Conrad Susa / Philip Littell - The Dangerous Liaisons Piano / Vocal Preview

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

w

ie

ev

Pr y

C op

Catalog No. 4975 to Craig Noel

The Dangerous Liaisons Libretto by PHILIP LITTELL

Music by CONRAD SUSA

after the novel by Pierre Choderlos de Laclos

Act One (France, ca. 1740, high summer. The grand estate of Madame de Rosemonde in the country outside Paris.)

No. 1 Introduction

y

Spacious, echoing ( = ca. 46)

C op

(Hns.)

dolce

(Timp.)

w

(Bass Dr.)

dolce, lontano

(W.W.)

ben cant.

Pr

ev

(Flghns.)

ie

5

poco

3

Š Copyright 2000 by E. C. Schirmer Music Company. A division of ECS Publishing, Boston, Massachusetts. All rights reserved. Made in U.S.A.

3

Dangerous Liaisons - Introduction

C op

y

9

(We move to the interior of the house.)

allarg.

ie

w

13

ev

3

Pr

(Thunderclap)

17

(Merteuil goes to the windows to observe the unstable weather.)

PiĂš mosso, agitato ( = ca. 90 - 96)

(Str.)

ben cant.

3

3

3

3

3

3

3

3

(occasional low rumbling thunder) (The card players are impatient with the very slow play of Madame de Tourvel.) (W.W.) (Chimes)

cant. (Sop. sax)

plaintively (Cls.)

3

3

3

3

3

3

3

3

(Hns., Vlc. (pizz.))

4

3

(Fls.)

3

3

3

Dangerous Liaisons - Introduction

3

3

3

3

3

3

C op

3

y

21

(Merteuil, near the windows, surveys the room.) (thunderclap)

25

w

(Str.)

5

ev

ie

cant. appass.

Pr

5

3

29

3

3

3

3

3

(Flghn.)

lontano

5

sim.

3

3

3

3

3

3

3

5

3

3

3

3

3

Dangerous Liaisons - Introduction (more rumbling thunder) 33

(Flghn.)

5

pĂŹu

3

3

3

3

3

3

3

3

3

3

3

y

3

5

C op

(The sun begins to come out while the rain continues to drizzle.)

poco a poco accel. 37

5

5

w

5

5

5

3

3

Pr

3

ev

ie

(Fl., Hn.)

3

3

3 3

3

3

3

3

3

Poco piĂš mosso, appassionato

(Merteuil understands Tourvel...) 3

41

3

3

3

3 3 (Tpts.)

appass. 3

3

3

6

(...and sees Valmont’s desires.) (a big clap of distant thunder)

Dangerous Liaisons - Introduction

6

6

(Rain) 44

6

(quasi gliss.)

6

6

(Hns.)

3

dolce

ben cant., dolce

3

allargando

6

(Merteuil studies Cecile and Danceny at her harp lesson.)

,

,

3

ev

3

3

3

ie

w

(46)

C op

y

(Tbns.)

3

3

Pr

,

Quasi Allegretto (quasi recit.)

(Merteuil suddenly has a plan.) 49 (Harp to sound onstage. See note on p. vi.) (Cecile plays hesitantly)

quasi recit.

(unsure)

(a brave try)

poco

(a tempo)

(a tempo)

poco rit.

scherzando

7

piĂš cant.

(Segue No. 2)

ACT I - Scene 1 - No. 2

Scene One The salon of Madame de Rosemonde’s chateau outside of Paris. A stifling late summer afternoon. It has just stopped raining, the sun is out again. In one corner of the room, the Chevalier de Danceny is giving Cecile de Volanges her harp lesson. Some distance away, on the other side, a card game is in progress. The players are Madame de Rosemonde and her houseguests, Madame de Volanges, Madame de Tourvel and Monsieur de Valmont. Madame de Merteuil, dressed in travelling clothes, has broken away from the card players and roams the room restlessly, finally going towards the windows from where she can both look outside and keep an eye on the room. For a long time, the only sounds are the stop and start of the harp lesson, the exchange of a word or two between the card players, the high whine of the cicadas outside and a dripping of leaves and old gutters.

No. 2 Cavatina

y

(Merteuil is standing at one of the windows. She is observing the card players... and Cecile and Danceny at their lesson.) quasi recit., detached, ironic MERTEUIL

Merteuil (Danceny plays the exercise for her.) (Harps to sound onstage)

Quasi allegretto ( = ca. 104)

C op

Quasi allegretto ( = ca. 104)

What is sad der than a game

of

ie

w

(Hrpschd.)

(A. Fl.)

moody, out of sorts

ev

M.

(Recit.)

a tempo

Pr

(3)

(Str.)

whist in the af

ter noon,

3

3

Or a lov er who can not win a wo man al read y (Danceny plays it correctly.) (Cecile is uncertain.)

(Cecile tries again.)

twanky

rich, smooth

a tempo

3

8

ACT I - Scene 1 - No. 2

7

(Recit.)

(a tempo)

M. won;

All he hopes for is a

kiss, all he hopes for is

(Danceny patiently demonstrates again.)

a

kiss,

What is

(Cecile actually gets it right.)

(l.v.)

(a tempo)

10

C op

y

colla voce

(a tempo)

M. and

sad

der,

than

this?

(Danceny demonstrates a new figure.)

w

sweet er,

(a tempo)

(Str., Fl.)

ie

(Str.)

M.

ev

(She turns her attention to Valmont and Tourvel.)

Pr

14

ben cant.

What is

odd er than a shin ing sun

in

the rain,

Or a (He repeats his demonstration.)

9

ACT I - Scene 1 - No. 2

18 M. man

of ex per ience mak ing love

to one

so

plain;

All he

hopes for

he

will get,

all

he

y

(Danceny and Cecile confer quietly.)

C op

23 M. he

will

get,

Why should I

be

feel

ing

such re gret? (Danceny plays a new chord.)

M.

(Now her attention is on herself.)

What is

cruel er

Pr

28

ev

ie

w

hopes for

and more

meno

set a part,

and

more

si

lent than the

hun ter’s heart,

More

(Cecile gets it right the first time. She now

10

ACT I - Scene 1 - No. 3

33

directs Danceny to some new music.)

3

3

M.

36

ous

of

3

its

prey,

More

apt

3

3

at

bay; Who can

Who can say? Who can

say?

C op

er

keep

a

(The card players have finished their game... (poco) chairs are scraped back... people stretch, yawn...)

3

M. lov

to

y

jeal

V.

say? VALMONT (to Tourvel)

You’ve

3

w

(colla voce)

ie

(Segue No. 3)

No. 3 Scena

ev

Allegretto e leggiero ( = ca. 112) TOURVEL

Tourvel

Pr

By

ac

ci dent! 3

VOLANGES

Volanges

Shall we play

a no

ther?

Valmont won

a gain.

She will

Allegretto e leggiero ( = ca. 112)

3

3

3

11

3

ru

in me...

Ma

ACT I - Scene 1 - No. 3

5

ROSEMONDE

R. It comes from spend ing too much time with priests.

(to Rosemonde)

3

V. As bad as you!

Or,

C op

(Tourvel hides her discomfort by dealing with some mail just brought in by a servant who has handed it to her maid, Julie.) 10

VOLANGES

Vo.

(pointedly)

Per haps

V. from

be ing mar ried to

a

law

dis si pa ted life

can af

yer.

w

case,

a

ossia:

15 Vo.

Pr

ev

ie

her

in

y

dame de Tour vel is quite a sharp.

fect one’s con cen tra tion.

You trust to

luck? (meaningfully)

(Recit.) V. I

nev

er con cen trate at

12

cards.

At

ACT I - Scene 1 - No. 3

Tempo di Menuetto, quasi allegretto ( = ca. 108)

Più mosso 19

(Volanges is quite put out.)

rall.

(calling over to Merteuil)

V. cards.

Come (Danceny is playing the new music.) (Harps on stage)

Più mosso rall.

6

, moody

MERTEUIL (coming over to them)

y

23

C op

M.

I was list’n ing to the

V. You are so

far

a

way.

27 M.

ev

ie

w

join us.

child ren play.

Vo.

Pr

Ce cile is mak ing such pro gress. VOLANGES (maternally deprecating)

She is

less

(teasingly)

awk ward.

3

V. (Cecile tries again.)

a bit twanky

6

13

Out

from un der the good

ACT I - Scene 1 - No. 3

(Recit.) TOURVEL (to Volanges)

31 T.

Ah,

this let ter is for you.

3

Vo. Still un der her

moth er’s eye. (nosily)

V. sis ters.

From Ger court?

y

(Cecile tries once more.) 3 freely

(Recit.)

3

C op

3

(Danceny closes the book. Cecile once again urges upon him some new music. They confer quietly.)

ie

35

w

3

M.

Vo.

Pr

(coolly)

ev

T.

Yes.

(sensing an awkwardness,

Is the (even more coolly)

Yes.

(to Merteuil, not without malice) 3

(musingly)

V. Did you hear that?

Meno mosso piĂš mosso

A 3

meno mosso

(colla voce)

6

sub.

14

3

let ter from Ger court...

ACT I - Scene 1 - No. 3

Più mosso, quasi recit. 39

Agitato ( = ca. 120)

and unerringly putting her foot in it)

T. wed ding

to

be

soon?

(warming to her theme) (Alarmed at the news in the letter, she tries to summarize it.)

Vo. Not soon e

Più mosso, quasi recit.

nough!

Un

Agitato ( = ca. 120)

3

3

3

3

C op

y

3

44

3

(The rain begins to shower again.)

Vo. tu

na tely,

Mon

to whom my daugh ter is be

sieur de Ger court,

trothed,

is still in

ie

w

for

3

3

50

3

3

Pr

Vo. Cor si ca,

V.

ev

3

(distant thunder)

3

em broiled in the move ments of

(in Merteuil’s ear) (VALMONT)

war!

You had

3

dim. 3

3

3

3

3

dim.

dim.

15

3

ACT I - Scene 1 - No. 3 MERTEUIL (coolly, but with suppressed intensity)

53 M.

Mon

3

sieur de Ger court

can go to

hell!

V. tired of him...

Why not wish him well?

y

3

3

C op

(colla voce)

(Recit.) Meno mosso

ROSEMONDE (taking charge of the conversation; she has this plan ready...)

57

3

3

3

What a

w

R. pit

y

a bout the weath er!

We have been

pris’ ners in this draw ing room

(Recit.) Meno mosso

6

ie

3

ev

(colla voce)

Pr

sub.

Moderato ( = ca. 80)

(60)

(taking in Valmont and Tourvel)

3

3

3

R. all

af

ter

noon.

I had hoped all you young peo ple might have

cresc. (colla voce)

3

3

3

3

16

spent a day

out

ACT I - Scene 1 - No. 3

(Recit.)

64

3

3

R. side.

im

pro vise?

Our

in ter rupt ed pic nic could be served right here.

Is that a

Comodo ( = ca. 100) 3

(distant thunder)

(to Valmont)

R. Neph

ew, will you see my to my room?

71

ev

ie

w

Comodo ( = ca. 100)

C op

gree a ble?

y

66

Why don’t we

(to Merteuil, as to one of equal status)

Pr

R. And, my

M.

dear,

so

nice

that you dropped in.

Must you leave for Pa ris

to day?

MERTEUIL

I

3 3

17

ACT I - Scene 1 - No. 3

77 R. I fear a

storm

is com ing

on.

I sup pose

M. must.

I am not

a

fraid of a lit tle

light’ ning.

y

3

82

C op

3

(Recit.)

R. And now,

if you will all ex cuse

me,

I must have my rest.

Comodo

R.

(She takes Valmont’s arm and leaves the group, but pauses at the door...)

Pr

84

ev

ie

w

not.

Comodo

What a

plea sure

to have you here

with

me.

I have VALMONT

V. I

18

have

ne

glect ed you.

ACT I - Scene 1 - No. 3 89

(looking him in the eye)

Poco pĂŹu mosso

R. al ways left you free.

My dear

boy,

I know you ver y

well...

Did you

rall.

94

see

me,

Or Ma dame de Tour

vel?

C op

come to

y

R.

3

dim.

I

3

w

espr.

99

a tempo comodo

meno

I

pi

3

ty you,

my

boy;

That is

3

one you will nev

3

er

en

ev

see.

ie

R.

3

103

Pr

3

rall.

Meno mosso, ma non sentimentale (a tempo) 3

3

R. joy.

Nev er mind.

cant. 3

At

3

least I have you here.

I’ll be good for at least a noth er

3 3

19

ACT I - Scene 1 - No. 4

106

poco rit.

3

allarg.

(They exit.)

R. year.

VALMONT (walking her out)

Win ter’s com ing,

my

dear.

3

V. You

say that ev’ ry sum mer.

poco rit.

C op

y

allarg.

(Segue No. 4)

No. 4 Recitative and Trio (The ladies settle in for a little chat.)

ev

ie

w

Allegretto scherzando ( = ca. 106)

5 (Recit.)

Pr

T.

TOURVEL

VOLANGES 3

Vo.

(smoothly)

But

3

Is n’t she won der ful for her age? MERTEUIL

At 3

M. Eight y,

is n’t she?

(Recit.)

20

least!

she be comes a

girl a gain with

ACT I - Scene 1 - No. 4

9

(Merteuil and Volanges catch each other’s eye.)

3

T. him;

They are so

sweet to geth er.

3

3

3

Vo.

He u sual ly does n’t drop in here so

of ten. (slight drawl)

M.

C op

y

Or

(losing her temper)

13

3

T. Re al ly,

must ev ’ry thing he

be

wrong?

so long.

17 Vo.

Pr

ev

stay

What

ie

M.

(VOLANGES)

Frank ly, I’m sur prised.

w

Vo.

does

can you have in com mon with a

man

(to Merteuil)

like that?

You

M. Ah!

Val mont

and

wo

men... 3

3

3

21

3

3

3

3

3

ACT I - Scene 1 - No. 4

21

(Recit.)

a tempo

3

3

Vo. must ad mit,

you are the on ly

one to have be friend ed him and not to have been un

done.

M. A

a tempo

(Recit.)

3 3

3

C op

y

(colla voce)

23

(with a slight draw)

M. wi dow

is

no

chal lenge.

Ma

6

3

3

dame de Tour vel, Mon sieur de Val mont seems

6

ev

ie

w

3

3

26

(somewhat ashamed of her outburst)

Pr

T.

Vo.

He

comes to me for coun sel and ad

vice.

(in complete earnest)

He

will

3

M. 8

quite

un der your spell.

3

6

3

6

6

22

ACT I - Scene 1 - No. 5

29

3

Vo. ru

in

your

good

name.

Are

you pre pared to

pay that

price?

No. 5 Trio Tourvel

May

Quasi allegretto ( = ca. 80)

6

C op

Quasi allegretto ( = ca. 80)

6

be

the

6

6

3

best

that 6

a 6

sub., sempre legato

6

5

ie

w

6

y

(Segue No. 5)

3

T. can

do

is

6

6

to

do

noth

6

ing,

and

6

6

6

6

Pr

6

ev

man

9

3

3

T. all

a 6

6

wo

man 6

can

do

6

is 6

23

to

un 6

der 6

stand. 6

ACT I - Scene 1 - No. 5

13

Recit.

a tempo

3

3

3

T. And 6

may

be a

sud den con ver sion in

6

6

sub.

16

the

6

3

3

coun

try

will

on

ly

last

a

week

in

Par

y

T. is.

C op w

19

3

Vo.

cu

ser

VOLANGES

and

I

have been

se

vere.

ma legg.

There is

no

thing more dan gerous than a (

22

own ac

Pr

sub.

his

Brighter, quasi scherzando ( = ca. 86)

ev

He has been frank,

ie

T.

6

3

3

lov a

ble man. MERTEUIL

ma legg.

M. There is

24

noth ing more to be re pent ed

ACT I - Scene 1 - No. 5

26 Vo. There is

no thing more se

duc tive than a

M. e

ven like

such a

man!

C op

y

than to

29 Vo. man who wants to change,

Most

M.

the tic and at ten tive than a

Pr

33 Vo.

man who asks for help.

stacc. sempre

Men

need

, legg.

ev

ie

w

More sym pa

men

Men

will

change.

Most

M. help,

Most

men,

most

25

ACT I - Scene 1 - No. 5

36 Vo. men

need

help,

most

men

will

change, that a

few

men are vi

cious is

men

need

help,

most

men

will

change, that a

few

men are vi

cious is

39 Vo.

C op

y

M.

sad den ing and strange, And

Val

mont

is

the

most

dan

ger

sad den ing and strange, And

Val

mont

is

the

most

dan

ger

ev

ie

w

M.

42 Vo.

Pr

8ba

ous

of

them

all;

Val

ous

of

them

all;

Val

mont

M. mont 3

cresc.

8ba

(loco)

26

ACT I - Scene 1 - No. 5

45

3

Vo. ris

es

when

wo

men

fall!

when

wo

men

fall!

3

M. es

3

3

y

ris

TOURVEL (to herself)

T.

May

legg.

M. 3

There are

w

3

3

T.

of

hu

Pr

best

ev

ie

3

53

calmo, dolce

C op

49

man

be

the

stor ies I could tell you I will

sub. 3

3

love

is

sim

ply

friend

ship.

legg.

Vo.

of

le cher y and ev’ ry vice of

vi o lence and ev’

ry de

bauch!

M. not

re

peat,

sto ries

27

ACT I - Scene 1 - No. 5

57

3

T. And

may

be

such

a

friend

ship

leads

to

know

the

se

cret

Vo. Un less you M. things you can for give...

un less you

y

you have heard, no doubt, and yet, all

60 T. God!

Love is

Vo. of his

cow

ar

dice;

of his

cow

ar

dice;

ie

know the se cret

Chris tian

ev

sempre

T.

Pr

64

we

Vo.

may

all

du

ty

to

all

3

sin ners

so

He

fears

one

thing,

He’s

a

He

fears

one

thing,

He’s

a

w

M.

C op

3

, legg.

sempre

be

saved

so

fraid

of

be

ing

caught!

He

fears

one

thing, he’s a

fraid of be ing caught, and to

fraid

of

be

ing

caught!

He

fears

one

thing, he’s a

fraid of be ing caught, and to

M.

28

ACT I - Scene 1 - No. 5 68

cresc.

T. we

may

all

be

Vo. Val

mont

one

thing ex

per

ience has taught: a

wo man must be si

lent, a

wo man can not fight,

Val

mont

one

thing ex

per

ience has taught: a

wo man must be si

lent, a

wo man can not fight,

72

C op

y

M.

cresc.

T. saved

on

marcato

Vo.

be

Val

be

mont

lieves

ie

M.

lieves

w

Val mont marcato

Judge

ment

all

wo

men

all

wo

men

76 T.

Pr

ev

cresc.

(Recit.) (to the others) 3

I

Day!

3

have

been se

vere.

He

has ac

3

cept ed, and

he

re

Vo. are

his

right!

are

his

right!

M.

(Recit.)

29

(Segue - No. 6)

ACT I - Scene 1 - No. 6

No. 6 Recitative and Duet (Servants start to bring in food, set up tables, lay clothes, etc. The atmosphere is pleasantly disordered, informal.) Con moto ( = ca. 76) Tourvel pents.

VOLANGES

Volanges Why you? MERTEUIL

3

Merteuil VALMONT (entering)

Or

an y man!

me? Con moto ( = ca. 76) 6

6

C op

Dis cus ing

y

Valmont

sub.

5

(Recit.)

3

we wo men on ly judge oth er

wo men.

We are the guard ians of each oth er’s re pu

ev

ie

My dear young man,

3

w

M.

Vo.

Pr

(Volanges and Merteuil move toward the food. Valmont and Tourvel are left alone together. Cecile and Danceny also move toward the food. Valmont focuses on the uneasy Tourvel.) (noticing a particularly Moderato ma con moto ( = ca. 90) 7 appetizing dish being brought in) 3

How charm ing!

Put it

ov er there. (suddenly famished)

3

M. ta tions.

It all

looks so de

li cious!

rit.

Moderato ma con moto ( = ca. 90)

(Ob.)

3

(vocals need not align.) (Vcl.) 3

espr.

3 3

30

ACT I - Scene 1 - No. 6

Moderato ( = ca. 86) 11

TOURVEL 3

3

3

3

T. Sir,

you have not told me

ev’ ry thing.

I have un cov

ered

your

3

VALMONT V. Ev

Moderato ( = ca. 86)

ry

thing?

3

3

3

3

3

3

T. sec ret.

Yes

3

3

ie

Sec ret?

ter day I

3

Pr

3

sub. 3

ev

cant. 3

walk...

to

a

cer tain

3

3

fol lowed,...

on

your

3

Fol lowed?

3

3

3

3

gently pulsating

3

vil lage,

where it is said you

V. Walk?

3

had you

w

V.

T.

3

(simple, or trying to be)

14

17

3

C op

3

y

sub. cant.

3

31

ren

der acts of

kind ness,

of

ACT I - Scene 1 - No. 6

(Recit.)

21

3

3

3

T.

(

Chris tian cha ri ty,

pea sant fam i ly

to a

that was in

mi se ry...

Why do you hide this from me?

PiĂš mosso VALMONT smoothly, no accents

V. I

im

i

ta

ted vice.

sub., soave

sought to sur

pass in deed and re nown

the

w

legato

I

C op

Be fore,

3

3

y

25

(Recit.)

28

est

sin

ner.

And still,

ev

low

ie

V.

some sin

ful pride

min gles with the shame

you

Pr

colla voce

(29)

3

V. have in spired

in

me.

My

sub.

32

in

stinct

is

to

hide my

lit

tle ness of

ACT I - Scene 1 - No. 6

Poco meno mosso

32 T.

You make me

wish

that...

V. soul

com pared to

yours.

Poco meno mosso

3 3

3

espr. 3

3

3

36

(evasive, shy)

T. that

you

were

my

V.

C op

y

(colla voce)

3 3

bro

3

3

ther.

ie

w

What?

40 T.

3

(A clock starts to chime six o’clock.)

3

Clock strikes 1, 2, 3 (interrupted)

rall.

Pr

3

3

ev

3

(unsure, embarassed)

I

do not know.

V. Would that

be

hap

pi ness?

rall.

8va

cresc. sub.

3

3

3

3

3

3

3

3

33

3

3

3

3

(Segue No. 7) attacca

ACT I - Scene 1 - No. 7

No. 7 Sextet (Soliloquies) (An enchantment falls on the company, a conversational lull, a companionable silence, as the room is suddenly bathed in a golden light from the setting sun... All are lost in their own thoughts, or their thoughts about each other... Time has stopped.)

(entire cast always delicate and full of wonderment)

C.

y

4

= ca. 54)

CECILE

C op

Andantino grazioso (

How

can they not

blush

when men

DANCENY

D.

w

8

How

can I

not

ev

ie

sim.

Pr

8 C.

look at them?

Ex

chang ing side long

looks

and

stares,

D. 8

blush

to

look at her?

How

34

can I

not

stare i

ma gin ing her

13

ACT I - Scene 1 - No. 7

C. They

do not

blush!

Is it the paint they wear?

T. How

can

an

y one

not

D. 8

skin

un der

neath

what she wears!

VALMONT

V. trans

y

How

C.

Is there

a

la

read

ly

see

T. sense

his good ness, his

grace,

not

C op

18

D.

i

dy

I

can

trust?

the

yearn

ing for

Is there a

V. ent her

skin!

How

cold

her

hand!

I

C.

T.

Pr

22

ev

ie

par

w

8

God

in

sempre legg.

Can my mo ther’s friend be mine?

his

face?

to be de

sired?

Ma dame

de Mer teuil

sempre legg.

D. 8

La

dy

not

her to

give

And which La dy will be mine?

V. want

what I

al

read y

could

de

35

mand!

Ce

ACT I - Scene 1 - No. 7

25 C. is

so kind.

She says I must ex

pect to find him cold.

Mon sieur

de

Ger court

is

ver

y old.

D. 8

When will it be time?

Ev’ ry one must know

ry thing I feel.

C. She

says I am

not

wrong

to love

D.

Is my

ex posed?

No,

and in

love’s

game

on ly in my let ters does my heart un

to play my part.

fold.

My let ters cry:

31 C. I

love

the

Pr

Oh,

ev

ie

w

ver y soul

C op

28

8

ev

y

cile or some one else?

T.

I

D. 8

"How

have been

long

Che

se

vere!

can we be

kept

trans

pa

va lier

a part?"

with

all,

He

re

pents!

Oh,

I

love

He re pents!

Ce

cile

her

hand!

V. Oh,

how

rent

her

skin,

36

how

cold

with

ACT I - Scene 1 - No. 7

34 C. with

all

my

heart!

T. All

a

wo

man

can

do

is

un

der

stand!

VOLANGES Vo. How

can I stay

a

all,

with

all

my

al

read y

V. must

give

what

I

could

de

mand!

ev

ie

w

She

heart!

C op

8

y

D.

37

Pr

Vo. wake?

When will

they all

leave?

I

need to lie down

(etc.)

37

and

loos

en my

stays,

so I can

ACT I - Scene 1 - No. 7 (with delicate excitement)

41 C.

Look,

how he

trem bles!

Oh,

a

tear!

T. How can an

y one

Vo. breathe!

How

can

I

stay

a

D. Oh,

how I

trem

ble!

Look,

a

tear!

y

8

C op

V.

ie

45 C.

T.

his good ness, his

grace!

Pr

not see

fright ens me!

ev

How he

Vo.

wake? D. 8

I want her

w

sub.

Don’t be

fright

ened

love, have no

Can

and the

When will

love

yearn

ing for God in his

face!

they

all

leave!

fear!

Be not

fright

be

ened

V. give!

I

want her to

38

give what

I

al read y

could de mand!

to

ACT I - Scene 1 - No. 7 49

dreamily

C. fear?

Can

love

be

fear?

Can dreamily

T. He

dreamily

re

Vo. When

dreamily

will

they

all

D. 8

Be not

love!

fright

ened love,

have no fear! dreamily

y

V. want her

to

w

C op

I

53

ie

C. love

be

pents, Vo.

D. 8

pents,

he re

Be

not

Can

love

I

have

been

How

can

I

love

be

not

to

give,

pents.

Pr

leave?

he re

ev

T.

fear?

fright ened

(Entire cast in a kind of swoon.)

be

se

stay

a

a

V. give

39

to

ACT I - Scene 1 - No. 8

57 C. fear. T. vere. Vo. wake. MERTEUIL

(Recit.)

an y one en dure this God for sa ken place?

8

C op

D.

Na ture is not nat ural to the hu man race! (

How can

y

M.

fraid.

V.

ie

colla voce

w

give.

ev

(Segue No. 8)

No. 8 Recitative

(The silvery chiming of a mantel clock brings everyone back to reality.)

Pr

(Recit.)

(4, 5, 6. The clock resumes chiming six o’clock.) (calling over to Cecile and Danceny) 3

3

3

3

Volanges

Chil dren, why don’t you sing for us?

Some thing you have pre pared. (flustered) DANCENY

Danceny 8

Ma dame,

(Recit.)

40

I am not well.

ACT I - Scene 1 - No. 8 CECILE (aside, alarmed) (2) C. He

is not well! (lying badly)

(moves reluctantly to the harp)

3

D. 8

That

is to say...

my throat would not do jus tice to the mu sic... VALMONT (to annoy Volanges)

V.

5

C op

y

Ce

(pointedly ignoring him)

Vo. cile,

per haps the Che va lier would like a

lit tle

choc’ late.

w

Ce

3

V. 3

Did

I say

ie

cile, give us a song!

(all innocence)

(7) T.

Pr

ev

sub.

(in a governessy attempt to cheer things up) TOURVEL

I

(relentless) V. some thing wrong a

gain?

I

3

do

a

pol

o gize, Ma dame!

41

know!

Let us hear that song Ma

ACT I - Scene 1 - No. 8 CECILE (in a passion)

(9) C.

Oh,

you’ve ruin ed our sur prise!

T. dame de Ro se monde had asked if you had learnt,

the old one.

VOLANGES

Vo. Ce cile!

(pouncing)

V.

C op

y

A

(arch and ponderous at the same time) TOURVEL 3

12 T.

(sulking)

Then re hearse it

D. 8

by all means.

We pro mise we won’t pay at ten tion.

w

DANCENY

V. Now I must in

sist!

Pr

ev

se cret!

ie

It is n’t read y.

Con moto

15

rit.

(full of charm, irresistable) MERTEUIL

Meno mosso

3

M. Oh

please!

Ce cile.

D. 8

Well,...

per haps....

Con moto

rit.

Meno mosso 3

3

6

6

3

42

3

6

3 6

3

sub.

3

ACT I - Scene 1 - No. 9 Cecile glows, even Danceny brightens up. They go right to their instruments. Merteuil’s command of the situation has not been lost on anyone. All take their places for a concert no one wants to play or hear.) Con moto 18

accel.

3

3

3

3

3

cresc.

3

3

3

rall.

C op

y

21

(Segue No. 9)

3

No. 9 Duet Quasi allegretto (Ballad style: acting out the parts) = ca. 44)

(a false start)

Cecile The...

ie

(He plays)

[VI -

w

(

Pr

ev

(a false start)

6

The im pri (

C.

cheerfully

dolefully

dolefully

soned

maid,

guard

the

guard

the

(corrects her with a glance)

D. 8

The

arm

ĂŠd

man,

43

ACT I - Scene 1 - No. 9

12 C. se

crets

of

their

hearts.

D. 8

se

crets

18

of

their

hearts.

Man and

maid

may

ne

ver

(scattered applause)

(Tourvel may absent-mindedly hum along - softly.)

ver,

D. wed,

they may

ne

wed.

ver,

ne

ver,

be

wed.

w

8

be

...ver

C op

ne

y

C.

24

(She knows this part.)

ie

C.

D.

brave

knight,

oh,

Pr

8

my

my

brave

knight,

ev

“Oh,

(Volanges is quite pleased and applauds softly. Tourvel does likewise.)

30 C. I

am

not

as

brave

as

you!”

(pleased with Cecile) espr. amoroso

D. 8

“Oh,

(Danceny corrects the rhythm.)

44

my

ACT I - Scene 1 - No. 9

36 D. 8

La

dy!

Oh,

my

La

dy,

no

knight

was

(Volanges thinks the concert is over, and starts to rise. Tourvel pulls her back down.)

42

ev

er,

ev

er

as

brave

or

true”

C op

8

y

D.

(Merteuil and Valmont are suppressing giggles.)

48

Arm

ie

D. 8

éd

maid en,

maid

im

pri

en, the im

soned

pri

soned

man,

your

man,

your

hearts

must

Pr

ev

Arm

éd

(

w

C.

54 C.

(Cecile falters, losing her place.)

hearts

must

guard

your

sec

guard

your

sec

rets

well

rets

well

...

(Danceny quickly helps; he doesn’t miss a beat!)

D. 8

Un

45

til...

Un

til

ACT I - Scene 1 - No. 9

60 C. ‌death

sets

you

free,

un

til

death

set

you

free,

un

til

death

D. death

will

y

8

65

will

set

you

free

will

set

you

free

C op

C.

of

D. 8

of

all,

all,

free

set

you 3

ie

w

3

molto rall.

C. of

(Recit.)

all!

It

TOURVEL (enchanted)

Pr

T.

Oh, that

Vo.

(fearing Danceny’s disapproval)

ev

71

was not!

was love ly! (to Danceny, with guarded approval) VOLANGES

Yes, that was love ly.

(grimly)

D. 8

free

of

all!

A gain!

molto rall.

(attaca No. 10)

46

ACT I - Scene 1 - No. 10

No. 10 Recitative with Trio (sempre sotto voce) DANCENY

- DE] Danceny 8

The

(Danceny plays, with rather grim determination at first, then gradually relaxing.)

Harp (sounds on stage)

MERTEUIL (Recit.)

(urgently)

(a mocking curtsy)

Merteuil Mon sieur de Val mont! VALMONT

(a mocking bow)

3

y

Valmont

de Mer teuil!

op

Ma dame

C

3

CECILE (nervous, softly)

(falters)

C. maid...

ev

T.

D. 8

éd

sempre

5

man,

Guard!

Th’ im

pri

son’d

maid...

Th’ im

pri

son’d

maid...

Pr

Harp

arm

(courageously)

TOURVEL (helpfully)

ie

méd

w

(At this point the harp, Cecile, Tourvel and Danceny go into a slower tempo, ending where indicated. The orchestra, Merteuil, and Valmont pursue an independent tempo, as needed by their scene. The two groups do not align, and the Harp Ensemble should remain inaudible. Orchestra, Merteuil and Valmont dominate the scene.)

sempre con moto ( = ca. 96) (Recit.) (glancing toward Tourvel) 3

M. Bus y, I see...

You know my bus ’ness here

V. And you,

(colla voce)

6

3

com plete

3

3

47

ly free?

3

as well as

ACT I - Scene 1 - No. 10 (C., T., D., harp are inaudible. The notes are to flesh-out the slow-motion pantomime.) (sulks) C. (sinks into a reverie, hums) T. Hmm

(correcting her) D. 8

the

Guard

se

crets

of

their

Harp

Con moto ( = ca. 92)

8

I’m sure you can re call

it,

if

you

try...

C op

I...

y

M.

3

3

3

made a

3

3

w

3

We

ie

C.

ev

T.

D. hearts.

and

Man

maid

may

Pr

8

(Danceny is pained by Cecile’s distress.)

Harp

12

3

M. wag

er;

3

3

you must make

3

3

your

3

move.

3

48

3

It’s

3

skill,

3

3

not luck,

3

3

ACT I - Scene 1 - No. 10 (Ah!, she knows this bit.) C. la

la

la

la

T. (Danceny melts toward her again.)

8

nev

er

wed,

nev

er,

y

D. may

3

Harp

16 M. that wins

at

cards

and

(Recit.)

C op

V.

love.

3

3

C.

T.

8

Harp

3

la

la

3

3

nev

er,

on ly play the cards we are

3

la

Pr

D.

la

3

ev

la

3

ie

3

w

We

nev

la

la

er

(comes up for air)

wed.

(ironic tenderness) a tempo

20 V. dealt, O Queen of Hearts, O Heart that will not

melt;

of all the

Hearts

you

hold,

I

a tempo

cresc.

49

3

3

3

3

3

3

ACT I - Scene 1 - No. 10

C. “Oh,

(Unable to resist.)

my

brave

my

brave

my

brave...

T. “Oh,

(She:)

(lets the girls have it)

D. “Oh,

8

Harp

24

3

Knave.

3

3

3

3

C.

knight!

card

3

3

3

me.

3

knight!

my

brave

knight!

3

ev

3

Pr

8

M.

dis

brave

oh,

D.

not

my

oh,

T.

28

3

ie

knight!

Harp

Do

C op

the

w

am

y

V.

If

you’re

my

V. Play

me.

I

am

your

slave.

sub. 3

3

3

3

3

3

3

50

3

3

ACT I - Scene 1 - No. 10 (The women are very pleased with themselves.) C. I

am

not

as

brave

as

you!”

not

as

brave

as

you!”

T. I

am

D. 8

Harp

cant.

32 M. why

do

you

dis

o

bey?

y

slave,

C op

V.

With

3

3

3

3

3

a

tle

sub.

3

3

lit

3

w

3

ie

C.

T.

(lightly, gallantly) (sempre sotto voce)

8

“Oh,

36

my

La

dy!

Oh,

Pr

Harp

ev

(He:) D.

(with vehemence barely concealed beneath her outward charm)

my

3

M. I

want to be

re

V. pa

tience

we

both

can have our

way.

cresc. 3

3

3

3

51

3

3

colla voce

sub.

3

molto

ACT I - Scene 1 - No. 10

C. (gradually getting lost in her thoughts) T. “ was

(with doleful gaiety) D. 8

La

dy!

No

knight

was

Harp

molto accel.

40

Agitato (

=

)

That

cresc. appass.

ass

does

not

de

serve

a

sub.

w

3

Ger court

C op

venged!

y

M.

T.

D.

Harp

44

ev

ev

er,

ev

er

er

Pr

8

er,

ev

ev

ie

C.

as

as

brave

or

espr.

(getting down to it)

M. vir

gin bride!

I

want

you

to

V. No

hus band is

as sured of

that!

3

3

52

3

3

ACT I - Scene 1 - No. 10 (stealing a glance at Danceny) C. “As

brave

as

T. brave

as

you!”

D. 8

true!”

Harp

48 M. Ce

cile

deVo

calmo

langes.

V.

3

3

3

3

3

bus

am

C op

I

y

have

3

3

3

3

w you!”

ev

(as if imparting to Cecile a secret message) D.

52

la

éd

maid

en,

im

Pr

Harp

La

Oo

Arm

8

3

3

(shyly)

(to herself)

T.

with

poco

ie

C.

3

3

y

(changing her tack)

M. (praising Tourvel instead)

Fif teen years old!

3

V. dame

de Tour

vel...

3

3

3

Hap

3

53

pi

ly

mar ried,

a real

Ma

ACT I - Scene 1 - No. 10

C. la

la

la

la

la

(notices the singing again)

la

T. oo D. 8

prison

ed

man,

Your

hearts

must

Harp

56

(not giving up)

molto accel.

M.

y

The

chal lenge.

She

is

a ver

C op

V. y

pi

ous

la

has

no

dy.

3

colla parte

3

ie

w

3

girl

C. la

la

ev

T.

D. guard

your

la

se

crets

la

well...

Pr

8

la

Harp

Sempre con moto ( = ca. 112)

61 M. mo

rals

at

all!

She

is

quite un

formed.

A

de

3

cant. 3

54

3

3

3

3

3

ACT I - Scene 1 - No. 10 (Once more Cecile falters, losing her place.) C. la

(helpfully)

T. “free,” (Danceny helps out again. Shows her the place.) D. 8

Un

til

death

set

will

you...

Harp

67 M. cious

bud.

And far

3

too

ev Un

3

3

worth y of my time...

3

3

3

3

(relaxed, at last, gaining in confidence, guarded intimacy) sempre

sempre

(he resumes)

ly

3

(Tourvel also tries to help, almost whispering.)

T.

til

La

la

la

Un

til

death

death

sets

Pr

M.

3

ie

“free,”

8

Hard

3

3

C.

D.

y.

w

3 (gratefully)

72

eas

3

3

Harp

C op

V.

3

or

y

li

re

pu

ta

tion!

A

de

li

cious

cap a ble

of

love.

V. ...com

plete

ly

in

She will

espr.

espr. 3

3

5

3

3

3

3

3

3

55

3

3

3

3

3

3

3

ACT I - Scene 1 - No. 10

C. sets

you

free,

sets

you

free...

you

free,

La

la

Un

til

T.

D. 8

Harp

77 M. A

de

li

cious

V.

3

to

3

bed

3

3

3

cur i

o

si ty.

3

3

3

ie

C.

pure ly out of

la

She

is

not

C op

in

w

fall

bud!

y

bud!

la

la

3

3

3

3

la

for

3

3

3

la

(sweetly; her favorite part)

ev

T.

Un

D.

Harp

82

death

sets

death

you

sets

free

you

of

Pr

8

til

M. And the “ver

y pi ous” La dy,

will

she sa tis fy you?

3

V. me!

Wait till I’ve had her be fore you run her

3

3 3

56

ACT I - Scene 1 - No. 10 dolciss. C. la

la

la

la

(looks away)

T. free! dolciss.

of

all!

D. 8

all,

sets

you

Harp

PiĂš mosso

87

3

M. yes,

her heart will

beat for you...

with

fear.

down.

PiĂš mosso

3 3

3 3

3

3

ie

3

C.

D.

Harp

92

free

free

3

3

3

(The Trio finished at last, Volanges wakes up with a start and applauds. More chocolate is served and sipped.) (Tacet)

of

all!

of

all!

of

all!

(Tacet)

(Tacet)

(Tacet)

Pr

8

free

ev

you T.

en joy that.

3

3

w

3

haps you will

C op

V.

Per

y

Oh,

ad lib.

3

3

3

M. No,...

im pa tient.

I am

run ning out of time if I in tend to pre sent de

V. You

are jeal ous!

57

Ger court with a

ACT I - Scene 1 - No. 10

ancora poco più mosso 97

(Merteuil looks towards Danceny and Cecile while Valmont applauds politely, silently.)

3

M. ruin ed bride.

102

That young man is too slow.

poco rit.

They

look in to each oth er’s eyes

and sigh,

Meno mosso ( = ca. 96)

e ven when left a

(She has a plan ready.)

3

M.

All an y lov er needs

3

is an

3

sub.

ie

my friend

And I must tell you, by the way,

that her

109

Pr

ev

thank you,

3

(An inspiration hits.)

(Recit.)

M.

3

3

w

Più mosso

I

ob sta cle.

cant.

106

ob sta cle...

y

V.

poco rit.

An

3

(thoughtfully)

C op

lone!

3

3

3

M. moth er,

who knows you all

too well... (ruefully)

Yes, all 3

V. Oh, all

too well!

58

too well!

Has ex

posed

your

char ac ter

ACT I - Scene 1 - No. 10

Grande

(110) 3

rall.

Moderato, lusingando

(She lets this sink in. She’s on target.)

3

M. to Ma dame de Tour vel.

If

you

V. And if

I

rall.

Grande

help you?

Moderato, lusingando

3

espr.

113

C op

y

espr.

3

M. do as you’re told,

and

give me proof...

V.

al

ways

Then,

do.

ie

w

I

3

3

ev

3

117 M.

Pr

3

Knave

più

takes (sotto voce)

3

3

3

3

3

3

3

Queen! (cheekily)

3

V. takes

Queen!

And

what will you do

till then?

(Segue No. 11, attacca)

59

ACT I - Scene 1 - No. 11

No. 11 Cavatina Quasi allegretto ( = ca. 112) (casually seductive)

3

Merteuil There

is

a

house near

by,

hid den

a

way,

a

poco

sempre sim.

poco rall.

6

a tempo

y

3

mer

pav

i

lion,

12

a

poco

May.

ter

tain

in

There,

in

my

bow’r,

smooth, silky

legato, pulsating 3

3

3

per fect dis

Pr

dolciss.

en

of

cre

tion

3

my a non y mous

ev

I

ple

ie

3

M.

tem

w

sum

C op

M.

Poco meno mosso ( = ca. 100)

17

3

M. swain.

He

is brought there

ed,

I

un

(Str.)

sub.

3

blind fold

3

3

60

3

3

3

3

3

3

Act I - Scene I - No. 11

22

poco a poco cresc.

M. cov

er

his

eyes,

and

each

poco a poco cresc.

3

3

3

3

3

3

3

3

3

3

dolciss.

dress

3

es

3

a

diff’

rent

3

3

3

dis

3

guise.

I

3

(a tempo) ( = ca. 112)

ie

3

un

C op

he

w

time

)

come

man

y

wo

men,

he

be comes

man

y

men,

Pr

be

ev

M.

37

3

ossia: (

M.

31

3

y

26

3

Meno mosso ( = ca. 100) espr.

cresc.

M. and

so

cresc.

we

3

die

3

and

3

3

sim.

61

3

re

vive

3

all

Act I - Scene I - No. 12

dolciss.

41

ossia: (

Poco più mosso

)

espr.

M. night,

a

gain

and

a

gain.

That

VALMONT V. I

look

for ward to

it!

Poco più mosso 3

48

(They look toward Cecile.)

M. all

de

pends...

C op

y

3

3

V.

Good.

3

3

We must al ways be friends!

Pr

ev

5

ie

w

I un der stand per fect ly.

(Segue No. 12)

No. 12 Merteuil’s Exit

Allegretto ( = ca. 120)

MERTEUIL

3

Merteuil Ma dame de Tour vel,

sub.

62

I’m so

glad we’ve met.

ACT I - Scene 1 - No. 12

5

(draws Volanges aside)

(RECIT.) rapidly, confidentially

3

3

3

M. Ah, cou sin,

a

word be fore I for get...

Ce

cile is at a cer tain stage, you’ll a gree,

a dan ger ous age.

Her

(repeat figure)

y

Piano: out of synch. with voice. L.H. and R.H. also out of synch.

C op

(falling into Merteuil’s tone) VOLANGES 3

8 Vo.

I can as sure you she is nev er left a lone! (coolly)

3

M.

You are her moth er,

I’m sure you know what’s

Vo.

(a twinge of panic) 3

Pr

10

ev

ie

w

mus ic les sons, are they chap er oned?

3

That young

pup py?

Should they be kept a part?

M. best.

Then,

put your mind at rest.

colla voce

63

He is send ing

Act I - Scene 1 - No. 12 14

(a tempo)

3

Vo. Im

(calmly putting on her gloves)

pos si ble!

M. notes to her.

He leaves them on her

harp.

It’s all quite

in no cent I’m sure,

but

it’s

(a tempo) 3

(a tempo)

(RECIT.)

(a buss on both cheeks)

3

y

18

God be with you till the next time we meet.

Ce

cile,

ie

21 M.

ev

lier...

3

and

Che

3

Moderato (Valmont accompanies ( = ca. 108) her to the door.)

Val mont,

al ways such a

va

treat.

6

cant.

Pr 25

my sweet!

w

in dis creet.

C op

M.

(gives him an appraising look)

(colla voce)

3

Meno mosso (She pauses at the door.)

3

3

(intensely, through her teeth)

M. Re mem ber,

cresc.

3

Her

3

3

3

3

3

64

tend ed must not find a

(colla voce) espr.

sub.

3

in

3

maid,

his

ACT I - Scene 1 - No. 13 (RECIT.)

29

3

M. debt to me must be re paid! VALMONT

Good,

dolciss.

what is more pleas ant or more calm ing than the

V. All is pos si ble be tween two friends.

(31)

Allegretto ( = ca. 112)

y

(She exits. Valmont makes a decision, then rejoins Tourvel.)

M.

3

C op

pros pect of re venge? 6

w

6

ie

- Finale -

No. 13 Scena

ev

(An emormous silence fills the room.) (RECIT.) VOLANGES poco VOLANGES

Pr

Mon (Danceny, made uncomfortable by Volanges, who is looking at him steadily, gets up to go.) 3

DANCENY 8

3

Ma dame,

poco rall.

3

35 3

ben cant.

3

(B. Dr.)

8ba

65

(Segue No. 13)

Ma dam oi selle...

Act I - Scene 1 - No. 13

3

3

Con moto

Vo. sieur,

stay where you are.

Please.

Ce

cile,

re move the cov er from your

(8ba)

Moderato

6

(Cecile does so. Volanges takes the letter tucked into the strings. She turns to Cecile.)

(poco

)

3

3

3

Vo. And now, give me the keys to the desk in your

3

3

w

(Timp.)

3

C op

3

y

harp.

(To the maid, who is petrified. The maid exits.)

10

3

ie

Vo. room.

Go fetch her let ter box.

We will wait un til she comes back. DANCENY

ev

D.

Not

a

espr.

Ma dame...

I w--

Pr

8

3

dim.

(to Valmont and Tourvel) meno

13

Tempo I ( = ca. 56) (They all wait – Volanges very still,

3

Vo. word!

Please stay,

I will need some wit ness es. (Fls.)

espr. (Vlc.)

66

ACT I - Scene 1 - No. 13

the others uneasy – for the maid to return. The storm is accumulating.) (At each

another clock begins to tick.)

17

(Vln. 1)

3

espr.

(Vla.)

espr. 3

(Vln. 2)

3

3

cresc. 3

3

3

3

3

3

3

3

y

espr.

3

w

C op

3

cresc.

(non cresc.)

(The maid returns with the box.) 23

Poco piĂš mosso

VOLANGES

Thank you.

ev

ie

Vo.

3

Pr

3

3

(Str.)

Put

(The maid withdraws, exchanging a look with Cecile, as Volanges opens the box and examines its contents.) it there.

3

(Str.)

3

3

3

3

3

3

3

5

3

67

Act I - Scene 1 - No. 14 28

CECILE

(The clocks stop.)

espr.

C. Oh, moth

(RECIT.) poco

er!

Vo. Ce cile, these let ters are ad dressed to you from Dan cen y! poco DANCENY

Si

lence!

3

D. Ma dame de Vo langes...

8

C op

y

6

No. 14 Aria

Allegro furioso ( = ca. 104) Volanges a

bused

my

w

have

3

Pr

ev

ie

You

(Segue: No. 14 Aria)

Vo. con

fi dence,

you

have

a

6

68

bused

her

Act I - Scene 1 - No. 14 5 Vo. in

no cence,

and

you

3

have

a

bused

your

po

6

y

molto cresc. 7

si

tion,

you

are

no,

C op

Vo.

no,

no

gen tle man!

6

10

ie

w

sub.

no,

majestically

will

re

mem ber you

with

con

tempt,

She

will

re

Pr

I

ev

Vo.

14

(RECIT.)

3

3

espr.

Vo. mem ber you

with

shame,

and

you must re mem ber your self

(colla voce)

sub.

69

and

pro

17

Act I - Scene 1 - No. 14

(a tempo)

Vo. tect

my

daugh

ter’s

name!

Do

not

3

20

(a tempo, ma piĂš vivo) 3

me

mit

you.

to

leave

or

ders

not

to

ad

C op

force

y

Vo.

w

22

ie

Vo.

com

mand

ev

My

to

sub.

Pr

sub.

24

(RECIT.)

appass.

3

Vo. you

must

be

e

nough!

And, be fore I ban ish you from my sight,

cresc. sub.

70

ACT I - Scene 1 - No. 15

No. 15 Duet (26)

Con moto, agitato

3

Vo. you must give

back the an swers to these let ters.

Do I have your

word? appass.

DANCENY D.

That

8

I can not

Con moto, agitato

y

6

C op

6

(Segue No. 15)

2 VOLANGES Vo. How

dare

do!

8

cile

Don’t you see?

You

have mis

un

That’s good! non forza

der stood!

Ce

Pr

ev

ie

8

w

D.

you!

7 D.

was

safe

with

me.

cresc.

71

ACT I - Scene 1 - No. 15

11

(The storm outside begins to gather again.)

Vo. piĂš dolce

And what else?

espr. D. 8

I was mas ter of my

self,

but

15

3

3

Vo. He can

say this to me!

D. haps we can a

gree

that for the

my

mo ment we must part.

3

heart! ( Noth

) (

ing bad

)

took

3

ie

3

3

w

8

3

Oh,

3

Per

3

C op

3

3

my heart.

y

3

not

19

Pr

3

Vo.

3

3

ev

3

To my face!

3

It could be

worse?

Ah!

I

could weep!

This

D. 8

place!

It

could

be worse!

These let ters I will keep,

72

they

were hers!

is

im

ACT I - Scene 1 - No. 15 RECIT.

24

3

(Con moto)

3

3

Vo. pos si ble!

Stay a

way from us!

You

in so lent

espr. D. 8

I give my

word...

at least un

til we can dis cuss...

(Con moto)

espr.

y

Allegro ( = ca. 104)

TOURVEL

(stops Cecile from going to Danceny and takes her to Volanges)

quasi senza misura 3

3

C op

29

3

T.

Yes, speak to him.

(sinks into a chair, weeping) Vo. whelp! VALMONT (to Tourvel)

No,

Ce

cile!

3

Come with

me!

V. help.

Allegro ( = ca. 104) (etc.)

33 D. 8

Pr

ev

ie

That young man needs my

w

(Goes to Danceny.)

quasi senza misura 3

quasi senza misura 3

What should I do?

3

3

3

V. Che va lier,

lis

ten to

me.

I

am your friend.

I will

sub. 3

3

3

3

3

73

3

3

3

3

ACT I - Scene 1 - No. 15

quasi senza misura 3

36 D. 8

Sir!

3

I

pro mised her moth

er!

V. help

you.

Do you want

Ce

cile?

It’s 3

3

ben cant. 3

3

3

3

3

3

3

3

3

y

39 D. 3

3

V. on ly

a prom

ise.

Oh,

why do

I both

3

3

w

3

3

3

3

ev

42 C.

3

3

Pr 3

V.

3

lieve me, a pleas

ure,

you will have

me

sir!

Be

3

3

(A sharp gust of wind blows open the doors. Some rain comes in.) (trying to stop her) CECILE

No,

(Seeing Danceny, she rises and steams towards him.)

VOLANGES

Vo.

help

er?

ie

3

C op

Please,

8

3

Must

3

I

ask you a gain?

your Ce cile,

But

you must

3

sc.

cre

ss.

gli

3

3

3

3

3

74

3

3

3

45

3

ACT I - Scene 1 - No. 15

3

C. moth TOURVEL

er,

not in the rain! 3

(Julie goes.)

3

T. Oh,

the car pets!

Ju

lie,

call the men!

Go, bring the

3

men! (wheeling on Danceny) 3

3

Vo. I’ll speak to you

la

ter,

my

3

girl!

As

for

3

V. leave this in stant. Wait for

my in struc tions.

Trust me!

3

3

3

3

Recit. 49

(

I

e

ver

sus

pect...

w

If

3

3

)

Vo. you...

3

C op

3

y

3

ie

( )

6

(colla voce)

ev

3

Pr If

3

3

( )

Vo.

6

6

( )

51

6

3

( )

I

ev

er

catch

you...

I

DANCENY

( )

will 3

majestically

D. 8

Ma

( )

7

3

( )

3

sub. (colla voce)

6

6

( )

dame, I have too much re

3

75

spect...

ACT I - Scene 1 - No. 16 (sinks to the floor, weeping)

(a kind of wail) CECILE

53

3

C. No!

No! 3

3

3

(Danceny bows and leaves.)

Vo. shut (

her

up

in

a

con vent,

I

will lock

her

up

tight!

stentando

)

(colla voce) ( )

(Segue No. 16)

C op

No. 16 Duet

y

appass.

Allegro ( = 120 - 128) Cecile

(to Cecile, in a towering rage, eyes to heaven) VOLANGES poco

Volanges

Why

C.

3

3

3

Oh,

3

(ossia)

3

(almost between sobs) espr.

Pr

3

3

3

3

ev

3

ie

w

Allegro ( = 120 - 128)

moth

er! (glares at Cecile)

3

Vo. should I

ev

er

do

a

thing

for

you?

you

Do

have

3

sub. sub.

3

6

3 3

3

3 3

3

3

3 3

76

3

3

3

ACT I - Scene 1 - No. 16 6

3

C. please

don’t

be

3

like

that!

No

thing

3

(grabs her)

Vo. an

y

i

dea

what

I’ve

had

to

do?

A 3

3

3

3

3 3

6 3

3

3

3

C op

3

y

3

8

3

C. bad,

noth ing

bad

took place!

Vo. liant match!

Mon sieur

de Ger court!

He

has

not 3

brains,

3

he has charms, and he is

3

Pr

11 C.

3

3

cresc.

3

3

ev

3

ie

w

bril

It’s

what

it seems!

(Cecile gradually moves toward Valmont.)

(pushes her away) 3

Vo. hard

ly poor!

Oh,

oh,

3

to

3

3

non forza

77

3

have

such

3

3

a

3

3

ACT I - Scene 1 - No. 17

No. 17 Quintet Più mosso 14

ROSEMONDE poco

(Rosemonde enters.)

3

R. all

What’s non forza

meno

the

noise?

It’s gi ven me such a

3

Vo. child!

the

Oh,

scan

dal,

the

shame!

3 3

3

3

3

3

C op

y

Più mosso

3

3

3

3

3

cant.

w

(The voices of Rosemonde, Tourvel and Volanges are somewhat in the background.) 3

TOURVEL

R.

C.

I’ve

called the

men. 3

3

Call

the

house keep

er...

Ver

y

good!

quasi senza misura CECILE poco

Pr

fright.

(to Tourvel)

ev

(looks about)

ie

T.

3

My

quasi senza misura VALMONT poco

maid. (to the maid)

V. Your room,

3

3

who has

3

78

the

3

key?

Stop cry ing,

3

3

3

3

ACT I - Scene 1 - No. 17 (to Volanges) 6

3

3

3

R. Ma

dame,

is

some

thing

wrong?

Scan

dal?

The

3

VOLANGES Vo. The

scan

dal,

the

shame!

am your

friend,

V. Jo

seph ine,

and come

here.

I

Ce

cile; poco

3

3

C op

y

3

3

3

3

3

9

3

3

T.

R. shame? Vo.

I

V.

to

Do

you

be

3

as

sure

lieve

3

3

blame.

3

3

you...

Pr

Ma dame,

C.

not

ev

3

is

3

ie

She

w

3

3

3

I

am

not

well!

Yes,

Yes. 3

3

me?

You

3

must

trust

me.

3

3 3

3

poco

3

3

poco

3

3

3

3

3

79

3

3

3

3

ACT I - Scene 1 - No. 17 (Julie and the men enter. Tourvel gives them orders.)

12

3

3

3

R. Well,

well.

Tell

me

all.

But

3

let’s

go

some

where

else.

Vo. I

am

not

well!

The (she does so)

3

C. Please,

Jo seph ine!

V. Jo seph ine,

the

key!

You’ll see,

3

C op

3

3

y

3

3

3

3

3

15

3

3

3

3

w

3

T.

ev it

all.

Pr

want to (a kind of wail)

The

Vo. shame!

not

well.

(They help Volanges out of the room.)

R. I

is

ie

She

3

C.

3

hear

3

Come, come... poco a poco dim.

shame!

The

Yes,

shame!

3

3

yes.

All

will

be

well! 3

V. All

will be well!

3

You’ll

3

3

3

80

3

see,

3

3

ACT I - Scene 1 - No. 18

molto rall.

Meno mosso

18 (Tourvel pauses at the door and turns around.) T. 3

Mon sieur de Val mont!

Vo. 3

C. All will

be well!

3

3

V. All

will

be well!

Ma dame de Tour vel!

Meno mosso

3

3

sub.

sub.

C op

sub.

y

molto rall.

(colla voce)

sub.

3

sub.

w

sub.

ev 3

3

3

3

3

3

3

Pr

3

Moderato ( = ca. 66)

stentando

(rubato)

21

No. 18 Transition

ie

(Valmont follows the ladies out, leaving Cecile alone in the drawing room. The storm has receded, although it is still raining hard. Night is falling. The servants continue in their work as Cecile’s world falls apart.)

(Segue No. 18) 3 3

3

3

cantabile

3

7

81

3

3

ACT I - Scene 1 - No. 19

11

dim.

(Segue No. 19)

No. 19 Cavatina rall.

ca. 92)

Dolce, grazioso ( =

ca. 92)

CECILE

simply

Cecile

3

C op

When

3

y

Dolce, grazioso ( =

a tempo

rall.

I

was

at

a tempo

w

gently, pulsating

5 C.

I

dreamed

of

a

10

Pr

ev

school

3

3

3

ie

3

C. dress

like

this.

I 3 3

cant.

82

3

ACT I - Scene 1 - No. 19

3

15

3

C. dreamed

of

rib

bons,

and 3

3

20

liberamente

ten

der 3

3

ros

es.

3

3

3

3

C.

22

C op of

3

as

lors

of

3

soft

as

my

the

dawn,

of

3

skin.

and

I im

ag

ined

how

Pr

ev

silk,

co

ie

C.

the

w

dreamed

3

3

3

y

3

I

27 C. all

my

friends

would

en

vy

me

like

this.

(Segue No. 20)

83

ACT I - Scene 1 - No. 20

No. 20 Transition Moderato ( = ca. 66) (The scene change resumes.) 3

3

3

Più mosso

espr.

sempre

ie

w

più

C op

poco a poco accel.

3

4

y

ben cant.

Pr

ev

7

11

più

(Segue No. 21)

84

ACT I - Scene 2 - No. 21

Scene Two Different bedrooms at different times in different places. The unifying element, or dimension, is the letter; the letter one writes, and the other reads; the letter one sends, and the other receives; the letters they exchange.

No. 21 Scena (Madame de Merteuil, in a charming deshabille, is seated at her escritoire, composing a letter. A bed looms behind her.)

Spaciously, with rubato (

= ca. 116)

Meno mosso

Spaciously, with rubato (

= ca. 116)

Meno mosso

Merteuil

C op

y

(a tempo)

quasi recit.

3

cant.

MERTEUIL poco

w

5

Meno mosso

ie

M.

“Val

Meno mosso

9

ev

(a tempo)

3

3

(colla voce)

(crumples the letter, starts another)

M. That sen

ti men tal wo

man!...�

6

85

3

3

Do you im ag ine that I am im pressed?

mont!

Pr

quasi recit.

(Recit.)

ACT I - Scene 2 - No. 21

11

(trying a new approach) poco 3

3

3

3

(discards it also, tries again)

3

M. “Val mont! Don’t you al read y know how ea sy she is,

How ea sy!...” espr.

(Recit.)

3

3

y

13

“Val

mont!

How ea sy it is,

how

(colla voce)

C op

M.

ea sy it al ways is for you!”

16 M. mont!

What ob sta cles,

what dif fi cul ties

(

do you

= ca. 120 in 4)

face?

Pr

ev

Val

ie

3

w

3

18

(

= ca. 116)

(lightening up)

3

3

3

(pressare) (rather freely)

3

3

M. None!

What do you have?

(colla voce)

86

You have the luck to be good look ing.

ACT I - Scene 2 - No. 21 rall. 21

3

dolciss.

3

M. You have good man ners.

So what?

A lit tle wit,

some charm, and a

lot of nerve,

which I rall.

Poco meno mosso poco a poco cresc.

piĂš espr.

y

24

like.

But

what

have

C op

M. you done

espr.

w

niente

that I have not

27

ter

than an y man,

ev

bet

ie

M.

(Recit.)

3

done

grande

I,

3

bet ter,

a

sol i tar y wo man?

3

Pr

(pressare)

29

espr.

(Recit.)

M. Val

mont!

dolce

ben cant.

3

87

Per haps

it

might put

ACT I - Scene 2 - No. 21

Allegretto ( = ca. 96)

(31) M. things in some per spec tive

if

I

re count how I

be came who I

am:

Allegretto ( = ca. 96)

( ) (

grazioso

)

33

y

3

A

child

A

child

37

lent

and

to be

pa

tient.

may

41

Pr

ev

si

ie

3

M.

must learn to be

w

C op

M.

3

3

3

M. learn

to

pon

der

and ob serve.

What I learned

sub.

88

was

ACT I - Scene 2 - No. 21

45

3

3

3

M. ne

ver

to re veal what I

thought

or

felt.

That

child

be

3

y

49

a

per

espr.

3

M.

li

ti

cian,

and that

what

wo man feels,

a

3

what

a

wo man does,

what a wo

man

ev

(

child be came cur ious to know

ie

3

fect po

Meno mosso

rall.

53

fect, per

w

came

C op

M.

Pr

(colla voce)

a tempo

57

(Recit.)

3

3

3

M. is.

Luck i

ly,

I

was mar ried

3

3

89

by

my moth er

at

fif teen-

still a

vir

gin-

ACT I - Scene 2 - No. 21 (58)

3

3

3

3

M. to Mon sieur de Mer teuil who left me

a wid

ow

ve

ry

soon,

but

not

be

fore I

had

( ) ( )

(59)

Allegretto

M. had least

cause.

Un

will

C op

learned to make him trust me the most when he

cresc.

y

3

ing

to

in

ter

legg.

rit.

w

61

the free doms

I

en

joy

’d

as

a

wife,

I

65

Pr

ev

rupt

ie

M.

Quasi menuetto ( = ca. 100 - 104) 3

meno

3

3

M. made

my rep u

ta tion, when wid owed,

as a

wo man

whose na ture was cold.

cant.

3

90

ACT I - Scene 2 - No. 21

quasi senza misura

69

3

3

3

M. I

en

cour aged the at ten tions of men

I

did

not

want,

and made

sub. 3

3

3

3

3

3

3

3

alla misura

y

72

3

sure

that

75

3

3

I

3

3

M.

want

un

faith ful,

ed

were dis

3

3

and

grate

ful for

my

tact...

Pr

ev

and

ie

dolciss.

creet

men

w

3

the

C op

M.

79

(Con moto) ( = ca. 112)

(a tempo)

M. and

poco

91

I

ACT I - Scene 2 - No. 21

Andante amoroso (relaxed) ( = ca. 72) 83

(Recit.)

(She crosses to her bed.)

M. nev

er

wrote an y man

a

word

of what I thought.

3

espr.

86

dreamily

3

3

3

M. can

not

3

3

doubt

my

dis

cre

tion,

Val

3

3

3

3

3

3

3

w

90

3

C op

y

You

M.

You

94

3

3

Pr

3

ev

ie

mont!

3

3

3

3

3

3

3

3

3

re

3

3

3

3

M. mem

ber

3

3

how

3

3

we

3

met,

3

how

3

92

3

I

3

longed

3

ACT I - Scene 2 - No. 21 98 M.

(

) 3

for

you,

how

I

longed

sub.

3

102

3

3

3

3

3

3

3

3

we

both knew

3

3

3

3

3

you,

and

how

3

3

3

106

3

(

)

3

3

3

ie

com

pel

3

3

3

3

my

sur

ren

der!

)

ev

(

no thing you could do

3

M. to

3

was

w

3

there

C op

for

y

M.

)

Pr

(

111 Con moto

(full of pleasant anticipation)

M. Val

mont,

when,

and through which win

dow

will

you 3

dolce 3

dolce

pulsating

3

3

93

3

3

ACT I - Scene 2 - No. 22 (Danceny is shown in by her maid, Victoire. Blackout.)

116 M. come?

3

3

3

(Segue No. 22)

3

C op

y

3

No. 22 Transition

3

Pr

ev

ie

w

Poco più mosso ( = ca. 104)

cresc.

(Segue No. 23)

94

ACT I - Scene 2 - No. 23

No. 23 Scena (Cecile, in her bedroom at Madame de Rosemonde’s, is at her desk, writing furtively by the light of a single candle in her night dress. She is distraught. She is writing a letter to Merteuil.)

Agitato Cecile

C op

y

Agitato

3

CECILE

w

C.

my God,

Ma dame!

6 C.

Pr

ev

ie

Oh,

3

This 3

95

Mon sieur de Val

ACT I - Scene 2 - No. 23

9 C. mont‌

how...

What can

I...

I...

I

3

3

3

13

to...

Oh,

C op

have

y

C.

w

3

16

PiĂš mosso

ie

C.

3

Pr

ev

Ma dame!

19

(Recit.) meno

3

3

3

C. He asked me for my key to bring me let ters from Dan cen y...

Val mont and Dan

cen y!...

3 3

96

ACT I - Scene 2 - No. 23

21

3

molto rall.

3

C. 3

No!

24

I

was

a

sleep

and he fright ened me...

a tempo agitato ( = ca. 108 - 112)

3

kiss

me...

3

28

espr.

oh

please,

Ma

ev

I can’t!

agitato

3

3

some

3

3

3

3

dame...

and then...

thing bad!

3

3

3

3

Pr

3

31

3

3

ie

C.

no one would be lieve me...

w

3

3

He said

C op

to

y

C. tried

and then he

3

3

cresc.

C. I

cresc. 3

did ’nt want...

I

did ’nt

love,…

but there were

3 3

3

3

3

3

3

3

3

3

cresc.

97

3

3 3

ACT I - Scene 2 - No. 23

dolciss.

34

3

rall.

3 3

3

C. mo

ments,

mo

ments

as

if,

3

sub.

3

3

3

3

3

3

Meno mosso

3

agitato

3

y

38

3

if...

and

then he made me pro mise...

w

as

C op

C.

I was wrong!

Meno mosso

ie

41 C.

oh!

3

cant.

Pr

44

3

poco

This morn ing, when I looked in to the

ev

I pro mise you I will not let him...

( = ca. 96)

3

3

C. mir ror,

I was so

changed,

so

98

changed!

And

ACT I - Scene 2 - No. 23

47

(Recit.)

3

accel.

3

(rall.

)

C. moth er asked, what was the mat ter?

I thought she was

a

bout to

scold me,

but then she

3

50

(calm)

stentando

3

so

gent ly to me,

and then

I

cried,

and she cried

C op

spoke

y

C.

3

3

3

3

3

3

3

3

3

3

3

C. a lit tle...

Dear Ma dame,

I

beg

you,

oh,

Ma

dame,

a tempo ( = ca. 104)

Pr 56

a tempo ( = ca. 104)

3

ev

too,

ie

53

w

Agitato

ossia:

3

C. What should I do?

and

99

please

ACT I - Scene 2 - No. 24 61 C. don’t

tell

them

what

I

said!

(She seals the letter.)

Adagio

a tempo

3

y

66

C op

sub.

(There is a light rap at the door, a signal.) [backstage]

ie

w

70

Pr

74

ev

(Understanding the signal, Cecile becomes numb and vacant. Her servant takes the letter, admits Valmont, and exits.)

Con moto ( = ca. 96)

(Segue No. 24)

No. 24 Transition

3

3

3

sempre

3

100

3

ACT I - Scene 2 - No. 25 (lights begin cross-fade to Merteuil) 4

accel. 3 3

3

3

3

3

3

l.v.

y

(Segue No. 25)

C op

No. 25 Scena

(She is reading Cecile’s letter. She is almost helpless with laughter.)

PiĂš mosso ( = ca. 104)

3

MERTEUIL

Merteuil

Oh, poor Ce cile!

3

What a nas ty

ie

w

3

4

3

ev

3

M. man!

Mon sieur de Val mont is ver y, ver y bad!

How dare he treat you like that... 3

Pr

3

7

3

3

M. like

a

lov

er!

How can you ev er for give him 3

3

3

3

101

sub.

for

ACT I - Scene 2 - No. 25

10

3

3

3

3

M. teach ing you what you were dy ing to know

13

And

3

3

the pic ture of out raged

3

y

3

you,

just

like a nov el…

and aren’t you the her o

ine!

w

vir tue,

C op

M.

17

3

M.

3

Lit tle girl,

you are aw f’lly young for fif teen.

Lis ten, lit

tle one,

Pr

ev

just a lit tle bor ing.

that’s

(lights up grandually on Cecile, reading) 3

ie

3

I must warn you,

meno mosso ( = ca. 72)

20

3

3

3

3

M. were you real ly a

shamed,

or

were you a

shamed be cause you real ly en

joyed

it?

(Segue No. 26)

102

ACT I - Scene 2 - No. 26

No. 26 Duet L’istesso tempo ( = ca. 72) (Recit.) Merteuil Shame,

that

first

deep

shame,

is

just

like

pain.

4

C op

y

L’istesso tempo ( = ca. 72)

(She grows thoughtful.)

M. that first sharp

pain,

you

on

ly

feel

it

once.

rall.

CECILE

Shame,

Pr

C.

M.

Moderato ( = ca. 62)

ev

8

ie

w

Pain,

Shame,

rall.

that

first

deep shame,

that first deep shame,

Moderato ( = ca. 62)

3

sempre throbbing

3

103

ACT I - Scene 2 - No. 26

11 C. is

just like pain.

like

pain.

M. is

just

y

(Vlns.)

C op

ben cant. 3

14

that first deep

shame,

ev

Shame,

ie

C.

Shame,

that first deep shame,

is

just

like

is

just

like

Pr

M.

3

w

3

3

3

104

3

ACT I - Scene 2 - No. 26

17 C. pain,

is

just

like

pain.

pain,

is

just

like

pain.

M.

y

espr.

C op

espr.

3

ie

poco a poco cresc.

20 C.

the first sharp pain,

ev

Pain,

3

w

3

you

on

ly

you

on

ly

poco a poco cresc. M.

Pr

Pain,

the first sharp pain,

poco a poco cresc.

molto

molto 3

3

3

3

105

3

3

ACT I - Scene 2 - No. 27, 28 (lights begin crossfade to Tourvel) 23

(non rit.)

dim.

C. feel

it

once.

it

once.

dim. M. feel

(non rit.)

y

(Orch.)

dim. 3

3

3

C op

3

morendo (attaca No. 27)

No. 27 Transition

espr.

Pr

ev

espr.

ie

w

(Madame de Tourvel paces in her room at home. Julie, her maid, has just brought her a letter and is leaving. Valmont’s letter throws her into a turmoil. She is barely able to read it.)

L’istesso tempo

(Segue No. 28)

No. 28 Scena

(Recit.) TOURVEL

Tourvel 3

“All 3 3

106

ACT I - Scene 2 - No. 28

Agitato

3

= ca. 112)

(She throws the pages to the floor,

3

T. night

I think of you.

All

night

in the fires of hell

I burn...�

3 3

Lento, quasi recit. ma grande 5 T. 3

ie

3

ev

to

my

my

prayer.

espr.

Pr 3

11

3

Give ear

( = ca. 80)

of the depths can you hear

w

8

espr.

Out

3

3

voice?

3

3

3

T.

3

C op

3

fervent, intense, rather freely

y

then confusedly tries to pick them up. Instead she stands and starts to pray.)

3

3

3

( = )

3

T. Un der stand its

mean

ing.

You know my faults and ( = )

3

3

107

yet

you free

ly

for

ACT I - Scene 2 - No. 28

15 T. give

them.

free

You

ly

for

19

give

them

the

dolce

of

love!

I

T.

in the life e ter nal,

for

Pr 3

3

3

be

3

3

that

is

what

you

pro mised, my Lord!

ev

lieve

ie

3

I

3

w

cresc.

23

hope,

C op

name

y

T.

27

in

3

3

3

3

3

3

3

Con moto ( = ca. 92)

T. I

3

3

3

3

3

hope,

3

I

be

3

3 3

108

3

3

3

ACT I - Scene 2 - No. 28 30

cresc.

T. lieve,

for

3

that

3

3

is

3

3

what

you

3

3

pro

mised,

for

cresc.

3

3

3

3

3

3

Grande ( = ca. 72)

allarg.

33

mised,

O

Lord!

I

3

3

3

3

36

3

I

wait

for your

3

3

dim.

com

ing,

as

ev

Lord!

ie

T.

Pr

3

3

40

3

(

T. for the

)

dawn! 8va

O

3

3

w

3

wait,

C op

that is what you pro

y

T.

3

3

those with out sleep wait

colla voce

(Calmer now, she kneels down to pick up the letter from Valmont. She stays kneeling to read it.)

Con moto, appass. ( = ca. 80) (loco)

espr.

3

109

3

(Segue No. 29)

ACT I - Scene 2 - No. 29

No. 29 Transition

Moderato ( = ca. 80)

TOURVEL (calmer now)

(The scene gradually changes to a house in Paris.) Tourvel

“All

Moderato ( = ca. 80)

night

I

sub.

3

3

(The rain drizzles down the window panes.)

3

T. of

no

thing

but

you,

All 3

3 3

ie

w

think

C op

y

marcato in

T.

ev

Pr

3

5

3

night,

all

night

through!�

All 3

3 3

3 3

3

3

3

110

ACT I - Scene 2 - No. 30 7 T. night!

All 3 3

3

3 3 3 3 3 3

3

C op

y

3

3 3 3 3

(Segue No. 30)

w

No. 30 Scena

(A scene of debauch. Sleeping bodies litter the floor. Valmont is in bed with Emelie, a whore. He grabs a candelabra and staggers over to an escritoire. Emilie has the giggles.)

Tourvel

(Light comes up on Merteuil. She is reading Valmont’s letter.) (Tacet) morendo

ev

TOURVEL

ie

L’istesso tempo

night,

all

night

through... (Tacet)

MERTEUIL

Pr

Merteuil

All

night

through... (reckless) VALMONT (Recit.)

Valmont

Dear friend, guess what?

L’istesso tempo

3 3

3

111

3

ACT I - Scene 2 - No. 30

(3)

3

3

3

V. You re mem ber E mi lie? That’s right, that E mi lie!

I am at the house where she is kept by the Dutch man. 8va

5

EMILIE (bawdy)

(in two)

E. Dutch

man

is

a

sleep,

fast

a sleep,

“And the

Dutch

man

is

a

sleep,

fast

a sleep,

V.

9

week.”

V. a

And I thought it might a

Pr

8va

11

week.”

He will

not

a

wake

for

at

wake

for

at

muse

3

you,

and me,

and

E mi lie,

ev

least

3

ie

a

a

w

(laughter)

E. least

not

C op

8va

He will

y

“And the

3

E. one more time?

3

Are you a

ble?

V. If

I used her...

...as

112

a

writ ing

ta

ble...

ACT I - Scene 2 - No. 30 (Emilie has understood. She gets up on all fours. Valmont... 14

(

(

)

)

V. ...to...

...to...

...to write to you,

to

tell you what I

sub.

brings the paper, pen, and ink over, mounts her, and sets up his ’desk’.) (17)

3

3

3

3

so you and

(As Valmont enters Emilie, and starts to write, Tourvel (Enters her.) and Merteuil are reavealed within their own rooms.)

and E mi lie

ev Pr

can have a

lit

3

Now let me see...

how did I start?

3

(Segue No. 31)

3

Moderato ( = ca. 62)

tle

(Valmont adjusts himself and Emilie more comfortably.)

ie

V. fun.

I

w

19

In hu man One,

C op

wrote to the Beau ti ful

y

V.

No. 31 Arietta VALMONT (somewhat detached, trying not to feel turbulent) 3

(Everything’s just right now.)

3

Valmont “It

113

has

be

gun

to

ACT I - Scene 2 - No. 31 4

3

3

3

3

V. rain

a

gain

af

ter

a

night

of

storms.

3

3

3

7

3

V. been

a

no ther sleep less night

me”...

C op

S. A.

for

y

has

T. B.

All

night!

All

night!

All

All

3

10

ev

ie

w

CHORUS (offstage)

It

(He stops a moment; Emelie is puzzled.) dolciss., espr. (dolente)

Pr

V.

All

night,

CHORUS (offstage)

All

S. A.

night!

All

all night,

I

pre tend,

all

night…

night!

night!

night, T. B. All

night!

misterioso

(attacca No. 32)

114

ACT I - Scene 2 - No. 32

No. 32 Trio with Chorus Andante appassionato ( = ca. 60)

VALMONT

(restless, uneasy)

Valmont “All (Sax.)

espr.

C op

y

poco

4 V. I

toss

and

turn.

All

ie

w

night

ev

poco

Pr

8

3

3

V. night

in

the

fires

of

hell

I

espr.

115

burn.

poco

ACT I - Scene 2 - No. 32 3

3

dolce

12

3 3

V. All

night

I

think

of

you.�

All

3

sub. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

15

3

y

V. I

think

of

C op

night

3

noth ing but

3

3

3

3

3

3

3

3

w

3

18

poco rall.

V. you.

ev

poco

ie

T.

All

night,

“All

all

night, all

night!

Pr

poco rall.

23

poco

(colla voce)

a tempo (reading her letter)

T. night

and

all

my

dolciss.

TOURVEL

life,

poco

All

3

116

night

3

poco

ACT I - Scene 2 - No. 32 27

3

3

T. and

all

my

life

I

pre

tend

you

are my

V. All poco

3

poco a poco cresc.

3

T. wife!� 3

V. I

pre

T.

3

3

3

3

3

3

Pr

33

Is

3

3

3

3

3

3

3

3

ev

3

ie

sub. espr.

Is

tend.

w

night

C op

3

3

y

3

31

3 3

3

that

so

ve

ry

wrong?

All

night

V. that

so

3

3

3

3

ve

3

3

ry

3

wrong?

3

117

3

All

3

3

3

night

3 3

3

3

3

3

ACT I - Scene 2 - No. 32 36

Con moto (poco più mosso)

T. long!

(reading her copy of the letter and shocked at the “bad” poetry) MERTEUIL

M. “All

night,

I

pace

the

room!

V. long!

Con moto (poco più mosso)

3 3

3

espr., ben cant.

39 M. night, your

face

il

lum

i

nates

the

gloom!

All

night!”

T.

TOURVEL

Pr

42

ev

sim.

ie

w

All

C op

y

3 3

All

M.

night! espr. meno

All

poco rall.

più

night!

All

night!

All VALMONT

night! espr.

V.

poco rall.

118

“All

45

Tempo I

ACT I - Scene 2 - No. 32

espr.

T. All

night

I

toss

and

turn!

V. night

I

nev

er

rest!

All

night

Tempo I

3

3

3

y

3

T. All

night

C op

49

in

V. I

fires

of

hell

nev

er

appass.

53 T.

burn!

“All

3

All

Pr

I

M.

ev

ie

w

long

the

night

and

night!

All

all

my

night! 3

appass. V. rest!�

All

night

and

all

my

3 3

ben cant.

3

3

3

3

119

3

3

ACT I - Scene 2 - No. 32

57

3

meno

3

T. life,

all

night

long.

3

3

3

M. and

all

my

I

pre

(He seems to be having trouble.

3

meno

life

3

3

V. all

night

long.

that

3

3

C op

3

3

3

3

Is

y

life,

3

3

3

so 3

3 3

w

non forza

ie

61 T.

that

so

ve

ev

Is

3

ry,

ve

ry

3

Pr

M.

I pre tend

tend,

all

night,

all

night

long.�

He slows down and stops. Emilie, amused, looks back to him.) V.

ve

ry

3

wrong?...

All

3

120

ACT I - Scene 2 - No. 32

65

(She sinks to her knees in prayer.)

T. wrong?” (She bursts into laughter. Her laughter begins to echo and expand and multiply upon itself until it fills the room.) M.

(Emilie launches into her “Dutchman’s song,” embellishing and repeating freely (Trying to help in her own time and key.) as she responds to Valmont’s growing panic.) EMILIE E. man

Coro tutti: dreamily, sinuously rhythmic S. A. night,

All night,

all

night,

3

night, all

all

night, all

night!

night,

all

night,

all

night!

night!

All

night,

all

night,

all

night!

3

Pr

sleep

All

spaciously

(this figure sempre

a

night!

ev

T. B.

all

w

all

ie

All night,

is

poco

All

night!

SM. CHORUS (offstage)

Dutch

C op

V.

(Tpts.)

the

y

“And (He plunges in again with increasing lack of success.)

cant. espr.

)

121

ACT I - Scene 2 - No. 32 (Lights slowly fade on Tourvel and Merteuil and a new hellish, bilious light comes up on Valmont, Emilie, and the other uneasy sleeping bodies.) 69

CADENZA. ad lib.

E. 3

for

a

3

week

is

a...

is

a

sleep!

V. night!

All

night!

S. A. All

night,

all

night,

all

night!

All

night,

all

night,

all

All

night,

all

night,

all

night!

All

night,

all

night,

all

T. B.

3

3

C op

3

y

SMALL OFFSTAGE CHORUS

all

w

sub.

E.

a

V.

Pr

All

SMALL OFFSTAGE CHORUS

sleep!

ev

is

ie

73

S. A.

Repeat ad lib., embellishing freely, changing pitch (Keep repeating it, maddeningly, swooping around. She is trying to help.)

CADENZA. ad lib.

He will not

night,

all

night!

a

wake!

night,

all

night!

All

night,

all

night,

all

night,

all

night,

night,

all

night!

All

night,

all

night,

all

night,

all

night,

T. B.

3

sub.

sub.

122

76

ACT I - Scene 2 - No. 32 (Repeat figure ad lib.)

E.

V.

SMALL OFFSTAGE CHORUS

All

night!

All

(stagger breathing)

S. A. All

night!

night!

All (div.)

All

night!

poco a poco cresc.

poco a poco cresc.

(stagger breathing)

T. B. All

night!

All 3

(Emilie bursts into laughter. Valmont, unable to reach an orgasm, collapses and pushes her away angrily.)

79

ie

E.

V.

I

think

week!

of...

Pr

SMALL OFFSTAGE CHORUS

All night!

least a

ev

for at

S. A.

(div.)

night!

(div.)

T. B.

3

w

C op

y

3

)

(Valmont collapses, angry with himself.) (

)

molto

(spacious, echoing laughter) (Laughter fades away during crescendo in final bar.) ( )

molto

(spacious, echoing laughter) (Laughter fades away during crescendo in final bar.) ( )

(div.)

night! 3

(

(Light fades during crescendo; blackout at cut-off.)

3

(

)

morendo

(

)

molto

(

123

)

(End of Act I)

ACT II - No. 1

Act Two (Autumn; a wood. Wide avenues for hunting have been cut through a wild forest. To one side of a path is an ancient monument, quite overgrown. Music from long ago and far away seems to echo in the glens. Breezes play in the coloring leaves and sometimes snatch away the voices...)

No. 1 Introduction Con moto ( = ca. 108)

8va

loco

8va

C op

y

ben cant.

loco

3

3

3

3

3

3

3

3

3

3

3

3

Pr

ev

ie

w

7

8va

12

124

ACT II - Scene 1 - No. 2 8va

17

3

3

3

3

cresc.

3

3

3

3

3

dim.

3

3

3

3

3

3

3

w

3

C op

y

22

3

(Segue No. 2)

Scene One

ie

No. 2 Recitative and Aria

(Madame de Rosemonde and Madame de Volanges are walking ahead of Madame de Tourvel and Cecile, who trail far behind.)

4 C.

ben cant.

Pr

ev

L’istesso tempo

CECILE

(calling over her shoulder) VOLANGES

(in the distance, ignoring her)

Look,

Vo. Ce

cile!

125

more flow ers!

8

ACT II- Scene 1 - No. 2

3

(Tacet)

C. Help me pick them... ROSEMONDE R. So

late

in

the

(to Rosemonde)

year...

3

Vo. cile!

She

is

im

pos si ble!

12

C op

y

Ce

(in the distance)

CECILE

C. (calling again to Cecile)

It’s

3

all

(Volanges and Rosemonde continue walking.) (Tacet) 3

right!

We’ll catch up!

Ma dame Tour vel!

16 R.

Pr

ev

ie

You must n’t both er

w

Vo.

ROSEMONDE

3

What

3

a

pit

3

y Ma dame de Tour

3

sub. 3

3

3

sub.

sub.

( ) 126

3

3

3

ACT II - Scene 1 - No. 2

19 R. vel

must

go.

Oh,

yes,

3

VOLANGES Vo. I

thought her

hus band was still

a

way...

3

3

3

22

3

3

(stops walking)

R. he

C op

y

3

is...

3

3

Why

must

she

3

3

(They continue walking.)

go?

w

Vo.

3

ie

But

3

25 R.

3

3

Pr

3

ev

sub.

3

That’s what he writes me.

3

Vo. won’t your

neph

ew

be

back

to

night? 3

sub.

sub.

127

He

ACT II- Scene 1 - No. 2 28

3

(She stops, upset.)

R. says to night.

But you see,

I

3

Vo. Won’t that be

nice!

You love him like a

son. 3

3

sub.

y

32

nev er

had a daugh ter.

And

C op

R. now she says she has to

Vo.

go.

Does she say why?

35

Più mosso ( = ca. 112)

ie

w

3

rall.

(Volanges is thrown off by this outburst.)

3

3

Why! Why!

Must we al

ways

ask that ques tion?

The an swer to 3

Pr

Why!

ev

R.

38

Meno mosso, quasi recit.

3

3

Più mosso

R. “Why"

is

al

ways

“who,"

and the an swer to

“who"

is

al

ways

Him! 3

3

molto cresc.

128

ACT II- Scene 1 - No. 2 42

Meno mosso ( = ca. 104)

(furious)

R. 3

(shocked)

What

sense

is

there

in

that?

3

(Tacet)

Vo. I

must ap plaud her good

sense.

I

did n’t mean...

Meno mosso

3

46

espr.

3

She

is

y

3

PiĂš mosso

in

ver

C op

R. y

great

ger.

3

50

ie

w

3

dan

3

3

ev

R.

langes,

run ning a

way

is

real

ly

3

Pr

Ma dame de Vo

3

allargando

54

(Her mood changes instantly, the sun breaking through clouds.)

R. run

ing

towards.

3

3

129

(Segue No. 3)

ACT II- Scene 1 - No. 3

No. 3 Aria Poco grande, ma con moto ( = ca. 60) 3

ben cant.

3

3

3

3

3

3

ROSEMONDE (explaining to Volanges) 3

I

have

an

old

heart;

3

3

3

3

3

3

3

R.

ly

3

It

ie

beats.

hard

3

w

5

3

it

C op

3

y

R.

is

a

3

3

ev

3

Pr

7

3

3

3

3

3

3

3

3

3

3

3

R. moth

at

the end

of

3

sum

mer,

3

3

a 3

3

3

3

3

or

3

3

130

3

3

3

ACT II- Scene 1 - No. 3

9

3

R. can

dle

flick er

ing.

But

3

3

3

3

3

3

it

is

3

3

3

3

3