Weir THE VANISHING BRIDGEGROOM CHAMBER VERSION ACT 1

Judith Weir THE VANISHING BRIDEGROOM Opera in Three Acts Chamber Version (arranged by Michael Lee)

1. The Inheritance 2. The Disappearance 3. The Stranger

CHESTER MUSIC

CHARACTERS PRINCIPAL SOLO ROLES The Bride/The Wife/The Mother The Daughter The Bride’s Lover/The Husband’s Friend/The Preacher The Bridegroom/The Husband/The Father The Doctor/The Policeman/The Stranger

OTHER SOLO ROLES/CHORUS 1. The Inheritance Narration The Dying Man Youngest Son Middle Son Eldest Son Bride’s Father Two Bad Robbers A Good Robber Priest The Thick Wood Male Chorus

Tenor/high baritone Tenor Tenor Tenor/baritone Baritone Bass Baritones Tenor/high baritone Non-singing role SSAA chorus TTBB chorus

2. The Disappearance Three Women

Soprano Soprano/mezzo-soprano Mezzo-soprano

The Fairies Two Girls (optional) aged approximately 6 and 12

SSAATTBB chorus

3. The Stranger SATB chorus

Non-singing roles

Soprano Mezzo-soprano Tenor Baritone (high) Baritone (low)

TEXT The Inheritance and The Disappearance are taken from Popular Tales of the West Highlands Vol. 2 (1860) ed. J.F. Campbell of Islay. The Stranger is taken from Carmina Gadelica Vol. 2 (1900) ed. Alexander Carmichael. The majority of the text is taken directly from these sources, from poetry collected in further volumes of Carmina Gadelica, and from other Celtic sources.

SYNOPSIS 1. The Inheritance told by Donald Macintyre, a cottar, Benbecula, 6th September 1859 A man dies, but his legacy is missing: one of his three sons must have stolen it, but which one? The Doctor investigates by telling the sons the following parable: A woman, forbidden to marry her lover, is unwillingly married off to a richer man. When the richer man learns of her forbidden lover, he sends her back to him; but when she arrives, the forbidden lover, on learning of the marriage, sends her back to her rich husband. On her way back through a thick wood, she is robbed, but in the end one of the robbers has an attack of conscience and takes her home safely to her rich husband.

“Now”, asks the Doctor of the Three Sons, “out of all the people in this parable, whose behaviour do you most admire?” “The rich husband” says the eldest: “The forbidden lover” says the next: “The robbers who got away with all the money” says the youngest – and sure enough, it is he who has stolen the legacy.

2. The Disappearance told by Widow M. Calder, a pauper, Sutherland 1860 The Bride and Bridegroom of the previous story emerge as the central characters of this piece. On the birth of their daughter, the husband leaves to fetch the Priest who will christen her, but on the way he is lured away into a brightly lit hillside, and is not seen again. His best friend, who accompanied him on the journey, is accused of his murder; but begs a stay of execution to watch for him at the scene of his disappearance.

Many years pass before the husband is spotted, as young as when he disappeared, having spent the intervening time in the company of the fairies, in the ‘land of the young’. He is snatched back to real life, but will not believe any time has passed at all until he sees his now fully grown-up daughter, whose christening he had originally set out to arrange.

3. The Stranger from South Uist c. 1871 A handsome, prosperous stranger arrives and woos the daughter, now a young woman. Her parents urge her to adopt this offer of marriage; but the girl is suspicious of the stranger’s curious physical characteristics and unnatural abilities. A passing preacher puts her right about the stranger’s identity – he is obviously the Devil, making one of his frequent visits to the North of Scotland. The preacher leads the girl to a sanctified spot of earth, on which she must stand when the stranger returns. The Devil, prevented from reaching the girl by the barriers of sanctity, throws off his disguise and assails her with the worst perils of the Highlands – inclement weather and voracious insects – but eventually he has to retire defeated, while the sanctified ground blooms beautifully.

Note: all the literary sources for this piece – stories and poetry – were originally collected orally, in Gaelic.

A Glasgow 1990 City of Culture Commission from Glasgow District Council.

SCORING Full orchestra version 2 flutes (2nd doubling piccolo) 2 oboes (both doubling cor anglais) 2 clarinets in Bď ˘ (2nd doubling bass clarinet) 2 bassoons 4 horns in F 2 trumpets 3 trombones Timpani Percussion (1 player): xylophone, glockenspiel, side drum, cymbals

Strings

Chamber version (arranged by Michael Lee) Flute (doubling piccolo) Oboe (doubling cor anglais*) Clarinet in Bď ˘* (doubling bass clarinet*) Horn in F* Trombone Timpani (doubling percussion: cymbals, side drum, glockenspiel, xylophone)

Piano Strings (minimum 1.1.1.2.1 players) *notated in C in the score

Duration c. 90 minutes Full scores, vocal score and instrumental parts on hire (the vocal score may be used for either version)

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