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.
No,
no
more.
No,
no
more.
No,
no
more.
No,
no
more.
No,
no
more.
No,
no
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No,
no
more.
M.G.
R.G.
S
A S.C. T 8
B
I Vn. II div. Va.
div., pizz.
arco (div.)
cant. div. a2
Vc.
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
C.
No
more,
not
more.
more,
not
more.
espr.
3
M.G.
No
espr. R.G. 3
No
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.
Please,
God, no
more.
No,
not
more.
Dear
God, No
more!
gl.
port.
R.G.
Please,
3
God, no
more.
No,
not
more.
Dear
3
God, No
more!
3
gl.
port.
S
Please,
3
God, no 3
more.
No,
not
more.
Dear
gl.
God, No
more!
3
A
port.
Please,
S.C.
God, no
more.
No,
not
more.
Dear
God, No
more!
gl.
port.
T 8
3
Please,
God, no
more.
No,
not
more.
Dear
3
God, No
more!
gl. port. B
Please,
3
God, no
more.
No,
not
more.
Dear
3
God, No
more!
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,
No,
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!
No,
no,
no,
no,
no,
no,
no,
No,
no,
no,
no,
no,
no more!
No,
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!
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!
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
a ban don
me
while my blood
floods
the vel
vet
dirt of
dear
old
Ken
tuc ky.
O
moth er,
R.G.
unis.
div. S
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
a ban don
me
while my blood
floods
the vel
vet
dirt of
dear
old
Ken
tuc ky.
O
moth er,
A S.C.
unis.
div. T 8
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
a ban don
me
while my blood
floods
the vel
vet
dirt of
dear
old
Ken
tuc ky.
O
moth er,
B
unis.
div. I Vn. div.
unis.
II unis. Va.
Vc.
Cb.
div.
142
Act I–Scene 2
59
a2
1.
=
1 2 Fl.
to Piccolo 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (a2) 1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4
1 2
3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp. (Congas) 1
(T.-t.) Perc.
2 (Congas) 3
Piano
Harp
M.G.
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,
fath er,
don’t
a ban don
me
while my sweat still sweets
the rich brown soil of
dear
old
Ken
tuc ky.
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,
fath er,
don’t
a ban don
me
while my sweat still sweets
the rich brown soil of
dear
old
Ken
tuc ky.
A S.C.
div.
unis.
T 8
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,
fath er,
don’t
a ban don
me
while my sweat still sweets
the rich brown soil of
dear
old
Ken
tuc ky.
B
div.
unis.
I Vn.
div. II
Va.
Vc.
Cb.
unis.
=
143
Act I–Scene 2
66 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1. 1 2 sub.
Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
3 2. Tbn.
1 2
Bs.Tbn. Tuba sub.
Timp.
(Congas) 1
(T.-t.) Perc.
sub.
2 sub. (Congas) 3 sub.
Piano
Harp
M.G.
crackuh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
R.G.
(almost shouting)
div.
S
Crack uh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
(almost shouting) A
Crack uh back
S.C.
(almost shouting) T 8
Crack uh back (almost shouting) div.
B
Crack uh back
unis.
div. I sub.
Vn. unis.
div.
II sub. Va. sub. div. a2 Vc.
sub. Cb. sub.
144
Act I–Scene 2
76 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
(Congas) 1
(T.-t.) Perc.
2
(Congas) 3
Piano
Harp
tutta forza M.G.
Crack,
cut,
pull,
chop,
split;
crack,
cut,
pull,
chop,
split;
crack,
cut,
pull
chop,
split!
pull
chop,
split!
pull
chop,
split!
pull
chop,
split!
pull
chop,
split!
pull
chop,
split!
tutta forza R.G.
Crack,
cut,
pull,
chop,
split;
crack,
cut,
pull,
chop,
split;
crack,
cut,
tutta forza S
Crack,
cut,
pull,
chop,
split;
crack,
cut,
pull,
chop,
split;
crack,
cut,
tutta forza
div. A
Crack,
S.C.
cut,
pull,
chop,
split;
crack,
cut,
pull,
chop,
split;
crack,
cut,
tutta forza T 8
Crack,
cut,
pull,
chop,
split;
crack,
cut,
pull,
chop,
split;
crack,
cut,
tutta forza B
Crack, div. I Vn.
(div.) II
unis. Va. (div.) Vc.
Cb.
cut,
pull,
chop,
split;
crack,
cut,
pull,
chop,
split;
crack,
cut,
145
Act I–Scene 2
82
Piccolo
Picc. 3
3
3
a2 Fl.
1 2
3
3 3
1 3
3
Ob.
3
2 3
3
3
3
3
a2 Cl. in B
1 2
3
Bs.Cl. a2
3
1 2
3
Bn.
3 3
3
1 2 3
3
Hn. in F
3
3
3
3
3
3
3
3
3
3
3
3
3 4 1.
2.
1 2 3
Tpt. in C
3
3 3
3
3 3
3
3
3
3 3
3
a2
1. Tbn.
1 2
3
3
3
3
Bs. Tbn. Bs.Tbn. Tuba
a2
3 3
3
3
3
3
Timp. Congas 1
T.-t. Perc.
2
Congas 3
3
3 3
Piano 3 3
3
Harp
R.G.
Soprano solo from the chorus: (full voice) Solo
Boss is
hap
py
in his
bed
if unis.
S
Long
as his pil low’s dow
ney;
Long
as his pil low’s dow
ney;
div. A S.C. T 8
B
unis. div.
unis.
I 6
3
6 3
3
Vn.
unis.
3
3
div. a2
unis.
3
div.
II 6
6
3
3
6 6
Va.
unis.
div. a2
6 6
Vc. 6
6
3
Cb.
3
div.
unis.
146
Act I–Scene 2
87 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Congas) 1 (T.-t.) Perc.
2 (Congas) 3
Piano
Harp
Robert Garner
R.G.
Plowed the field,
baled thehay,
Solo
I
stood by his sleep y
head
S
his
face would be
as
fluf fy.
Plowed the field,
div.
baled the hay
unis.
A
his
S.C.
face would be
as
fluf fy.
Plowed the field,
baled the hay
Plowed the field,
baled the hay
Plowed the field,
baled the hay
(shouted like a gospel singer) T 8
Tell it to me! unis. (shouted like a gospel singer)
B
Tell it to me!
I Vn.
unis. II
Va.
Vc.
Cb.
147
Act I–Scene 2
91 Picc. a2 Fl.
a2
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2
1 2 Bn. 3
a2 1 2 Hn. in F
Tpt. in C
a2 3 4
1 2
3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp. (Congas) 1
(T.-t.) Perc.
2 (Congas) 3
Piano
Harp
Margaret Garner: M.G.
O,
moth er,
O,
fath er,
O,
moth er,
O,
fath er,
R.G.
go in’ to dance on the lead mule’s back some day. S
go in’ to dance on thelead mule’s back some day.
O,
moth er,
O,
fath er,
go in’ to dance on thelead mule’s back some day.
O,
moth er,
O,
fath er,
go in’ to dance on thelead mule’s back some day.
O,
moth er,
O,
fath er,
go in’ to dance on thelead mule’s back some day.
O,
moth er,
A S.C. T 8
B
O,
fath er,
div.
unis.
div.
div.
unis.
div.
I Vn. II div. Va.
Vc.
Cb.
148
Act I–Scene 2
97 Picc.
1. Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1 2 cresc.
Bn. 3
cresc.
1 2 Hn. in F 3 4 1.
Tpt. in C
1 2
3 a2 Tbn.
1 2 Bs. Tbn.
a2
Bs.Tbn. Tuba
cresc.
Timp. (Congas) 1 (T.-t.) Perc.
2 (Congas) 3
Piano
Harp
shouted like a gospel singer M.G.
Don’t
a ban don
me
Sing it to me!
O,
moth er,
O,
moth er,
shouted like a gospel singer R.G.
Don’t div.
a ban don
me
unis.
div.
Sing it to me! unis.
div.
unis.
S
Don’t
a ban don
me
while my tears
mud dy the rich brown soil
of
dear
old
Ken
tuc ky.
O,
moth er,
Don’t
a ban don
me
while my tears
mud dy the rich brown soil
of
dear
old
Ken
tuc ky.
O,
moth er,
of
dear
old
Ken
tuc ky.
O,
moth er,
O,
moth er,
A S.C.
div.
unis.
T 8
Don’t
a ban don
me
while my tears unis.
div.
mud dy the rich brown soil div.
unis.
B
Don’t unis.
a ban don
me
while my tears
div.
mud dy the rich brown soil
of
dear
old
Ken
tuc ky.
div.
unis.
I Vn.
unis.
div.
div.
unis.
II
div. a3
div. a2
Va.
Vc. cresc. div. Cb. cresc.
unis.
149
Act I–Scene 2
104 Picc. 1. Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2.
(a2) 1 2 Bn. 3
1 2 Hn. in F
sub. 3 4 sub. 1. 1 2
Tpt. in C 3 a2 Tbn.
1 2 Bs. Tbn.
a2
Bs.Tbn. Tuba
Timp. (Congas) 1
(T.-t.) Perc.
2 (Congas) 3
Piano
Harp
M.G.
O,
fath er,
O,
fath er,
don’t
a ban don
me
don’t
a ban don
me
of
dear
old
Ken
tuc ky.
of
dear
old
Ken
tuc ky.
R.G.
div.
unis.
unis. div.
div.
unis.
S
O,
fath er,
don’t
a ban don
me
while my blood
floods
the vel
vet
dirt
of
dear
old
Ken
tuc ky.
O,
fath er,
don’t
a ban don
me
while my blood
floods
the vel
vet
dirt
of
dear
old
Ken
tuc ky.
vet
dirt
of
dear
old
Ken
tuc ky.
dear
old
Ken
tuc ky.
A S.C.
div.
unis.
T 8
O,
fath er,
don’t
a ban don
me div.
div.
while my blood
floods
the vel div.
unis.
unis.
B
O,
fath er,
unis.
div.
unis.
div.
don’t
unis.
a ban don
me
while my blood
floods
the vel
vet
dirt
of
div.
unis.
I Vn.
div.
unis.
II div. a3 Va.
Vc.
Cb.
div. a2
div. a3
div. a2
unis.
150
Act I–Scene 2
111 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1. 1 2 sub.
Bn. 3
sub.
1 2 Hn. in F
sub. 3 4 sub.
1. Tpt. in C
1 2
3 2. Tbn.
1 2
Bs.Tbn. Tuba sub. Timp. sempre marcato (Congas) 1
sempre marcato (T.-t.) Perc.
2 sempre marcato (Congas) 3
Piano
Harp
cresc. poco a poco M.G.
crackuh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
pull
uh mule
chop uh cot ton
split uh wood
pull
uh mule
chop uh cot ton
split uh wood
pull
uh mule
chop uh cot ton
split uh wood
pull
uh mule
chop uh cot ton
split uh wood
pull
uh mule
chop uh cot ton
split uh wood
cresc. poco a poco R.G.
crackuh back almost shouting
cut uh cane cresc. poco a poco
div.
S
Crack uh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
almost shouting
cut uh cane cresc. poco a poco
A
Crack uh back
S.C.
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
almost shouting
cut uh cane cresc. poco a poco
T 8
Crack uh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
almost shouting
cut uh cane cresc. poco a poco
div. B
Crack uh back
cut uh cane
pull
uh mule
chop uh cot ton
split uh wood
crackuh back
div. I Vn. div. II (div.) Va.
div. a2 Vc.
Cb.
cut uh cane
151
Act I–Scene 2
121
=
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Congas)
1
(T.-t.) Perc.
2 (Congas)
3
Piano
Harp
tutta forza M.G.
Crack,
cut,
pull,
chop,
split;
crack,
cut,
pull,
chop,
split;
crack,
cut,
pull
chop,
split!
pull,
chop,
split;
crack,
cut,
pull
chop,
split!
pull,
chop,
split;
crack,
cut,
pull
chop,
split!
pull,
chop,
split;
crack,
cut,
pull
chop,
split!
pull,
chop,
split;
crack,
cut,
pull
chop,
split!
pull,
chop,
split;
crack,
cut,
pull
chop,
split!
tutta forza R.G.
Crack,
cut,
pull,
chop,
split;
crack,
cut,
tutta forza S
Crack,
cut,
pull,
chop,
split;
crack,
cut,
tutta forza
div. A
Crack,
S.C.
cut,
pull,
chop,
split;
crack,
cut,
tutta forza T 8
Crack,
cut,
pull,
chop,
split;
crack,
cut,
tutta forza B
Crack,
cut,
pull,
chop,
split;
crack,
cut,
= I Vn. II unis. Va. (div.) Vc.
Cb.
152
Act I–Scene 2
127
3
Picc.
3
3
to Flute
3
a2 Fl.
1 2
3
3
3 3 3 3
3
3
3
3
3
3
3
3
3
1 3
Ob.
3 3
2 3
3
a2 Cl. in B
3
1 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bs.Cl. 3
a2
3
3
3
3
1 2
3
3 3
3 3
3 3
3
3
Bn.
3
3
3 3
3
3
3
a2
3
1 2 3
Hn. in F
3
3
3
3
3
3
3
3
3
3 4 1.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
take cup mute
1 2 3
3 3
Tpt. in C
3 3
3
3
3
a2
take cup mute
3
Tbn.
1 2
3
take cup mute
3
3
3
3
3
3
a2
Bs. Tbn. Bs.Tbn. Tuba
3 3
3 3
3
3
3
3
Timp.
1 Xyl.
3 3
Perc.
2
3 3
3
3
3
3 3
Piano
3
3
3 3
3
3
3
Harp
C.
M.G.
R.G.
unis.
div.
3
unis. 3
3
3
3
3
3
3
I 6
6 3
3
unis.
Vn.
3
3
3
3
3 3
3
3 6
3 3
II
3 3
3 3
6 3 3
3
3
3
3
3
3
3
Va. 3
3
3
3
unis. 3
3 3
Vc. 3 3
3
3
3
3
3 3
3
3
3
3
3 3
3
3
Cb. 3
3 3
3
3 3
3 3
3
Moderato, ma non troppo
= 80 (don’t drag)
153
Act I–Scene 2
134 1 2 Fl.
6
6
6
6
Flute 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. High Trg.
to Crotales
1
Vib., motor off Perc. 2 Pedal
Pedal Low Trg. 3
Piano
Harp
(Upon hearing the bell that signals the day’s end, the workers wash up for supper. Cilla is waiting at Margaret and Robert’s cabin to welcome them home.) C.
M.G.
R.G.
Moderato, ma non troppo (don’t drag)
= 80 div.
I div.
Vn. II
div. Va.
Vc.
div. Cb.
154
Act I–Scene 2
142 1 2 Fl.
6
6
6
6
3
1 Ob. 2 1., solo Cl. in B
6
1 2
3
espressivo 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.
1
Perc. 2
3
Piano
Harp
Cilla: 3
C.
You left
the light be
hind
you.
M.G.
R.G.
I Vn. II 2 sole, div.
tutte, div.
Va.
1 solo Vc.
Cb.
gli altri
155
Act I–Scene 2
146 1 2 Fl.
6
6
6
6
6
6
3
1 Ob. 2 1., solo Cl. in B
6
1 2
6
espressivo
meno
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. Glock. 1 possibile Vib. Perc. 2 possibile 3
Piano
Harp
(Cilla, Robert, and Margaret go inside the cabin and begin preparing dinner.) 3
C.
Did
you have
a
wor ri some day?
M.G.
R.G.
div., (tutti) unis. (ossia 3 soli) I Vn. II
2 sole, div. Va. 1 solo Vc.
Cb.
tutte, div.
156
Act I–Scene 2
151
Poco più mosso
= 84 1., solo
1 2
6 6
Fl.
molto espr. 3
1 Ob. 2 1., solo 6
Cl. in B
1 2
6
molto espr. 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. Glock. 1 Vib. Perc. 2
3
Piano
Harp
C.
M.G.
Robert Garner: full voice
R.G. 3
Ev
’ry new
Poco più mosso
day
3
is
= 84
3
like yes
3
ter day.
Work div. (tutti)
unis. (ossia 3 soli) I (div.)
Vn. II 3 sole, div.
tutte, div.
Va.
1 solo
gli altri
Vc. 1 solo Cb. gli altri, pizz.
tutti, arco, div.
the crops,
for get a bout pay.
157
Act I–Scene 2
156
1., solo
1 2
6
espr. 6
Fl. 3
1 Ob. 2 1., solo Cl. in B
6
1 2
6
espr. Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
3 4 4. senza cresc. 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Vib. Perc. 2
3
Piano
Harp
C.
M.G.
R.G. 3
End
3
each day like the
one
be
fore.
Don’t
leave
the field
3
’til the light’s
too
poor.
div. (tutti) unis. (ossia 3 soli) I (div.)
Vn. II
(div.) Va. 1 solo
gli altri
Vc.
(div.) Cb.
1 solo
158
Act I–Scene 2
162
Più mosso 6
= 92
6
6
6
6
6
6
6
6
6
6
6
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., with mute
1. take straight mute 1 2 Hn. in F
3. take straight mute
3., with mute
3 4 with cup mute 1 2 Tpt. in C
with cup mute 3 with cup mute
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
l.v.
l.v.
l.v.
Cilla: C. 3
This Gaines
is
not
like
the
last
one.
A mean
M.G.
R.G.
Più mosso
= 92
(div.)
unis.
(div.)
unis.
I Vn. II
unis.
pizz.
Va. tutti, div. Vc.
Cb.
streak rides his
159
Act I–Scene 2
167 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1. 1 2 Bn. 3
1. remove mute 1 2 Hn. in F
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. sotto voce 1
Perc. 2
3
Piano
Harp
(jokingly) C.
brow.
The oth er one
M.G.
R.G.
div. I Vn. II
arco Va. unis.
div. a3 Vc. pizz. Cb.
arco
had
3
a
heart—
some times!
160
Act I–Scene 2
171
L’istesso tempo
= ca. 92 don’t hurry
1 2 Fl.
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 Ob. 2
Cl. in B
3
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
Bs.Cl. sotto voce 1 2 sotto voce
Bn. 3
sotto voce
1 2 Hn. in F
3 4 1 2
Tpt. in C 3
1 Tbn. 2 Bs.Tbn. Tuba
Timp.
1 Vib., motor off, medium soft mallets Perc. 2
Pedal on 3
Piano
sempre
Harp
C.
scherzando M.G.
No
such thing
as a boss
’s
heart. He
can’t
waste the
space.
He would
R.G.
If
L’istesso tempo I Vn. II div. Va.
div. a2 Vc.
non div. Cb.
= ca. 92 don’t hurry
he
could har
vest corn in his chest,he would
161
Act I–Scene 2
molto rit. Solemn and soulful
175
= ca. 80
1 2 3
Fl.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 cant., in relief of voice
Ob. 2
Cl. in B
1 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
cant., in relief of voice
Bs.Cl. cant., in relief of voice 1 2 cant., in relief of voice
Bn. 3
cant., in relief of voice
1 2 Hn. in F
3 4 (with mute) 1 2 cant. in relief of voice
Tpt. in C
(with mute) 3 cant. in relief of voice (with mute)
Tbn.
1 2 cant. in relief of voice Bs. Tbn., with mute
Bs.Tbn. Tuba cant. in relief of voice
Timp.
1 (Vib.) Perc.
2
3
Piano
senza pedale
F
Harp
(Margaret and Robert laugh heartily.)
(Cilla beckons for Robert and Margaret to sit down at the dinner table.)
C.
Ease M.G. 3
lease
out his
lease
out his
own
3
heart’s
place!
heart’s
place!
R.G. 3
3
own
molto rit. Solemn and soulful
= ca. 80 unis.
I Vn. II
Va. unis. Vc.
Cb.
162
Act I–Scene 2
180 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., open 1 2 Hn. in F
3 4 1 2
Tpt. in C 3
remove mute Tbn.
1 2 (Bs.Tbn.)
Bs. Tbn. remove mute
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
D
(full voice)
quasi
C.
your selves, M.G.
R.G.
I Vn. II
Va.
Vc.
Cb.
ease
3
your
selves.
The
ta
ble
is
laid.
The
163
Act I–Scene 2
186 1 2 dolce
Fl. 3
dolce 1 Ob. 2
Cl. in B
1 2 cant.
dolce
Bs.Cl. cant.
dolce
cant.
dolce
cant.
dolce
1 2 Bn. 3
(1.)
take straight mute
1 2 Hn. in F
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
(All three sit down to dinner.) C.
sup
per
is
plain
but
warm. 3
3
port.
M.G.
You’ve got milk and straw ber ries, too. R.G.
I Vn. II
Va.
Vc.
Cb.
164
Act I–Scene 2
poco rit.*
193
Meno mosso
= ca. 69–72
1 2
3
3
3
3
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 open Tbn.
1 2 cantabile Bs. Tbn. open
Bs.Tbn. Tuba cantabile
Timp.
1
Perc.
2
3
Piano
Harp
D
F
B
C.
Dear
Lord
in
Hea
ven,
make (like a responsorial)
M.G.
Bless ed
Lord.
(like a responsorial) R.G.
Bless ed
poco rit.*
Meno mosso
Lord.
= ca. 69–72
I div.
Vn. II unis. Va.
div. Vc.
Cb.
* No break in sound.
us grate
165
Act I–Scene 2
199 1 2
3
3
3
3
3
3
3
3
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.
1 Tam. Perc.
2
B.D. 3
Piano
8ba
8ba
Harp
C. 3
ful
3
3
for our food.
Keep us well and in Your sight.
Pro tect
those
in
dan
ger,
M.G.
Sweet Je
sus
Mmm
Take my
Sweet Je
sus
Mmm
Take my
R.G.
I Vn. II
Va.
Vc.
Cb.
166
Act I–Scene 2
(don’t drag)
205 1 2
3
3
3
3
3
3
3
3
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.
1 Tam. Perc.
2
B.D. 3
Piano
D
D
Harp
(don’t drag) 3
gliss.
3
C. 3
and let us be guid
ed byYour hea
Mmm
ven ly light.
gliss.
M.G.
hand…
Pre cious Lord
Mmm gliss.
R.G.
hand…
Pre cious Lord
div. I Vn. II
Va.
Vc.
Cb.
(don’t drag)
unis.
Mmm
167
Act I–Scene 2
210 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1., solo 1 2 espr.
Bn. 3
with straight mute
remove mute
1 2 Hn. in F
remove mute
with straight mute 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
8ba
Harp
port. C. 3
A
men.
M.G.
R.G.
div. I Vn.
(div.) II
Va. poco espr. (div.) Vc.
pizz. Cb.
arco
168
Act I–Scene 2
217 A
piacere
Moderato
= 72
a2
3
1 2
3
3
3
3
3
Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 3
3
3
3
3
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
Piano
3
3
3
3
3
3
EF G A D C B
Harp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
C.
(to Cilla) dolce, contando M.G.
How’s
exuberantly, quasi parlando
my ba
by?
Not
R.G. 3
You are a har vest time bless ing, ma ma.
A piacere
Moderato
= 72
1 solo
I dolce cantabile
Vn. II div. Va.
unis.
div.
div.
pizz.
Vc.
Cb.
169
Act I–Scene 2
222
(a2)
3
3
1 2
3
3
3
3
3
3
3
Fl. 3
1 Ob. 2
Cl. in B
1 2 3
3
3
3
3
3
3
3
3
3
3
Bs.Cl. 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
Piano
3
3
3
3
3
3
3
3
3
Harp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
C. più espressivo 3
3
M.G.
cry ing for
me?
How’s
my sweet ness?
Not
miss ing
me?
R.G.
(1 solo)
port.
I 3
II
Va.
Vc.
Cb.
3
dolce cant.
Vn.
dolce
3
170
Act I–Scene 2
A little more lively (poco più mosso)
227 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., open 1 2 Hn. in F
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
EF G A D C B
Harp
(darkly)
3
5
sotto voce
C.
She’s sleep
ing, Mar garet.
Sleep
ing.
Not a frown on her su gar but ter face.
M.G. laughing R.G.
Did you ev
I più cant. (div.) II più cant.
unis. Va.
più cant. Vc. unis. Cb.
see
a mo ther like that?
A little more lively (poco più mosso)
tutti, div.
Vn.
er
più cant.
171
Act I–Scene 2
233 1 2 Fl. 3
1 dolce
Ob. 2
soli
dolce Cl. in B
1 2
cantabile Bs.Cl. 1.
cantabile
1 2 dolce
Bn. 3
(1.) 1 2 Hn. in F
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
C.
M.G.
meno
(not quite full voice)
R.G.
The child
3
3
sup posed to need the mo ther;
now here
I espr.
Vn. II
espr. Va. espr. Vc. espr. Cb.
1 solo
the
3
mo ther needs the child
more.
172
Act I–Scene 2
239 1 2 dolce
Fl. 3
1 Ob. 2
Cl. in B
1 2 dolce
Bs.Cl.
1 2 dolce
Bn. 3
(1.)
2. open
1 2 Hn. in F
dolce
3., open 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
C.
The ba
by
needs her
rest. 3
3
M.G.
I need R.G.
I Vn. II
Va.
Vc.
Cb.
3
to smell her
breath.
I
need
to
see her eyes,
173
Act I–Scene 2
245
1.
don’t drag
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.
1
Perc.
2
3
Piano
sempre
Harp
emphatically
(quick grace note)
C.
It’s dan M.G.
her
smile.
R.G.
don’t drag I Vn. II
Va. unis. Vc.
Cb.
g’r ous, daugh ter,
to
love
too
174
Act I–Scene 2
251
Più lento
(1.)
= 58–60
1 2 sotto voce
Fl. 3
sotto voce 1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
non cresc.
3. 3 4
non cresc. 1 2 Tpt. in C 3 take mute Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
to Celesta
Piano
Harp
full voice
(freely) 3
C.
much.
The
Lord
giv
eth
and
the
Lord
tak
eth
a
M.G.
R.G.
Più lento
unis. poco vibrato I sotto voce unis. poco vibrato
Vn.
div.
II sotto voce poco vibrato Va. sotto voce div. Vc. tutti, arco Cb.
div.
= 58–60
175
Act I–Scene 2
più mosso
257 1 2 molto cantabile
Fl. 3
1 Ob. 2
Cl. in B
1 2 molto cantabile
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.
1
Perc.
2
3
Celesta
G
Harp
come recitative 3
C.
way.
Come
to your sup per be fore you wake
M.G.
R.G.
div.
più mosso
I Vn.
unis. II
unis. Va. espr. div. a2 Vc.
unis. Cb.
her.
176
Act I–Scene 2
261
= 80
Pochissimo più mosso
1 2 Fl. 3
1 espr.
Ob. 2
espr. Cl. in B
1 2
Bs.Cl. 1. 1 2 espr.
Bn. 3
1 2 Hn. in F
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Perc.
2
3
Celesta
Harp
C.
(peacefully) M.G.
She
is
my
sup per,
the
food
of
my
heart.
R.G.
And what am I?
= 80
Pochissimo più mosso
2 soli
I
The leav
gli altri, div.
Vn. dolce II dolce
Va. dolce unis.
div.
unis., pizz.
Vc. dolce Cb.
pizz.
ings?
177
Act I–Scene 2
267
Moderato
= 72
Subito doppio movimento
= 144
=
1 2 cresc.
Fl. 3
1 cresc.
Ob.
3
3
3
3
3
3
3
3
3
3
3
3
2 cresc. Cl. in B
1 2 cresc.
3
3
3
3
Bs.Cl.
cresc.
2. 1 2 cresc. Bn. 3 cresc.
1 2 Hn. in F
4. open
cresc.
3 4 with straight mute
cresc.
3
1 2 Tpt. in C
3
3 with straight mute Tbn.
1 2 3
3
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Celesta
Harp
C. (smiling, reaching out to Robert) 3
M.G. 3
Oh,
no,
Oh,
no.
You
are
3
the
pulse.
With
R.G.
Moderato tutti, unis.
= 72
Subito doppio movimento pizz.
div.
=
= 144
unis., arco
3
I 3
cresc. Vn.
div., pizz.
arco, non div.
3
3
3
3
II cresc.
div.
3
3
div. a2, arco
div. a3, pizz.
Va. cresc.
arco Vc. cresc. arco Cb. cresc.
3
3
178
Act I–Scene 2
non troppo pesante
273 1 2
3
3 3
Fl.
3
3
3 3
3
3 3
3
3
3
3
3
3
3
3
3
1 3 3
Ob.
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
cresc.
2 3
Cl. in B
3
3
3
cresc.
3
1 2 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
cresc.
Bs.Cl. 3 3
3
3 3
3
1 2 Bn.
marcatiss.
cresc.
marcatiss.
cresc.
3
3
3
3
3
3
3
1 2 3
Hn. in F
3
3
3 3 3
3 4 3
remove mute
3
3
3
3
cresc.
3 3
3
3
3
3
3
cresc.
open
3
1 2 3
3
Tpt. in C
open
3
cresc. 3
3
3 remove mute Tbn.
cresc.
open
1 2 3
3
3
3
cresc.
Bs.Tbn. Tuba cresc.
Timp.
1
Perc.
2
3
Celesta
Harp
(They embrace.) C. 3
3
M.G.
out
you
I
have no
heart.
R.G. 3
3
And
3
with out
you
I
have
no
pulse
3
to give.
non troppo pesante 3
3
I
3
Vn.
3
3
3
3
3
3
3
cresc.
div.
3
3
II 3 3
3
3
3
3 3
3
cresc.
unis.
Va. 3
3
marcatiss.
cresc.
div. Vc. marcatiss.
cresc.
Cb. marcatiss.
cresc.
179
Act I–Scene 2
Il mezzo tempo = 72
279 1 2
3
3 3
3
cresc.
3
3
3
3 3
3 3
3
3
3
3
3
3
cresc.
Fl.
più mosso
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 (cresc.)
Ob.
3 3
3 3
2 3
(cresc.) Cl. in B
1 2
3
(cresc.)
3
3
Bs.Cl. cresc. 1 2 Bn.
(cresc.) 3
(cresc.)
1 2 3
Hn. in F
3
(cresc.) 3
3 3
3
3 4 (cresc.) take straight mute 1 2 3
(cresc.)
Tpt. in C
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
take straight mute
3 (cresc.)
Tbn.
1 2
3
(cresc.)
3
3
Bs.Tbn. Tuba (cresc.)
Timp. cresc. 1
Perc.
2
3
Celesta
Harp
l.v.
(interrupting)
come recitativo
poco agitato
3
C.
E nough
said.
Go get your heart be fore you break mine.
M.G.
R.G.
Il mezzo tempo = 72
più mosso
I 3
(cresc.)
Vn.
3 3
3 3
3
3 3
3 3
3
3 3
3 3
sotto voce
II 3
(cresc.)
3
3
sotto voce
Va. (cresc.)
sotto voce
Vc. (cresc.)
sotto voce div., half arco, half pizz.
Cb. (cresc.)
sotto voce
180
Act I–Scene 2
284
a tempo (don’t drag)
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 dolce
Bs.Cl. dolce 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
E F G A D CB
Harp
(Margaret goes to get the baby.) C.
M.G.
R.G.
a tempo (don’t drag) I espr. unis.
Vn. II
espr. unis.
div.
Va. espr. unis.
div.
Vc. espr. Cb.
unis., arco
181
Act I–Scene 2
290 Moderato
semplice, flowing
= 42–44 ( = 84–88)
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.
1
Perc.
2
3
Celesta
Celesta
Harp
(As Cilla and Robert eat dinner, Margaret sings tenderly to the child.) C.
tenderly
3
3
3
M.G.
Sad
things,
far
a way.
R.G.
Moderato semplice, flowing
= 42–44 ( = 84–88)
alla punta del arco I
6
6
6
6
6
6
6
6
6
6
6
6
6
6
sim.
Vn.
alla punta del arco II 6
unis., poco vib. Va. unis., poco vib. Vc.
Cb.
6
sim.
182
Act I–Scene 2
294 1 2 Fl. 3
1 dolce
Ob. 2
dolce Cl. in B
1 2 dolce cant.
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.
1
Perc.
2
3
Celesta
Harp
C.
3
port.
3
M.G. 3
Soft
things,
come
and play
love
ly
ba
by…
R.G.
I
6
6
6
6
6
6
sim.
Vn. II 6
sim.
6
div.
unis.
Va. div. Vc.
Cb.
unis.
div.
183
Act I–Scene 2
300 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.
1
Perc.
2
3
Celesta
C
Harp
C. full, rich 3
3
3
3
3
3
3
3
M.G.
Sleep
in
the mea dow,
sleep
in
the hay
Ba
by’s
got
a dream in’
on the
way.
3
R.G.
(alla punta) I
div.
6
6
sim.
Vn.
6
6 6
6
6
(alla punta)
sim.
6
6
II 6
div.
sim.
6
6
6
6
6
Va. (div.)
unis.
pizz.
arco
Vc.
Cb.
6
sim.
184
Act I–Scene 2
304 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.
1
Perc.
2
3
Celesta
Harp
C.
3
più cant.
3
3
3
3
M.G. 3
Bad
things,
far
a way.
R.G.
unis. I
6
6
6
6
6
6
sim.
Vn.
div.
6
unis.
6
II 6
sim.
6
6
6
unis.
Va.
div. Vc.
pizz. Cb.
unis.
6
6
6
6
185
Act I–Scene 2
308 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.
1
Perc.
2
3
Celesta
Harp
C
C.
3
3
3
3
M.G. 3
Pret ty
3
things,
here
to stay.
3
Sweet
ba
3
3
by
smile
at me.
R.G.
div.
I
unis.
6
div.
6
6
6
6
sim.
Vn.
sim. 6
6
II 6
sim.
6
div.
6
unis.
6
sim.
Va. div. Vc.
Cb.
unis.
6
6
6 6
6
186
Act I–Scene 2
312 1 2 dim.
Fl. 3
dim. 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.
1
Perc.
2
3
dim.
Celesta
Harp
C. molto cantabile, full voice
less full 3
3
3
3
3
M.G. 3
Love
3
ly
ba
by,
go
to
sleep.
Sleep
in
the mea dow,
sleep
in
the hay.
R.G.
unis. I 6
Vn.
sim. 6
6
6
6
6
6
sim.
6
sim.
6
6
6
6
II sim.
6
6
div.
Va. div. Vc. sub. Cb.
6
6
187
Act I–Scene 2
316 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.
1
Perc.
2
3
Celesta
C
Harp
C. full, vibrant 3
3
3
3
3
3
3
M.G. 3
Ba
by’s
gon na
dream
the
night
a
way.
R.G.
unis.
div. I
6
sim.
Vn.
6
6 6
6
6
6
6
6
6
6 6
II 6
sim.
6
Va. unis.
div.
arco
pizz.
Vc.
Cb.
6
6
188
Act I–Scene 2
320
soli
1 2 Fl.
dolce 3 soli 1 dolce soli
Ob. 2
dolce Cl. in B
1 2 dolce
dolce
Bs.Cl. dolce 1 2 dolce
Bn. 3
1., solo 1 2 Hn. in F
dolce
3
3
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Celesta
C
Harp
C.
full, warm–hearted
port.
M.G.
Love
ly
ba
by,
pret
ty
ba
by.
R.G.
2 soli, div., ord.
tutti, unis., alla punta
I
6
Vn.
sim.
6
sim.
6
(alla punta) II 6
div.
unis. Va. dolce unis.
div.
unis. div.
Vc. dolce Cb.
189
Act I–Scene 2
325 1 2 Fl. 3
solo 1 espr.
Ob.
3
2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
(1.) 1 2 Hn. in F
3
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Celesta
Harp
C
C.
3
3
3
3
3
M.G.
Ba
by’s
gon na
dream
the
3
night
a
R.G.
alla punta
div., ord. I
6
6
sim.
6
6
6
Vn.
div., ord.
sim.
6
unis., alla punta
II 6
unis.
sim. div.
6
6
unis.
6
div.
6
unis.
Va. unis. Vc.
arco Cb.
sim. div.
6
190
Act I–Scene 2
329
(non rit.)
1.
ancora meno mosso (slower still) = 66
Più lento, slower = ca. 72
1 2 sotto voce
Fl. 3
sotto voce 1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
to Piano
Celesta
Harp
(Casey approaches the cabin, armed with a double–barreled shotgun and carrying a satchel. He loiters for a few minutes, passing the time by cleaning his gun.) C.
3
3
3
3
3
M.G.
way.
Sleep
in the mea dow,
sleep
in the hay.
3
’ Ba
3
by’s gon na
R.G.
Più lento, slower = ca. 72
(non rit.) unis. I
div., ord. 6
6
6
6
Vn.
ord. II 6
6
6
6
unis. Va. sotto voce div. Vc. sotto voce pizz. Cb.
unis.
ancora meno mosso (slower still) = 66
191
Act I–Scene 2
334
=
1 2 dolce Fl.
to Piccolo 3 dolce 1
Ob. 2 dolce Cl. in B
1 2 dolce
Bs.Cl. dolce 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
Piano
Piano
fast arp.
fast arp.
Harp
C.
port.
*
3
**
3
3
port.
M.G.
dream.
Ba
by’s gon na dream.
Ba
by’s
gon na
dream.
mmm
R.G.
(div.)
= I div.
Vn. II
div. 5 sole, div. a5 Va.
Vc.
Cb.
* mm 335-336 ossia: “mmm” (humming) ** Going gradually from closed mouth to partially open mouth.
tutte, div. a2
ah
192
Act I–Scene 2
Subito agitato = 92 341 (not hurried, ben misurato) Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1. 1 2 marcato
Bn.
marcato
marcato
3
a2 1 2 Hn. in F
a2 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Sus. Cym., 2 snare brushes 1 B.D. Perc.
2
3
Piano
E F G A D C B
Harp
C.
M.G.
Casey: (quietly, standing in the cabin doorway) Ca. 8
Not
to
night.
No
bo dy
dreams
to
night.
R.G.
Subito agitato = 92 (not hurried, ben misurato) I Vn. II
Va.
Vc. marcato
marcato
marcato
marcato
marcato
Cb. marcato
193
Act I–Scene 2
non troppo
Piccolo
347 Picc.
7
a2
Fl.
1 2
7
1 7
Ob.
7
2 a2
1. Cl. in B
1 2 7
Bs.Cl. 2.
1.
1 2 marcatiss.
Bn. 3
1 2 Hn. in F
cuivré 3 4 cuivré with straight mute
remove mute
with straight mute
remove mute
open
1 2 Tpt. in C
open
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. High Wd. Blk. 1 Mounted Cast. Perc.
2
3
8va
8va
Piano
Harp
(Casey enters the cabin abruptly and confronts Robert.) C.
M.G. molto
sarcastically
Ca.
What’s
8
that
I
say?
R.G.
What
d’you say.
What’s that
you say?
div. unis., pizz.
non troppo
arco
I 7
arco
div.
Vn.
unis., pizz.
II 7
non div. Va. 7
div. Vc. marcatiss. div. Cb. marcatiss.
unis.
194
Act I–Scene 2
353 Picc.
Fl.
1 2
1 Ob. 2 2. Cl. in B
1 2
Bs.Cl.
2.
1.
1. 1 2
staccatissimo Bn.
staccatissimo 3
1 2 Hn. in F
take straight mute
open
a2, with straight mute
3 4
take straight mute
with straight mute
take straight mute
with straight mute
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. High Wd. Blk. 1 Mounted Cast. Perc.
2
3
8va
Piano
Harp
(Casey points his gun at Robert.) C.
M.G. molto
with anger Ca. 8
What’s
that
(a)
you
say.
R.G.
Ex
div.
I Vn.
div. II
Va.
unis.
div.
unis.
Vc. staccatissimo staccatissimo div.
unis.
Cb. staccatissimo staccatissimo
cuse
me sir,
Yes,
195
Act I–Scene 2
359 Picc.
Fl.
1 2
1 Ob. 2 (2.) Cl. in B
1 2
Bs.Cl. (2.)
1.
1 2 Bn. 3
take straight mute 1 2 Hn. in F
take straight mute 3 4
1 2 Tpt. in C 3 a2 Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
C.
M.G.
Ca. 8
R.G.
sir.
What’s that
you
say,
sir?
I Vn. II div.
unis., sul C
div.
unis.
Va. sub. Vc.
Cb.
196
Act I–Scene 2
365
rit.
Quasi andante
= 80
Picc.
Fl.
1 2
1 sempre marcato e secco
Ob.
ossia: 2 sempre marcato e secco
Cl. in B
1 2
Bs.Cl. a2 1 2 Bn. 3
with straight mute 1 2 Hn. in F
3., with straight mute 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
C.
M.G.
Ca. 8
Bet ter.
Much
bet ter.
What I say
R.G.
rit.
Quasi andante
= 80
unis., pizz. div. I sempre marcato e secco unis., pizz.
Vn. II
sempre marcato e secco div. Va. div. Vc. pizz. Cb.
unis., pizz.
is,
No
hap
197
Act I–Scene 2
371 Picc.
Fl.
1 2
1 Ob. 2 2. Cl. in B
6
1 2
6
6
6
6
6
6
Bs.Cl.
2.
6
1.
2.
6
6
6
6
6
6
1.
1 2 Bn. 3
1 2 Hn. in F
4. with straight mute
remove mute
3 4 1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
to Celesta
Piano
Harp
C.
M.G.
Ca. 8
R.G.
I Vn. II
Va.
Vc.
Cb.
py
dar
ky dream in’
ta night.
198
Act I–Scene 2
375 Picc. 1. (grace notes before the beat) 6
Fl.
6
6
6
1 2 (grace notes before the beat) 1
Ob. 2
Cl. in B
1 2
Bs.Cl. 2. 1 2 Bn. 3
remove mute
1., open
1 2 Hn. in F
sub.
3., open 3 4 espr. 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Celesta
Harp
C.
What plans, M.G.
sotto voce
3
Ca. 8
Mis ter Gaines
has
o ther
plans‌
O ther plans.
R.G.
(pizz.) I Vn.
(pizz.) II poco vibrato
Va. div., arco Vc.
Cb.
(con vibrato)
Mis ter Ca sey?
199
Act I–Scene 2
379 to Flute Picc. (1.)
Fl.
1 2
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl. a2 1 2 Bn. 3
(1.) 1 2 Hn. in F
(3.) 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Celesta
E FG A D CB
Harp
C.
M.G.
Ca. 8
3
I’m R.G.
I Vn. II
Va.
Vc.
Cb.
talk in’ to your boy,
Cil la.
not
you.
200
Act I–Scene 2
383 1 2 sotto voce
Fl. 3
1 sotto voce
Ob. 2
sotto voce
a2 Cl. in B
1 2
Bs.Cl. 2. 1 2 Bn. 3
1.
gliss.
1 2 Hn. in F
3. 3 4
gliss.
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 Sus. Cym., brushes Perc.
2 B.D. 3
Celesta
Harp
C.
M.G. (to Robert)
3
almost shouted
quasi parlando, aggressively
3
3
3
Ca. 8
You have been rent ed out,
boy.
Mis ter Gaines wants you on your way
R.G.
arco I Vn.
arco II
Va. unis., pizz. Vc.
Cb.
ta night,
3
3
3
so you’ll be rea dy for work at sun rise.
201
Act I–Scene 2
Più agitato 388
= ca. 84
6
6
6
6
1 2 Fl.
3
3
3
3
3
1 Ob. 2 a2 Cl. in B
6
1 2
6
6
6
Bs.Cl. 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 (Sus. Cym.) Perc.
2 (B.D.) 3
Celesta
Celesta
Harp
3
C.
M.G.
Ca. 8
Not
your bus
’ness
to know;
R.G. 3
Where,
sir?
Where is he send
ing me?
Più agitato I Vn. II (div.) Va.
div., arco Vc.
arco Cb.
pizz.
= ca. 84
on
202
Act I–Scene 2
a tempo ( = ca. 80)
poco accel.
392
6
6
1 2 Fl.
3
3
3
1 sub.
Ob. 2
sub.
(a2) Cl. in B
6
1 2
6
Bs.Cl. 3
3
1 2 Bn. 3
a2, open 1 2 Hn. in F
sub.
sub.
sub.
sub.
sub.
sub.
a2, open 3 4
1 2 Tpt. in C 3 a2 Tbn.
a2
a2
1 2 sub. sub.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
to Piano
Celesta
Harp 3
3
C.
M.G. (pointing to the door)
(almost shouted)
Ca. 8
3
ly
3
your bus ’ness
to
go.
The wa
gon’s on the road.
Hop
R.G.
poco accel.
a tempo ( = ca. 80)
div.
unis.
div.
unis.
div.
I sub. Vn.
div. II
unis.
sub. div.
unis.
Va. sub. div.
unis. Vc. sub. div. a3 Cb.
unis., arco
to it boy!
203
Act I–Scene 2
396
poco riten.
L’istesso tempo 3
3
3
3
3
3
3
3
3
Flute 3
3
3
3
3
3
3
3
3
a tempo
1 2 Fl.
to Piccolo
3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
3 4 1 2
Tpt. in C 3 open, with no attack
remove mute Tbn.
1 2 remove mute
open, with no attack
Bs.Tbn. Tuba
Timp.
1 Vib., motor off, medium soft mallet, with no attack Perc.
2
Pedal
Pedal Glock.
3
Piano
Piano
E FG A D CB
Harp
C.
3
M.G.
I’ll
get rea dy.
Hold
the ba
by,
Ma ma.
Ca. 8
Hold
R.G.
poco riten.
L’istesso tempo
a tempo unis., pizz.
I Vn.
unis.
poco marcato pizz.
II poco marcato
div., a3 Va. sub. unis. Vc.
pizz. Cb.
on
girl.
You’ll
get rea dy all
right.
204
Act I–Scene 2
401 Picc. 1. Fl.
1 2
1 Ob. 2 1., solo Cl. in B
1 2 molto espr.
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.
1
Perc.
2
3
Piano
C
Harp
B
A
G
C.
M.G.
(quietly, with innuendo)
full voice
Ca. 8
But you won’t need
the wa gon.
Mis ter Gaines wants you in the house.
his
house.
Ain’t
that nice!
R.G.
I Vn.
arco II unis.
sotto voce
Va. sotto voce div. a2 Vc. div.
sotto voce unis., arco
Cb. sotto voce
G
205
Act I–Scene 2
406 Picc. a2
Fl.
1 2
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl. 1. 1 2 Bn. 3
1., solo, with woodwinds 1 2 Hn. in F
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
A
Harp
D
F
EF GA D C B
A
C.
M.G. più sonoro
più
3
port. 3
Ca. 8
No
more field
work.
Ain’t
that nice.
3
You can put your feet up
in his house all day,
all
R.G.
I pizz.
Vn. II
unis.
div. Va.
sotto voce unis. Vc. div., pizz. Cb.
night,
too.
206
Act I–Scene 2
411 Picc. 1.
Fl.
1 2
1 Ob. 2 (1.) Cl. in B
2.
1 2
Bs.Cl. (1.) 1 2 Bn. 3
(1.) 1 2 Hn. in F
3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Xyl. 1
Perc.
2
3
Piano
E
Harp
B
C
A
(Casey pulls a stylish housedress out of his satchel. He waves the dress, like a red flag, in Robert’s face, then tosses it at Margaret.)
(Casey leaves.)
C.
M.G.
full voice Ca. 8
Ain’t
that nice?
Ain’t
that nice?
Ain’t
R.G.
arco
I Vn.
sotto voce arco
sotto voce (from a distance)
sotto voce
sotto voce (from a distance)
II div. Va.
div. Vc.
unis., arco Cb.
that nice?
207
Act I–Scene 2
416 slightly
faster
Picc.
Fl.
1 2
1 Ob. 2 1. Cl. in B
1 2 dolce sotto voce
Bs.Cl. sotto voce
1.
1 2 sotto voce
Bn. 3
1. 1 2 Hn. in F
sotto voce
3.
3 4 sotto voce
1 2 Tpt. in C 3
with no attack Tbn.
1 2 with no attack
Bs.Tbn. Tuba
Timp. Xyl.
Tam.
1
Wd. Blk. Perc.
Sus. Cym.
l.v.
2 B.D. 3
Piano
sub.
Harp
G
E FG A D C B
D
(Robert and Margaret exchange troubled glances; Cilla rocks the baby.)
(As he walks away, Casey sings a parody of Margaret’s “Lullaby.”)
(Robert tries at first to contain his emotions.)
C.
M.G. (laughing derisively)
(mockingly, but cooly)
3
3
Ca. 8
3
La R.G.
slightly faster I possibile Vn. II unis.
possibile
Va. sotto voce Vc. sotto voce Cb. sotto voce
da
3
da da da
3
3
La
da
da day.
Ha ha ha ha ha ha ha ha;
208
Act I–Scene 2
422
Con moto, ben misurato
a piacere
= 126
Picc.
Fl.
1 2
1 Ob. 2 (1.) Cl. in B
a2
1 2 sotto voce
Bs.Cl. a2 1 2 Bn. 3
1 2 Hn. in F
a2 3 4
1 2 Tpt. in C 3 a2 Tbn.
1 2 a2
a2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
E FGA D C B
C
(Robert paces the room, his anger at the boiling point.) C.
M.G. (erupting in rage)
molto
sotto voce R.G. 3
Skunk.
Snake.
Son of a whore.
Con moto, ben misurato
a piacere
= 126
I Vn. II
Va. unis. Vc.
div. Cb.
unis.
209
Act I–Scene 2
428 Picc.
Fl.
1 2 sub. 1
Ob.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
2 (a2) 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 (a2) Tbn.
1 2 (a2)
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
C.
Please!
Don’t
wake the ba
by.
M.G.
R.G.
div. I sub.
Vn.
div.
sub.
II div.
sub.
sub.
Va. div.
sub.
sub.
Vc. sub.
sub.
sub.
sub.
Cb.
210
Act I–Scene 2
433 Picc.
Fl.
1 2 sub. 1
Ob.
sub.
sub.
sub.
sub.
2
Cl. in B
1 2
Bs.Cl.
1 2 sub.
Bn.
sub.
sub.
3 sub.
sub.
1 2 Hn. in F 3 4
1 2 Tpt. in C 3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
B.D. 1
Perc.
2
3
Piano
Harp
C.
3
M.G.
Cool
(full voice)
down,
Ro bert.
R.G.
Yel
la bel ly!
3
That son of a dog.
arco
unis., pizz. I
sub.
Vn.
unis., pizz.
arco
pizz.
arco
II
unis.
sub. div.
Va. sub. unis.
arco, non div.
pizz.
sub.
div.
Vc. sub.
sub.
sub.
sub.
sub.
Cb.
211
Act I–Scene 2
438 Picc.
Fl.
1 2
1 Ob. 2 a2 Cl. in B
1 2
Bs.Cl. a2 1 2 Bn. 3
1 2 Hn. in F
a2
3 4
1 2 Tpt. in C 3 a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
a2
Timp.
1
Perc.
2
3
Piano
Harp
C.
3
M.G.
He
will
hear
you.
R.G.
I Vn. II unis. Va. unis. Vc.
div. Cb.
unis.
212
Act I–Scene 2
445
Piccolo
Picc. a2 Fl.
1 2
1 Ob.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
a2
1. 1 2 Hn. in F
with voice
with voice
3 4
1 2 Tpt. in C 3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1 Wd. Blk. Perc.
2 Mounted Guíro, wood scraper 3
Piano
Harp
C.
M.G.
R.G. 3
I am a
3
man,
ain’t I?
Ain’t
I
a
man?
Ain’t I?
div. I sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
Vn.
div.
II
div. Va. div. Vc.
Cb.
unis.
Ain’t I?
213
Act I–Scene 2
450 Picc.
a2 Fl.
1 2
1 sub.
Ob. 2
sub. Cl. in B
1 2
Bs.Cl.
1 2 sub.
Bn. 3
1. 1 2 Hn. in F
3 4 a2 1 2
Tpt. in C 3 a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
G
Harp
C.
quasi M.G.
Yes,
you are.
To me,
3
and to
us.
R.G.
pizz.
unis., arco
I sub.
Vn.
pizz.
unis., arco
II sub. pizz.
unis., arco
Va. sub. div., pizz.
unis., arco
Vc. pizz. Cb.
sub.
div.
214
Act I–Scene 2
456
to Flute
Picc. a2
1. Fl.
1 2
1 sub.
Ob. 2
sub. a2 Cl. in B
1 2 sub.
Bs.Cl. sub. 1 2 Bn.
sub.
sub. 3
sub.
sub.
a2
gl.
a2
gl.
1 2 Hn. in F 3 4
(1.)
1., solo with voice 1 2 Tpt. in C 3 a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
8va
Piano
G
Harp
C.
M.G.
R.G. 3
I know,
I know,
I
know what is on
mind.
his
Bas tard!
div. a2
tutti, unis. I sub. Vn.
sub.
div. II sub.
sub. div.
div. a3
div. a2
Va. sub.
sub.
Vc. sub.
sub.
sub.
sub.
arco Cb.
215
Act I–Scene 2
463 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1. 1 2 Bn. 3
1 2 Hn. in F
3 4 2. take straight mute 1 2
Tpt. in C
take straight mute 3 take cup mute
Tbn.
1 2 take cup mute
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
to Celesta
Piano
Harp
G
C.
(lovingly) M.G.
It
won’t
hap
pen.
It won’t
hap
pen,
be lieve
R.G.
unis. I Vn.
div. II
unis. Va. unis.
div.
Vc. pizz. Cb.
me.
Be
lieve
me!
216
Act I–Scene 2
468 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.
1
Perc.
2
3
Celesta
Harp
A
G D
C.
M.G.
R.G.
How
can
you know?
How
div. I Vn.
unis. II
Va. gli altri, arco Vc. sotto voce 1 solo, pizz. gli altri, arco Cb. sotto voce 1 solo, pizz.
can you
be
sure?
217
Act I–Scene 2
474 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.
1 Vib., soft mallet, motor on (fast speed) Perc.
2 Pedal 3
Celesta
Celesta
Harp
E
F
F
F
F
C.
M.G.
His
daugh
ter lives
there,
too.
R.G. 3
You
can’t
con trol
a
snake
in
his own
nest.
alla punta del arco I Vn. II div.
unis.
Va. tutti, div. Vc.
tutti, pizz. Cb.
div.
218
Act I–Scene 2
480 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. molto espr. 1 2 Bn. 3
1 2 Hn. in F
3 4 1 2
Tpt. in C 3 with cup mute Tbn.
1 2 sotto voce with cup mute
Bs.Tbn. Tuba sotto voce
Timp.
1 Vib., medium soft mallets, motor on (fast speed) Perc.
2 Pedal 3
with violins
Celesta
F
Harp
sub.
E
D
E
C.
Be
lieve
M.G.
He
will
be
have.
R.G.
alla punta del arco (div.) I with celesta
Vn. unis. II
molto espr. Va. sotto voce Vc. arco
div.
unis.
sotto voce
Cb. sotto voce
her,
son.
219
Act I–Scene 2
486 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 remove mute Tbn.
1 2 remove mute
Bs.Tbn. Tuba
Timp.
1 (Vib.) Perc.
2 (Pedal) 3
Celesta
Harp
E
E
E
E
G C
D
C. 3
It
can’t
be
for
too
long.
M.G.
R.G.
I Vn. II
Va.
Vc.
pizz. Cb.
E
220
Act I–Scene 2
492 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.
1
Perc.
2
3
Celesta
G C
Harp
C.
M.G.
We
will
find
R.G.
I Vn. II pizz. (div.) Va. pizz. Vc.
Cb.
a
way.
221
Act I–Scene 2
498
1., solo
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. sotto voce 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 Vib., medium soft mallet, motor on, fast speed Perc.
2 Pedal 3
Celesta
Harp
E
E
(Margaret moves closer to Robert.) C.
mezza voce, legato M.G.
Stay
strong.
He
is
R.G.
I Vn. pizz.
arco
II
unis., arco
sotto voce
Va. sotto voce div. a2, arco
(div.)
Vc. sotto voce (pizz.) Cb. sotto voce
222
Act I–Scene 2
504
(1.)
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.
1
Perc.
2
3
Celesta
F D
Harp
A
C.
M.G.
not
the
mas
ter
of
me.
R.G.
1 solo I dolcissimo, with celesta
Vn. II
Va.
unis. Vc.
Cb.
div.
Act I–Scene 2
510 1 2 Fl. 3
1 Ob. 2 1. 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.
1
Perc.
2
3
Celesta
Harp
C.
M.G.
R.G.
I Vn. II
Va.
Vc.
Cb.
223
224
Act I–Scene 2
rit.
516 1 2 Fl. 3
1 Ob. 2 (1.) Cl. in B
2.
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.
1 Vib., medium soft mallets Perc.
2
3
to Piano
Celesta
Harp
C.
M.G.
R.G.
rit. 1 solo I Vn. II pizz.
1 sola, arco
Va.
div., half pizz., half arco tutti arco (div.) Vc.
(pizz.) Cb.
Molto moderato 522 = ca. 54–58
225
Act I–Scene 2
hold back a tempo
hold back a tempo
1 2 Fl. 3
1 Ob. 2 1., solo Cl. in B
1 2 molto cantabile
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
dolce 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
E FGA D CB
Harp
(Standing downstage center, Robert and Margaret are holding hands. As they sing, they gradually move apart.) C.
M.G.
Hold
dolce
me.
Stay,
R.G.
Hold
Molto moderato = ca. 54–58
hold back a tempo
on.
hold back a tempo
tutti, div., poco vib. I transparent div., poco vib.
Vn. II
transparent tutta, unis.
div.
Va. espressivo (div.), poco vib. Vc. transparent arco, poco vib. Cb. transparent
unis.
Sweet.
226
Act I–Scene 2
528 1 2 Fl. 3
1 dolce
Ob. 2
dolce Cl. in B
1 2
Bs.Cl. 1.
dolce 1 2
molto espr.
Bn. 3
1. 1 2 Hn. in F
molto cantabile 3 4 1. 1 2 dolce
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Perc.
2
3
Piano
Harp
B
C.
M.G.
Be
my
moon
rise.
R.G. 3
Stay
strong.
Be
I Vn. II div. unis. Va.
div.
unis.
div.
Vc.
div. Cb.
my
dawn.
227
Act I–Scene 2
534
Poco più mosso
= ca. 63
1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2 cantando ed espr.
Bs.Cl. 1., solo 1 2 molto espr. with viola
Bn. 3
1. 1 2 Hn. in F
3 4 1 2
Tpt. in C 3 open Tbn.
1 2 open
Bs.Tbn. Tuba
Timp. Glock. 1
Perc.
2
3
Piano
E
F
Harp
A
G
D
C.
meno M.G.
You
are
my
shoul
ders.
You
are
my
shoul
ders.
meno
You
are
my
are
my
R.G. 3
Poco più mosso
You
are
my
spine.
You
= ca. 63
I Vn. II unis., sole Va. molto espr. with bassoon Vc. unis. Cb.
cantando ed espr.
228
Act I–Scene 2
539 1 2 Fl. 3
1 espr.
Ob. 2 (1.) Cl. in B
espr.
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
dolce 3. 3 4 1.
dolce
1 2 Tpt. in C
dolce 3 with no attack
Tbn.
1 2 with no attack
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
G
E
Harp
C.
M.G.
cour
age.
cour
age.
And
you
are
the
sign
that
love
that
love
3
is the on
ly
mas
ter
the
ly
mas
ter
the
R.G. 3
is the on
I Vn. II div. Va. sub. Vc.
Cb.
unis.
229
Act I–Scene 2
544 1 2 Fl. 3
1 Ob. 2 a2 Cl. in B
1 2 espr.
Bs.Cl.
espr. 1 2 Bn. 3
1. 1 2 Hn. in F
3 4 1 2
Tpt. in C 3 with no attack Tbn.
1 2 with no attack
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Piano
Harp
C
C
C
A
E
C. ten.
(full voice)
meno
M.G. 3
heart
o
beys;
Love
is the on
3
ly mas
ten.
ter
(full voice) R.G.
3
that my
heart
o
beys.
heart
o
beys.
meno 3 3
heart
o
beys;
Love
is the on
3
ly mas
ter
that my
(ten.) I Vn.
(ten.) II
div.
unis.
div. (ten.)
Va.
(ten.) Vc.
(ten.) Cb.
unis.
div.
230
Act I–Scene 2
551 1 2 Fl.
Flute 3 solo 1 molto espr.
Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., solo 1 2 Hn. in F
espr. 3 4 1., solo
1. take straight mute
1 2 Tpt. in C
dolce cantando 3 with no attack
Tbn.
1 2 sotto voce with no attack
Bs.Tbn. Tuba sotto voce
Timp. Glock. 1
Perc.
2
3
Piano
Piano
Harp
F D
(Evening falls as Robert leaves.)
(fade to black)
C.
M.G.
R.G.
div. a3
I Vn. II unis., soli
div.
Va. unis.
espr.
div.
Vc.
div.
*
Cb.
*Ties out for alternative ending only.
attacca
Act I, Scene 3: Maplewood Plantation, in the early summer of 1858. Grazioso con rubato
= ca. 126
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
On-stage piano espr.
Piano
Harp
E.G.
S
A T.C. T 8
B
Grazioso con rubato I Vn. II
Va.
Vc.
Cb.
= ca. 126
231
232
Act I–Scene 3
9 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
sempre espr. espr.
Piano
Harp
(The lights go up gradually; the guests begin to enter.) (In the candlelit parlor at Maplewood Plantation, a wedding reception is being held to celebrate the marriage of Caroline Gaines, Edward’s daughter, to George Hancock. The guests—the local townspeople whom Edward is very eager to impress—waltz to the gentle accompaniment of a parlor piano, and enjoy generous amounts of freely flowing champagne.) E.G.
S
A T.C. T 8
B
I Vn. II
Va.
Vc.
Cb.
Act I–Scene 3
17 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
E.G.
S
A T.C. T 8
B
I Vn. II
Va.
Vc.
Cb.
233
234
Act I–Scene 3
25 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
to orchestra piano
Piano
Harp
E.G.
S
A T.C. T 8
B
I Vn. II div. Va.
Vc. dolce e cantabile div. arco Cb. pizz.
235
Act I–Scene 3
33 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1., solo 1 2 dolce, espr.
Bn. 3
1.
Hn. in F
1 2 sub. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Edward Gaines: E.G.
Please, S
A T.C. T 8
B
div. I Vn. II unis. Va. dolce espr. più sonoro Vc. più cantabile tutti, arco Cb. più sonoro
unis.
236
Act I–Scene 3
41 1 2 Fl. 3 1. 1 Ob. 2
Cl. in B
1 2
Bs.Cl.
(1.) 1 2 dolce espr.
Bn. 3
(1.)
Hn. in F
1 2 3. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
E.G. 3
may I
have
your
at
ten
tion?
S
A T.C. T 8
B
I poco
Vn. II dolce espr.
Va. dolce espr.
Vc. poco
Cb.
237
Act I–Scene 3
48
1.
1 2 dolce
Fl. 3
1 Ob. 2
Cl. in B
1 2 dolce
Bs.Cl.
1. 1 2 Bn. 3
(1.) 1 2 Hn. in F
dolce
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(the guests gather around)
E.G.
(gathering around) well articulated S
Mis ter Gaines (gathering around)
wants to speak.
Ga ther ’round our gra cious
host.
wants to speak.
Ga ther ’round our gra cious
host.
well articulated A T.C.
well articulated
Mis ter Gaines
T 8
Mis ter
Gaines
wants to speak.
Ga ther ’round
our gra cious
host.
Gaines
wants to speak.
Ga ther ’round
our gra cious
host.
well articulated B
Mis ter
div. a2 1 solo
tutti, unis.
non div.
I dolce
Vn.
div.
unis.
II
unis.
div. Va.
div.
unis.
div.
unis.
pizz.
arco
Vc.
pizz. Cb.
arco
238
Act I–Scene 3
55 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
(1.) Hn. in F
1.
1 2 3.
(3.)
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
E.G.
dolce S
There
is
noth
ing
so
fine
as
see
ing
a
div.
cou
ple
in
love,
a
unis.
dolce
A T.C.
There
is
noth
ing
so
fine
as
see
ing
a
cou
ple
a
There
is
noth
ing
so
fine
as
see
ing
a
cou
ple
in
love,
There
is
noth
ing
so
fine
as
see
ing
a
cou
ple
in
love,
cou
ple
in
love,
T 8
B
div.
1 solo
I Vn.
div.
unis.
II div. Va. div. Vc. pizz. Cb.
a
239
Act I–Scene 3
rit.
63 1 2 Fl. 3
1 Ob. 2 1., solo Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
take straight mute Hn. in F
1 2 take straight mute 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
E.G.
S
cou
ple
in
cou
ple
in
love!
A T.C.
love! dolce
T 8
a
cou
ple
in
love!
cou
ple
in
love!
dolce B
a
rit. I Vn. II unis.
div.
Va. pizz. Vc.
pizz. Cb.
240
grazioso, ma poco lento
= ca. 120
Act I–Scene 3
70 1 2 sotto voce
Fl. 3
sotto voce 1 Ob. 2
Cl. in B
1 2 sotto voce
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 Vib. Perc. 2
3
Piano
Harp
E.G.
I
prom
ised
Ca
ro line’s
mo
S
A T.C. T 8
B
grazioso, ma poco lento
= ca. 120
tutti, unis. I dolce tutti
Vn. II
dolce unis. Va. div.
arco Vc. 1 solo Cb.
ther
two
241
Act I–Scene 3
78
1., solo
1 2 Fl. 3 solo 1 Ob. 2 1. Cl. in B
2.
1 2 espr. ossia 8va
Bs.Cl.
1. 1 2 Bn. 3
(with straight mute)
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
Harp
(non troppo forte) E.G. 3
things.
One,
that
I
would
stay
a
wi
S
A T.C. T 8
B
I Vn.
div.
unis.
II
Va.
unis.
div.
unis.
div.
Vc.
tutti, arco Cb.
pizz.
dow er;
242
Act I–Scene 3
86
1., solo
1 2 sub.
Fl. 3 solo 1 sub.
Ob. 2
1., solo Cl. in B
1 2 sub.
Bs.Cl. solo 2. 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 Vib. Perc. 2
3
Piano
Harp
E.G.
two,
that
I
would
see
to our
daugh
ter’s
fu
ture care.
S
A T.C. T 8
B
I espr.
Vn. II
espr. Va. espr. Vc. arco Cb.
espr.
pizz.
243
Act I–Scene 3
94 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (2.) 1 2 Bn. 3
1., solo, open
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Trg. 1
Perc. 2
3
Piano
Harp
E.G.
Car
o
line
S
A T.C. T 8
B
3 soli, div. (ossia: div a3)
I dolce Vn. II
Va. espr. unis. Vc.
Cb.
non div.
div.
gli altri, pizz.
has
244
Act I–Scene 3
102 1 2 Fl.
to Piccolo 3 solo 1 sub.
Ob. 2
Cl. in B
1 2
Bs.Cl.
2. 1 2 cantando
Bn. 3
solo
(1.) 1 2 Hn. in F
with straight mute
remove mute
3 4 cantando Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Trg. 1
Perc. 2
3
Piano
Harp
E.G.
prov
en
the
right
ness
of
those
prom
is
es.
S
A T.C. T 8
B
3 soli, div., arco
tutti, pizz. tutti, unis., arco
6
6
6
6
6
6
6
I 6
Vn.
gli altri, pizz.
6 6
II div., pizz. Va.
pizz. Vc.
Cb.
unis., arco
6
6
245
Act I–Scene 3
108
Piccolo, solo to Flute
Picc. 1., solo Fl.
1 2 sub.
solo 1 Ob. 2 1., solo Cl. in B
2.
sub.
1 2 sub.
Bs.Cl.
1 2 Bn. 3
(1.) 1 2 Hn. in F
open 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Xyl. 1 accomp. (with woodwinds) Perc. 2
3
Piano
Harp
quasi E.G.
She will
in
her
it
a
sound
es
tate,
which,
I
might add,
has
grown
S
A T.C. T 8
B
div. I Vn.
div. II pizz.
div.
unis., arco
Va.
arco
unis.
div. a2
pizz.
arco
pizz.
arco
Vc.
arco Cb.
(div. a2)
246
Act I–Scene 3 1.
116 1 2 Fl. 3
1 Ob. 2 (2.) Cl. in B
1.
1 2
Bs.Cl.
1.
(2.) 1 2 Bn. 3
(1.)
Hn. in F
1 2 3. 3 4
Tpt. in C
1 2
3 1. Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(An elegant display of crystal champagne glasses has been set out on a side table for the guests. A few of them replenish their drinks.)
tenderly E.G.
from
mod
est
to
grand.
And her choice
of
hus
band
is
S
A T.C. T 8
B
unis.
div.
unis.
non div.
I Vn. II div. Va. (div.) Vc.
Cb.
unis.
unis.
ev
’ry
247
Act I–Scene 3
124
(1.)
1 2 Fl. 3
1 dolce
Ob. 2
dolce
(1.) Cl. in B
1 2
Bs.Cl. (1.) 1 2 Bn. 3
1.
Hn. in F
1 2 (3.) 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
E.G.
thing
her
moth
er could have wished
for.
A
man
molto legato S
Beau
ti
ful
words
from our gen
er
ous
host!
ful
words
from our gen
er
ous
host!
ful
words
from our gen
er
ous
host!
ful
words
from our gen
er
ous
host!
molto legato A
Beau
T.C.
ti
molto legato T 8
Beau
ti
molto legato B
Beau
div.
ti
1 solo
I Vn.
div. II div.
Va. div. Vc.
pizz. Cb.
unis., pizz.
of
sta
ture and
248
Act I–Scene 3
riten.
132
Vi— a tempo
1 2 Fl.
Flute 3
1 Ob. 2
Cl. in B
1 2 dolce
Bs.Cl.
1 2 Bn.
with violas 3
(open)
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Trg. 1
Perc. 2
3
Piano
Harp
(The pompous guests blatantly examine the room’s furnishings to judge their quality.)
E.G.
learn
ing. dolce
S
And
her
choice
of
hus
band
is dolce
A
And
T.C.
her
choice
of
hus
band
is dolce
T 8
And
her
choice
of
hus
band
is dolce
B
And
riten.
Vi— a tempo
her
choice
tutti, div.
I Vn.
(div.) II (div.)
Va.
div. Vc.
Cb.
unis.
div., arco
of
hus
band
is
249
Act I–Scene 3
—de 140 1 2 Fl. 3
1 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. Trg. 1
Perc. 2
3
Piano
Harp
Caroline Gaines: espr. C.G.
And E.G.
S
ev
’ry
thing
her
moth
er
wished
for.
ev
’ry
thing
her
moth
er
wished
for.
ev
’ry
thing
her
moth
er
wished
for.
ev
’ry
thing
her
moth
er
wished
for.
A T.C. T 8
B
—de unis. I espr. unis.
Vn. II
espr. Va. unis. Vc.
Cb.
div.
unis.
you,
250
Act I–Scene 3
148
1.
1 2 dolce
Fl. 3
1 Ob. 2 1. Cl. in B
1 2 dolce
Bs.Cl.
1 2 Bn. 3
(1.) Hn. in F
a2
1 2 dolce
accompagnando
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
port. C.G.
fa
ther?
Is
he
what you have wished
for me?
E.G. 3
3
Ex act ly so,
3
3
pre cise ly so.
3
Am I
S
A T.C. T 8
B
I Vn.
div. II
Va.
Vc.
Cb.
tutti, unis.
251
Act I–Scene 3
156
(1.)
1 2 espr.
Fl. 3
1 espr.
Ob. 2 (1.) Cl. in B
1 2
Bs.Cl. 2. 1 2 Bn. 3
a2 Hn. in F
1 2 a2 3 4 espr., with violas
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
George Hancock: G.H. 8
I’m
not
sure
that
I
de serve
her,
but
E.G.
right,
George?
S
A T.C. T 8
B
div.
unis.
I Vn. II
unis.
div.
Va. espr.
div., pizz.
unis., arco
Vc.
div., 1/2 arco, 1/2 pizz. Cb.
unis., pizz.
I will
252
Act I–Scene 3
164 (1.) 1 2 Fl. 3
1 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
Piano
Harp
’
G.H. 8
spend
my life
try
ing
to serve her
and
meno
earn
the de
vo
tion
she
squan
ders
on
E.G.
S
A T.C. T 8
B
I Vn.
div. a3
div. a2
unis.
II
unis.
div.
div. a3
Va.
Vc.
div., arco Cb.
div.
253
Act I–Scene 3
172
1.
2.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1.
2. Hn. in F
1 2 3. 3 4
Tpt. in C
1 2
3
Tbn.
1 2 Bs. Tbn. take straight mute
a2 Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.G.
There
is
noth ing
so
There
is
noth ing
so
won drous as
be
ing
in a
mar riage for
won drous as
be
ing
in a
mar riage for
ing
a
mar riage for
G.H. 8
me.
div.
unis.
S
There
is
noth ing
so
won drous as
be
ing
in
love. There
is
noth ing
so
won drous as
see div.
A T.C.
There
is
noth ing
so
won drous as
be
ing
in
love. There
is
noth ing
so
won drous as
see
ing
a
mar riage for
There
is
noth ing
so
won drous as
be
ing
in
love. There
is
noth ing
so
won drous as
see
ing
a
mar riage for
There
is
noth ing
so
won drous as
be
ing
in
love. There
is
noth ing
so
won drous as
see
ing
a
mar riage for
T 8
B
div. I Vn.
unis.
accomp.
II accomp. unis. Va. accomp. unis. Vc. accomp. unis. Cb.
non div.
unis.
div.
unis.
div.
unis.
254
Act I–Scene 3
181
riten.
1.
1 2 Fl. 3
1 dolce
Ob. 2
dolce Cl. in B
2.
1 2
Bs.Cl.
1 2 Bn. 3
a2 Hn. in F
1 2 dolce
a2
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.G.
love! G.H. 8
love! meno
S
love!
a
mar riage for
love.
a
mar riage for
love.
meno A
love!
T.C.
meno T 8
love,
a
mar riage for
love.
a
mar riage for
love.
meno B
love,
riten.
unis. I Vn.
sotto voce
div.
unis.
II dolce
sotto voce
Va.
1 solo div. Vc. gli altri pizz. Cb.
rco
255
Act I–Scene 3
Meno mosso
= 104
191 1 2 Fl.
dolce
dolce
dolce
dolce
dolce
dolce
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
sempre
Harp
C.G.
Edward Gaines:
dolce cant.
E.G.
3 3
Car
o
line,
my ad
or
3
a ble Car o
line.
Give
your
fath
er
a
S
A T.C. T 8
B
Meno mosso
= 104 div. a3
1 solo
I dolce
Vn.
dolce
dolce
gli altri, div. div.
div. a2 II
dolce
div.
dolce
dolce
Va. dolce cant. tutti, div. a2
unis.
Vc.
pizz. Cb.
arco
256
Act I–Scene 3
a tempo
accel. poco a poco
199 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2 1 2 Bn. 3 staccatissimo
1., solo Hn. in F
1 2 with Vn. I 3 4
Tpt. in C
1 2
3
Tbn.
1 2 Bs. Tbn., with straight mute
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Caroline walks across the room to her father, who is waiting with open arms. He embraces her too tightly, however.)
(light heartedly)
C.G.
Oh, E.G.
daugh
ter’s em brace.
S
A T.C. T 8
B
accel. poco a poco
(1 solo) tutti
div.
div.
unis.
a tempo
I
cant. unis.
Vn.
unis. div.
II cant. unis.
div.
Va. div.
unis.
cant. div.
Vc. molto stacc. Cb. molto stacc.
257
Act I–Scene 3
208
Don’t hurry
= 80 (or less)
rit.
1 2
3
3
3
3
3
3
3
3
Fl. 3
1 Ob.
3
3
3
3
3
3
2
Cl. in B
1 2 3
3
3
3
3
3
3
Bs.Cl.
1 2 Bn. 3
1.
take straight mute
1 2 Hn. in F
cantabile 3.
take straight mute
3 4 cantabile take straight mute Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
3
3
3
3
3
3
3
(Caroline goes to mingle with the guests.) C.G.
fa
ther,
I
can not
breathe.
E.G.
S
A T.C. T 8
B
Don’t hurry I
= 80 (or less)
rit.
unis., alla punta
3
3
3
3
3
3 3
Vn.
unis., alla punta II
3
3
3
3
3
3 3
unis. Va.
Vc.
div. Cb.
unis.
pizz.
3
258
Act I–Scene 3
214 Più
comodo (don’t drag)
= 92
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
with straight mute 1 2 Hn. in F
dolce 3., with straight mute
a2, 4. with straight mute
3 4
Tpt. in C
1 2
3 with no attack Tbn.
1 2 a2, open, with no attack
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Caroline turns to her father upon hearing her name.) C.G. warmly
E.G. 3
For give
me,
Car o line,
my
arms
S
A T.C. T 8
B
Più comodo (don’t drag)
= 92 div.
I pizz.
Vn. II
Va.
Vc.
Cb.
div., arco
are
like my love:
strong
and all
em
brac
ing.
259
Act I–Scene 3
220
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. cantabile 1 2 Bn. 3
remove mute Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Crot. Perc. 2
3
Piano
Harp
(Caroline suddenly lets go of her father’s hands, and turns away from him to walk towards George, who is downstage, on the other side of the room.) (reassuringly, taking her father’s hands in hers)
warm, pure
3
C.G.
Nev er mind,
fath er.
I
have
pros pered so
much
in your arms,
I can
E.G.
S
A T.C. T 8
B
6
1 solo
6
tutti, div.
1 solo
sotto voce tutti, div.
gli altri, unis.
div.
div.
unis.
I
Vn.
1 solo II 6
6
6
sotto voce 6
Va. 6
2 soli, div.
6
6
6
sotto voce tutti, div.
Vc. sotto voce Cb.
unis.
260
Act I–Scene 3
Meno mosso, stately
1.
226
= 84
1 2 Fl. 3
1 Ob. 2 2. Cl. in B
1 2 with trombones
Bs.Cl. with trombones 1 2 Bn. 3
1., open
Hn. in F
1 2 3 4
Tpt. in C
1 2
3 with no attack Tbn.
1 2 with no attack
Bs.Tbn. Tuba
Timp. Glock. 1
Crot. Perc. 2 B.D. 3
Piano
Harp
(George embraces Caroline tenderly.)
più sonoro C.G.
now
em
brace
an
oth
er.
(sensing that Edward feels somewhat rejected)
G.H. 8
There
3
is no
ri
val
here.
S
A T.C. T 8
B 1 solo 6
tutti, div.
unis.
div.
Meno mosso, stately
= 84
tutti, div., long bow
I più cantabile
legato
gli altri
Vn. unis.
div., long bow
II più cantabile unis.
legato long bow
unis.
legato div., long bow
Va. più cantabile
Vc. più cantabile arco
pizz. arco
legato long bow
Cb. più cantabile
legato
261
Act I–Scene 3
232
1.
1 2 sub. Fl.
to Piccolo 3 sub.
1 sub.
Ob. 2
sub. Cl. in B
(ten.)
1 2
Bs.Cl. 2. (ten.) 1 2 Bn. 3
1. Hn. in F
1 2 3
3
3 4
Tpt. in C
1 2
3 with no attack Tbn.
(ten.)
1 2 warm, rounded sound with no attack
(ten.)
Bs.Tbn. Tuba warm, rounded sound
Timp.
1
Perc. 2 B.D. 3
Piano
Harp
C.G.
3
(ten.)
3
G.H. 3
3
8
Love
does not con
quer
or dis
pose;
it dou
bles and tri ples with use.
E.G.
S
A T.C. T 8
B
I sotto voce
Vn. II
sotto voce Va. sotto voce unis.
div.
unis. (ten.)
Vc. sotto voce (ten.) Cb. sotto voce
262
Act I–Scene 3
237
Poco più mosso
1.
= 92
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 dolce
Bs.Cl.
1. 1 2 dolce
Bn. 3
a2 Hn. in F
2.
1 2 dolce 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
come recitativo, freely G.H. 8
3
3
The lan guage of love
3
is all
ways
con fus
ing.
3
3
It can nev er be as clear
3
E.G.
S
A T.C. T 8
B
Poco più mosso
unis., pizz. I Vn.
unis., pizz. II (div. a2)
unis.
Va. espr.
espr.
div.
unis.
Vc. espr. div. Cb. espr.
unis.
dolce div. a2
3
as the e mo tion it
= 92
263
Act I–Scene 3
242 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
3
1 2
3 3
Bs.Cl.
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
3
Piano
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
sempre stacc.
3
Harp
3
G.H. 3
8
tries
to con
vey.
The
E.G.
S
A T.C. T 8
B
(pizz.) I Vn. (pizz.) II
div. Va.
Vc.
Cb.
264
Act I–Scene 3
246 Con
moto
= ca. 152
Vi—
—de
1 2 Fl. 3
1 Ob. 2
2. Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
a2 1 2 Hn. in F 3 4
1 2 Tpt. in C 3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Edward holds up his hand to interrupt George in mid-sentence.) G.H. 8
lan guage of love…
E.G.
S
A T.C. T 8
B
Con moto
= ca. 152 Vi—
div.
—de
unis., arco
div.
unis.
div.
arco
div.
unis.
div.
unis.
div.
unis.
div.
unis.
div.
unis.
div.
I
Vn.
div. a2
II
unis.
div., pizz.
arco
div. a2
unis.
Va.
div., pizz.
unis.
arco
div.
Vc.
pizz. Cb.
arco
unis.
div.
unis.
div.
unis.
265
Act I–Scene 3
253 1 2 sub.
Fl. 3
1 sub.
Ob. 2
sub. 2. Cl. in B
1 2 sub.
Bs.Cl. sub. 2. 1 2 secco
Bn. 3 secco a2
take straight mute
1 2 Hn. in F
a2
take straight mute
3 4
1 2 Tpt. in C 3
Tbn.
1 2 (a2)
Bs.Tbn. Tuba sub.
Timp.
1
Perc. 2
3
Piano
Harp
G.H. 8
E.G.
The
lan guage of love is
an im pos
ter,
hid
S
A T.C. T 8
B
I Vn. II
div. a3
unis.
div.
Va. secco Vc. sempre
secco
sempre
secco
Cb.
unis.
266
Act I–Scene 3
261 1 2 Fl. 3
1 Ob. 2 3
Cl. in B
3
1 2 3 3
3
Bs.Cl. 3
a2
1 2 Bn. 3 sub.6 with straight mute
remove mute
open
with straight mute
remove mute
open
1 2 Hn. in F 3 4 take straight mute Tpt. in C
1 2 take straight mute 3
1. take straight mute Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
3
Harp
3
3
3
emphatically, full voice G.H. 8
The
lan guage of love is a ma gi
cian,
turn
E.G.
ing in dress es
of verse.
S
A T.C. T 8
B
div. unis. I 6
Vn.
unis.
div.
div.
unis.
unis., pizz.
6
arco
II
arco
div.
unis., pizz.
Va. div. unis. Vc. 6 6
sub. Cb. sub.
3
ing
ros
es in
to doves
267
Act I–Scene 3 3
268 1 2 Fl. 3
1 Ob. 2 2. Cl. in B
1 2
Bs.Cl.
a2
2.
1 2 Bn. 3
1.
with straight mute
take straight mute
1 2 Hn. in F
4. take straight mute
3. (open)
4., with straight mute
3., with straight mute
3 4 with straight mute 1 2 Tpt. in C
with straight mute 3
1., with straight mute Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(not quite full voice) G.H. 8
3
on the wing.
A
E.G.
The
lan guage of love is an in
fant’s hand in
a
fath
er’s glove.
S
A T.C. T 8
B
unis.
div.
I Vn. II
div.
unis.
Va. div.
unis.
pizz.
Vc.
pizz. Cb.
268
Act I–Scene 3
274 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl. 1. 1 2 cant.
Bn. 3
a2, open
remove mute 1 2 Hn. in F
a2, open
remove mute 3 4 remove mute
Tpt. in C
1 2 remove mute 3 1. remove mute
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Xyl. 1
Perc. 2
3
Piano
Harp
3
G.H. 8
raft
in
a stor
my
sea
off
er
ing
res
cue.
E.G.
S
The A
The
T.C. T 8
The
B
The
unis., alla punta del arco I Vn.
alla punta del arco II pizz.
arco
Va. arco Vc. (pizz.) Cb.
269
Act I–Scene 3
278 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2.
a2
1 2 Bn. 3
a2
Hn. in F
1 2 a2 3 4 open
1., solo
1 2 Tpt. in C
open 3
1. open a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
G.H. 8
E.G.
div. S
lan guage of
love
is
of ten
hard to ex plain.
It may
of fer true joy,
but it can
end in such
pain!
lan guage of
love
is
of ten
hard to ex plain.
It may
of fer true joy,
but it can
end in such
pain!
lan guage of
love
is
of ten
hard to ex plain.
It may
of fer true joy,
but it can
end in such
pain!
A T.C. T 8
div. B
lan guage of
love
is
of ten
hard to ex plain.
It may
of fer true joy,
but it can
end in such
pain!
ord. I Vn.
ord.
div.
II
div. Va.
div. Vc.
arco Cb.
270
Act I–Scene 3
283 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
a2 1 2 Hn. in F
a2 3 4 1 2
Tpt. in C 3
Tbn.
1 2 Bs. Tbn.
a2
Bs.Tbn. Tuba
Timp.
GuĂro, metal scraper 1
Perc. 2 Ruten 3
8va
Piano
Harp
G.H. 8
E.G.
S
A T.C. T 8
B
pizz. div.
unis.
div.
unis.
div.
unis.
div.
I sempre marcato Vn.
div.
unis.
div.
unis.
unis., pizz.
II sempre marcato unis.
unis., pizz.
div.
Va. sempre marcato div. unis.
div.
unis.
div.
unis.
div.
unis.
div.
unis.
div.
pizz.
Vc. sempre marcato div., pizz. Cb. sempre marcato
271
Act I–Scene 3
290 1 2 Fl. 3
1 Ob. 2 2. Cl. in B
1 2
Bs.Cl. 2. 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.
1
Perc. 2
3
Piano
Harp
G.H. 8
The
lan guage of love
is
a light
house
to guide
us
o ver heav
y
waves.
E.G.
The S
A T.C. T 8
B
unis., arco
div.
div., pizz.
unis.
I Vn. arco
div.
unis., pizz.
II
arco Va.
unis., arco Vc.
unis., arco Cb.
pizz.
272
Act I–Scene 3
296
1.
1 2 molto
Fl. 3
1 molto
Ob. 2
molto
1. Cl. in B
1 2
Bs.Cl. (2.)
2.
1 2 Bn. 3
a2 Hn. in F
1 2 a2 3 4
with straight mute
with straight mute
1 2 Tpt. in C 3
1. Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
G.H. 8
sub. E.G. 3
lan guage of love
is
a
thief
re spect
ing no
house hold,
steal
3
ing the loved ones a
way.
unis.
S
The A
The
T.C. T 8
The unis.
B
The unis.
arco
div.
unis., arco
3
I 3
espr. Vn.
3
3
II espr. arco
div.
unis.
Va. div., pizz.
unis., arco
div.
arco
div.
unis.
Vc.
pizz. Cb.
unis.
div.
273
Act I–Scene 3
302 1 2 Fl. 3
1 sub.
Ob. 2
sub. Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4 open
Tpt. in C
1 2
3
Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
G.H. 8
E.G.
S
lan guage of
love
is
too com
plex
to be
known.
What is
bought
with out price
can
nev div.
er
be
unis.
A T.C.
lan guage of
love
is
too com
plex
to be
known.
What is
bought
with out price
can
nev
er
be
lan guage of
love
is
too com
plex
to be
known.
What is
bought
with out price
can
nev
er
be
T 8
unis. div. B
lan guage of
love
is
too com
plex
to be
known.
What is
bought
with out price
can
nev
er
I Vn.
div. II unis.
Va.
Vc.
Cb.
unis.
div.
unis.
div.
unis. div.
unis.
unis.
div.
be
274
Act I–Scene 3
Vi— 306 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
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Sus. Cym. 1 Cowbell
secco
Perc. 2 secco 3
Piano
Harp
G.H. 8
E.G. div. S
owned! div. A
owned!
T.C. div. T 8
owned!
div. B
owned!
Vi— div.
unis.
div.
unis.
I Vn.
unis.
div.
unis.
II
div. Va. non div. Vc.
Cb.
div.
div.
unis.
275
Act I–Scene 3 1.
310 1 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2
2.
1 2 sub.
Bn. 3
sub.
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Xyl. 1 Mounted Guíro Perc. 2
Ruten 3
Piano
Harp
G.H. 8
…is a ma gi
cian,
E.G.
The
lan guage of
love
is
an im
pos
ter,
is
an
S
A T.C. T 8
B
div.
unis.
I Vn.
staccatissimo unis.
div.
div.
II staccatissimo unis.
Sul D
Va. staccatissimo arco
pizz. Vc. pizz.
sub.
staccatissimo arco
sub.
staccatissimo
Cb.
unis.
276
Act I–Scene 3
315 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
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.
1
Perc. 2
3
Piano
Harp
G.H. 8
turn ing
ros
es in
to
doves
3
on
the
wing!
E.G.
in
fant’s hand
in
a
fa
ther’s
glove.
S
The
lan
guage of
love
is
a
The
lan
guage of
love
is
a
The
lan
guage of
love
is
a
The
lan
guage of
love
is
a
A T.C. T 8
B
I Vn.
div.
unis.
II div. Va.
Vc.
Cb.
unis.
277
Act I–Scene 3
320 1 2 marc.
Fl. 3
1 marc.
Ob. 2
marc. Cl. in B
1 2 3
Bs.Cl.
1 2 3
Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
3 2. Tbn.
a2
1 2
Bs.Tbn. Tuba
Timp. Susp. Cym. wood stick
Crash Cym.
secco
1 Trg. Perc. 2 B.D.
Cow Bell
3
Piano
Harp
G.H. 8
E.G.
S 3
dan
ger ous art.
It
can
op
en your
eyes,
or
it
will
tear out your
dan
ger ous art.
It
can
op
en your
eyes,
or
it
will
tear out your
dan
ger ous art.
It
can
op
en your
eyes,
or
it
will
tear out your
dan
ger ous art.
It
can
op
en your
eyes,
or
it
will
tear out your
heart!
A T.C.
3
heart!
T 8
3
heart!
B 3
heart! div.
I 3
Vn.
div. II 3
div. a2 Va. 3
non div. Vc. 3
Cb.
278
Act I–Scene 3
—de 325 1 2 Fl.
to Piccolo 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
a2, with straight mute 1 2 Hn. in F
a2, with straight mute
a2
3 4
1 2 Tpt. in C 3
Tbn.
1 2 a2
a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.G.
G.H. 8
(getting angry) E.G.
The
—de unis.
div.
unis.
div.
div.
unis.
I
Vn.
div.
unis.
div.
unis.
unis.
II
unis.
div.
unis.
div.
marc. e secco unis.
Va. marc. e secco div. Vc.
Cb.
unis.
div.
unis.
div.
unis.
div.
unis.
279
Act I–Scene 3
330 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (2.)
2.
1 2 Bn. 3
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. sempre secco 1
Perc. 2
3
Piano
8ba
Harp
(Embarrassed by the argument that has broken out between her father and her new husband, Caroline walks away. She goes over to the side table and picks up a crystal champagne glass.)
C.G.
G.H. 8
Is
a
ma
gi
cian.
E.G.
lan guage of
love
is
an
im
pos
ter.
It’s
an
div., arco, poco vib. I sotto voce
Vn.
poco vib. II sotto voce
Va. sotto voce pizz. Vc.
pizz. Cb.
4 sole, div. a4
in
fant’s hand
in
a
fa
280
Act I–Scene 3
335 Picc. fltg. Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (2.) 1 2 Bn. 3
Hn. in F
1 2 3., open 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Xyl. 1
Perc. 2
3
Piano
8ba
Harp
C.G.
G.H. 8
It’s
a
light
house
to
guide
us.
E.G.
ther’s
glove.
unis. I Vn. II
tutti, unis. Va.
Vc.
Cb.
It’s
a
thief
re spect
ing
no
house
hold.
281
Act I–Scene 3
Grazioso
rit.
340
= 116–120
Picc. ord.
Fl.
1 2
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.
2. 1 2 Bn. 3
1., open
a2
1 2 Hn. in F
molto espr. 3. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Caroline returns and makes a “grand entrance,” holding her champagne glass up high.) (in a celebratory mood) 3
C.G.
It’s
a
clip
per
ship
with
G.H. 8
(definitively, ending the discussion) (full voice)
E.G. 3
3
steal
ing
the
loved ones
a
way!
Grazioso
rit. non div.
div.
pizz.
div.
unis.
div., pizz.
= 116–120
I
Vn. II
3
3
3
3
Va. 3
arco (non div.)
3
3
3
3
3
3
3
molto espr. div.
Vc.
arco Cb.
div., pizz.
unis.
282
Act I–Scene 3
rit.
345
Tempo primo = ca. 126
a tempo
Picc. 1. Fl.
1 2 sim.
molto espr.
sim.
molto espr.
1 Ob. 2 sim. Cl. in B
1 2 sim.
molto espr.
Bs.Cl. 1 2 Bn. 3
(1.)
2. open
1 2 Hn. in F
4. open 3 4 1.
Tpt. in C
1 2 molto espr. 3
Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
2 drums Timp.
Crash Cym. 1 Trg. Perc. 2 Sys. Cym, hard yarn mallets 3
Piano
Harp
(The newlyweds, Caroline and George, begin the traditional “first dance”; the others join in the waltz one couple at a time. Ironically, only Gaines is without a partner; he is forced to watch the festivities.) C.G.
room
af ter room
for
dan
cing
and cakes
and
tea
and
cham
pagne!
G.H. 8
E.G.
rit. unis., arco
a tempo
Tempo primo = ca. 126
non div.
I sim. Vn.
molto espr. arco
div.
unis.
II sim.
molto espr.
Va. molto espr. (div. a2)
unis.
div.
arco
Vc.
Cb.
unis.
283
Act I–Scene 3
353 Picc. a2
(1.) Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (2.) 1 2 Bn. 3
1 2 Hn. in F 3 4 (1.) Tpt. in C
1 2
3
Tbn.
1 2 a2
a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to onstage piano
Piano
Harp
C.G.
G.H. 8
E.G.
unis. div. I Vn.
unis.
div.
unis.
II
Va.
Vc. div. Cb.
unis.
284
Act I–Scene 3
360
Piccolo to Flute
Picc. dolce espr. (a2) Fl.
1 2 dolce espr. 1 dolce espr.
Ob. 2
Cl. in B
1 2 dolce espr.
6
6
6
6
Bs.Cl. 6
(2.)
6
1 2 Bn. 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
Piano
Harp
(As the guests waltz, Gaines continues to watch alone.) C.G.
G.H. 8
E.G.
1 solo (arco) dolce, espr. (ossia: 8va
)
I gli altri, pizz.
Vn.
gli altri arco pizz.
II
pizz. Va.
Vc.
Cb.
div.
unis.
div.
Act I–Scene 3
285
366 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
onstage piano
espr.
dolce
Piano
Harp
(Margaret enters the room to bring in another tray of glasses. Although she is dressed more nicely now, in the unform befitting a house servant, she acts in a more subjugated manner. Gaines, standing alone, quietly takes notice of her arrival.)
C.G.
G.H. 8
E.G.
tutti, unis., pizz. I sub. Vn.
unis. II accomp.
Va. accomp. pizz. Vc. accomp. pizz. Cb. accomp.
div.
accomp. unis.
286
Act I–Scene 3 1.
374 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl. 1. 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. Glock. 1 Vib. Perc. 2
Chimes 3
piĂš Piano
Harp
(The guests gradually conclude dancing. Gaines once again plays the gracious host; he toasts the newlyweds as Margaret serves the guests.) C.G.
G.H. 8
E.G. 3
Well,
non div., arco I Vn.
arco II arco
Va.
arco Vc. arco Cb.
that is our
an
swer, then.
287
Act I–Scene 3 (1.)
381 1 2 espr.
Fl. 3
1 take English horn
Ob. 2 1. Cl. in B
1 2 espr.
espr.
Bs.Cl. (1.) 1 2 Bn. 3
(1.) Hn. in F
1 2 3. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
Glock. 1
Vib. Perc. 2
Chimes 3
to Celesta (pit orchestra)
Piano
Harp
C.G.
G.H. 8
E.G. 3
Cham
pagne
heals
all
wounds
and puts all
ar
gu ments to
bed.
div. I Vn. II
Va. div. Vc. sub. pizz. Cb. sub.
Con
grat u
288
Act I–Scene 3
388 1 2 Fl. 3
Ob.
1 English Horn
espr.
E.H. espr. Cl. in B
2.
1 2 dolce
poco dim.
dolce
poco dim.
dolce
poco dim.
dolce
poco dim.
Bs.Cl.
1 2 Bn. 3
(1.) Hn. in F
1 2 (3.) 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
C.G.
G.H. 8
dolce
E.G.
la
I Vn. II
Va.
Vc.
Cb.
tions,
son.
Bless
ings,
daugh ter.
289
Act I–Scene 3
hold back a tempo
395
= 92
1 2 sotto voce
Fl. 3
1 Ob.
take Oboe 2 (2.)
Cl. in B
1 2
Bs.Cl. 1. 1 2 Bn. 3
(1.)
take straight mute
(3.)
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
Celesta
Harp
(Margaret starts to leave the room.) (warmly) C.G.
Mar G.H. 8
E.G.
hold back a tempo
= 92
I Vn. II div. Va. unis. Vc. arco Cb.
sotto voce
g’ret,
290
Act I–Scene 3
403 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 sotto voce
Bs.Cl. sotto voce 1 2 Bn. 3
with straight mute 1 2 Hn. in F
with straight mute 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Perc. 2
3
Celesta
Harp
3
3
C.G. 3
wait a mo ment.
Come
to me.
What do you
think?
G.H. 8
E.G.
2 soli, div.
I dolce
dolce
Vn. II
sotto voce
unis.
Va. espr. div.
unis.
Vc. espr. pizz. Cb.
291
Act I–Scene 3
411
poco meno mosso
a tempo
1 2 Fl.
Flute 3
1 Ob. 2
Cl. in B
1 2
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 Vib. Perc. 2
3
Celesta
Celesta
fast arp.
Harp
C.G.
What
(somewhat surprised) sotto voce
do
you
think
a bout
love?
M.G.
Ex cuse
me,
ma’am?
E.G.
poco meno mosso
a tempo
tutti, div.
unis.
1 solo
I warm, rich sound div.
Vn.
1 solo
II warm, rich sound div.
div.
unis.
Va.
div. Vc.
div. Cb.
unis. (pizz.)
6
6
6
292
Act I–Scene 3
419 1 2 sotto voce
Fl. 3
solo 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 (Vib.)
l.v.
6
Perc. 2
3
to Piano
Celesta
Harp
3
3
C.G.
We
were
dis
cus
ing
the
M.G.
E.G.
tutti, unis. I Vn.
tutti, unis. II 6
6
6
6
Va.
Vc.
div. (open strings) Cb.
6
6
6
6
6
6
6
6
words
to de
293
Act I–Scene 3
424 1 2
3
3
3
3
3
3
3
3
3
3
3
3
Fl. 3
1 dolce
Ob.
Oboe 2
Cl. in B
3
3
3
3
1 2
Bs.Cl.
1 2 Bn. 3
open 1 2 Hn. in F
with no attack open
3.
3 4 with no attack Tpt. in C
1 2 3 take straight mute
Tbn.
1 2 a2
Bs. Tbn. take straight mute
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
3
3
3
3
Harp 3
3
3
3
(to Margaret) 3
C.G. 3
scribe
it.
Do they help
M.G.
E.G.
Child!
I Vn. II unis. Va.
Vc. unis., arco Cb.
Dear
child!
us
to
love?
294
Act I–Scene 3
430
2.
1 2 Fl. 3
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.
1 Vib., medium yarn mallets 3
3
3
3
3
3
3
3
Perc. 2 with no attack 3
Piano
3
3
3
3
3 3
Harp
3 3
3
3
3
3 3
3 3
3
3 3
3
(to her father)
3
C.G. 3
Or
hurt us be
yond
re pair?
I
want
to know.
I
want to
know
what
M.G.
E.G.
div. I sotto voce div.
Vn. II
sotto voce div.
unis.
Va. sotto voce unis., pizz.
div., arco
Vc.
pizz. Cb.
arco
she
295
Act I–Scene 3
437
Poco più mosso = 120
1.
1 2 Fl. 3
1 3
3
Ob. 2 3 3
Cl. in B
3
3
3
3
3
3
3 3
3
1 2 sotto voce
Bs.Cl.
1 2 3
Bn.
sotto voce
3
3
3
3
3
3
3
3
3
Hn. in F
1 2 3 4
Tpt. in C
1 2
3 with straight mute Tbn.
remove mute
1 2 sotto voce Bs. Tbn., with straight mute
a2
Bs.Tbn. Tuba sotto voce
Timp.
1
Perc. 2
3
Piano
Harp 3
3
C.G.
thinks. M.G. (insistent) E.G.
Child!
Please,
child,
no
more!
(almost a whisper)
div.
poco unis.
S
What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout, (almost a whisper)
talk a bout? What is all this talk a bout? div.
Oh,dear.
Oh,
unis. poco
A
What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout,
talk a bout? What is all this talk a bout?
Oh, dear.
Oh,
poco
T.C. (almost a whisper) T 8
What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout, (almost a whisper)
talk a bout? What is all this talk a bout?
Oh, dear.
poco unis.
div.
B
What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout,
talk a bout? What is all this talk a bout?
Oh, dear.
Poco più mosso = 120 pizz.
unis. I
secco unis.
Vn.
pizz.
II secco pizz. Va. unis., pizz. Vc. sotto voce pizz. Cb. sotto voce
296
Act I–Scene 3
442 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3 a2 1 2
gliss. gliss.
Hn. in F
gliss.
3 4
Tpt. in C
1 2
3 open Tbn.
1 2 (a2)
remove mute
open
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.G.
M.G.
E.G.
S
dear.
We thought he was
qual
i ty.
Oh,
dear.
Oh,
dear.
This is
a
mis
dear.
We thought he was
qual
i ty.
Oh,
dear.
Oh,
dear.
This is
a
mis
A
T.C. T 8
Oh,
dear.
We thought he was qual
i ty.
Oh,
dear.
Oh,
dear.
This is
Oh,
dear.
We thought he was qual
i ty.
Oh,
dear.
Oh,
dear.
This is
B
pizz. arco
arco I Vn.
div.
arco
unis., pizz
arco
II pizz.
arco
arco
Va.
arco
div. a2
unis., pizz.
Vc. arco Cb.
pizz.
297
Act I–Scene 3
447 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
2. 1 2 Bn. 3
gliss.
take straight mute
1 2 Hn. in F
take straight mute 3 4
Tpt. in C
1 2
3
Tbn.
1 2 a2
Bs.Tbn. Tuba
B.Tbn.
Timp.
1
Perc. 2
3
Piano
Harp
C.G.
M.G.
E.G.
div.
unis.
S
take.
Qual
i
ty folk would ne
ver
make!
Oh,
dear.
Oh,
dear.
This
is
take.
Qual
i
ty folk would ne
ver
make!
Oh,
dear.
Oh,
dear.
This
is
A
T.C. T 8
a
mis
take.
Qual
i
ty folk would ne
ver
make!
Oh,
dear.
Oh,
dear.
This
is
a
mis
take.
Qual
i
ty folk would ne
ver
make!
Oh,
dear.
Oh,
dear.
This
is
B
unis., pizz.
div.
arco
I Vn.
div. a2
unis.
arco
pizz.
II
pizz.
arco
Va.
arco
non. div.
div., pizz.
Vc. arco Cb.
pizz.
unis.
arco
298
Act I–Scene 3
452
riten.
a tempo
1. 1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
a2 1 2 Bn. 3
with straight mute 1 2 Hn. in F
with straight mute
a2
3 4
Tpt. in C
1 2
3 a2 Tbn.
1 2 (B.Tbn.)
Bs.Tbn. Tuba
a2
a2
Timp. Xyl. 1
Perc. 2 Ratchet 3
Piano
Harp
C.G.
M.G.
E.G.
div. S
a pro found
in
sult.
This
is
a mis
take
qual
i ty folkwould ne ver
make. div.
A
a pro found
in
sult.
This
is
a mis
take
qual
i ty folkwould ne ver
make.
T.C.
div. T 8
a pro found
in
sult.
This is
a mis
take
qual
i ty folk would ne ver
make div.
B
a pro found
in
sult.
This is
a mis
take
qual
div. div.
unis.
i ty folk would ne ver
riten.
make
a tempo
I Vn.
div.
div.
unis.
unis.
div.
II div.
div.
unis.
div.
unis.
div.
unis.
Va. div. a2 Vc. arco Cb.
unis.
unis.
Moderato
299
Act I–Scene 3
= 80 (don’t drag)
458 1. 1 2 Fl. 3
1 Ob.
to English Horn 2 1.
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 Vib. Perc. 2 with no attack, with strings, accomp. 3
Piano
Piano
Harp
C.G.
M.G.
E.G. 3
Car
Moderato
= 80 (don’t drag)
1 solo
2 soli, div.
I Vn.
1 solo II
1 sola Va.
1 solo Vc.
Cb.
o
3
line,
you
are
too
will
ful.
300
Act I–Scene 3
465 1 2 Fl. 3
Ob.
1
E.H.
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 (Vib.) Perc. 2
3
Piano
Harp
C.G.
M.G.
E.G.
She can’t
an
swer you.
She won’t
an
swer you.
I Vn.
2 soli, div. II
(sola) Va. le altre
Vc. gli altri, div. (tutti) Cb.
301
Act I–Scene 3
473
rit.
(’)
a tempo ( = 80)
1 2 Fl. 3
Ob.
1 English Horn
E.H.
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1.
solo
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 (Vib.) Perc. 2
3
Piano
Harp
legato C.G. 3
Why
not?
She has loved
me,
M.G.
E.G.
rit.
(’) 1 solo
dolce cantabile
a tempo ( = 80) 1 solo
I gli altri Vn.
tutti, div.
unis.
1 sola
tutte, div.
unis.
1 solo
tutti, div.
div.
2 soli
II
1 sola
Va.
1 solo
Vc. div., pizz. Cb.
served
me,
302
Act I–Scene 3
481 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. espr. 2. 1 2 Bn. 3
with straight mute remove mute
open
remove mute
open
1 2 Hn. in F
with straight mute 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Perc. 2
3
Piano
with Bass Clarinet
Harp
3
C.G. 3
taught
me
in
these few years.
Watched o
ver
my
sleep.
M.G.
E.G.
poco flautando 1 solo
6
6
6
I gli altri, div. Vn.
tutti, div. II tutte
Va. tutti, div.
unis.
pizz.
Vc.
div. a3 Cb.
unis.
303
Act I–Scene 3
488
1.
1 2
3
3
Fl. 3
Ob.
1 3
3
to Oboe E.H. dolce Cl. in B
1 2 dolce
Bs.Cl. dolce 1 2 Bn. 3
take straight mute Hn. in F
1 2 take straight mute 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
meno C.G.
Who
knows
bet
ter than
she
how
to
say
what
M.G.
E.G.
tutti, unis., pizz.
arco
I dolce Vn. unis., pizz.
div., arco
II dolce pizz.
arco
Va. dolce div., arco Vc. div. Cb.
love
is?
304
Act I–Scene 3
Vi— 493 1 2 Fl. 3
1 Ob.
dolce
dolce
2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
with straight mute 1 2 Hn. in F
with straight mute 3 4
Tpt. in C
1 2
3
Tbn.
1 2 sotto voce
with little or no attack Bs.Tbn. Tuba with little or no attack
sotto voce
Timp.
1
Perc. 2
3
Piano
Harp
cant. 3
più
3
3
3
3
C.G.
Can words do it
jus
tice,Mar g’ret?
En cour
age
its suc
cess?
Or,
as my fath
er
says,
is the
M.G.
E.G.
Vi—
1 solo tutti, pizz.
div., arco
unis., pizz.
div., arco
pizz.
arco
pizz.
div., arco
I Vn.
dolce
dolce
II
Va.
unis. Vc. unis., arco Cb.
pizz.
305
Act I–Scene 3
—de L’istesso tempo = 80
499
1.
1 2 sotto voce
Fl. 3
1 Ob. 2
Cl. in B
1 2 sotto voce
Bs.Cl. 3
3
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
Piano
Harp
(scherzando)
3
C.G. 3
lan guage of love
an im pos
ter?
A
thief
in the
night? 3
M.G.
Beg
ging your par
don,
Miss
Car o line.
E.G.
—de unis., pizz.
arco
unis., pizz.
div., arco
pizz.
arco
L’istesso tempo = 80
2 soli, div.
I sotto voce Vn. unis.
1 solo
II sotto voce 1 sola
Va. sotto voce 1 solo (1 solo) unis., pizz.
arco
Vc. sotto voce arco Cb. sotto voce
gli altri
306
Act I–Scene 3
505
riten.
(1.)
1 2 3
Fl.
3
3
3
1 Ob. 2 3
Cl. in B
3
3
1 2
Bs.Cl. 6
1 2 Bn. 3
(with straight mute)
remove 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
Piano
Harp
C.G. 3
His
love is
rough,
while
yours
is ten
der.
M.G.
Mis
ter
Gaines
is the ex
pert
here.
E.G.
tutti, unis.
riten.
I tutti, div.
Vn. II
tutte, div. Va. 1 solo tutti, unis. Vc. gli altri Cb.
307
Act I–Scene 3
511
a tempo
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., open
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.G.
M.G. (emphatically) espr.
(full voice)
rt.
E.G. 3
po
3
You see?
a tempo
Shehas noth ing to
say
3
on the mat ter.
Love
2 soli, div. tutti, unis.
I Vn.
unis.
1 solo
tutti, div.
II
unis.
1 sola
tutte, div.
Va. 1 solo
(1 solo) tutti, div.
Vc. gli atri Cb.
3
is
not
in her vo
308
Act I–Scene 3
517
sub.
1.
2.
1 2 Fl. 3
1 sub.
Ob. 2 1. Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
2. open
take straight mute
1 2 Hn. in F
open
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.G.
(thoughtfully) M.G.
Words
of love are moths;
ea
sy food
E.G.
cab
u
la ry.
(ossia: 8va
) tutti, div.
1 solo I gli altri
Vn.
6
6
pizz.
6
6
6
6
II
unis.
div.
pizz.
Va. unis., pizz.
div.
Vc. pizz. Cb.
unis.
div.
unis.
div.
unis.
for
309
Act I–Scene 3
523 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
with straight mute 1 2 Hn. in F
with straight mute 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 Vib.
6
6
6
6
6
6
6
6
Perc. 2
with no attack 3
Piano
(ossia fast upward arpeggio)
Harp
C.G.
M.G.
flame.
Act
ions
a
lone
say
what
love
may
E.G.
I Vn.
arco II arco
Va. div. Vc.
Cb.
unis.
div.
unis.
div.
unis.
div.
310
Act I–Scene 3
529 1 2 Fl. 3
1 Ob. 2 2. Cl. in B
1 2
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. lontano 1 (Vib.)
6
6
6
6
Perc. 2
3
Piano
Harp
C.G.
M.G.
be. E.G.
unis. I Vn.
unis. II
unis. Va.
unis.
div., arco
Vc. arco Cb.
311
Act I–Scene 3
535
( = 80)
Subito più mosso
1 2 Fl.
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
3
1 Ob.
Oboe 2
Cl. in B
1 2
Bs.Cl. a2
a2
1 2 3 3
Bn.
3 3
3
open 1 2 3
Hn. in F
3
open 3 4 3 3
3 3
2.
2.
1 2 3
Tpt. in C
5
3 3
3
3
5 5
5
3 5
3
3
5 5
5
3
a2 Tbn.
1 2
3 3
5
3
5
3
3
3
3
3
5
5
Bs.Tbn. Tuba
Timp.
Vib. 1 3
3
Guíro, metal scraper Perc. 2 5
Ruten, on B.D.
5 5
5 5
5 5
5
3
Piano
Harp
C.G.
M.G. agitated, wild angrily E.G. 3
3
E nough!
E nough!
Subito più mosso
( = 80)
div.
I 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vn. II
Va. unis.
div.
Vc.
Cb.
We
have
312
Act I–Scene 3
= 80
540
a2
1 2 Fl. 3
1 Ob. 2 a2 Cl. in B
1 2 6
6
6
6
Bs.Cl. a2 1 2 Bn. 3
a2 1 2 Hn. in F
a2 3 4 a2
Tpt. in C
1 2 3
3 3
5 3
5 5
5
3
a2 Tbn.
1 2
3
5
3
5
a2 Bs.Tbn. Tuba
(two drums) Timp.
Ratchet 1 Wd. Blk. Perc. 2 5
Cast.
5 5
5
3
to Celesta
Piano
Harp
C.G.
M.G.
E.G. 3
all
had
e
noughof this non sense.
I
= 80 unis. I Vn.
div. II
Va. unis. Vc.
div. Cb.
unis.
re
313
Act I–Scene 3
544 1 2 Fl. 3 3
1 Ob. 2 (a2) Cl. in B
1 2 6
6
6
6
6
6
6
6
6
6
6
6
Bs.Cl.
1 2 Bn. 3
a2
take straight mute
1 2 sub.
Hn. in F
a2
take straight mute
3 4 sub.
Tpt. in C
1 2
3 a2 Tbn.
1 2 sub. a2
Bs.Tbn. Tuba sub.
Timp.
1
Perc. 2
3
Celesta
Harp
C.G.
M.G.
E.G.
3
fuse
to hear a slave
com ment
on
things
out
side
I Vn. II
Va. sub. Vc. sub. div.
unis.
Cb. sub.
3
her
scope.
6
314
Act I–Scene 3
547
1.
1 2 6
Fl.
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
sotto voce 3
1 Ob. 2 1. Cl. in B
1 2 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
sotto voce Bs.Cl.
1 2 Bn. 3
with straight mute 1 2 sempre
Hn. in F
sempre
3., with straight mute
4., with straight mute
3 4 sempre
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
sotto voce
Harp
C.G.
M.G. (to Margaret) sotto voce (parlando)
parlando
port.
E.G. 3
Our guests are right.
3
3
Her views
are
worth
less.
3
3
You
are ex cused.
Leave
I Vn. II
Va. pizz. Vc.
pizz. Cb.
us.
315
Act I–Scene 3
551
rit. 2.
1 2 6
Fl.
6
6
6
6
6
6
6
6
6
6
6
3
1 Ob. 2 2. Cl. in B
1 2 3
3
3
3
3
3
3
3
3
3
3
3
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
Celesta
Celesta
6
6
6
6
6
6
6
6
6
6
6
6
3
3
3
3
3
3
3
3
3
3
3
3
Harp
(Margaret exits.)
C.G.
M.G.
E.G.
rit. I Vn. II 4 sole, div. Va.
Vc.
Cb.
316
Act I–Scene 3
Poco più agitato 554
= 84
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
sempre
Harp
A
3
3
C.G. 3
Fa
ther,
you
shame
me.
She
is as com plete
a
hu
man
3
as
you
are.
George Hancock: G.H. 3
8
Since she is a mo ther, E.G.
Poco più agitato
= 84 2 soli, div.
I Vn.
div.
1 solo
II 1 sola Va. 1 solo (1 solo) arco Vc. arco Cb.
gli altri
317
Act I–Scene 3
560
(1.)
2., fltg.
1 2 Fl.
fltg. 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. Glock. 1 sempre Vib. Perc. 2 sempre 3
to Piano
Celesta
Harp
(The parlor clock strikes 10 o’clock. A few of the guests realize that the late hour now gives them an alibi to leave the party.)
C.G.
G.H. 8
3
may be more
(to Caroline)
so.
E.G.
You
1 solo I gli altri
Vn.
tutti, unis. II
tutte, div. Va.
tutti, unis. Vc.
gli altri, arco Cb. 1 solo, pizz.
dis ap point
me.
How
318
Act I–Scene 3
566
(2.)
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., solo, open
Hn. in F
1 2 molto cant. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Glock.) 1 (Vib.) Perc. 2
3
Piano
Harp
C.G.
G.H. 8
E.G.
3 3
3
could love ex
ist
in a slave?
Pas sion
per haps.
But
(1 solo) I
Vn.
più sonoro II
più sonoro unis. Va. più sonoro div. Vc. più sonoro più sonoro Cb.
how
would she knowthe dif f’rence?
319
Act I–Scene 3 1. (ord.)
572
2. ord.
(2.)
1 2 Fl. 3
1 Ob. 2 1. 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 with no attack Bs. Tbn.
Bs.Tbn. Tuba with no attack
Timp. (Glock.) 1 (Vib.) Perc. 2
3
Piano
Piano
Harp
(Caroline and George look into each other’s eyes.)
(pleading with Edward to be reasonable) port. 3
C.G.
There
are
ma ny
kinds
3
of
love,
fa
ther.
And
G.H. 8
And
E.G.
1 solo
2 soli
I Vn.
1 solo II
1 sola
1 sola
Va. le altre
1 solo
Vc.
1 solo Cb.
gli altri
1 solo
320
Act I–Scene 3
577
a2
1 2
6
Fl. 3
1 Ob. 2 a2 Cl. in B
1 2 6
Bs.Cl.
1 2 Bn. 3
2. open
Hn. in F
1 2 open 3 4
Tpt. in C
1 2
3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Celesta
Piano
Harp
molto espr. C.G.
ma
ny
kinds
of
lov
ers.
kinds
of
lov
ers.
molto espr. G.H. 8
ma
ny
E.G.
tutti, div.
2 soli, div. col vibrato
I Vn.
2 solo, div. col vibrato
tutti, unis. II
tutte, div.
unis.
tutti, div. a2
(div.)
Va. sub. Vc. sub. tutti, unis., arco
div.
(arco)
sub.
Cb. pizz.
unis., pizz.
321
Act I–Scene 3
Poco agitato
= 144–152 (ben misurato)
582
a2
1 2
6
Fl. 3
1 Ob. 2 a2 Cl. in B
1 2 6
Bs.Cl. 1.
a2
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. Glock. 1
Vib., med. soft mallets Perc. 2
3
Celesta
Harp
C.G.
G.H. 8
E.G.
leggiero S
This
is
too
sub
tle
for
me,
and
you,
and
me,
and
me,
Per
haps
it
is
time
to
too
sub
tle
for
me,
and
you,
and
me,
and
me,
Per
haps
it
is
time
to
too
sub
tle
for
me,
and
me,
and
me,
and
you,
and
me,
Per
haps
it
is
time
to
too
sub
tle
for
me,
and
me,
and
me,
and
you,
and
me,
Per
haps
it
is
time
to
leggiero A
This
T.C.
is
leggiero T 8
This
is
leggiero B
This
is
Poco agitato tutti, unis., pizz. I Vn.
tutti, unis., pizz. II pizz.
Va. unis., pizz. Vc.
Cb.
= 144–152 (ben misurato)
322
Act I–Scene 3
590
1.
1 2
6
6
6
6
Fl. 3 6
1 6
Ob.
6
6
2
Cl. in B
1 2
Bs.Cl. 6
6
6
1 2 6
Bn.
6
6
3
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Vib. Perc. 2
3
Celesta
Harp
C.G.
G.H. 8
E.G.
S
say
good
night,
good
night and
good
night.
Good
night,
good
night
say
good
night,
good
night and
good
night.
Good
night,
good
night
say
good night,
good night.
Ar
gu ment
chills
a
par
ty.
Good
say
good night,
good night.
Ar
gu ment
chills
a
par
ty.
Good
A T.C. T 8
B
I Vn. II
Va.
Vc.
Cb.
323
Act I–Scene 3 (1.)
596 1 2
6
Fl. 3
1 Ob.
6
2
Cl. in B
1 2
Bs.Cl. 6
a2 1 2 Bn. 3 6
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1 Vib. Perc. 2
3
Celesta
Harp
(The guests leave, bowing stiffly; they disapprove of Gaines’s behavior and act coolly towards him. He is angered and annoyed by their early departure.) C.G.
G.H. 8
E.G.
S
good
night,
good
night,
and
good
night,
good
night,
good
night,
and
good
night,
and
good
night.
A T.C. T 8
night,
night,
good
night,
good
night
night,
night,
good
night,
good
night,
B
and
good
night. arco
I Vn.
non div., arco II
arco Va. div., arco Vc.
unis., pizz. Cb.
arco
324
Act I–Scene 3
602
Molto moderato
= ca. 66
1 2 3
Fl.
3
3
3
1 Ob.
to English Horn 2 3
Cl. in B
3
3
1 2
Bs.Cl.
1 2 Bn. 3
Hn. in F
1 2 3 4 take straight mute
Tpt. in C
1 2
3 take straight mute Tbn.
1 2 take straight mute
Bs.Tbn. Tuba
Timp. Glock. 1 Vib., motor off Perc. 2 Pedal on
Xyl.
3
Celesta
to Piano
3
Celesta
3
3
3
3
3
3
3
3
3
3
3
Harp
C.G.
G.H. 8
quasi parlando E.G. 3
Fools,
Molto moderato
3
i di ots.
= ca. 66
What
do they
know
a bout
“qual
i
ty”
folk?
div., pizz.
I Vn.
div., pizz. II
div. Va. (div.), pizz.
unis., arco
Vc. cant. Cb.
3
325
Act I–Scene 3
608
1.
1 2 fltg.
Fl.
ord.
fltg.
ord.
fltg.
ord.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
3
Ob.
1
E.H. 1. 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
C.G.
G.H. 8
(to Caroline and George, with regret) come recitativo E.G. 3
This
was to be a proud
mo
ment.
Now
you
3
have giv en my neigh
unis., arco
pizz.
div.
arco
pizz.
unis.
I Vn. II
unis. Va. non div., pizz. Vc. div. a3 pizz. Cb.
bors
more
326
Act I–Scene 3
Più mosso
614
= 72
1 2 Fl.
3
dolce cantando 3
Ob.
1 English Horn
to Oboe
E.H. espr.
3
2. Cl. in B
1 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bs.Cl. 1. 1 2 Bn. 3
1. 1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 Vib., motor off Perc. 2
Pedal 3
Piano
Harp
3
C.G.
I
am
sor
ry fath
er,
if
I
G.H. 8
Don’t think
port.
us
un grate
E.G. 3
rea son to gos sip
3
and de
spise
me.
Più mosso tutti (div.) arco
2 soli, div.
I Vn.
arco
dolce cantando
3
II
Va.
div., arco
div. a2
unis., arco
div.
Vc.
Cb.
= 72
ful
up
327
Act I–Scene 3
Poco più animando
620
= 80
1 2 Fl. 3
1 Ob.
Oboe 2 1.
Cl. in B
1 2
Bs.Cl. (1.) 1 2 Bn. 3
1., solo
Hn. in F
1 2 sotto voce
3.
3 4 sotto voce
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.G. 3
set
you.
We did
not
mean
to be rude,
on
We did
not
mean
to be rude,
on
ly
to
say
what we
be
ly
to
say
what we
be
G.H. 8
3
3
for this ce le bra
tion.
E.G.
Poco più animando
= 80
unis. I dolce Vn.
dolce 3
div.
3
II dolce
dolce 3
Va. (div.)
dolce
Vc.
sub. Cb. sub.
pizz.
dolce
unis.
328
Act I–Scene 3
626 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., solo (ossia a2)
Hn. in F
1 2 (3.)
cant.
3 4 with straight mute Tpt. in C
1 2
3
Tbn.
2., with straight mute
1. with straight mute
with straight mute
Bs. Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.G.
lieve.
Hon
es
ty
should not
of
fend
you.
lieve.
Hon
es
ty
should not
of
fend
you.
G.H. 8
E.G.
port. I espr. Vn.
div. II
unis.
t. por espr.
Va.
t. por espr.
Vc.
unis., arco Cb.
div., pizz.
329
Act I–Scene 3
632
= 126
1 2 cantando (choral style)
Fl. 3
1 Ob. 2 1. Cl. in B
1 2 cantando (choral style)
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4 remove mute Tpt. in C
1 2
3 remove mute Tbn.
1 2 remove mute
Bs.Tbn. Tuba
Timp.
1 Vib., medium soft mallets Perc. 2
sempre, with no attack Pedal 3
Piano
Harp
C.G.
G.H. (come recitativo) agitato
8
4
piĂš
cantabile
7
E.G. 7
I am not soweak asto be of fend
ed by
in
no cence.
= 126 div. I Vn.
div. II 4 sole, div.
Va. unis., pizz.
arco
Vc. unis. Cb.
arco
But
I have a re pu ta
tion
330
Act I–Scene 3
637 1 2 Fl. 3 cantando (choral style) 1 Ob. 2 1. 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
Piano
Harp
C.G.
Fa
ther,
please
try.
G.H. 8
E.G.
to
main
tain.
My
1 solo
I gli altri, div. Vn. unis. II
tutte, unis. Va. div. a2 Vc.
pizz. Cb.
331
Act I–Scene 3
642
= ca. 63
Piccolo
to Piccolo
Picc. sempre
5
sempre
5
sempre
5
1. Fl.
1 2
1 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
Piano
Piano
Harp
C.G.
G.H. 8
E.G. 3
sweet
= ca. 63
Car o line,
it
does n’t
mat
ter.
All
is well.
arco
tutti, div., pizz.
I Vn.
div., pizz.
div., arco unis.
II
Va.
(div.)
(div. a2)
arco
div., pizz.
Vc.
Cb.
espr.
Take care
of your selves.
332
Act I–Scene 3
647
to Flute
Picc. 5
solo
(1.) Fl.
1 2 5
solo 1 5
Ob. 2
1., solo Cl. in B
1 2
Bs.Cl. 1. 1 2 Bn. 3
1.
Hn. in F
take straight mute
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. possibile 1
Perc. 2 B.D. 3 possibile
solo to Celesta
5
Piano
5
Harp
(Gaines kisses Caroline tenderly.)
(Gaines shakes George’s hand.)
(Caroline and George leave, eager to depart on their honeymoon. Gaines pauses and somewhat wistfully watches them walk away.)
C.G.
G.H. 8
(more personal) E.G.
Good bye,
sul A sul D
take
care.
unis.
I Vn.
unis. II
Va. unis. Vc.
Cb.
div.
333
Act I–Scene 3
654
( = 63)
breve
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
remove mute
with straight mute
Hn. in F
1 2 a2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
boldly
(regaining his inner strength) E.G.
It
3
does n’t mat
( = 63)
3
ter at all.
I
3
have suc ceed
ed
just
3
3
as
I
said I
would.
breve
unis.
I 6
6
6
6
6
6
Vn. 6
II
Va.
Vc. marc. e secco unis., arco Cb. marc. e secco
6
6
6
6
6
334
Act I–Scene 3
658 Adagio
= 72
Più mosso
= 80 Adagio
Ancora più mosso = 80
= 72
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
take straight mute
with straight mute
take straight mute
with straight mute
1 2 Hn. in F 3 4 take straight mute Tpt. in C
1 2 take straight mute 3 with straight mute
take straight mute Tbn.
1 2 Bs. Tbn. take straight mute
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
E.G.
3
En
Adagio div.
vy
= 72
3
is the true price of
3
wealth…
Più mosso
which
I
= 80 Adagio
eas
= 72
3
i ly,
3
hap
pi ly pay.
Ancora più mosso unis.
I Vn.
div.
poco espr. unis.
II
div. a2
poco espr. (div.)
Va. div.
unis.
Vc. div. Cb.
unis., pizz.
= 80
335
Act I–Scene 3
= 60
666 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2 (senza tr.)
Bs.Cl.
1 2 Bn. 3
a2 (with straight mute) 1 2 3
Hn. in F
3
3
3
3
3
3
3
3
3
3
3
a2 (with straight mute) 3 4 3
3
with straight mute 1 2 3
Tpt. in C
3
with straight mute 3 3
3
(with straight mute) Tbn.
1 2
3
3
Bs. Tbn. with straight mute 3
3
3
3
Bs.Tbn. Tuba
Timp.
1 Vib., med. sticks, motor on Perc. 2 with no attack Pedal 3
Celesta to Piano
Piano
Celesta
Harp
E.G.
A rich
= 60 div.
I div.
Vn. II
(div. a2) unis. Va. sub. non div.
div.
arco
div., pizz.
Vc.
Cb.
man
336
Act I–Scene 3 1.
673 1 2
dolce
Fl.
dolce
3
1 dolce
Ob.
dolce
2 1. Cl. in B
1 2 dolce
(senza tr.) Bs.Cl.
1. 1 2 dolce
Bn. 3
a2 1 2 3
Hn. in F
3
3
3
a2
remove mute
3 4 3
3
3
3
remove mute 1 2 3
Tpt. in C
3
3
3
remove mute 3 3
3
3
3
3
3
3
3
3
3
3
3
remove mute Tbn.
1 2
Bs. Tbn. remove mute
Bs.Tbn. Tuba
Timp. sub.
Glock.
1
Perc. 2 Crot. 3
Piano
sub.
Harp
(Edward begins to leave, but when he notices Margaret returning to clear the champagne glasses, he lingers in a hiding place.)
E.G. 3
has
ma ny
re me dies.
unis., pizz. I Vn.
unis., pizz. II div. a2 unis.
Va.
unis.
non div.
Vc. sub. unis., arco Cb. sub.
pizz.
337
Act I–Scene 3
679 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2 dolce dolce
Bs.Cl. 1.
dolce
1 2 dolce
Bn. 3
1. (with straight mute)
open
1 2 Hn. in F
dolce
sotto voce
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 Chimes, soft hammer Perc. 2
3
Piano
Harp
(Margaret picks up a glass and holds it to the light, peering into it as if it were a crystal ball.) M.G.
E.G.
I Vn. II
Va. div.
unis.
Vc.
arco Cb.
338
Act I–Scene 3
686 Andante
= 84–88
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 Vib., med yarn mallets, motor on Perc. 2
1 instrument, 2 players
sempre Pedal Vib.
3 (Ped.)
Piano
3
3
3
3
3
3
3
3
3
3
3
3
Harp
Margaret Garner: (looking at the glass) 3
M.G.
Are
there
ma ny kinds
of
love?
Show
E.G.
Andante
= 84–88 sul D
1 solo arco
dolcissimo
I sul G Vn. div., arco
gli altri, div., arco
II
Va. pizz. Vc. pizz. Cb.
me
each and ev
3
339
Act I–Scene 3
692 1 2 Fl. 3 solo 1 dolcissimo
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 (Vib.) Perc. 2 (Pedal) (Vib.) 3 (Ped.)
Piano
3
3
3
3
3
3
3
3
3
3
3
3
Harp
port. M.G.
’ry one.
You can’t,
can
you?
E.G.
tutti I Vn. II
Va.
Vc.
Cb.
1 solo
dolce
3
340
Act I–Scene 3
698 1 2 Fl. 3 solo 1 dolce
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
(Vib.) Perc. 2 (Pedal) (Vib.) 3 (Ped.)
(Ped.)
Piano
3
3
3
3
3
3
3
3
3
3
3
3
Harp
3
M.G.
For
there is just
one
kind.
E.G.
cant. (gli altri) I gli altri unis.
Vn. II
Va.
Vc.
Cb.
341
Act I–Scene 3
705 Con
moto
= 104 ( = 52)
1.
1 2 Fl. 3
1 Ob. 2 1. 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
Piano
Harp
with simplicity M.G.
On
ly
un
har
nessed
hearts
can
sur
vive
a locked down life.
Like
a
riv
er
E.G.
Con moto
= 104 ( = 52)
tutti, pizz.
arco
pizz.
I Vn.
unis., pizz.
arco
div., pizz.
arco
pizz.
II
pizz.
Va. arco
div.
unis.
Vc.
arco
div. a2 arco
Cb. pizz.
unis., arco
342
Act I–Scene 3
712
(1.)
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
3. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
piĂš sonoro M.G.
rush ing
from the
grip
of
its
banks
as
light
es
capes
the
cold
E.G.
unis., arco div.
unis.,
div.
div.
unis.
I Vn.
arco
II unis., arco
div.
Va. div. Vc.
Cb.
unis.
dolce
unis.
est
star;
343
Act I–Scene 3
719 1 2 Fl.
to Piccolo 3 solo 1 espr. solo
Ob. 2
espr.
1. Cl. in B
1 2
Bs.Cl.
1.
1 2 Bn. 3
1.
2. open
1 2 sotto voce
Hn. in F
3.
4. open
3 4 1. solo Tpt. in C
1 2 espr. 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
sonoro 3
3
M.G.
a
qual i
ty
love
the love of all
loves
will
break
a
E.G.
3 soli, div., arco pizz. I gli altri, arco
Vn. pizz.
non div., arco
pizz.
arco
div., pizz.
div. a2, arco
II
Va.
Vc.
div. Cb.
344
Act I–Scene 3
725 Picc.
Fl.
1 2 sotto voce 1
Ob. 2 1. Cl. in B
2.
1 2 dolce
Bs.Cl.
1 2 Bn. 3
2.
Hn. in F
1 2 dolce
dolce
3 4 dolce
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G. 3
way.
When
sor row
clouds
the
mind,
the
spine
grows
strong;
no
pret ty words
can soothe or
E.G.
tutti, unis.
I Vn.
pizz.
arco
II div. Va. unis. Vc. unis. Cb.
pizz.
(div. a2)
arco
345
Act I–Scene 3
732 Picc.
Fl.
1 2
1 Ob. 2 1. Cl. in B
1 2 sub.
Bs.Cl.
1 2 Bn. 3
1.
Hn. in F
1 2 dolce
3. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
cure
what
hea
vy hands can
break.
When
sor
row
is
deep,
the
sec
ret
soul
keeps.
E.G.
div.
pizz.
unis., arco
pizz.
arco
I Vn.
non div.
II unis., pizz.
div., arco
unis.
Va. dolce div., pizz.
unis., arco
Vc.
div., arco Cb. pizz.
unis., pizz.
arco
div.
346
Act I–Scene 3
739 Picc.
Fl.
1 2
1 espr.
Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1.
Hn. in F
1 2 accomp. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
3
3
M.G.
its weap on of
choice:
the love of all
loves.
E.G.
pizz. I Vn.
pizz. II pizz.
Va.
pizz. Vc.
pizz. Cb.
347
Act I–Scene 3
746 Picc.
Fl.
1 2 dolce 1
Ob. 2 1. Cl. in B
2.
1 2 espr.
3
dolce
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
Piano
Harp
espr. M.G.
No
pret ty words
can ease or
cure
E.G.
div., arco I Vn.
arco II
arco Va.
unis.
div.
unis., arco
div.
Vc.
div. Cb.
unis.
what
348
Act I–Scene 3
allarg.
753 Picc.
Fl.
1 2
1 Ob. 2 (2.) Cl. in B
1.
1 2
Bs.Cl.
1 2 Bn. 3
(1.) Hn. in F
1 2 espr. 3 4 1.
Tpt. in C
1 2 dolce 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
sonoro, full voice
3
3
M.G. 3
hea
vy hands can
do.
When sor row is
deep,
the sec ret soul
keeps
its
qual
i
ty
E.G.
allarg. (div.) I Vn. II div. a2
pizz.
arco
div., pizz.
arco
Va.
unis. Vc. div., arco
unis., arco Cb. pizz.
349
Act I–Scene 3
760 L’istesso
tempo (don’t drag)
= 104
Picc. 1. a2 Fl.
1 2 1. 1
Ob. 2 1. Cl. in B
1 2
Bs.Cl.
1 2 Bn.
to Contrabassoon 3
a2 1 2 Hn. in F
a2 3 4 1. take straight mute
Tpt. in C
1 2
3 soli Tbn.
1 2 soli
a2 Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
love.
When
E.G.
L’istesso tempo (don’t drag) unis.
= 104 div.
unis.
I div.
Vn.
unis.
II unis. div. Va. espr. unis. Vc.
Cb.
sor
row
is
350
Act I–Scene 3
767 Picc. (1.) Fl.
1 2
1 Ob. 2 (1.) Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
a2 Hn. in F
1.
1 2 sotto voce 3 4 sotto voce
Tpt. in C
1 2
3
Tbn.
1 2 Tuba
Bs.Tbn. Tuba sotto voce
Timp.
1
Perc. 2
3
Piano
Harp
3
3
M.G.
deep,
the
sec
ret
soul
keeps
its
E.G.
I sotto voce
Vn. II
sotto voce unis. Va. sotto voce div. Vc. sotto voce Cb. sotto voce
weap on of
choice
the love of all
loves!
351
Act I–Scene 3
773 Picc. 1. Fl.
1 2
1 dolce espr.
Ob. 2
1. Cl. in B
1 2
Bs.Cl.
Bn.
1 2 Contrabassoon
Cbn.
(1.) 1 2 Hn. in F
3. 3 4 1., solo, with straight mute
Tpt. in C
remove mute
1 2 dolce espr. 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Chimes 1 Tamtam Perc. 2 with no attack B.D. 3
Piano
C F
Harp
E
C
D A
(Edward slowly emerges from his hiding place and walks toward Margaret, looking her over with unmistakable intent. She is unaware of his presence, however, as she is looking down at the glass in her hand.) M.G.
E.G.
(1 solo)
1 solo
I dolce espr.
Vn.
gli altri, pizz. pizz.
II
Va. unis. Vc.
div. Cb.
352
Act I–Scene 3
780
= 80
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 (Tam.) Perc. 2
(B.D.) 3
Piano
E
Harp
M.G.
Edward Gaines: (coolly; unintentionally startling Margaret) E.G.
Such
= 80 I Vn. II
Va. div. Vc.
Cb.
fine
sen
ti ments.
Too fine,
I
353
Act I–Scene 3
786 Picc.
Fl.
1 2
1 Ob. 2 2. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. sotto voce 1 Tam. Perc. 2 sotto voce B.D. 3 sotto voce
Piano
poco a poco cresc.
Harp
poco a poco cresc.
(He gently takes the glass from her hand. Assuming an air of gentility, Edward then takes Margaret’s red scarf from his pocket and slowly ties it around her neck.) M.G. full voice quasi E.G.
think
for a slave.
But
I
have
my
rem e
dies.
A man
tutti, arco I Vn.
arco II
Va.
unis. Vc.
Cb.
has
man
y
354
Act I–Scene 3
Più largamente
792
= 72
Piccolo
Picc.
3
a2
5
1. Fl.
1 2
3 5
1 3
Ob.
5 5
2 a2 Cl. in B
a2
5
1 2 sub.
sub.
sub.
sub.
sub.
sub.
3
Bs.Cl. a2 Bn.
1 2
Cbn. sub.
sub.
a2
a2
a2
5
1 2 sub.
Hn. in F
sub. a2
a2
a2
5
3 4 sub.
sub.
1.
2. open 1 2
3
Tpt. in C
open
5
3 a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp. Sus. Cym. 1 (Tam.) Perc. 2 (B.D.) 3
Piano
Harp
(Margaret begins to struggle vehemently. But Edward overpowers her, and drags her forcibly out of the parlor.)
(Margaret resists his advances.) agitated M.G.
They can not touch the se
cret soul. (losing control) molto
E.G.
3
rem e dies.
Your soul
Più largamente
is not on my mind.
= 72
I
3
sub.
sub.
molto appassionato div.
Vn.
5
unis.
div.
5
II div.
sub.
sub.
molto appassionato
3
unis.
5
Va. 3
sub.
sub.
sub.
sub.
molto appassionato non div.
Vc.
unis. Cb. sub.
sub.
355
Act I–Scene 3
799 Più
maestoso
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2 Bn.
1 2
Cbn.
a2 1 2 Hn. in F
a2 3 4
Tpt. in C
1 2
3
Tbn.
1 2 a2
fltg.
Bs.Tbn. Tuba
Timp.
(Sus. Cym.) 1 (Tam.) Perc. 2
(B.D.) 3
Piano
8ba
Harp
(The curtain falls slowly.) M.G.
E.G.
Più maestoso div. I unis.
Vn.
div. II div. a3
div. Va. div. Vc.
sempre Cb. sempre