Danielpour MARGARET GARNER (Book 2, full score)

Richard Danielpour

MARGARET GARNER opera in two acts Libretto by

Toni Morrison Full Score, Book 2 Act II

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 2 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

356

Act II, Scene 1: Maplewood Plantation. Sunday, February 24, 1861, in the early evening. Con moto, poco agitato

= 104–108

Picc. cresc.6

6

6

6

6

6

6

a2 1 2

Fl.

6

3

6

6

cresc.

1 3

Ob.

3

2 Cl. in B

1.

2.

1 2

6

6

a2 6

cresc. poco a poco

6

cresc. poco a poco

6

cresc.

6

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. cresc. Bn.

1 2

3

cresc. Cbn. cresc.

1 2 Hn. in F

cresc. 3 4 cresc. 1 2 3

Tpt. in C

3

3

1. Tbn.

1 2

3

cresc. a2

Bs. Tbn.

Bs.Tbn. Tuba cresc.

Timp. Xyl. 1 3

Perc. 2

3

8va

Piano

6

Harp

6

6

6

6

6

(Fast curtain in silence and darkness. Lights up on downbeat of measure 1.) (Anticipating a visit from Robert, who has been meeting her secretly on Sunday nights, Margaret goes to Cilla’s cabin. She is disturbed to find Casey lurking nearby.) Cilla: C.

Not

yet.

Margaret Garner: 3

M.G.

Has he come?

Con moto, poco agitato

= 104–108 6

6

I 3

Vn.

div.

cresc. poco a poco unis. 6

6

6

6

6

6

6

6

6

6

6

6

6

II 3

cresc. poco a poco div.

6

3

3

3

3

3

3

Va. 3

cresc. poco a poco div.

Vc. 3

cresc. poco a poco

Cb. cresc. poco a poco

357

Act II–Scene 1

Agitato, ma meno mosso

8 Picc.

= 84–88

3

(a2) 1 2

Fl.

3

1 3 3

Ob.

to English Horn

2 2. Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2

Cbn.

1 2 Hn. in F 3 4 1 2 3

Tpt. in C

3

3

1. Tbn.

1 2 3

a2

Bs. Tbn.

Bs.Tbn. Tuba sub.

Timp. Xyl. 1 3

Perc. 2

3

8va

Piano

Harp

(Margaret suddenly notices Cilla is packing a carpetbag.) C.

Not

yet.

But

soon. (unsettled, agitated)

M.G. 3

Is he here? Has he come?

What are you do

Agitato, ma meno mosso I

ing?

= 84–88

3

Vn.

div.

unis.

div.

div.

non div.

div.

6

6

6

6

II 3

unis. Va. 3

6

div.

unis. Vc. 3

Cb.

unis.

6

6

6

358

Act II–Scene 1

rit.

14 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1., solo 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.

M.G.

Where

are

the

chil

dren?

rit.

div. I Vn.

6

6

6

6

6

6

unis.

6

II

Va. 6

Vc.

Cb.

6

6

unis.

359

Act II–Scene 1

20

a tempo

= 84–88

Picc. 1. Fl.

1 2 dolce

Ob.

1 dolce

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

8va

Piano

Harp

(with assurance) C.

Rob

ert

is

M.G.

a tempo I dolce

Vn. II

dolce Va. dolce div. dolce Vc.

Cb.

= 84–88

my

son

and

his

word

is

gold.

360

Act II–Scene 1

28 Picc. 1. Fl.

1 2 dolce

Ob.

1 dolce

espr.

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1., solo 1 2 Hn. in F

Tpt. in C

dolce 3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. senza dim. 1

Perc. 2

3

8va

Piano

Harp

quasi più cantabile C.

Calm

your

self.

Your daugh

ter

is

with

Kate.

So

is

the

lit tle one.

M.G.

non div. I più cantabile Vn.

div.

unis.

div.

più cantabile unis.

div.

unis.

div.

II

non div.

Va. più cantabile unis.

div. a2

Vc. più cantabile

div., arco

Cb. più cantabile

pizz. senza dim.

3

361

Act II–Scene 1

36

Subito più mosso

= 104–108

Picc. a2 a2 Fl.

1 2

Ob.

1 English Horn

E.H. cresc. a2 Cl. in B

2.

a2

1 2 cresc.

Bs.Cl. cresc. Bn.

1 2 cresc.

Cbn.

cresc.

1 2 Hn. in F

cresc. 3 4 cresc.

Tpt. in C

1 2

3

1. Tbn.

1 2 cresc. Bs. Tbn.

Bs.Tbn. Tuba cresc.

Timp. Xyl. 1

Perc. 2

3

8va

Piano

8ba

Harp

(Margaret begins to search the room for signs of the children. She becomes increasingly anxious when she realizes they are not there.) C.

M.G.

Subito più mosso

= 104–108

1 solo

gli altri

1 solo

tutti

tutti

I Vn. II div. Va.

unis. Vc.

unis., arco Cb.

div.

362

Act II–Scene 1

43

L’istesso tempo

= 104–108

to Flute

Picc.

Fl.

1 2

Ob.

1

E.H. cantabile Cl. in B

cant. ed espr.

espr.

1 2

Bs.Cl. espr. Bn.

1 2

Cbn.

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

Piano

Harp

C.

(agitated)

’

3

M.G.

Why

are you fold ing their

L’istesso tempo

clothes?

You’re pack

3

ing thema way!

3

What

3

aren’t you tell ing me?Has Ca

sey been here?

= 104–108

I Vn.

non div. II sul D

unis., non div. Va.

unis., non div. Vc.

Cb.

half section, arco

363

Act II–Scene 1

49

Poco meno mosso

= 92

1 2 Fl.

Flute

to Piccolo

3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

fast arpeggio

Harp

C.

M.G.

Is

Poco meno mosso

he

tak

= 92

div. a3, pizz. unis., arco I Vn.

div., pizz.

unis., arco

II

Va. sub. sub. tutti arco (div.) Vc.

other half, pizz. Cb.

div.

ing

them

a

way?

364

Act II–Scene 1

54

= 52–54

move forward

Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2 dolce

Bs.Cl. dolce Bn.

1 2 dolce

Cbn.

open

1.

1 2 Hn. in F

dolce

cant. ed espr.

3., open

3.

3 4 dolce

Tpt. in C

cant. ed espr.

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

3

C. 3

Mar

garet,

you

have

changed

so.

Each time

you

vi

sit

I

see

less of

you.

M.G.

= 52–54

move forward

I sotto voce

Vn.

sotto voce div.

II sotto voce

sotto voce

sotto voce unis.

sotto voce

sotto voce

sotto voce

Va.

Vc.

div., pizz.

unis. Cb. sotto voce

sotto voce

365

Act II–Scene 1

62

poco rit. Moderato, flowing

a tempo

= 112

Picc. 1., solo Fl.

1 2 with solo violin

Ob.

3

1

E.H.

Cl. in B

1 2

Bs.Cl. 3

Bn.

with harp

3

3

3

3

3

3

3

1 2

Cbn.

(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

3

3

Harp 3 3

3

3

3

3

C.

and more of a wet

hen.

Don’t

cut up

so.

The

news

is

good.

M.G.

What news?

poco rit. a tempo

1 solo with solo flute

3

Moderato, flowing

= 112

I gli altri Vn.

unis.

pizz.

div., arco

div.

unis.

II

Va. unis., pizz. div. Vc.

unis. Cb.

div., arco

Please,

366

Act II–Scene 1

68

Piccolo

Picc. a2

Fl.

1 2

Ob.

1

E.H. 1. Cl. in B

a2

1 2

Bs.Cl. 3

3

3

3

3

3

3

3

a2 Bn.

1 2

Cbn.

1 2 Hn. in F

4.: open 3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. Xyl. 1 Trg. Perc. 2

3

marcato

Piano

3

3

3

3

3

3

cresc.

Harp 3

3

3

3

3

3

C.

M.G. 3

Cil

la.

What

is

hap

pen ing?

unis., pizz. I Vn. 6

6

6

6

6

6

6

6

II

Va. unis. Vc.

div., arco Cb.

unis.

367

Act II–Scene 1

74

Più maestoso

= 104

Quasi adagio

to Flute

= 60

Picc. 1. Fl.

1 2

Ob.

1

1.

cant. ed espr.

cant. ed espr. E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2 to Bassoon

Cbn.

1.

1.

a2, soli

1 2 espr.

Hn. in F

3

3 4

cantabile 3

3

3

3

3

3

a2, soli

cantabile

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C. 3

It’s time,

dar

3

ling

girl.

At last,

the time has

come.

The

M.G.

Più maestoso

= 104

Quasi adagio

div., arco I Vn.

div. II

div. 3

3

3

3

3

3

3

div. a3

Va. accompagnando Vc.

Cb.

div.

= 60

368

Act II–Scene 1 1., solo

81 1 2

3

Fl. 3 solo Ob.

1 3

solo E.H. cantabile Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

poco

poco

poco

poco

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

3

3

C. 3

3

plan

is set.

That’s why your hus band is

late.

He is mak

M.G.

unis. I Vn.

unis. II with slight separation unis.

div.

with slight separation unis.

div.

unis.

div.

unis.

div.

unis.

Va. poco

poco unis.

Vc. with slight separation

Cb.

poco div., pizz.

poco

ing sure

that

all

is

in place.

369

Act II–Scene 1

Lively

poco allarg. a tempo

87

= 120

1 2 Fl. 3 solo Ob.

1 espr.

E.H. 1., solo Cl. in B

1 2

espr.

Bs.Cl. espr. 1 2 Bassoon

Bn. 3

1., solo 1 2 Hn. in F

Tpt. in C

espr. 3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

with Bs. Cl.

Harp

C.

You’re leav

ing

to night!

M.G.

Sweet

poco allarg. a tempo

Lively

Je

= 120

pizz.

arco

pizz.

div., arco

unis.

div.

unis.

div.

pizz.

arco

div.

unis.

div.

unis.

I Vn. II

Va. pizz.

div., arco

unis.

Vc.

div., pizz. Cb.

unis., arco

sus!

370

Act II–Scene 1

93 1 2 Flute

Fl. 3

Ob.

1

E.H. 1. Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

1. Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

più espr. C.

Sweet er than syr up and right

on

time.

M.G.

div. I sub.

Vn.

unis.

div.

div.

unis.

unis.

div.

div.

unis.

II sub.

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

unis.

371

Act II–Scene 1

99 1 2 Fl.

to Piccolo 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 2. 1 2 Bn.

sub. 3 sub.

sub.

1 2 Hn. in F

Tpt. in C

echo 3 4 echo

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

Sleep

my ba

bies in the mea dow,

Sleep

my ba

bies in the hay;

my

ba

bies

unis. I Vn.

(div.)

unis.

div.

div.

unis.

unis. div. unis.

II

Va.

Vc. sub.

sub.

sub.

sub.

Cb.

div.

got

some

372

Act II–Scene 1 Piccolo

105 Picc.

a2 Fl.

1 2

Ob.

1

E.H. 1. Cl. in B

a2

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

dream in’

to do

’cause

free dom’s

on

the way. on the string

I Vn.

on the string div.

unis.

div.

div.

unis.

unis.

div.

II on the string

Va.

div. Vc.

Cb.

unis.

373

Act II–Scene 1

110 Picc.

a2 Fl.

1 2

Ob.

1

E.H. (a2) Cl. in B

a2

a2

a2

1 2

Bs.Cl. a2

a2

a2

a2

1 2 Bn. 3

1 2 Hn. in F

3 4

1., solo, with straight mute

1. take straight mute Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

with joyful exhuberence C.

Sleep

my ba

bies in themea dow.

Sleep

my ba

bies inthe hay;

my

bies in themea dow.

Sleep

my ba

bies inthe hay;

my

with joyful exhuberence M.G.

Sleep

my ba

I Vn. unis.

div.

unis.

div.

unis.

div.

div.

unis.

div.

unis.

div.

unis.

II

Va.

div. Vc.

Cb.

unis.

div.

unis.

374

Act II–Scene 1

115 Picc.

a2 Fl.

1 2

Ob.

1

E.H. 1. Cl. in B

1 2

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

1 2 Hn. in F

3 4 1. remove mute

Tpt. in C

1., open

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

8va

Piano

Harp

C.

ba

bies

got

some

dream in’

to do,

’cause

free dom’s

on

the way.

ba

bies

got

some

dream in’

to do,

’cause

free dom’s

on

the way.

M.G.

I Vn.

unis.

div.

div.

unis.

II

Va.

Vc. sub. Cb. sub.

375

Act II–Scene 1

120 Picc.

(a2) Fl.

1 2

Ob.

1

E.H. (a2) Cl. in B

1 2

Bs.Cl. 2.

a2

1 2 Bn.

marc. 3 marc.

1 2 Hn. in F

a2 3 4 (1.)

Tpt. in C

1 2

3 1. Tbn.

2.

1 2 (a2)

Bs.Tbn. Tuba marc.

Timp.

Sus. Cym., wood stick 1 secco Muffled Floor Tom-tom, heavy wood stick Perc. 2 Mounted Cowbell, Wood Stick 3

Piano

Harp

C.

M.G.

on the string

I Vn.

on the string unis.

div.

unis.

II on the string

div. unis.

div. unis.

div. unis.

div. unis.

div. unis.

div. unis.

div. unis.

div. unis.

unis. div.

unis. div.

Va.

Vc. marc. unis. div. Cb. marc.

unis. div.

376

Act II–Scene 1

125 Picc. a2

a2 Fl.

1 2

Ob.

1

E.H. 1. 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

Bs.Tbn. Tuba

Timp.

1 2 Congas (hands) Perc. 2 marc. 2 Congas (hands) 3 marc.

Piano

Harp

(Robert arrives and immediately embraces Margaret.) C.

(feigning anger at Robert) M.G.

You

did n’t saya word

last

Sun day.

(taking her seriously)

Robert Garner: R.G.

I could n’t.

unis.

port. pizz.

div. I Vn.

div.

unis.

port.

pizz.

II div. Va. marc.

div.

unis.

Vc.

unis.

marc. div.

Cb. marc.

unis.

div.

I

377

Act II–Scene 1

131

to Flute

Picc. a2 Fl.

1 2

Ob.

1

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

2.

1 2

marc. Bs.Cl. marc. 1 2 Bn. 3

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

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 2 Congas (hands) Perc. 2 marc. 2 Congas (hands) 3 marc.

Piano

Harp

C.

(teasing) M.G.

You ought totell me what

you’re

do

ing…

R.G.

had to be

sure. port. arco

pizz.

I Vn.

div., arco

port.

unis.

pizz.

II

Va.

div.

unis.

Vc.

unis. Cb.

div.

378

Act II–Scene 1

137

a2

1 2 cresc. Flute

Fl. 3

cresc. Ob.

1 cresc

E.H. cresc. Cl. in B

1 2

(2.)

Bs.Cl.

1 2 Bn.

cresc. 3 cresc.

with straight mute 1 2 cresc.

cresc.

Hn. in F

with straight mute 3 4 cresc.

cresc. a2, with straight mute

Tpt. in C

1 2 cresc. 3 cresc.

Tbn.

1 2 cresc.

cresc.

Tuba

Bs.Tbn. Tuba Bs. Tbn. cresc.

cresc.

Timp. Large Cowbell, wood stick 1 2 Congas Perc. 2 marc. 2 Congas 3 marc.

Piano

Harp

C.

M.G. molto

Some times!

meno

R.G.

You

need

to keep it qui et in

here.

arco I Vn.

arco

div.

II

Va. cresc.

div. Vc.

unis.

cresc.

Cb. cresc.

379

Act II–Scene 1

144

= 72

=

1 2 Fl. 3

Ob.

1

E.H. 2. Cl. in B

1.

2.

1 2

6

6

6

6

6

6

6

6

6

6

Bs.Cl.

1 2 Bn.

to Contrabassoon 3

1., open

remove mute 1 2 Hn. in F

dolce remove mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

3

3

Harp

3

3

3

3

3

3

3

3

(ben articolato)

C.

M.G.

Al

right.

When

3

do

we

leave?

R.G.

= 72 t.

I Vn.

=

por

unis. II

unis. Va.

Vc.

molto staccato Cb. molto staccato

pizz.

380

Act II–Scene 1

149

Half tempo

= 72

1.

1 2 Fl. 3

Ob.

1 to Oboe

E.H. (2.) Cl. in B

1 2

n

with no attack Bs.Cl.

n

with no attack Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2 with no attack

n

with no attack

n

Bs.Tbn. Tuba

Timp. Vib., medium yard mallets, motor off 1

Pedal on Perc. 2

3

Piano

Harp

C.

3

3

3

M.G.

O

Lord,

I

amgon na cry.

R.G. 3

Three

Half tempo

hours

from

now.

= 72

div. I Vn.

div. II pizz. div.

Va. sub. pizz. unis. Vc. sub. arco Cb. sub.

pizz.

381

Act II–Scene 1

154 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1. 1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Celesta

Piano

Harp

C.

M.G.

R.G. 3

You?

Not

3

you!

3

My

sol

dier

girl’s

go ing

unis. I sotto voce unis.

Vn.

dolce

II sotto voce unis., arco

dolce div.

unis.

non div. sul G

Va. sotto voce arco

dolce

sotto voce arco

dolce

sotto voce

dolce

Vc.

Cb.

sul C non div.

to cry?

382

Act II–Scene 1

poco rall.

158 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

(1.) 1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

with Horn 1.

Harp

(Robert tries to embrace Margaret, but she pulls away, embarrassed to show her tears.) C.

M.G.

R.G. 3

3

It’s all

3

right.

3

It’s all

right.

poco rall. I dolce e cantabile Vn.

div.

unis.

non div.

II dolce e cantabile div. Va. dolce e cantabile Vc. dolce e cantabile Cb. dolce e cantabile

383

Act II–Scene 1

163

Moderato (light, transparent)

= 42,

= 84

1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2 with Harp

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Vib., with medium yarn mallet, motor on fast 1 with little or no attack Pedal on Perc. 2

3

Celesta

Celesta

sempre with woodwinds

Harp

C.

M.G.

tenderly R.G.

Go

cry

girl.

Moderato (light, transparent)

You have won

= 42,

= 84

(*) I Vn.

(*) II (*)

unis.

Va. non div. Vc.

Cb.

(*) Vn. I, Vn. II, Va.: ossia with unmeasured tremolo to m. 195.

your tears;

go

cry

girl.

O beyyour ten

der years.

The

384

Act II–Scene 1

168 1 2 Fl. 3

Ob. 2 (1.) Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

Celesta

Harp

C.

M.G.

R.G. 3

string

I Vn. II

Va. non div. Vc.

Cb.

is

cut.

The tale

is

told

I

know.

Don’t

think

I

don’t

know.

385

Act II–Scene 1

172 1 2 Fl. 3 solo 1 cant.

Ob. 2

1., solo Cl. in B

1 2 cant.

3

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

Celesta

Harp

C.

M.G. (più cantabile)

R.G.

The

I Vn. II

Va.

non div. Vc.

Cb.

non div.

386

Act II–Scene 1

177 1 2 Fl. 3

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

Celesta

Harp

C.

M.G.

R.G.

gate

is

o

pen,

the

way

is

clear;

the work

I Vn. II

Va. non div. Vc.

Cb.

non div.

is

done,

and the time

has

come,

I know.

387

Act II–Scene 1

181 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

Celesta

Harp

C.

M.G.

R.G. 3

Don’t

think

I Vn. II

Va. non div. Vc.

Cb.

I

don’t know.

Go

cry,

388

Act II–Scene 1

185 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1 sempre Perc. 2

3

Celesta

Harp

C.

M.G.

R.G.

girl.

Girl,

go

cry.

I Vn. II

Va. div. a2 Vc.

Cb.

389

Act II–Scene 1

189 1 2 Fl. 3

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

1 2 dolce

Bs.Cl. dolce Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

Celesta

Harp

(Margaret feels overwhelmed with love for Robert.) C.

M.G.

R.G.

I Vn. II

Va. unis. Vc.

Cb.

390

Act II–Scene 1

193

lunga

1 2 lunga

Fl. 3

lunga

solo 1 dolce

Ob.

lunga

2 lunga Cl. in B

1 2 lunga

Bs.Cl. lunga Bn.

1 2 lunga

Cbn.

lunga 1 2 Hn. in F

lunga 3 4 lunga

Tpt. in C

1 2 lunga 3 lunga

Tbn.

1 2 lunga

Bs.Tbn. Tuba

lunga Timp. lunga 1 lunga Perc. 2 lunga 3

to Piano

lunga

lunga

Celesta

lunga

lunga

Harp

(Drawing closer, they kiss.)

lunga

C. lunga M.G. lunga R.G.

3 soli, div. a3

lunga

I Vn.

4 soli, div. a4

sul G

lunga

II lunga Va. espr. div. lunga Vc. lunga Cb.

391

Act II–Scene 1

198 Con

moto

= 104

più mosso

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

sotto voce 2. Bn.

1 2 sotto voce

Cbn. sotto voce

2.: open 1 2 Hn. in F

open

sotto voce

3 4 sotto voce

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

Bs.Tbn. Tuba sotto voce Bs. Tbn.

Timp.

1

Perc. 2

3

Piano

Harp

C.

(recovering her composure, but still anxious) 3

M.G.

Where

will

we

go?

Are

(reassuringly)

there oth ers?

Do

R.G. 3

3

It’s al

Con moto

= 104

tutti, unis., sul tasto

I Vn. tutti, unis., sul tasto II

sul tasto Va.

unis., sul tasto Vc.

sul tasto Cb.

right.

It’s al

right.

più mosso

3

we have

392

Act II–Scene 1

a tempo

202 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

(2.) Bn.

1 2 to Bassoon

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2 (Tuba)

Bs.Tbn. Tuba (Bs. Tbn.)

Timp.

1

Perc. 2

3

Piano

Harp

C.

espr.

3

M.G.

mo ney?

Where

will we hide? emphatically

3

R.G.

It’s al

right.

I

a tempo div., ord. I Vn.

ord. II ord.

Va. ord.

div., pizz.

Vc. pizz. Cb.

3

am in charge

now.

393

Act II–Scene 1

207 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 3

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.

1

Perc. 2

3

Piano

Harp

3

3

3

3

3

3

3

3

3

3

3

3

C.

M.G. (teasing) port. R.G.

Ev

’ry

3

3

thing is rea dy,

div. I Vn. II

Va.

div., arco Vc.

arco ordinario Cb.

ex

cept

you.

Now

3

you

help

394

Act II–Scene 1

211 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

6

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

a2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. Vib., motor on fast 6

6

6

6

l.v.

1

Pedal on Trg. Perc. 2

3

Piano

Harp

(Robert leaves.) C.

M.G.

R.G. 3

3

Ma ma, fi nish pack ing

I’m

go

ing

for the

child

ren.

div., pizz.

2 soli, div., arco

div., pizz.

1 solo, arco

tutti, unis., arco

I 6

Vn.

6 6

6 6

6 6

6 6

6 6

6

tutti, arco

II

1 sola

tutte

Va. 6

1 solo Vc.

Cb.

6

6

6

6

6

tutti

395

Act II–Scene 1

Andante comodo

riten.

215

= 72

1 2 Fl. 3

1 Ob.

Oboe 2 1.

Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2 a2, Bs. Tbn. with straight mute, Tba. open

Bs. Tbn. take straight mute

Bs. Tbn. remove mute

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(Cilla looks around the room one more time, to make sure that all of Robert and Margaret’s belongings are packed.)

(locking the last bag)

C.

All

done.

I’m

M.G.

riten. 2 soli, div.

tutti, unis.

Andante comodo

= 72

pizz.

I 6

6

6

6

6

6

Vn. 1 solo 6

6

6

6

6

6

tutti, div.

unis., pizz.

II

1 sola

tutte

pizz.

Va. 6

1 solo

6

6

6

6

6

1 solo

tutti, unis.

Vc. gli altri 1 solo, pizz. Cb.

through.

396

Act II–Scene 1

219 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. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Piano

sempre

Harp

C.

Dar

ling

girl,

3

3

M.G.

Where are your things?

I

don’t see your things,

ma ma.

arco

pizz.

arco

pizz.

I Vn. II

arco

arco

pizz.

Va.

div., arco div.

unis.

tutti, div., pizz.

unis.

pizz.

Vc.

Cb.

div.

I

397

Act II–Scene 1

223 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 dolce

Bs.Cl.

1 2 Bn.

dolce 3

1. 1 2 Hn. in F

Tpt. in C

with vlas. 3 4 dolce

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

fast arp.

Harp

3

C.

am

too

old

to

tread

new

wa ters.

I am bound

M.G.

arco I Vn.

arco II div., arco

pizz. Va. dolce unis. div.

unis.

Vc. dolce (div.) Cb.

unis., arco

to stay here.

398

Act II–Scene 1

227 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., soli

solo

1 2 Hn. in F

3., soli 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

più espr. M.G.

Ma ma!

I Vn. II unis. Va. div. Vc. pizz. Cb.

arco

You

have

to come with us.

399

Act II–Scene 1

231 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.)

with straight mute

take straight mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Vib., motor on 1 Pedal

Pedal Perc. 2

3

Piano

Harp

3

C.

No

I

don’t.

You

know

I

won’t.

M.G.

quasi non vib.

quasi non vib.

quasi non vib.

quasi non vib.

quasi non vib.

quasi non vib.

quasi non vib.

quasi non vib.

unis., ord.

quasi non vib.

quasi non vib.

ord.

I Vn. II

Va.

Vc.

Cb.

400

Act II–Scene 1

235 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1., open (if possible), 2. remove mute

a2, open

1 2 Hn. in F

3 4 take straight mute

Tpt. in C

1 2

3 a2

1. Tbn.

1 2 molto Bs. Tbn., open

Bs.Tbn. Tuba molto

Timp.

1

Perc. 2

3

Piano

Harp

(Briefly overcome by painful emotions, Cilla looks away from Margaret, who is attempting to make direct eye contact with her mother-in-law.) C.

M.G.

ord. I Vn.

ord. II

ord. Va.

div.

unis.

Vc.

div. Cb.

401

Act II–Scene 1

Recitative (poco più mosso) 240 = 76 1 2 Fl. 3

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.

1

Perc. 2

3

Piano

Harp

C. 3

See

ing

you,

my

M.G.

Recitative (poco più mosso) = 76 I Vn. II

Va.

div. Vc.

Cb.

son

and

my grand

child

ren

gone

from this

place,

402

Act II–Scene 1

245 1 2 Fl. 3

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.

1

Perc. 2

3

Piano

Harp

3

C.

a way

M.G.

I Vn. II

Va.

Vc.

Cb.

from

Sa tan’s breath

is

my bless ing.

Don’t

mourn

me.

403

Act II–Scene 1

251 1 2 Fl. 3

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.

1

Perc. 2

3

Piano

Harp

3

C. 3

When M.G.

I Vn. II

Va.

Vc.

Cb.

my

fa

mi ly

is

safe,

I

will be

on ly near

the

cross—

404

Act II–Scene 1

257 1 2 quasi

Fl.

to Piccolo

3 quasi 1 Ob. 2

Cl. in B

1 2 quasi

solo

Bs.Cl. 5

1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

meno

legato

C.

not

M.G.

I Vn. II

Va. unis. Vc.

unis. Cb.

on

it.

405

Act II–Scene 1

264 Adagio

= 54

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2 dolce

Bs.Cl. dolce

2.

1 2 dolce

Bn. 3

dolce

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Celesta

Piano

Harp

più cant.

floating C.

He

is

by,

M.G.

Adagio sul A I dolce div.

Vn. II

Va. pizz. Vc. pizz. Cb.

= 54

for

ev

er

by

me.

In

His sha dow

I will lin

ger on

a

while

’til

He

406

Act II–Scene 1

268 Picc.

Fl.

1 2

1 dolce

Ob.

dolce

2

Cl. in B

1 2 dolce

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2 quasi

with no attack

quasi

with no attack

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

più espr.

floating C.

calls

me.

He

is by,

M.G.

sul A I dolce

Vn. II

dolce Va. dolce div., arco

unis., pizz.

arco

pizz.

Vc.

Cb.

for

ev

er by

me.

No

trum

pets

407

Act II–Scene 1

273 Picc.

Fl.

1 2

1 cant.

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.) 1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

sub. C.

or

streets

of

gold.

He

will

come

in

si

lence

and

gath

er

me

in

M.G.

I Vn. unis.

espr.

II molto espr. espr.

div.

Va.

div., arco

espr.

(div a2)

Vc. espr. div.

arco Cb. espr.

His

408

Act II–Scene 1

278 Picc.

Fl.

1 2 solo 1 dolce, with solo violin

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

espr. 3 4 espr.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Perc. 2

3

Celesta

Harp

cantabile C.

arms.

He

is cantabile

by,

for

3

M.G.

Please don’t con fine

(ossia: 8va dolce

)

1 solo I gli altri Vn.

div. II unis.

Va. unis. Vc. unis. Cb.

us

to

the

409

Act II–Scene 1

282 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2. 1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

più cantabile C.

ev

er

by

me.

No

trum

pets

or

streets

of

gold.

don’t want trum

pets

or

streets

of

gold.

He

will

come

M.G.

edge

of

your mind

in sha dow.

We

tutti I espr. Vn. unis.

espr.

II

espr. Va. div. Vc. div. Cb.

unis.

As

410

Act II–Scene 1

poco rit.

286 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.

1

Perc. 2

3

Celesta

Harp

(full voice) C.

in

si

in

si

lence

and

gath

er

me

in

His

arms.

us

your

arms.

(full voice) M.G.

we

leave

lence

give

poco rit. I Vn. molto cantabile II

molto cantabile

unis.

div.

Va.

(div. a2) Vc.

Cb.

411

Act II–Scene 1

290 poco

più mosso

= 72

poco meno mosso

= ca. 60

Picc.

Fl.

1 2 solo 1 dolce

Ob. 2

dolce Cl. in B

1 2

Bs.Cl.

1 2 dolce

Bn. 3

1.

solo

1 2 Hn. in F

Tpt. in C

dolce 3 4 1 2

3

Tbn.

1 2 cantabile

Bs.Tbn. Tuba cantabile

Timp.

1

Perc. 2

3

Celesta

Harp

po

rt.

C.

A

M.G.

men.

t.

por

A

men.

poco meno mosso poco più mosso

= 72

= ca. 60 flaut., poco vib.

div. I Vn.

div.

unis., flaut., poco vib.

II unis.

div.

unis.

unis., pizz.

div., arco

(div.)

unis., pizz.

arco

Va.

Vc.

div. Cb.

div.

412

Act II–Scene 1

296 Con

moto, ma non troppo

= 108

Picc.

Fl.

1 2

1 Ob. 2 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. Vib., motor off 1

Pedal Perc. 2

3

Celesta

Celesta

Harp

C.

3

3

M.G.

It

Con moto, ma non troppo I Vn. II

Va.

unis. Vc.

Cb.

= 108

’ll

break

my

heart

know ing

that

you

are

still

413

Act II–Scene 1

301 Picc.

Fl.

1 2

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

1.

1 2

Bs.Cl.

1 2 Bn. 3

1. 1 2 with slight separation on each note 3.

Hn. in F 3 4

with slight separation on each note with straight mute

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1 (Pedal) Perc. 2

3

Celesta

Harp

C.

M.G.

here.

unis., ord. I Vn.

ord. II

Va.

Vc. unis., pizz. Cb.

We

can’t

be

free

3

with

414

Act II–Scene 1 Piccolo

306 Picc.

1.

a2 Fl.

1 2

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

2.

1 2

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

3.

(3.)

3 4 (with straight mute)

remove mute

1 2 Tpt. in C 3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. (Vib.) 1 (Pedal) Perc. 2

3

Celesta

Harp

C.

3

M.G.

out

you.

Rob

ert

will in

sist.

pizz.

arco

pizz.

arco

I Vn. II

Va.

Vc. arco Cb.

415

Act II–Scene 1

312 Picc.

1. Fl.

1 2

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

1 2 sub.

Bs.Cl. 2.

sub.

a2

1 2 Bn. 3

1 2 Hn. in F

a2 3 4 1., solo, open

Tpt. in C

1 2

3 1. play into stand Tbn.

a2, ord.

1 2 Bs. Tbn.: play into stand

Bs. Tbn., ord.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

to Piano

Piano

Harp

C.

Hush,

child.

Hear

me now.

Don’t waste mus clewhere noneis want

M.G.

I Vn. II

div., pizz. Va. sub. Vc. sub., più legato e cant. div., pizz. Cb.

div. a3

ed.

416

Act II–Scene 1

318 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. molto espr. 1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3 (a2) Tbn.

1 2 sub.

Bs.Tbn. Tuba sub.

Timp.

1

Perc. 2

3

Piano

Harp

3

C. 3

You will need

ev

’ry

M.G.

I Vn. II

Va.

Vc. molto espr. Cb.

bone

and

si

new

plus

your mind

to

3

get

a

417

Act II–Scene 1

323 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

a2 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.

way

from

here.

Fol

M.G.

I Vn. II

unis., arco Va.

Vc.

unis., arco Cb.

div. pizz.

low your hus band.

418

Act II–Scene 1

328 Picc.

a2 Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

a2 3 4 1., solo

Tpt. in C

1., with straight mute

1. take straight mute

1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. Glock. 1

Perc. 2

3

con forza

Piano

Harp

C.

Save

M.G.

I Vn. II unis., arco Va.

div. Vc.

Cb.

your

child

ren,

moth er!

419

Act II–Scene 1

333 Picc. (a2) Fl.

1 2

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

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

(a2) 3 4 (1.)

Tpt. in C

1 2

3

Tbn.

1 2 (Bs. Tbn.)

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

3

C.

Rear

up

now.

M.G.

I sub.

Vn. II

sub. Va. unis. Vc.

Cb.

Help Rob

ert

with the child

ren.

420

Act II–Scene 1

338 Picc. cresc. a2 Fl.

1 2 cresc. 1 cresc.

Ob. 2

cresc. a2 Cl. in B

1 2 cresc.

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

1 2 Hn. in F

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

Tpt. in C

1 2 open

cresc.

3 a2 Tbn.

cresc.

1 2 cresc.

a2

Bs.Tbn. Tuba cresc.

Timp. Sus. Cym., hard yarn mallets 1 cresc. Tam. Perc. 2 cresc. B.D. 3 cresc.

Piano

Harp

(They hear footsteps approaching the cabin.)

C.

Here?

he comes.

M.G.

div.

unis.

I cresc.

Vn. II

cresc. Va. cresc. Vc. cresc. Cb. cresc.

421

Act II–Scene 1 =

L’istesso tempo

343

rit.

to Flute

Picc. (cresc.) (a2)

Fl.

1.

1 2 (cresc.)

1 (cresc.) Ob. 2 (cresc.) (a2) Cl. in B

1 2 (cresc.)

Bs.Cl. (a2) 1 2 (cresc.)

Bn. 3

(cresc.)

take straight mute

with straight mute

1 2 (cresc.)

Hn. in F

take straight mute

with straight mute

3 4 (cresc.) (1.)

Tpt. in C

2. fltg.

1 2 (cresc.) fltg. 3 (cresc.) (a2)

Tbn.

1.

1 2 (cresc.) (a2)

Bs.Tbn. Tuba (cresc.)

Timp. (Sus. Cym.) 1 (Tam.) Perc. 2 (B.D.) 3

Piano

3

3

3

3

Harp

3

3

3

(Margaret and Cilla are shocked (Casey glances around the cabin, then picks up one of their carpetbags and throws it across the room.) when Casey, not Robert, storms into the cabin.) C.

M.G.

L’istesso tempo =

div.

rit.

pizz. I (cresc.) div.

Vn.

pizz. II (cresc.) div. a2 Va. (cresc.) Vc. (cresc.) Cb. (cresc.)

arco

3

422

Act II–Scene 1

349

Pochissimo meno mosso

1., solo

= 96

1 2 molto cant.

Fl. 3

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

1 2 molto cant.

Bs.Cl.

1 2 Bn. 3

remove mute 1 2 Hn. in F

remove mute 3 4 remove mute

Tpt. in C

1 2

3

Tbn.

1 2 quasi

Bs.Tbn. Tuba quasi

Timp. sotto voce 1

Perc. 2

3

Piano

Harp

C.

M.G.

Casey: freely 3

Ca. 8

Plan

Pochissimo meno mosso I Vn. II

Va.

div. Vc.

Cb.

3

6

ning a lit tle trip?

Or

= 96

just

clean

3

in’ out

the sty?

423

Act II–Scene 1

353

Poco più mosso

Subito agitato

= 104–108

= 120+

1 2 Flute

Fl. 3

1 Ob. 2

Cl. in B

1 2 sub.

Bs.Cl.

1 2 Bn.

sub. 3

sub. open a2 1 2

open

Hn. in F

open

a2

3 4 1. and 2. open Tpt. in C

1 2

3

Tbn.

1 2 sub.

Bs. Tbn. Bs.Tbn. Tuba

sub.

Timp.

1

Perc. 2

3

Piano

Harp

(Upon entering the cabin, Robert halts abruptly when he sees Casey.) C.

M.G.

Ca. 8

Robert Garner: (offstage)

R.G. 3

The child

Poco più mosso unis.

ren

are com ing!

= 104–108

The child

ren

are…

Subito agitato

arco

I sub. Vn.

unis.

div.

II

unis.

sub.

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

= 120+

424

Act II–Scene 1

Come sopra

= 96

358 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

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

quasi parlando Ca. 8

Well, I’ll

be.

Well, I’ll

be.

R.G.

Come sopra div. I

Vn.

div. a2 II

Va.

Vc.

Cb.

= 96 unis.

425

Act II–Scene 1

362

= 48,

= 96

1 2 Fl. 3

1 Ob. 2

Cl. in B

with vns. and voice

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

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

Ca. 3

8

Look

what

crawled

out

of

the

woods.

Pap py bear.

Com

in’

3

to get

mam

my

R.G.

= 48,

= 96

I Vn. unis.

div.

unis.

II

div. Va.

div. a2 Vc.

Cb.

unis.

div.

426

Act II–Scene 1

368

fltg.

ord.

fltg.

ord.

fltg.

ord.

1 2 Fl. 3

1 espr.

Ob. 2 espr. 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 take straight mute Tbn.

1 2 with no attack

Bs.Tbn. Tuba with no attack

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

(to Cilla) Ca. 8

3

bear,

and all

the

lit tle

cubs?

I guess

you must be

Gol

di

locks.

R.G.

espr.

(arco)

1 solo

(sul A) I dolce

Vn.

gli altri div.

II pizz. Va.

pizz. Vc.

Cb.

pizz.

espr.

fltg.

427

Act II–Scene 1

374 1 2 Fl. 3 solo 1 dolce espr.

Ob. 2

Cl. in B

1 2 poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

poco

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4

1 2

3 with straight mute Tbn.

remove mute

1 2 poco

poco

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

Ca. 8

Seems

the

por

ridge

is

all

et

up.

R.G.

(1 solo) I Vn.

6

6

6

6

6

6

6

6

II arco Va. 6

arco Vc. div., pizz. Cb.

6 6

6 6

6 6

6 6

6 6

6 6

6 6

6

428

Act II–Scene 1

378 Pochissimo

più mosso

= 100

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

remove mute 1 2 Hn. in F

Tpt. in C

remove mute 3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

(pulling a pistol out of his coat)

3

3

Ca. 8

Let me

see

what

3

I

can

of

fer

you.

Gun pow der

R.G.

Pochissimo più mosso

= 100

3 soli, div. a3 (ossia: tutti div. a3) I Vn.

sotto voce unis., pizz. II unis.

Va. unis. Vc. espr. unis. Cb.

div.

429

Act II–Scene 1

384 1 2 Fl. 3 solo 1 Ob.

espr. 2

Cl. in B

1 2

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

1 2 Hn. in F

3 4 1., solo 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. sempre

Chimes, medium soft hammer 1

Vib., motor on fast Perc. 2 Pedal 3

Piano

Harp

(Casey points the pistol at Cilla’s mouth.) C.

M.G.

Ca. 3

8

might be a lit tle dry

but

Gol

di locks

got

to

eat

don’t

she?

R.G.

tutti, div. a2 I Vn.

sub.

sub.

sub.

sim.

sub.

sub.

sub.

sim.

sub.

sub.

sub.

sim.

sub.

sub.

sub.

sim.

arco II

Va.

unis. Vc.

(pizz.)

Cb. with Timpani

430

Act II–Scene 1

389 1 2 Fl. 3

solo 1 with solo Vn.

Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

a2, open

1., solo

1 2 Hn. in F

a2, open 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Chimes) 1 (Vib.) Perc. 2

3

to Celesta

Piano

Harp

(motioning to Robert and Margaret with his free hand) C.

M.G.

(darkly) Ca. 8

3

Let’s just R.G.

dolce with Oboe 1 solo I

Vn.

gli altri, unis. div. II

Va.

div. Vc. espr. div. Cb.

line

Act II–Scene 1

394 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

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

(1.) 1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Perc. 2

3

Celesta

Celesta

Harp

C.

M.G.

Ca. 8

up

ov

er

there.

R.G.

dolce 2 soli I Vn. II

Va.

Vc.

Cb.

431

432

Act II–Scene 1

398

Più agitato

=108

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

2.

a2

1 2 Hn. in F

a2 3 4

Tpt. in C

1 2

3 open Tbn.

1 2 a2

a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Piano

Celesta

Harp

(Impulsively, Robert attacks Casey. A violent struggle ensues, during which Robert manages to wrest away Casey’s pistol.)

(Robert grabs Casey from behind, yet hesitates to shoot him.)

C.

M.G.

Ca. 8

R.G.

Più agitato

=108

tutti

I unis.

Vn.

II

Va.

unis.

marc.

Vc. marc. unis., arco Cb. marc.

div.

433

Act II–Scene 1 2.

402 1 2 Fl.

to Piccolo 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

a2, soli 1 2

3

3

3

3

3

Hn. in F

a2, soli 3 4 3

1. 1 2 Tpt. in C 3 a2, soli Tbn.

1 2

3

3

3

a2 Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

to Celesta

div.

unis.

unis.

div.

Piano

Harp

C.

M.G.

Ca. 8

R.G.

I Vn. II

Va.

Vc.

Cb.

434

Act II–Scene 1

poco rit.

408

= 92

Picc. 1., solo

Fl.

1 2 dolce, with solo Vn. 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.

1

Perc. 2

3

Celesta

Celesta

sempre col

Harp

C.

M.G. quasi parlando 3

Ca. 8

You

R.G.

dolce

poco rit.

= 92

1 solo I poco vib., sotto voce gli altri div., poco vib.

Vn.

unis.

II sotto voce div.

pizz.

Va.

pizz. Vc.

pizz. Cb.

kill

me,

435

Act II–Scene 1

414 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo 1 2 Hn. in F

Tpt. in C

dolce 3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

M.G.

più cantabile

3

Ca. 8

3

Both

of

us

is

dead.

Your

fa

mi ly

too.

(livid, filled with rage)

R.G.

And if

tutti unis.

I

Vn.

pizz. II arco

Va.

arco Vc.

div., arco Cb.

you live,

436

Act II–Scene 1

419 Picc. 1., solo Fl.

1 2 dolce 1

Ob. 2

Cl. in B

1 2

Bs.Cl.

1. 1 2 Bn. 3

(1.) 1 2 Hn. in F

Tpt. in C

3 4 1 2

3 play into stand Tbn.

1 2 Bs. Tbn. play into stand

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

sempre col

Harp

C.

M.G.

Don’t Ca. 8

R.G.

will they?

1 solo

I gli altri

Vn. II

Va. unis. Vc. unis. Cb.

dolce

kill him.

He’s al

3

rea dy

dead.

437

Act II–Scene 1

425 Picc. (1.) Fl.

1 2 sub.

cresc. poco a poco

1 Ob. 2

Cl. in B

1 2 cresc. poco a poco

Bs.Cl.

cresc. poco a poco

(1.) 1 2

cresc. poco a poco

Bn. 3

cresc. poco a poco

a2 1 2 Hn. in F

a2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 cresc. poco a poco

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Piano

Celesta

Harp

C.

M.G. (to Margaret) 3

Ca. 8

You black

slut!

Don’t ya beg

for

me!

(molto agitato) (forcefully)

R.G.

Dog

tutti

1 solo I sub.

Vn.

cresc. poco a poco non div.

II cresc. poco a poco

unis.

(div.) Va. div. a2

cresc. poco a poco

Vc.

cresc. poco a poco Cb. cresc. poco a poco

unis.

with out teeth!

Re

438

Act II–Scene 1

431

Agitatissimo

Piccolo

= 126

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

a2

a2

a2

a2

1 2 Hn. in F

3 4 2.

Tpt. in C

1 2

3 ord. Tbn.

1 2 ord.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Piano

Harp

C.

M.G.

Ca. 8

R.G.

mem

ber

hell?

Go

Agitatissimo I Vn. II

Va.

Vc.

Cb.

= 126

Act II–Scene 1

molto allargando

439

437 Picc. sub. a2 Fl.

1 2 sub.

1 sub. Ob. 2 sub. a2 Cl. in B

1 2 sub.

Bs.Cl.

a2 1 2 Bn. 3

(a2)

a2

(a2)

a2

1 2 Hn. in F

Tpt. in C

3 4

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Xyl. 1 sub. Brake Drum

B.D., heavy stick

Perc. 2 Mounted Cowbell Floor T.-t., muffled

Tam.

molto

3 molto

8va

Piano

Harp

(Casey struggles to break free from Robert’s grasp.)

(Robert strangles Casey to death.)

C.

M.G.

Ca. 8

R.G.

home

to it

now!

molto allargando

non div.

I div.

Vn.

non div.

div. unis.

div. unis.

molto unis.

II div.

div. unis.

div. unis.

molto unis.

Va. molto Vc. molto Cb.

440

Act II–Scene 1

Più maestoso

= 80

443 Picc. appassionato

1.

a2 Fl.

1 2 appassionato

1 appassionato Ob. 2 appassionato

1.

(a2) Cl. in B

1 2 appassionato

Bs.Cl. 2. 1 2 Bn. 3

a2

1.

a2

3.

1 2 Hn. in F

3 4 2.

take straight mute

1 2 Tpt. in C

take straight mute 3 a2

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

(2 drums) Timp. Chime 1 (B.D.) Perc. 2 l.v. (Tam.) 3 l.v. to Celesta

Piano

sempre

Harp

(When Casey’s body begins to crumple to the ground, Robert finally lets go of him.) C.

M.G.

R.G.

Più maestoso

= 80

1 solo

I appassionato gli altri

div.

Vn.

unis. div. II appassionato

Va. appassionato non div. Vc.

Cb.

dolce

441

Act II–Scene 1

Più calmo

451

= 72

Picc. 1. Fl.

1 2 sub. 1 sub.

Ob. 2

Cl. in B

3

1 2

3

3

Bs.Cl.

1 2 3

Bn.

3

3

3

1. 1 2 Hn. in F

molto cantabile

3 4 1., with straight mute

Tpt. in C

1 2 sub. 3 take straight mute

Tbn.

1 2 (Bs. Tbn.)

take straight mute

Bs.Tbn. Tuba

Timp.

1 B.D. Perc. 2 Tam. 3

Celesta

Harp

C.

Lap of God,

M.G.

R.G.

1 solo

Più calmo

= 72

tutti I Vn.

1 solo

tutti

div.

unis.

unis.

div.

pizz.

sub. arco

II

Va. sub. Vc.

Cb. sub.

div.

Rob ert.

3

What haveyoudone?

442

Act II–Scene 1

457

Più largamente

= 54

Come sopra

= 72

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

(1.) 1 2 Hn. in F

3 4 1. (with straight mute) 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

(clasping her hands)

C.

For give

him

3

fa ther.

This may be the end.

M.G.

R.G. 3

Proved my worth as a man

Più largamente pizz.

and

= 54

your

son.

Come sopra

= 72

div., arco, al punta pizz.

I Vn.

pizz.

div., arco, al punta

pizz.

II

unis.

div.

unis.

Va. unis.

(div.)

div.

Vc.

div. Cb.

unis.

div.

3

3

3

443

Act II–Scene 1

462

to Flute

Picc. 3

1. Fl.

1 2

3

1 3

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

take straight mute

with straight mute

take straight mute

3., with straight mute

1. remove mute

1., open

1 2 Hn. in F

3.

3 4 (with straight mute) Tpt. in C

1 2

3

Tbn.

with straight mute

remove mute

Bs. Tbn., with straight mute

remove mute

1 2

Bs.Tbn. Tuba

Timp. Vib., motor on 1

Pedal Perc. 2

3

Celesta

3

Celesta 3

3

3

Harp

3

3 3

3

3 3

3 3

C.

quasi parlando M.G.

No!

No we can’t

change what is done.

Quick!

Rob ert, you have to run!

R.G. 3

I

unis., arco I Vn.

unis.

div., arco

II div.

pizz.

unis. (pizz.)

div., pizz.

div. a2, arco

pizz.

div., arco

Va. sub. unis., sul D Vc. sub.

Cb. pizz.

can’t leave

you all

here!

444

Act II–Scene 1

467

2.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.)

1

Perc. 2

3

Celesta

Harp

C.

parlando 3

M.G.

Tell

3

me where to meet

you.

Then go! (agitated)

R.G.

The bot tom

I Vn.

unis. II unis. div., arco

Va. unis.

div.

Vc. unis., arco Cb.

by the mi mo

sa.

445

Act II–Scene 1

472 1 2 Fl.

Flute 3

1 Ob. 2 1. Cl. in B

2.

1 2

Bs.Cl.

1 2 Bn. 3

1. take straight mute 1 2 Hn. in F

Tpt. in C

3 4 1 2

3 open Tbn.

1 2 open

Tuba

Bs.Tbn. Tuba

Timp.

Vib. 1 6

6

6

6

6

6

3

3

3

Sus. Cym., hard yarn mallets Perc. 2

3

3

3

3

Celesta

Harp

C.

M.G.

poco espr. meno R.G. 3

The grass is

tall

there.

When the moon

hits

the

top

of the

div. unis. I Vn.

div.

unis.

II

Va. 4 soli, div. a4

Vc. div. Cb.

pines,

the

446

Act II–Scene 1

molto rit.

478 1 2 Fl. 3

1 Ob. 2

(2.) Cl. in B

1 2 solo

Bs.Cl.

1 2 Bn. 3

with straight mute 1 2 Hn. in F

with straight mute 3 4 (with straight mute) 1 2

Tpt. in C

with straight mute 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

(Cilla covers Casey’s body.) 3

C. 3

Hur ry

son!

make tracks now!

We’ll han dle God’s out

cast.

M.G.

R.G.

wa

gon

3

will be there.

molto rit.

pizz. I Vn.

div., pizz. II div.

(div.)

Va. tutti, unis.

pizz.

Vc. espr.

3

pizz. (div.) Cb.

unis.

Tranquillo

447

Act II–Scene 1

= 66

484 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. remove mute

1. open

3. remove mute

dolce

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

sempre

sempre

Harp

C.

M.G. 3

espr.

R.G. 3

Mar

Tranquillo arco al punta I Vn.

div., arco al punta II div. a2

Va. div., arco Vc.

div., arco Cb.

= 66

garet.

Oh, my

3

sweet,

lov ing

wo man!

Thebot tom‌

tall

448

Act II–Scene 1

490 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.)

solo

1 2 Hn. in F

Tpt. in C

dolce

dolce espr.

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

M.G.

grass… mi mo

sa…

…touch

es

pine.

wa (a bit more anxious)

R.G. 3

Be

there

when the moon

3

light…

…touch

es

pine.

Lis ten

for the wa

I Vn. II

(div. a2) Va.

Vc. unis. Cb.

449

Act II–Scene 1

497 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.)

solo

1 2 Hn. in F

Tpt. in C

3. open 3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Sus. Cym. Perc. 2

3

Celesta

Harp

C.

M.G.

gon wheels.

moon

light.

the moon

light.

R.G. 3

gon wheels.

Watch for

I Vn. II

Va.

Vc.

div. Cb.

unis.

450

Act II–Scene 1

502 Più

largamente

a piacere

= 60

1 2 Fl. 3

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 play into stand Tbn.

1 2 sotto voce, with no attack Bs. Tbn.: play into stand

Bs.Tbn. Tuba sotto voce, with no attack

Timp.

1

Perc. 2

3

Celesta

Harp

(Robert kisser her.) C.

a piacere freely

(almost whispered)

3

M.G.

We’ll

meet

you

in the

moon

light.

Go!

R.G.

Più largamente

= 60

a piacere ord.

al punta

unis., ord.

div., al punta

I Vn. II

Va.

Vc.

div., pizz. Cb.

arco

451

Act II–Scene 1

506

breve

1 2 Fl. 3

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 with no attack

Bs.Tbn. Tuba with no attack

Timp. Vib. 1

Pedal Perc. 2

3

Celesta

Harp

(Robert runs away.)

(Lights out.)

C.

M.G.

R.G.

2 soli, div., ord. I Vn.

2 soli, div., ord. II

Va.

Vc.

Cb.

breve

452

Act II, Scene 2: In the Free State of Ohio, three weeks later. Misterioso, ma con moto

= 92–96

1., solo 1 2 with solo vn. Fl. 3

Ob.

1

E.H. 1. Cl. in B

1 2 ossia 8va

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1. offstage

Tpt. in C

1 2

3

5

take straight mute 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. poss. 1 Trg. Perc. 2 B.D. 3 poss.

Piano

Piano

Harp

C

G

C

G

C

G

D C B E F G A

(At twilight, on an evening in late March 1861. Three weeks have passed since Margaret and Robert 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.) M.G.

R.G.

Misterioso, ma con moto Solo Vn. with fl. div. I Vn.

div. II div.

Va. div. Vc.

div. Cb.

= 92–96

(Robert is standing underneath a huge elm tree, near the entrance to an underground shed where he and Margaret, now both outlaws are hiding their children in an attempt to avoid being recaptured and returned to their masters. Glimmering hot coals can be seen in a hole in the shed’s earthen floor.)

453

Act II–Scene 2

7

poco

1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 (1.)

Tpt. in C

3

3

poco

1 2 sub. 3

Tbn.

1 2

Bs.Tbn. Tuba

poco Timp.

1

Perc. 2 poco 3

Piano

Harp

M.G.

R.G.

poco I Vn. II

Va.

Vc.

Cb.

454

Act II–Scene 2

13

1.

1 2 3

dolce

Fl. 3

Ob.

1

E.H. 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1.

Tpt. in C

1 2 3

meno

3

Tbn.

1 2

Bs.Tbn. Tuba

l.v. Timp.

1 Trg. Perc. 2

3

Piano

Harp

C

G

C

G

C

G

C

G

M.G.

R.G.

Solo Vn. dolce I Vn. II

Va.

Vc.

Cb.

3

455

Act II–Scene 2

21

Moderato

= 80

2., fltg.

1 2 Fl.

fltg. 3 solo

Ob.

1 dolce

E.H.

Cl. in B

1 2 dolce

Bs.Cl.

1. 1 2 dolce

Bn. 3

1. 1 2 Hn. in F

3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Celesta

Piano

Harp

Margaret Garner: (emerging from the shed) M.G.

What else

3

have you heard?

3

What arethey say ing

a

bout

him?

R.G.

Moderato I Vn. II

Va.

Vc.

Cb.

= 80

tutti, div.

456

Poco più mosso

Act II–Scene 2

= 84+

1., solo, ord.

26 1 2

dolce

Fl. 3

solo Ob.

1 dolce

dolce E.H.

1., solo Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

3. 3 4 take straight mute

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

(fast arp.)

Harp

M.G.

Robert Garner: R.G. 3

3

3

They say thisnew pres i dent

Poco più mosso

does n’t hiss

3

3

like a

snake;

that he talks

like

a

man.

= 84+

1 solo tutti, pizz. I gli altri Vn.

pizz.

unis. II

div. a2

unis.

div.

Va.

Vc.

unis., sul D Cb.

div.

457

Act II–Scene 2

33

Come sopra

= 80

1.

1 2 dolce

Fl.

dolce

3

Ob.

1

E.H. 1. Cl. in B

1.

2.

1 2 dolce

dolce

Bs.Cl.

1 2 Bn. 3

take straight mute 1 2 Hn. in F

Tpt. in C

3.: open 3 4 1 2

3

Tbn.

1 2 with no attack

Bs.Tbn. Tuba with no attack

Timp.

1

Perc. 2

3

Celesta

Celesta

Harp

3

M.G. 3

What else

haveyou heard?

What has he

R.G.

Come sopra

= 80

dolce

1 solo, arco, poco vibrato, cant.

1 solo

I gli altri, arco

Vn.

div., arco II unis. 6

Va. unis. Vc. unis. Cb.

6

6

6

6

6

6

said?

458

Act II–Scene 2

38

Poco più mosso

= 84

1 2 cant.

Fl. 3

Ob.

1 dolce

E.H. 2. Cl. in B

3

1 2

3

3

3

3

3

3

3

3

3

cant. 3

3 3

Bs.Cl.

3 3

3

3

3

3

3

3

3

3

3

3

3

1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3 take straight mute Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

3

3

3

3

3

Harp

3

3 3

3

3

3

3

3

3

M.G.

full voice

poco R.G. 3 3

That a house

Poco più mosso

di

vi

ded

can not stand.

3

And that the

un

ion

is

sac

red.

= 84

tutti, sul D I Vn.

unis. II

Va.

div. Vc.

pizz. Cb.

unis., pizz.

459

Act II–Scene 2

44 1 2 Fl. 3 cant. Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. cant.

1., solo

1 2 cant.

Bn. 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

come recit. 3

3

M.G.

That R.G.

div. I Vn. II

Va.

div., arco Vc.

div., arco Cb.

means war.

You bet ter make your spi rit

rea dy, dar ling.

460

Act II–Scene 2

48

Poco meno mosso 1.

6

= 72

6

6

6

6

6

6

6

6

6

6

6

1 2 Fl. 3

Ob.

1

E.H. 2. Cl. in B

1 2

3

3

3

3

Bs.Cl. 3

3

3

3

3

3

3

3

1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Vib., motor on fast 1

Perc. 2

3

6

6

6

6

6

6

6

6

6

6

6

6

Celesta

3

Harp

3

3

3

3

3

3

3

3

3

3 3

M.G.

Oh

3

Rob ert,

the

child

3

ren are trou bled.

R.G.

Poco meno mosso

= 72

unis.

I 3

Vn. II

3

Va. sotto voce Vc.

unis. Cb.

461

Act II–Scene 2 3

54

6

6

6

6

2.

6

3

6

1 2 6

Fl.

6

6

6

3

Ob.

1

E.H. (2.) Cl. in B

1 2

3

3

3

3

Bs.Cl. 3

3

3

3

3

3

1 2 Bn.

cresc. poco a poco 3

a2, with straight mute 3

3

1 2 Hn. in F

3 4 1., with straight mute

Tpt. in C

1 2 3

3

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

6

6

6

6

6

6

6

6

6

6

Celesta

3

Harp

3

3

3

3

3

3

3

3

3

ossia

cry M.G.

They

cry

in

their

sleep.

R.G.

I

3

3

3

3

Vn. II

Va.

Vc. cresc. poco a poco Cb. cresc. poco a poco

462

Act II–Scene 2

59

rit.

1.

1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

6

1 2

6

6

2.

6

1. 6

6

6

6

6

6

3

sub.

sub.

espr.

Bs.Cl. 2. 1 2 Bn. 3

remove mute 1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Piano

Celesta

3

Harp

3

3

3

sub. 3

3

3

3

M.G.

R.G. 3

I know,

I know,

I

know,

I

know.

But

free

dom is

in

our

teeth.

rit.

1 solo I arco

gli altri, div., pizz.

Vn. 6

6

6

6

II sub. div.

pizz.

arco

Va. 1 solo, arco pizz. Vc. espr. gli altri, div., arco pizz. Cb.

463

Act II–Scene 2

63

Più andante

1., solo

= ca. 76

1 2 dolce, espr.

Fl. 3 solo Ob.

1 dolce, espr.

dolce, espr.

3

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

1 2

Bs.Cl.

1 2 Bn. 3

1., open 1 2 Hn. in F

Tpt. in C

3. 3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(with hope) 3

M.G. 3

Tell me a gain:

what is the

name

of

this

place?

Is it?

R.G.

Is it

3 3

O hi o.

Più andante

3

It means “beau

ti ful.”

So

= ca. 76

I Vn. II pizz.

div.

Va. tutti, pizz. (div.) Vc.

div. (pizz.) Cb.

unis.

div.

unis.

div.

unis.

I

464

Act II–Scene 2

69

(1.)

1 2

3

Fl. 3

Ob.

1 3

E.H.

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo 1 2 Hn. in F

cant. 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. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

M.G. beau

ti

ful?

Tell molto cantabile

R.G. 3

hear.

A

beau

ti

ful place

for a fu

ture.

tutti, div. I Vn.

div. II arco

unis.

Va. arco

unis.

Vc.

(pizz.) Cb.

arco

pizz.

arco

me.

465

Act II–Scene 2

poco riten. A tempo

75

= ca. 80

1 2 Fl. 3 solo Ob.

1 English Horn, solo

molto cantabile with Hn. and Vn.

3

E.H. espr. 3 Cl. in B

2.

1 2

3

Bs.Cl.

3

3

3

3

3

3

3

1 2 Bn. 3

1., solo 1 2 Hn. in F

Tpt. in C

molto cantabile with Ob. and Vn.

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

fast arpeggio

3

Harp

3

3 3

3 3

3 3

come recitativo 3

3

M.G.

Tell me what the fu ture will be like.

(not quite full voice)

piĂš sonoro

R.G. 3 3

3

It will be

poco riten. A tempo

with you as my wife

no o ther man

can

touch or claim.

= ca. 80

1 solo I Vn.

molto cantabile pizz.

unis. II

Va.

div. Vc.

pizz. Cb.

div., arco

unis.

div.

unis.

466

Act II–Scene 2

accel. poco a poco

81 1 2 Fl. 3 (1.) Ob.

1 3

E.H. 1. Cl. in B

1 2 cant. ed espr.

Bs.Cl.

1 2 Bn. 3

(1.) 1 2 Hn. in F

Tpt. in C

3

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

M.G.

R.G. 3 3

It

will be

the child ren seat

3

3

ed not bent.

Seat ed

tutti

accel. poco a poco

I 3

Vn.

cant. ed espr.

II div. Va.

Vc. div. Cb.

unis.

3

in school rooms,

not

bend ing through rows

of

467

Act II–Scene 2

87

(accel.)

= 88–92

poco riten.

1.

1 2 Fl. 3

Ob.

1

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

1.

1 2

Bs.Cl.

1 2 Bn. 3

2.: open

1.

1 2 Hn. in F

3. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Vib., motor off 1

Pedal Perc. 2

3

Piano

to Celesta

Piano

Harp

M.G.

più sonoro R.G.

molto

3

corn.

3

It will be

(accel.)

me

paid

3

for my la

bor

with

coin

= 88–92

I Vn.

arco

div. II

div. a2

unis.

Va.

div. a2 Vc.

Cb.

realm.

poco riten.

unis.

div.

of the

div. a2

div. a2

468

Act II–Scene 2

92

Grazioso

= ca. 60

1 2 Fl. 3

Ob.

1 dolce

dolce

dolce

dolce

dolce

dolce

dolce

dolce

E.H. (1.) 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. (Vib.) 1

Perc. 2

3

Celesta

Harp

M.G.

Will Iplant a

gar

den?

Mend your shirt by lamp

light?

Will I watch from a win dow

our child

R.G. 3

It will be just so.

Grazioso

div.

= ca. 60

I più espr.

Vn. II

più espr. div. Va. più espr. Vc. più espr. div., pizz. Cb.

unis.

div.

unis.

div.

unis.

ren

469

Act II–Scene 2

98 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2 dolce

Bs.Cl.

1 2 dolce

Bn. 3

1 2 accompagnando (3.)

Hn. in F 3 4

accompagnando

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

3

M.G. 3

3

tum bling in clo ver and rose ma ry?

espressivo

R.G.

Trust

me Mar

g’ret.

It will be

just so.

arco

pizz. I

Vn.

div., arco

unis., pizz. II unis., pizz.

arco

div.

Va. pizz.

unis.

arco

Vc. arco Cb.

470

Act II–Scene 2

103

Più mosso

= 80

1.

1 2 Fl. 3

Ob.

1 dolce

E.H. dolce 1. Cl. in B

1 2 non troppo

Bs.Cl.

1 2 Bn.

dolce 3 non troppo

1. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

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

Celesta

Celesta

Harp

più

quasi M.G. 3

3

3

Will they swim in clear wa ter

un

til their

skin

glit

ters like brass?

Tell

me…

R.G.

Più mosso

= 80

1 solo, flautando

unis. I Vn.

unis.

div.

non troppo

II unis.

non troppo

Va. non troppo Vc. non troppo Cb. non troppo

Tell

me.

Act II–Scene 2

109

Come sopra

471

= ca. 76

1., solo

1 2 molto cantabile

Fl. 3

solo 1 Ob.

molto cantabile

to Oboe 2

1., solo Cl. in B

1 2 molto cantabile

Bs.Cl.

1 2 Bn.

cue: (only if lower notes on Bcl. are not audible) 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Piano

Celesta

Harp

M.G. non troppo

R.G.

They

will.

3

It will be

3

just

so.

Look!

tutti, ord.

Come sopra

I Vn.

unis. II

molto cant.

pizz.

Va. molto cant.

div.

sempre col vib. pizz.

Vc. molto cant.

sempre col vib. pizz.

Cb. sempre col vib.

= ca. 76

Do you

472

Act II–Scene 2

114

accel.

(1.)

1 2

3

Fl.

(molto cant.)

3

(molto cant.)

3

3

1 Ob.

3

2 (1.) Cl. in B

3

1 2

3

(molto cant.) Bs.Cl. ossia: 1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

M.G.

full, rich R.G. 3

See

this

tree?

How

it’s low

er ing its branch es

to

pro tect you

no mat ter what the wea

accel. I Vn. II

Va.

Vc.

Cb.

3

ther brings.

473

Act II–Scene 2

120

Poco più mosso

= 92

1., solo

1 2 cant.

Fl. 3

solo 1 cant.

Ob. 2 1. Cl. in B

1 2 cant.

Bs.Cl. 1., solo 1 2 cant.

Bn. 3

1. 1 2 Hn. in F

Tpt. in C

cant. 3 4 1 2

3 open Tbn.

1 2 accomp.

Bs.Tbn. Tuba accomp.

Timp.

1

Perc. 2

3

Piano

Harp

M.G.

That

is

how

it

will

al

ways be.

R.G. 3

3

I ma

gine

Poco più mosso

That

is

= 92

I Vn. II div., arco

unis.

Va. cant. arco

pizz.

arco

pizz.

Vc.

Cb.

how

I

will

al

ways

474

Act II–Scene 2

126

poco

(1.)

1 2 molto cant.

Fl. 3

1 Ob. 2 1. Cl. in B

1 2 molto cant.

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

1.

a2

1 2 Hn. in F

cant. 3.

a2

3 4 cant.

Tpt. in C

1 2

3

Tbn.

1 2 cant.

Bs.Tbn. Tuba cant.

Timp.

1

Perc. 2

3

Piano

Harp

(molto)

meno port.

M.G.

That

is

how

it

will

al

ways

be. meno

(molto)

port.

R.G.

be.

That

is

how

it

will

al

ways

be.

poco I molto cant.

Vn.

div. II molto cant. div.

Va. molto cant. unis., arco Vc.

arco Cb.

div.

475

Act II–Scene 2

131

= 108

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

take straight mute 1 2 Hn. in F

3.

3. take straight mute

3 4 1., solo, with straight mute

Tpt. in C

1 2 3

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2 B.D. 3

Piano

Piano

8ba

Harp

(Robert suddenly comes to his senses.)

M.G.

R.G.

Come in

= 108

poco vib. (quasi non vib.)

I Vn.

poco vib. (quasi non vib.) II div. a3 poco vib. (quasi non vib.)

Va.

Vc. div. Cb.

side.

It’s

dan

g’rous out

here.

3

476

Act II–Scene 2

137

6

6

6

6

6

6

6

6

6

6

6

6

1 2 Fl. 3 solo 1 3

Ob.

3

2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

with straight mute

remove mute

3., with straight mute

remove mute

1 2 Hn. in F 3 4 1. remove mute Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Vib. 1

Perc. 2 (B.D.) 3

to Celesta

Celesta

Piano

8ba

Harp

(As they walk back to the shed, Robert puts his arm protectively around Margaret.) M.G.

come recit. R.G. 3

Some

I Vn. II

Va.

Vc.

Cb.

one might

3

see us.

477

Act II–Scene 2

140

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

open 1 2 sub.

Hn. in F

3. open 3 4 open

sub. 1 2

3

Tpt. in C

open 3 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

6

6

6

6

6

6

Celesta

Harp

M.G.

R.G.

E.G. (offstage)

*Slave Catchers (8):

humming

port.

T 8

Cat.

(offstage)

*Slave Catchers (8):

Mmm humming

B

Mmm

I Vn.

unis. II cant. tutti, unis.

Va. cant. Vc.

Cb.

*All male singers may accompany the Slave Catchers, offstage, if necessary, through m. 159.

port.

6

6

478

Act II–Scene 2

142

6

6

6

6

6

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 2 Hn. in F 3 4

Tpt. in C

1 2 sub. 3 sub.

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

Celesta

Harp

M.G.

R.G.

E.G.

port. T 8

Cat.

Mmm port.

B

Mmm

I Vn. II

Va.

Vc.

Cb.

479

Act II–Scene 2

144

6

6

6

6

6

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 2 Hn. in F 3 4

Tpt. in C

1 2 3

3 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

Celesta

Harp

M.G.

R.G.

E.G.

T 8

Mmm

Cat. B

Mmm

div. I Vn. II

Va.

Vc.

Cb.

480

Act II–Scene 2

146

6

6

6

6

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

sub.

3

3

sub.

3

sub.

3

3

3

3

3

3

3

Tbn.

sub.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1

Perc. 2

3

6

6

6

6

to Piano

Celesta

Harp

(Once inside the shed, Robert thinks he hears a group of men approaching, and grabs his pistol. Margaret runs to protect the children, who are sleeping in the corner behind a blanket.) M.G.

R.G.

E.G.

port.

T 8

Cat. B

port.

I Vn.

3

3

3

3

3

3

3

3

II div. a3 Va.

Vc.

Cb.

481

Act II–Scene 2

149 1 2 Fl.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

3

1 Ob.

Oboe 2

Cl. in B

1 2

Bs.Cl. molto 1 2 molto

Bn. 3

molto

1 2 Hn. in F

Tpt. in C

3

3

3

3

3

3

3

3

3

3

3

3

3 4

1 2

sub. 3

3

3 3

Tbn.

3

3

3

sub.

sub.

sub.

1 2 molto

Bs.Tbn. Tuba molto

Timp.

1 Sus. Cym., with hard yarn mallets Perc. 2 Tam. 3

Piano

Piano

8ba

Harp

(Accompanied by several slave catchers, Edward Gaines—who appears to be somewhat intoxicated—pounds on the shed door.)

(No sound is heard from inside the shed.)

M.G.

R.G.

Edward Gaines: E.G.

O pen up!

O pen up!

O pen up!

O pen up!

O pen up!

O pen up!

T 8

Cat. B

I sub.

Vn.

sub.

sub. unis.

div. II sub.

sub.

sub. (div. a2)

div. a2 Va.

unis.

sub. div.

unis.

div.

Vc.

Cb.

sub.

sub.

482

Act II–Scene 2 a2

154 1 2 3

Fl.

to Piccolo

Piccolo

3 3

1 3

Ob. 2

a2 Cl. in B

1 2 3

Bs.Cl.

1 2 Bn. 3

with straight mute

take straight mute

remove mute

3

1 2 Hn. in F

with straight mute

take straight mute

remove mute

3

3 4 take straight mute Tpt. in C

with straight mute

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

8ba

Harp

M.G.

R.G.

E.G. 3

3

If blood shed is

on

your mind,

don’t

wor ry.

T 8

Cat. B

unis. I (sotto voce)

Vn. II

(sotto voce) div. a3 div. a2 Va. pizz. Vc.

pizz. Cb.

3

I

(sotto voce)

3

just want what ismine.

483

Act II–Scene 2

160 Picc. (a2) Fl.

3

3

1 2

3

3

3

3

3

6

3

6

3

6

sub.

sub.

1 3

3

3

sub.

Ob. 2 (a2) Cl. in B

sub.

1 2

3

3

3

3

sub.

6

Bs.Cl.

1 2 Bn. 3

open

gliss.

1 2 3

Hn. in F

3

3

3

3

sub.

3

open

gliss.

3 4 3

Tpt. in C

3

3

3

3

sub. (with straight mute)

3

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

M.G.

R.G.

E.G.

O pen up! T 8

O pen up!

Cat. B

O pen up! div.

unis.

div.

unis.

6

6

6

6

6

6

I sub. Vn.

div. 6

II

6

6

6

6

6

sub. pizz.

arco

Va. arco Vc.

arco Cb.

sub.

484

Act II–Scene 2

L’istesso tempo

163 Picc.

1. Fl.

1 2 sub.

sub.

sub.

sub.

1 Ob. 2 sub. Cl. in B

2.

1 2 sub.

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 remove mute

Tpt. in C

1., open

1 2 sub. 3

Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp. Sus. Cym., wire brushes 1 T.-t., scrape triangle stick Perc. 2 B.D. 3

Piano

8ba

Harp

M.G.

R.G. dolce E.G.

O pen up!

No

harm.

Come

T 8

O pen up!

No

harm.

O pen up!

No

harm.

Cat. B

L’istesso tempo I sub.

Vn.

unis., pizz. II sub. pizz.

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

485

Act II–Scene 2

168 Picc.

Fl.

1 2

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

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

sub.

sub.

sub.

sub.

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2 (B.D.) 3

Piano

8ba

Harp

M.G.

R.G. più sonoro

port.

(not quite full voice)

quasi

port.

E.G. 3

soft

ly.

There

T 8

O pen up!

O pen up!

O pen up!

O pen up!

Cat. B

div. I Vn.

sub.

sub.

sub. arco

sub.

arco II

pizz.

Va. div., arco Vc.

Cb.

pizz.

is

no

thing you

can

do.

486

Act II–Scene 2

173 Picc.

Fl.

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

3 3

3

2

Cl. in B

1 2

3

3

3

3

3

3

3

3

3

Bs.Cl. a2

a2

a2

a2

a2

1 2 Bn. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

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

Tpt. in C

3 3

3

3 3

3

3 3

3 3

3 3

3 3

3 3

3

3

Tbn.

1 2 3

a2

3

3

3

3

3

3

3

Bs.Tbn. Tuba

Timp.

1 Tam. Perc. 2 B.D. 3

Piano

Harp

M.G.

R.G.

E.G.

T Cat.

8

B

I 3

3

3

Vn. 3

3

3

molto 6

6

6

6

3

3

molto 6

6

6

6

3

3

molto 6

6

6

6

div.

3

II 3

unis., arco Va. 3

unis., arco Vc.

arco Cb.

3

div. a2

unis.

3

div. a2

unis.

div. a2

487

Act II–Scene 2

177

Maestoso

= 92–96 to Flute

Picc.

a2 Fl.

1 2

1 Ob. 2

a2 Cl. in B

1 2

Bs.Cl.

a2

1.

1 2 Bn. 3

a2

1. take straight mute

1 2 Hn. in F

tutta forza

a2

tutta forza

tutta forza 1. Tpt. in C

3. take straight mute

3 4 2.

tutta forza 1.

2.

1.

1 2

3 a2 Tbn.

1 2 molto

Bs.Tbn. Tuba molto 2 drums Timp. Xyl. 1 tutta forza (Tam.) Perc. 2

(B.D.) 3 8va

8va

tutta forza

Piano

Harp

(Gaines breaks down the shed door and fires his pistol in the air. Robert shoots at Gaines but misses his target.) M.G.

R.G.

E.G.

T 8

Cat. B

Maestoso

= 92–96

unis.

I tutta forza unis.

Vn. II

tutta forza Va. unis.

molto

Vc. molto Cb. molto

(Overpowered, Robert is knocked to the ground and tied up. Margaret emerges from behind the children’s blanket.)

488

Act II–Scene 2

183 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

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

1., with straight mute

remove mute

3., with straight mute

remove mute

1 2 Hn. in F 3 4 (1.) Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Tam. Perc. 2 B.D. 3

Piano

Harp

(Emotionally spent, Margaret falls to her knees.) M.G.

R.G.

E.G.

T Cat.

8

B

sul G I Vn. II

div. Va.

Vc.

Cb.

unis.

489

Act II–Scene 2

190

1.

2. 6

1 2

1.

6

6

2.

6

6

1.

6

6

2.

6

6

6

6

6

Fl. 3

1 Ob. 2 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. Vib., hard yarn mallets, motor on fast 1

Pedal Perc. 2

3

Piano 3

3

3

3

3

3

3

3

3

8ba

col

sempre

Harp

(grief-stricken) M.G.

No. R.G.

E.G.

T 8

Cat. B

I Vn. II

Va.

Vc.

Cb.

No

more!

3

3

3

490

Act II–Scene 2

194

1.

2. 6

1 2

1.

6

6

2.

6

6

a2

6

6

6

6

6

6

6

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1.: open 1 2 Hn. in F

Tpt. in C

a2, 3.: open 3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1 (Ped.) Perc. 2

3

Piano 3

3

3

3

3

3

3

3

3

3

3

3

8ba

Harp

M.G.

No!

No

more!

No

more.

R.G.

E.G.

T 8

Cat. B

div. I Vn. 6

II

div. Va.

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6

491

Act II–Scene 2

198

accel.

a tempo

1.

(a2) 6

1 2

6

6

sub.

Flute Fl. 3 sub.

sub.

sub.

sub.

sub.

sub.

1 Ob. 2

1. Cl. in B

sub.

1 2 sub.

Bs.Cl.

1 2 sub.

sub.

Bn.

to Contrabassoon 3 sub.

sub.

1 2 Hn. in F

sub.

sub.

sub.

sub.

(a2) 3 4 1. take straight mute

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

Tuba

Bs.Tbn. Tuba

Timp. (Vib.) 1 (Ped.)

Slapstick

Perc. 2

Slapstick 3

Piano 3

3

3

8ba

Harp

(getting up from the floor)

quasi recitativo

(full voice)

M.G. 3

Why

can’t you

3

3

leave us

be?

Why

R.G.

E.G.

T Cat.

8

B

accel.

a tempo

div.

unis.

unis.

I div.

Vn. 6

6

sub. unis.

div.

sub.

6

II sub.

sub.

sub.

sub.

unis. Va.

Vc. sub.

sub.

div., pizz.

div., pizz.

unis., arco Cb. poco arco

3

can’t you leave us

arco

a

492

Act II–Scene 2

204 1 2

6

6

6

6

Fl. 3 solo 3

3

3

3

3

3

3

1 Ob.

3

2 1., solo 3

Cl. in B

1 2 3

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

a2

take straight mute

3 4 1., solo, with straight mute

Tpt. in C

3

1 2

3

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Vib. 1 Ped. Perc. 2

3

8va

8va

Piano

Harp

M.G.

lone? R.G.

E.G.

Leave

mur

der ers

be?

T Cat.

8

B

div. I Vn.

(div.) II sul D

Va.

div. Vc.

arco, unis. Cb.

pizz.

arco

493

Act II–Scene 2

210 1 2

6

6

6

6

6

6

Fl. 3 solo

3

1 3

Ob. 2 (1.) Cl. in B

2.

1.

3

1., solo

1 2

Bs.Cl. 3

Bn.

1 2

Cbn.

1. 1 2 Hn. in F

3 4 solo

(1.) 3

Tpt. in C

3

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Vib. 1 (Ped.)

Ped.

Perc. 2

3

8va

8va

8va

Piano

Harp

M.G.

R.G.

E.G. 3

I

own

him!

I

T 8

Cat. B

I Vn. II

Va.

Vc.

pizz. Cb.

arco

own

your child ren!

494

Act II–Scene 2

216 1 2 Fl. 3

1 3

Ob.

3

3

3

sub.

2 (1.) Cl. in B

3

3

3

1 2 3

sub.

Bs.Cl. 5

Bn.

sub.

1 2 Contrabassoon

Cbn.

1 2 Hn. in F

3 4 (1.)

3

3

remove mute

3

1 2 Tpt. in C

3

sub.

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Vib.) 1 Tam. Perc. 2

B.D. 3

Piano

Harp

M.G.

R.G. quasi sub. E.G.

I

own

you!

T Cat.

8

B

unis., sul G I Vn.

unis., sul G II

Va.

Vc.

div. Cb.

495

Act II–Scene 2

224 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 6

6

6

6

6

6

Bs.Cl.

Bn.

1 2

Cbn.

1. and 2. take straight mute

1. 1 2 Hn. in F

sub.

sub.

3 4 1.: open

Tpt. in C

1 2 ( ) 3 ( ) 1.

Tbn.

1 2 ( )

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(pleading)

3

M.G.

Some

bo dy help

us!

Please,

some

bo dy!

R.G.

E.G.

T Cat.

8

B

div. I Vn.

div. II

Va. unis. Vc.

unis. Cb.

div.

496

Act II–Scene 2

230 1 2 Fl. 3 1. 1 sub.

Ob. 2

Cl. in B

1 2 6

6

6

6

6

Bs.Cl. 2. Bn.

1 2

Cbn.

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

(1.) Tbn.

1.

1 2 Bs. Tbn.

a2

Bs.Tbn. Tuba

Timp.

Vibraslap 1

Mounted Guíro, metal scraper Perc. 2 6

Woodblock

6

3

Piano

Harp

(Margaret weeps silently as Edward removes his hat, overcoat, and gloves.) M.G.

Please,

no

more!

R.G.

E.G.

T Cat.

8

B

I Vn. II

Va. unis. Vc.

Cb.

497

Act II–Scene 2

235 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 6

6

6

6

6

Bs.Cl.

Bn.

(2.)

1 2

Cbn.

with straight mute 1 2 Hn. in F

Tpt. in C

with straight mute 3 4

1 2

3

1. Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. Vibraslap 1 Mounted Guíro Perc. 2 6

Woodblock

6

3

Piano

Harp

M.G.

R.G.

port. E.G.

My

bed is

cold

girl.

It wants

warm

ing.

T Cat.

8

B

I Vn. II

Va. div. Vc.

Cb.

498

Act II–Scene 2

240 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 6

6

6

6

Bs.Cl.

2. Bn.

1 2

Cbn.

remove mute 1 2 Hn. in F

remove mute 3 4

1 2 Tpt. in C 3

1. Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. Vibraslap 1 Mounted Guíro Perc. 2 6

Woodblock

6 6

6

3

Piano

Harp

M.G.

R.G.

E.G.

Re mem

ber…

Re mem

T Cat.

8

B

I Vn. II

Va. unis. Vc.

Cb.

ber?

499

Act II–Scene 2

245 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

(ossia: 8ba) Timp.

1

Perc. 2 B.D. 3

Piano

Harp

M.G.

R.G. (with increasing vigor and excitement) E.G. 3

3

Re mem

ber

Re

mem

ber the bed war

mer

you

T 8

Cat. B

I Vn. II senza trem. Va. sub. pizz. Vc. div., pizz. Cb.

ran

500

Act II–Scene 2

accel.

250

molto accel.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. Bn.

2.

1 2

Cbn.

open 1 2 Hn. in F

Tpt. in C

open 3 4 1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1

Perc. 2 (B.D.) 3

Piano

Harp

M.G.

R.G. (almost shouted)

E.G. 3

o

ver

my

sheets?

3

First

3

you filled

6

3

it

with

hot coals as I

re call…

T Cat.

8

B

accel.

molto accel.

senza trem. I Vn.

senza trem.

unis.

II

Va. arco Vc.

unis., arco Cb.

div.

Più mosso

501

Act II–Scene 2

= 108

254 1 2 Fl. 3

1 Ob. 2

2. Cl. in B

1 2

Bs.Cl.

Bn.

1 2 sub.

sub.

sub.

Cbn.

1 2 Hn. in F

Tpt. in C

sub.

sub.

sub.

sub.

sub.

sub.

3 4

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Xyl. 1 Slapstick 1 Perc. 2

Slapstick 2 3

8va

Piano

Harp

(With her bare hands, Margaret grabs some coals out of the smoldering fire and lunges at Gaines, attempting to burn him.)

wildly 3

M.G.

Here

they

are!

Take

them!

Take

them!

R.G.

E.G.

T Cat.

8

B

Più mosso

= 108

unis. I Vn.

sub.

sub.

sub.

sub.

sub.

sub.

unis. II

Va. sub. div.

sub. unis.

div.

sub. unis.

div. unis.

Vc. sub.

sub.

sub.

6

6

6

6

sub.

6

6

6

6

Cb.

502

Act II–Scene 2

= 72 258

1.

1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

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

3

1 2

3

3

Tbn.

1 2 3

3

Bs.Tbn. Tuba

Timp. Xyl., solo, with Piano 1

stacc. Perc. 2

3

solo (with Xyl.)

stacc.

Piano

Harp

(Gaines manages to grasp Margaret’s wrists and forces her to drop the coal. He notices that her hands have been scorched.) M.G.

R.G.

(derisively) E.G. 3

3

Pre tend to be cra T 8

Cat. B

= 72

pizz.

I Vn.

div., sul tasto (col vib.) II div., sul tasto (col vib.)

Va.

Vc. div., pizz. Cb.

sempre poco marcato

zy