Adamo LITTLE WOMEN, ACT 2

(full score) ACT II

From the G. Schirmer Rental Library Date of printing_________

G. Schirmer, Inc., New York, NY

2

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

3

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)

4

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

5

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

Adamo–Little Women

316

Flute

Act II, Scene 1

& 12 8 Œ.

English Hn

12 & 8 Œ.

Clarinet

12 & 8 Œ.

Horn

Bassoon/CB

12 & 8

œ. p ? 12 Œ . 8 & 12 8 Œ.

Scherzo: “Cockling?”

q.=144

j‰ ‰ Œ. œ> f

Ó.

Œ # œj œj Œ ‰ œ œ n œ # œj œ . # œ . œ f

j‰ ‰ Œ. œ f > gliss.

j bœ ‰ ‰ Œ . f > brassy

f

b>œ ‰ ‰ Œ . J

98

∑

∑

9 8

Ó.

∑

9 8

œ

œ # œ n œ #œ J ‰ ‰ Œ. œ # œ n œ # œj Œ

œ J ‰ ‰ Œ. free chromatic run

∑

9 8 œ

∑

∑

free chromatic run

j 9 œ n œ. # œ. œ. 8 œ ‰ # œJ ‰ ‰ Œ . #œ

Ó.

Ó.

#œ

#œ J ‰ ‰ Œ.

œ J ‰ ‰ Œ.

free chromatic run

∑

98

∑ # >œ J

Œ

12 8 j 12 8

(# œ ) b œ

∑

12 8

∑

12 8

. œ # œ n œ # œj ‰ ‰ Œ

∑

12 8

∑

12 8

Œ.

–– ‰ 12 8 – ƒ >–

Harp

? 12 Π. 8

∑

∑

9 8

& 12 8 Œ.

∑

∑

98

PIANO

Keyboard

? 12 Π. 8

∑

∑

& 12 8 Œ.

∑

∑

Percussion

÷ 12 8 Œ.

SNARE DRUM

>¿ ‰ ‰ Œ . f J

Ó.

Ó.

9 #œ 8 f 98

Œ.

∑

free chromatic run (quasi gliss.)

Ó. ∑

Œ.

Œ. ∑

BRAKE DRUM

“dead slap”

12 8

cluster

––– ‰ 12 8 ƒ >– 12 8

¿ ¿ ¿ ¿ ¿ ¿ 98 ¿ ‰ ‰ Œ . (susp.) ¿ . p f f J

∑

12 8

& 12 8 Œ.

∑

∑

98

∑

∑

12 8

Dashwood (Gideon)

? 12 8 Œ.

∑

∑

98

∑

∑

12 8

Violin 1

& 12 8 Œ.

∑

12 8

Violin 2

& 12 8 Œ.

∑

12 8

Viola

B 12 8 Œ.

∑

12 8

∑

12 8

∑

12 8

Jo

Cello

Bass

? 12 8 Œ. ? 12 8 Œ.

q.=144

j ‰ Œ. Ó. œœ ‰unison, non div. f > j ‰ Œ. Ó. œœ ‰unison, non div. f > > # œœ ‰ ‰ Œ . Ó . J f unison, non div. f

# #>œœ ‰ ‰ Œ . J

unison, non div.

∑

Ó.

Œ. Œ.

#œ . œ

‰ Œ.

#œ . œ

‰ Œ. ∑ ∑ ∑

# œœ gliss. 98 J ‰ ‰ Œ. # œœ gliss. œ 98 J ‰ ‰ Œ. œ 98

gliss.

#œ

#œ J ‰ ‰ Œ.

œ 98 œ J ‰ ‰ Œ . gliss.

œ 98 œ J ‰ ‰ Œ. gliss.

Adamo–Little Women Act II, Scene 1

>œ J Œ " Ó.

>œ J ‰ ‰ Œ.

∑

bœ . 98 æ

12 ‰ ‰ Œ " Ó. & 8 bœ œ

∑

9 j 8 b œ b œ œj Œ

Cl

12 # œ . & 8 æ

>œ " . J Œ Ó

∑

Hn

12 & 8 Ͼ .

j Œ " Ó. œ>

Bn

? 12 Ó . 8

5 Fl

EH

b œflutter . 12 æ & 8

317

Œ.

12 8

9 bœ . 8 æ

>œ J ‰ ‰ Œ.

12 8

∑

9 æ 8 œ.

12 8

" Ó.

j ‰ ‰ Œ. œ>

∑

9 8

∑

12 8

& 12 8 Ó.

" Ó.

∑

98

∑

12 8

? 12 Ó . 8

" Ó.

∑

9 8

∑

12 8

& 12 8 Ó.

" Ó.

∑

98

∑

12 8

? 12 Ó . 8

" Ó.

∑

9 Œ. 8

& 12 8 Ó.

" Ó.

∑

98

>¿ Œ " Ó . J

∑

98 ¿ . æ

flutter

flutter

Hp

Kybd

Pc

TAMBOURINE

÷ 12 8 ¿. f æ J

D

12 8

& 12 8

? 12 8 Œ.

"∑ ¿ #¿ ¿ ‰ Œ " Œ. freely

F

j ¿ ‰ ¿j ‰ ¿j ‰ (demonstrates)

12 b œœ ... 8 f œ

Œ.

(bell-like)

∑ >¿ ‰ ‰ Œ . J

12 8 12 8

98

∑

12 8

∑

98

∑

12 8

œ b œ bœ Œ .

“Cack - l - ing.”

SYNTH

nya

“Cock - l - ing?”

nya

nya

(stops her with a gesture)

Vn1

& 12 8 Ó.

" Ó.

∑

98

∑

12 8

Vn2

& 12 8 Ó.

" Ó.

∑

98

∑

12 8

Vla

B 12 8 Ó.

" Ó.

∑

98

∑

12 8

Vc

? 12 8 Ó.

" Ó.

∑

98

∑

12 8

Bs

? 12 8 Ó.

" Ó.

∑

98

∑

12 8

Adamo–Little Women Act II, Scene 1

318

8 Fl

& 12 8 œ p

>œ j bœ œ œ bœ f

EH

12 & 8

Cl

12 & 8

∑

Hn

12 & 8

∑

? 12 8

∑

& 12 8 Ó.

Œ

? 12 8

∑

& 12 8 ? 12 8

Bn

œ J

œ J

‰ ‰

Œ. œ- . f œ- .

∑

f

œ- . √

#œ œ œ bœ œ œ #œ

œ

œ bœ œ œ b œ œ b œ œ j . œ # >œ ‰ ‰ Œ sub. p b œ- . œ- .

œ- .

œ- .

b œ- .

œ- .

œ- .

#œ

f

j nœ

œ- . P

j‰ ‰ >œ sub. p j b>œ ‰ ‰ sub. p

#œ œ bœ

Œ.

9 8

Ó.

9 8

Œ.

Ó.

9 8

Œ.

Ó.

9 8

j ‰ ‰ Œ. # >œ sub. p

∑ œ- .

j Œ. œ

98

Ó.

∑

98

∑

∑

9 8

∑

∑

∑

98

∑

∑

∑

9 8

∑

gliss. w/guitar pick

ƒ

Hp

Kybd

XYLOPHONE

œ hardb mallets œ œ œ œ

& 12 8

∑

÷ 12 8

∑

∑

∑

98

J

& 12 8

∑

∑

∑

98

D

? 12 8

∑

∑

∑

98

f

Pc

& 12 8 œ # œ œ œ # œœ # œœ n b œœ > p #œ œ #œ œ f div. 12 & 8 œ # œ œ œ # œœ # œœ n b œœ > p #œ œ #œ œ f div. B 12 8 œœ # # œœ œœ n # œœ # œœ n # œœ # œœ > p f div.

Vn1

Vn2

Vla

Vc

Bs

œœ n œœ œœ n œœ n œœ n œœ

Œ. p Œ. p Œ.

p

div. ? 12 8 # œœ # œœ n # œœ # œœ n œœ # # œœ >œœ œœ n n œœ Œ . p p f

? 12 8

∑

Œ. Œ.

bœ œ œ œ œ œ

j . #œ ‰ ‰ Œ b œ sub. p

œ bœ œ œ b œ œ b œ œ j œ #œ ‰ ‰ Œ . sub. p f

j œ

#œ œ bœ

œ bœ œ œ b œ œ b œ œ j œ #œ ‰ ‰ Œ . j œ #œ œ bœ sub. p f j j œ ∑ # œ ‰ ‰ # œœ ‰ ‰ Œ . p ∑ ∑

Œ.

98

Ó.

j b œœ ‰ ‰ Œ . p ∑

Œ.

98

Œ.

98

j œœ ‰ ‰ 98 j œœ ‰ ‰ 98 98

Adamo–Little Women Act II, Scene 1

11 Fl

& 98

∑

EH

9 &8

Cl

9 &8

∑

Hn

9 &8

∑

Bn

?9 8

∑

& 98 ?9 8

j nœ

j Œ. #œ ‰ j bœ œ .

12 8 F

œ œ bœ œ œ œ œ (# œ)

12 >œ 8 F 12 >œ 8 F 12 œ 8 > F #>œ 12 8 F

œ œ œ ‰ J

(œ)

ossia

œ > >œ

œ > >œ

œ > >œ

œ > >œ

œ > >œ

∑

∑

∑

12 8

∑

œ.

12 8

œœ .. œ.

12 8

œ > >œ

œ > >œ

œ > >œ

œ > >œ

œ > >œ

Kybd

#˙ . p ? 9 # b ˙˙˙ ... 8 & 98

j œ

Ó.

CROTALE

J

& 98

Ó.

œ > >œ

œ . œ œgliss.j ‰ ‰ b œ . æ æ J œ > brassy n f > Ó. bœ ‰ ‰ Œ . fJ

flutter

‘

√ œœ .. b b œœ .. f œ .. œ b b œœ ..

‘ œœ ... œœ . œœ ... œœ .

˙˙ ... ˙˙ . ˙ .. ˙˙˙ ..

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

12 8

∑

12 8

∑

∑

12 8

∑

Ó.

∑ # ¿ b ¿j ¿

j ¿ ¿.

Aœ .

free vocalise (irresistibly miming the story)

∑

12 8

∑

>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ 12 8 œ œ œ œ œ œ œ œ œ œ œ œ

‘

∑

>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ 12 8 œ œ œ œ œ œ œ œ œ œ œ œ

‘

B 98

∑

# >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ 12 8

Vc

? 98

∑

Bs

? 98

∑

D

Vn1

Vn2

Vla

? 98 & 98 & 98

Ó.

?

‘

j ‰ ‰ Œ. f œ > #>œ ‰ ‰ Œ . J f

(actual pitch)

p

Pc

÷ 98

œ.

∑

‘

>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ

12 8

CELESTA

∑

>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ

Hp

& 98

319

∑

unison, non div.

unison, non div.

ossia

12 8

∑

˙.

∑

unison, non div.

œ œ b# œœ œ œ œ œ 12 ( ) 8 F

f

œ œ œ ‰ J

(œ )

∑

j ‰ ‰ bœ . œ ∑

˙. sub. p

f

p

f

˙.

sub.

# # ˙˙ .. unison, non div. sub. p # >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ ˙. ˙. sub. p ‘

¿ ‰ ‰ Œ. f æJ

RATCHET

div.

#˙ . sub. p

j ‰ ‰ #œ . œ> j ‰ ‰ #œ . œ>

j ‰ ‰ Œ. # #>œœ f >œ . J ‰ ‰ Œ f #>œ J ‰ ‰ Œ. f

Adamo–Little Women Act II, Scene 1

320

15 Fl

&

EH

&

Cl

?

∑

#œ œ

∑

p

Ó.

j ‰ ‰ Œ. b>œ p w. j Ó . #œ ‰ ‰ Œ . #w . > p

pœ œ

Bn

& bæ˙ . j ‰ ‰ Œ. b>œ p w. ?

Ó.

‰

‰ f

œ œ

‰

pœ œ

j ‰ ‰ Œ. p w. >œ

pœ œ

‰ ‰

>œ J ‰ ‰ Œ.

œ œ œ

‰ ‰ Œ. œ œf œ œ

#œ œ ‰ œ œ ‰ œ œ ‰ Œ . p f

flutter

Hn

‰

œ œ

∑

∑

?

∑

∑

∑

j‰ ‰ b>œ

Œ.

#>œ J ‰ ‰

j . œ> ‰ ‰ Œ

Œ.

j bœ ‰ ‰ >

j ‰ ‰ Œ. >œ

Œ.

j œ> ‰ ‰

‰ ‰ Œ. œ œf œ œ

∑

Œ.

N>œ ‰ ‰ Œ . J

‰ ‰ Œ. œ œf œ œ

&

Œ.

j ‰ ‰ Œ. b>œ

&

>œ J ‰ ‰

∑

Hp

SYNTH

∑

quasi xylophone, (or more metallic)

j œ ‰ ‰ Œ.

œ œ #œ œ œ nœ œ œ œ œ #œ nœ f

Ó.

&

∑

∑

?

∑

∑

∑

∑

&

∑

∑

∑

∑

Kybd

Pc

÷ J

D

Vn1

Vn2

Vla

Vc

Bs

& b˙ . ?

∑

Ó.

j j j œ œ œ œ œ œ œ œ #œ

Œ.

‘ j‰ ‰ bœ œ. ∑

Œ.

‰ Œ. ‰ Œ. ‰ Œ. ‰ Œ.

unison, non div. pizz.

Œ.

∑ œœ .. œœ ..

Œ.

arco

I œœœ ... #œ .

œœ .. œœ ..

œœ .. œœ ..

œœ .. # œœ ..

œœ .. œœ ..

œœ .. œœ ..

Œ.

arco

Œ.

arco

œœ .. œ. œ.

Œ.

arco

œ.

œ.

arco

œ.

œœ ... œ œ. œœ .. œ. œ. œ.

œœ ... œ œ. œœ .. œ. œ. œ.

œ. # œœ .. nœ . œ. # œœ .. nœ . œ.

œœ ... œ œ. œœ .. œ. œ. œ.

Œ.

¿ ‰ ‰ J

R.S.

j œ œ œ œ œ œj b œ ∑

œœ .. œœ ..

œ. I # œœ .. nœ .

pizz.

œ

œœ .. # œœ ..

unison, non div. pizz.

Œ.

œ.

œœ .. œœ ..

œ. I # œœ .. nœ .

Œ.

f

¿ ‰ ‰ Œ. J

œœ .. œœ ..

unison, non div. pizz.

Œ.

p

¿ ¿ ¿

I œœœ ... #œ .

unison, non div. pizz.

Œ.

Œ.

(cackles delightedly)

∑

& b˙ . j ‰ ‰ Œ. b œ p f & b˙ . j‰ b œ p f B # # ˙˙ .. œj ‰ #œ p f ? # ˙˙ .. j # # œœ ‰ p f ˙. ? œ ‰ J p f

SNARE DRUM

Œ.

œœ ... œ œ.

Í Í Í

˙.

Í

œ. œ.

˙.

œ.

˙˙ ..

œœ .. # œœ .. Í

b˙ . Í ˙. Í

œ.

˙.

Í

œ . bb œœ .. œ. Í œ.

Í

œ.

j œ

Adamo–Little Women Act II, Scene 1

19

colla voce

a tempo

&

∑

EH

&

∑

∑

Cl

&

∑

∑

Hn

&

∑

∑

?

∑

∑

Ó.

&

∑

∑

Ó.

?

∑

∑

Ó.

&

∑

∑

?

∑

& ÷

Bn

∑

Ó.

Fl

p

œ bœ

#œ .

321

Œ.

p

>œ J ‰‰

b œ œ bœ

j‰ ‰ j‰ ‰ b˙ b œ b œ p >œ > f #>œ ‰‰ J ‰‰ j #œ . ˙ f # œ> p j j ‰ ‰ b>œ ‰ ‰ b˙ f b>œ p

∑

23

j‰ Œ œ f

3 2

j‰ Œ œ f

3 2

j‰ Œ œ f

3 2

j‰ Œ œ f

3 2

∑

23

∑

3 2

∑

∑

23

∑

∑

∑

3 2

∑

∑

∑

∑

23

∑

∑

∑

∑

23

p

Ó.

>œ >œ ‰ ‰ J ‰‰ J p ˙ f b œ .. # Œ . b œœœ .. p b œœ .. Œ.

Hp

Kybd

Pc

J

U œ œ œ ‰ Œ. Ó. b œ œ & bœ œ œ (notices DASHWOOD)

D

?

Œ. p

∑

Œ b œj œ b œ b œ b œJ ‰ ‰ Œ .

Ó.

Œ

(

And in - to the moat.

b¿ ¿ b¿ J ‰ Œ.

j j . b œ œ œ œ b œj Œ # œ p I get ex - ci - ted.

Ó.

∑

Œ.

Œ

j ‰ ‰ Œ.

Œ.

‰ ‰

j ‰ ‰ Œ.

Œ.

‰ ‰

Pray,proceed.

Vn1

Vn2

Vla

Vc

Bs

& ˙. & ˙. B ˙˙ .. ? ˙˙ .. ?

˙.

f f

> œ ‰ ‰ Œ. J > œ ‰ ‰ Œ. J

œ>œ ‰ ‰ Œ . J f >œ œ ‰ ‰ Œ. J f f

j . œ> ‰ ‰ Œ

colla voce

a tempo

Ó.

pizz.

∑

Ó.

pizz.

∑

Ó.

∑

Ó.

∑

Ó.

∑

arco

f œ .I p arco

œ J ‰‰ œ J ‰‰

œ f

œ f œ .I p f # œœ arco pizz. J ‰ ‰ œj ‰ ‰ Œ . # # œœ .. Ii p f f # œ arco pizz. # œœ ..Ii # œJ ‰ ‰ œj ‰ ‰ Œ . p f f œ pizz. œ .arco i J ‰ ‰ j ‰ ‰ Œ. œ p f f

Œ. Œ. Œ.

23

)

j # œ 23

F She

j 3 œ> 2 F

j >œ F > ‰ ‰ œœ J F > ‰ ‰ # # œœJ F #>œ ‰ ‰ J F

23 23 23 23

Adamo–Little Women Act II, Scene 1

322

23

h=63

Fl

& 23

∑

∑

EH

3 &2

∑

∑

Cl

3 &2

∑

∑

Hn

3 &2

∑

∑

Ó

Ó

Bn

?3 2

∑

∑

Ó

Ó

& 23

∑

Ó

?3 2

∑

Ó

Hp

Ó

∑

22

∑

Œ‰ j 22 bœ F 2 2

Ó

# www #w F

Œ‰ j 22 œ F Œ‰ œj 22 F 22

∑

2 2

∑

w # ww

. b bb œœœ

œœ. œ Œ

HARPSICHORD

& 23

∑

∑

?3 2

∑

∑

& 23

∑

∑

∑

22

÷ 23

∑

∑

∑

22

F œœ. Nœ

Kybd

œœ. œ Œ

Ó

Ó

22

Ó

Ó

2 2

Pc

J

D

& 23

∑

has a gift for the lu-rid man ner.

h=63

3

∑

3 3 3 3 3 ? 23 œ 3 œ b œ b œ b œ œJ œ œJ œ Œ Œ œJ # œ œ œ Œ # œ J

This

3 ‰ b œj b œ . n œ œ Œ‰ œj 22 bœ œ œ bœ œ

j œ #œ œ œ ‰ œ œ J 3

3

3

No, sir: shehassomeex- pe - ri ence. She’s

∑

22

isn’tyour“friend’s” firstattempt, Itakeit.

Vn1

& 23 œ

j œ

‰

Ó

Ó

∑

∑

22

Vn2

& 23 œ

j œ

‰

Ó

Ó

∑

∑

22

Vla

B 23 œœ

œœ J

‰

Ó

Ó

Ó

∑

22

Vc

? 23 œœ

œœ J

‰

Ó

Ó

Ó

∑

22

Bs

? 23

‰

Ó

Ó

∑

22

œ

œ J

#w F w F

∑

Adamo–Little Women Act II, Scene 1

26 Fl

& 22

EH

2 &2

Cl

2 &2

colla voce

a tempo

∑ j ‰ bœ

˙. ∑

323

45

∑

22

∑

5 4

∑

2 2

∑

5 4

∑

2 2

∑

Hn

2 & 2 ˙.

j ‰ œ

5 4

∑

2 2

∑

Bn

?2 2 ˙.

j œ ‰

5 4

∑

2 2

∑

& 22

∑

45

∑

22

∑

?2 2

∑

5 4

∑

2 2

∑

& 22

∑

45

∑

22

∑

?2 2

∑

5 4

∑

2 2

∑

& 22

∑

45

∑

22

∑

÷ 22

∑

45

∑

22

∑

Hp

Kybd

Pc

J

& 22 œ . œ œ œ œ œ œ œ œ # œ œ œ œ 45 Ó

‰ –j # –

ac -tu-al-ly writ ten for The Blar-neystoneBan ner.

D

? 22

∑

45 ‰ –J # –

In Con cord.

– Ó

In Con cord?

colla voce

a tempo

Vn1

& 22

Vn2

& 22

∑

45 Œ

Vla

B 22

∑

45 Œ

Vc

? 22

∑

45 Œ

Bs

? 22

∑

45

∑

45 Œ

˙.

œ P

˙.

P bœ P

˙. ˙. ∑

That’s so.

b – b –J ‰ – 22 b – . – b – ‰ J But

œ P

œ

–

‰ b –j –

22 Ó

Œ

now, she’s in New York.

pizz. 22 b>œJ ‰ F pizz. 22 œj ‰ >œ F > pizz. j œ 22 œœ ‰ J F pizz. 22 b>œJ ‰ F

22

Œ

Ó

Œ

Ó

Œ

Ó

Œ

Ó ∑

Œ

Adamo–Little Women Act II, Scene 1

324

29

45

∑

32

5 4

∑

3 2

5 4

∑

3 2

5 4

∑

3 2

5 4

∑

45

∑

32

∑

5 4

∑

3 2

∑

∑

45

∑

32

?

∑

∑

5 4

∑

3 2

&

∑

∑

45

∑

32

÷

∑

∑

45

∑

32

Fl

&

∑

EH

&

∑

Cl

&

∑

Hn

&

∑

?

∑

&

∑

?

∑

&

Bn

>œ J ‰ ß

b˙ . P

> œ ‰ J ß >œ J ‰ ß

b˙ . P b˙ . P

B

j ‰ œ> ß >œ J ‰ ß

˙. P b˙ . P

∑

?

3 2

Hp

Kybd

Pc

J

D

& Ó ?

b– – b–

–

As of—

b– .

b–

Year

‰ b –J Ó when?

– –

a-go.

Œ

‰ b –j b –

(indignant)

b– – –

In - deed

Œ

Ó

Run-a way?

–

not.

45 Ó b– 45

Tra - gic

unison, non div.

Vn1

& Œ

‰ b b œœ Ó J

∑

arco 45 Œ

Vn2

& Œ

‰ œJ Ó

∑

54 Œarco

Vla

B Œ

‰

∑

arco 45 Œ

Vc

? Œ

‰

j Ó œ J

j Ó bœ

∑

arco 45 Œ

∑

∑

45 Œ

Bs

?

–

–

–

– #–

Not

if

–

–

–

she can help it.

romance?

Ͼ.

Ͼ p

Ͼ.

æ œ p

æ œ.

bœ æ p

œ. æ

bœ æ p

œ. æ

32 32

Ó.

Ͼ p

–

j Œ >œ S j Œ œ S> j Œ >œ S > œ Œ J S > œ Œ J S

32 32 32 32 32

Adamo–Little Women Act II, Scene 1

32 Fl

& 23

EH

3 &2

Cl

3 &2

Hn

3 &2

Bn

?3 2

√> œ J ß

j œ> ß

j b>œ ß >œ J ß j œ> ßj gg œœ ggg œ gg gg ggg gg ggg b œ gg œ g>

& 23 Hp

?3 2 & 23

‰

Œ

Ó

Ó

∑

∑

∑

98

‰

Œ

Ó

Ó

∑

∑

∑

9 8

‰

Œ

Ó

Ó

∑

∑

∑

9 8

‰

Œ

Ó

Ó

Ó

Ó

Œ

∑

9 8

‰

Œ

Ó

Ó

Ó

Ó

Œ

∑

9 8

‰

Œ

Ó

Ó

∑

∑

98

∑

∑

9 8

∑

∑

98

∑

∑

9 8

∑

∑

∑

98

∑

∑

∑

98

∑

∑

∑

98

∑

98

‰

Œ

Œ ∑

∑

f

?3 2

∑

& 23

∑

÷ 23 J

D

œ w. P

HARPSICHORD

Ó

Ó

Ó

Ó

Œ # # œœœœ œ. ß b œ. Œ œ

SNARE DRUM

j ¿> ß

¿¿¿

& 23 ? 23

bœ w . P

∑

b ˙˙ ..iI >

Kybd

Pc

325

‰

Œ

Ó

Ó

∑ 3 – b– – –

f

3

– J

≠.

Œ

Tell me di-rect, Miss March—

>œ œœ J ß > ggg œœ ggg œ J ß > ggg œœ ggg b œ g J ß b>œ J ß > œ J ß

Vn1

g & 23 gggg g

‰

Vn2

& 23

‰

Vla

B 23

Vc

? 23

Bs

? 23

Œ Œ

Ó Ó

‰

Œ

Ó

‰

Œ

Œ

‰

Œ

b>˙ . f > Œ ˙. f

– . – – – – . b –J

–.

–.

This is a sen sa - tionsheet,not

Ó

∑

Ó

w

– b≠

for way wardgirls.

∑

∑ w

a home

– – –

∑

∑

Ó

‰ b –J –

∑ Ó

∑

Ó

∑

unison, non div.

98

unison, non div.

98

w. #w . p # ww ..

98 ww .. p unison, non div. b ww .. 98 p (actual pitch) wo . 98 p unison, non div.

Adamo–Little Women Act II, Scene 1

326

36 Fl

EH

Cl

Hn

Bn

Hp

q.=76 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . (b œ ) 9 b œ. ˙. œ ‰ ‰ &8 ˙ J p

9 &8

#˙ . p

9 & 8 b˙ . p 9 &8

œ.

˙.

œ.

b˙ .

∑

?9 8 b˙ . p & 98 gggg # î .. g #î P gggg gg ? 9 gggg # ñ .. 8 gb ñ

œ

j‰ ‰

j œ ‰ ‰

Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . nœ n ˙ . (n œ ) œ. 12 # 8 w ( ) #˙ .

œ.

n˙ .

œ.

∑ œ.

˙.

Œ.

ggg b # îî .. gg gg ggg gg ñ . ggg b ñ . g

Œ.

Œ. Œ.

˙.

12 8 #œ .

˙. # >˙ . Ÿ~~~~~~~~~~~~~~~~~~~~~ ˙ . (œ ) œ.

12 8

∑ j œ ‰ ‰

12 8

∑

˙.

œ.

12 8 N˙ .

gg î . gg î . ggg gg ggg gg # ñ . gg ñ . g

Œ.

12 8

Œ.

œ.

Ÿ~~~~~~ œ . (œ )

ggg b w .. gg b w gg ggg g 12 gggg # w .. 8 gg n w

& 98

∑

∑

∑

12 8

∑

?9 8

∑

∑

∑

12 8

∑

& 98

∑

∑

∑

12 8

∑

÷ 98

∑

∑

∑

12 8

∑

Kybd

Pc

J

D

12 Œ œJ b œ j b œ œ b œ b œ œj œ . ‰ œ b œ œ j œ #œ . œ œ 8 b œ œ œ œ (carefully) P Her friend was get ting too fond of her. And her mo ther has a friend in New ? 98 12 ∑ ∑ ∑ 8 & 98

q.=76

œ. York.

Œ.

œ # œJ # œ

So

∑

Vn1

& 98

∑

∑

∑

12 8

∑

Vn2

& 98

∑

∑

∑

12 8

∑

Vla

B 98

∑

∑

∑

12 8

∑

Vc

? 98

∑

∑

∑

12 8

∑

Bs

? 98

∑

∑

∑

12 8

∑

j œ

shethoughtshe’d

Adamo–Little Women Act II, Scene 1

40

Œ.

Ó.

Ó.

& œr ≈ ‰ ‰ >

Œ.

Ó.

&

∑

EH

&

Bn

œ œ œ

Ó.

&

Hn

œ

Ó.

Fl

Cl

#œ #>œ œ.

?

≈

r≈ ‰ ‰ #>œ

# œ œ. >

#œ . p

#œ ≈ œ œ œ Ó . œ

327

˙. p

œ.

p œ.

∑

Ó.

#œ .

˙.

œ. p

#œ .

f

>œ J ß

‰ ‰ Œ. Ó.

44

‰ ‰ Œ. Ó.

4 4

f

j œ > ß

f

j #>œ ß

‰ ‰ Œ. Ó.

4 4

∑

4 4

f

#>œ J ß

‰ ‰ Œ. Ó.

4 4

∑

44

&

∑

∑

?

∑

∑

∑

4 4

&

∑

∑

∑

44

?

∑

∑

∑

4 4

Hp

Kybd

j œ œ # # >œœ ß

XYLOPHONE

GLOCK.

& Pc

÷ J

D

& ?

#œ œ p

#œ œ try

Vn1

Vn2

& Ó.

Vc

B ?

∑

∑ #œ ≈ out

œ œ œ œ

∑ Œ. œ. and

the ci ty,

œ œ œ #œ . œ # œ . œ œ ‰ # œ œ œ

givehimsometimetoget all ofthat— nonsense

œ. P

? œ .i F

˙. ˙.

#œ . . Œ . œ . # ˙˙ . p . Œ . œ . #˙ p

œ.

˙.

œ. P

˙.

arco

˙.

(p) (p)

˙. p

˙.

˙. p

#˙ . ∑

(p) (p)

‰ ‰ Œ. Ó.

44

∑

44

to tamb.

Nœ #œ œ œ ‰ Œ . Œ .

‰

3

out of hishead.

Ó.

∑

∑

pizz.

Bs

œ œ œ œ

Ó.

∑

& Ó.

Vla

#œ ≈

to xylo.

2

j 44 œ

p Things РР#Р44 #РРΠ. 4

P

Cu - ri - ous tac tic.

∑

44

∑

44

∑

44

∑

44

∑

44

Adamo–Little Women Act II, Scene 1

328

43 Fl

EH

Cl

œ-

œ- # >œ

# œ-

œ-

œ- # œ- œ

#œ .

œ-

œ- # >œ

# œ-

œ-

œ-

# >œ œ . P

tempo doppio

# œ& 44 p 4 & 4 #œ p 4 &4 œ p

Hn

4 &4

Bn

?4 4 & 44

œp œ p

œ

P

œ

>œ

œ-

œ-

œ-

œ-

œ-

>œ

œ-

œ-

œ-

œ -

œ #œ - >

#œ -

œ -

œ -

∑

∑

?4 4

∑

& 44

œ# œ- œ P œœ -

œ

œ J . >œ œ œ

#œ . >œ œ . P

#œ œ . > P

. >œ œ j

œ

#œ

œ

œ #œ J

. >œ œ #œ

œ #œ J

œ œ

‘ œ

j œ #œ

j œ #œ

>œ œ .

>œ œ .

>œ œ .

‘

œ œ. >

œ œ. >

œ œ. >

‘

∑

∑

∑

∑

∑

∑

∑

∑

∑

?4 4

∑

∑

∑

∑

& 44

∑

∑

∑

∑

÷ 44

∑

∑

∑

∑

œ œ

Hp

Kybd

Pc

J

& 44 # œ

Œ

œ

change,

D

? 44

yes, things

Vn2

Vla

Vc

Bs

#˙ . & 44 ˙ . π & 44 # ˙ . π B 44

b˙

˙. π ? 44 ˙˙ .. π . ? 44 ˙ π

Œ #œ œ

change—

∑ tempo doppio

Vn1

œ

But you

#œ

j

œ

give them

∑

œ

j œ

sometime,

œ

œ

and you

œ # œ œ œ # œJ ‰ œ œ

try

∑

ww

ww

ww

# >œ

w

w

w

# >œ

w

w

w

# >œ

˙.

w

w

w w

w w #œ

dif-f’renttack,

∑

> # œœ

>œ #œ

a

w w

and

I

Adamo–Little Women Act II, Scene 1

47 Fl

EH

Cl

Hn

Bn

œ

œ

œ

>œ

œ

>œ

44

∑

4 4

∑

4 4

∑

4 4

∑

‘

> Œ b œJ ‰ ß 3 Œ Œ b>œ ‰ 4 J ß 3 Œ #>œ ‰ 4 J ß ¿ f 3 ∑ 4

4 4

∑

&

∑

34

∑

44

∑

?

∑

3 4

∑

4 4

∑

&

∑

34

∑

44

∑

?

∑

3 4

∑

4 4

∑

&

∑

34

∑

44

∑

&

& œ œ. > & œ

œ

& # >œ œ .

>œ œ .

>œ œ .

>œ œ .

œ

>œ

>œ

. >œ œ

. >œ œ

œ

. >œ œ

?

34

329

∑

3 Π4

Hp

Kybd

Pc

÷ J

D

Vn1

&

œ

œ

œ

>œ

œ

pro - mise you thatthings

? w & w & w

Vla

B w

Bs

34 Œ

∑

Vn2

Vc

j ¿æ >¿ ‰ F S

TAMBOURINE

w ? w ? w

∑

>œ change

34 b>œ f

Œ

Œ

back!

34

44

∑

b>œ ‰ J œ ß f b>œ ‰ 34 Œ J œ ß f b>œ 34 Œ œ J ‰ f ß 34 Œ Œ b b>·œ ‰ J ß ∑

to S.D.

(impatient)

f 44 (

34 Œ

34

44

∑ œ bœ œ

œ

) What a - bout

Œ

Œ

#–

(

my

Ó

˝ 44 pizz. j >œ ß ˝ 44 pizz. j >œ ß ˝ pizz. > 44 œ J ß pizz. ˝ 44 # # œ>œJ ß˝ pizz. > #œ 44 J ß

œ b œ #œ œ )

sto - ry?

P

– 3

–

Don’t you mean

‰

Œ

Ó

‰

Œ

Ó

‰

Œ

Ó

‰

Œ

Ó

‰

Œ

Ó

Adamo–Little Women Act II, Scene 1

330

50

∑

22

∑

∑

∑

3 2

∑

2 2

∑

∑

&

∑

3 2

∑

2 2

∑

∑

&

∑

3 2

∑

2 2

∑

∑

?

∑

3 2

∑

2 2

∑

∑

&

∑

23

22

∑

∑

?

∑

# wP w. 3 # w .. 2 w .

∑

&

∑

23

∑

22

∑

∑

?

∑

3 2

∑

2 2

∑

∑

&

∑

23

∑

22

∑

∑

÷

∑

23

∑

22

∑

∑

& Ó

# œ œ œ 23

∑

22

∑

∑

&

EH

&

Cl

Hn

Bn

h=63

23

Fl

∑

Hp

w 2 ww 2 w

œœ œœ Œ

Ó

Kybd

Pc

J

D

(heedless)

? #>– # – – her story?

∑

# – –3 – 2 – Œ 2 P Twen ty-five

h=63

– Œ

dol - lars,

–

–3

– #–

–

РРР. bР#РР# РΠ(

pay mentwhen prin-ted.

And you take out all

∑

22

∑

∑

∑

23

∑

22

∑

∑

B

∑

23

?

∑

23

?

∑

23

&

Vn2

&

Vla

Bs

23

(appraising)

23

Vn1

∑

Vc

My sto ry.

22

arco

#w . P

w

22 w

arco

w. P ∑

22

Œ

Ó

œ Œ

Ó

#œ

∑

∑

)

the

Adamo–Little Women Act II, Scene 1

54 Fl

EH

Cl

Hn

Bn

&

b˙ p

& ˙ p & b˙ p &

˙ p

? ˙ p

331

œ J ‰ Œ

∑

∑

∑

j œ ‰ Œ

∑

∑

∑

œ ‰ Œ J

∑

∑

∑

j ‰ Œ œ

∑

∑

œ ‰ Œ J

∑

&

∑

∑

?

∑

&

w F

j ‰ >œ ‰ œj ‰ Œ J > >œ F S j œ> ‰ Œ

j‰ Œ >œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

&

∑

∑

∑

∑

Hp

Kybd

Pc

SNARE DRUM

÷ J

D

∑

& Ó ?

b– .

∑

– – – – P

– – –

Don’t it need a

Ó

– – Œ

Ó

Ó

œ

œ œ

We

pub lish

mo-ral?

F

ser - mo-ni - zing.

Vn1

Vn2

Vla

Vc

Bs

&

∑

(pizz.)

&

∑

(pizz.)

B

∑

?

∑

?

∑

œ P

Œ

œ P

Œ

unison, non div. pizz.

b œœ P

œ P

pizz.

Œ Œ

˙ F

arco

œ

arco

∑

∑

Ó

œ œ #œ

Œ

‰ œJ

We

>œ

œ >œ

pizz.

>œ œ #œ œ

œ

pizz.

>œ

pizz.

bœ

œ >œ

w ∑

j ¿> ‰ Œ S

¿æ F

‰ – –. – J (delighted) f I knew I >œ >œ Œ

don’t need pizz.

#œ Ó J

ww

˙ F

F

Œ

en - tertain ment.

œ.

arco

˙ F arco bœ

œ.

∑

Œ Œ Œ Œ

art.

œœ > f

Œ

>œ f

Œ

>œ f

œ >œ f

∑

Œ

Œ

Adamo–Little Women Act II, Scene 1

332

58 Fl

& Œ

EH

& Œ

Cl

& Œ

Hn

& Œ

Bn

? Œ & Œ

Hp

? Π& ΠKybd

? Π& ΠPc

÷ J

Œ

& –.

liked

D

? Œ

, , , , , , , , , , ,

Ó.

∑

∑

Ó

Ó.

∑

∑

Ó

Ó.

∑

∑

Ó

Ó.

∑

Ó.

∑

∑

Ó. Ó.

, , ,

Ó

∑

p

,

Ó

œ

Vn1

& Œ

Vn2

& Œ

arco

Ó.

∑

∑

Ó.

∑

∑

Ó.

∑

∑

Ó.

j – Œ b– – – – ‰ #– (driving the bargain) P Thir-ty you. dol lars, and , Ó.

∑

arco

Vla

B Œ

two free co pies.

p

– –

I have

3

– – – –

sis ters athome.

∑

Vc

? Œ

Bs

? Œ

arco

arco

(non div.)

˙˙

# ˙˙ .. P

˙˙

, (non ˙˙ .. div.) P , b(non ˙ . div.)

˙˙

,

3

œ 23 3 2

p

bœ

œ

œ

3

bœ p

œ 3

œ 23

bœ

3 2

Ó

3 2

Ó

23

Ó

3 2

, œ Ó gg n # œœ gg œ gg n # œœ ggg gg b b œœ gggg , gg . gg g gg b b œœ Ó g . P , Ó Ó

∑

,

Ó

∑

– b– – #– Œ

# ˙˙ .. P

,

œ

HARPSICHORD

,

,

œ

3

Ó

Œ –

–

,

Œ

3 2 23

Ó

23

Ó

23

Done.

,

23

they shake hands

Ó

Done. arco

œ

Ó

, bœ

Ó

∑

∑

,

Ó

∑

∑

h=76

, bœ

(non div.)

(non div.)

˙˙ .. P

P

˙˙

˙

# ˙˙

ww

Œ

# ˙˙

ww

Œ

˙˙ p

ww

Œ

w

Ó

p

p

b˙ p

Ó

∑

Ó

, bh=76 ˙ Œ n˙ p , b˙ Œ p , b˙ Œ b˙ p , Ó ,

Ó

23 23 23 23 23 23

Adamo–Little Women Act II, Scene 1

62 Fl

EH

Cl

& 23

bœ

œ

3

œ

œ

œ 3

‰

œ

œ

œ

3

3 &2

œ

œ 3

œ

œ

œ 3

œ

œ

œ 3

bœ œ 44 J ‰ Œ S

4 œ ‰ Œ 4 J S b œ œ œ Aœ œ œ œ œ œ bœ 3 4 & 2 bœ œ ‰ Aœ œ œ œ œ œ 4 J ‰ Œ 3 3 3 3 3 3 S 3 & 2 bœ

Bn

?3 2

∑

& 23

bœ

œ

œ

œ

œ

#>œ J ‰ Œ p

Ó

∑

Hn

333

4 j ‰ Œ 4 bœ S

Ó

j #>œ ‰ Œ p

Œ

Ó

j ‰ Œ b>œ p j ‰ Œ œ> p >œ J ‰ Œ p

Œ

Ó

œ-

Œ

Œ

4 4

∑

∑

44

∑

?3 2

∑

4 4

∑

∑

& 23

∑

44

∑

∑

?3 2

∑

4 4

∑

∑

& 23

∑

44

∑

∑

÷ 23

∑

44

J

& 23

∑

44

D

? 23

∑

44 Œ

f

œf f œb œf

Œ

f

∑

œ-

Hp

Kybd

Pc

Vn1

Vn2

Vla

Vc

Bs

w .. 3 &2 w w. 3 &2 w. B 23 w . ? 23

∑

? 23

∑

TENOR DRUM

j ¿ ‰ Œ p

∑

BASS DRUM

∑ p

–

3

b– b– J Ó Ó Ó

44

∑

44

∑

f

>¿ i

∑ 3

– – b –3 – J

Œ

Poor, andproud as u - su - al.

œ 44 œ ‰ Œ J ß 44 œJ ‰ Œ ß 44 œœ ‰ Œ J ß

Œ

> N # œœ J p unison, non div. #> N œœ J p unison, non div. #> œœ J p >œ unison, non div. b œ J p >œ J p unison, non div.

–

3

–

–

Œ

But she’ll do.

‰ Œ

Œ

‰ Œ

Œ

‰ Œ

Œ

‰ Œ

Œ

‰ Œ

Œ

œœ

f œœ f œœ

f

f bœ œœ œ f

attacca

Adamo–Little Women Act II, Scene 1

334

65 Flute

English Hn

Clarinet

h.=76

& 12 8

& 12 8 Ó. & 12 8 Ó.

Horn

12 & 8

Bassoon/CB

Ensemble: Letter Scene

68

∑

68

F ˙. F

12 8

∑

∑

j ‰ ‰ 12 8 #œ . œ

∑

∑

∑

∑

∑

∑

∑

œ œ. œ. œ ‰ œ 68 œ . œJ ‰ ‰ 12 8

∑

F

˙. ∑

∑

6 8

∑

12 8

B 12 8

∑

68

∑

& 12 8

∑

68

œ œ. œ. œ ‰ # œ œ . œ œ. œ. 12 8 F

∑

12 8

∑

∑

? 12 8

∑

6 8

∑

12 8

∑

∑

& 12 8

∑

68

∑

12 8

∑

∑

∑

? 12 8

∑

68

∑

12 8

∑

∑

∑

& 12 8

∑

68

∑

12 8

∑

∑

∑

÷ 12 8

∑

6 8

∑

12 8

∑

∑

∑

Amy

& 12 8

∑

68

∑

12 8

∑

∑

∑

Beth

& 12 8

∑

68

∑

12 8

∑

∑

∑

Meg

& 12 8

∑

68

∑

12 8

∑

∑

∑

& 12 8 œ œ œ œ FDriz - zl - ing in

j œ œ.

œ ‰ #œ œ .

œ.

œ.

Œ.

œœ .. œ.

∑

Ó.

∑

?

˙˙ .. ii ˙.I F ˙˙ .. i ˙ . iI

Harp

Œ.

œœ .. œ.

Keyboard

Percussion

Jo

New York;

Œ.

68 œ œ œ 12 8 #œ . œ. still hor-rid-ly

loud

œ

j œ œ. œ

and o

-

j œ #œ .

œ.

œ

j j œ œ œ

ver - crow - ded— but, more

ex

j œ Nœ

-

ci - ting.

j œ œ œ œ œ œ J J I’m sel- ling

Alma

& 12 8

∑

68

∑

12 8

∑

∑

∑

Laurie

V 12 8

∑

68

∑

12 8

∑

∑

∑

Brooke

? 12 8

∑

68

∑

12 8

∑

∑

∑

Gideon

? 12 8

∑

68

∑

12 8

∑

∑

∑

h.=76

& 12 8 œ œ œ œ œ œ F delicato

Violin 1

& 12 8 Fœ œ œ œ œ œ

˙.

68 j ‰ ‰ 12 8 #˙ . œ. œ

˙.

68 j ‰ ‰ 12 8 œ. œ ˙.

delicato

Violin 2

B 12 8 œœ œœ œœ œœ œœ œœ F delicato

Viola

delicato

Cello

Bass

? 12 8 œœ œœ œœ œœ œœ œœ F delicato œ œ œ œ œ œ ? 12 8 F

˙. ˙.

68 œ . œj ‰ ‰ 12 8 # ˙˙ .. œ. œ

˙ .. ˙

j #˙ . 68 # œ . œ ‰ ‰ 12 8 ˙. . œ œ

˙.

˙. 68 œ . œj ‰ ‰ 12 8

œ. œ.

˙.

œ .i

Œ.

arco

œ .i œ .I

Œ.

arco

# œœ I..iI # œ . Œ .

arco

# # œœ ..iI

arco

pizz.

pizz.

œ. œ.

˙.

œœ .. œœ ..

˙˙ ..

œ. œ. œ . #œ .

˙. ˙.

œ . #œ .

˙.

pizz.

pizz.

Ó.

Œ.

my

˙˙ ..

œœ ..

œœ ..

˙.

œ.

œ.

N˙ .

Nœ .

œ.

œœ ..

œ .. œ

N ˙˙ .. ∑

Adamo–Little Women Act II, Scene 1

70

∑

Fl

&

EH

&

Cl

&

∑

Hn

&

∑

Ó.

?

∑

Ó.

Bn

Hp

œ.

j œ œ œ

68

∑ j j œ œ œ

œ. f

j 12 #>œ ‰ ‰ 8 Ó .

j j ‰ ‰ Œ . b œ . >œ ‰ ‰ 68 œ . œj ‰ ‰ 12 8 œ > f œ.

œ . œj ‰ ‰ 68 œ . j ‰ ‰ 12 8 > b>œ f . œ j ‰ ‰ 68 b œ . bœ . œ > f b œ . >œ ‰ ‰ 6 œ . 8 J f

& ww .. w. ? ww .. w.

335

68

∑

∑

68

∑

∑

6 8

∑

∑

12 j‰ ‰ 8 bœ > >œ J ‰ ‰ 12 8 Ó.

F

œ œ. œ. œ œ œ 68 œ . œJ ‰ ‰ 12 8

˙.

∑

68

∑

12 8

∑

∑

6 8

∑

12 8

68

F

∑

12 8 œœœœ‰ œ . œ œ. œ. #œ F . . 12 8

∑

12 8

∑

#œ . œ J ‰ ‰ 12 8

∑

68

∑

12 8

∑

∑

6 8

∑

12 8

∑

&

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

?

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

&

∑

68 ¿ . >¿ .

12 8

∑

68

∑

12 8

∑

÷

∑

∑

6 8

∑

12 8

∑

6 8

∑

12 8

∑

A

&

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

B

&

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

M

&

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

Kybd

Ó.

TEMPLE BLOCKS

¿. ¿. F

Pc

J

& œJ œ

wri-ting

j œ œ œ

j j œ œ œ

and ma - king

a

œ.

Ó.

œ.

for - tune!

68 Œ . Œ

j 12 œ 8 œ œ œ œ œ œ œ.

The

sto ries I sell in New York

Œ

j 6 œ. œ œ 8

are

large

-

j œ 12 8 #œ .

ly

trash,

Œ

j œ . ( ) œ

but oh!

Al

&

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

L

V

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

?

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

?

∑

∑

68

∑

12 8

∑

68

∑

12 8

∑

Br

G

Ó.

68 Œ . œ.

12 8 œ œ œ œ œ œ ˙.

68 j ‰ ‰ 12 8 #˙ . œ. œ

œ. œ.

Ó.

68 Π.

12 8

68 j ‰ ‰ 12 8 œ. œ ˙.

œ. œ.

Ó.

68 Œ . œ .

12 8 œœ œœ œœ œœ œœ œœ ˙˙ ..

œ. Ó.

68

∑

12 8 œœ œœ œœ œœ œœ œœ ˙˙ ..

j #˙ . 68 # œ . œ ‰ ‰ 12 8 ˙. . œ œ

∑

68

∑

œ œ œ œ œ œ ˙. 12 8

˙. 68 œ . œj ‰ ‰ 12 8

& ww ..

œ. œ.

œœ ..

Vn2

&

œ.

œ.

Vla

B œ.

œ.

œ.

Vc

? w. w.

œ. œ.

Vn1

Bs

?

w.

j œ œ œ

∑

j j œ œ œ

œ.

œ œ œ œ œ œ ˙.

68 œ . œj ‰ ‰ 12 8 # ˙˙ .. œ. œ

œœ .. œœ .. œ. œ. œ . #œ . œ . #œ .

j œ

The

Adamo–Little Women Act II, Scene 1

336

76 Fl

EH

∑

&

Ó.

& œ ‰ #œ œ .

∑

∑

∑

38

∑

12 8

∑

∑

∑

∑

38

∑

12 8

∑

∑

∑

∑

38

∑

12 8

3 8

∑

12 8

∑

38

∑

∑

∑

38

12 8 b w- . p

∑

12 8

∑

∑

∑

3 8

∑

12 8

∑

Cl

&

∑

Hn

&

∑

?

∑

&

∑

?

∑

&

∑

∑

∑

∑

38

∑

12 8

∑

?

∑

∑

∑

∑

38

∑

12 8

∑

&

∑

∑

∑

12 8

∑

÷

∑

∑

∑

∑

3 8

∑

12 8

∑

A

&

∑

∑

∑

∑

38

∑

12 8

∑

B

&

∑

∑

∑

∑

38

∑

12 8

∑

M

&

∑

∑

∑

∑

38

∑

12 8

∑

38

∑

12 8 œ.

Bn

F ˙.

œ. œ. œ. œ.

œ.

œ.

Œ.

œœ .. i œ . iI

∑ ˙˙ ..ii ˙ .I F ˙˙ ..i ˙ .iI

Hp

Œ.

œ.

∑

œœ .. i i œ .I

j ‰ ‰ Ó. œ >

p œ.

œ.

œ.

œ.

œ.

bœ .

∑

Kybd

Ó.

¿. F

Pc

J

& #œ .

cash!

Œ

j œ œ.

En closed

j œ œ

œ . Nœ .

here - in,

œ œJ œJ œ

you’ll find the

œ.

œ. œ. œ.

be - gin-nings of

our

œ.

¿.

Ó.

œ.

for - tune!

38

>¿ .

Give

bœ .

my

love

Al

&

∑

∑

∑

∑

38

∑

12 8

∑

L

V

∑

∑

∑

∑

38

∑

12 8

∑

?

∑

∑

∑

∑

38

∑

12 8

∑

?

∑

∑

∑

∑

38

∑

12 8

∑

Br

G

Vn1

& ˙.

Vn2

&

Vla

B ˙˙ ..

Vc

? ˙. ˙.

Bs

pizz.

pizz.

˙.

? ˙.

pizz.

pizz.

œ .i

Œ.

arco

œ .i œ .I

Œ.

arco

# œœ I..iI # œŒ. .

arco

# # œœ ..iI

arco

Ó.

Œ.

˙˙ ..

œœ ..

œœ ..

ww ..

œœ ..

. j pizz. œœ ‰ ‰ # œœ .. # œœ .. . j ‰ ‰ œ. . œ

pizz.

˙. N˙ . N ˙˙ ..

œ. Nœ . œœ .. ∑

œ.

w.

œ.

œ.

œ. œ. œ. œ.

œ.

w .. w

œ. œ.

œ .. œ

∑

. œ.

> 38 b œœ .. 38

12 8 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. p arco

>œ .

∑

arco

delicato

12 8 b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. p arco

>. 38 N œœ . 38

delicato

12 8 œœ œœ œœ œ œ œ œ œ œ œ œ œ . . . . . . . . . . p . . (sim.)

>. pizz. j ‰ ‰ b b œœ . n # œœ .. 38 b œœ . œ . . . pizz. .. . œœ ‰ ‰ b œœ .. n # œœ . J

to

delicato

12 8 bw . p arco

∑

12 8 bw . p

Adamo–Little Women Act II, Scene 1

82 Fl

&

∑

∑

68

EH

&

∑

∑

68 Π.

Cl

&

Hn

&

Bn

?

œ.

œ.

œ.

œ.

∑

˙.

œ.

œ

œ.

j b œ-

œ.

œ. ∑

œ.

68

12 8

∑

12 8

P #œ .

12 8

j‰ ‰ œ P œ.

6 Œ. 8

12 8

P œ. >

68 j ‰ ‰ œ P >œ .

w.

337

∑

∑

#œ .

#œ .

œ.

œ.

#œ .

#œ .

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

˙.

œ.

œ

˙.

œ.

œ

w.

12 8 w.

&

∑

∑

68

∑

12 8

∑

∑

?

∑

∑

6 8

∑

12 8

∑

∑

&

∑

∑

68

∑

12 8

∑

∑

?

∑

∑

68

∑

12 8

∑

∑

&

∑

∑

68

∑

12 8

∑

∑

÷

∑

∑

6 8

∑

12 8

∑

∑

A

&

∑

∑

68

∑

12 8

∑

∑

B

&

∑

∑

68

∑

12 8

∑

∑

M

&

∑

∑

68

∑

12 8

∑

∑

j œ> j >œ

Hp

Kybd

Pc

J

& œ b œJ œJ b œ

œ.

ev - ’ry - one’s fa

-

œ œ bœ

vor- ite

j œ bœ œ .

œ.

so - pho more.

Œ.

68 Π.

Œ

P

j œ 12 8 œ.

A

-

#œ .

œ.

no - ther month,

œ. I

#œ

œ œ œ #œ J J

know we’ll

be close

Al

&

∑

∑

68

∑

12 8

∑

∑

L

V

∑

∑

68

∑

12 8

∑

∑

?

∑

∑

68

∑

12 8

∑

∑

?

∑

∑

68

∑

12 8

∑

∑

Br

G

Vn1

Vn2

Vla

Vc

Bs

& œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ.

& œ œ œ œ œ œ œœ œœ œ œ . . . . . . . . . . . .

œ. œ. œ.

B bœ œ œ œ œ œ œ œ œ œ œ œ . . . . . . . . . . . .

b œ. œ. œ.

? ?

w.

w.

w.

w.

j œ. œ. œ. œ. œ. œ. œ. œ. œ. 68 œ ‰ ‰ œ. œ. œ. 12 8 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. P 6 j‰ ‰ 12 œ. œ. œ. œ. œ. œ. œ. œ. œ. 8 œ P œ. œ. œ. 8 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. j œ. œ. œ. œ. œ. œ. œ. œ. œ. 68 b œ ‰ ‰ n œ. œ. œ. 12 8 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. P 68 j ‰ ‰ œ . œ P 68 j ‰ ‰ œ . œ P

j j #œ œ œ as

we

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

12 8 w.

w.

12 8 w.

w.

Adamo–Little Women Act II, Scene 1

338

87 Fl

&

EH

&

Cl

&

Hn

&

Bn

?

98

∑ #œ .

#œ .

œ.

œ.

œ.

œ.

œ.

œ.

w.

98 98 9 8

#œ .

#œ .

œ.

œ.

œ.

œ.

˙.

œ

98 ˙.

w.

12 8

∑

œ

j ‰ ‰ 12 8 j ‰ ‰ 12 8 12 j‰ ‰ 8

∑ #œ . F

#œ .

œ. F

œ.

j ‰ ‰ 12 8 w- . F

∑ œ.

∑ œ.

œ.

#œ .

œ.

œ.

#œ .

∑ œ.

œ.

#œ .

œ.

œ.

œ.

œ.

œ

∑

œ.

˙.

œ-

j

#œ .

œ.

œ.

œ.

œ.

∑

œ.

w.

&

∑

98

∑

12 8

∑

∑

∑

?

∑

9 8

∑

12 8

∑

∑

∑

&

∑

98

∑

12 8

∑

∑

∑

?

∑

98

∑

12 8

∑

∑

∑

&

∑

98

∑

12 8

∑

∑

∑

÷

∑

9 8

∑

12 8

∑

∑

∑

A

&

∑

98

∑

12 8

∑

∑

∑

B

&

∑

98

∑

12 8

∑

∑

∑

M

&

∑

98

∑

12 8

∑

∑

∑

j œ #˙ .

98

∑

12 8 #œ . F No,

Hp

Kybd

Pc

J

& œ.

were

œ

be fore.

Œ

j œ #œ . I

œ.

ha - ven’t

#œ . heard

œ #œ œ . J

from him

œ œ œ

but I’m

#œ .

not

Œ

œ

j ˙.

concerned.

Al

&

∑

98

∑

12 8

∑

∑

∑

L

V

∑

98

∑

12 8

∑

∑

∑

?

∑

98

∑

12 8

∑

∑

∑

?

∑

98

∑

12 8

∑

∑

∑

Br

G

Vn1

Vn2

Vla

Vc

Bs

j & œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 98 œ. œ. œ. œ. œ. œ. œ. ‰ ‰ 12 8 # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. F

# œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ.

& œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ œ œ œ œ œj ‰ ‰ 12 8 #œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ . . . . . . . . . . . . . . . . . . . F . . . . . . . . . . . . . . . . . . . . . . . .

# œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ.

w.

w.

w.

w.

B œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ œ œ œ œ œj ‰ ‰ 12 8 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . . . . . . . . . . . . . . . . . F ? w.

98 ˙ .

? w.

98 ˙ .

œ ‰ ‰ 12 8 w. J F œ ‰ ‰ 12 8 w. J F

Adamo–Little Women Act II, Scene 1

92 Fl

&

EH

&

Cl

&

Hn

&

Bn

?

∑ #œ .

œ.

#œ .

œ.

œ.

˙.

∑ œ.

#œ .

œ.

œ.

œ.

œ.

œ

∑

œ-

j

#œ .

∑ œ.

∑

œ.

339

œ.

œ.

#œ .

œ.

œ.

w.

#œ .

œ.

œ.π

∑

œ.

œ.

˙.

œ .π

j œ œ fl π S

œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

Hp

Kybd

XYLOPHONE

Ó.

Œ.

Pc

Ó.

TAMBOURINE

Œ.

÷

∑

∑

&

∑

∑

B

&

∑

∑

∑

M

&

∑

∑

∑

A

J

Al

L

Br

p

¿¿¿

∑

f

>¿ ‰ ‰ Œ . J

Ó.

∑ Œ.

(skeptically)

MEG:

& Œ.

#œ . He

j j œ #œ œ # œ

was - n’t

ex

-

œ.

act

œ

-

œ #œ . J

lyspurned.

∑

œ.

p

w.

∑

&

∑

V

∑

∑

∑

?

∑

∑

∑

Œ.

∑ ALMA:

?

∑

∑

Vn2

Vla

Vc

Bs

& # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ.

& #œ œ œ œ œ œ œ œ œ œ œ œ . . . . . . . . . . . .

# œ. œ. œ. œ. œ. œ.

B œœ œ œ œœ œ œ œ œ œœ . . . . . . . . . . . . ? ?

œ. œ. œ. œ. œ. œ.

w.

ww ..

w.

w.

–.

–.

F

#– .

Œ.

(skeptically)

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. π

‰ Ó.

Ha!

∑ Œ.

Ó.

spurned?

Ó.

#–

PWell,

(guiltily)

Œ.

∑ ∑

–.

#– .

Œ.

Ó.

–.

F Not –. Œ.

pizz.

Œ.

Ó.

∑

pizz.

Œ.

Ó.

∑

Œ.

Ó.

∑

Œ.

Ó.

∑

Œ.

Ó.

∑

Œ.

œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. π œ. œ. œ. œ. œ. œ.

Not

F Notspurned?

(skeptically)

Ó.

∑ œ. œ. œ. œ. œ. œ.

F

–.

(angrily)

–

∑

GIDEON:

Vn1

Œ.

AMY:

BROOKE: G

∑

∑

Ó.

(skeptically)

F Notspurned?

. >œ I S sub.

œœ ..I >> S sub. pizz.> œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ .i π S sub. pizz. # # >œœ ..iI ww .. π S sub. pizz. # > œ .i w. π S sub.

P

œ bœ bœ œ bœ bœ

spurned?

∑

‰ #– #– –

a - ny way,

Adamo–Little Women Act II, Scene 1

340

97 Fl

EH

Cl

Hn

Bn

Hp

Ó.

∑

&

& œ œ œ œ ‰ œ œ. Œ. F . . . & Ó. &

∑

?

∑

& ˙. ˙ .. # œœ .. FŒ ? ˙. ˙.

F

œ œ. œ. œ. œ ‰

œ.

Ó.

∑ œ œ. œ. œ. ‰ œ œ . Œ .

∑

∑

. . . œ Œ. œ œ œ œ ‰ œ. Ó. F

∑

∑

Œ. œ ‰ œ . œ. œ œ œ . . F

∑

∑ ∑

˙. . œœ .. œœ .

œœ .. # œœ .. œœ ..

˙˙ ..

ww ..

∑

œ.

#w . . Œ . # œœ . # œœ .. w. w.

&

∑

∑

?

∑

∑

∑

&

∑

∑

∑

Ó. . œœ . # œœ .. ˙. ˙.

∑

Ó.

∑

∑ ‰ Œ. œ œ. œ. œ œ œ .

∑

˙˙ .. œ .. Œ. œ

Œ.

‰ œ œ. œ. œ œ œ . .

∑

. . Œ. œ œ œ F

Ó.

Œ.

∑

N ˙˙œœ ....

˙. ˙.

w. w.

˙. œœ .. ˙œœ ...

˙˙œ ... œ .. œ. œ

∑

∑

∑

∑

∑

∑

∑

∑

> Œ. œ.

>œ . . Œ >œ .

œ. œ.

˙. ˙˙ .. œœ ..

Œ.

. >œ . >œ brassy Œ. œ. œ. Œ. > >

∑ œœ ..

>œ .

>œ .

Ó. ∑

. œ ‰ œ œ. Ó.

Œ.

>œ .

œœ ..

>. Œ . œœœœ ...

f ˙. >˙ .

œœ .. Œ . œ .. >œ

Œ. œ. . >œ ∑

Kybd

∑

VIBRAPHONE

Œ. œ ‰ œ œ œ œ œ. F

Pc

∑ BASS DRUM

≠ .i

÷

∑

∑

∑

∑

∑

∑

A

&

∑

∑

∑

∑

∑

∑

∑

B

&

∑

∑

∑

∑

∑

∑

∑

M

&

∑

∑

∑

∑

∑

∑

∑

J

. & ˙ F write

˙.

˙.

soon.

˙.

#w .

Write

soon.

˙.

˙. Write

˙.

˙.

F

. Œ. œ œ. Œ. f Writesoon—

w.

soon.

Al

&

∑

∑

∑

∑

∑

∑

∑

L

V

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

Br

G

arco

Vn1

& œ œ œ œ œ œ ˙. F

˙.

&

w.

˙.

#w .

˙.

˙.

˙.

˙.

>. Œ. œ f

w.

arco

Vn2

œ œ œ œ œ œ ˙. F

arco

Vla

B œ . œ .. œ . #œ F ? ˙. ˙. F arco

Vc

? ˙. arco

Bs

F

w. œœ ..

# œœ .. # œœ ..

˙.

w.

n œœ .. n œœ ..

œœ ..

w.

œœ .. œœ ..

œœ .. # œœ .. œœ ..

˙˙ ..

ww ..

w.

˙.

˙.

w.

w.

˙.

w.

w.

˙.

˙.

w.

w.

œœ ..

œœ .. # œœ .. # œœ ..

˙.

œœ .. œœ ..

œœ ..

œœ .. œœ ..

Œ . ¿ .i

œœ ..

> Œ. œ. f >œ . œœ .. œ . > f >. ˙ f >. ˙ f

>œ . . Œ >œ . . Œ >œ .

>œ .

> œ. œ. > œ. œ.

Adamo–Little Women Act II, Scene 1

œ- . 104 >œ . >œ . Œ. Fl & EH

Cl

Hn

Bn

Hp

# œ #œ #œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ œ œ #œ #œ #œ #œ œ œ œ œ œ œ œ #œ #œ p

-. & œ . >œ . Œ . œ # œJ ‰ ‰ > p . bœ #œ > >œ . J ‰ ‰ & œ. p œ> . &

?

Œ. œ. -

œ. >œ . > ˙.

˙.

341

#œ . œ . Nœ . Nœ .

œ J ‰ ‰ Œ.

68

Ó.

Œ.

Ó.

∑

∑

∑

∑

68

Œ.

Ó.

∑

∑

∑

∑

68

j #œ ‰ ‰ Œ . p

Ó.

∑

∑

∑

∑

Ó.

∑

∑

∑

∑

68

∑

∑

∑

∑

68

∑

∑

∑

∑

6 8

œ J ‰ ‰ Œ.

p .P & œœœ ... œœœœ .... Œ . œœœœ ... # w .i > >œ . > w .i ? Ó. ˙. >˙ .

?

6 8

&

∑

∑

∑

∑

∑

∑

68

?

∑

∑

∑

∑

∑

∑

68

&

∑

∑

∑

∑

∑

∑

Kybd

GLOCKENSPIEL

Pc

÷

Ó.

i |.

≠ .i

j ‰ ‰ Œ. œ

#œ . œ . œ . œ . p

Ó.

68

∑

∑

6 8

A

&

∑

∑

∑

∑

∑

∑

68

B

&

∑

∑

∑

∑

∑

∑

68

&

∑

∑

∑

j œ œ.

. 6 œ. Œ 8

M

J

MEG appears, hollow-eyed but game

∑

Ó.

Œ. Œ

j œ œ P

Re - mem - ber last month?

. & œ. œ. Œ. œ writesoon,

BHAER, passing by, waves to JO

JO waves back

∑

∑

∑

∑

∑

68

love—

Al

&

∑

∑

∑

∑

∑

∑

68

L

V

∑

∑

∑

∑

∑

∑

68

?

∑

∑

∑

∑

∑

∑

68

?

∑

∑

∑

∑

∑

∑

68

Br

G

Vn1

Vn2

Vla

Vc

Bs

-. > & >œ . œ . Œ . œ & œ . >œ . Œ . œ . > > > B œ. œ.

. >œ

b œ- .

#˙ . #˙ . #˙ .

? ˙.

˙.

w.

? ˙.

˙.

œo .

p p p p p

˙.

˙.

#˙ .

˙.

#˙ .

#˙ .

œ. œ ‰ ‰ J

˙.

˙.

#˙ .

˙.

#˙ .

#˙ .

œ. œ ‰ ‰ J

˙.

˙.

˙.

˙.

N˙ .

˙.

#w . Œ.

Ó.

˙. N˙ .

#w . ∑

∑

j ‰ ‰ Œ. œ. P

j ‰ ‰ Œ. œ. P œ. œ J ‰ ‰ œj ‰ ‰ Œ . . P œ. œ œ . œ ‰ ‰ œ. ‰ ‰ Œ . J J P œ. ‰ ‰ Œ . ∑ J P

Ó.

68

Ó.

68

Ó.

68

Ó.

68

Ó.

68

Adamo–Little Women Act II, Scene 1

342

110 Fl & 68 œ . œj ‰ ‰ 12 8 P

∑

∑

∑

∑

∑

68

EH

& 68 j ‰ ‰ 12 8 P# œ . œ

∑

∑

∑

∑

∑

68

∑

∑

∑

∑

∑

68

?6 12 8 œ . œj ‰ ‰& 8 P

∑

∑

∑

∑

∑

6 8

? 68 j ‰ ‰ 12 8 P œ. œ

∑

∑

∑

∑

∑

68

& 68

∑

12 8

∑

∑

∑

∑

∑

68

?6 8

∑

12 8

∑

∑

∑

∑

∑

6 8

& 68

∑

12 8

∑

∑

∑

∑

Ó.

? 68

∑

12 8

∑

∑

∑

∑

Ó.

& 68

∑

12 8

∑

∑

∑

∑

∑

68

÷ 68

∑

12 8

∑

∑

∑

∑

∑

6 8

A

& 68

∑

12 8

∑

∑

∑

∑

∑

68

B

& 68

∑

12 8

∑

∑

∑

∑

∑

68

M

& 68 Œ . Œ

to reed only

to mouthpiece only

Cl

Hn

Bn

& 68 . j ‰ ‰ 12 8 Pœ œ

Hp

(quasi brass)

SYNTH

j ‰ ‰ 68 b œœœ > f > œ . b œ . œœ ‰ ‰ 6 8 J b œœœ ...

Kybd

Pc

j j j 12 œ 8 #˙ . #œ œ œ œ

You

know

we were

#œ . œ . Œ . œ .

ex - pec ting,

but

œ . Nœ . I

was

œ

œ œ œ J J

just

a

œ œj b œ .

(

# œ) Œ .

lit - tlelate?

Œ # œj

œ œJ œ œ œ œ.

Pre - pare ye

for ashock.

Œ.

68

J

& 68

∑

12 8

∑

∑

∑

∑

∑

68

Al

& 68

∑

12 8

∑

∑

∑

∑

∑

68

L

V 68

∑

12 8

∑

∑

∑

∑

∑

68

Br

? 68

∑

12 8

∑

∑

∑

∑

∑

68

G

? 68

∑

12 8

∑

∑

∑

∑

∑

68

Vn1

Vn2

Vla

Vc

Bs

œ œ. J

w.

œ œJ œ .

Ó.

68

j b œœ œœ ..

ww ..

j œ œ œ.

Ó.

68

œœ

j b œœ œœ ..

ww ..

œ œ. N œœ œJ œ .

Ó.

68

˙.

œ

œ œ. J

w.

˙.

Ó.

68

˙.

œ

œ œ. J

w.

˙.

Ó.

68

& 68 œ . œj ‰ ‰ 12 8 # ww .. >

˙˙ ..

# œœ .. œ- .

˙.

œ

& 68 œ . œj ‰ ‰ 12 8 w. #w . >

˙˙ .. ˙˙ ..

œœ .. œœ .. œœ .. œœ

˙˙ ..

œœ

˙˙ ..

˙.

œ.

-œ .

˙.

œ.

-œ .

B 68 . # >œ > ? 68 œ . œœ .. > ? 68 œ .

#w . j ‰ ‰ 12 8 w. œ j œ ‰ ‰ 12 8 w. œœ J j œ ‰ ‰ 12 8 w.

Adamo–Little Women Act II, Scene 1

116 Fl & 68

Baby cries—as annoying as possible

EH

& 68 f

¿i

reed only

Baby cries—as annoying as possible

Cl

œ œ œ œ ‰ œ 98 ˙ .

12 8 Ó.

∑

& 68 #¿I f mouthpiece only

12 8

98

b¿I

12 8 b¿I

¿i

Œ.

12 8 12 8

¿i

98

¿I

343

98

∑ b ¿i

98 ¿i

12 8

12 8

∑

12 8

∑

b ¿ i 12 8

∑

∑ ¿I

98

Hn

6 &8

∑

12 8

∑

9 8

∑

12 8

∑

9 8

∑

12 8

∑

Bn

? 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

& 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

?6 8

∑

12 8

∑

9 8

∑

12 8

∑

9 8

∑

12 8

∑

∑

98

∑

12 8

∑

98

∑

12 8

∑

∑

98

∑

12 8

∑

98

∑

12 8

∑

?

Hp

Kybd

œœ .. & 68 b œœœ ... # œœj ‰ ‰ 12 8 > f b b œ>œœ ‰ ‰ 12 ? 68 J 8 & 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

÷ 68

∑

12 8

∑

9 8

∑

12 8

∑

9 8

∑

12 8

∑

A

& 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

B

& 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

Pc

BROOKE appears, sleep-deprived, shouldering twins

& 68

∑

J

& 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

Al

& 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

L

V 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

Br

? 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

G

? 68

∑

12 8

∑

98

∑

12 8

∑

98

∑

12 8

∑

Vn1

& 68

Œ.

˙.

98 ˙.

Vn2

& 68

Œ.

˙.

˙.

98 ˙.

Vla

B 68

˙. ˙.

98 ˙ . ˙.

Vc

? 68

∑

12 8 ˙˙ .. F 12 8 ˙˙ ..

˙ .. ˙

Bs

? 68

∑

˙. 12 8

˙.

M

12 8 œ.

œ. œ.

That’s whenthere

F

œ.

F œ. Œ . Fœ . Ó.

12 8 ˙. 12 8

œ.

were

98 œ j #œ œ . Œ . two

of us.

12 8 #œ . F This

#œ .

month

œ.

there

œ œ œ 12 ‰ œ. . . . 8 œ. œ. œ. œ . # œ. œ œ œ 12 ‰ . . . 8 œ. œ. œ. œ. # œ œ . .

œ.

are

98 œ

four

œ œ . Œ œ 12 J J 8

of us,

and

œ . œ œJ œ . œ œj

two

of us

unison, non div.

pizz. 98 œ ..i ‰ œ œ. . œ. œ. # œ œ . # œœ .iI .

arco 12 8 ˙˙ ..

unison, non div.

pizz. 9 ‰ œ. œ. œ. 8 œ. # œ œ . .

œ.

12 8 ˙.

œ.

œ.

98 ˙ .

98 # ˙ . ˙.

Œ.

#˙ . 12 8 ˙.

98 ˙ . ˙.

98 ˙ .

Œ.

˙. 12 8

œ. œ. œ . #œ . œ . #œ .

98 ˙ .

œ .i œ .I

arco 12 8

œœ .. œœ ..

˙.

œ. œ.

˙.

œ. œ.

# œ .i

arco 12 8 ˙.

œ. œ.

Œ.

. 12 8 N˙

œ. œ.

œ .i œ .I

unison, non div. pizz. arco

pizz.

12 8

ex-

Adamo–Little Women Act II, Scene 1

344

122 Fl &

∑

∑

∑

98

∑

12 8

∑

∑

EH

&

∑

∑

∑

98

∑

12 8

∑

∑

Cl

&

∑

∑

∑

98

∑

12 8

∑

∑

∑

∑

9 8

∑

12 8

Hn

? Ó.

lowest possible (flatulent)

? Ó.

lowest possible (flatulent)

&

—> . Sf ∑

?

∑

&

∑

?

∑

&

∑

÷ A

Bn

Œ.

—> . Sf

&

Œ.

œ.

∑

p

œ.

œ.

œ.

98

œ.

œ.

œ.

p œ.

œ.

œ.

#œ . # œ . 12 8

œ.

œ. œ.

œ.

œ.

#œ . #œ .

œ.

œ.

Œ.

#œ .

œ.

∑

∑

98

∑

12 8

∑

∑

∑

∑

9 8

∑

12 8

∑

∑

∑

98

∑

12 8

∑

∑

∑

98

∑

12 8

∑

∑

∑

∑

98

∑

12 8

∑

∑

∑

∑

∑

9 8

∑

12 8

∑

∑

&

∑

∑

∑

98

∑

12 8

∑

∑

B

&

∑

∑

∑

98

∑

12 8

∑

∑

M

&

œ.

Hp

ggg b b ˙˙˙ ... ggg ˙ . ggg p ggg . ggg n ˙˙ . gg

CELESTA

Ó.

Kybd

Ó.

Pc

œ # œ œ. . Œ œ œ J J

pec - to rate

œ Nœ . J

a round the

Œ. Ó.

P

clock.

œ.

Œ.

bœ .

Sis - ter,

œ. don’t

98

Œ.

˙.

mourn.

12 8

Œ.

œ . #œ .

Tru - ly

œ. don’t

˙.

weep.

At

J

&

∑

∑

∑

98

∑

12 8

∑

∑

Al

&

∑

∑

∑

98

∑

12 8

∑

∑

L

V

∑

∑

∑

98

∑

12 8

∑

∑

?

∑

∑

98

∑

12 8

∑

∑

∑

98

∑

12 8

∑

∑

Br

?

∑

& ˙˙ ..

Œ.

& ˙.

Œ.

Vla

B ˙.

Œ.

Vc

? ˙.

Œ.

? ˙.

Œ.

G

Vn1

Vn2

Bs

–.

Ó.

(reproachfully)

–.

Dai - sy.

∑ œœ .. f > . f >œ f f f

>œ . œ. >. œ >œ .

œœ ‰ ‰ Œ . Ó . J ß j . . œ ‰‰Œ Ó ß j œœ ‰ ‰ Œ . Ó . ß j œ ‰ ‰ Œ. Ó. œ ß œ ‰ ‰ Œ. Ó. J ß

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 98

œ. œ. œ. œ. œ. œ. œ. œ. œ. 12 8

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

9 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 8 p

12 œ. œ. œ. œ. œ. œ. œ. œ. œ. 8

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

delicato

p

delicato

b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 98 b œ. œ. œ. œ. œ. œ. œ. œ. œ. 12 8 N œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. p delicato

bw . p bw . p

98

˙.

œ.

12 8

98

˙.

œ.

12 8

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

w.

w.

w.

w.

Adamo–Little Women Act II, Scene 1

345

128 Fl &

∑

∑

∑

∑

EH

&

∑

∑

∑

∑

Cl

&

∑

∑

∑

∑

Hn

&

Bn

œ.

œ.

F ? #œ . #œ . F

œ. œ.

œ. œ.

œ.

œ.

œ.

#œ . #œ .

œ.

œ. œ.

œ.

œ.

œ.

#œ . #œ .

œ.

œ. œ.

œ.

œ.

∑

¿

¿

wailing!

ƒ

œ.

#œ . #œ .

∑

œ.

œ. œ.

¿

wailing!

b>œ ‰ ‰ Œ . J ß >œ J ‰ ‰ Œ.

Ó.

¿ ƒ

∑

Ó.

∑

&

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

Hp

Kybd

SNARE DRUM

Pc

^¿

‰ Œ.

Ó.

÷

∑

∑

∑

∑

A

&

∑

∑

∑

∑

∑

∑

B

&

∑

∑

∑

∑

∑

∑

M

& #˙ .

œ.

least

œ.

they’re

#˙ .

Œ.

fborn,

#œ .

and

#˙ .

œ.

soon,

œ.

I’m

˙.

œ.

sure,

&

∑

∑

∑

∑

Al

&

∑

∑

∑

L

V

∑

∑

?

∑

∑

G

Vn1

Vn2

Vla

Vc

Bs

?

∑

∑

?

Nw . F

w.

w.

Nw . F

w.

w.

ƒ sleep—

Œ.

|¿ .

(wailing)

Ó.

John!

b¿ . b¿ . Rock them,

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

& # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. F

?

bœ .

∑

∑

∑

& # œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ # œ. œ. F. . . . . . . . . . . . . . . . . . . . . . . . . . B œœœœœœœœœœœœ œœœœœœœœœœœœ œœ . . . . . . . . . . . . . . . . . . . . . . . . F

œ.

I’ll

J

Br

œœœ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

Ó.

∑ > œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b b œœJ ‰ ß > œ ‰ # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. J ß j‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ >œ ß >œ w. J ‰ ß w.

Œ.

(roaring)

∑

¿. I’m

b¿ . ¿ J Œ Ó. try - ing!

∑

‰ Œ.

Ó.

∑

‰ Œ.

Ó.

∑

‰ Œ.

Ó.

∑

‰ Œ.

Ó.

∑

∑

∑

Adamo–Little Women Act II, Scene 1

346

134 Fl & EH

&

Cl

&

Hn

&

∑

∑

b¿

Ó.

∑

F

. . . œ Œ. œ œ œ œ ‰ œ. Ó. F

‰

œ

œ.

Ó. ∑

Œ. ‰ œ œ œ œ œ œ. F . . .

∑

∑

∑

∑

∑

?

∑

∑

&

∑

?

∑

&

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

÷

∑

∑

∑

∑

∑

A

&

∑

∑

∑

∑

∑

B

&

∑

∑

∑

∑

∑

Bn

¿

Ó.

∑

œ. œ. œ.

œ

b b b œœœ ... f œœœ ...

Hp

œ œ. œ. œ.

Œ.

Ó.

Œ.

Ó.

F

˙˙ .. Œ. ˙ .. ˙

‰

œ œ.

# œœ ..

∑ ∑

Œ.

∑

∑

˙. . œœ .. œœ .

œœ ..

˙˙ ..

ww ..

# œœ .. œœ ..

∑ œ.

#w . . Œ . # œœ . w. w.

# œœ ..

œœ ..

∑

Kybd

XYLOPHONE

# # œœœ ... > S

Pc

M

&

b¿

Œ.

Ó.

¿ ¿ N ¿ b ¿ ¿J ¿J ¿ J J

sing to

them,

˙.

∑

˙.

F Write

a - ny - thing!

˙.

œ b œ œ œ bœ œ quasi-gliss.

Please,

soon,

Write

#w . soon.

J

&

∑

∑

∑

∑

∑

Al

&

∑

∑

∑

∑

∑

L

V

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

Br

Ó.

(

b¿)

(insanely inspired)

#¿

∑

Vn1

&

∑

b b œ>œ ..

Œ.

Ó.

Vn2

&

∑

>. œ

Œ.

Ó.

Vla

B

∑

œ. Œ. >œ .

Ó.

?

∑

Œ.

Ó.

?

∑

Vc

Bs

BROOKE exits

Lau - da - num!

?

G

¿ ¿ ¿ J J

∑

>œ .

∑

œ œ œ œ œ œ ˙.

˙.

. Fœ œ œ œ œ œ ˙

w.

F

F F F

œœ .. ˙˙ .. ˙.

# œœ ..

˙.

#w . w.

œœ .. œœ ..

œœ ..

# œœ .. œœ ..

œœ ..

# œœ .. # œœ ..

˙˙ ..

ww ..

w.

˙.

w.

w.

œœ ..

œœ ..

Adamo–Little Women Act II, Scene 1

139 Fl & EH

Cl

Hn

Bn

Hp

∑

∑

œ. . . œ œ . Œ . & œ œœ‰ & Ó.

Œ.

&

∑

?

∑

. & Ó # œœ .. ?

Ó.

&

∑

?

∑

œ.

œ œ.

Ó.

Œ.

∑

N ˙˙œœ ....

˙. ˙.

w. w.

˙. œœ .. ˙œœ ...

‰ œ œ. œ. œ œ œ . .

˙˙œ ... œ .. œ. œ

∑

œœ ..

>œ .

>œ .

œ. >

œ

Ó.

p

œ bœ œ b œ œ œ œ n œ œ œ œ 68 68

Ó.

∑

68

Ó.

∑

6 8

Ó.

∑

68

Ó.

∑

68

∑

∑

6 8

∑

∑

∑

68

∑

68

>œ .

. >œ . >œ brassy Œ. œ. œ. Œ. > > œ. œ.

>. Œ . œœœœ ...

f ˙. >˙ .

>œ .

∑

˙. ˙˙ .. œœ ..

Œ.

>œ . . Œ

>œ .

∑ œœ ..

>œ .

> Œ. œ.

Ó. ∑

∑ ˙˙ .. œ .. Œ. œ

Œ.

˙. ˙.

œ F œ . œ.

‰ Œ. œ œ. œ. œ. œ œ . ‰

Œ.

∑

>œ .

347

œœ .. Œ . œ .. >œ

Œ. œ. . >œ

>œ . >œ .

>œ . . >œ

˙. œœœ ... œœœœ .... œ .

Ó.

∑

∑

∑

∑

∑

∑

∑

Œ. œ ‰ œ . œ. œ œ œ . . F

∑

∑

Kybd

˙. i

VIBRAPHONE

œ. . . œ œ . Œ . & œ œœ‰ Pc

BASS DRUM

≠ .i

Œ . ¿ .i

p

b˙ . i

i |.

68 6 8

÷

∑

∑

∑

A

&

∑

∑

∑

∑

∑

∑

68

B

&

∑

∑

∑

∑

∑

∑

68

M

&

∑

68

∑

∑

68

˙.

˙. Write

˙.

˙.

F

AMY appears in her London Hotel room

. Œ. œ œ. Œ. f Writesoon—

w.

soon.

∑

¿ ¿ b¿ J J

write soon— “lau - da - num?” (suddenly comprehending, flees, panicked, after BROOKE)

&

Al

&

∑

∑

∑

∑

∑

∑

68

L

V

∑

∑

∑

∑

∑

∑

68

?

∑

∑

∑

∑

∑

∑

68

?

∑

∑

∑

∑

∑

∑

68

Vn1

& ˙.

Vn2

&

Vla

B #œ . œ.

Vc

Bs

? ?

˙.

˙.

˙.

∑

¿

J

G

∑

œ.

∑

Br

∑

œ.

˙.

w.

˙.

w.

n œœ .. n œœ ..

œœ ..

˙.

˙.

w.

w.

˙.

˙.

w.

w.

# œœ ..

w. œœ .. œœ ..

œœ ..

œœ .. œœ ..

œœ ..

>. Œ. œ f > Œ. œ. f >œ . œœ .. œ . f> >. ˙ f >. ˙ f

>œ . . Œ >œ . . Œ >œ .

>œ .

. >œ >œ . >. œ

>œ .

Ó.

unison, non div.

68

œ. >

Ó.

unison, non div.

68

Ó.

bw . p

>œ .

> œ. œ.

˙.

Ó.

> œ. œ.

˙.

Ó.

ww .. p ww .. p

68 ∑

68

∑

68

Adamo–Little Women Act II, Scene 1

348

b œ bœ œ œ bœ œ 145 œ œ 12 œ b œ œ œ œ œ b œ n œ œ œ œ œ 6 œ b œ œ œ 12 6 Fl &8 8 8 8

∑

∑

12 8 œj ‰ ‰ Œ . Ó . p.

∑

molto allarg.

Ó.

f

œ.

#œ .

œ.

œ.

œ.

œ.

EH

& 68

∑

12 8

∑

68

∑

Cl

& 68

∑

12 8

∑

68

∑

Hn

6 &8

∑

12 8

∑

6 8

∑

Bn

? 68

∑

12 8

∑

68

∑

# œ. 12 8 J ‰ ‰ Œ. Ó. p

& 68

∑

12 8

∑

68

∑

12 8

∑

∑

∑

?6 8

∑

12 8

∑

6 8

∑

12 8

∑

∑

∑

∑

& 68

∑

12 8

∑

68

∑

12 8

∑

∑

∑

∑

? 68

∑

12 8

∑

68

∑

12 8

∑

∑

∑

∑

12 8

∑

∑

∑

∑

12 8

∑

∑

∑

∑

12 8 #œ .

Œ. Ó.

∑

j 12 8 # œ. ‰ ‰ Œ . Ó . p 12 8

∑

∑

j‰ ‰

Œ. Ó.

j # œ. ‰ ‰

Œ. Ó.

œ.

∑

# œ. J ‰ ‰

∑

∑ Œ. Ó.

Ó.

f

œ. œ 2 œ f Ó. œ. f

#œ .

2

œ. œ œ ˙. f ∑

Hp

Kybd

& 68

b œ .i

œ .i

12 8

˙ .i

b˙ . i

68

bœ . i

œ .i

Pc

÷ 68

∑

12 8

∑

6 8

& 68

∑

12 8

∑

68 Π.

B

& 68

∑

12 8

M

& 68

∑

J

& 68

Al

A

∑ œ.

(editing)

Ó.

L—

p

œ. œ. # œ. œ. œ. œ

Dar

œ

j #œ Œ . Ó .

ling Law - rence—

œ œ #œ . J

Œ. œ œ 2

AMY:

Dear

Mis ter The -o dore—

∑

68

∑

12 8

∑

∑

∑

∑

12 8

∑

68

∑

12 8

∑

∑

∑

∑

∑

12 8

∑

68

∑

12 8

∑

∑

∑

∑

& 68

∑

12 8

∑

68

∑

12 8

∑

∑

∑

∑

L

V 68

∑

12 8

∑

68

∑

12 8

∑

∑

∑

∑

Br

? 68

∑

12 8

∑

68

∑

12 8

∑

∑

∑

∑

G

? 68

∑

12 8

∑

68

∑

12 8

∑

∑

∑

∑ molto allarg.

Vn1

& 68 ˙˙ ..

12 8 ww ..

68 ˙ . ˙.

12 8

∑

∑

∑

Vn2

& 68 ˙˙ ..

12 8 ww ..

68 ˙ . ˙.

12 8

∑

∑

∑

Ó.

Vla

B 68 ˙ .

12 8 bw .

68 ˙.

12 8

∑

∑

∑

Ó.

Vc

? 68

∑

12 8

∑

68

∑

Bs

? 68

∑

12 8

∑

68

∑

w. 12 8 p 12 8

w. ∑

f f f

œœ .. # œœ .. œ.

œ.

œ.

#œ .

œ. œ 2 œ ˙.

w. ∑

Ó.

f ∑

œ. œ 2 œ ˙.

f

152 Fl & EH

&

U w.

a tempo

#

U w.

#

U w.

#

Cl

&

Hn

&

w. u

?

w. u

Bn

Adamo–Little Women Act II, Scene 1

Ó.

#

F

Ó.

#

œ œ. œ. œ.

‰

œ

68

349

œ. œ J ‰ ‰ 12 8

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8 œ œ. œ. œ. ‰ # œ œ . œ œ. œ. F

˙.

œ.

Œ.

œœ .. œ.

∑

œ. ‰ # œ œ . Ó .

∑

F ˙.

6 12 8 # œ . œj ‰ ‰ 8

∑

∑

∑

∑

68

∑

12 8

∑

∑

∑

&

∑

#

∑

68

∑

12 8

∑

∑

?

∑

#

∑

6 8

∑

12 8

∑

∑

&

∑

∑

68

∑

12 8

∑

∑

∑

?

∑

#

∑

68

∑

12 8

∑

∑

∑

&

∑

#

∑

68

∑

12 8

∑

∑

∑

÷

∑

∑

6 8

∑

12 8

∑

∑

∑

˙˙ ..ii ˙ .I F ˙ .i ˙˙ ..i i

Hp

#

œ.

œ. œ .. œ

Œ.

Kybd

Pc

A

&

˙.

U Œ. Œ.

poco

#

(bluntly)

B

&

∑

F #

M

&

∑

J

&

Al

L

Br

G

(dore...)

Lau - rie, I’m

œ œ J

j œ Œ.

in Eng - land:

68 œ . œ Aunt

œ 12 #œ J 8

has

œ ˙. J

œ.

sub - si dised

my

#˙ .

Œ. œ.

œ.

I’ve

plen

tour.

œ N œ œ œj œj œ J -

ty

68

∑

12 8

∑

∑

∑

#

∑

68

∑

12 8

∑

∑

∑

∑

#

∑

68

∑

12 8

∑

∑

∑

&

∑

#

∑

68

∑

12 8

∑

∑

∑

V

∑

#

∑

68

∑

12 8

∑

∑

∑

?

∑

#

∑

68

∑

12 8

∑

∑

∑

?

∑

#

∑

68

∑

12 8

∑

∑

∑

w .. wU

&

Vn2

&

U w.

Vla

B

U w.

?

U w.

Bs

œ œ J

∑

Vn1

Vc

œ

?

U w.

a tempo

#

F #

delicato

œ œ œ œ œ œ ˙.

68 œ . œ ‰ ‰ 12 8 #˙ . J

œ. œ.

˙.

œ œ œ œ œ œ ˙.

68 œ . œj ‰ ‰ 12 8 ˙.

œ. œ.

˙.

# delicato œ œ œ œ œ œ ˙. œ œ œ œ œ œ ˙. F delicato # œœ œœ œœ œœ œœ œœ ˙˙ .. F delicato œ œ œ œ œ œ ˙. # F

˙. 68 œœ .. œœ ‰ ‰ 12 8 #˙ . J

œœ .. œœ ..

˙˙ ..

œ. œ. œ . #œ .

˙. ˙.

F

delicato

. #˙ . 68 # œœ . œœ ‰ ‰ 12 ˙. 8 J 68 œ . œJ ‰ ‰ 12 8

˙.

œ . #œ .

˙.

pizz.

pizz.

œ .i

Œ.

œ .i Œ . œ .I

# œœ I..iI# œŒ. .

pizz.

# # œœ ..iI

pizz.

Ó.

Œ.

to

a-

˙˙ ..

œœ ..

œœ ..

˙.

œ.

œ.

N˙ .

Nœ .

œ.

N ˙˙ ..

œœ ..

œ .. œ

arco

arco

arco

arco

∑

Adamo–Little Women Act II, Scene 1

350

œ. 158 # Fl &

œ

œ J

Œ

Œ.

Ó.

68

∑

12 8

∑ ∑

∑

∑

68

∑

12 8

#

∑

∑

68

∑

∑

∑

6 8

12 8 œ. p

∑

12 8

∑

∑

68

∑

∑

68

∑

12 8 bw . p

∑

6 8

∑

∑

?#

∑

∑

#

∑

&

Cl

&

Hn

&

#

?# &

Hp

œ œ Œ J J

#

EH

Bn

œ.

# w. ww ..

w. ? # w .. w &

#

œ.

∑ Ó. œ.

œ.

œ.

Œ. œ.

∑

œ

p

jŒ

œ.

#œ .

∑ ˙.

œ

12 8

∑

∑

∑

12 8

∑

∑

68

∑

12 8

∑

∑

68

∑

12 8

∑

∑

12 8

∑

∑

12 8

∑

∑

jŒ

œ.

Kybd

&

TEMPLE BLOCKS

Ó.

F

Pc

÷ A

&

I’m sure.

But

I’m

here

œ

bœ œ . J

atleast

œ

bœ J a

œ.

œ.

Œ

fort - night,

#

∑

∑

68

∑

12 8

∑

∑

#

∑

∑

68

∑

12 8

∑

∑

#

∑

∑

68

∑

12 8

∑

∑

#

∑

∑

68

∑

12 8

∑

∑

?#

∑

∑

68

∑

12 8

∑

∑

?#

∑

∑

68

∑

12 8

∑

∑

&

L

V

# w. & w. &

#

w.

B # œ.

j j œ œ. Œ œ œ

pizz. œœ ‰ ‰ 68 b >œœ .. iI œ . i J # œœ .. iI œ . I

œ.

j œ ‰ ‰

œ.

pizz. 6 n>œœ .. iI œ ‰ ‰ J b n œœ iI.. b b œœ .I. i 8

œ. œ.

? # ww .. ?#

œœ ..

∑

delicato

Œ.

68 >œ . i œ . I œ. I

Œ.

pizz.

68

delicato arco

Œ. ∑

if

œ. œ. œ. œ. œ. œ. œ. œ. œ. >œ œ. œ.

12 8 œ.œ œ.œ œ.œ œ.œ œ.œ œ.œ œ. œ. œ. œ. œ. œ. p sim.

œœœœ œœœ œœ œœœ . . . . . . . . . > . .

12 8 b w .. p bw

˙. ˙.

œ. œ.

˙.

œ.

delicato

Œ.

pizz. œœ > b œ. J ‰ ‰ n œœ .. iI b œ . Ii 68 œœ .. iI

∑

arco . . . . . . . . . . . . 12 8 œ œ œ œ œ œ œ œ œ œ œ œ p

œ œœ J J

so

∑

Al

Bs

stu dy ing,

. 12 8 œ

∑

&

Vc

you’re

68 Œ œ œ œ J J

12 8

J

Vla

and

œ ˙. J

œ

∑

&

Vn2

muse me,

œ œ œ

∑

68

M

Vn1

#

œ

Œ.

6 8

∑

œ. Œ œ œ J J

68 >¿ .

∑

&

G

# œ.

. ¿.

∑

B

Br

∑

¿. .

arco . n œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. n œ. œ. œ. œ. œ. œ. œ. œ. œ. #>œ œ. œ. 12 8 p arco

12 8 bw . p

. >œ >œ .

Adamo–Little Women Act II, Scene 1

163 # Fl & #

12 8

∑

œ.

œ.

œ.

œ.

98 œ.

œ.

œ.

#œ .

#œ .

œ.

œ.

98 #œ .

#œ .

œ.

EH

&

Cl

&

Hn

&

Bn

? # w.

#

98

∑

#

9 8

∑

∑

∑

n

∑

n

j Œ Ó. F œ > ß 12 . 8 œ. jŒ Ó F œ > ß 12 ∑ 8

∑

∑

∑

∑

∑

n

∑

∑

n

n ˙. ˙.

œ.

Ó.

∑

∑

b œ b œ œ. œ œ œ. p . . . . ∑

‰ Œ. œ œ. œ. œ. œ œ . F

n Ó. n

∑

#

∑

98

∑

12 8 N œ . œj Œ Ó . > F ß 12 ∑ 8

?#

∑

9 8

∑

12 8

∑

∑

∑

∑

98

∑

12 8

∑

∑

∑

∑

98

∑

12 8

∑

∑

∑

n

∑

∑

∑

n

∑

∑

∑

&

98 ˙ .

12 8

∑

351

œ.

∑ ˙˙ .. Œ.

Hp

&

#

. . Œ. œ œ œ F

˙. . œœ .. œœ .

# œœ ..

˙˙ ..

n

∑

Kybd

?# &

VIBRAPHONE

#

∑

98

∑

∑

9 8

∑

. 12 8 b b œœœœ ... b œœœ ... Ó . ° P

Pc

÷ A

&

are

free,

12 8

Ó.

π

bœ . œ . We could

j b œ . bœ . bœ . œ œ ˙ . al - waysmeet

n ˙. FWrite

Ó.

for tea.

˙. soon.

∑

∑

∑

#

∑

98

∑

12 8

∑

∑

∑

n

∑

#

∑

98

∑

12 8

∑

∑

∑

n

∑

#

∑

98

∑

12 8

∑

∑

∑

n

∑

#

∑

98

∑

12 8

∑

∑

∑

n

∑

?#

∑

98

∑

12 8

∑

∑

∑

n

∑

?#

∑

98

∑

12 8

∑

∑

∑

n

∑

Ó.

∑

∑

n

Ó.

∑

∑

n

Ó.

∑

Ó.

Ó . #œ . I p

∑

∑

Ó.

∑

∑

&

Al

&

L

V

Vn1

&

Vn2

&

Bs

you

œ.

12 8

J

Vc

ver

98 ˙ .

∑

&

Vla

-

j j œ œ œ

98

M

G

e

œ

∑

∑

&

#

#œ .

∑

n

B

Br

# œ.

12 8

# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 9 œ. œ. œ. œ. œ. œ. œ. œ. œ. 12 8 8 #

œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ œ œ œ œ œ œ œ 12 . . . . . . . . . . . . . . . . . . . . . 8

b œœ .. F œ.

F . . . . . . . . . . . . . . . . . . . . . # œœ .. B # œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ œ œ œ œ œ œ œ 12 8 F œ. ? # w. 98 ˙ . 12 œ. 8 F œ. w . ˙ . œ . ?# 98 12 8 F

j b œœ Œ > ß j bœ Œ > ß > œœ Œ J ß œ> Œ J ß œ> Œ J ß

pizz.

F

∑

œ œ œ œ œ œ ˙.

˙. Fœœœœœœ

œœ ..iI F

n

arco

œœ ..

n ˙. ˙. F n ˙. F

# œœ ..

œœ .. œœ .. ˙˙ .. ˙.

Adamo–Little Women Act II, Scene 1

352

169 Fl & Ó. EH

Cl

Hn

Bn

F

œ œ. œ. œ. œ ‰

œ.

Ó.

∑ œ œ. œ. œ. ‰ œ œ . Œ .

∑

∑

. œ œ. Ó. & œ‰

∑

∑

Œ. œ ‰ œ . œ. œ œ œ . . F

∑

&

&

∑

?

∑

& Hp

?

œœ .. # œœ .. œœ ..

∑

œ.

ww ..

#w . . Œ . # œœ . # œœ .. w. w.

&

∑

?

∑

∑

&

∑

÷

∑

Ó. . œœ . # œœ .. ˙. ˙.

∑

Ó.

∑

∑

‰ Œ. œ œ. œ. œ œ œ . ∑

˙˙ .. œ .. Œ. œ

Œ.

‰ œ œ. œ. œ œ œ . .

∑

. . Œ. œ œ œ F

Ó.

Œ.

∑

N ˙˙œœ ....

˙. ˙.

w. w.

˙. œœ .. ˙œœ ...

˙˙œ ... œ .. œ. œ

∑

> Œ. œ.

>œ . . Œ >œ .

œ. œ.

˙. ˙˙ .. œœ ..

Œ.

. >œ . >œ brassy Œ. œ. œ. Œ. > >

∑ œœ ..

Œ.

>œ .

>œ .

Ó. ∑

. œ ‰ œ œ. Ó.

>œ .

œœ ..

>. Œ . œœœœ ...

f ˙. >˙ .

>œ . >œ .

œ. Ó. >œ . > >œ . >œ . . Ó

œœ .. Œ . œ .. >œ

∑

Œ. œ. . >œ

∑ CELESTA

∑

∑

Ó.

∑

Œ. œ ‰ œ œ œ œ œ. F

∑

∑

∑

∑

∑

∑

∑

∑

∑

Kybd

Pc

A

&

˙.

˙.

#w .

Write

soon.

˙.

˙.

Write

˙.

˙.

F

w.

Ó.

˙.

∑

∑

Ó.

œ. >œ . >

Ó.

∑

Ó.

ggg b ˙˙˙ ... gg ˙ . gggg p ggg gg ˙ . g ∑

BASS DRUM

≠ .i

Œ . ¿ .i

∑

. Œ. œ

œ. Œ.

. œ . œ . œ œ œJ p

soon.

Writesoon—

Writesoon,“Fond - ly,”

B

&

∑

∑

∑

∑

∑

∑

∑

M

&

∑

∑

∑

∑

∑

∑

∑

J

&

∑

∑

∑

∑

∑

∑

∑

Al

&

∑

∑

∑

∑

∑

∑

∑

L

V

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

& ˙.

˙.

Br

G

Vn1

Vn2

Vla

Vc

Bs

#w .

& w. B œ . œ .. œ . œ . #œ œ . ?

ww ..

? w.

˙.

w. œœ ..

# œœ .. # œœ ..

˙. œœ ..

œœ .. # œœ .. # œœ ..

˙.

˙.

˙.

w.

n œœ .. n œœ ..

œœ ..

˙.

w. w.

œœ .. œœ ..

œœ ..

œœ .. œœ ..

w.

˙.

˙.

w.

w.

w.

˙.

˙.

w.

w.

œœ ..

>. Œ. œ f > Œ. œ. f >œ . œœ .. œ . > f >. ˙ f >. ˙ f

>œ . . Œ >œ . . Œ >œ .

>œ .

> œ. œ. > œ. œ.

> . œ> . œ . ˙˙ . sub. p œ . #˙ . >œ . > sub. p > . >œ . ˙˙ .. œ sub. p ˙. ˙.

˙. sub. p ˙. sub. p

Adamo–Little Women Act II, Scene 1

353

176 Fl &

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

EH

&

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

Cl

&

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

Hn

&

∑

∑

∑

∑

∑

∑

6 8

∑

12 8

∑

6 8

∑

12 8

?

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

&

∑

∑

∑

∑

oo wwo ..i(actual pitch) w .iI

∑ ∑

68

∑

68

∑

12 8

?

∑

∑

∑

∑

∑

∑

6 8

∑

o 12 8 b w .I p (actual pitch) o 12 b w .i 8

6 8

∑

12 8

&

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

?

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

&

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

÷

∑

∑

∑

∑

∑

∑

6 8

∑

12 8

∑

6 8

∑

12 8

A

&

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

B

&

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

M

&

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

J

&

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

Al

&

∑

∑

∑

∑

68 Π.

#œ .

12 8

V

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

?

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

?

∑

∑

∑

∑

∑

∑

68

∑

12 8

∑

68

∑

12 8

Bn

Hp

Kybd

w. ww .. p°

Pc

L

Br

G

ALMA:

Œ.

. œ . œ œj œ . œ . Ó p œ. Beth loves

the mu - sic,

68

œ

œ

j

Thinks you’re

j œ œ a

12 8 #˙ .

Ó.

dear!

She’d

Vn1

. & ˙

˙.

˙.

˙.

˙.

b˙ .

˙.

˙.

w.

w.

68

˙.

w. 12 8

68 ˙ .

12 8

Vn2

. & ˙