Adamo LITTLE WOMEN, ACT 1

(full score) ACT I

From the G. Schirmer Rental Library Date of printing_________

G. Schirmer, Inc., New York, NY

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LITTLE WOMEN

LITTLE WOMEN OPERA IN TWO ACTS

words and music by

Mark Adamo after the novel by

Louisa May Alcott

G. Schirmer, Inc., New York, NY

LITTLE WOMEN

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Important Notice

Performances of this opera must be licensed by the Publisher. All rights of any kind with respect to this opera and any parts thereof, including but not limited to stage, radio, television, motion picture, mechanical reproduction, translation, printing, and selling, are strictly reserved. License to perform this work, in whole or in part, whether with instrumental or keyboard accompaniment, must be secured in writing from the Publisher. Terms will be quoted upon request. Copying of either separate parts or the whole of this work, by hand or by any other process, is unlawful and punishable under the provisions of the U.S.A. Copyright Act. The use of any copies, including arrangements and orchestrations, other than those issued by the Publisher, is forbidden. All inquiries should be directed to the Publisher: G. Schirmer Rental Department P.O. Box 572 445 Bellvale Road Chester, NY 10918 (845) 469-2271 (845) 469-7544 (fax)

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LITTLE WOMEN

CONTENTS Act I Prologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Scene 1 Scene 2 Scene 3 Scene 4 Scene 5

Act II ........................................... ........................................... ........................................... ........................................... ...........................................

316 364 421 455 509

CHARACTERS The March sisters Jo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Low Lyric Mezzo-Soprano Meg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Mezzo-Soprano Beth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Soprano Amy . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Coloratura Soprano Their lovers Laurie (Theodore Lawrence) . . . . . . . . . . . . . . . . . . . . Lyric Tenor John Brooke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Baritone Friedrich Bhaer . . . . . . . . . . . . . Bass-Baritone (or Mezzo-Soprano) Their elders, and others Alma March . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mezzo-Soprano Gideon March / Mr. Dashwood . . . . . . . . . . . . . . . . Bass-Baritone Cecilia March . . . . . . . . . . . . . . . . . . . . . Mezzo-Soprano/Contralto Quartet of female voices

LITTLE WOMEN

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Little Women was commissioned by Houston Grand Opera and premiered at the Houston Grand Opera Studio on March 13, 1998.

CAST Jo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephanie Novacek Laurie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chad Shelton Amy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jennifer Aylmer Beth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura A. Coker Meg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joyce DiDonato Alma March . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tiffany Jackson John Brooke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Belcher Gideon March/Mr. Dashwood . . . . . . . . . . . . . . . . . . . . Christopher Scott Feigum Cecilia March . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Katherine Ciesinski Friedrich Bhaer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edward Scott Hendricks Houston Grand Opera Orchestra Christopher Larkin, conductor

INSTRUMENTATION Flute (doubling Piccolo and Alto Flute) Oboe (doubling English Horn) Clarinet in A (doubling Bass Clarinet) Bassoon (doubling Contrabassoon) Horn in F Percussion (2 players) Piano (doubling Celesta and Synthesizer) Harp Strings duration 120’

A live recording of Houston Grand Opera’s March 2000 revival production is available on compact disc. ONDINE ODE 988-2D

COMPOSER’S NOTE Little Women, that indispensable chronicle of growing up female in post-Civil War New England, has most often materialized on screen (and, less successfully, onstage) as the romance of a freespirited young writer torn between the boy next door and a man of the world. Closer reading of Louisa May Alcott’s novel suggested to me a deeper theme: that even those we love will, in all innocence, wound and abandon us until we learn that their destinies are not ours to control. So I shaped a libretto in which Jo’s love for her sisters regained the power it wielded in the original novel; and imagined a finale in which Jo at last accepts that even sincerest love and strongest will cannot stave off change and loss. Jo’s journey called to mind the Buddhist suggestion that a lesson unlearned will present itself over and over again, in slightly different guise, until at last the pilgrim makes progress and grasps the point. It suggested to me a score in which, amid a riot of inflection and color, one could clearly hear Jo’s music of stubbornness and resistance tangling with and at last yielding to an ardent but unstoppable music of change. In fact, I wanted two scores: a character music which made the emotional journeys of the characters everywhere clear and traceable, in bold relief against a narrative music as distinct as I could make it from the thematic foreground. So, Jo’s resistance theme and Meg’s and Laurie’s change theme, among others, are written in a free lyric language of triad and key. But those moments driven by language and story, rather than music and psychology, take a kind of dodecaphonic recitativo secco— crisp and terse, made from the twelve tones of the horn melody in the Prologue, designed to distinguish the flavor of the non-thematic dialogue. That melody also gave Jo the makings of her exuberant scherzando sections in her Act One scena, “Perfect As We Are.” This long solo, which portrays Jo’s divided feelings by disrupting her long-lined F-major cantilena with careening dodecaphonic comedy, best exemplifies what I dreamed for this piece: a music in which even the most unlike materials could fuse into a single music if the ear is sensitive and the design is sound. To Nietzsche is attributed the quote: “An artist chooses his subjects; that is his way of praising.” Certainly I was surprised, as I composed an opera about people far removed in time, space, and gender from my own life, how much of my own feelings, memories, and family history found its way into Little Women. For first suggesting the idea to me, I owe a debt of gratitude to Elaine Walter, and for bringing to the stage the opera that resulted with such care and commitment, I owe a debt of gratitude to David Gockley, Christopher Larkin, and Peter Webster. For their valuable and imaginative commentary on the opera as it developed, I thank Carlisle Floyd, John Corigliano, William M. Hoffman, Messrs Gockley and Webster, and Michael Korie; for their heroic work on the documents of this score, I thank Kent Ashcraft and the staff at G. Schirmer; for her friendship, as well as for her unstinting support of my work, I thank Susan Carlyle. For his brilliant and sensitive leadership of the performances from which the recording was drawn, I thank Patrick Summers and his superlative cast: for the extraordinary filming and recording of those performances, I thank Brian Large, Michael Bronson, Elaine Warner, and Marlan Barry. Above all, for the truths of love and courage I have tried to reflect in this piece, I thank my parents, Julie and Romeo Adamo, to whom Little Women is lovingly dedicated.

— MARK ADAMO

SYNOPSIS The action takes place just following the American Civil War. LITTLE WOMEN 7 Act I Prologue (the attic of the March house) Jo, twenty-one but feeling older, scribbles an elegiac poem until her childhood friend Laurie appears. Delighted, but uneasy—Laurie’s just returned from Paris, where he’s married Jo’s younger sister, Amy— Jo presses him: he hasn’t married Amy to remain close to Jo, has he? Worse: in loving Amy, Laurie has fallen out of love with Jo: can she forgive him? Jo claims relief, though a grieving orchestra belies her: Laurie, oblivious, proposes a return to their past rapport, when their relationship was “perfect as it was.”

This phrase maddens Jo, and, in scathing self-reproach, Jo mocks the very idea of trying to stop the clock: and the opera spirals back in time to show us what she means. Scene 1 (the attic, two years ago) Jo and her three sisters—distracted Meg, ethereal Beth, and peppery Amy—bicker and shout as they induct Laurie as an honorary member of their “club.” Their laundry-sorting game, “Truth or Fabrication,” reveals that Meg’s lost glove may indicate a deeper secret: that Amy’s taunting Laurie is anything but hostile; that Jo loves her sisters far more than her own writing or the thought of a husband: and that Beth bristles when others hint that her health is unsound. Alma, the girls’ mother, announces supper: as the girls go, the close harmony of their club-song seems to affirm their intimacy. Laurie taunts Jo about where Meg’s glove is: his tutor, John Brooke, keeps it as a talisman of his love for Meg, which she perhaps returns. Jo scoffs at the notion of Meg in love: Laurie, leaving, reminds her, “Things change.” As Jo, disturbed, rewrites her latest potboiler, she argues with an absent Laurie that she and her sisters remain “Perfect as we are.” Scene 2 (the path in front of the March house, weeks later) As Brooke walks Meg home, Meg offers to teach him a storytelling game, while Jo acts out her new potboiler for Laurie. Brooke’s story is so clearly modeled on his feelings for Meg that an appalled Jo bursts in and chases Brooke off, hounding Meg with protests as they retreat indoors. Inside, oblivious Beth recomposes her setting of Pilgrims’ Progress while Amy sketches a portrait and Alma and her husband Gideon argue. Jo marshals the family to plead with Meg to reject Brooke. Meg promises Jo she’ll do so: then Brooke, arriving unannounced, overwhelms Meg with a bluntly ardent proposal. Jo, hidden in the parlour, hisses discouragement, as the girls’ brittle Aunt Cecilia sweeps in. Scorning Brooke’s profession and suspecting his motives, Cecilia only hardens Meg’s resolve: surprising herself, she pledges herself to Brooke. The family congratulates the new couple while Jo stands stricken. Desperate, Jo accuses Meg of abandoning her. Meg replies only “Things change, Jo”: her confession of love only wounds Jo more deeply. Jo, stung, withholds forgiveness: Meg, implacable, leaves Jo to her anger. Laurie tries to console Jo: she, suspicious, shrugs him off. Amy shows Laurie her finished portrait, about which he says exactly the wrong thing: Jo seeks comfort with Beth as October snow begins to fall. Scene 3 (the March garden, the following summer) As Alma prepares for Meg’s wedding, Amy shows her new sketches to appreciative Cecilia, and Jo, still resentful, glowers throughout, Meg and Brooke decide to use as their own wedding vows the ones Alma and Gideon wrote for their own ceremony. As the parents, assisted by Beth, teach them to the young couple, a feverish Laurie accosts Jo and confesses his desire for her. Jo resists: Amy, eavesdropping, overhears their argument, as the couples sing the vows in the distance. Finally furious, Jo spurns Laurie: he, stung and enraged, flees. Amy accuses Jo of heartlessness before running after Laurie. Jo, regrouping from another person in her life abandoning her for love, strategizes: if she gives Laurie time, and absence, he’ll change back from lover to friend. She flees indoors as Beth collapses at the piano: Meg’s cries for help for Beth go unheeded as the act concludes.

Act II Scene 1 (the offices of The Daily Volcano, a fiction tabloid in Manhattan, one year later) Dashwood, the Volcano’s publisher, grills Jo as to why she’s come to town. She explains, and demands to know if he’ll buy her new potboiler. Dashwood offers her twenty-five dollars for an edited version: Jo, tough as ever, insists on “Thirty dollars, and two free copies; I have sisters at home.” 8

LITTLE WOMEN

Triumphant, Jo returns to her boarding house and writes to her family, which, while still loving, is pulling apart under pressure: Meg and Brooke are the sleepless and struggling parents of twins; Laurie has abandoned Concord for Oxford; Amy is studying art in Europe under Cecilia’s sponsorship, and Beth’s continued denial of her failing health convinces no one but herself. Even Jo is distracted by the offer of light supper and the opera by a new acquaintance at her boarding house, Friedrich Bhaer, as the scene ends. Scene 2 (Jo’s boarding house; the March parlor; a sunny lane on Oxford’s campus) After the opera, Jo and Bhaer spiritedly argue points of taste while, in Oxford, Amy delicately sounds out Laurie on how much he still feels for Jo. Meanwhile, a haunted Beth, composing at midnight, at last acknowledges her impending death and, wordlessly, rages at the piano. Jo challenges Bhaer to recommend a worthier art than the melodrama she unashamedly enjoys. Bhaer responds by reciting, in the original German, Goethe’s “Kennst du das land.” Jo requests a translation: Bhaer’s English rendering is, as Brooke’s Rigmarole was, a confession of love under a mask of storytelling. Jo, moved, is distracted by a desperate telegram from Alma: Beth is failing. Rejecting Friedrich’s support, Jo flees to Concord. Scene 3 (Beth’s bedroom, three sleepless nights later) A translucent Beth dozes as her family keeps vigil. A dishevelled Jo bursts in: Beth bids her family leave the two of them alone. Frantic, Jo prattles about Beth’s certain recovery before Beth forcefully silences her. She urges Jo to accept her impending death: Jo resists until she recognizes, in Beth’s music, the same leitmotif of change that formed Meg’s and Laurie’s utterances of a year ago. Relieved, spent, Beth drowses; Jo drowses beside her. When Jo awakes, Beth has died. The orchestra finishes the chorale Beth did not complete as Jo remembers the vanished harmony of her sisters’ voices. Scene 4 (the path in front of the March house, the following spring) A benumbed Jo sweeps the front steps while Cecilia baits her with Amy’s latest letter, which relates that she is at last “loved beyond compare” by Laurie. A weary Jo accepts the news, and, pressed by Cecilia, admits that no letters from Friedrich Bhaer have arrived. Strangely satisfied, Cecilia announces to Jo that she’s revised her will: her death will render Jo utterly independent. Stunned, Jo asks why: and Cecilia explains how Jo can use her pending wealth and power, as she, Cecilia, has done, to isolate herself from the pain that loving others is bound to inflict. Jo recognizes Cecilia’s music as a nightmare transformation of her own “Perfect as we are” theme: appalled at this aural vision of her possible future, she rejects her aunt and flees to the attic. Scene 5 (the attic) “What endures?” Jo asks no one: and now the opera has caught up in time to its opening moments. Laurie, as before, enters, apologizing to Jo and suggesting, innocently, that they go back to the “perfect way it was”; but this time, Jo demurs. Relieved, admiring, Laurie leaves her in peace. Overwhelmed by feeling, Jo calls on her memories of the sisters of her girlhood, and, ghostlike, they materialize. In forgiveness and gratitude, she celebrates what they were and releases them to what they are now: they join in harmony a final time before disappearing forever. Unexpectedly, the attic door opens a third time: it’s not Laurie, but Friedrich Bhaer. “Is now the good moment?” he asks. “Now is all there is,” Jo realizes: she extends her hand to him as the opera concludes. — MARK ADAMO

to my parents, with love

LITTLE WOMEN Dreamy, Childlike

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Mark Adamo

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Ó.

5 4

∑.

to ALTO FLUTE

54 5 4

∑

w

˙

5 4

to OBOE

5 2 n˙

w*

PICCOLO

Œ

œ

∑ n˙ .

˙

4 2 4 2

? ####

∑

52

∑

54

b b & b b bbb

∑

5 2

∑

5 4

∑

4 2

? b b b b b b b

∑

5 2

∑

5 4

∑

4 2

52

∑

54

∑

42

*

42

Hp

& Kbd

####

highest note possible

? ####

∑

5 2

∑

5 4

∑

4 2

# ## & #

∑

5 2

∑

5 4

∑

4 2

÷

∑

52

∑

54

∑

42

Pc

1

2

3

4

J

L

Vn1

Vn2

Vla

# ## & # &

####

&

####

&

####

&

####

P œ

Four

œ œ

Œ

w

lit - tle names,

One 3

P œ

Four

œ œ

lit - tle

œœ œ

œ

nai

Four

œ œ

lit - tle

œ œ œ

œ

nai

Four

œ œ

lit - tle

œ œ œ

œ

Vc

B ### #

Bs

? ####

P

Œ

One

5 2

œ

œ

œ

5 4

w

on each One on each lid.

œ

œ

œ

œ

œ

œ

on each One on each lid.

œ

œ

œ

œ

œ

œ

on each One on each lid.

œ

œ

w

5 4

w

54

w

5 4

w

on each lid.

œ^

œ^

Œ

Carvedout

^œ

^œ

Carvedout

^œ

œ^

by

Œ

a

œ œ

by

a

Œ œ œ

Carvedout

^œ

œ œ

by

a

^œ Œ œ œ

Carvedout

by

a

4 2 4 2 42 4 2

∑

4 2

∑

52

∑

54

∑

42

3

3

œ

˙˙

Œ

œ

œ

5 4

œ

œ œ

One

52

œ

∑

3

œ œ œ

œ

5 2

œ

5 2

œœ œ

œ œ

Œ

5 2

∑

œ œ œ

œ œ œ

œ

One

˙

3

œ œ

œ˙ œ

legatissimo

˙ ˙

œ

nai lit- tle names,

# # V # # # # legatissimo # & # œ P # # legatissimo # & # œ P # # legatissimo & # # œ P

œ

lit - tlenames,

3

P œ

œ

lit - tlenames,

3

P œ

œ

ww .. ∑

œ

ww

5 2

WW

˙˙

5 4

˙˙ ..

˙˙

4 2

w

5 2

W

˙

5 4

˙.

˙

4 2

ww

52

WW

˙˙

54

˙˙ ..

˙˙

42

5 2

WW

˙˙

5 4

˙˙ ..

˙˙

4 2

5 2

∑

5 4

∑

4 2

Adamo–Little Women Prologue

14 Fl

EH

Cl

Hn

Bn

# ## & #

4 2

∑

# # & # #

42

∑

# ## & #

4 2

# ## & #

4 ∑ 2

? ####

42

3 2

œ Ó Œ

Ó

Œ

Œ

b b 4 & b b bbb 2

∑

? b b b 4 b b b b 2

∑

# # & # #

42

∑

? ####

4 2

Hp

Kbd

&

####

VIBRAPHONE

4 Ó 2

Œ

*

2

3

4

J

L

Vn1

Vn2

÷

42

# ## & #

4 2 œ

&

####

4 2 œ

&

####

&

####

&

####

4 2

# # V # #

42

&

####

# ## & #

w

°

boy

boy

42 œ

boy

4 2 œ

-

-

-

œ

ish

œ

ish

œ

ish

œ

boy - ish hand,

N# œ π

˙.

hand,

And

˙

˙.

œ

œ œ #œ #œ ‹˙ .

#œ œ # œ3 œ

œ

hand,

N# œ π

And

N# œ π

3

hand,

Œ

boy -ish hand,

And

˙.

N# œ π

boy-ish hand,

And

∑ ? ?

Ó.

∑

Ó

∑

∑

∑ œ

3 ˙ 2

œ

3

un

3

-

derneath, un - derneath,there

œ œ œ 3

32 œ œ œ ˙ -

œ

derneath,

3 œ œ œ 2 ˙ -

œ there

3

un

œ œ

derneath, un - derneath,there

3

un

œ

derneath,

œ there

3 œ œ œ w

li

˙ li

3

-

eth hid

œ œ œ #œ ˙ 3

eth hid li - eth hid

œ œ #œ w 3

li

-

eth hid

œ œ #œ w 3

li

-

eth hid

∑

3 2

∑

∑

32

∑

∑

senza sord.

3 2

∑

∑

senza sord.

3 2

∑

∑

senza sord.

32

∑

∑

senza sord.

3 2

∑

∑

3 2

∑

∑

In the attic Jo appears, her hair tied back, in a dark dress, writing.

4 # w. 2 w .

œœ Œ

4 2 w.

œ

Œ

Vla

&

####

42 ww ..

Œ œœ

Vc

B ### #

4 ww .. 2

œœ Œ

Bs

? ####

4 2

∑

(sounding 8va)

∑

3 œ œ3 œ œ 2 œ œ œ -

#œ

*

CELESTA

∑

un

Ó.

∑

ggg wn www .... ggg gg ggg ggg gg w . ggg ww .. g w. °

˙˙ ˙ ˙˙ ˙˙

32

#˙

Œ

∑

3 œ 2

∑ œ

√w gw 3 gggg w 2 gg ggg P gg molto arpeggiando gg 3 gggg www 2 gg w °

3 2

œ

soft mallets, motor off

∑

32

∑

Pc

1

&

w

∑ œ

32

∑

nœ

˙.

∑

3 2 w

nœ

Œ

˙.

3 2

Ó

ALTO FLUTE

∑

32 Ó .

w œ

5

∑

Laying down her pen (miserably):

?

6

Adamo–Little Women Prologue h=58

cresc. e poco accel.

17 Fl

EH

Cl

Hn

Bn

Hp

####

œ #œ 4 2

œ

42 œ # œ

œ

4 2 œ œ

œ œ

∑

∑

∑

# ## & #

Œ œ F

∑

∑

# ## & #

Œ œ F

∑

œ

# # & # #

? ####

Ó

F

&

####

w

w

w

? #### # ## & #

˙.

CHIMES

Ó.

œ

œ œ

œ œ

œ

œ #œ

œ

h=q

4 w 4 sub. p 44 w sub. p 4 w 4 sub. p

∑ ∑

4 4

∑

∑

44

˙-

# ˙-

˙-

∑

∑

w sub. p √ n˙ 4 Œ 4 P

œ

œ

n˙

œ

∑

4 2

∑

∑

42

∑

∑

4 2

∑

4 4

∑

œœ g n ˙ œ ggg n ˙˙ g b n b œœœ œ gg b n ˙˙ ggg gg ggg ggg # œœœ gg n œ

4 2

∑

4 4

∑

∑

42

∑

44

∑

∑

Œ

4 2

∑

4 4

∑

∑

Œ

4 2

∑

4 4

∑

∑

Ó

∑

œ œ

4 2

&

œ Œ

œ œ

∑

42 ˙-

˙

w ggg www ggg gg ggg ggg w gg gg w

œ

4 2

∑

ggg wwww ggg f gg ggg ggg w gg w g ◊

? b b b Ó b b b b

ΠF

poco maestoso

œ

Œ ∑

&

? b b b Ó b b b b

Kbd

C FLUTE

˙.

Ó.

4 4

∑

√ 44 Œ nn ˙˙ P a ˙˙

∑ ggg n œœœ gg œ gg

Pc

÷ 1

2

3

4

J

L

Vn1

Vn2

Vla

∑

&

####

&

####

&

####

&

####

&

####

V

####

# ## & # # ## & # # # & # #

Vc

? ####

Bs

? ####

F F F F

œ

œ

œ œ œ œ œ

His - to - ries

œ

œ

œ œ

His - to - ries

œ

œ œ œ

the

œ œ œ

the

œ œ œ œ œ of

the

œ œ œ œ œ

His - to - ries

œ

of

of

His - to - ries

œ

∑

of

the

œ œ œ œ œ

His - to - ries

of

the

œ hap

œ

hap

3

-

-

œ

hap

œ

œ

-

œ

œ

F œ

F œœ F

-

-

œ œ œ œ œ

œ

œ

œ œ

œ

3

œ œ œ

œœ œœ œ œ œ œ œ œ

F w>

˙

œ

Œ

42

∑

44

∑

∑

œ

œ

˙

œ

Œ

4 2

∑

4 4

∑

∑

œ

#œ

˙

œ

œ

4 œ #œ 2

the

3

œ œ 6

œ

#œ

w

˙

œ √ œ-

hap - py,

h=58

cresc. e poco accel.

œ

#œ

˙

œ √ œ-

œœ

# œœ

˙˙

œœ œœ-

œ # œ œ œ œ œ# œ w.

œ

w

hap

-

py

œ œ

band...

44

poco maestoso

h=q

œ

4 2

œ

œ

œ œ

œ œ

œ

œ œ

œ œ

42 œ # œ œ- œ f

œ œ œ œ

œ œœ œ

œ # œœ œ

˙ ˙-

-˙ #˙

-˙ ˙

4 2 ˙ f

˙-

# ˙-

˙-

f f

4 4 w

∑

-œ # œ 4 2 œ- # œ

4 ˙ 2 ˙ f ˙

œ œ

œ

42

∑

œ œ œ œ œ œ œ œ œ œ œœ Ó w œ œ F > Ó

œ

py band...

œ

6

˙

py band... 3

3

œœ

œ

py band... 3

∑ œ

˙

py band... 3

#œ hap

#œ

py band... 3

œ hap

œ

4 w 4 sub. p 4 w 4 sub. p 44 ww sub. p 4 ww 4 sub. p 4 w 4 sub. p

∑

She tries to resume writing; gives up, drops her head in her hands.

∑

∑ w w ww w w w

Adamo–Little Women Prologue

22 Fl

EH

Cl

Hn

Bn

####

∑

∑

∑

∑

# # & # #

∑

∑

∑

∑

&

∑

# ## & #

∑

? ####

∑

b b & b b bbb

Ó

Œ

œ n˙

? b b b b b b b

Kbd

∑

∑

solo

π

nœ

˙.

œ

œ œ n˙ nœ

∑

∑ nœ œ b˙

Ó

Œ

? #### ####

∑

ggg n œ ggg gg ggg b œœ gg n œ

œ

˙

œ nœ

2

3

4

J

L

Vn1

Vn2

∑

œ Œ f >

Ó

>œ Œ

Ó

Œ

Ó

b>œ Œ f œ nnnnnnn Œ f

Ó

nnnn nnnn

f

f b>œ

∑

∑

∑

∑

∑

Œ Ó

∑

∑

∑

nnnn

∑

∑

∑

∑

nnnn

∑

∑

∑

Ó

Œ

œœœ ∑

Ó

nœ p°

gliss.

∑

Œ

p nœ

nnnnnnn

nnnn

VIBRAPHONE

∑

f

gliss.

œ

Œ

Ó

∑

∑

∑

∑

∑

# ## & #

∑

∑

∑

∑

∑

nnnn

∑

# ## & #

∑

∑

∑

∑

∑

nnnn

∑

# # & # #

∑

∑

∑

∑

∑

nnnn

∑

# ## & #

∑

∑

∑

∑

∑

nnnn

∑

# ## & #

∑

∑

∑

∑

∑

nnnn

∑

nnnn

V

####

# ## & # # ## & #

∑

∑

(√) w (√) w ww

Vc

? ####

w w

Bs

? ####

w

B

∑

LAURIE enters

∑

∑

∑

∑

∑

∑

∑

poco rit.

?

Ó

÷

# # & # #

Vla

p

œ ‹œ œ n n n n ‹ œ œ œ #œ œ #œ

Ó

∑

Pc

1

‰

Œ

f

∑

œ Œ Ó

∑ œœœ n n ˙˙ ggg gg ggg n œœœœgggg b b ˙˙˙ g

&

nnnn

∑

Hp

# # & # #

p

>œ

q=84

14 œ œ #œ œ ‹œ œ n n nn nœ #œ œ #œ œ #œ œ ‹œ

poco rit.

9

####

&

7

Recit: “Laurie? The very same, madam”

∑

Œ – #– – Œ

flexibly

f

(joyously)

Ó

>œ #œ

q=84

∑

nnnn

∑

nnnn

Lau -rie!

f

Π#РРР(suavely) F The ve-ry 3

Œ

>œ œ Œ

unison, non div.

nnnn

w

w

˙.

œæ æw

w

w

˙.

œæ æw

nnnn

w

w

w

æw

nnnn

f f

>œ #œ Œ

unison, non div.

#œ Œ œ f >

pizz.

f

>œ i L.V. Œ

pizz.

pizz.

pizz.

pizz.

œ #œ Œ œ Œ œ œ Œ œ œ Œ œ œi Œ

8

28 Fl

EH

Adamo–Little Women Prologue

∑

&

∑

&

n

Hn

3 4

∑

∑

∑

43

∑

∑

œ œ bœ F

? Œ #˙ . solo

Cl

∑

nœ

3 bœ b˙ 4

&

∑

∑

3 4

∑

?

∑

∑

43

∑

&

∑

∑

3 4

∑

?

∑

∑

3 4

&

∑

∑

?

∑

&

√

7 æœ 8 P œ 78 P

(flutter)

> bœ Ó

&

>œ J ‰ Œ. >œ J ‰ Œ.

7 œ >œ ‰ Œ . 8 J P 7 æ j ‰ Œ. 8 # œ >œ P (flutter)

∑

3 4

∑

43

∑

3 4

∑

3 4

∑

78

∑

43

∑

∑

7 8

∑

3 4

∑

∑

∑

7 8

∑

3 4

∑

43

∑

∑

78

∑

43

∑

∑

3 4

∑

∑

7 8

∑

3 4

∑

∑

∑

3 4

∑

∑

7 8

∑

3 4

∑

÷

∑

∑

43

∑

∑

43

∑

1

&

∑

∑

3 4

∑

∑

78 ¿ >¿ ‰ Œ . æ J P 7 8

∑

3 4

∑

2

&

∑

∑

3 4

∑

∑

7 8

∑

3 4

∑

3

&

∑

∑

43

∑

∑

78

∑

43

∑

4

&

∑

∑

3 4

∑

∑

7 8

∑

3 4

∑

J

& Œ

∑

> 7 Œ ‰ j 3 Œ 8 – #– – ‰ 4 #– – – #– – #– . her tablet) P (closing Not thistime. Sen-ti-men- tal rub bish;

Bn

b>œ

Ó

Hp

Kbd

Pc

L

V #–

– Chris

-

– – #– – #– #–

Ó

to pher Co-lum-bus!

– –. –

Œ

Hel-lo...

Ó

same, Ma dam.

Vn1

ww

& Œ ˙˙ .. F

ww

arco

Vn2

B Œ # # ˙˙ .. F

w w

arco

Vla

? Œ #˙ . ˙. F arco

Vc

Bs

? Œ œI F

w w Ó

r ‰ . #œ œ p

Hel-lo...

˙. & Œ #˙ . F arco

‰. r p #œ œ

P P P

∑

3 4

œ

43

œ Ó

Ó

3 ΠŠРb РРb РРР78 P (referring to her tablet)

43 # # ˙˙ .. p

∑ Œ b>œœ P

˙ Œ ˙ n œ b œœ p > P ∑

j œ 7 pizz. Œ J ‰ Œ. 8 P

∑

3 4 #˙ . p

3 4

∑

A - no ther pot boi ler?

3 4 #˙ . p# ˙.

3 4

TAMBOURINE

Œ Œ ∑

7 pizz. œ 8 Œ J ‰ Œ. P pizz. j 78 Œ œ ‰ Œ . J j #œ 7 pizz. 8 Œ J ‰ Œ. 7 8

∑

43

∑

3 unison, non div. 4 #œ œ arco

3 unison, non div. 4 #œ œ arco

43 # œ arco

j >œ j >œ

3 4 œ arco

3 4 Œ

j >œ

arco

‰ Œ ‰ Œ ‰ Œ&

>œ J

‰ Œ

œ J F

‰ Œ

Adamo–Little Women Prologue

34

œ Œ ‰. R F

Œ

Fl

&

EH

&

∑

Cl

&

∑

Hn

&

∑

?

∑

Bn

&

Œ

?

Œ

œ

#˙ . F F

#˙ .

F

3

#œ Nœ #œ J J 3

œ

œ- œ-

˙.

œ-

œ

˙

˙. ˙˙ .. ˙.

˙. ˙.

˙. ˙.

œ

#˙

b œ-

˙. ˙˙ .. ˙.

œ

#˙

œ

bœ Fg bœ Œ ‰ .gggg b #œœœ gg R ggg ggg f g bœ Œ ‰ .ggg œ R

Hp

œ #œ #œ œ ˙

9

œ-

Œ

Œ ‰

44

U ∑

34

˙

j œ

‰

4 4

U ∑

3 4

œ-

j œ

˙

4 4 ‰

4 4

U ∑

3 4

?

∑

∑

∑

∑

&

∑

∑

÷

TRIANGLE

Œ ‰. ¿ f R

Œ

34

∑

HARPSICHORD (synth)

44 œ # # œœ π . 4 #œ 4 œ .

Kbd

Pc

U ∑

3 4

∑

œ

3 4

U ∑

∑

(sounding 15ma)

U Ó

4 4

∑

j œ Ó‰ f

44

j‰ Œ œ π

∑

∑

Œ

3 4

œ J

&

GLOCKENSPIEL

U ∑

˙

b œ- œP

4 4

‰

U ‰ Œ ‰

U ‰ 34

‰

U ‰ Œ ‰

U ‰ 34

∑

4 4

U ∑

3 4

∑

∑

∑

44

∑

34

1

&

∑

∑

∑

∑

4 4

∑

3 4

2

&

∑

∑

∑

∑

4 4

∑

3 4

3

&

∑

∑

∑

∑

44

∑

34

4

&

∑

∑

∑

∑

4 4

∑

3 4

J

& #–

– #– #– . .

œ R sub. f

Won’tearn a dime.

L

#œ

#œ . .

& #œ p

#œ .

&

Vla

Vc

Bs

j œ

#œ #œ œ look at you.

‰

‰ # –J

3

Œ –

Π3

j #– –

Œ #–

(scrutinizing)

–

Smallways.

– Ó

p p

? # # ˙˙ .. p #˙ . ? p

œ R F œ R F œ J

˙. #˙ .

˙. ˙.

˙ ˙

# ˙˙ ..

˙˙ ..

˙˙

#˙ . F # ˙.

˙. ˙.

˙ ˙

F

#˙ . ˙. pizz.

F

œI

˙. ˙. Œ Œ

Œ

˙. ˙. œI

Œ

j –

‰

4 4 44

I’ve hard - lychanged.

#œ . .

Vn2

to pher Co-lum - bus,

∑

#œ

&

-

∑

V

Vn1

Chris

œ # œ # œ œ œ . # œJ (marveling)

Œ

U U 3 ‰ Œ – – – #– – ‰ 4 (circling him)

Big-ger.

Œ

# œœ œ # œ œ 44 n œ # œœ œ π . œœ n œœ 44 œ π .

‰

U ‰ 34

‰

U ‰ Œ ‰

U ‰ 34

‰

U ‰ Œ ‰

U ‰ 34

U ‰ Œ ‰

U ‰ 34

U ‰ Œ ‰

U ‰ 34

4 unison, non div. # # œœ n œœ # œ 4 # œ ‰ # œ # œœ # œ. π 4 #œ ‰ 4 œ π . ∑

4 4

Bon ni-er.

U ‰ Œ ‰

U ∑

3 4

10

39

j œ

# œ.

‰

Œ

∑

‰

U ‰

Œ

∑

œ. ‰

U ‰

Œ

∑

∑

. bœ ‰ P j . œ #œ ? 34 ‰ P

U ‰

Œ

∑

∑

U ‰

Œ

Fl

EH

& 34

Cl

3 &4

Hn

3 &4

P j bœ

P j œ

P

œ.

j œ

œ.

a little faster

U ‰

3 &4

Bn

Adamo–Little Women Prologue

∑ œœ ˙ F

œ J ‰

solo

Œ

˙.

˙ F gg b ˙ Œ ggggb ˙#˙˙ gg f gggg ggg b˙ Œ gggg ˙

∑

œ P solo

Œ

Œ

∑

˙. ˙˙ .. ˙.

˙. ˙˙ .. ˙.

˙. ˙˙ .. ˙.

˙. ˙.

˙. ˙.

˙. ˙.

∑

3 4

Œ

24

∑

34

. Œ œ Œ F

2 4

∑

3 4

2 4

∑

3 4

∑

24

∑

34

∑

2 4

∑

3 4

∑

2 4

∑

3 4

∑

ΠF

œ

b œ.

. Œ bœ Œ F

œ #˙ p ∑

˙.

2 4

ΠF

j œ‰Œ Œ

#˙

bœ

Œ

∑

œ

P

3 &4

∑

?3 4

∑

& 34

∑

∑

∑

∑

∑

∑

24

∑

34

?3 4

∑

∑

∑

∑

∑

∑

2 4

∑

3 4

3 &4

∑

∑

∑

∑

∑

∑

2 4

∑

3 4

÷ 34

∑

∑

∑

∑

∑

∑

24

∑

34

1

3 &4

∑

∑

∑

∑

∑

∑

2 4

∑

3 4

2

3 &4

∑

∑

∑

∑

∑

∑

2 4

∑

3 4

3

& 34

∑

∑

∑

∑

∑

∑

24

∑

34

4

3 &4

∑

∑

∑

∑

∑

∑

2 4

∑

3 4

J

3 &4

Hp

Kbd

Pc

L

V 34

U Œ #– – #– – #œ O-ther wise

œ

˙

the same

f

œ3 # œ

scapegrace as

∑

∑

œ #˙

∑

al - ways...

Œ

j Nœ œ #œ œ ‰ #œ f

It’s won der -ful to

œ Œ # œœ˙ œ f

Vn1

3 &4

Vn2

3 &4

Vla

& 34

∑

Œ

Vc

?3 4

∑

Bs

?3 4

Œ #˙ ˙ f

∑

Œ

∑ ∑

Œ #˙ f f# # ˙˙

f

œI Œ

Ó

p

So...

p

So...

(awkwardly)

#œ #œ œ œ œ see you,

Œ

#œ

Ó

Œ

F Ac tual-ly

(brightly)

#œ

∑

(awkwardly)

Jo...

3 2 – 4 – N– – –

# # ˙˙ ..

˙.

˙˙ ..

˙.

˙˙ ..

˙˙ ..

˙. ˙.

p bœ F

˙˙ ..

˙. ˙. ∑

p Fœ

˙.

˙. ˙. ∑

∑

b– Well...

a little faster

œ

pizz.

˙ .˙ . ˙.

mar - ried!

24 Œ

bœ

Œ

2 Π4

Œ

2 Π4

pizz.

bpizz. œ bœ œ Œ p œ F pizz. b œœ B Œ b œœ pF b œ √œ i Œ F

34

arco sul tasto

bœ pæ

3 4

arco sul tasto

bœ pæ

3 4

arco sul tasto

24 Π?

j – ‰ 34

bœ pæ

34

2 4

∑

3 4

2 4

∑

3 4

Adamo–Little Women Prologue

46 Fl

3 &4

EH

& 34

Cl

Hn

Bn

∑

4 4

∑

Ó

Œ

∑

44

∑

Ó

Œ

Ó

Œ

3 & 4 # œj ‰ >

Œ

Œ

4 4

∑

j‰ >œ

Œ

Œ

4 4

∑

∑

Œ

Œ

44

∑

∑

3 &4

? 34 j ‰ œ F > 3 &4

∑

?3 4

∑

Hp

& 34

P

w gg www ggg gg F ggg g 4 gggg w 4 gg www g 4 4

&

HARPSICHORD (synth)

∑

Kbd

j b œœ ‰ œ bœ j œ bœ ‰ œ

?

w ggg www ggg gg F ggg 4 gggg w 4 gg www g

π π π

11

œ œ œ

#>œ 3 J ‰ Œ Œ 4 F >œ to ENGLISH HORN 34 J ‰ Œ Œ F 3 > 4 # œJ ‰ Œ F 3 > 4 œJ ‰ Œ

4 4

∑

44

∑

Œ

4 4

∑

Œ

4 4

∑

43

∑

44 Ó

Œ

Œ

Ó

3 4

∑

4 4

∑

Œ

Ó

3 4

∑

4 4

∑

j ‰ Œ # œœ > ß 3 Œ # jœ ‰ Œ 4 œ # œœ >

44

∑

4 4

∑

3 4

∑

4 4

∑

∑

43

∑

44

∑

44

PIANO

43 Œ

∑

?3 4

∑

3 &4

∑

4 4

÷ 34

∑

1

3 &4

44 ¿ F

∑

4 4

∑

∑

3 4

∑

4 4

∑

2

3 &4

∑

4 4

∑

∑

3 4

∑

4 4

∑

3

& 34

∑

44

∑

∑

43

∑

44

∑

4

3 &4

∑

4 4

∑

∑

3 4

∑

4 4

∑

J

3 & 4 ‰ # –j – (laughing)

L

V 34

∑

3 &4

∑

&

∑

?

∑

∑

f b >œ

&

&

Pc TRIANGLE

Œ

I’mvexed.

Vn1

Vn2

Vla

Vc

3 &4 & 34

?3 œ ‰ 4 J F ?3 j ‰ 4 œ arco

Bs

b– ‰ J

– – –

next?

∑

Œ

4 4

∑

44

Ó

4 4 Œ

3

– –– – – >

What hor - ri -ble thing will you do

Ó

Œ

Ó

44

4 4

∑ j‰ #œ F

4 4 –

Œ

4 4

3

Œ

j b– – – – . – 3

I

∑ ∑ ∑ ∑

j bœ ‰ œ

unison, non div.

F

unison, non div.

F

j ‰ b œœ

3 b– 4 ß

Fib!

3

She did it to

43

∑

pleaseyou,

44 4 #œ 4 p

solo dolce

Ó

3 4

∑

Œ

Ó

3 4

∑

4 4

Ó

43

∑

44 Ó

Ó

3 4

∑

4 Ó 4

Ó

3 4

∑

4 Ó 4

bœ œ ‰ Œ œ J unison, non div. j œ bœ ‰ Œ œ Œ

(a little aggressively)

3 ‰ b –j – b – 44 b – b – . j b– N– –

Œ

B

pizz. (secco)

– – –

did it toplease yoursis- ter.

unison, non div.

œ J ‰

Ó

I’dswear.

ΠbРJ 3

A-

∑ 3

˙

Ó ∑ pizz.

f pizz.

f

˝ b œœ iI Œ

˝ arco œi œI b œ >

b œ i barco >œ

&

12

51

Adamo–Little Women Prologue

Fl

&

∑

EH

&

∑

&

∑

&

+ j œ ‰ ß

Cl

Hn

Bn

? &

Hp

b˙ p ˙ P b b b œœœœ F

& b b b œœœœ

Œ

b bb ˙˙˙˙

CELESTA

& Kbd

accel. ˙ . ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 12 w . 8

Πp

12 8

∑

(do not synchronize dynamics w/flute) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 12 w . 8

Slow oscillation 1/4 tone up from C#.

#˙ .

Πp

Œ

√

*

Œ

ƒ

∑

12 8

∑

12 8 #œ . p

b˙ b˙

∑

n˙ n ˙ 12 8

j œ

œ

b˙ b˙

nervoso sim. *Slow “pedal trill.” Move D pedal back and forth between flat and natural positions while strumming highest D strings freely with nail or guitar pick. Play ff to sound mp.

Ó

F

(do not synchronize dynamics w/clarinet)

∑

j ‰ Œ bœ ß j b b œœœ ‰ Œ bœ P > fingernails j ? œ ‰ Œ b œ b >œ

Œ

q.=76

*Slow oscillation 1/4 tone down from D.

œ.

∑

12 8

∑

∑

12 8

∑

∑

12 8

∑

& b bb ˙˙˙˙

Ó

&

∑

∑

12 8

∑

÷

∑

∑

12 8

∑

1

&

∑

∑

12 8

∑

2

&

∑

∑

12 8

∑

3

&

∑

∑

12 8

∑

4

&

∑

∑

12 8

∑

U Œ

12 8

∑

U j j – –

12 8

?

n˙ n˙

œ

œ

–

– J

j

Pc

J

L

&

b– gain,

3

b–

sir,

j b >– –

thetruth!

V

unison, non div.

bœ œ bœ fl ß b b œœ fl ß

&

Vn2

&

Ó

&

bœ œ bœ fl ß unison, non div. œ ˙ b b œœ fl P ß ˘ ˙ bœ P ß

Bs

? ?

b– –

N˙ .

dare.

Ó

*Higher violinist (D) oscillates downward 1/4 tone and back again; lower (C#) oscillates upward 1/4 tone and back. Both play freely rhythmicized tremolos. Do not synchronize rhythm or dynamics.

Vn1

Vc

3

If you

∑

Ó

Vla

–

unison, non div.

unison, non div. arco

Ó

Œ

√

Œ

*

sul pont.

U Œ

p

(evasively)

Well, we’d

–

–

planned to q.=76

b–

–

–

come home with

–

the

– Car

-

#– J

rolls,

a

accel.

# ˙˙ .. ~~~~~~~~~~~~~~~~~~~~~ ww .. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 12 8 p etc. (poco a poco cresc.)

Œ

∑

12 8

Œ

∑

12 8

Œ

∑

12 8 #œ . p

Œ

∑

œ. p œ.

œ œ œ œ

œ. p # œœ ..

œœ œœ œ œ

pizz. 12 # œ . 8 p

‰ ‰ ‰ œ œ.

#œ n œ-

œœ œ j œ

nœ . œ.

œ œ œ œ

œœ .. œ.

œœ œœ œ œ

œ. œ.

‰ ‰ ‰ œ œ.

#œ n œ-

œœ œ œ

j

Adamo–Little Women Prologue

54

q.=92

13

q.=144

molto accel.

accel.

‘

‘

3 2

∑

∑

∑

23

&

‘

‘

‘

3 2

&

∑

∑

∑

3 2

?

‘

∑

23

&

‘

‘

‘

3 2

?

∑

∑

∑

3 2

&

∑

∑

∑

23

?

∑

∑

∑

3 2

&

∑

∑

∑

3 2

÷

∑

∑

∑

23

1

&

∑

∑

∑

3 2

2

&

∑

∑

∑

3 2

3

&

∑

∑

∑

23

4

&

∑

∑

∑

3 2

Fl

&

EH

&

Cl

Hn

Bn

‘

#œ .

œ

j œ œ.

œ

j œ

Hp

Kbd

Pc

J

L

& Œ j – n – – – – –j ‰ ‰ – (pressing) – # – P That’s not what I mean, Lau-rie— V – P

month

Vn1

&

Vn2

&

Vla

&

Vc

Bs

(√)

? ?

j – b–

or

q.=92

P P P P

more

–

–

a - go,

Œ

–.

‘ ‘ ‘ ‘ ‘

molto accel.

P

j –

But

Ó. #–

Mrs.

Œ. j – –

Car - roll

q.=144

œ œ œ œ œ ‰ œœ .. œ œ œ œ œ F ‰ #œ œ œ œ œ ‰ œ . œœ œœ œœ œœ œœ # œœ .. F #œ . F #œ . F

j – –

œ

œ.

ra

f

-

–. Lau

j #– –

–. -

– J

–

ther fan - cies

–

–

‰

Ó.

–

–.

3 2

rie!

– #– – J

Pa - ris

in the snow,

‘

‘

œœ œ œ œ œ œ ‰ œœ .. œœ œ œ œ œ œ f

‘

Œ

f

j – 23

Then

3 2

accel.

3 2

‰ œ œ œ œ œ ‰ œ. œ œ œœ œœ œœ œœ œœ œœ œœ .. œœ f

‘

j œ œ.

‘

3 2

‘

3 2

œ.

œ œ.

j œ f f

B

23

14

57 Fl

3 &2

Adamo–Little Women Prologue h=84

q=76

‘

n

4 4

∑

q=69

∑

ENGLISH HORN

œ. œ.

w ßp

œ. œ.

bw ßp

b œ. œ. . . œ œ

solo

p #>œ

EH

& 32

∑

Cl

3 &2

‘

Hn

3 &2

∑

4 4

Bn

? 32

∑

3 &2

44 w ßp

‘

4 4

∑

?3 2

∑

4 4

∑

∑

∑

& 32

∑

44

∑

∑

∑

?3 2

∑

4 4

∑

∑

∑

n

44 w ßp

Ó

4 4

Ó

Ó

∑

Ó

∑

Ó

∑

Ó

∑

o ˙

∑

P

(actual pitch)

Hp

j ‰ œ

Kbd

TIMPANI (28-29")

3 &2

∑

4 4

∑

÷ 32

∑

44

∑

∑

∑

1

3 &2

∑

4 4

∑

∑

∑

2

3 &2

∑

4 4

∑

∑

∑

3

& 32

∑

44

∑

∑

∑

4

3 &2

∑

4 4

∑

∑

∑

J

3 &2

∑

L

V 32 # –

4 b– – Œ Ó 4 (cryptically) p – f

Pc

–

– b– – #– –

n– – –

– –

–

Grand - pa wan - ted to comehome, but I could n’t let him

Vn1

Vn2

3 & 2 # >œ

Vla

Vc

Bs

> b b œœ

h=84

3 &2

Ó

œ >œ > Nœ bœ

> B 32 # œœ œ

?3 2 bœ >œ arco ? 3 >œ 2 J

‰

>œ

&

> # œœ

b >œ œ

# n>œœ

Œ

∑

Lau rie!

–

–

go,

so

3

≥œœ

b ≥œœ

N ≥œœ

≥ bœ

≥œ

≥œ

≥ a œœ

≥ b œœ

≥œ œ

# ≥œœ

≥ n œœ

b ≥œœ

44

q=76

soft mallets

?

p

gliss.

–

Mo-zart!

∑

Ó

bœ œ

Ó

∑

U Œ

Œ

U Œ

–

‰ j œ œ π œ (relentlessly) œ # œ

“He could n’thave one

p

œ œ

sis - ter,

∑

What?

œœ. œœ.

œœ.

œœ. œœ. œœ. œœ. œœ.

. . bœ œ π

. œ

. . . . . œ nœ œ œ œ

q=69

4 4

∑

∑

4 4

∑

∑

44

∑

∑

4 4

∑

∑

∑

4 4

∑

∑

∑

π

∑

Adamo–Little Women Prologue

61

∑

3 4

∑

∑

&

∑

Hn

&

∑

Bn

? Ó

Fl

&

∑

EH

&

Cl

rall.

solo

œ

#œ

p

15

sub. q=160

∑

4 Ó 4

34

∑

44

∑

3 4

∑

∑

3 4

∑

∑

34

∑

bœ F> 4 4 F >œ 4 4 F >œ 44 bœ F>

Œ

œ œ q=72 ˙ #œ œ œ 3 4 5 p Í

œ

43 # ˙ . Í

Œ

Ó

Œ

Ó

Œ

Ó

3 4

Œ

Ó

43

3 4 #˙ . Í Í b œÍ

œ-

œ-

˙.

&

∑

∑

3 4

∑

4 4

∑

3 4

?

∑

∑

3 4

∑

4 4

∑

3 4

∑

∑

Hp

ggg b ˙˙˙ ggg gg p ggg ggg ˙

HARPSICHORD (synth)

Ó

34 ˙˙˙

Œ

44

∑

43

∑

3 ˙ 4

Œ

4 4

∑

3 4

∑

4 4

∑

3 4

∑

&

∑

?

∑

?

∑

∑

3 4

÷

∑

∑

34

1

&

∑

∑

3 4

∑

4 4

∑

2

&

∑

∑

3 4

∑

4 4

∑

3 4

∑

3

&

∑

∑

34

∑

44

∑

43

∑

4

&

∑

∑

3 4

∑

4 4

∑

3 4

∑

Kbd

Ó

∑

Pc

J

& ‰ œ bœ œ . œ #œ p so he took the o

L

&

Vn2

&

Vla

&

Vc

Bs

Œ

ther

œ œ ˙ sub. p

andwas hap

∑

V

Vn1

-

œ

b œœ. œœ.

œœ. œœ. œœ. œœ. œœ. œœ.

œ. œ. p

œ. œ. # œ. œ. œ. œ.

p

∑ . . . . b œœ œœ œœ œœ ˙˙ F sub. p rall.

œ. œ. œ. œ. ˙ F sub. p

∑

?

∑

?

∑

∑ œ b œ œ œ arco ˙ F p

pizz.

∑

-

44 ¿ F

WOODBLOCK (end of timp. mallet)

∑

3 4 ˙

3 ˙˙ 4

You

p

¿ æ

4 4

∑

Œ

4 4

∑

44

∑

4 4

∑

4 4

∑

Œ

¿ b¿ .

Jo

Œ

∑

∑

Œ

43 3 4

told me that sto-ry yourself.

sub. q=160

3 ˙ 4 3 4

Œ

44 Ó

∑

3 ˙ 4 34

BASS DRUM (timp mallets)

3 3 ‰ j 44 j ‰ Œ – – – – – – – π –

py.”

34

Œ

3 4 43

f

¿ ‰ J

Œ

Œ ∑

œ . #œ œ ‰ œ J f (tyrannically) I have

¿

toknow,Lau rie,

Œ

Œ

Œ

Œ

˙. 3 4 #˙ . Í

q=72

3 4 N ˙˙ .. Í 43 # ˙ . Í# ˙ . 3 #˙ . 4 ˙. Í 3 4

œI

œ œ

16

66

Adamo–Little Women Prologue 3 bœ œ nœ # ˙

œ J ‰

Fl

&

EH

&

˙

#>œ F

Cl

&

˙

#œ F>

p

b œ-

œ- œ-

b œ-

˙

œ F>

˙. p

Hn

Bn

& ? &

∑

?

∑

p

Œ

Œ

∑

˙.

˙.

˙.

˙.

∑

∑

∑

∑

4 4

∑

3 4

∑

4 4

∑

∑

∑

∑

44

∑

43

∑

44

‰ j œ

∑

4 4

∑

3 4

∑

4 4

‰ j œ

∑

4 4

∑

3 4

∑

4 4

‰ œJ

∑

44

∑

43

∑

44

œ. œ. p

sub.

œ-

œ-

b œ-

œ- œ-

Œ Œ

œ. œ. p . . œ œ Œ sub. p sub.

˙.

‰ jŒ Œ œ ‰ jŒ Œ œ ‰ œJ Œ Œ

œ.

œ.

œ. . œ

œ. . œ

∑

∑

∑

∑

4 4

∑

3 4

∑

4 4

∑

∑

∑

∑

∑

4 4

∑

3 4

∑

4 4

∑

∑

∑

∑

∑

44

∑

43

∑

44

∑

∑

∑

Hp

CELESTA

Kbd

b œ œ3 n œ # ˙ & bœ œ nœ # ˙ F

œ œ ‰ J

Œ

Œ

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43

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1

&

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&

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43

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&

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œ3 œ # ˙ & #œ

∑

4 Π4

Œ Ó

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∑

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Pc

3

I have to know!

L

˙ ˙

Vn1

&

Vn2

& N ˙˙

Vla

&

Vc

Bs

? ?

˙ ˙ ˙ ˙ Œ

Œ

3

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A-my deserves,A - my de - serves

∑

V

3

#œ . œ œ œ œ œ . œ œ ∑

to be loved.

∑

˙

∑

Œ . >– # – – –

Tell me, Lau-rie.

∑

∑

4 4

˙

3 4 ˙.

4 4

43

∑

44

4 œJ ‰ Œ Ó 4

3 4

∑

4 4

4 4

3 4

∑

4 4

˙˙ ..

∑

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4 Ó 4

œ F >

˙.

˙.

∑

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∑

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F # #>œœ

˙˙ ..

˙˙ ..

∑

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Œ œ I

˙. ˙.

˙. ˙. ∑

∑ ∑

∑

#œ

Ó

˙.

˙.

n

∑

∑

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loved.

. œ 43 ˙˙ .

˙˙ ..

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She’s

44

œ

#>œœ

F

(simply) ˙. Œ œ œ 43 π

p p ∑

∑

Adamo–Little Women Prologue

75 Fl

4 &4 Ó

Œ

p

œ

œ

œ

q=80

w

œ J‰ Œ

w

17

œ

poco meno mosso

F

n

EH

& 44

∑

Ó

Cl

4 &4

∑

Ó

Hn

4 &4

∑

Bn

? 44

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Ó

4 &4

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Ó

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Ó

& 44

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Œ

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p p ∑

Ó

œœ œœ

p

solo

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#œ F

˙

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& 44

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4 &4

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4 &4

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V 44

Hp

F

œœ œœ

www w f w w w

œœ œœ

ww # ww ˙ w w

P

˙

Kbd

&

Pc

Vn1

Vn2

Vla

w

˙

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She’s

4 w &4 w

œœ ‰ œ J P œ j œ‰

˙˙

4 &4 w

˙

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∑

Bs

?4 4

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Ó

p

œœ œœ

∑

loved.

w

w

w

f w

w

q=80

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ p

Vc

f

w

œ . œ bœ .

f

w w

f w

˙ w w

œ bœ

Loved be yond compare, Loved,

P

˙

P P

œ

bœ loved

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be yond be-

œ œ

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œ

bœ bœ œ œ œ œ

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œ

bœ bœ œ œ œ œ

œ œ

œ bœ

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œ

bœ bœ œ œ œ œ

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poco meno mosso

œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ #œ œ œ œ unison, non div.

œ œ

b˙ P b˙ P

˙ b˙

bw bw

˙

w

18

81 Fl

&

EH

&

Cl

&

Hn

&

Bn

?

Adamo–Little Women Prologue

bw

˙.

Œ

π ˙.

Œ

N˙ .

Œ

œ

˙. π bw

π

Ó

˙ π

U ∑

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&

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&

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P ˙. u Pb ˙ . u P u˙ . U b˙ . P

solo

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Œ

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Œ

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Œ

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Œ

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∑ ≠≠ ... f ≠≠≠ ..

#œ

˙

#œ #œ

œ

œ

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œ

œ

œ

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p

π π

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∑ solo

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p

˙

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“Thunder effect”—Strike the lower strings with the open left hand and let ring.

Hp

#œ

q=76

ΠP

Kbd

VIBRAPHONE

Pc

b b ww & b ˙˙ .. π

ÓÓ

Œ

motor off

Ó

˙.

Œ

(damp w/mallets)

∑

∑

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∑

1

&

∑

∑

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∑

2

&

∑

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3

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4

&

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J

&

∑

L

Vn1

Vn2

Vla

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Bs

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U U – ‰ Œ j ‰ Œ F J (floored) # –

w

˙.

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Well.

∑

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Ó

Œ

sub.

bw

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solo

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p ∑

Ó 3

∑

j – #–

ΠF (apologetic)

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bœ œ

Œ

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∑

N˙ .

Œ

U to sord. ∑

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Œ

U ∑

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Ó

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Ó

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q=76

(L.V.)

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3

–

Ofcourse.

– 3

She real - ly

π

π

¿ p J

That’s a re-lief.

lief.

& b ˙˙ ..

?

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Oh!

œ œ ‰ Ó J p

sub.

Vc

Ó

¿.i

BASS DRUM

÷

– #– .

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is best

for me.

# # ww π

con sord.

con sord.

#w π

∑ > # œ p

> œ

#œ œ

p #>œ

>œ

œ

– You

Adamo–Little Women Prologue

86 Fl

EH

solo

& Ó &

#œ

Œ Nœ

œ

œ

œ

#œ

œ

˙

P œ

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19

œ

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Œ

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poco

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Œ

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poco

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& Œ

Kbd

Pc

L

Œ

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knew it be fore I

Vn1

&

j ‰ # –j # – – >

3

(blustering)

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we

Well;

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– 3

–

#– #–

quar reled like

mag- pies.

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‰

did.

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∑

‰

(gently)

‰

I shall ne - ver stop lov - ing you,

˙. ˙.

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p

poco Vn2

¿ PJ

Œ

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Jo...

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Œ

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Bs

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–

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3

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were

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j – Œ

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œœ

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poco

œ œ œ œ

˙.

poco

poco

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al - tered. 3

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w w

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& #˙ .

– –

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solo

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> œ

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>œ

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P

œ. w w w

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Œ

20

89 Fl

EH

Cl

&

Adamo–Little Women Prologue

œ

b˙

to PICCOLO

Œ

f

& œ œ P & bœ œ P

Hn

&

Bn

? Ó

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œ

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43

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bœ

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bœ

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P

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w w

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Pc

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1

&

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2

&

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3

&

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43

4

&

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J

& b–

‰ – J

– – b–

meant to befriends.

L

Vn1

Vn2

V Œ

3

j –

I

– –

You knew it,

– –

youtried

3

– – –

was n’t so smart,

– b–

–

to tell me—

‰ b–

w w

b ww

& w F

w

&

F

Vla

B

Vc

? Ó

Bs

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∑ > >

F œ œ

F >œ >œ

Œ

–

œ

Œ

so confused,

Andthen, la-ter I was so con fused

and then

‰

b–

–

– b– – –

–

Œ

‰

œœ

bœ œ

bb œw

œ

bœ

3 4

wechangedpla - ces in yourheart.

3 – b –3 b – –J b –

A - my,

ww

in Eng-land...

œ œ

bœ . œ.

œ

bœ . w w

œ J

Jo—

43 3 4

bw

b b œœ F

bw

– Œ

(with Jo) 3 – b– – – – – – – ‰ – –

(cresc. 1. only)

œœ

– b– (with Laurie)

3 4 œœ J

j œ

bœ œ bœ

j j

œ. œ.

43

œ.

3 4 3 4

Adamo–Little Women Prologue

92 Fl

3 &4

∑

∑

∑

∑

EH

& 34

∑

∑

∑

∑

Cl

3 &4

∑

∑

∑

21

∑

∑

Make changes between woodwind colors as imperceptible as possible (m.96—107)

∑

Ó

˙.

œ n

Hn

3 &4

∑

∑

solo

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œ.

∑

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p

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˙ œ

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n

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n

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∑

?3 4

∑

∑

∑

∑

& 34

∑

∑

∑

?3 4

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∑

∑

3 &4

∑

∑

∑

÷ 34

∑

∑

∑

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∑

1

3 &4

∑

∑

∑

∑

2

3 &4

∑

∑

∑

3

& 34

∑

∑

4

3 &4

∑

J

3 &4

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π

n

∑

Hp

Kbd

Pc

L

BELL TREE

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π

¿¿¿

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≠.

(laughing)

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3

p

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For - give you?

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j – ‰ ‰ –j

– –. –

– –

There’s no-thing

Œ

≠

to for - give.

∑

∑

∑

∑

∑

∑

Vn1

∑

∑

∑

∑

∑

∑

∑

Vn2

3 &4

∑

∑

∑

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∑

∑

∑

B 34 b œ œj ‰ Œ sub. π

∑

∑

∑

∑

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∑

∑

∑

Vc

Bs

Loveher,

œ ˙ loveher

∑

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can you for - giveme?

3 &4

Vla

˙

œ

j‰ Œ bœ œ sub. π j‰ Œ bœ œ sub. π

j ?3 4 bœ œ ‰ Œ sub. π

&

˙˙ ..

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b˙ .

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˙.

1.

∑

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p

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p

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n

22

Adamo–Little Women Prologue

102 Fl &

∑

∑

∑

&

∑

∑

∑

EH

∑ Œ Œ

œ

˙. p

n

Cl

Hn

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n

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44

∑

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∑

n

solo

Ó

∑

q=88

∑

∑

˙ p

˙. π

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n

&

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Hp

CELESTA

&

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&

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2

&

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&

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4

&

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J

&

œ. j œ œ œ œ F

˙.

‰ j œ œ œ œ

V

∑

˙ .. >˙ P # >˙˙ ..

Kbd

VIBRAPHONE

∑

Pc

L

Vn1

Vn2

Vla

Vc

Bs

& &

3

long

œ

as you both shall live.

∑

∑

P

I wish you

motor off

˙. # ˙˙ ... ˙ P>

4 4 4 4

˙˙ ... ˙. ˙ ∑

∑

44

∑

∑

∑

4 4

∑

∑

∑

∑

4 4

∑

∑

∑

∑

∑

44

∑

∑

∑

∑

∑

4 4

œ œ ˙

ev’ ry joy.

∑

˙˙ ..

‰ j – – – –. . .

Justtell me one

∑

j ‰ Œ Œ #–

thing.

∑

Œ

œ ‰ œ #œ

(joking)

Who o beys?

Œ

œ #œ Œ ‰ A - my

˙.

˙

P ˙.

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˙.

˙

˙

œ

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˙

P

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˙.

pizz. L.V.

poco

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˙.

˙.

pizz. L.V.

poco

˙.

P

˙. ˙.

unis.

˙.

˙.

˙.

˙.

˙.

˙.

poco

poco

∑

∑

∑

bœI P

pizz. L.V.

unis.

˙˙ ..

b œI P

∑

∑

∑

∑

∑

44

∑

∑

4 4

Œ Œ

∑

∑

4 4

Œ Œ

∑

∑

44

∑

∑

4 4

∑

∑

4 4

Œ #¿ ¿ Œ Œ

# œI P pizz. L.V. œi Œ Œ œI P unison, non div. œi

pizz. L.V.

P

4 #œ œ 4 or my

Ask it.

& ˙. ˙ . P ? ˙. ?

˙

44

˙˙ ..

Œ Œ

q=88

Adamo–Little Women Prologue

111 Fl

EH

PICCOLO

4 &4 Ó

Œ

& 44

œ π

∑

4 &4

∑

Hn

4 &4

∑

Bn

? 44

∑

Cl

q=76

solo

œ

b˙

23

Œ

Ó

solo

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œ p

œ œ π

œ

œ

œ

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bœ

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œ

œ

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œ

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œ

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œ

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œ

œ

œ

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∑

∑

∑

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∑

∑

?4 4

∑

∑

∑

∑

∑

? 4 ww 4

∑

∑

4 & 4 www w

∑

∑

Ó

solo

Œ

poco

poco

poco

œ œ

œi

Hp

Kbd

Pc

& 44 ww

÷ 44

∑

1

4 &4

∑

∑

∑

2

4 &4

∑

∑

∑

3

& 44

∑

∑

∑

4

4 &4

∑

∑

∑

J

4 &4 œ

Œ

Ó

œ œ œ3 # œ # œ œ3 œ #œ V 44 ‰ J f (relieved) Now

Vn1

¿ .i

∑

Ó

Ó

Mmm.

œ

– –3 –

ΠbРJ (exuberant) 3

you’re be - gin-ning to marm it!

arco 4 ww &4 π

Œ

bœ

q=76

–

≈ –

I’d hoped I couldcount

–

on you—

≈ b–

–

I

–

–

–3

Rock

ossia

–

–

shouldhave known

3

b– – I could!

Œ

b–

–

(absently)

˙ .. ˙

ww

–

b–

of 3

p

Gi-

РΠJ

Ah,

j – Jo!

œ b œœ œ 3

bœ œ poco

4 &4 w π arco

Vn2

(B.D.)

3

boy?

L

¿. π J

Ó

solo arco

poco

miserably

Vla

& 44

∑

?4 4

∑

Ó

arco

Vc

?4 4

∑

Ó

arco

Bs

B

Œ

œ œ bœ œ

˙.

w b˙

œ > > πœ œ

π >œ >œ

œ.

œ œ

b b ww

œ

bw

bœ

˙

Œ

24

Adamo–Little Women Prologue

114 œ Fl & EH

Cl

b˙

Œ

Ó

Œ

solo

bœ

bœ

P

˙

Œ

poco

œ

œ

œ

œ

œ

œ

œ

œ bœ P

œ

œ

œ

œ

œ

œ

bœ

bœ

œ œ

œ œ

œ œ

& œ bœ p

œ

œ

œ

œ

œ

œ

œ bœ P

œ

œ

œ

œ

œ

œ

Nœ

#œ

œ œ

œ œ

œ œ

& œ p

∑

Hn

&

Bn

? Π&

solo

∑

b˙

œ

p b ˙i

œi

bœ .

∑

bœ b˙

to CONTRA

Œ

Œ

∑

∑

∑

Hp

?

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

&

∑

∑

∑

Kbd

Pc

÷

¿. p J

Ó

¿ .i

¿. ¿ . i J

Ó

∑

1

&

∑

∑

∑

2

&

∑

∑

∑

3

&

∑

∑

∑

4

&

∑

∑

∑

J

&

L

–

–

bral

–

-

V – – F

So

Vn1

Vn2

Vla

Vc

Bs

&

–

Œ

tar.

–

3

– – –

r –

‰.

Œ –

Well—

– ®b– –

we can be just bestfriends

w w

p

again,

Ó b– Best

b˙ . b ˙.

≈ b– friends

– b–

–

for good.

f

b–

– b–

You know I’ll

– J

‰

b– – b– b – al-ways be your

Œ œ b b œœ œ 3

bœ bœ poco

bœ bœ b œ bœ

˙.

& bw p

poco

b–

– Œ

≈ #– # –

–

friend,

Ó – #– – ≈ ‰ – #–

Jo—

It was tru - ly

#w # w F

#w F

∑

? Ó

> bœ

> œ

œ œ

bw bw

Ó

bœ p >

>œ

œ

bw

Ó

? Ó

Lau rie—

Youknow,

B p

∑

b–

Œ

F

˙ ˙ > >

#œ #œ

#œ œ

# œœ

#>œ >œ

œ

Adamo–Little Women Prologue

117 Fl &

∑

& #œ

œ œ œ

œ œ œ

œ

Cl

& œ

#œ œ œ

œ œ œ

œ

& ?

solo

œ P

‰

Ó

#œ . Í

‰

#œ . œ.

Í

EH

Hn

œ.

œ

#œ

#œ

Í Í

25

to FLUTE

∑

∑

Ó

∑

∑

‰

Ó

∑

∑

‰

Ó

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

?

∑

∑

∑

∑

&

∑

∑

∑

∑

?

∑

∑

&

∑

∑

÷

∑

1

&

2

Bn

Hp

PIANO

Kbd

lowest 3 or 4 notes of piano

Í

±æ

±æ ∑

∑

∑

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

3

&

∑

∑

∑

∑

4

&

∑

∑

∑

∑

J

&

∑

∑

L

V # – #– ‰

Pc

‰

perfect—

&

Vn2

&

Vla

B œœ

Vc

Bs

? ?

– Œ

perfect—

# ww

Vn1

–

œ œ

Per-fect as it

w

was.

Œ. # # œœ #œ

œ #œ œ

#œ œ #œ

œ #œ

˙. Œ.

#w

œ

œ œ

Œ. Œ.

œ œ

Per fect as it

œ J

(beyond incredulous)

‰

Œ

Œ

wa—

∑ 3

#œ œ œ

Was-n’t it

– #–

– – –

per-fect as

it was?

∑

∑

senza sord.

∑

∑

œ

∑

∑

œ œ œ

∑

∑

∑

∑

∑

Œ j P œ œ # œ gliss.n j #œ œ P œ J

bœ œ œ œ p What did you say?

senza sord.

Œ j œ œ gliss. # œ P n

P

Ó

3

gliss.

gliss.

Œ

26 q=88

Adamo–Little Women Prologue solo dreamy

121 œ œ b œ œ œ œ œ œ Fl & π EH

Cl

Hn

Bn

&

∑

&

∑

&

∑

?

∑

&

∑

?

∑

&

∑

œ

free chromatic run

#œ

Œ

dolce

Œ p #œ

#œ

œ

5 4 Ó

∑

5 4

Œ # œœœœ ƒ œœœœ Œ

Hp

œœœœ

∑

5 4

œ

#œ

3 bœ œ œ3 b œ œ œ . ≈ œ œ3 œ ≈ ≈ œ œ œ œ œ. F œ œ3 b œ 3

bitter

∑

45

# œœœœ œœ 5 œœ 4 # œœœœ

Œ

wwww æ wwæww

œœœœ æ œœæœœ

∑

44 œ

4 4

4 4 4 4

j j j # œæ œ ‰ œæ œ ‰ œæ œ ‰ f f f

∑ CONTRABASSOON solo

F

˙

œ œ

œ œ ‰ œ 3:4œ ‰ œ œ ‰ æ J æ J æ J f f f (flutter)

œ

bœ

wwww æ wwæww

44

∑

#œ œ œ # œ #œ œ œ

œ œ #œ

(flutter) œ œ 4 æ J ‰ Ó 4

44

∑

45

3

œ œ œ 3:4œ œ œ æ J ‰ æ J‰ æ J ‰ f f f (flutter)

4 4

∑

45 Œ œ # œ

∑

∑ fingernails

5 4

3:4

b˙

˙

wwww æ wwæww ∑

∑

Kbd

?

±æ

5 4

±æ ∑

&

∑

5 4

4 4

±æ

±æ

±æ

∑

4 4

∑

44

∑

¿ ¿ ‰ ¿ 3:4¿ ‰ ¿ ¿ ‰ æ Jf æ Jf æ Jf

∑

∑

Pc

TAMBOURINE

÷

∑

∑

45

1

&

∑

∑

5 4

∑

4 4

∑

∑

2

&

∑

∑

5 4

∑

4 4

∑

∑

3

&

∑

∑

45

∑

44

∑

∑

4

&

∑

∑

5 4

∑

4 4

∑

∑

J

&

~~~~~~~~~

L

laughs, quietly

¿ ‰ Œ J

V Ó

Jo?

q=88

~~~~~~~~~~~~~

laughs more loudly

Œ ‰ ¿J ¿ # ¿ Œ

col legno battuto f to sound p

Vn1

Vla

Bs

¿ What

3

¿

did

3

#¿ I

¿ say?

Per fect as

Ó44

5 4

4 4

& b œœ

5 4

4 4

45

44

5 4

4 4

5 4

4 4

B

col legno battuto f to sound p

# œœ

col legno battuto

Vc

45 Ó

4 ¿ b ¿3 b¿ Œ 4 ¿ b¿

& # œœ

col legno battuto f to sound p

Vn2

What is it?

5 4 ~~~~~~~~~~~~~~~~~~~~~~~~

f to sound p ? œœ

?

o continue steady bowing # wwetc.

itwas—?

∑

¿ 3¿

¿ #¿ #¿

Perfectas

3

it was?

∑

Œ

(laughs)

Adamo–Little Women Prologue

126 Fl &

∑

∑

EH

& œ œ œ#œ œ œ œ œ

Cl

œ œ b œ œ œ 3 j3 œ œœ & œ J œ 3

j # œ. ‰

˙ 3

œ

3

j œ œ

∑

Hn

&

Bn

? ˙

3:4 3

Œ

œ œ J

3

bœ J

∑

œ æ

∑

œ æ

3:4 3

j3 œ œ

3 œ œ j J æ b œ œ œ

∑ b˙

œ œ J ‰ æ f

3:4

œ ‰ œ J æ f

3:4

œ ‰ œ J æ f

3:4

j # œæ œ ‰ œæ f

∑

bw

˙

27

œ

œ

3:4

œ œ J‰ æ f œ‰ œ J æ f œ‰ œ J æ f

j œ ‰ œæ f

˙

œ J ‰ f œ ‰ J f œ ‰ J f j œ ‰ f

œ œ œ æ J ‰æ f œ œ ‰œ æ J æ f œ œ ‰œ æ Jf æ

œ œ J‰ æ f œ‰ œ J æ f

œ ‰ J f

3:4

œ‰ œ J æ f

œ ‰ J f

3:4

j j # œæ œ ‰ œæ œ ‰ œæ f f

j œ ‰ f

3:4

w

˙

∑

∑

∑

∑

∑

≠ f ≠≠≠≠

∑

∑

∑

∑

&

œ J ‰ f

3:4

Hp

? Ó

√ j ‰ œ b œœœ ... œ œ. f

& Ó

Œ

Kbd

?

œœ œœ

(thunder effect)

œ œœœ

œœ œ . œœ œœ .. œ .

±æ

œœ œœ

œ œœœ

œœ œœ

œœ ... œœ .

œœ œœ

œœ œœ

j œœ ... b b œœœ ‰ œœœ œœ . b œ œ

b œœ ... b œœ œ œ œ œ œ .. œ œ œ b b œœ ... œœ œ œ .. œ œ b œœ . œœ œœœ b œœœ # œœœ œœœ œœœ .. œœ œœ œ b œœ . œœ # œœœ b œœœ .. œœ œœ œ œ œ œ

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

÷

∑

∑

∑

1

&

∑

∑

∑

∑

∑

2

&

∑

∑

∑

∑

∑

3

&

∑

∑

∑

∑

∑

4

&

∑

∑

∑

∑

∑

J

&

?

Pc

L

Vn1

Vn2

Vla

Vc

Bs

#h Oh,

3

h

yes,

h

in

-

Œ

(laughs wildly)

deed!

∑

V

#¿

Œ

Œ

¿

3

#¿

¿

Let’s just

Œ

(a little terrified)

Jo?

¿

¿ ¿ ¿ #¿

(fiercely)

¿ æ

¿ ¿ ¿

go backto the way itwas?

¿ ‰ ¿ Jf æ

¿ #¿

3:4

¿‰ ¿ J f æ

Œ

3

Just like

∑

¿

(snaps fingers)

that!

∑

B # 朜 p

Tremolando sul pont; cresc. poco a poco until glissando

b œœæ p

?

ww

(

b œ)

Back to the

¿‰ ¿ J æ f

¿ ¿ ¿

Œ

per fect way it was.

# œæœ p

Tremolando sul pont; cresc. poco a poco until glissando

(

œ)

¿ ‰ Jf

3:4

¿ ‰ J ¿ b¿ I

œæœ p

while sustaining open A, start very slow upward glissando on E string for given duration

¿ ¿ ¿

¿ ¿

Jo!

Tremolando sul pont; cresc. poco a poco until glissando

?

3

¿ ¿ ‰¿ æ Jf æ

Ó

& &

¿ ‰ fJ

did - n’t

Tremolando sul pont; cresc. poco a poco until glissando

28

Adamo–Little Women Prologue

131 œ œ œ 3:4 œ œ œ Fl & æ J ‰æ J‰ æ f f f EH

Cl

3:4 & æœ œJ ‰ æœ œJ ‰ æœ œ f f f 3:4 & æœ œJ ‰ æœ œJ ‰ æœ œ f f f

j j & # œæ œ ‰ œæ œ ‰ œæ œ f f f 3:4

Hn

Bn

Hp

?

Ó

gliss.

gliss.

gliss.

gliss.

bœ

œ œ œ 3:4 œ œ œ & æ J ‰æ J‰ æ ?

Kbd

Œ

∑

(√) bœ . & b b œœœ ... œœœœ # œœœ œœœ ... œœ œœ œ b œ . œœ œœ ?

to highest >— Gliss possible note 12 J ‰ ‰ Œ. Ó. 8 to highest —> Gliss possible note 12 J ‰ ‰ Œ . Ó . 8 Gliss to highest —> possible note 12 J ‰ ‰ Œ . Ó . 8 to highest —> Gliss possible note 12 8 J ‰ ‰ Œ. Ó. f

to BASSOON

gliss.

&

#œ œ œ 5 Œ œ Œ 4 p sempre staccato

q=116

∑

54

∑

5 œ Œ Œ 4 œ p sempre staccato

∑ Œ

4 4

Œ

Œ

œ ∑

4 bœ bœ 4

Œ bœ nœ .

∑

5 4

∑

4 4

∑

∑

54

∑

44

∑

∑

∑

5 4

∑

4 4

∑

12 8

∑

∑

5 4

∑

4 4

∑

∑

54

∑

44

∑

∑

5 4

∑

4 4

∑

∑

5 4

∑

4 4

∑

to highest >— Gliss possible note 12 J ‰ ‰ Œ . Ó . 8

Œ

44

12 8

12 www ... 8

XYLOPHONE

Pc

∑

12 8 # ww .. # w .

∑

? ¿ f

Gliss to highest —> possible note 12 J ‰ ‰ Œ . Ó . 8

q.=69

gliss.

÷

∑

12 8

∑

∑

54 | ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 |

1

&

∑

12 8

∑

∑

5 4

∑

4 4

∑

2

&

∑

12 8

∑

∑

5 4

∑

4 4

∑

3

&

∑

12 8

∑

∑

54

∑

44

∑

4

&

∑

12 8

∑

∑

5 4

∑

4 4

∑

J

&

Ó

U #œ . œ ‰ ‰ Œ . Œ . J

5 4

∑

4 4

∑

V

h

L

Vn1

Vn2

Vla

Vc

Bs

&

(Ó )

Ó

B

(

(

(

Ó) Ó) Ó) Ó)

(Π)

(

(

(

(

Œ) Œ) Œ) Œ)

gliss.

U 12 # ¿ ‰ ‰ Œ . ‰freely 8 J #œ #œ œ œ pœ not?

12 8

mean...

(

?

¿

Why

&

?

Œ

RATCHET

gliss.

# œœ gliss.

œœ

gliss.

œœ

œ œgliss. œ œ

gliss.

And per haps I know

how.

∑

to highest >— Gliss possible note 12 J ‰ ‰ Œ . Ó . 8

—> 12 J ‰ ‰ Œ . Ó . 8

# # ww ..

to highest —> Gliss possible note 12 J ‰ ‰ Œ . Ó . 8 to highest >— Gliss possible note 12 J ‰ ‰ Œ . Ó . 8 f

q=116

œœ

#w.

5 w 4

œ

# # ww ..

54 ww

œœ

ord.

ord.

&

. . . . . . . 54 –. – # – – – 44 # – # – – b – – . . – . F?was it as. Perfect.Jo ,know you good forfriends ww

Gliss to highest possible note

to highest >— Gliss possible note 12 J ‰ ‰ Œ. Ó. 8

Mechanically, like a wind-up doll—as he exits in reverse motion down the stairs

∑

q.=69

Muffle as possible—play in a box lined with cloth, for example. Mute to sound p-mp.

ord.

5 4

π π π

4 4 4 4

ww w

44 ww

∑

5 4

∑

4 4

∑

∑

5 4

∑

4 4

∑

Adamo–Little Women Prologue

bœ œ 136 Fl & bœ . EH

Cl

Hn

Bn

Ó

Œ

∑

&

œ Œ

Œ

œ

∑ œ

& Ó

œ

œ

œ

Œ Œ œ

œ Œ

œ

3

bœ

Ó

3 4

∑

43

∑

3 4 Œ

b œ bœ

œ bœ œ

œ

29

Œ

œ

4 4

bœ

44 3

bœ

Œ

q.=69

6 8

∑

∑

9 8

68

∑

∑

98

b œ 68

∑

∑

9 8

6 8

∑

∑

9 8

∑

98

Ó

œ ∑

4 Ó 4

œ

∑

∑

3 4

∑

4 4

∑

∑

∑

∑

43

∑

44

∑

68

∑

&

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

?

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

∑

44

∑

68

∑

&

∑

?

Hp

9 8

b ˙˙ .. CELESTA

&

∑

∑

∑

43

?

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

&

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

∑

9 8

68

∑

∑

98

44 | ÷ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ | | | 43 |

98

b ˙˙ ..

Kbd

Pc

9 8

b ˙˙ ..

9 8

b ˙˙ ..

1

&

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

∑

9 8

2

&

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

∑

9 8

3

&

∑

∑

∑

43

∑

44

∑

68

∑

∑

98

4

&

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

∑

9 8

J

&

∑

∑

∑

3 4

∑

4 4

∑

L

b –. . . . . b – – n– V

–.

Best ,a gainfriendsjust

Vn1

&

Vn2

&

Vla

&

Vc

Bs

–.

As needed, as he vanishes offstage

–. – –. .

be can we so...

. – – .

. . – b– – .

Jo! Ah, could I known

. 43 –

3 3 –. b –. – b –. –. – .

haveshould I—

you on count

˙˙ ..

44 b –. –. –. –.

could I hopedI’d

# œ Œ # œ j 98 J #œ

That worked

68

for the

∑

∑

98

6 8

∑

∑

9 8

ww

ww

ww

w

w

w

. 3 ˙ 4

4 w 4

6 8

∑

∑

9 8

ww

ww

ww

˙˙ .. 43

44 ww

68

∑

∑

98

3 4

4 4

ww

6 Œ . ‰ ‰ #œ 8 J (self-satisfied) p

q.=69

?

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

∑

9 8

?

∑

∑

∑

3 4

∑

4 4

∑

6 8

∑

∑

9 8

30

Adamo–Little Women Prologue q=46

143 9 Fl &8

languidly

∑

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

EH

& 98

∑

12 8

∑

68

∑

12 8

∑

68

∑

12 8

Cl

9 &8

∑

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

Hn

9 &8

∑

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

Bn

? 98

∑

12 8

∑

68

∑

12 8

∑

68

∑

12 8

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

12 8

∑

68

∑

12 8

∑

68

∑

12 8

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

Hp

9 & 8 ˙˙ . .

œœ ..

? 9 ˙˙ .. 8

œœ ..

& 98

˙˙ ..

œœ ..

? 9 ˙˙ .. 8

œœ ..

Kbd

P

12 8

TIMPANI

9 &8

∑

12 8

∑

6 8

∑

12 8

∑

÷ 98

∑

12 8

∑

68

∑

12 8

∑

68

∑

12 8

1

9 &8

∑

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

2

9 &8

∑

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

3

& 98

∑

12 8

∑

68

∑

12 8

∑

68

∑

12 8

4

9 &8

∑

12 8

∑

6 8

∑

12 8

∑

6 8

∑

12 8

J

9 j & 8 #œ #œ

œ . ‰ œ # œ 12 8 N œ œ œ ‰ œ œ œ œ # œ œ œJ œ

L

V 98

?

6 8

Pc

mo ment.

But with

∑ q=46

so ma ny

So ma-ny ca - pi-tal reasons

12 8 languidly

Vn1

9 &8

Vn2

9 &8

∑

12 8

Vla

& 98

∑

12 8

Vc

?9 8

∑

12 8

Bs

?9 8

∑

12 8

˙˙ ..

∑

12 8

Œ. Ó.

#˙ .

˙ .. P˙

# ˙˙ ..

P

p

P

˙˙ ..

˙. ˙. ∑

to

68

∑ œœ ..

6 œj Œ Œ œ 12 8 J 8 ∑

6 ˙˙ .. 8 6 8

cross out the cal- en dar, roll back the seasons,

Œ.

bœ . b œ. p

˙. n˙ . N˙ .

12 8 b N ˙˙ .. P

n ˙˙ ..

12 8

˙. b˙ . P

6 8 68

∑

Ó.

12 8 ∑

" bœ bœ bœ . bœ œ bœ bœ œ œ nœ J

12 8

˙. punta d’arco 6 æ 12 8 8 π ˙. punta d’arco 6 æ 12 8 8 π 68 ˙˙ ..

bœ

Œ . b œæ. 12 8 π

œ Œ Œ . 12 8 J ∑

12 8

√ N˙ . 6 æ punta d’arco 12 8 8 π ƒ √ ˙. 6 æ punta d’arco 12 8 8 π ƒ 68

˙˙ ..

12 8

b b ˙˙ ..

6 ˙˙ .. 8

12 8

∑

6 8

12 8

∑

Adamo–Little Women Prologue

31

Aria: “Couldn’t I unbake the breads”

148 sub. 12 Fl & 8

∑

∑

5 8

#### 9 8

∑

∑

85

#### 9 8

∑

∑

5 8

∑

#### 9 8

∑

∑

5 8

∑

# # # # 98

∑

∑

85

∑

∑

#### 9 8

∑

∑

5 8

? 12 8

∑

∑

#### 9 8

∑

∑

5 8

& 12 8

∑

∑

#### 9 8

∑

∑

85

? 12 8

∑

∑

#### 9 8

∑

∑

5 8

& 12 8

Cl

12 & 8

j Œ >œ ß 12 & 8 j Œ œ brassy b > ß ? 12 8 12 & 8

Ó.

∑

j Œ b>œ ß

BASSOON Bn

œ œ œœ œ œ Œ œ œ p f

#### 9 8

EH

Hn

q.=76

j b>œ Œ ß

Œ.

Ó.

Œ.

Ó.

Œ.

Ó.

Œ.

Ó.

Larghetto

∑

Ó.

j Œ #œ # œ # œ p #œ #œ f 4

Hp

Kbd

Pc

VIBRAPHONE

? 12 8 b œj Œ f

Œ.

Ó.

∑

&

#### 9 8

Œ.

poco

poco

motor on, bowed

nUœ . Œ. p

Œ.

Œ.

bUœ .

5 8

÷ 12 8

∑

∑

98

∑

∑

85

1

12 & 8

∑

∑

#### 9 8

∑

∑

5 8

2

12 & 8

∑

∑

#### 9 8

∑

∑

5 8

3

& 12 8

∑

∑

#### 9 8

∑

∑

85

4

12 & 8

∑

∑

#### 9 8

∑

∑

5 8

J

12 & 8

L

V 12 8

Vn1

12 & 8

Vla

Œ.

Bs

Œ . b œæ . sul pont. Í

Ó. pizz.

# #>œIœi..

? 12 œ i. 8 # œ I. > ? 12 8

‰

∑

#### 9 8 œ ≈ œ œ œ œ œ f #œ œ p (fiercely)

Could n’t I—

Œ.

Ó.

Œ.

Ó.

w. w. æ

#### 9 8 #### 9 8

arco sul pont.

æ. . Íwæœ # œ . ˙ . Í æ arco æ sul pont. Ó. ˙æ. œ . Ó. Íæ Œ.

B

bœ . Íæ ‰

œ

pizz.

#### 9 8

p #œ œ p #œ œ p œ

#### 9 8 N œœ p #### 9 8

arco

p

œ

>œ >œ >œ

Un - weave the mit tens,

85

∑

‰

√ nUœ . Œ.

‰

√ nUœ . Œ.

molto

molto

‰

Œ.

U Œ.

‰

Œ.

U Œ.

‰ ‰

Œ.

U Œ.

>œ j

U poco U poco 5 œ. Œ. œ . nœ œ œ . œ Œ . 8 f œœ p

thebreads,

∑

Larghetto

wæ .

Ó.

Un - bake

#### 9 8

∑

Í b œæ. ˙˙ .. æ æ sul pont. Í

pizz.

Vc

Œ.

∑

12 & 8 & 12 8

Œ.

Why stopwithnow?

sub. q.=76

Vn2

œ. ˙.

bœ œ œ

Œ.

pœ œ pœ œ œœ nœ œ j œ

aœ

‰

Œ.

nœ ‰

Œ.

√ bUœ . molto

5 8

molto

5 8

√ bUœ .

‰

Œ.

U Π. 85

‰

Œ.

U Π. 85

‰ ‰

Œ.

U Π. 85

œ œ

32

Adamo–Little Women Prologue

152 # ## 5 Fl & # 8 EH

Cl

Hn

Bn

Hp

Kbd

∑

9 8

# # & # # 58

∑

# ## 5 & # 8

a tempo

∑

12 8

∑

9 8

98

∑

12 8

∑

98

∑

9 8

∑

12 8

∑

9 8

# ## 5 & # 8

∑

9 8

∑

12 8

∑

9 8

? # # # # 58

∑

98

∑

12 8

∑

98

# ## 5 & # 8

∑

9 8

∑

12 8

∑

9 8

? #### 5 8

∑

9 8

∑

12 8

∑

9 8

# # & # # 58

∑

98

∑

12 8

∑

98

? #### 5 8

∑

9 8

∑

12 8

∑

9 8

12 8

∑

9 8

9 8

58

∑

98

∑

12 8

∑

98

# ## 5 & # 8

∑

9 8

∑

12 8

∑

9 8

# ## 5 & # 8

∑

9 8

∑

12 8

∑

9 8

# # & # # 58

∑

98

∑

12 8

∑

98

# ## 5 & # 8

∑

9 8

∑

12 8

∑

9 8

nœ œ

9 8

Œ.

÷

2

3

4

J

L

Vn1

Vn2

poco

∑

Œ.

Œ.

Pc

1

Uœ .

# ## 5 & # 8

# ## 5 & # 8 # # V # # 58 # ## 5 & # 8 # ## 5 & # 8

f

œ

œ.

Un - feed

œ p œ

thecats, see ‘em

∑ œ œ J

unison, non div.

‰ p

œ œ J

‰

unison, non div.

‰ p

Vla

# B # # # 58

Vc

? #### 5 8

Bs

? #### 5 8 n œj ‰

‰ œ aœ

nœ J œ

‰ ‰

œ

œ œ œ œ

98 9 8

‰

‰

œœ J

9 8

‰ œœJ

j ‰

98

œ

‰

9 8

‰ ‰

Œ

9 8

poco

œ

Just

∑

œ œ J

œ J

U ‰

shrinkback to kittens:

‰

n œœ

p

œ J

‰

Œ.

Uœ .

poco

Uœ .

poco

molto

œ œ œ œ

œ

j ‰ œ

‰

Œ.

molto

‰

Œ.

U Œ.

‰

Œ.

U Œ.

‰

Œ.

U Œ.

ƒ ƒ

poco

poco

poco

œ

12 œ 8

give

œ.

me

j œ œ œ

œ.

œ J

a mo ment...

12 8

9 8

œ to

98

∑

a tempo

12 œ œ œ œ 8 œ F 12 8 œ œ œ œ œ F 12 8 n œœ œœ œœ œœ œ F 12 œ œ œ œ n œ 8 F 12 œ . 8 F pizz.

‰ ‰ ‰ ‰ œ.

unison, non div.

œœ

œ œ œ œ

œ

unison, non div.

‰

œœ

9 8

œœ

œ œ œ œ œ

‰

œœ

9 8

œ

œ œ œ œ œ œ œ œ œ

‰

œ

98

œ

œ œ œ œ œ

‰

œœ

œ.

nœ .

œ

9 8 9 8

Adamo–Little Women Prologue

155 # ## 9 Fl & # 8 EH

Cl

Hn

Bn

Hp

Kbd

‰

# # & # # 98

œ J ‰ p

œ

∑

# ## 9 & # 8

‰

# ## 9 & # 8

‰

? # # # # 98

œ ‰ J p

œ.

‰ æ π P π

(flutter) ‰ œ æœ . π P π

j œ ‰ p

‰ æ π œ œ.π P (flutter)

∑

œ J ‰ p

(flutter)

‰

œ

∑ nœ ‰ J p

‰

j œ ‰ p

‰

∑

33

œ.

sim. 12 ‰ æ 8 π P π sim.

12 8

sim. ‰ œ œ . 12 8 æ π P π sim. ‰ œ œæ. 12 8 π π P

∑

œ 9 ‰ J ‰ 8

∑

98

∑

9 ‰ œ ‰ 8 J

∑

9 ‰ j ‰ 8 œ

œ œ. 12 ‰ æ 8 π π P 12 8

∑

12 8 œ ‰ n œ ‰ # œ ‰ n œ ‰ # œ ‰ n œ ‰ 98

12 ‰ œ æœ . 8 π π P 12 ‰ 8 œ œæ. π π P 12 ∑ 8

# ## 9 & # 8

∑

∑

12 8

∑

9 8

∑

12 8

? #### 9 8

∑

∑

12 8

∑

9 8

∑

12 8

# # & # # 98

∑

∑

12 8

∑

98

∑

12 8

? #### 9 8

∑

∑

12 8

∑

9 8

∑

12 8

# ## 9 & # 8

∑

∑

12 8

∑

9 8

∑

12 8

98

∑

∑

12 8

∑

98

∑

12 8

# ## 9 & # 8

∑

∑

12 8

∑

9 8

∑

12 8

# ## 9 & # 8

∑

∑

12 8

∑

9 8

∑

12 8

# # & # # 98

∑

∑

12 8

∑

98

∑