Danielpour MARGARET GARNER (Book 1, full score)

Page 1

Richard Danielpour

MARGARET GARNER opera in two acts Libretto by

Toni Morrison Full Score, Book 1 Act I

from the G. Schirmer Rental Library date of printing___________

Associated Music Publishers, Inc. New York, NY

Richard Danielpour

MARGARET GARNER opera in two acts Libretto by

Toni Morrison Full Score, Book 1 Act I Prologue............................................................1 Scene 1............................................................22 Scene 2..........................................................132 Scene 3..........................................................231

Act II (Book 2) Scene 1..........................................................356 Scene 2..........................................................452 Intermezzo.....................................................517 Scene 3..........................................................531 Scene 4..........................................................601 Epilogue.........................................................624

Commissioned by the Michigan Opera Theatre, Cincinnati Opera Association, and The Opera Company of Philadelphia.

Associated Music Publishers, Inc. New York, NY

Instrumentation: 3 Flutes (3rd doubling Piccolo) 2 Oboes (2nd doubling English Horn) 3 Clarinets in B= (3rd doubling Bass Clarinet) 3 Bassoons (3rd doubling Contrabassoon) 4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Percussion (3 players) Piano Stage Piano Harp Soloists 2 Choruses Strings (10, 10, 8, 6, 5 players min.)

Cast of Characters Principal Roles Margaret Garner*, a slave in her mid-20s, Robert’s wife

Mezzo-Soprano

Robert Garner*, a slave in his early 30s, Margaret’s husband

Lyric Baritone

Cilla*, a slave about 50 years old, Robert’s mother

Dramatic Soprano

Edward Gaines, the handsome and charismatic Master of Maplewood Plantation, in his late 30s or early 40s

Lyric Baritone

Secondary Roles Casey, the Foreman of Maplewood Plantation

Dramatic Tenor

Caroline Gaines, the daughter of Edward Gaines, engaged to George Hancock

Light Lyric Soprano

George Hancock, engaged to Caroline Gaines

Tenor

Auctioneer, a Professional Salesman [doubles as Judge I]

Lyric Tenor

16 Slave Catchers **

8T; 8Bar (divisi: lyric and Verdi Baritones)

A Foreman/The Hangman

non-singing role

3 Judges** [Judge I doubles as Auctioneer]

T, Bar, B

2 Militia Officers

non-singing roles

Margaret’s 2 Children*, a 5-year-old girl and a 2-year-old boy

non-singing roles

The Townspeople/The Guests (aka, “White Chorus”)

SATB: min. 36 voices

The Slaves* (aka, “Black Chorus”)*

SATB: min. 36 voices

* Although much latitude is possible in casting, these roles must be sung by Black performers. ** These roles can be sung by members of the White Chorus.

Synopsis Act I, Scene 1: Kentucky, April 1856 The opera begins in total darkness, without any sense of location or time period. A large group of slaves gradually becomes visible, shackled and caged on a trading block. In a call-and-response song, they beg for deliverance from their suffering. The scene shifts to the lively town square in Richwood Station, Kentucky; it is April 1856. In preparation for an auction, members of slave families are separated from each other, so that they can be sold individually. The local townsfolk bid enthusiastically for these “picknies and mammies and breeders and bucks,” even though they consider them nothing more than personal burdens in need of civilizing. In the crowd of onlookers is a handsome man named Edward Gaines, a native of the region but absent for twenty years, accompanied by his daughter Caroline. He interrupts the auction when an “old estate rich in history” is brought to the block, asserting that this property, Maplewood Plantation, belonged to his deceased brother and therefore cannot be sold. As no one disputes the claim, Gaines acquires Maplewood. However, the self-assured Gaines is dismayed to learn that none of the townsfolk remembers him, only his well-respected older brother. The younger Gaines informs them that he has survived life’s challenges; once happily married, he now is a widower with a child to raise. He grandiosely proclaims that he will fill Maplewood with a multitude of possessions, and announces that he intends to retain all the plantation’s “goods and property” (i.e., its slaves). The enslaved who were waiting to be auctioned therefore are reunited with their families. While Gaines signs the ownership papers for Maplewood Plantation, the slaves celebrate with dance and music. The singing of Margaret Garner, an attractive young slave, captivates Gaines; after the crowd disperses, he takes her red scarf, which she had dropped accidentally. He nostalgically recalls his childhood, even though he had been forced to leave town under purportedly disreputable circumstances. He promises himself that this time the townsfolk will not forget him. Scene 2: Harvest time, about six months later Singing a wry, somewhat defiant work song, the slaves head back to their quarters after a day toiling in the fields. Cilla, the mother of Margaret’s husband, Robert, joins the couple for supper; their spirits are light-hearted while they prepare the evening meal. Yet when Margaret insists upon seeing her baby immediately after saying grace, Cilla, warm-hearted yet world-wise, cautions her against such an intense attachment to the child. Margaret persists, however, and sings a Lullaby to the baby while Robert and his mother eat dinner. Casey, the treacherous foreman at Maplewood Plantation, unexpectedly appears at the cabin and delivers shocking news: Robert is being sent away that night to another plantation. Margaret is to remain at Maplewood, but now will work in the plantation’s main house. When Casey tosses a fancy dress at Margaret, it is clear that Gaines expects sexual favors from her. Robert voices his anger, but Margaret reassures him of her faithfulness, and the two pledge their love. Scene 3: Maplewood Plantation, in the early summer of 1858 In the parlor at Maplewood Plantation, a reception is being held to celebrate the marriage of Caroline Gaines to George Hancock. The guests include the local townspeople, whom Edward is very eager to impress. However, a discussion at the party about the nature of love quickly develops into a heated disagreement between Edward and George. To break the tension, the newlyweds begin the reception’s traditional “first dance.” The guests quickly join in the waltz; ironically, only Gaines is without a partner. When the dance concludes, Gaines graciously toasts the couple. But then Caroline accidentally makes matters worse again by asking Margaret, now the house servant, for her opinions on love. The i

guests are outraged that a person of “quality” would ask a slave for her opinion. To show their disapproval of Gaines, and the social manners he seemingly allows at Maplewood, the haughty guests leave the party abruptly. Distressed by their rudeness, Gaines lashes out at Caroline, who ruined what he had hoped would be a proud moment; now, he claims, his neighbors have “more reason to gossip and despise” him. He dismisses her attempts to mollify him, yet watches wistfully as the newlyweds leave for their honeymoon. After the party, Gaines notices Margaret returning to clear the glasses, and lingers to observe her. Unaware of his presence, she continues to reflect upon the nature of love. Edward emerges from his hiding place and accosts her. She resists his advances and begins to struggle vigorously. But Edward is determined to have his way; he overpowers her and drags her forcibly from the parlor. Act II, Scene 1: Maplewood Plantation; Sunday, February 24, 1861, in the early evening Margaret, whose life has been sustained by her quest for freedom, begins to cry when Robert arrives and confirms that they are scheduled to leave in just three hours. He attempts to calm her anxieties, and Margaret is overwhelmed by love for her husband, a man of great moral courage and strength of character. Suddenly, Margaret notices that Cilla is not packing any of her own things. In spite of Margaret’s pleas to join them, Cilla proclaims that she is too old to begin a new life; her joy is simply to see her son’s family safe and living elsewhere. Although sympathetic with Margaret and Robert’s dreams for a free life, Cilla has made peace with her own, and sings of her reliance upon God. Footsteps are heard approaching, and Cilla and Margaret are terrified when Casey storms into the cabin. At the same time, Robert inadvertently walks into the trap when he returns with the children. Casey pulls out a pistol, and Robert impulsively attacks him. A violent struggle ensues, but Robert hesitates and cannot bring himself to shoot Casey. Yet when Casey calls Margaret a “black slut,” Robert strangles him to death. Cilla instantly understands that Robert’s action has doomed the family, and she and Margaret beg him to run, regardless of any personal danger they might be in. Cilla drags Casey’s body away; Robert and Margaret sing of their love and make plans to meet later. Scene 2: In the Free State of Ohio, March 1861 Three weeks have passed since Robert and Margaret successfully escaped from Maplewood, and crossed the frozen Ohio River on the Kentucky border to reach Cincinnati, a city in the “Free State” of Ohio. Now both outlaws, they live with their children in an underground shed, in hopes of avoiding recapture by their masters. Standing outside underneath a huge elm tree, Robert and Margaret discuss speculation about the country’s new President. Margaret shudders when she hears of Lincoln’s belief that the “Union is Sacred” and that “A House Divided Cannot Stand,” for she knows that means war is inevitable. Ever hopeful, and sharing Margaret’s dream for a better future, Robert asserts that freedom is nearly theirs–after all, they now live in a state whose name means “beautiful”! Here, their children will be able to grow up with dignity, and their own marriage will be respected as sacred. He will protect Margaret always, just as the elm tree always protects them. Only moments after Robert insists that they return to the shed because of the potential dangers facing them outside, Edward Gaines arrives, accompanied by slave catchers. He pounds on the shed door, promising that no harm will be done; he just wants to claim his property. Intoxicated, Gaines breaks down the shed door. An exchange of gunfire leaves neither man hurt, but the slave catchers tie up Robert. As he is being dragged outside, Gaines grabs Margaret. He laments that his bed is cold; he wants her to heat it up, just as she once did with hot coals. Breaking loose, Margaret recklessly plunges her bare hands into the ii

fire and grabs several pieces of coal; she lunges at Gaines, attempting to burn him. Gaines yells that she can pretend to be as crazy as she likes, he doesn’t care even if she mangles herself in the process. Margaret sees Robert outside, standing on a tall box underneath the elm tree. A noose has been placed around his neck, and he is surrounded by fiery torches planted in the ground. His cries of love to her are cut off when one of Gaines’s men kicks the box away. Determined that her children not be forced to endure a lifetime filled with slavery’s horrors, Margaret violently attacks and murders them: first slitting the throat of her daughter, then stabbing the younger one. Shocked by the bloody carnage, Gaines and his men surround Margaret. Intermezzo: In this moment “out of time,” total darkness envelops the stage. Gradually, the image of Margaret, alone, becomes visible. With defiant and noble grandeur, she embraces her life’s circumstances. Scene 3: In a Courtroom, in early April 1861 Margaret Garner sits in the middle of a courtroom, surrounded by militia officers. After capturing the runaway slave in Ohio, Edward Gaines had her transported back to Kentucky, where she now stands trial for the “theft and destruction” of the two dead children, considered his property. Local citizens fill the courtroom gallery, for they have followed the case with great interest and curiosity, and eagerly await Margaret’s sentencing by the three presiding judges. Caroline Gaines tries to rationalize with her father, and contends that Margaret stands wrongly accused: a mother who kills her children cannot be said to steal them. The proper charge, she insists, is murder–for Margaret killed human beings. The judges argue vehemently that Margaret’s case is one of “property” and the financial loss suffered by Gaines. Furthermore, Margaret has no legal right or claim to her children; slaves own nothing, least of all their master’s other slaves. The onlookers concur rowdily. Laughing cynically at Caroline’s perceived naiveté, the judges add that the veracity of their beliefs is confirmed and defended by the Bible. Caroline senses the hopelessness of the situation, and makes a personal appeal to her father on Margaret’s behalf. She pleads that a man of her father’s stature could influence the debate on slavery that is tearing apart the country, as well as their family. Margaret is not the only one guilty of a crime, she admonishes; everyone bears some of the blame for the discord. But Gaines merely reiterates that he has committed no crime; society and the law affirm his behavior. When the judges declare that Margaret is to be executed for theft, the onlookers express relief–for it confirms their deeply held conviction that they are superior to Margaret. Having sat quietly throughout the proceedings, Margaret suddenly rises from her chair, and glares at those in the courtroom. She states emphatically that indeed she is not like them; she is a unique individual over whom no one present has any power. Citing their full legal authority, the judges officially sentence Margaret to be executed by sunrise. They quickly recess to their chambers, and the condemned prisoner is led from the courtroom. Dismayed by the verdict, Caroline again begs her father to urge the court for clemency. Betraying no sign of emotion, although secretly disturbed by the trial, Edward coolly states that Margaret must suffer the consequences of what she has done. Caroline retorts that her father also must accept responsibility for his actions, then walks out. Left alone in the silent courtroom, Edward Gaines contemplates the course of his life, and wonders why he feels so troubled. His relationship with Caroline, once so close and loving, has deteriorated badly. Feeling under tremendous stress, Gaines realizes that he must choose between the love of his radical daughter and the traditional way of life to which he has always aspired. iii

Scene 4: In the town square of Richwood Station, Kentucky; the next morning, at dawn A group of local citizens–including the town authorities; Caroline and George; and Cilla, as well as some slaves transported from nearby plantations–processes somberly into the town square. Great sorrow fills the air, for they are accompanying Margaret Garner to her execution. All are sobered by the imminence of death. Seemingly, the only person not in the crowded plaza is Edward Gaines. The hangman brings forth the condemned prisoner, whose hands still are bandaged from the burns she suffered while defending herself against Gaines’s unwanted advances. Margaret is led up the scaffold steps. When she reaches the top of the platform, the hangman places a noose around her neck and positions her on the gallows’ raised platform (or stool). Edward Gaines runs in, excitedly waving a legal document–the judges have granted Margaret clemency! All will be well again, if Margaret admits and repents her crime; she simply will be returned to his custody. Although Caroline is overjoyed and relieved by this turn of events, as well as proud of her father’s decision to seek justice, Gaines’s fails to find any sign of approval or appreciation from his neighbors. The hangman leaves Margaret’s side, and walks over to accept the document from Edward for careful review. Upon hearing the judges’ decree, Cilla immediately offers words of gratitude and praise to her God. Margaret, still standing on the gallows, expresses her desire to live peacefully in a just world. Yet when the crowd is momentarily distracted, she seizes the opportunity for “freedom”–by deliberately kicking away the stool and hanging herself. The crowd is stunned by her suicide, yet a sense of awe permeates their sorrow. Caroline notices Margaret’s red scarf in her father’s front pocket; she removes it, then silently ascends the scaffold and reverently ties it around Margaret’s arm. Edward–as bewildered as anyone by Margaret’s deed – realizes that peace will always elude him. For though he made the “right” choice–to fight for Margaret’s freedom–he did it for the wrong reason. His actions were motivated by a desire to win his daughter’s respect, and not from any deeply held moral convictions. All of the onlookers–townspeople and slaves alike–express their need for repentance; Cilla proclaims her desire to join Margaret soon in heaven. As the curtain descends slowly, the crowd in the town square prays that Margaret’s final journey home be a peaceful one.

—Mary Lou Humphrey

iv

MARGARET GARNER Opera in two acts Act I, Scene 1:Prologue Kentucky, April 1856

Toni Morrison Misterioso

Richard Danielpour (2003)

= 60–63

Piccolo

1 2

Flute

1 Oboe 2

(English Horn)

a2 Clarinet in B

1 2 6

6

6

Bass Clarinet

1 2 Bassoon 3 (Contrabassoon)

a2 1 2 Horn in F

a2 3 4 take straight mute 1 2

Trumpet in C

take straight mute 3

1 2

Trombone

Bass Trombone Tuba

Timpani High and Low Wood Blocks 1 3

3

3

Guíro, metal scraper Percussion

2 Chimes, felt hammer

Vibraslap

3

Piano

E FG A DC B

Harp

(The opera begins in total darkness, without any sense of location or time period.) Cilla

Margeret Garner

Robert Garner

S

A Slave Chorus T 8

B

Misterioso

= 60–63

I Violin II

Viola div. a2 Violoncello

div.

unis.

Contrabass

Premiere: 5/2006 Revised: 4/2007

Copyright © 2005 by Associated Music Publishers, Inc. (BMI) and G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reprduction of this publication is prohibited by Federal law and subject to criminal prosecution.

Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY

2

Act I–Prologue

8 Picc.

Fl.

1 2

1 Ob. 2 (a2) Cl. in B

1 2 6

6

6

6

6

6

6

6

6

6

6

Bs.Cl.

1 2 Bn. 3

(a2) 1 2 Hn. in F

a2 3 4

Tpt. in C

1 2

3

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1 2

Bs.Tbn. Tuba

Timp. (Wd. Blks.) 1 3

3

(Guíro)

3

3

3

3

3 3

3

3

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(Vibraslap) 3

Piano

Harp

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Act I–Prologue solo

12 Picc.

3

3

3

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1., solo Fl.

1 2 solo

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1 2 6

6

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(a2) 1 2 Hn. in F

a2 3 4

Tpt. in C

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3

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Timp. sotto voce

(Wd. Blks.) 1 3

(GuĂ­ro)

3

3

Bass Drum

Perc. 2 sotto voce

3

(Vibraslap) 3

Piano

C E G

Harp

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(Out of the blackness, a large group of slaves gradually becomes visible. They are huddled together on an elevated platform in the center of the stage.) C.

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4

Act I–Prologue

19 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

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1 B.D. Perc. 2 Chimes 3

Piano

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Harp

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3

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not

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B 3

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I Vn. II unis. Va.

unis. Vc.

Cb.

div.

5

Act I–Prologue

26 Picc.

Fl.

1 2 3

1 shadowing chorus

Ob.

poco

2 3

Cl. in B

1 2 shadowing chorus

poco

Bs.Cl. 3

shadowing chorus

poco

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 B.D. Perc. 2 Chimes 3

Piano

Harp

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port.

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more.

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not

more.

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3

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Vn. II

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div.

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6

Act I–Prologue

Con energia, with rhythmic vitality

32

= 152

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

molto stacc. a2

a2

1 2 molto stacc.

Bn. 3

molto stacc.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

sotto voce C.

sotto voce M.G.

sotto voce R.G. sotto voce S

sotto voce A S.C. sotto voce T 8

sotto voce B

Con energia, with rhythmic vitality

= 152

I Vn. II unis., pizz. Va. pizz. Vc. pizz. (div.) Cb.

unis.

div.

unis.

div.

unis.

div.

unis.

7

Act I–Prologue

44 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2

a2

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

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no,

no,

no,

no

more!

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no,

no,

no,

no

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No, no, no,

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no,

no,

no,

no

more!

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no,

no,

no,

no

more!

No, no, no,

M.G.

R.G.

No,

no,

no,

no,

no,

no more!

No,

no,

no,

no,

no,

no,

no,

S

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no,

no,

no,

no

more!

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no,

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no,

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more!

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no,

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A S.C. T 8

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no,

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no,

no,

no more!

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no,

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no,

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no,

no,

no,

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no,

no,

B

I Vn.

div. II

arco Va.

div.

unis., arco

Vc.

div. Cb.

unis., arco

8

Act I–Prologue

54 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

1 2 Hn. in F

poco marcato 3 4 poco marcato

Tpt. in C

with straight mute

1 2 with straight mute 3 a2

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

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no,

no

more!

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no, no, no,

no

more!

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no,

no,

no

more!

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no,

no

more!

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no, no, no,

no

more!

No, no no, no,

no,

no,

no

more!

M.G.

R.G.

No,

no,

no,

no more!

No,

no,

no,

no,

no more!

No,

no,

no,

no

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S

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no,

no

more!

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no, no, no,

no

more!

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no,

no

more!

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no,

no,

no,

no

more!

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no,

no

more!

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no, no, no,

no

more!

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no,

no,

no

more!

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no,

no,

no,

no

more!

A S.C.

T 8

No,

no,

no,

no more!

No,

no,

no,

no,

no more!

No,

no,

no,

no

more!

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no,

no,

no,

no

more!

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no,

no,

no more!

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no,

no,

no,

no more!

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no,

no,

no

more!

No,

no,

no,

no,

no

more!

B

I Vn.

unis. II div.

Va.

Vc.

Cb.

9

Act I–Prologue

65 Picc.

Fl.

1 2

1 sub.

Ob.

to English Horn

2 sub. Cl. in B

1 2

Bs.Cl. sub. (a2) 1 2 Bn.

sub. 3 sub.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3 (a2) Tbn.

1 2 (Bs. Tbn.)

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

An R.G.

sub. S

No,

no,

no,

no,

no

more!

No, no, no,

no,

no,

no

more!

no,

no,

no

more!

no,

no,

no

more!

no,

no,

no

more!

sub. A

No,

S.C.

no,

no,

no,

no

more!

No, no, no, sub.

T 8

No,

no,

no,

no,

no

more!

No, no, no, sub.

B

No,

no,

no,

no,

no

more!

No, no, no,

I sub. Vn. II sub. unis.

div., pizz.

Va. sub.

secco pizz.

Vc. sub.

secco pizz.

Cb. sub.

secco

kles

10

Act I–Prologue

75 Picc.

Fl.

1 2

Ob.

1 English Horn

E.H.

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

take straight mute Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G. 3

cir

cled

with

a

chain…

Skin

R.G.

S

No,

no,

no,

no,

no

more!

No, no

more!

No,

no,

no,

no,

no

more!

No, no

more!

more!

A S.C. T 8

No,

no,

no

more!

Please, God, no, no

No,

no,

no

more!

Please, God, no

B

more!

I Vn. II arco (div.)

pizz. (div.)

Va. arco

pizz.

arco

secco pizz.

Vc.

Cb. secco

secco

11

Act I–Prologue

86 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

with straight mute

open

remove mute Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

3

port.

M.G.

bro

ken

by

a

cane…

R.G.

S

No, no, no,

no, no, no,

no

more!

No, no, no,

no, no, no,

no

more!

A S.C. T 8

No,

no,

no

more!

No

more!

No,

no,

no

more!

No

more!

B

I Vn. II arco, (div.) Va. arco Vc. arco Cb.

12

Act I–Prologue

97 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

Blood

y

pil

lows

R.G.

S

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

No,

no,

no,

no,

A S.C.

T 8

No,

no,

no,

no,

no

more!

No,

no,

no,

no,

no

more!

B

No,

no,

I Vn. II pizz. (div.)

arco (div.)

Va. secco pizz.

arco

Vc. secco pizz. Cb. secco

arco

no,

no.

13

Act I–Prologue

108 Picc.

Fl.

1 2

Ob.

1 to Oboe

E.H.

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

un

der

my

head.

R.G. sub. S

no, no

more!

No no, no.

No, no no

more.

No,

no

more.

more!

No no, no.

No, no no

more.

No,

no

more.

more!

No no, no.

No, no no

more.

No,

no

more.

sub. A S.C.

no, no sub. T 8

no, no sub.

B

Please, God,

I Vn. II

Va.

Vc.

Cb.

no

more!

No,

no,

no

more.

No

more.

14

Act I–Prologue

118 Picc. 1. Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

Bs.Cl.

1 Bn. 2 3

take straight mute 1 2 Hn. in F

take straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G. 3

Wish ing,

pray

ing

I

was

R.G.

S

No, no

more.

No, no, no.

No, no, no, no,

no,

no,

no

more!

No, no

more.

No, no, no.

No, no, no, no,

no,

no,

no

more!

No, no

more.

No, no, no.

No, no, no, no,

no,

no,

no

more!

A S.C. T 8

B

Dear

God,

no

more!

Dear pizz.

I Vn.

pizz.

secco

II secco pizz., (div.) Va. secco pizz. Vc. secco pizz. Cb. secco

God,

no

more.

No

more!

15

Act I–Prologue

128 Picc. 1. Fl.

1 2

1 Ob.

Oboe 2 2.

Cl. in B

2.

1 2

Bs.Cl. a2 1 2 Bn. 3

with straight mute

open

1 2 Hn. in F

with straight mute

open

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

(with straight mute)

open remove mute

remove mute

open

3

Tbn.

1.

1 2

a2

a2

Bs. Tbn.

a2

Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

No,

no,

no,

no,

No,

no,

no,

no,

no

more!

no

more!

No,

no,

no,

no,

No,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

no,

M.G.

dead. R.G.

div.

unis.

S

No,

no,

no,

no,

no

more!

div.

No, unis.

A

No,

S.C.

no,

no,

no,

div.

no

more!

No, unis.

T 8

No,

no,

no,

no,

div.

no

more!

No, unis.

B

No,

I arco

Vn. II

arco (div.) Va. arco Vc. arco Cb.

no,

no,

no,

no div.

arco

unis.

more!

No, unis.

16

Act I–Prologue

138 Picc. sub.

Fl.

1 2 sub. 1 sub.

Ob. 2

sub.

a2 Cl. in B

1 2 sub.

Bs.Cl. (a2) 1 2 marc.

Bn. 3

marc.

Hn. in F

1 2 sub. 3 4 sub.

Tpt. in C

1 2 sub. 3 sub. (a2)

Tbn.

2.

1 2 marc. (Bs. Tbn.)

a2

Bs.Tbn. Tuba marc.

Timp. Ratchet 1 Slapstick Perc. 2 Slapstick 3

Piano

Harp

sub. C.

no

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

more!

M.G. sub. R.G.

no

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

unis.

more! div.

sub.

S

no

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

unis.

more! sub.

div.

A

no

S.C.

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

unis.

more! sub.

div.

T 8

no

more!

No,

no,

no,

no,

no,

no!

Dear God, please, no

unis.

more! sub.

div.

B

no div.

more!

No, unis.

no,

no,

no,

no,

no!

Dear God, please, no

more! div.

div.

I Vn. II

Va. div. a2 Vc. marc. Cb. marc.

17

Act I–Prologue

144 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

2.

1 2

Bs.Cl. a2 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. Ratchet 1 Slapstick Perc. 2 Slapstick 3

to Celesta

Piano

E F G A D C B

Harp

C.

M.G.

R.G.

S

A S.C. T 8

B

unis. I sub.

sub.

Vn.

unis.

div. II sub. div. a4, pizz.

sub.

unis., arco

Va. div. a2

unis.

unis. Vc.

sub. Cb.

pizz.

sub.

18

Act I–Prologue

150

Don’t hurry, più pesante ( = 144 sempre)

Picc. 1. Fl.

1 2

Ob.

1 to English Horn

English Horn

E.H.

1. Cl. in B

a2

1.

a2

1.

1 2 dolce (colla voce)

Bs.Cl.

1 2 Bn. 3

take straight mute

with straight mute

remove mute

take straight mute

with straight mute

remove mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

to Piano

Celesta

Harp

C.

M.G.

Blood y

pil

lows

R.G.

S

Dear

God

no

more,

not more.

Please,

no

more.

Dear

God

no

more,

not more.

Please,

no

more.

Dear

God

no

more,

not more.

Please,

no

more.

Dear

God

no

more,

not more.

Please,

no

more.

A S.C. T 8

B

Don’t hurry, più pesante ( = 144 sempre) I sub. Vn.

div.

unis.

div.

unis.

div., pizz.

II sub. div.

pizz. (div.)

Va. sub. div. Vc. sub. Cb.

unis.

un

der my head;

19

Act I–Prologue

158 Picc. 1. Fl.

1 2 sub.

Ob.

1 sub. to Oboe

sub.

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

1 2 sub.

sub. Bs.Cl.

sub. 2.

1.

1 2 sub.

Bn. 3

open 1 2 Hn. in F

sub.

open 3 4

sub. Tpt. in C

1 2 sub. 3

Tbn.

1 2 sub. a2

Bs.Tbn. Tuba

a2

sub.

Timp.

Ratchet 1 Slapstick Perc. 2 Slapstick 3

Piano

Harp

C.

Please

God,

no

more.

M.G.

Wish ing, pray

ing

I

was

dead.

Mas ter’s brand is

fol

low ing me;

R.G.

Please

God,

no

more.

Please

God,

no

more.

S

unis.

div. A S.C.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

T 8

B

div. I sub.

Vn.

(div. a2)

arco, (div.)

sub.

pizz., (div.)

II sub. arco (div.) unis.

div.

pizz., (div.)

Va. sub. div.

unis.

Vc. colla voce arco Cb.

20

Act I–Prologue

166 Picc. (1.) Fl.

1 2 sub. 1 sub.

Ob. 2

Cl. in B

1 2 sub.

Bs.Cl. sub. (1.)

2.

1 2 Bn. 3

take straight mute

with straight mute

take straight mute

with straight mute

1 2 Hn. in F

Tpt. in C

3 4 1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. Castanets 1 GuĂ­ro Perc. 2 Jimbey African Drum (ossia: Conga) with bent tone 3

8va

Piano

Harp

pleading C. full, rich

Please

God,

no

more.

no

more.

no

more.

no

more.

no

more.

no

more.

M.G.

rope can swing

from

an

y old

pleading

tree.

R.G.

Please div.

God,

pleading unis.

S

Please

God,

pleading A

Please

S.C.

God,

pleading T 8

Please

God,

pleading B

Please

God,

unis.

div., pizz.

I sub. Vn.

(pizz.)

(div. a2)

arco (div.)

(div.)

pizz., (div.)

II

(pizz.)

arco, (div.) unis.

div.

unis.

Va. div. Vc.

Cb.

21

Act I–Prologue

174

to Flute

Picc. 1. Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2.

a2

1 2 Bn. 3

open 1 2 Hn. in F

open 3 4 take straight mute

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

a2

a2

Bs.Tbn. Tuba

Timp. (Cast.) 1 (Guíro) Perc. 2 (Af. Dr.) 3

8

Piano

Harp

C.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

M.G.

R.G.

unis.

div.

unis.

div.

S

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

Please

God,

no

more.

A S.C.

T 8

B

div. unis., arco I Vn.

arco (div.) II div.

Va. unis. Vc.

Cb.

22

Act I, Scene 1:

a2

181 1 2 Fl.

Flute 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. sub.

a2

a2

1 2

sub.

Bn. 3

sub. a2 1 2 Hn. in F

a2 3 4 with straight mute

Tpt. in C

1 2

3 sub. a2 Tbn.

1 2 sub.

(a2)

Bs.Tbn. Tuba

sub. Timp. Ratchet 1 Slapstick Perc. 2 Slapstick 3

Piano

Harp

molto

(The lights go up and illuminate the entire stage. The “elevated platform� on which the slaves stood at the beginning of the opera is revealed now to be a trading block situated in the middle of a busy town square in Kentucky. It is April 1856. The local townspeople are gathering eagerly for a slave auction. Also in the crowd is Edward Gaines, accompanied by his daughter Caroline.)

(In preparation for the auction, members of slave families are being separated from one another, grouped according to gender and age.)

C.

No

more!

M.G.

molto R.G.

No

more!

No

more!

No

more!

No

more!

molto

S molto

div. A S.C.

molto

T 8

div.

molto

B

No

more!

unis. sul A

I sub.

sub.

Vn.

unis.

unis.

div.

II unis.

sub.

Va. div. unis. Vc. sub. Cb. sub.

23

Act I–Scene 1

189

rall.

1.

1 2 sub. Fl. 3 sub.

sub.

sub.

sub.

1 Ob. 2 sub. Cl. in B

sub. a2

1 2

Bs.Cl. sub.

sub.

a2

1 2

2.

Bn.

sub.

sub.

sub.

sub.

3

a2

a2

1 2 Hn. in F

a2

a2 3 4

Tpt. in C

1., open

remove mute

1 2

3 a2 Tbn.

sub.

sub.

sub.

sub.

sub.

sub.

1. take straight mute

1 2 a2

Bs.Tbn. Tuba

Timp. (Ratchet) 1 (Slapstick) Perc. 2 (Slapstick) 3

Piano

E F G A D C B

Harp

Auc. 8

S

A T.C. T 8

B

rall. I sub.

Vn. II

Va.

Vc.

Cb.

sub.

24

Act I–Scene 1

198

= ca. 104

rall.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

B

Auctioneer: freely, like Gregorian chant Auc. 3

8

By

the

pow ers

3

in vest ed and by cus toms in ges

ted

3

I

here by

S

A T.C. T 8

B

= ca. 104 I Vn. II

Va.

Vc.

Cb.

rall.

de clare and al

low:

25

Act I–Scene 1

202

a tempo

a2

1 2 6

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 Bn.

a2 2 3

Hn. in F

1 2 3 4 2. open

Tpt. in C

1.

1 2 take straight mute

with straight mute

remove mute

3 6

2. (open)

1., with straight mute Tbn.

1 2

1. remove mute

6

a2

Bs.Tbn. Tuba

Timp. Xyl., solo, hard sticks 1 6

3

6

Perc. 2

3

8va

Piano

Harp

Auc. 8

the

S

A T.C. T 8

B

a tempo

pizz.

div.

unis., arco

I 6

Vn.

pizz.

arco

II 6

pizz.

div., arco

unis.

Va.

6 6

6

div.

unis.

Vc. 6

Cb.

6

26

Act I–Scene 1

206 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 Bn. 2 3

1. Hn. in F

3

1 2 espr. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

3

3

3

3

sale of all goods and cat tle and wood land,

slaves

and plant ing fields dark

with

loam.

S

A T.C. T 8

B

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

Vc. espr. div. Cb.

3

27

Act I–Scene 1

211

a2

1 2 6

Fl.

6

3

1 3

3

Ob.

3

2 3

Cl. in B

1.

1 2

3

3

Bs.Cl. 3

3

(1.) 1 2

3

3

3

Bn. 3

a2

a2 1 2

3

3

sub.

Hn. in F

sub. a2

3 4 3

Tpt. in C

sub.

3

sub. 1 2 open 3

a2, 1. open Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

(Xyl.) 1 6

6

3

Perc. 2

3

8va

Piano

3

3

3

Harp

3

3

Auc. 3

8

3

3

I here by de clare and al low

S

A T.C. T 8

B

unis., arco

sul A

I 6

div., pizz.

Vn.

6

sub.

unis., arco

II 6

6

div., a2

sub. unis. div.

div., arco Va. 3 6

6

div.

3

sub. unis.

Vc. 6

unis.

6

sub.

Cb. sub.

3

an old es tate rich in his t’ry is

3

3

now on the mar ket for a gen tle man’s

28

Act I–Scene 1

216

a2

1 2 6

Fl. 3

1 Ob. 2

Cl. in B

2.

1 2

3

Bs.Cl. 3

3

sub.

1 Bn. 2 3

a2 Hn. in F

1 2

3

espr. 3 4

Tpt. in C

1 2

3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

(Xyl.) 1 6

6

6

Perc. 2

3

8va

Piano

G

Harp

Auc. 8

3

pock et,

a

prize

in

the whole coun

ty.

S

A T.C. T 8

B

unis., arco

div., pizz., sul A I

6

Vn.

unis.

div. II

(div.)

espr. arco

unis., pizz.

6

3

Va.

div. Vc. espr. div. Cb.

3

unis.

div., pizz.

29

Act I–Scene 1

221 1 2 Fl. 3

1 Ob. 2

Cl. in B

1.

3

1 2

3

dolce Bs.Cl. solo 1 Bn. 2 3

a2 1.

3

1 2 Hn. in F

a2

espr.

sub. 3.

3

3 4 espr.

sub.

Tpt. in C

1 2

3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

l.v.

Harp

3

(A foreman approaches the slaves.) Auc. 3

8

Your

3

3

3

3

3

shrewd eyes will light up dol lar for dol lar, pound for pound, the best est val ue for

3

miles

a round.

S

A T.C. T 8

B

(sul A)

div., pizz.

div.

unis., pizz.

I sub. Vn. II sub. 3

Va. sub.

espr.

espr.

unis. Vc. espr.

sub. unis., arco

div.

Cb. sub.

3

30

Act I–Scene 1 a2

Subito più mosso

226

= 116

1 2

6

6

Fl. 3

3

3

1 6

Ob.

6 6

6

2 a2 Cl. in B

1 2

6

6

Bs.Cl. 1.

2.

1 2 Bn.

2. 3

3

3

3

3

3

sub. 3

a2 1 2 Hn. in F

a2 3 4

1 2 Tpt. in C 3 2. Tbn.

a2

1 2 sub.

a2 Bs.Tbn. Tuba

Timp. Sus. Cym.

Slapstick

1 Trg.

Slapstick

Perc. 2

Floor Tom-tom, muffled

B.D. 3

Piano

Harp

(The foreman cracks his bullwhip, and the slaves immediately assume different positions for inspection: they bare their teeth, expose their backs, stretch out their necks, etc.) Bullwhip Auc. 8

S

A T.C. T 8

B

unis., arco

Subito più mosso I Vn.

arco

div.

II

Va. div. Vc.

unis. Cb.

= 116

31

Act I–Scene 1

232 1 2 Fl. 3

3

3

3

3

1 6

Ob.

6

6 6

6

6

6

2 6

Cl. in B

1 2

6

6

6

6

Bs.Cl.

1 3

3

Bn. 2 3

1 2 Hn. in F

3 4

1 2 Tpt. in C

6

6

6 6

3

6

6 6

6

6

(a2) Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Slapstick) 1

(Slapstick) Perc. 2

(Floor Tom.) 3

3

3

3

3

3

3

3

3

Piano

Harp

Auc. 8

S 3

How

much? How

much?

3

3

3

For pick nies and mam mies and breed ers and bucks?

How

much? How much?

How

much? How much?

How

much? How much?

How

much? How much?

3

A 3

T.C.

How

much? How

much?

How

much? How

much?

3

3

For pick nies and mam mies and breed ers and bucks?

T 3

8

3

B

3 3

How

much? How

much?

3

3

For pick nies and mam mies and breed ers and bucks?

3

3

For pick nies and mam mies and breed ers and bucks?

I 3

Vn.

3

3

3

unis.

3

II 3

3

3

3

3

Va. 3

3

unis. Vc.

3

div. Cb.

3

3

3

32

Act I–Scene 1

236 1 2

6

6

Fl. 3

3

3

1 6

6

6

6

6

6

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 3

3

Bn. 2 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

1.

(a2) Tbn.

2.

1 2

Bs.Tbn. Tuba

Timp. (Slapstick) 1 (Slapstick) Perc. 2 (Floor Tom.) 3

3

3

3

3

Piano

Harp

Auc. 8

tutta forza S

What say?

What say?

3

3

3

3

3

For milk ing and plow ing and spin ning and can ning and such.

O,

what a

tutta forza

3

A T.C.

What say?

What say?

3

3

3

3

For milk ing and plow ing and spin ning and can ning and such.

O,

what a

tutta forza T 8

What say?

What say?

3

3

3

3

3

For milk ing and plow ing and spin ning and can ning and such.

O,

what a

tutta forza B

3

What say?

What say?

3

3

3

3

For milk ing and plow ing and spin ning and can ning and such.

O,

I 3

Vn.

3

3

3

3

3

II 3

3

3

3

3

3

Va.

Vc.

3 3

Cb.

3

3

3

3

3

3

div.

what a

33

Act I–Scene 1

240 1 2

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2.

2.

1 2 Bn. 3

1 2 Hn. in F 3 4 take straight mute Tpt. in C

1 2 take straight mute 3

(2.) Tbn.

2.

1 2

Bs.Tbn. Tuba

Timp. (Slapstick) 1

(Slapstick) Perc. 2 (Floor Tom.) 3

Piano

Harp

Auc. 8

div.

unis.

S

prob

lem to

de

cide.

O

what a

bur

den on our

shoul

ders:

3

for

unis. 3

div. A

prob

T.C.

lem to

de

cide.

O

what a

bur

den on our

shoul

ders:

div.

for unis.

T 8

prob

lem to

de

cide.

O

what a

bur

den on our

shoul

ders:

div.

3

for

unis.

B

prob

lem to

de

cide.

O

what a

bur

den on our

shoul div.

I Vn.

6

6

6

div.

unis.

div.

II 6

6

6

unis.

div.

unis.

div.

Va. 6

Vc.

Cb.

6

6

div.

ders:

3

for

34

Act I–Scene 1

246 1 2 3

3

3

3

3

3

3

3

3

3

Fl. 3

3 3

1 3

Ob.

3

3

3

3

3

3

2 3

Cl. in B

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl.

1 Bn.

2.

2.

2.

a2

2 3

1 2 Hn. in F

3 4 with straight mute

1 2

3

Tpt. in C

3

3

with straight mute 3

3

3

3

3

3

3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

3

Piano

3

3

3

3

3

3 3

3

3

3

3

Harp

Auc. 8

S 3

3

3

3

3

those who have noth ing, are noth ing, do noth ing ex 3

3

3

cept for we

3

3

who clothe them and feed them and

3

3

3

let them sleep

3

3

when they are ill.

We

3

A 3

T.C.

3

those who have noth ing, are noth ing, do noth ing ex

3

3

3

3

cept for we

3

who clothe them and feed them and

3

let them sleep

3

3

3

3

when they are ill.

We

T 8

3

3

3

3

those who have noth ing, are noth ing, do noth ing ex

cept for we

3

3

who clothe them and feed them and

3

3

let them sleep

when they are ill.

We

B 3

3

3

3

those who have noth ing, are noth ing, do noth ing ex

3

3

3

3

cept for we

who clothe them and feed them and

3

3

3

let them sleep

3

when they are ill.

We

I Vn.

unis.

div.

div.

unis.

unis.

div.

unis.

div.

unis.

II

div. a3 Va.

unis. Vc.

unis. Cb.

unis.

div. a3

unis.

35 254 1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Fl. 3

1 Ob.

3

3

2

Cl. in B

1 2

3

3

3

3

Bs.Cl.

1 Bn.

sub.

(a2)

a2

2 3 sub. a2 1 2 3

Hn. in F

3 3

3

a2

3 4 (with straight mute)

Tpt. in C

1 2 open

remove mute

3

3

3

3

3 3

3

a2 Tbn.

2.

1 2 a2

Bs. Tbn.

Bs.Tbn. Tuba

Timp.

Trg. 1 Sus. Cym. Perc. 2 B.D. 3

Piano

Harp

3

3

Auc. 8

div. S 3

3

3

3

3

teach them all they will ev er know, all they 3

will ev er know

of

God

and

work

and

home!

of

God

and

work

and

home!

of

God

and

work

and

home!

3

A 3

3

3

teach them all they will ev er know, all they

T.C.

will ev er know

T 8

3

3

3

3

teach them all they will ev er know, all they

3

will ev er know

div. B

3

3

3

3

teach them all they will ev er know, all they

pizz.

3

will ev er know

of

God

and

work

and

home!

arco (div.)

I Vn.

6

div., pizz.

arco (div.)

div., pizz.

arco (div.)

6

6

6

II 6

6

6

6

Va. div. Vc. sub. Cb. sub.

unis.

div. a2

unis.

6

6

6

6

36

Act I–Scene 1

260 1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Fl. 3

1 Ob. 2

2. Cl. in B

1 2

3

3

3

3

3

3

Bs.Cl. a2

(a2) 1 2 Bn. 3

a2 1 2 sub.

Hn. in F

a2 3 4 sub. a2

Tpt. in C

remove mute

1 2 3

3

3

3

3

3

3 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Xyl. 1

Perc. 2

3

Piano

C

Harp

molto Auc. 3

8

By

the

3

S

A T.C. T 8

B

unis. sul A I

3 3

3

3

3

3

3

3

3

3

3

Vn. II 3

unis. Va. 3

3

3

3

3

div. Vc.

Cb.

unis.

3

pow ers in vest ed and by cus tom in ges ted, I

37

Act I–Scene 1 a2

265

a2

1 2 Fl.

to Piccolo 3

1 3

Ob. 2

3

a2 Cl. in B

1 2

Bs.Cl.

1 2 3

Bn. 3

a2

a2

a2

a2

1 2 Hn. in F 3 4 open

a2

1 2 Tpt. in C 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1 Chimes Perc. 2

3

Piano

Harp

Auc. 8

3

here by

3

3

de clare and al low this sale to be now

o

pen!

S

What say? What

say?

What say? What

say?

What say? What

say?

What say? What

say?

3

For

A T.C.

3

For

T 8

3

For

B 3

I Vn.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

unis. II

Va.

Vc.

Cb.

For

38

Act I–Scene 1

271

Piccolo

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

a2

a2

3

1 2 Hn. in F

a2

a2

a2

a2

3

3 4

1 2 3

3

Tpt. in C

3

3

3

Tbn.

1 2

3

3

a2 Bs.Tbn. Tuba

Timp.

Xyl. 1

Chimes Perc. 2

3

Piano

Harp

Auc. 8

S 3

3

3

3

3

milk ing and plow ing and spin ning and can ning and such.

How much? How

much?

How much? How

much?

How much? How

much?

How much? How

much?

For

3

A 3

T.C.

3

3

milk ing and plow ing and spin ning and can ning and such.

3

For

T 8

3

3

3

3

3

milk ing and plow ing and spin ning and can ning and such.

B

3

3

3

3

milk ing and plow ing and spin ning and can ning and such.

For

3

unis., arco pizz.

div.

I sub. Vn.

unis., arco

div., pizz. II

sub. unis., arco

div., pizz. Va.

sub. Vc.

3

3

3

3

sub. Cb.

sub.

For

39

Act I–Scene 1

277 Picc.

Fl.

1 2

1 3

3

3

3

Ob. 2 3

Cl. in B

3

3

3

1 2

Bs.Cl.

1 2 3

3

3

3

Bn. 3 3

3

3

3

3

3

1 2 Hn. in F

3 3

3

3 3

3

3 4 (1. ossia: change to Trumpet in D) Tpt. in C

1 2

3

2. Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Glock. 1 Trg. Perc. 2

3

Piano

EF G A DCB

Harp

Auc. 8

div.

S 3

3

3

3

pick nies and mam mies and breed ers and bucks, who know 3

noth ing

of

God

and

home!

div.

3

A 3

T.C.

3

pick nies and mam mies and breed ers and bucks, who know

noth ing

of

God

and

home!

noth ing

of

God

and

home!

and

home!

T 8

3

3

3

3

pick nies and mam mies and breed ers and bucks, who know

div. B 3

3

3

3

pick nies and mam mies and breed ers and bucks, who know div.

noth ing

of

God

unis.

div.

unis.

div.

I 3

Vn.

3

3

3

div. II 3

3

3

3

div., a2

3

div. Va. 3

3

3

div.

Vc. 3

3

3

3

3

3

3

3

Cb.

40

Act I–Scene 1

Poco meno mosso

rit.

283

= 96–104

Picc.

a2 Fl.

1 2

1 Ob. 2 3

Cl. in B

3

3

3

3

2.

1 2

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F

3

3 4 3

(1. ossia change back to C Trumpet)

a2 Tpt. in C

1 2

3 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Glock. 1

Chimes Perc. 2

3

Piano

loco

8ba

3

3

3

3

8ba

Harp

(The auctioneer brings forth the first slave for sale.) port. Auc. 8

Now,

3

this here is Cil la.

S

A T.C. T 8

B

Poco meno mosso

rit.

unis.

= 96–104

2 soli, div., poco vib.

I sub. Vn.

unis.

2 soli, div., poco vib.

II sub. (div.)

unis.

Va. 3

unis.

unis., pizz.

div.

Vc. sub. pizz. Cb.

3

3

3

div.

1 sola, poco vib.

3

A bout fif ty, she thinks. A cook a child nurse,

41

Act I–Scene 1

ben misurato

accel.

289 Picc. a2

1. Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

sub. 3 4 sub.

Tpt. in C

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

8va

Piano

E

Harp

Auc. 8

3

3

laun dress and seam

stress.

This bid be gins at two

S

A T.C. T 8

B

ben misurato

accel.

tutti, unis.

1 solo

I sub. Vn.

tutti, unis.

poco

1 solo

II sub. unis.

poco

tutte, div.

1 sola

Va. sub.

poco

1 solo

unis., arco Vc. sub. arco Cb.

gli altri poco

pizz.

hun dred dol lars. Do I hear two for ty, two

42

Act I–Scene 1

a tempo

294

rall. a tempo

accel.

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn.

sub. 3

1. 1 2 Hn. in F

3 4 1. take straight mute

Tpt. in C

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

8va

Piano

Harp

(A customer raises his hand, thereby upping the bid.)

Auc. 8

for ty, two for ty, two

for ty?

Yes!

Two

hun dred for ty. Do I hear three hun dred,three hun dred, three

emphatically S

Two

for

ty.

emphatically A

Two

T.C.

for

ty.

emphatically T 8

Two

for

ty.

emphatically B

Two

for

a tempo

ty.

rall. a tempo

accel.

unis.

tutti, div.

1 solo

I sub. gli altri

Vn.

unis. div.

tutti, div.

2 soli, div.

II sub. gli altri tutte, unis.

2 sole, div.

div.

Va. sub. le altre

tutti, div. 1 solo

unis. Vc. sub. gli altri

sub. div., arco

unis.

Cb. sub.

43

Act I–Scene 1

a tempo

299

rall.

a tempo

Picc.

a2 Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

Bs.Cl.

1 2 Bn.

to Contrabassoon 3

1.

1.

1 2 Hn. in F

3. 3 4 open

1., with straight mute Tpt. in C

take straight mute

1 2 take straight mute 3

take straight mute Tbn.

1 2 Bs. Tbn. take straight mute

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 3

8

3

hun dred? I need three hun dred dol

lars.

Yes!

Three

enthusiastically S

Three

hun dred!

enthusiastically A

Three

T.C.

hun dred!

enthusiastically T

Three

8

hun dred!

enthusiastically B

Three

hun dred!

a tempo

rall.

tutti

div.

a tempo unis.

I sub. gli altri

Vn.

unis. tutti, div.

II gli altri, div.

sub. tutte, unis.

Va. sub. le altre, div.

tutti, div.

Vc. sub.

gli altri pizz. Cb.

div., arco

unis.

44

Act I–Scene 1

303 Picc. (a2) Fl.

1 2

1 Ob. 2 (a2) Cl. in B

1 2

Bs.Cl. 1. Bn.

1 2

Cbn.

(1.) Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

E

3

3

B

3

3

Auc. 8

3

3

hun

dred

dol lars. Do I hear

four

3

3

3

hun dred, four hun dred,four hun dred, four hun dred, dol

lars?

E.G. excitedly S 3

Four

3

3

3

hun dred,four hun dred,four hun dred,four hun dred,

excitedly A 3

T.C.

Four

3

3

3

hun dred,four hun dred,four hun dred,four hun dred,

excitedly T 8

Four

3

3

3

3

3

3

3

3

hun dred,four hun dred,four hun dred,four hun dred,

excitedly B

Four

hun dred,four hun dred,four hun dred,four hun dred,

I Vn.

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

II div.

Va. unis., pizz.

arco

Vc. pizz. Cb.

45

Act I–Scene 1

Maestoso

306

= 52–54

Picc.

a2 Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

* Bs.Cl.

a2 Bn.

1 2 Contrabassoon

Cbn.

(1.)

2.

2. take straight mute

a2

take straight mute

1. (open)

1 2 Hn. in F 3 4 with straight mute

2. remove mute

1 2 Tpt. in C

with straight mute

remove mute

3

with straight mute remove mute Tbn.

1 2 Bs. Tbn., with straight mute

remove mute

Bs.Tbn. Tuba

Timp. Xyl. 1 Sus. Cym., w/brushes Perc. 2 B.D. 3 8va

to Celesta

Piano

Harp

3

3

Auc. impatient, forcefully

8

Edward Gaines: E.G.

Hold

div.

on!

Hold

on!

S

four

hun

dred!

four

hun

dred!

four

hun

dred!

four

hun

dred!

A T.C.

T 8

B

Maestoso

= 52–54

I 6

6

6

6

Vn.

unis.

div. II 6

6

6

6

unis. Va.

div. Vc.

Cb.

*If measures 306-323 are too difficult to play on Bass Clarinet, use Clarinet in B .

unis., pizz.

46

Act I–Scene 1

Playfully, but a little agitated

310

= 104–108

Picc.

Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

3

3

3

3

Bs.Cl. 3

a2 Bn.

3

3

3

3

3

3

3

1 2 to Bassoon

Cbn.

1. Hn. in F

take straight mute

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 (Sus. Cym., brushes) Perc. 2 (B.D.) 3

Celesta

Harp

Auc. 8

più pesante E.G. 3

3

I’m tell ing you to

hold

on!

startled, a little nervously

S

Who startled, a little nervously A

Who

T.C. T 8

B

Playfully, but a little agitated I Vn. II pizz. Va.

Vc.

Cb.

= 104–108sul A

47

Act I–Scene 1

315 Picc. 3 3

Fl.

1 2 3

3

3

3

1 Ob. 2 3 3

(a2) Cl. in B

3

a2

3

3

3

3 3

3

Bs.Cl. 3

3

3 3

3

3

3

3

3

a2

3

1 2

3 3

3

3

3

3 3

3 3

3

3 3

3

3

3 3

3

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Auc. 8

E.G.

S

is it?

Who is it?

Who is it?

Who

is it?

Who is it?

Who is it?

Who

is it?

Who is it?

Who is it?

Who

A

is it?

T.C.

Who is it?

Who is it?

startled, a little nervously T 8

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

Who is it?

Who is it?

startled, a little nervously B

What is it?

I Vn. II

Va.

Vc.

Cb.

Who is it?

Who is it?

48

Act I–Scene 1

L’istesso tempo ( = 104–108)

321

to Flute

Picc. dim. 3

Fl.

3

3

3

3

1 2

3 3

3

3

3

3

3

3

3

3

3

3

1 Ob. 2 3 3 3

3

3

3

3

a2 Cl. in B

1 2

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. 3

3

1 2 Bn. 3 with straight mute 1 2 Hn. in F

with straight mute 3 4

Tpt. in C

1 2

3 open Tbn.

1 2 a2, open

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Auc. 8

E.G.

S

is it?

Who is it?

Who

is it?

Who is it?

Who

is it?

Who is it?

Who

is it?

Who is it?

Who

is it?

Who is it?

A

Who is

T.C.

it

Who is it?

T 8

Who is it?

Who is it?

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

What is it?

B

Who is it?

What is it?

L’istesso tempo ( = 104–108) 4 soli, div. a4 div. I Vn.

div. II

Va.

Vc.

Cb.

49

Act I–Scene 1

327 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(with mute)

Hn. in F

1 2 (with mute) 3 4

Tpt. in C

1 2

3 take straight mute Tbn.

1 2 take straight mute

Bs.Tbn. 2 Tuba

Timp.

1

Perc. 2

3

Celesta 3

3

3

3

3

3

3

3

3

3

3

3

Celesta

EF GA D CB

Harp

polite, but annoyed Auc. 8

Ex

cuse

me,

sir.

Le

E.G.

S

A T.C. T 8

B

tutti, unis.

div.

I Vn.

unis.

div.

II

div. a3, arco

div. a2

Va. div. a2, arco

div. a2

(pizz.)

arco

Vc.

Cb.

gal bus ’nessis in pro

gress

50

Act I–Scene 1 (1. solo)

334 1 2

dolce, cant. Fl.

Flute 3

1 Ob. 2

Cl. in B

1 2 dolce, cant.

Bs.Cl.

1 2 Bn. 3

remove mute Hn. in F

1 2 remove mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

3

3

3

3

3

3

3

3

3

3

3

3

Celesta

EF G A D CB

Harp

poco Auc. 8

here.

3

By

the

3

3

pow ers in vest ed,and by cus tomsin

gest

ed…

(interrupting the auctioner) E.G.

I

beg

your

par

don!

S

A T.C. T 8

B

unis.

div.

I Vn.

unis. II

unis. Va. div. Vc.

pizz. Cb.

51

Act I–Scene 1

342 Moderato

= 48

1 2 Fl. 3

1 Ob.

espr.

espr.

2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C

D

F

B

Auc. 8

più espr. E.G. 3

3

This

farm

be longed to my bro

ther.

It

can’t

be sold

to an oth

er.

S

A T.C. T 8

B

Moderato

= 48

unis.

div.

I Vn.

div. II

Va. unis.

div.

unis.

div.

Vc. dolce Cb.

3

div.

52

Act I–Scene 1

349

= 104

1 2 3

3

Fl.

3

3

3

3

3

3

3

3

3

3

1 Ob. 2

2. Cl. in B

1 2

Bs.Cl.

3

3

3

3

3

3

3

3

3

3

3

Xyl. 3

3

3

3

3

3

3

3

3

3

3

1 2 Bn. 3

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

port.

meno Auc. 8

3

It is true.

If

a

fa mi ly mem ber calls the claim, no

sale can take place

3

here

and

now.

E.G.

S

A T.C. T 8

B

= 104 1 solo tutti, div. I 3

Vn.

2 soli (div.)

tutti (div.)

2 sole, div.

tutte (div.)

II

Va.

2 soli (div.) Vc.

1 solo, arco Cb.

tutti (div.)

53

Act I–Scene 1

354

= 63–72 1.

1 2 with a slight separation on each note

Fl.

(with slight seperation on each note)

3

1 dolce

with a slight separation on each note

Ob. 2

dolce

1. Cl. in B

1 2 with a slight separation on each note

dolce

Bs.Cl.

1 2 Bn. 3

1., open Hn. in F

1 2 with a slight separation on each note

3., open

3 4 with a slight separation on each note

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Piano

Celesta

Harp

Auc. più sonoro

8

sotto voce E.G. 3

I

am a

Gaines.

Ed

ward Gaines,

bro

ther of the de ceased.

S

A T.C. T 8

B

= 63–72

1 solo

2 soli, div.

I Vn.

1 solo II unis.

Va. pizz. unis. Vc. tutti (arco) Cb.

54

Act I–Scene 1

360 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1., solo 1 2 Bn.

dolce 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

EF G A D C B

Harp

Auc. 8

(incredulously, quasi sotto voce)

E.G. 3

Don’t you re

3

mem

S

A T.C. T 8

B

tutti, div.

unis.

I Vn.

tutti unis. II

div.

unis.

Va.

div. a2, arco Vc.

pizz. Cb.

arco

ber me?

55

Act I–Scene 1

366

Con moto

= 144–152 (un poco agitato)

1 2 Fl. 3

1 take English Horn

Ob. 2 a2 Cl. in B

a2

1 2

Bs.Cl.

1 2 Bn.

Bassoon 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G.

(with curiosity aroused) S

Ed ward Gaines?

Who is he?

Did

old Gaines have a bro

ther?

Did

old Gaines have a bro

ther?

Who is

Who is he?

(with curiosity aroused) A T.C.

Who is he?

(with curiosity aroused)

Ed ward Gaines?

T 8

Ed ward Gaines?

Who is he?

(with curiosity aroused)

he?

Ed ward Gaines? div.

Ed ward Gaines? Ed ward Gaines?

unis.

B

Who is

Con moto

he?

Ed ward Gaines?

= 144–152 (un poco agitato)

pizz.

arco

Who is he?

Ed ward Gaines?

Who is he?

div.

unis., pizz.

I Vn.

sub.

pizz.

II pizz. Va. pizz. (div.) Vc. sub. pizz. Cb. sub.

div.

Ed ward Gaines?

unis.

div.

unis.

56

Act I–Scene 1

= 72–80

371

a2

1 2 Fl. 3

Ob.

1

E.H. a2 Cl. in B

1 2

Bs.Cl. sub.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G. 3

I was born

3

3

a mong you,

and

now

I’ve re turned.

3

Does n’t

a ny one

re mem

ber me?

S

A T.C. T 8

B

= 72–80 I Vn. II div.

unis.

arco

Va. dolce (div.) Vc.

Cb.

3

Con moto 377

57

Act I–Scene 1

= 144–152 (un poco agitato)

(a2)

rall.

1 2 Fl. 3

Ob.

1 English Horn

to Oboe

E.H. (a2) 1. Cl. in B

1 2 espr. 3

Bs.Cl.

1 2 Bn. 3

a2, open

take straight mute

a2, open

take straight mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G. legato

sempre stacc.

3

S

No,no, no.

No,no, no.

Was it legato

sempre stacc.

a

long

time

a

go?

a

long

time

a

go?

3

A

No, no, no.

T.C.

No,no, no.

Was it

sempre stacc. T 8

No, no, no.

No,no, no.

No,no, no.

No,no, no.

No,no, no.

No,no, no.

No.

No.

No,no, no, no, no.

No,no, no.

sempre stacc. B

No, no,

Con moto

no, no,

no, no,

no, no.

No,no.

= 144–152 (un poco agitato)

rall.

arco I Vn.

arco II pizz.

div., arco

Va. unis. Vc.

Cb.

div.

unis.

arco

3

58

Act I–Scene 1

384

Come sopra

= 80

1.

1 2 sub.

Fl. 3

1 sub.

Ob. 2 a2 Cl. in B

a2

1., solo

1 2 with voice

Bs.Cl.

1 2 Bn. 3

with straight mute 1 2 Hn. in F

with straight mute 3 4 1., (with straight mute)

Tpt. in C

1 2 sub. 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Sus. Cym., with brushes 1 B.D. Perc. 2

3

Piano

Harp

Auc. 8

(full voice)

E.G. 3

3

You thought I

was

lost,

did n’t you,

in

a

rough

life

of

the game.

You were wrong.

S

A T.C. T 8

B

Come sopra

= 80

div., pizz.

I Vn. div., pizz. II

Va. div., pizz. Vc. div. Cb.

59

Act I–Scene 1

Più mosso

390

= 92

Più maestoso

= 80

a2

1 2

3

3

3

3

Fl. 3 6

6

6

6

6

6

6

6

1 3

Ob.

3

3

3

2 (a2) Cl. in B

1 2 6

6

6

6

6

6

6

6

Bs.Cl.

1 2 Bn. 3

Hn. in F

2. open

1, solo, open, with voice

remove mute 1 2

1.

open

remove mute 3 4

open

1. remove mute 1 2 Tpt. in C

3

3

3

3

3

open 3

Tbn.

with straight mute

remove mute

open

with straight mute

remove mute

open

3

1 2

Bs.Tbn. Tuba

Timp. (Sus. Cym.) 1 (B.D.) Perc. 2

3

Piano

Piano

Harp

Auc. 8

sotto voce E.G.

(Well, no,

you were n’t…)

Well,

yes,

you

were!

S

A T.C. T 8

B

Più mosso

= 92

Più maestoso

= 80

unis., arco

I espr. Vn.

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

unis., arco II espr. div., pizz.

unis., arco

Va. unis., arco

espr.

espr. div.

Vc. espr. unis., arco Cb.

div.

60

With swing 396

Act I–Scene 1

= 160

(a2)

1 2 Fl.

to Piccolo 3

1 Ob. 2 1. Cl. in B

1 2

3

3 3

3

3

3

Bs.Cl. 3

2.

3

1 2 Bn. 3

(a2)

take straight mute

with straight mute

take straight mute

with straight mute

soli

1 2 3

Hn. in F

3

3 4

Tpt. in C

fall-off

2. take straight mute

fall-off

take straight mute

soli

1 2

3 1. Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

secco

piĂš cantabile

E.G. 3

I

was

just

a

3

boy

when an y of

S

A T.C. T 8

B

With swing

= 160

div.

I Vn.

div. II

Va. unis. Vc.

unis. Cb.

3

3

you

3

last

saw

61

Act I–Scene 1

403 Picc. a2 Fl.

1 2

3 3

1 Ob. 2 1., solo Cl. in B

3

3 3

3 3

1 2 3

3

3

3

3 3 3

solo

Bs.Cl. (2.)

colla voce

1.

3

3

3

3

1 2 Bn. 3

(with straight mute)

open

(with straight mute)

open

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

Tpt. in C

with straight mute

3

3

3

with straight mute 3

3

3 1. Tbn.

take straight mute

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. Hi-hat 1 crisp, secco Perc. 2

3

Piano

Harp

Auc. 8

E.G. 3

me.

3

3

3

But I’ve been hap pi ly mar

3

3

ried

3

with a

daugh

ter

S

A T.C. T 8

B

unis. I Vn. II

Va. pizz. Vc.

pizz. Cb.

sul G

62

Act I–Scene 1

409

Piccolo

Picc. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

a2 Fl.

1 2

3 3

3

3

3

3

3

3

3

1 Ob.

Oboe 2

3

a2 Cl. in B

3

3

1 2 3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. 3

(1.)

a2

2.

1 2 Bn. 3 with straight mute 1 2 Hn. in F

with straight mute 3 4 (with straight mute) 3

1 2 Tpt. in C

3

(with straight mute)

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

with straight mute Tbn.

2.

1 2 3

3

3

3

3

3

3

3

3

3

Bs. Tbn.

a2

Bs.Tbn. Tuba

Timp. Hi-hat 1 S.D., r.s. Perc. 2 3

3

3

3

3

Piano

E F G A D C B

Harp

Auc. 8

E.G. 3

we both a

dored.

S

A T.C. T 8

B

div.

unis.

div.

I Vn. unis. II

Va. arco Vc.

arco Cb.

div. a2 unis.

63

Act I–Scene 1

415

L’istesso tempo ( = 144) to Flute

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo, open

1. remove mute Hn. in F

3

3

1 2 with no attack

3 4 remove mute Tpt. in C

1 2 remove mute 3 remove mute

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G. 3

Now S

A T.C. T 8

B

L’istesso tempo ( = 144) unis. I Vn.

div. II

Va.

Vc. sub. Cb. sub.

3

I’m

3

a

wid

ow

3

er,

3

a

man

3

of

means,

64

Act I–Scene 1

421 1 2 6

6

Fl.

Flute

6

6

6

6 6

6 6

6

6

3 6

1 Ob. 2 1. Cl. in B

3

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

3

1 2 3 4

open 1 2 Tpt. in C

open

3 3

3 1., open Tbn.

1 2 3

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

più dolce E.G. 3

3

A

fa

3

ther

3

with a

child

to

raise.

S

A T.C. T 8

B

I 3

Vn.

3

II

Va. div. Vc.

Cb.

3

65

Act I–Scene 1

424 1 2 Fl.

to Piccolo 3

1 Ob. 2 1. Cl. in B

2.

3

1 2

3

3

3

3

3

Bs.Cl. 3

3

2. 1 2 sub.

Bn. 3

sub.

1. take straight mute

a2, with straight mute

1 2 Hn. in F

accomp.

a2 (with straight mute)

sub.

3 4 accomp.

sub. 1., with straight mute

take straight mute

3

1 2 Tpt. in C

with straight mute

take straight mute

3

3 2. open take straight mute Tbn.

with straight mute

1 2 3

Bs. Tbn. Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

concise E.G. 3

What my

broth er

3

owned,

I

S

A T.C. T 8

B

pizz. I Vn.

pizz. (div.)

sub.

pizz.

sub.

II

Va. unis.

pizz.

sub.

Vc. sub. pizz. Cb. sub.

66

Act I–Scene 1

430

Piccolo

Picc. 3 3

1. Fl.

a2

1 2

3 3

1 3

Ob.

3

2 3 3

1. Cl. in B

a2

1 2

3 3

3

Bs.Cl. 3

3

colla voce

3

(2.) 1 2 sub.

Bn. 3

sub. 1., open

remove mute

2. open

1 2 Hn. in F

accomp.

sub.

3

sub.

open

sub.

3 4 accomp.

(with straight mute) 1. 3

1 2

sub. 3

1. 3

Tpt. in C

3

(with straight mute) 3

3

remove mute Tbn.

3

remove mute

3

open

1 2 3

staccatissimo Bs. Tbn.

a2

Bs.Tbn. Tuba staccatissimo

Timp.

1

Perc. 2

3

3 3

Piano

3 3

Harp

Auc. 8

full, grand

E.G. 3

have

3

right of first

3

of fer to

3

buy,

3

3

3

which I

3

do

S

A T.C. T 8

B

div.

arco

unis.

I sub.

Vn.

arco (div.) II

sub.

arco

Va. sub.

arco

Vc. sub. arco Cb. sub.

3

now,

3

friends.

Which I

3

3

do

now.

67

Act I–Scene 1

436 3

3

3

Picc. 3

3

3

3

3

3

(a2)

3

3

3

3

3

3

3

1. Fl.

1 2

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 3

Ob.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

2 3

3

3

3

3

1.

(a2) 3

Cl. in B

3

1 2 3

3

3 3

3

3

3

3

Bs.Cl. a2

1. 1 2 Bn. 3

1 2 Hn. in F 3 4 (2. with straight mute) 3

(1.)

3

1 2 3

Tpt. in C

3

3

remove mute

3

3

3

(with straight mute)

3 3

3 3

3

3

3

3

3

3

3

3

3

remove mute

3

3 3

3

3

3

3

a2, open Tbn.

1 2 a2 (open)

a2

Bs.Tbn. Tuba

Timp. Hi-hat 1 secco S.D., rimshots Perc. 2 3

3

3

3 3

Piano

3

3

3

3

3 3

3 3

3

3 3

3 3

3 3

3

3

3

3

3

3

3

Harp

Auc. 8

E.G.

S

A T.C. T 8

B

div.

unis. div.

unis.

I 3

3

3

3

Vn.

non div.

unis. II 3

3

3

3

non div. Va. 3

3

3

3

div. unis. Vc.

Cb.

68

Act I–Scene 1

442 Picc. 6

(1.) a2 Fl.

1 2

6

7

1 6

Ob.

to English Horn 2 (1.)

Cl. in B

a2

7

1 2 6

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

port. Auc. 8

3

It

is

true.

It

is

3

the law.

E.G. (echoing the auctioneer) S

It

is

true. (echoing the auctioneer)

A T.C.

It

is true.

It

is true, it

is the law.

is true, it

is the law.

(echoing the auctioneer) T 8

It

is true.

It

(echoing the auctioneer) B

It

pizz. I Vn.

pizz. II sul G pizz.

Va. div., pizz., sul D

arco (div.)

Vc. pizz. div., arco Cb.

is

true,

it

is the law.

69

Act I–Scene 1

447 Picc. 6

6

3

6

6

3

6

6

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

a2 Fl.

Ob.

1 2

3

3

1 English Horn

3

3

3

to Oboe

3

3

Oboe

E.H. 3

a2 Cl. in B

1 2

6

3

3

6

3

3

3

3

3

3

3

3

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4 1., open

Tpt. in C

3

3

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. Sus. Cym., with brushes 1 B.D. Perc. 2

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

Piano 3

3

Harp

3

Auc. 3

8

We must en

ter tain

3

3

his

right

un der the law.

E.G. secco S

Un der the law. secco A

Un der the law.

T.C.

secco T 8

Un der

the law.

secco

B

Un der

the law.

arco I 3

6

6

molto stacc.

dolce arco

Vn.

3

6

6

6

6

II Sul G (pizz.)

dolce

molto stacc. arco

6

6

div.

Va. molto stacc. Sul D pizz. (div.)

arco (div.)

Vc. unis., pizz. Cb.

div.

70

Act I–Scene 1

453 Picc.

Fl.

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Ob. 2 3

2. Cl. in B

1 2

2.

3

Bs.Cl.

1 2 Bn. 3 1.

a2

1 2 Hn. in F

a2 3 4

2. open 1 2 Tpt. in C

open 3

Tbn.

1 2 Tuba

Bs.Tbn. Tuba

Timp. (Sus. Cym.) 1 (B.D.) Perc. 2 Tambourine 3 sempre sotto voce

Piano

sub.

Harp

(The Auctioneer stands close to Edward Gaines.) poss. Auc. 3

8

What is

3

3

your plea sure, Mis

3

ter Gaines,

3

sir?

What

E.G.

S

A T.C. T 8

B

div.

pizz. (div.)

I

Vn.

div.

pizz. (div.)

II

unis.

pizz.

Va.

div. a2

pizz. (div.)

Vc. unis., arco

pizz.

Cb. sempre ben marcato

sub.

parts in t’rest you?

71

Act I–Scene 1

461 Picc.

Fl.

1 2

1 molto stacc.

Ob. 2 1. Cl. in B

3

3

1 2 3

3

Bs.Cl. molto stacc. 2.

2.

1 2 sub., molto stacc.

Bn. 3

sub., molto stacc.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Auc. 8

E.G. 3

I want

3

it

3

all.

I’ll have it

3

3

all.

Ev

’ry

box

of

Chi

na

3

tea

be longs

S

A T.C. T 8

B

unis., arco

arco

pizz.

I sub. Vn. unis., arco

3

div., pizz.

3

arco (div.)

II

div., arco

sub. unis., pizz.

3

Va. sub. unis. (pizz.) Vc.

(pizz.)

sub. div.

Cb. sub.

unis.

arco

72

Act I–Scene 1

467 Picc.

1. Fl.

1 2

3 3 3 3

1 3

3

3 3

3 3

Ob.

3

2 3 3

1. Cl. in B

1.

3

3

1 2 3

3

3

3

Bs.Cl. 3

3

3

3

2.

(2.)

2.

1 2

Bn.

3

3

3

3

3 3 3

3

3

open Hn. in F

1 2 open 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Wd. Blk. Perc. 2 Tamb. 3

Piano

Harp

Auc. 8

E.G. 3

3

to

me.

Ev

’ry bo

3

3

dy

ev

’ry

3

broom,

ev

’ry

3

mule and ev

3

’ry

loom.

S

A T.C. T 8

B

3

3

I 3

dolce

Vn.

unis.

3

3

sub.

3

3

sub.

3 3

II sub.

3

dolce

sub.

3

3

3

Va. dolce

sub.

3

arco

3

arco

3

3

sub.

3 3

3

3

3

Vc.

Cb.

3

73

Act I–Scene 1

473 Picc. 3

3

3

3

sub.

3

3

3

3

sub.

3

3

3

3

sub.

3

3

3

3

sub.

a2 Fl.

1 2

3 3

1 Ob. 2

a2 Cl. in B

1 2 3

a2 3

3

3

3

3

3

3

3

3

Bs.Cl. (2.) 1 2 sub.

Bn. 3

sub. take straight mute

a2

with straight mute

1., open

remove mute

1 2 Hn. in F

sub.

3

take straight mute

3

3

3

3

3

3

3

a2

with straight mute

remove mute

3 4 sub.

Tpt. in C

3

3

a2

1 2 3

3

3

3

3

3

3

3

3

3

3

sub.

3 1. Tbn.

1 2 a2

Bs. Tbn.

a2

Bs.Tbn. Tuba sub. Timp. Hi-hat 1 Wd. Blk. Perc. 2 Tamb. 3

Piano

3

3

3

3

3

3

3

3

Harp

Auc. (pointing to the slaves) molto

8

E.G. 3

3

3

3

3

3

Keep all the goods and pro per ty to geth er.

I’ll have it

S

A T.C. T 8

B

ord.

at the frog I 3

3

3

3

3

Vn. div., at the frog

3

3

3

3

3

3

3

3

3

unis., ord.

II 3

3

3

3 3

div.

ord.

at the frog

unis.

Va. sub.

3

3

3

3

Vc. sub. Cb. sub.

3

all.

74

Act I–Scene 1

480 3

3

3

Picc.

Fl.

3

3

3

3

3

3

3 3

1 2 3 3

3 3 3

3 3

3

3

3

3

3

3

3

3

3

3

3

1 3

Ob.

3

3

3

3

3 3 3

3

3

3

3

3

3

3

2 3

3

Cl. in B

3

3

1 2

Bs.Cl.

1. 1 2 3

Bn.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 2. open 2. 1 2 Hn. in F

open

a2

3 4 3

3

1 2 3

Tpt. in C

3

3

3

3 3

3

3

3

3

3

3

3

3

3 3

3 3

Tbn.

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

a2 Bs.Tbn. Tuba

Timp. Hi-hat 1 secco, crisp

S.D.

r.s.

Perc. 2 3

3

3

3

Piano

Harp

Auc. 8

E.G.

S

A T.C. T 8

B

I 3

3

3

3

3

3

3

6

6

3

3

Vn. 3

6

3

II 3

div. a2

3

3

3

3

3

3

6

3

6

3

3

unis.

Va. 6

Vc.

Cb.

3

3

3

75

Act I–Scene 1

485 Picc. 3

3

3

3

3

3

3

3

1. Fl.

1 2

3 3

3

3

3

3 3

3

3

3

1 3

Ob.

3

3

3

take English Horn 2 3

3

3

3

1. Cl. in B

1 2

3 3

Bs.Cl.

1 3

3

3

3

Bn. 2 3

a2 1 2 Hn. in F

(a2) 3 4 1., with straight mute

1. take straight mute Tpt. in C

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. (Hi-hat) 1 (S.D., r.s.) Perc. 2 3

3

Wood Block

3

8va

Piano

Harp

(The auctioneer and Edward shake hands after agreeing on terms for the sale of Maplewood Plantation.)

Auc. 8

E.G.

S

A T.C. T 8

B

div.

pizz.

I 3

3

3

3

Vn.

div.

unis.

II 3

3

3

3

div. Va. 3

3

3

3

non div. Vc.

Cb.

(Edward shakes hands with his neighbors.)

(The auctioneer hands Gaines some legal paperwork to examine, and the townspeople begin to disperse.)

76

Act I–Scene 1

491

to Flute

Picc. 3

3

sub.

(1.) Fl.

1 2

3 3

Ob.

3

1 3

3

sub. to Oboe

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

1 2

3 3

3

3

3

3

3

3

sub.

Bs.Cl.

a2 1 2 Bn.

3

3

3

3

3

Hn. in F

1 2 3 4 3

(1.) Tpt. in C

3

1. open

remove mute

1 2 sub. 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2 (Wd. Blk.) 3

Piano

Harp

(Several prominent businessmen remain to witness the transaction, as does Edward’s daughter, Caroline, who will inherit Maplewood one day.)

Auc. 8

E.G.

S

A T.C. T 8

B

arco

I marc.

Vn.

pizz.

unis., arco

div.

II marc. pizz. (div.)

arco

unis.

Va. marc. 3

3

3

3

pizz.

3

3

3

3

pizz.

div. a2, arco

Vc. sub. arco

Cb. sub.

77

Act I–Scene 1

With rhythmic vitality (like a gospel chorus), but not hurried 498 = 104 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Low T.-t., muffled 1 Congas, sempre solo Perc. 2 Congas, sempre solo 3

Piano

Harp

(The slave families, now allowed to stay together thanks to Edward’s generosity, celebrate in dance and song.) Cilla: C. hand claps

improvise shouts, 498-501

A

lit

tle

more

time,

a

A

lit

tle

more

time,

a

improvise shouts, 498-501

A

lit

tle

more

time,

a

improvise shouts, 498-501

A

lit

tle

more

time,

a

div.

unis.

Margaret Garner: M.G. hand claps

improvise shouts, 498-501

Robert Garner: R.G. hand claps

The Slaves: S hand claps A T.C.

hand claps

improvise shouts, 498-501

A

lit

tle

more

time,

a

hand claps

improvise shouts, 498-501

A

lit

tle

more

time,

a

hand claps

improvise shouts, 498-501

A

lit

tle

more

time,

a

T 8

B

With rhythmic vitality (like a gospel chorus), but not hurried I Vn. II pizz. Va. unis., pizz. Vc.

pizz. Cb.

= 104

78

Act I–Scene 1

504 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Piano

Harp

meno C.

lit

tle

more

time,

more

time

with

the

child

ren we

love. meno

M.G.

lit

tle

more

time,

more

time

with

the

child

ren we

love.

lit

tle

more

time,

more

time

with

the

child

ren we

love.

R.G.

meno S

lit

tle

more

time,

more

time

with

the

child

ren we

love. meno

A T.C.

lit

tle

more

time,

more

time

lit

tle

more

time,

more

time

with

the

child

ren we

love.

with

the

child

ren we

love,

T 8

time

with meno

unis. div.

div.

B

lit

I Vn. II

Va.

Vc.

Cb.

tle

more

time,

more

time

with

the

child

ren we

love.

our bro

thers.

79

Act I–Scene 1

510 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Piano

Harp

C.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

M.G.

R.G.

S

A

T.C.

sub. T 8

We

div.

unis.

unis.

div.

time. unis.

B

We

feel

the mer

cy

of

our

Lord

God

with

the

grace

of

a

lit tle

more

time.

I Vn. II

Va. arco Vc.

arco Cb.

80

Act I–Scene 1

517 1 2 Fl.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

Flute 3

1 Ob. 2

Cl. in B

1 2 espr.

with voice

Bs.Cl. sub.

sub.

sub.

sub.

a2 1 2 Bn. 3

a2 Hn. in F

1 2 a2 3 4

Tpt. in C

1 2 sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(Cilla, Margaret, and Chorus improvise shouts measures 518 through 521.) C.

An

oth

er

sea

An

oth

er

sea

M.G.

R.G.

S

A T.C. T 8

B

div.

unis.

div., sul tasto, col vib.

I sub.

Vn. div.

(div.)

unis.

sub. div.

unis.

sul tasto, col vib.

II sub.

sub.

arco

sul tasto, col vib.

Va. sub.

sub.

sub.

sub.

pizz.

Vc.

pizz. Cb. sub.

sub.

81

Act I–Scene 1

523 1 2 espr.

Fl. 3

1 Ob. 2

Cl. in B

1 2 espr.

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

più sonoro C.

son

of

friend

ship

tell ing

sto

ries,

shar

ing

sec

rets by

the

fire.

rets by

the

fire.

più sonoro M.G.

son

of

friend

ship

tell ing

sto

ries,

shar

ing

sec

R.G.

S

A T.C. T 8

B

I Vn.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

II

Va. sub. arco Vc. sub. arco Cb. sub.

82

Act I–Scene 1

530 1 2 Fl. 3

1 Ob.

Oboe 2

Cl. in B

1 2

Bs.Cl. 2. 1 2 Bn. 3

Hn. in F

1 2 cant. 3 4 cant.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. T.t., muffled 1 Congas Perc. 2 Congas 3

Piano

Harp

C.

M.G.

R.G. div.

unis.

div.

unis. S

We

feel

the

mer

cy

of

our

Lord

God

div.

unis.

with

the

grace

a

lit tle

more

time.

Lord

God

with

the

grace

of

a

lit tle

more

time.

God

with

the

grace

of

a

lit tle

more

time.

God

with

the

grace

of

a

lit tle

more

time.

div.

of unis.

A T.C.

We

feel

the

mer

cy

of

our

We

feel

the

mer

cy

of

our

T 8

Lord div.

unis.

B

We

feel

the

mer

cy

of

our

Lord

unis. I Vn.

div. II

Va.

Vc.

Cb.

unis.

div.

unis.

83

Act I–Scene 1

537 1 2 sub.

Fl. 3

sub. 1 sub.

Ob. 2

sub. Cl. in B

1 2

Bs.Cl. sub. a2

a2

a2

1 2 Bn. 3

take straight mute

with straight mute

take straight mute

with straight mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 a2 Tbn.

1.

1 2 a2

Bs.Tbn. Tuba

Timp.

(T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Piano

Harp

C.

full voice M.G.

More

nights

R.G.

S

A T.C. T 8

B

sul A I sub.

Vn. II

sub.

div. a4, pizz.

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

to

curl

like

a

vine

in

our

hus

84

Act I–Scene 1

543 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2)

a2

a2

1 2 Bn. 3

Hn. in F

1 2 (

sempre)

(

sempre)

3 4

Tpt. in C

1 2

3 (1.) Tbn.

1 2 a2

quasi

sempre

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

M.G.

band’s

arms.

R.G.

More

days

to

bask

in the

S

A T.C. T 8

B

div. I Vn. div. II

Va.

arco Vc.

arco Cb.

unis.

light

85

Act I–Scene 1

550 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 cant.

with voices

Bs.Cl. 2. 1 2 Bn. 3 sub.

open

remove mute 1 2 Hn. in F

remove mute

open

3 4 take straight mute Tpt. in C

1 2 take straight mute 3

a2

1. Tbn.

1 2 sub.

(a2) Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(full voice) C.

Our

fa

thers’

graves

we

can

thers’

graves

we

can

(full voice) M.G.

Our

fa

R.G.

of

our

lo

ver’s

eyes.

S

A T.C. T 8

B

unis.

div.

I Vn. div.

unis.

II unis., arco Va.

Vc. sub. Cb. sub.

86

Act I–Scene 1

556 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (2.) 1 2 Bn. 3

2. 1 2 Hn. in F

3. 3 4 with straight mute 1 2

Tpt. in C

with straight mute 3

a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.

still at

tend

with

sweet

Will

iam

and

Col

um

bine.

still at

tend

with

sweet

Will

iam

and

Col

um

bine.

M.G.

R.G. sempre

div.

unis.

div.

S div. sempre

Sweet

Will

iam

and

Col

um

bine.

iam

and

Col

um

bine.

unis.

A T.C.

Sweet sempre

Will div.

unis.

div.

T 8

div. sempre

Sweet

Will

iam

and

Col

um

bine.

Sweet

Will

iam

and

Col

um

bine.

B

unis.

div.

unis.

div.

unis.

div.

I Vn.

div. II div.

Va. div. Vc. pizz. Cb. molto

arco

87

Act I–Scene 1

563 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

a2 1 2 Hn. in F

a2 3 4 remove mute

Tpt. in C

1 2 remove mute 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. T.-t., muffled 1 Congas Perc. 2 Congas 3

Piano

Harp

molto C.

Lit tle

more

time,

a

lit

tle

more

time,

more

time

with

the

Lit tle

more

time,

a

lit

tle

more

time,

more

time

with

the

Lit tle

more

time,

a

lit

tle

more

time,

more

time

with

the

tle

more

time,

more

time

with

the

tle

more

time,

more

time

with

the

tle

more

time,

more

time

with

the

molto M.G.

R.G. molto

S

molto

div.

unis. A T.C. molto

Lit tle

more

time,

a unis.

lit div.

T 8

Lit tle molto

more

time,

a

unis.

lit div.

B

Lit tle

more

time,

a

lit

I Vn. II div. a3 Va.

unis. Vc.

Cb.

div. a2

88

Act I–Scene 1

569 1 2 Fl. 3

1 Ob. 2 a2 Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

(a2)

Hn. in F

1 2 (a2) 3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Piano

Harp

C.

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

We

feel

the

mer

cy of

our

Lord

God

with

the

M.G.

R.G.

S

tutta forza A T.C.

child

ren we

love,

time

with

our mo

thers.

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

child

ren we

love.

We

feel

the

mer

cy of

our

Lord

God

with

the

T 8

B

I Vn.

unis. II div. a3

Va.

Vc.

Cb.

div.

89

Act I–Scene 1

576 1 2 sub.

Fl. 3

sub. 1 sub.

Ob. 2

sub. Cl. in B

1 2 sub.

Bs.Cl. (a2) 1 2 Bn. 3

a2

a2

1 2 Hn. in F

a2

a2

a2

3 4 open Tpt. in C

1 2 sub.

open 3

sub. a2 Tbn.

sub.

1 2 a2

Bs.Tbn. Tuba

Timp.

(T.-t., muffled)

Cowbell

1 T.-t.

(Congas) Perc. 2 (Congas) 3

Piano

Harp

C.

grace

of

a

lit

tle

more

time.

grace

of

a

lit

tle

more

time.

grace

of

a

lit

tle

more

time.

grace

of

a

lit

tle

more

M.G.

R.G.

S

A T.C.

unis.

time. div.

T 8

grace

of

a

lit

tle

more

time.

of

a

lit

tle

more

time.

unis. B

grace

unis. I sub.

Vn.

unis.

div.

II

div. a2

div. a3

div. a2

div. a3

sub. unis.

Va. sub. Vc.

Cb.

90

Act I–Scene 1

582

1.

1 2 sub.

Fl. 3

sub. 1 sub.

Ob. 2

sub. Cl. in B

1 2 sub.

Bs.Cl. (a2)

1.

1 2 Bn. 3

a2 1 2 Hn. in F

a2 3 4

Tpt. in C

1 2 sub.

take straight mute

3 sub. sub.

Tbn.

1 2

Bs. Tbn.

(a2)

Bs. Tbn.

Bs.Tbn. Tuba

Timp.

(Cowbell)

T.-t. (muffled)

1 (T.-t.) (Congas) Perc. 2

(Congas) 3

to Celesta

Piano

Harp

(Margaret emerges from the group of slaves. She is wearing a scarlet scarf around her neck.) C.

M.G.

R.G.

S

A T.C. T 8

B

pizz.

arco

I sub. Vn.

unis.

div.

pizz. (div.)

unis., arco

unis., pizz.

arco

II sub. div. Va. sub. Vc.

pizz. Cb.

div.

91

Act I–Scene 1

590

L’istesso tempo

= 104

1., solo

1 2 dolce, espr.

Fl. 3 solo 1 dolce, espr.

Ob. 2 a2 Cl. in B

a2

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

D

Harp

G

(Gaines nods in assent to the contract’s terms, then turns to the businessman standing next to him and asks for a pen with which to sign the contract.)

(no clapping) C.

(Holding a home made play doll.) tenderly M.G.

I R.G.

S

A T.C. T 8

B

L’istesso tempo

= 104

I Vn. II div. Va.

div. Vc.

div. Cb.

unis.

div.

unis.

92

Act I–Scene 1

598

2.

1.

2.

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

M.G.

made R.G.

S

A T.C. T 8

B

I Vn. II

Va.

Vc. div. Cb.

a

lit

tle

play

doll

for my

ba

by,

with

93

Act I–Scene 1

606

2.

1.

1 2 Fl. 3

1 dolce

Ob.

sub.

2 2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo 1 2 sub.

Hn. in F

dolce 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

(full voice) M.G.

but

ton

eyes

and

hair

of

yarn.

The

R.G.

S

A T.C. T 8

B

1 solo I Vn.

unis. II

Va.

Vc.

Cb.

dolce

sub.

94

Act I–Scene 1

614 1 2 Fl. 3

1 Ob. 2 solo dolce Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 sotto voce

Bs.Tbn. Tuba sotto voce

Timp.

1

Perc. 2

3

Celesta

G

Harp

G

G

(Distracted from his paperwork, Edward tuns around and notices Margaret, who is wearing a red scarf. He is intrigued and grateful for his good fortune to have just purchased her.) C.

M.G.

lips

are

made

of

rose

col ored

thread.

One

R.G.

S

A T.C. T 8

B

I Vn. II

Va. unis., pizz.

div.

unis.

Vc.

unis. Cb.

div.

unis.

div.

95

Act I–Scene 1 dolce

621

2.

1 2 Fl. 3

1 dolce

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

D

Harp

C.

meno M.G.

day

she

will

love

it;

R.G.

S

A T.C. T 8

B

1 solo I dolce poco flautando

Vn. II

Va.

div., arco Vc.

Cb.

I

am

96

Act I–Scene 1

629

1.

1 2 dolce

Fl. 3

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

(Edward turns around again and finishes signing the contract. The businessmen extend handshakes of congratulations to him on the acquisition of Maplewood.) C.

port. M.G.

wait

ing

for

her

to

love

R.G.

S

A T.C. T 8

B

tutti sul A I Vn.

(poco flautando) II

Va.

Vc.

Cb.

dolce

it.

97

Act I–Scene 1

637

2.

1 2 Fl.

to Piccolo 3

1 Ob. 2 1., solo Cl. in B

1 2 dolce

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 with no attack

Bs.Tbn. Tuba with no attack

Timp.

1

Perc. 2

3

Celesta

Harp

A

C.

(full voice) M.G.

When

she

is

old

e

nough

to

hold

it.

R.G.

S

A T.C. T 8

B

tutti I Vn.

ord.

poco

II poco Va. unis., pizz.

div.

unis.

div.

Vc.

Cb.

98

Act I–Scene 1

644 Picc.

Fl.

1 2

1 Ob. 2 (1.) Cl. in B

1 2

Bs.Cl. 1., solo 1 2 dolce

Bn. 3

(1.)

Hn. in F

1 2 3. 3 4

Tpt. in C

1 2

3 take straight mute Tbn.

1 2 take straight mute

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

A

(When one of the slaves brings in Margaret’s infant daughter, wrapped in a white cloth, Margaret puts the play doll in her pocket in order to cradle the baby tenderly in her arms.) C.

M.G.

I’m

watch

ing

this

mys

te

ry

called

R.G.

S

A T.C. T 8

B

I Vn.

div.

unis.

II

div. Va. div., arco Vc.

div., pizz. Cb.

unis., arco

99

Act I–Scene 1

652 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1.

Hn. in F

1 2 sub.

sub.

3 4 1., solo

cantando

1 2 dolce

dolce

Tpt. in C

cant. 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

full, rich M.G.

child. R.G.

(clap) S sim. (clap) A sim. T.C. (clap) T sim.

8

(clap) B sim.

div. I Vn. div. II

Va.

Vc.

Cb.

100

Act I–Scene 1

661

a tempo (

= 104)

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

Hn. in F

1 2 3 4 2. to straight mute

Tpt. in C

1 2

3 a2, with straight mute Tbn.

1 2 a2, with straight mute

Bs.Tbn. Tuba

Timp.

T.-t., muffled 1 Congas Perc. 2 Congas 3

Celesta

A

Harp

C.

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

A

lit

tle

more

time,

a

lit

tle

more

time,

more

time

with

the

M.G.

R.G.

S

A T.C.

T 8

B

a tempo (

= 104) unis.

I Vn.

unis. II

div.

unis. Va. unis.

div.

unis.

div.

unis.

Vc.

Cb.

101

Act I–Scene 1

667 Picc.

Fl.

1 2 sub. 1 sub.

Ob. 2

a2 Cl. in B

1 2 sub.

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4 1. (open)

Tpt. in C

1. to straight mute

1 2

3 (a2) Tbn.

1 2 a2 meno

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Celesta

Harp

sub. C.

child ren we

love.

We

feel

the

breath

of

our

Lord

God

with

the

We

feel

the

breath

of

our

Lord

God

with

the

We

feel

the

breath

of

our

Lord

God

with

the

M.G. sub.

R.G.

child ren we

love. sub. div.

unis.

S

child ren we

love.

div. A T.C.

child ren we

love,

time

with

our mo

thers. We

feel

the

breath

of

our

Lord

God

with

the

We

feel

the

breath

of

our

Lord

God

with

the

sub. T 8

child ren we

love. sub. div.

div.

unis.

B

child ren we

love.

We

feel

the

breath

of

our

unis.

div.

Lord

God

with div.

I Vn.

sub.

div.

II unis.

div.

unis.

Va. sub. Vc.

Cb.

div.

the

102

Act I–Scene 1

674

Piccolo

Picc. dolce Fl.

1 2

1 dolce

Ob. 2

a2 Cl. in B

a2

1 2

Bs.Cl. (a2) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3 (a2) Tbn.

1 2 (a2)

Tuba

a2

Bs.Tbn. Tuba

Timp.

(T.t., muffled) 1 Congas Perc. 2 Congas 3

Celesta

Harp

C.

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

M.G.

R.G.

div.

unis.

S

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Lord

God

We

feel

the

breath

of

our

Lord

God

unis. A T.C.

T 8

unis. unis.

div. B

Gift

of

a

lit tle

more

time.

unis.

div.

unis.

div.

unis.

I Vn. unis.

II unis.

div.

Va.

Vc. div. Cb.

unis.

sub.

103

Act I–Scene 1

681 Picc. dolce Fl.

1 2

1 dolce

Ob. 2

a2 Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

2. take straight mute Hn. in F

1 2 take straight mute 3 4

Tpt. in C

1 2

3 (a2) Tbn.

1 2 (a2)

Tuba

Bs.Tbn. Tuba

Timp. (T.t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Celesta

Harp

(no clapping) C.

with

the

Gift

of

a

lit tle

more

with

the

Gift

of

a

lit tle

more

time.

M.G.

R.G.

time. div.

unis.

S

with

the

div.

Gift

of

a

lit tle

more

time.

We

unis.

feel

the

breath

of

div.

our unis.

A T.C.

with

the

with

the

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

Gift

of

a

lit tle

more

time.

We

feel

the

breath

of

our

We

feel

the

breath

of

our

T 8

unis.

div.

unis.

div.

B

with

the

Gift

of

a

lit tle

more

time.

div.

unis.

div.

div.

unis.

div.

unis.

I Vn.

unis.

div.

unis.

div.

II

Va. (arco) Vc.

div. Cb.

unis.

pizz.

104

Act I–Scene 1

poco meno mosso

688 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

We

feel

the

breath

M.G.

We

feel

the

R.G.

We sub. S

Lord div.

God unis.

mmm sub.

A T.C.

Lord

God

mmm sub.

T 8

Lord

God

mmm sub.

B

Lord

God

mmm

poco meno mosso poco vib. I sub.

Vn.

unis.

poco vib.

II sub.

poco vib.

sub.

poco vib.

Va.

Vc. sub. Cb.

105

Act I–Scene 1

A tempo primo

694

= 104

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.

of

our

Lord

God.

M.G.

breath

of

our

Lord

God.

breath of

our

Lord

God.

R.G.

feel

the

S

With

the

gift

of

a

With

the

gift

of

a

With

the

gift

of

a

With

the

gift

of

a

A T.C.

T 8

B

A tempo primo I Vn. II

Va.

Vc. pizz. Cb.

= 104

106

Act I–Scene 1

701 Picc. 1. Fl.

1 2 dolce 1 dolce

Ob. 2

Cl. in B

1 2

Bs.Cl.

(1.) 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. T.-t., muffled, hard yarn mallet (or African drum) 1 Congas, hands Perc. 2

Congas, hands 3

Celesta

Harp

(The slaves exit slowly; Margaret is the last of the slaves to leave.) (After completing his transaction with Edward, the auctioneer departs with the businessmen. Caroline remains, cheerfully conversing with their wives.) (clap) C. (clap) M.G. (clap) R.G.

(clap) S

lit

tle

more

time. (clap)

A T.C.

lit

tle

more

time. (clap)

T 8

lit

tle

more

time. (clap)

B

lit

tle

more

time.

I Vn. II

Va. pizz. Vc.

(pizz.) Cb.

div.

unis.

div.

unis.

107

Act I–Scene 1

707 Picc. (1.) Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn.

staccatissimo 3

1. open

Hn. in F

1 2 with straight mute 3 4 staccatissimo

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Celesta

E F G A D C B

Harp

C.

M.G.

R.G.

S

A T.C. T 8

B

I Vn. II unis. Va. espr. Vc.

div. Cb.

unis.

div.

108

Act I–Scene 1

714

lunga

Picc.

Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.)

Hn. in F

1 2 remove mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (T.-t., muffled) 1 (Congas) Perc. 2 (Congas) 3

Celesta

Harp

(no clapping) C.

(no clapping) M.G.

(no clapping) R.G.

(no clapping) S

(no clapping) A T.C. (no clapping) T 8

(no clapping) B

lunga

div. I Vn. div. II div. Va.

div., arco Vc.

unis., arco Cb.

109

Act I–Scene 1

721 Moderato

= 88–92 (don’t drag)

Picc.

Fl.

1 2

1 Ob. 2 1.

2. Cl. in B

1 2

6

6 6

6 6

6 6

6 6

6

Bs.Cl. 1. 1 2 Bn. 3

(1.) solo

(1.)

take straight mute

3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

E F GA DCB

Harp

(Edward watches the last townspeople leave.) Ca. 8

Edward Gaines: (with disappointment and disgust) (freely) E.G. 3

Lookatthem.

Moderato

= 88–92 (don’t drag)

unis., pizz. I Vn.

unis., pizz. II unis., quasi non vibrato

Va. unis., pizz. Vc. pizz. Cb.

They were my neigh bors once.

3

They pre

110

Act I–Scene 1

727 Picc.

Fl.

1 2

1 6

Ob.

6

2

Cl. in B

1 2

Bs.Cl. (1.) 1 2 Bn. 3

a2, soli, with straight mute

Hn. in F

1 2 3 4 soli, with straight mute 1 2 3

Tpt. in C

3

3

3

3

3

3

sub.

soli, with straight mute 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Casey: Ca. 8

It E.G.

tend

3

they don’t re mem ber me.

pizz., div.

arco I

3

Vn. arco II 3

Va.

Vc.

Cb.

pizz.

3

was a long

time

a go,

sir.

111

Act I–Scene 1

733 Picc. a2 Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

a2

1 2 Bn. 3

(a2) Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Ca. 8

You’ve been a way

for twen ty years. (turning back around, facing Casey) (to himself)

E.G.

Twen

3

ty years.

They pre tend.

3

3

Theylie,

and they say

unis., arco I Vn. arco II div.

unis.

Va.

div., arco

unis., pizz.

arco

pizz.

Vc.

Cb.

112

Act I–Scene 1

739 Picc.

Fl.

1 2

1 espr.

Ob. 2

espr.

1. Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

a2 (with straight mute)

Hn. in F

remove mute

1 2 a2, open

take straight mute

3 4 (with straight mute) 1 2 3

Tpt. in C

3

3

3

(with straight mute)

3

3

3

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

B

(Margaret’s scarf, still lying on the ground, catches Edward’s attention; he starts walking toward it.) Ca. 8

Some (full voice)

E.G. 3

3

they don’t re mem ber me.

div., pizz. I Vn.

pizz. II 3

Va. in relief of voice

div., arco

Vc.

arco Cb.

thing

113

Act I–Scene 1

Adagio ma non troppo

rit.

746

= 72

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., open

Hn. in F

1 2 dolce 3 4

Tpt. in C

1 2

3

Tbn.

(with straight mute)

remove mute

open, play into stand

(with straight mute)

remove mute

open, play into stand

1 2 with no attack

Bs.Tbn. Tuba with no attack

Timp.

1

Perc. 2

3

Celesta

D

Harp

(Edward picks up Margaret’s scarf and mindlessly puts it in his pocket.) (full voice) Ca. 8

3

in the past,

sir?

Some

thing best for got

ten?

E.G.

I

rit. unis. (pizz.)

was just

a boy.

The trou

Adagio ma non troppo

= 72

arco

div.

div.

unis.

unis.

I Vn.

sub. arco

(pizz.)

div.

II sub.

Va. sub. unis.

div.

Vc. div. Cb.

114

Act I–Scene 1

752 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

3

1 2 3

3 4

Tpt. in C

1 2

3 a2, ord. Tbn.

1 2 ord.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

D

Ca. 3

8

But E.G.

e

v’ry boy

has an ap pe tite,

3 3

3

ble I caused was in es cap a ble

for a boy

3

with an ap pe tite.

div. I Vn.

poco

unis. II

poco Va. unis.

poco

Vc. unis.

poco

Cb. poco

div.

3

sir.

115

Act I–Scene 1

Subito più mosso 757 = 88–92

Misterioso

rit.

= 60

Picc. leggiero 6

Fl.

1 2

6

6

6

6 6

leggiero

6

1 Ob. 2

Cl. in B

1 2 espr.

Bs.Cl. 1. 1 2 espr.

Bn. 3

Hn. in F

1 2 a2, with straight mute

remove mute

3 4 (with straight mute)

remove mute

1 2 3

Tpt. in C

3

3

3

(with straight mute)

3

3 3

remove mute

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 Tamtam Perc. 2

B.D. 3

Celesta

6

Celesta

6 6

6

E

Harp

Ca. 8

E.G.

Misterioso

Subito più mosso = 88–92

= 60 1 solo, con sord.

rit.

Solo Vn. 6

1 solo, con sord.

6 6

Solo Vn. 6

6

6

gli altri, div., quasi flautando Vn.

I sub. div., quasi flautando

Vn.

II sub.

Va. espr.

sub.

Vc.

div. Cb.

unis.

6

116

Act I–Scene 1

761 Picc. leggiero 6

Fl.

1 2

6

leggiero

6

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Glock.) 1 (Tam.) Perc. 2 (B.D.) 3

6

Celesta

6

6

6

6

6

6

6

6

6

6

6

Harp

Ca. 8

somewhat lightly, floating E.G. 3

I

left

un

der

a

3

cloud

of

sus

pi cion:

It

was

Solo Vn. 6 6

6 6

6 6

6 6

6 6

6 6

Solo Vn. 6

6

6

6

6

6

6

6

6

6

6

poco vibrato Vn.

I sub.

Vn.

poco vibrato

sub.

sub.

sub.

sub.

sub.

sub.

II sub.

poco vibrato

Va. sub. Vc.

Cb.

6

117

Act I–Scene 1

764 Picc. leggiero 6

1. Fl.

1 2

6

6

leggiero

6

6

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Glock.) 1 (Tam.) Perc. 2 (B.D.) 3

6

Celesta

6

6

6

6

6

6

6

6

6

Harp

Ca. 8

E.G.

noth ing

noth ing

to raise

eye

brows.

6

Solo Vn. 6 6

6 6

6 6

6 6

6

Solo Vn. 6

6

6

6

6

6

6

6

unis. Vn.

I

Vn.

II

unis.

div. Va. sub. Vc.

Cb.

118

Act I–Scene 1

767 Subito

più mosso

= 88–92

Picc.

Fl.

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3 3

3 3

3 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 3

3

1 2 3 3

Bn.

3 3

3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

Ca. 8

poco freely, sotto voce (quasi whisper)

half voice E.G.

3 3

3

3

The girl was so

Subito più mosso

3

young,

3

and from such

3

3

a

fine

fa

3

mi ly;

= 88–92

gli altri, pizz. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3 3

3 3

3 3

I sub. pizz.

Vn.

3

II

unis., pizz. 3

Va. sub. unis., pizz. Vc. 3

3

pizz. 3

Cb.

3

6

things got a lit tle out of hand.

119

Act I–Scene 1

Subito come sopra = 60

771 Picc.

Fl.

1 2

1 Ob. 2 6

Cl. in B

1 2 6

6

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

6

Celesta

6

Harp

Ca. 8

cantabile (but not completely in full voice) E.G.

So now

they pre tend

3

nei ther I

nor it

e ver hap

pened.

Subito come sopra = 60 6

2 soli, arco, con sord., on the string I Vn.

arco II sotto voce div., arco

unis.

div.

unis.

Va. espr. div., arco

sotto voce

sotto voce unis.

Vc. espr. arco Cb. espr.

sotto voce div., pizz.

sotto voce

6

6

120

Act I–Scene 1

776 Picc.

Fl.

1 2

1 Ob. 2 6 6

Cl. in B

6

1 2 6

6 6

6

6

6

Bs.Cl. 6

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

6

to Piano 6 6

Celesta

6

E C

Harp

A

6

6

6

6

Ca. 8

E.G. 3

What a

6

2 soli

6

6

via sord.

I 6

Vn.

6 6

II div. Va.

pizz.

arco

unis.

arco

Vc.

Cb.

121

Act I–Scene 1

779 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

EF GA DC B

Harp

Ca. 8

lunga E.G.

shame.

I Vn. II

Va.

Vc.

Cb.

I

re

mem

ber!

I

re

mem

ber

ev

’ry thing.

122

Act I–Scene 1

784 Andantino

grazioso

= 88–92

Picc.

Fl.

1 2 1., solo 1 dolce, with voice (in relief)

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

C

Harp

D

C

C

G

C

E

G B C

D

Ca. 8

E.G.

I

re

mem

ber

Andantino grazioso

the

curve

of

ev ’ry

hill,

the

swans

in

the

pond;

I

re

mem

ber them

still.

= 88–92

tutti, div., arco, senza sord.

unis.

sul G

div.

div.

I Vn.

unis.

II div. Va. non div. Vc.

pizz. Cb.

div.

unis.

F

123

Act I–Scene 1

792 Picc.

Fl.

1 2 solo 1 dolce

Ob. 2 1., solo Cl. in B

1 2 dolce, with voice (in relief) dolce

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

G D

Harp

C

B

G C

E

D

D

B

A D

D

E F

Ca. 8

più sonoro E.G.

I

re

mem

ber

ev

’ry

tree:

ma

ple,

birch,

div.

unis.

wil

unis.

I Vn.

div.

unis.

div.

unis.

div.

unis.

div.

II

unis.

div.

Va. non div. Vc.

div. Cb.

unis.

div.

lows

and

pine.

124

Act I–Scene 1

800 Picc.

Fl.

1 2 solo

3

1 dolce

Ob.

sotto voce

2 1., solo Cl. in B

1 2 dolce, with voice

espr.

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

F A D

Harp

E

C

C

D

C

G B

Ca. 8

E.G.

I

can

see

them now,

shad

ing

3

the drive,

div.

shel

t’ring

me

from the

heat.

unis.

I Vn.

unis. II unis.

Va.

Vc.

unis. Cb.

div.

unis.

125

Act I–Scene 1

808 Picc.

Fl.

1 2

1 Ob. 2 1., solo Cl. in B

1 2 espr.

Bs.Cl. 1., solo dolce 1 2 Bn. 3

1., solo

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

G C

Harp

G

B

D

E

D

F D

E C

Ca. 8

E.G.

Ma

ple,

birch,

div.

and the

o

dor

of

pine.

I

re

mem

ber

div.

unis.

ev

’ry

tree,

but

unis.

I Vn.

div.

unis.

II div. a3

div.

unis.

Va. non div.

div.

unis.

div.

unis.

Vc.

div. Cb.

unis.

div.

unis.

126

Act I–Scene 1

816 Picc.

Fl.

1 2 solo 1 dolce, espr.

Ob. 2

Cl. in B

1 2

Bs.Cl. 1., solo 1 2 dolce

Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

A C

E

Harp

E

G C

A C

G

F

Ca. 8

E.G.

none

of

them

re

mem

bers

me.

div. unis. I Vn.

div.

unis.

II

div.

unis.

Va.

Vc.

div. Cb.

unis.

127

Act I–Scene 1

824 Picc.

Fl.

1 2

1 espr.

Ob. 2 1., solo Cl. in B

1 2 espr.

Bs.Cl. 1., solo 1 2 dolce

Bn. 3

1.

Hn. in F

1 2 dolce 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

A

Harp

E

B

G D

D

A C

B

G

G

B D

E

Ca. 8

cantabile E.G.

The well,

the

creek,

fish

ing by

the lake.

non div. I Vn.

div.

unis.

div.

unis.

II div.

unis.

Va.

Vc. div. Cb.

unis.

div.

128

Act I–Scene 1

832 Picc.

Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl. (1.) 1 2 Bn. 3

a2 (open) Hn. in F

1.

1 2 open 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

F

G D

C

D

A

D

A

F

Ca. 8

(full voice)

E.G.

Eve nings

div.

of

laugh

ter

3

3

with girls who want

ed

to

play.

I

re mem

ber

div.

unis.

ev

’ry

unis.

I Vn.

div.

dolce, cant. div.

unis.

II

unis.

div.

unis.

div. a2

Va.

Vc.

div. Cb. pizz.

arco

unis., pizz.

unis.

129

Act I–Scene 1

840 Picc.

Fl.

1 2

1 Ob. 2 1., solo Cl. in B

1 2 espr.

Bs.Cl.

1 2 sotto voce

Bn. 3

(1.) Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

A

Harp

E

B

G

D

B

D

G

D

B

A D

G

(Edward catches Caroline’s glance and motions for her to join him.) Ca. 8

E.G.

tree,

but

none

of

them

re

mem

bers

me.

I Vn.

unis.

div.

unis.

II

div. Va.

Vc.

Cb.

(div. a2)

unis.

div.

unis.

130

Act I–Scene 1

848 Picc.

Fl.

1 2 solo 1 espr.

Ob. 2 (1.) Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo

Hn. in F

1 2 dolce 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

E

Harp

G B

A

E G B

D

F D

G B

F D

C

Ca. 8

E.G.

I Vn. II

div.

unis.

div.

Va.

Vc. div. Cb.

unis.

131

Act I–Scene 1

poco rit.

855

a tempo

Picc. 1. Fl.

1 2 poss. 1

Ob. 2

Cl. in B

1 2 poss.

Bs.Cl.

1 2 Bn. 3

(1.)

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib., motor off Perc. 2 Pedal 3

Piano

Piano

Harp

B D

F

A

C

G

G

(Edward exits, with Caroline at his side. Casey follows them.) Ca. 8

(ossia) E.G. 3

They won’t for

poco rit.

get

me

a

gain!

a tempo div.

I Vn.

div. II

unis.

div.

unis.

3

div.

Va.

Vc.

arco Cb.

attacca

132

Act I, Scene 2: Harvest time, about six months later. With rhythmic vitality

= 96–100

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Congas, played with hands, sempre solo 1 cresc. poco a poco Mounted Floor Tom, muted, heavy wood stick Perc. 2 cresc. poco a poco Congas, played with hands, sempre solo 3 cresc. poco a poco

Pno.

Hrp.

(The slaves—some of whom are children, barely 10 or 12 years old—return to their quarters after a day of working in the fields. In rhythm with the percussion’s strong, syncopated beat, they perform a series of domestic chores: chopping wood, pumping water, beating rags, etc.) S

A

T 8

B

With rhythmic vitality I Vn. II

Va.

non div. Vc.

div. Cb.

= 96–100

133

Act I–Scene 2

7 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 3

Hn. in F

3 3

3 4

3 3

3 3

3 3

3 3

3

with no attack

with no attack

with no attack

with no attack

with no attack

with no attack

1 2 Tpt. in C 3

Tbn.

1 2 Bs. Tbn., with no attack

Bs.Tbn. Tuba

Timp. (Congas) 1 sub. (T.-t.) Perc.

2 sub. (Congas) 3 sub.

Piano

8ba

Harp

R.G.

S

A S.C. T 8

B

I Vn. II sul D Va. (non div.) Vc.

Cb.

134

Act I–Scene 2

13 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 3

Hn. in F

3 3

3 3

3 3

3 3

3 3

3 3

3 4 2. 1 2 Tpt. in C

cresc. poco a poco 3 cresc. poco a poco

Tbn.

1 2 cresc. poco a poco (Bs. Tbn.)

Bs.Tbn. Tuba cresc. poco a poco

Timp. (Congas) 1

Perc.

(T.-t.)

cresc. poco a poco

(Congas)

cresc. poco a poco

2

3

cresc. poco a poco 8va

Piano

Harp

R.G.

S

A S.C. T 8

B

I non div.

Vn. II

(sul D) Va. (non div.)

div. a2

Vc.

div. Cb.

3 3

3 3

3 3

3

135

Act I–Scene 2

19 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 3

Hn. in F

3

3 4

dim.

3 3

dim. (2.)

1 2 Tpt. in C

sotto voce 3 sotto voce

Tbn.

1 2 sotto voce (Bs. Tbn.)

Bs.Tbn. Tuba sotto voce

Timp. solo

(Congas) 1

Perc.

(dim.) (T.-t.)

dim.

(dim.)

dim.

2 solo

(Congas) 3 (dim.)

dim.

Piano

Harp

Robert: full voice R.G.

Turn my face S

A S.C. T 8

B

I sotto voce Vn. II sotto voce Va. sotto voce unis. Vc.

Cb.

div. a2

to the dy ing

sun.

136

Act I–Scene 2

24 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Congas) 1 (T.-t.) Perc.

2 (Congas) 3

Piano

Harp

R.G.

Can’t straigh ten my back

’till the work is

done,

Plowed the field,

The Slaves: S

Turn my face

to the dy ing sun.

Can’t straigh ten my back ’till the work is

done.

Turnmy face

to the dy ing sun.

Can’t straigh ten my back ’till the work is

done.

Turnmy face

to the dy ing sun.

Can’t straigh ten my back ’till the work is

done.

Turnmy face

to the dy ing sun.

Can’t straigh ten my back ’till the work is

done.

A S.C. T 8

B

I Vn. II

Va.

Vc.

Cb.

baled thehay,

137

Act I–Scene 2

28

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc. 2 (Congas) 3

Piano

Harp

R.G.

go in’to dance on the lead mule’s back some day.

S

Plowed the field,

baled the hay,

go in’ to dance on the lead mule’s back some day.

O,

moth er,

Plowed the field,

baled the hay,

go in’ to dance on the lead mule’s back some day.

O,

moth er,

Plowed the field,

baled the hay,

go in’ to dance on the lead mule’s back some day.

O,

moth er,

Plowed the field,

baled the hay,

go in’ to dance on the lead mule’s back some day.

O,

moth er,

A S.C.

T 8

B

I Vn. II div. Va.

unis. Vc.

div. Cb.

138

Act I–Scene 2

33

(1.)

1.

1 2 Fl. 3 molto 1 molto

Ob. 2

Cl. in B

1 2

Bs.Cl. (a2)

a2

1 2 Bn. 3

1 2 Hn. in F

3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc.

2 (Congas) 3

Piano

Harp

M.G.

R.G.

div.

unis.

S

O,

fath er,

Don’t

a ban don

me

while my sweat still sweets the rich brown soil of

dear

old

Ken tuc ky.

O,

moth er,

O,

fath er,

Don’t

a ban don

me

while my sweat still sweets the rich brown soil of

dear

old

Ken tuc ky.

O,

moth er,

O,

fath er,

Don’t

a ban don

me

while my sweat still sweets the rich brown soil of

dear

old

Ken tuc ky.

O,

moth er,

O,

fath er,

Don’t

a ban don

me

while my sweat still sweets the rich brown soil of

dear

old

Ken tuc ky.

O,

moth er,

A S.C. T 8

B

unis.

div. I Vn. div.

unis.

II unis.

div.

Va.

Vc. div. Cb.

unis.

139

Act I–Scene 2

41

(1.)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2) 1 2 sub.

marc.

Bn. 3

sub.

marc.

a2 1 2 Hn. in F

a2 3 4 take straight mute 1 2

Tpt. in C

take straight mute 3

Tbn.

1 2 Bs. Tbn.

Bs. Tbn. Bs.Tbn. Tuba

Timp. (Congas) 1

molto

(T.-t.) Perc.

sub.

2 sub.

(Congas) 3

molto

sub.

Piano

Harp

Margaret Garner: M.G.

Boss is

S

O,

fath er,

don’t

a ban don

me.

O,

fath er,

don’t

a ban don

me.

O,

fath er,

don’t

a ban don

me.

O,

fath er,

don’t

a ban don

me.

A S.C. T 8

B

div.

unis.

I Vn. II

unis. Va. marc. div. a2

sub.

Vc.

marc.

sub.

Cb. marc.

sub.

hap

py

at his

plate

140

Act I–Scene 2

46

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F

3 4 with straight mute

remove mute

1 2 Tpt. in C

with straight mute

remove mute

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Congas) 1 (T.-t.) Perc.

2 (Congas) 3

Piano

(shouted, like a gospel singer) M.G.

If

I stand

at

his cook ing

stove,

Be lieve it!

O

moth er,

O

fath er,

O

moth er,

O

fath er,

(shouted, like a gospel singer)

Robert Garner: R.G.

Be lieve it! S

Long as he gets his

fowl;

his

sup per will

be

foul!

O

moth er,

O

fath er,

Long as he gets his

fowl;

his

sup per will

be

foul!

O

moth er,

O

fath er,

Long as he gets his

fowl;

his

sup per will

be

foul!

O

moth er,

O

fath er,

Long as he gets his

fowl;

his

sup per will

be

foul!

O

moth er,

O

fath er,

A S.C. T 8

B

I Vn.

unis. II div.

Va.

unis. Vc.

div. Cb.

unis.

141

Act I–Scene 2

52

a2

1.

1 2 Fl. 3 molto 1 Ob.

molto 2

Cl. in B

1 2

Bs.Cl. (a2)

a2

1 2 Bn. 3

1 2 Hn. in F

3 4 1., open

2. open

1 2 Tpt. in C

open 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc.

2 (Congas) 3

Piano

Harp

M.G.

Don’t

a ban don

me

while my blood

floods

the vel

vet

dirt of

dear

old

Ken

tuc ky.

O

moth er,

Don’t

a ban don

me

while my blood

floods

the vel

vet

dirt of

dear

old

Ken

tuc ky.

O

moth er,

R.G.

unis.

div. S

Don’t

a ban don

me

while my blood

floods

the vel

vet

dirt of

dear

old

Ken

tuc ky.

O

moth er,

Don’t

a ban don

me

while my blood

floods

the vel

vet

dirt of

dear

old

Ken

tuc ky.

O

moth er,

A S.C.

unis.

div. T 8

Don’t

a ban don

me

while my blood

floods

the vel

vet

dirt of

dear

old

Ken

tuc ky.

O

moth er,

Don’t

a ban don

me

while my blood

floods

the vel

vet

dirt of

dear

old

Ken

tuc ky.

O

moth er,

B

unis.

div. I Vn. div.

unis.

II unis. Va.

Vc.

Cb.

div.

142

Act I–Scene 2

59

a2

1.

=

1 2 Fl.

to Piccolo 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc.

2 (Congas) 3

Piano

Harp

M.G.

O,

fath er,

don’t

a ban don

me

while my sweat still sweets

the rich brown soil of

dear

old

Ken

tuc ky.

O,

fath er,

don’t

a ban don

me

while my sweat still sweets

the rich brown soil of

dear

old

Ken

tuc ky.

R.G.

div.

unis.

S

O,

fath er,

don’t

a ban don

me

while my sweat still sweets

the rich brown soil of

dear

old

Ken

tuc ky.

O,

fath er,

don’t

a ban don

me

while my sweat still sweets

the rich brown soil of

dear

old

Ken

tuc ky.

A S.C.

div.

unis.

T 8

O,

fath er,

don’t

a ban don

me

while my sweat still sweets

the rich brown soil of

dear

old

Ken

tuc ky.

O,

fath er,

don’t

a ban don

me

while my sweat still sweets

the rich brown soil of

dear

old

Ken

tuc ky.

B

div.

unis.

I Vn.

div. II

Va.

Vc.

Cb.

unis.

=

143

Act I–Scene 2

66 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 sub.

Bn. 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 2. Tbn.

1 2

Bs.Tbn. Tuba sub.

Timp.

(Congas) 1

(T.-t.) Perc.

sub.

2 sub. (Congas) 3 sub.

Piano

Harp

M.G.

crackuh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

R.G.

(almost shouting)

div.

S

Crack uh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

(almost shouting) A

Crack uh back

S.C.

(almost shouting) T 8

Crack uh back (almost shouting) div.

B

Crack uh back

unis.

div. I sub.

Vn. unis.

div.

II sub. Va. sub. div. a2 Vc.

sub. Cb. sub.

144

Act I–Scene 2

76 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

(Congas) 1

(T.-t.) Perc.

2

(Congas) 3

Piano

Harp

tutta forza M.G.

Crack,

cut,

pull,

chop,

split;

crack,

cut,

pull,

chop,

split;

crack,

cut,

pull

chop,

split!

pull

chop,

split!

pull

chop,

split!

pull

chop,

split!

pull

chop,

split!

pull

chop,

split!

tutta forza R.G.

Crack,

cut,

pull,

chop,

split;

crack,

cut,

pull,

chop,

split;

crack,

cut,

tutta forza S

Crack,

cut,

pull,

chop,

split;

crack,

cut,

pull,

chop,

split;

crack,

cut,

tutta forza

div. A

Crack,

S.C.

cut,

pull,

chop,

split;

crack,

cut,

pull,

chop,

split;

crack,

cut,

tutta forza T 8

Crack,

cut,

pull,

chop,

split;

crack,

cut,

pull,

chop,

split;

crack,

cut,

tutta forza B

Crack, div. I Vn.

(div.) II

unis. Va. (div.) Vc.

Cb.

cut,

pull,

chop,

split;

crack,

cut,

pull,

chop,

split;

crack,

cut,

145

Act I–Scene 2

82

Piccolo

Picc. 3

3

3

a2 Fl.

1 2

3

3 3

1 3

3

Ob.

3

2 3

3

3

3

3

a2 Cl. in B

1 2

3

Bs.Cl. a2

3

1 2

3

Bn.

3 3

3

1 2 3

3

Hn. in F

3

3

3

3

3

3

3

3

3

3

3

3

3 4 1.

2.

1 2 3

Tpt. in C

3

3 3

3

3 3

3

3

3

3 3

3

a2

1. Tbn.

1 2

3

3

3

3

Bs. Tbn. Bs.Tbn. Tuba

a2

3 3

3

3

3

3

Timp. Congas 1

T.-t. Perc.

2

Congas 3

3

3 3

Piano 3 3

3

Harp

R.G.

Soprano solo from the chorus: (full voice) Solo

Boss is

hap

py

in his

bed

if unis.

S

Long

as his pil low’s dow

ney;

Long

as his pil low’s dow

ney;

div. A S.C. T 8

B

unis. div.

unis.

I 6

3

6 3

3

Vn.

unis.

3

3

div. a2

unis.

3

div.

II 6

6

3

3

6 6

Va.

unis.

div. a2

6 6

Vc. 6

6

3

Cb.

3

div.

unis.

146

Act I–Scene 2

87 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1 2 Bn. 3

1 2 Hn. in F

Tpt. in C

3 4

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Congas) 1 (T.-t.) Perc.

2 (Congas) 3

Piano

Harp

Robert Garner

R.G.

Plowed the field,

baled thehay,

Solo

I

stood by his sleep y

head

S

his

face would be

as

fluf fy.

Plowed the field,

div.

baled the hay

unis.

A

his

S.C.

face would be

as

fluf fy.

Plowed the field,

baled the hay

Plowed the field,

baled the hay

Plowed the field,

baled the hay

(shouted like a gospel singer) T 8

Tell it to me! unis. (shouted like a gospel singer)

B

Tell it to me!

I Vn.

unis. II

Va.

Vc.

Cb.

147

Act I–Scene 2

91 Picc. a2 Fl.

a2

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2

1 2 Bn. 3

a2 1 2 Hn. in F

Tpt. in C

a2 3 4

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc.

2 (Congas) 3

Piano

Harp

Margaret Garner: M.G.

O,

moth er,

O,

fath er,

O,

moth er,

O,

fath er,

R.G.

go in’ to dance on the lead mule’s back some day. S

go in’ to dance on thelead mule’s back some day.

O,

moth er,

O,

fath er,

go in’ to dance on thelead mule’s back some day.

O,

moth er,

O,

fath er,

go in’ to dance on thelead mule’s back some day.

O,

moth er,

O,

fath er,

go in’ to dance on thelead mule’s back some day.

O,

moth er,

A S.C. T 8

B

O,

fath er,

div.

unis.

div.

div.

unis.

div.

I Vn. II div. Va.

Vc.

Cb.

148

Act I–Scene 2

97 Picc.

1. Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1 2 cresc.

Bn. 3

cresc.

1 2 Hn. in F 3 4 1.

Tpt. in C

1 2

3 a2 Tbn.

1 2 Bs. Tbn.

a2

Bs.Tbn. Tuba

cresc.

Timp. (Congas) 1 (T.-t.) Perc.

2 (Congas) 3

Piano

Harp

shouted like a gospel singer M.G.

Don’t

a ban don

me

Sing it to me!

O,

moth er,

O,

moth er,

shouted like a gospel singer R.G.

Don’t div.

a ban don

me

unis.

div.

Sing it to me! unis.

div.

unis.

S

Don’t

a ban don

me

while my tears

mud dy the rich brown soil

of

dear

old

Ken

tuc ky.

O,

moth er,

Don’t

a ban don

me

while my tears

mud dy the rich brown soil

of

dear

old

Ken

tuc ky.

O,

moth er,

of

dear

old

Ken

tuc ky.

O,

moth er,

O,

moth er,

A S.C.

div.

unis.

T 8

Don’t

a ban don

me

while my tears unis.

div.

mud dy the rich brown soil div.

unis.

B

Don’t unis.

a ban don

me

while my tears

div.

mud dy the rich brown soil

of

dear

old

Ken

tuc ky.

div.

unis.

I Vn.

unis.

div.

div.

unis.

II

div. a3

div. a2

Va.

Vc. cresc. div. Cb. cresc.

unis.

149

Act I–Scene 2

104 Picc. 1. Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2.

(a2) 1 2 Bn. 3

1 2 Hn. in F

sub. 3 4 sub. 1. 1 2

Tpt. in C 3 a2 Tbn.

1 2 Bs. Tbn.

a2

Bs.Tbn. Tuba

Timp. (Congas) 1

(T.-t.) Perc.

2 (Congas) 3

Piano

Harp

M.G.

O,

fath er,

O,

fath er,

don’t

a ban don

me

don’t

a ban don

me

of

dear

old

Ken

tuc ky.

of

dear

old

Ken

tuc ky.

R.G.

div.

unis.

unis. div.

div.

unis.

S

O,

fath er,

don’t

a ban don

me

while my blood

floods

the vel

vet

dirt

of

dear

old

Ken

tuc ky.

O,

fath er,

don’t

a ban don

me

while my blood

floods

the vel

vet

dirt

of

dear

old

Ken

tuc ky.

vet

dirt

of

dear

old

Ken

tuc ky.

dear

old

Ken

tuc ky.

A S.C.

div.

unis.

T 8

O,

fath er,

don’t

a ban don

me div.

div.

while my blood

floods

the vel div.

unis.

unis.

B

O,

fath er,

unis.

div.

unis.

div.

don’t

unis.

a ban don

me

while my blood

floods

the vel

vet

dirt

of

div.

unis.

I Vn.

div.

unis.

II div. a3 Va.

Vc.

Cb.

div. a2

div. a3

div. a2

unis.

150

Act I–Scene 2

111 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 sub.

Bn. 3

sub.

1 2 Hn. in F

sub. 3 4 sub.

1. Tpt. in C

1 2

3 2. Tbn.

1 2

Bs.Tbn. Tuba sub. Timp. sempre marcato (Congas) 1

sempre marcato (T.-t.) Perc.

2 sempre marcato (Congas) 3

Piano

Harp

cresc. poco a poco M.G.

crackuh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

pull

uh mule

chop uh cot ton

split uh wood

pull

uh mule

chop uh cot ton

split uh wood

pull

uh mule

chop uh cot ton

split uh wood

pull

uh mule

chop uh cot ton

split uh wood

pull

uh mule

chop uh cot ton

split uh wood

cresc. poco a poco R.G.

crackuh back almost shouting

cut uh cane cresc. poco a poco

div.

S

Crack uh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

almost shouting

cut uh cane cresc. poco a poco

A

Crack uh back

S.C.

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

almost shouting

cut uh cane cresc. poco a poco

T 8

Crack uh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

almost shouting

cut uh cane cresc. poco a poco

div. B

Crack uh back

cut uh cane

pull

uh mule

chop uh cot ton

split uh wood

crackuh back

div. I Vn. div. II (div.) Va.

div. a2 Vc.

Cb.

cut uh cane

151

Act I–Scene 2

121

=

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Congas)

1

(T.-t.) Perc.

2 (Congas)

3

Piano

Harp

tutta forza M.G.

Crack,

cut,

pull,

chop,

split;

crack,

cut,

pull,

chop,

split;

crack,

cut,

pull

chop,

split!

pull,

chop,

split;

crack,

cut,

pull

chop,

split!

pull,

chop,

split;

crack,

cut,

pull

chop,

split!

pull,

chop,

split;

crack,

cut,

pull

chop,

split!

pull,

chop,

split;

crack,

cut,

pull

chop,

split!

pull,

chop,

split;

crack,

cut,

pull

chop,

split!

tutta forza R.G.

Crack,

cut,

pull,

chop,

split;

crack,

cut,

tutta forza S

Crack,

cut,

pull,

chop,

split;

crack,

cut,

tutta forza

div. A

Crack,

S.C.

cut,

pull,

chop,

split;

crack,

cut,

tutta forza T 8

Crack,

cut,

pull,

chop,

split;

crack,

cut,

tutta forza B

Crack,

cut,

pull,

chop,

split;

crack,

cut,

= I Vn. II unis. Va. (div.) Vc.

Cb.

152

Act I–Scene 2

127

3

Picc.

3

3

to Flute

3

a2 Fl.

1 2

3

3

3 3 3 3

3

3

3

3

3

3

3

3

3

1 3

Ob.

3 3

2 3

3

a2 Cl. in B

3

1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. 3

a2

3

3

3

3

1 2

3

3 3

3 3

3 3

3

3

Bn.

3

3

3 3

3

3

3

a2

3

1 2 3

Hn. in F

3

3

3

3

3

3

3

3

3

3 4 1.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

take cup mute

1 2 3

3 3

Tpt. in C

3 3

3

3

3

a2

take cup mute

3

Tbn.

1 2

3

take cup mute

3

3

3

3

3

3

a2

Bs. Tbn. Bs.Tbn. Tuba

3 3

3 3

3

3

3

3

Timp.

1 Xyl.

3 3

Perc.

2

3 3

3

3

3

3 3

Piano

3

3

3 3

3

3

3

Harp

C.

M.G.

R.G.

unis.

div.

3

unis. 3

3

3

3

3

3

3

I 6

6 3

3

unis.

Vn.

3

3

3

3

3 3

3

3 6

3 3

II

3 3

3 3

6 3 3

3

3

3

3

3

3

3

Va. 3

3

3

3

unis. 3

3 3

Vc. 3 3

3

3

3

3

3 3

3

3

3

3

3 3

3

3

Cb. 3

3 3

3

3 3

3 3

3

Moderato, ma non troppo

= 80 (don’t drag)

153

Act I–Scene 2

134 1 2 Fl.

6

6

6

6

Flute 3

1 Ob.

2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. High Trg.

to Crotales

1

Vib., motor off Perc. 2 Pedal

Pedal Low Trg. 3

Piano

Harp

(Upon hearing the bell that signals the day’s end, the workers wash up for supper. Cilla is waiting at Margaret and Robert’s cabin to welcome them home.) C.

M.G.

R.G.

Moderato, ma non troppo (don’t drag)

= 80 div.

I div.

Vn. II

div. Va.

Vc.

div. Cb.

154

Act I–Scene 2

142 1 2 Fl.

6

6

6

6

3

1 Ob. 2 1., solo Cl. in B

6

1 2

3

espressivo Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Cilla: 3

C.

You left

the light be

hind

you.

M.G.

R.G.

I Vn. II 2 sole, div.

tutte, div.

Va.

1 solo Vc.

Cb.

gli altri

155

Act I–Scene 2

146 1 2 Fl.

6

6

6

6

6

6

3

1 Ob. 2 1., solo Cl. in B

6

1 2

6

espressivo

meno

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 possibile Vib. Perc. 2 possibile 3

Piano

Harp

(Cilla, Robert, and Margaret go inside the cabin and begin preparing dinner.) 3

C.

Did

you have

a

wor ri some day?

M.G.

R.G.

div., (tutti) unis. (ossia 3 soli) I Vn. II

2 sole, div. Va. 1 solo Vc.

Cb.

tutte, div.

156

Act I–Scene 2

151

Poco più mosso

= 84 1., solo

1 2

6 6

Fl.

molto espr. 3

1 Ob. 2 1., solo 6

Cl. in B

1 2

6

molto espr. Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 Vib. Perc. 2

3

Piano

Harp

C.

M.G.

Robert Garner: full voice

R.G. 3

Ev

’ry new

Poco più mosso

day

3

is

= 84

3

like yes

3

ter day.

Work div. (tutti)

unis. (ossia 3 soli) I (div.)

Vn. II 3 sole, div.

tutte, div.

Va.

1 solo

gli altri

Vc. 1 solo Cb. gli altri, pizz.

tutti, arco, div.

the crops,

for get a bout pay.

157

Act I–Scene 2

156

1., solo

1 2

6

espr. 6

Fl. 3

1 Ob. 2 1., solo Cl. in B

6

1 2

6

espr. Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 4. senza cresc. 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Vib. Perc. 2

3

Piano

Harp

C.

M.G.

R.G. 3

End

3

each day like the

one

be

fore.

Don’t

leave

the field

3

’til the light’s

too

poor.

div. (tutti) unis. (ossia 3 soli) I (div.)

Vn. II

(div.) Va. 1 solo

gli altri

Vc.

(div.) Cb.

1 solo

158

Act I–Scene 2

162

Più mosso 6

= 92

6

6

6

6

6

6

6

6

6

6

6

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., with mute

1. take straight mute 1 2 Hn. in F

3. take straight mute

3., with mute

3 4 with cup mute 1 2 Tpt. in C

with cup mute 3 with cup mute

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

l.v.

l.v.

l.v.

Cilla: C. 3

This Gaines

is

not

like

the

last

one.

A mean

M.G.

R.G.

Più mosso

= 92

(div.)

unis.

(div.)

unis.

I Vn. II

unis.

pizz.

Va. tutti, div. Vc.

Cb.

streak rides his

159

Act I–Scene 2

167 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

1. remove mute 1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. sotto voce 1

Perc. 2

3

Piano

Harp

(jokingly) C.

brow.

The oth er one

M.G.

R.G.

div. I Vn. II

arco Va. unis.

div. a3 Vc. pizz. Cb.

arco

had

3

a

heart—

some times!

160

Act I–Scene 2

171

L’istesso tempo

= ca. 92 don’t hurry

1 2 Fl.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Ob. 2

Cl. in B

3

1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. sotto voce 1 2 sotto voce

Bn. 3

sotto voce

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

1 Tbn. 2 Bs.Tbn. Tuba

Timp.

1 Vib., motor off, medium soft mallets Perc. 2

Pedal on 3

Piano

sempre

Harp

C.

scherzando M.G.

No

such thing

as a boss

’s

heart. He

can’t

waste the

space.

He would

R.G.

If

L’istesso tempo I Vn. II div. Va.

div. a2 Vc.

non div. Cb.

= ca. 92 don’t hurry

he

could har

vest corn in his chest,he would

161

Act I–Scene 2

molto rit. Solemn and soulful

175

= ca. 80

1 2 3

Fl.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 cant., in relief of voice

Ob. 2

Cl. in B

1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

cant., in relief of voice

Bs.Cl. cant., in relief of voice 1 2 cant., in relief of voice

Bn. 3

cant., in relief of voice

1 2 Hn. in F

3 4 (with mute) 1 2 cant. in relief of voice

Tpt. in C

(with mute) 3 cant. in relief of voice (with mute)

Tbn.

1 2 cant. in relief of voice Bs. Tbn., with mute

Bs.Tbn. Tuba cant. in relief of voice

Timp.

1 (Vib.) Perc.

2

3

Piano

senza pedale

F

Harp

(Margaret and Robert laugh heartily.)

(Cilla beckons for Robert and Margaret to sit down at the dinner table.)

C.

Ease M.G. 3

lease

out his

lease

out his

own

3

heart’s

place!

heart’s

place!

R.G. 3

3

own

molto rit. Solemn and soulful

= ca. 80 unis.

I Vn. II

Va. unis. Vc.

Cb.

162

Act I–Scene 2

180 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., open 1 2 Hn. in F

3 4 1 2

Tpt. in C 3

remove mute Tbn.

1 2 (Bs.Tbn.)

Bs. Tbn. remove mute

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

D

(full voice)

quasi

C.

your selves, M.G.

R.G.

I Vn. II

Va.

Vc.

Cb.

ease

3

your

selves.

The

ta

ble

is

laid.

The

163

Act I–Scene 2

186 1 2 dolce

Fl. 3

dolce 1 Ob. 2

Cl. in B

1 2 cant.

dolce

Bs.Cl. cant.

dolce

cant.

dolce

cant.

dolce

1 2 Bn. 3

(1.)

take straight mute

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

(All three sit down to dinner.) C.

sup

per

is

plain

but

warm. 3

3

port.

M.G.

You’ve got milk and straw ber ries, too. R.G.

I Vn. II

Va.

Vc.

Cb.

164

Act I–Scene 2

poco rit.*

193

Meno mosso

= ca. 69–72

1 2

3

3

3

3

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3 open Tbn.

1 2 cantabile Bs. Tbn. open

Bs.Tbn. Tuba cantabile

Timp.

1

Perc.

2

3

Piano

Harp

D

F

B

C.

Dear

Lord

in

Hea

ven,

make (like a responsorial)

M.G.

Bless ed

Lord.

(like a responsorial) R.G.

Bless ed

poco rit.*

Meno mosso

Lord.

= ca. 69–72

I div.

Vn. II unis. Va.

div. Vc.

Cb.

* No break in sound.

us grate

165

Act I–Scene 2

199 1 2

3

3

3

3

3

3

3

3

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Tam. Perc.

2

B.D. 3

Piano

8ba

8ba

Harp

C. 3

ful

3

3

for our food.

Keep us well and in Your sight.

Pro tect

those

in

dan

ger,

M.G.

Sweet Je

sus

Mmm

Take my

Sweet Je

sus

Mmm

Take my

R.G.

I Vn. II

Va.

Vc.

Cb.

166

Act I–Scene 2

(don’t drag)

205 1 2

3

3

3

3

3

3

3

3

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Tam. Perc.

2

B.D. 3

Piano

D

D

Harp

(don’t drag) 3

gliss.

3

C. 3

and let us be guid

ed byYour hea

Mmm

ven ly light.

gliss.

M.G.

hand…

Pre cious Lord

Mmm gliss.

R.G.

hand…

Pre cious Lord

div. I Vn. II

Va.

Vc.

Cb.

(don’t drag)

unis.

Mmm

167

Act I–Scene 2

210 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1., solo 1 2 espr.

Bn. 3

with straight mute

remove mute

1 2 Hn. in F

remove mute

with straight mute 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

8ba

Harp

port. C. 3

A

men.

M.G.

R.G.

div. I Vn.

(div.) II

Va. poco espr. (div.) Vc.

pizz. Cb.

arco

168

Act I–Scene 2

217 A

piacere

Moderato

= 72

a2

3

1 2

3

3

3

3

3

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

3

3

3

3

3

3

EF G A D C B

Harp

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

C.

(to Cilla) dolce, contando M.G.

How’s

exuberantly, quasi parlando

my ba

by?

Not

R.G. 3

You are a har vest time bless ing, ma ma.

A piacere

Moderato

= 72

1 solo

I dolce cantabile

Vn. II div. Va.

unis.

div.

div.

pizz.

Vc.

Cb.

169

Act I–Scene 2

222

(a2)

3

3

1 2

3

3

3

3

3

3

3

Fl. 3

1 Ob. 2

Cl. in B

1 2 3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. 3

3

3

3

3

3

3

3

3

3

3

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

3

3

3

3

3

3

3

3

3

Harp

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

C. più espressivo 3

3

M.G.

cry ing for

me?

How’s

my sweet ness?

Not

miss ing

me?

R.G.

(1 solo)

port.

I 3

II

Va.

Vc.

Cb.

3

dolce cant.

Vn.

dolce

3

170

Act I–Scene 2

A little more lively (poco più mosso)

227 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., open 1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

EF G A D C B

Harp

(darkly)

3

5

sotto voce

C.

She’s sleep

ing, Mar garet.

Sleep

ing.

Not a frown on her su gar but ter face.

M.G. laughing R.G.

Did you ev

I più cant. (div.) II più cant.

unis. Va.

più cant. Vc. unis. Cb.

see

a mo ther like that?

A little more lively (poco più mosso)

tutti, div.

Vn.

er

più cant.

171

Act I–Scene 2

233 1 2 Fl. 3

1 dolce

Ob. 2

soli

dolce Cl. in B

1 2

cantabile Bs.Cl. 1.

cantabile

1 2 dolce

Bn. 3

(1.) 1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

C.

M.G.

meno

(not quite full voice)

R.G.

The child

3

3

sup posed to need the mo ther;

now here

I espr.

Vn. II

espr. Va. espr. Vc. espr. Cb.

1 solo

the

3

mo ther needs the child

more.

172

Act I–Scene 2

239 1 2 dolce

Fl. 3

1 Ob. 2

Cl. in B

1 2 dolce

Bs.Cl.

1 2 dolce

Bn. 3

(1.)

2. open

1 2 Hn. in F

dolce

3., open 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

C.

The ba

by

needs her

rest. 3

3

M.G.

I need R.G.

I Vn. II

Va.

Vc.

Cb.

3

to smell her

breath.

I

need

to

see her eyes,

173

Act I–Scene 2

245

1.

don’t drag

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

sempre

Harp

emphatically

(quick grace note)

C.

It’s dan M.G.

her

smile.

R.G.

don’t drag I Vn. II

Va. unis. Vc.

Cb.

g’r ous, daugh ter,

to

love

too

174

Act I–Scene 2

251

Più lento

(1.)

= 58–60

1 2 sotto voce

Fl. 3

sotto voce 1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

non cresc.

3. 3 4

non cresc. 1 2 Tpt. in C 3 take mute Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

to Celesta

Piano

Harp

full voice

(freely) 3

C.

much.

The

Lord

giv

eth

and

the

Lord

tak

eth

a

M.G.

R.G.

Più lento

unis. poco vibrato I sotto voce unis. poco vibrato

Vn.

div.

II sotto voce poco vibrato Va. sotto voce div. Vc. tutti, arco Cb.

div.

= 58–60

175

Act I–Scene 2

più mosso

257 1 2 molto cantabile

Fl. 3

1 Ob. 2

Cl. in B

1 2 molto cantabile

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

G

Harp

come recitative 3

C.

way.

Come

to your sup per be fore you wake

M.G.

R.G.

div.

più mosso

I Vn.

unis. II

unis. Va. espr. div. a2 Vc.

unis. Cb.

her.

176

Act I–Scene 2

261

= 80

Pochissimo più mosso

1 2 Fl. 3

1 espr.

Ob. 2

espr. Cl. in B

1 2

Bs.Cl. 1. 1 2 espr.

Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Perc.

2

3

Celesta

Harp

C.

(peacefully) M.G.

She

is

my

sup per,

the

food

of

my

heart.

R.G.

And what am I?

= 80

Pochissimo più mosso

2 soli

I

The leav

gli altri, div.

Vn. dolce II dolce

Va. dolce unis.

div.

unis., pizz.

Vc. dolce Cb.

pizz.

ings?

177

Act I–Scene 2

267

Moderato

= 72

Subito doppio movimento

= 144

=

1 2 cresc.

Fl. 3

1 cresc.

Ob.

3

3

3

3

3

3

3

3

3

3

3

3

2 cresc. Cl. in B

1 2 cresc.

3

3

3

3

Bs.Cl.

cresc.

2. 1 2 cresc. Bn. 3 cresc.

1 2 Hn. in F

4. open

cresc.

3 4 with straight mute

cresc.

3

1 2 Tpt. in C

3

3 with straight mute Tbn.

1 2 3

3

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Harp

C. (smiling, reaching out to Robert) 3

M.G. 3

Oh,

no,

Oh,

no.

You

are

3

the

pulse.

With

R.G.

Moderato tutti, unis.

= 72

Subito doppio movimento pizz.

div.

=

= 144

unis., arco

3

I 3

cresc. Vn.

div., pizz.

arco, non div.

3

3

3

3

II cresc.

div.

3

3

div. a2, arco

div. a3, pizz.

Va. cresc.

arco Vc. cresc. arco Cb. cresc.

3

3

178

Act I–Scene 2

non troppo pesante

273 1 2

3

3 3

Fl.

3

3

3 3

3

3 3

3

3

3

3

3

3

3

3

3

1 3 3

Ob.

3 3

3 3

3 3

3

3

3 3

3

3 3

3 3

3

3

3

3

3

3

3

3

3

3

cresc.

2 3

Cl. in B

3

3

3

cresc.

3

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

cresc.

Bs.Cl. 3 3

3

3 3

3

1 2 Bn.

marcatiss.

cresc.

marcatiss.

cresc.

3

3

3

3

3

3

3

1 2 3

Hn. in F

3

3

3 3 3

3 4 3

remove mute

3

3

3

3

cresc.

3 3

3

3

3

3

3

cresc.

open

3

1 2 3

3

Tpt. in C

open

3

cresc. 3

3

3 remove mute Tbn.

cresc.

open

1 2 3

3

3

3

cresc.

Bs.Tbn. Tuba cresc.

Timp.

1

Perc.

2

3

Celesta

Harp

(They embrace.) C. 3

3

M.G.

out

you

I

have no

heart.

R.G. 3

3

And

3

with out

you

I

have

no

pulse

3

to give.

non troppo pesante 3

3

I

3

Vn.

3

3

3

3

3

3

3

cresc.

div.

3

3

II 3 3

3

3

3

3 3

3

cresc.

unis.

Va. 3

3

marcatiss.

cresc.

div. Vc. marcatiss.

cresc.

Cb. marcatiss.

cresc.

179

Act I–Scene 2

Il mezzo tempo = 72

279 1 2

3

3 3

3

cresc.

3

3

3

3 3

3 3

3

3

3

3

3

3

cresc.

Fl.

più mosso

3 3

3

3

3

3 3

3 3

3

3

3

3

3

3

3

3

3

3

3 3

3 3

3

3

3

3

3

3

3 3

3

3

1 (cresc.)

Ob.

3 3

3 3

2 3

(cresc.) Cl. in B

1 2

3

(cresc.)

3

3

Bs.Cl. cresc. 1 2 Bn.

(cresc.) 3

(cresc.)

1 2 3

Hn. in F

3

(cresc.) 3

3 3

3

3 4 (cresc.) take straight mute 1 2 3

(cresc.)

Tpt. in C

3

3

3

3

3

3

3

3 3

3

3

3

3

3

3

3 3

3

3

3

3

3

3

take straight mute

3 (cresc.)

Tbn.

1 2

3

(cresc.)

3

3

Bs.Tbn. Tuba (cresc.)

Timp. cresc. 1

Perc.

2

3

Celesta

Harp

l.v.

(interrupting)

come recitativo

poco agitato

3

C.

E nough

said.

Go get your heart be fore you break mine.

M.G.

R.G.

Il mezzo tempo = 72

più mosso

I 3

(cresc.)

Vn.

3 3

3 3

3

3 3

3 3

3

3 3

3 3

sotto voce

II 3

(cresc.)

3

3

sotto voce

Va. (cresc.)

sotto voce

Vc. (cresc.)

sotto voce div., half arco, half pizz.

Cb. (cresc.)

sotto voce

180

Act I–Scene 2

284

a tempo (don’t drag)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 dolce

Bs.Cl. dolce 1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

E F G A D CB

Harp

(Margaret goes to get the baby.) C.

M.G.

R.G.

a tempo (don’t drag) I espr. unis.

Vn. II

espr. unis.

div.

Va. espr. unis.

div.

Vc. espr. Cb.

unis., arco

181

Act I–Scene 2

290 Moderato

semplice, flowing

= 42–44 ( = 84–88)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Celesta

Harp

(As Cilla and Robert eat dinner, Margaret sings tenderly to the child.) C.

tenderly

3

3

3

M.G.

Sad

things,

far

a way.

R.G.

Moderato semplice, flowing

= 42–44 ( = 84–88)

alla punta del arco I

6

6

6

6

6

6

6

6

6

6

6

6

6

6

sim.

Vn.

alla punta del arco II 6

unis., poco vib. Va. unis., poco vib. Vc.

Cb.

6

sim.

182

Act I–Scene 2

294 1 2 Fl. 3

1 dolce

Ob. 2

dolce Cl. in B

1 2 dolce cant.

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Harp

C.

3

port.

3

M.G. 3

Soft

things,

come

and play

love

ly

ba

by…

R.G.

I

6

6

6

6

6

6

sim.

Vn. II 6

sim.

6

div.

unis.

Va. div. Vc.

Cb.

unis.

div.

183

Act I–Scene 2

300 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

C

Harp

C. full, rich 3

3

3

3

3

3

3

3

M.G.

Sleep

in

the mea dow,

sleep

in

the hay

Ba

by’s

got

a dream in’

on the

way.

3

R.G.

(alla punta) I

div.

6

6

sim.

Vn.

6

6 6

6

6

(alla punta)

sim.

6

6

II 6

div.

sim.

6

6

6

6

6

Va. (div.)

unis.

pizz.

arco

Vc.

Cb.

6

sim.

184

Act I–Scene 2

304 1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Harp

C.

3

più cant.

3

3

3

3

M.G. 3

Bad

things,

far

a way.

R.G.

unis. I

6

6

6

6

6

6

sim.

Vn.

div.

6

unis.

6

II 6

sim.

6

6

6

unis.

Va.

div. Vc.

pizz. Cb.

unis.

6

6

6

6

185

Act I–Scene 2

308 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Harp

C

C.

3

3

3

3

M.G. 3

Pret ty

3

things,

here

to stay.

3

Sweet

ba

3

3

by

smile

at me.

R.G.

div.

I

unis.

6

div.

6

6

6

6

sim.

Vn.

sim. 6

6

II 6

sim.

6

div.

6

unis.

6

sim.

Va. div. Vc.

Cb.

unis.

6

6

6 6

6

186

Act I–Scene 2

312 1 2 dim.

Fl. 3

dim. 1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

dim.

Celesta

Harp

C. molto cantabile, full voice

less full 3

3

3

3

3

M.G. 3

Love

3

ly

ba

by,

go

to

sleep.

Sleep

in

the mea dow,

sleep

in

the hay.

R.G.

unis. I 6

Vn.

sim. 6

6

6

6

6

6

sim.

6

sim.

6

6

6

6

II sim.

6

6

div.

Va. div. Vc. sub. Cb.

6

6

187

Act I–Scene 2

316 1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

C

Harp

C. full, vibrant 3

3

3

3

3

3

3

M.G. 3

Ba

by’s

gon na

dream

the

night

a

way.

R.G.

unis.

div. I

6

sim.

Vn.

6

6 6

6

6

6

6

6

6

6 6

II 6

sim.

6

Va. unis.

div.

arco

pizz.

Vc.

Cb.

6

6

188

Act I–Scene 2

320

soli

1 2 Fl.

dolce 3 soli 1 dolce soli

Ob. 2

dolce Cl. in B

1 2 dolce

dolce

Bs.Cl. dolce 1 2 dolce

Bn. 3

1., solo 1 2 Hn. in F

dolce

3

3

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

C

Harp

C.

full, warm–hearted

port.

M.G.

Love

ly

ba

by,

pret

ty

ba

by.

R.G.

2 soli, div., ord.

tutti, unis., alla punta

I

6

Vn.

sim.

6

sim.

6

(alla punta) II 6

div.

unis. Va. dolce unis.

div.

unis. div.

Vc. dolce Cb.

189

Act I–Scene 2

325 1 2 Fl. 3

solo 1 espr.

Ob.

3

2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.) 1 2 Hn. in F

3

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Harp

C

C.

3

3

3

3

3

M.G.

Ba

by’s

gon na

dream

the

3

night

a

R.G.

alla punta

div., ord. I

6

6

sim.

6

6

6

Vn.

div., ord.

sim.

6

unis., alla punta

II 6

unis.

sim. div.

6

6

unis.

6

div.

6

unis.

Va. unis. Vc.

arco Cb.

sim. div.

6

190

Act I–Scene 2

329

(non rit.)

1.

ancora meno mosso (slower still) = 66

Più lento, slower = ca. 72

1 2 sotto voce

Fl. 3

sotto voce 1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

to Piano

Celesta

Harp

(Casey approaches the cabin, armed with a double–barreled shotgun and carrying a satchel. He loiters for a few minutes, passing the time by cleaning his gun.) C.

3

3

3

3

3

M.G.

way.

Sleep

in the mea dow,

sleep

in the hay.

3

’ Ba

3

by’s gon na

R.G.

Più lento, slower = ca. 72

(non rit.) unis. I

div., ord. 6

6

6

6

Vn.

ord. II 6

6

6

6

unis. Va. sotto voce div. Vc. sotto voce pizz. Cb.

unis.

ancora meno mosso (slower still) = 66

191

Act I–Scene 2

334

=

1 2 dolce Fl.

to Piccolo 3 dolce 1

Ob. 2 dolce Cl. in B

1 2 dolce

Bs.Cl. dolce 1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Piano

fast arp.

fast arp.

Harp

C.

port.

*

3

**

3

3

port.

M.G.

dream.

Ba

by’s gon na dream.

Ba

by’s

gon na

dream.

mmm

R.G.

(div.)

= I div.

Vn. II

div. 5 sole, div. a5 Va.

Vc.

Cb.

* mm 335-336 ossia: “mmm” (humming) ** Going gradually from closed mouth to partially open mouth.

tutte, div. a2

ah

192

Act I–Scene 2

Subito agitato = 92 341 (not hurried, ben misurato) Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 marcato

Bn.

marcato

marcato

3

a2 1 2 Hn. in F

a2 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Sus. Cym., 2 snare brushes 1 B.D. Perc.

2

3

Piano

E F G A D C B

Harp

C.

M.G.

Casey: (quietly, standing in the cabin doorway) Ca. 8

Not

to

night.

No

bo dy

dreams

to

night.

R.G.

Subito agitato = 92 (not hurried, ben misurato) I Vn. II

Va.

Vc. marcato

marcato

marcato

marcato

marcato

Cb. marcato

193

Act I–Scene 2

non troppo

Piccolo

347 Picc.

7

a2

Fl.

1 2

7

1 7

Ob.

7

2 a2

1. Cl. in B

1 2 7

Bs.Cl. 2.

1.

1 2 marcatiss.

Bn. 3

1 2 Hn. in F

cuivré 3 4 cuivré with straight mute

remove mute

with straight mute

remove mute

open

1 2 Tpt. in C

open

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. High Wd. Blk. 1 Mounted Cast. Perc.

2

3

8va

8va

Piano

Harp

(Casey enters the cabin abruptly and confronts Robert.) C.

M.G. molto

sarcastically

Ca.

What’s

8

that

I

say?

R.G.

What

d’you say.

What’s that

you say?

div. unis., pizz.

non troppo

arco

I 7

arco

div.

Vn.

unis., pizz.

II 7

non div. Va. 7

div. Vc. marcatiss. div. Cb. marcatiss.

unis.

194

Act I–Scene 2

353 Picc.

Fl.

1 2

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

2.

1.

1. 1 2

staccatissimo Bn.

staccatissimo 3

1 2 Hn. in F

take straight mute

open

a2, with straight mute

3 4

take straight mute

with straight mute

take straight mute

with straight mute

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. High Wd. Blk. 1 Mounted Cast. Perc.

2

3

8va

Piano

Harp

(Casey points his gun at Robert.) C.

M.G. molto

with anger Ca. 8

What’s

that

(a)

you

say.

R.G.

Ex

div.

I Vn.

div. II

Va.

unis.

div.

unis.

Vc. staccatissimo staccatissimo div.

unis.

Cb. staccatissimo staccatissimo

cuse

me sir,

Yes,

195

Act I–Scene 2

359 Picc.

Fl.

1 2

1 Ob. 2 (2.) Cl. in B

1 2

Bs.Cl. (2.)

1.

1 2 Bn. 3

take straight mute 1 2 Hn. in F

take straight mute 3 4

1 2 Tpt. in C 3 a2 Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

C.

M.G.

Ca. 8

R.G.

sir.

What’s that

you

say,

sir?

I Vn. II div.

unis., sul C

div.

unis.

Va. sub. Vc.

Cb.

196

Act I–Scene 2

365

rit.

Quasi andante

= 80

Picc.

Fl.

1 2

1 sempre marcato e secco

Ob.

ossia: 2 sempre marcato e secco

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

with straight mute 1 2 Hn. in F

3., with straight mute 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

C.

M.G.

Ca. 8

Bet ter.

Much

bet ter.

What I say

R.G.

rit.

Quasi andante

= 80

unis., pizz. div. I sempre marcato e secco unis., pizz.

Vn. II

sempre marcato e secco div. Va. div. Vc. pizz. Cb.

unis., pizz.

is,

No

hap

197

Act I–Scene 2

371 Picc.

Fl.

1 2

1 Ob. 2 2. Cl. in B

6

1 2

6

6

6

6

6

6

Bs.Cl.

2.

6

1.

2.

6

6

6

6

6

6

1.

1 2 Bn. 3

1 2 Hn. in F

4. with straight mute

remove mute

3 4 1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

to Celesta

Piano

Harp

C.

M.G.

Ca. 8

R.G.

I Vn. II

Va.

Vc.

Cb.

py

dar

ky dream in’

ta night.

198

Act I–Scene 2

375 Picc. 1. (grace notes before the beat) 6

Fl.

6

6

6

1 2 (grace notes before the beat) 1

Ob. 2

Cl. in B

1 2

Bs.Cl. 2. 1 2 Bn. 3

remove mute

1., open

1 2 Hn. in F

sub.

3., open 3 4 espr. 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Harp

C.

What plans, M.G.

sotto voce

3

Ca. 8

Mis ter Gaines

has

o ther

plans‌

O ther plans.

R.G.

(pizz.) I Vn.

(pizz.) II poco vibrato

Va. div., arco Vc.

Cb.

(con vibrato)

Mis ter Ca sey?

199

Act I–Scene 2

379 to Flute Picc. (1.)

Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

(1.) 1 2 Hn. in F

(3.) 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

E FG A D CB

Harp

C.

M.G.

Ca. 8

3

I’m R.G.

I Vn. II

Va.

Vc.

Cb.

talk in’ to your boy,

Cil la.

not

you.

200

Act I–Scene 2

383 1 2 sotto voce

Fl. 3

1 sotto voce

Ob. 2

sotto voce

a2 Cl. in B

1 2

Bs.Cl. 2. 1 2 Bn. 3

1.

gliss.

1 2 Hn. in F

3. 3 4

gliss.

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Sus. Cym., brushes Perc.

2 B.D. 3

Celesta

Harp

C.

M.G. (to Robert)

3

almost shouted

quasi parlando, aggressively

3

3

3

Ca. 8

You have been rent ed out,

boy.

Mis ter Gaines wants you on your way

R.G.

arco I Vn.

arco II

Va. unis., pizz. Vc.

Cb.

ta night,

3

3

3

so you’ll be rea dy for work at sun rise.

201

Act I–Scene 2

Più agitato 388

= ca. 84

6

6

6

6

1 2 Fl.

3

3

3

3

3

1 Ob. 2 a2 Cl. in B

6

1 2

6

6

6

Bs.Cl. 3

3

3

3

3

3

3

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 (Sus. Cym.) Perc.

2 (B.D.) 3

Celesta

Celesta

Harp

3

C.

M.G.

Ca. 8

Not

your bus

’ness

to know;

R.G. 3

Where,

sir?

Where is he send

ing me?

Più agitato I Vn. II (div.) Va.

div., arco Vc.

arco Cb.

pizz.

= ca. 84

on

202

Act I–Scene 2

a tempo ( = ca. 80)

poco accel.

392

6

6

1 2 Fl.

3

3

3

1 sub.

Ob. 2

sub.

(a2) Cl. in B

6

1 2

6

Bs.Cl. 3

3

1 2 Bn. 3

a2, open 1 2 Hn. in F

sub.

sub.

sub.

sub.

sub.

sub.

a2, open 3 4

1 2 Tpt. in C 3 a2 Tbn.

a2

a2

1 2 sub. sub.

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

to Piano

Celesta

Harp 3

3

C.

M.G. (pointing to the door)

(almost shouted)

Ca. 8

3

ly

3

your bus ’ness

to

go.

The wa

gon’s on the road.

Hop

R.G.

poco accel.

a tempo ( = ca. 80)

div.

unis.

div.

unis.

div.

I sub. Vn.

div. II

unis.

sub. div.

unis.

Va. sub. div.

unis. Vc. sub. div. a3 Cb.

unis., arco

to it boy!

203

Act I–Scene 2

396

poco riten.

L’istesso tempo 3

3

3

3

3

3

3

3

3

Flute 3

3

3

3

3

3

3

3

3

a tempo

1 2 Fl.

to Piccolo

3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3 open, with no attack

remove mute Tbn.

1 2 remove mute

open, with no attack

Bs.Tbn. Tuba

Timp.

1 Vib., motor off, medium soft mallet, with no attack Perc.

2

Pedal

Pedal Glock.

3

Piano

Piano

E FG A D CB

Harp

C.

3

M.G.

I’ll

get rea dy.

Hold

the ba

by,

Ma ma.

Ca. 8

Hold

R.G.

poco riten.

L’istesso tempo

a tempo unis., pizz.

I Vn.

unis.

poco marcato pizz.

II poco marcato

div., a3 Va. sub. unis. Vc.

pizz. Cb.

on

girl.

You’ll

get rea dy all

right.

204

Act I–Scene 2

401 Picc. 1. Fl.

1 2

1 Ob. 2 1., solo Cl. in B

1 2 molto espr.

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

C

Harp

B

A

G

C.

M.G.

(quietly, with innuendo)

full voice

Ca. 8

But you won’t need

the wa gon.

Mis ter Gaines wants you in the house.

his

house.

Ain’t

that nice!

R.G.

I Vn.

arco II unis.

sotto voce

Va. sotto voce div. a2 Vc. div.

sotto voce unis., arco

Cb. sotto voce

G

205

Act I–Scene 2

406 Picc. a2

Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

1., solo, with woodwinds 1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

A

Harp

D

F

EF GA D C B

A

C.

M.G. più sonoro

più

3

port. 3

Ca. 8

No

more field

work.

Ain’t

that nice.

3

You can put your feet up

in his house all day,

all

R.G.

I pizz.

Vn. II

unis.

div. Va.

sotto voce unis. Vc. div., pizz. Cb.

night,

too.

206

Act I–Scene 2

411 Picc. 1.

Fl.

1 2

1 Ob. 2 (1.) Cl. in B

2.

1 2

Bs.Cl. (1.) 1 2 Bn. 3

(1.) 1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Xyl. 1

Perc.

2

3

Piano

E

Harp

B

C

A

(Casey pulls a stylish housedress out of his satchel. He waves the dress, like a red flag, in Robert’s face, then tosses it at Margaret.)

(Casey leaves.)

C.

M.G.

full voice Ca. 8

Ain’t

that nice?

Ain’t

that nice?

Ain’t

R.G.

arco

I Vn.

sotto voce arco

sotto voce (from a distance)

sotto voce

sotto voce (from a distance)

II div. Va.

div. Vc.

unis., arco Cb.

that nice?

207

Act I–Scene 2

416 slightly

faster

Picc.

Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2 dolce sotto voce

Bs.Cl. sotto voce

1.

1 2 sotto voce

Bn. 3

1. 1 2 Hn. in F

sotto voce

3.

3 4 sotto voce

1 2 Tpt. in C 3

with no attack Tbn.

1 2 with no attack

Bs.Tbn. Tuba

Timp. Xyl.

Tam.

1

Wd. Blk. Perc.

Sus. Cym.

l.v.

2 B.D. 3

Piano

sub.

Harp

G

E FG A D C B

D

(Robert and Margaret exchange troubled glances; Cilla rocks the baby.)

(As he walks away, Casey sings a parody of Margaret’s “Lullaby.”)

(Robert tries at first to contain his emotions.)

C.

M.G. (laughing derisively)

(mockingly, but cooly)

3

3

Ca. 8

3

La R.G.

slightly faster I possibile Vn. II unis.

possibile

Va. sotto voce Vc. sotto voce Cb. sotto voce

da

3

da da da

3

3

La

da

da day.

Ha ha ha ha ha ha ha ha;

208

Act I–Scene 2

422

Con moto, ben misurato

a piacere

= 126

Picc.

Fl.

1 2

1 Ob. 2 (1.) Cl. in B

a2

1 2 sotto voce

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F

a2 3 4

1 2 Tpt. in C 3 a2 Tbn.

1 2 a2

a2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

E FGA D C B

C

(Robert paces the room, his anger at the boiling point.) C.

M.G. (erupting in rage)

molto

sotto voce R.G. 3

Skunk.

Snake.

Son of a whore.

Con moto, ben misurato

a piacere

= 126

I Vn. II

Va. unis. Vc.

div. Cb.

unis.

209

Act I–Scene 2

428 Picc.

Fl.

1 2 sub. 1

Ob.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

2 (a2) Cl. in B

1 2

Bs.Cl. (a2) 1 2 Bn. 3

1 2 Hn. in F 3 4

1 2 Tpt. in C 3 (a2) Tbn.

1 2 (a2)

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

C.

Please!

Don’t

wake the ba

by.

M.G.

R.G.

div. I sub.

Vn.

div.

sub.

II div.

sub.

sub.

Va. div.

sub.

sub.

Vc. sub.

sub.

sub.

sub.

Cb.

210

Act I–Scene 2

433 Picc.

Fl.

1 2 sub. 1

Ob.

sub.

sub.

sub.

sub.

2

Cl. in B

1 2

Bs.Cl.

1 2 sub.

Bn.

sub.

sub.

3 sub.

sub.

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

B.D. 1

Perc.

2

3

Piano

Harp

C.

3

M.G.

Cool

(full voice)

down,

Ro bert.

R.G.

Yel

la bel ly!

3

That son of a dog.

arco

unis., pizz. I

sub.

Vn.

unis., pizz.

arco

pizz.

arco

II

unis.

sub. div.

Va. sub. unis.

arco, non div.

pizz.

sub.

div.

Vc. sub.

sub.

sub.

sub.

sub.

Cb.

211

Act I–Scene 2

438 Picc.

Fl.

1 2

1 Ob. 2 a2 Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3

1 2 Hn. in F

a2

3 4

1 2 Tpt. in C 3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

a2

Timp.

1

Perc.

2

3

Piano

Harp

C.

3

M.G.

He

will

hear

you.

R.G.

I Vn. II unis. Va. unis. Vc.

div. Cb.

unis.

212

Act I–Scene 2

445

Piccolo

Picc. a2 Fl.

1 2

1 Ob.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

a2

1. 1 2 Hn. in F

with voice

with voice

3 4

1 2 Tpt. in C 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1 Wd. Blk. Perc.

2 Mounted Guíro, wood scraper 3

Piano

Harp

C.

M.G.

R.G. 3

I am a

3

man,

ain’t I?

Ain’t

I

a

man?

Ain’t I?

div. I sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

Vn.

div.

II

div. Va. div. Vc.

Cb.

unis.

Ain’t I?

213

Act I–Scene 2

450 Picc.

a2 Fl.

1 2

1 sub.

Ob. 2

sub. Cl. in B

1 2

Bs.Cl.

1 2 sub.

Bn. 3

1. 1 2 Hn. in F

3 4 a2 1 2

Tpt. in C 3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

G

Harp

C.

quasi M.G.

Yes,

you are.

To me,

3

and to

us.

R.G.

pizz.

unis., arco

I sub.

Vn.

pizz.

unis., arco

II sub. pizz.

unis., arco

Va. sub. div., pizz.

unis., arco

Vc. pizz. Cb.

sub.

div.

214

Act I–Scene 2

456

to Flute

Picc. a2

1. Fl.

1 2

1 sub.

Ob. 2

sub. a2 Cl. in B

1 2 sub.

Bs.Cl. sub. 1 2 Bn.

sub.

sub. 3

sub.

sub.

a2

gl.

a2

gl.

1 2 Hn. in F 3 4

(1.)

1., solo with voice 1 2 Tpt. in C 3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

8va

Piano

G

Harp

C.

M.G.

R.G. 3

I know,

I know,

I

know what is on

mind.

his

Bas tard!

div. a2

tutti, unis. I sub. Vn.

sub.

div. II sub.

sub. div.

div. a3

div. a2

Va. sub.

sub.

Vc. sub.

sub.

sub.

sub.

arco Cb.

215

Act I–Scene 2

463 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

1 2 Hn. in F

3 4 2. take straight mute 1 2

Tpt. in C

take straight mute 3 take cup mute

Tbn.

1 2 take cup mute

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

to Celesta

Piano

Harp

G

C.

(lovingly) M.G.

It

won’t

hap

pen.

It won’t

hap

pen,

be lieve

R.G.

unis. I Vn.

div. II

unis. Va. unis.

div.

Vc. pizz. Cb.

me.

Be

lieve

me!

216

Act I–Scene 2

468 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Harp

A

G D

C.

M.G.

R.G.

How

can

you know?

How

div. I Vn.

unis. II

Va. gli altri, arco Vc. sotto voce 1 solo, pizz. gli altri, arco Cb. sotto voce 1 solo, pizz.

can you

be

sure?

217

Act I–Scene 2

474 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib., soft mallet, motor on (fast speed) Perc.

2 Pedal 3

Celesta

Celesta

Harp

E

F

F

F

F

C.

M.G.

His

daugh

ter lives

there,

too.

R.G. 3

You

can’t

con trol

a

snake

in

his own

nest.

alla punta del arco I Vn. II div.

unis.

Va. tutti, div. Vc.

tutti, pizz. Cb.

div.

218

Act I–Scene 2

480 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. molto espr. 1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3 with cup mute Tbn.

1 2 sotto voce with cup mute

Bs.Tbn. Tuba sotto voce

Timp.

1 Vib., medium soft mallets, motor on (fast speed) Perc.

2 Pedal 3

with violins

Celesta

F

Harp

sub.

E

D

E

C.

Be

lieve

M.G.

He

will

be

have.

R.G.

alla punta del arco (div.) I with celesta

Vn. unis. II

molto espr. Va. sotto voce Vc. arco

div.

unis.

sotto voce

Cb. sotto voce

her,

son.

219

Act I–Scene 2

486 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3 remove mute Tbn.

1 2 remove mute

Bs.Tbn. Tuba

Timp.

1 (Vib.) Perc.

2 (Pedal) 3

Celesta

Harp

E

E

E

E

G C

D

C. 3

It

can’t

be

for

too

long.

M.G.

R.G.

I Vn. II

Va.

Vc.

pizz. Cb.

E

220

Act I–Scene 2

492 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

G C

Harp

C.

M.G.

We

will

find

R.G.

I Vn. II pizz. (div.) Va. pizz. Vc.

Cb.

a

way.

221

Act I–Scene 2

498

1., solo

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. sotto voce 1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib., medium soft mallet, motor on, fast speed Perc.

2 Pedal 3

Celesta

Harp

E

E

(Margaret moves closer to Robert.) C.

mezza voce, legato M.G.

Stay

strong.

He

is

R.G.

I Vn. pizz.

arco

II

unis., arco

sotto voce

Va. sotto voce div. a2, arco

(div.)

Vc. sotto voce (pizz.) Cb. sotto voce

222

Act I–Scene 2

504

(1.)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

F D

Harp

A

C.

M.G.

not

the

mas

ter

of

me.

R.G.

1 solo I dolcissimo, with celesta

Vn. II

Va.

unis. Vc.

Cb.

div.

Act I–Scene 2

510 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Celesta

Harp

C.

M.G.

R.G.

I Vn. II

Va.

Vc.

Cb.

223

224

Act I–Scene 2

rit.

516 1 2 Fl. 3

1 Ob. 2 (1.) Cl. in B

2.

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F

3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib., medium soft mallets Perc.

2

3

to Piano

Celesta

Harp

C.

M.G.

R.G.

rit. 1 solo I Vn. II pizz.

1 sola, arco

Va.

div., half pizz., half arco tutti arco (div.) Vc.

(pizz.) Cb.

Molto moderato 522 = ca. 54–58

225

Act I–Scene 2

hold back a tempo

hold back a tempo

1 2 Fl. 3

1 Ob. 2 1., solo Cl. in B

1 2 molto cantabile

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

dolce 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

E FGA D CB

Harp

(Standing downstage center, Robert and Margaret are holding hands. As they sing, they gradually move apart.) C.

M.G.

Hold

dolce

me.

Stay,

R.G.

Hold

Molto moderato = ca. 54–58

hold back a tempo

on.

hold back a tempo

tutti, div., poco vib. I transparent div., poco vib.

Vn. II

transparent tutta, unis.

div.

Va. espressivo (div.), poco vib. Vc. transparent arco, poco vib. Cb. transparent

unis.

Sweet.

226

Act I–Scene 2

528 1 2 Fl. 3

1 dolce

Ob. 2

dolce Cl. in B

1 2

Bs.Cl. 1.

dolce 1 2

molto espr.

Bn. 3

1. 1 2 Hn. in F

molto cantabile 3 4 1. 1 2 dolce

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Perc.

2

3

Piano

Harp

B

C.

M.G.

Be

my

moon

rise.

R.G. 3

Stay

strong.

Be

I Vn. II div. unis. Va.

div.

unis.

div.

Vc.

div. Cb.

my

dawn.

227

Act I–Scene 2

534

Poco più mosso

= ca. 63

1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2 cantando ed espr.

Bs.Cl. 1., solo 1 2 molto espr. with viola

Bn. 3

1. 1 2 Hn. in F

3 4 1 2

Tpt. in C 3 open Tbn.

1 2 open

Bs.Tbn. Tuba

Timp. Glock. 1

Perc.

2

3

Piano

E

F

Harp

A

G

D

C.

meno M.G.

You

are

my

shoul

ders.

You

are

my

shoul

ders.

meno

You

are

my

are

my

R.G. 3

Poco più mosso

You

are

my

spine.

You

= ca. 63

I Vn. II unis., sole Va. molto espr. with bassoon Vc. unis. Cb.

cantando ed espr.

228

Act I–Scene 2

539 1 2 Fl. 3

1 espr.

Ob. 2 (1.) Cl. in B

espr.

1 2

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

dolce 3. 3 4 1.

dolce

1 2 Tpt. in C

dolce 3 with no attack

Tbn.

1 2 with no attack

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

G

E

Harp

C.

M.G.

cour

age.

cour

age.

And

you

are

the

sign

that

love

that

love

3

is the on

ly

mas

ter

the

ly

mas

ter

the

R.G. 3

is the on

I Vn. II div. Va. sub. Vc.

Cb.

unis.

229

Act I–Scene 2

544 1 2 Fl. 3

1 Ob. 2 a2 Cl. in B

1 2 espr.

Bs.Cl.

espr. 1 2 Bn. 3

1. 1 2 Hn. in F

3 4 1 2

Tpt. in C 3 with no attack Tbn.

1 2 with no attack

Bs.Tbn. Tuba

Timp.

1

Perc.

2

3

Piano

Harp

C

C

C

A

E

C. ten.

(full voice)

meno

M.G. 3

heart

o

beys;

Love

is the on

3

ly mas

ten.

ter

(full voice) R.G.

3

that my

heart

o

beys.

heart

o

beys.

meno 3 3

heart

o

beys;

Love

is the on

3

ly mas

ter

that my

(ten.) I Vn.

(ten.) II

div.

unis.

div. (ten.)

Va.

(ten.) Vc.

(ten.) Cb.

unis.

div.

230

Act I–Scene 2

551 1 2 Fl.

Flute 3 solo 1 molto espr.

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo 1 2 Hn. in F

espr. 3 4 1., solo

1. take straight mute

1 2 Tpt. in C

dolce cantando 3 with no attack

Tbn.

1 2 sotto voce with no attack

Bs.Tbn. Tuba sotto voce

Timp. Glock. 1

Perc.

2

3

Piano

Piano

Harp

F D

(Evening falls as Robert leaves.)

(fade to black)

C.

M.G.

R.G.

div. a3

I Vn. II unis., soli

div.

Va. unis.

espr.

div.

Vc.

div.

*

Cb.

*Ties out for alternative ending only.

attacca

Act I, Scene 3: Maplewood Plantation, in the early summer of 1858. Grazioso con rubato

= ca. 126

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

On-stage piano espr.

Piano

Harp

E.G.

S

A T.C. T 8

B

Grazioso con rubato I Vn. II

Va.

Vc.

Cb.

= ca. 126

231

232

Act I–Scene 3

9 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

sempre espr. espr.

Piano

Harp

(The lights go up gradually; the guests begin to enter.) (In the candlelit parlor at Maplewood Plantation, a wedding reception is being held to celebrate the marriage of Caroline Gaines, Edward’s daughter, to George Hancock. The guests—the local townspeople whom Edward is very eager to impress—waltz to the gentle accompaniment of a parlor piano, and enjoy generous amounts of freely flowing champagne.) E.G.

S

A T.C. T 8

B

I Vn. II

Va.

Vc.

Cb.

Act I–Scene 3

17 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

E.G.

S

A T.C. T 8

B

I Vn. II

Va.

Vc.

Cb.

233

234

Act I–Scene 3

25 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to orchestra piano

Piano

Harp

E.G.

S

A T.C. T 8

B

I Vn. II div. Va.

Vc. dolce e cantabile div. arco Cb. pizz.

235

Act I–Scene 3

33 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1., solo 1 2 dolce, espr.

Bn. 3

1.

Hn. in F

1 2 sub. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

Edward Gaines: E.G.

Please, S

A T.C. T 8

B

div. I Vn. II unis. Va. dolce espr. più sonoro Vc. più cantabile tutti, arco Cb. più sonoro

unis.

236

Act I–Scene 3

41 1 2 Fl. 3 1. 1 Ob. 2

Cl. in B

1 2

Bs.Cl.

(1.) 1 2 dolce espr.

Bn. 3

(1.)

Hn. in F

1 2 3. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

E.G. 3

may I

have

your

at

ten

tion?

S

A T.C. T 8

B

I poco

Vn. II dolce espr.

Va. dolce espr.

Vc. poco

Cb.

237

Act I–Scene 3

48

1.

1 2 dolce

Fl. 3

1 Ob. 2

Cl. in B

1 2 dolce

Bs.Cl.

1. 1 2 Bn. 3

(1.) 1 2 Hn. in F

dolce

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(the guests gather around)

E.G.

(gathering around) well articulated S

Mis ter Gaines (gathering around)

wants to speak.

Ga ther ’round our gra cious

host.

wants to speak.

Ga ther ’round our gra cious

host.

well articulated A T.C.

well articulated

Mis ter Gaines

T 8

Mis ter

Gaines

wants to speak.

Ga ther ’round

our gra cious

host.

Gaines

wants to speak.

Ga ther ’round

our gra cious

host.

well articulated B

Mis ter

div. a2 1 solo

tutti, unis.

non div.

I dolce

Vn.

div.

unis.

II

unis.

div. Va.

div.

unis.

div.

unis.

pizz.

arco

Vc.

pizz. Cb.

arco

238

Act I–Scene 3

55 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.) Hn. in F

1.

1 2 3.

(3.)

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

E.G.

dolce S

There

is

noth

ing

so

fine

as

see

ing

a

div.

cou

ple

in

love,

a

unis.

dolce

A T.C.

There

is

noth

ing

so

fine

as

see

ing

a

cou

ple

a

There

is

noth

ing

so

fine

as

see

ing

a

cou

ple

in

love,

There

is

noth

ing

so

fine

as

see

ing

a

cou

ple

in

love,

cou

ple

in

love,

T 8

B

div.

1 solo

I Vn.

div.

unis.

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

a

239

Act I–Scene 3

rit.

63 1 2 Fl. 3

1 Ob. 2 1., solo Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

take straight mute Hn. in F

1 2 take straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

E.G.

S

cou

ple

in

cou

ple

in

love!

A T.C.

love! dolce

T 8

a

cou

ple

in

love!

cou

ple

in

love!

dolce B

a

rit. I Vn. II unis.

div.

Va. pizz. Vc.

pizz. Cb.

240

grazioso, ma poco lento

= ca. 120

Act I–Scene 3

70 1 2 sotto voce

Fl. 3

sotto voce 1 Ob. 2

Cl. in B

1 2 sotto voce

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 Vib. Perc. 2

3

Piano

Harp

E.G.

I

prom

ised

Ca

ro line’s

mo

S

A T.C. T 8

B

grazioso, ma poco lento

= ca. 120

tutti, unis. I dolce tutti

Vn. II

dolce unis. Va. div.

arco Vc. 1 solo Cb.

ther

two

241

Act I–Scene 3

78

1., solo

1 2 Fl. 3 solo 1 Ob. 2 1. Cl. in B

2.

1 2 espr. ossia 8va

Bs.Cl.

1. 1 2 Bn. 3

(with straight mute)

Hn. in F

1 2 dolce 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(non troppo forte) E.G. 3

things.

One,

that

I

would

stay

a

wi

S

A T.C. T 8

B

I Vn.

div.

unis.

II

Va.

unis.

div.

unis.

div.

Vc.

tutti, arco Cb.

pizz.

dow er;

242

Act I–Scene 3

86

1., solo

1 2 sub.

Fl. 3 solo 1 sub.

Ob. 2

1., solo Cl. in B

1 2 sub.

Bs.Cl. solo 2. 1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 Vib. Perc. 2

3

Piano

Harp

E.G.

two,

that

I

would

see

to our

daugh

ter’s

fu

ture care.

S

A T.C. T 8

B

I espr.

Vn. II

espr. Va. espr. Vc. arco Cb.

espr.

pizz.

243

Act I–Scene 3

94 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (2.) 1 2 Bn. 3

1., solo, open

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Trg. 1

Perc. 2

3

Piano

Harp

E.G.

Car

o

line

S

A T.C. T 8

B

3 soli, div. (ossia: div a3)

I dolce Vn. II

Va. espr. unis. Vc.

Cb.

non div.

div.

gli altri, pizz.

has

244

Act I–Scene 3

102 1 2 Fl.

to Piccolo 3 solo 1 sub.

Ob. 2

Cl. in B

1 2

Bs.Cl.

2. 1 2 cantando

Bn. 3

solo

(1.) 1 2 Hn. in F

with straight mute

remove mute

3 4 cantando Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Trg. 1

Perc. 2

3

Piano

Harp

E.G.

prov

en

the

right

ness

of

those

prom

is

es.

S

A T.C. T 8

B

3 soli, div., arco

tutti, pizz. tutti, unis., arco

6

6

6

6

6

6

6

I 6

Vn.

gli altri, pizz.

6 6

II div., pizz. Va.

pizz. Vc.

Cb.

unis., arco

6

6

245

Act I–Scene 3

108

Piccolo, solo to Flute

Picc. 1., solo Fl.

1 2 sub.

solo 1 Ob. 2 1., solo Cl. in B

2.

sub.

1 2 sub.

Bs.Cl.

1 2 Bn. 3

(1.) 1 2 Hn. in F

open 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Xyl. 1 accomp. (with woodwinds) Perc. 2

3

Piano

Harp

quasi E.G.

She will

in

her

it

a

sound

es

tate,

which,

I

might add,

has

grown

S

A T.C. T 8

B

div. I Vn.

div. II pizz.

div.

unis., arco

Va.

arco

unis.

div. a2

pizz.

arco

pizz.

arco

Vc.

arco Cb.

(div. a2)

246

Act I–Scene 3 1.

116 1 2 Fl. 3

1 Ob. 2 (2.) Cl. in B

1.

1 2

Bs.Cl.

1.

(2.) 1 2 Bn. 3

(1.)

Hn. in F

1 2 3. 3 4

Tpt. in C

1 2

3 1. Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(An elegant display of crystal champagne glasses has been set out on a side table for the guests. A few of them replenish their drinks.)

tenderly E.G.

from

mod

est

to

grand.

And her choice

of

hus

band

is

S

A T.C. T 8

B

unis.

div.

unis.

non div.

I Vn. II div. Va. (div.) Vc.

Cb.

unis.

unis.

ev

’ry

247

Act I–Scene 3

124

(1.)

1 2 Fl. 3

1 dolce

Ob. 2

dolce

(1.) Cl. in B

1 2

Bs.Cl. (1.) 1 2 Bn. 3

1.

Hn. in F

1 2 (3.) 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

E.G.

thing

her

moth

er could have wished

for.

A

man

molto legato S

Beau

ti

ful

words

from our gen

er

ous

host!

ful

words

from our gen

er

ous

host!

ful

words

from our gen

er

ous

host!

ful

words

from our gen

er

ous

host!

molto legato A

Beau

T.C.

ti

molto legato T 8

Beau

ti

molto legato B

Beau

div.

ti

1 solo

I Vn.

div. II div.

Va. div. Vc.

pizz. Cb.

unis., pizz.

of

sta

ture and

248

Act I–Scene 3

riten.

132

Vi— a tempo

1 2 Fl.

Flute 3

1 Ob. 2

Cl. in B

1 2 dolce

Bs.Cl.

1 2 Bn.

with violas 3

(open)

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Trg. 1

Perc. 2

3

Piano

Harp

(The pompous guests blatantly examine the room’s furnishings to judge their quality.)

E.G.

learn

ing. dolce

S

And

her

choice

of

hus

band

is dolce

A

And

T.C.

her

choice

of

hus

band

is dolce

T 8

And

her

choice

of

hus

band

is dolce

B

And

riten.

Vi— a tempo

her

choice

tutti, div.

I Vn.

(div.) II (div.)

Va.

div. Vc.

Cb.

unis.

div., arco

of

hus

band

is

249

Act I–Scene 3

—de 140 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Trg. 1

Perc. 2

3

Piano

Harp

Caroline Gaines: espr. C.G.

And E.G.

S

ev

’ry

thing

her

moth

er

wished

for.

ev

’ry

thing

her

moth

er

wished

for.

ev

’ry

thing

her

moth

er

wished

for.

ev

’ry

thing

her

moth

er

wished

for.

A T.C. T 8

B

—de unis. I espr. unis.

Vn. II

espr. Va. unis. Vc.

Cb.

div.

unis.

you,

250

Act I–Scene 3

148

1.

1 2 dolce

Fl. 3

1 Ob. 2 1. Cl. in B

1 2 dolce

Bs.Cl.

1 2 Bn. 3

(1.) Hn. in F

a2

1 2 dolce

accompagnando

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

port. C.G.

fa

ther?

Is

he

what you have wished

for me?

E.G. 3

3

Ex act ly so,

3

3

pre cise ly so.

3

Am I

S

A T.C. T 8

B

I Vn.

div. II

Va.

Vc.

Cb.

tutti, unis.

251

Act I–Scene 3

156

(1.)

1 2 espr.

Fl. 3

1 espr.

Ob. 2 (1.) Cl. in B

1 2

Bs.Cl. 2. 1 2 Bn. 3

a2 Hn. in F

1 2 a2 3 4 espr., with violas

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

George Hancock: G.H. 8

I’m

not

sure

that

I

de serve

her,

but

E.G.

right,

George?

S

A T.C. T 8

B

div.

unis.

I Vn. II

unis.

div.

Va. espr.

div., pizz.

unis., arco

Vc.

div., 1/2 arco, 1/2 pizz. Cb.

unis., pizz.

I will

252

Act I–Scene 3

164 (1.) 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

’

G.H. 8

spend

my life

try

ing

to serve her

and

meno

earn

the de

vo

tion

she

squan

ders

on

E.G.

S

A T.C. T 8

B

I Vn.

div. a3

div. a2

unis.

II

unis.

div.

div. a3

Va.

Vc.

div., arco Cb.

div.

253

Act I–Scene 3

172

1.

2.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1.

2. Hn. in F

1 2 3. 3 4

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn. take straight mute

a2 Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

There

is

noth ing

so

There

is

noth ing

so

won drous as

be

ing

in a

mar riage for

won drous as

be

ing

in a

mar riage for

ing

a

mar riage for

G.H. 8

me.

div.

unis.

S

There

is

noth ing

so

won drous as

be

ing

in

love. There

is

noth ing

so

won drous as

see div.

A T.C.

There

is

noth ing

so

won drous as

be

ing

in

love. There

is

noth ing

so

won drous as

see

ing

a

mar riage for

There

is

noth ing

so

won drous as

be

ing

in

love. There

is

noth ing

so

won drous as

see

ing

a

mar riage for

There

is

noth ing

so

won drous as

be

ing

in

love. There

is

noth ing

so

won drous as

see

ing

a

mar riage for

T 8

B

div. I Vn.

unis.

accomp.

II accomp. unis. Va. accomp. unis. Vc. accomp. unis. Cb.

non div.

unis.

div.

unis.

div.

unis.

254

Act I–Scene 3

181

riten.

1.

1 2 Fl. 3

1 dolce

Ob. 2

dolce Cl. in B

2.

1 2

Bs.Cl.

1 2 Bn. 3

a2 Hn. in F

1 2 dolce

a2

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

love! G.H. 8

love! meno

S

love!

a

mar riage for

love.

a

mar riage for

love.

meno A

love!

T.C.

meno T 8

love,

a

mar riage for

love.

a

mar riage for

love.

meno B

love,

riten.

unis. I Vn.

sotto voce

div.

unis.

II dolce

sotto voce

Va.

1 solo div. Vc. gli altri pizz. Cb.

rco

255

Act I–Scene 3

Meno mosso

= 104

191 1 2 Fl.

dolce

dolce

dolce

dolce

dolce

dolce

3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

sempre

Harp

C.G.

Edward Gaines:

dolce cant.

E.G.

3 3

Car

o

line,

my ad

or

3

a ble Car o

line.

Give

your

fath

er

a

S

A T.C. T 8

B

Meno mosso

= 104 div. a3

1 solo

I dolce

Vn.

dolce

dolce

gli altri, div. div.

div. a2 II

dolce

div.

dolce

dolce

Va. dolce cant. tutti, div. a2

unis.

Vc.

pizz. Cb.

arco

256

Act I–Scene 3

a tempo

accel. poco a poco

199 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 1 2 Bn. 3 staccatissimo

1., solo Hn. in F

1 2 with Vn. I 3 4

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn., with straight mute

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(Caroline walks across the room to her father, who is waiting with open arms. He embraces her too tightly, however.)

(light heartedly)

C.G.

Oh, E.G.

daugh

ter’s em brace.

S

A T.C. T 8

B

accel. poco a poco

(1 solo) tutti

div.

div.

unis.

a tempo

I

cant. unis.

Vn.

unis. div.

II cant. unis.

div.

Va. div.

unis.

cant. div.

Vc. molto stacc. Cb. molto stacc.

257

Act I–Scene 3

208

Don’t hurry

= 80 (or less)

rit.

1 2

3

3

3

3

3

3

3

3

Fl. 3

1 Ob.

3

3

3

3

3

3

2

Cl. in B

1 2 3

3

3

3

3

3

3

Bs.Cl.

1 2 Bn. 3

1.

take straight mute

1 2 Hn. in F

cantabile 3.

take straight mute

3 4 cantabile take straight mute Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

3

3

3

3

3

3

3

(Caroline goes to mingle with the guests.) C.G.

fa

ther,

I

can not

breathe.

E.G.

S

A T.C. T 8

B

Don’t hurry I

= 80 (or less)

rit.

unis., alla punta

3

3

3

3

3

3 3

Vn.

unis., alla punta II

3

3

3

3

3

3 3

unis. Va.

Vc.

div. Cb.

unis.

pizz.

3

258

Act I–Scene 3

214 Più

comodo (don’t drag)

= 92

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

with straight mute 1 2 Hn. in F

dolce 3., with straight mute

a2, 4. with straight mute

3 4

Tpt. in C

1 2

3 with no attack Tbn.

1 2 a2, open, with no attack

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(Caroline turns to her father upon hearing her name.) C.G. warmly

E.G. 3

For give

me,

Car o line,

my

arms

S

A T.C. T 8

B

Più comodo (don’t drag)

= 92 div.

I pizz.

Vn. II

Va.

Vc.

Cb.

div., arco

are

like my love:

strong

and all

em

brac

ing.

259

Act I–Scene 3

220

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. cantabile 1 2 Bn. 3

remove mute Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Crot. Perc. 2

3

Piano

Harp

(Caroline suddenly lets go of her father’s hands, and turns away from him to walk towards George, who is downstage, on the other side of the room.) (reassuringly, taking her father’s hands in hers)

warm, pure

3

C.G.

Nev er mind,

fath er.

I

have

pros pered so

much

in your arms,

I can

E.G.

S

A T.C. T 8

B

6

1 solo

6

tutti, div.

1 solo

sotto voce tutti, div.

gli altri, unis.

div.

div.

unis.

I

Vn.

1 solo II 6

6

6

sotto voce 6

Va. 6

2 soli, div.

6

6

6

sotto voce tutti, div.

Vc. sotto voce Cb.

unis.

260

Act I–Scene 3

Meno mosso, stately

1.

226

= 84

1 2 Fl. 3

1 Ob. 2 2. Cl. in B

1 2 with trombones

Bs.Cl. with trombones 1 2 Bn. 3

1., open

Hn. in F

1 2 3 4

Tpt. in C

1 2

3 with no attack Tbn.

1 2 with no attack

Bs.Tbn. Tuba

Timp. Glock. 1

Crot. Perc. 2 B.D. 3

Piano

Harp

(George embraces Caroline tenderly.)

più sonoro C.G.

now

em

brace

an

oth

er.

(sensing that Edward feels somewhat rejected)

G.H. 8

There

3

is no

ri

val

here.

S

A T.C. T 8

B 1 solo 6

tutti, div.

unis.

div.

Meno mosso, stately

= 84

tutti, div., long bow

I più cantabile

legato

gli altri

Vn. unis.

div., long bow

II più cantabile unis.

legato long bow

unis.

legato div., long bow

Va. più cantabile

Vc. più cantabile arco

pizz. arco

legato long bow

Cb. più cantabile

legato

261

Act I–Scene 3

232

1.

1 2 sub. Fl.

to Piccolo 3 sub.

1 sub.

Ob. 2

sub. Cl. in B

(ten.)

1 2

Bs.Cl. 2. (ten.) 1 2 Bn. 3

1. Hn. in F

1 2 3

3

3 4

Tpt. in C

1 2

3 with no attack Tbn.

(ten.)

1 2 warm, rounded sound with no attack

(ten.)

Bs.Tbn. Tuba warm, rounded sound

Timp.

1

Perc. 2 B.D. 3

Piano

Harp

C.G.

3

(ten.)

3

G.H. 3

3

8

Love

does not con

quer

or dis

pose;

it dou

bles and tri ples with use.

E.G.

S

A T.C. T 8

B

I sotto voce

Vn. II

sotto voce Va. sotto voce unis.

div.

unis. (ten.)

Vc. sotto voce (ten.) Cb. sotto voce

262

Act I–Scene 3

237

Poco più mosso

1.

= 92

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 dolce

Bs.Cl.

1. 1 2 dolce

Bn. 3

a2 Hn. in F

2.

1 2 dolce 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

come recitativo, freely G.H. 8

3

3

The lan guage of love

3

is all

ways

con fus

ing.

3

3

It can nev er be as clear

3

E.G.

S

A T.C. T 8

B

Poco più mosso

unis., pizz. I Vn.

unis., pizz. II (div. a2)

unis.

Va. espr.

espr.

div.

unis.

Vc. espr. div. Cb. espr.

unis.

dolce div. a2

3

as the e mo tion it

= 92

263

Act I–Scene 3

242 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

3

1 2

3 3

Bs.Cl.

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3

3

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

3

Piano

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

sempre stacc.

3

Harp

3

G.H. 3

8

tries

to con

vey.

The

E.G.

S

A T.C. T 8

B

(pizz.) I Vn. (pizz.) II

div. Va.

Vc.

Cb.

264

Act I–Scene 3

246 Con

moto

= ca. 152

Vi—

—de

1 2 Fl. 3

1 Ob. 2

2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

a2 1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(Edward holds up his hand to interrupt George in mid-sentence.) G.H. 8

lan guage of love…

E.G.

S

A T.C. T 8

B

Con moto

= ca. 152 Vi—

div.

—de

unis., arco

div.

unis.

div.

arco

div.

unis.

div.

unis.

div.

unis.

div.

unis.

div.

unis.

div.

I

Vn.

div. a2

II

unis.

div., pizz.

arco

div. a2

unis.

Va.

div., pizz.

unis.

arco

div.

Vc.

pizz. Cb.

arco

unis.

div.

unis.

div.

unis.

265

Act I–Scene 3

253 1 2 sub.

Fl. 3

1 sub.

Ob. 2

sub. 2. Cl. in B

1 2 sub.

Bs.Cl. sub. 2. 1 2 secco

Bn. 3 secco a2

take straight mute

1 2 Hn. in F

a2

take straight mute

3 4

1 2 Tpt. in C 3

Tbn.

1 2 (a2)

Bs.Tbn. Tuba sub.

Timp.

1

Perc. 2

3

Piano

Harp

G.H. 8

E.G.

The

lan guage of love is

an im pos

ter,

hid

S

A T.C. T 8

B

I Vn. II

div. a3

unis.

div.

Va. secco Vc. sempre

secco

sempre

secco

Cb.

unis.

266

Act I–Scene 3

261 1 2 Fl. 3

1 Ob. 2 3

Cl. in B

3

1 2 3 3

3

Bs.Cl. 3

a2

1 2 Bn. 3 sub.6 with straight mute

remove mute

open

with straight mute

remove mute

open

1 2 Hn. in F 3 4 take straight mute Tpt. in C

1 2 take straight mute 3

1. take straight mute Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

3

Harp

3

3

3

emphatically, full voice G.H. 8

The

lan guage of love is a ma gi

cian,

turn

E.G.

ing in dress es

of verse.

S

A T.C. T 8

B

div. unis. I 6

Vn.

unis.

div.

div.

unis.

unis., pizz.

6

arco

II

arco

div.

unis., pizz.

Va. div. unis. Vc. 6 6

sub. Cb. sub.

3

ing

ros

es in

to doves

267

Act I–Scene 3 3

268 1 2 Fl. 3

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

a2

2.

1 2 Bn. 3

1.

with straight mute

take straight mute

1 2 Hn. in F

4. take straight mute

3. (open)

4., with straight mute

3., with straight mute

3 4 with straight mute 1 2 Tpt. in C

with straight mute 3

1., with straight mute Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(not quite full voice) G.H. 8

3

on the wing.

A

E.G.

The

lan guage of love is an in

fant’s hand in

a

fath

er’s glove.

S

A T.C. T 8

B

unis.

div.

I Vn. II

div.

unis.

Va. div.

unis.

pizz.

Vc.

pizz. Cb.

268

Act I–Scene 3

274 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl. 1. 1 2 cant.

Bn. 3

a2, open

remove mute 1 2 Hn. in F

a2, open

remove mute 3 4 remove mute

Tpt. in C

1 2 remove mute 3 1. remove mute

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Xyl. 1

Perc. 2

3

Piano

Harp

3

G.H. 8

raft

in

a stor

my

sea

off

er

ing

res

cue.

E.G.

S

The A

The

T.C. T 8

The

B

The

unis., alla punta del arco I Vn.

alla punta del arco II pizz.

arco

Va. arco Vc. (pizz.) Cb.

269

Act I–Scene 3

278 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2.

a2

1 2 Bn. 3

a2

Hn. in F

1 2 a2 3 4 open

1., solo

1 2 Tpt. in C

open 3

1. open a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

G.H. 8

E.G.

div. S

lan guage of

love

is

of ten

hard to ex plain.

It may

of fer true joy,

but it can

end in such

pain!

lan guage of

love

is

of ten

hard to ex plain.

It may

of fer true joy,

but it can

end in such

pain!

lan guage of

love

is

of ten

hard to ex plain.

It may

of fer true joy,

but it can

end in such

pain!

A T.C. T 8

div. B

lan guage of

love

is

of ten

hard to ex plain.

It may

of fer true joy,

but it can

end in such

pain!

ord. I Vn.

ord.

div.

II

div. Va.

div. Vc.

arco Cb.

270

Act I–Scene 3

283 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

a2 1 2 Hn. in F

a2 3 4 1 2

Tpt. in C 3

Tbn.

1 2 Bs. Tbn.

a2

Bs.Tbn. Tuba

Timp.

GuĂ­ro, metal scraper 1

Perc. 2 Ruten 3

8va

Piano

Harp

G.H. 8

E.G.

S

A T.C. T 8

B

pizz. div.

unis.

div.

unis.

div.

unis.

div.

I sempre marcato Vn.

div.

unis.

div.

unis.

unis., pizz.

II sempre marcato unis.

unis., pizz.

div.

Va. sempre marcato div. unis.

div.

unis.

div.

unis.

div.

unis.

div.

unis.

div.

pizz.

Vc. sempre marcato div., pizz. Cb. sempre marcato

271

Act I–Scene 3

290 1 2 Fl. 3

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl. 2. 1 2 Bn. 3

(a2) 1 2 Hn. in F

(a2) 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

G.H. 8

The

lan guage of love

is

a light

house

to guide

us

o ver heav

y

waves.

E.G.

The S

A T.C. T 8

B

unis., arco

div.

div., pizz.

unis.

I Vn. arco

div.

unis., pizz.

II

arco Va.

unis., arco Vc.

unis., arco Cb.

pizz.

272

Act I–Scene 3

296

1.

1 2 molto

Fl. 3

1 molto

Ob. 2

molto

1. Cl. in B

1 2

Bs.Cl. (2.)

2.

1 2 Bn. 3

a2 Hn. in F

1 2 a2 3 4

with straight mute

with straight mute

1 2 Tpt. in C 3

1. Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

G.H. 8

sub. E.G. 3

lan guage of love

is

a

thief

re spect

ing no

house hold,

steal

3

ing the loved ones a

way.

unis.

S

The A

The

T.C. T 8

The unis.

B

The unis.

arco

div.

unis., arco

3

I 3

espr. Vn.

3

3

II espr. arco

div.

unis.

Va. div., pizz.

unis., arco

div.

arco

div.

unis.

Vc.

pizz. Cb.

unis.

div.

273

Act I–Scene 3

302 1 2 Fl. 3

1 sub.

Ob. 2

sub. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4 open

Tpt. in C

1 2

3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

G.H. 8

E.G.

S

lan guage of

love

is

too com

plex

to be

known.

What is

bought

with out price

can

nev div.

er

be

unis.

A T.C.

lan guage of

love

is

too com

plex

to be

known.

What is

bought

with out price

can

nev

er

be

lan guage of

love

is

too com

plex

to be

known.

What is

bought

with out price

can

nev

er

be

T 8

unis. div. B

lan guage of

love

is

too com

plex

to be

known.

What is

bought

with out price

can

nev

er

I Vn.

div. II unis.

Va.

Vc.

Cb.

unis.

div.

unis.

div.

unis. div.

unis.

unis.

div.

be

274

Act I–Scene 3

Vi— 306 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Sus. Cym. 1 Cowbell

secco

Perc. 2 secco 3

Piano

Harp

G.H. 8

E.G. div. S

owned! div. A

owned!

T.C. div. T 8

owned!

div. B

owned!

Vi— div.

unis.

div.

unis.

I Vn.

unis.

div.

unis.

II

div. Va. non div. Vc.

Cb.

div.

div.

unis.

275

Act I–Scene 3 1.

310 1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2

2.

1 2 sub.

Bn. 3

sub.

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Xyl. 1 Mounted Guíro Perc. 2

Ruten 3

Piano

Harp

G.H. 8

…is a ma gi

cian,

E.G.

The

lan guage of

love

is

an im

pos

ter,

is

an

S

A T.C. T 8

B

div.

unis.

I Vn.

staccatissimo unis.

div.

div.

II staccatissimo unis.

Sul D

Va. staccatissimo arco

pizz. Vc. pizz.

sub.

staccatissimo arco

sub.

staccatissimo

Cb.

unis.

276

Act I–Scene 3

315 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

a2 1 2 Hn. in F

a2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

G.H. 8

turn ing

ros

es in

to

doves

3

on

the

wing!

E.G.

in

fant’s hand

in

a

fa

ther’s

glove.

S

The

lan

guage of

love

is

a

The

lan

guage of

love

is

a

The

lan

guage of

love

is

a

The

lan

guage of

love

is

a

A T.C. T 8

B

I Vn.

div.

unis.

II div. Va.

Vc.

Cb.

unis.

277

Act I–Scene 3

320 1 2 marc.

Fl. 3

1 marc.

Ob. 2

marc. Cl. in B

1 2 3

Bs.Cl.

1 2 3

Bn. 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 2. Tbn.

a2

1 2

Bs.Tbn. Tuba

Timp. Susp. Cym. wood stick

Crash Cym.

secco

1 Trg. Perc. 2 B.D.

Cow Bell

3

Piano

Harp

G.H. 8

E.G.

S 3

dan

ger ous art.

It

can

op

en your

eyes,

or

it

will

tear out your

dan

ger ous art.

It

can

op

en your

eyes,

or

it

will

tear out your

dan

ger ous art.

It

can

op

en your

eyes,

or

it

will

tear out your

dan

ger ous art.

It

can

op

en your

eyes,

or

it

will

tear out your

heart!

A T.C.

3

heart!

T 8

3

heart!

B 3

heart! div.

I 3

Vn.

div. II 3

div. a2 Va. 3

non div. Vc. 3

Cb.

278

Act I–Scene 3

—de 325 1 2 Fl.

to Piccolo 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

a2, with straight mute 1 2 Hn. in F

a2, with straight mute

a2

3 4

1 2 Tpt. in C 3

Tbn.

1 2 a2

a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

G.H. 8

(getting angry) E.G.

The

—de unis.

div.

unis.

div.

div.

unis.

I

Vn.

div.

unis.

div.

unis.

unis.

II

unis.

div.

unis.

div.

marc. e secco unis.

Va. marc. e secco div. Vc.

Cb.

unis.

div.

unis.

div.

unis.

div.

unis.

279

Act I–Scene 3

330 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (2.)

2.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. sempre secco 1

Perc. 2

3

Piano

8ba

Harp

(Embarrassed by the argument that has broken out between her father and her new husband, Caroline walks away. She goes over to the side table and picks up a crystal champagne glass.)

C.G.

G.H. 8

Is

a

ma

gi

cian.

E.G.

lan guage of

love

is

an

im

pos

ter.

It’s

an

div., arco, poco vib. I sotto voce

Vn.

poco vib. II sotto voce

Va. sotto voce pizz. Vc.

pizz. Cb.

4 sole, div. a4

in

fant’s hand

in

a

fa

280

Act I–Scene 3

335 Picc. fltg. Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (2.) 1 2 Bn. 3

Hn. in F

1 2 3., open 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Xyl. 1

Perc. 2

3

Piano

8ba

Harp

C.G.

G.H. 8

It’s

a

light

house

to

guide

us.

E.G.

ther’s

glove.

unis. I Vn. II

tutti, unis. Va.

Vc.

Cb.

It’s

a

thief

re spect

ing

no

house

hold.

281

Act I–Scene 3

Grazioso

rit.

340

= 116–120

Picc. ord.

Fl.

1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2. 1 2 Bn. 3

1., open

a2

1 2 Hn. in F

molto espr. 3. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(Caroline returns and makes a “grand entrance,” holding her champagne glass up high.) (in a celebratory mood) 3

C.G.

It’s

a

clip

per

ship

with

G.H. 8

(definitively, ending the discussion) (full voice)

E.G. 3

3

steal

ing

the

loved ones

a

way!

Grazioso

rit. non div.

div.

pizz.

div.

unis.

div., pizz.

= 116–120

I

Vn. II

3

3

3

3

Va. 3

arco (non div.)

3

3

3

3

3

3

3

molto espr. div.

Vc.

arco Cb.

div., pizz.

unis.

282

Act I–Scene 3

rit.

345

Tempo primo = ca. 126

a tempo

Picc. 1. Fl.

1 2 sim.

molto espr.

sim.

molto espr.

1 Ob. 2 sim. Cl. in B

1 2 sim.

molto espr.

Bs.Cl. 1 2 Bn. 3

(1.)

2. open

1 2 Hn. in F

4. open 3 4 1.

Tpt. in C

1 2 molto espr. 3

Tbn.

1 2 Bs. Tbn.

Bs.Tbn. Tuba

2 drums Timp.

Crash Cym. 1 Trg. Perc. 2 Sys. Cym, hard yarn mallets 3

Piano

Harp

(The newlyweds, Caroline and George, begin the traditional “first dance”; the others join in the waltz one couple at a time. Ironically, only Gaines is without a partner; he is forced to watch the festivities.) C.G.

room

af ter room

for

dan

cing

and cakes

and

tea

and

cham

pagne!

G.H. 8

E.G.

rit. unis., arco

a tempo

Tempo primo = ca. 126

non div.

I sim. Vn.

molto espr. arco

div.

unis.

II sim.

molto espr.

Va. molto espr. (div. a2)

unis.

div.

arco

Vc.

Cb.

unis.

283

Act I–Scene 3

353 Picc. a2

(1.) Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (2.) 1 2 Bn. 3

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

1 2

3

Tbn.

1 2 a2

a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to onstage piano

Piano

Harp

C.G.

G.H. 8

E.G.

unis. div. I Vn.

unis.

div.

unis.

II

Va.

Vc. div. Cb.

unis.

284

Act I–Scene 3

360

Piccolo to Flute

Picc. dolce espr. (a2) Fl.

1 2 dolce espr. 1 dolce espr.

Ob. 2

Cl. in B

1 2 dolce espr.

6

6

6

6

Bs.Cl. 6

(2.)

6

1 2 Bn. 3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

(As the guests waltz, Gaines continues to watch alone.) C.G.

G.H. 8

E.G.

1 solo (arco) dolce, espr. (ossia: 8va

)

I gli altri, pizz.

Vn.

gli altri arco pizz.

II

pizz. Va.

Vc.

Cb.

div.

unis.

div.

Act I–Scene 3

285

366 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

onstage piano

espr.

dolce

Piano

Harp

(Margaret enters the room to bring in another tray of glasses. Although she is dressed more nicely now, in the unform befitting a house servant, she acts in a more subjugated manner. Gaines, standing alone, quietly takes notice of her arrival.)

C.G.

G.H. 8

E.G.

tutti, unis., pizz. I sub. Vn.

unis. II accomp.

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

div.

accomp. unis.

286

Act I–Scene 3 1.

374 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 Vib. Perc. 2

Chimes 3

piĂš Piano

Harp

(The guests gradually conclude dancing. Gaines once again plays the gracious host; he toasts the newlyweds as Margaret serves the guests.) C.G.

G.H. 8

E.G. 3

Well,

non div., arco I Vn.

arco II arco

Va.

arco Vc. arco Cb.

that is our

an

swer, then.

287

Act I–Scene 3 (1.)

381 1 2 espr.

Fl. 3

1 take English horn

Ob. 2 1. Cl. in B

1 2 espr.

espr.

Bs.Cl. (1.) 1 2 Bn. 3

(1.) Hn. in F

1 2 3. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

Glock. 1

Vib. Perc. 2

Chimes 3

to Celesta (pit orchestra)

Piano

Harp

C.G.

G.H. 8

E.G. 3

Cham

pagne

heals

all

wounds

and puts all

ar

gu ments to

bed.

div. I Vn. II

Va. div. Vc. sub. pizz. Cb. sub.

Con

grat u

288

Act I–Scene 3

388 1 2 Fl. 3

Ob.

1 English Horn

espr.

E.H. espr. Cl. in B

2.

1 2 dolce

poco dim.

dolce

poco dim.

dolce

poco dim.

dolce

poco dim.

Bs.Cl.

1 2 Bn. 3

(1.) Hn. in F

1 2 (3.) 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

C.G.

G.H. 8

dolce

E.G.

la

I Vn. II

Va.

Vc.

Cb.

tions,

son.

Bless

ings,

daugh ter.

289

Act I–Scene 3

hold back a tempo

395

= 92

1 2 sotto voce

Fl. 3

1 Ob.

take Oboe 2 (2.)

Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

(1.)

take straight mute

(3.)

take straight mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

(Margaret starts to leave the room.) (warmly) C.G.

Mar G.H. 8

E.G.

hold back a tempo

= 92

I Vn. II div. Va. unis. Vc. arco Cb.

sotto voce

g’ret,

290

Act I–Scene 3

403 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 sotto voce

Bs.Cl. sotto voce 1 2 Bn. 3

with straight mute 1 2 Hn. in F

with straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Perc. 2

3

Celesta

Harp

3

3

C.G. 3

wait a mo ment.

Come

to me.

What do you

think?

G.H. 8

E.G.

2 soli, div.

I dolce

dolce

Vn. II

sotto voce

unis.

Va. espr. div.

unis.

Vc. espr. pizz. Cb.

291

Act I–Scene 3

411

poco meno mosso

a tempo

1 2 Fl.

Flute 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

remove mute Hn. in F

1 2 remove mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib. Perc. 2

3

Celesta

Celesta

fast arp.

Harp

C.G.

What

(somewhat surprised) sotto voce

do

you

think

a bout

love?

M.G.

Ex cuse

me,

ma’am?

E.G.

poco meno mosso

a tempo

tutti, div.

unis.

1 solo

I warm, rich sound div.

Vn.

1 solo

II warm, rich sound div.

div.

unis.

Va.

div. Vc.

div. Cb.

unis. (pizz.)

6

6

6

292

Act I–Scene 3

419 1 2 sotto voce

Fl. 3

solo 1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 (Vib.)

l.v.

6

Perc. 2

3

to Piano

Celesta

Harp

3

3

C.G.

We

were

dis

cus

ing

the

M.G.

E.G.

tutti, unis. I Vn.

tutti, unis. II 6

6

6

6

Va.

Vc.

div. (open strings) Cb.

6

6

6

6

6

6

6

6

words

to de

293

Act I–Scene 3

424 1 2

3

3

3

3

3

3

3

3

3

3

3

3

Fl. 3

1 dolce

Ob.

Oboe 2

Cl. in B

3

3

3

3

1 2

Bs.Cl.

1 2 Bn. 3

open 1 2 Hn. in F

with no attack open

3.

3 4 with no attack Tpt. in C

1 2 3 take straight mute

Tbn.

1 2 a2

Bs. Tbn. take straight mute

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

3

3

3

3

Harp 3

3

3

3

(to Margaret) 3

C.G. 3

scribe

it.

Do they help

M.G.

E.G.

Child!

I Vn. II unis. Va.

Vc. unis., arco Cb.

Dear

child!

us

to

love?

294

Act I–Scene 3

430

2.

1 2 Fl. 3

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib., medium yarn mallets 3

3

3

3

3

3

3

3

Perc. 2 with no attack 3

Piano

3

3

3

3

3 3

Harp

3 3

3

3

3

3 3

3 3

3

3 3

3

(to her father)

3

C.G. 3

Or

hurt us be

yond

re pair?

I

want

to know.

I

want to

know

what

M.G.

E.G.

div. I sotto voce div.

Vn. II

sotto voce div.

unis.

Va. sotto voce unis., pizz.

div., arco

Vc.

pizz. Cb.

arco

she

295

Act I–Scene 3

437

Poco più mosso = 120

1.

1 2 Fl. 3

1 3

3

Ob. 2 3 3

Cl. in B

3

3

3

3

3

3

3 3

3

1 2 sotto voce

Bs.Cl.

1 2 3

Bn.

sotto voce

3

3

3

3

3

3

3

3

3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3 with straight mute Tbn.

remove mute

1 2 sotto voce Bs. Tbn., with straight mute

a2

Bs.Tbn. Tuba sotto voce

Timp.

1

Perc. 2

3

Piano

Harp 3

3

C.G.

thinks. M.G. (insistent) E.G.

Child!

Please,

child,

no

more!

(almost a whisper)

div.

poco unis.

S

What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout, (almost a whisper)

talk a bout? What is all this talk a bout? div.

Oh,dear.

Oh,

unis. poco

A

What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout,

talk a bout? What is all this talk a bout?

Oh, dear.

Oh,

poco

T.C. (almost a whisper) T 8

What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout, (almost a whisper)

talk a bout? What is all this talk a bout?

Oh, dear.

poco unis.

div.

B

What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout,

talk a bout? What is all this talk a bout?

Oh, dear.

Poco più mosso = 120 pizz.

unis. I

secco unis.

Vn.

pizz.

II secco pizz. Va. unis., pizz. Vc. sotto voce pizz. Cb. sotto voce

296

Act I–Scene 3

442 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3 a2 1 2

gliss. gliss.

Hn. in F

gliss.

3 4

Tpt. in C

1 2

3 open Tbn.

1 2 (a2)

remove mute

open

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

M.G.

E.G.

S

dear.

We thought he was

qual

i ty.

Oh,

dear.

Oh,

dear.

This is

a

mis

dear.

We thought he was

qual

i ty.

Oh,

dear.

Oh,

dear.

This is

a

mis

A

T.C. T 8

Oh,

dear.

We thought he was qual

i ty.

Oh,

dear.

Oh,

dear.

This is

Oh,

dear.

We thought he was qual

i ty.

Oh,

dear.

Oh,

dear.

This is

B

pizz. arco

arco I Vn.

div.

arco

unis., pizz

arco

II pizz.

arco

arco

Va.

arco

div. a2

unis., pizz.

Vc. arco Cb.

pizz.

297

Act I–Scene 3

447 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2. 1 2 Bn. 3

gliss.

take straight mute

1 2 Hn. in F

take straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

B.Tbn.

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

M.G.

E.G.

div.

unis.

S

take.

Qual

i

ty folk would ne

ver

make!

Oh,

dear.

Oh,

dear.

This

is

take.

Qual

i

ty folk would ne

ver

make!

Oh,

dear.

Oh,

dear.

This

is

A

T.C. T 8

a

mis

take.

Qual

i

ty folk would ne

ver

make!

Oh,

dear.

Oh,

dear.

This

is

a

mis

take.

Qual

i

ty folk would ne

ver

make!

Oh,

dear.

Oh,

dear.

This

is

B

unis., pizz.

div.

arco

I Vn.

div. a2

unis.

arco

pizz.

II

pizz.

arco

Va.

arco

non. div.

div., pizz.

Vc. arco Cb.

pizz.

unis.

arco

298

Act I–Scene 3

452

riten.

a tempo

1. 1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

a2 1 2 Bn. 3

with straight mute 1 2 Hn. in F

with straight mute

a2

3 4

Tpt. in C

1 2

3 a2 Tbn.

1 2 (B.Tbn.)

Bs.Tbn. Tuba

a2

a2

Timp. Xyl. 1

Perc. 2 Ratchet 3

Piano

Harp

C.G.

M.G.

E.G.

div. S

a pro found

in

sult.

This

is

a mis

take

qual

i ty folkwould ne ver

make. div.

A

a pro found

in

sult.

This

is

a mis

take

qual

i ty folkwould ne ver

make.

T.C.

div. T 8

a pro found

in

sult.

This is

a mis

take

qual

i ty folk would ne ver

make div.

B

a pro found

in

sult.

This is

a mis

take

qual

div. div.

unis.

i ty folk would ne ver

riten.

make

a tempo

I Vn.

div.

div.

unis.

unis.

div.

II div.

div.

unis.

div.

unis.

div.

unis.

Va. div. a2 Vc. arco Cb.

unis.

unis.

Moderato

299

Act I–Scene 3

= 80 (don’t drag)

458 1. 1 2 Fl. 3

1 Ob.

to English Horn 2 1.

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib. Perc. 2 with no attack, with strings, accomp. 3

Piano

Piano

Harp

C.G.

M.G.

E.G. 3

Car

Moderato

= 80 (don’t drag)

1 solo

2 soli, div.

I Vn.

1 solo II

1 sola Va.

1 solo Vc.

Cb.

o

3

line,

you

are

too

will

ful.

300

Act I–Scene 3

465 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 (Vib.) Perc. 2

3

Piano

Harp

C.G.

M.G.

E.G.

She can’t

an

swer you.

She won’t

an

swer you.

I Vn.

2 soli, div. II

(sola) Va. le altre

Vc. gli altri, div. (tutti) Cb.

301

Act I–Scene 3

473

rit.

(’)

a tempo ( = 80)

1 2 Fl. 3

Ob.

1 English Horn

E.H.

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1.

solo

take straight mute

1 2 Hn. in F

take straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 (Vib.) Perc. 2

3

Piano

Harp

legato C.G. 3

Why

not?

She has loved

me,

M.G.

E.G.

rit.

(’) 1 solo

dolce cantabile

a tempo ( = 80) 1 solo

I gli altri Vn.

tutti, div.

unis.

1 sola

tutte, div.

unis.

1 solo

tutti, div.

div.

2 soli

II

1 sola

Va.

1 solo

Vc. div., pizz. Cb.

served

me,

302

Act I–Scene 3

481 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. espr. 2. 1 2 Bn. 3

with straight mute remove mute

open

remove mute

open

1 2 Hn. in F

with straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Perc. 2

3

Piano

with Bass Clarinet

Harp

3

C.G. 3

taught

me

in

these few years.

Watched o

ver

my

sleep.

M.G.

E.G.

poco flautando 1 solo

6

6

6

I gli altri, div. Vn.

tutti, div. II tutte

Va. tutti, div.

unis.

pizz.

Vc.

div. a3 Cb.

unis.

303

Act I–Scene 3

488

1.

1 2

3

3

Fl. 3

Ob.

1 3

3

to Oboe E.H. dolce Cl. in B

1 2 dolce

Bs.Cl. dolce 1 2 Bn. 3

take straight mute Hn. in F

1 2 take straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

meno C.G.

Who

knows

bet

ter than

she

how

to

say

what

M.G.

E.G.

tutti, unis., pizz.

arco

I dolce Vn. unis., pizz.

div., arco

II dolce pizz.

arco

Va. dolce div., arco Vc. div. Cb.

love

is?

304

Act I–Scene 3

Vi— 493 1 2 Fl. 3

1 Ob.

dolce

dolce

2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

with straight mute 1 2 Hn. in F

with straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2 sotto voce

with little or no attack Bs.Tbn. Tuba with little or no attack

sotto voce

Timp.

1

Perc. 2

3

Piano

Harp

cant. 3

più

3

3

3

3

C.G.

Can words do it

jus

tice,Mar g’ret?

En cour

age

its suc

cess?

Or,

as my fath

er

says,

is the

M.G.

E.G.

Vi—

1 solo tutti, pizz.

div., arco

unis., pizz.

div., arco

pizz.

arco

pizz.

div., arco

I Vn.

dolce

dolce

II

Va.

unis. Vc. unis., arco Cb.

pizz.

305

Act I–Scene 3

—de L’istesso tempo = 80

499

1.

1 2 sotto voce

Fl. 3

1 Ob. 2

Cl. in B

1 2 sotto voce

Bs.Cl. 3

3

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 sotto voce

Bs.Tbn. Tuba sotto voce

Timp.

1

Perc. 2

3

Piano

Harp

(scherzando)

3

C.G. 3

lan guage of love

an im pos

ter?

A

thief

in the

night? 3

M.G.

Beg

ging your par

don,

Miss

Car o line.

E.G.

—de unis., pizz.

arco

unis., pizz.

div., arco

pizz.

arco

L’istesso tempo = 80

2 soli, div.

I sotto voce Vn. unis.

1 solo

II sotto voce 1 sola

Va. sotto voce 1 solo (1 solo) unis., pizz.

arco

Vc. sotto voce arco Cb. sotto voce

gli altri

306

Act I–Scene 3

505

riten.

(1.)

1 2 3

Fl.

3

3

3

1 Ob. 2 3

Cl. in B

3

3

1 2

Bs.Cl. 6

1 2 Bn. 3

(with straight mute)

remove mute

(with straight mute)

remove mute

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G. 3

His

love is

rough,

while

yours

is ten

der.

M.G.

Mis

ter

Gaines

is the ex

pert

here.

E.G.

tutti, unis.

riten.

I tutti, div.

Vn. II

tutte, div. Va. 1 solo tutti, unis. Vc. gli altri Cb.

307

Act I–Scene 3

511

a tempo

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., open

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

M.G. (emphatically) espr.

(full voice)

rt.

E.G. 3

po

3

You see?

a tempo

Shehas noth ing to

say

3

on the mat ter.

Love

2 soli, div. tutti, unis.

I Vn.

unis.

1 solo

tutti, div.

II

unis.

1 sola

tutte, div.

Va. 1 solo

(1 solo) tutti, div.

Vc. gli atri Cb.

3

is

not

in her vo

308

Act I–Scene 3

517

sub.

1.

2.

1 2 Fl. 3

1 sub.

Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

2. open

take straight mute

1 2 Hn. in F

open

take straight mute

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

(thoughtfully) M.G.

Words

of love are moths;

ea

sy food

E.G.

cab

u

la ry.

(ossia: 8va

) tutti, div.

1 solo I gli altri

Vn.

6

6

pizz.

6

6

6

6

II

unis.

div.

pizz.

Va. unis., pizz.

div.

Vc. pizz. Cb.

unis.

div.

unis.

div.

unis.

for

309

Act I–Scene 3

523 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

with straight mute 1 2 Hn. in F

with straight mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib.

6

6

6

6

6

6

6

6

Perc. 2

with no attack 3

Piano

(ossia fast upward arpeggio)

Harp

C.G.

M.G.

flame.

Act

ions

a

lone

say

what

love

may

E.G.

I Vn.

arco II arco

Va. div. Vc.

Cb.

unis.

div.

unis.

div.

unis.

div.

310

Act I–Scene 3

529 1 2 Fl. 3

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

remove mute Hn. in F

1 2 remove mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. lontano 1 (Vib.)

6

6

6

6

Perc. 2

3

Piano

Harp

C.G.

M.G.

be. E.G.

unis. I Vn.

unis. II

unis. Va.

unis.

div., arco

Vc. arco Cb.

311

Act I–Scene 3

535

( = 80)

Subito più mosso

1 2 Fl.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3 3

3

3

3

3

3 3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Ob.

Oboe 2

Cl. in B

1 2

Bs.Cl. a2

a2

1 2 3 3

Bn.

3 3

3

open 1 2 3

Hn. in F

3

open 3 4 3 3

3 3

2.

2.

1 2 3

Tpt. in C

5

3 3

3

3

5 5

5

3 5

3

3

5 5

5

3

a2 Tbn.

1 2

3 3

5

3

5

3

3

3

3

3

5

5

Bs.Tbn. Tuba

Timp.

Vib. 1 3

3

Guíro, metal scraper Perc. 2 5

Ruten, on B.D.

5 5

5 5

5 5

5

3

Piano

Harp

C.G.

M.G. agitated, wild angrily E.G. 3

3

E nough!

E nough!

Subito più mosso

( = 80)

div.

I 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Vn. II

Va. unis.

div.

Vc.

Cb.

We

have

312

Act I–Scene 3

= 80

540

a2

1 2 Fl. 3

1 Ob. 2 a2 Cl. in B

1 2 6

6

6

6

Bs.Cl. a2 1 2 Bn. 3

a2 1 2 Hn. in F

a2 3 4 a2

Tpt. in C

1 2 3

3 3

5 3

5 5

5

3

a2 Tbn.

1 2

3

5

3

5

a2 Bs.Tbn. Tuba

(two drums) Timp.

Ratchet 1 Wd. Blk. Perc. 2 5

Cast.

5 5

5

3

to Celesta

Piano

Harp

C.G.

M.G.

E.G. 3

all

had

e

noughof this non sense.

I

= 80 unis. I Vn.

div. II

Va. unis. Vc.

div. Cb.

unis.

re

313

Act I–Scene 3

544 1 2 Fl. 3 3

1 Ob. 2 (a2) Cl. in B

1 2 6

6

6

6

6

6

6

6

6

6

6

6

Bs.Cl.

1 2 Bn. 3

a2

take straight mute

1 2 sub.

Hn. in F

a2

take straight mute

3 4 sub.

Tpt. in C

1 2

3 a2 Tbn.

1 2 sub. a2

Bs.Tbn. Tuba sub.

Timp.

1

Perc. 2

3

Celesta

Harp

C.G.

M.G.

E.G.

3

fuse

to hear a slave

com ment

on

things

out

side

I Vn. II

Va. sub. Vc. sub. div.

unis.

Cb. sub.

3

her

scope.

6

314

Act I–Scene 3

547

1.

1 2 6

Fl.

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

sotto voce 3

1 Ob. 2 1. Cl. in B

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

sotto voce Bs.Cl.

1 2 Bn. 3

with straight mute 1 2 sempre

Hn. in F

sempre

3., with straight mute

4., with straight mute

3 4 sempre

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

sotto voce

Harp

C.G.

M.G. (to Margaret) sotto voce (parlando)

parlando

port.

E.G. 3

Our guests are right.

3

3

Her views

are

worth

less.

3

3

You

are ex cused.

Leave

I Vn. II

Va. pizz. Vc.

pizz. Cb.

us.

315

Act I–Scene 3

551

rit. 2.

1 2 6

Fl.

6

6

6

6

6

6

6

6

6

6

6

3

1 Ob. 2 2. Cl. in B

1 2 3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl.

1 2 Bn. 3

remove mute Hn. in F

1 2 remove mute 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Celesta

6

6

6

6

6

6

6

6

6

6

6

6

3

3

3

3

3

3

3

3

3

3

3

3

Harp

(Margaret exits.)

C.G.

M.G.

E.G.

rit. I Vn. II 4 sole, div. Va.

Vc.

Cb.

316

Act I–Scene 3

Poco più agitato 554

= 84

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

sempre

Harp

A

3

3

C.G. 3

Fa

ther,

you

shame

me.

She

is as com plete

a

hu

man

3

as

you

are.

George Hancock: G.H. 3

8

Since she is a mo ther, E.G.

Poco più agitato

= 84 2 soli, div.

I Vn.

div.

1 solo

II 1 sola Va. 1 solo (1 solo) arco Vc. arco Cb.

gli altri

317

Act I–Scene 3

560

(1.)

2., fltg.

1 2 Fl.

fltg. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 sempre Vib. Perc. 2 sempre 3

to Piano

Celesta

Harp

(The parlor clock strikes 10 o’clock. A few of the guests realize that the late hour now gives them an alibi to leave the party.)

C.G.

G.H. 8

3

may be more

(to Caroline)

so.

E.G.

You

1 solo I gli altri

Vn.

tutti, unis. II

tutte, div. Va.

tutti, unis. Vc.

gli altri, arco Cb. 1 solo, pizz.

dis ap point

me.

How

318

Act I–Scene 3

566

(2.)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo, open

Hn. in F

1 2 molto cant. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. (Glock.) 1 (Vib.) Perc. 2

3

Piano

Harp

C.G.

G.H. 8

E.G.

3 3

3

could love ex

ist

in a slave?

Pas sion

per haps.

But

(1 solo) I

Vn.

più sonoro II

più sonoro unis. Va. più sonoro div. Vc. più sonoro più sonoro Cb.

how

would she knowthe dif f’rence?

319

Act I–Scene 3 1. (ord.)

572

2. ord.

(2.)

1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.)

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 with no attack Bs. Tbn.

Bs.Tbn. Tuba with no attack

Timp. (Glock.) 1 (Vib.) Perc. 2

3

Piano

Piano

Harp

(Caroline and George look into each other’s eyes.)

(pleading with Edward to be reasonable) port. 3

C.G.

There

are

ma ny

kinds

3

of

love,

fa

ther.

And

G.H. 8

And

E.G.

1 solo

2 soli

I Vn.

1 solo II

1 sola

1 sola

Va. le altre

1 solo

Vc.

1 solo Cb.

gli altri

1 solo

320

Act I–Scene 3

577

a2

1 2

6

Fl. 3

1 Ob. 2 a2 Cl. in B

1 2 6

Bs.Cl.

1 2 Bn. 3

2. open

Hn. in F

1 2 open 3 4

Tpt. in C

1 2

3

Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

to Celesta

Piano

Harp

molto espr. C.G.

ma

ny

kinds

of

lov

ers.

kinds

of

lov

ers.

molto espr. G.H. 8

ma

ny

E.G.

tutti, div.

2 soli, div. col vibrato

I Vn.

2 solo, div. col vibrato

tutti, unis. II

tutte, div.

unis.

tutti, div. a2

(div.)

Va. sub. Vc. sub. tutti, unis., arco

div.

(arco)

sub.

Cb. pizz.

unis., pizz.

321

Act I–Scene 3

Poco agitato

= 144–152 (ben misurato)

582

a2

1 2

6

Fl. 3

1 Ob. 2 a2 Cl. in B

1 2 6

Bs.Cl. 1.

a2

1.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Vib., med. soft mallets Perc. 2

3

Celesta

Harp

C.G.

G.H. 8

E.G.

leggiero S

This

is

too

sub

tle

for

me,

and

you,

and

me,

and

me,

Per

haps

it

is

time

to

too

sub

tle

for

me,

and

you,

and

me,

and

me,

Per

haps

it

is

time

to

too

sub

tle

for

me,

and

me,

and

me,

and

you,

and

me,

Per

haps

it

is

time

to

too

sub

tle

for

me,

and

me,

and

me,

and

you,

and

me,

Per

haps

it

is

time

to

leggiero A

This

T.C.

is

leggiero T 8

This

is

leggiero B

This

is

Poco agitato tutti, unis., pizz. I Vn.

tutti, unis., pizz. II pizz.

Va. unis., pizz. Vc.

Cb.

= 144–152 (ben misurato)

322

Act I–Scene 3

590

1.

1 2

6

6

6

6

Fl. 3 6

1 6

Ob.

6

6

2

Cl. in B

1 2

Bs.Cl. 6

6

6

1 2 6

Bn.

6

6

3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1

Vib. Perc. 2

3

Celesta

Harp

C.G.

G.H. 8

E.G.

S

say

good

night,

good

night and

good

night.

Good

night,

good

night

say

good

night,

good

night and

good

night.

Good

night,

good

night

say

good night,

good night.

Ar

gu ment

chills

a

par

ty.

Good

say

good night,

good night.

Ar

gu ment

chills

a

par

ty.

Good

A T.C. T 8

B

I Vn. II

Va.

Vc.

Cb.

323

Act I–Scene 3 (1.)

596 1 2

6

Fl. 3

1 Ob.

6

2

Cl. in B

1 2

Bs.Cl. 6

a2 1 2 Bn. 3 6

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Glock. 1 Vib. Perc. 2

3

Celesta

Harp

(The guests leave, bowing stiffly; they disapprove of Gaines’s behavior and act coolly towards him. He is angered and annoyed by their early departure.) C.G.

G.H. 8

E.G.

S

good

night,

good

night,

and

good

night,

good

night,

good

night,

and

good

night,

and

good

night.

A T.C. T 8

night,

night,

good

night,

good

night

night,

night,

good

night,

good

night,

B

and

good

night. arco

I Vn.

non div., arco II

arco Va. div., arco Vc.

unis., pizz. Cb.

arco

324

Act I–Scene 3

602

Molto moderato

= ca. 66

1 2 3

Fl.

3

3

3

1 Ob.

to English Horn 2 3

Cl. in B

3

3

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4 take straight mute

Tpt. in C

1 2

3 take straight mute Tbn.

1 2 take straight mute

Bs.Tbn. Tuba

Timp. Glock. 1 Vib., motor off Perc. 2 Pedal on

Xyl.

3

Celesta

to Piano

3

Celesta

3

3

3

3

3

3

3

3

3

3

3

Harp

C.G.

G.H. 8

quasi parlando E.G. 3

Fools,

Molto moderato

3

i di ots.

= ca. 66

What

do they

know

a bout

“qual

i

ty”

folk?

div., pizz.

I Vn.

div., pizz. II

div. Va. (div.), pizz.

unis., arco

Vc. cant. Cb.

3

325

Act I–Scene 3

608

1.

1 2 fltg.

Fl.

ord.

fltg.

ord.

fltg.

ord.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

sub.

3

Ob.

1

E.H. 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

G.H. 8

(to Caroline and George, with regret) come recitativo E.G. 3

This

was to be a proud

mo

ment.

Now

you

3

have giv en my neigh

unis., arco

pizz.

div.

arco

pizz.

unis.

I Vn. II

unis. Va. non div., pizz. Vc. div. a3 pizz. Cb.

bors

more

326

Act I–Scene 3

Più mosso

614

= 72

1 2 Fl.

3

dolce cantando 3

Ob.

1 English Horn

to Oboe

E.H. espr.

3

2. Cl. in B

1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Cl. 1. 1 2 Bn. 3

1. 1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib., motor off Perc. 2

Pedal 3

Piano

Harp

3

C.G.

I

am

sor

ry fath

er,

if

I

G.H. 8

Don’t think

port.

us

un grate

E.G. 3

rea son to gos sip

3

and de

spise

me.

Più mosso tutti (div.) arco

2 soli, div.

I Vn.

arco

dolce cantando

3

II

Va.

div., arco

div. a2

unis., arco

div.

Vc.

Cb.

= 72

ful

up

327

Act I–Scene 3

Poco più animando

620

= 80

1 2 Fl. 3

1 Ob.

Oboe 2 1.

Cl. in B

1 2

Bs.Cl. (1.) 1 2 Bn. 3

1., solo

Hn. in F

1 2 sotto voce

3.

3 4 sotto voce

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G. 3

set

you.

We did

not

mean

to be rude,

on

We did

not

mean

to be rude,

on

ly

to

say

what we

be

ly

to

say

what we

be

G.H. 8

3

3

for this ce le bra

tion.

E.G.

Poco più animando

= 80

unis. I dolce Vn.

dolce 3

div.

3

II dolce

dolce 3

Va. (div.)

dolce

Vc.

sub. Cb. sub.

pizz.

dolce

unis.

328

Act I–Scene 3

626 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1., solo (ossia a2)

Hn. in F

1 2 (3.)

cant.

3 4 with straight mute Tpt. in C

1 2

3

Tbn.

2., with straight mute

1. with straight mute

with straight mute

Bs. Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

lieve.

Hon

es

ty

should not

of

fend

you.

lieve.

Hon

es

ty

should not

of

fend

you.

G.H. 8

E.G.

port. I espr. Vn.

div. II

unis.

t. por espr.

Va.

t. por espr.

Vc.

unis., arco Cb.

div., pizz.

329

Act I–Scene 3

632

= 126

1 2 cantando (choral style)

Fl. 3

1 Ob. 2 1. Cl. in B

1 2 cantando (choral style)

Bs.Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4 remove mute Tpt. in C

1 2

3 remove mute Tbn.

1 2 remove mute

Bs.Tbn. Tuba

Timp.

1 Vib., medium soft mallets Perc. 2

sempre, with no attack Pedal 3

Piano

Harp

C.G.

G.H. (come recitativo) agitato

8

4

piĂš

cantabile

7

E.G. 7

I am not soweak asto be of fend

ed by

in

no cence.

= 126 div. I Vn.

div. II 4 sole, div.

Va. unis., pizz.

arco

Vc. unis. Cb.

arco

But

I have a re pu ta

tion

330

Act I–Scene 3

637 1 2 Fl. 3 cantando (choral style) 1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

C.G.

Fa

ther,

please

try.

G.H. 8

E.G.

to

main

tain.

My

1 solo

I gli altri, div. Vn. unis. II

tutte, unis. Va. div. a2 Vc.

pizz. Cb.

331

Act I–Scene 3

642

= ca. 63

Piccolo

to Piccolo

Picc. sempre

5

sempre

5

sempre

5

1. Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

(1.) Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Piano

Harp

C.G.

G.H. 8

E.G. 3

sweet

= ca. 63

Car o line,

it

does n’t

mat

ter.

All

is well.

arco

tutti, div., pizz.

I Vn.

div., pizz.

div., arco unis.

II

Va.

(div.)

(div. a2)

arco

div., pizz.

Vc.

Cb.

espr.

Take care

of your selves.

332

Act I–Scene 3

647

to Flute

Picc. 5

solo

(1.) Fl.

1 2 5

solo 1 5

Ob. 2

1., solo Cl. in B

1 2

Bs.Cl. 1. 1 2 Bn. 3

1.

Hn. in F

take straight mute

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. possibile 1

Perc. 2 B.D. 3 possibile

solo to Celesta

5

Piano

5

Harp

(Gaines kisses Caroline tenderly.)

(Gaines shakes George’s hand.)

(Caroline and George leave, eager to depart on their honeymoon. Gaines pauses and somewhat wistfully watches them walk away.)

C.G.

G.H. 8

(more personal) E.G.

Good bye,

sul A sul D

take

care.

unis.

I Vn.

unis. II

Va. unis. Vc.

Cb.

div.

333

Act I–Scene 3

654

( = 63)

breve

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

remove mute

with straight mute

Hn. in F

1 2 a2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

boldly

(regaining his inner strength) E.G.

It

3

does n’t mat

( = 63)

3

ter at all.

I

3

have suc ceed

ed

just

3

3

as

I

said I

would.

breve

unis.

I 6

6

6

6

6

6

Vn. 6

II

Va.

Vc. marc. e secco unis., arco Cb. marc. e secco

6

6

6

6

6

334

Act I–Scene 3

658 Adagio

= 72

Più mosso

= 80 Adagio

Ancora più mosso = 80

= 72

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

take straight mute

with straight mute

take straight mute

with straight mute

1 2 Hn. in F 3 4 take straight mute Tpt. in C

1 2 take straight mute 3 with straight mute

take straight mute Tbn.

1 2 Bs. Tbn. take straight mute

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Celesta

Harp

E.G.

3

En

Adagio div.

vy

= 72

3

is the true price of

3

wealth…

Più mosso

which

I

= 80 Adagio

eas

= 72

3

i ly,

3

hap

pi ly pay.

Ancora più mosso unis.

I Vn.

div.

poco espr. unis.

II

div. a2

poco espr. (div.)

Va. div.

unis.

Vc. div. Cb.

unis., pizz.

= 80

335

Act I–Scene 3

= 60

666 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2 (senza tr.)

Bs.Cl.

1 2 Bn. 3

a2 (with straight mute) 1 2 3

Hn. in F

3

3

3

3

3

3

3

3

3

3

3

a2 (with straight mute) 3 4 3

3

with straight mute 1 2 3

Tpt. in C

3

with straight mute 3 3

3

(with straight mute) Tbn.

1 2

3

3

Bs. Tbn. with straight mute 3

3

3

3

Bs.Tbn. Tuba

Timp.

1 Vib., med. sticks, motor on Perc. 2 with no attack Pedal 3

Celesta to Piano

Piano

Celesta

Harp

E.G.

A rich

= 60 div.

I div.

Vn. II

(div. a2) unis. Va. sub. non div.

div.

arco

div., pizz.

Vc.

Cb.

man

336

Act I–Scene 3 1.

673 1 2

dolce

Fl.

dolce

3

1 dolce

Ob.

dolce

2 1. Cl. in B

1 2 dolce

(senza tr.) Bs.Cl.

1. 1 2 dolce

Bn. 3

a2 1 2 3

Hn. in F

3

3

3

a2

remove mute

3 4 3

3

3

3

remove mute 1 2 3

Tpt. in C

3

3

3

remove mute 3 3

3

3

3

3

3

3

3

3

3

3

3

remove mute Tbn.

1 2

Bs. Tbn. remove mute

Bs.Tbn. Tuba

Timp. sub.

Glock.

1

Perc. 2 Crot. 3

Piano

sub.

Harp

(Edward begins to leave, but when he notices Margaret returning to clear the champagne glasses, he lingers in a hiding place.)

E.G. 3

has

ma ny

re me dies.

unis., pizz. I Vn.

unis., pizz. II div. a2 unis.

Va.

unis.

non div.

Vc. sub. unis., arco Cb. sub.

pizz.

337

Act I–Scene 3

679 1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2 dolce dolce

Bs.Cl. 1.

dolce

1 2 dolce

Bn. 3

1. (with straight mute)

open

1 2 Hn. in F

dolce

sotto voce

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Chimes, soft hammer Perc. 2

3

Piano

Harp

(Margaret picks up a glass and holds it to the light, peering into it as if it were a crystal ball.) M.G.

E.G.

I Vn. II

Va. div.

unis.

Vc.

arco Cb.

338

Act I–Scene 3

686 Andante

= 84–88

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 Vib., med yarn mallets, motor on Perc. 2

1 instrument, 2 players

sempre Pedal Vib.

3 (Ped.)

Piano

3

3

3

3

3

3

3

3

3

3

3

3

Harp

Margaret Garner: (looking at the glass) 3

M.G.

Are

there

ma ny kinds

of

love?

Show

E.G.

Andante

= 84–88 sul D

1 solo arco

dolcissimo

I sul G Vn. div., arco

gli altri, div., arco

II

Va. pizz. Vc. pizz. Cb.

me

each and ev

3

339

Act I–Scene 3

692 1 2 Fl. 3 solo 1 dolcissimo

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 (Vib.) Perc. 2 (Pedal) (Vib.) 3 (Ped.)

Piano

3

3

3

3

3

3

3

3

3

3

3

3

Harp

port. M.G.

’ry one.

You can’t,

can

you?

E.G.

tutti I Vn. II

Va.

Vc.

Cb.

1 solo

dolce

3

340

Act I–Scene 3

698 1 2 Fl. 3 solo 1 dolce

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

(Vib.) Perc. 2 (Pedal) (Vib.) 3 (Ped.)

(Ped.)

Piano

3

3

3

3

3

3

3

3

3

3

3

3

Harp

3

M.G.

For

there is just

one

kind.

E.G.

cant. (gli altri) I gli altri unis.

Vn. II

Va.

Vc.

Cb.

341

Act I–Scene 3

705 Con

moto

= 104 ( = 52)

1.

1 2 Fl. 3

1 Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

with simplicity M.G.

On

ly

un

har

nessed

hearts

can

sur

vive

a locked down life.

Like

a

riv

er

E.G.

Con moto

= 104 ( = 52)

tutti, pizz.

arco

pizz.

I Vn.

unis., pizz.

arco

div., pizz.

arco

pizz.

II

pizz.

Va. arco

div.

unis.

Vc.

arco

div. a2 arco

Cb. pizz.

unis., arco

342

Act I–Scene 3

712

(1.)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1. 1 2 Hn. in F

3. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

piĂš sonoro M.G.

rush ing

from the

grip

of

its

banks

as

light

es

capes

the

cold

E.G.

unis., arco div.

unis.,

div.

div.

unis.

I Vn.

arco

II unis., arco

div.

Va. div. Vc.

Cb.

unis.

dolce

unis.

est

star;

343

Act I–Scene 3

719 1 2 Fl.

to Piccolo 3 solo 1 espr. solo

Ob. 2

espr.

1. Cl. in B

1 2

Bs.Cl.

1.

1 2 Bn. 3

1.

2. open

1 2 sotto voce

Hn. in F

3.

4. open

3 4 1. solo Tpt. in C

1 2 espr. 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

sonoro 3

3

M.G.

a

qual i

ty

love

the love of all

loves

will

break

a

E.G.

3 soli, div., arco pizz. I gli altri, arco

Vn. pizz.

non div., arco

pizz.

arco

div., pizz.

div. a2, arco

II

Va.

Vc.

div. Cb.

344

Act I–Scene 3

725 Picc.

Fl.

1 2 sotto voce 1

Ob. 2 1. Cl. in B

2.

1 2 dolce

Bs.Cl.

1 2 Bn. 3

2.

Hn. in F

1 2 dolce

dolce

3 4 dolce

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

M.G. 3

way.

When

sor row

clouds

the

mind,

the

spine

grows

strong;

no

pret ty words

can soothe or

E.G.

tutti, unis.

I Vn.

pizz.

arco

II div. Va. unis. Vc. unis. Cb.

pizz.

(div. a2)

arco

345

Act I–Scene 3

732 Picc.

Fl.

1 2

1 Ob. 2 1. Cl. in B

1 2 sub.

Bs.Cl.

1 2 Bn. 3

1.

Hn. in F

1 2 dolce

3. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

M.G.

cure

what

hea

vy hands can

break.

When

sor

row

is

deep,

the

sec

ret

soul

keeps.

E.G.

div.

pizz.

unis., arco

pizz.

arco

I Vn.

non div.

II unis., pizz.

div., arco

unis.

Va. dolce div., pizz.

unis., arco

Vc.

div., arco Cb. pizz.

unis., pizz.

arco

div.

346

Act I–Scene 3

739 Picc.

Fl.

1 2

1 espr.

Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2 Bn. 3

1.

Hn. in F

1 2 accomp. 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

3

3

M.G.

its weap on of

choice:

the love of all

loves.

E.G.

pizz. I Vn.

pizz. II pizz.

Va.

pizz. Vc.

pizz. Cb.

347

Act I–Scene 3

746 Picc.

Fl.

1 2 dolce 1

Ob. 2 1. Cl. in B

2.

1 2 espr.

3

dolce

Bs.Cl.

1 2 Bn. 3

(1.)

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

espr. M.G.

No

pret ty words

can ease or

cure

E.G.

div., arco I Vn.

arco II

arco Va.

unis.

div.

unis., arco

div.

Vc.

div. Cb.

unis.

what

348

Act I–Scene 3

allarg.

753 Picc.

Fl.

1 2

1 Ob. 2 (2.) Cl. in B

1.

1 2

Bs.Cl.

1 2 Bn. 3

(1.) Hn. in F

1 2 espr. 3 4 1.

Tpt. in C

1 2 dolce 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

sonoro, full voice

3

3

M.G. 3

hea

vy hands can

do.

When sor row is

deep,

the sec ret soul

keeps

its

qual

i

ty

E.G.

allarg. (div.) I Vn. II div. a2

pizz.

arco

div., pizz.

arco

Va.

unis. Vc. div., arco

unis., arco Cb. pizz.

349

Act I–Scene 3

760 L’istesso

tempo (don’t drag)

= 104

Picc. 1. a2 Fl.

1 2 1. 1

Ob. 2 1. Cl. in B

1 2

Bs.Cl.

1 2 Bn.

to Contrabassoon 3

a2 1 2 Hn. in F

a2 3 4 1. take straight mute

Tpt. in C

1 2

3 soli Tbn.

1 2 soli

a2 Bs.Tbn. Tuba

Timp.

1

Perc. 2

3

Piano

Harp

M.G.

love.

When

E.G.

L’istesso tempo (don’t drag) unis.

= 104 div.

unis.

I div.

Vn.

unis.

II unis. div. Va. espr. unis. Vc.

Cb.

sor

row

is

350

Act I–Scene 3

767 Picc. (1.) Fl.

1 2

1 Ob. 2 (1.) Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

a2 Hn. in F

1.

1 2 sotto voce 3 4 sotto voce

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

Bs.Tbn. Tuba sotto voce

Timp.

1

Perc. 2

3

Piano

Harp

3

3

M.G.

deep,

the

sec

ret

soul

keeps

its

E.G.

I sotto voce

Vn. II

sotto voce unis. Va. sotto voce div. Vc. sotto voce Cb. sotto voce

weap on of

choice

the love of all

loves!

351

Act I–Scene 3

773 Picc. 1. Fl.

1 2

1 dolce espr.

Ob. 2

1. Cl. in B

1 2

Bs.Cl.

Bn.

1 2 Contrabassoon

Cbn.

(1.) 1 2 Hn. in F

3. 3 4 1., solo, with straight mute

Tpt. in C

remove mute

1 2 dolce espr. 3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. Chimes 1 Tamtam Perc. 2 with no attack B.D. 3

Piano

C F

Harp

E

C

D A

(Edward slowly emerges from his hiding place and walks toward Margaret, looking her over with unmistakable intent. She is unaware of his presence, however, as she is looking down at the glass in her hand.) M.G.

E.G.

(1 solo)

1 solo

I dolce espr.

Vn.

gli altri, pizz. pizz.

II

Va. unis. Vc.

div. Cb.

352

Act I–Scene 3

780

= 80

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp.

1 (Tam.) Perc. 2

(B.D.) 3

Piano

E

Harp

M.G.

Edward Gaines: (coolly; unintentionally startling Margaret) E.G.

Such

= 80 I Vn. II

Va. div. Vc.

Cb.

fine

sen

ti ments.

Too fine,

I

353

Act I–Scene 3

786 Picc.

Fl.

1 2

1 Ob. 2 2. Cl. in B

1 2

Bs.Cl.

Bn.

1 2

Cbn.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tuba

Timp. sotto voce 1 Tam. Perc. 2 sotto voce B.D. 3 sotto voce

Piano

poco a poco cresc.

Harp

poco a poco cresc.

(He gently takes the glass from her hand. Assuming an air of gentility, Edward then takes Margaret’s red scarf from his pocket and slowly ties it around her neck.) M.G. full voice quasi E.G.

think

for a slave.

But

I

have

my

rem e

dies.

A man

tutti, arco I Vn.

arco II

Va.

unis. Vc.

Cb.

has

man

y

354

Act I–Scene 3

Più largamente

792

= 72

Piccolo

Picc.

3

a2

5

1. Fl.

1 2

3 5

1 3

Ob.

5 5

2 a2 Cl. in B

a2

5

1 2 sub.

sub.

sub.

sub.

sub.

sub.

3

Bs.Cl. a2 Bn.

1 2

Cbn. sub.

sub.

a2

a2

a2

5

1 2 sub.

Hn. in F

sub. a2

a2

a2

5

3 4 sub.

sub.

1.

2. open 1 2

3

Tpt. in C

open

5

3 a2 Tbn.

1 2 a2

Bs.Tbn. Tuba

Timp. Sus. Cym. 1 (Tam.) Perc. 2 (B.D.) 3

Piano

Harp

(Margaret begins to struggle vehemently. But Edward overpowers her, and drags her forcibly out of the parlor.)

(Margaret resists his advances.) agitated M.G.

They can not touch the se

cret soul. (losing control) molto

E.G.

3

rem e dies.

Your soul

Più largamente

is not on my mind.

= 72

I

3

sub.

sub.

molto appassionato div.

Vn.

5

unis.

div.

5

II div.

sub.

sub.

molto appassionato

3

unis.

5

Va. 3

sub.

sub.

sub.

sub.

molto appassionato non div.

Vc.

unis. Cb. sub.

sub.

355

Act I–Scene 3

799 Più

maestoso

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2 Bn.

1 2

Cbn.

a2 1 2 Hn. in F

a2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 a2

fltg.

Bs.Tbn. Tuba

Timp.

(Sus. Cym.) 1 (Tam.) Perc. 2

(B.D.) 3

Piano

8ba

Harp

(The curtain falls slowly.) M.G.

E.G.

Più maestoso div. I unis.

Vn.

div. II div. a3

div. Va. div. Vc.

sempre Cb. sempre

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