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Richard Danielpour

MARGARET GARNER opera in two acts Libretto by

Toni Morrison Full Score, Book 1 Act I

from the G. Schirmer Rental Library date of printing___________

Associated Music Publishers, Inc. New York, NY


Richard Danielpour

MARGARET GARNER opera in two acts Libretto by

Toni Morrison Full Score, Book 1 Act I Prologue............................................................1 Scene 1............................................................22 Scene 2..........................................................132 Scene 3..........................................................231

Act II (Book 2) Scene 1..........................................................356 Scene 2..........................................................452 Intermezzo.....................................................517 Scene 3..........................................................531 Scene 4..........................................................601 Epilogue.........................................................624

Commissioned by the Michigan Opera Theatre, Cincinnati Opera Association, and The Opera Company of Philadelphia.

Associated Music Publishers, Inc. New York, NY


Instrumentation: 3 Flutes (3rd doubling Piccolo) 2 Oboes (2nd doubling English Horn) 3 Clarinets in B= (3rd doubling Bass Clarinet) 3 Bassoons (3rd doubling Contrabassoon) 4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Percussion (3 players) Piano Stage Piano Harp Soloists 2 Choruses Strings (10, 10, 8, 6, 5 players min.)

Cast of Characters Principal Roles Margaret Garner*, a slave in her mid-20s, Robert’s wife

Mezzo-Soprano

Robert Garner*, a slave in his early 30s, Margaret’s husband

Lyric Baritone

Cilla*, a slave about 50 years old, Robert’s mother

Dramatic Soprano

Edward Gaines, the handsome and charismatic Master of Maplewood Plantation, in his late 30s or early 40s

Lyric Baritone

Secondary Roles Casey, the Foreman of Maplewood Plantation

Dramatic Tenor

Caroline Gaines, the daughter of Edward Gaines, engaged to George Hancock

Light Lyric Soprano

George Hancock, engaged to Caroline Gaines

Tenor

Auctioneer, a Professional Salesman [doubles as Judge I]

Lyric Tenor

16 Slave Catchers **

8T; 8Bar (divisi: lyric and Verdi Baritones)

A Foreman/The Hangman

non-singing role

3 Judges** [Judge I doubles as Auctioneer]

T, Bar, B

2 Militia Officers

non-singing roles

Margaret’s 2 Children*, a 5-year-old girl and a 2-year-old boy

non-singing roles

The Townspeople/The Guests (aka, “White Chorus”)

SATB: min. 36 voices

The Slaves* (aka, “Black Chorus”)*

SATB: min. 36 voices

* Although much latitude is possible in casting, these roles must be sung by Black performers. ** These roles can be sung by members of the White Chorus.


Synopsis Act I, Scene 1: Kentucky, April 1856 The opera begins in total darkness, without any sense of location or time period. A large group of slaves gradually becomes visible, shackled and caged on a trading block. In a call-and-response song, they beg for deliverance from their suffering. The scene shifts to the lively town square in Richwood Station, Kentucky; it is April 1856. In preparation for an auction, members of slave families are separated from each other, so that they can be sold individually. The local townsfolk bid enthusiastically for these “picknies and mammies and breeders and bucks,” even though they consider them nothing more than personal burdens in need of civilizing. In the crowd of onlookers is a handsome man named Edward Gaines, a native of the region but absent for twenty years, accompanied by his daughter Caroline. He interrupts the auction when an “old estate rich in history” is brought to the block, asserting that this property, Maplewood Plantation, belonged to his deceased brother and therefore cannot be sold. As no one disputes the claim, Gaines acquires Maplewood. However, the self-assured Gaines is dismayed to learn that none of the townsfolk remembers him, only his well-respected older brother. The younger Gaines informs them that he has survived life’s challenges; once happily married, he now is a widower with a child to raise. He grandiosely proclaims that he will fill Maplewood with a multitude of possessions, and announces that he intends to retain all the plantation’s “goods and property” (i.e., its slaves). The enslaved who were waiting to be auctioned therefore are reunited with their families. While Gaines signs the ownership papers for Maplewood Plantation, the slaves celebrate with dance and music. The singing of Margaret Garner, an attractive young slave, captivates Gaines; after the crowd disperses, he takes her red scarf, which she had dropped accidentally. He nostalgically recalls his childhood, even though he had been forced to leave town under purportedly disreputable circumstances. He promises himself that this time the townsfolk will not forget him. Scene 2: Harvest time, about six months later Singing a wry, somewhat defiant work song, the slaves head back to their quarters after a day toiling in the fields. Cilla, the mother of Margaret’s husband, Robert, joins the couple for supper; their spirits are light-hearted while they prepare the evening meal. Yet when Margaret insists upon seeing her baby immediately after saying grace, Cilla, warm-hearted yet world-wise, cautions her against such an intense attachment to the child. Margaret persists, however, and sings a Lullaby to the baby while Robert and his mother eat dinner. Casey, the treacherous foreman at Maplewood Plantation, unexpectedly appears at the cabin and delivers shocking news: Robert is being sent away that night to another plantation. Margaret is to remain at Maplewood, but now will work in the plantation’s main house. When Casey tosses a fancy dress at Margaret, it is clear that Gaines expects sexual favors from her. Robert voices his anger, but Margaret reassures him of her faithfulness, and the two pledge their love. Scene 3: Maplewood Plantation, in the early summer of 1858 In the parlor at Maplewood Plantation, a reception is being held to celebrate the marriage of Caroline Gaines to George Hancock. The guests include the local townspeople, whom Edward is very eager to impress. However, a discussion at the party about the nature of love quickly develops into a heated disagreement between Edward and George. To break the tension, the newlyweds begin the reception’s traditional “first dance.” The guests quickly join in the waltz; ironically, only Gaines is without a partner. When the dance concludes, Gaines graciously toasts the couple. But then Caroline accidentally makes matters worse again by asking Margaret, now the house servant, for her opinions on love. The i


guests are outraged that a person of “quality” would ask a slave for her opinion. To show their disapproval of Gaines, and the social manners he seemingly allows at Maplewood, the haughty guests leave the party abruptly. Distressed by their rudeness, Gaines lashes out at Caroline, who ruined what he had hoped would be a proud moment; now, he claims, his neighbors have “more reason to gossip and despise” him. He dismisses her attempts to mollify him, yet watches wistfully as the newlyweds leave for their honeymoon. After the party, Gaines notices Margaret returning to clear the glasses, and lingers to observe her. Unaware of his presence, she continues to reflect upon the nature of love. Edward emerges from his hiding place and accosts her. She resists his advances and begins to struggle vigorously. But Edward is determined to have his way; he overpowers her and drags her forcibly from the parlor. Act II, Scene 1: Maplewood Plantation; Sunday, February 24, 1861, in the early evening Margaret, whose life has been sustained by her quest for freedom, begins to cry when Robert arrives and confirms that they are scheduled to leave in just three hours. He attempts to calm her anxieties, and Margaret is overwhelmed by love for her husband, a man of great moral courage and strength of character. Suddenly, Margaret notices that Cilla is not packing any of her own things. In spite of Margaret’s pleas to join them, Cilla proclaims that she is too old to begin a new life; her joy is simply to see her son’s family safe and living elsewhere. Although sympathetic with Margaret and Robert’s dreams for a free life, Cilla has made peace with her own, and sings of her reliance upon God. Footsteps are heard approaching, and Cilla and Margaret are terrified when Casey storms into the cabin. At the same time, Robert inadvertently walks into the trap when he returns with the children. Casey pulls out a pistol, and Robert impulsively attacks him. A violent struggle ensues, but Robert hesitates and cannot bring himself to shoot Casey. Yet when Casey calls Margaret a “black slut,” Robert strangles him to death. Cilla instantly understands that Robert’s action has doomed the family, and she and Margaret beg him to run, regardless of any personal danger they might be in. Cilla drags Casey’s body away; Robert and Margaret sing of their love and make plans to meet later. Scene 2: In the Free State of Ohio, March 1861 Three weeks have passed since Robert and Margaret successfully escaped from Maplewood, and crossed the frozen Ohio River on the Kentucky border to reach Cincinnati, a city in the “Free State” of Ohio. Now both outlaws, they live with their children in an underground shed, in hopes of avoiding recapture by their masters. Standing outside underneath a huge elm tree, Robert and Margaret discuss speculation about the country’s new President. Margaret shudders when she hears of Lincoln’s belief that the “Union is Sacred” and that “A House Divided Cannot Stand,” for she knows that means war is inevitable. Ever hopeful, and sharing Margaret’s dream for a better future, Robert asserts that freedom is nearly theirs–after all, they now live in a state whose name means “beautiful”! Here, their children will be able to grow up with dignity, and their own marriage will be respected as sacred. He will protect Margaret always, just as the elm tree always protects them. Only moments after Robert insists that they return to the shed because of the potential dangers facing them outside, Edward Gaines arrives, accompanied by slave catchers. He pounds on the shed door, promising that no harm will be done; he just wants to claim his property. Intoxicated, Gaines breaks down the shed door. An exchange of gunfire leaves neither man hurt, but the slave catchers tie up Robert. As he is being dragged outside, Gaines grabs Margaret. He laments that his bed is cold; he wants her to heat it up, just as she once did with hot coals. Breaking loose, Margaret recklessly plunges her bare hands into the ii


fire and grabs several pieces of coal; she lunges at Gaines, attempting to burn him. Gaines yells that she can pretend to be as crazy as she likes, he doesn’t care even if she mangles herself in the process. Margaret sees Robert outside, standing on a tall box underneath the elm tree. A noose has been placed around his neck, and he is surrounded by fiery torches planted in the ground. His cries of love to her are cut off when one of Gaines’s men kicks the box away. Determined that her children not be forced to endure a lifetime filled with slavery’s horrors, Margaret violently attacks and murders them: first slitting the throat of her daughter, then stabbing the younger one. Shocked by the bloody carnage, Gaines and his men surround Margaret. Intermezzo: In this moment “out of time,” total darkness envelops the stage. Gradually, the image of Margaret, alone, becomes visible. With defiant and noble grandeur, she embraces her life’s circumstances. Scene 3: In a Courtroom, in early April 1861 Margaret Garner sits in the middle of a courtroom, surrounded by militia officers. After capturing the runaway slave in Ohio, Edward Gaines had her transported back to Kentucky, where she now stands trial for the “theft and destruction” of the two dead children, considered his property. Local citizens fill the courtroom gallery, for they have followed the case with great interest and curiosity, and eagerly await Margaret’s sentencing by the three presiding judges. Caroline Gaines tries to rationalize with her father, and contends that Margaret stands wrongly accused: a mother who kills her children cannot be said to steal them. The proper charge, she insists, is murder–for Margaret killed human beings. The judges argue vehemently that Margaret’s case is one of “property” and the financial loss suffered by Gaines. Furthermore, Margaret has no legal right or claim to her children; slaves own nothing, least of all their master’s other slaves. The onlookers concur rowdily. Laughing cynically at Caroline’s perceived naiveté, the judges add that the veracity of their beliefs is confirmed and defended by the Bible. Caroline senses the hopelessness of the situation, and makes a personal appeal to her father on Margaret’s behalf. She pleads that a man of her father’s stature could influence the debate on slavery that is tearing apart the country, as well as their family. Margaret is not the only one guilty of a crime, she admonishes; everyone bears some of the blame for the discord. But Gaines merely reiterates that he has committed no crime; society and the law affirm his behavior. When the judges declare that Margaret is to be executed for theft, the onlookers express relief–for it confirms their deeply held conviction that they are superior to Margaret. Having sat quietly throughout the proceedings, Margaret suddenly rises from her chair, and glares at those in the courtroom. She states emphatically that indeed she is not like them; she is a unique individual over whom no one present has any power. Citing their full legal authority, the judges officially sentence Margaret to be executed by sunrise. They quickly recess to their chambers, and the condemned prisoner is led from the courtroom. Dismayed by the verdict, Caroline again begs her father to urge the court for clemency. Betraying no sign of emotion, although secretly disturbed by the trial, Edward coolly states that Margaret must suffer the consequences of what she has done. Caroline retorts that her father also must accept responsibility for his actions, then walks out. Left alone in the silent courtroom, Edward Gaines contemplates the course of his life, and wonders why he feels so troubled. His relationship with Caroline, once so close and loving, has deteriorated badly. Feeling under tremendous stress, Gaines realizes that he must choose between the love of his radical daughter and the traditional way of life to which he has always aspired. iii


Scene 4: In the town square of Richwood Station, Kentucky; the next morning, at dawn A group of local citizens–including the town authorities; Caroline and George; and Cilla, as well as some slaves transported from nearby plantations–processes somberly into the town square. Great sorrow fills the air, for they are accompanying Margaret Garner to her execution. All are sobered by the imminence of death. Seemingly, the only person not in the crowded plaza is Edward Gaines. The hangman brings forth the condemned prisoner, whose hands still are bandaged from the burns she suffered while defending herself against Gaines’s unwanted advances. Margaret is led up the scaffold steps. When she reaches the top of the platform, the hangman places a noose around her neck and positions her on the gallows’ raised platform (or stool). Edward Gaines runs in, excitedly waving a legal document–the judges have granted Margaret clemency! All will be well again, if Margaret admits and repents her crime; she simply will be returned to his custody. Although Caroline is overjoyed and relieved by this turn of events, as well as proud of her father’s decision to seek justice, Gaines’s fails to find any sign of approval or appreciation from his neighbors. The hangman leaves Margaret’s side, and walks over to accept the document from Edward for careful review. Upon hearing the judges’ decree, Cilla immediately offers words of gratitude and praise to her God. Margaret, still standing on the gallows, expresses her desire to live peacefully in a just world. Yet when the crowd is momentarily distracted, she seizes the opportunity for “freedom”–by deliberately kicking away the stool and hanging herself. The crowd is stunned by her suicide, yet a sense of awe permeates their sorrow. Caroline notices Margaret’s red scarf in her father’s front pocket; she removes it, then silently ascends the scaffold and reverently ties it around Margaret’s arm. Edward–as bewildered as anyone by Margaret’s deed – realizes that peace will always elude him. For though he made the “right” choice–to fight for Margaret’s freedom–he did it for the wrong reason. His actions were motivated by a desire to win his daughter’s respect, and not from any deeply held moral convictions. All of the onlookers–townspeople and slaves alike–express their need for repentance; Cilla proclaims her desire to join Margaret soon in heaven. As the curtain descends slowly, the crowd in the town square prays that Margaret’s final journey home be a peaceful one.

—Mary Lou Humphrey

iv


MARGARET GARNER Opera in two acts Act I, Scene 1:Prologue Kentucky, April 1856

Toni Morrison Misterioso

Richard Danielpour (2003)

= 60–63

Piccolo

1 2

Flute

1 Oboe 2

(English Horn)

a2 Clarinet in B

1 2 6

6

6

Bass Clarinet

1 2 Bassoon 3 (Contrabassoon)

a2 1 2 Horn in F

a2 3 4 take straight mute 1 2

Trumpet in C

take straight mute 3

1 2

Trombone

Bass Trombone Tuba

Timpani High and Low Wood Blocks 1 3

3

3

Guíro, metal scraper Percussion

2 Chimes, felt hammer

Vibraslap

3

Piano

E FG A DC B

Harp

(The opera begins in total darkness, without any sense of location or time period.) Cilla

Margeret Garner

Robert Garner

S

A Slave Chorus T 8

B

Misterioso

= 60–63

I Violin II

Viola div. a2 Violoncello

div.

unis.

Contrabass

Premiere: 5/2006 Revised: 4/2007

Copyright © 2005 by Associated Music Publishers, Inc. (BMI) and G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reprduction 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

Act I–Prologue

8 Picc.

Fl.

1 2

1 Ob. 2 (a2) Cl. in B

1 2 6

6

6

6

6

6

6

6

6

6

6

Bs.Cl.

1 2 Bn. 3

(a2) 1 2 Hn. in F

a2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Wd. Blks.) 1 3

3

(Guíro)

3

3

3

3

3 3

3

3

Perc. 2

(Vibraslap) 3

Piano

Harp

C.

M.G.

R.G.

S

A S.C. T 8

B

I

div.

Vn.

unis. II

Va.

unis.

div. a2

unis.

Vc.

div. Cb.

unis.

div.

3 3

3


3

Act I–Prologue solo

12 Picc.

3

3

3

3

1., solo Fl.

1 2 solo

3

1 3

Ob. 2 (a2) Cl. in B

1., solo

3

1 2 6

6

6

molto espr. Bs.Cl. 1.

cant.

1 2 Bn. 3

(a2) 1 2 Hn. in F

a2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. sotto voce

(Wd. Blks.) 1 3

(GuĂ­ro)

3

3

Bass Drum

Perc. 2 sotto voce

3

(Vibraslap) 3

Piano

C E G

Harp

D

E

(Out of the blackness, a large group of slaves gradually becomes visible. They are huddled together on an elevated platform in the center of the stage.) C.

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no

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no

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no

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no

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M.G.

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A S.C. T 8

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I Vn. II div. Va.

div., pizz.

arco (div.)

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unis., pizz. Cb.

div.

unis., arco

div.


4

Act I–Prologue

19 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 B.D. Perc. 2 Chimes 3

Piano

8ba

Harp

espr. 3

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No

more,

not

more.

more,

not

more.

espr.

3

M.G.

No

espr. R.G. 3

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more,

not

more. espr.

3

S

No

more,

not

more. espr.

3

A S.C.

No

more,

not

more. espr.

T

No

8

3

more,

not

more. espr.

B 3

No

more,

not

more.

I Vn. II unis. Va.

unis. Vc.

Cb.

div.


5

Act I–Prologue

26 Picc.

Fl.

1 2 3

1 shadowing chorus

Ob.

poco

2 3

Cl. in B

1 2 shadowing chorus

poco

Bs.Cl. 3

shadowing chorus

poco

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 B.D. Perc. 2 Chimes 3

Piano

Harp

3

gl.

port.

C.

Please,

3

God, no 3

more.

No,

not

more.

Dear

gl.

God, No

more!

3

M.G.

port.

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more.

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not

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more!

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not

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3

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3

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3

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gl.

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3

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gl. port. B

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3

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I dim. poco a poco al niente

Vn. II

dim. poco a poco al niente unis.

div.

Va.

Vc.

unis. Cb.

div.


6

Act I–Prologue

Con energia, with rhythmic vitality

32

= 152

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

molto stacc. a2

a2

1 2 molto stacc.

Bn. 3

molto stacc.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

sotto voce C.

sotto voce M.G.

sotto voce R.G. sotto voce S

sotto voce A S.C. sotto voce T 8

sotto voce B

Con energia, with rhythmic vitality

= 152

I Vn. II unis., pizz. Va. pizz. Vc. pizz. (div.) Cb.

unis.

div.

unis.

div.

unis.

div.

unis.


7

Act I–Prologue

44 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2

a2

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

No, no, no,

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

No, no, no,

M.G.

R.G.

No,

no,

no,

no,

no,

no more!

No,

no,

no,

no,

no,

no,

no,

S

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

No, no, no,

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no,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

No, no, no,

A S.C. T 8

No,

no,

no,

no,

no,

no more!

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no,

no,

no,

no,

no,

no,

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no,

no,

no,

no,

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no,

no,

no,

no,

no,

no,

B

I Vn.

div. II

arco Va.

div.

unis., arco

Vc.

div. Cb.

unis., arco


8

Act I–Prologue

54 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

1 2 Hn. in F

poco marcato 3 4 poco marcato

Tpt. in C

with straight mute

1 2 with straight mute 3 a2

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

No,

no,

no

more!

No, no, no,

no, no, no,

no

more!

No, no no, no,

no,

no,

no

more!

No,

no,

no

more!

No, no, no,

no, no, no,

no

more!

No, no no, no,

no,

no,

no

more!

M.G.

R.G.

No,

no,

no,

no more!

No,

no,

no,

no,

no more!

No,

no,

no,

no

more!

S

No,

no,

no

more!

No, no, no,

no, no, no,

no

more!

No, no no, no,

no,

no,

no

more!

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no,

no,

no,

no

more!

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no,

no

more!

No, no, no,

no, no, no,

no

more!

No, no no, no,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

A S.C.

T 8

No,

no,

no,

no more!

No,

no,

no,

no,

no more!

No,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

No,

no,

no,

no more!

No,

no,

no,

no,

no more!

No,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

B

I Vn.

unis. II div.

Va.

Vc.

Cb.


9

Act I–Prologue

65 Picc.

Fl.

1 2

1 sub.

Ob.

to English Horn

2 sub. Cl. in B

1 2

Bs.Cl. sub. (a2) 1 2 Bn.

sub. 3 sub.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3 (a2) Tbn.

1 2 (Bs. Tbn.)

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

An R.G.

sub. S

No,

no,

no,

no,

no

more!

No, no, no,

no,

no,

no

more!

no,

no,

no

more!

no,

no,

no

more!

no,

no,

no

more!

sub. A

No,

S.C.

no,

no,

no,

no

more!

No, no, no, sub.

T 8

No,

no,

no,

no,

no

more!

No, no, no, sub.

B

No,

no,

no,

no,

no

more!

No, no, no,

I sub. Vn. II sub. unis.

div., pizz.

Va. sub.

secco pizz.

Vc. sub.

secco pizz.

Cb. sub.

secco

kles


10

Act I–Prologue

75 Picc.

Fl.

1 2

Ob.

1 English Horn

E.H.

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

take straight mute Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G. 3

cir

cled

with

a

chain…

Skin

R.G.

S

No,

no,

no,

no,

no

more!

No, no

more!

No,

no,

no,

no,

no

more!

No, no

more!

more!

A S.C. T 8

No,

no,

no

more!

Please, God, no, no

No,

no,

no

more!

Please, God, no

B

more!

I Vn. II arco (div.)

pizz. (div.)

Va. arco

pizz.

arco

secco pizz.

Vc.

Cb. secco

secco


11

Act I–Prologue

86 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

with straight mute

open

remove mute Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

3

port.

M.G.

bro

ken

by

a

cane…

R.G.

S

No, no, no,

no, no, no,

no

more!

No, no, no,

no, no, no,

no

more!

A S.C. T 8

No,

no,

no

more!

No

more!

No,

no,

no

more!

No

more!

B

I Vn. II arco, (div.) Va. arco Vc. arco Cb.


12

Act I–Prologue

97 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

Blood

y

pil

lows

R.G.

S

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

No,

no,

no,

no,

A S.C.

T 8

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

B

No,

no,

I Vn. II pizz. (div.)

arco (div.)

Va. secco pizz.

arco

Vc. secco pizz. Cb. secco

arco

no,

no.


13

Act I–Prologue

108 Picc.

Fl.

1 2

Ob.

1 to Oboe

E.H.

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

un

der

my

head.

R.G. sub. S

no, no

more!

No no, no.

No, no no

more.

No,

no

more.

more!

No no, no.

No, no no

more.

No,

no

more.

more!

No no, no.

No, no no

more.

No,

no

more.

sub. A S.C.

no, no sub. T 8

no, no sub.

B

Please, God,

I Vn. II

Va.

Vc.

Cb.

no

more!

No,

no,

no

more.

No

more.


14

Act I–Prologue

118 Picc. 1. Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

Bs.Cl.

1 Bn. 2 3

take straight mute 1 2 Hn. in F

take straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G. 3

Wish ing,

pray

ing

I

was

R.G.

S

No, no

more.

No, no, no.

No, no, no, no,

no,

no,

no

more!

No, no

more.

No, no, no.

No, no, no, no,

no,

no,

no

more!

No, no

more.

No, no, no.

No, no, no, no,

no,

no,

no

more!

A S.C. T 8

B

Dear

God,

no

more!

Dear pizz.

I Vn.

pizz.

secco

II secco pizz., (div.) Va. secco pizz. Vc. secco pizz. Cb. secco

God,

no

more.

No

more!


15

Act I–Prologue

128 Picc. 1. Fl.

1 2

1 Ob.

Oboe 2 2.

Cl. in B

2.

1 2

Bs.Cl. a2 1 2 Bn. 3

with straight mute

open

1 2 Hn. in F

with straight mute

open

3 4 (with straight mute) 1 2 Tpt. in C

(with straight mute)

open remove mute

remove mute

open

3

Tbn.

1.

1 2

a2

a2

Bs. Tbn.

a2

Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

No,

no,

no,

no,

No,

no,

no,

no,

no

more!

no

more!

No,

no,

no,

no,

No,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

M.G.

dead. R.G.

div.

unis.

S

No,

no,

no,

no,

no

more!

div.

No, unis.

A

No,

S.C.

no,

no,

no,

div.

no

more!

No, unis.

T 8

No,

no,

no,

no,

div.

no

more!

No, unis.

B

No,

I arco

Vn. II

arco (div.) Va. arco Vc. arco Cb.

no,

no,

no,

no div.

arco

unis.

more!

No, unis.


16

Act I–Prologue

138 Picc. sub.

Fl.

1 2 sub. 1 sub.

Ob. 2

sub.

a2 Cl. in B

1 2 sub.

Bs.Cl. (a2) 1 2 marc.

Bn. 3

marc.

Hn. in F

1 2 sub. 3 4 sub.

Tpt. in C

1 2 sub. 3 sub. (a2)

Tbn.

2.

1 2 marc. (Bs. Tbn.)

a2

Bs.Tbn. Tuba marc.

Timp. Ratchet 1 Slapstick Perc. 2 Slapstick 3

Piano

Harp

sub. C.

no

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

more!

M.G. sub. R.G.

no

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

unis.

more! div.

sub.

S

no

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

unis.

more! sub.

div.

A

no

S.C.

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

unis.

more! sub.

div.

T 8

no

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

unis.

more! sub.

div.

B

no div.

more!

No, unis.

no,

no,

no,

no,

no!

Dear God, please, no

more! div.

div.

I Vn. II

Va. div. a2 Vc. marc. Cb. marc.


17

Act I–Prologue

144 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

2.

1 2

Bs.Cl. a2 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. Ratchet 1 Slapstick Perc. 2 Slapstick 3

to Celesta

Piano

E F G A D C B

Harp

C.

M.G.

R.G.

S

A S.C. T 8

B

unis. I sub.

sub.

Vn.

unis.

div. II sub. div. a4, pizz.

sub.

unis., arco

Va. div. a2

unis.

unis. Vc.

sub. Cb.

pizz.

sub.


18

Act I–Prologue

150

Don’t hurry, più pesante ( = 144 sempre)

Picc. 1. Fl.

1 2

Ob.

1 to English Horn

English Horn

E.H.

1. Cl. in B

a2

1.

a2

1.

1 2 dolce (colla voce)

Bs.Cl.

1 2 Bn. 3

take straight mute

with straight mute

remove mute

take straight mute

with straight mute

remove mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

to Piano

Celesta

Harp

C.

M.G.

Blood y

pil

lows

R.G.

S

Dear

God

no

more,

not more.

Please,

no

more.

Dear

God

no

more,

not more.

Please,

no

more.

Dear

God

no

more,

not more.

Please,

no

more.

Dear

God

no

more,

not more.

Please,

no

more.

A S.C. T 8

B

Don’t hurry, più pesante ( = 144 sempre) I sub. Vn.

div.

unis.

div.

unis.

div., pizz.

II sub. div.

pizz. (div.)

Va. sub. div. Vc. sub. Cb.

unis.

un

der my head;


19

Act I–Prologue

158 Picc. 1. Fl.

1 2 sub.

Ob.

1 sub. to Oboe

sub.

E.H. (1.) Cl. in B

1 2 sub.

sub. Bs.Cl.

sub. 2.

1.

1 2 sub.

Bn. 3

open 1 2 Hn. in F

sub.

open 3 4

sub. Tpt. in C

1 2 sub. 3

Tbn.

1 2 sub. a2

Bs.Tbn. Tuba

a2

sub.

Timp.

Ratchet 1 Slapstick Perc. 2 Slapstick 3

Piano

Harp

C.

Please

God,

no

more.

M.G.

Wish ing, pray

ing

I

was

dead.

Mas ter’s brand is

fol

low ing me;

R.G.

Please

God,

no

more.

Please

God,

no

more.

S

unis.

div. A S.C.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

T 8

B

div. I sub.

Vn.

(div. a2)

arco, (div.)

sub.

pizz., (div.)

II sub. arco (div.) unis.

div.

pizz., (div.)

Va. sub. div.

unis.

Vc. colla voce arco Cb.


20

Act I–Prologue

166 Picc. (1.) Fl.

1 2 sub. 1 sub.

Ob. 2

Cl. in B

1 2 sub.

Bs.Cl. sub. (1.)

2.

1 2 Bn. 3

take straight mute

with straight mute

take straight mute

with straight mute

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. Castanets 1 GuĂ­ro Perc. 2 Jimbey African Drum (ossia: Conga) with bent tone 3

8va

Piano

Harp

pleading C. full, rich

Please

God,

no

more.

no

more.

no

more.

no

more.

no

more.

no

more.

M.G.

rope can swing

from

an

y old

pleading

tree.

R.G.

Please div.

God,

pleading unis.

S

Please

God,

pleading A

Please

S.C.

God,

pleading T 8

Please

God,

pleading B

Please

God,

unis.

div., pizz.

I sub. Vn.

(pizz.)

(div. a2)

arco (div.)

(div.)

pizz., (div.)

II

(pizz.)

arco, (div.) unis.

div.

unis.

Va. div. Vc.

Cb.


21

Act I–Prologue

174

to Flute

Picc. 1. Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2.

a2

1 2 Bn. 3

open 1 2 Hn. in F

open 3 4 take straight mute

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

a2

a2

Bs.Tbn. Tuba

Timp. (Cast.) 1 (Guíro) Perc. 2 (Af. Dr.) 3

8

Piano

Harp

C.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

M.G.

R.G.

unis.

div.

unis.

div.

S

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

A S.C.

T 8

B

div. unis., arco I Vn.

arco (div.) II div.

Va. unis. Vc.

Cb.


22

Act I, Scene 1:

a2

181 1 2 Fl.

Flute 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. sub.

a2

a2

1 2

sub.

Bn. 3

sub. a2 1 2 Hn. in F

a2 3 4 with straight mute

Tpt. in C

1 2

3 sub. a2 Tbn.

1 2 sub.

(a2)

Bs.Tbn. Tuba

sub. Timp. Ratchet 1 Slapstick Perc. 2 Slapstick 3

Piano

Harp

molto

(The lights go up and illuminate the entire stage. The “elevated platform� on which the slaves stood at the beginning of the opera is revealed now to be a trading block situated in the middle of a busy town square in Kentucky. It is April 1856. The local townspeople are gathering eagerly for a slave auction. Also in the crowd is Edward Gaines, accompanied by his daughter Caroline.)

(In preparation for the auction, members of slave families are being separated from one another, grouped according to gender and age.)

C.

No

more!

M.G.

molto R.G.

No

more!

No

more!

No

more!

No

more!

molto

S molto

div. A S.C.

molto

T 8

div.

molto

B

No

more!

unis. sul A

I sub.

sub.

Vn.

unis.

unis.

div.

II unis.

sub.

Va. div. unis. Vc. sub. Cb. sub.


23

Act I–Scene 1

189

rall.

1.

1 2 sub. Fl. 3 sub.

sub.

sub.

sub.

1 Ob. 2 sub. Cl. in B

sub. a2

1 2

Bs.Cl. sub.

sub.

a2

1 2

2.

Bn.

sub.

sub.

sub.

sub.

3

a2

a2

1 2 Hn. in F

a2

a2 3 4

Tpt. in C

1., open

remove mute

1 2

3 a2 Tbn.

sub.

sub.

sub.

sub.

sub.

sub.

1. take straight mute

1 2 a2

Bs.Tbn. Tuba

Timp. (Ratchet) 1 (Slapstick) Perc. 2 (Slapstick) 3

Piano

E F G A D C B

Harp

Auc. 8

S

A T.C. T 8

B

rall. I sub.

Vn. II

Va.

Vc.

Cb.

sub.


24

Act I–Scene 1

198

= ca. 104

rall.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

B

Auctioneer: freely, like Gregorian chant Auc. 3

8

By

the

pow ers

3

in vest ed and by cus toms in ges

ted

3

I

here by

S

A T.C. T 8

B

= ca. 104 I Vn. II

Va.

Vc.

Cb.

rall.

de clare and al

low:


25

Act I–Scene 1

202

a tempo

a2

1 2 6

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 Bn.

a2 2 3

Hn. in F

1 2 3 4 2. open

Tpt. in C

1.

1 2 take straight mute

with straight mute

remove mute

3 6

2. (open)

1., with straight mute Tbn.

1 2

1. remove mute

6

a2

Bs.Tbn. Tuba

Timp. Xyl., solo, hard sticks 1 6

3

6

Perc. 2

3

8va

Piano

Harp

Auc. 8

the

S

A T.C. T 8

B

a tempo

pizz.

div.

unis., arco

I 6

Vn.

pizz.

arco

II 6

pizz.

div., arco

unis.

Va.

6 6

6

div.

unis.

Vc. 6

Cb.

6


26

Act I–Scene 1

206 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 Bn. 2 3

1. Hn. in F

3

1 2 espr. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

3

3

3

3

sale of all goods and cat tle and wood land,

slaves

and plant ing fields dark

with

loam.

S

A T.C. T 8

B

div., pizz. I Vn. II espr. pizz. Va.

Vc. espr. div. Cb.

3


27

Act I–Scene 1

211

a2

1 2 6

Fl.

6

3

1 3

3

Ob.

3

2 3

Cl. in B

1.

1 2

3

3

Bs.Cl. 3

3

(1.) 1 2

3

3

3

Bn. 3

a2

a2 1 2

3

3

sub.

Hn. in F

sub. a2

3 4 3

Tpt. in C

sub.

3

sub. 1 2 open 3

a2, 1. open Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

(Xyl.) 1 6

6

3

Perc. 2

3

8va

Piano

3

3

3

Harp

3

3

Auc. 3

8

3

3

I here by de clare and al low

S

A T.C. T 8

B

unis., arco

sul A

I 6

div., pizz.

Vn.

6

sub.

unis., arco

II 6

6

div., a2

sub. unis. div.

div., arco Va. 3 6

6

div.

3

sub. unis.

Vc. 6

unis.

6

sub.

Cb. sub.

3

an old es tate rich in his t’ry is

3

3

now on the mar ket for a gen tle man’s


28

Act I–Scene 1

216

a2

1 2 6

Fl. 3

1 Ob. 2

Cl. in B

2.

1 2

3

Bs.Cl. 3

3

sub.

1 Bn. 2 3

a2 Hn. in F

1 2

3

espr. 3 4

Tpt. in C

1 2

3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

(Xyl.) 1 6

6

6

Perc. 2

3

8va

Piano

G

Harp

Auc. 8

3

pock et,

a

prize

in

the whole coun

ty.

S

A T.C. T 8

B

unis., arco

div., pizz., sul A I

6

Vn.

unis.

div. II

(div.)

espr. arco

unis., pizz.

6

3

Va.

div. Vc. espr. div. Cb.

3

unis.

div., pizz.


29

Act I–Scene 1

221 1 2 Fl. 3

1 Ob. 2

Cl. in B

1.

3

1 2

3

dolce Bs.Cl. solo 1 Bn. 2 3

a2 1.

3

1 2 Hn. in F

a2

espr.

sub. 3.

3

3 4 espr.

sub.

Tpt. in C

1 2

3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

l.v.

Harp

3

(A foreman approaches the slaves.) Auc. 3

8

Your

3

3

3

3

3

shrewd eyes will light up dol lar for dol lar, pound for pound, the best est val ue for

3

miles

a round.

S

A T.C. T 8

B

(sul A)

div., pizz.

div.

unis., pizz.

I sub. Vn. II sub. 3

Va. sub.

espr.

espr.

unis. Vc. espr.

sub. unis., arco

div.

Cb. sub.

3


30

Act I–Scene 1 a2

Subito più mosso

226

= 116

1 2

6

6

Fl. 3

3

3

1 6

Ob.

6 6

6

2 a2 Cl. in B

1 2

6

6

Bs.Cl. 1.

2.

1 2 Bn.

2. 3

3

3

3

3

3

sub. 3

a2 1 2 Hn. in F

a2 3 4

1 2 Tpt. in C 3 2. Tbn.

a2

1 2 sub.

a2 Bs.Tbn. Tuba

Timp. Sus. Cym.

Slapstick

1 Trg.

Slapstick

Perc. 2

Floor Tom-tom, muffled

B.D. 3

Piano

Harp

(The foreman cracks his bullwhip, and the slaves immediately assume different positions for inspection: they bare their teeth, expose their backs, stretch out their necks, etc.) Bullwhip Auc. 8

S

A T.C. T 8

B

unis., arco

Subito più mosso I Vn.

arco

div.

II

Va. div. Vc.

unis. Cb.

= 116


31

Act I–Scene 1

232 1 2 Fl. 3

3

3

3

3

1 6

Ob.

6

6 6

6

6

6

2 6

Cl. in B

1 2

6

6

6

6

Bs.Cl.

1 3

3

Bn. 2 3

1 2 Hn. in F

3 4

1 2 Tpt. in C

6

6

6 6

3

6

6 6

6

6

(a2) Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Slapstick) 1

(Slapstick) Perc. 2

(Floor Tom.) 3

3

3

3

3

3

3

3

3

Piano

Harp

Auc. 8

S 3

How

much? How

much?

3

3

3

For pick nies and mam mies and breed ers and bucks?

How

much? How much?

How

much? How much?

How

much? How much?

How

much? How much?

3

A 3

T.C.

How

much? How

much?

How

much? How

much?

3

3

For pick nies and mam mies and breed ers and bucks?

T 3

8

3

B

3 3

How

much? How

much?

3

3

For pick nies and mam mies and breed ers and bucks?

3

3

For pick nies and mam mies and breed ers and bucks?

I 3

Vn.

3

3

3

unis.

3

II 3

3

3

3

3

Va. 3

3

unis. Vc.

3

div. Cb.

3

3

3


32

Act I–Scene 1

236 1 2

6

6

Fl. 3

3

3

1 6

6

6

6

6

6

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 3

3

Bn. 2 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

1.

(a2) Tbn.

2.

1 2

Bs.Tbn. Tuba

Timp. (Slapstick) 1 (Slapstick) Perc. 2 (Floor Tom.) 3

3

3

3

3

Piano

Harp

Auc. 8

tutta forza S

What say?

What say?

3

3

3

3

3

For milk ing and plow ing and spin ning and can ning and such.

O,

what a

tutta forza

3

A T.C.

What say?

What say?

3

3

3

3

For milk ing and plow ing and spin ning and can ning and such.

O,

what a

tutta forza T 8

What say?

What say?

3

3

3

3

3

For milk ing and plow ing and spin ning and can ning and such.

O,

what a

tutta forza B

3

What say?

What say?

3

3

3

3

For milk ing and plow ing and spin ning and can ning and such.

O,

I 3

Vn.

3

3

3

3

3

II 3

3

3

3

3

3

Va.

Vc.

3 3

Cb.

3

3

3

3

3

3

div.

what a


33

Act I–Scene 1

240 1 2

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2.

2.

1 2 Bn. 3

1 2 Hn. in F 3 4 take straight mute Tpt. in C

1 2 take straight mute 3

(2.) Tbn.

2.

1 2

Bs.Tbn. Tuba

Timp. (Slapstick) 1

(Slapstick) Perc. 2 (Floor Tom.) 3

Piano

Harp

Auc. 8

div.

unis.

S

prob

lem to

de

cide.

O

what a

bur

den on our

shoul

ders:

3

for

unis. 3

div. A

prob

T.C.

lem to

de

cide.

O

what a

bur

den on our

shoul

ders:

div.

for unis.

T 8

prob

lem to

de

cide.

O

what a

bur

den on our

shoul

ders:

div.

3

for

unis.

B

prob

lem to

de

cide.

O

what a

bur

den on our

shoul div.

I Vn.

6

6

6

div.

unis.

div.

II 6

6

6

unis.

div.

unis.

div.

Va. 6

Vc.

Cb.

6

6

div.

ders:

3

for


34

Act I–Scene 1

246 1 2 3

3

3

3

3

3

3

3

3

3

Fl. 3

3 3

1 3

Ob.

3

3

3

3

3

3

2 3

Cl. in B

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl.

1 Bn.

2.

2.

2.

a2

2 3

1 2 Hn. in F

3 4 with straight mute

1 2

3

Tpt. in C

3

3

with straight mute 3

3

3

3

3

3

3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

3

Piano

3

3

3

3

3

3 3

3

3

3

3

Harp

Auc. 8

S 3

3

3

3

3

those who have noth ing, are noth ing, do noth ing ex 3

3

3

cept for we

3

3

who clothe them and feed them and

3

3

3

let them sleep

3

3

when they are ill.

We

3

A 3

T.C.

3

those who have noth ing, are noth ing, do noth ing ex

3

3

3

3

cept for we

3

who clothe them and feed them and

3

let them sleep

3

3

3

3

when they are ill.

We

T 8

3

3

3

3

those who have noth ing, are noth ing, do noth ing ex

cept for we

3

3

who clothe them and feed them and

3

3

let them sleep

when they are ill.

We

B 3

3

3

3

those who have noth ing, are noth ing, do noth ing ex

3

3

3

3

cept for we

who clothe them and feed them and

3

3

3

let them sleep

3

when they are ill.

We

I Vn.

unis.

div.

div.

unis.

unis.

div.

unis.

div.

unis.

II

div. a3 Va.

unis. Vc.

unis. Cb.

unis.

div. a3

unis.


35 254 1 2

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

Fl. 3

1 Ob.

3

3

2

Cl. in B

1 2

3

3

3

3

Bs.Cl.

1 Bn.

sub.

(a2)

a2

2 3 sub. a2 1 2 3

Hn. in F

3 3

3

a2

3 4 (with straight mute)

Tpt. in C

1 2 open

remove mute

3

3

3

3

3 3

3

a2 Tbn.

2.

1 2 a2

Bs. Tbn.

Bs.Tbn. Tuba

Timp.

Trg. 1 Sus. Cym. Perc. 2 B.D. 3

Piano

Harp

3

3

Auc. 8

div. S 3

3

3

3

3

teach them all they will ev er know, all they 3

will ev er know

of

God

and

work

and

home!

of

God

and

work

and

home!

of

God

and

work

and

home!

3

A 3

3

3

teach them all they will ev er know, all they

T.C.

will ev er know

T 8

3

3

3

3

teach them all they will ev er know, all they

3

will ev er know

div. B

3

3

3

3

teach them all they will ev er know, all they

pizz.

3

will ev er know

of

God

and

work

and

home!

arco (div.)

I Vn.

6

div., pizz.

arco (div.)

div., pizz.

arco (div.)

6

6

6

II 6

6

6

6

Va. div. Vc. sub. Cb. sub.

unis.

div. a2

unis.

6

6

6

6


36

Act I–Scene 1

260 1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Fl. 3

1 Ob. 2

2. Cl. in B

1 2

3

3

3

3

3

3

Bs.Cl. a2

(a2) 1 2 Bn. 3

a2 1 2 sub.

Hn. in F

a2 3 4 sub. a2

Tpt. in C

remove mute

1 2 3

3

3

3

3

3

3 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Xyl. 1

Perc. 2

3

Piano

C

Harp

molto Auc. 3

8

By

the

3

S

A T.C. T 8

B

unis. sul A I

3 3

3

3

3

3

3

3

3

3

3

Vn. II 3

unis. Va. 3

3

3

3

3

div. Vc.

Cb.

unis.

3

pow ers in vest ed and by cus tom in ges ted, I


37

Act I–Scene 1 a2

265

a2

1 2 Fl.

to Piccolo 3

1 3

Ob. 2

3

a2 Cl. in B

1 2

Bs.Cl.

1 2 3

Bn. 3

a2

a2

a2

a2

1 2 Hn. in F 3 4 open

a2

1 2 Tpt. in C 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1 Chimes Perc. 2

3

Piano

Harp

Auc. 8

3

here by

3

3

de clare and al low this sale to be now

o

pen!

S

What say? What

say?

What say? What

say?

What say? What

say?

What say? What

say?

3

For

A T.C.

3

For

T 8

3

For

B 3

I Vn.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

unis. II

Va.

Vc.

Cb.

For


38

Act I–Scene 1

271

Piccolo

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

a2

a2

3

1 2 Hn. in F

a2

a2

a2

a2

3

3 4

1 2 3

3

Tpt. in C

3

3

3

Tbn.

1 2

3

3

a2 Bs.Tbn. Tuba

Timp.

Xyl. 1

Chimes Perc. 2

3

Piano

Harp

Auc. 8

S 3

3

3

3

3

milk ing and plow ing and spin ning and can ning and such.

How much? How

much?

How much? How

much?

How much? How

much?

How much? How

much?

For

3

A 3

T.C.

3

3

milk ing and plow ing and spin ning and can ning and such.

3

For

T 8

3

3

3

3

3

milk ing and plow ing and spin ning and can ning and such.

B

3

3

3

3

milk ing and plow ing and spin ning and can ning and such.

For

3

unis., arco pizz.

div.

I sub. Vn.

unis., arco

div., pizz. II

sub. unis., arco

div., pizz. Va.

sub. Vc.

3

3

3

3

sub. Cb.

sub.

For


39

Act I–Scene 1

277 Picc.

Fl.

1 2

1 3

3

3

3

Ob. 2 3

Cl. in B

3

3

3

1 2

Bs.Cl.

1 2 3

3

3

3

Bn. 3 3

3

3

3

3

3

1 2 Hn. in F

3 3

3

3 3

3

3 4 (1. ossia: change to Trumpet in D) Tpt. in C

1 2

3

2. Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Glock. 1 Trg. Perc. 2

3

Piano

EF G A DCB

Harp

Auc. 8

div.

S 3

3

3

3

pick nies and mam mies and breed ers and bucks, who know 3

noth ing

of

God

and

home!

div.

3

A 3

T.C.

3

pick nies and mam mies and breed ers and bucks, who know

noth ing

of

God

and

home!

noth ing

of

God

and

home!

and

home!

T 8

3

3

3

3

pick nies and mam mies and breed ers and bucks, who know

div. B 3

3

3

3

pick nies and mam mies and breed ers and bucks, who know div.

noth ing

of

God

unis.

div.

unis.

div.

I 3

Vn.

3

3

3

div. II 3

3

3

3

div., a2

3

div. Va. 3

3

3

div.

Vc. 3

3

3

3

3

3

3

3

Cb.


40

Act I–Scene 1

Poco meno mosso

rit.

283

= 96–104

Picc.

a2 Fl.

1 2

1 Ob. 2 3

Cl. in B

3

3

3

3

2.

1 2

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F

3

3 4 3

(1. ossia change back to C Trumpet)

a2 Tpt. in C

1 2

3 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Glock. 1

Chimes Perc. 2

3

Piano

loco

8ba

3

3

3

3

8ba

Harp

(The auctioneer brings forth the first slave for sale.) port. Auc. 8

Now,

3

this here is Cil la.

S

A T.C. T 8

B

Poco meno mosso

rit.

unis.

= 96–104

2 soli, div., poco vib.

I sub. Vn.

unis.

2 soli, div., poco vib.

II sub. (div.)

unis.

Va. 3

unis.

unis., pizz.

div.

Vc. sub. pizz. Cb.

3

3

3

div.

1 sola, poco vib.

3

A bout fif ty, she thinks. A cook a child nurse,


41

Act I–Scene 1

ben misurato

accel.

289 Picc. a2

1. Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

sub. 3 4 sub.

Tpt. in C

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

8va

Piano

E

Harp

Auc. 8

3

3

laun dress and seam

stress.

This bid be gins at two

S

A T.C. T 8

B

ben misurato

accel.

tutti, unis.

1 solo

I sub. Vn.

tutti, unis.

poco

1 solo

II sub. unis.

poco

tutte, div.

1 sola

Va. sub.

poco

1 solo

unis., arco Vc. sub. arco Cb.

gli altri poco

pizz.

hun dred dol lars. Do I hear two for ty, two


42

Act I–Scene 1

a tempo

294

rall. a tempo

accel.

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn.

sub. 3

1. 1 2 Hn. in F

3 4 1. take straight mute

Tpt. in C

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

8va

Piano

Harp

(A customer raises his hand, thereby upping the bid.)

Auc. 8

for ty, two for ty, two

for ty?

Yes!

Two

hun dred for ty. Do I hear three hun dred,three hun dred, three

emphatically S

Two

for

ty.

emphatically A

Two

T.C.

for

ty.

emphatically T 8

Two

for

ty.

emphatically B

Two

for

a tempo

ty.

rall. a tempo

accel.

unis.

tutti, div.

1 solo

I sub. gli altri

Vn.

unis. div.

tutti, div.

2 soli, div.

II sub. gli altri tutte, unis.

2 sole, div.

div.

Va. sub. le altre

tutti, div. 1 solo

unis. Vc. sub. gli altri

sub. div., arco

unis.

Cb. sub.


43

Act I–Scene 1

a tempo

299

rall.

a tempo

Picc.

a2 Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

Bs.Cl.

1 2 Bn.

to Contrabassoon 3

1.

1.

1 2 Hn. in F

3. 3 4 open

1., with straight mute Tpt. in C

take straight mute

1 2 take straight mute 3

take straight mute Tbn.

1 2 Bs. Tbn. take straight mute

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 3

8

3

hun dred? I need three hun dred dol

lars.

Yes!

Three

enthusiastically S

Three

hun dred!

enthusiastically A

Three

T.C.

hun dred!

enthusiastically T

Three

8

hun dred!

enthusiastically B

Three

hun dred!

a tempo

rall.

tutti

div.

a tempo unis.

I sub. gli altri

Vn.

unis. tutti, div.

II gli altri, div.

sub. tutte, unis.

Va. sub. le altre, div.

tutti, div.

Vc. sub.

gli altri pizz. Cb.

div., arco

unis.


44

Act I–Scene 1

303 Picc. (a2) Fl.

1 2

1 Ob. 2 (a2) Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2

Cbn.

(1.) Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

E

3

3

B

3

3

Auc. 8

3

3

hun

dred

dol lars. Do I hear

four

3

3

3

hun dred, four hun dred,four hun dred, four hun dred, dol

lars?

E.G. excitedly S 3

Four

3

3

3

hun dred,four hun dred,four hun dred,four hun dred,

excitedly A 3

T.C.

Four

3

3

3

hun dred,four hun dred,four hun dred,four hun dred,

excitedly T 8

Four

3

3

3

3

3

3

3

3

hun dred,four hun dred,four hun dred,four hun dred,

excitedly B

Four

hun dred,four hun dred,four hun dred,four hun dred,

I Vn.

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

II div.

Va. unis., pizz.

arco

Vc. pizz. Cb.


45

Act I–Scene 1

Maestoso

306

= 52–54

Picc.

a2 Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

* Bs.Cl.

a2 Bn.

1 2 Contrabassoon

Cbn.

(1.)

2.

2. take straight mute

a2

take straight mute

1. (open)

1 2 Hn. in F 3 4 with straight mute

2. remove mute

1 2 Tpt. in C

with straight mute

remove mute

3

with straight mute remove mute Tbn.

1 2 Bs. Tbn., with straight mute

remove mute

Bs.Tbn. Tuba

Timp. Xyl. 1 Sus. Cym., w/brushes Perc. 2 B.D. 3 8va

to Celesta

Piano

Harp

3

3

Auc. impatient, forcefully

8

Edward Gaines: E.G.

Hold

div.

on!

Hold

on!

S

four

hun

dred!

four

hun

dred!

four

hun

dred!

four

hun

dred!

A T.C.

T 8

B

Maestoso

= 52–54

I 6

6

6

6

Vn.

unis.

div. II 6

6

6

6

unis. Va.

div. Vc.

Cb.

*If measures 306-323 are too difficult to play on Bass Clarinet, use Clarinet in B .

unis., pizz.


46

Act I–Scene 1

Playfully, but a little agitated

310

= 104–108

Picc.

Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

3

3

3

3

Bs.Cl. 3

a2 Bn.

3

3

3

3

3

3

3

1 2 to Bassoon

Cbn.

1. Hn. in F

take straight mute

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 (Sus. Cym., brushes) Perc. 2 (B.D.) 3

Celesta

Harp

Auc. 8

più pesante E.G. 3

3

I’m tell ing you to

hold

on!

startled, a little nervously

S

Who startled, a little nervously A

Who

T.C. T 8

B

Playfully, but a little agitated I Vn. II pizz. Va.

Vc.

Cb.

= 104–108sul A


47

Act I–Scene 1

315 Picc. 3 3

Fl.

1 2 3

3

3

3

1 Ob. 2 3 3

(a2) Cl. in B

3

a2

3

3

3

3 3

3

Bs.Cl. 3

3

3 3

3

3

3

3

3

a2

3

1 2

3 3

3

3

3

3 3

3 3

3

3 3

3

3

3 3

3

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Auc. 8

E.G.

S

is it?

Who is it?

Who is it?

Who

is it?

Who is it?

Who is it?

Who

is it?

Who is it?

Who is it?

Who

A

is it?

T.C.

Who is it?

Who is it?

startled, a little nervously T 8

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

Who is it?

Who is it?

startled, a little nervously B

What is it?

I Vn. II

Va.

Vc.

Cb.

Who is it?

Who is it?


48

Act I–Scene 1

L’istesso tempo ( = 104–108)

321

to Flute

Picc. dim. 3

Fl.

3

3

3

3

1 2

3 3

3

3

3

3

3

3

3

3

3

3

1 Ob. 2 3 3 3

3

3

3

3

a2 Cl. in B

1 2

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. 3

3

1 2 Bn. 3 with straight mute 1 2 Hn. in F

with straight mute 3 4

Tpt. in C

1 2

3 open Tbn.

1 2 a2, open

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Auc. 8

E.G.

S

is it?

Who is it?

Who

is it?

Who is it?

Who

is it?

Who is it?

Who

is it?

Who is it?

Who

is it?

Who is it?

A

Who is

T.C.

it

Who is it?

T 8

Who is it?

Who is it?

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

B

Who is it?

What is it?

L’istesso tempo ( = 104–108) 4 soli, div. a4 div. I Vn.

div. II

Va.

Vc.

Cb.


49

Act I–Scene 1

327 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(with mute)

Hn. in F

1 2 (with mute) 3 4

Tpt. in C

1 2

3 take straight mute Tbn.

1 2 take straight mute

Bs.Tbn. 2 Tuba

Timp.

1

Perc. 2

3

Celesta 3

3

3

3

3

3

3

3

3

3

3

3

Celesta

EF GA D CB

Harp

polite, but annoyed Auc. 8

Ex

cuse

me,

sir.

Le

E.G.

S

A T.C. T 8

B

tutti, unis.

div.

I Vn.

unis.

div.

II

div. a3, arco

div. a2

Va. div. a2, arco

div. a2

(pizz.)

arco

Vc.

Cb.

gal bus ’nessis in pro

gress


50

Act I–Scene 1 (1. solo)

334 1 2

dolce, cant. Fl.

Flute 3

1 Ob. 2

Cl. in B

1 2 dolce, cant.

Bs.Cl.

1 2 Bn. 3

remove mute Hn. in F

1 2 remove mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

3

3

3

3

3

3

3

3

3

3

3

3

Celesta

EF G A D CB

Harp

poco Auc. 8

here.

3

By

the

3

3

pow ers in vest ed,and by cus tomsin

gest

ed…

(interrupting the auctioner) E.G.

I

beg

your

par

don!

S

A T.C. T 8

B

unis.

div.

I Vn.

unis. II

unis. Va. div. Vc.

pizz. Cb.


51

Act I–Scene 1

342 Moderato

= 48

1 2 Fl. 3

1 Ob.

espr.

espr.

2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C

D

F

B

Auc. 8

più espr. E.G. 3

3

This

farm

be longed to my bro

ther.

It

can’t

be sold

to an oth

er.

S

A T.C. T 8

B

Moderato

= 48

unis.

div.

I Vn.

div. II

Va. unis.

div.

unis.

div.

Vc. dolce Cb.

3

div.


52

Act I–Scene 1

349

= 104

1 2 3

3

Fl.

3

3

3

3

3

3

3

3

3

3

1 Ob. 2

2. Cl. in B

1 2

Bs.Cl.

3

3

3

3

3

3

3

3

3

3

3

Xyl. 3

3

3

3

3

3

3

3

3

3

3

1 2 Bn. 3

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

port.

meno Auc. 8

3

It is true.

If

a

fa mi ly mem ber calls the claim, no

sale can take place

3

here

and

now.

E.G.

S

A T.C. T 8

B

= 104 1 solo tutti, div. I 3

Vn.

2 soli (div.)

tutti (div.)

2 sole, div.

tutte (div.)

II

Va.

2 soli (div.) Vc.

1 solo, arco Cb.

tutti (div.)


53

Act I–Scene 1

354

= 63–72 1.

1 2 with a slight separation on each note

Fl.

(with slight seperation on each note)

3

1 dolce

with a slight separation on each note

Ob. 2

dolce

1. Cl. in B

1 2 with a slight separation on each note

dolce

Bs.Cl.

1 2 Bn. 3

1., open Hn. in F

1 2 with a slight separation on each note

3., open

3 4 with a slight separation on each note

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Piano

Celesta

Harp

Auc. più sonoro

8

sotto voce E.G. 3

I

am a

Gaines.

Ed

ward Gaines,

bro

ther of the de ceased.

S

A T.C. T 8

B

= 63–72

1 solo

2 soli, div.

I Vn.

1 solo II unis.

Va. pizz. unis. Vc. tutti (arco) Cb.


54

Act I–Scene 1

360 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1., solo 1 2 Bn.

dolce 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

EF G A D C B

Harp

Auc. 8

(incredulously, quasi sotto voce)

E.G. 3

Don’t you re

3

mem

S

A T.C. T 8

B

tutti, div.

unis.

I Vn.

tutti unis. II

div.

unis.

Va.

div. a2, arco Vc.

pizz. Cb.

arco

ber me?


55

Act I–Scene 1

366

Con moto

= 144–152 (un poco agitato)

1 2 Fl. 3

1 take English Horn

Ob. 2 a2 Cl. in B

a2

1 2

Bs.Cl.

1 2 Bn.

Bassoon 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G.

(with curiosity aroused) S

Ed ward Gaines?

Who is he?

Did

old Gaines have a bro

ther?

Did

old Gaines have a bro

ther?

Who is

Who is he?

(with curiosity aroused) A T.C.

Who is he?

(with curiosity aroused)

Ed ward Gaines?

T 8

Ed ward Gaines?

Who is he?

(with curiosity aroused)

he?

Ed ward Gaines? div.

Ed ward Gaines? Ed ward Gaines?

unis.

B

Who is

Con moto

he?

Ed ward Gaines?

= 144–152 (un poco agitato)

pizz.

arco

Who is he?

Ed ward Gaines?

Who is he?

div.

unis., pizz.

I Vn.

sub.

pizz.

II pizz. Va. pizz. (div.) Vc. sub. pizz. Cb. sub.

div.

Ed ward Gaines?

unis.

div.

unis.


56

Act I–Scene 1

= 72–80

371

a2

1 2 Fl. 3

Ob.

1

E.H. a2 Cl. in B

1 2

Bs.Cl. sub.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G. 3

I was born

3

3

a mong you,

and

now

I’ve re turned.

3

Does n’t

a ny one

re mem

ber me?

S

A T.C. T 8

B

= 72–80 I Vn. II div.

unis.

arco

Va. dolce (div.) Vc.

Cb.

3


Con moto 377

57

Act I–Scene 1

= 144–152 (un poco agitato)

(a2)

rall.

1 2 Fl. 3

Ob.

1 English Horn

to Oboe

E.H. (a2) 1. Cl. in B

1 2 espr. 3

Bs.Cl.

1 2 Bn. 3

a2, open

take straight mute

a2, open

take straight mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G. legato

sempre stacc.

3

S

No,no, no.

No,no, no.

Was it legato

sempre stacc.

a

long

time

a

go?

a

long

time

a

go?

3

A

No, no, no.

T.C.

No,no, no.

Was it

sempre stacc. T 8

No, no, no.

No,no, no.

No,no, no.

No,no, no.

No,no, no.

No,no, no.

No.

No.

No,no, no, no, no.

No,no, no.

sempre stacc. B

No, no,

Con moto

no, no,

no, no,

no, no.

No,no.

= 144–152 (un poco agitato)

rall.

arco I Vn.

arco II pizz.

div., arco

Va. unis. Vc.

Cb.

div.

unis.

arco

3


58

Act I–Scene 1

384

Come sopra

= 80

1.

1 2 sub.

Fl. 3

1 sub.

Ob. 2 a2 Cl. in B

a2

1., solo

1 2 with voice

Bs.Cl.

1 2 Bn. 3

with straight mute 1 2 Hn. in F

with straight mute 3 4 1., (with straight mute)

Tpt. in C

1 2 sub. 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Sus. Cym., with brushes 1 B.D. Perc. 2

3

Piano

Harp

Auc. 8

(full voice)

E.G. 3

3

You thought I

was

lost,

did n’t you,

in

a

rough

life

of

the game.

You were wrong.

S

A T.C. T 8

B

Come sopra

= 80

div., pizz.

I Vn. div., pizz. II

Va. div., pizz. Vc. div. Cb.


59

Act I–Scene 1

Più mosso

390

= 92

Più maestoso

= 80

a2

1 2

3

3

3

3

Fl. 3 6

6

6

6

6

6

6

6

1 3

Ob.

3

3

3

2 (a2) Cl. in B

1 2 6

6

6

6

6

6

6

6

Bs.Cl.

1 2 Bn. 3

Hn. in F

2. open

1, solo, open, with voice

remove mute 1 2

1.

open

remove mute 3 4

open

1. remove mute 1 2 Tpt. in C

3

3

3

3

3

open 3

Tbn.

with straight mute

remove mute

open

with straight mute

remove mute

open

3

1 2

Bs.Tbn. Tuba

Timp. (Sus. Cym.) 1 (B.D.) Perc. 2

3

Piano

Piano

Harp

Auc. 8

sotto voce E.G.

(Well, no,

you were n’t…)

Well,

yes,

you

were!

S

A T.C. T 8

B

Più mosso

= 92

Più maestoso

= 80

unis., arco

I espr. Vn.

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

unis., arco II espr. div., pizz.

unis., arco

Va. unis., arco

espr.

espr. div.

Vc. espr. unis., arco Cb.

div.


60

With swing 396

Act I–Scene 1

= 160

(a2)

1 2 Fl.

to Piccolo 3

1 Ob. 2 1. Cl. in B

1 2

3

3 3

3

3

3

Bs.Cl. 3

2.

3

1 2 Bn. 3

(a2)

take straight mute

with straight mute

take straight mute

with straight mute

soli

1 2 3

Hn. in F

3

3 4

Tpt. in C

fall-off

2. take straight mute

fall-off

take straight mute

soli

1 2

3 1. Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

secco

piĂš cantabile

E.G. 3

I

was

just

a

3

boy

when an y of

S

A T.C. T 8

B

With swing

= 160

div.

I Vn.

div. II

Va. unis. Vc.

unis. Cb.

3

3

you

3

last

saw


61

Act I–Scene 1

403 Picc. a2 Fl.

1 2

3 3

1 Ob. 2 1., solo Cl. in B

3

3 3

3 3

1 2 3

3

3

3

3 3 3

solo

Bs.Cl. (2.)

colla voce

1.

3

3

3

3

1 2 Bn. 3

(with straight mute)

open

(with straight mute)

open

1 2 Hn. in F 3 4 1. (open) 1 2 3

Tpt. in C

with straight mute

3

3

3

with straight mute 3

3

3 1. Tbn.

take straight mute

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. Hi-hat 1 crisp, secco Perc. 2

3

Piano

Harp

Auc. 8

E.G. 3

me.

3

3

3

But I’ve been hap pi ly mar

3

3

ried

3

with a

daugh

ter

S

A T.C. T 8

B

unis. I Vn. II

Va. pizz. Vc.

pizz. Cb.

sul G


62

Act I–Scene 1

409

Piccolo

Picc. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

a2 Fl.

1 2

3 3

3

3

3

3

3

3

3

1 Ob.

Oboe 2

3

a2 Cl. in B

3

3

1 2 3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. 3

(1.)

a2

2.

1 2 Bn. 3 with straight mute 1 2 Hn. in F

with straight mute 3 4 (with straight mute) 3

1 2 Tpt. in C

3

(with straight mute)

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

with straight mute Tbn.

2.

1 2 3

3

3

3

3

3

3

3

3

3

Bs. Tbn.

a2

Bs.Tbn. Tuba

Timp. Hi-hat 1 S.D., r.s. Perc. 2 3

3

3

3

3

Piano

E F G A D C B

Harp

Auc. 8

E.G. 3

we both a

dored.

S

A T.C. T 8

B

div.

unis.

div.

I Vn. unis. II

Va. arco Vc.

arco Cb.

div. a2 unis.


63

Act I–Scene 1

415

L’istesso tempo ( = 144) to Flute

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo, open

1. remove mute Hn. in F

3

3

1 2 with no attack

3 4 remove mute Tpt. in C

1 2 remove mute 3 remove mute

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G. 3

Now S

A T.C. T 8

B

L’istesso tempo ( = 144) unis. I Vn.

div. II

Va.

Vc. sub. Cb. sub.

3

I’m

3

a

wid

ow

3

er,

3

a

man

3

of

means,


64

Act I–Scene 1

421 1 2 6

6

Fl.

Flute

6

6

6

6 6

6 6

6

6

3 6

1 Ob. 2 1. Cl. in B

3

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

3

1 2 3 4

open 1 2 Tpt. in C

open

3 3

3 1., open Tbn.

1 2 3

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

più dolce E.G. 3

3

A

fa

3

ther

3

with a

child

to

raise.

S

A T.C. T 8

B

I 3

Vn.

3

II

Va. div. Vc.

Cb.

3


65

Act I–Scene 1

424 1 2 Fl.

to Piccolo 3

1 Ob. 2 1. Cl. in B

2.

3

1 2

3

3

3

3

3

Bs.Cl. 3

3

2. 1 2 sub.

Bn. 3

sub.

1. take straight mute

a2, with straight mute

1 2 Hn. in F

accomp.

a2 (with straight mute)

sub.

3 4 accomp.

sub. 1., with straight mute

take straight mute

3

1 2 Tpt. in C

with straight mute

take straight mute

3

3 2. open take straight mute Tbn.

with straight mute

1 2 3

Bs. Tbn. Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

concise E.G. 3

What my

broth er

3

owned,

I

S

A T.C. T 8

B

pizz. I Vn.

pizz. (div.)

sub.

pizz.

sub.

II

Va. unis.

pizz.

sub.

Vc. sub. pizz. Cb. sub.


66

Act I–Scene 1

430

Piccolo

Picc. 3 3

1. Fl.

a2

1 2

3 3

1 3

Ob.

3

2 3 3

1. Cl. in B

a2

1 2

3 3

3

Bs.Cl. 3

3

colla voce

3

(2.) 1 2 sub.

Bn. 3

sub. 1., open

remove mute

2. open

1 2 Hn. in F

accomp.

sub.

3

sub.

open

sub.

3 4 accomp.

(with straight mute) 1. 3

1 2

sub. 3

1. 3

Tpt. in C

3

(with straight mute) 3

3

remove mute Tbn.

3

remove mute

3

open

1 2 3

staccatissimo Bs. Tbn.

a2

Bs.Tbn. Tuba staccatissimo

Timp.

1

Perc. 2

3

3 3

Piano

3 3

Harp

Auc. 8

full, grand

E.G. 3

have

3

right of first

3

of fer to

3

buy,

3

3

3

which I

3

do

S

A T.C. T 8

B

div.

arco

unis.

I sub.

Vn.

arco (div.) II

sub.

arco

Va. sub.

arco

Vc. sub. arco Cb. sub.

3

now,

3

friends.

Which I

3

3

do

now.


67

Act I–Scene 1

436 3

3

3

Picc. 3

3

3

3

3

3

(a2)

3

3

3

3

3

3

3

1. Fl.

1 2

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

3

3

3

3

3

3

3

3

3

3

3

3

1 3

Ob.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

2 3

3

3

3

3

1.

(a2) 3

Cl. in B

3

1 2 3

3

3 3

3

3

3

3

Bs.Cl. a2

1. 1 2 Bn. 3

1 2 Hn. in F 3 4 (2. with straight mute) 3

(1.)

3

1 2 3

Tpt. in C

3

3

remove mute

3

3

3

(with straight mute)

3 3

3 3

3

3

3

3

3

3

3

3

3

remove mute

3

3 3

3

3

3

3

a2, open Tbn.

1 2 a2 (open)

a2

Bs.Tbn. Tuba

Timp. Hi-hat 1 secco S.D., rimshots Perc. 2 3

3

3

3 3

Piano

3

3

3

3

3 3

3 3

3

3 3

3 3

3 3

3

3

3

3

3

3

3

Harp

Auc. 8

E.G.

S

A T.C. T 8

B

div.

unis. div.

unis.

I 3

3

3

3

Vn.

non div.

unis. II 3

3

3

3

non div. Va. 3

3

3

3

div. unis. Vc.

Cb.


68

Act I–Scene 1

442 Picc. 6

(1.) a2 Fl.

1 2

6

7

1 6

Ob.

to English Horn 2 (1.)

Cl. in B

a2

7

1 2 6

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

port. Auc. 8

3

It

is

true.

It

is

3

the law.

E.G. (echoing the auctioneer) S

It

is

true. (echoing the auctioneer)

A T.C.

It

is true.

It

is true, it

is the law.

is true, it

is the law.

(echoing the auctioneer) T 8

It

is true.

It

(echoing the auctioneer) B

It

pizz. I Vn.

pizz. II sul G pizz.

Va. div., pizz., sul D

arco (div.)

Vc. pizz. div., arco Cb.

is

true,

it

is the law.


69

Act I–Scene 1

447 Picc. 6

6

3

6

6

3

6

6

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

a2 Fl.

Ob.

1 2

3

3

1 English Horn

3

3

3

to Oboe

3

3

Oboe

E.H. 3

a2 Cl. in B

1 2

6

3

3

6

3

3

3

3

3

3

3

3

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4 1., open

Tpt. in C

3

3

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. Sus. Cym., with brushes 1 B.D. Perc. 2

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

Piano 3

3

Harp

3

Auc. 3

8

We must en

ter tain

3

3

his

right

un der the law.

E.G. secco S

Un der the law. secco A

Un der the law.

T.C.

secco T 8

Un der

the law.

secco

B

Un der

the law.

arco I 3

6

6

molto stacc.

dolce arco

Vn.

3

6

6

6

6

II Sul G (pizz.)

dolce

molto stacc. arco

6

6

div.

Va. molto stacc. Sul D pizz. (div.)

arco (div.)

Vc. unis., pizz. Cb.

div.


70

Act I–Scene 1

453 Picc.

Fl.

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Ob. 2 3

2. Cl. in B

1 2

2.

3

Bs.Cl.

1 2 Bn. 3 1.

a2

1 2 Hn. in F

a2 3 4

2. open 1 2 Tpt. in C

open 3

Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp. (Sus. Cym.) 1 (B.D.) Perc. 2 Tambourine 3 sempre sotto voce

Piano

sub.

Harp

(The Auctioneer stands close to Edward Gaines.) poss. Auc. 3

8

What is

3

3

your plea sure, Mis

3

ter Gaines,

3

sir?

What

E.G.

S

A T.C. T 8

B

div.

pizz. (div.)

I

Vn.

div.

pizz. (div.)

II

unis.

pizz.

Va.

div. a2

pizz. (div.)

Vc. unis., arco

pizz.

Cb. sempre ben marcato

sub.

parts in t’rest you?


71

Act I–Scene 1

461 Picc.

Fl.

1 2

1 molto stacc.

Ob. 2 1. Cl. in B

3

3

1 2 3

3

Bs.Cl. molto stacc. 2.

2.

1 2 sub., molto stacc.

Bn. 3

sub., molto stacc.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G. 3

I want

3

it

3

all.

I’ll have it

3

3

all.

Ev

’ry

box

of

Chi

na

3

tea

be longs

S

A T.C. T 8

B

unis., arco

arco

pizz.

I sub. Vn. unis., arco

3

div., pizz.

3

arco (div.)

II

div., arco

sub. unis., pizz.

3

Va. sub. unis. (pizz.) Vc.

(pizz.)

sub. div.

Cb. sub.

unis.

arco


72

Act I–Scene 1

467 Picc.

1. Fl.

1 2

3 3 3 3

1 3

3

3 3

3 3

Ob.

3

2 3 3

1. Cl. in B

1.

3

3

1 2 3

3

3

3

Bs.Cl. 3

3

3

3

2.

(2.)

2.

1 2

Bn.

3

3

3

3

3 3 3

3

3

open Hn. in F

1 2 open 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Wd. Blk. Perc. 2 Tamb. 3

Piano

Harp

Auc. 8

E.G. 3

3

to

me.

Ev

’ry bo

3

3

dy

ev

’ry

3

broom,

ev

’ry

3

mule and ev

3

’ry

loom.

S

A T.C. T 8

B

3

3

I 3

dolce

Vn.

unis.

3

3

sub.

3

3

sub.

3 3

II sub.

3

dolce

sub.

3

3

3

Va. dolce

sub.

3

arco

3

arco

3

3

sub.

3 3

3

3

3

Vc.

Cb.

3


73

Act I–Scene 1

473 Picc. 3

3

3

3

sub.

3

3

3

3

sub.

3

3

3

3

sub.

3

3

3

3

sub.

a2 Fl.

1 2

3 3

1 Ob. 2

a2 Cl. in B

1 2 3

a2 3

3

3

3

3

3

3

3

3

Bs.Cl. (2.) 1 2 sub.

Bn. 3

sub. take straight mute

a2

with straight mute

1., open

remove mute

1 2 Hn. in F

sub.

3

take straight mute

3

3

3

3

3

3

3

a2

with straight mute

remove mute

3 4 sub.

Tpt. in C

3

3

a2

1 2 3

3

3

3

3

3

3

3

3

3

3

sub.

3 1. Tbn.

1 2 a2

Bs. Tbn.

a2

Bs.Tbn. Tuba sub. Timp. Hi-hat 1 Wd. Blk. Perc. 2 Tamb. 3

Piano

3

3

3

3

3

3

3

3

Harp

Auc. (pointing to the slaves) molto

8

E.G. 3

3

3

3

3

3

Keep all the goods and pro per ty to geth er.

I’ll have it

S

A T.C. T 8

B

ord.

at the frog I 3

3

3

3

3

Vn. div., at the frog

3

3

3

3

3

3

3

3

3

unis., ord.

II 3

3

3

3 3

div.

ord.

at the frog

unis.

Va. sub.

3

3

3

3

Vc. sub. Cb. sub.

3

all.


74

Act I–Scene 1

480 3

3

3

Picc.

Fl.

3

3

3

3

3

3

3 3

1 2 3 3

3 3 3

3 3

3

3

3

3

3

3

3

3

3

3

3

1 3

Ob.

3

3

3

3

3 3 3

3

3

3

3

3

3

3

2 3

3

Cl. in B

3

3

1 2

Bs.Cl.

1. 1 2 3

Bn.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 2. open 2. 1 2 Hn. in F

open

a2

3 4 3

3

1 2 3

Tpt. in C

3

3

3

3 3

3

3

3

3

3

3

3

3

3 3

3 3

Tbn.

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

a2 Bs.Tbn. Tuba

Timp. Hi-hat 1 secco, crisp

S.D.

r.s.

Perc. 2 3

3

3

3

Piano

Harp

Auc. 8

E.G.

S

A T.C. T 8

B

I 3

3

3

3

3

3

3

6

6

3

3

Vn. 3

6

3

II 3

div. a2

3

3

3

3

3

3

6

3

6

3

3

unis.

Va. 6

Vc.

Cb.

3

3

3


75

Act I–Scene 1

485 Picc. 3

3

3

3

3

3

3

3

1. Fl.

1 2

3 3

3

3

3

3 3

3

3

3

1 3

Ob.

3

3

3

take English Horn 2 3

3

3

3

1. Cl. in B

1 2

3 3

Bs.Cl.

1 3

3

3

3

Bn. 2 3

a2 1 2 Hn. in F

(a2) 3 4 1., with straight mute

1. take straight mute Tpt. in C

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. (Hi-hat) 1 (S.D., r.s.) Perc. 2 3

3

Wood Block

3

8va

Piano

Harp

(The auctioneer and Edward shake hands after agreeing on terms for the sale of Maplewood Plantation.)

Auc. 8

E.G.

S

A T.C. T 8

B

div.

pizz.

I 3

3

3

3

Vn.

div.

unis.

II 3

3

3

3

div. Va. 3

3

3

3

non div. Vc.

Cb.

(Edward shakes hands with his neighbors.)

(The auctioneer hands Gaines some legal paperwork to examine, and the townspeople begin to disperse.)


76

Act I–Scene 1

491

to Flute

Picc. 3

3

sub.

(1.) Fl.

1 2

3 3

Ob.

3

1 3

3

sub. to Oboe

English Horn E.H. (1.) Cl. in B

1 2

3 3

3

3

3

3

3

3

sub.

Bs.Cl.

a2 1 2 Bn.

3

3

3

3

3

Hn. in F

1 2 3 4 3

(1.) Tpt. in C

3

1. open

remove mute

1 2 sub. 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2 (Wd. Blk.) 3

Piano

Harp

(Several prominent businessmen remain to witness the transaction, as does Edward’s daughter, Caroline, who will inherit Maplewood one day.)

Auc. 8

E.G.

S

A T.C. T 8

B

arco

I marc.

Vn.

pizz.

unis., arco

div.

II marc. pizz. (div.)

arco

unis.

Va. marc. 3

3

3

3

pizz.

3

3

3

3

pizz.

div. a2, arco

Vc. sub. arco

Cb. sub.


77

Act I–Scene 1

With rhythmic vitality (like a gospel chorus), but not hurried 498 = 104 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Low T.-t., muffled 1 Congas, sempre solo Perc. 2 Congas, sempre solo 3

Piano

Harp

(The slave families, now allowed to stay together thanks to Edward’s generosity, celebrate in dance and song.) Cilla: C. hand claps

improvise shouts, 498-501

A

lit

tle

more

time,

a

A

lit

tle

more

time,

a

improvise shouts, 498-501

A

lit

tle

more

time,

a

improvise shouts, 498-501

A

lit

tle

more

time,

a

div.

unis.

Margaret Garner: M.G. hand claps

improvise shouts, 498-501

Robert Garner: R.G. hand claps

The Slaves: S hand claps A T.C.

hand claps

improvise shouts, 498-501

A

lit

tle

more

time,

a

hand claps

improvise shouts, 498-501

A

lit

tle

more

time,

a

hand claps

improvise shouts, 498-501

A

lit

tle

more

time,

a

T 8

B

With rhythmic vitality (like a gospel chorus), but not hurried I Vn. II pizz. Va. unis., pizz. Vc.

pizz. Cb.

= 104


78

Act I–Scene 1

504 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Piano

Harp

meno C.

lit

tle

more

time,

more

time

with

the

child

ren we

love. meno

M.G.

lit

tle

more

time,

more

time

with

the

child

ren we

love.

lit

tle

more

time,

more

time

with

the

child

ren we

love.

R.G.

meno S

lit

tle

more

time,

more

time

with

the

child

ren we

love. meno

A T.C.

lit

tle

more

time,

more

time

lit

tle

more

time,

more

time

with

the

child

ren we

love.

with

the

child

ren we

love,

T 8

time

with meno

unis. div.

div.

B

lit

I Vn. II

Va.

Vc.

Cb.

tle

more

time,

more

time

with

the

child

ren we

love.

our bro

thers.


79

Act I–Scene 1

510 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Piano

Harp

C.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

M.G.

R.G.

S

A

T.C.

sub. T 8

We

div.

unis.

unis.

div.

time. unis.

B

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

I Vn. II

Va. arco Vc.

arco Cb.


80

Act I–Scene 1

517 1 2 Fl.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

Flute 3

1 Ob. 2

Cl. in B

1 2 espr.

with voice

Bs.Cl. sub.

sub.

sub.

sub.

a2 1 2 Bn. 3

a2 Hn. in F

1 2 a2 3 4

Tpt. in C

1 2 sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(Cilla, Margaret, and Chorus improvise shouts measures 518 through 521.) C.

An

oth

er

sea

An

oth

er

sea

M.G.

R.G.

S

A T.C. T 8

B

div.

unis.

div., sul tasto, col vib.

I sub.

Vn. div.

(div.)

unis.

sub. div.

unis.

sul tasto, col vib.

II sub.

sub.

arco

sul tasto, col vib.

Va. sub.

sub.

sub.

sub.

pizz.

Vc.

pizz. Cb. sub.

sub.


81

Act I–Scene 1

523 1 2 espr.

Fl. 3

1 Ob. 2

Cl. in B

1 2 espr.

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

più sonoro C.

son

of

friend

ship

tell ing

sto

ries,

shar

ing

sec

rets by

the

fire.

rets by

the

fire.

più sonoro M.G.

son

of

friend

ship

tell ing

sto

ries,

shar

ing

sec

R.G.

S

A T.C. T 8

B

I Vn.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

II

Va. sub. arco Vc. sub. arco Cb. sub.


82

Act I–Scene 1

530 1 2 Fl. 3

1 Ob.

Oboe 2

Cl. in B

1 2

Bs.Cl. 2. 1 2 Bn. 3

Hn. in F

1 2 cant. 3 4 cant.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. T.t., muffled 1 Congas Perc. 2 Congas 3

Piano

Harp

C.

M.G.

R.G. div.

unis.

div.

unis. S

We

feel

the

mer

cy

of

our

Lord

God

div.

unis.

with

the

grace

a

lit tle

more

time.

Lord

God

with

the

grace

of

a

lit tle

more

time.

God

with

the

grace

of

a

lit tle

more

time.

God

with

the

grace

of

a

lit tle

more

time.

div.

of unis.

A T.C.

We

feel

the

mer

cy

of

our

We

feel

the

mer

cy

of

our

T 8

Lord div.

unis.

B

We

feel

the

mer

cy

of

our

Lord

unis. I Vn.

div. II

Va.

Vc.

Cb.

unis.

div.

unis.


83

Act I–Scene 1

537 1 2 sub.

Fl. 3

sub. 1 sub.

Ob. 2

sub. Cl. in B

1 2

Bs.Cl. sub. a2

a2

a2

1 2 Bn. 3

take straight mute

with straight mute

take straight mute

with straight mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 a2 Tbn.

1.

1 2 a2

Bs.Tbn. Tuba

Timp.

(T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Piano

Harp

C.

full voice M.G.

More

nights

R.G.

S

A T.C. T 8

B

sul A I sub.

Vn. II

sub.

div. a4, pizz.

Va. sub. pizz. Vc. pizz. Cb.

to

curl

like

a

vine

in

our

hus


84

Act I–Scene 1

543 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2)

a2

a2

1 2 Bn. 3

Hn. in F

1 2 (

sempre)

(

sempre)

3 4

Tpt. in C

1 2

3 (1.) Tbn.

1 2 a2

quasi

sempre

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

band’s

arms.

R.G.

More

days

to

bask

in the

S

A T.C. T 8

B

div. I Vn. div. II

Va.

arco Vc.

arco Cb.

unis.

light


85

Act I–Scene 1

550 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 cant.

with voices

Bs.Cl. 2. 1 2 Bn. 3 sub.

open

remove mute 1 2 Hn. in F

remove mute

open

3 4 take straight mute Tpt. in C

1 2 take straight mute 3

a2

1. Tbn.

1 2 sub.

(a2) Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(full voice) C.

Our

fa

thers’

graves

we

can

thers’

graves

we

can

(full voice) M.G.

Our

fa

R.G.

of

our

lo

ver’s

eyes.

S

A T.C. T 8

B

unis.

div.

I Vn. div.

unis.

II unis., arco Va.

Vc. sub. Cb. sub.


86

Act I–Scene 1

556 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (2.) 1 2 Bn. 3

2. 1 2 Hn. in F

3. 3 4 with straight mute 1 2

Tpt. in C

with straight mute 3

a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

still at

tend

with

sweet

Will

iam

and

Col

um

bine.

still at

tend

with

sweet

Will

iam

and

Col

um

bine.

M.G.

R.G. sempre

div.

unis.

div.

S div. sempre

Sweet

Will

iam

and

Col

um

bine.

iam

and

Col

um

bine.

unis.

A T.C.

Sweet sempre

Will div.

unis.

div.

T 8

div. sempre

Sweet

Will

iam

and

Col

um

bine.

Sweet

Will

iam

and

Col

um

bine.

B

unis.

div.

unis.

div.

unis.

div.

I Vn.

div. II div.

Va. div. Vc. pizz. Cb. molto

arco


87

Act I–Scene 1

563 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

a2 1 2 Hn. in F

a2 3 4 remove mute

Tpt. in C

1 2 remove mute 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. T.-t., muffled 1 Congas Perc. 2 Congas 3

Piano

Harp

molto C.

Lit tle

more

time,

a

lit

tle

more

time,

more

time

with

the

Lit tle

more

time,

a

lit

tle

more

time,

more

time

with

the

Lit tle

more

time,

a

lit

tle

more

time,

more

time

with

the

tle

more

time,

more

time

with

the

tle

more

time,

more

time

with

the

tle

more

time,

more

time

with

the

molto M.G.

R.G. molto

S

molto

div.

unis. A T.C. molto

Lit tle

more

time,

a unis.

lit div.

T 8

Lit tle molto

more

time,

a

unis.

lit div.

B

Lit tle

more

time,

a

lit

I Vn. II div. a3 Va.

unis. Vc.

Cb.

div. a2


88

Act I–Scene 1

569 1 2 Fl. 3

1 Ob. 2 a2 Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

(a2)

Hn. in F

1 2 (a2) 3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Piano

Harp

C.

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

We

feel

the

mer

cy of

our

Lord

God

with

the

M.G.

R.G.

S

tutta forza A T.C.

child

ren we

love,

time

with

our mo

thers.

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

T 8

B

I Vn.

unis. II div. a3

Va.

Vc.

Cb.

div.


89

Act I–Scene 1

576 1 2 sub.

Fl. 3

sub. 1 sub.

Ob. 2

sub. Cl. in B

1 2 sub.

Bs.Cl. (a2) 1 2 Bn. 3

a2

a2

1 2 Hn. in F

a2

a2

a2

3 4 open Tpt. in C

1 2 sub.

open 3

sub. a2 Tbn.

sub.

1 2 a2

Bs.Tbn. Tuba

Timp.

(T.-t., muffled)

Cowbell

1 T.-t.

(Congas) Perc. 2 (Congas) 3

Piano

Harp

C.

grace

of

a

lit

tle

more

time.

grace

of

a

lit

tle

more

time.

grace

of

a

lit

tle

more

time.

grace

of

a

lit

tle

more

M.G.

R.G.

S

A T.C.

unis.

time. div.

T 8

grace

of

a

lit

tle

more

time.

of

a

lit

tle

more

time.

unis. B

grace

unis. I sub.

Vn.

unis.

div.

II

div. a2

div. a3

div. a2

div. a3

sub. unis.

Va. sub. Vc.

Cb.


90

Act I–Scene 1

582

1.

1 2 sub.

Fl. 3

sub. 1 sub.

Ob. 2

sub. Cl. in B

1 2 sub.

Bs.Cl. (a2)

1.

1 2 Bn. 3

a2 1 2 Hn. in F

a2 3 4

Tpt. in C

1 2 sub.

take straight mute

3 sub. sub.

Tbn.

1 2

Bs. Tbn.

(a2)

Bs. Tbn.

Bs.Tbn. Tuba

Timp.

(Cowbell)

T.-t. (muffled)

1 (T.-t.) (Congas) Perc. 2

(Congas) 3

to Celesta

Piano

Harp

(Margaret emerges from the group of slaves. She is wearing a scarlet scarf around her neck.) C.

M.G.

R.G.

S

A T.C. T 8

B

pizz.

arco

I sub. Vn.

unis.

div.

pizz. (div.)

unis., arco

unis., pizz.

arco

II sub. div. Va. sub. Vc.

pizz. Cb.

div.


91

Act I–Scene 1

590

L’istesso tempo

= 104

1., solo

1 2 dolce, espr.

Fl. 3 solo 1 dolce, espr.

Ob. 2 a2 Cl. in B

a2

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

D

Harp

G

(Gaines nods in assent to the contract’s terms, then turns to the businessman standing next to him and asks for a pen with which to sign the contract.)

(no clapping) C.

(Holding a home made play doll.) tenderly M.G.

I R.G.

S

A T.C. T 8

B

L’istesso tempo

= 104

I Vn. II div. Va.

div. Vc.

div. Cb.

unis.

div.

unis.


92

Act I–Scene 1

598

2.

1.

2.

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

M.G.

made R.G.

S

A T.C. T 8

B

I Vn. II

Va.

Vc. div. Cb.

a

lit

tle

play

doll

for my

ba

by,

with


93

Act I–Scene 1

606

2.

1.

1 2 Fl. 3

1 dolce

Ob.

sub.

2 2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo 1 2 sub.

Hn. in F

dolce 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

(full voice) M.G.

but

ton

eyes

and

hair

of

yarn.

The

R.G.

S

A T.C. T 8

B

1 solo I Vn.

unis. II

Va.

Vc.

Cb.

dolce

sub.


94

Act I–Scene 1

614 1 2 Fl. 3

1 Ob. 2 solo dolce Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 sotto voce

Bs.Tbn. Tuba sotto voce

Timp.

1

Perc. 2

3

Celesta

G

Harp

G

G

(Distracted from his paperwork, Edward tuns around and notices Margaret, who is wearing a red scarf. He is intrigued and grateful for his good fortune to have just purchased her.) C.

M.G.

lips

are

made

of

rose

col ored

thread.

One

R.G.

S

A T.C. T 8

B

I Vn. II

Va. unis., pizz.

div.

unis.

Vc.

unis. Cb.

div.

unis.

div.


95

Act I–Scene 1 dolce

621

2.

1 2 Fl. 3

1 dolce

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

D

Harp

C.

meno M.G.

day

she

will

love

it;

R.G.

S

A T.C. T 8

B

1 solo I dolce poco flautando

Vn. II

Va.

div., arco Vc.

Cb.

I

am


96

Act I–Scene 1

629

1.

1 2 dolce

Fl. 3

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

(Edward turns around again and finishes signing the contract. The businessmen extend handshakes of congratulations to him on the acquisition of Maplewood.) C.

port. M.G.

wait

ing

for

her

to

love

R.G.

S

A T.C. T 8

B

tutti sul A I Vn.

(poco flautando) II

Va.

Vc.

Cb.

dolce

it.


97

Act I–Scene 1

637

2.

1 2 Fl.

to Piccolo 3

1 Ob. 2 1., solo Cl. in B

1 2 dolce

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 with no attack

Bs.Tbn. Tuba with no attack

Timp.

1

Perc. 2

3

Celesta

Harp

A

C.

(full voice) M.G.

When

she

is

old

e

nough

to

hold

it.

R.G.

S

A T.C. T 8

B

tutti I Vn.

ord.

poco

II poco Va. unis., pizz.

div.

unis.

div.

Vc.

Cb.


98

Act I–Scene 1

644 Picc.

Fl.

1 2

1 Ob. 2 (1.) Cl. in B

1 2

Bs.Cl. 1., solo 1 2 dolce

Bn. 3

(1.)

Hn. in F

1 2 3. 3 4

Tpt. in C

1 2

3 take straight mute Tbn.

1 2 take straight mute

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

A

(When one of the slaves brings in Margaret’s infant daughter, wrapped in a white cloth, Margaret puts the play doll in her pocket in order to cradle the baby tenderly in her arms.) C.

M.G.

I’m

watch

ing

this

mys

te

ry

called

R.G.

S

A T.C. T 8

B

I Vn.

div.

unis.

II

div. Va. div., arco Vc.

div., pizz. Cb.

unis., arco


99

Act I–Scene 1

652 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1.

Hn. in F

1 2 sub.

sub.

3 4 1., solo

cantando

1 2 dolce

dolce

Tpt. in C

cant. 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

full, rich M.G.

child. R.G.

(clap) S sim. (clap) A sim. T.C. (clap) T sim.

8

(clap) B sim.

div. I Vn. div. II

Va.

Vc.

Cb.


100

Act I–Scene 1

661

a tempo (

= 104)

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

Hn. in F

1 2 3 4 2. to straight mute

Tpt. in C

1 2

3 a2, with straight mute Tbn.

1 2 a2, with straight mute

Bs.Tbn. Tuba

Timp.

T.-t., muffled 1 Congas Perc. 2 Congas 3

Celesta

A

Harp

C.

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

M.G.

R.G.

S

A T.C.

T 8

B

a tempo (

= 104) unis.

I Vn.

unis. II

div.

unis. Va. unis.

div.

unis.

div.

unis.

Vc.

Cb.


101

Act I–Scene 1

667 Picc.

Fl.

1 2 sub. 1 sub.

Ob. 2

a2 Cl. in B

1 2 sub.

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4 1. (open)

Tpt. in C

1. to straight mute

1 2

3 (a2) Tbn.

1 2 a2 meno

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Celesta

Harp

sub. C.

child ren we

love.

We

feel

the

breath

of

our

Lord

God

with

the

We

feel

the

breath

of

our

Lord

God

with

the

We

feel

the

breath

of

our

Lord

God

with

the

M.G. sub.

R.G.

child ren we

love. sub. div.

unis.

S

child ren we

love.

div. A T.C.

child ren we

love,

time

with

our mo

thers. We

feel

the

breath

of

our

Lord

God

with

the

We

feel

the

breath

of

our

Lord

God

with

the

sub. T 8

child ren we

love. sub. div.

div.

unis.

B

child ren we

love.

We

feel

the

breath

of

our

unis.

div.

Lord

God

with div.

I Vn.

sub.

div.

II unis.

div.

unis.

Va. sub. Vc.

Cb.

div.

the


102

Act I–Scene 1

674

Piccolo

Picc. dolce Fl.

1 2

1 dolce

Ob. 2

a2 Cl. in B

a2

1 2

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3 (a2) Tbn.

1 2 (a2)

Tuba

a2

Bs.Tbn. Tuba

Timp.

(T.t., muffled) 1 Congas Perc. 2 Congas 3

Celesta

Harp

C.

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

M.G.

R.G.

div.

unis.

S

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

We

feel

the

breath

of

our

Lord

God

unis. A T.C.

T 8

unis. unis.

div. B

Gift

of

a

lit tle

more

time.

unis.

div.

unis.

div.

unis.

I Vn. unis.

II unis.

div.

Va.

Vc. div. Cb.

unis.

sub.


103

Act I–Scene 1

681 Picc. dolce Fl.

1 2

1 dolce

Ob. 2

a2 Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

2. take straight mute Hn. in F

1 2 take straight mute 3 4

Tpt. in C

1 2

3 (a2) Tbn.

1 2 (a2)

Tuba

Bs.Tbn. Tuba

Timp. (T.t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Celesta

Harp

(no clapping) C.

with

the

Gift

of

a

lit tle

more

with

the

Gift

of

a

lit tle

more

time.

M.G.

R.G.

time. div.

unis.

S

with

the

div.

Gift

of

a

lit tle

more

time.

We

unis.

feel

the

breath

of

div.

our unis.

A T.C.

with

the

with

the

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

We

feel

the

breath

of

our

T 8

unis.

div.

unis.

div.

B

with

the

Gift

of

a

lit tle

more

time.

div.

unis.

div.

div.

unis.

div.

unis.

I Vn.

unis.

div.

unis.

div.

II

Va. (arco) Vc.

div. Cb.

unis.

pizz.


104

Act I–Scene 1

poco meno mosso

688 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

We

feel

the

breath

M.G.

We

feel

the

R.G.

We sub. S

Lord div.

God unis.

mmm sub.

A T.C.

Lord

God

mmm sub.

T 8

Lord

God

mmm sub.

B

Lord

God

mmm

poco meno mosso poco vib. I sub.

Vn.

unis.

poco vib.

II sub.

poco vib.

sub.

poco vib.

Va.

Vc. sub. Cb.


105

Act I–Scene 1

A tempo primo

694

= 104

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

of

our

Lord

God.

M.G.

breath

of

our

Lord

God.

breath of

our

Lord

God.

R.G.

feel

the

S

With

the

gift

of

a

With

the

gift

of

a

With

the

gift

of

a

With

the

gift

of

a

A T.C.

T 8

B

A tempo primo I Vn. II

Va.

Vc. pizz. Cb.

= 104


106

Act I–Scene 1

701 Picc. 1. Fl.

1 2 dolce 1 dolce

Ob. 2

Cl. in B

1 2

Bs.Cl.

(1.) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. T.-t., muffled, hard yarn mallet (or African drum) 1 Congas, hands Perc. 2

Congas, hands 3

Celesta

Harp

(The slaves exit slowly; Margaret is the last of the slaves to leave.) (After completing his transaction with Edward, the auctioneer departs with the businessmen. Caroline remains, cheerfully conversing with their wives.) (clap) C. (clap) M.G. (clap) R.G.

(clap) S

lit

tle

more

time. (clap)

A T.C.

lit

tle

more

time. (clap)

T 8

lit

tle

more

time. (clap)

B

lit

tle

more

time.

I Vn. II

Va. pizz. Vc.

(pizz.) Cb.

div.

unis.

div.

unis.


107

Act I–Scene 1

707 Picc. (1.) Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn.

staccatissimo 3

1. open

Hn. in F

1 2 with straight mute 3 4 staccatissimo

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Celesta

E F G A D C B

Harp

C.

M.G.

R.G.

S

A T.C. T 8

B

I Vn. II unis. Va. espr. Vc.

div. Cb.

unis.

div.


108

Act I–Scene 1

714

lunga

Picc.

Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.)

Hn. in F

1 2 remove mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Celesta

Harp

(no clapping) C.

(no clapping) M.G.

(no clapping) R.G.

(no clapping) S

(no clapping) A T.C. (no clapping) T 8

(no clapping) B

lunga

div. I Vn. div. II div. Va.

div., arco Vc.

unis., arco Cb.


109

Act I–Scene 1

721 Moderato

= 88–92 (don’t drag)

Picc.

Fl.

1 2

1 Ob. 2 1.

2. Cl. in B

1 2

6

6 6

6 6

6 6

6 6

6

Bs.Cl. 1. 1 2 Bn. 3

(1.) solo

(1.)

take straight mute

3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

E F GA DCB

Harp

(Edward watches the last townspeople leave.) Ca. 8

Edward Gaines: (with disappointment and disgust) (freely) E.G. 3

Lookatthem.

Moderato

= 88–92 (don’t drag)

unis., pizz. I Vn.

unis., pizz. II unis., quasi non vibrato

Va. unis., pizz. Vc. pizz. Cb.

They were my neigh bors once.

3

They pre


110

Act I–Scene 1

727 Picc.

Fl.

1 2

1 6

Ob.

6

2

Cl. in B

1 2

Bs.Cl. (1.) 1 2 Bn. 3

a2, soli, with straight mute

Hn. in F

1 2 3 4 soli, with straight mute 1 2 3

Tpt. in C

3

3

3

3

3

3

sub.

soli, with straight mute 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Casey: Ca. 8

It E.G.

tend

3

they don’t re mem ber me.

pizz., div.

arco I

3

Vn. arco II 3

Va.

Vc.

Cb.

pizz.

3

was a long

time

a go,

sir.


111

Act I–Scene 1

733 Picc. a2 Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

a2

1 2 Bn. 3

(a2) Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Ca. 8

You’ve been a way

for twen ty years. (turning back around, facing Casey) (to himself)

E.G.

Twen

3

ty years.

They pre tend.

3

3

Theylie,

and they say

unis., arco I Vn. arco II div.

unis.

Va.

div., arco

unis., pizz.

arco

pizz.

Vc.

Cb.


112

Act I–Scene 1

739 Picc.

Fl.

1 2

1 espr.

Ob. 2

espr.

1. Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

a2 (with straight mute)

Hn. in F

remove mute

1 2 a2, open

take straight mute

3 4 (with straight mute) 1 2 3

Tpt. in C

3

3

3

(with straight mute)

3

3

3

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

B

(Margaret’s scarf, still lying on the ground, catches Edward’s attention; he starts walking toward it.) Ca. 8

Some (full voice)

E.G. 3

3

they don’t re mem ber me.

div., pizz. I Vn.

pizz. II 3

Va. in relief of voice

div., arco

Vc.

arco Cb.

thing


113

Act I–Scene 1

Adagio ma non troppo

rit.

746

= 72

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., open

Hn. in F

1 2 dolce 3 4

Tpt. in C

1 2

3

Tbn.

(with straight mute)

remove mute

open, play into stand

(with straight mute)

remove mute

open, play into stand

1 2 with no attack

Bs.Tbn. Tuba with no attack

Timp.

1

Perc. 2

3

Celesta

D

Harp

(Edward picks up Margaret’s scarf and mindlessly puts it in his pocket.) (full voice) Ca. 8

3

in the past,

sir?

Some

thing best for got

ten?

E.G.

I

rit. unis. (pizz.)

was just

a boy.

The trou

Adagio ma non troppo

= 72

arco

div.

div.

unis.

unis.

I Vn.

sub. arco

(pizz.)

div.

II sub.

Va. sub. unis.

div.

Vc. div. Cb.


114

Act I–Scene 1

752 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

3

1 2 3

3 4

Tpt. in C

1 2

3 a2, ord. Tbn.

1 2 ord.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

D

Ca. 3

8

But E.G.

e

v’ry boy

has an ap pe tite,

3 3

3

ble I caused was in es cap a ble

for a boy

3

with an ap pe tite.

div. I Vn.

poco

unis. II

poco Va. unis.

poco

Vc. unis.

poco

Cb. poco

div.

3

sir.


115

Act I–Scene 1

Subito più mosso 757 = 88–92

Misterioso

rit.

= 60

Picc. leggiero 6

Fl.

1 2

6

6

6

6 6

leggiero

6

1 Ob. 2

Cl. in B

1 2 espr.

Bs.Cl. 1. 1 2 espr.

Bn. 3

Hn. in F

1 2 a2, with straight mute

remove mute

3 4 (with straight mute)

remove mute

1 2 3

Tpt. in C

3

3

3

(with straight mute)

3

3 3

remove mute

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 Tamtam Perc. 2

B.D. 3

Celesta

6

Celesta

6 6

6

E

Harp

Ca. 8

E.G.

Misterioso

Subito più mosso = 88–92

= 60 1 solo, con sord.

rit.

Solo Vn. 6

1 solo, con sord.

6 6

Solo Vn. 6

6

6

gli altri, div., quasi flautando Vn.

I sub. div., quasi flautando

Vn.

II sub.

Va. espr.

sub.

Vc.

div. Cb.

unis.

6


116

Act I–Scene 1

761 Picc. leggiero 6

Fl.

1 2

6

leggiero

6

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Glock.) 1 (Tam.) Perc. 2 (B.D.) 3

6

Celesta

6

6

6

6

6

6

6

6

6

6

6

Harp

Ca. 8

somewhat lightly, floating E.G. 3

I

left

un

der

a

3

cloud

of

sus

pi cion:

It

was

Solo Vn. 6 6

6 6

6 6

6 6

6 6

6 6

Solo Vn. 6

6

6

6

6

6

6

6

6

6

6

poco vibrato Vn.

I sub.

Vn.

poco vibrato

sub.

sub.

sub.

sub.

sub.

sub.

II sub.

poco vibrato

Va. sub. Vc.

Cb.

6


117

Act I–Scene 1

764 Picc. leggiero 6

1. Fl.

1 2

6

6

leggiero

6

6

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Glock.) 1 (Tam.) Perc. 2 (B.D.) 3

6

Celesta

6

6

6

6

6

6

6

6

6

Harp

Ca. 8

E.G.

noth ing

noth ing

to raise

eye

brows.

6

Solo Vn. 6 6

6 6

6 6

6 6

6

Solo Vn. 6

6

6

6

6

6

6

6

unis. Vn.

I

Vn.

II

unis.

div. Va. sub. Vc.

Cb.


118

Act I–Scene 1

767 Subito

più mosso

= 88–92

Picc.

Fl.

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3 3

3 3

3 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 3

3

1 2 3 3

Bn.

3 3

3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Ca. 8

poco freely, sotto voce (quasi whisper)

half voice E.G.

3 3

3

3

The girl was so

Subito più mosso

3

young,

3

and from such

3

3

a

fine

fa

3

mi ly;

= 88–92

gli altri, pizz. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3 3

3 3

3 3

I sub. pizz.

Vn.

3

II

unis., pizz. 3

Va. sub. unis., pizz. Vc. 3

3

pizz. 3

Cb.

3

6

things got a lit tle out of hand.


119

Act I–Scene 1

Subito come sopra = 60

771 Picc.

Fl.

1 2

1 Ob. 2 6

Cl. in B

1 2 6

6

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

6

Celesta

6

Harp

Ca. 8

cantabile (but not completely in full voice) E.G.

So now

they pre tend

3

nei ther I

nor it

e ver hap

pened.

Subito come sopra = 60 6

2 soli, arco, con sord., on the string I Vn.

arco II sotto voce div., arco

unis.

div.

unis.

Va. espr. div., arco

sotto voce

sotto voce unis.

Vc. espr. arco Cb. espr.

sotto voce div., pizz.

sotto voce

6

6


120

Act I–Scene 1

776 Picc.

Fl.

1 2

1 Ob. 2 6 6

Cl. in B

6

1 2 6

6 6

6

6

6

Bs.Cl. 6

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

6

to Piano 6 6

Celesta

6

E C

Harp

A

6

6

6

6

Ca. 8

E.G. 3

What a

6

2 soli

6

6

via sord.

I 6

Vn.

6 6

II div. Va.

pizz.

arco

unis.

arco

Vc.

Cb.


121

Act I–Scene 1

779 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

EF GA DC B

Harp

Ca. 8

lunga E.G.

shame.

I Vn. II

Va.

Vc.

Cb.

I

re

mem

ber!

I

re

mem

ber

ev

’ry thing.


122

Act I–Scene 1

784 Andantino

grazioso

= 88–92

Picc.

Fl.

1 2 1., solo 1 dolce, with voice (in relief)

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

C

Harp

D

C

C

G

C

E

G B C

D

Ca. 8

E.G.

I

re

mem

ber

Andantino grazioso

the

curve

of

ev ’ry

hill,

the

swans

in

the

pond;

I

re

mem

ber them

still.

= 88–92

tutti, div., arco, senza sord.

unis.

sul G

div.

div.

I Vn.

unis.

II div. Va. non div. Vc.

pizz. Cb.

div.

unis.

F


123

Act I–Scene 1

792 Picc.

Fl.

1 2 solo 1 dolce

Ob. 2 1., solo Cl. in B

1 2 dolce, with voice (in relief) dolce

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

G D

Harp

C

B

G C

E

D

D

B

A D

D

E F

Ca. 8

più sonoro E.G.

I

re

mem

ber

ev

’ry

tree:

ma

ple,

birch,

div.

unis.

wil

unis.

I Vn.

div.

unis.

div.

unis.

div.

unis.

div.

II

unis.

div.

Va. non div. Vc.

div. Cb.

unis.

div.

lows

and

pine.


124

Act I–Scene 1

800 Picc.

Fl.

1 2 solo

3

1 dolce

Ob.

sotto voce

2 1., solo Cl. in B

1 2 dolce, with voice

espr.

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

F A D

Harp

E

C

C

D

C

G B

Ca. 8

E.G.

I

can

see

them now,

shad

ing

3

the drive,

div.

shel

t’ring

me

from the

heat.

unis.

I Vn.

unis. II unis.

Va.

Vc.

unis. Cb.

div.

unis.


125

Act I–Scene 1

808 Picc.

Fl.

1 2

1 Ob. 2 1., solo Cl. in B

1 2 espr.

Bs.Cl. 1., solo dolce 1 2 Bn. 3

1., solo

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

G C

Harp

G

B

D

E

D

F D

E C

Ca. 8

E.G.

Ma

ple,

birch,

div.

and the

o

dor

of

pine.

I

re

mem

ber

div.

unis.

ev

’ry

tree,

but

unis.

I Vn.

div.

unis.

II div. a3

div.

unis.

Va. non div.

div.

unis.

div.

unis.

Vc.

div. Cb.

unis.

div.

unis.


126

Act I–Scene 1

816 Picc.

Fl.

1 2 solo 1 dolce, espr.

Ob. 2

Cl. in B

1 2

Bs.Cl. 1., solo 1 2 dolce

Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

A C

E

Harp

E

G C

A C

G

F

Ca. 8

E.G.

none

of

them

re

mem

bers

me.

div. unis. I Vn.

div.

unis.

II

div.

unis.

Va.

Vc.

div. Cb.

unis.


127

Act I–Scene 1

824 Picc.

Fl.

1 2

1 espr.

Ob. 2 1., solo Cl. in B

1 2 espr.

Bs.Cl. 1., solo 1 2 dolce

Bn. 3

1.

Hn. in F

1 2 dolce 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

A

Harp

E

B

G D

D

A C

B

G

G

B D

E

Ca. 8

cantabile E.G.

The well,

the

creek,

fish

ing by

the lake.

non div. I Vn.

div.

unis.

div.

unis.

II div.

unis.

Va.

Vc. div. Cb.

unis.

div.


128

Act I–Scene 1

832 Picc.

Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl. (1.) 1 2 Bn. 3

a2 (open) Hn. in F

1.

1 2 open 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

F

G D

C

D

A

D

A

F

Ca. 8

(full voice)

E.G.

Eve nings

div.

of

laugh

ter

3

3

with girls who want

ed

to

play.

I

re mem

ber

div.

unis.

ev

’ry

unis.

I Vn.

div.

dolce, cant. div.

unis.

II

unis.

div.

unis.

div. a2

Va.

Vc.

div. Cb. pizz.

arco

unis., pizz.

unis.


129

Act I–Scene 1

840 Picc.

Fl.

1 2

1 Ob. 2 1., solo Cl. in B

1 2 espr.

Bs.Cl.

1 2 sotto voce

Bn. 3

(1.) Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

A

Harp

E

B

G

D

B

D

G

D

B

A D

G

(Edward catches Caroline’s glance and motions for her to join him.) Ca. 8

E.G.

tree,

but

none

of

them

re

mem

bers

me.

I Vn.

unis.

div.

unis.

II

div. Va.

Vc.

Cb.

(div. a2)

unis.

div.

unis.


130

Act I–Scene 1

848 Picc.

Fl.

1 2 solo 1 espr.

Ob. 2 (1.) Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo

Hn. in F

1 2 dolce 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

E

Harp

G B

A

E G B

D

F D

G B

F D

C

Ca. 8

E.G.

I Vn. II

div.

unis.

div.

Va.

Vc. div. Cb.

unis.


131

Act I–Scene 1

poco rit.

855

a tempo

Picc. 1. Fl.

1 2 poss. 1

Ob. 2

Cl. in B

1 2 poss.

Bs.Cl.

1 2 Bn. 3

(1.)

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib., motor off Perc. 2 Pedal 3

Piano

Piano

Harp

B D

F

A

C

G

G

(Edward exits, with Caroline at his side. Casey follows them.) Ca. 8

(ossia) E.G. 3

They won’t for

poco rit.

get

me

a

gain!

a tempo div.

I Vn.

div. II

unis.

div.

unis.

3

div.

Va.

Vc.

arco Cb.

attacca


132

Act I, Scene 2: Harvest time, about six months later. With rhythmic vitality

= 96–100

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Congas, played with hands, sempre solo 1 cresc. poco a poco Mounted Floor Tom, muted, heavy wood stick Perc. 2 cresc. poco a poco Congas, played with hands, sempre solo 3 cresc. poco a poco

Pno.

Hrp.

(The slaves—some of whom are children, barely 10 or 12 years old—return to their quarters after a day of working in the fields. In rhythm with the percussion’s strong, syncopated beat, they perform a series of domestic chores: chopping wood, pumping water, beating rags, etc.) S

A

T 8

B

With rhythmic vitality I Vn. II

Va.

non div. Vc.

div. Cb.

= 96–100


133

Act I–Scene 2

7 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 3

Hn. in F

3 3

3 4

3 3

3 3

3 3

3 3

3

with no attack

with no attack

with no attack

with no attack

with no attack

with no attack

1 2 Tpt. in C 3

Tbn.

1 2 Bs. Tbn., with no attack

Bs.Tbn. Tuba

Timp. (Congas) 1 sub. (T.-t.) Perc.

2 sub. (Congas) 3 sub.

Piano

8ba

Harp

R.G.

S

A S.C. T 8

B

I Vn. II sul D Va. (non div.) Vc.

Cb.


134

Act I–Scene 2

13 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 3

Hn. in F

3 3

3 3

3 3

3 3

3 3

3 3

3 4 2. 1 2 Tpt. in C

cresc. poco a poco 3 cresc. poco a poco

Tbn.

1 2 cresc. poco a poco (Bs. Tbn.)

Bs.Tbn. Tuba cresc. poco a poco

Timp. (Congas) 1

Perc.

(T.-t.)

cresc. poco a poco

(Congas)

cresc. poco a poco

2

3

cresc. poco a poco 8va

Piano

Harp

R.G.

S

A S.C. T 8

B

I non div.

Vn. II

(sul D) Va. (non div.)

div. a2

Vc.

div. Cb.

3 3

3 3

3 3

3


135

Act I–Scene 2

19 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 3

Hn. in F

3

3 4

dim.

3 3

dim. (2.)

1 2 Tpt. in C

sotto voce 3 sotto voce

Tbn.

1 2 sotto voce (Bs. Tbn.)

Bs.Tbn. Tuba sotto voce

Timp. solo

(Congas) 1

Perc.

(dim.) (T.-t.)

dim.

(dim.)

dim.

2 solo

(Congas) 3 (dim.)

dim.

Piano

Harp

Robert: full voice R.G.

Turn my face S

A S.C. T 8

B

I sotto voce Vn. II sotto voce Va. sotto voce unis. Vc.

Cb.

div. a2

to the dy ing

sun.


136

Act I–Scene 2

24 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Congas) 1 (T.-t.) Perc.

2 (Congas) 3

Piano

Harp

R.G.

Can’t straigh ten my back

’till the work is

done,

Plowed the field,

The Slaves: S

Turn my face

to the dy ing sun.

Can’t straigh ten my back ’till the work is

done.

Turnmy face

to the dy ing sun.

Can’t straigh ten my back ’till the work is

done.

Turnmy face

to the dy ing sun.

Can’t straigh ten my back ’till the work is

done.

Turnmy face

to the dy ing sun.

Can’t straigh ten my back ’till the work is

done.

A S.C. T 8

B

I Vn. II

Va.

Vc.

Cb.

baled thehay,


137

Act I–Scene 2

28

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc. 2 (Congas) 3

Piano

Harp

R.G.

go in’to dance on the lead mule’s back some day.

S

Plowed the field,

baled the hay,

go in’ to dance on the lead mule’s back some day.

O,

moth er,

Plowed the field,

baled the hay,

go in’ to dance on the lead mule’s back some day.

O,

moth er,

Plowed the field,

baled the hay,

go in’ to dance on the lead mule’s back some day.

O,

moth er,

Plowed the field,

baled the hay,

go in’ to dance on the lead mule’s back some day.

O,

moth er,

A S.C.

T 8

B

I Vn. II div. Va.

unis. Vc.

div. Cb.


138

Act I–Scene 2

33

(1.)

1.

1 2 Fl. 3 molto 1 molto

Ob. 2

Cl. in B

1 2

Bs.Cl. (a2)

a2

1 2 Bn. 3

1 2 Hn. in F

3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc.

2 (Congas) 3

Piano

Harp

M.G.

R.G.

div.

unis.

S

O,

fath er,

Don’t

a ban don

me

while my sweat still sweets the rich brown soil of

dear

old

Ken tuc ky.

O,

moth er,

O,

fath er,

Don’t

a ban don

me

while my sweat still sweets the rich brown soil of

dear

old

Ken tuc ky.

O,

moth er,

O,

fath er,

Don’t

a ban don

me

while my sweat still sweets the rich brown soil of

dear

old

Ken tuc ky.

O,

moth er,

O,

fath er,

Don’t

a ban don

me

while my sweat still sweets the rich brown soil of

dear

old

Ken tuc ky.

O,

moth er,

A S.C. T 8

B

unis.

div. I Vn. div.

unis.

II unis.

div.

Va.

Vc. div. Cb.

unis.


139

Act I–Scene 2

41

(1.)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2) 1 2 sub.

marc.

Bn. 3

sub.

marc.

a2 1 2 Hn. in F

a2 3 4 take straight mute 1 2

Tpt. in C

take straight mute 3

Tbn.

1 2 Bs. Tbn.

Bs. Tbn. Bs.Tbn. Tuba

Timp. (Congas) 1

molto

(T.-t.) Perc.

sub.

2 sub.

(Congas) 3

molto

sub.

Piano

Harp

Margaret Garner: M.G.

Boss is

S

O,

fath er,

don’t

a ban don

me.

O,

fath er,

don’t

a ban don

me.

O,

fath er,

don’t

a ban don

me.

O,

fath er,

don’t

a ban don

me.

A S.C. T 8

B

div.

unis.

I Vn. II

unis. Va. marc. div. a2

sub.

Vc.

marc.

sub.

Cb. marc.

sub.

hap

py

at his

plate


140

Act I–Scene 2

46

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F

3 4 with straight mute

remove mute

1 2 Tpt. in C

with straight mute

remove mute

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Congas) 1 (T.-t.) Perc.

2 (Congas) 3

Piano

(shouted, like a gospel singer) M.G.

If

I stand

at

his cook ing

stove,

Be lieve it!

O

moth er,

O

fath er,

O

moth er,

O

fath er,

(shouted, like a gospel singer)

Robert Garner: R.G.

Be lieve it! S

Long as he gets his

fowl;

his

sup per will

be

foul!

O

moth er,

O

fath er,

Long as he gets his

fowl;

his

sup per will

be

foul!

O

moth er,

O

fath er,

Long as he gets his

fowl;

his

sup per will

be

foul!

O

moth er,

O

fath er,

Long as he gets his

fowl;

his

sup per will

be

foul!

O

moth er,

O

fath er,

A S.C. T 8

B

I Vn.

unis. II div.

Va.

unis. Vc.

div. Cb.

unis.


141

Act I–Scene 2

52

a2

1.

1 2 Fl. 3 molto 1 Ob.

molto 2

Cl. in B

1 2

Bs.Cl. (a2)

a2

1 2 Bn. 3

1 2 Hn. in F

3 4 1., open

2. open

1 2 Tpt. in C

open 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc.

2 (Congas) 3

Piano

Harp

M.G.

Don’t

a ban don

me

while my blood

floods

the vel

vet

dirt of

dear

old

Ken

tuc ky.

O

moth er,

Don’t