No. 6165|Mollicone|Gabriel’s Daughter|Piano/Vocal Score
GABRIEL’S DAUGHTER An Opera in Two Acts Music by
Henry Mollicone Libretto by
William Luce
HENRY MOLLICONE COMPOSER Henry Mollicone has been described by The Washington Post as “one of the most distinctive American opera composers.” His one-act operas include The Mask of Evil, Starbird, Emperor Norton and The Face on the Barroom Floor. The latter received the American Composers’ Recording Award and is one of America’s most often-performed contemporary operas. Mollicone’s Hotel Eden, a full-length opera, received its world premiere performance at Opera San Jose. Kansas City’s Lyric Opera commissioned his Coyote Photo used by permission of Tales, with Broadway legend Sheldon Harnick writing a libretto rich in the Notre Dame de Namur University tradition of Native American tales. In collaboration with playwright William Luce, Mollicone composed A Rat’s Tale for narrator, orchestra and children’s chorus, Beatitude Mass for orchestra, chorus and soloists and Gabriel’s Daughter. Guest-conducting engagements have taken him to opera companies across America. He served as a musical assistant for Leonard Bernstein’s 1600 Pennsylvania Avenue and as an assistant conductor at New York City Opera. Mollicone’s music has been performed by such distinguished artists as Frederica Von Stade, Maria Spacagna, Erie Mills, Amy Burton and JoAnn Falletta. His two operas The Face on the Barroom Floor and Coyote Tales are available on CD.
WILLIAM LUCE LIBRETTIST William Luce wrote The Belle of Amherst for Julie Harris, who won the Tony Award for Best Actress. For his role in Luce’s play Barrymore, Christopher Plummer won a Tony for Best Actor. Other Broadway plays by Luce were Lillian with Zoe Caldwell and Lucifer’s Child with Harris. Barrymore and Lillian also ran at the Sydney Opera House. Luce’s play Brontë, written for WGBH/Irish Television, won him the Peabody Award. For American soprano Renée Fleming, Luce wrote My Business Is To Love, that was performed at Lincoln Center and Photo by Marc Raboy London’s Barbican Centre, co-starring Harris and Claire Bloom. Luce is twice a used by permission of Writers Guild Award nominee for CBS movies The Last Days of Patton with George William Luce C. Scott and Eva Marie Saint; and The Woman He Loved with Anthony Andrews, Jane Seymour, Julie Harris and Olivia de Havilland. Luce has collaborated with Henry Mollicone on Beatitude Mass, A Rat’s Tale and Gabriel’s Daughter.
ii
GABRIEL’S DAUGHTER The Story of a Freed Slave Authors’ Note Gabriel’s Daughter was commissioned by the Central City Opera Association, Pelham Pierce, General Director. The Association Board, with Artistic Director John Moriarty, began discussing the commission of a new opera with its focus on Colorado. Moriarty had read an unpublished play by local historian Roger Baker, featuring pioneer Clara Brown, a freed slave, as its central character. This captured Moriarty’s interest. He devised an outline based on Baker’s play. Their mutual vision became the basis for the new opera. Moriarty enlisted composer Henry Mollicone to create the music and playwright William Luce to write the libretto.
Cast of Characters PRINCIPAL ROLES Clara Brown ........................................................................................................ Mezzo-Soprano Col. John Chivington .......................................................................................................... Tenor BLACK SUPPORTING ROLES Becky/Eliza Jane.............................................................................................................. Soprano Barney Ford ..................................................................................................................... Baritone Eliza Brooks .................................................................................................................... Soprano CAST FROM CHORUS Auctioneer/Miner 3/Tommy .............................................................................................. Tenor Wives 1, 2, 3/Quilters 1, 2, 3 ........................................................ 2 Sopranos, 1 Mezzo soprano Bidder 3 ........................................................................................................................... Baritone Lucinda ............................................................................................................................ Soprano Evaline ........................................................................................................................... Contralto Col. Wadsworth .............................................................................................................. Baritone Jenny ................................................................................................................................ Soprano William Byers .................................................................................................................. Baritone John Evans/Physician ............................................................................................................. Bass Jane Gordon/Wife 3/Quilter 3 ........................................................................... Mezzo-soprano Miners 1, 4 .................................................................................................... 1 Tenor, 1 Baritone Mayor/Miner 2 ................................................................................................................ Baritone NON-SINGING ROLES Young Clara (black) Child Eliza Jane (black) Child Paulina Ann (black) Bidders 1, 2, 4 Overseer O’Hoolihan President U.S. Grant Roles indicated as doubled or tripled may be cast individually, if preferred. iii
World Premiere Performance Central City Opera of Colorado, July 12, 2003 Conducted by John Moriarty
Staged by Michael Ehrman
Original Cast (in order of appearance) Clara Brown ............................................................................. Lori Brown Mirabal Wife 1/Quilter 1 .................................................................................. Heidi Stober Wife 2/Quilter 3 ................................................................................. Angela Leson Wife 3/Quilter 2 .......................................................................... Jean Broekhuizen Overseer ................................................................................................... Carl Mees Auctioneer/Miner 3/Tommy ............................................................... Jeremy Cady Evaline ............................................................................................. KrisAnne Weiss Lucinda ............................................................................................. Danielle Pastin Colonel Wadsworth .......................................................................... Raymond Diaz Becky/Eliza Jane.................................................................................... Sumayya Ali Colonel Chivington ............................................................................ Chad Shelton Barney Ford........................................................................................ Alfred Walker John Evans............................................................................................ Michael Rice William Byers ............................................................................ John WadeThomas Jane Gordon ...................................................................................... Christina Carr Eliza Brooks ................................................................................. AnneMarie Sandy President Ulysses S. Grant ....................................................................... Lew Cady Physician....................................................................................Krystof Kowalewski Chorus .......................................... Artists Training Program (Bonfils Stanton Fdt.) Onstage Band ..................................................... Gilpin County High School Band Chorus Master .......................................................................................... John Baril Assistant Chorus Master ............................................................. Timothy A. Myers Musical Preparation ....................................... Michael Baitzer & Daniel Wyneken Set Designer .................................................................................. Michael Lasswell Lighting Designer .................................................................. David Martin Jacques Assistant Director......................................................................... David C. Toulson Stage Manager.................................................................................... Lynn Krinicki
iv
Instrumentation 2 Flutes (2nd doubles on Piccolo) 1 Oboe (doubles on E.H.) 2 Clarinets in B-flat (2nd doubles on Bass Clarinet) 1 Bassoon 2 Horns 2 Trumpets in B-flat 2 Trombones 2 Percussion (including Timpani) Harp Piano Strings (Materials available on rental from the publisher.)
Duration c. 2 hours
Synopsis (short version) Gabriel’s Daughter tells the story of Colorado pioneer Clara Brown, the first black woman to cross the Great Plains. She was born a slave in the South at the start of the nineteenth century. The opera opens in 1835 when Clara, her husband and children are sold at a Kentucky slave auction, each to a different plantation owner. Clara grieves most of all for her youngest daughter, nine-year-old Eliza Jane and vows to find her one day. It is years later, when the plantation owner dies, that Clara is given her freedom papers. She makes her way west to the 1859 Colorado Gold Rush. In the mining boom town of Central City, Clara works as a laundress, investing her earnings in real estate and mining shares. All the while, she continues to send letters across the country, offering money for news of her daughter. Following the Civil War, Clara travels back to the South, continuing her search, while helping ex-slaves come west. Finally, in ill health, cheated by swindlers and suffering losses from fire, she receives generous aid from fellow townsmen. Three years before her death in 1885, and in true operatic denouement, the faith which has sustained Clara Brown throughout her life is gloriously rewarded in a dramatic reunion with her daughter. v
Synopsis (full version) Gabriel’s Daughter tells the story of a Colorado pioneer named Clara Brown. She was born a slave in the South circa 1800. The opera opens in 1835 when Clara, her husband and children are sold at a Kentucky slave auction, each to different buyers. Clara most deeply grieves for her nine-year-old daughter Eliza Jane and vows to find her even if it takes a lifetime. After years of service at the George Brown plantation, Clara is given her freedom papers on Brown’s death. She makes her way to Kansas, where she joins up with Colonel Wadsworth’s wagon train heading for the gold rush in Colorado. Settled at first in “Denver Town,” she finally ends up in Central City, where a great mining bonanza is underway. Here, Clara becomes known for her Christian character and good works. She is active in the church and helps many in need. She is a powerful force for good during the dark days of Colonel John Chivington’s Sand Creek Massacre. Her investments and laundry business flourish. All the while, she keeps her goal in mind: finding Eliza. By 1865 the Civil War has run its course. A letter from the Brown daughters in Kentucky tells Clara that they may have found Eliza. So their “Aunty Clara” makes the journey back to the ruined plantation, where she is joyfully reunited with the two sisters. But the candidate for Eliza proves not to be her daughter. Saddened and defeated, she returns to Central City, only to face the aftermath of a devastating fire which all but wipes out the mining town. With the help of citizens, Clara, now infirm and old, resettles in Denver. There, a letter arrives one day from the Brown daughters, telling her that they have found her real daughter living in Council Bluffs. The letter states that Eliza will travel to Colorado to meet her mother, arriving on Easter Sunday. The final scene of the opera is the reunion of mother and daughter. We hear church bells, the knock on the door. The finale is the dream fulfilled, with Clara singing, “A curve of hope whose arc I could not see — has brought you back again to me.” vi
TABLE OF CONTENTS ACT I Scene 1 .................................................... 1 It is 1857 on a Kentucky Plantation. A black woman named Clara Brown dreams of a slave auction thirty years ago, when she and her child Eliza were separated and sold to different owners.
Scene 2 .................................................. 39 Clara awakens from her dream. Her owner has died and his daughters Evaline and Lucinda have come to tell her so. They give Clara her freedom papers. The three women rejoice.
Scene 3 .................................................. 61 Clara Brown has now made her way to Kansas Territory. She joins a crowd of departing emigrants going west by wagon train to the gold fields of Colorado.
Scene 4 .................................................. 90 It is 1862 and Clara lives in the settlement of Denver Town. In a church meeting cabin, she sings a prayer to Angel Gabriel as she sets up for a prayer meeting. She overhears Colonel Chivington speak disparagingly of the Cheyenne. Clara courageously defends them with her credo of love.
Scene 5 ................................................ 119 We are in the office of the Rocky Mountain News, where the subject of Colorado statehood is being discussed by the Editor, the Governor and Chivington. Chivington has a plan to deal with his one hated obstacle, the Indians.
Scene 6 ....................................................... 129 It is 1865 and the Civil War ends. Clara now runs a laundry in Central City. Jennie, a Cheyenne, is helping her sort washing, when an unruly mob bursts into her cabin, praising Chivington’s massacre of the peaceful Cheyenne at Sand Creek. Suddenly a piercing mill whistle rends the air. President Lincoln has been assassinated.
vii
ACT II Scene 1 .................................................151 It is Saturday night at Jane Gordon’s brothel. A rowdy party is underway. A grimy miner enters, his hand badly injured. Clara is sent for to tend to it. While there, she happily tells Jane that her longlost daughter Eliza has been found in Kentucky.
Scene 2 .................................................179 Clara arrives at the old plantation in Kentucky, and is greeted by Lucinda, Evaline and son Tommy. It is a joyful reunion. Tommy fetches the woman they hope is Clara’s daughter. Her name is Eliza Brooks. Under questioning, it is sadly clear that she is another Eliza.
Scene 3 .................................................193 Back in Central City, snow falls. A fire kindles in a shack and spreads rapidly. Fire bells clang. A bucket brigade forms. People shout and run in confusion. Carpetbag in hand, Clara returns during the inferno, her cabin in flames. “Gabriel,” she cries, “how much more?”
Scene 4 .................................................209 Statehood is in the air. A brass band plays, as citizens excitedly greet the arrival of President Ulysses S. Grant. Chivington sees Clara and asks, “What of the search for your daughter?” Clara replies, “Must be Angel Gabriel’s plan for me to learn the lesson of resignation.”
Scene 5 .................................................231 It is Easter Sunday, 1882, and Clara has a cottage in Denver, provided by generous friends. She has received startling news: the real Eliza has been found and is about to arrive. There is a knock on the door. The lost Eliza steps in. She goes to her mother and they tearfully embrace. The Angel Gabriel has answered Clara’s prayer.
viii
Catalog No. 6165 dedicated to John Moriarty
Gabriel’s Daughter The Story of a Freed Slave
Opera in Two Acts Libretto by William Luce
Music by Henry Mollicone
Act I Scene 1 Glorioso
= 60
3
5
con pedale 3
3
3
We see a black slave woman sleeping in a rocking chair beside a baby’s cradle. It is 1857 in Russellville, Kentucky, and the woman is CLARA BROWN.
9
3
Libretto: © Copyright 2003 by William Luce. Used by permission. Music: © Copyright 2009 by Ione Press. A division of ECS Publishing, Boston, Massachusetts. All rights reserved. Made in U.S.A.
2 Andante flessibile
= 66
13 Clara 3
3
I
Andante flessibile
have wait ed in the
night
for my
= 66
colla voce
Clara
poco ritenuto
a tempo ( = 66)
17 3
An
gel
to come down
to me.
I
a tempo ( = 66)
poco ritenuto
poco ritenuto
20 Clara
dolce
have lis
tened for His
steps
a
cross the floor of Hea
ven,
His
poco ritenuto dolce
3 24 Clara
a tempo ( = 66)
feet shod in drifts of moon light. Chorus (off-stage)
Alto
An
gel Ga
bri el,
Bass
An
gel Ga
bri el,
a tempo ( = 66)
Un poco più mosso
= 70
poco più energico
28 Clara
3
Chorus
3
An
Tenor
8
3
An
gel
Ga
briel,
Un poco più mosso
3
gel
= 70
3
32 Clara
3
Ga
bri el,
come down to me this hour
3
3
an’
spread
your
4 36
poco rit.
Clara
poco ritenuto
3
wings
wide and soft
o
ver this
heart
of mine —
Chorus (off-stage)
Tenor
8
dolce
His
cresc.
poco rit.
feet
shod in drifts
of
poco ritenuto 6
3
Ancora più mosso
39 Clara
= 76
Arch an gel, walk with me a
long the dus ty road
to the land of re
Chorus (Tenor)
8
light -
moon
Ancora più mosso
= 76
3 3 6
42
cresc.
6
6
Clara
mem
b’rin’,
Hold my
hand as we go,
8va
loco
3
Show me things
too dim
to see,
5 ritard.
45 Clara
Andante
= 66
3
Help
me solve the
mys
ter y
of
why one lives
and
one
Andante
loco
8va
why
dies.
= 66 6
3
LH
ritard.
49
Clara
The stage shimmers with watery patterns, as CLARA’S dream takes her back to 1837. We see her nine-year-old twin girls at play.
RH
RH 3
6
3
6
6
6
LH
51
6
RH
6
LH
3 3 6
3 3
accel. e cresc.
6
6
6
6
6
6
accel e cresc.
3
3 3
(accel.) 53 Clara
Moderato
3
6
= 80
I
Moderato 6
6
(accel.)
6
6
= 80
see them in my
dreams,
my twin
girls
play in’
6 56 Clara
un
tenderly
der an arc
of
wil low
boughs.
E RH
RH
LH
LH
li na
Ann,
the
dar
in’
shy
like
me—
RH
3
Pau
dreams,
za Jane,
LH
59 Clara
62 Clara
li
one,
3
more like her
Dad dy.
In
my
PAULINA ANN wades into the watery light patterns, as ELIZA JANE watches.
cresc.
I see Pau li na
by the
stream that runs be hind the sta ble - lit tle
brook
cresc.
65 Clara
milk be kept
dim.
Allegro moderato
= 120
Allegro moderato
= 120
cool —
giocoso
run nin’ deep where the
7 69 Chorus (off-stage)
Soprano
Lit
tle
fish
es in
the
Lit
tle
Love
e
marc.
74 Chorus (Soprano)
stream,
do
you dream,
do
you dream,
do
you
dream?
7
79 Chorus (Soprano)
fish
es in
the deep,
do
you sleep,
do
you sleep,
do
you
sleep?
7
84 Chorus (Soprano)
Back
and forth
you swim
a
bout,
wind
ing
in
and wind
ing out.
8 89 Chorus (Soprano, off-stage)
ludes
the find
ing
=
94 Clara
out -
La
La
La
La
La
La
La
La
La
Lo stesso movimento
2
A
hot
Ken tuck y noon
it was,
heav y with qui
et,
when
Chorus (Soprano)
=
Lo stesso movimento 3
3
3
3
= 98
Clara
Paulina Ann spoken HELP!
sud
=
den ly -
3
3
3
3
3
3
3
3
PAULINA ANN is engulfed by the watery images. ELIZA JANE cannot reach her. ELIZA screams and runs off-stage for help, as we see PAULINA struggle, then drown, limply drifting from sight.
9 104 Chorus (off-stage)
Alto
Lit
ELIZA JANE returns, frantically pulling her mother after — who is CLARA as a younger slave.
Chorus (off-stage)
109 (Alto)
fish
es in
tle
the
stream Tenor
8
Lit
tle
fish
es in
en dehors
Chorus (off-stage)
114 (Tenor)
8
=
stream in octaves 8va ad lib.
=
3
3
3
3
3
3
3
3
3
3
3 3
3
3 3
3
the
10
Through this and the following, we continue to see the elder CLARA, sleeping in her rocking chair. 3 3
(in octaves 8va ad lib.)
3
3
118
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3 3
3
3
3 3
3
3
3
3
8va
3
3
3
3
3
3
3
124 3
3
3
3
3
3
3
3
3
3
3
3
121
con passione
There is nothing to be done - PAULINA ANN has drowned. CLARA’S husband, grief-stricken, slumps down beside them, sobbing.
3
8va
3
3
In her dream, which is being relived on-stage, a bell has subtly triggered a change of locale, with the stage lighting up, revealing the public square marketplace of Adairville, Kentucky. Crowds appear - townspeople, vendors, farmers, wives, slave-buyers. We see an auction block, beside which is a pen where slaves await their turn to be sold. The townspeople step indifferently around the sad little family huddled together in sorrow.
128
Allegro
8va
loco
molto
( )
= 130
11 133
3+2+2
rhythmic
138 Chorus
unis.
S A A noth er
pro mis in’ day,
unis.
T B
142 Chorus
A noth er
pro mis in’ day,
this is
mar
ket day -
this is
mar
ket day -
12
Chorus (2+2+3)
(3+2+2)
146
All’s
goin’ well with the
cash crops -
All’s
goin’ well with the
cot ton an’
cane,
cane,
with the
(3+2+2)
(2+2+3)
150 Chorus
An’ we’re
cot
ton an’ cane,
here
to sell
an’
buy
a
gain,
we are
13 154
Chorus
here
158
to sell
an’
buy
a
gain.
Corn
an’ wheat
an’
Chorus
S cot ton an’
cane -
Corn
an’ wheat
an’
cot ton an’
cane -
Corn
an’ wheat
an’
cot ton an’
cane -
Corn
an’ wheat
an’
Corn
an’ wheat
an’
Corn
an’ wheat
an’
A
T 8
marc.
B1 cot ton an’ cane -
buy
fresh
new slaves
to
work
the land,
B2 cot ton an’
cane -
14 162
Chorus
S cot ton an’
cane.
cot ton an’
cane.
A
marc.
T 8
cot ton an’
cane —
to
work
the land
and
plant
the fields. Basses marc.
B cot ton an’
Trade
cane.
ya one liq
uor
166 Chorus
pointing to a man
8
Baritones
But fer two
(Basses)
bar rel fer
a
hog!
I don’t have no hog, 8va
I don’t have no hog -
loco
bar rels
15 170 Chorus
(2+3)
(2+2+3)
A noth er prom is in’
day,
prom is in’
A noth er prom is in’
day,
prom is in’
A noth er prom is in’
day,
prom is in’
noth er prom is in’
day,
prom is in’
3
8
you kin have his wife an’ his
dog! unis.
A
(2+2+3) (2+3)
rhythmic
174 Chorus
day,
prom is in’
day.
Corn
an’ wheat,
cot ton an’
rhythmic
8
day,
prom is in’
day.
day,
prom is in’
day.
Corn
prom is
in’
day - I’m gon na
cot ton an’
Basses
Baritones
day,
an’ wheat,
plant
me
to bac co next
year.
To
16
(3+2) 178 Chorus
rhythmic (3+2+2)
S A cane — (Basses)
Corn
an’ wheat,
cot
ton an’
T B 8
bac co, ya say?
Hemp is the crop -
Hemp is the
(3+2)
crop
I’m
stay
in’ with.
(3+2+2)
Chorus
182 (3+2+2)
cane. Bar./Basses
Tenors
3
Tenors
8
8
We grow
the raw
stuff.
Hack
le it,
spin
it,
weave
it in
to
(3+2+2)
3
Poco meno mosso
185 Wife 1 (soprano)
Chorus
Tenors
8
bale
Kin
da
ton
an’...
too
bad,
ain’t it, ’bout the
SSA unis.
Corn
rope an’ bag gin’
an’ wheat,
cot
Poco meno mosso
17 188 Wife 1
slave chile drown in’? Wife 3
One
Chorus (SSA)
Corn
Ne gro chile
less,
one
Ne gro chile
more -
tain’t worth a
an’ wheat -
192 Wife 2
marc.
(3+2+2)
How
Wife 3
hoot (3+2+2)
Allegro
an’ a
= 130
195 Wife 2 (3+2+2)
need ’em.
Allegro (3+2+2)
= 130
right
you are, Lou ise -
slaves
breed
fast
er than we
hol ler.
The AUCTIONEER enters with a burly OVERSEER - who roughly hauls YOUNG CLARA, HUSBAND and ELIZA JANE into the holding pen with the other slaves.
18 199
Wives 1,2 & 3
Those
three are head in’
fer
the
auc
Wives 1,2 & 3
tion block -
their
own er
got
lick ered up
Wife 2 magnanimously
202
3
an’ broke his gol
darn
neck.
I
ritard. 206 Wife 1
say we
give
the drown’d chile
a
good
ol’
Meno mosso
Now, that’s right nice,
Bes sie.
O
Lord,
have mer cy on her
O
Lord,
have mer cy on her
O
Lord,
have mer cy on her
Wife 2
Chris
tian pray’r.
Wife 3
Meno mosso
ritard.
19 210 Wife 1
spoken Thank you ladies Praise Jesus.
soul,
have mer cy
on
her
soul.
A
men.
have mer cy
on
her
soul.
A
men.
A
men.
Wife 2
soul, Wife 3
soul,
Allegro 214 Chorus
, have mer cy
on
her
soul
aside
if she has
one -
= 130 (3+2+2)
S A A noth er
prom is in’ day, this is
mar
ket day -
T B
8va
Allegro
= 130 (3+2+2)
20 Auction tempo 218 Chorus
cresc.
(2+2+3)
= 98
(3+2+2)
(2+3)
A noth er prom is
in’
day,
prom is
in’
day,
prom is
in’
day!
cresc. loco
Auction tempo (2+3)
(2+2+3)
= 98
(3+2+2)
cresc.
The AUCTIONEER has stepped up to the selling block. He is a fancy dresser, with a black snake whip and pepper box pistol in his belt. He strikes the gavel for silence and nods to his OVERSEER, who leads YOUNG CLARA’S husband to the auction block.
222 Auctioneer
coarsely
8
We’ll take
the young
buck
The Bidders circle the block and examine him.
226 Auctioneer
first —
*
8
’ten tion,
gen
tle men -
time
for the
auc tion
to
be
gin.
* MM. 229-231 have been cut.
21 accelerando
232 Auctioneer
8
Gen
tle men, please!
Gen
tle men, please!
accelerando
Un poco più mosso 235
8
= 78
Auctioneer
I’m gon
na start
Un poco più mosso
the
bid
buck
dol lars
for this
prime
stock
young
= 78
8vb
239 Auctioneer
8
at nine hun dred
8vb
loco (3+2+2)
owned
by the
late
Am brose
Smith (3+2+2)
Make it nine
fif
ty
loco
243 Auctioneer
8
Nine
Bidder 2
8
Nine
fif
ty.
fif
ty -
who’ll
give
me a
thous
and?
Bidder 1
A
22
*
BIDDER 3 dons white gloves and climbs onto the block. He rubs his fingers over the slave’s teeth. (3+2+2)
246 Bidder 1
8
thou sand. Chorus (women)
A
thou
sand! (3+2+2)
** 250 Bidder 3
angrily
(253)
You call him a young buck?
There’s
cut worms in his teeth,
by
255 Auctioneer
8
Well,
Bidder 3
I’ll knock it back to
five
hun dred dol lars.
jin go. Chorus (Alto)
3
Oh
my Gawd! 5 3 3
* M. 249 has been cut.
** Mm. 251 has been cut.
23 258 Auctioneer
8
Five hun dred dol lars.
Bidder 2
8
I
bid
five
Do
I hear
five
fif ty?
hun dred.
*Cut
262 Auctioneer
8
268
You
won’t have to thrash this
buck
to get a good day’s
Auctioneer To YOUNG CLARA’S HUSBAND Spoken
out
ta him,
cut worms or not.
The slave obliges as AUCTIONEER cracks his whip.
Give a couple of jumps there, Boy. 8
(Whip)
* MM. 266-267 have been cut.
work
24 272 Auctioneer
8
Five hun dred.
(Whip)
Five hun dred.
Last chance.
8va
loco
276
8
Auctioneer
=
Ma un poco meno mosso
3
Five hun dred once -
five hun dred twice -
Sold,
=
to
plant
er
Jo
seph Hooks of
Ma un poco meno mosso 3 3
3
3
3
3 3
8vb
8
Lew is burg
loco
poco ritenuto
280 Auctioneer
for the sum 3
of five hun dred dol lars, 3 3
3
3
the
Ne gro Rich ard,
rit.
=
3
poco ritenuto
rit.
loco 8vb YOUNG CLARA’S HUSBAND steps down from the block and into the custody of his new owner, BIDDER 2, who leads him toward a table where bills of sale are executed. They pass the unsold slaves.
L’istesso tempo ( =
cresc. poco a poco
)
=
a slave for life! Hop to it, Boy!
3
284
spoken
25 288
cresc.
cresc.
YOUNG CLARA reaches out to her husband, but he cannot bring himself to look at her for his anguish. Little ELIZA JANE crawls through the pen and runs to him.
291 Eliza Jane
The OVERSEER grabs her and returns her to the enclosure. She cries in YOUNG CLARA’S arms. BIDDER 2 and WIFE 2 exit with their new slave.
spoken PAPPY!
8va
295
Meanwhile, across the stage, the elder CLARA stirs in her sleep, recalling the pain of that moment loco
8va
dim.
Meno mosso, drammatico 299
= 56
rit.
Clara 3
3
a tempo 3
3
Bit ter the taste in my bri dled mouth, lan guid the lush mag no lia South,
Meno mosso, drammatico
riv en our hearts with an end less sigh,
= 56
a tempo
rit.
3
3
3
26
poco accel.
302 Clara 3
car
poco rit.
3
3
ried like black birds
down
the sky,
car
poco rit.
3
Maestoso 3
3
car ried like black birds down
ritard.
= 50 3
the
sky.
Bond ser vants toil
Maestoso
3
in Bap tist
Maestoso
= 50
land.
= 50
3
ritenuto
Clara
307
ried like black birds,
poco accel.
3
ritenuto
3
car
cresc.
3
Clara
ried like black birds,
3
3
3
304
3
3
3
ritard.
The OVERSEER has dragged ELIZA JANE from her mother’s arms and pushed her up the steps onto the auction block.
Auction tempo
= 98
3
Sla v’ry an’ God goin’ hand in hand. freely, but moving along quickly
Auctioneer
8
Maestoso 3
= 50
Now,
Auction tempo
menacing
= 98
gen tle men
we got here
27 a tempo ( = 98)
310 Auctioneer
8
two more slaves
from the es tate
of the
late
Am brose Smith -
a tempo ( = 98)
a tempo ( = 98)
Auctioneer 313 freely, moving along
8
marc. (3+2+2)
This here cute lit tle wench (her mam my’s o ver there —)
Buy ’em to
geth er or
sep a rate.
a tempo ( = 98) (3+2+2)
marc.
Andante = 68 316 Young Clara (speaking out to Auctioneer) Together, please!
Auctioneer
8
Aw, she’ll fill out nice an’ plump. Bidder 1
Name’s E li za Jane.
spoken She’s scrawny no meat on her.
8
Andante
= 68 3
Vuoto 3
sognando
3
3
3
3 3
3
3
28 intenso
321 Clara
Oh, my
chile,
be
strong,
stand
tall.
Auctioneer
8
Do I hear three hun dred?
One hun dred?
Bidder 1
3
3
8
You hear one hun dred, sir.
3
You
3
3
3
3
3
3
3
3
325 Wife 3
Ha! Auctioneer
3
3
3
8
Do I hear a hun dred
fif ty?
Folks,
we got a big
bar gain go in’ here.
Bidder 1
8
hear right. 3
3
3 3
3
3
3
3
3 3
29 intenso
329 Clara
Oh, E
Wife 3 3
Bad
3
li
za
Jane,
stand
tall.
3
mer chan dise ain’t no bar gain.
Bidder 1
6
8
I’ll bid you a 3
3
3
3
3
3
hun dred— Let’s hear it.
3
3
3
accel. e cresc. poco a poco
333 Auctioneer
8
A hun dred go in’ once,
a hun dred go in’ twice,
Sold!
To
3 3
3 3 3
3
accel. e cresc. poco a poco
(accel. e cresc. poco a poco) 337 Auctioneer
8
James
Cov ing ton of Wood
(accel. e cresc. poco a poco)
ville,
the
Ne gro,
E
li
za
Jane,
a
30 BIDDER 1 claims ELIZA JANE, who vainly tugs to reach her mother. As the OVERSEER steers YOUNG CLARA to the auction block, she and her little girl pass each other.
(accel.) 341 Clara
cresc.
Oh,
Auctioneer
8
slave
my
chile,
be
strong,
stand
tall,
for life.
stand
A
slave
tall,
for life!
(accel. e cresc.)
(accel.) 345 Clara
Più mosso
stand Eliza Jane
BIDDER 1 and WIFE 1 take ELIZA JANE to the bill of sale table.
= 76
ritard.
tall! spoken MAMMY!
Più mosso
= 76
3
cresc.
(accel.)
Andante, molto intenso 349 Clara 3
You
ritard.
= 56 lunga
an’ I’ll
Andante, molto intenso
3
out
live
’em all,
out
live
’em all.
= 56 lunga
8vb
31
Andante = 86 352 Auctioneer
suggestively
8
Andante
Now,
= 86
gen tle men,
give
an
ear,
this
lecherously
356
8
8vb Auctioneer
wench here
is Cla ra,
down
cook,
strong as
a plow mule,
car ried him up
8vb
loco 360 Auctioneer
8
Ol’ man Smith’s
loco
Un poco più mosso
the stairs.
Start
this off
at
sev
en
hun
dred —
sev
Un poco più mosso
Auctioneer
363 cresc. sempre
8
hun dred.
Do I hear
sev en
hun dred?
We Bidder 3 Seven hundred
8
cresc. sempre
an’
got
sev en
hun dred — Bidder 4 Seven fifty
en
32
accel. poco a poco Auctioneer
366 cresc.
8
sev en
fi — Bidder 3
Now
we’re
rol lin’ — Wan na make it eight
fif ty? Bidder 4
Eight. 8
Eight fifty.
accel. poco a poco
cresc.
(accel.) 369 Auctioneer
8
Subito poco meno mosso
Nine!
Let’s
= 114
step it up gents— This here wench is su
pe ri
or goods— Best
cook in
Bidder 3 Nine! 8
(accel.)
Subito poco meno mosso
= 114
marc.
372 Auctioneer
8
Lo
gan Coun ty!
I have nine hun dred dol lars
Chorus (Tutti)
Oooh!
once...
twice...
33 376
Bidder 4
BIDDER 3 turns on his heel and exits with WIFE 3, who rails at him all the way out.
Bidder 3
A thousand.
Bidder 4
Damn!
Get on with it, Stoltz!
8
381
3
3
3
3
Auctioneer energico
8
We got a sale -
(
To George
Brown
of
Rus
sell ville,
poco rit.
= ) L’istesso tempo
the
Ne gro,
Cla
ra,
Adagio
molto rit.
385 Auctioneer
8
A
slave
for
life,
a
slave
for life,
a slave
for
life!
A slave
for
life!
Chorus
S A
T B (
= ) L’istesso tempo 3
3
Adagio
3 3
molto rit. poco rit.
8vb
cresc.
loco
34 Auctioneer
rit. molto rit.
390
Molto intenso
= 54
Molto intenso
= 54
8
Chorus
3 3
rit. molto rit.
8vb loco As GEORGE BROWN escorts YOUNG CLARA to the bill of sale table, BIDDER 1 and his wife lead ELIZA JANE away. As they pass each other, YOUNG CLARA BROWN seizes her daughter and holds her in a strong embrace. The girl is then led away.
395
3
3 3
dim.
YOUNG CLARA exits with GEORGE BROWN. From her place across the stage, OLD CLARA stirs in her rocking chair, as her dream comes to an end.
401
dim.
poco rit.
35
Adagio
Andante espressivo
407 Clara
= 64
3
Dear
E
li
za,
I will find
you.
Some where
Adagio
you are,
Andante espressivo
E
= 64
dolce
410 Clara
za,
li
I
loved
you
through all those va cant
413 Clara
prayed for me
years.
a tempo
poco rit.
as
I
prayed for you
with a
I hope you
heart
of tears.
poco rit.
a tempo, dolce
3
RH
Poco più agitato 417
Clara 3
An gry with God
for tak in’ my daugh ters.
cresc.
An gry with God
Poco più agitato
cresc.
3
for tak in’ my hus band
36
Clara
420
3
Rich ard,
too.
Yes, I am
an
gry, Lord,
want in’ to for
give
you,
but un
a tempo
poco ritenuto 423 Clara 3
sognando
poco rit.
ble
a
to.
Some
where
you are,
a tempo
3
poco ritenuto
poco rit.
3
427 Clara
li
3
3
za,
I
sense you in ev
’ry breath
of
air -
in
foot steps on
the
3
430 Clara 3
stair -
nev er
cresc.
far
cresc.
3
a way,
still your love
is there.
Some where you
are, I’ll find you, E
li
za,
E
37 434 Clara
3
Some where you
are,
E
437 Clara
out
li
za.
And we’ll es
cape
the past.
With God
or with
strongly
Him,
I’ll
find
you at last,
I’ll
find
you
at
3
440 Clara
The lights dim as the interlude begins.
E
last,
li
za! 5
cresc.
con passione
3
3
3 3
443 3 3 3
dim.
3
dim.
3 3 3
38
Un poco meno mosso
446
poco ritenuto 3
dolce, sognando
poco rit. 3
3 3
449
poco accel.
3
3
3
Andante
= 64
3
452
cresc.
(poco accel.)
3
455
3 3 3 3
458
3
dim.
3
dim. poco rit.
poco ritenuto 3
461
ritard.
End Scene 1 attacca Scene 2
39
Scene 2 Seconds later. 1857, like the opening of Scene 1, in which only CLARA is lighted. She awakens in her rocking chair beside the baby’s cradle. The lights come up, revealing her surroundings to be a nursery in the home of GEORGE and LUCY BROWN of Russellville, Kentucky. CLARA looks down at BABY TOM in the cradle. He is the newborn son of EVALINE BROWN FRAZIER, daughter of the BROWNS. She and her sisters were raised by CLARA.
Andante
= 54
Clara
Why, Ba by Tom, how long have you been a wake?
Andante
An’
= 54
dolce
5
Clara
here your ol’ Aun
CLARA picks up the baby.
ty Cla
ra
has been dream in’ a way
the
hours.
a tempo 8
Clara
poco rit.
Ba by 8va
poco rit.
= 54
warmly
a tempo
Tom,
= 54
loco
small and fair,
breath as
40 più dolce
12 Clara
poco rit.
,
soft
as
A
pril
air,
through your
eyes
I
can
see
what the
world should real
ly
poco rit.
a tempo 15 Clara
, be -
più espressivo
Clouds that
sing,
, stars that speak,
sun beams play
in’ hide an’ seek,
a tempo
più dolce
18 Clara
tops
poco rit.
spin
nin’
wild,
spin
nin’
for
this
gold
en
child.
poco rit.
a tempo 21 Clara
Ba
a tempo
by Tom,
night
or day,
Aun ty’s nev
er
far
a
way,
gold
en
41 24 Clara
she
dolce
can
see
in
your eyes
me
mo
ries
of
Pa
ra dise,
dolce
poco rit. Clara
27
me mo ries of
Pa
ra
a tempo
= 54
a tempo
= 54
dise. 8va
loco
dolce poco rit.
poco rit. 30 Clara
a tempo
Dreams that
yearn
a tempo
poco rit.
= 54
piĂš espressivo
to come true,
= 54
one for
me
and one
for you.
Four teen
42 33
poco ritenuto
Clara poco
an
gels
watch do
keep — 8va
Ba
by
Tom,
go
to
loco
poco ritenuto poco
Clara
Un poco meno mosso
36
sleep.
Ba by
= 48
Tom,
8va
Un poco meno mosso
= 48
loco
Near the conclusion of the foregoing, EVALINE enters and stands listening, touched by the lullaby. CLARA puts BABY TOM back into the cradle.
39 Clara
rit.
go
to
sleep,
rit.
go
to
sleep.
Poco moderato
43
= 60
43 Clara
I Evaline
Poco moderato
Aun
= 60
46 Clara
dolce
know,
Miss E va line,
I know.
Mas ter
ty,
Poco meno mosso
George has gone
I have sad
poco rit.
to hea
news.
a tempo
ven.
Evaline
But Aun
Poco meno mosso
dolce
Sognando
I had a
Evaline
How could you know?
Dad dy left us just an hour a go.
ritard.
a tempo
poco rit.
ritard.
48 Clara
ty,
= 56
dream.
Sognando
dolce
I
= 56
44 51 Clara
the Mas
saw
ter
in
a
dazz
lin’ light
in
the
53 Clara
com pa ny of gen tle men
with ha
los
wings,
Moderato
55 Clara
“Cla ra,
an’
these men are not from Ken tuck
an’ I said
to my self,
= 68
y”.
Evaline
Aun ty,
Moderato
= 68
come ov
er
45 Un poco meno mosso
57 Clara
CLARA nervously sits next to EVALINE.
Oh, Miss
Evaline
here and sit down,
I have some thing to tell you.
Un poco meno mosso
61 Clara
E va line,
poco rit.
I hope you’re not goin’ to
Moderato
sell me.
= 68
I’m too old.
Evaline
Now,
Aun ty, no one’s going to sell you.
Moderato
= 68
poco rit.
Un poco più mosso
poco rit.
Moderato
64 Clara
No one would buy me a Evaline
= 68
ny how.
Free me?
Fact
is,
we’re going to free you.
Un poco più mosso Moderato
poco rit.
= 86
astonished
= 68
= 86
46 67 Clara
Oh, Miss Evaline
non-legato
It was Dad dy’s wish
70
that on
his
death
you be giv en your free
dom
pa pers.
Clara overcome
E va Evaline
line,
Miss
E
va line!
And it
is
our
wish
too.
And what’s more,
72 Clara
Three Evaline
In
his will
Dad
dy has left
you
three
hun dred
dol
lars.
hun dred dol
lars?
I’m
47 SISTER LUCINDA joins them
74 Clara
rich!
Bless
Mas ter
George,
bless
you
all!
Lucinda (next to Evaline)
76
Aun
ty, we want
you to
know
you can
stay
on with us
if you like...
Oak wood
cresc.
poco rit. Lucinda
78
a tempo
Hall will al ways be your home. Evaline
warmly
Oh, you’ve cared
a tempo
poco rit.
for us
all
and you’ve raised us with such love,
now there’s
48
a tempo poco ritenuto
81 Clara
dolce
Oh,
Lucinda
Evaline
Ba
And he
by Tom for you
to che
a dores
rish.
Mis
sy, I
do love
him so,
you.
a tempo
poco ritenuto
84 Clara
but some thin’ says
86
I got
ta go.
Don’t know where, don’t know how, but a voice
Clara
Lis ten, girl, Lucinda
ritard.
the
time
in
here is
Tranquillo
say
= 54
is now!
She’s say in’ the time is
now.
She’s say in’ the time is
now. Tranquillo
Evaline
ritard.
= 54
in’,
49 89
Clara tenderly
Once I
had twin girls
to
love,
one,
she flew to heav’n
a
bove,
the
dolce
93 Clara
o ther,
Li
za Jane,
is
out
there,
she been
freed
an’ gone some
where.
Evaline
I re
poco ritard.
espressivo
96 Clara
tenderly
Mis sy,
try
to un
der stand,
I
got ta leave Ken tuck y land,
to find my Li
Evaline
mem ber.
poco ritard.
za long time
50 a tempo 99 Lucinda
= 54
We’ll al ways
love
you,
and we hope you
Clara
gone. Evaline
We’ll
a tempo
al ways love you, Aun
ty...
We’ll love
you, and we hope you
= 54
dolce
ritard. 102 Lucinda
find
Più mosso
= 80
her! with enthusiasm
Clara
Ba
by
Tom,
Evaline
find
her!
Più mosso
ritard.
= 80
now’s
the
day
Aun
ty’s
go
in’
far
a
51 105 Lucinda
We’ll
al
ways love you, Aun ty.
Clara
way...
Ba by
Tom,
fast
a
sleep,
me
mo
ries
of
you
I’ll
Evaline
We’ll
al
ways love you, Aun ty.
108 Lucinda
We’ll
al
ways
love
you,
Aun
ty.
Clara
ritard.
keep,
an
gel’s
Aun
ty.
come
Evaline
We’ll
al
ways
love
you,
rit. e cresc.
to take
my
hand
an’
52 Meno mosso 110 Lucinda
= 64
Clara
me
lead
to the prom ised
land.
Gon na see
my
Glo
ry
Day!
Evaline
Gon na see
Meno mosso
113
her
= 64
Gospel tempo
Lucinda
= 90
with soul!
Gon na see
her
Glo ry
Day!
Clara
Glo ry
Glo ry
Day!
Glo ry
Day,
Glo ry
Day!
Glo ry
Day,
Glo ry
Day!
Glo ry
with soul!
Glo ry Evaline
Glo ry
Day,
with soul!
Day!
Glo ry
Day!
Glo ry
Gospel tempo
= 90
53 116 Lucinda
Day,
Glo ry
Day!
I can
feel
the Spir it
mov in’,
Glo ry
Day!
Glo ry
Day!
I can
feel
the Spir it
mov in’,
Glo ry
Day!
Glo ry
Day!
I can
feel
the Spir it
mov in’,
Glo ry
Day!
Clara
Day,
I
can
Evaline
Day,
119 Lucinda
Clara
feel Evaline
the Spir
it
mov in’.
The
sky
is
pour in’
gold,
all
my
54 121 Lucinda
O Glo ry Day! Clara
dreams
are trem blin’
in to song.
I
can hear that sil
ver trum pet
ol’
Evaline
O Glo ry Day!
124 Lucinda
Glo ry Clara
Ga
bri el
is blow in’...
His
live ly
tune
is
ring in’
loud
an’
strong.
Glo ry
Evaline
Glo ry
55 127 Lucinda
Day!
Glo ry
Day!
Glo ry
Day,
Glo ry
Day!
I can hear that sil ver trum pet,
Glo ry
Day!
Glo ry
Day!
Glo ry
Day,
Glo ry
Day!
I can hear that sil ver trum pet,
Glo ry
Day!
Glo ry
Day!
Glo ry
Day,
Glo ry
Day!
I can hear that sil ver trum pet,
Glo ry
Day!
Clara
Day! Evaline
Day!
130 Lucinda
Clara
Gon na Evaline
walk
the road
be
fore me,
it’s
lead in’ to a
place
I’ve
56 133 Lucinda
O Glo ry Day! Clara
ne ver been,
a land where I be long,
I’m
a whirl in’ an’
a danc in’
Evaline
O Glo ry Day!
136 Lucinda
Glo ry Clara
songs of ju
bi lee
an’ shouts of praise
a mid
the gos pel
throng.
Glo ry
Evaline
Glo ry
to
57 139 Lucinda
Day!
Glo ry Day!
Glo ry
Day,
Glo ry
Day!
Can you hear
the cym bals clang in’? Glo ry Day!
Day!
Glo ry Day!
Glo ry
Day,
Glo ry
Day!
Can you hear
the cym bals clang in’? Glo ry Day!
Glo ry Day!
Glo ry
Day,
Glo ry
Day!
Can you hear
the cym bals clang in’? Glo ry Day!
Clara
Evaline
Day!
142 Lucinda
Glo ry,
Glo ry
Day!
Glo ry
Day!
Clara
Can you
hear
the cym
bals clang in’?
I’m ting lin’ with
the joy
Evaline
Glo ry,
Glo ry
Day!
Glo ry
Day!
of won
drous
58 145 Lucinda
...of won
drous love,
O Glo ry Day!
An
gel
Ga
bri
el!
Clara
love
an’ vic t’ry
o ver wrong!
An
gel Ga
bri el’s
a wait in’,
I
Evaline
...of won
drous love,
O Glo ry Day!
An
gel
Ga
bri
el!
148 Lucinda
Glo ry
Day!
Glo
ry,
Glo
ry,
pass
a
Glo
ry,
Clara
feel
it
in
my bones,
as
He
floods with
light
the road
I
Evaline
Glo ry
Day!
Glo
ry,
long.
59 150 Lucinda
Glo
ry
Day,
Glo ry
Day,
Glo ry
Day,
Glo
ry
Day,
Glo ry
Day,
Glo ry
Day,
Glo
ry
Day,
Glo ry
Day,
Glo ry
Day,
Clara
Evaline
152 L C E Glo ry
Day!
I
can
feel
the Spir it mov in’,
Glo
ry
Day!
Glo
unis.
155 L C E Day,
Glo ry
Day,
Glo ry
Day,
Glo ry
Day!
I
can
ry
60 157
à3
L C E feel
the Spir it mov in’,
Glo
à3
ry
Day!
Glo
ry
Day!
160 L C E Glo
ry
Day!
dim.
163
166
(173)* 169
* MM. 171-172 have been cut.
61 174
End Scene 2
Scene 3 April, 1859, in Leavenworth, Kansas Territory. In a town clearing, a crowd of departing emigrants prepares to go west by wagon train. We see men loading their wagons with supplies of hardtack, flour, sugar, salt, bacon and corn meal. They hoist onto their wagons assortments of boxes, trunks and ten-gallon water kegs. There are no more than five wives assisting them. At one point they simultaneously pick up non-essential items - a lampshade, a clock, a statuette, etc.
Allegro moderato
Men to the women
= 132
Chorus
(7)*
last time
T B Why
Allegro moderato
we
got
ta
= 132
(
(repeat as necessary)
8
do
Chorus
)
last time
Altos
(2+2+3)
S A If
I
T B take
this stuff?
I
swear there won’t be
room
e nough. (2+2+3)
* MM. 4-6 have been cut.
say
there’ll
be
62 12
(2+2+3)
Chorus (Altos) (3+2+2)
room
e
nough,
then
(3+2+2)
gol
dang,
there’ll
be
room
laughing
e nough! Men
What cha gon na
(2+2+3) (3+2+2)
(3+2+2)
A Baritone is lifting a rocking chair.
16 Chorus
Soprano Solo
Come
on now, Reu ben,
take
a
care,
that’s
Gram pa’s fav ’rite
do?
21
Chorus (Sopr. Solo)
rock
(2+2+3)
in’ chair!
(3+2+2)
(2+2+3)
to the Men
Baritone Solo
If
it (2+2+3)
gits
broked
he’ll
nev (3+2+2)
er know,
’cause
Gram (2+2+3)
pa
croaked
a
63 Chorus 25 (3+2+2)
All Women
What cha gon
(Bar. Solo)
year
na
do?
MEN guffaw
What
cha gon
na do?
What
cha gon
na do?
All Men
a go!
(3+2+2)
“Colorado”
30 Chorus
What
cha gon na do? Basses
What
cha gon na do?
What cha gon
marcato, lustily
na
There’s ru
do?
mors
fly
in’ all
marc.
35 Chorus (Basses)
round
of
nug gets
ly
in’
on
the
ground
a
64 div.
40 Chorus (Basses)
unis.
in Co
lo
ra
do,
in
Co
lo
ra
do,
in
Co lo
Chorus (Basses)
46
ra
do.
The talk is
dim.
marc.
51 Chorus (Basses)
right
’bout veins of
gold in caves of
night
fly
in’ left
an’
65 Chorus (Basses)
div.
57
unis.
in Co lo
ra do,
in
Co lo
ra
in Co lo
do,
ra
marc. sempre
63 Chorus (Basses)
do,
in Co
lo
ra
do.
There’s
dim.
marc.
69 Chorus (Basses)
nug
gets you
can find
if
you
are
blind
fold.
It’s
jest
that eas
y
66 Baritone Solo
75 Chorus (Basses)
fer
81
a man
to
find
gold,
in Co lo
ra
do!
They’re
big
as Gran
ny’s
min er took
the
Chorus (Men) Tenor Solo
T 8
Well,
That
’ll set
the
folks
a
buzz!
(Bar. Solo)
B gall
stone
was!
I
87 Chorus (Men)
heerd one
Tutti
8
marcato
Boul (Bar. Solo)
prize, he found a
Tutti div.
nug
get boul
der
size!
der size!
marcato
Boul
der size!
marcato
67 Chorus (Men)
92
8
Boul
der size!
Boul
der
size!
We crave an’
cov
et, itch
an’
We crave an’
cov
et, itch
an’
unis.
Boul
der size!
Boul
der
size!
cresc.
98 Chorus (Men)
unis.
unis.
div.
lust,
we han ker
fer
that yel
low
dust,
Chorus (Men)
104
unis.
in Co lo
ra
do,
in
Co lo
ra
do,
in Co lo
ra
68 110
Basses marc. sempre
Chorus (Men)
do,
in Co
lo
ra
do.
There’s
marc.
116 Chorus (Basses)
gold
(3+2+2)
en
silt
piled
in (3+2+2)
a ditch,
ya
find
it
and
you’re
cresc.
Chorus (Basses)
121
Tenors
(3+2+2)
8
fil
thy rich in
Co
lo
ra
do.
The
Che
yenne
(3+2+2)
(3+2+2)
126 Chorus (Tenors) (3+2+2)
8
and
A
ra
pa hoe, they
know
the
se
cret
trails (3+2+2)
(3+2+2)
cresc.
to
go in Co lo
69 unis. (3+2) marc.
131 Chorus (Men)
8
ra
do.
Boul
der size!
Boul
der size!
Boul
der
der size!
Boul
der size!
Boul
der
marc.
Boul (3+2)
cresc.
marc.
Chorus (Men)
136
8
With such good
size!
luck
we’ll ne
ver
lose,
luck
we’ll ne
ver
lose,
unis.
With such good
size!
142 Chorus (Men)
8
we’ll strike it
rich,
we’ll pick
an’
choose,
in Co lo
ra
do,
we’ll strike it
rich,
we’ll pick
an’
choose,
in Co lo
ra
do,
70 148 Chorus (Men)
8
cresc.
in
Co
lo
ra
do,
in
Co cresc.
lo
ra
do,
in
Co
lo
ra
do,
in
Co
lo
ra
do,
in
lo
ra
do,
in
Co
lo
ra
do,
Co
cresc.
154
Chorus (Men)
8
160
8
in Co lo
ra
do, Co
lo
ra
do, Co
lo
ra do,
Gold,
gold,
in Co lo
ra
do, Co
lo
ra
do, Co
lo
ra do,
Gold,
gold,
Chorus (Men) warmly
gold,
gold,
gold,
gold,
gold!
We’ll unis.
gold,
gold,
gold,
gold,
gold!
warmly
We’ll
warmly
71
Chorus (Men)
165
find
our
El
Do
ra
do
in
168
do.
We’ll
find
our
El
Do
ra
do,
with authority ben articulato
171 Wadsworth
Be Chorus (Men)
ra
off
Co
lo
COLONEL WADSWORTH has entered. He stands, listening.
Chorus (Men)
ra
far
do,
dim.
sure
that ev ’ry
in
Co
lo
wa
gons.
3
bit
of space
is used
in these
72 177 Wadsworth
3
Just
Chorus (Men)
in
Co
lo
ra
re mem
ber,
most of you men
will be
walk in’.
do,
dim.
183 Wadsworth
All
the way to
Pike’s
Peak! Solo Man 1 spoken
Chorus (Men)
Solo Man 2 spoken
Well, I’ll be dipped!
Holy bald-headed Nellie!
Walk in’?
189 Wadsworth
3
I’ve got
Chorus (Men)
in
Co
lo
ra
dim.
do,
a
say ing:
“If
you
73 Wadsworth
195
3
want
3
to un
earth it,
the
walk
ing is
worth it”.
Chorus (Men)
Solo Man 1 Jest shoot me now, Colonel, ’cause with these bunions o’ mine yer’all gonna see the turd o’ misery.
201 Chorus (Women)
Solo Woman (laughing) Maybe so... but he’ll end up bein’ nice and slim, jest like the day I married him.
There is grumbling among the men. We see CLARA enter with her friend, BECKY JOHNSON. They stand to the side, their eyes fixed on WADSWORTH. 207 Wadsworth
=
Ma un poco meno mosso
One more thing,
=
Ma un poco meno mosso
74 Wadsworth
211
3
3
Start ing to mor row night, the
five wom en in
our train will sleep
in their
wag
ons,
and
3
214 Wadsworth
you
3
men ’ll sleep
on the ground
in
nice com
fy
bed
Chorus (Women)
rolls. intenso
Mezzo-Soprano Solo
Ya mean
to
3
poco rit.
Chorus (Mezzo-Soprano)
216
3
say
my
man
ain’t gon na be
up
here
night
times
’long
side
his lov in’
poco rit.
75 218 Wadsworth
(Tipping his hat.)
Allegro moderato
= 132
Allegro moderato
= 132
Looks that way, ma’am. Chorus (Mezzo-Soprano) Well, if that don’t beat all! (to Zack) I could chew nails and fart tacks!
wife?
Chorus Baritone (to Wadsworth) 221 Solo
Could ya
may be
There is an undercurrent of discontent and
start that rule
to night,
sir?
murmuring among the group, as the COLONEL walks about examining the wagons and their storage. BECKY nudges CLARA forward. 227 Becky spoken Go ahead, Clara... talk to him... Walk right up there an’ ask him! Clara
spoken Becky, please -
76 =
233 Becky
L’istesso tempo
Go on. Clara
’Scuse me, sir?
Wadsworth
=
237 Clara
lis
te
nin’
to all this talk ’bout
Yes?
L’istesso tempo
Un poco meno mosso
3
gold fields out at Pike’s Wadsworth
I been
Peak,
3
Cla
ra Brown. 3
3
What’s your name, Aun ty?
3
What’s your ques tion, Cla
Un poco meno mosso
Un poco più mosso Clara
240
3
take me with you to this Please, sir, Wadsworth
Un poco più mosso
Un poco meno mosso
3
place called
Co lo ra
do.
Laughing, to all 3
She wants to hunt for gold!
Un poco meno mosso
ra Brown?
77
The crowd laughs good-naturedly. 243 Clara poco rit.
Quietly, meno mosso
= 58
Quietly, meno mosso
= 58
no, sir, Wadsworth
to CLARA
Do you have the same dream we do?
3
3
dolce
poco rit.
246 Clara
3
to find
my
daugh ter
is my on
ly
quest,
3
poco accel. 248 Clara
Un poco più mosso
= 69 poco rit.
3
an’ cause so ma ny ser vants been made
free,
the
West
is where E li za Jane might be.
Wadsworth
I’m
Un poco più mosso
poco accel.
cresc.
= 69
poco rit.
78 a tempo 250 Clara
= 69
Adagio non troppo
= 52
strongly
’Scuse me,
Colo nel Wads worth,
Wadsworth
sor
ry, Aun ty,
a tempo
but the trek would be too
hard on you,
= 69
Adagio non troppo
poco rit.
253 Clara
a tempo
= 52
= 52
port.
don’t be tell in’ me
’bout hard times.
Un leash the
a tempo
worst storms
ev er seen,
= 52
poco rit.
Poco più mosso
255 Clara
I’ve walked
there.
Make
Poco più mosso
= 63
sun
less the days
= 63
be
tween,
più intenso
but
79 Tempo I
= 52
Un poco più mosso
= 63
257 Clara
3
I’ve walked
Tempo I
there.
I
nev er feared per
il
3
or hard ship or pain,
= 52 Un poco più mosso
= 63
3
poco rit.
259 Clara
3
3
Poco meno mosso
3
3
nev er knew an ger but love bloomed a gain,
no
3
strug gle, no sor row was ev
3
er in vain,
Poco meno mosso
poco rit.
Tempo I
= 52
261 Clara
Un poco più mosso
I’ve walked
there.
Wadsworth
But Tempo I
= 52
Aun
ty,
Un poco più mosso
the wind is wild, the trail is rough.
I
80 Tempo I 263 Clara
= 52
a tempo
ritard.
Please, sir,
Tempo I
Colo nel Wads worth,
but
I
= 52
port.
3
can work my fare,
I’ll do
my share,
I’ll
a tempo
= 52
= 52
3
ritard.
Più mosso = 63
ritard.
265 Clara
3
3
cook
for the bach ’lors, I’ll cut their hair,
3
darn their
shirts
port.
when they get thread bare.
Make
Più mosso = 63
ritard.
3
Tempo I
267 Clara
star
less the vault
ed
night,
I’ve walked
Tempo I
dolce
= 52
Poco più mosso
there,
= 52
= 63
my
Poco più mosso
= 63
81 poco rit.
269 Clara
3
3
3
3
3
strength was not pris oned by si new and bone,
my
3
soul was not daunt ed by cry
in’ a lone,
for
poco rit.
Poco meno mosso 271 Becky
Tempo I
She’s
Clara
3
3
I
= 52
have drawn breath
3
from the heart of a
stone,
I’ve walked
there.
Poco meno mosso 3
Tempo I
= 52
3
Poco più mosso 273
Becky 3
strong as a Kan sas moose! Clara
Spoken: That’ll do, Becky.
Poco più mosso
aside 3
Sir, I’m
free,
black
and twen ty one.
(Give or
82 poco rit. 275 Becky
Poco più mosso
Bet ter Clara
take
Tempo I
give ’em, hon ey,
’cause ya shore cain’t take ’em back.
= 52
irked with BECKY
3
a few years.)
As I was
Poco più mosso
Tempo I
= 52
poco rit.
warmly
277 Clara
say
in’,
Colo nel Wads worth,
it
be
a
li
lac
spring
3
dim.
A bit broader
279 Clara
Kan
may
strongly
sas
Ter
ri
to
ry,
but
3
this
A bit broader
cresc.
la
dy aims
to go
West,
in good
ol’
83 281
ritard.
Clara
( ,)
3
this
Oh,
la dy
aims
to go
Adagio non troppo
= 52
Adagio non troppo
= 52
West!
Wadsworth
8va
I’ve
loco
3
ritard.
284
Più mosso
Wadsworth 3
3
made up my mind,
= 80 3
3
Aun ty Cla ra is hired.
So there’ll be six wom en in the wag ons, is that un der 3
Più mosso
= 80
3
Ancora più mosso 287 Wadsworth
stood? Tenor Solo (Missourian) Chorus
8
3
Now
jest hold on
Ancora più mosso
one dad gum min ute!
Where d’ya git six wom en?
Ya sure
as
84 290 Chorus (Tenor Solo)
8
hell
poco rit.
a tempo
3
cain’t be count in’ this ol’
Ne gro gal
here,
no
need to treat her
fan cy!
a tempo
poco rit.
293 Wadsworth
3
Fan cy? You call sleep in’ in a wag on
3
fan cy? Where in blaz es were you brought
Chorus Men Ad lib. shouts Who asked you? Aw, go hang! Ornery cuss!
The crowd roars with laughter, shouting its approval of WADSWORTH’S decision. From the wings, two men haul in a boiler and tubs and set them beside CLARA.
296 Wadsworth
Poco meno mosso
poco rit.
up?
And what are those,
Poco meno mosso
poco rit.
pray tell?
85 300 Clara
3
3
ritard.
3
My wash tubs an’ boil er, sir.
Moderato = 106
I’m gon na
start
a laun dry when I get to Co lo
ra
do. unis.
Chorus (Men)
wistfully
Co
lo
Moderato = 106 3
ritard.
303 Wadsworth
Co
lo
ra
do!
Chorus (Men)
ra
dolce
do!
Gon na
find
our
306 Wadsworth
Chorus (Men)
ra
do!
It’s
time
to go,
say
your good byes!
El
Do
86 309
Wadsworth
Let’s find those nug gets, Chorus (Men)
boul
der size!
marc.
Boul
der size!
Boul
der
size!
marc.
313 Wadsworth
Chorus (Men)
In
317 Wadsworth
Meno mosso
Co
lo
ra
Andante
do!
= 96
molto marcato
Chorus (Tutti)
S A We’ll hitch these wag
T B 8va
molto marcato
Meno mosso Andante
= 96
ons
to
our
87 320 Chorus S A we’ll climb the crags an’ swim the streams,
dreams,
T B loco
8vb
323 Chorus
We’ll drink the brine, we’ll eat the
dust,
we’re gon na reach Pike’s Peak or
(8vb)
accel. poco a poco 326 Chorus
bust,
cresc. poco a poco
so
load these prai rie schoo ners
fast, the
cresc. poco a poco
accel. poco a poco
cresc. poco a poco
(8vb)
loco
sky
is
get tin’ ov
er
88
(accel. poco a poco) 329 Chorus
cast,
to mor
row’s
when
we
roll
at
last,
(accel. poco a poco)
(cresc. poco a poco)
(accel.) 332
Chorus
Allegro
for Co
lo
ra
do,
Allegro
(accel.)
= 132
for Co
ra
do,
for Co
= 132
335 Chorus
ra
lo
cresc.
do,
Co
lo
ra
do,
Co
cresc.
cresc.
lo
ra
do,
Co
lo
lo
89 Chorus
338
shouted
ra do,
Co shouted
lo ra do!
Curtain attacca
Interlude: “Colorado� Allegro moderato
6
12
= 132
90 18
=
24
L’istesso tempo
3
3
3
3
Scene 4 It is the settlement of Denver Town, 1862. In an austere little church meeting cabin, good Christian town ladies are gathered in a quilting bee.
30
Andante
= 82
33 Quilter 1 (Soprano Solo)
Of
all
the doin’s in Den ver Town,our
quilt
in’ cir
simile
cle takes the prize,
we
91 36 Quilter 1
stitch
S S A
an’
pray
two
times a week,
Lord
will in’ an’ the creek don’t
rise.
Chorus (Women)
We
38 Chorus (Women)
stitch
an’
pray,
unis.
we stitch
an’
pray, Lord
will in’ an’ the creek don’t
rise.
They quilt in rhythm to the music.
40 Quilter 2 (Soprano Solo)
Quilter 2 (Soprano Solo)
Yes, quilt
in’ is
a
right nice way
to
92 poco
43 Quilter 1
Now ain’t that just
God’s hon est truth!
Quilter 2
share with y’all what’s new in town.
Quilter 3 (Mezzo-Soprano Solo)
Quilter 3
Hand me that swatch of brown.
46 Quilter 1
Spoken Here you are, Cornelia, dear. Now
48 Quilter 1
what’s the lat est gos sip Quilter 3
we should hear?
You
know
I
nev er
gos sip,
but
Chorus (Women)
Stitch an’ pray,
stitch an’
93 51 Quilter 1
But
Quilter 3 with importance
did
you know the Wid ow
Moore ain’t
wear
in’ black these days?
That seems a tri fle
pre ma ture.
Chorus (Women)
pray,
54 Quilter 1
Cor
ny,
Ed’s been dead
two
years.
Don’t
make no nev er mind
to
me.
56 Chorus (Women)
Stitch
an’
pray,
stitch
an’
pray. 3
94 58 Quilter 2
I
(gossipy)
saw Hor tense to day,
she said that
sis sy Jen
kins boy
has
left
town
for good,
I
61 Quilter 2
’spose
he’s back in Il
li
nois,
Quilter 3
You
know
I
nev er
gos
sip,
but
Quilter 3
63
pointedly
he
jest
warn’t
the mar ry in’
kind,
3
if you know what
I mean,
Chorus (Women)
Stitch
an’
pray,
95 65
Quilter 3 (to Hannah)
This ain’t brown, Chorus (Women)
you col or
blind?
We
67
stitch
an’
pray,
we stitch
an’
pray, Lord
Chorus (Women) unis.
wil
lin’ an’ the creek don’t
rise.
69 Quilter 1
Chorus (Women)
I got a bit of news.
It’s ’bout E
S You have?
S You have? You have?
A You
cresc.
have? You have? You have?
96 72 Quilter 1
li
as
Gore.
Why
Quilter 3
Oh,
74 Quilter 1
yeah,
he came
home
drunk
last
night
and
bat tered down the
door,
WOMEN all turn towards QUILTER 3.
yes, but how did you -
Our
men
are weak an’ vile,
we got
ta
Quilter 3
You
know
I
nev er
gos sip -
Quilter 1
77
watch’em like a hawk. Quilter 2
poco agitato
They
got
no mor als
left,
they grub for
gold
the live
long day,
at night they
97 80 Quilter 2
drink
like
marcato
fish
an’
gam ble all the gold
a
way.
Chorus (Women)
shocked
We
82 Quilter 3 marcato
They
marcato
gam ble all the gold
Gam ble all the gold
a way!
Chorus (Women)
stitch
an’
a way! unis.
pray,
we
stitch
an’
pray,
Lord 8va
8va
loco
84 Chorus (Women)
will in’ an’ the creek don’t rise. loco
RH
LH
98 At this moment, fur trader O’HOOLIHAN, a mountain man, starts across with his Cheyenne wife, JENNIE. They linger downstage, miming conversation, as the quilting ladies gossip about them.
87 Quilter 3
It
ain’t just sa loons or gamb lin’ or wick ed
marc.
Chorus (Women)
Stitch an’
pray,
marcato
90 Quilter 1
That poor Quilter 2
Hun gate fam i
ly
Hun gate fam i
ly
Hun gate fam i
ly
marcato
That poor Quilter 3
marcato
wom en,
we got
Chorus (Women)
stitch an’ pray,
In jun ca la mi
ties,
like at Cher ry Creek.
That poor
99 Glancing at the Indian Woman
93 Quilter 1
killed
an’
scalped
an’ hacked
to piec
es,
by some of Glancing at the Indian Woman
Quilter 2
killed
an’
scalped
an’ hacked
to piec
es,
Quilter 3
killed
an’
scalped
an’ hacked
to piec
kind.
her
kind.
her
kind.
Makes ya
3
by some of
es,
her
3
by some of Glancing at the Indian Woman
Chorus (Women)
3
(shocked)
stitch
an’
pray, 3
With hate towards O’HOOLIHAN
95 Quilter 1
sick, sick, Quilter 2
sick, makes ya sick
jest to hear
a bout it!
Look at him,
Squaw
man...
Look at him,
Squaw
man...
Look at him,
Squaw
man...
Quilter 3
Chorus (Women)
100 97
Quilter 1
Squawman! Quilter 2
Tak in’ a hea then gal
to wife!
A hea then gal
to wife!
Squawman! Quilter 3
Tak in’ a hea then gal
to wife!
A hea then gal
to wife!
Squawman!
Tak in’ a hea then gal
to wife!
A hea then gal
to wife!
And
Chorus (Women)
Shame!
Shame,
shame,
shame!
100 Quilter 3
here’s
the coop
de grace -
They’re
ev
en leg
al
mar
ried!
Come
102 Quilter 3
Judge ment Day, Chorus (Women)
they’ll all
be
siz
zlin’,
siz zlin’ in
the flames
of
Hell!
In the flames
of
101 Chorus (Women)
104 S Hell,
in the flames
of
Hell!
The
flames
of
Hell!
We stitch an’
pray,
Hell,
in the flames
of
Hell!
The
flames
of
Hell!
We stitch an’
pray,
Hell,
in the flames
of
Hell!
The
flames
of
Hell!
We stitch an’
pray, Lord
S
A
106 Chorus (Women)
Lord wil lin’ an’ the creek don’t rise.
cresc.
Lord wil lin’ an’ the creek, Lord wil lin’ an’ the creek don’t rise.
cresc.
wil lin’ an’ the creek don’t rise,
cresc.
Lord wil lin’ an’ the creek don’t rise.
102 We lose the women, with O’HOOLIHAN and JENNIE remaining onstage miming conversation. Light change reveals CLARA moving from chair to chair, putting hymnals in place and humming a hymn - finally singing to herself
109
Adagio non troppo
Trio
Clara
poco rit.
Un poco meno mosso
= 40
Oh
Adagio non troppo = 40 Un poco meno mosso
poco rit.
113 Clara
Ga
bri el, from realms a bove, de scend on beams di
en
fold me in
thy wings of love
and
She looks up surprised to see the two listeners. They smile at her, JENNIE pausing to embrace CLARA. Then they exit, passing two men who are entering - COLONEL JOHN CHIVINGTON and BARNEY FORD, a well-dressed black man.
119 Clara
bless this heart
vine,
of
mine,
en
fold me in
thy wings of love and
bless this heart
of
mine.
103 CLARA, who is still setting up for a prayer service, overhears their ensuing conversation.
125 Clara
Oo,
oo,
Chivington
distinctly
8
Ev er hear of “squaw men”, Mis ter Ford?
We’ve distinctly
Ford
Oh
yes in deed, Colo nel, yes in deed -
129 Clara
oo, Chivington
8
just seen one pa rad ing his In di an whore for ev ’ry one to see. Ford
But did you know that this wom an at tends
104 133 Clara
oo Chivington
8
I
swear
Aunt Cla
ra is the clos est thing to
a saint
in Co lo
Allegro
= 104
Ford
Aun ty Cla ra’s prayer meet ings?
136 Clara
Chivington
8
ra Ford
do,
work ing hard
at her laun
dry biz,
and help ing these
down and outs. strongly
She took me
Allegro
= 104
105 139 Ford
in last
year
when I
was down and
out -
I’d
staked
a
rich
min ing
strongly
142 Ford
claim.
But then five horse men came,
white rid ers
in
the
night,
mean er
’n
Ford
145
snakes,
an’ drove
me off my
land.
But praise
God,
Cla ra took me
148 Chivington
8
Ford
in,
Aunt Cla
Cla ra
took me
in.
ra
took you
in,
and now you’re
106 151 Chivington
8
Den ver’s fin est
bar ber,
Den ver’s
fin est
bar ber.
Ford
Thank
you, Colo nel.
Thank
you, Colo nel.
Chivington
154
8
You
and your
peo ple
CLARA makes her presence known.
157 Clara
have gump tion
=
and to spare - But these
’Scuse me, Colo nel, but
cod dle are a dan
ger to us
all!
=
di an tribes we feed
and mol ly
Ma un poco più mosso
Chivington
8
In
Ma un poco più mosso
I
be lieve we’re all
bro thers an’ sis ters in
107 161 Clara
4
Christ,
in clud in’
In
dians.
Chivington
8
Oh,
Allegro
165 Clara
I’m
see
er to the un tamed
I’ll
3
Oh, that was
them bro
ken for the Hun gate
dread ful,
but they were a
mas sa cre.
Allegro
=104
poco rit.
168 Clara
veng
Red Man.
=104
Chivington
8
no broth
in’ your
mas sa
cre
of
Starv in’ Bear
and
his
peo
ple.
marcato
It’s
poco rit.
a
108 171
Meno mosso
= 76
Clara
nev
er end
in’
cy cle.
Chivington
3
8
I’m tired of
trea
ty talk -
Sor ry, but I would
Ford
I
Meno mosso
hear a
trea
ty’s un
der way.
= 76
cresc.
cresc.
3
Chivington
174
8
wipe them out,
I’d
Adagio non troppo
wipe them
out -
de
stroy
them
all!
= 74
177 Clara nobile
Nev
er
the
Adagio non troppo
nobile
prom
= 74
ise
kept,
nev
er
the
vow,
109 181 Clara
Nev
185
er
the heart’s
re
demp
tion
from
grief
an’
des
pair,
Clara
Where Ford
is
the flame
of
Al ways the
bro ther hood
wise
189 Clara
man
in
knows
this
and
lone
waits
ly
night?
for the
Phoe
nix
ris
in’ -
dolce
Where is Chivington
the
light?
Where is
the
dream ful
filled? dolce
8
Where is the far Ford
dolce
Al ways God’s
bless
ing flows.
Al ways the new
dolce
ho
ri
zon.
ho ri zon?
110 193
poco ritard.
Clara
Where is
the
an swered
a tempo
prayer?
Chivington
8
Where is God’s bless
ing now? nobile
Ford
Al ways God’s
bless
ing flows.
Al
ways
the
wise man
a tempo
poco ritard.
cresc.
196 Clara
Where is the hope?
Chivington
8
When will His ven geance
come?
Where is the hope?
Al
ways God’s prom
When will
His
ise
ven geance
Ford
waits
for the
Phoe
nix
ris
cresc.
ing.
Al
ways God’s prom
ise,
111 200 Clara
shines
on some
dis
tant
ho
ri
zon.
Al
From what
dis
tant
ho
ri
zon?
Where
on the
far
ways the
Chivington
8
come?
is
the
Ford
God’s
204
prom ise
shines
ho ri
zon.
God’s
Clara
dawn.
God will
pre
vail,
I
God will
pre
vail,
I
Chivington
8
dawn?
When will
his
ven geance
come?
Ford
bless
ing flows,
Al
ways the birth,
the
birth
of rea son,
God will pre vail,
I
112
Un poco meno mosso
208 Clara
And what I know
know. Chivington
8
= 58
with conviction
is
all
there is
to
know
in earth or
know. Ford
know.
Un poco meno mosso
= 58
dim.
212 Clara
heav
en -
Più mosso
our
God
is
Love,
our
God
is
Love.
= 104
Clara 216 en dehors
I’ll bless Chivington
8
the
night
with
it,
I’ll
I
know what
I
know,
I
know what
I
sing
the
days,
I’ll
light
the
how
ev
er
strange,
how
how
ev
er
strange,
how
Ford
Più mosso
know,
= 104
cresc.
113 221 Clara
dark
est
hour
with songs
of
praise,
I’ll
I
can
not change, I
can
not change, I
paint
the
clouds with
it,
will
not
change,
how
will
not
change,
how
Chivington
8
ev
er strange,
Ford
ev
er strange,
I
cresc.
226 Clara
Ah,
I’ll
tell
the
morn
in’
Chivington
8
ev
er
strange
I
seem.
I
seem.
Where
is
God’s
jus
Oh,
where,
tice
now?
Ford
ev
er
strange
Oh
114 231 Clara
Our
God
is
ev
’ry
where!
Chivington
8
Black
Bear
I’ll
track
God’s
mer
to
his
lair
and
pun
ish
him!
cy
now?
The
wise
man
knows -
Ford
where
is God’s
mer
cy,
cresc.
simile
cresc.
236 Clara
,
Ah, Chivington
Our
God
is
Love!
Ah
cresc.
, 8
Ah,
I’ll
wipe
him
out!
Ah
Ford
cresc.
Ah,
He
knows
God’s
mer
cy!
Ah
cresc.
115 Clara
241 (cresc.)
poco ritard.
Un poco meno mosso
= 96
Un poco meno mosso
= 96
( ,)
(Ah) Chivington (cresc.)
8
( ,)
(Ah) Ford (cresc.) ( ,)
ossia
(Ah)
(cresc.)
poco ritard.
246
dim. poco a poco
252
(dim.)
(dim.)
poco rit.
116 Meno mosso = 76 258 Clara with dignity
What ev
Meno mosso
er
may
be
fall,
What ev
er
= 76
,
263 Clara
may
be
fall,
our
God
is
,
,
Lento
Lights slowly fade.
= 58
lunga
267 Clara
Love.
8va
Lento
= 58
loco
lunga
niente
117 As CLARA remains on stage daydreaming, ELIZA JANE appears to her, and they share a few happy moments; Suddenly, CLARA snaps back to reality, as the child disappears.
Interlude: God is Love Tranquillo
= 60 3
5
poco
4
3
3
8
3
3
3
3
3
3
dim.
piĂš espressivo
11
3
3
(dim.)
3
118 14
3
3
3
17
dolce
20
3 3
23
26
dim.
dim.
attacca
119
Scene 5 It is 1864 in Denver Town. Three men appear downstage, seated in the newspaper office of The Rocky Mountain News. They are Editor WILLIAM N. BYERS, newly appointed Governor JOHN EVANS and COLONEL CHIVINGTON. They are all talking at once in a heated discussion. EVANS takes the floor.
Moderato
= 92
conspiritorially
4
Evans
in a furtive manner, conspiritorially
Let’s
7
not
be too im
pul sive, John -
we all may
Evans
drink at the o
pen font,
but
don’t
put
the cart
be
fore the
horse -
it’s
10 Byers
And Co lo
Evans
state hood -
it’s
state
hood
most
of all we want.
ra
do’s rich -
the pie is big
e
120 13 Chivington
8
A chair in
Byers
Con gress
is all
I want.
nough for this hum ble three. Evans
We must go
A sen
a tor
ship is fine with me.
16 Byers
eas y and feel our
way.
To be
a
state is a no
ble dream -
we
can’t
put
the cart be fore the
19 Chivington
8
We need
a
plan,
we
need a
scheme.
plot, we
need a
scheme.
need a
plot, a
scheme.
Byers
horse -
We need a
Evans
We
need a plan,
we
It’s
121 23 Chivington
8
of course.
Bet ter
Byers
Wash ing ton we’ve got to reach, but the war
must take first place,
of
course.
Evans
Of course.
26 Chivington
8
stand in line with all the rest - you
can’t
put
the cart be fore the
horse.
can’t
put
the cart be fore the
horse.
But if
Byers
You Evans
You
can’t
put
the cart be fore
the horse.
122 29 Chivington
8
Wash ing
ton does n’t know we’re here, our hopes...
Evans
Our hopes for
state hood dis ap pear,
’cause gul li ble folks back
East be
8vb
32 Chivington
8
Evans
cresc.
lieve the tribes make liv ing
What
3
dan ger ous
if we took
a way the
here.
subito
loco
35
8
Chivington
They ponder
cause? Evans
The tribes?
That could prove
123 38 Chivington
8
A reck
less
re gi ment’s all
I’d
need
Byers
Evans
trou ble some.
41
A
reck less re gi ment’s all he’d
Chivington
8
to
send
those
dev ils
to king
dom
come.
Byers
To
send those
dev ils
to king
dom
Evans
to
need,
cresc.
8vb
send those
124 43
poco allargando
Chivington
a tempo
8
Byers con bravura
Yes -
come.
I
can
see
the head
lines
now -
my Rock
y
Evans
dev ils
to king
dom
come.
a tempo
poco allargando
(8vb) loco
124 45 Chivington
8
Charm ing and con Byers
Moun tain News ex clu sive -
an
in
ter view with Chiv ing ton -
Evans
Rock y Moun tain News ex
clu sive -
charm ing and
con
clu sive!
125 48 Chivington
Standing and gesturing as if giving an interview.
8
clu sive!
I
rout ed Black
Ket tle from his tent -
I
scoured the hill and
purged the plain
Byers
Black
Ket tle
from his
tent -
He
Evans
He
51 Chivington
8
and
now the coun try’s
going to know
that
Byers
scoured the hill and purged the plain
and now the coun try’s going to know
Evans
scoured the hill and purged the plain
and now the coun try’s going to know
126 54 Chivington
8
we’re
as safe
as
Port land Maine, as
safe
as
Port land
Maine!
As safe
as
Port land
Maine!
As safe
as
Port land
Maine!
Byers
Evans
56 Byers They prepare to leave
paranoid
All in good time.
dim.
dim.
59 Chivington
8
You can’t
Evans
All
in good time.
put
the cart be fore the horse.
127 62 Chivington
8
marcato
All
in
good
time.
good
time.
good
time.
marcato
Byers
All
in
marcato
Evans
All
in
attacca
Interlude: “Conspirators� * Moderato = 92
simile
4
cresc.
* Primary pianist plays the bottom two staves; the upper staff is to be played by a second pianist, if available.
128 7
10
dim.
13
RH
129 15
dim.
17
Snare Drum
Scene 6 Central City, Spring, 1865. We see the interior of CLARA’S cabin, housing her tubs and boiler, which are spouting steam.
Andante scorrevole
= 104
8va
dolce
JENNIE, the Cheyenne wife of the controversial “SQUAW MAN” O’HOOLIHAN is sorting piles of laundry and stirring a wash with a paddle. CLARA enters with two more bundles of clothes. 8va
7
loco
130 12
3
3
3
3
3
3
3
3
18 Jennie
Yes Clara 3
Jen nie?
Be
3
3
3
fore you mar ried
Mis
3
3
ter
3
O’
Hoo
3
li
3
han,
what was your
3
3
3
3
24 Jennie
She
Who Flies
With
Red
Tailed
Clara
Che
yenne
3
name?
3
3
3
3
3
3
3
3
3
3
3
131 30 Jennie
Hawk. Clara
I
Why 3
3
did you change
3
it
to
3
3
Jen
nie?
3
3
did n’t
3
3
3
3
3
36 Jennie
want to
3
be
She
Who
Flies
With
Red
Tailed
Hawk
O’
Hoo li
han.
3
3
3
3
3
3
3
3
3
3 3
42 Jennie CLARA begins to iron shirts. 3
3
cresc.
3
3
3
3
3
3
3
3
3
3
3
3
48
3
3
3
3 3
3
3 3
3
3
132 Poco agitato
= 126
54 3
(
3
3
3
)
60 Clara
The 3
66
pa
pers are
3
3
say in’
that
ly five 3
3
3
3
on
days 3
a
go 3
3
3
3
Clara
nons were
can
3
fir
in’
at
Ap po mat tox-
on
ly five
days 3
3
3 3
3
3
a
go 3
3
3
3 3
72
Clara
sol
diers were 3
dy
in’
at
Ap
po
mat tox-
bels were 3
3 3
Re
3
3
3
yell
in’
at
3 3
3
133 77 Clara
3
Ap po mat tox-
3
that
ol’
3
3
3
time
reb
el yell
3
3
an’ break in’
3
in
to
3
3
3
a
scar
y
3
3
3
83 Clara
dou ble quickand
rush
as though on
pa
rade,
on
3
3
3
3
3
3
3
ly five
days
3
3
a
3
3
3
89 Clara
go,
Mis
ter
Lin
coln said,
“Long
live
the
Un
ion”,
3
3
3
3
3
3
3
3
3
3
3
134 94 Clara
an’
the
flag
of
truce
was 3
sent
dim.
She
3
3 3
3
to
ri
dan
3 3
3
3
3
3
3
100 Clara
on
ly
five
days
a
go,
an’
3
3 3
3 3
3
3
3
3
3
3
3
Clara
cresc. poco a poco
106
then
the 3
qui
et
came,
the
sky
o pened
3
3 3
cresc. poco a poco 3 3
3
3
112 Clara
(cresc. poco a poco)
up,
and
the
3
3
3
3
3
stars
fell
through
and
be
low
the
light
8va
(cresc. poco a poco) 3
3 3
3 3
3
3
3
3 3
135 118 Clara
(If
there
was
light
at
all),
(8va)
3
3
3
3
3
3
3 3
123
Clara
hope
was
born.
(8va)
loco 3
3
3
3
3 3
3
3
3
3
128 Clara
On
ly
five
days
a
3
go
a
trou bled peace be
gan
at
3
3
an’
times
3
3
3
3
3
134 Clara
Ap
po 3
mat tox,
3
with 3
heal
in’ 3
time
3
3
3
a 3
3 3
3
3
136 140 Jennie
But,
Clara
Aun
ty,
is
n’t
it
ex
cit
in’-
way. 3
3
3
3
146 Jennie
The
War
be
an’
new
in’
ov
er?
Co
lo
ra
do’s gon
na
o
pen
up
to
152 Jennie
set
tlers
kinds of
folks.
May be
Clara
Yes,
Jen nie.
now
you can
start
look in’ for your
137 CLARA becomes contemplative and with her own thoughts.
158
Jennie
ritard.
a
girl
a tempo
= 64
gain.
Clara
sognando
Some
a tempo
where
you
162 Clara
= 64
3
za-
on
dolce
3
your
way
out from
3
3
165 Clara
poco accel. e cresc.
fly
in’
like a
sing
in’ bird
poco accel. e cresc.
3
home
to
my
7
heart
(
at last!
cresc.)
3
the shad owed
3
3
past
E
sognando
ritard.
li
are,
10
138 She is interrupted by the distant sound of men’s voices shouting. BARNEY FORD enters, perturbed.
Più mosso 168 Clara
= 96
Bar ney-
What
is it? on the verge of tears
Ford
Più mosso
Colo nel
= 96 (drums)
172 Ford
3
Chiv ing ton
and his gal lant
Third
made
good
on his ven det
*
174
Ford 3
tered
peace
ful
Che
yenne
* The Pianist may omit the top line in the Right hand.
at
Sand
Creek-
ta-
slaugh
139 176
Ford 3
sev en
chiefs,
six
ty braves,
o
ver
a
hun dred wom en an’
child ren,
178 Ford
e
180
ven
ba
bies.
Like
mad
men,
they
were
Ford
mu
ti
lat
in’,
scalp
in’,
dis
mem
brin’
an’
140 182
Ford
laugh
in’
at
the
sport!
Scalp
in’,
mem
brin’,
an’
Distraught, running to him agitato 3
184 Jennie
Ford
laugh in’
dis
My John
at
the
sport!
laugh
in’
at
the
and our lit tle
sport! 3
JENNIE screams and sinks to the floor, CLARA trying to comfort her.
187 Jennie
poco ritenuto
Jack? Ford
Intenso
= 76
Intenso
= 76
crying
John’s
a live,
but
poco ritenuto
marc.
lit
tle
Jack -
8va
Poco meno mosso 190 Ford
141
= 69
poco rit.
3
He
loco
was mur dered by
Poco meno mosso
cresc.
a
3
cock y Lieu ten ant from Dunn’s Com pan y
= 69
poco rit.
simile
Più agitato 193 Clara
= 88
poco ritenuto
It
Ford
whose or ders were to
“E”
kill
all
can’t
be,
it
the mixed blood off spring.
Più agitato
= 88
poco ritenuto
Perc.
Clara 5
196
can’t Ford
The angry voices draw closer.
be -
3
It’s
3 3
a
142 3
199 Ford
3
of town folk wav in’ scalps an’
mob
202
tro phies
an’ cheer
in’ the
sol diers -
Subito più mosso
Solo man 3
Let’s get her!
Step aside, Aunty, we got no argument with you.
3
Poco meno mosso
yes,
Poco meno mosso
3
3 3
Oh,
3
3
3 3
3
3
The men grumble their agreement, though 208 Clara ashamed to be facing AUNTY.
3
3
Solo man 2
3 3
3
CLARA blocks their way.
3
3
= 126 3
3
There she is, the Injun whore!
to no good.
The mob bursts on stage. JENNIE shrinks from them.
The shouting of the rabble offstage grows in volume.
CLARA and BARNEY stand unmoved. Solo man 1 205 spoken
they’re up
3
you have -
and
with God.
143 Nobile 211
= 69
Clara picks up a Bible with dignity and authority
much
As
Nobile
as
a
ny
church,
is
this
room
hal
lowed-
= 69
,
214 Clara
As
much
as
a
ny
al
tar
is
the
heart
a
shrine-
,
,
217 Clara
spoken
Sheepishly, the men remove their hats. Poco agitato = 72 poco rit. in a rush of inspiration
So take off your hats! I know a place called
Poco agitato LH
nobile
poco rit.
= 72
144 poco ced.
221 Clara
poco accel. cresc.
a tempo
3
Love -
it takes you by sur prise when you come on
it.
Sud den like
it’s there, an’ your heart sings,
poco ced.
poco accel.
a tempo
(accel.) 225 Clara
(accel.)
229
poco ritenuto
poco rit.
an’ your ribs rise
cresc.
an’
fall
with laugh ter -
it’s
a ho
ly
place,
poco ritenuto
poco rit.
a tempo
Clara
= 72
poco cedendo
It’s a place called
Love.
I know a place called
a tempo
poco cedendo
= 72
Love -
it catch es you off
145 poco ced.
233 Clara
guard from out
ta
poco accel. cresc.
a tempo
no where,
hits you hard right
a tempo
8va
an’ you cry
from
re
poco accel.
loco
6
here on the left side,
poco rit.
poco ced.
cresc.
poco rit.
poco ritenuto 237 Clara
lief,
you’ve changed,
it’s
a ho
ly
place,
it’s a place called
poco ritenuto
At this moment, O’HOOLIHAN, the “squaw man,” enters, searching for his wife JENNIE. He is bandaged. The crowd parts for him, and he goes to his sobbing wife, gathering her in his arms - tenderly, comfortingly. Clara
241
ritard.
Poco meno mosso
= 58
Poco meno mosso
= 58
Love.
ritard.
dolce, tranquillo
146 a tempo (tranquillo) rit.
246 Clara
= 58
caldo, legato
,
I know a place called
,
rit.
a tempo (tranquillo)
= 58
,
250 Clara
Love - you live there ev ’ry day
poco rit. più dolce
an’
nev
er know it
’less you touch
a heart
in bro ther hood-
During the final lines, O’HOOLIHAN leads his wife to exit. On the way, a man reaches out and touches O’HOOLIHAN’S arm in a gesture of sympathy for their lost son.
a tempo
= 58
255 Clara
An’ then you
find
that you’ve come
Chorus (Men)
home
at last -
It’s a ho
ly
place, unis.
It’s a place called
a tempo dolce
poco rit.
= 58
147 Espansivo
= 48
ritard.
260 Clara
It’s a ho ly
place,
It’s a place called
Love!
Chorus (Men)
Love,
It’s a place called Love,
It’s a place called
Love!
Espansivo
= 48
3
ritard.
265
A mill whistle rends the air with repeated blasts; Townspeople, led by the MAYOR, rush in, confused over the shrieking whistle. Clara
Più agitato
= 80
Più agitato
= 80
Chorus (Men)
Mill Whistle
148 The MAYOR raises his hands for silence. spoken
270 The Mayor (Baritone)
EVERYBODY QUIET! As Mayor of Central City it’s my sad duty to inform you that President Abraham Lincoln has been assassinated!
Mill Whistle
We hear from the orchestra a dramatic musical reaction, as the crowd responds to the announcement with shocked cries and weeping. CLARA moves downstage alone, her head bowed.
Adagio
= 54
274
dim.
intenso
278 Clara
Ga
bri el!
Ga
3
3
bri el!
Come down
to me this hour
and
149 Clara
281
3
save
this land!
Chorus
S A Come down!
Come down!
Come down!
T B
cresc.
End of Act I
150
Act II Allegretto
= 104
marc.
4 6 3
5
5
7
marc. sempre
10
13
8va
loco
ritard.
151
Scene 1 Central City, winter, early 1870s. It is Saturday night at JANE GORDON’S brothel on Pine Street. A rowdy party is underway, the male clientele interacting with the sporting ladies of this “soda parlour house.” They are the GENTS and SHADY LADIES. MRS. GORDON presides at a player piano, upon which a large portrait of her husband, CAPTAIN GORDON, is prominently displayed. The décor includes an overstuffed Turkish couch, a fancy sideboard and a tapestry-upholstered parlor suite of chairs. Colorful banquet lamps stand about on tables. The miners dance with the ladies of the establishment, some of whom are in various stages of undress.
Colorado Brothel tempo
= 76
17
honky-tonk style
19
22
25
Gents
roughly
T 8
Sa
B roughly
tur day
night
at
Ja
nie’s,
Sa
tur day
night
at
Ja
nie’s,
152 27 Gents T 8
Sa
tur day night at
Ja nie’s ain’t like
a
ny o ther night–
Sa
tur day night at
Ja nie’s,
B
30 Gents T 8
Sa
tur day
night
at
Ja
nie’s,
Sa
tur day
night
at
Ja
nie’s
B
solo (falsetto)
32 Gents T 8
ain’t
like
a
ny
o ther night.
ain’t
like
a
ny
o ther night.
Ya
B She’s got
a
week end “Spe cial
Deal”–
153 34 Gents (solo) T 8
git
two
girls
Bass solo
fer one–
B So
if
you’re feel
in’
le
cher ous,
Git
36 Gents Ten. 8
Sa
tur day night
at
’cause tutti
Sa
tur day night
at
’cause
Sa
Ja
nie’s
Ja
nie’s,
Bar. (solo)
marc.
Bass rea
dy
fer
some games an’ fun,
tur day night,
a
Sa tur day
38 Gents Ten. 8
Sa
tur day
night
at
Ja
nie’s,
Sa
tur day
night
at
Ja
nie’s
Sa
tur day
night
at
Ja
nie’s,
Sa
tur day
night
at
Ja
nie’s
Sa tur day
night
at
Ja
nie’s
Bar.
Bass night,
a
Sa tur day
night,
a
154 40
Cornish tempo Poco più mosso
Miner 1 in a Cornish accent
= 84
3
8
Sa tur day
night
at Ja nie’s
t’is
Gents
T 8
ain’t like
a
ny
o ther night.
ain’t like
a
ny
o ther night.
B Cornish tempo Poco più mosso
= 84
poco rit.
43 Miner 1
3
8
not like a noo ther night,
Sa tur day night
at
Ja nie’s
t’is
not like a noo ther night–
I
poco rit.
Più mosso
= 112
Miner 1 46 freely
8
hur ry dreck ly from the mine hot
Più mosso
= 112
brea thin’
in me
fist–
me
heart pumps hard, it’s en tin’ down, I’m
155 ritard. 49 Miner 1
Cornish tempo He gasps.
= 84
3
3
8
out ta breath– an’ whisht– ’cause Sa tur day night
Cornish tempo
at Ja nie’s
t’is
not like a noo ther night,
Sa tur day
= 84
ritard.
52
Ossia
8
night
at
Ja
nie’s
t’is
not
like
a
noo ther
night.
like a noo ther
night.
ritenuto, colla voce Miner 1
8
a tempo
night
at
Ja
nie’s
t’is
not
a tempo
ritenuto, colla voce
8vb
a tempo ( = 84) Miner 2 (wearing a yarmulke) 54 in a Yiddish accent
Sa tur day night at
ritard.
,
ten.
Ja nie’s– oiy! It
fills mine soul mit guilt–
Sa tur day night at
a tempo ( = 84)
colla voce ritard.
(8vb)
Ja nie’s, oiy, oiy,
156 Cadenza Più mosso, rubato 57
ritenuto
Miner 2
oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, veh!
Jewish wedding tempo
It fills mine soul
mit guilt–
Più mosso, rubato
= 92
though
Jewish wedding tempo
ritenuto
= 92
marcato
(8vb)
60 Miner 2
3
all the shik sa la dies * all week long I dream of
love the fact lus cious lips,
o ver sized I’m shoul ders and thighs,
(8vb)
an’ kvetch that I’m the on an’ yearn for Ja nie’s sha
loco
Miner 2
con passione
ly one of dy la dies
8vb
Poco meno mosso
63
3
all who’s cir cum cised- yet Sa tur day whom I i do lize-
night
at
Ja nie’s– It
Poco meno mosso
(8vb) * Alternate line
loco
fills mine soul
mit guilt. Sa tur day
157 66
Ossia
night
at
Ja nie’s,
oiy,
oiy,
oiy,
oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy,
Cadenza ritard.
Più mosso, rubato
Miner 2
night
at
Ja nie’s,
oiy,
oiy,
oiy,
oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy, oiy,
Più mosso, rubato
ritard.
colla voce
8vb
Italian passion tempo
68 Miner 3
8
veh!
Spoken I’m so ferklempt I could It fills mine soul plotz!
mit
ra,
Sa tur day night
at
guilt.
Italian passion tempo
(8vb)
con amore 3
Al lo Miner 2
= 80
loco
ritard.
71 Miner 3
8
= 80
in an Italian accent
Ja
nie’s–
shee za
sure to be a hea ven ly night–
Here I find my bel
quasi mandolin rit.
la
158 75 Miner 3
8
(rit.)
ritenuto
Colorado brothel tempo
3
don
na
in na
glow
of a can
dle a
= 76
light!
Gents
Ten. 8
Sa
tur day night at
Ja
nie’s,
Sa
tur day night at
Ja
nie’s,
Bar.
marc.
Bass Sa
a Sa tur day
tur day night,
Colorado brothel tempo
= 76
ritenuto (rit.)
loco 8vb
78 Gents Ten. 8
Sa
tur day
night
at
Ja
nie’s,
Sa
tur day
night
at
Ja
nie’s
Sa
tur day
night
at
Ja
nie’s,
Sa
tur day
night
at
Ja
nie’s
tur day
night
at
Ja
nie’s
Bar.
Bass night,
a
Sa
tur day
night,
a
Sa
159 Moderato
80 Mrs. Gordon
My
Gents
= 120
fav ’rite spouse was Mis ter Kraus who
T 8
ain’t
like
a
ny
o
ther night.
ain’t
like
a
ny
o
ther night.
B
Moderato
= 120
8vb
Poco più mosso = 132
83 Mrs. Gordon
left me sit tin’ pret ty Shady Ladies
with a nest egg and this fan cy house in
down town Cen tral Ci ty–
S A Then
Poco più mosso = 132
loco
loco
8vb
8vb
86 Shady Ladies S A next came hus band num ber two an’
(8vb)
three an’ four an’
loco
five–
She
can’t keep track which ones ’re dead an’
160 Ancora poco più mosso
89 Mrs. Gordon
Most
Shady Ladies
died in
= 144
bed, ex cept fer one– an’
that was
Cap tain Gor don–
He
S A which ones ’re
a
live.
Oo,
oo,
Ancora poco più mosso
8vb
92 Mrs. Gordon
= 144
loco marc.
marched to hea ven in Shady Ladies
his boots an’
now he’s suck in’ dai
sy roots a
cross the riv
er Jor dan. Alto
S A ah,
ah.
An’
poco accel.
95 Shady Ladies
marc.
S A cross the
marc.
riv
er,
now he’s suck in’
dai
sy roots a
A now he’s suck in’
dai
sy roots a
cross the
riv
er
Jor dan,
an’ now he’s suck in’
poco accel.
loco 8vb
161 (poco accel.) 98 Shady Ladies
Più mosso
= 154
well articulated
div.
Sop. cross the
ri
ver Jor dan.
A
good time’s had by all, they say– ’cause we got diff ’rent in ter play at well articulated
Alto dai sy roots a cross the ri ver. A
good time’s had by all, they say– ’cause we got diff ’rent in ter play at
Gents
unis.
Ten. Bar. Sa
tur day
night
at
Ja
nie’s,
marc.
Bass Sa
Più mosso
tur day
night,
a
Sa tur day
= 154
(poco accel.)
101 Shady Ladies
unis.
unis.
Sop. Ja nie’s,
at
Ja nie’s,
we
love
to play
at
Ja nie’s–
us
girls know how to give the boys a
Ja nie’s,
at
Ja nie’s,
we
love
to play
at
Ja nie’s–
us
girls know how to give the boys a
Alto
Gents
unis.
Ten. Bar. Sa
tur day
night
at
Ja
nie’s,
Sa
tur day
Bass night,
a
Sa tur day
night,
a
Sa tur day
162 104 Shady Ladies Sop. nice
re
lax
in’
“get
a
way”
at
Ja
nie’s,
at
Ja
nie’s,
you’ll
nice
re
lax
in’
“get
a
way”
at
Ja
nie’s,
at
Ja
nie’s,
you’ll
Alto
Gents unis.
Ten. Bar. night
at
Ja
nie’s
ain’t
like
a
ny
night
at
Ja
nie’s
ain’t
like
a
ny
Bass
106
Shady Ladies più
Sop. have più
a
have Gents più
a
spree–
o
ther
night.
o
ther
night.
spree–
a
stars
an’
gar
ters
jam
bo
ree!
In down town Cen tral
Ci
ty,
a
stars
an’
gar
ters
jam
bo
ree!
In down town Cen tral
Ci
ty,
Alto
Ten. Bar. Sa
tur
day
tur
day
più
Bass A
Sa
tur
day
night,
a
Sa
163 108 Shady Ladies Sop. plen ty
of
ass
an’
tit
ty
here
at
Ja
nie’s,
at
Ja
nie’s,
you’ll
plen ty
of
ass
an’
tit
ty
here
at
Ja
nie’s,
at
Ja
nie’s,
you’ll
Alto
Gents
Ten. Bar. night
at
Ja
nie’s
ain’t
like
a
ny
night
at
Ja
nie’s
ain’t
like
a
ny
Bass
110
Shady Ladies più
Sop. have a più
ball,
a wild an’ wool ly free fer
all!
Sa
tur
day night,
Sa
tur
day night
at
have a Gents più
ball,
a wild an’ wool ly free fer
all!
Sa
tur
day night,
Sa
tur
day night
at
Sa
tur
day night,
Sa
tur
day night
at
Sa
tur
day night,
Sa
tur
day night
at
Alto
Ten. Bar. più
o ther night.
Bass o ther night.
A
Sa tur day
night,
164 Ritenuto = 92
113 Mrs. Gordon
Shady Ladies
The
Sop. Alto Ja Gents
nie’s–
Ja
nie’s–
Ten. Bar. Bass Ritenuto = 92
116 Mrs. Gordon 3
night
the boys get
paid
is the
a tempo ( = 154)
3
3
night
the boys get
laid.*
Shady Ladies
Sop. Alto
Ten. Bar. Bass
Sa
ha
ha
tur
day
Sa
ha
ha
tur
day
Gents
a tempo ( = 154)
* Last word mouthed only, not sung.
165
Shady Ladies
119
unis.
S A night
at
Ja
nie’s,
Ja
nie’s,
Gents
T B
122
Shady Ladies
S A Ja
nie’s!
Gents
T B
8vb GRIMY MINER 4 (REILLY) barges into their midst. He has an injured, bloody hand. Throughout the scene, he will spit when Mrs. Gordon is not looking. The SHADY LADIES gather around him solicitously.
Lazy Tempo 125 Mrs. Gordon
= 58 3 3
Miner 4
Spoken
You don’t look so hot,
Rei lly.
3
Howdy, Miz Gordon.
Lazy Tempo
loco
= 58
Real ly?
What hap pened to yer
166 128 Mrs. Gordon
3
A fight?
hand? Miner 4
Did n’t
I
tell ya–
stay a
way from the
(spits)
Got in
to
a fight–
130 Mrs. Gordon
Sink Hole
Sa
loon? grumbling
Miner 4
3
Yeah,
yeah—
Dad
gum
no
good
pole
cat–
think
132 Mrs. Gordon
Miner 4 3
bust
Why 3
ed mah knuck les on his head.
(spits)
did n’t
you
go to Doc Reese?
I
Chastity’s tempo 134 Mrs. Gordon
Miner 4 3
3
It
were his
Andante
Spoken
head
broke
= 72
We best git Clara Brown over here. She’s likely at St. James’ potluck ’cross the street. (Hollering) CHASTITY!!
3
I
167
mah hand
on.
= 72
gli
ss.
Andante
BLOWSY SHADY LADY 1 - as CHASTITY - descends the stairs, wearing a beribboned pink corset and pink highbutton shoes - but nothing else. We hear hoots and whistles from the men.
137
3
3
3
3
3
3
3
3
sim.
139 Mrs. Gordon 3
Chas
3
141 Mrs. Gordon
o ver to the church
3
3
3
git Aun ty Cla ra–
you go
3
3
an’
ti ty–
3
3
An’ wear that pur ty buf
fa lo chub by with the
3
3 3
168 CHASTITY exits on the run.
Calling after her Spoken
Lo stesso tempo
143 Mrs. Gordon
– an’ yer pink ostrich hat! storm col lar.
Lo stesso tempo 3
3
3
3
146
Mrs. Gordon 3
3
3
Can’t have the chur chies think in’ we’re
shab by. 3
3
3
148
Mrs. Gordon (to Shady Lady 2) 3
Co ra–
To the other girls as CORA exits
3
git me the me di cine box,
hot wa ter an’ some wrap pin’
an’ you
3
The SHADY LADIES exit with customers in tow.
151 Mrs. Gordon
girls–
poco rit.
Take your gents up
stairs
an’ git ta work! 3
3
poco rit.
5
3
169 (poco rit.)
Lazy tempo
154 Mrs. Gordon
= 58
Does it hurt
bad?
Miner 4
bragging
Naw,
Lazy tempo
3
I’m strong.
= 58
3
3
dim.
(poco rit.)
3
3
Mrs. Gordon - covering her nose
157
3 3
That’s fer
sure–
Let’s git yer hat off–
an’
then yer
muf fler–
160 Mrs. Gordon
an’
then yer coat–
an’
then
yer jac ket–
an’ then
yer
170 CLARA enters, followed by CHASTITY, who is wearing the ostrich hat, buffalo jacket, high-button shoes - but no dress.
163 Mrs. Gordon
sweat er– Miner 4
Well I’ll be damned!
So that’s where mah sweat er was all this time!
Chastity’s tempo Andante = 72 166 Mrs. Gordon
3
3
Chas ti ty,
Andante
3
3
I
na
3
t’ral ly as sumed you’d put on
= 72
3
3
3
3
3
3
3
glis
s.
3
sim.
169 Mrs. Gordon
CHASTITY looks down at herself and registers “oops.” 3
dress.
Thank you
3
3
3
3
3
for
com in’,
Cla ra.
a
171 171 Clara
Eve nin’, Mrs. Gordon
Jane,
don’t be lieve I know this gent le man.
He works the
Ca ri bou Mine
3
SHADY LADY 2 - CORA - enters with the medicine box, bandages and water - setting them down for CLARA, who examines the MINER’s hand.
173 Clara
poco rit.
Real ly?
Mrs. Gordon
motioning him to stand
an’ his name is Reil
ly.
Reil
Miner 4
ly! Standing
3
(spits)
How dy.
poco rit. 3
3 3
Lazy tempo 176 Clara
= 58 to CORA
dressing his hand
You watch what I do, hon ey.
Lazy tempo
= 58
This may hurt, Mis ter Reil ly.
172 Agitato
179 Mrs. Gordon
You
Miner 4
Real ly?
Ow!
mind yer
cus sin’ ’round Aun
ty Cla ra,
you mind
yer cus
sin’–
you
God damn!
Agitato
= 132
Agitato = 132
Poco meno mosso
182 Mrs. Gordon
mind yer
= 132
molto marc.
You
cus sin’ ’round Aun ty Cla ra!
Miner 4
to CLARA
Oh, fer
pi ty gra cious, ma’am, but
Poco meno mosso
that shore stings.
Agitato = 132
Poco meno mosso, freely to CLARA, in a friendly manner
186 Mrs. Gordon
mind
3
yer
cus sin’!
Sor ry to bring you here–
Poco meno mosso, freely
colla voce molto marc.
I know it’s not yer kind a place.
173 Andante
= 56 (in 2)
188 Clara
It be the clean est place in Andante
town–
’Sides, I don’t give a care,
’cause help in’
here is jest the same
as
= 56 (in 2)
dolce
192 Clara
poco rit.
a tempo
help in’ a ny where. Mrs. Gordon
3
3
I hate
to ask,
but
got ta know–
That girl
you
a tempo
poco rit.
dolce
Un poco più mosso 196 Clara
3
3
Mrs. Gordon
Well, Jane–
it seems I got new hope
that’s put me in a
spin–
I heard from
3
lost so long a go?
Un poco più mosso
cresc.
174 poco rit. 200 Clara
sy
Mis
E
va line
in
Rus sell ville–
She says she
thinks they might a found
E
poco rit.
Più tranquillo 203 Clara
li
= 72 3
za!
I’m
3
go in’
to Ken tuc
3
ky
Mrs. Gordon
Oh, Cla ra–
Più tranquillo
at
last,
at last!
= 72
cresc.
senza ritard. tenderly
206 Clara
fall,
3
go in’ back
to see
if
E
li
senza ritard.
za
it might
be–
I can’t
this
175 CLARA moves apart, caught up in her hopes. Simultaneously, REILLY starts to exit, pulling CORA with him.
CLARA has finished bandaging the Miner’s hand.
ritard.
Recitativo
209 Clara
to Reilly
Andante espressivo
= 66
Andante espressivo
= 66
Noth in’ broke.
not go back. Mrs. Gordon
I know.
Miner 4
Thank you, ma’am.
Recitativo
ritard.
212
Mrs. Gordon (to Reilly)
First Miner 4
ya got ta take a bath.
Them’s the rules.
A bath?
What fer?
T’ain’t A pril yet.
3
Shrugging, REILLY exits with CORA. CLARA is joined by MRS. GORDON.
poco cedendo
215 Clara
Un poco più mosso
= 69
sognando
Oh,
Un poco più mosso 3
sognando poco cedendo
I hope it’s E
Jane,
= 69
176 intenso
218 Clara
li
3
za.
Dear
Je sus
3
in
hea ven, make it
be,
3
make it be
E
li
za
3
Poco meno mosso
221 Clara
Jane— Mrs. Gordon
Make
Oh,
make
it be–
it be–
Oh,
make
it be!
make
it be!
Poco meno mosso
= 63
= 63
sonoro
224
They embrace
poco rit.
Prayerful 227 Clara
= 72 3
Oh,
Prayerful
lead
= 72
me
to
my
child,
Lord–
Make me
a
psalm to sing,
make me
a
177
poco ritard.
Poco più mosso
Prayerful
230 Clara
= 72
3
with no cry in’, life Mrs. Gordon
a
sky
that I
can fly
in!
Oh,
lead
Prayerful
Poco più mosso
her
to
her
= 72
poco ritard.
espr.
233 Clara
Poco più mosso
Oh, lead me to Mrs. Gordon
child,
Lord–
E
Make her a
li
poco rit.
za,
psalm to sing,
make her a
life
with no cry in’,
a
sky that she can
Poco più mosso
cresc.
Poco meno mosso 236 Clara
Oh, make it Mrs. Gordon
ritard.
3
be
poco rit.
E
li
za
Jane,
=
( = 50)
Oh, make
it
be!
Oh, make
it
be!
3
fly
in!
Oh, make it
be
E li
za Jane!
Poco meno mosso
=
3
loco 8vb
ritard.
( = 50)
178 ritard.
239 Clara
Oh, make it
be!
Oh, make it
be!
molto ritard.
Mrs. Gordon
molto ritard.
dim.
3
ritard.
Interlude: Hope Adagio
= 52
dolce
5
3
3
3 3
9
3
espr., poco rubato
179 (Train engine sounds)
13
5
3
3
Train Whistle
rubato, intenso
(We hear the repeated whistle of a train)
17
Più mosso
= 92
cresc.
accel. poco a poco
3
3
3
3
attacca
Scene 2 Autumn, on the verandah of the Brown plantation in Russellville, Kentucky. It is some years since CLARA took leave of the Brown family. LUCINDA enters, wheeling in a tea cart that holds a china service. She is followed by EVALINE, who is carrying a small tray of pastries
Allegro moderato 21 Evaline
= 120
Allegro moderato
= 120
Lu cin da– not the
chi
na, dear.
For Aun ty
stacc. sempre
24 Lucinda
Evaline
Cla
ra’s vi
We don’t have sil
sit
here we’ll use the
sil
ver ser vice.
ver a
ny
180 27 Lucinda
more–
We
have n’t
had
for quite some years–
The
Yan kees want ed sou
ve nirs,
30 Lucinda
Don’t you re call?–
Don’t you re call?
Evaline
That’s
right–
Now I
re
mem
ber, dear.
cresc.
triumphantly
34 Lucinda
But
Evaline
They took the crys tal an’ the
chan
de lier–
not
the
jew’l
ry–
I
181 38
They both laugh at the thought, as TOMMY, now a young man, enters carrying a wine decanter
Lucinda
bu ried that back
of the
out
house–
where they
ne ver thought of dig gin’!
8va
loco
42 Tommy
soberly
8
They
stole
the ba con
an’ the cow
46 Tommy
8
an’ all
the wa ter me lons,
too,
an’
jams
an’ yams
an’
bar ley meal–
an’ then they
50 Evaline
Why
Tommy
8
burned
the pic ket fence
when they ran out
cresc.
ta things to
steal.
182 53 Evaline
Tom my–
you were
just
a tad–
an’ you re mem
ber all of
that?
Tommy
8
Why,
57 Tommy
8
sure
I
do.
Here’s the ap ple wine.
61 Lucinda
The
marc.
train
has come
an’
gone,
so
183 64
Lucinda
Aun
We hear hoofbeats and carriage wheels.
ty ought a
be here
a
ny
mi nute now.
dim.
67 Lucinda Spoken She’s here! Evaline Spoken Wait!
Enter a handyman who has picked up CLARA at the train and is carrying her carpetbag. He ushers her onto the verandah, then exits. CLARA is moved to tears when she sees the two sisters. The three ad lib greetings. The sisters go to her, and the three women = Half tempo tenderly embrace. Then CLARA sees TOMMY.
70
3
3
3
espr.
3
Shyly, formally, TOMMY reaches out to shake hands. CLARA takes his hand and kisses it, then turns to EVALINE and LUCINDA. They all begin to laugh. LUCINDA pours apple wine.
72 Clara
And can
colla voce
this
be Ba by Tom?
Tenderly
= 58
Tenderly
= 58
184 Un poco più mosso
75
poco rit.
Clara Spoken
Evaline Spoken
I’m so happy to be here–
I say we have a toast!
Un poco più mosso
poco rit.
LUCINDA hands each one a cup of wine.
78 Lucinda
Moderato
= 72
toasting Evaline
—Here’s to
Here’s to Tommy
8
loco 8va
ritenuto Lucinda and Evaline They all drink. 82 unis.
dear E Tommy
li
za
Jane.
dear E
li
za
Jane.
with her
–Here’s to dreams that aren’t in vain
= 72
8va
ritenuto
with her
dim. 8va
loco
a tempo
= 72
Evaline to TOMMY
Dar lin’,
a tempo
loco
with her
wish es com in’ true–
Moderato
8
Aun ty’s ren dez vous
please fetch
= 72
to CLARA
3
Miz Brooks.
Her
185 TOMMY nods and exits. 85 Clara
Studying her cup.
Poco meno mosso
Sweet ap ple Evaline
name’s
E li
za Brooks–
lives in
Le wis burg–
we put her up last night in your old room.
Poco meno mosso
poco ritard.
88 Lucinda
Poco più mosso
= 69 3
3
I hope this dream comes
true–
Her auc tion was the same year as yours,
same state, same town.
Clara
wine an’ dreams–
Poco più mosso
= 69
poco ritard.
Ancora poco più mosso 91 Clara
= 80
with a quiet joy
Hope
3
3
is like liv in’ at the cen ter of the
Ancora poco più mosso
= 80
sun
an’ be in’ blind–
To think I soon may find my
186 poco rit. 94 Clara
sight
Poco meno mosso
3
an’ glimpse that face!
Lord y, I’m on the brink of
see
TOMMY escorts ELIZA BROOKS onto the verandah. CLARA stands and faces her.
in’!
Poco meno mosso 8va
loco
poco rit.
97 Evaline
3
May I
Tranquillo 100 Eliza B.
in tro duce
E
li
za
Jane–
= 56
correcting her
My name’s E li
za.
I don’t use “Jane.”
Clara
Do you re
Evaline
3
An’ this is Cla
Tranquillo
dolce
= 56
ra
Brown.
187 hopefully
103 Eliza B.
I don’t know–
Clara
mem
3
3
may be
so.
ber me?
106 Eliza B.
Clara
I think so–
a
lit tle.
Yes–
3
The auc tion– Do you re mem ber the
auc tion?
Was it in A dair ville?
109 Eliza B. 3
yes, it was in A dair ville. Clara
I can’t
Was
Cov ing ton the man who bought you?
re call–
I got
188 Poco agitato
112 Eliza B.
sold Clara
= 72 3
a
gain right soon.
My fa ther’s name was Rich ard. 3
What was your fa
Poco agitato
ther’s name?
= 72
TOMMY moves to CLARA and takes her hand
poco accel. 115 Eliza B.
Più agitato
Clara 3
Rich ard!
Yes,
= 84
but she died.
3
Did you have
a sis ter?
She died!
Did she drown?
Più agitato
Did she drown?
= 84
poco accel.
118 Eliza B.
Clara
Did she drown?
Tranquillo
= 56
Spoken* (1) Drown? (3) My what?
3
Her Spoken (2)Was she your twin? (breathless now) (4)Was her name Pauline?
Tranquillo
name
was Til
= 56
dolce
*The four spoken lines should be delivered as indicated by the numbering.
da,
an’ she died five
189
121 Eliza B.
years a go
CLARA catches herself from fainting, as LUCINDA hurriedly escorts the wrong Eliza from the verandah. CLARA bows her head in disappointment, as EVALINE discreetly withdraws. Only TOMMY remains. He comfortingly touches CLARA’S arm.
3
in
child birth.
PiĂš agitato
Are you my ma ma?
3
125
3
3
dim.
3
ritard.
Adagio
127
= 56
intenso
3
(ritard.)
5
130
dim. poco a poco
= 84
190 134 Clara
to TOMMY
poignantly 3
I’ve seen ma ny a mid night sky with fall in’
stars flash by,
138 Clara
an’ won dered
3
where they go
an’ who might
know.
I’ve sent
141 Clara
3
ma ny a fer vent pray’r
in to the
3
sound less air–
an’ one lone
bum ble
bee
re plied
to
me.
I’ve sung
3
Clara
144
3
3
ma ny a hal lowed hymn to God an’
se
ra phim,
then fi gured
not
a
sin gle bird is
ev er
3
191 poco rit.
a tempo
147 Clara
intimately
I
heard.
will
3
take no
so lace
from my pray’rs to
God
a
bove–
Sweet ap
ple
a tempo
dolce poco rit.
CLARA pours wine into a cup and hands it to TOMMY— then takes up her own cup, as they toast.
poco rit. 150 Clara
ritenuto
wine an’ dreams,
it seems
is all I’m
gon na
a tempo
= 56
a tempo
= 56
get.
ritenuto
poco rit.
poco rit. 154 Clara
poco ritenuto ritard.
They toast.
Sweet ap ple
wine an’ dreams.
Sweet ap ple
wine an’ dreams.
Tommy
8
poco rit.
poco ritenuto ritard.
192
Interlude: Sweet Apple Wine an’ Dreams CLARA and TOM quietly sip their wine together as the lights fade.
a tempo
= 56
158
(rit.)
162
166
en dehors
169
8va
172
193 poco rit. 175 8va
a tempo
loco
= 56
178
più espr.
181
185
dim.
poco rit.
Scene 3 We are back in Central City and fall has turned to winter. The scene has a snowy look. We hear the sound of wind. Onstage is a dream-like set of layered scrims depicting Central City’s small buildings and houses nestled in the mountain gorge. Structures are identified with signs: Gulch Saloon, Billiard Rooms, Assay Office and Mining Supplies. Downstage, three small shacks lean against each other, lettering naming each as Bakery, Barney’s Barber Shop and Clara Brown’s Laundry. A large common sign above them reads Shopping Center. The sign sways and bangs in the wind. In the bluish pre-dawn light, snowflakes are falling.
Molto adagio
= 46
RH
Sost.
LH
194 A flickering light appears in a lean-to shack. The walls dissolve and we see inside, where a Chinese man kneels as he performs a religious rite.
5
( )
3
(Sost.)
misterioso
3
3
3
3
Sost.
He lights a small joss stick. It falls to the floor. He picks it up, not noticing that a flimsy curtain has caught a spark.
9
3
3
3
(Sost.)
A moment later he sees the curtain fully ignited. He tries to put it out, but cannot. He runs furtively from the shack and disappears offstage.
13
3
3
3
3
3
3
8vb With the play of lighting effects, the shack flies out, consumed in a flare-up of flickering orange light. Behind one of the scrims, swaying flames are now projected. Little by little the image of fire spreads from one area to another.
17
=
(in 4)
195 21
accel. e cresc. poco a poco
A tenor appears as a drunken miner. He staggers on-stage holding a whiskey bottle.
Allegro moderato
= 112
Tenor spoken (loudly)
25
Baritone (off-stage) spoken (loudly)
THE TOWN’S ON FIRE!!
Allegro moderato
RING THE BELL!
= 112
(accel. e cresc.)
loco
The tenor stumbles off-stage and immediately re-enters ringing the bell wildly. We hear at once another bell ringing at a distance.
Più agitato
= 126
29
cresc.
più accel.
3
3
3
marc.
3
From all sides, townspeople now run on-stage, many in night clothes or wrappers— miners, gamblers, cowboys, MRS. GORDON and her Shady Ladies, BARNEY FORD, O’HOOLIHAN and JENNIE, the Chinese man and his wife. As the simulation of fire turns into a kaleidoscopic conflagration, music from the orchestra matches the visual scene in drama and excitement. The company ad libs shouts and cries of dismay. A bucket brigade forms with brightly colored buckets.
33
7 3
196 37
3
7
cresc. 3
3
Poco più mosso 40 Decent Ladies
strongly
S S A
’Tis
= 74 (in 2) 3
3
God’s
hot wrath
Poco più mosso
3
that’s com
3
in’ down
3
3
like
hell
fire on
our
= 74 (in 2)
3
3
3
3
3
3
3
3
3
3
3
3
Decent Ladies
44
3
Lo stesso tempo
3
S S A
sin ful hea Chorus Men (Basses)
then
= 148
town! marcato
B Git
out
the wa ter carts an’ man
Lo stesso tempo
the pumps–
an’
= 148
(3+2+2) 3
3
3
3
3 3
48 Chorus Men (Basses) cresc.
B wire
the fire
fight in’
boys
from down in Gol den
Ci
ty–
Tell ’em “Git
up
here on
the
52
Decent Ladies
=
197
(in 2) 3
3
3
All
3
S ’Tis Decent Ladies
God’s
hot wrath
up
3
on
our sin 3
3
ful
town!
Make All
3
A ’Tis
God’s
hot wrath
up
on
our sin
ful
town!
Make marc.
Chorus Men
T 8
We’ll git the hose from Tel ler House– Chorus Men
B dou ble!”
Make
=
(in 2) 3
3
3
3
3
3
3
3
loco 8vb
56
Chorus
S way!
Look
out!
Make way!
Look
out!
Make way!
way!
Look
out!
Make way!
Look
out!
Make way!
A
T 8
It’s hang in’ by the cel lar door–
We’ll screw it
to the pipe
that goes be
neath the floor!
B way!
Look
out!
we’ll screw it to the
pipe
that goes be neath the
198 Chorus
59 unis. S
Go find the hose at Tel ler House–
It’s by the Tel ler cel lar door–
Then screw it
to the pipe
to the pipe
A Make way!
Look
out!Then screw it
Make way!
Look
out!
Make way!
Look
Make way!
Look
out!
Make way!
Look
T 8
B floor.
62 Chorus S that goes
be neath the
floor.
who
real
ly
knows
for
that goes
be neath the
floor.
who
real
ly
knows
for
Who
real
ly
knows
for
sure, who
real
ly
knows
for
A
T 8
out!
Make way! unis.
B out!
Make way! Who
real
ly knows for
199 65 Chorus
Decent Ladies
cresc.
S A sure
if Tel
ler
House
is
e
ven
stand
in’
a
ny more?
is
e
ven
stand
in’
a
ny more?
is
e
ven
stand
in’
a
ny more?
’Tis
cresc.
T 8
sure
if Tel
ler
House
cresc.
B sure
if Tel
ler
House
cresc.
= 69 Decent Ladies
8vb 3
3
S S A God’s
hot wrath
3
3
that’s com
in’ down
3
3
like
hell
fire on
3
our
sin
3
ful hea
then
=
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
loco
= 73 Decent Ladies
All (Sop. unis.) marc. unis.
S A town! All unis.
I think marc.
the wind
is
chang in’–
I
see
the fire
I
the wind
is
chang in’–
I
see
the fire
T B =
3 3
think
200 77
Chorus
S A rang in’
straight
up
and ov
er
Gun
nell Hill– It’s
head
in’ for
the
rang in’
straight
up
and ov
er
Gun
nell Hill– It’s
head
in’ for
the
T B
Chorus
81 S A pow der mill!
We see people hauling household goods across the stage, frantic to save their belongings.
Make
T B pow der mill!
St Paul’s E pis co pa lian spire
loco 8vb
85
Chorus
S S A way!
Look
out!
Make way!
Look
out!
Make way!
T B is look in’ like a fun ’ral pyre–
The flames are leap in’ high
er–
The town’s goin’ up in fire!
201 88 Chorus S A Eu
re
ka
Street has
two
old wells–
I’m
told
they used
to
ov
er
flow–
T B Make
way!
Look
90 Chorus
unis.
S A It
ain’t no
use no more–
They dried up
long
a
go.
It’s
T 8
out!
Make way!
Look
out!
Make way!
It’s unis.
B out!
Make way!
Look
out!
Make way! They
dried up long
a
go. It’s
8vb
93 Chorus S A hot
ter ’n Ha
des
in
Ju
ly–
The
snow’s
no
help,
we’re
hot
ter ’n Ha
des
in
Ju
ly–
The
snow’s
no
help,
we’re
unis.
T B
cresc.
loco
cresc.
202 96
Chorus (cresc.)
S tin (cresc.)
der dry
an’
now
it’s
an
in
fer
no,
in
tin
der dry
an’
now
it’s
an
in
fer
no,
in
der dry
an’
now
it’s
an
in
fer
no,
in
der
an’
now
it’s
an
in
fer
no,
in
A
(cresc.)
T 8
tin (cresc.)
B tin
dry
(cresc.) 5
loco 8vb
=
99 Chorus
unis.
S fer
no,
in
fer
fer
no,
in
fer
A
unis.
T 8
fer
no,
in
fer
fer
no,
in
fer
B
=
5
203 We are still aware of the sound of a strong wind, as men work a pump from a fire wagon. We see the Shopping Center with “Clara Brown’s Laundry” sign blowing away in the fiery wind. We know that the fire is out of control and nothing can help. Decent Ladies 102 Chorus 3 3 3 3
3
3
S no.
’Tis
God’s hot wrath 3
that’s com 3
in’ down 3
like
hell
3
fire on 3
our 3
A no.
’Tis
God’s hot wrath
that’s com
in’ down
like
hell
3
3
fire on 3
our 3
T 8
no.
Ah,
ah.
3
3
unis.
3
3
B no.
Ah,
ah.
3
cresc.
3
3
3
dim.
3
3
3
3
3
3
3 3
loco 8vb
Più mosso
106 Mrs. Gordon
Decent Ladies
C’
mon,
= 84 (in 3)
girls-
git some buck ets here.
3
3
S sin
ful
hea
3
then
town!
then
town!
3
A sin
ful
hea
T B
Più mosso
dim.
3
3
3
3
3
3
3
3
= 84 (in 3)
204 =
109 Mrs. Gordon
We’re gon
na lend
a
help in’ hand–
Do
ev
’ry
thin’
they say
to
do
an’
=
8vb
111
Mrs. Gordon
accel.
marcato
try
to be com pli
ant–
’cause
Cen tral Ci ty Fire
Bri gade’s our
most im por tant cli
ent.
accel.
(8vb) MRS. GORDON and her SHADY LADIES join the Bucket Brigade. There are ad lib shouts and crowd noise. Then comes the winding down as the fire goes out. Exhausted, defeated, the townspeople give up the fight; MRS. GORDON and entourage exit; the Bucket Brigade straggles off; weeping citizens wheel off their rescued household possessions. We see the wreckage of the fire, wisps of smoke and glowing embers.
Più mosso
= 100
114
furioso
5
loco Onto this scene of desolation, CLARA enters in traveling clothes, carpetbag in hand. She gazes at the awful scene. She puts down her bag, as it begins to snow. She is alone.
116
5
ritard.
Deliberately
118 Clara
An
Deliberately
205
= 80
gel
Ga
bri el–
How much more?
= 80
rit.
121 Clara
An
gel Ga
bri el–
How much more?
These ol’
bones
feel dead,
124 Clara
these ol’
feet
are sore,
this ol’ heart
Un poco meno mosso 127 Clara marc.
But go a head,
Un poco meno mosso
is
blunt
as
lead–
Un poco più mosso poco più agitato
I
dare
ya,
Gabe,
Un poco più mosso
Gabe,
Gabe,
Gabe,
Gabe,
206
CLARA starts to leave, then pauses.
Adagio non troppo
ritard.
131 Clara
Test
= 74
resolutely
me
more.
“I
will not
let Thee
Adagio non troppo
go
ex
= 74
ritard.
135 Clara
cept
Thou
bless
me.”
“I
will
not
let
Thee
go
8vb
ritard. 139
Nobile
Clara
Thou
cept
bless
Nobile
= 54
me.”
= 54
nobile
ritard.
(8vb)
Moderato
= 80
sempre dolce, ma un poco energico
loco
Interlude: Angels
ex
207 5
10
15
20
diminuendo
8vb
loco
208 25
30
35
39
niente
niente
209
Scene 4 Spring. We hear the distant chugging of a train climbing a steep mountain grade. Suddenly spirited brass band music begins playing, as lights come up brightly. We are in front of the elegant facade of Central City’s Teller House. There is an air of patriotic excitement, with flags flying and banners proclaiming “Statehood for Colorado” and “Welcome, Prez Grant & the Mrs.” People mill about the street. Some lean from window sills. A child perches on a hitching post. It seems everyone is talking at once, till they join together in their common hope for Colorado statehood.
Allegro moderato
= 104
marc.
8va
loco
4
marc.
7
10
210 13 7
16 Chorus
unis.
S A There’s a
T B
unis.
19 Chorus S A big
T B
deal
a cook in’
if you care to spe
cu late -
There’s a
big
plan
a hatch in’ an’ we’re
211 22 Chorus
marc
unis.
S A soon gon na be a state -
Fer a
long
time we’ve hag gled
till there’s no room fer de bate-
Now at unis.
T B
marc
25 Chorus
unis.
S A last,
we’ve
the
back in’
of the
whole e
lec
to
rate,
we’ve
the
back in’
of the unis.
T B
212 28 Chivington
Right!
8
Byers
Right!
At
last
we’ve
put
the cart
be
hind
the
Right!
At
Evans
Right!
Chorus
S A whole
e
lec
to
rate.
T B
30 Chivington
8
Be hind the
horse,
be
hind
the
horse!
Be
hind
the
horse!
be
hind
the
horse!
Byers
horse, be hind the horse! Evans
last we’ve put
the cart be hind the
horse,
Chorus (Women)
S A And
213 33 Chorus
marc.
S A guess
who’s to en dorse our
bid
to be
a state!
None marc.
o
ther
than the
None
o
ther
than the
gl
iss
.
T B
Chorus (marc.) 36
S A Pre
si dent!
The
Pre
si dent!
The
Pre
si dent!
There’s a
T B (marc.)
(marc.)
39 Chorus
unis.
S A fine unis.
T B
stew
a brew in’
an’ it’s
tas tin’ migh ty
good -
Co lo
ra
do’s
a win nin’ an we
214 42 Chorus
marc.
unis.
S A al ways prayed that it would -
That we’d all
join the Un ion
in the bonds of bro ther hood.
Nev er unis.
T B
marc.
45 Chorus
unis.
S A take
Grant
for
grant ed,
we’d be
safe to
knock on
wood,
we’d
be
safe to
knock, to unis.
T B
48 Chorus
poco rit.
Poco meno mosso unis.
S A knock, knock, knock, on wood.
There’s a
big
deal a cook in’ unis.
T B Poco meno mosso
poco rit.
if you care to spe cu late - There’s a
215 accel.
51 Chorus S A big
plan
a hatch in’ an’ we’re
soon gon na be
a state -
fer a
long
time we’ve hag gled
till there’s
T B
accel.
(accel.) 54
Chorus marc.
Allegro moderato
unis.
= 104
S A no room fer
Now at
de bate -
last
we’ve
the back
in’
of the
whole e
lec
to
unis.
T B marc.
Allegro moderato
= 104
(accel.)
57 Evans
unis.
Chorus
Yes!
S A rate -
We’ve
the
back
in’
of
the unis.
T B
whole
e
lec
to
rate.
At
216 59 Chivington
8
Yes!
At
last
At last we’ve
put
the
cart,
the cart
hind
the
horse,
we’ve
put
the cart
be
hind
the
the cart
be
hind
the
the cart
be
hind
the
Byers
Yes!
Evans
last
we’ve
put
be
put
61 Chivington
8
horse!
Of
course!
Of
course!
Of
course!
Of
course!
Of
course!
Of
course!
Of
course!
Of
course!
Byers
horse! Evans
horse! Chorus
S A
T B
gli
ss.
8va
marc.
217 During the foregoing, CLARA has entered - listening to the excitement of the crowd. She, too, anticipates the visit of PRESIDENT GRANT. A merchant from one of the shops brings a chair for her. When the singing ends, the MAYOR runs onstage with good news for everyone.
Semplice 64
= 66
Mayor (Baritone) spoken He’s a-comin’! T’won’t be long now!
The crowd murmurs in anticipation and suspense, craning their necks for a first glimpse of the presidential entourage. EVANS, BYERS and CHIVINGTON move apart. BYERS has spotted CLARA.
Byers
Why
Semplice
= 66
gen tle men,
there’s Cla ra
Brown -
loco
poco ritard.
67 Chivington
a tempo
8
I hear the win ter’s Byers
look in’ old
er than
she did when last we met.
Evans
A no tice a ble change.
a tempo
poco ritard.
218 70
8
Chivington
fire Byers
poco ritard.
did all
but burn
her out.
Pro
God
Evans
pro
tect her.
tect her.
God
pro
tect her.
It’s
poco ritard.
a tempo 73 Evans
time
for more
’n emp ty talk ’bout Chris tian love an’ pi e ty -
I
say
we call
a meet in’
of the
a tempo
76 Evans
Pi o Chorus
neer
So ci e ty.
I Altos
A Basses
The
Pi
So
ci e ty.
o neer
B The Pi
o neer
So ci
e ty.
say we cast our votes to lift her
219 poco ritard. 79 Evans
bur den
of
a tempo
anx
i
poco ritard.
e ty.
shouting HE’S A-COMIN’!
Mayor (Baritone Solo)
Allegro Moderato
poco ritard.
a tempo
poco ritard.
=104
82 Mayor (Baritone)
The Chorus
S He’s a com in’!
A He’s a com in’!
T 8
He’s a
B He’s a com in’!
Allegro Moderato
=104
com in’!
Pre si den tial car riage is jest
220 86
Mayor
Conductor (Tenor) to band players spoken Ever’body tune up!
two
hicks an’ a hol ler down the road!
He’s a com
in’!
Chorus
S A He’s a com
in!
We hear a cacophony of discordant instruments Baritone shouting Make way for the presidential carriage! Conductor spoken
T B He’s a com
in!
A-one, a-two, a-three, PLAY!
The brass band blares out, as the excited, high-spirited crowd buzzes. On the big, final chord, a Chinese man pulls a rickshaw onstage carrying PRESIDENT ULYSSES S. GRANT (Bass) and his wife. They are followed by dignitaries on foot. The crowd roars its welcoming cheers as the MAYOR, EVANS, BYERS, and CHIVINGTON greet the couple.
89
Stately
92 Mayor
Chorus
= 84
Andante
= 63
warmly
Mis ter
Pre
si dent
and Mis sus Grant - We wel come you to Co
lo
ra
do -
To
S A To
T B
Andante
= 63
poco ritard. Grant (Bass) spoken
95 Mayor
state Chorus
a tempo ( = 63)
num
ber thir
ty six
to
be.
num
ber thir
ty six
to
be.
Mayor
We’ll see.
221 ritard.
An’ to Cen tral Ci ty -
The
S A state
The
T B a tempo ( = 63)
ritard.
poco rit.
ritenuto 98 Chivington
RH
Barbershop Tempo = 126 (Double the Andante Tempo)
ritard.
8
Poco più mosso
An’,
sir,
may we
point
out
a
An’,
sir,
may we
point
out
a
An’,
sir,
may we
point
out
a
Byers
Evans
Mayor
rich est square mile on Chorus
all
God’s
earth.
rich est square mile on
all
God’s
earth.
S A
T B Barbershop Tempo = 126 (Double the Andante Tempo)
ritenuto
rit.
Poco più mosso
222 Poco meno mosso
102 Chivington
8
ve ry spe cial fea ture of Eu
re ka Street -
at the ex
act
spot where
you
find
your self
re ka Street -
at the ex
act
spot where
you
find
your self
re ka Street -
at the ex
act
spot where
you
find
your self
Byers
ve ry spe cial fea ture of Eu Evans
ve ry spe cial fea ture of Eu
106
8
Poco meno
Chivington
Tempo I
mosso
= 126
importantly
stand in’, Byers
where you
find
your self
stand
in’ at this pro
pi
tious
mo ment?
stand in’, Evans
where you
find
your self
stand
in’ at this pro
pi
tious
mo ment?
stand in’,
where you
It’s importantly
find
your self
stand
in’ at this pro
pi
tious
mo ment?
111 Chivington
8
It’s importantly
so
lid sil
ver
bars!
so
lid sil
ver
bars!
Byers Evans
Chorus
S A So
lid sil
ver
bars!
T B
3
3
It’s
223 They all point to the spot where GRANT is standing. GRANT and his First Lady peer down at the street.
PiĂš mosso 115 Chorus
Tempo I
= 126
Tempo I
= 126
S A So lid sil ver bars!
T B
PiĂš mosso
Grant spoken Very pretty
120
123
126
Moderato
The brass band reprises its spirited music, as the dignitaries escort the President and First Lady into Teller House and the crowds disperse. CLARA has moved downstage, and the merchant retrieves his chair. She nods gratefully to him. We see that CHIVINGTON has lingered behind. Finally, only he and CLARA are onstage. He tips his hat to her.
= 88
224 129
Snare Drum
132
Recitativo
= 80 (freely, but moving along)
Clara reserved
136
3
Af
3
ter noon, Colo nel -
Poco meno mosso
3
3
I mean Mis ter Chi ving ton.
Chivington
That’s
139 Chivington
3
3
8
Recitativo
= 80 (freely, but moving along)
3
= 72
3
right, Aun ty Cla ra -
Poco meno mosso
3
It’s Colo nel no
= 72
intenso
3
8
more -
That ti tle was stripped from me
long
a go
for that
hour
of
mad ness
at
225 142 Clara
Steadily
intenso
Yes sir,
I
know– and right ly so–
for that
hour
of sad ness
at
= 63
Sand Creek.
Chivington
8
Sand Creek.
Steadily
146 Chivington
anguished
= 63
3
8
I knew what I
knew–
how ev er
strange it seemed
to you.
intenso
149 Chivington
accel. poco a poco
8
change.
And yet
in my dreams,
accel. poco a poco
still
I
see
their eyes,
I could not
226 (accel.) 152 Chivington
8
Più mosso
still I see their eyes
and hear their
= 72
screams.
Più mosso
This
I
know,
some thing has
= 72
(accel.)
3
155 Chivington
poco ritard.
cresc.
8
died
in me,
This
I know,
some thing has died
in me -
cresc.
Poco meno mosso
My haunt ed
poco rit.
= 66
Chivington più
ritard.
158
3
8
heart
has nev er
Poco meno mosso
più
known God’s peace -
with ha tred,
guilt,
and
tears,
= 66
ritard.
I have bled
a way
the
Pi첫 mosso 161
8
227
= 72
Chivington cresc. poco a poco
My will
years.
Pi첫 mosso
ful heart
has
lost
its way to
God,
= 72
cresc. poco a poco
Chivington
164(cresc.)
8
My pride
rit. e dim.
ful heart
has
lost
its way.
Some thing has died
(cresc.)
Meno mosso
= 58 pi첫 ritard.
(rit. e dim.)
died
some thing has
rit. e dim.
167 Chivington
8
in me,
in me,
some thing has
died
Meno mosso
in me.
= 58
pi첫 ritard. (rit. e dim.)
Ancora meno mosso
= 52 Steadily
170
dolce
= 63
lontano
8vb
228 174 Chivington
8
And
what of your search for your daugh ter?
loco
177
Clara 3
I’ve come to be lieve
that
not this side of hea ven
will I find
Chivington
E liz
a. spoken Oh, Aunty -
8
180 Clara
3
Must be An gel
Ga
ritard.
bri el’s plan
fer me
ritard.
to learn
the
les son of re
sig
229 182
a tempo ( = 63) Clara
accelerando
Un poco più mosso
na tion. Chivington
spoken
He tips his hat and exits.
I’m sorry... 8
Un poco più mosso
a tempo ( = 63) 3
3
3
accel.
186 Clara
LIGHTS fade
I
am re signed -
3
3
189
3
3
3
3
3
3
3
3
simile
3
3
ritard.
230
Meno mosso
= 52
molto intenso ed espressivo
192
195
a tempo poco rit.
198
poco rit.
a tempo
cresc.
201
dim.
dim.
204
ritard.
End Scene 4
attacca Scene 5
dim.
use Sostenuto pedal
231
Scene 5 It is 1882. CLARA is seated in her new little cottage in Denver. A doctor (played by a Bass) sits opposite her, holding a stethoscope. Also present are BARNEY FORD with O’HOOLIHAN and his Cheyenne wife, JENNIE. Their concern for CLARA is evident.
Andante
= 66
Doctor (Bass Solo)
conversationally
Well,
Andante
Sis
ter Brown -
your heart beat has im
= 66
8va
dolce
3
Ford
The guests murmur their relief to each other. gently, conversationally
Cen tral Ci ty was too high for Aun ty’s Doctor
proved since you moved to Den ver Town. loco
232 6
Ford
brea thin’ As he closes his doctor bag
Doctor
An’ don’t for get my mot
(
9
to for oc to ge
na
ri ans who are dis tressed -
)
Jennie
Rest
is
best.
Rest
is
best.
Ford
Rest
is
best.
Rest
is
best.
Rest
is
best.
Rest
is
best.
Doctor
You got ta get
back your strength.
You got ta get
back your
233 Poco più mosso
standing erect feistily 3
11 Clara
I am get tin’ it back. Jennie
Ex en dehors
Praise the Lord, Praise the Lord. Ford
Praise the Lord, Praise the Lord. Doctor
3
strength.
Praise the Lord, Praise the Lord. An’ a bove all, Sis ter Brown, I pre scribe no ex cite ment.
Poco più mosso
14 Clara
cite ment? Li’l Doctor
dan ger of that here at
six ’o sev en A ra pa hoe Street. holding a letter
I
poco
poco
al most for got, Sis ter- this
234 17 Clara
more gently
Thank you, Doc tor.
Thank you.
Doctor
let
ter was stick in’ in the mail box on your porch.
The physician is graciously ushered out by FORD, as CLARA puts the letter aside.
20
ritard.
Andante 23 Clara
= 66
to her three friends dolce
You bless ed three come here
Andante
= 66
ev ’ry month to vi
sit
me -
I’m grate
ful for
your
235 25 Clara
love.
Go
Ford
It’s
Eas
ter morn in’,
would you like to go to
church?
28 Clara
her friends chuckle
on, you three - I’ll en ter tain the Lord right here -
He’s got a lot to
say
to me.
Jennie
I’m
31 Jennie
stay in’ with Aun ty -
Don’t
wan na miss out on a vi sit with
the
Lord.
236 The two gentlemen leave. CLARA has followed them to their exit, watching them depart. She turns and moves with difficulty back to her chair.
34
ritard.
Andante
= 72
dim.
With concern, JENNIE now sees that CLARA shows greater infirmity than she was allowing them to witness earlier. CLARA lowers herself into the chair with a sigh.
37
tranquillo
con pedale
40
simile
She now puts on her spectacles and takes up the letter delivered by her doctor. She opens and unfolds it, beginning to read, as light comes up across the stage. We now see LUCINDA, CLARA’S old friend from Kentucky. She sits by lamplight at a desk, writing a letter to CLARA.
43 Lucinda
Dear Cla ra- good friend from days long past- is your
237 46 Lucinda
heart beat strong a gain at last?
Has it im proved since you moved to Den
ver?
49 Lucinda
Dear
52
Cla ra, my friend - I had
no doubt Cen tral
Ci ty folks
would help
you out -
It’s
Lucinda dolce
ve ry clear, Aunt Cla ra, dear, God
loves
you.
Dear
8va
loco
55
Lucinda
Cla ra, sweet friend- from times
a
go,
God is
send
in’
you
an
ov
er flow.
In
238 poco accel. 57 Lucinda
Poco più mosso
Coun cil Bluffs, we have found E
li
= 78
za! CLARA is stunned. She painfully rises, staring at the letter. JENNIE jumps up, worried, as CLARA reads aloud. poco agitato
Clara
Poco più mosso
= 78
She’s a
wi dow in the town-
Her name is E
poco accel.
60 Clara
li
za Jane Brew er.
I
wrote her of your life long search for your daugh
ter.
She
re
CLARA is shaken - her face luminous with hope.
63 Clara
mem bers be in’ sold at an auc tion
in a town called A
dair
ville -
She
239 66 Clara
says a Ken tuc ky far mer named
69
Co ving ton bought her -
She is so ex ci ted to think you
Clara
might be her mo
ther -
that
she
is
com in’ to see
you
an’
will ar
rive next
month,
cresc.
72 Clara
Slowly, CLARA falls back into her chair, wanting to believe in this miracle, but afraid to.
on
Eas
ter morn
in’.
75 Clara
An’
one more
thing -
rh (top three notes)
dim.
she says she
had
a
twin
sis
ter
who
240 CLARA breaks down, bowing her head in her hands, sobbing - as light fades on LUCINDA. Frightened, JENNIE tries to calm CLARA. Unable to quiet her, JENNIE runs for help. CLARA rises and paces the floor, wringing her hands and alternately crying and laughing. Finally she comes back to her chair, her mood becoming very quiet.
78 Clara
drowned -
cresc.
3
81
3
3
84
3
3
3
3
cresc.
8va
loco
88
91
Suddenly, church bells begin ringing. CLARA listens expectantly, her face radiant with joy and conviction. The bells ring themselves out, and we hear a knock at the door.
[Chimes]
(Repeat as necessary)
241 97
Lento
ELIZA JANE enters, as CLARA rises.
= 46
poco dolce
poco ritard.
101 Clara
Un poco più mosso
= 52
Un poco più mosso
= 52
dolce, ma molto intenso
Is
it you I see
be
fore
me?
poco ritard.
105 Clara
Is
it you, my lost
E
li
za?
My pray’r has now
been
poco ritard. 109 Eliza Jane
God has led me here, oh,
Clara
an
Ma ma,
dear-
swered -
poco ritard.
I am
242
a tempo 112 Eliza Jane
= 52
dolce, ma molto intenso
home now. Clara
Oh, Ma ma, how I
All I ev er asked of
a tempo
Hea
loved
ven
you -
Oh, Ma ma, how I
was to hold my own E
li
za.
= 52
116 Eliza Jane
cried!
But now at
last
we
are
to
geth
er -
I
am
Clara
How
119 Eliza Jane
I
have yearned
for you,
They move closer together.
an’ now at last,
ritard.
here. Clara
You are here.
ritard.
my chile -
243 PiĂš andante
= 72
122 Eliza Jane
dolce
Nev
PiĂš andante 8va
er
more
a
part,
but
ev
er
ev
er
= 72 8va
loco
loco
8va
loco
scorrevole, sognando
8vb
loco
8vb
loco
126 Eliza Jane
near -
Nev
er
8va
8vb
more
a
lone,
loco
for 8va
loco
loco
130 Eliza Jane
dear -
Al ways
the
curve of
hope
whose
arc
8va
loco
8vb loco
I
could
nev er
244 134
Eliza Jane
see,
The
curve of
hope
has
but
ev
er
a
gain
Clara
Nev
er
more
a
part,
8vb
loco
138 Eliza Jane
brought me
back,
has
brought
er
more
me
back
Clara
near -
142
Nev
a
lone,
for
ev
I
could
er
Eliza Jane
to
you -
Al ways
the
curve of
hope
whose
arc
er
more
nev er
Clara
dear -
Nev 8va
loco
8vb loco
a
part,
245 146 Eliza Jane
Al
see Clara
Ah,
Al
ways
the
curve
of
curve
Un poco pi첫 mosso
cresc.
hope, Clara cresc.
al
the
al
ways
the
curve
of
ways
the
curve
of
hope,
Eliza Jane
149
ways
of
= 80
hope,
hope,
the
Un poco pi첫 mosso
curve
of
= 80
cresc.
152
Eliza Jane
the
Ancora un poco pi첫 mosso
dim.
curve
of
hope
for
Clara
dim.
hope
has brought
dim.
you
back
ev
er
to
= 48 [in 3]
dear.
me. Ancora un poco pi첫 mosso
= 48 [in 3]
246 CLARA now staggers from weariness, and ELIZA runs to help her into the chair. She kneels before CLARA, who embraces her beloved daughter.
156
159 Eliza Jane
ev
er
ev loco
er
Clara
8va
162 Eliza Jane
more, Clara
ev
er
more.
more,
ev
er
more.
247 JENNIE enters with her husband and FORD, and they are confronted with the final beautiful tableau of a joyous CLARA holding her daughter ELIZA.
molto ritard. 165
Lento = 48 ( = ) Lo stesso movimento
8va
loco
168
dolce
171
niente
Fine October 23, 2002
Front cover photo: Lori Brown Mirabal as Clara Brown. Back cover photo: Lori Brown Mirabal as Clara Brown and Autumn Ware as child Eliza Jane from Central City Opera’s premiere performances of Gabriel’s Daughter. Used by permission of John Moriarty and Central City Opera. Photos by Mark N. Kiryluk.
{<6! $"$=egbgfB<v