers,

Stuff

ing

food

in

to

jeer

ing

mouths that

foam

with

wine;

sul ponticello al

ord.

sul ponticello al

ord.

sul ponticello al

ord.

sul ponticello al

ord.

sul ponticello al

ord.

I Vn. II

Va.

Vc.

Cb.


43

16 = 60 1 Fl. 2

Ob.

1 2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F 2 take harmon mute

1 Tpt. in C

take harmon mute

2 slow, even gliss.

1 Tbn.

slow, even gliss.

2 Tune 2 timpani below pitch level

Timp.

1 3 Tom-toms (Low)

Perc.

2 B.D.

3

(strings)

Synth.

Piano

M.A.

a

scream

ing

horse;

(s)

a

= 60 I Vn. II div.

Va.

div.

div.

Vc.

div.

div. a2

Cb.


44

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

cuivré

1 (non dim.)

Hn. in F

cuivré

2 (non dim.)

with harmon mute

1 Tpt. in C

with harmon mute

2

1 Tbn. 2

Timp.

1

Perc.

2 (B.D.)

3

Synth.

Piano

M.A. 3

man mount ing a

1-3 Vn. I 4-6

1-3 Vn. II 4-6

Va.

Vc.

Cb.

girl.

Ah

Ah

Ah

Ah

Lord,


45

1 legatissimo

Fl. to Piccolo

2

1 Ob. 2

1 Cl. in B 2 legatissimo

Bn.

1 to Contrabassoon

Contrabassoon

Cbn.

1 Hn. in F 2

take straight mute

1 Tpt. in C

take straight mute

2 take straight mute

1 Tbn.

take straight mute

2

Timp. Vib., bowed (bow, let ring, bow‌)

Ratchet

1 legatissimo, seamless Pedal

Lion’s Roar

Perc.

2 B.D.

3 (winds, brass)

Synth.

Piano

8ba

Harp

8ba

M.A.

Lord,

let

me

for

get,

Let

me

for

get!

I Vn. II 2 players, con sord. (last stand)

al sord.

Va. unis., non vib.

vib.

Vc. unis., non vib.

Cb.

pizz.


46

17 Piccolo, solo

Picc.

Fl.

1

1 Ob. 2

1 dolce

Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3 (va. harmonic)

Synth.

Piano

Harp

*

M.A.

Once

there was a

gold en bird

In

div. a5

I div. a2

Vn. I

dolce

unis., con sord.

II

3 3

(1 sola)

2 players, div. a2, con sord.

legatissimo

Va.

(1 sola)

2 players, div. a2, con sord.

legatissimo

Vc.

Cb. *Singer continues in 7/8 time, ignoring conductor, who also continues in time. Align at the free beats.


47

Picc.

Fl.

1

1 Ob.

*

2 *

1 Cl. in B

*

2

Bn.

1

Cbn.

1 Hn. in F 2 *

with straight mute

*

with straight mute

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

a

gar den

of

sil ver trees.

From

the court yard

could be heard

The

tutti, div. via sord.

I Vn. II (div. a3)

2 players, senza sord.

Va.

div. a3

Vc.

Cb. * At approximate position play from niente to

back to niente.

laugh

ter

of


48

Picc.

Fl.

1 rall.

1 Ob. 2

1 Cl. in B

(as before)

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

rall.

poss.

a tempo

M.A.

wom en

at their

ease.

Once

div. a4, senza sord.

there

was

a

gold en bird

In

(div. a4)

I div. a4, senza sord.

Vn. II (2 players)

Va. (div. a3)

Vc.

Cb.

gle altre senza sord.

a gar den of

sil

ver

trees.


49

18 to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2 **

Bn.

1

Cbn.

*

-

-

-

-

-

-

-

-

-

-

*

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

l.v.

1 Chimes

Perc.

2

3

Synth.

not too fast

8va

Piano

Harp

M.A.

tutti, unis.

It

is

8va

I tutti, unis.

Vn. II 1 sola

Va. div. a4

Vc. dolce ***

Cb.

div. a2 0

0

0

0

*Slow oscillations of pitch and timbre, using right hand. **Slow oscillations of pitch and timbre. Align with horns. ***Contrabass 1 and 2 hold open G, play slow gliss. from A to A and back to A ; 3 holds open D and plays slow gliss. from D to C and back to D.

time;


50

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

1 Hn. in F

-

-

-

-

-

-

-

-

-

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 Chimes

Perc.

2

3

Synth.

8va

8va

Piano

Harp

3

M.A.

E le ven o’ clock.

8

I Vn. II

Va.

Vc.

Cb.

“What will you

eat?”

(t)

they ask.

-


51

19

= 60

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 Chimes

Perc.

2

3

Synth.

8va

Piano

Harp

M.A.

“You will wear

white,” (te)

they say.

They cut my

hair.

They

= 60

8

non vib.

div. a5

(

half-step cluster

)

I Vn. non vib.

div. a5

(

)

half-step cluster

II non vib.

div. a4

(

)

div. a4

(

)

(

)

Va.

Vc.

(div. a3)

Cb.


52

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1 dolce

Cbn. dolce

1 Hn. in F

dolce

2 dolce

1 Tpt. in C 2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2 B.D.

3 (low strings)

Synth.

Piano

EFGA B C D

Harp

M.A.

give

me back my

ring.

Am I

go

ing

to

my

wed

ding? div. a2

(div. a5)

I Vn. (div. a5)

div. a2

II (div. a4)

Va. (div. a4)

sul pont.

Vc. (div. a3)

Cb.

sul pont.


53

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1 sim.

Cbn. sim. cuivrĂŠ

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2 (B.D.)

3

Synth.

Piano

Harp

5

5

5

5

5

M.A. 5

3

The back of

an ox cart

in the Oc

to

ber

sun.

My peo ple in sult me, they scorn me, harsh

I Vn.

harsh

II

Va.

Vc.

Cb.

They spit on

me

as

I


54

20

Faster

= 75

1 Fl.

Flute

poss.

to Piccolo

2 poss.

1 Ob. 2

1 Cl. in B

2

Bn.

1 to Bassoon

Cbn.

cuivrè

take straight mute

1 Hn. in F

take straight mute

2 (with straight mute)

1 3 3

3

3

jaunty (with straight mute)

Tpt. in C

3

3 3

3 3

3

3 3

3

3 3

3 3

3

3

3

3 3

3

3 3 3

3

2 jaunty

3

3

3

3

3

1 Tbn. 2

Timp. Vib.

1 Tambourine

Perc.

2 3

(B.D.)

3 3

3

3

3

3

3

3

3

3

3

3

3

3 3

3

Synth.

Piano

Harp

(free)

M.A.

pass.

What are those unis.

I unis.

Vn. II

Va.

Vc.

Cb.

flames?

Flags


55 Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 3

3

3

3

3 3

3

3

3

3

Tpt. in C

3 3

3 3

3

3 3

3 3

3 3

3 3

3

3 3

3

3

3

3

3

3 3

3

3 3

2 3

3

3

3

3

3

3

3 3

3

3

3

1 Tbn. 2

Timp. Glock, with medium sticks

1 (Tamb.)

Perc.

2 3

3

3

3

3

3

3

3

3

B.D.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 ad lib.

Synth.

Piano

Harp

M.A. 3

in

3

the

streets

of Saint

Hon o

rĂŠ.

What

I Vn. II 8va

div.

Va.

Vc.

Cb.

is

that

3


56

21 Picc.

Fl.

1

1 Ob.

to English Horn

2

1 Cl. in B 2

1

Bn.

Bassoon

2

1 Hn. in F 2

1 Tpt. in C

3

3

3

3

3

3 3

2 3

3

3

3

3

1 Tbn. 2

Timp. (Glock.)

S.D.

1 Tenor Drum

(Tamb.)

Perc.

2 3

(B.D.)

3

3

3

3

3

B.D.

3 Low Gong

Synth.

Piano

8ba

with nails

Harp

8ba

3

M.A.

sound?

My

fu

ner

al

drums.

I Vn. II (div.) 8

Va.

Vc. 0

Cb.


57

Picc.

Fl.

1

Ob.

1

E.H.

1 Cl. in B 2

1

Bn. 2

Hn. in F

1 2

Tpt. in C

1 2

Tbn.

1 2

Timp. (S.D.)

1 (Ten. Dr.)

Perc.

2 B.D.

3 (Low Gong)

Synth.

Piano

8ba

Harp

8ba

(rush)

(rush) 6

(in a trance)

6

M.A.

I

climb the

stairs.

AmI dream ing?

Some one help me!

Vn. I

Vn. II

1 2

Vn. II

3

Vn. II

4

Vn. II

5 6

div.

1

Va.

2 div.

3 4 Vc. (1 player, pizz.)

Cb.

0

0

0

0


58

Picc.

Fl.

1

Ob.

1

Cl. in B

1 2

(1.)

1

Bn. 2

Hn. in F

1 2

Tbn.

1 2

Timp. (S.D.)

1 (Ten. Dr.)

Perc.

2 B.D.

3 (Low Gong)

(CONTRABASS)

Synth.

Piano

8ba

Harp

8ba

a tempo 3

3

M.A. 3

Three

steps.

Four.

I want to

cry

out,

I am in no cent!

8va

1 8va

2 8va

Vn. I

3 4

5

6

1 2

3 Vn. II 4

5 6 Va. 1 2 Cb.

0

3

0

0


59

Picc.

Ob.

1 English Horn

E.H.

Cl. in B

1 2

1

Bn. 2 with straight mute

1 Hn. in F

with straight mute

2 (with straight mute)

1 3

Tpt. in C

3

3 3

3 3

3 3

3 3

3

3 3

3

(with straight mute)

3 3

3

3 3

3

3 3 3

2 3

3

3

3

3

(with straight mute)

1 Tbn.

(with straight mute)

2

Timp. (S.D.)

1 (Ten. Dr.)

Perc.

2 Tamb.

(B.D.)

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 (B.D.) (MUTED TROMBONE)

Synth.

Piano

8ba

Harp

8ba

3

M.A. 3

3

in no cent! 8

I Vn. II

Va.

Vc.

1 2 Cb. 3

3

Sev

en.

Eight.

Take

care

of my


60

Picc.

Fl.

1

Ob.

1

E.H.

1 Cl. in B 2

1

Bn. 2

1 Hn. in F 2

1 3

3

3

3 3

3

3

Tpt. in C

3

3 3

3

3

3

3

3

3

3 3

3

3

3 3

3

3 3

3 3

3 3

3

3

3

3

3 3

3

3

2 3

3

3

3 3

3

3 3

3

3

3

1 Tbn. 2

Timp. (S.D.)

Glock.

1 (Ten. Dr.)

Perc.

2 3

(Tamb.)

3

3

3

3 3

3

3 3

3

Don’t

take

3

3

3

3

3

3

3

3

3

3 3

3

3 (B.D.) (STRINGS)

Synth.

Piano

8ba

Harp

8ba

M.A.

child ren! 8

(div. a6)

I (div. a6)

Vn. II (div. a4)

Va. (div. a4)

Vc. (div.)

Cb.

1 2 3

Nine.

Ten.

me!

Don’t

take

me!

3

3


61

Picc.

Fl.

1

Ob.

1

E.H.

1 Cl. in B 2 **

1 poss.

Bn.

**

2 poss. *

**

1 poss.

Hn. in F

*

**

2 poss.

**

1 Tpt. in C

**

2 *

**

1 poss.

Tbn.

*

**

2 poss.

Timp. (Glock.)

1 (Ten. Dr.)

Perc.

(S.D.)

2 Tamb.

(B.D.)

3 3

3

(STRINGS)

Synth.

Piano

8ba

C E G

Harp

poss.

8ba

M.A.

Lord, 8

(div. a6) ***

I (div. a6)

***

Vn. II (div. a4)

***

Va. (div. a4) (

)

slow gliss.

**

***

**

***

**

***

Vc. (div.) (

) slow gliss.

1 2 arco (

Cb.

) slow gliss.

3 *Fast, irregular patterns, like morse code. **Highest loud note possible. ***As loud as possible, quasi-glissando, roughly following squiggly line.

3


62

22

= 60 to Flute

Flute

Picc.

Fl.

1 3

Ob.

3

1 3

E.H.

1 Cl. in B

3

2

1 Bn.

to Contrabassoon

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib.

1 (S.D.)

Perc.

Pedal

2 (Tamb.)

3 (B.D.) full hand clusters

Synth.

(double forearm cluster)

Piano

Harp

M.A.

let me for get!

Let me for get!

Once

there was‌

= 60

div.

I Vn. div.

II 1 sola div.

unis.

div.

unis.

Va.

Vc.

div. a2

Cb.

unis.


63

23 1 Fl. 2

Ob.

1

E.H.

1

()

2

()

1

()

Cl. in B

Bn.

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Louis: (spoken)

Recit.

(to Marie Antoinette)

Louis

My wife was always hard to please.

I Vn. II

Va.

Vc.

Cb.

An

to ni

a, you must change with the times.

We are

dead!

It

is

time to

re


64 Allegro

= 144

a2

Fl.

1 2 1

Ob.

3

3

3

3

3

3

3

3

3

3

3

3

2 1.

Cl. in B

Bn.

1 2

1

Cbn. open

Hn. in F

3

3

1 2 with straight mute

Tpt. in C

1 2

Tbn.

1 2

1.

Timp. Ratchet

1 3

T. Blks.

Perc.

3

2

3 (strings)

Synth.

Piano

with nails

Harp

3

(Louis stops them with a withering stare)

3

W. w. H.

Bored.

Bored.

Marq. 8

3

(interrupted by Ghosts)

3

Bored.

Bored.

Louis

joice!

3 Women

S1 3

3

3

3

3

3

It is time to re joice!

3

3

3

3

3

3

It is time to re–

S2

It is time to re joice!

It is time to re–

A

It is time to re joice!

It is time to re–

S

Opera Ghosts

Dead.

Dead.

Dead.

Dead.

Dead.

A

Dead

Rug

Dead

Rug

Dead.

T 8

Bored.

Bored.

Bored.

Bored.

B

Allegro

= 144

non div.

3

3

Po ta to.

3

3

Po ta to.

pizz.

I sul pont.

Vn. II

non div.

*

div.

Va. non div.

* div.

Vc. pizz.

Cb. *Very slow quarter-tone oscillations.

arco sul pont.

(sul pont.)

Bored.


65

1 Fl. 2

Ob.

1

E.H.

1 Cl. in B 2

Bn.

1

Cbn.

rip

1 Hn. in F

rip

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

E F G A B C D

Harp

(recitative) espr., slower

Beau. (recitative) (serious again)

On ly

if her ma jes ty

de sires

it. dolce

Louis

Beau mar chais, you pro mised us an op’

I Vn. II

Va.

Vc.

Cb.

ra.

To please

us,

An ton

ia?


66

24

Allegro

= 144

a2

Fl.

1 2

1

3 3

3 3

3

3

3

3

3

3

3

3

3

3

3

Ob. 2 3

Cl. in B

3

1 2 3

Bn.

3

3

3

1 to Bassoon

Cbn. a2

Hn. in F

1 2

Tpt. in C

1 2

fltg. (with straight mute)

remove mute

1.

Tbn.

1 2

Timp. Ratchet

1 Perc.

3

T. Blks.

3

3

3

3

2 (strings)

Synth.

8ba

Piano

Harp

W. w. H.

Bored.

Bored.

Bored.

Bored. (glares murderously)

Marq. 8

spoken

Louis

“Really!� S1

3

3 Women

3

It is

3 3

3

time to re joice!

It is

3

3

time to re joice!

It is

S2 3

It is

3

3

3

3

time to re joice!

It is

3

3

time to re joice!

It is

A 3

It is

3

3

3

time to re joice!

It is

3

3

3

time to re joice!

It is

S

Opera Ghosts

Please us.

Egg.

Please us.

Egg.

A

Please us.

Rug.

Please. us.

Rug.

T 8

Bored.

Bored.

Bored.

Bored.

B

Allegro

non div., arco

= 144

3

3

Po ta to.

I Vn. II non div.,

Va. non div.,

Vc. div., pizz.

Cb.

unis., arco, sul pont.

3

3

Po ta to.


67

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Beaumarchais: (freely, to Marie Antoinette) (sung) espr.

(whispered)

Beau.

I

I Vn. II

Va.

Vc.

Cb.

am

a doc tor,your Ma jes ty.

My op ’ra can cure me lan cho ly.

My words are

a

spell.

Lis ten to my ti

tle:

“A


68

Fl.

1 2

Ob.

1 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

Tpt. in C

1 2

1 Tbn. 2

Timp.

1

Perc.

2 B.D.

3

Synth.

Piano

Harp

Beau.

Fi

ga

ro

for

An

to

ni

a.� poss. (with a sense of wonderment)

S

Fi

ga

ro?

Oooh

Opera Ghosts

whispered

A

a

Fi

ga

ro?

for

An

to

ni

a

(like a sigh)

T 8

(intakes of breath)

Ah (like a memory) 3

B con sord.

(intakes of breath)

Fi

I Vn.

dolce con sord.

(tutti)

dolce con sord.

1 sola, via sord., gli altri, div.

II dolce

Va. dolce con sord.

dolce 3 soli, via sord., gli altri

Vc. dolce con sord.

dolce (tutti)

Cb. dolce

dolce

ga

ro


25

Overture

69

= 72 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 (HARPSICHORD)

secco

Synth.

Piano

Harp

(Clap hands) (curtains of the little (The Almaviva drawing room in Paris. Elegant with many doors, sofas, chairs, a chest and large windows. It is empty.) stage fly open)

(A door opens and Figaro peaks into the room. He quietly enters, mopping his brow. He has been running.)

Beau.

Watch!

= 72 1 solo, pizz., senza sord.

arco

I Vn. II 1 sola, pizz., senza sord.

Va. div., senza sord.

1 2

Vc.

1 solo, pizz., senza sord.

arco

pizz.

3 secco 2 soli, div., senza sord. 1. arco, 2. pizz.

Cb.

arco


70

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

A

Harp

(He looks around slowly, goes to an armchair…)

(…and is about to sit down, when…)

(solo)

I Vn. II (sola) arco

Va. arco

pizz.

1.

1 2

2.

(arco) pizz.

Vc.

(pizz.)

3

1 (arco)

Cb.

1.

1.

arco


71

= 144

26 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

Hn. in F

1 2

Tpt. in C

1 2

Tbn.

1 2

Timp.

Perc.

1 2 3 (BASSOONS)

Synth.

Piano

Harp

(A chorus of pursuers jump up, point at Figaro and begin to chase him.)

(The Muscovite Traders block the door.)

(He begins the chase.)

Figaro

Oh,

no!

Here we go again!

Chorus of Pursuers

S

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

A

T 8

B

= 144

tutti, senza sord.

I tutti, non div., senza sord.

Vn.

div. a2

II tutti, non div. (senza sord.)

div. a2

tutti, non div. (senza sord.)

div. a2

Va.

Vc. tutti, non div. (senza sord.)

Cb.

0


72

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 secco

Bn. 2

O

1 secco

Hn. in F

O

2 secco

take straight mute

with straight mute

take straight mute

with straight mute

1 Tpt. in C

remove mute

2 take straight mute

1 Tbn.

take straight mute

2

Timp.

Perc.

1 2 3

Synth.

15ma

Piano

S

Chorus of Pursuers

Stop! A

Stop!

Old Man:

T 8

Stop!

3 Muscovite Traders:

You

thief, you stole my

Tutti

daugh

ter!

Other Man in Room: (spoken)

B

You owe

me

mo

ney!

Stop!

My

wife!

I

Vn.

unis.

div. a2

unis.

II

div. a2

Va.

div. a2

Vc.

Cb.

non div.


73

27 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

O

3

3

3

3

3

3

3

3

1 Hn. in F

O

2 open

take straight mute

with straight mute

1 Tpt. in C

open

take straight mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3 8va

Piano

Susanna:

Susanna

You’ll pay, you’ll

Figaro:

pay, you’ll pay, you’ll

pay!

Figaro

My

wife!

Chorus of Pursuers

S

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

A

T 8

B non div.

I sub. non div.

Vn. II sub.

Va. unis.

Vc.

Cb.


74

1 Fl. 2

1 Ob.

4:3

4:3

4:3

4:3

2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 (straight mute)

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Piano

Figaro

Oops!

Chorus of Pursuers

S

A Man with lather on face:

T 8

Fi ga ro!

B

I Vn. II div.

Va. pizz.

Vc.

Cb.

3

3

How could you leave me like this?

4:3

4:3


75 ( = 144) soli

1 Fl.

sub.

soli

2 sub.

1 Ob. 2 3

3

3

3

1 Cl. in B

dolce

3 3

3 3

2 dolce

1 Bn. 2

1 Hn. in F 2 (straight mute)

1 Tpt. in C

(with straight mute)

2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2

3

3

3

3

3

dolce

Harp

(Woman holding an infant pursues Figaro.)

(Figaro pokes head up.)

(Figaro hides.)

Figaro Woman holding infant:

They love me!

S Chorus of Pursuers

3

3

Fi ga ro! Look at your

son.

Give him a

kiss.

Other women holding babies:

dolce

3

3

3

3

A

Where

are

you,

Fi

ga

ro?

Come

to

me,

Fi

ga

ro.

T 8

B

( = 144) I div.

Vn.

3

3

3

3

unis.

II unis., pizz.

dolce arco

Va.

arco, non div.

non div.

non div.

Vc. pizz.

Cb.


76

28 1 Fl. 2

1 Ob. 2 3

3

3

3

1 Cl. in B

3 3

2

1 Bn. 2

3

1 Hn. in F 2 remove mute

1 Tpt. in C

remove mute

2

1 Tbn. 2

Timp.

Perc.

1 2 3 3

3

3

Harp

(Figaro ducks, runs away toward Count Almaviva.) (Almaviva grabs Figaro by the collar.)

Susanna:

3

3

Susanna 3

Where

are

you

Fi

ga

ro?

Come

to

me‌

Count Almaviva: marc.

Almaviva 3

8

Wretch!

(Susanna threatens Figaro with a rolling pin.) Figaro

tutti

Just

lis ten to them.

A

3

dor a ble!

S 3

Stop!

Stop,

Fi ga ro!

tutti

Chorus of Pursuers

3

A

Stop!

Stop,

Fi ga ro!

Stop,

Fi ga ro!

Stop,

Fi ga ro!

tutti

T 8

Stop!

3

tutti

B

Stop!

3

div., pizz.

I Vn.

div.

3

3

3

II

Va. non div.

Vc. arco

Cb.

non div.

non div.

3

Did you for get to de


77

1 Fl. 2

1 Ob. 2

1 Cl. in B 2 a2

Bn.

1 2

3

3

3

3

3

3

3

3

1 Hn. in F 2

open

take straight mute

with straight mute

take straight mute

with straight mute

1 Tpt. in C

open

2

1 Tbn. 2

Timp.

Perc.

1 2 3 8va

Piano

(Susanna marches toward Figaro and Count Almaviva.)

(Susanna points to the children, one by one.) (Figaro breaks away and runs.)

(She continues to point to the baby and mouths the words.)

(

Susanna

(Figaro runs into man with lather on his face.)

)

Is that your child, is that your child, is that your child,

is that your child?

Almaviva 3 8

li ver the let

ter?

Figaro

3 3

No,

mas ter, I swear it.

I’ve ne ver

seenthembe fore!

Chorus of Pursuers

S

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

A

T 8

B unis., arco (non div.)

I non div.

Vn. unis.

II div., pizz.

unis., arco

Va.

Vc. pizz.

Cb.

arco


78

29 =

=

1 Fl. 2

1 4:3

Ob. 2

1 Cl. in B 2

1 Bn. 2 O

1 Hn. in F 2 remove mute

open

1

4:3

Tpt. in C

remove mute

4:3

open

2 (with straight mute)

remove mute

(with straight mute)

remove mute

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

(contrabass)

(They all begin to crowd around Figaro.)

Susanna

Almaviva 3

8

Fi ga ro!

Figaro

Yes,

sir?

Chorus of Pursuers

S

A Man with lather on face:

T 8

3

3

Fi ga ro, when will you

fi nish my shave? 3 Muscovites: a3

B

Fi ga ro, =

you

owe

me

mon

ey.

=

I Vn. div. a3

II div., pizz.

Va.

Vc.

pizz.

Cb.

3

Did you for get to de


79

1 Fl. 2

1 Ob. 2

Cl. in B

1 2

Bn.

1 2

Hn. in F

2 1

a2

3

3

1

3

Tpt. in C

3

3

3

3

3

3

3

2

Tbn.

1 2

Timp.

Perc.

1 2 3 (woodwinds)

(TRUMPET)

Synth.

3

(tuba)

Piano

3

3

3

Harp

3

(Figaro turns to respond to the questions.)

Susanna

Fi ga ro!

Is

that your

child? Is

that your child?

Almaviva 3 8

3

li ver the let

ter?

3

3

Fi ga ro! Did you for get to de li ver the

let

ter?

Figaro Woman with child:

No,

sir.

Yes, mam.

No, mam.

Yes, sir.

No,

sir.

S 3

Fi ga ro! Give him a Chorus of Pursuers

Women with children:

3

kiss. div.

Fi ga ro! Give him a 3

3

3

A

Fi

ga

ro,

Fi

ga

ro,

come

3

to

me,

Fi

ga

ro‌ Man with lather on face:

T 8

Fi ga ro!

3

Fi nish my shave. Muscovites:

B non div.

Fi ga ro!

I Vn. non div.

II

div., pizz.

unis., arco

unis., arco

Va. pizz.

arco

pizz.

arco

Vc. arco

Cb.

0


80 a2

Fl.

1 2

1 Ob. 2

1 Cl. in B 2 (a2)

Bn.

1 2 3

Hn. in F

1 2

Tpt. in C

1 2 3

3

3

3

3

3

open

Tbn.

1 2 3

Timp. Xyl.

1 Perc.

B.D.

3 (low woodwinds)

Synth.

3

3

3

3

3

Piano

3

3

Harp

(The group is stunned by Figaro’s outburst.)

Susanna

Fi ga ro!

Is

that your

child?

Almaviva 3

8

Fi ga ro!

Did you for

3

3

get to de li ver the

lett‌ poss.

Figaro

Yes, Sir,

No, mam,

No,

sir,

yes, mam,

yes,

no, mam, sir,

Stop!

S 3

kiss.

Give him a

Chorus of Pursuers

3

kiss!

3

A Old man in window:

Fi ga ro!

Fi ga ro! You

Come to us thief, you stole my

Fi daugh

ga

ro. ter!

T 3

8

Man with lather on face: Fi ga ro!

Fin ish my

B

You owe div.

us

mo

ney.

Fi ga ro! unis.

non div.

I Vn.

non div.

II

Va.

Vc.

Cb.

(Figaro darts away and resumes the chase.)


81

30 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1

Bn.

2

1 Hn. in F 2 with harmon mute

take harmon mute

1 Tpt. in C

take harmon mute

2 with harmon mute take harmon mute

1 Tbn.

take harmon mute

2

Timp. (Xyl.)

1 Castanets

Perc.

2 Wd. Blk.

3

Synth.

(tbns.)

Piano

Harp

(They all pursue Figaro.)

(Excited by the onstage chase scene, the ghosts initiate a chase of their own, which Marie Antoinette, Beaumarchais, and Louis do not participate in. Madness has broken out, onstage and off.) ad lib shouts like “There he is!”, “over here,” “I see him,” etc.

Chorus of Pursuers

S

Get ’im!

ad lib shouts like “There he is!”, “over here,” “I see him,” etc.

A

Get ’im!

ad lib shouts like “There he is!”, “over here,” “I see him,” etc.

T 8

ad lib shouts like “There he is!”, “over here,” “I see him,” etc.

B

I marc.

Vn.

div. a2 unis., col legno battuto

ord.

col legno battuto

ord.

div. a2

unis., col legno battuto

ord.

col legno battuto

ord.

div. a2

unis., col legno battuto

col legno battuto

ord.

II

Va. ord.

Vc. 0

Cb.

pizz.


82

Fl.

1 2

Ob.

1 2

1 Cl. in B 2

1 Bn. 2 **

1 3

Hn. in F

3

**

*

2 remove mute

1 Tpt. in C

remove mute

2

1 3

with harmon mute

*

Tbn. 2

3

Timp. Xyl.

1 T. Blks.

Perc.

2 Ratchet

(Wd. Blk.)

3

(bass clarinet)

Synth.

(bassoon)

Pno.

Chorus of Pursuers

Harp

S A T B (The pursuers continue to shout as they search for Figaro.)

S

Opera Ghosts

Rug!

(laughter)

A

Dead!

Bored!

3

(laughter)

Dead!

3

T 8

Egg!

Bored!

(laughter)

Egg!

B 3

3

Po ta to!

(laughter)

pizz.

I arco, non div.

Vn.

pizz.

II non div.

Va.

Vc. solo, arco sul pont.

Cb. *Horn 2 plays this cue only if Trombones plays the third bar. Trombone 2 plays this bar if they can not play the third bar. **Horns play only if too high for Trombones.

tutti, arco ord.


83

Fl.

1 2 O

Ob.

1 2

Cl. in B

2 1

Bn.

1 2

Hn. in F

1 2

(a2)

3

3

3

3

3

3

3

3

1.

3

3

3

open

1 3

Tpt. in C

3

open

2

Tbn.

3

1. (with harmon mute)

2. remove mute

*

3

1. and 2. open

1 2 3

3

Xyl.

1 T. Blks.

Perc.

2 Ratchet

3

Synth.

(tuba)

Piano

Harp

3

S Chorus of Pursuers

3

Stop!

Stop,Fi ga ro.

Stop!

Stop, Fi ga ro!

Stop!

Stop,Fi ga ro.

Stop!

Stop, Fi ga ro!

Stop!

Stop, Fi ga ro!

Stop!

Stop, Fi ga ro!

3

A 3 3

T 3

8

Stop!

Stop,Fi ga ro.

B 3

Stop!

3

Stop,Fi ga ro.

S

Opera Ghosts

Rug!

Stop,

Fi

ga ro!

Stop,

Fi

ga ro!

A

Bored!

3 3

T 8

Bored!

B 3

3

Po ta to!

I Vn. II

Va. pizz.

Vc. 1, solo 2-3

2-3 (non div.)

tutti, ord.

pizz. 0

Cb. *As before.

3


84

31 1

3

3

3

3

3

3

Fl. 2

Ob.

1 2

Cl. in B

1 2

Bn.

1 2 with straight mute

take straight mute

3

3

1 Hn. in F

3

3

3

3

take straight mute

with straight mute 3

3

2

3

3

with straight mute

take straight mute

3

3

3

3

1 Tpt. in C

take straight mute

2 take straight mute

1 Tbn.

take straight mute

2

Timp. Trg.

Perc.

1 2 3

(bn., vc., cb.)

Synth.

8va

3

3

3

3

3

3

Piano

S Chorus of Pursuers

Stop! A

Stop! T 8

Stop!

B

Stop! S

Stop!

Stop him, stop Fi ga ro

(laughter)

3

Opera Ghosts

3

A

Stop!

Stop him, stop Fi ga ro

(laughter)

T 8

Stop!

B

Stop!

I

3

Vn.

3

3

pizz.

arco

II

pizz.

Va. arco

pizz.

arco

Vc. unis., arco

Cb.

pizz.


85

32 1

3

Fl. 2

3

1 3

Ob. 2

1 Cl. in B 2

3

3

3

3

3

3

3

3

1 Bn. 2 3

3

3

3

3

3

3

3

3

1 Hn. in F 2

remove mute

1 Tpt. in C 2 with straight mute

1 Tbn.

3

3

3

3

with straight mute

2

Timp. Trg.

Tamb.

2 Perc.

B.D.

3 (muted trombones)

3

3

3

3

Synth.

3

3

3

3

Piano

Harp

whisper

(The music grows softer as the group onstage grows smaller.)

(They finally disappear.)

S

Opera Ghosts

Stop

3

him,

3

A 3

3

Fi ga ro!

whisper

T 8

Stop him, stop Fi ga ro!

3

Stop him,

(laughter) whisper

3

B 3

3

Stop him, stop Fi ga ro!

Stop him, stop‌

(laughter)

I Vn. II

Va. div. a3 3

Vc.

Cb.

3


86 = 144

3

=

*

1 Fl.

to Piccolo

2

1 Ob. 2

1 Cl. in B 2 a2

Bn.

1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

remove mute 3

1 Hn. in F

remove mute

3

2

1 Tpt. in C

with straight mute

remove mute

3

2

remove mute

1 Tbn.

remove mute

2

Timp.

1

Perc.

2 B.D. 3

3

Synth.

Piano 3

Harp

(They finally disappear.)

(Figaro appears through another door and races toward the closet. The quartet of ghosts whisper among themselves until the door slams, indicating the start of Figaro’s aria.)

S 3

Opera Ghosts

Fi ga ro! A 3

Fi ga ro! T 8

3

Fi ga ro!

B 3

Fi ga ro!

= 144

*

I Vn. II

Va.

Vc. col legno battuto 3

Cb. *Repeat as necessary, attacca Aria.

attacca


33

87

Aria = 144

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 open

1 Hn. in F

open

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 Wd. Blks.

Perc.

2 cue Stage Door Knocking

3

Synth.

Piano

Harp

(Figaro slams the door shut. Inside, the pursuers bang loudly.) (Figaro locks door and tosses key out window.) Figaro Door slams shut

(door knocking)

Stg. Dr. Knocking

= 144 I Vn. II

Va. Vc.

Cb.


88 Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 open

take straight mute

open

take straight mute

1 Tpt. in C 2 open

1 Tbn.

open

2 with hard sticks

Timp. Xyl.

1 (Wd. Blks.)

Perc.

2 (Stage Door Knocking)

3

Synth.

(brass)

Piano

Harp

Figaro

They wish they could kill me. Stg. Dr. Knocking

I Vn.

div.

II non div.

Va. div.

Vc.

Cb.

unis.

They wish they could stop me.

They


89 to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 take straight mute

1 Tbn.

take straight mute

2

Timp.

1 Wd. Blks.

Perc.

2 (Stage Door Knocking)

3

Synth.

Piano

Harp

Figaro

hate

me,

they loathe me.

Tell

me

why

do they tor ment me so.

Stg. Dr. Knocking

I Vn. II

Va.

Vc. pizz.

Cb.


90

34 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 with straight mute

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp.

1 Wd. Blks.

Perc.

2 (Stage Door Knocking)

3

(piano)

Synth.

Piano

Harp

(smiles shyly)

(laughs)

falsetto sweetly

(laughs)

Figaro

They’re

jea lous!

They’re jea

lous!

They’re jea lous,they’rejea lous.

They’re

Stg. Dr. Knocking

I Vn.

unis.

II

Va. (div.)

Vc.

(pizz.)

Cb.

arco


91

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

(with straight mute)

1 Tpt. in C

(with straight mute)

2 with straight mute

1 Tbn.

with straight mute

2

Timp. (Wd. Blks.)

2 Perc.

(Stage Door Knocking)

3

(brass)

Synth.

Piano

Harp

(Figaro slams hand against door to stop its banging.)

Figaro

jea

lous!

of

what,‌

Stg. Dr. Knocking arco, div.

pizz.

I Vn.

pizz.

div.

arco

II (non cresc.) pizz.

div.

arco

Va. (non cresc.) unis., pizz.

arco

div.

Vc. (non cresc.) arco, div.

Cb.

(t)


92

35

*

1 Flute

Fl.

*

2

*

1 *

Ob. 2 *

1 Cl. in B 2 *

1 Bn. 2

*

1 Hn. in F

*

2 *

1 Tpt. in C

*

2

1 Tbn.

(with straight mute)

2

Timp. Vib.

1 Pedal

Perc.

2

3

Synth.

Piano

Harp

(Figaro slumps down, imitating a very old man.)

Figaro

You may ask.

I Vn. II unis.

Va. unis.

Vc. unis., pizz.

Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.


93 (

= 144)

Continue in tempo, ignoring conductor

1 Fl. 2

1 Ob. 2

1 Cl. in B

*

2

1 Bn.

to Contrabassoon

*

2

open

1 Hn. in F

open

2 remove mute

1 Tpt. in C

remove mute

2 (with straight mute)

*

1 Tbn.

*

2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

E F G A B C D

Harp

Slow and plodding

(May start earlier)

= ca. 68 **

Figaro

I pant

(

= 144)

Continue in tempo, ignoring conductor

I Vn. II

Va.

Vc. (May start earlier)

Slow and plodding 2 soli, div.

= ca. 68

Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated. **Repeat if needed for staging purposes.

**

when I walk.

I


94

36

= ca. 68

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(out

in out

in out

) 3

Figaro 3

wheeze

= ca. 68 I Vn. II

Va.

Vc. (2 soli, div.)

Cb.

3

3

3

when I

talk.

(cough)

My mus cles are slack.

I’ve a pain in my back.


95

37 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1 Contrabassoon

Cbn. sim.

1 Hn. in F

sub.

2 open

1 Tpt. in C

sub.

open

2 sub.

1 Tbn. 2 sim.

Timp.

1

Perc.

2 Low Drum 3

3

3

3

3

Synth.

Piano

Harp

Figaro 3

My mo

I Vn. II

Va.

Vc. (2 soli, div.)

Cb.

ney is low,

my sta tus

less than quo.

3

I’m poor,

I’m weak,


96 3

= 1 Fl. 2

1 Ob. 2 3

3

3

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F

brassy

sub.

brassy

sub.

2

take straight mute

1 Tpt. in C

take straight mute

2

1 brassy

Tbn.

sub.

2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

Figaro

My fu ture’s ra ther bleak, I’m stooped,

I’m spent,

I’m

al most im po tent. Once mas ter

now va let,

As

for tune would have it,

3

I’ve been 3

= 3

3

3

I Vn. 3 3

II

3 3

Va. 3

Vc. 3

(div.)

Cb.

unis.

div.


97

38 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Figaro starts to straighten up, gains confidence and energy.)

Slowly at first; pause at ’

cadenza (still slow)

Figaro

di plo mat, ac ro bat, Teach er of

I Vn. II

Va.

Vc.

Cb.

et

i quette, Stu dent and swords man,

Spy and mu si

cian.

I’ve been sa tir ist, pes si mist,


98

39 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

Sur geon and Cal van ist, Span ish e con o mist, Clock mak er, phar ma cist,

Vet ’ri na ri an,

E gal

i

tar

i

an,

Heath en co me di an, Pi ous tra

I dolce div.

Vn. II

dolce unis.

Va. dolce

Vc. dolce

Cb.

unis.


99 accel. poco a poco

40

= 144

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

cadenza Figaro

ge

di an.

I’ve been or

a tor, po et, And

pi rate and pro phet, A

I Vn. II

Va. div.

Cb.

bies, Drunk en and so ber, A

= 144

accel. poco a poco

Vc.

man for the la dies And fa ther of ba


100 rall.

subito a tempo (with ĂŠlan)

= 144

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2 with straight mute

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

hus band and Sail

or,

Bar ber and broth er And ban ker and lov

rall.

er.

Di plo mat, ac

subito a tempo (with ĂŠlan) pizz.

I Vn.

pizz.

II

pizz.

Va. unis.

pizz.

Vc. pizz.

Cb.

ro bat, Teach er

of

et

= 144

i quette, Stu dent and swords man,


101

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2 remove mute

1 Tpt. in C

remove mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

Spy and mu

si

(pizz.)

cian,

Sa

tir ist, pes

si mist, Sur geon and Cal vin ist, Span ish

e

con

o mist, Clock mak er, phar ma cist,

Vet ’ri nar arco

I Vn.

(pizz.)

dolce div., arco

(pizz.)

dolce arco

II

Va. (pizz.)

dolce arco

Vc. (pizz.)

Cb.

dolce

i

an,


102

1 Fl.

to Piccolo

2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

E

gal

i

ta

ri

an, Heath en co me

di

an,

Pi ous tra ge

di

an,

Or

a

tor, po

et, And

pi rate and pro phet, A

man for the la dies And

I Vn.

unis.

II

Va.

div.

Vc.

arco

Cb.


103

41 rall.

a tempo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

Bn.

1 cresc. poco a poco

Cbn. cresc. poco a poco

1 Hn. in F

staccatissimo

2 staccatissimo

open

1 Tpt. in C

staccatissimo

open

2 staccatissimo

1 staccatissimo

Tbn. 2

staccatissimo

Timp. secco

1

Perc.

2 Choke Cym.

3 secco

Synth.

secco

Piano

Harp

cresc. poco a poco

Figaro

fath er

of

ba

bies, Drunk en and so ber, A

hus band and sail

or,

Bank er and broth er And bar ber and lov

rall.

er.

Di plo mat, ac

a tempo

I cresc. poco a poco

Vn. non div.

II cresc. poco a poco non div.

Va. (div.)

cresc. poco a poco unis.

Vc. cresc. poco a poco

Cb. cresc. poco a poco

ro bat,

non div.


104 Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Glock.

1

Perc.

2 (Cym.)

3

Synth.

(tuba)

Piano

Harp

Figaro

Teach er

of

et

(non div.)

I Vn.

(non div.)

II (non div.)

Va.

Vc.

Cb.

i quette, Stu dent and swords man,

Spy and mu

si

cian,

Sa

tir ist, pes

si mist, Sur geon and Cal vin ist,

Span ish

e

con

o mist,


105

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Glock.)

1

Perc.

2 (Cym.)

3

(brass)

Synth.

Piano

Harp

Figaro

Clock mak er, phar ma cist, Bank er and Bar ber (and) Broth er and lov

er, Drunk en and so ber, A

hus band and sail or, And

now div.

I Vn.

div.

II div.

Va. div.

Vc. div.

Cb.

I’m

a


106

42 a tempo Picc.

Fl.

1

1

Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3 (low woodwinds, strings) *

Synth.

Piano

Harp

Figaro

fail

ure!

I’ve

seen

ev

a tempo div. al sord.

I Vn.

al sord.

II div. unis.

Va.

Vc. unis.

Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.

’ry

thing,

done


107

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

Bn.

1

to Bassoon

Cbn.

1 Hn. in F 2 take straight mute

1 Tpt. in C

take straight mute

2 *

take straight mute

1 take straight mute

Tbn.

*

2

Timp.

1

Perc.

2 B.D.

3

Synth.

Piano

with nail

E F G A B C D

Harp

tratt.

Figaro

ev

’ry

thing,

had

ev

’ry

thing,

I Vn. II

Va.

Vc.

Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.

and lost

ev

’ry

thing.


108 = 80–84

43

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn.

legatissimo

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Marie Antoinette:

M.A. 3

Poor Fi ga ro. Woman with Hat:

W. w/Hat

Poor man,

poor

man.

freely

Figaro

Of

what

then

are

they

jea

= 80–84

lous?

My

div., con sord.

I Vn.

div., con sord.

II div.

al sord.

(div.)

al sord.

Va.

Vc. div.

Cb.

spir

it


109

Picc.

Fl.

1 legatissimo

1 Ob. 2 3

3

3

3

1 Cl. in B

legatissimo

2

1 Bn. 2

1 Hn. in F

3

3

3

2 legatissimo

3

3

3

3

3

3

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

slow and even 3

3

3

Figaro

A

va

por

del

3

3

li

ques

cent,

An

ef

fer

ves

cent

li

I Vn. II unis., con sord. 3

Va. unis., con sord.

Vc.

Cb.


110

Picc.

Fl.

1 3

3

3

3

1 legatissimo

Ob. 2

1 Cl. in B 2

1 Bn. 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

3

Harp

3

3

3

Figaro 3

3

3

quid Per va ding, in va

ding, tak ing my bo dy,

3

3

3

Mak ing me flu id,

3

light,

buo yant, I’m sun light,

a

moon beam, And

care free I fly to the

unis. (con sord.)

I Vn.

3

3

legatissimo

unis. (con sord.)

3

3

II legatissimo 3

3

Va. 3

3

3

3

3

3

3 3

Vc. unis. (div.)

Cb.

3 3

legatissimo

3

3

3

3

3

3

3


111

44 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Glock., with soft sticks

1

Crot.

Perc.

2

3 (woodwinds)

Synth.

Harp

Figaro

stars.

Ca pel div. a3

I div. a3

Vn. II div. a4

Va. 3 players

Vc. dolce

Cb.

la,

Cari

na,

Spi

ca,

Auri

ga,

Li

bra,

Ly ra,

An


112

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2

3

Synth.

Piano

dolce

Harp

Figaro

dro

me

(div. a3)

I (div. a3)

Vn. II

(div. a4)

Va. (3 players)

Vc.

Cb.

da,

For

nax,

Phoe nix, Bel

la

trix,

Pol

lux

Joy!

Joy!

Care free

I

fly

to

the


113

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2 Vib. l.v.

3 (GUITAR)

Synth.

Pedal

dolce

Piano

dolce

Harp

Figaro

stars.

Vul

Vn. I solo

Vn. I gli altri

Vn. II

Va. 3 soli, div. 3 soli

Vc.

div., pizz.

Cb.

pe

cu

la,

Ve

la,

Co

lum

ba,

A

ra,

La cer

ta,


114

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2 (Vib.)

3

(GUITAR)

Synth.

Piano

Harp

Figaro

Lu

Vn. I solo

Vn. I gli altri

Vn. II

Va. (3 soli)

Vc.

Cb.

pus,

Le

pus,

Joy!

Joy!

Joy!

Pe

ga sus,

Per

se us,

A qui la.


115

45 = 144 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 (ad lib.)

1 Hn. in F 2 with straight mute

1 Tpt. in C

with straight mute

2 with straight mute

1 with straight mute

Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2 Stage Door Knocking

3 Door Slam

Synth.

Piano

Harp

Figaro

Stg. Door knocking

*

= 144 Vn. I solo

Vn. I gli altri

Vn. II

Va.

Vc.

Cb. *Conductor cues and conducts stage door knocking, which synchronizes the orchestra.

Wd. Blks.


116

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn.

Bassoon 2

1 Hn. in F 2 remove mute

1 Tpt. in C

remove mute

2 remove mute

1 Tbn.

remove mute

2

Timp. (Glock.)

1 Stage Door Knocking (Crot.)

Perc.

2 (Stage Door Knocking) Wd. Blks.

3

Synth.

Piano

Harp

Figaro

Stg. Door knocking

Vn. I solo unis.

via sord.

unis.

via sord.

unis.

via sord.

Vn. I gli altri

Vn. II

Va.

Vc.

Cb.


117

46 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 open take straight mute

1 Tpt. in C

open

take straight mute

2 open

1 Tbn.

open

2 with hard sticks

Timp. Xyl.

1 Stage Door Knocking

Perc.

2 Stage Door Knocking

Stage Door Knocking

Wd. Blks.

3

Synth.

(brass)

Piano

Figaro

They wish they could kill me. Stg. Door knocking

I non div.

Vn. II

non div.

Va. tutti

Vc.

Cb.

div.

unis.


118 to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 (Stage Door Knocking)

Perc.

2

3

Synth.

Piano

Harp

Figaro

They wish they could stop me.

They hate me,

they loathe me,

And

we

know why.

They must tor ment me so!

Stg. Door knocking

I Vn. II

Va.

Vc. pizz.

Cb.


119

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 with straight mute

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp.

1 (Stg. Dr. Knocking)

Perc.

2 (Wd. Blks.)

3 (piano)

Synth.

Piano

Harp

Figaro

They’re

jea lous!

They’re jea lous!

They’re jea lous,they’re jea lous!

They’re

Stg. Door knocking

I Vn. II

Va. div.

Vc. (pizz.)

Cb.

arco


120

47 1 Fl.

Flute

to Picc.

2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 (St. Dr. Knocking)

Perc.

2 Wd. Blks.

3

Synth.

Piano

Harp

Figaro

jea

lous!

Yes,

jea

Stg. Door knocking

pizz.

arco

pizz.

arco

I Vn.

div.

II pizz.

arco

Va. pizz.

Vc.

Cb.

arco

div.

lous

Of


121 Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 with straight mute

Tpt. in C

take straight mute

2 with straight mute

take straight mute

1 Tbn.

take straight mute

with straight mute

2

Timp.

1 (St. Dr. Knocking)

Perc.

2 Crash Cym.

3 (woodwinds)

(brass)

Synth.

Piano

non arp.

non arp.

Harp

Figaro

Fi

ga

ro,

Stg. Door knocking

I Vn.

div.

II

Va.

Vc.

Cb.

your

Fi

ga ro.

I’m


122

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F

brassy

2 brassy

1 Tpt. in C 2 remove mute

1 Tbn.

remove mute

2

Timp.

1

Perc.

2

3

8va

(flutes)

Synth.

Piano

Harp

Figaro

home

a

gain!

I’ve been vet er in ar

i an,

E qual i tar i an, Heath en co me di an,

I unis. div.

Vn.

unis.

II

Va.

Vc. flautando, long bow

Cb.

pi ous tra ge di an,


123

48 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

Or

a

tor, po

et, And

pi rate and pro phet, A

man for the la dies And

fath er

of

ba

bies, Drunk en and so ber, A

hus band and sail

pizz.

I Vn.

pizz.

II pizz.

arco

pizz.

Va.

pizz.

div.

arco

Vc.

pizz.

Cb.

arco

unis.

or,


124 poco rall.

a tempo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F

secco, staccatissimo

2 secco staccatissimo

1 Tpt. in C

secco staccatissimo

2 secco staccatissimo

open

1 secco, staccatissimo open

Tbn. 2

secco, staccatissimo

Timp. Xyl.

1 Choke Cym.

Perc.

2 St. Dr. Knocking

Tenor Drum

3 (brass)

Synth.

Piano

Harp

Figaro

Bank er and broth er And bar ber and lov

er.

Dip lo mat, ac

ro bat, Teach er of

et

i quette, me!

Stg. Door knocking

poco rall.

a tempo non div., arco

I div.

Vn. non div., arco

II non div., arco

Va.

Vc.

Cb.

T. Blks.


125

49 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Xyl.

1 Choke Cym. (S.D.)

Perc.

2 Ten. Dr.

T. Blks.

3

Synth.

Piano

Harp

Figaro

Sa

tir ist, pes

si mist, Sur geon and Cal vin ist,

I

Stg. Door knocking

non div.

I div.

Vn.

non div.

II non div.

Va.

Vc.

Cb.

’ve

been

dip

lo mat, ac

ro bat, Teach er

of

et

i quette,


126 (

= )

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 S.D.

Perc.

2 St. Dr. Knocking

3

Synth.

Piano

Harp

Figaro

Stu dent and swords

man,

Spy and mu

si

cian,

Sa

tir

ist,

pes

si

Stg. Door knocking

(

= )

I Vn.

unis., pizz.

II pizz.

Va. pizz.

Vc. div., pizz.

Cb.

mist,

Sur geon and

Cal

vin

ist,

Span ish

E

co

no mist,


127

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 (S.D.)

Perc.

2 (St. Dr. Knocking)

3

Piano

Harp

Figaro

Clock mak er, phar ma cist.

I’m

Stg. Door knocking

( =

)

I Vn.

(pizz.)

(

= )

arco

II

(pizz.)

(

= )

arco

Va. (pizz.)

arco

Vc. (div., pizz.)

Cb.

unis., arco

non div.

Fi

ga

ro,


128

50

( =

)

Picc.

Fl.

1

Ob.

1 2

Cl. in B

2 1

( =

)

( =

)

( =

)

1 Bn.

(

= )

2

1 Hn. in F 2

(

= )

(

= )

1 Tpt. in C 2

1 Tbn. 2

Timp. Tamb.

1 (S.D., if necessary)

Perc.

2 (Ten. Dr.)

Hi T.-t.

3 (St. Dr. Knocking)

Synth.

(

= )

(

= )

(bns.)

Piano

( =

)

Harp

Figaro

Your

Fi

ga

ro.

I’m *

Stg. Door knocking

( =

)

( =

)

I Vn.

div.

II

Va.

pizz.

(

= )

(

= )

arco

Vc.

pizz.

Cb. *Irregular pounding (more and more joining in), slowly getting both wilder and louder, becoming as loud as possible at the end of the aria.

arco


129

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn.

( =

)

( =

)

( =

)

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Tamb.)

1 (Ten. Dr.)

Perc.

(T.-t.)

2 (St. Dr. Knocking)

3 (bassoon, low strings)

Synth.

Piano

Harp

Figaro

home

a

gain, getting gradually more and more wild

Stg. Door knocking

I Vn. II

Va.

Vc.

Cb.


130

51 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 bell up

1 Hn. in F

brassy bell up

2 brassy

1 Tpt. in C 2

1 Tbn. 2

Timp. Xyl.

1

Perc.

2 (St. Dr. Knocking)

3 (woodwinds)

(brass)

Synth.

Piano

(At this point muffled shouts are heard through the door.)

Figaro

Home

(me)

a

gain!

Stg. Door knocking non div., arco div., pizz.

I Vn. div., pizz.

non div., arco

II

div., pizz.

non div., arco

Va.

non div., arco div., pizz.

div.

Vc.

pizz.

Cb.

arco

div.


131 to Flute

Picc. poss.

Fl.

1 poss.

Ob.

1 2

1 Cl. in B 2

Bn.

1 2

Hn. in F

1 2 take straight mute

a2

Tpt. in C

1 2

Tbn.

1 2

Timp.

Xyl.

Stage Door

1 Perc.

B.D.

2 3

Synth.

(w.w.)

8va

Piano

Harp

(The door flies open and the (He stores at the figures (Beaumarchais closes people spill out on the floor. figures on the floor the curtain of the They look up at Figaro.) and freezes.) little stage.)

(Figaro starts to dance while singing, gradually moving off stage and ignoring the knocking even though by now it is very loud.)

M.A.

(weeping softly) Marquis

Brilliant.

8

Louis

Bravo, Beaumarchais Figaro

(n) S (applause and “bravos”) A (applause and “bravos”) T 8

(applause and “bravos”)

B (applause and “bravos”)

Stg. Door knocking

I Vn. II mettere sord.

Va. unis.

mettere sord.

unis.

mettere sord.

Vc.

Cb.


132

52 Rubato

= ca. 72

1 legato

Fl. 2

1 simply

Ob. 2

1 Cl. in B

legato

2 legato

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib., with softest sticks

1 Pedal

Perc.

2

3

Piano

(Beaumarchais notices Marie Antoinette weeping.)

3

3

M.A.

It

was

so

beau

ti

ful,

so

full

of life.

Then, why are you weeping Your Majesty? Beau. 3

Then, why are you weeping Your Majesty?

An

Quartet of Ghosts

S

A

T 8

B

Rubato

= ca. 72

I Vn. II con sord., sul tasto

Va. con sord. sul tasto

Vc. con sord.

Cb.

to

ni

a,


133

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1 (Pedal)

Perc.

2

3

Piano

Harp

(Marie Antoinette looks at Beaumarchais.) whispered

sung

3

Beau.

I

can

bring

you

back

to

life,

home

a

gain.

May

I

bor row your

neck lace,

Your High ness? whispered

S

Quartet of Ghosts

Her necklace? whispered

A

Her necklace? whispered

T 8

Her necklace? whispered

B

Her necklace? I Vn. II via sord.

pizz., senza sord.

via sord.

pizz., senza sord.

Va.

Vc. senza sord. via sord.

Cb.


134

53 = 60

slow 1/4 tone oscillations, ad lib., asynchronous

1 legatissimo

Fl.

Flute, slow 1/4 tone oscillations, ad lib., asynchronous

2 legatissimo

1 Ob. 2

1 Cl. in B

legatissimo

2 legatissimo

1 legatissimo

Bn. 2

legatissimo

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

D

M.A.

My neck lace?

I

want to

3

live a

gain.

Beau.

With your necklace I shall change your past. I shall show you history

as it should have been.

I’ll make you

live a gain.

= 60 I sul pont.

Vn. II

sul pont.

Va.

Vc.

Cb.


135

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 take straight mute

1 Hn. in F

take straight mute

2

1 Tpt. in C 2 take straight mute

1 sub.

Tbn.

take straight mute

2 sub.

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

You are mad. Beau.

I, Pierre–Augustine Caron de Beaumarchais, will change the course of history‌

with

a

neck

lace.

sul pont. ad lib. pont. al ord. al pont.

I ad lib. pont. al ord. al pont.

Vn. II

ad lib. pont. al ord. al pont.

Va. sul pont.

ad lib. pont. al ord. al pont.

sul pont.

ad lib. pont. al ord. al pont.

Vc.

Cb.


136

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

with straight mute

1 Hn. in F

with straight mute

2

1 Tpt. in C 2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2

3

(muted hn., tbn.)

*

Synth.

Piano

Harp

M.A. (chant)

Beau.

The Revolution never happens! (pont. al ord. al pont.)

I Vn.

(pont. al ord. al pont.)

II (pont. al ord. al pont.)

Va. (pont. al ord. al pont.)

Vc. (pont. al ord. al pont.)

Cb. *Fast, irregular patterns, like morse code.

There is no guillotine!

A new age dawns!

Ma rie An toi nette lives!


137

54 = 60 1 Fl. 2

1 sub.

Ob. 2

sub.

1 Cl. in B 2

1 Bn. 2

1 Hn. in F

sub.

2 sub.

with straight mute

1 sub.

Tpt. in C

with straight mute

2 sub.

1 sub.

Tbn. 2

sub.

Timp.

1

Perc.

2

3

Synth.

sub.

Piano

Harp

M.A.

I

can not love.

Beau.

Love

me,

Your

Ma

jes

Louis: spoken (sarcastic)

ty!

Louis 3

(sul pont. al ord.)

= 60

I sub.

Vn.

(sul pont. al ord.)

II sub. (sul pont. al ord.)

Va. sub. (sul pont. al ord.)

Vc. sub. (sul pont. al ord.)

Cb. sub.

Be lieve her, Beau mar chais.


138

1 legatissimo

Fl. 2

legatissimo

1 Ob. 2

1 Cl. in B

legatissimo

2 legatissimo

1 legatissimo

Bn. 2

legatissimo

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib.

1

Glock.

Perc.

Pedal

2

3

Synth.

to Celesta

Piano

D

Harp

(Beaumarchais pours the necklace from one hand to the other.) M.A. shouting

sung

Beau.

I have the pow ers of a god. Louis

I Vn. II

Va.

Vc.

Cb.

Watch me!

Diamonds… I see diamonds… I see a room with many doors…

Dia monds…


139

1 Fl. 2 *

1 Ob.

*

2 *

1 Cl. in B

*

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2 (Vib.)

1 Trg.

Perc.

2 Sus. Cym.

3

(FLURRY)

Synth.

Celesta

E F GA DC B

Harp

(Beaumarchais turns his back to the audience and holds the diamond aloft.) M.A.

Beau.

Doors‌ Louis

I Vn. II

Va.

Vc.

Cb. *Use only the seven pitch classes of the scale indicated by the key signature.

Ma

gic!


140

1 Fl. 2

1 Ob. 2 *

1 Cl. in B

*

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Glock. l.v. sempre

l.v.

1

(Trg.)

Perc.

2 Bell Tree

3

Synth.

Celesta

l.v. sempre

Celesta

l.v. sempre 8va

Harp

brilliant

Beau.

I Vn. II

Va.

Vc.

Cb. *Use only the seven pitch classes of the scale indicated by the key signature.

Sus. Cym.


141

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2 (Bell Tree)

3

Synth.

to Piano

Celesta

Harp

I Vn. II

*

Va. *

Vc.

*

Cb. *Use only the seven pitch classes of the scale indicated by the key signature.


142

55

Scene 1

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

( = ca. 180) Play unconducted, backstage or in orchestra 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Hn. in F

3

2

Tpt. in C

1

2 1 Tbn. 2

Timp.

( = ca. 180) Perc.

Play unconducted, backstage or in orchestra S.D. ad lib. march patterns.

1 2 3

3

3

3

(bn., cb.)

Synth.

Piano

Harp

(Beaumarchais lowers arms. The curtain opens again, revealing the same drawing room. But this time, Count Almaviva is kneeling in the middle of it, frozen position, holding aloft a diamond necklace identical to the one Beaumarchais was holding. Beaumarchias turns around. He has no necklace. (Soldiers are marching around the square. They can be seen through the drawing room window.)

(a cry of pain)

M.A.

Ah! spoken (begin after Horns and Snare Drum) Beau.

It is Paris… the autumn of ninety-three. Terror… Revolution… The king is dead. The Queen awaits her fate in prison.

(Louis goes to his wife’s side.) spoken

Louis

How can you be so cruel? You open old wounds! I Vn. II

Va. div. a4

Vc.

Cb.


143

56 (slow, 1/4 tone oscillation)

1 Fl.

(slow, 1/4 tone oscillation)

2

1 Ob. 2 (slow, 1/4 tone oscillation) ad lib.

1 Cl. in B 2

1 Bn. 2

(slow, 1/4 tone oscillation) 3

3

3

3

3

3

ad lib.

3

1 Hn. in F 2

3

1 Tpt. in C 2 open

take straight mute

open

take straight mute

1 Tbn. 2

Timp. (S.D.)

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

Save me! Save me! spoken

I

want to

live!

(to Marie Antoinette)

Beau.

I can help her. Believe me. You have entrusted your diamonds to your old friend, the Spanish ambassador, Count Almaviva, a character from my first two operas. He has a plan to save you.

I Vn. II

Va.

Vc.

Cb.

My opera will save you, your Majestry. Let me tell you about my other char– acters. Almaviva’s wife,


144

57

Andante

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(We see an apparition of Rosina high above the stage. She is seated in a chair, weeping.) M.A. (Freely, do not line up with orchestra.) Beau.

Rosina!

For the last twenty years her husband has reserved her because— remember Almaviva’s young page Cherubino?

Andante I Vn. II div.

unis.

Va.

div.

unis.

Vc. pizz.

Cb.

arco

He and Rosina had a child…


145 *

Più mosso

= 92

solo

1 3

Fl.

3

3

**

2 3

3

1 Ob. 2 **

1 3

Cl. in B

3

**

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

Beau.

Leon! *

And he has fallen in love with Florestine!

She is the Count’s offspring by a nameless woman of high rank.

Stesso tempo

I Vn. II

Va.

Vc.

Cb.

*Strings continue in same tempo. Woodwinds più mosso at = 92. **Continue playing the indicated pitches, alternating duplets and triplets ad lib., freely and asynchronously. The sound should be blurred and liquid.)


146

58 1

Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 with straight mute

1 Hn. in F

with straight mute

2

with straight mute

1 Tpt. in C

with straight mute

2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2

3

(oboe, bassoon)

Synth.

Piano

Harp

M.A.

Beau.

Here’s the problem.

I Vn. II

Va.

Vc.

Cb.

Almaviva has never forgiven his wife’s infidelity—

And so he refuses to give his consent to the marriage of his daughter and her son.

Instead, Almaviva has promised his daughter to his best friend… our villain


147 = 144

Vuota

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 open

1 Tbn.

open

2

Timp.

1

Perc.

2 B.D.

3

Synth.

Piano

Piano

Harp

Beau.

Patrick Honoré Bégearss!

To complete the cast, Figaro and Su– Louis: (interrupting)

Louis

= 144

div. a3 *

I Vn.

div. a3 *

II div. *

Va. div. *

Vc. div. *

Cb. *Ad lib. crescendos and diminuendos.

Get on with it Beaumarchais! I never could follow the last act of The Marriage of Figaro— and this is even worse! Vuota


148

59 1

Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(HARPSICHORD until 64 )

Synth.

Piano

Harp

Count Almaviva: (chant) Almaviva 8

O, heavenly Father, hear my vow: On my life I promise to set free Thy persecuted daughter.

1 solo

I Vn. II 1 sola

Va. 3 soli, div.

Vc. 1 solo

Cb.

Ma rie An

toi nette

of

France‌


149

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Almaviva 8

And if it be Thy will, O Lord, I shall sell these jewels

(1 solo)

I Vn. II (1 sola)

Va.

(3 soli, div. a3)

Vc. (1 solo)

Cb.

to the English am bassador

at

the

reception

of

the Turk ish

em bas sy


150

60

Slow, like a gregorian chant

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Susanna

Almaviva 8

And,

with the one million pounds, grant her Majesty a safe refuge in the New World.

A

ve Ma

ri

a,

gra tia ple

Figaro

(1 solo)

Slow, like a gregorian chant

I Vn.

legato

II (1 sola)

Va. legato (3 soli, div. a3) unis.

Vc. legato 2 soli, div. arco

Cb. pizz.

legato

na.

Be

ne dic tus


151 * 1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

2

Perc.

3

(Hpschd. unto 64 )

Synth.

Piano

Harp

(Count Almaviva hides the jewels in his pocket.) Susanna

and Su san spoken

(interrupted)

na. whisper, aside

sung

Almaviva 8

fruc

tus

ven

tris

Tu

us

Those two. They mustn’t see the jewels.

Who is it? (Allegro

= 144)

(knocking on door, interrupting chant) Figaro

Fi ga ro * I Vn. II

Va. div. a3

Vc.

Cb.

*Stop orchestra when knock interrupts Almaviva. The Stage Door Knocking may begin before the 6/4 bar.

One

mo

ment.


152

61

= 72

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

3

Synth.

A

Harp

(Count Almaviva opens the door. Figaro and Susanna enter with mops, dusters, etc.)

3

D G A

(Figaro and Susanna quickly search the room while pretending to clean. Susanna spies the necklace sticking out of Count Almaviva’s pocket, and…)

3

Susanna 3

Ti dy and clean, neat asa pin.

3

We won’t be a min ute.

Almaviva 8

Figaro

3 3

= 72

3

3

Just clean ing the room,mas ter.

We won’t be a min ute.

(1 solo)

I Vn. II (1 sola)

Va. arco

pizz.

1

Vc.

(arco)

arco

2 3 pizz. pizz. (1 solo)

Cb.

(pizz.) arco


153

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

2

Perc.

3

Synth.

Harp

sing

(snatches the necklace.) (Almaviva snatches it back.) Susanna

What’s this?

and de

(recitative) Almaviva 3

8

None of yourbus’ ness!

Figaro 3

Se crets fromyour loy

(1 solo)

I Vn. II (1 sola)

Va. tutti arco 1

div. 1 solo

Vc. 2 1, arco

Cb.

div.

al Fi ga ro.


154

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

3

3

6

Susanna

vo ted Su san na?

For the love of God for give your wife.

Almaviva 8

3

3

De vo ted and loy al to Ro

si na and her son.

3

I’ll nev er for give

3

that wo man.

Figaro 6

And for give her son. Let him I Vn. II

Va.

Vc.

Cb.


155

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

3

Susanna 6

My la dy has al rea dy giv en her per

mis sion. 3

Almaviva 3

8

How Figaro

3 3

mar ry your daugh ter. I Vn. II

Va.

Vc.

Cb.

dare she?

3

Flo res tine will mar ry

Bé gearss. He’s the on

ly

man

I


156

62 1

Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Susanna

Almaviva 8

trust.

6

Mind your place!

Don’t be ab surd!

Figaro 6

(1 solo)

But mas ter,

I Vn. II (1 sola)

Va. div. a3

Vc. slow, quarter-tone vibrato 2 soli

Cb.

slow, quarter-tone vibrato

6

6

he on ly pre tends to be your friend.

6

He’s

a

spy

6

for the re vo lu tion ar ies.


157

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth. 3

Harp

3

(Count Almaviva puts his hands over his ears.) Susanna

Almaviva 8

3

3

I don’t

Figaro

be lieve

you!

I

won’t

lis

ten!

6

I caught his

ser vant search ing your room…

read ing your

let

ters.

(1 solo)

I Vn. II (1 sola)

Va.

(div. a3)

Vc. 3

(2 soli)

Cb.

3


158

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Susanna (tratt.)

Almaviva 3

8

This time you’ve gone too far!

I

dis

Figaro

Where

did you get

that

neck lace?

(1 solo)

sul ponticello

(1 sola)

sul ponticello

(div. a3)

sul ponticello

I Vn. II

Va.

Vc. div., sul ponticello (2 soli)

Cb.

miss

you,

Fi

ga

ro.


159

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

(Exit Count Almaviva) Susanna (in time) 3

(tratt.)

3

Almaviva 6

8

Leave at once!

You will

o

bey!

My wife will o bey!

3

I’m

still king

in

this house!

Figaro

ord. (1 sola)

I Vn. II ord. (1 sola)

Va.

ord. (div. 3)

Vc.

ord. (div.)

Cb.

1 solo


160

63 1

Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

l.v. sempre Harp

(crying out after Almaviva, and then to Figaro) 3

Susanna

Louis:

Stubborn! Oh, Figaro, what are we going to do? We’ll starve…

What’s the world com ing to?

Louis

I said the very same words.

(Figaro tapping his head)

Figaro

Not so long as I have my wits.

I Vn. II (1 sola)

Va. (1 solo)

Vc.

Cb.

Mas ter sneaks a round with sto

len


161

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

6

Synth.

6

Piano

Harp

Susanna

jewels; Figaro

I Vn. II

Va.

Vc.

Cb.

our

mis

tress cries

all

day.


162

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

*

Piano

D EFG A

Harp

*

3

Susanna

And

out

side,

Par is has gone

mad:

a

king has lost his

head;

the

Queen

Figaro

I Vn. II (1 sola)

Va.

(div. a3)

Vc. dolce pizz. (div.)

arco

Cb. dolce *Play legato as fast as possible between and including the indicated pitches. Avoid patterns or scales.


163

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

legatissimo Susanna

lan guish

es

in

jail.

I

am

fright ened for sim ple folk like

us.

Louis tenderly Figaro

Su 1 solo

I Vn. II 1 sola

Va.

Vc. 1 solo

Cb.

san

na,

Su

san

na,

at


164 *

= 144

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 (open)

1

Tbn.

(open)

2

Timp.

1 2 Perc.

B.D.

3

= 72 Synth.

Piano

Harp

(Figaro and Susanna hear the approach of Wilhelm and BĂŠgearss.)

= 72

Susanna

BĂŠg earss and his ser

vant

Wil molto

(offstage) 3

Wilhelm

Ouch!

Ooh!

Argh!

Ow!

= 72 Figaro

least

we have each

oth

er. *

= 144

I Vn. II

Va.

Vc.

Cb. *Do not align Susanna, Figaro, and the Harpsichord (Synthesizer) with Wilhelm and the rest of the Orchestra.

3

3

But who is that com ing?

Yeow!

3

No, No, No, No, No!

helm


165 *

1 Fl.

*

2 *

1 Ob.

*

2 * Cl. in B

1 *

Cl. in A *

1 Bn.

*

2 *

1 Hn. in F

*

2 *

1 Tpt. in C

*

2 *

1 Tbn.

*

2 *

Timp. *

1 *

Perc.

2 *

3

Synth.

*

Piano

*

Harp

(They hide.) 3

Susanna

He’s al ways beat ing him. *

cresc. (coming closer)

Wilhelm 3

Figaro 3

Mi ser able man. *

I Vn.

*

II *

Va. *

Vc. *

Cb. *Repeat until cutoff.

3

Let’s hide

and see what we can learn.

Come, Su

san

na.

(Bégearss and Wilhelm appear.)


166

64

= 144

Faster

= 156

1 Fl.

to Piccolo

2

1 Ob. 2

Cl. in B

1

Clarinet in A Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2 B.D.

3

(brass ensemble)

Synth.

Piano

(Bégearss beats Wilhelm. Wilhelm cringes.) Wilhelm sung

Bègearss: spoken Bégearss 8

3

3

Fool!

= 144

I di ot!

Mo ron!

You

Faster

= 156

tutti

I savage

Vn.

tutti

II savage

tutti

Va. tutti

Vc. savage tutti

Cb. savage

savage

3

3

3

for got when Al ma vi va plans to sell the jewels?


167

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

to Clarinet in B Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 *

1 Tbn.

*

2

Timp.

1

Perc.

2 B.D.

3

Synth.

Piano

Harp

Wilhelm: spoken

(BĂŠgearss kicks Wilhelm.)

Wilhelm

I read the letter, but then that Figaro came in and scared it out of me! (kick)

(kick)

BĂŠgearss 8

How could you?

I Vn. II

Va.

Vc.

Cb. *Two different pedal tones, brassy.

When?

Where?


168 lunga Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 take straight mute

1 Tbn.

take straight mute

2

Timp. Xyl.

1

Perc.

2

3

Synth.

Piano

Harp

lunga Wilhelm screaming

(hit)

(hit)

(hit)

(hit)

(hit)

lunga

BĂŠgearss 3

8

div.

I Vn. div.

II

div.

Va.

Vc.

Cb.

3

I need

3

to know

3

so

I can ex

pose

3

the plot

3

3

to save

the Queen.

Think,

3

you i

di ot, Think!

3

3

Think!

3

Think!

3

Think! lunga


65

169 a tempo ( = 156)

accel.

Slower Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2 fltg. with straight mute

1 Tpt. in C

with straight mute

fltg.

2

fltg. with straight mute

1 fltg.

Tbn. with straight mute

2

Timp.

1 Ratchet

Perc.

2 B.D.

3

Piano

Harp

Wilhelm 3

Uh…

Uh…

3

I can’t.

3

I’m sor ry.

3

3

3

I’m sor ry I can’t.

3

3

3

3

3

I’m sor ry, I’m sor ry,I’m sor ry, I can’t. screeching 2 Ghosts (from three chattering women):

2 Sop. Ghosts

Think!

a tempo Slower I Vn. II

Va.

Vc.

Cb.

accel.

( = 156)


170 = 156

Piccolo

Picc.

Fl.

1

Ob.

1 2

Cl. in B

1 2

Bn.

1 2

Hn. in F

1 2

1.

fltg.

ord.

1 Tpt. in C

fltg.

2

fltg.

remove mute

1 Tbn.

fltg.

ord.

fltg.

2 Crot.

Xyl.

Crot.

Xyl.

1 (Ratch.)

Perc.

2 T. Blks.

3 3

3 8va

3

Piano

E F B C D

Harp

(Wilhelm growls.) Wilhelm

I

can’t!

Sor

screeching

ry…

S

Ghosts

Think!

Think!

Think!

screeching

S

Think!

Think!

Think! 3

A

I

di

ot

i

di

ot

S Quartet of Ghosts

3

Can’t

3

Hit ’im Hit ’im

Hit

A 3

Sor

ry!

3

Guil

ty

T 8

Hit ’im.

B 3

div.

Sor

3

ry

He

can’t.

= 156 * I * div.

Vn. II

* div.

Va.

0

div. a4

Vc.

Cb. *Very slow quarter-tone oscillations. Each player is asynchronous.

’im


171 rall. poco a poco to Flute

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1 2

Bn.

1 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn.

remove mute

2

Timp. (Crot.)

1 poss.

Perc.

2 (T. Blks.)

3

Piano

loco

Harp

(Beaumarchais offers Marie Antoinette a cushion…) M.A. 3

Shhhhh!

Im

be ciles!

S

Quartet of Ghosts

Sor

3

ry

can’t

Shhh! (giggles)

3

A

Can’t

Shhh! (giggles)

T 3

8

Sor B 3

Sor (div.)

ry.

rall. poco a poco

I (div.)

Vn.

dim. poco a poco

II metá

dim. poco a poco

Va. dim. poco a poco

Vc.

Cb.

ry…


172 (rall.) 1 Fl.

Flute

2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Marie Antoinette smiles at him.) Wilhelm

Forgive me master… I beg you…

What can I do?

Bégearss 8

What can you do? What can you do?…

(rall.) (div.)

I (div.)

Vn. II

(metá)

Va.

Vc.

Cb.

…what you’re good for:


Adagio

= 60–66

66

173

Recitative and Aria

1 Fl. 2

1 Ob. 2 *

1 Cl. in B

*

2 *

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 open

1 Tbn.

open

2

Timp.

1

Perc.

2 B.D.

3

(contrabass)

Synth.

Piano

Harp

(Bégearss sits.)

(Bégearss smiles malevolently.)

slow, menacing

Bégearss 8

Polish my boots… and keep thinking!…

Adagio

I can’t wait to When they ar rest him, betray Almaviva.

= 60–66

(div.)

I (dim.)

Vn.

(div.)

II (dim.) (metá)

tutti, div. a4 (half-tone cluster, free bows)

Va. (dim.)

tutti sul ponticello

Vc.

sul ponticello

Cb. *Ad lib., chromatic figures slowly rising or falling in pitch to next indicated boxed notes.

3

I’ll make him crawl to me

3

3

3

on his hands and knees like a dog.


174 Adagio *

1 Fl. 2

1 Ob. 2 *

1 Cl. in B

*

2 *

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Bégearss pats Wilhelm’s head.) Bégearss 8

Good boy!

But

I’ll

send him

to

the

scaf

fold

an

y

way!

Adagio I Vn. II gliss.

gliss.

gliss.

Va. (div.)

unis., ord.

Vc. ord.

Cb. *Ad lib., chromatic figures slowly rising or falling in pitch to next indicated boxed notes.


175 Adagio

accel. motion poco a poco

1 Fl. 2

1 Ob. 2 accel. motion poco a poco

1 Cl. in B

accel. motion poco a poco

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Bégearss chuckles.) (Bégearss luaghs) 3

3

Bégearss 8

3

And then!

3

I’ll make the Coun tess my maid.

Yes!! (chuckles) And

if she does n’t like that,

I’ll send her to the cart al

so.

Adagio I Vn. II

Va.

Vc.

Cb.


176

67 1 (fast)

Fl.

molto

2

1 Ob. 2

1 Cl. in B

(fast)

molto

2 (fast)

molto

1 Bn. 2

1 Hn. in F

molto

2 molto

1 Tpt. in C

molto

2 molto

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

molto

(lunga) BĂŠgearss 8

3

And

LĂŠon

will

be

my

page,

as

his

fa

ther

was

to

the

Count.

And

I Vn. II

Va. molto

Vc.

Cb.


177 = 92 1

3

3

3

3

3

3

3

3

3

3

Fl. 2

1

3

3

3

Ob. 2

3

3

1 3

Cl. in B

3

3 3

3

3

3

3

3

3

2

1

3

3

3

Bn.

3 3

3 3

3

2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. 3

3

1

Perc.

2

3 (hns., w.ws., stgs.) 3

Synth.

Piano

Harp

dolce BĂŠgearss 8

Flo res

tine,

my won drous

Flo res

tine,

will be

my

mis tress,

my

wife,

my

slave.

unis.

I 3

3

3

3

3

3

3

div.

Vn.

3

3

3

II

Va. 3

Vc.

Cb.

3

3

3

3

3

3


178

68 1 3

Fl. 2 3

1 3

Ob. 2

3 3

3

slow, even ritard., ignoring conductor

1 3 3

Cl. in B

2

1 3

Bn.

to Contrabassoon

3

2 3

3

1 Hn. in F

3

3

3

3

3

3

3

3

2

1 Tpt. in C

3 3

2

1 3 3

Tbn. 2

Timp.

1

Perc.

2

3 (tutti)

(HARPSICHORD)

3

Synth.

ad lib. patterns on indicated pitches

3

legato, blurred

Piano

l.v. sempre

Harp

ad lib. patterns on indicated pitches

legato, blurred

Florestine: Florestine (We see Florestine as in Bégearss’ imagination. She is elevated, and behind a scrim, dressed in white, radiantly beautiful. She is reading back a letter she has just written. She holds a quill in her hand.)

Come to me my love. Come Continue in time, ignoring conductor

Bégearss 3

8

Flo

res tine will be my

love,

my

love,

my love,

my

love,

my love, my love, my love, my love, my love… Continue in time, ignoring conductor

I Vn.

unis.

II

Va.

Vc.

Cb.

Continue in time, ignoring conductor


179

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

ad lib. patterns on the indicated pitches

legato, blurred

Synth.

Piano

Harp

Florestine

to

I Vn. II

Va.

Vc.

Cb.

me,

my

love.

I

am yours.

Your

mis

tress,

your

wife,

your


180

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 sim.

sub.

Synth.

sim.

Piano

sub.

Harp

(Bégearss rises abruptly and kicks Wilhelm out of the way. The vision fades immediately.) Florestine

slave!

Oh,

Lé on,

Lé on,

Oh Lé on, Lé on,

Ah

Ah

Ah

Bégearss: (imitating Florestine with pitched falsetto singing) shouting Bégearss 8

I Vn. II

Va.

Vc.

Cb.

Lé on?

Lé on?

LÉ ON? Out of my way! Out of my way!

Léon and Florestine?


69

181 Adagio

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

Bn.

1 3

Contrabassoon

to Bassoon

3

Cbn.

1 3

Hn. in F

3

2

1 Tpt. in C 2

1 3

Tbn.

3

2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

poss. Bégearss 8

What about me… Patrick Honoré Bégearss? It’s true: I’m low, base, vile.

ME!

But don’t they know the king of beasts…

Adagio *

I Vn.

*

II 3

*

3

*

3

*

Va.

Vc.

Cb.

*Stand by stand, players change from A to G, ending at the downbeat of rehearsal 70. The change should be legato, non-portamento and asynchronous.

is the


182

70

Aria of the Worm Largo pomposo

= 60

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

1

6

6

6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(WORM SOUND)

(slow phase shift throught aria)

Synth.

Piano

Harp

During the following aria, Wilhelm tries to remember the contents of the letter. Near the end he does remember and tries to signal BĂŠgearss who is too busy singing to notice.) BĂŠgearss 8

worm?

Largo pomposo

= 60

(tutti)

I Vn.

div. 6

6

6

6

6

6

6

II

Va. *

Vc. *

Cb. *As before, continue stand by stand, but in the time value indicated. (Changes will be quicker, and some portamento may be used.)

6

6

6

6

6


183 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

2

1

6

6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

I Vn.

(div.) 6

II

Va.

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


184

71 1 6

Fl.

6

6 6

6

6 6

6

2

1 6

6

6

6

Ob. 6

6

6

6

2 6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

6 6

6

sub.

6

2

1

6

6

6

6

6

Bn.

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2 B.D., deep

3

Synth.

sub.

Piano

Harp

BĂŠgearss 8

Oh,

the

li

on

may

roar

I (div.) 6

Vn.

6

6

6

II div.

Va. 6

Vc. sub.

Cb. sub.

6

6

6

6

6


185

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

6

1 6

Bn.

6

6

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

3

rh,

And the

ea

gle

may

soar,

And

man

may

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


186

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

2

1

6

6

6

6

Bn.

Bassoon

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(brass)

Synth.

Piano

Harp

Bégearss 8

sail

the

dark

est

sea,…

But

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

the


187

72 1 sub.

Fl. 2

sub.

1 Ob. 2 6

6

6

6

6

6

1 Cl. in B

sub.

2 sub.

1 sub.

Bn.

6

6

2 sub.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. sub.

1

Perc.

2

3

Synth.

Piano

Harp

sub. BĂŠgearss 8

wa hurm

lives on

e

ter

nal ly.

Long

live

the

worm.

I Vn.

unis.

div. 6

II (div.)

sub.

Va.

Vc. sub.

Cb. sub.

6

6

6


188

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

6

1 6

Bn.

6

6

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

Bégearss 8

3

3

Cut him in two,

Each part ’ll

re new;

I Vn.

(div.) 6

II

Va.

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


189

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

6

6

6

6

2

1 6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 3

3

8

3

Slice him to bits,

The

3

3

worm

per

sists.

He

still

3

crawls on,

Scales

I Vn.

(div.)

II

Va.

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6

6


190

1

3

2

3

Fl.

1 3

Ob.

3

3

3 3

3

3 3

3

3 3

3

3

3

3

3

2 6

6

1 6

Cl. in B 6

6

6

6

6

6 6

6

3 3 3

6

3

3

3

3

3

3

3

2

1

6

6

6

6

3

3

3

3

3

3

3

3

3

3

Bn. 2 3

3

3

3

3

3

3

3

3

1 Hn. in F 2

1 Tpt. in C

3

3

3

3

2 3

1 3

Tbn. 3

3 3

3

2

Timp. 3

3

3

3

1

Perc.

2

3

(woodwinds)

(+brass)

(W.W. + BRASS)

Synth.

Piano

Harp

BĂŠgearss 3

3

8

walls

on,sheerwill

3

and

3

Bur rows

burn ing

sand.

I (div.) 6

Vn.

6

6

6

II 6

Va.

Vc.

Cb.

6

6

6

(d)


191

(optional)

VI-

73

1 Fl. 2

1 Ob. 2

6

6

6

6

6

6

1 Cl. in B

2

1 sub.

Bn.

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 (WORM SOUND)

Synth.

Piano

Harp

BĂŠgearss 8

Long

live

the

worm.

VI-

non div.

I

Vn.

non div. div.

II non div.

sub. div.

6

6

6

6

6

6

6

6

div.

Va. sub.

Vc. sub.

Cb. sub.


192

1 Fl.

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2 6

6

6

6

1 6

Ob.

6

2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

1

6

6

6

6

6

6

6

6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

3

Bégearss 8

He tra vels on

by

The

poor

man’s

sty,

I Vn.

(div.)

II (div.)

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Va.

Vc.

Cb.


193

1

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Fl. 2

1

6

6

6

6

6

6

6

6

6

6

6

6

Ob. 2 6

6

6

6

6

6

6

6

6

6

6 6

6

6

6

6 6

6

1 Cl. in B

6

6

2

1 6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

3

3

Gro vel ing past

the

roy

al

pa

lace,

And

en

ters the

I (div.)

Vn. II

(div.)

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Va.

Vc.

Cb.


194

-DE 1

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Fl. 2

1

6

6

6

6

6

6

6

6

6

6

Ob. 2 6

6

6

6

1 Cl. in B 6

6

6

6

6

6

2

1

6

6

6

6

6

6

6

6

6

6

Bn. 2

6

6

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 3 8

cof

fin

Of

the

red

haired

dau

6

div.

phin.

6

6

Long

-DE

6

I 6

6

6

6

6

6

(div.)

Vn. II

6

6

6

6

6

6

6

6

6

6

6

6

(div.)

Va.

Vc.

Cb.

live

the


195

74 1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

6

1 6

Bn.

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Wind machine (thunder), ad lib.

1

Perc.

2

3

(wind effect, ad lib.)

(WORM SOUND)

Synth.

Piano

Harp

BĂŠgearss 8

worm.

The

(div.)

unis.

(div.)

unis.

wind

whis

tles.

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


196

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

6

1 6

Bn.

6

6

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 3

8

And the

3

storm

bris tles.

And

I Vn. II

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


197

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

2

1 6

Bn.

6

6

6

6

6

2

1 Hn. in F

molto legato

2

1 Tpt. in C 2

1 Tbn.

quasi gliss.

2 molto legato

Timp. (Wind Machine)

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 3

8

mud

cov

ers

the ground.

The div.

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


198

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

2

6

6

6

1 6

Bn.

6

6

6

6

6

6

6

6

2

1 Hn. in F 2 molto legato

1 Tpt. in C 2 quasi gliss.

1 molto legato

Tbn. 2

Timp. (Wind Machine)

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

worm

3

wan

3

ders

round

and

round

Morn

ing

and

night,

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6


199 6

6

6

6

6

6

6

6

6

6

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

6

2

1 Bn. 2

1 Hn. in F

legato

2

1 Tpt. in C

molto legato

2 molto legato

1 Tbn. 2

Timp. (Wind Machine)

1

Perc.

2

3

Synth.

Piano

Harp

3

3

BĂŠgearss 8

3

Hid den from

sight,

Ov

er

moun

tain

and

shore,

unis.

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6