Menotti GOYA

Gian Carlo Menotti

GOYA opera in three acts libretto by the composer

Full Score

ACT I

From the G. Schirmer Rental Library Date of Printing______________

G. Schirmer, Inc. New York, NY

Gian Carlo Menotti

GOYA opera in three acts libretto by the composer

Act I

Table of Contents Act I................................1 Act II...........................137 Act III.........................239

G. Schirmer, Inc. New York, NY

Instrumentation Piccolo 2 Flutes 2 Oboes English Horn 2 Clarinets in B = Bass Clarinet 2 Bassoons 4 Horns in F 3 Trumpets in C 2 Offstage Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Percussion Piano Harp Chorus Strings

Solo Vocal Roles: Goya....................................................................Tenor Duchess of Alba....................................Mezzo-soprano Queen Maria Luisa..........................................Soprano Godoy.............................................................Baritone Martin Zapater...............................................Baritone King Charles IV.................................................Tenor

Duration: Full Evening

  

GOYA Act I, Prelude

Molto lento

Piccolo

Flutes

Oboes



Bass Clarinet in Bb



Bassoons

1, 3

Trumpets in C

Trombones 1, 2

Trombone 3/ Tuba



Timpani

Percussion

Piano

Harp

Violin I









  

  

 







 



   







  

 





 





















         

        























 pp

 



 



  

  

 

pp



 



   

  



pp

 

 





 



 

  pp

 

  

 



  

 

   

 

     

 















 

p







1.

 



     

  





p



p







   

   





  

(1.)



  

     

    

f





f

a2 p





  















         



a2 p

 







     



     







f

    





    f dolce



 



 





 





















 





 





















 





 































  





 





























 

  





 





























   p

 





 





























 



































 

Bass Drum







1.          

a2

f dolce

     f

p

mf







  



p

 

mf



  





 





 



































 





 



































 



    

 







   





     

  







  





  





 





           

   



 





 





unis.            

   

   

 



  







Violin II

Viola







p

pp

  

 mf espr.

 

  

    div.   unis.   

f

unis.

 

 

 



   

   





    

div.      p mf

  

 



pizz.



  

Molto lento

 

Violoncello

Contrabass







mf

2, 4







   1. 

Horn in F





 

p

Clarinets in Bb

 

 

   

English Horn



Gian Carlo Menotti

     div.   

  



   

div.    

unis.

  

unis.

 







 

 

 

            mf



    div.   

  





  

 

  



             

mp

 

 



 



unis.



     p div.





 

mp poco espr.



  







  

Copyright © 1986 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.



  





    

 

    

f



f

    

    

  



 



f

  

 

     

         

    

    





arco f

2    14

Picc.

  

Fl.







  

Ob.

   

Cl.

B. Cl.

1, 3



  







 









    mp

 



 

  











 









a2    

 

  

 

  

   











 









    

















 









            

 











    

 

a2

f









 

















    

   

     



a2





mf

 



mp



 

 f

 6 6 6                                











 











f

f

f



 



 











    

 

 

 

      











 











 

























 











 



























 











 

    

Timp.

     

  

  









   













 











      mp



 

















  

















  

















 

f









 

























 



























 



























 











 



 















 











     





       

 



       

     

 

              



    

 

mf

 

 



         

   pizz.





          

      













  

      









   







   

 



 

  















mf









  



















   

 



    



 



    



     



  





Vc.

 



 

Vla.

  

  



Vln. II

f

  

pp

Tbn.

Cb.



1.              

2, 3

Vln. I



 

C Tpt.

Hp.



  

1

Pno.





 

2, 4

Perc.

 

poco rall.



  

  





   

Hn.

Tba.

f

 1.

             

Eng. Hn.

Bsn. 1, 2





  







 

         

  

arco





     







Snare Drum pp

poco rall.

    

 

 



cresc. poco a poco

      

pp

cresc. poco a poco

pp

cresc. poco a poco

                  pp

cresc. poco a poco

3                 27

Picc.







   ff

  a2

           

Fl.



                     

Ob.

 

Eng. Hn.

 

Cl.



 











ff





          6





6

6

6

6

  



attacca 



6

                         

mf



               

6

              



 

6



       6











 

                  6                6 ff 6 a2



6

 



















  

 





















  



 

a2               

 







 

 



 

                mf

  







 

 

















 





















 





















 





















  



















B. Cl.

Bsn. 1, 2

1, 3



Hn. 2, 4

1 C Tpt. 2, 3

Tbn.

Tba.

Timp.

Perc.

Pno.

Hp.

Vln. I





Vla.

Vc.

Cb.

   

   

   

  



      

1.

6

f



 



f

 





















 





















 







 













       



 

pizz.      pp

Vln. II

mf

a2

div., pizz.    

mp

s. glis

 







    

 

 

      

  mp







mp

    











ff







        pp                      mf                   



gliss.





                

mf

 



mf



attacca

4

Menotti Goya–Act I, Scene i

Scene 1

Allegro moderato, ma con spirito

1 Picc.

1. Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2

1.

Hn. in F

1 3

2 4 1., with straight mute

1. take straight mute Tpt. in C

1 2 3

3

O.Tpt. 1 in C 2

Tbn.

1 2

(Tuba) Bs.Tbn. Tuba

Timp.

Cymbals and Bass Drum, with sticks 1

Perc.

Castanets 2

Pno.

Hrp.

rasgueado

sim.

Git. 8

p

p

T.S.

Allegro moderato, ma con spirito 7

7

div., con sord. I Vn. pizz. II pizz. Va. non div., pizz. Vc.

Cb.

7

7

5

Menotti Goya–Act I, Scene i 5 Picc. 11

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2

(1.) Hn. in F

1 3 2. 2 4 1.

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D., Cym.) 1 Perc.

(Cast.) 2

Pno.

Hrp.

Git. 8

Tavern Singer: T.S. 8

Burn

all the let

ters, burn

all the mar

riage

vows,

take

12

Vn. II

Va.

Vc.

Cb.

en

neck

lace the lace

man

i

la

I

12

al tallone I

backthegold

al tallone

met

a

6

Menotti Goya–Act I, Scene i 9

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. (1.) Bn.

Hn. in F

1 2

1 3 (2.) 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D., Cym.) 1 Perc.

(Cast.) 2

Pno.

Hrp.

Git. 8

T.S. young

er

boy

with

eyes

of

melt

ed

am

ber

who

said

I

was

the

best

look

ing

I Vn.

div. II div.

Va.

Vc.

Cb.

unis.

div.

girl

of

all

Se

7

Menotti Goya–Act I, Scene i

1

13 Picc.

1. Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2 1.

Hn. in F

1 3 2. 2 4 1.

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D., Cym.) 1 (Cast.) Perc.

2 Tambourine 3

Pno.

Hrp.

Git. 8

T.S. 8

vi

lia

S

A Don’t

trust

a

boy

with

gyp

sy

eyes

He

takes

your

gold

and

sells

you

lies.

Don’t

trust

a

boy

with

gyp

sy

eyes

He

takes

your

gold

and

sells

you

lies.

T 8

B

div. I

Vn. unis. II unis. Va.

Vc. pizz. Cb.

arco

8

Menotti Goya–Act I, Scene i

2

17 Picc.

1. Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

2.

1 2 1.

Bs.Cl. 1. Bn.

1 2

(1.) 1 3 Hn. in F

(2.) 2 4 1.

Tpt. in C

1 2 3

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D., Cym.) 1 Perc.

(Cast.) 2

Pno.

Hrp.

Git. 8

(Enter Francisco Goya and Martin Zapater.) T.S. 8

He

gave

me

a tan

ge

rine

and

a

yel

S

A

T 8

B

12

7

I Vn.

7

II

Va.

Vc. pizz. Cb.

arco

7

non div.

low

9

Menotti Goya–Act I, Scene i 21 Picc. 11

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. (1.) Bn.

Hn. in F

1 2

1 3 (2.) 2 4 (1.)

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D., Cym.) 1 Perc.

(Cast.) 2

Pno.

Hrp.

Git. 8

T.S. rose.

He

took

my heart a

way,

this

is

life!

where God on

ly

knows.

I

ate

the

tan

ge

rine

the

Francisco Goya: F.G. 8

Ah!

non div. sul tallone I Vn. II

Va.

Vc.

Cb.

naturale

Look

12

3

at

sul tallone

these

girls

Mar

tin!

10

Menotti Goya–Act I, Scene i 25

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. (1.) Bn.

1 2

1. Hn. in F

1 3 2. 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D., Cym.) 1 Perc.

(Cast.) 2

Pno.

Hrp.

Git. 8

T.S. yel

low

rose

is

dry,

and

now

all

I

can

do

than

the

girls

is

to

wait

for

him

and

in

Sa

ra

cry.

F.G. 8

They’re more

o

pen

and

friend

ly

gos

sa

S

A You T 8

B You

I Vn. II

Va.

Vc. pizz. Cb.

11

Menotti Goya–Act I, Scene i 29

3

Picc. 1. Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2 1.

Hn. in F

1 3 2. 2 4

Tpt. in C

1.

1 2

3

O.Tpt. 1 in C 2 Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D., Cym.) 1 (Cast.) Perc.

2 Tamb. 3

Pno.

Hrp.

Git. 8

(to a waiter) F.G. 8

Eh,

Martin Zapater:

boy

M.Z. Be

care

ful Fran cis

co…

their

boy

friends

have

knives.

S

A sil

ly

girl,

learn

to

be

cle

ver

a

gyp

sy

gone

is

gone

for

e

sil

ly

girl,

learn

to

be

cle

ver

a

gyp

sy

gone

is

gone

for

e

T 8

B

div. nat. I

Vn. II

Va.

Vc. arco Cb.

12

Menotti Goya–Act I, Scene i 32

Picc.

Fl.

1 2

Ob.

1 2

E.H. a2 Cl. in B

1 2

Bs.Cl. (1.) Bn.

1 2

(1.) Hn. in F

1 3 (2.) 2 4 2. (open)

Tpt. in C

1 2 (open) 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D., Cym.)

(B.D.)

1 Perc.

(Cast.) 2

Pno.

Hrp.

Git. 8

(The players and dancers laugh and talk.) F.G. 8

Eh!

Come

here!

M.Z.

S

A ver. T 8

B ver.

div., pizz. I Vn. II arco Va.

Vc. pizz. Cb.

35

13

Menotti Goya–Act I, Scene i

4 Andante mosso

Picc. 1. Fl.

1 2

Ob.

1 2

5

1.

E.H. 1. Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4 1., with straight mute

Tpt. in C

1 2 5

6

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. B.D. 1 Perc. 2

Pno.

Hrp.

Guitar 8

(Slowly move into adjacent room) (to the waiter) F.G. 8

The

best wine

you

have

and a

cou

ple

of

girls

if

you

can

spare them.

M.Z. Calm you self Fran cis

Andante mosso via sord. I Vn. II

Va. arco Vc.

Cb.

co, calm your self.

14

Menotti Goya–Act I, Scene i 39

Picc. 1., fltg. Fl.

1 2

Ob.

1 2

1.

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

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4 (1.) Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (B.D.) 1 Perc.

Tamb. 2

Pno.

Hrp.

Guitar 8

(to Martin) 3

3

F.G. 8

Cou rage

Mar

tin,

don’t

be

a

cow

ard!

We don’t

want

to

sleep

a

lone

to

night!

M.Z. Do

I Vn. II

Va.

Vc.

Cb.

you

e

ver?

15

Menotti Goya–Act I, Scene i

5

A tempo, tranquillo

43

poco rit.

Picc. 1. Fl.

1 2

Ob.

1 2

1.

E.H. 1. Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2

1. Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Guitar 8

Singin’ 8

Look

the

way they

speak

to

A tempo, tranquillo unis.

you

with shame

less

eyes,

Look

the

way they tease you

with

am

bi

gu oussmiles.

poco rit.

I Vn. II

Va.

Vc.

(pizz.)

div., pizz.

Cb. arco

16

Menotti Goya–Act I, Scene i

6 48

a tempo

poco rit. a tempo

Picc.

1. Fl.

1 2

Ob.

1 2

dolce 1.

a2

1.

espr.

dolce E.H. 2. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1. Hn. in F

1 3 dolce 2. 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Guitar 8

F.G. 8

Ev’

ry

ges

ture

is

a

call

to

bliss,

ev’

ry

voice the

sound

of

love. (ironically)

M.Z. Yes…

a tempo

poco rit. a tempo

I Vn. II

Va.

Vc. arco div. Cb.

pizz.

But

17

Menotti Goya–Act I, Scene i 53 Picc.

Fl.

1 2

Ob.

1 2

(1.)

secco

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

1 2 secco

Bs.Cl.

Bn.

1 2 secco

Hn. in F

1 3 (2.) 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Guitar 8

F.G. 8

What an an

gel

and what

a

won

der ful night!

M.Z. what

a

bout

the

girl

last

night?

You half

wit!

You thought you had the girl

for

no thing,

pizz. I Vn. II subito

secco pizz.

Va. pizz. Vc. pizz. Cb.

18

Menotti Goya–Act I, Scene i

7

58 Picc.

Fl.

1 2

Ob.

1 2

secco

E.H. 1. Cl. in B

1 2 secco

Bs.Cl.

Bn.

1 2 secco 1. 1 3

Hn. in F

2. 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

dreamy F.G. 8

She

liberamente M.Z. but

arco

it

was

you who was left with no thing.

div., con sord.

non div.

I Vn.

secco II secco arco

Va.

arco

secco div., pizz.

Vc.

arco

pizz.

Cb. secco

was

a

pret

ty

girl.

Her

mouth as

sweet

as

li

lacs.

19

Menotti Goya–Act I, Scene i

poco meno mosso

64 Picc. 5

a2 Fl.

Ob.

1 2

5

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1 Perc.

B.D. 2

Pno.

Hrp.

Guitar 8

M.Z. Their lips may taste like

li

lacs,

but they

hide

hell

un der their skirts!

We’d bet

ter leave for

poco meno mosso

senza sord. pizz.

arco

I Vn. pizz.

arco

II

Va. pizz.

arco

pizz.

arco

Vc.

Cb.

home to

mor row

be fore

we’re com plete ly

ru

ined.

20

8

Menotti Goya–Act I, Scene i

Allegro moderato ma con brio

70 Picc.

a2 Fl.

1 2

Ob.

1 2

a2

E.H.

a2 Cl. in B

1 2

Bs.Cl.

a2 Bn.

1 2

a2 Hn. in F

1 3

2 4 with straight mute

1.

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. S.D. and Tamb.

Tamb. alone

1 Perc.

Cast. 2

secco e sost.

Pno.

Hrp.

Guitar 8

(The Duchess of Alba, with a group of friends, passes across the stage and into the inner room.) M.Z.

Allegro moderato ma con brio I Vn. II non div. pizz. Va.

pizz. Vc.

pizz. Cb.

arco

21

Menotti Goya–Act I, Scene i

9

76 Picc. (a2) Fl.

1 2

Ob.

1 2

(a2)

E.H. a2 Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2 Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Triangle

S.D.

1 (Cast.) Perc.

2 Tamb. 3

Pno.

secco

Hrp.

Git. 8

M.Z.

I Vn. II

Va. arco Vc.

Cb.

22

Menotti Goya–Act I, Scene i 81

Picc. (a2) Fl.

1 2

Ob.

1 2

E.H. a2 Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

1. Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (S.D.) 1 Perc.

(Tamb.) 3

misterioso

Pno.

Hrp.

Git. 8

M.Z.

I Vn. II

Va.

Vc.

Cb.

1., solo

23

Menotti Goya–Act I, Scene i

10 86

Andante, molto moderato

movendo un poco

Picc. a2 Fl.

1 2

Ob.

1 2

a2

E.H. 1. Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Guitar 8

Francisco Goya:

poco affret.

3

poco rit.

a tempo

F.G. 8

That

wo

man,

did you

see

her?

was

Or

Andante, molto moderato

I

dream

movendo un poco

I Vn. 3

3

3

6 3

II

Va.

Vc.

arco Cb.

pizz.

ing?

arco

pizz.

24

Menotti Goya–Act I, Scene i

11 rit. Poco più agitato

tornando al tempo di prima

92 Picc. (a2) Fl.

1 2

Ob.

1 2

(a2)

E.H.

1. Cl. in B

1 2

Bs.Cl.

1. Bn.

1 2

1. 1 3 Hn. in F 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

Cymbals, soft stick 2

Pno.

Hrp.

Git. 8

F.G. 8

What

was is?

A

vi

sion?

A

phan

tom? Martin Zapater:

M.Z. Oh

tornando al tempo di prima I Vn. II

Va.

Vc. arco Cb.

rit.

please,

Fran

Poco più agitato

cis

co!

Re

25

Menotti Goya–Act I, Scene i

poco rit.

97 Picc. 1. Fl.

1 2

Ob.

1 2

1.

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

1 2

Bs.Cl.

Bn.

1 2

1., solo Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

M.Z. mem

ber

what

hap

pened

last

night.

She

too

was

a

god

dess

un

til

she

stole

your

poco rit. I div.

Vn. II

Va.

Vc. pizz. Cb.

purse.

26

Menotti Goya–Act I, Scene i

12 Tempo primo

102 Picc.

1. Fl.

1 2

Ob.

1 2

subito

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

1 2 subito

molto espressivo Bs.Cl. a2 Bn.

1 2 subito

(1.) Hn. in F

1 3 4. 2 4 1.

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

Cym. 2

Pno.

Hrp.

Git. 8

F.G. 8

But

Mar

tin

don’t

you un der

stand

she’s

the

Tempo primo

“one?”

3 3

3

3

I Vn.

cresc. 3

3

3

3

3 3

II cresc.

3

Va. cresc. espressivo

3

Vc. cresc.

3

arco

pizz.

arco

Cb. cresc.

3

27

Menotti Goya–Act I, Scene i

rall.

107 Picc.

Fl.

1 2

Ob.

1 2

1.

3

E.H.

3

3 3

Cl. in B

1 2

3

3

3

Bs.Cl. 3

3

3

(a2) Bn.

1 2

1 3 Hn. in F

a2 2 4 1.

Tpt. in C

1 2 dolce, legatissimo 3

O.Tpt. 1 in C 2

Tbn.

1 2 dolce

Bs.Tbn. Tuba dolce Timp.

1 Perc.

(Cym.) 2

Pno.

Hrp.

Git. 8

F.G. 8

And

I

must

have

her.

I

need

her,

she’s

mine!

She’s

the

God

rall. I Vn. II

Va. 3

3 3

3

3

3

3

Vc. 3

Cb.

3

3

3 3

3

3

dess

of

28

Menotti Goya–Act I, Scene i

13 Allegro vivace 112

Picc.

3

3

a2

a2 Fl.

1 2

6

6

6

6

a2 Ob.

1 2

E.H. 2.

1. Cl. in B

1 2

6

1. (2.) 6

6

6

Bs.Cl. 1. Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Trg. 1 Perc.

Tamb.

Cym.

2

Pno.

col pedale

Hrp.

Git. 8

(Duchess of Alba re-enters with a group of friends.) F.G. 8

love.

Allegro vivace I Vn.

pizz. II

pizz. Va.

Vc.

Cb.

29

Menotti Goya–Act I, Scene i

14

116 Picc. (a2) Fl.

1 2

Ob.

1 2

E.H. 1., solo

a2 Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2 Hn. in F

1 3

2 4 (with mute)

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 dolce Bs. Tbn.

Bs.Tbn. Tuba

Timp. Trg. 1 Perc.

Cym. 2

Pno.

Hrp.

Git. 8

F.G. 8

I Vn. II

Va.

Vc.

Cb.

Cast.

30

Menotti Goya–Act I, Scene i

recitative

121 Picc.

Fl.

1 2

Ob.

1 2

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

1 2

Bs.Cl. 1., solo Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

B.D. 2

Pno.

secco

Hrp.

Git. 8

F.G. 8

Too much smoke

recitative pizz.

al sord.

(pizz.)

al sord.

(pizz.)

al sord.

pizz.

al sord.

I Vn. II

Va.

Vc.

Cb.

and noise

in there. Here

we can breath.

Shall I risk

the wine?

Why not!

15 Moderato

31

Menotti Goya–Act I, Scene i

più mosso

125

a tempo

Picc.

Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl.

a2 Bn.

1 2

1., with straight mute Hn. in F

1 3

2 4

with straight mute 1 2 Tpt. in C 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. S.D. 1 Perc.

Tamb., with stick 2

Pno.

secco

col pedale

col pedale

Hrp.

Git. 8

Duchess of Alba: (lifting her wine glass) D.A. Come then,

my time

Moderato div., arco, con sord.

ly

sav ior,

come

and

help me

to

find my sleep

to

night.

più mosso

There is

no

man

I

see here

for whom I’d keep

a tempo

I Vn.

div., arco, con sord.

unis.

II div., arco, con sord.

unis.

Va. div., arco, con sord. Vc. (pizz.) Cb.

arco

a

32

Menotti Goya–Act I, Scene i 131

più mosso

recitative

Picc. 1. Fl.

1 2

Ob.

1 2

(a2)

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

1 2

Bs.Cl. a2 Bn.

Hn. in F

1 2

1 3

2 4

1 2 Tpt. in C 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. S.D. 1 Perc. 2

Pno.

secco

Hrp.

Git. 8

(The friends retire toward the back of the stage.)

(to her group of friends)

3

D.A.

Leave me

wake.

più mosso

a

lone

for a while.

I’d

like to play a joke on that gaw

ky

pea sant.

recitative

via sord. I Vn. via sord. II via sord.

senza sord.

via sord.

unis., senza sord.

Va.

Vc.

Cb.

33

Menotti Goya–Act I, Scene i

16 135 Andante

recitative

Picc.

Fl.

1 2

Ob.

1 2

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

solo

1 2

Bs.Cl.

Bn.

1 2

1., with straight mute Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

(Goya approaches the Duchess.)

3

D.A. I am a free wo man, and I shall al ways be free. Francisco Goya:

3

F.G. 8

Are you a lone here?

Andante

recitative

unis. I Vn.

espr. II

Va.

Vc.

pizz. Cb.

May I talk to you

6

with

out being knifed?

34

Menotti Goya–Act I, Scene i

17 140

Picc.

Fl.

1 2

Ob.

1 2

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

1 2

Bs.Cl. a2 Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

3

D.A. I am a cham ber maid

in the Al

ba pal

ace.

And you,

where are you from?

F.G. 8

I Vn. II

Va.

Vc.

Cb.

Do you workhere?

The

du chesschoos es

well

her maids.

Fuen de

35

Menotti Goya–Act I, Scene i

18

143

recitative

Picc. a2 Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

open Hn. in F

1 3

2 4 (with straight mute)

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

(sarcastically) D.A. How nice!

I

like heal thy pea

sants.

Ho,

F.G. 8

I Vn. II

Va.

Vc.

Cb.

to

dos

near Sa

ra

goz

za.

I’m

not

a

pea sant.

I am a paint er.

ho!

I

36

Menotti Goya–Act I, Scene i 145

Andante calmo

19

più mosso

Picc.

Fl.

1 2

Ob.

1 2

1.

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

open 1 3 Hn. in F

open 2 4 take straight mute

open Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

3

Hrp.

3

3

3

Git. 8

D.A. need

some

one

to

white

3

wash

my lit tle bed

room.

F.G. 8

I’m

not

that

kind

of

a

paint er!

You

stu pid

girl! Martin Zapater:

M.Z. Come,

Andante calmo

più mosso

div.

I 3

Vn.

3

3

3

div. II div. Va.

Vc.

(pizz.) Cb.

arco

come

Fran cis

co,

37

Menotti Goya–Act I, Scene i (149)

150

Picc.

Fl.

1 2

Ob.

1 2

1., solo

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

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

What kind M.Z. Calm

your

self.

unis. I Vn. II unis. Va.

Vc.

Cb.

of a paint

er

are you

then?

38

Menotti Goya–Act I, Scene i

20 153

Andante molto moderato ma libero

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

solo

3. 1 3 Hn. in F 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

3

F.G. 8

Par

a

dise

of

flying

an

gels

is

what

I

can

paint

in

all

Andante molto moderato ma libero div. I 3

Vn.

div.

3

II div. Va. 3

Vc. 3

(arco) Cb.

their

ma

jes

ty,

39

Menotti Goya–Act I, Scene i

157

21 Ancora un poco più mosso

a tempo

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. espr. Bn.

1 2

1 3 Hn. in F

a2 2 4 espressivo

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

this

is

what

I

can paint.

I

can paint

the

air

and

the sounds of Spain.

Ancora un poco più mosso

a tempo

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

arco

arco

I

can paint

a glance,

a

40

Menotti Goya–Act I, Scene i 163

Picc. 1., solo Fl.

1 2

Ob.

1 2

1., solo

E.H. 1. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1., solo

Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

kiss,

a

sigh,

the

per

fume

of

a

dress,

div.

unis.

div.

div.

unis.

div.

div.

unis.

div.

I Vn. II

Va.

div. Vc.

Cb.

unis.

the

won

der

in

a

child’s

eyes.

41

Menotti Goya–Act I, Scene i

22 168 Più agitato Picc.

Fl.

1 2

Ob.

1 2

a2

E.H. a2 Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

a2 Hn. in F

1 3

2 4 with straight mute 1 2 Tpt. in C 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Cym., soft stick 1 cresc. poco a poco

Perc.

B.D. 2

Pno.

Hrp.

Git. 8

F.G. 8

I

can paint

the

gri

3

mac

es

of

lust,

the

craft

i ness of

e

vil,

the

dark

ness

Più agitato I Vn. pizz. II

Va.

Vc. pizz. Cb.

arco

pizz.

of

42

Menotti Goya–Act I, Scene i

poco rit.

172

Poco meno 23 ma rubato

Picc.

a2 Fl.

1 2

Ob.

1 2

(a2)

E.H. (a2) Cl. in B

1 2

Bs.Cl. (a2) Bn.

1 2

(a2)

Hn. in F

3.

1 3

2 4 1., open

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Cym.) 1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

fear,

the

tear

ing

of

a

cry.

I

arco

pizz.

your

Poco meno ma rubato

div.

unis.

arco

II

Va.

Vc. (pizz.) Cb.

paint

poco rit. I Vn.

can

ve

ry

43

Menotti Goya–Act I, Scene i

poco rit.

176

poco rit.

Picc. a2 Fl.

1 2

Ob.

1 2

1.

E.H.

Cl. in B

1 2 dolce

Bs.Cl. dolce Bn.

1.

1 2

a2 Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

thoughts,

your

poco rit.

laugh

ter,

your

pride,

I

can

see

poco rit.

I Vn. II

Va.

Vc. arco Cb.

through your clothes

and

paint

your

na

ked

44

Menotti Goya–Act I, Scene i

24 a tempo

181

poco rit. a tempo

poco rit. a tempo

Picc.

(a2) Fl.

1 2

Ob.

1 2

1.

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1. 1 3 dolce

Hn. in F

2. 2 4 dolce

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

bo

dy.

For

my

brush

a tempo

can

see

far

ther

than

my

eyes.

poco rit. a tempo

div. I

Vn.

div. II

Va.

Vc. pizz. Cb.

arco

poco rit. a tempo

45

Menotti Goya–Act I, Scene i

25

Andante

187

più mosso

Picc. 1. Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

1. Bn.

1 2

a2 1 3 Hn. in F

a2 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 S.D.

Perc. 2

Pno.

Hrp.

Git. 8

Duchess of Alba: D.A. Let me warn you.

non div. I

Vn.

non div. II non div.

Va.

Vc.

Cb.

Dressed

Andante

or

na

ked

a

wo man holds more

sur

pri

ses

than

a

3

ny

man’s eye

can

for

see.

più mosso

46

Menotti Goya–Act I, Scene i 192

Picc. (1.) Fl.

1 2

Ob.

1 2

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

1 2

Bs.Cl. (1.) Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. 8

As

for

you,

the

case

is

clear.

You

are

con

cei

ted

and

vain.

F.G. 8

I

ad mit

it,

and

why

not?

unis.

pizz.

unis.

pizz.

I Vn. II

pizz. Va.

Vc. pizz. Cb.

I shall soon

47

Menotti Goya–Act I, Scene i

26 197 Poco meno mosso

poco meno

Picc.

a2 Fl.

1 2

Ob.

1 2

1.

1.

E.H.

Cl. in B

1 2

Bs.Cl.

1. Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Cyms. 1 Perc.

S.D.

Wood Block

2

Pno.

Hrp.

Git. 8

F.G. 8

be

the

great

est

paint er of

all

Spain,

Poco meno mosso

and

what

the

world

poco meno

(pizz.)

arco

(pizz.)

arco

(pizz.)

arco

pizz.

arco

I Vn. II

Va.

Vc.

(pizz.) Cb.

arco

shall

see

will

be

my

Spain.

48

Menotti Goya–Act I, Scene i

27

Largo

202 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. 2. Bn.

1 2

1 3 Hn. in F

2. 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Tamb., with wood stick 1 Perc. 2

Pno.

Hrp.

Git. 8

Duchess of Alba: D.A. So,

pizz. I Vn. pizz. II pizz. Va.

pizz. Vc. pizz. Cb.

my

dear

“mas

ter”

be

cause

I’m

just

a

sim

ple

maid,

you

think that

I

don’t

know

your

Spain,

my

Spain.

49

Menotti Goya–Act I, Scene i

28

206 Picc.

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2 espr.

Bs.Cl.

espr.

a2 Bn.

Hn. in F

1 2

1 3 (2.) 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

Francisco Goya: F.G. 8

Ah!

My

Spain

is

made

of

tears,

not

on

ly

laugh

ter,

Care

ful

Fran

cis

co,

care

arco I Vn.

arco

div.

II arco Va. arco Vc. arco Cb.

div.

ful!

50

Menotti Goya–Act I, Scene i

poco rall.

210 Picc.

Fl.

1 2

Ob.

1 2

E.H. espr. Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

S.D., snares off

(S.D.)

2

Pno.

Hrp.

Git. 8

F.G. 8

Ah!

Too late,

too

late,

she al read y

holds

me

M.Z. Don’t pay at ten tion to what she says.

Come…

I think

she’s a dan ger ous wo man.

poco rall. I Vn. II unis. Va.

Vc. pizz. Cb.

cap tive.

51

Menotti Goya–Act I, Scene i

29 215

a tempo

Picc. 1. Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. a2 Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Tamb. 1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. 8

Well then,

dear

“mas

ter,”

I’d

like

to

give

you an o

ther chance;

let us meet a gain

to

mor

row night at

ten.

Come

F.G. 8

At

ten,

but where?

a tempo I Vn.

div.

unis.

pizz.

dolce arco

pizz.

dolce arco

II

Va.

Vc. arco Cb.

to

my

52

Menotti Goya–Act I, Scene i

30 220 Picc. 1. Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Tamb. 1 Perc.

S.D. 2

Pno.

Hrp.

Git. 8

D.A. 8

lit

tle room with paints and

can

vas,

and

I

shall pose for

you with

clothes

on

and per haps with

out

clothes. Martin Zapater:

M.Z. I

beg you Fran cis co,

I Vn.

pizz.

arco

pizz.

arco

II

Va.

Vc. espr. Cb.

don’t trust her.

53

Menotti Goya–Act I, Scene i

31

226

poco rit.

Picc.

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

3

1 2

3

Bs.Cl. 2. Bn.

1 2

1. Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Tamb.) 1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. Well then?

Come to the Al

ba Pal ace.

Francisco Goya: F.G. 8

Too late,

too

late.

But how shall I find

your room?

M.Z. Can’t you

see she’s trying

to

fool you?

poco rit. I Vn. div. II

Va.

Vc.

Cb.

unis.

The Al

ba

54

Menotti Goya–Act I, Scene i 231

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

3

D.A. 3

The

duch ess is

a way

on

a hunt

ing trip,

and it takes her

a long

time

to

catch what she’s hunt ing for.

F.G. 8

Pal ace!

I Vn. II

Va.

Vc.

Cb.

How can I get in?

But what a bout the

55

Menotti Goya–Act I, Scene i

32 rall.

232 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

(Duchess of Alba exits.) D.A. Don’t

wor

ry.

We

shall be a

lone.

Use

the

kit chen en trance how e

ver,

and don’t

be

late.

F.G. 8

o ther ser vants?

rall. I Vn. II

Va. pizz.

arco

pizz.

arco

Vc.

Cb.

56

Menotti Goya–Act I, Scene i

33 238

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. 1. Bn.

Hn. in F

1 2

1 3

2 4 1. Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

Did you hear that?

That di

vine

creature!

She’s

mine,

she’s mine!

Are you Martin Zapater:

M.Z. You

I Vn. II

Va.

Vc.

Cb.

are

not going there

to mor row night.

34 Allegro molto moderato

243

57 poco affret.

Menotti Goya–Act I, Scene i

poco rit.

a tempo rall.

Picc. 1., solo Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

secco

Hrp.

Git. 8

F.G. 8

jok ing!

Of course I’m going.

I

know her face.

I breathed in

the

per

fume

of

her

M.Z. But you don’t

pizz.

e

ven know her

name.

Allegro molto moderato

arco

poco rit.

poco affret.

a tempo rall.

I Vn. pizz.

arco

II div. Va. pizz. Vc. pizz. Cb.

arco

58 rall.

249

Menotti Goya–Act I, Scene i

35 Andante

Picc.

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2

1. Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

bod

y.

Be

sides

such

a

pret

ty

face

is

worth

the

risk.

M.Z. You’re

rall.

Andante

I Vn.

espr. II dolce unis., non div.

Va.

Vc.

Cb.

in

cor

ri

gi ble.

59

Menotti Goya–Act I, Scene i

36

255 Picc.

a2 Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

a2

Hn. in F

1 3

2 4 (with straight mute)

Tpt. in C

a2

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

Offstage Bell, solo

solo

Innkeeper: I. They’re

I Vn. II

Va.

Vc.

Cb.

com

ing they’re com

ing.

60

Menotti Goya–Act I, Scene i 260

Allegro

Picc. a2 Fl.

1 2

Ob.

1 2

E.H. a2 Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1 Perc.

B.D. 2

Pno.

Hrp.

Git. 8

F.G. 8

I.

Allegro I Vn. II

Va.

Vc.

Cb.

61

Menotti Goya–Act I, Scene i

37 Andante maestoso

264 Picc.

Fl.

1 2

Ob.

1 2

E.H. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2 1 3 Hn. in F

a2 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 (Bs. Tbn.)

Bs.Tbn. Tuba

Timp. Gong 1 Perc.

(B.D.) 2

Pno.

Hrp.

Git. 8

F.G. 8

I.

S Lord

have

mer

cy

on

my

soul.

Cleanse

from

my heart

all

e

vil

Lord

have

mer

cy

on

my

soul.

Cleanse

from

my heart

all

e

vil

Lord

have

mer

cy

on

my

soul.

Cleanse

from

my heart

all

e

vil

Lord

have

mer

cy

on

my

soul.

Cleanse

from

my heart

all

e

vil

A

T 8

B

Andante maestoso pizz. I Vn. II

pizz. Va. pizz. Vc. pizz. Cb.

62

Menotti Goya–Act I, Scene i 269

Picc.

Fl.

1 2

Ob.

1 2

E.H. (a2) Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(a2) Hn. in F

1 3 (a2) 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Gong) 1 Perc.

(B.D.) 2

Pno.

Hrp.

Git. 8

F.G. 8

Who are they?

I. 3

3

He re tics,witch es, blas phe mers; S blas

phe my.

I

con

fess

to have strayed

from our

ho

ly

Church

and

to have

sold my soul

to

Sa

tan.

blas

phe my.

I

con

fess

to have strayed

from our

ho

ly

Church

and

to have

sold my soul

to

Sa

tan.

blas

phe my.

I

con

fess

to have strayed

from our

ho

ly

Church

and

to have

sold my soul

to

Sa

tan.

blas

phe my.

I

con

fess

to have strayed

from our

ho

ly

Church

and

to have

sold my soul

to

Sa

tan.

A

T 8

B

I Vn. II

Va.

Vc.

Cb.

63

Menotti Goya–Act I, Scene i

38 275 Picc.

Fl.

1 2

Ob.

1 2

E.H. (a2) Cl. in B

1 2

Bs.Cl.

Bn.

1 2 (a2)

Hn. in F

1 3 2 4 with straight mute 1 2

Tpt. in C 3

O.Tpt. 1 in C 2 1. Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp. Cym. 1

(B.D.) Perc.

2 Xylophone 3

Pno.

Hrp.

sempre

Git. 8

F.G. 3

8

The I. or

S

A

T 8

B

I Vn. II

Va.

Vc.

Cb.

so

they

say.

poor

de vils.

Do they know

what they’re con demed for,

fright ened

as they are?

Is

there

no com pas sion for them,

no

hope

for jus

tice?

64

Menotti Goya–Act I, Scene i

39

280 Picc.

Fl.

1 2

Ob.

1 2

1.

E.H. espr. 2. Cl. in B

1 2 1.

Bs.Cl.

Bn.

1 2 dolce

(a2) Hn. in F

1 3 espr.

2. 2 4

Tpt. in C

with straight mute

1 2 dolce 3

O.Tpt. 1 in C 2

Tbn.

1 2 (Tuba)

Bs.Tbn. Tuba

Timp. (Cym.) 1 B.D. Perc.

2 (Xyl.) 3

Pno.

Hrp.

Git. 8

F.G. 8

I. Will you be quiet, please!

Ma

drid is full

of

spies.

S Oh,

O

God

Oh,

O

God

O

God have

pity

on

us,

I

fear

I

fear

the

flame.

A O

God

have

pity

on

us,

the

flame.

T 8

Oh,

O

God

Oh, Oh,

O

God

O

God have

div. B

con sord.

I Vn.

div., con sord. II arco, con sord.

via sord.

Va. arco

Vc.

Cb.

have pie

65

Menotti Goya–Act I, Scene i

40

286 Picc.

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(1.)

Hn. in F

1 3 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Tamtam 1 Perc.

(B.D.) 2

Pno.

Hrp.

Git. 8

F.G. 3

8

Who

will

free Spain from these ho

ly

tor

tur

ers,

these sanc

ti

mon

ious

hy

po

crites

I. 3

Care ful, S Lord

have

mer

cy

on

my

soul.

Lord

have

mer

cy

on

my

soul.

Lord

have

mer

cy

on

my

soul.

A

T 8

pity

on

us,

pity

on

us,

I

fear

the

flame.

B I

fear

the

flame.

I Vn. sul ponticello II

pizz. Va. via sord. Vc.

Cb.

pizz.

se

– nor, – nor,

care

ful!

You’ll

66

Menotti Goya–Act I, Scene i

41

291 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(1.) Hn. in F

1 3 2. 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Tam.) 1 Perc.

(B.D.) 2

Pno.

Hrp.

Git. 8

F.G. 8

and their hid

eous

grins.

I. get

us

all

ar

rest

ed!

Martin Zapater:

M.Z. 3

Are you out of your mind?

Keep

quiet!

Or

we’ll

end

up with them!

Calm down.

Let’s

go.

S Cleanse

from

my

heart

all

e

vil

blas

phe

my.

Oh,

O

God

O

God

have

pity

on

us.

I

fear

the

Cleanse

from

my

heart

all

e

vil

blas

phe

my.

Oh,

O

God

O

God

have

pity

on

us.

I

fear

the

Cleanse

from

my

heart

all

e

vil

blas

phe

my.

Lord

have

mer

on

our

A

T 8

B

div. I Vn. II

Va. al sord. Vc.

Cb.

cy

soul.

67

Menotti Goya–Act I, Scene i

poco rit.

296 Picc.

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2 poco

Bs.Cl.

Bn.

1 2 with mute

Hn. in F

1 3 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Tam. 1 Perc.

(B.D.) 2

Pno.

sempre

Hrp.

Git. 8

F.G. 8

M.Z. I

told you,

Ma drid is not for you.

Don’t

grieve so.

S flame.

Oh

God

have

pity

on

us.

I

fear

the

flame.

flame.

Oh

God

have

pity

on

us.

I

fear

the

flame.

Oh,

O

pity

on

us.

I

fear

the

flame.

Oh,

O

pity

on

us.

A

T 8

God

have

B God

have

I

fear

the

flame.

unis. I Vn. via sord.

pizz., senza sord.

II sola, senza sord. Va. via sord. Vc.

Cb.

via sord.

poco rit.

68

Menotti Goya–Act I, Scene i

42 302 Allegro scorrevole

Picc.

Fl.

1 2

Ob.

1 2

E.H. a2 Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

a2, with mute Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 dolce a2

Bs.Tbn. Tuba dolce

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

M.Z. Come

now

Allegro scorrevole div., senza sord.

I div. Vn.

espressivo II tutte

Va.

Vc. arco Cb.

espressivo

Fran

cis

co,

don’t

let

hu

man

sor

row

ob

scure

the

bright

joy

in

your

69

Menotti Goya–Act I, Scene i

43

310 Picc.

Fl.

1 2

Ob.

1 2

E.H. (a2) Cl. in B

1 2

Bs.Cl. (a2) Bn.

1 2

(a2) Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

M.Z. eyes.

Let

unis.

us

re

turn

to

our

land

scape

where

div.

pea

sants

are

sing

ing,

where

wo

unis.

I Vn.

unis. II

Va.

Vc. pizz. Cb.

arco

men

are

70

Menotti Goya–Act I, Scene i

Più agitato

poco meno 44

318 Picc.

1. Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

a2, open 1 3 Hn. in F

a2 2 4 open

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

My Muse

is

un

M.Z. lov

ing

where

God

is

a

poco meno

fa

ther

for

e

ver

for

giv

ing.

Più agitato div.

I Vn. II

Va.

Vc.

div., arco Cb. pizz.

unis., arco

crowned,

my

Muse

has

no

71

Menotti Goya–Act I, Scene i

45

326 Picc. a2 Fl.

1 2

Ob.

1 2

a2

E.H. a2 Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2 1 3 Hn. in F

a2 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 Tuba

Bs.Tbn. Tuba dolce

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

lyre;

my

M.Z.

unis. I Vn. II

Va.

Vc.

Cb.

Muse

is

the

de

mon

who

nests

in

my

eyes.

What

3

e ver it

72

Menotti Goya–Act I, Scene i

rallentando

335 Picc. (a2) Fl.

1 2

Ob.

1 2

E.H. (a2) Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1. 1 3 Hn. in F

2. 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

B.D. 2

Pno.

Hrp.

Git. 8

(Curtain) F.G. 8

shows

me

I’m con demned

to

re

mem

ber.

M.Z. You’ve drunk e nough al

div. I Vn. II div. Va.

Vc.

Cb.

rallentando

rea dy.

Let’s go

to

sleep.

46 Intermezzo Allegro moderato

73

Menotti Goya–Act I, Intermezzo

Picc.

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

Allegro moderato unis. I Vn. II unis. Va.

Vc. div., arco Cb. pizz.

74

Menotti Goya–Act I, Intermezzo

47 9 Picc.

2. Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1. 1 3 dolce

Hn. in F 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

I Vn. II

Va.

Vc. unis., pizz. Cb.

arco

75

Menotti Goya–Act I, Intermezzo

48 17 Picc. (2.) Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 3 Hn. in F

a2

a2

2 4 1., with straight mute

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 take straight mute Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. Crash Cym. 1 Perc.

B.D. 2

Pno.

Hrp.

Git. 8

pizz.

arco

pizz.

arco

I

Vn. II

Va.

Vc.

pizz. Cb.

arco

76

Menotti Goya–Act I, Intermezzo

49

50

24 Picc.

1. Fl.

1 2 subito cresc. 1.

Ob.

1 2 subito cresc.

E.H. a2 Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2 a2 1 3 dolce

Hn. in F

a2 2 4 dolce

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Cym., wire brushes 1 poco cresc. Perc. 2

Pno.

Hrp.

Git. 8

I Vn.

subito cresc. II subito cresc.

Va. subito cresc. Vc. subito cresc. pizz. Cb.

77

Menotti Goya–Act I, Intermezzo 31 Picc.

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2 solo

3

Bs.Cl. 1.

(a2) Bn.

3

3

1 2

(a2) Hn. in F

1 3 (a2)

(a2)

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

B.D. 2

Pno.

Hrp.

Git. 8

I Vn. II

Va. 1 solo 3

Vc.

Cb.

3

78

Menotti Goya–Act I, Intermezzo

51 38

Picc.

a2 Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl.

a2 Bn.

Hn. in F

1 2

1 3 (a2) 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Triangle 1 Cast. Perc.

2

S.D. 3 cresc. poco a poco

Pno.

Hrp.

gliss.

Git. 8

div. I Vn.

cresc. subito II cresc. subito

Va. cresc. subito Vc. cresc. subito pizz. Cb.

cresc.

slow gliss.

79

Menotti Goya–Act I, Intermezzo 43 Picc. (a2) Fl.

1 2

Ob.

1 2

a2

E.H. a2 Cl. in B

1 2

Bs.Cl. (a2) Bn.

1 2

take straight mute Hn. in F

1 3 (a2) 2 4 1., solo

Tpt. in C

take straight mute

1 2 take straight mute 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock.

Xyl.

1

Perc.

Cast.

Tamb., thumb roll

2

3

Pno.

3

Hrp.

Git. 8

pizz.

unis. I Vn.

pizz. II

pizz. Va.

pizz. Vc.

Cb.

80

Menotti Goya–Act I, Intermezzo

52 48 Picc. (a2) Fl.

1 2

Ob.

1 2

dolce

(a2)

E.H. 1. Cl. in B

dolce

1 2

Bs.Cl. (a2) Bn.

Hn. in F

1 2

1 3 (a2) 2 4 (with straight mute) 1 2 dolce

Tpt. in C

with straight mute 3 dolce

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. S.D. 1 Perc.

Tamb., thumb roll 2

Pno.

Hrp.

Git. 8

al sord.

arco, con sord.

I Vn. al sord.

arco, con sord.

II

arco, con sord. al sord. Va. al sord. Vc.

Cb.

81

Menotti Goya–Act I, Intermezzo

53 54 Picc.

(a2) Fl.

1 2

Ob.

1 2

(a2)

E.H. a2 Cl. in B

2.

1 2 dolce

Bs.Cl.

1., solo

a2 Bn.

1 2

with mute

Hn. in F

1 3 dolce 2 4 1., solo

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

B.D. 1 Perc.

Tamb., thumb roll 2

Pno.

Hrp.

Git. 8

via sord.

pizz., senza sord.

via sord.

pizz., senza sord.

I Vn. II

div., senza sord.

via sord. Va. arco, con sord. Vc. pizz. Cb.

82

54 Adagio

61

Menotti Goya–Act I, Intermezzo

Picc. 1. Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl. 1., solo Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

Adagio I Vn.

espr. II

Va.

Vc.

arco Cb.

pizz.

83

Menotti Goya–Act I, Intermezzo

55

69 Picc. a2 Fl.

1 2

Ob.

1 2

3

E.H. 3

Cl. in B

1 2 3

3

3

Bs.Cl. 3

Bn.

1 2

a2 Hn. in F

1 3 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

3

3

3

3

Hrp. 3

3

3

3

Git. 8

I legato ed espr.

Vn.

3

II

Va. espr. Vc. legato ed espr. Cb.

3

espr. arco

pizz.

84

Menotti Goya–Act I, Intermezzo 75

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2 solo

Bs.Cl. a2 Bn.

Hn. in F

1 2

1 3 a2 2 4 take straight mute

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

I Vn. II

Va. div.

unis.

Vc. arco Cb.

pizz.

arco

56 Scene II Andante moderato

Menotti Goya–Act I, Scene ii

Picc.

Fl.

1 2

Ob.

1 2

1., solo

E.H.

Cl. in B

1 2

Bs.Cl. 1., solo Bn.

1 2

1. Hn. in F

1.

1 3 2. 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

l.v.

Hrp.

Git. 8

M.

F.G.

Andante moderato I Vn. II

Va.

Vc.

Cb.

85

86

Menotti Goya–Act I, Scene ii

Allegro ma non troppo

6

57

Picc. a2 Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

Maid: M. Wait here. Francisco Goya: M.Z. 8

But where is she?

Take me up

Allegro ma non troppo I Vn. II

arco Va. pizz. Vc.

Cb.

arco

to her room

and

87

Menotti Goya–Act I, Scene ii 11 Picc. 1. Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl. 1. Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

(She goes out.) M. Don’t

wor

ry.

We’re safe.

I

must go

and

tell her you’re here,

sit down!

F.G. 8

quick ly,

be fore

we’re caught.

al sord. I Vn. al sord. II pizz. Va.

(arco) Vc.

Cb.

al sord.

88

Menotti Goya–Act I, Scene ii

58 Andante moderato

15

=

Picc.

Fl.

1 2

Ob.

1 2

1.

solo E.H.

Cl. in B

1 2

Bs.Cl. 1. Bn.

Hn. in F

1 2

1 3

2 4 1., with straight mute

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

F.G. 8

M.Z.

pizz. I Vn. II

Va.

Vc.

Cb.

Andante moderato

=

89

Menotti Goya–Act I, Scene ii 20

rall.

( = )

a tempo

cedere un poco

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. (1.) Bn.

1 2

1. Hn. in F

1 3

2 4 1., solo (with mute) Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

B.D. 2

Pno.

Hrp.

Git. 8

M.

F.G. 8

Good

div. a3, arco, con sord. ( = )

God,

what a place!

Will

rall.

a tempo

cedere un poco

div. a2

I Vn. div. a3, con sord.

unis.

II

div., con sord. Va.

div., con sord. Vc.

Cb.

via sord.

div.

my

unis.

90

Menotti Goya–Act I, Scene ii

59 25 Lento

poco accel.

Allegro

Picc.

Fl.

1 2

Ob.

1 2

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

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4 with straight mute 1 2 Tpt. in C

with straight mute 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

M.

F.G. 8

paint

ings

e

ver hang

Lento

in rooms as splen did

as

these,

poco accel.

or

am

I

con demed

for

e

Allegro

I Vn. II half section, unis., senza sord.

tutte

Va. unis., senza sord. Vc.

Cb.

pizz.

ver

to

ho

ly

91

Menotti Goya–Act I, Scene ii

cedere un poco

29

60 Allegro

Picc.

Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2 Hn. in F

1 3

2 4 1., open Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

(The Maid comes back into the room.) M.

F.G. 8

pic

tures

for

monks

and

nuns

or por traits of sol diers and

mer chants?

cedere un poco I Vn. II

Va.

Vc.

Cb.

Allegro unis., pizz.

92

Menotti Goya–Act I, Scene ii

cedere un poco

35 Picc. a2 Fl.

1 2

Ob.

1 2

(a2)

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4 (a2) Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

M. She is on her way.

Mad?

Oh, yes…

A

lit tle per haps.

F.G. 8

At last.

But tell me a bout the duch ess;

is

she

as mad as they say?

I wish I could meet her

a

ny

cedere un poco

4 violins, solo, con sord., arco al sord. I Vn.

pizz. II

pizz. Va. pizz. Vc. pizz. Cb.

via sord.

93

Menotti Goya–Act I, Scene ii

61 41 Andante

Allegro

Lento

Picc. 1., solo Fl.

1 2

Ob.

1 2

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

1 2 espr.

Bs.Cl. 1., solo Bn.

1 2

1., with straight mute

Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

(The Maid runs off.) M. Sh!Sh!She’s com ing.

F.G. 3

8

way

I

like her cham

Andante

ber maids.

What is your name?

Allegro

Lento

I Vn. II arco Va.

arco Vc. arco Cb.

94 62 Allegro marziale

Menotti Goya–Act I, Scene ii

48

Picc. a2 Fl.

1 2

Ob.

1 2

E.H. a2 a2 Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

a2 1 3 Hn. in F

a2 2 4 a2

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Xyl. 1 Perc.

B.D.

Crash Cym.

2

Pno.

Hrp.

Git. 8

(Duchess of Alba and her court enter.) D.A.

F.G. 8

Allegro marziale div.

unis.

div., arco

unis.

div. unis.

div.

unis.

I

Vn. II

Va.

Vc.

Cb.

unis. div.

div.

unis.

95

Menotti Goya–Act I, Scene ii

63

54 Picc. 5

(a2) Fl.

1 2

a2 5

a2 Ob.

a2

1 2 pesante

E.H. (a2) Cl. in B

1 2

a2

a2

pesante

5

pesante Bs.Cl. pesante (a2) Bn.

1 2 pesante

(a2)

Hn. in F

1 3 (a2)

a2

pesante

2 4 pesante

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 (a2) Tbn.

1 2 Bs. Tbn.

Bs. Tbn.

pesante Bs. Tbn.

a2

Bs.Tbn. Tuba pesante

Timp. (Xyl.)

B.D.

1 Perc.

S.D. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

I 5

Vn.

pesante II 5

pesante Va. 5

div.

pesante unis.

Vc. pesante Cb. pesante

96

Menotti Goya–Act I, Scene ii 61

Allegro vivace

Picc. a2 Fl.

1 2

Ob.

1 2

cresc. poco a poco

a2

cresc. poco a poco E.H. a2 Cl. in B

1 2 cresc. poco a poco

cresc. poco a poco

Bs.Cl. a2 Bn.

1 2 cresc. poco a poco

Hn. in F

1 3 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

Chorus:

cresc. poco a poco

S Look

at

the

poor

man;

he’s turned

to

stone. 3

A I’m

dy

ing

of

laugh

ter.

Oh,

the

T 8

Oh,

how

lieve

it!

a

mus

ing!

B He

Allegro vivace I Vn. II

Va.

Vc.

Cb.

can’t

be

poor

97

Menotti Goya–Act I, Scene ii

64

70 Picc. (a2) Fl.

1 2

Ob.

1 2

(a2)

E.H. (a2) Cl. in B

1 2

Bs.Cl. (a2) Bn.

1 2

a2 1 3 Hn. in F

a2 2 4 a2

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Trg. 1 Tamb. Perc.

2 S.D. 3

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

S Oh,

what

a

farce!

A Oh,

the poor

man

how

fool

ish

he must

feel!

Oh,

the poor

man

how

fool

ish

he must

feel!

T 8

B man

how

fool

ish

he must

feel!

I cresc. poco a poco

Vn. II

cresc. Va.

Vc. cresc. poco a poco pizz. Cb.

98

Menotti Goya–Act I, Scene ii

65

80 Picc.

3

3

3

3

3

3

(a2) Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2 (a2)

Hn. in F

1 3 (a2) 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 a2 Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. (Trg.) 1 (Tamb.) Perc.

B.D.

2

(S.D.) 3 3

3

3

8va

Pno.

Hrp.

Git. 8

D.A.

Francisco Goya: F.G. 3

8

E

pizz. arco I pizz.

Vn.

arco II pizz.

arco

Va.

Vc. arco Cb.

nough of

this.

99

Menotti Goya–Act I, Scene ii 86

Moderato

subito accel.

Picc.

Fl.

1 2

Ob.

1 2

E.H. a2 Cl. in B

1 2

Bs.Cl.

Bn.

3

3

3

3

3

3

3

3

3

3

3

3

1 2

a2 Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs. Tbn. Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

I’m

Vn. II

Vc.

Cb.

3

3

3

3

3

3

3

3

3

3

3

3

a

pea sant

Moderato

subito accel. I

Va.

not

to

be

sport

ed with,

nor a

gul li ble

Don

Qui xo

te.

100

Menotti Goya–Act I, Scene ii

66 Allegro

92 Picc.

Fl.

1 2

Ob.

1 2

E.H. 1., solo

(a2) Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

meno F.G. 8

I

am

an

art

ist,

and

if

you

are

the

duch

ess

of

Al

ba

re

cieve

me

as

you

should.

Allegro I Vn. II

Va.

Vc.

Cb.

101

Menotti Goya–Act I, Scene ii

Più mosso

94 Picc.

Fl.

1 2

Ob.

1 2

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

1 2

Bs.Cl.

Bn.

1 2

a2 1 3 Hn. in F

a2 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

3

D.A. Ho,

ho!

Our

art

ist

is

ag gres

sive

and gives me les

sons

in

e

ti quette.

F.G. 8

In

be hav

ior,

ra ther.

Più mosso I Vn. II

Va.

Vc.

Cb.

102

Menotti Goya–Act I, Scene ii

67 meno mosso

96 Picc.

a2 Fl.

1 2

Ob.

1 2

E.H. a2 Cl. in B

1 2

Bs.Cl. a2 Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. 3

I

hum

3

bly beg your par

don sir,

I

did not mean to

of

fend

you.

An

art

ist

is

al

ways

wel come in my house.

And from

the

sketches that you showed

me

I

F.G. 8

meno mosso

div.

unis.

I Vn. div.

unis.

div.

unis.

II div. Va.

Vc.

Cb.

div.

unis.

103

Menotti Goya–Act I, Scene ii

68 più mosso

101 Picc.

a2 Fl.

1 2

Ob.

1 2

E.H. a2 Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

a2 1 3 Hn. in F

a2 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

DC B E F GA

F

C

Git. 8

D.A. know

you

are

an

art

ist.

My

name is

Ma

ri a del Pi lar

Te

re

sa cay e

tana

and

yours?

y Lu cien te!

F.G. 8

Fran cis co de Go

più mosso

div.

unis.

I Vn. div.

unis.

II

div.

unis.

Va.

div. Vc.

Cb.

unis.

ya

y Lu

cien tas.

104

Menotti Goya–Act I, Scene ii

69 Molto moderato

106 Picc.

(a2) Fl.

1 2

Ob.

1 2

a2

E.H. cresc.

(a2) Cl. in B

1 2

Bs.Cl.

a2 Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Trg. 1 Perc. 2

Pno.

Hrp.

Git. 8

(laughing) D.A. A

no ble man no less!

Oh, please

sir,

don’t be such

(angrily) F.G. 8

I

hope you had your fun.

I’m go

ing

Molto moderato I Vn. II

Va.

Vc.

Cb.

a

boor!

For give

my

105

Menotti Goya–Act I, Scene ii

rall. poco a poco

112

70 Allegro di muovo

Picc. 1., solo Fl.

1 2

3

3

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. 1., solo Bn.

Hn. in F

1.

1 2

1 3 2., solo 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. fool

ish pranks.

Come back

here,

will you please

and

3

join us for sup per.

These lit

tle

an

gels

are

my

a

dop ted chil

dren:

Lui

si

to

F.G. 8

rall. poco a poco pizz.

Allegro di muovo arco.

I pizz.

arco.

II pizz.

arco.

pizz.

non div.

Va.

Vc. pizz. Cb.

3

3

Vn.

106

Menotti Goya–Act I, Scene ii

71

118 Picc. (1.) Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. and

Ma

ri

a

de la

Luz

and my dar

ling,

Do

na

Cue

va

And

F.G. 8

I

came

to

paint you

not

to sup

with your en tour age.

pizz.

arco

pizz.

arco

arco

pizz.

arco

arco

pizz.

arco

pizz.

arco

I Vn. II pizz. Va.

Vc.

arco Cb.

I

shall

107

Menotti Goya–Act I, Scene ii 123 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

(to a butler) D.A. Keep

my prom ise

to

pose

for

you.

Of

F.G. 8

I

I Vn. II

Va.

Vc.

Cb.

do not paint

in

pub

lic,

we

must

be

a lone.

course.

Tell Gre gor io

to have sup per read y

for mid night.

108 126

72 Allegro

Menotti Goya–Act I, Scene ii

Picc. 1. Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl. 1. Bn.

Hn. in F

2., solo

1 2

1 3 2., solo 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Trg. 1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

Allegro I Vn. II pizz. Va. pizz. Vc. pizz. Cb.

arco

109

Menotti Goya–Act I, Scene ii 134 Picc. (1.) Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1. Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

I Vn. II

arco Va.

Vc.

Cb.

div.

unis.

110

Menotti Goya–Act I, Scene ii

73 Andante molto moderato

141 Picc.

Fl.

1 2

Ob.

1 2

E.H. 1. Cl. in B

a2

1 2

Bs.Cl.

Bn.

1 2

a2 Hn. in F

1 3 a2 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. take your choice.

But you

F.G. 8

Now

thatwe’re a

lone,

how am I

to ad dress you?

You heard

Andante molto moderato I sub.

Vn. II

sub. Va. div.

sub. unis.

Vc. sub. arco

pizz.

arco

Cb. sub.

my names;

May I

call you Caye ta

na?

111

Menotti Goya–Act I, Scene ii

74

147 Picc.

Fl.

1 2

Ob.

1 2

3

E.H. 3

Cl. in B

1 2

Bs.Cl. a2

a2 Bn.

1 2

a2 Hn. in F

3

3

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. 3

on

ly came

to paint me.

Oh,

you

cau tious knight,

what

do

you

think

I could

F.G. 8

3

What

more

can

I

hope

for,

now

that I

know

who you

are?

3

I

3

Vn.

3

II 3

Va. div. Vc.

Cb.

unis.

div.

112

Menotti Goya–Act I, Scene ii

rall. colla voce

152

Più mosso

Picc.

Fl.

1 2

Ob.

1 2

E.H. 3

a2 Cl. in B

espr.

3

a2

1 2

Bs.Cl.

Bn.

1 2

(a2) Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

3

D.A.

be?

I

am

a

wo man,

and

I

like

3

to be de sired.

F.G. 8

I

rall. colla voce

Più mosso

I 3

Vn.

3 3

II

div. 3

div. Va. unis. Vc. 3

Cb.

3

must con

pizz.

fess

it

was ea

sier

to de

sire you

as

a cham ber maid.

113

Menotti Goya–Act I, Scene ii

75 con moto

157 Picc.

Fl.

1 2

Ob.

1 2

1.

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

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. 3

Well then

come

here,

my

mag ic

gen

ius.

Leave

the coarse

can

vas

and

bring

both paint and

brush

next to my face.

F.G. 8

con moto

pizz.

I Vn.

pizz. II

pizz. Va. pizz. Vc.

pizz. Cb.

114

Menotti Goya–Act I, Scene ii

76 Molto rubato

165 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2. Hn. in F

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

freely D.A. Come, come,

don’tbe a fraid.

Place

your mag ic

brush

F.G. 8

Molto rubato

arco I Vn. arco II

arco Va. arco Vc.

Cb.

on

to

my

ten

der

skin.

Trans

115

Menotti Goya–Act I, Scene ii 172 Picc. a2 Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. a2 Bn.

Hn. in F

1 2

1 3

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. 3

form

me

in

to the

wo

man

of

your

dreams.

I would deem it

an

ho

nor

to serve as

can

vas

to such an art ist’s

brush.

F.G. 8

pizz. I Vn.

pizz. II pizz.

div. Va.

div. Vc.

Cb.

unis.

pizz.

unis.

116

Menotti Goya–Act I, Scene ii

77 178 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2 1 3 Hn. in F

a2 2 4 a2

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

Ho,

F.G. 8

div., arco arco

pizz.

arco

pizz.

div., arco

pizz.

arco

pizz.

arco

I Vn. II

arco Va.

arco Vc.

arco Cb.

ho!

The

griz

zly bear

has turned in

to

a

tim id

lamb.

117

Menotti Goya–Act I, Scene ii

78 183 Andante con moto Picc. a2 Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. a2 Bn.

Hn. in F

1 2

1 3 2. 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

Ah,

Andante con moto unis.

I Vn.

unis. II

Va.

Vc.

Cb.

do

not

laugh,

don’t make

a

play thing

of

me.

Your

laugh

ter

118

Menotti Goya–Act I, Scene ii

79 Meno mosso

rall.

189

rall.

Picc. 1. Fl.

1 2

Ob.

1 2

1.

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1. Hn. in F

1 3 (2.) 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

will

not

save

you

rall.

now.

Mine

are

these

hands,

mine

Meno mosso

rall.

div. II

Va.

Vc. pizz. Cb.

your

eyes,

div.

I Vn.

are

arco

119

Menotti Goya–Act I, Scene ii

rall. Adagio ma non troppo

195 Picc. a2 Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

a2 1 3 Hn. in F

a2 2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 1. Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

and

mine

your

lips.

Yes,

your

beau

ty

now

be

longs

rall. Adagio ma non troppo unis. I una dolce unis.

Vn. II

una dolce Va. una dolce

Vc. una dolce Cb.

to

me

and

burns

in

to

my

120

Menotti Goya–Act I, Scene ii

80

200 Picc. a2 Fl.

1 2

Ob.

1 2

a2

E.H. a2 Cl. in B

1 2

Bs.Cl.

(a2) Bn.

1 2

a2 Hn. in F

1 3 a2

a2

a2

2 4

Tpt. in C

1 2

3

O.Tpt. 1 in C 2 (1.) Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

Cym. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

I Vn. II

Va.

Vc.

Cb.

heart.

You’re

mine

and mine for

ev

er.

Your

pride

you must

sur

ren

der.

121

Menotti Goya–Act I, Scene ii 206 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl.

(a2) Bn.

1 2

1 3 Hn. in F

2. 2 4

1 2 Tpt. in C 3

O.Tpt. 1 in C 2

Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp.

1 Perc.

(Cym.) 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

Ah,

you

are

my

cap

tive

fair

Ca

ye

ta

na

there’s no

thing

you

can

hide from

me,

Ca ye

ta

na.

I Vn. II

unis.

div. Va.

Vc. div. Cb.

unis.

122

Menotti Goya–Act I, Scene ii

81

poco rit.

211 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. (a2) Bn.

1 2

1 3 Hn. in F

a2 2 4

1 2 Tpt. in C 3

O.Tpt. 1 in C 2 1. Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc.

(Cym.) 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

Let

my

brush

ca

ress

you

as

do

my

fin

gers

and

make

your

youth

im

mor

tal.

poco rit. I Vn. II unis.

div. Va.

Vc. div. Cb.

Menotti Goya–Act I, Scene ii

82 216

a tempo

83 poco rall. A tempo

Picc. a2 Fl.

1 2

Ob.

1 2

a2

E.H.

Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

3. 1 3 Hn. in F 2 4

2. 1 2 Tpt. in C 3

O.Tpt. 1 in C 2 1. Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp.

1 Perc.

(Cym.)

use wooden stick

2 dim.

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

Stilled

by

my

time,

bound

by

my

space

I

made you

mine

poco rall. A tempo

a tempo I Vn.

div.

unis.

II

Va.

Vc. sub. div., arco

div., arco

unis. (arco)

Cb. sub.

pizz.

pizz.

unis. (arco)

123

124

Menotti Goya–Act I, Scene ii

rit.

222

a tempo

rall.

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs.Cl. 2. Bn.

1 2

(3.)

a2, soli

1 3 Hn. in F 2 4

1 2 Tpt. in C 3

O.Tpt. 1 in C 2 (1.) Tbn.

1 2 (Tuba)

Bs.Tbn. Tuba dolce

dolce

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A.

F.G. 8

and now that

I

have

con

quered you,

it

is

with

in

my

rights

to claim your

rit.

love.

a tempo

rall.

div.

I Vn. II

Va.

Vc. div.

(arco)

Cb.

pizz.

125

Menotti Goya–Act I, Scene ii

84 228 Moderato Picc. a2 Fl.

3

3

1 2

3

a2 Ob.

1 2 3

E.H.

3

Cl. in B

3

1 2

Bs.Cl. 1. Bn.

1 2

1. 1 3 Hn. in F 2 4

1 2 Tpt. in C 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

Duchess of Alba: D.A. Is the por trait

fin ished?

Your

last

brushstroke

was a

lit

tle

pre ma ture

and gauche.

F.G. 8

It

Moderato

unis.

I 3

Vn. II

Va.

Vc.

Cb.

is

my

sig

na ture.

126

Menotti Goya–Act I, Scene ii

85 poco rit.

234

a tempo

Picc. (a2) Fl.

1 2

3

(a2) Ob.

1 2 3

E.H.

Cl. in B

1 2

Bs.Cl. (a2) Bn.

1 2

1. 1 3 Hn. in F 2 4

1 2 Tpt. in C 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. Are

n’t

you

in

too

much

haste

to

sign

your

por

traits

thus? 3

F.G. 8

The

poco rit. I Vn. II

Va.

Vc.

Cb.

3

a tempo

ve

ry

mo

ment

that

I

saw your

127

Menotti Goya–Act I, Scene ii

86 Più mosso

239 Picc.

Fl.

1 2

Ob.

1 2

a2

1.

solo

3

E.H.

Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

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

1 2 Tpt. in C 3

O.Tpt. 1 in C 2

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Perc. 2

Pno.

Hrp.

Git. 8

D.A. Love!

F.G. 8

face,

I

knew that

I

would

love

no

o

ther

wo

man.

Più mosso I Vn. II

Va.

Vc. div., arco Cb. pizz.

Love!

What

does it

128

Menotti Goya–Act I, Scene ii

245 Picc. a2 Fl.

1 2

Ob.

1 2

(a2)

E.H.

Cl. in B

1 2

Bs.Cl.