Richard Danielpour
MARGARET GARNER opera in two acts Libretto by
Toni Morrison Full Score, Book 2 Act II
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 2 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
356
Act II, Scene 1: Maplewood Plantation. Sunday, February 24, 1861, in the early evening. Con moto, poco agitato
= 104–108
Picc. cresc.6
6
6
6
6
6
6
a2 1 2
Fl.
6
3
6
6
cresc.
1 3
Ob.
3
2 Cl. in B
1.
2.
1 2
6
6
a2 6
cresc. poco a poco
6
cresc. poco a poco
6
cresc.
6
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bs.Cl. cresc. Bn.
1 2
3
cresc. Cbn. cresc.
1 2 Hn. in F
cresc. 3 4 cresc. 1 2 3
Tpt. in C
3
3
1. Tbn.
1 2
3
cresc. a2
Bs. Tbn.
Bs.Tbn. Tuba cresc.
Timp. Xyl. 1 3
Perc. 2
3
8va
Piano
6
Harp
6
6
6
6
6
(Fast curtain in silence and darkness. Lights up on downbeat of measure 1.) (Anticipating a visit from Robert, who has been meeting her secretly on Sunday nights, Margaret goes to Cilla’s cabin. She is disturbed to find Casey lurking nearby.) Cilla: C.
Not
yet.
Margaret Garner: 3
M.G.
Has he come?
Con moto, poco agitato
= 104–108 6
6
I 3
Vn.
div.
cresc. poco a poco unis. 6
6
6
6
6
6
6
6
6
6
6
6
6
II 3
cresc. poco a poco div.
6
3
3
3
3
3
3
Va. 3
cresc. poco a poco div.
Vc. 3
cresc. poco a poco
Cb. cresc. poco a poco
357
Act II–Scene 1
Agitato, ma meno mosso
8 Picc.
= 84–88
3
(a2) 1 2
Fl.
3
1 3 3
Ob.
to English Horn
2 2. Cl. in B
1 2
Bs.Cl. 1. Bn.
1 2
Cbn.
1 2 Hn. in F 3 4 1 2 3
Tpt. in C
3
3
1. Tbn.
1 2 3
a2
Bs. Tbn.
Bs.Tbn. Tuba sub.
Timp. Xyl. 1 3
Perc. 2
3
8va
Piano
Harp
(Margaret suddenly notices Cilla is packing a carpetbag.) C.
Not
yet.
But
soon. (unsettled, agitated)
M.G. 3
Is he here? Has he come?
What are you do
Agitato, ma meno mosso I
ing?
= 84–88
3
Vn.
div.
unis.
div.
div.
non div.
div.
6
6
6
6
II 3
unis. Va. 3
6
div.
unis. Vc. 3
Cb.
unis.
6
6
6
358
Act II–Scene 1
rit.
14 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1., solo 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.
M.G.
Where
are
the
chil
dren?
rit.
div. I Vn.
6
6
6
6
6
6
unis.
6
II
Va. 6
Vc.
Cb.
6
6
unis.
359
Act II–Scene 1
20
a tempo
= 84–88
Picc. 1. Fl.
1 2 dolce
Ob.
1 dolce
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
8va
Piano
Harp
(with assurance) C.
Rob
ert
is
M.G.
a tempo I dolce
Vn. II
dolce Va. dolce div. dolce Vc.
Cb.
= 84–88
my
son
and
his
word
is
gold.
360
Act II–Scene 1
28 Picc. 1. Fl.
1 2 dolce
Ob.
1 dolce
espr.
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1., solo 1 2 Hn. in F
Tpt. in C
dolce 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. senza dim. 1
Perc. 2
3
8va
Piano
Harp
quasi più cantabile C.
Calm
your
self.
Your daugh
ter
is
with
Kate.
So
is
the
lit tle one.
M.G.
non div. I più cantabile Vn.
div.
unis.
div.
più cantabile unis.
div.
unis.
div.
II
non div.
Va. più cantabile unis.
div. a2
Vc. più cantabile
div., arco
Cb. più cantabile
pizz. senza dim.
3
361
Act II–Scene 1
36
Subito più mosso
= 104–108
Picc. a2 a2 Fl.
1 2
Ob.
1 English Horn
E.H. cresc. a2 Cl. in B
2.
a2
1 2 cresc.
Bs.Cl. cresc. Bn.
1 2 cresc.
Cbn.
cresc.
1 2 Hn. in F
cresc. 3 4 cresc.
Tpt. in C
1 2
3
1. Tbn.
1 2 cresc. Bs. Tbn.
Bs.Tbn. Tuba cresc.
Timp. Xyl. 1
Perc. 2
3
8va
Piano
8ba
Harp
(Margaret begins to search the room for signs of the children. She becomes increasingly anxious when she realizes they are not there.) C.
M.G.
Subito più mosso
= 104–108
1 solo
gli altri
1 solo
tutti
tutti
I Vn. II div. Va.
unis. Vc.
unis., arco Cb.
div.
362
Act II–Scene 1
43
L’istesso tempo
= 104–108
to Flute
Picc.
Fl.
1 2
Ob.
1
E.H. cantabile Cl. in B
cant. ed espr.
espr.
1 2
Bs.Cl. espr. Bn.
1 2
Cbn.
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
Piano
Harp
C.
(agitated)
’
3
M.G.
Why
are you fold ing their
L’istesso tempo
clothes?
You’re pack
3
ing thema way!
3
What
3
aren’t you tell ing me?Has Ca
sey been here?
= 104–108
I Vn.
non div. II sul D
unis., non div. Va.
unis., non div. Vc.
Cb.
half section, arco
363
Act II–Scene 1
49
Poco meno mosso
= 92
1 2 Fl.
Flute
to Piccolo
3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
fast arpeggio
Harp
C.
M.G.
Is
Poco meno mosso
he
tak
= 92
div. a3, pizz. unis., arco I Vn.
div., pizz.
unis., arco
II
Va. sub. sub. tutti arco (div.) Vc.
other half, pizz. Cb.
div.
ing
them
a
way?
364
Act II–Scene 1
54
= 52–54
move forward
Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2 dolce
Bs.Cl. dolce Bn.
1 2 dolce
Cbn.
open
1.
1 2 Hn. in F
dolce
cant. ed espr.
3., open
3.
3 4 dolce
Tpt. in C
cant. ed espr.
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
3
C. 3
Mar
garet,
you
have
changed
so.
Each time
you
vi
sit
I
see
less of
you.
M.G.
= 52–54
move forward
I sotto voce
Vn.
sotto voce div.
II sotto voce
sotto voce
sotto voce unis.
sotto voce
sotto voce
sotto voce
Va.
Vc.
div., pizz.
unis. Cb. sotto voce
sotto voce
365
Act II–Scene 1
62
poco rit. Moderato, flowing
a tempo
= 112
Picc. 1., solo Fl.
1 2 with solo violin
Ob.
3
1
E.H.
Cl. in B
1 2
Bs.Cl. 3
Bn.
with harp
3
3
3
3
3
3
3
1 2
Cbn.
(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
3
3
Harp 3 3
3
3
3
3
C.
and more of a wet
hen.
Don’t
cut up
so.
The
news
is
good.
M.G.
What news?
poco rit. a tempo
1 solo with solo flute
3
Moderato, flowing
= 112
I gli altri Vn.
unis.
pizz.
div., arco
div.
unis.
II
Va. unis., pizz. div. Vc.
unis. Cb.
div., arco
Please,
366
Act II–Scene 1
68
Piccolo
Picc. a2
Fl.
1 2
Ob.
1
E.H. 1. Cl. in B
a2
1 2
Bs.Cl. 3
3
3
3
3
3
3
3
a2 Bn.
1 2
Cbn.
1 2 Hn. in F
4.: open 3 4 1.
Tpt. in C
1 2
3
Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
Timp. Xyl. 1 Trg. Perc. 2
3
marcato
Piano
3
3
3
3
3
3
cresc.
Harp 3
3
3
3
3
3
C.
M.G. 3
Cil
la.
What
is
hap
pen ing?
unis., pizz. I Vn. 6
6
6
6
6
6
6
6
II
Va. unis. Vc.
div., arco Cb.
unis.
367
Act II–Scene 1
74
Più maestoso
= 104
Quasi adagio
to Flute
= 60
Picc. 1. Fl.
1 2
Ob.
1
1.
cant. ed espr.
cant. ed espr. E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2 to Bassoon
Cbn.
1.
1.
a2, soli
1 2 espr.
Hn. in F
3
3 4
cantabile 3
3
3
3
3
3
a2, soli
cantabile
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C. 3
It’s time,
dar
3
ling
girl.
At last,
the time has
come.
The
M.G.
Più maestoso
= 104
Quasi adagio
div., arco I Vn.
div. II
div. 3
3
3
3
3
3
3
div. a3
Va. accompagnando Vc.
Cb.
div.
= 60
368
Act II–Scene 1 1., solo
81 1 2
3
Fl. 3 solo Ob.
1 3
solo E.H. cantabile Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
poco
poco
poco
poco
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
3
3
C. 3
3
plan
is set.
That’s why your hus band is
late.
He is mak
M.G.
unis. I Vn.
unis. II with slight separation unis.
div.
with slight separation unis.
div.
unis.
div.
unis.
div.
unis.
Va. poco
poco unis.
Vc. with slight separation
Cb.
poco div., pizz.
poco
ing sure
that
all
is
in place.
369
Act II–Scene 1
Lively
poco allarg. a tempo
87
= 120
1 2 Fl. 3 solo Ob.
1 espr.
E.H. 1., solo Cl. in B
1 2
espr.
Bs.Cl. espr. 1 2 Bassoon
Bn. 3
1., solo 1 2 Hn. in F
Tpt. in C
espr. 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
with Bs. Cl.
Harp
C.
You’re leav
ing
to night!
M.G.
Sweet
poco allarg. a tempo
Lively
Je
= 120
pizz.
arco
pizz.
div., arco
unis.
div.
unis.
div.
pizz.
arco
div.
unis.
div.
unis.
I Vn. II
Va. pizz.
div., arco
unis.
Vc.
div., pizz. Cb.
unis., arco
sus!
370
Act II–Scene 1
93 1 2 Flute
Fl. 3
Ob.
1
E.H. 1. Cl. in B
1 2
Bs.Cl. a2 1 2 Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
1. Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
più espr. C.
Sweet er than syr up and right
on
time.
M.G.
div. I sub.
Vn.
unis.
div.
div.
unis.
unis.
div.
div.
unis.
II sub.
Va. sub. Vc. sub. Cb. sub.
unis.
371
Act II–Scene 1
99 1 2 Fl.
to Piccolo 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 2. 1 2 Bn.
sub. 3 sub.
sub.
1 2 Hn. in F
Tpt. in C
echo 3 4 echo
1 2
3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
M.G.
Sleep
my ba
bies in the mea dow,
Sleep
my ba
bies in the hay;
my
ba
bies
unis. I Vn.
(div.)
unis.
div.
div.
unis.
unis. div. unis.
II
Va.
Vc. sub.
sub.
sub.
sub.
Cb.
div.
got
some
372
Act II–Scene 1 Piccolo
105 Picc.
a2 Fl.
1 2
Ob.
1
E.H. 1. Cl. in B
a2
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
M.G.
dream in’
to do
’cause
free dom’s
on
the way. on the string
I Vn.
on the string div.
unis.
div.
div.
unis.
unis.
div.
II on the string
Va.
div. Vc.
Cb.
unis.
373
Act II–Scene 1
110 Picc.
a2 Fl.
1 2
Ob.
1
E.H. (a2) Cl. in B
a2
a2
a2
1 2
Bs.Cl. a2
a2
a2
a2
1 2 Bn. 3
1 2 Hn. in F
3 4
1., solo, with straight mute
1. take straight mute Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
with joyful exhuberence C.
Sleep
my ba
bies in themea dow.
Sleep
my ba
bies inthe hay;
my
bies in themea dow.
Sleep
my ba
bies inthe hay;
my
with joyful exhuberence M.G.
Sleep
my ba
I Vn. unis.
div.
unis.
div.
unis.
div.
div.
unis.
div.
unis.
div.
unis.
II
Va.
div. Vc.
Cb.
unis.
div.
unis.
374
Act II–Scene 1
115 Picc.
a2 Fl.
1 2
Ob.
1
E.H. 1. Cl. in B
1 2
Bs.Cl. (a2) 1 2 Bn. 3
1 2 Hn. in F
3 4 1. remove mute
Tpt. in C
1., open
1 2
3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
8va
Piano
Harp
C.
ba
bies
got
some
dream in’
to do,
’cause
free dom’s
on
the way.
ba
bies
got
some
dream in’
to do,
’cause
free dom’s
on
the way.
M.G.
I Vn.
unis.
div.
div.
unis.
II
Va.
Vc. sub. Cb. sub.
375
Act II–Scene 1
120 Picc.
(a2) Fl.
1 2
Ob.
1
E.H. (a2) Cl. in B
1 2
Bs.Cl. 2.
a2
1 2 Bn.
marc. 3 marc.
1 2 Hn. in F
a2 3 4 (1.)
Tpt. in C
1 2
3 1. Tbn.
2.
1 2 (a2)
Bs.Tbn. Tuba marc.
Timp.
Sus. Cym., wood stick 1 secco Muffled Floor Tom-tom, heavy wood stick Perc. 2 Mounted Cowbell, Wood Stick 3
Piano
Harp
C.
M.G.
on the string
I Vn.
on the string unis.
div.
unis.
II on the string
div. unis.
div. unis.
div. unis.
div. unis.
div. unis.
div. unis.
div. unis.
div. unis.
unis. div.
unis. div.
Va.
Vc. marc. unis. div. Cb. marc.
unis. div.
376
Act II–Scene 1
125 Picc. a2
a2 Fl.
1 2
Ob.
1
E.H. 1. 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
Bs.Tbn. Tuba
Timp.
1 2 Congas (hands) Perc. 2 marc. 2 Congas (hands) 3 marc.
Piano
Harp
(Robert arrives and immediately embraces Margaret.) C.
(feigning anger at Robert) M.G.
You
did n’t saya word
last
Sun day.
(taking her seriously)
Robert Garner: R.G.
I could n’t.
unis.
port. pizz.
div. I Vn.
div.
unis.
port.
pizz.
II div. Va. marc.
div.
unis.
Vc.
unis.
marc. div.
Cb. marc.
unis.
div.
I
377
Act II–Scene 1
131
to Flute
Picc. a2 Fl.
1 2
Ob.
1
E.H. (1.) Cl. in B
2.
1 2
marc. Bs.Cl. marc. 1 2 Bn. 3
1 2 Hn. in F 3 4 take straight mute 1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 2 Congas (hands) Perc. 2 marc. 2 Congas (hands) 3 marc.
Piano
Harp
C.
(teasing) M.G.
You ought totell me what
you’re
do
ing…
R.G.
had to be
sure. port. arco
pizz.
I Vn.
div., arco
port.
unis.
pizz.
II
Va.
div.
unis.
Vc.
unis. Cb.
div.
378
Act II–Scene 1
137
a2
1 2 cresc. Flute
Fl. 3
cresc. Ob.
1 cresc
E.H. cresc. Cl. in B
1 2
(2.)
Bs.Cl.
1 2 Bn.
cresc. 3 cresc.
with straight mute 1 2 cresc.
cresc.
Hn. in F
with straight mute 3 4 cresc.
cresc. a2, with straight mute
Tpt. in C
1 2 cresc. 3 cresc.
Tbn.
1 2 cresc.
cresc.
Tuba
Bs.Tbn. Tuba Bs. Tbn. cresc.
cresc.
Timp. Large Cowbell, wood stick 1 2 Congas Perc. 2 marc. 2 Congas 3 marc.
Piano
Harp
C.
M.G. molto
Some times!
meno
R.G.
You
need
to keep it qui et in
here.
arco I Vn.
arco
div.
II
Va. cresc.
div. Vc.
unis.
cresc.
Cb. cresc.
379
Act II–Scene 1
144
= 72
=
1 2 Fl. 3
Ob.
1
E.H. 2. Cl. in B
1.
2.
1 2
6
6
6
6
6
6
6
6
6
6
Bs.Cl.
1 2 Bn.
to Contrabassoon 3
1., open
remove mute 1 2 Hn. in F
dolce remove mute 3 4
Tpt. in C
1 2
3
Tbn.
1 2 Tuba
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
3
3
Harp
3
3
3
3
3
3
3
3
(ben articolato)
C.
M.G.
Al
right.
When
3
do
we
leave?
R.G.
= 72 t.
I Vn.
=
por
unis. II
unis. Va.
Vc.
molto staccato Cb. molto staccato
pizz.
380
Act II–Scene 1
149
Half tempo
= 72
1.
1 2 Fl. 3
Ob.
1 to Oboe
E.H. (2.) Cl. in B
1 2
n
with no attack Bs.Cl.
n
with no attack Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2 with no attack
n
with no attack
n
Bs.Tbn. Tuba
Timp. Vib., medium yard mallets, motor off 1
Pedal on Perc. 2
3
Piano
Harp
C.
3
3
3
M.G.
O
Lord,
I
amgon na cry.
R.G. 3
Three
Half tempo
hours
from
now.
= 72
div. I Vn.
div. II pizz. div.
Va. sub. pizz. unis. Vc. sub. arco Cb. sub.
pizz.
381
Act II–Scene 1
154 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1. 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Celesta
Piano
Harp
C.
M.G.
R.G. 3
You?
Not
3
you!
3
My
sol
dier
girl’s
go ing
unis. I sotto voce unis.
Vn.
dolce
II sotto voce unis., arco
dolce div.
unis.
non div. sul G
Va. sotto voce arco
dolce
sotto voce arco
dolce
sotto voce
dolce
Vc.
Cb.
sul C non div.
to cry?
382
Act II–Scene 1
poco rall.
158 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
(1.) 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
with Horn 1.
Harp
(Robert tries to embrace Margaret, but she pulls away, embarrassed to show her tears.) C.
M.G.
R.G. 3
3
It’s all
3
right.
3
It’s all
right.
poco rall. I dolce e cantabile Vn.
div.
unis.
non div.
II dolce e cantabile div. Va. dolce e cantabile Vc. dolce e cantabile Cb. dolce e cantabile
383
Act II–Scene 1
163
Moderato (light, transparent)
= 42,
= 84
1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2 with Harp
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib., with medium yarn mallet, motor on fast 1 with little or no attack Pedal on Perc. 2
3
Celesta
Celesta
sempre with woodwinds
Harp
C.
M.G.
tenderly R.G.
Go
cry
girl.
Moderato (light, transparent)
You have won
= 42,
= 84
(*) I Vn.
(*) II (*)
unis.
Va. non div. Vc.
Cb.
(*) Vn. I, Vn. II, Va.: ossia with unmeasured tremolo to m. 195.
your tears;
go
cry
girl.
O beyyour ten
der years.
The
384
Act II–Scene 1
168 1 2 Fl. 3
Ob. 2 (1.) Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
Celesta
Harp
C.
M.G.
R.G. 3
string
I Vn. II
Va. non div. Vc.
Cb.
is
cut.
The tale
is
told
I
know.
Don’t
think
I
don’t
know.
385
Act II–Scene 1
172 1 2 Fl. 3 solo 1 cant.
Ob. 2
1., solo Cl. in B
1 2 cant.
3
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
Celesta
Harp
C.
M.G. (più cantabile)
R.G.
The
I Vn. II
Va.
non div. Vc.
Cb.
non div.
386
Act II–Scene 1
177 1 2 Fl. 3
1 Ob. 2 2. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
Celesta
Harp
C.
M.G.
R.G.
gate
is
o
pen,
the
way
is
clear;
the work
I Vn. II
Va. non div. Vc.
Cb.
non div.
is
done,
and the time
has
come,
I know.
387
Act II–Scene 1
181 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
Celesta
Harp
C.
M.G.
R.G. 3
Don’t
think
I Vn. II
Va. non div. Vc.
Cb.
I
don’t know.
Go
cry,
388
Act II–Scene 1
185 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1 sempre Perc. 2
3
Celesta
Harp
C.
M.G.
R.G.
girl.
Girl,
go
cry.
I Vn. II
Va. div. a2 Vc.
Cb.
389
Act II–Scene 1
189 1 2 Fl. 3
1 Ob. 2 (1.) Cl. in B
1 2 dolce
Bs.Cl. dolce Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
Celesta
Harp
(Margaret feels overwhelmed with love for Robert.) C.
M.G.
R.G.
I Vn. II
Va. unis. Vc.
Cb.
390
Act II–Scene 1
193
lunga
1 2 lunga
Fl. 3
lunga
solo 1 dolce
Ob.
lunga
2 lunga Cl. in B
1 2 lunga
Bs.Cl. lunga Bn.
1 2 lunga
Cbn.
lunga 1 2 Hn. in F
lunga 3 4 lunga
Tpt. in C
1 2 lunga 3 lunga
Tbn.
1 2 lunga
Bs.Tbn. Tuba
lunga Timp. lunga 1 lunga Perc. 2 lunga 3
to Piano
lunga
lunga
Celesta
lunga
lunga
Harp
(Drawing closer, they kiss.)
lunga
C. lunga M.G. lunga R.G.
3 soli, div. a3
lunga
I Vn.
4 soli, div. a4
sul G
lunga
II lunga Va. espr. div. lunga Vc. lunga Cb.
391
Act II–Scene 1
198 Con
moto
= 104
più mosso
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
sotto voce 2. Bn.
1 2 sotto voce
Cbn. sotto voce
2.: open 1 2 Hn. in F
open
sotto voce
3 4 sotto voce
Tpt. in C
1 2
3
Tbn.
1 2 Tuba
Bs.Tbn. Tuba sotto voce Bs. Tbn.
Timp.
1
Perc. 2
3
Piano
Harp
C.
(recovering her composure, but still anxious) 3
M.G.
Where
will
we
go?
Are
(reassuringly)
there oth ers?
Do
R.G. 3
3
It’s al
Con moto
= 104
tutti, unis., sul tasto
I Vn. tutti, unis., sul tasto II
sul tasto Va.
unis., sul tasto Vc.
sul tasto Cb.
right.
It’s al
right.
più mosso
3
we have
392
Act II–Scene 1
a tempo
202 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
(2.) Bn.
1 2 to Bassoon
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2 (Tuba)
Bs.Tbn. Tuba (Bs. Tbn.)
Timp.
1
Perc. 2
3
Piano
Harp
C.
espr.
3
M.G.
mo ney?
Where
will we hide? emphatically
3
R.G.
It’s al
right.
I
a tempo div., ord. I Vn.
ord. II ord.
Va. ord.
div., pizz.
Vc. pizz. Cb.
3
am in charge
now.
393
Act II–Scene 1
207 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 3
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.
1
Perc. 2
3
Piano
Harp
3
3
3
3
3
3
3
3
3
3
3
3
C.
M.G. (teasing) port. R.G.
Ev
’ry
3
3
thing is rea dy,
div. I Vn. II
Va.
div., arco Vc.
arco ordinario Cb.
ex
cept
you.
Now
3
you
help
394
Act II–Scene 1
211 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
6
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
a2 3 4
Tpt. in C
1 2
3
Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
Timp. Vib., motor on fast 6
6
6
6
l.v.
1
Pedal on Trg. Perc. 2
3
Piano
Harp
(Robert leaves.) C.
M.G.
R.G. 3
3
Ma ma, fi nish pack ing
I’m
go
ing
for the
child
ren.
div., pizz.
2 soli, div., arco
div., pizz.
1 solo, arco
tutti, unis., arco
I 6
Vn.
6 6
6 6
6 6
6 6
6 6
6
tutti, arco
II
1 sola
tutte
Va. 6
1 solo Vc.
Cb.
6
6
6
6
6
tutti
395
Act II–Scene 1
Andante comodo
riten.
215
= 72
1 2 Fl. 3
1 Ob.
Oboe 2 1.
Cl. in B
1 2
Bs.Cl. 1. 1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2 a2, Bs. Tbn. with straight mute, Tba. open
Bs. Tbn. take straight mute
Bs. Tbn. remove mute
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Cilla looks around the room one more time, to make sure that all of Robert and Margaret’s belongings are packed.)
(locking the last bag)
C.
All
done.
I’m
M.G.
riten. 2 soli, div.
tutti, unis.
Andante comodo
= 72
pizz.
I 6
6
6
6
6
6
Vn. 1 solo 6
6
6
6
6
6
tutti, div.
unis., pizz.
II
1 sola
tutte
pizz.
Va. 6
1 solo
6
6
6
6
6
1 solo
tutti, unis.
Vc. gli altri 1 solo, pizz. Cb.
through.
396
Act II–Scene 1
219 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. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Piano
sempre
Harp
C.
Dar
ling
girl,
3
3
M.G.
Where are your things?
I
don’t see your things,
ma ma.
arco
pizz.
arco
pizz.
I Vn. II
arco
arco
pizz.
Va.
div., arco div.
unis.
tutti, div., pizz.
unis.
pizz.
Vc.
Cb.
div.
I
397
Act II–Scene 1
223 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 dolce
Bs.Cl.
1 2 Bn.
dolce 3
1. 1 2 Hn. in F
Tpt. in C
with vlas. 3 4 dolce
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
fast arp.
Harp
3
C.
am
too
old
to
tread
new
wa ters.
I am bound
M.G.
arco I Vn.
arco II div., arco
pizz. Va. dolce unis. div.
unis.
Vc. dolce (div.) Cb.
unis., arco
to stay here.
398
Act II–Scene 1
227 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., soli
solo
1 2 Hn. in F
3., soli 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
più espr. M.G.
Ma ma!
I Vn. II unis. Va. div. Vc. pizz. Cb.
arco
You
have
to come with us.
399
Act II–Scene 1
231 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
(1.)
with straight mute
take straight mute
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib., motor on 1 Pedal
Pedal Perc. 2
3
Piano
Harp
3
C.
No
I
don’t.
You
know
I
won’t.
M.G.
quasi non vib.
quasi non vib.
quasi non vib.
quasi non vib.
quasi non vib.
quasi non vib.
quasi non vib.
quasi non vib.
unis., ord.
quasi non vib.
quasi non vib.
ord.
I Vn. II
Va.
Vc.
Cb.
400
Act II–Scene 1
235 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2 1 2 Bn. 3
1., open (if possible), 2. remove mute
a2, open
1 2 Hn. in F
3 4 take straight mute
Tpt. in C
1 2
3 a2
1. Tbn.
1 2 molto Bs. Tbn., open
Bs.Tbn. Tuba molto
Timp.
1
Perc. 2
3
Piano
Harp
(Briefly overcome by painful emotions, Cilla looks away from Margaret, who is attempting to make direct eye contact with her mother-in-law.) C.
M.G.
ord. I Vn.
ord. II
ord. Va.
div.
unis.
Vc.
div. Cb.
401
Act II–Scene 1
Recitative (poco più mosso) 240 = 76 1 2 Fl. 3
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.
1
Perc. 2
3
Piano
Harp
C. 3
See
ing
you,
my
M.G.
Recitative (poco più mosso) = 76 I Vn. II
Va.
div. Vc.
Cb.
son
and
my grand
child
ren
gone
from this
place,
402
Act II–Scene 1
245 1 2 Fl. 3
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.
1
Perc. 2
3
Piano
Harp
3
C.
a way
M.G.
I Vn. II
Va.
Vc.
Cb.
from
Sa tan’s breath
is
my bless ing.
Don’t
mourn
me.
403
Act II–Scene 1
251 1 2 Fl. 3
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.
1
Perc. 2
3
Piano
Harp
3
C. 3
When M.G.
I Vn. II
Va.
Vc.
Cb.
my
fa
mi ly
is
safe,
I
will be
on ly near
the
cross—
404
Act II–Scene 1
257 1 2 quasi
Fl.
to Piccolo
3 quasi 1 Ob. 2
Cl. in B
1 2 quasi
solo
Bs.Cl. 5
1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
meno
legato
C.
not
M.G.
I Vn. II
Va. unis. Vc.
unis. Cb.
on
it.
405
Act II–Scene 1
264 Adagio
= 54
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2 dolce
Bs.Cl. dolce
2.
1 2 dolce
Bn. 3
dolce
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Celesta
Piano
Harp
più cant.
floating C.
He
is
by,
M.G.
Adagio sul A I dolce div.
Vn. II
Va. pizz. Vc. pizz. Cb.
= 54
for
ev
er
by
me.
In
His sha dow
I will lin
ger on
a
while
’til
He
406
Act II–Scene 1
268 Picc.
Fl.
1 2
1 dolce
Ob.
dolce
2
Cl. in B
1 2 dolce
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2 quasi
with no attack
quasi
with no attack
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
più espr.
floating C.
calls
me.
He
is by,
M.G.
sul A I dolce
Vn. II
dolce Va. dolce div., arco
unis., pizz.
arco
pizz.
Vc.
Cb.
for
ev
er by
me.
No
trum
pets
407
Act II–Scene 1
273 Picc.
Fl.
1 2
1 cant.
Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
(1.) 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
sub. C.
or
streets
of
gold.
He
will
come
in
si
lence
and
gath
er
me
in
M.G.
I Vn. unis.
espr.
II molto espr. espr.
div.
Va.
div., arco
espr.
(div a2)
Vc. espr. div.
arco Cb. espr.
His
408
Act II–Scene 1
278 Picc.
Fl.
1 2 solo 1 dolce, with solo violin
Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
espr. 3 4 espr.
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Perc. 2
3
Celesta
Harp
cantabile C.
arms.
He
is cantabile
by,
for
3
M.G.
Please don’t con fine
(ossia: 8va dolce
)
1 solo I gli altri Vn.
div. II unis.
Va. unis. Vc. unis. Cb.
us
to
the
409
Act II–Scene 1
282 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2. 1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
più cantabile C.
ev
er
by
me.
No
trum
pets
or
streets
of
gold.
don’t want trum
pets
or
streets
of
gold.
He
will
come
M.G.
edge
of
your mind
in sha dow.
We
tutti I espr. Vn. unis.
espr.
II
espr. Va. div. Vc. div. Cb.
unis.
As
410
Act II–Scene 1
poco rit.
286 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.
1
Perc. 2
3
Celesta
Harp
(full voice) C.
in
si
in
si
lence
and
gath
er
me
in
His
arms.
us
your
arms.
(full voice) M.G.
we
leave
lence
give
poco rit. I Vn. molto cantabile II
molto cantabile
unis.
div.
Va.
(div. a2) Vc.
Cb.
411
Act II–Scene 1
290 poco
più mosso
= 72
poco meno mosso
= ca. 60
Picc.
Fl.
1 2 solo 1 dolce
Ob. 2
dolce Cl. in B
1 2
Bs.Cl.
1 2 dolce
Bn. 3
1.
solo
1 2 Hn. in F
Tpt. in C
dolce 3 4 1 2
3
Tbn.
1 2 cantabile
Bs.Tbn. Tuba cantabile
Timp.
1
Perc. 2
3
Celesta
Harp
po
rt.
C.
A
M.G.
men.
t.
por
A
men.
poco meno mosso poco più mosso
= 72
= ca. 60 flaut., poco vib.
div. I Vn.
div.
unis., flaut., poco vib.
II unis.
div.
unis.
unis., pizz.
div., arco
(div.)
unis., pizz.
arco
Va.
Vc.
div. Cb.
div.
412
Act II–Scene 1
296 Con
moto, ma non troppo
= 108
Picc.
Fl.
1 2
1 Ob. 2 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. Vib., motor off 1
Pedal Perc. 2
3
Celesta
Celesta
Harp
C.
3
3
M.G.
It
Con moto, ma non troppo I Vn. II
Va.
unis. Vc.
Cb.
= 108
’ll
break
my
heart
know ing
that
you
are
still
413
Act II–Scene 1
301 Picc.
Fl.
1 2
1 Ob. 2 (2.) Cl. in B
1.
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 with slight separation on each note 3.
Hn. in F 3 4
with slight separation on each note with straight mute
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1 (Pedal) Perc. 2
3
Celesta
Harp
C.
M.G.
here.
unis., ord. I Vn.
ord. II
Va.
Vc. unis., pizz. Cb.
We
can’t
be
free
3
with
414
Act II–Scene 1 Piccolo
306 Picc.
1.
a2 Fl.
1 2
1 Ob. 2 (1.) Cl. in B
2.
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
3.
(3.)
3 4 (with straight mute)
remove mute
1 2 Tpt. in C 3
Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
Timp. (Vib.) 1 (Pedal) Perc. 2
3
Celesta
Harp
C.
3
M.G.
out
you.
Rob
ert
will in
sist.
pizz.
arco
pizz.
arco
I Vn. II
Va.
Vc. arco Cb.
415
Act II–Scene 1
312 Picc.
1. Fl.
1 2
1 Ob. 2 (2.) Cl. in B
1 2 sub.
Bs.Cl. 2.
sub.
a2
1 2 Bn. 3
1 2 Hn. in F
a2 3 4 1., solo, open
Tpt. in C
1 2
3 1. play into stand Tbn.
a2, ord.
1 2 Bs. Tbn.: play into stand
Bs. Tbn., ord.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
to Piano
Piano
Harp
C.
Hush,
child.
Hear
me now.
Don’t waste mus clewhere noneis want
M.G.
I Vn. II
div., pizz. Va. sub. Vc. sub., più legato e cant. div., pizz. Cb.
div. a3
ed.
416
Act II–Scene 1
318 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. molto espr. 1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3 (a2) Tbn.
1 2 sub.
Bs.Tbn. Tuba sub.
Timp.
1
Perc. 2
3
Piano
Harp
3
C. 3
You will need
ev
’ry
M.G.
I Vn. II
Va.
Vc. molto espr. Cb.
bone
and
si
new
plus
your mind
to
3
get
a
417
Act II–Scene 1
323 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
a2 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.
way
from
here.
Fol
M.G.
I Vn. II
unis., arco Va.
Vc.
unis., arco Cb.
div. pizz.
low your hus band.
418
Act II–Scene 1
328 Picc.
a2 Fl.
1 2
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
a2 3 4 1., solo
Tpt. in C
1., with straight mute
1. take straight mute
1 2
3
Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
Timp. Glock. 1
Perc. 2
3
con forza
Piano
Harp
C.
Save
M.G.
I Vn. II unis., arco Va.
div. Vc.
Cb.
your
child
ren,
moth er!
419
Act II–Scene 1
333 Picc. (a2) Fl.
1 2
1 Ob. 2 (1.) Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
(a2) 3 4 (1.)
Tpt. in C
1 2
3
Tbn.
1 2 (Bs. Tbn.)
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
3
C.
Rear
up
now.
M.G.
I sub.
Vn. II
sub. Va. unis. Vc.
Cb.
Help Rob
ert
with the child
ren.
420
Act II–Scene 1
338 Picc. cresc. a2 Fl.
1 2 cresc. 1 cresc.
Ob. 2
cresc. a2 Cl. in B
1 2 cresc.
Bs.Cl. (a2) 1 2 cresc. Bn. 3 cresc.
1 2 Hn. in F
cresc. 3 4 cresc. 1. (with straight mute)
Tpt. in C
1 2 open
cresc.
3 a2 Tbn.
cresc.
1 2 cresc.
a2
Bs.Tbn. Tuba cresc.
Timp. Sus. Cym., hard yarn mallets 1 cresc. Tam. Perc. 2 cresc. B.D. 3 cresc.
Piano
Harp
(They hear footsteps approaching the cabin.)
C.
Here?
he comes.
M.G.
div.
unis.
I cresc.
Vn. II
cresc. Va. cresc. Vc. cresc. Cb. cresc.
421
Act II–Scene 1 =
L’istesso tempo
343
rit.
to Flute
Picc. (cresc.) (a2)
Fl.
1.
1 2 (cresc.)
1 (cresc.) Ob. 2 (cresc.) (a2) Cl. in B
1 2 (cresc.)
Bs.Cl. (a2) 1 2 (cresc.)
Bn. 3
(cresc.)
take straight mute
with straight mute
1 2 (cresc.)
Hn. in F
take straight mute
with straight mute
3 4 (cresc.) (1.)
Tpt. in C
2. fltg.
1 2 (cresc.) fltg. 3 (cresc.) (a2)
Tbn.
1.
1 2 (cresc.) (a2)
Bs.Tbn. Tuba (cresc.)
Timp. (Sus. Cym.) 1 (Tam.) Perc. 2 (B.D.) 3
Piano
3
3
3
3
Harp
3
3
3
(Margaret and Cilla are shocked (Casey glances around the cabin, then picks up one of their carpetbags and throws it across the room.) when Casey, not Robert, storms into the cabin.) C.
M.G.
L’istesso tempo =
div.
rit.
pizz. I (cresc.) div.
Vn.
pizz. II (cresc.) div. a2 Va. (cresc.) Vc. (cresc.) Cb. (cresc.)
arco
3
422
Act II–Scene 1
349
Pochissimo meno mosso
1., solo
= 96
1 2 molto cant.
Fl. 3
1 Ob. 2 1., solo Cl. in B
1 2 molto cant.
Bs.Cl.
1 2 Bn. 3
remove mute 1 2 Hn. in F
remove mute 3 4 remove mute
Tpt. in C
1 2
3
Tbn.
1 2 quasi
Bs.Tbn. Tuba quasi
Timp. sotto voce 1
Perc. 2
3
Piano
Harp
C.
M.G.
Casey: freely 3
Ca. 8
Plan
Pochissimo meno mosso I Vn. II
Va.
div. Vc.
Cb.
3
6
ning a lit tle trip?
Or
= 96
just
clean
3
in’ out
the sty?
423
Act II–Scene 1
353
Poco più mosso
Subito agitato
= 104–108
= 120+
1 2 Flute
Fl. 3
1 Ob. 2
Cl. in B
1 2 sub.
Bs.Cl.
1 2 Bn.
sub. 3
sub. open a2 1 2
open
Hn. in F
open
a2
3 4 1. and 2. open Tpt. in C
1 2
3
Tbn.
1 2 sub.
Bs. Tbn. Bs.Tbn. Tuba
sub.
Timp.
1
Perc. 2
3
Piano
Harp
(Upon entering the cabin, Robert halts abruptly when he sees Casey.) C.
M.G.
Ca. 8
Robert Garner: (offstage)
R.G. 3
The child
Poco più mosso unis.
ren
are com ing!
= 104–108
The child
ren
are…
Subito agitato
arco
I sub. Vn.
unis.
div.
II
unis.
sub.
Va. sub. Vc. sub. Cb. sub.
= 120+
424
Act II–Scene 1
Come sopra
= 96
358 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
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
M.G.
quasi parlando Ca. 8
Well, I’ll
be.
Well, I’ll
be.
R.G.
Come sopra div. I
Vn.
div. a2 II
Va.
Vc.
Cb.
= 96 unis.
425
Act II–Scene 1
362
= 48,
= 96
1 2 Fl. 3
1 Ob. 2
Cl. in B
with vns. and voice
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
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
M.G.
Ca. 3
8
Look
what
crawled
out
of
the
woods.
Pap py bear.
Com
in’
3
to get
mam
my
R.G.
= 48,
= 96
I Vn. unis.
div.
unis.
II
div. Va.
div. a2 Vc.
Cb.
unis.
div.
426
Act II–Scene 1
368
fltg.
ord.
fltg.
ord.
fltg.
ord.
1 2 Fl. 3
1 espr.
Ob. 2 espr. 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 take straight mute Tbn.
1 2 with no attack
Bs.Tbn. Tuba with no attack
Timp.
1
Perc. 2
3
Piano
Harp
C.
M.G.
(to Cilla) Ca. 8
3
bear,
and all
the
lit tle
cubs?
I guess
you must be
Gol
di
locks.
R.G.
espr.
(arco)
1 solo
(sul A) I dolce
Vn.
gli altri div.
II pizz. Va.
pizz. Vc.
Cb.
pizz.
espr.
fltg.
427
Act II–Scene 1
374 1 2 Fl. 3 solo 1 dolce espr.
Ob. 2
Cl. in B
1 2 poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
poco
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4
1 2
3 with straight mute Tbn.
remove mute
1 2 poco
poco
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
M.G.
Ca. 8
Seems
the
por
ridge
is
all
et
up.
R.G.
(1 solo) I Vn.
6
6
6
6
6
6
6
6
II arco Va. 6
arco Vc. div., pizz. Cb.
6 6
6 6
6 6
6 6
6 6
6 6
6 6
6
428
Act II–Scene 1
378 Pochissimo
più mosso
= 100
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1. 1 2 Bn. 3
remove mute 1 2 Hn. in F
Tpt. in C
remove mute 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
M.G.
(pulling a pistol out of his coat)
3
3
Ca. 8
Let me
see
what
3
I
can
of
fer
you.
Gun pow der
R.G.
Pochissimo più mosso
= 100
3 soli, div. a3 (ossia: tutti div. a3) I Vn.
sotto voce unis., pizz. II unis.
Va. unis. Vc. espr. unis. Cb.
div.
429
Act II–Scene 1
384 1 2 Fl. 3 solo 1 Ob.
espr. 2
Cl. in B
1 2
Bs.Cl. (1.) 1 2 Bn. 3
1 2 Hn. in F
3 4 1., solo 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. sempre
Chimes, medium soft hammer 1
Vib., motor on fast Perc. 2 Pedal 3
Piano
Harp
(Casey points the pistol at Cilla’s mouth.) C.
M.G.
Ca. 3
8
might be a lit tle dry
but
Gol
di locks
got
to
eat
don’t
she?
R.G.
tutti, div. a2 I Vn.
sub.
sub.
sub.
sim.
sub.
sub.
sub.
sim.
sub.
sub.
sub.
sim.
sub.
sub.
sub.
sim.
arco II
Va.
unis. Vc.
(pizz.)
Cb. with Timpani
430
Act II–Scene 1
389 1 2 Fl. 3
solo 1 with solo Vn.
Ob. 2
Cl. in B
1 2
Bs.Cl. 1. 1 2 Bn. 3
a2, open
1., solo
1 2 Hn. in F
a2, open 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Chimes) 1 (Vib.) Perc. 2
3
to Celesta
Piano
Harp
(motioning to Robert and Margaret with his free hand) C.
M.G.
(darkly) Ca. 8
3
Let’s just R.G.
dolce with Oboe 1 solo I
Vn.
gli altri, unis. div. II
Va.
div. Vc. espr. div. Cb.
line
Act II–Scene 1
394 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.) 1 2 Bn. 3
(1.) 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Perc. 2
3
Celesta
Celesta
Harp
C.
M.G.
Ca. 8
up
ov
er
there.
R.G.
dolce 2 soli I Vn. II
Va.
Vc.
Cb.
431
432
Act II–Scene 1
398
Più agitato
=108
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2 1 2 Bn. 3
2.
a2
1 2 Hn. in F
a2 3 4
Tpt. in C
1 2
3 open Tbn.
1 2 a2
a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Piano
Celesta
Harp
(Impulsively, Robert attacks Casey. A violent struggle ensues, during which Robert manages to wrest away Casey’s pistol.)
(Robert grabs Casey from behind, yet hesitates to shoot him.)
C.
M.G.
Ca. 8
R.G.
Più agitato
=108
tutti
I unis.
Vn.
II
Va.
unis.
marc.
Vc. marc. unis., arco Cb. marc.
div.
433
Act II–Scene 1 2.
402 1 2 Fl.
to Piccolo 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
a2, soli 1 2
3
3
3
3
3
Hn. in F
a2, soli 3 4 3
1. 1 2 Tpt. in C 3 a2, soli Tbn.
1 2
3
3
3
a2 Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
to Celesta
div.
unis.
unis.
div.
Piano
Harp
C.
M.G.
Ca. 8
R.G.
I Vn. II
Va.
Vc.
Cb.
434
Act II–Scene 1
poco rit.
408
= 92
Picc. 1., solo
Fl.
1 2 dolce, with solo Vn. 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.
1
Perc. 2
3
Celesta
Celesta
sempre col
Harp
C.
M.G. quasi parlando 3
Ca. 8
You
R.G.
dolce
poco rit.
= 92
1 solo I poco vib., sotto voce gli altri div., poco vib.
Vn.
unis.
II sotto voce div.
pizz.
Va.
pizz. Vc.
pizz. Cb.
kill
me,
435
Act II–Scene 1
414 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., solo 1 2 Hn. in F
Tpt. in C
dolce 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
C.
M.G.
più cantabile
3
Ca. 8
3
Both
of
us
is
dead.
Your
fa
mi ly
too.
(livid, filled with rage)
R.G.
And if
tutti unis.
I
Vn.
pizz. II arco
Va.
arco Vc.
div., arco Cb.
you live,
436
Act II–Scene 1
419 Picc. 1., solo Fl.
1 2 dolce 1
Ob. 2
Cl. in B
1 2
Bs.Cl.
1. 1 2 Bn. 3
(1.) 1 2 Hn. in F
Tpt. in C
3 4 1 2
3 play into stand Tbn.
1 2 Bs. Tbn. play into stand
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
sempre col
Harp
C.
M.G.
Don’t Ca. 8
R.G.
will they?
1 solo
I gli altri
Vn. II
Va. unis. Vc. unis. Cb.
dolce
kill him.
He’s al
3
rea dy
dead.
437
Act II–Scene 1
425 Picc. (1.) Fl.
1 2 sub.
cresc. poco a poco
1 Ob. 2
Cl. in B
1 2 cresc. poco a poco
Bs.Cl.
cresc. poco a poco
(1.) 1 2
cresc. poco a poco
Bn. 3
cresc. poco a poco
a2 1 2 Hn. in F
a2 3 4
Tpt. in C
1 2
3
Tbn.
1 2 cresc. poco a poco
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Piano
Celesta
Harp
C.
M.G. (to Margaret) 3
Ca. 8
You black
slut!
Don’t ya beg
for
me!
(molto agitato) (forcefully)
R.G.
Dog
tutti
1 solo I sub.
Vn.
cresc. poco a poco non div.
II cresc. poco a poco
unis.
(div.) Va. div. a2
cresc. poco a poco
Vc.
cresc. poco a poco Cb. cresc. poco a poco
unis.
with out teeth!
Re
438
Act II–Scene 1
431
Agitatissimo
Piccolo
= 126
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
a2
a2
a2
a2
1 2 Hn. in F
3 4 2.
Tpt. in C
1 2
3 ord. Tbn.
1 2 ord.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Piano
Harp
C.
M.G.
Ca. 8
R.G.
mem
ber
hell?
Go
Agitatissimo I Vn. II
Va.
Vc.
Cb.
= 126
Act II–Scene 1
molto allargando
439
437 Picc. sub. a2 Fl.
1 2 sub.
1 sub. Ob. 2 sub. a2 Cl. in B
1 2 sub.
Bs.Cl.
a2 1 2 Bn. 3
(a2)
a2
(a2)
a2
1 2 Hn. in F
Tpt. in C
3 4
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
Xyl. 1 sub. Brake Drum
B.D., heavy stick
Perc. 2 Mounted Cowbell Floor T.-t., muffled
Tam.
molto
3 molto
8va
Piano
Harp
(Casey struggles to break free from Robert’s grasp.)
(Robert strangles Casey to death.)
C.
M.G.
Ca. 8
R.G.
home
to it
now!
molto allargando
non div.
I div.
Vn.
non div.
div. unis.
div. unis.
molto unis.
II div.
div. unis.
div. unis.
molto unis.
Va. molto Vc. molto Cb.
440
Act II–Scene 1
Più maestoso
= 80
443 Picc. appassionato
1.
a2 Fl.
1 2 appassionato
1 appassionato Ob. 2 appassionato
1.
(a2) Cl. in B
1 2 appassionato
Bs.Cl. 2. 1 2 Bn. 3
a2
1.
a2
3.
1 2 Hn. in F
3 4 2.
take straight mute
1 2 Tpt. in C
take straight mute 3 a2
Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
(2 drums) Timp. Chime 1 (B.D.) Perc. 2 l.v. (Tam.) 3 l.v. to Celesta
Piano
sempre
Harp
(When Casey’s body begins to crumple to the ground, Robert finally lets go of him.) C.
M.G.
R.G.
Più maestoso
= 80
1 solo
I appassionato gli altri
div.
Vn.
unis. div. II appassionato
Va. appassionato non div. Vc.
Cb.
dolce
441
Act II–Scene 1
Più calmo
451
= 72
Picc. 1. Fl.
1 2 sub. 1 sub.
Ob. 2
Cl. in B
3
1 2
3
3
Bs.Cl.
1 2 3
Bn.
3
3
3
1. 1 2 Hn. in F
molto cantabile
3 4 1., with straight mute
Tpt. in C
1 2 sub. 3 take straight mute
Tbn.
1 2 (Bs. Tbn.)
take straight mute
Bs.Tbn. Tuba
Timp.
1 B.D. Perc. 2 Tam. 3
Celesta
Harp
C.
Lap of God,
M.G.
R.G.
1 solo
Più calmo
= 72
tutti I Vn.
1 solo
tutti
div.
unis.
unis.
div.
pizz.
sub. arco
II
Va. sub. Vc.
Cb. sub.
div.
Rob ert.
3
What haveyoudone?
442
Act II–Scene 1
457
Più largamente
= 54
Come sopra
= 72
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2 1 2 Bn. 3
(1.) 1 2 Hn. in F
3 4 1. (with straight mute) 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
(clasping her hands)
C.
For give
him
3
fa ther.
This may be the end.
M.G.
R.G. 3
Proved my worth as a man
Più largamente pizz.
and
= 54
your
son.
Come sopra
= 72
div., arco, al punta pizz.
I Vn.
pizz.
div., arco, al punta
pizz.
II
unis.
div.
unis.
Va. unis.
(div.)
div.
Vc.
div. Cb.
unis.
div.
3
3
3
443
Act II–Scene 1
462
to Flute
Picc. 3
1. Fl.
1 2
3
1 3
Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
take straight mute
with straight mute
take straight mute
3., with straight mute
1. remove mute
1., open
1 2 Hn. in F
3.
3 4 (with straight mute) Tpt. in C
1 2
3
Tbn.
with straight mute
remove mute
Bs. Tbn., with straight mute
remove mute
1 2
Bs.Tbn. Tuba
Timp. Vib., motor on 1
Pedal Perc. 2
3
Celesta
3
Celesta 3
3
3
Harp
3
3 3
3
3 3
3 3
C.
quasi parlando M.G.
No!
No we can’t
change what is done.
Quick!
Rob ert, you have to run!
R.G. 3
I
unis., arco I Vn.
unis.
div., arco
II div.
pizz.
unis. (pizz.)
div., pizz.
div. a2, arco
pizz.
div., arco
Va. sub. unis., sul D Vc. sub.
Cb. pizz.
can’t leave
you all
here!
444
Act II–Scene 1
467
2.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.)
1
Perc. 2
3
Celesta
Harp
C.
parlando 3
M.G.
Tell
3
me where to meet
you.
Then go! (agitated)
R.G.
The bot tom
I Vn.
unis. II unis. div., arco
Va. unis.
div.
Vc. unis., arco Cb.
by the mi mo
sa.
445
Act II–Scene 1
472 1 2 Fl.
Flute 3
1 Ob. 2 1. Cl. in B
2.
1 2
Bs.Cl.
1 2 Bn. 3
1. take straight mute 1 2 Hn. in F
Tpt. in C
3 4 1 2
3 open Tbn.
1 2 open
Tuba
Bs.Tbn. Tuba
Timp.
Vib. 1 6
6
6
6
6
6
3
3
3
Sus. Cym., hard yarn mallets Perc. 2
3
3
3
3
Celesta
Harp
C.
M.G.
poco espr. meno R.G. 3
The grass is
tall
there.
When the moon
hits
the
top
of the
div. unis. I Vn.
div.
unis.
II
Va. 4 soli, div. a4
Vc. div. Cb.
pines,
the
446
Act II–Scene 1
molto rit.
478 1 2 Fl. 3
1 Ob. 2
(2.) Cl. in B
1 2 solo
Bs.Cl.
1 2 Bn. 3
with straight mute 1 2 Hn. in F
with straight mute 3 4 (with straight mute) 1 2
Tpt. in C
with straight mute 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
(Cilla covers Casey’s body.) 3
C. 3
Hur ry
son!
make tracks now!
We’ll han dle God’s out
cast.
M.G.
R.G.
wa
gon
3
will be there.
molto rit.
pizz. I Vn.
div., pizz. II div.
(div.)
Va. tutti, unis.
pizz.
Vc. espr.
3
pizz. (div.) Cb.
unis.
Tranquillo
447
Act II–Scene 1
= 66
484 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1. remove mute
1. open
3. remove mute
dolce
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
sempre
sempre
Harp
C.
M.G. 3
espr.
R.G. 3
Mar
Tranquillo arco al punta I Vn.
div., arco al punta II div. a2
Va. div., arco Vc.
div., arco Cb.
= 66
garet.
Oh, my
3
sweet,
lov ing
wo man!
Thebot tom‌
tall
448
Act II–Scene 1
490 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
(1.)
solo
1 2 Hn. in F
Tpt. in C
dolce
dolce espr.
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
C.
M.G.
grass… mi mo
sa…
…touch
es
pine.
wa (a bit more anxious)
R.G. 3
Be
there
when the moon
3
light…
…touch
es
pine.
Lis ten
for the wa
I Vn. II
(div. a2) Va.
Vc. unis. Cb.
449
Act II–Scene 1
497 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
(1.)
solo
1 2 Hn. in F
Tpt. in C
3. open 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 Sus. Cym. Perc. 2
3
Celesta
Harp
C.
M.G.
gon wheels.
moon
light.
the moon
light.
R.G. 3
gon wheels.
Watch for
I Vn. II
Va.
Vc.
div. Cb.
unis.
450
Act II–Scene 1
502 Più
largamente
a piacere
= 60
1 2 Fl. 3
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 play into stand Tbn.
1 2 sotto voce, with no attack Bs. Tbn.: play into stand
Bs.Tbn. Tuba sotto voce, with no attack
Timp.
1
Perc. 2
3
Celesta
Harp
(Robert kisser her.) C.
a piacere freely
(almost whispered)
3
M.G.
We’ll
meet
you
in the
moon
light.
Go!
R.G.
Più largamente
= 60
a piacere ord.
al punta
unis., ord.
div., al punta
I Vn. II
Va.
Vc.
div., pizz. Cb.
arco
451
Act II–Scene 1
506
breve
1 2 Fl. 3
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 with no attack
Bs.Tbn. Tuba with no attack
Timp. Vib. 1
Pedal Perc. 2
3
Celesta
Harp
(Robert runs away.)
(Lights out.)
C.
M.G.
R.G.
2 soli, div., ord. I Vn.
2 soli, div., ord. II
Va.
Vc.
Cb.
breve
452
Act II, Scene 2: In the Free State of Ohio, three weeks later. Misterioso, ma con moto
= 92–96
1., solo 1 2 with solo vn. Fl. 3
Ob.
1
E.H. 1. Cl. in B
1 2 ossia 8va
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
3 4 1. offstage
Tpt. in C
1 2
3
5
take straight mute 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. poss. 1 Trg. Perc. 2 B.D. 3 poss.
Piano
Piano
Harp
C
G
C
G
C
G
D C B E F G A
(At twilight, on an evening in late March 1861. Three weeks have passed since Margaret and Robert 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.) M.G.
R.G.
Misterioso, ma con moto Solo Vn. with fl. div. I Vn.
div. II div.
Va. div. Vc.
div. Cb.
= 92–96
(Robert is standing underneath a huge elm tree, near the entrance to an underground shed where he and Margaret, now both outlaws are hiding their children in an attempt to avoid being recaptured and returned to their masters. Glimmering hot coals can be seen in a hole in the shed’s earthen floor.)
453
Act II–Scene 2
7
poco
1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
3 4 (1.)
Tpt. in C
3
3
poco
1 2 sub. 3
Tbn.
1 2
Bs.Tbn. Tuba
poco Timp.
1
Perc. 2 poco 3
Piano
Harp
M.G.
R.G.
poco I Vn. II
Va.
Vc.
Cb.
454
Act II–Scene 2
13
1.
1 2 3
dolce
Fl. 3
Ob.
1
E.H. 1. Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
3 4 1.
Tpt. in C
1 2 3
meno
3
Tbn.
1 2
Bs.Tbn. Tuba
l.v. Timp.
1 Trg. Perc. 2
3
Piano
Harp
C
G
C
G
C
G
C
G
M.G.
R.G.
Solo Vn. dolce I Vn. II
Va.
Vc.
Cb.
3
455
Act II–Scene 2
21
Moderato
= 80
2., fltg.
1 2 Fl.
fltg. 3 solo
Ob.
1 dolce
E.H.
Cl. in B
1 2 dolce
Bs.Cl.
1. 1 2 dolce
Bn. 3
1. 1 2 Hn. in F
3 4 1.
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Celesta
Piano
Harp
Margaret Garner: (emerging from the shed) M.G.
What else
3
have you heard?
3
What arethey say ing
a
bout
him?
R.G.
Moderato I Vn. II
Va.
Vc.
Cb.
= 80
tutti, div.
456
Poco più mosso
Act II–Scene 2
= 84+
1., solo, ord.
26 1 2
dolce
Fl. 3
solo Ob.
1 dolce
dolce E.H.
1., solo Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F
3. 3 4 take straight mute
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
(fast arp.)
Harp
M.G.
Robert Garner: R.G. 3
3
3
They say thisnew pres i dent
Poco più mosso
does n’t hiss
3
3
like a
snake;
that he talks
like
a
man.
= 84+
1 solo tutti, pizz. I gli altri Vn.
pizz.
unis. II
div. a2
unis.
div.
Va.
Vc.
unis., sul D Cb.
div.
457
Act II–Scene 2
33
Come sopra
= 80
1.
1 2 dolce
Fl.
dolce
3
Ob.
1
E.H. 1. Cl. in B
1.
2.
1 2 dolce
dolce
Bs.Cl.
1 2 Bn. 3
take straight mute 1 2 Hn. in F
Tpt. in C
3.: open 3 4 1 2
3
Tbn.
1 2 with no attack
Bs.Tbn. Tuba with no attack
Timp.
1
Perc. 2
3
Celesta
Celesta
Harp
3
M.G. 3
What else
haveyou heard?
What has he
R.G.
Come sopra
= 80
dolce
1 solo, arco, poco vibrato, cant.
1 solo
I gli altri, arco
Vn.
div., arco II unis. 6
Va. unis. Vc. unis. Cb.
6
6
6
6
6
6
said?
458
Act II–Scene 2
38
Poco più mosso
= 84
1 2 cant.
Fl. 3
Ob.
1 dolce
E.H. 2. Cl. in B
3
1 2
3
3
3
3
3
3
3
3
3
cant. 3
3 3
Bs.Cl.
3 3
3
3
3
3
3
3
3
3
3
3
3
1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3 take straight mute Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
3
3
3
3
3
Harp
3
3 3
3
3
3
3
3
3
M.G.
full voice
poco R.G. 3 3
That a house
Poco più mosso
di
vi
ded
can not stand.
3
And that the
un
ion
is
sac
red.
= 84
tutti, sul D I Vn.
unis. II
Va.
div. Vc.
pizz. Cb.
unis., pizz.
459
Act II–Scene 2
44 1 2 Fl. 3 cant. Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. cant.
1., solo
1 2 cant.
Bn. 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
come recit. 3
3
M.G.
That R.G.
div. I Vn. II
Va.
div., arco Vc.
div., arco Cb.
means war.
You bet ter make your spi rit
rea dy, dar ling.
460
Act II–Scene 2
48
Poco meno mosso 1.
6
= 72
6
6
6
6
6
6
6
6
6
6
6
1 2 Fl. 3
Ob.
1
E.H. 2. Cl. in B
1 2
3
3
3
3
Bs.Cl. 3
3
3
3
3
3
3
3
1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib., motor on fast 1
Perc. 2
3
6
6
6
6
6
6
6
6
6
6
6
6
Celesta
3
Harp
3
3
3
3
3
3
3
3
3
3 3
M.G.
Oh
3
Rob ert,
the
child
3
ren are trou bled.
R.G.
Poco meno mosso
= 72
unis.
I 3
Vn. II
3
Va. sotto voce Vc.
unis. Cb.
461
Act II–Scene 2 3
54
6
6
6
6
2.
6
3
6
1 2 6
Fl.
6
6
6
3
Ob.
1
E.H. (2.) Cl. in B
1 2
3
3
3
3
Bs.Cl. 3
3
3
3
3
3
1 2 Bn.
cresc. poco a poco 3
a2, with straight mute 3
3
1 2 Hn. in F
3 4 1., with straight mute
Tpt. in C
1 2 3
3
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
6
6
6
6
6
6
6
6
6
6
Celesta
3
Harp
3
3
3
3
3
3
3
3
3
ossia
cry M.G.
They
cry
in
their
sleep.
R.G.
I
3
3
3
3
Vn. II
Va.
Vc. cresc. poco a poco Cb. cresc. poco a poco
462
Act II–Scene 2
59
rit.
1.
1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
6
1 2
6
6
2.
6
1. 6
6
6
6
6
6
3
sub.
sub.
espr.
Bs.Cl. 2. 1 2 Bn. 3
remove mute 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Piano
Celesta
3
Harp
3
3
3
sub. 3
3
3
3
M.G.
R.G. 3
I know,
I know,
I
know,
I
know.
But
free
dom is
in
our
teeth.
rit.
1 solo I arco
gli altri, div., pizz.
Vn. 6
6
6
6
II sub. div.
pizz.
arco
Va. 1 solo, arco pizz. Vc. espr. gli altri, div., arco pizz. Cb.
463
Act II–Scene 2
63
Più andante
1., solo
= ca. 76
1 2 dolce, espr.
Fl. 3 solo Ob.
1 dolce, espr.
dolce, espr.
3
E.H. (1.) Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., open 1 2 Hn. in F
Tpt. in C
3. 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(with hope) 3
M.G. 3
Tell me a gain:
what is the
name
of
this
place?
Is it?
R.G.
Is it
3 3
O hi o.
Più andante
3
It means “beau
ti ful.”
So
= ca. 76
I Vn. II pizz.
div.
Va. tutti, pizz. (div.) Vc.
div. (pizz.) Cb.
unis.
div.
unis.
div.
unis.
I
464
Act II–Scene 2
69
(1.)
1 2
3
Fl. 3
Ob.
1 3
E.H.
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1., solo 1 2 Hn. in F
cant. 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. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G. beau
ti
ful?
Tell molto cantabile
R.G. 3
hear.
A
beau
ti
ful place
for a fu
ture.
tutti, div. I Vn.
div. II arco
unis.
Va. arco
unis.
Vc.
(pizz.) Cb.
arco
pizz.
arco
me.
465
Act II–Scene 2
poco riten. A tempo
75
= ca. 80
1 2 Fl. 3 solo Ob.
1 English Horn, solo
molto cantabile with Hn. and Vn.
3
E.H. espr. 3 Cl. in B
2.
1 2
3
Bs.Cl.
3
3
3
3
3
3
3
1 2 Bn. 3
1., solo 1 2 Hn. in F
Tpt. in C
molto cantabile with Ob. and Vn.
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
fast arpeggio
3
Harp
3
3 3
3 3
3 3
come recitativo 3
3
M.G.
Tell me what the fu ture will be like.
(not quite full voice)
piĂš sonoro
R.G. 3 3
3
It will be
poco riten. A tempo
with you as my wife
no o ther man
can
touch or claim.
= ca. 80
1 solo I Vn.
molto cantabile pizz.
unis. II
Va.
div. Vc.
pizz. Cb.
div., arco
unis.
div.
unis.
466
Act II–Scene 2
accel. poco a poco
81 1 2 Fl. 3 (1.) Ob.
1 3
E.H. 1. Cl. in B
1 2 cant. ed espr.
Bs.Cl.
1 2 Bn. 3
(1.) 1 2 Hn. in F
Tpt. in C
3
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
R.G. 3 3
It
will be
the child ren seat
3
3
ed not bent.
Seat ed
tutti
accel. poco a poco
I 3
Vn.
cant. ed espr.
II div. Va.
Vc. div. Cb.
unis.
3
in school rooms,
not
bend ing through rows
of
467
Act II–Scene 2
87
(accel.)
= 88–92
poco riten.
1.
1 2 Fl. 3
Ob.
1
E.H. (1.) Cl. in B
1.
1 2
Bs.Cl.
1 2 Bn. 3
2.: open
1.
1 2 Hn. in F
3. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib., motor off 1
Pedal Perc. 2
3
Piano
to Celesta
Piano
Harp
M.G.
più sonoro R.G.
molto
3
corn.
3
It will be
(accel.)
me
paid
3
for my la
bor
with
coin
= 88–92
I Vn.
arco
div. II
div. a2
unis.
Va.
div. a2 Vc.
Cb.
realm.
poco riten.
unis.
div.
of the
div. a2
div. a2
468
Act II–Scene 2
92
Grazioso
= ca. 60
1 2 Fl. 3
Ob.
1 dolce
dolce
dolce
dolce
dolce
dolce
dolce
dolce
E.H. (1.) 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. (Vib.) 1
Perc. 2
3
Celesta
Harp
M.G.
Will Iplant a
gar
den?
Mend your shirt by lamp
light?
Will I watch from a win dow
our child
R.G. 3
It will be just so.
Grazioso
div.
= ca. 60
I più espr.
Vn. II
più espr. div. Va. più espr. Vc. più espr. div., pizz. Cb.
unis.
div.
unis.
div.
unis.
ren
469
Act II–Scene 2
98 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2 dolce
Bs.Cl.
1 2 dolce
Bn. 3
1 2 accompagnando (3.)
Hn. in F 3 4
accompagnando
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
3
M.G. 3
3
tum bling in clo ver and rose ma ry?
espressivo
R.G.
Trust
me Mar
g’ret.
It will be
just so.
arco
pizz. I
Vn.
div., arco
unis., pizz. II unis., pizz.
arco
div.
Va. pizz.
unis.
arco
Vc. arco Cb.
470
Act II–Scene 2
103
Più mosso
= 80
1.
1 2 Fl. 3
Ob.
1 dolce
E.H. dolce 1. Cl. in B
1 2 non troppo
Bs.Cl.
1 2 Bn.
dolce 3 non troppo
1. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
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
Celesta
Celesta
Harp
più
quasi M.G. 3
3
3
Will they swim in clear wa ter
un
til their
skin
glit
ters like brass?
Tell
me…
R.G.
Più mosso
= 80
1 solo, flautando
unis. I Vn.
unis.
div.
non troppo
II unis.
non troppo
Va. non troppo Vc. non troppo Cb. non troppo
Tell
me.
Act II–Scene 2
109
Come sopra
471
= ca. 76
1., solo
1 2 molto cantabile
Fl. 3
solo 1 Ob.
molto cantabile
to Oboe 2
1., solo Cl. in B
1 2 molto cantabile
Bs.Cl.
1 2 Bn.
cue: (only if lower notes on Bcl. are not audible) 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Piano
Celesta
Harp
M.G. non troppo
R.G.
They
will.
3
It will be
3
just
so.
Look!
tutti, ord.
Come sopra
I Vn.
unis. II
molto cant.
pizz.
Va. molto cant.
div.
sempre col vib. pizz.
Vc. molto cant.
sempre col vib. pizz.
Cb. sempre col vib.
= ca. 76
Do you
472
Act II–Scene 2
114
accel.
(1.)
1 2
3
Fl.
(molto cant.)
3
(molto cant.)
3
3
1 Ob.
3
2 (1.) Cl. in B
3
1 2
3
(molto cant.) Bs.Cl. ossia: 1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
full, rich R.G. 3
See
this
tree?
How
it’s low
er ing its branch es
to
pro tect you
no mat ter what the wea
accel. I Vn. II
Va.
Vc.
Cb.
3
ther brings.
473
Act II–Scene 2
120
Poco più mosso
= 92
1., solo
1 2 cant.
Fl. 3
solo 1 cant.
Ob. 2 1. Cl. in B
1 2 cant.
Bs.Cl. 1., solo 1 2 cant.
Bn. 3
1. 1 2 Hn. in F
Tpt. in C
cant. 3 4 1 2
3 open Tbn.
1 2 accomp.
Bs.Tbn. Tuba accomp.
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
That
is
how
it
will
al
ways be.
R.G. 3
3
I ma
gine
Poco più mosso
That
is
= 92
I Vn. II div., arco
unis.
Va. cant. arco
pizz.
arco
pizz.
Vc.
Cb.
how
I
will
al
ways
474
Act II–Scene 2
126
poco
(1.)
1 2 molto cant.
Fl. 3
1 Ob. 2 1. Cl. in B
1 2 molto cant.
Bs.Cl. (1.) 1 2 Bn. 3
1.
a2
1 2 Hn. in F
cant. 3.
a2
3 4 cant.
Tpt. in C
1 2
3
Tbn.
1 2 cant.
Bs.Tbn. Tuba cant.
Timp.
1
Perc. 2
3
Piano
Harp
(molto)
meno port.
M.G.
That
is
how
it
will
al
ways
be. meno
(molto)
port.
R.G.
be.
That
is
how
it
will
al
ways
be.
poco I molto cant.
Vn.
div. II molto cant. div.
Va. molto cant. unis., arco Vc.
arco Cb.
div.
475
Act II–Scene 2
131
= 108
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
take straight mute 1 2 Hn. in F
3.
3. take straight mute
3 4 1., solo, with straight mute
Tpt. in C
1 2 3
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2 B.D. 3
Piano
Piano
8ba
Harp
(Robert suddenly comes to his senses.)
M.G.
R.G.
Come in
= 108
poco vib. (quasi non vib.)
I Vn.
poco vib. (quasi non vib.) II div. a3 poco vib. (quasi non vib.)
Va.
Vc. div. Cb.
side.
It’s
dan
g’rous out
here.
3
476
Act II–Scene 2
137
6
6
6
6
6
6
6
6
6
6
6
6
1 2 Fl. 3 solo 1 3
Ob.
3
2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
with straight mute
remove mute
3., with straight mute
remove mute
1 2 Hn. in F 3 4 1. remove mute Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib. 1
Perc. 2 (B.D.) 3
to Celesta
Celesta
Piano
8ba
Harp
(As they walk back to the shed, Robert puts his arm protectively around Margaret.) M.G.
come recit. R.G. 3
Some
I Vn. II
Va.
Vc.
Cb.
one might
3
see us.
477
Act II–Scene 2
140
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
open 1 2 sub.
Hn. in F
3. open 3 4 open
sub. 1 2
3
Tpt. in C
open 3 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
6
6
6
6
6
6
Celesta
Harp
M.G.
R.G.
E.G. (offstage)
*Slave Catchers (8):
humming
port.
T 8
Cat.
(offstage)
*Slave Catchers (8):
Mmm humming
B
Mmm
I Vn.
unis. II cant. tutti, unis.
Va. cant. Vc.
Cb.
*All male singers may accompany the Slave Catchers, offstage, if necessary, through m. 159.
port.
6
6
478
Act II–Scene 2
142
6
6
6
6
6
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 2 Hn. in F 3 4
Tpt. in C
1 2 sub. 3 sub.
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
Celesta
Harp
M.G.
R.G.
E.G.
port. T 8
Cat.
Mmm port.
B
Mmm
I Vn. II
Va.
Vc.
Cb.
479
Act II–Scene 2
144
6
6
6
6
6
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 2 Hn. in F 3 4
Tpt. in C
1 2 3
3 3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
Celesta
Harp
M.G.
R.G.
E.G.
T 8
Mmm
Cat. B
Mmm
div. I Vn. II
Va.
Vc.
Cb.
480
Act II–Scene 2
146
6
6
6
6
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
sub.
3
3
sub.
3
sub.
3
3
3
3
3
3
3
Tbn.
sub.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
6
6
6
6
to Piano
Celesta
Harp
(Once inside the shed, Robert thinks he hears a group of men approaching, and grabs his pistol. Margaret runs to protect the children, who are sleeping in the corner behind a blanket.) M.G.
R.G.
E.G.
port.
T 8
Cat. B
port.
I Vn.
3
3
3
3
3
3
3
3
II div. a3 Va.
Vc.
Cb.
481
Act II–Scene 2
149 1 2 Fl.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
3
1 Ob.
Oboe 2
Cl. in B
1 2
Bs.Cl. molto 1 2 molto
Bn. 3
molto
1 2 Hn. in F
Tpt. in C
3
3
3
3
3
3
3
3
3
3
3
3
3 4
1 2
sub. 3
3
3 3
Tbn.
3
3
3
sub.
sub.
sub.
1 2 molto
Bs.Tbn. Tuba molto
Timp.
1 Sus. Cym., with hard yarn mallets Perc. 2 Tam. 3
Piano
Piano
8ba
Harp
(Accompanied by several slave catchers, Edward Gaines—who appears to be somewhat intoxicated—pounds on the shed door.)
(No sound is heard from inside the shed.)
M.G.
R.G.
Edward Gaines: E.G.
O pen up!
O pen up!
O pen up!
O pen up!
O pen up!
O pen up!
T 8
Cat. B
I sub.
Vn.
sub.
sub. unis.
div. II sub.
sub.
sub. (div. a2)
div. a2 Va.
unis.
sub. div.
unis.
div.
Vc.
Cb.
sub.
sub.
482
Act II–Scene 2 a2
154 1 2 3
Fl.
to Piccolo
Piccolo
3 3
1 3
Ob. 2
a2 Cl. in B
1 2 3
Bs.Cl.
1 2 Bn. 3
with straight mute
take straight mute
remove mute
3
1 2 Hn. in F
with straight mute
take straight mute
remove mute
3
3 4 take straight mute Tpt. in C
with straight mute
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
8ba
Harp
M.G.
R.G.
E.G. 3
3
If blood shed is
on
your mind,
don’t
wor ry.
T 8
Cat. B
unis. I (sotto voce)
Vn. II
(sotto voce) div. a3 div. a2 Va. pizz. Vc.
pizz. Cb.
3
I
(sotto voce)
3
just want what ismine.
483
Act II–Scene 2
160 Picc. (a2) Fl.
3
3
1 2
3
3
3
3
3
6
3
6
3
6
sub.
sub.
1 3
3
3
sub.
Ob. 2 (a2) Cl. in B
sub.
1 2
3
3
3
3
sub.
6
Bs.Cl.
1 2 Bn. 3
open
gliss.
1 2 3
Hn. in F
3
3
3
3
sub.
3
open
gliss.
3 4 3
Tpt. in C
3
3
3
3
sub. (with straight mute)
3
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
R.G.
E.G.
O pen up! T 8
O pen up!
Cat. B
O pen up! div.
unis.
div.
unis.
6
6
6
6
6
6
I sub. Vn.
div. 6
II
6
6
6
6
6
sub. pizz.
arco
Va. arco Vc.
arco Cb.
sub.
484
Act II–Scene 2
L’istesso tempo
163 Picc.
1. Fl.
1 2 sub.
sub.
sub.
sub.
1 Ob. 2 sub. Cl. in B
2.
1 2 sub.
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
3 4 remove mute
Tpt. in C
1., open
1 2 sub. 3
Tbn.
1 2 Tuba
Bs.Tbn. Tuba
Timp. Sus. Cym., wire brushes 1 T.-t., scrape triangle stick Perc. 2 B.D. 3
Piano
8ba
Harp
M.G.
R.G. dolce E.G.
O pen up!
No
harm.
Come
T 8
O pen up!
No
harm.
O pen up!
No
harm.
Cat. B
L’istesso tempo I sub.
Vn.
unis., pizz. II sub. pizz.
Va. sub. unis., pizz. Vc. unis., pizz. Cb.
485
Act II–Scene 2
168 Picc.
Fl.
1 2
1 Ob. 2 (2.) Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1 2 Hn. in F
Tpt. in C
sub.
sub.
sub.
sub.
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2 (B.D.) 3
Piano
8ba
Harp
M.G.
R.G. più sonoro
port.
(not quite full voice)
quasi
port.
E.G. 3
soft
ly.
There
T 8
O pen up!
O pen up!
O pen up!
O pen up!
Cat. B
div. I Vn.
sub.
sub.
sub. arco
sub.
arco II
pizz.
Va. div., arco Vc.
Cb.
pizz.
is
no
thing you
can
do.
486
Act II–Scene 2
173 Picc.
Fl.
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
3 3
3
2
Cl. in B
1 2
3
3
3
3
3
3
3
3
3
Bs.Cl. a2
a2
a2
a2
a2
1 2 Bn. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 2 Hn. in F 3 4 2.: open 1 2 3
Tpt. in C
3 3
3
3 3
3
3 3
3 3
3 3
3 3
3 3
3
3
Tbn.
1 2 3
a2
3
3
3
3
3
3
3
Bs.Tbn. Tuba
Timp.
1 Tam. Perc. 2 B.D. 3
Piano
Harp
M.G.
R.G.
E.G.
T Cat.
8
B
I 3
3
3
Vn. 3
3
3
molto 6
6
6
6
3
3
molto 6
6
6
6
3
3
molto 6
6
6
6
div.
3
II 3
unis., arco Va. 3
unis., arco Vc.
arco Cb.
3
div. a2
unis.
3
div. a2
unis.
div. a2
487
Act II–Scene 2
177
Maestoso
= 92–96 to Flute
Picc.
a2 Fl.
1 2
1 Ob. 2
a2 Cl. in B
1 2
Bs.Cl.
a2
1.
1 2 Bn. 3
a2
1. take straight mute
1 2 Hn. in F
tutta forza
a2
tutta forza
tutta forza 1. Tpt. in C
3. take straight mute
3 4 2.
tutta forza 1.
2.
1.
1 2
3 a2 Tbn.
1 2 molto
Bs.Tbn. Tuba molto 2 drums Timp. Xyl. 1 tutta forza (Tam.) Perc. 2
(B.D.) 3 8va
8va
tutta forza
Piano
Harp
(Gaines breaks down the shed door and fires his pistol in the air. Robert shoots at Gaines but misses his target.) M.G.
R.G.
E.G.
T 8
Cat. B
Maestoso
= 92–96
unis.
I tutta forza unis.
Vn. II
tutta forza Va. unis.
molto
Vc. molto Cb. molto
(Overpowered, Robert is knocked to the ground and tied up. Margaret emerges from behind the children’s blanket.)
488
Act II–Scene 2
183 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.) 1 2 Bn. 3
1., with straight mute
remove mute
3., with straight mute
remove mute
1 2 Hn. in F 3 4 (1.) Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 Tam. Perc. 2 B.D. 3
Piano
Harp
(Emotionally spent, Margaret falls to her knees.) M.G.
R.G.
E.G.
T Cat.
8
B
sul G I Vn. II
div. Va.
Vc.
Cb.
unis.
489
Act II–Scene 2
190
1.
2. 6
1 2
1.
6
6
2.
6
6
1.
6
6
2.
6
6
6
6
6
Fl. 3
1 Ob. 2 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. Vib., hard yarn mallets, motor on fast 1
Pedal Perc. 2
3
Piano 3
3
3
3
3
3
3
3
3
8ba
col
sempre
Harp
(grief-stricken) M.G.
No. R.G.
E.G.
T 8
Cat. B
I Vn. II
Va.
Vc.
Cb.
No
more!
3
3
3
490
Act II–Scene 2
194
1.
2. 6
1 2
1.
6
6
2.
6
6
a2
6
6
6
6
6
6
6
Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1.: open 1 2 Hn. in F
Tpt. in C
a2, 3.: open 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1 (Ped.) Perc. 2
3
Piano 3
3
3
3
3
3
3
3
3
3
3
3
8ba
Harp
M.G.
No!
No
more!
No
more.
R.G.
E.G.
T 8
Cat. B
div. I Vn. 6
II
div. Va.
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
491
Act II–Scene 2
198
accel.
a tempo
1.
(a2) 6
1 2
6
6
sub.
Flute Fl. 3 sub.
sub.
sub.
sub.
sub.
sub.
1 Ob. 2
1. Cl. in B
sub.
1 2 sub.
Bs.Cl.
1 2 sub.
sub.
Bn.
to Contrabassoon 3 sub.
sub.
1 2 Hn. in F
sub.
sub.
sub.
sub.
(a2) 3 4 1. take straight mute
Tpt. in C
1 2
3
Tbn.
1 2 Tuba
Tuba
Bs.Tbn. Tuba
Timp. (Vib.) 1 (Ped.)
Slapstick
Perc. 2
Slapstick 3
Piano 3
3
3
8ba
Harp
(getting up from the floor)
quasi recitativo
(full voice)
M.G. 3
Why
can’t you
3
3
leave us
be?
Why
R.G.
E.G.
T Cat.
8
B
accel.
a tempo
div.
unis.
unis.
I div.
Vn. 6
6
sub. unis.
div.
sub.
6
II sub.
sub.
sub.
sub.
unis. Va.
Vc. sub.
sub.
div., pizz.
div., pizz.
unis., arco Cb. poco arco
3
can’t you leave us
arco
a
492
Act II–Scene 2
204 1 2
6
6
6
6
Fl. 3 solo 3
3
3
3
3
3
3
1 Ob.
3
2 1., solo 3
Cl. in B
1 2 3
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
a2
take straight mute
3 4 1., solo, with straight mute
Tpt. in C
3
1 2
3
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib. 1 Ped. Perc. 2
3
8va
8va
Piano
Harp
M.G.
lone? R.G.
E.G.
Leave
mur
der ers
be?
T Cat.
8
B
div. I Vn.
(div.) II sul D
Va.
div. Vc.
arco, unis. Cb.
pizz.
arco
493
Act II–Scene 2
210 1 2
6
6
6
6
6
6
Fl. 3 solo
3
1 3
Ob. 2 (1.) Cl. in B
2.
1.
3
1., solo
1 2
Bs.Cl. 3
Bn.
1 2
Cbn.
1. 1 2 Hn. in F
3 4 solo
(1.) 3
Tpt. in C
3
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib. 1 (Ped.)
Ped.
Perc. 2
3
8va
8va
8va
Piano
Harp
M.G.
R.G.
E.G. 3
I
own
him!
I
T 8
Cat. B
I Vn. II
Va.
Vc.
pizz. Cb.
arco
own
your child ren!
494
Act II–Scene 2
216 1 2 Fl. 3
1 3
Ob.
3
3
3
sub.
2 (1.) Cl. in B
3
3
3
1 2 3
sub.
Bs.Cl. 5
Bn.
sub.
1 2 Contrabassoon
Cbn.
1 2 Hn. in F
3 4 (1.)
3
3
remove mute
3
1 2 Tpt. in C
3
sub.
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1 Tam. Perc. 2
B.D. 3
Piano
Harp
M.G.
R.G. quasi sub. E.G.
I
own
you!
T Cat.
8
B
unis., sul G I Vn.
unis., sul G II
Va.
Vc.
div. Cb.
495
Act II–Scene 2
224 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 6
6
6
6
6
6
Bs.Cl.
Bn.
1 2
Cbn.
1. and 2. take straight mute
1. 1 2 Hn. in F
sub.
sub.
3 4 1.: open
Tpt. in C
1 2 ( ) 3 ( ) 1.
Tbn.
1 2 ( )
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(pleading)
3
M.G.
Some
bo dy help
us!
Please,
some
bo dy!
R.G.
E.G.
T Cat.
8
B
div. I Vn.
div. II
Va. unis. Vc.
unis. Cb.
div.
496
Act II–Scene 2
230 1 2 Fl. 3 1. 1 sub.
Ob. 2
Cl. in B
1 2 6
6
6
6
6
Bs.Cl. 2. Bn.
1 2
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C 3
(1.) Tbn.
1.
1 2 Bs. Tbn.
a2
Bs.Tbn. Tuba
Timp.
Vibraslap 1
Mounted Guíro, metal scraper Perc. 2 6
Woodblock
6
3
Piano
Harp
(Margaret weeps silently as Edward removes his hat, overcoat, and gloves.) M.G.
Please,
no
more!
R.G.
E.G.
T Cat.
8
B
I Vn. II
Va. unis. Vc.
Cb.
497
Act II–Scene 2
235 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 6
6
6
6
6
Bs.Cl.
Bn.
(2.)
1 2
Cbn.
with straight mute 1 2 Hn. in F
Tpt. in C
with straight mute 3 4
1 2
3
1. Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp. Vibraslap 1 Mounted Guíro Perc. 2 6
Woodblock
6
3
Piano
Harp
M.G.
R.G.
port. E.G.
My
bed is
cold
girl.
It wants
warm
ing.
T Cat.
8
B
I Vn. II
Va. div. Vc.
Cb.
498
Act II–Scene 2
240 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 6
6
6
6
Bs.Cl.
2. Bn.
1 2
Cbn.
remove mute 1 2 Hn. in F
remove mute 3 4
1 2 Tpt. in C 3
1. Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp. Vibraslap 1 Mounted Guíro Perc. 2 6
Woodblock
6 6
6
3
Piano
Harp
M.G.
R.G.
E.G.
Re mem
ber…
Re mem
T Cat.
8
B
I Vn. II
Va. unis. Vc.
Cb.
ber?
499
Act II–Scene 2
245 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
(ossia: 8ba) Timp.
1
Perc. 2 B.D. 3
Piano
Harp
M.G.
R.G. (with increasing vigor and excitement) E.G. 3
3
Re mem
ber
Re
mem
ber the bed war
mer
you
T 8
Cat. B
I Vn. II senza trem. Va. sub. pizz. Vc. div., pizz. Cb.
ran
500
Act II–Scene 2
accel.
250
molto accel.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1. Bn.
2.
1 2
Cbn.
open 1 2 Hn. in F
Tpt. in C
open 3 4 1 2
3
Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2 (B.D.) 3
Piano
Harp
M.G.
R.G. (almost shouted)
E.G. 3
o
ver
my
sheets?
3
First
3
you filled
6
3
it
with
hot coals as I
re call…
T Cat.
8
B
accel.
molto accel.
senza trem. I Vn.
senza trem.
unis.
II
Va. arco Vc.
unis., arco Cb.
div.
Più mosso
501
Act II–Scene 2
= 108
254 1 2 Fl. 3
1 Ob. 2
2. Cl. in B
1 2
Bs.Cl.
Bn.
1 2 sub.
sub.
sub.
Cbn.
1 2 Hn. in F
Tpt. in C
sub.
sub.
sub.
sub.
sub.
sub.
3 4
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
Xyl. 1 Slapstick 1 Perc. 2
Slapstick 2 3
8va
Piano
Harp
(With her bare hands, Margaret grabs some coals out of the smoldering fire and lunges at Gaines, attempting to burn him.)
wildly 3
M.G.
Here
they
are!
Take
them!
Take
them!
R.G.
E.G.
T Cat.
8
B
Più mosso
= 108
unis. I Vn.
sub.
sub.
sub.
sub.
sub.
sub.
unis. II
Va. sub. div.
sub. unis.
div.
sub. unis.
div. unis.
Vc. sub.
sub.
sub.
6
6
6
6
sub.
6
6
6
6
Cb.
502
Act II–Scene 2
= 72 258
1.
1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
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
3
1 2
3
3
Tbn.
1 2 3
3
Bs.Tbn. Tuba
Timp. Xyl., solo, with Piano 1
stacc. Perc. 2
3
solo (with Xyl.)
stacc.
Piano
Harp
(Gaines manages to grasp Margaret’s wrists and forces her to drop the coal. He notices that her hands have been scorched.) M.G.
R.G.
(derisively) E.G. 3
3
Pre tend to be cra T 8
Cat. B
= 72
pizz.
I Vn.
div., sul tasto (col vib.) II div., sul tasto (col vib.)
Va.
Vc. div., pizz. Cb.
sempre poco marcato
zy
503
Act II–Scene 2
262 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
open 1 2 Hn. in F
open 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Xyl.) 1 Mounted Guíro Perc. 2 Brake Drum B.D. 3
Piano
Harp
M.G.
R.G. (derisively) E.G. 3
3
as much as you like.
Man
gle your self.
I don’t
care.
T Cat.
8
B
div., arco I Vn. II sub.
div. a2
Va. sub. div. Vc.
unis. (pizz.) Cb.
arco
504
Act II–Scene 2
267 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
3
3
3
3
3
3
3
3
3
3
3
3
Bs.Cl.
Bn.
1 2
Cbn.
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. Xyl. 1
sotto voce Perc. 2
3
Piano
Harp
poco
M.G.
R.G. quasi parlando
full voice
E.G. 6
Cas ey was not e nough?
6
Will you kill
me, too?
Oh,
T Cat.
8
B
unis., pizz. I Vn.
senza trem. II
(div.)
senza trem.
Va. pizz. Vc. div., pizz. unis. Cb.
no,
my lit tle crow.
505
Act II–Scene 2
272
= 54 1., solo
1 2 Fl. 3 solo 1 Ob. 2 1., solo Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1., solo, open 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Celesta
Piano
Harp
(A slave catcher returns to the shed.) M.G.
R.G.
E.G.
T 8
Cat.
1 Slave Catcher:
B
He’s bound
= 54 I Vn.
unis., pizz. II unis., pizz.
Va. unis., arco Vc.
Cb.
and rea dy
sir.
506
Act II–Scene 2
= 54
277
1.
1 2 Fl. 3
1 Ob. 2 1.
2. Cl. in B
2.
1 2
Bs.Cl.
Bn.
1 2
Cbn.
2.: open
1.
1 2 Hn. in F
open
3.
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. Vib. 1 Mounted Cowbell (no Ped.) Perc. 2 Brake Drum
B.D.
3
Celesta
Celesta
3
3
3
3
3
Harp
molto
rubato 3
M.G.
Damn R.G.
E.G.
T Cat.
8
B
div., arco
= 54 unis.
I Vn.
div., arco
unis.
II
div. a2, arco unis. Va.
div. Vc.
arco Cb.
unis.
your mar
ble eyes,
damn
your
507
Act II–Scene 2
281
(1.)
1 2 Fl. 3
1 Ob. 2 (2.) Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
(3.) 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1
Perc. 2
3
Celesta
3
3
3
Harp
3
shouted
a piacere 3
M.G.
sli ther ing soul!
Your
mis
’ra ble pu
3
trid
heart.
R.G.
E.G.
T Cat.
8
B 1 solo, arco, flautando 6
I gli altri, pizz.
Vn.
pizz. II
div. Va.
Vc.
Cb.
6
6
508
Act II–Scene 2
284
(don’t hurry)
1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
1. Bn.
1 2
Cbn.
1 2 Hn. in F
3 4 with straight mute 1 2
Tpt. in C
with straight mute 3
1., with straight mute
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
R.G.
(to the slave catcher) come recitative E.G. 3
Take the young ones to the wa gon.
Then light
T Cat.
8
B
(don’t hurry) (1 solo)
tutti, arco
senza trem.
senza trem.
arco
div.
senza trem.
senza trem.
senza trem.
senza trem.
I Vn. II
unis. Va. pizz. Vc. poco marcato div., pizz. unis. Cb. poco marcato
the
509
Act II–Scene 2
289 1 2 Fl. 3 solo 1 espr.
Ob. 2 1. Cl. in B
2.
1., solo
1 2 espr.
Bs.Cl. (1.) Bn.
1 2
Cbn.
1 2 Hn. in F
3 4 remove mute
Tpt. in C
1 2 remove mute 3
(1.) Tbn.
remove mute
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
R.G.
E.G.
fire.
The night
is
T 8
Cat. B
I sotto voce
Vn. II
sotto voce Va. sotto voce Vc.
Cb.
cold
and pro mis es
to
be
510
(don’t hurry)
Act II–Scene 2
294 1 2 Fl. 3
1 Ob. 2 (1.) Cl. in B
1 2
Bs.Cl. 2. Bn.
1 2
Cbn.
1. 1 2 Hn. in F
dolce 3 4
open
1 2 Tpt. in C
open 3
open Tbn.
1 2
a2 Bs.Tbn. Tuba
Timp.
1 2 T.-t., muffled, hard yarn mallets, 1 player Perc. 2
Tam., scrape with Triangle stick 3
Piano
Harp
(In the dim light, Robert can be seen standing on a tall box underneath the tree; a noose is hanging around his neck. One by one, the slave catchers plant their torches in the ground, surrounding the condemned man with fire.) M.G.
R.G.
E.G.
long. T Cat.
8
B
(don’t hurry) I Vn.
(div.) II
Va. arco Vc.
arco Cb.
511
Act II–Scene 2
300 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl. (2.) Bn.
a2
1 2
Cbn.
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.
1 (T.-t.) Perc. 2
(Tam.) 3
Piano
Harp
M.G.
R.G.
E.G.
T Cat.
8
B
I Vn. II
Va. non div. Vc.
Cb.
512
Act II–Scene 2
306 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 gradually slow down trill
Bs.Cl.
Bn.
1 2
Cbn.
remove mute 1 2 Hn. in F
Tpt. in C
remove mute 3 4
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. possibile 1 Tam. Perc. 2
B.D. 3
Piano
Harp
M.G.
R.G.
E.G.
T Cat.
8
B
I Vn.
unis. II
div.
unis.
Va.
espr. Vc.
Cb.
513
Act II–Scene 2
313 Con
rubato
= ca. 54
poco rit.
a tempo
1 2 Fl. 3
1 Ob. 2 1., solo Cl. in B
1 2 dolce ed espr.
Bs.Cl. 1. Bn.
1 2 to Bassoon
Cbn.
1., solo, open 1 2 Hn. in F
dolce 3 4 1., solo
Tpt. in C
1 2 dolce 3 play into stand
Tbn.
1 2 Bs. Tbn. play into stand
Bs.Tbn. Tuba
Timp.
Vib., medium sticks, motor on slow 1 Ped. Sus. Cym., hard yarn mallets Perc. 2
3
Piano
Harp
M.G.
R.G.
Mar
g’ret!
Mar
g’ret!
E.G.
T Cat.
8
B
Con rubato div.
= ca. 54
poco rit.
a tempo
1 solo gli altri
gli altri, div.
I Vn.
div. II unis.
div. Va.
div. Vc.
div. Cb.
unis.
unis.
espr.
514
Act II–Scene 2 1., solo
319 1 2
to Piccolo
Fl. 3 soli 1 Ob.
soli 2
1., solo Cl. in B
1 2
Bs.Cl. 1., solo 1 2 Bn. 3
2.: open 1 2 Hn. in F
open 3 4
1 2 Tpt. in C
dolce, cantando 3
ord. Tbn.
1 2 with no attack ord.
Bs.Tbn. Tuba with no attack
Timp.
Mounted Cowbell 1 Sus. Cym.
Brake Drum
Perc. 2 B.D. 3
Piano
Harp
(Gains’ pistol shot interrupts Robert’s cry, killing him instantly.) M.G.
R.G.
I
love
you!
I
love...
E.G.
T Cat.
8
B
tutti, div. I
Vn.
unis.
div.
II
Va. espr. div.
unis.
Vc. div. Cb.
espr.
div. a2
515
Act II–Scene 2
325
L’isteoos tempo
Piccolo
= 54
Picc.
Fl.
1 2
1 Ob. 2 a2 Cl. in B
1 2 6
6
6
6
Bs.Cl.
a2 1 2 Bn.
Bassoon 3
(1.) 1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Cowbell 1 Brake Drum Perc. 2 B.D. 3
Piano
Piano
Harp
(Margaret violently attacks her daughter, murdering her by slitting her throat.)
freely
6
3
M.G.
*Ne
ver to be born a gain in to sla
v’ry!
R.G.
E.G.
T Cat.
8
B
L’istesso tempo
= 54
div. unis.
I 6
Vn.
6
6
6
div.
unis. II 6
6
6
6
Va.
unis.
div.
Vc.
unis. Cb.
* ossia: My children will not live a life in…
516
Act II–Scene 2 lunga
329
= 54 Flute
to Flute
Picc.
Fl.
1 2
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
1 2 Bn. 3
1. 1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2 sotto voce
Bs.Tbn. Tuba sotto voce
Timp. Vib., motor off
(Cowbell) 1 (Brake Drum)
Pedal
Tam.
Perc. 2 (B.D.) 3
Piano
Harp
(She stabs her younger child to death.)
(Margaret collapses, dropping the knife.) (Horrified, Gaines and his men surround Margaret.)
(Lights out.)
M.G.
R.G.
E.G.
T Cat.
8
B
lunga
= 54
I
Vn. II div. a2 Va.
unis., pizz. Vc. sub.
pizz.
Cb. sub.
attacca
Adagio doloroso = ca. 92
Intermezzo
Pochiss. pi첫 mosso = 96
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2 cant.
Bn. 3
1., solo Hn. in F
1 2 molto espr., with Vns. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Total darkness envelops the stage.)
M.G.
Adagio doloroso = ca. 92
Pochiss. pi첫 mosso = 96
I lontano
Vn.
pi첫 cant.
molto espr.
II lontano
pi첫 cant.
Va.
div. Vc.
Cb.
unis.
div.
517
518
Act II窶的ntermezzo
move forward
9
Poco piﾃｹ mosso = 104
1 2 Fl. 3 solo 1 Ob.
molto espr. 2 2.
Cl. in B
1.
1 2 espr.
Bs.Cl. espr. 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
M.G.
move forward
Poco piﾃｹ mosso = 104
I cantabile
Vn. II
cantabile div.
unis.
div.
unis.
div.
Va. espr. unis.
unis., soli
div.
Vc. espr. div.
unis.
Cb. espr.
519
Act II窶的ntermezzo
17
a2
1 2 molto espr.
Fl. 3
1 Ob.
molto espr. 2 1.
Cl. in B
1 2 molto espr.
Bs.Cl.
1 2 Bn.
to Contrabassoon 3
1., solo
1. 1 2 Hn. in F
espr. 3 4
cantabile
1., solo, open Tpt. in C
solo
2.
1.
1 2 3
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
(soli) I cant.
Vn. (soli)
molto espr. div. a2
div.
unis.
unis.
II molto espr. cant. div.
unis. (sole)
div.
unis.
div. a2
unis.
Va. cant. Vc.
Cb.
div.
unis.
div. a2
unis.
div.
unis.
div.
520
Act II窶的ntermezzo
= 92 rall.
25
dolce
1 2 dolce
Fl. 3
dolce 1 Ob. 2 2. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
(1.)
a2
1 2 Hn. in F
a2 3 4 1., solo
Tpt. in C
1 2 sub. 3 play into stand
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1 Tam. Perc. 2 possibile B.D. 3 possibile
Piano
Harp
M.G.
rall.
= 92
al punta
I Vn.
div., al punta II div.
unis.
Va.
unis. Vc.
Cb.
div.
unis.
div.
Act II–Intermezzo
31
521
Don’t drag = 52 (in 2)
1 2 Fl. 3
1 Ob. 2 1., solo Cl. in B
1 2
3
cantabile
3
Bs.Cl.
Bn.
1 2
Cbn.
1., solo 1 2 Hn. in F
dolce 3 4 (1.)
Tpt. in C
1 2 sub. 3 ord.
Tbn.
2.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G.
Don’t drag = 52 (in 2) 1 solo, arco ord.
pizz. I Vn.
unis., pizz.
espr.
II pizz. Va. unis. (arco)
div.
Vc. cant. Cb.
port.
port.
522
Act II窶的ntermezzo
allarg.
38 1 2 Fl. 3 1., solo 1 Ob. 2 (1.) Cl. in B
1 2
Bs.Cl. 2. Bn.
1 2 Contrabassoon
Cbn.
1. 1 2 Hn. in F
3 4 1., solo
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 Tam. Perc. 2 B.D. 3
Piano
8ba
8ba
Harp
M.G.
(ossia: 8va
)
(1 solo)
tutti
I cant. Vn.
gli altri, arco ord.
(ossia: 8va 1 solo, ord. arco
molto cant. )
tutti
II cant.
gli altri, arco ord.
molto cant. arco ord.
Va. molto cant. unis. Vc. molto cant. Cb.
allarg.
523
Act II–Intermezzo
= 72
45
Con rubato
= ca. 84
accel.
1 2 Fl. 3
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
Perc. 2
3
Piano
Harp
(The image of Margaret, alone, gradually becomes visible. Her state of mind is clearly changing.) (consoling herself, almost like crying) plaintive M.G.
por
t.
ah
*Mmm
= 72
Mmm
Con rubatoport. = ca. 84
port.
ah
accel.
I espr.
Vn. div.
unis.
port.
port.
II espr. div. Va.
unis.
div. Vc.
div.
unis.
Cb. (senza cresc.)
*gradually from “closed” mouth to “open” mouth.
524
Act II–Intermezzo
52
Più mosso
= 96
don’t drag
1 2 Fl. 3 solo 1 Ob.
cantabile 2
Cl. in B
1 2
Bs.Cl. 2. Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
8ba
Harp
(slurring the words slightly) cantabile M.G.
Like
Più mosso
a
riv
er
rush ing
from
the
grip
of
= 96
its
banks.
don’t drag
I Vn. II
unis.
div.
unis.
Va. div. Vc. div. Cb.
unis., pizz.
525
Act II窶的ntermezzo
58
non troppo
1.
1 2 Fl. 3 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib. 1
Chimes Perc. 2
3
Piano
Harp
M.G.
non troppo I Vn. II
Va. unis. Vc.
Cb.
div.
526
Act II–Intermezzo
Adagio, con rubato 65 = 69–72
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(With defiant grandeur, Margaret embraces her life’s circumstances.)
(full voice)
M.G.
Dark
Adagio, con rubato = 69–72 div., ten.
ten.
div., ten.
ten.
div., ten.
ten.
1 solo
I Vn. II
Va. (div.) ten.
ten.
arco, ten.
ten.
Vc.
Cb.
gli altri (div.) div. a2
ness,
I
sa
lute
you.
527
Act II窶的ntermezzo
71 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1., with Harp and Bs. Cl. 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
8ba
quasi
Harp
M.G.
Rea
sonhas no pow er
here,
o
ver
3
the dis con
so late.
I Vn. (div. a2) II
unis. Va.
Vc.
Cb.
528
Act II窶的ntermezzo
78 1 2 Fl. 3
1 Ob. 2 (1.) Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
(1.) 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
M.G. 3
Grief
is my plea sure;
thief of life
tutti, div. I div. a2
Vn.
div. a2
II
div. Va.
Vc.
Cb.
unis.
div.
my
lo ver
now.
529
Act II–Intermezzo
84
( = 72, don’t drag)
1.
1 2 dolce
Fl. 3
1 Ob. 2 1. Cl. in B
1 2 dolce
Bs.Cl.
Bn.
1 2
Cbn.
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 Sus. Cym., hard yarn mallets 3
Piano
Harp
(with Hn. 1 and Cl. 1)
M.G.
( = 72, don’t drag) 1(ossia: solo
8va
I dolce
Vn. II
Va.
Vc.
Cb.
)
530
Act II窶的ntermezzo
90
lunga
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
(1.) 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib., motor off 1
Pedal Perc. 2
3
Piano
8ba
Harp
(with quiet acceptance)
(fade to black)
(lights out)
quasi M.G.
Dark
ness,
I
sa
lute
you.
tutti div.
lunga
I Vn.
unis. II
Va.
Vc.
Cb.
attacca
Act II, Scene 3:
531
In a Courtroom, in early April, 1861 Moderato, ma con moto
= 88
Picc.
1 2
Fl.
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 take straight mute
with straight mute
take straight mute
with straight mute
take straight mute
with straight mute
1 2 Tpt. in C 3
1 2
Tbn.
Bs. Tbn., with straight mute
Bs. Tbn. take straight mute Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Having followed the trial of Margaret Garner with great interest and curiosity, the townspeople fill the local courtroom in eager anticipation of her sentencing by the three presiding judges. Margaret sits in court surrounded by militia officers; Caroline, George, and Edward deliver final testimony.) (The stage is fully lit.)
(The lights go up gradually.) E.G.
T. 8
Judges Bar.
Bass
Moderato, ma con moto
= 88
I Vn.
div. II
div. Va.
Vc.
Cb.
unis.
532
Act II–Scene 3 Piccolo
9 Picc.
3
sempre a2
2. 1 2
Fl.
3 3 3
3
sempre
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2. 1 2
Bn.
Cbn.
3
1 2 Hn. in F
3.
3 4
3
1., solo, open
remove mute
3
1 2
Tpt. in C
3
remove mute 3 remove mute
open
remove mute
Bs. Tbn., open
1 2
Tbn.
Bs.Tbn. Tuba
Timp. 3
Xyl.
3
1 Wood Block
3
3
Perc. 2 3
3
Crot.
3
3
3 3 3
Piano
3
Harp
Edward Gaines:
3
E.G. 3
Theft, your hon ors.
Three Judges: T. 8
3
What
is
What
is
What
is
the
charge?
the
charge?
the
charge?
Judges Bar. 3
Bass 3
3
I Vn.
unis.
3
II
3
Va.
Vc.
Cb.
533
Act II–Scene 3
15 Picc. 3
3
a2 1 2
Fl.
3 3 3 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2
2.
1 2
Bn.
Cbn.
1. 1 2 Hn. in F
a2
3.
3 4 solo 3
(1.) 1 2
Tpt. in C
3
3 2. 1 2
Tbn.
(Bs. Tbn.) Bs.Tbn. Tuba
Timp. 3
Xyl.
3
1 Wd. Blk.
3
3
Perc. 2 Crot.
3
3
3
3
3 3 3
Piano
3
Harp
3
3
E.G. 3
Hun dreds, your hon ors.
poco pesante
Hun
dreds of dol lars lost.
T. 8
Andthe val
ue
of
the theft?
poco pesante Judges Bar.
Andthe val
ue
of
the theft?
poco pesante Bass
Andthe val
ue
of
the theft?
I Vn. II div. Va.
div.
unis.
div.
Vc. div. Cb.
1 solo, pizz.
534
Act II–Scene 3
20
to Flute
Picc. 3
3
3
3
a2 1 2
Fl.
3 3 3
3
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (a2)
2.
1 2
Bn.
Cbn.
1 2 Hn. in F
3. 3 4 1., solo
Tpt. in C
3
3
1 2
3
3
3
1 2
Tbn.
Bs. Tbn. Bs.Tbn. Tuba
Timp. 3
3
Xyl.
3
1 Wd. Blk.
3
3
3
Perc. 2 Crot.
3
3
3
3
3
3
3
3
3 3 3
Piano
3
Harp
E.G.
They have,
sirs.
poco pesante T. 8
Have
the
sto
len good been found?
And
poco pesante Judges Bar.
Have
the
sto
len good been found?
And
poco pesante Bass
Have
the
sto
len good been found?
And 3
3 3
I
3
Vn.
3
3 3
II
3
unis.
div.
unis.
Va. unis.
div.
unis.
div.
unis.
Vc.
tutti, unis., arco Cb.
535
Act II–Scene 3
24
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. sub. a2 1 2
Bn.
Cbn.
1. 1 2 Hn. in F
3.
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(looking at Margaret)
E.G.
Ru ined.
legato T. 8
What
is
the
con
di
tion
of
these
goods?
is
the
con
di
tion
of
these
goods?
is
the
con
di
tion
of
these
goods?
legato Judges Bar.
What legato Bass
What
I Vn. II
div.
unis.
Va.
Vc. sub. Cb. sub.
Use
less.
536
Act II–Scene 3
Poco più mosso
29
= 92
1 2 Fl.
Flute 3
1 Ob. 2
Cl. in B
3
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3. 3 4 2.: open 1 2
Tpt. in C
open 3
1 2
Tbn.
Bs. Tbn. Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
E.G. 3
3
The ac cused de stroyed
3
3
them your hon ors.
T. 8
3
3
How did they come to be
3
ru ined?
By
ac ci dent or de lib er ate ly?
By
ac ci dent or de lib er ate ly?
By
ac ci dent or de lib er ate ly?
Judges Bar. 3
3
How did they come to be
3
ru ined?
Bass 3
3
How did they come to be
3
ru ined? div.
Poco più mosso
pizz.
arco
pizz.
arco
non div.
pizz.
pizz.
arco
div.
unis., pizz.
div.
unis., pizz.
= 92
unis., pizz.
I Vn. II
Va.
Vc.
pizz. Cb.
div.
537
Act II–Scene 3
A tempo
34
= 88
1.
1 2 Fl. 3
1 Ob. 2 2. Cl. in B
2.
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1 Sus. Cym., with wire brushes, 2 sticks Perc. 2 B.D. 3
Piano
Harp
3
E.G. 3
De lib
3
er ate ly.
Child legato
T. 8
De scribe
please,
the des troyed
goods.
please,
the des troyed
goods.
please,
the des troyed
goods.
legato Judges Bar.
De scribe legato Bass
De scribe
A tempo
= 88
div.
unis., arco
div., pizz.
I div.
Vn.
arco
pizz.
unis., arco
pizz.
unis., arco
div., pizz.
arco
div., pizz.
II
Va.
div. Vc.
Cb.
ren,
sirs.
538
Act II–Scene 3
Più mosso
accel.
39
= 92
Tempo I
= 88
1.
1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2 sub.
Bs.Cl.
1 2
Bn.
Cbn.
take straight mute 1 2 Hn. in F
take straight mute 3 4
1 2
Tpt. in C
3
1 2
Tbn.
Bs. Tbn. Bs.Tbn. Tuba
Timp.
1 (Sus. Cym.) Perc. 2 (B.D.) 3
Piano
Harp
(in an aside to Gaines)
Caroline Gaines: Ca. più cantando
Fa
sub.
ther,
E.G. 3
Two child ren,
both
mine.
I mean, both my pro per ty.
T. 8
Judges Bar.
Bass
accel.
Più mosso
= 92
Tempo I
unis., arco, sul A
div.
unis., off the string
unis., arco
div.
unis., off the string
I Vn. II arco
div.
Va.
unis., arco
div.
unis.
unis., arco
div.
unis.
Vc.
Cb.
= 88
this is mad
ness.
539
Act II–Scene 3
44
3
3
3
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2 Bn.
1 2
Cbn.
with straight mute
remove mute
open
with straight mute
remove mute
open
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib., motor off 1 Pedal Perc. 2
3
Piano
Harp
(pleading) Ca.
All
3
the more rea son to
spare
her.
spare
her.
Your Hon
(pleading)
George: Geo. 8
(retorting loudly, embarrassing Caroline)
All
3
the more rea son to
E.G.
Mad
ness, yes—
Hers,
not
mine.
T. 8
Judges Bar.
Bass
div.
div.
unis.
div.
unis.
unis.
I (sotto voce)
3
Vn. div.
unis.
II (sotto voce) div.
unis. Va. (sotto voce) Vc.
Cb.
div.
3
ors,
540
Act II–Scene 3
Più lento
49
= 60
1 2 Fl. 3
1 Ob.
dolce 2 2.
Cl. in B
1 2 dolce
Bs.Cl. 3
3
3
dolce
a2
1.
1 2
Bn.
dolce
3
Cbn.
2.
3
1 2 Hn. in F
a2
espr.
3 4
1., solo
cant. 3
espr. 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1 Trg. Perc. 2
3
Piano
E
Harp 3
3
3
(The judges nod their consent.) Ca. 3
May I
speak?
The charge
is
Geo. 8
E.G.
T. 8
Judges Bar.
Bass 1 solo
Più lento
unis., arco, on the string div. a3, pizz. I gli altri 1 solo
Vn. div.
unis., on the string
II gli altri
div. Va. unis.
pizz.
Vc. pizz. div. Cb.
unis., arco
pizz.
= 60
541
Act II–Scene 3
Tempo I
54
= 88
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2. 1 2
Bn.
sub. Cbn.
1 2 Hn. in F
3. 3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Ca.
false.
Not theft,
but
mur
der
3
it shouldbe.
Geo. 8
E.G.
T. 8
That
is
a
ver
y
dif
f’rent
That
is
a
ver
y
dif
f’rent
That
is
a
ver
y
dif
f’rent
Judges Bar.
Bass
Tempo I
tutti, div. I poco Vn.
tutti, div.
unis.
II poco div.
unis., arco
div., pizz. Va.
poco div., arco
1 solo
Vc. div. (pizz.)
unis., arco
poco
Cb. poco
gli altri
= 88
542
Act II–Scene 3 a2
60 1 2
3 3
Fl. to Piccolo
Piccolo
3 3
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2. 1 2
Bn.
Cbn.
1 2 Hn. in F
(3.)
3 4
1., solo
3 3
1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp. Xyl.
3 3
1 3
Wd. Blk. Perc. 2 3
3
Crot. 3
8va
3
Piano
Harp
Ca.
Geo. 8
E.G.
T. 8
mat
ter.
Yet
it
comes
to
the
same
thing.
mat
ter.
Yet
it
comes
to
the
same
thing.
mat
ter.
Yet
it
comes
to
the
same
thing.
Judges Bar.
Bass
unis. I Vn.
div.
unis.
II
unis. Va.
tutti, unis. Vc.
Cb.
3
3
3
543
Act II–Scene 3
molto rit.
64 Picc. 3
3
a2 1 2
Fl.
3
3
1 Ob. 2
Cl. in B
1 2 3
3
3
3
3
3
Bs.Cl. (2.)
a2
1 2
Bn.
Cbn.
3
1 2 Hn. in F
(3.)
3
3 4
1., solo
3
1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp. Xyl. 3 3
1 3
Wd. Blk. Perc. 2 3
3
Crot. 3
8va
3
Piano
3
3
Harp
Ca.
Geo. 8
E.G.
meno T. 3
8
The
is
sue
3
be
fore
us
is
of
pro per ty;
3
a
fi nan
3
cial loss…
not a de batea bout the hu
man
cial loss…
not a de batea bout the hu
man
cial loss…
not a de batea bout the hu
man
meno Judges Bar.
The
is
3
sue
3
be
fore
us
is
of
pro per ty;
3
a
fi nan
3
meno Bass 3
The
is
sue
3
be
fore
us
is
of
pro per ty;
3
a
fi nan
3
molto rit. I 3
Vn. II
3
Va. 3
Vc.
Cb.
544
Act II–Scene 3
a tempo
= 88
68 Picc. 3
3
3
3
3
3
3
3 3
a2
3
1 2
Fl.
3
3 3
3
3
3
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3. 3 4 1., solo
3
3
3
1 2
Tpt. in C
3
3
3
1 2
Tbn.
cant.
cant.
cant.
cant.
Bs.Tbn. Tuba
Timp. 3
3
(Xyl.)
3
3
1 3
3
3
3
Perc. 2 (Crot.) 3
8va
3 3
Piano
3
3 3
3
3 3
3
3
fast arp.
fast arp.
Harp
amabile Ca.
Re
spect
ful
ly,
we
beg
to
ful
ly,
we
beg
to
amabile Geo. 8
Re
spect
E.G.
T. 8
soul.
Judges Bar.
soul. Bass
soul.
a tempo
= 88
I Vn.
div.
unis.
II div. Va.
div. a2
unis., pizz.
div., arco
unis., pizz.
div.
unis., pizz.
arco
pizz.
Vc.
Cb.
545
Act II–Scene 3
72
to Flute
3
Picc. 3
a2 1 2
Fl.
3
3 3
1 Ob. 2
Cl. in B
1 2 sotto voce
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 (1.) 1 2
Tpt. in C
3
3
1 2
Tbn.
sotto voce Bs.Tbn. Tuba sotto voce
Timp. (Xyl.)
3
3
1 (Wd. Blk.)
3
Perc. 2 3
3
(Crot.)
3
3
Piano
3
3
3
Harp
(emphatically)
più legato
3
Ca.
dif fer.
A
moth
er
who
kills
her
child ren
(emphatically)
can
not
be
said
to
be
said
to
più legato
3
Geo. 8
dif fer.
A
moth
E.G.
T. 8
Judges Bar.
Bass
I dolcissimo Vn. II dolcissimo Va. div., arco Vc. arco Cb.
pizz.
er
who
kills
her
child ren
can
not
546
Act II–Scene 3
77 1 2 Fl.
Flute 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4
1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp. Vib., motor off 1 Pedal Perc. 2
3
Piano
Harp
Ca.
steal
them.
steal
them.
Geo. 8
forcefully
(interrupting angrily)
E.G. 3
They did n’t belong T. 8
Judges Bar.
Bass
div. I Vn.
div. II unis.
Va.
div. a2
unis. Vc.
(pizz.)
arco
sub. div., pizz.
Cb.
sub.
to her.
She
has
no
right
to them,
547
Act II–Scene 3
= 80
rit.
83 1 2
3
Fl.
3 3
3 3
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Ca.
Geo. 8
E.G.
liv ing or dead…
Liv
ing
or
dead.
It
is
clear
in
our
sys tem
she owns
T. 8
Judges Bar.
Bass
= 80
rit.
unis.
div. I Vn.
div.
unis.
II div.
unis.
div.
unis.
Va.
unis., pizz.
arco
div.
Vc. unis. Cb.
arco
3
548
Act II–Scene 3
= 120
89
a2
1 2 3
Fl.
3 3
3
3
1 Ob. 2 a2 Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn. 1. 1 2 Hn. in F
3 4
3
3
3
3
1 2
Tpt. in C
3
1 2
Tbn.
Bs. Tbn.
3
3 3
Bs.Tbn. Tuba
3
Timp. Vib. 3
1
3
3
3
Pedal Perc. 2
3
Piano 3
3
Harp
Ca.
Geo. 8
E.G.
no thing—
least of all
3
my slaves.
T. 8
Judges Bar.
Bass (assertively) S
Yes! div.
Yes!
(assertively)
Lis ten to him.
Lis ten
to
Lis ten to him.
Lis ten
to
unis.
A
Yes! T.C.
Yes!
(assertively)
T 8
Yes!
Yes!
He
is right!
Yes!
He
is right!
(assertively) B
Yes!
= 120 I
Vn. pizz.
unis.
div., arco
II
pizz.
arco
unis.
div. a2
Va.
unis. Vc. 3
3
3
3
Cb.
549
Act II–Scene 3
95 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Ca.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
S
him.
He
is
right. div.
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
unis.
A
him.
T.C.
He
is
right.
Lis ten
T 8
lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten to him. He
is
lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten
to him.
Lis ten to him. He
is
B
I Vn.
div.
unis.
II
Va. unis. div. Vc. div. Cb.
unis.
550
Act II–Scene 3
101 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn. a2
1. 1 2 Hn. in F
molto 3 4 molto 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Ca.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass div.
tutta forza
S
He
is
right.
He
is
right.
He div.
has
the
has
the
has
the
has
the
tutta forza
A
He
is
right.
He
T.C.
div.
is
right.
He tutta forza
unis.
T 8
right.
He
is
right.
He
is
right.
He tutta forza
B
right.
He
is
right.
He
is
right.
He div.
unis.
I Vn.
div. II div.
Va.
Vc.
Cb.
unis.
551
Act II–Scene 3
Tempo I subito e deciso
109
= 88
a2
1 2 Fl. 3
1 Ob. 2 a2 Cl. in B
1 2
Bs.Cl. a2 1 2
Bn.
Cbn. a2 1 2 Hn. in F
a2 3 4 1 2
Tpt. in C
3 a2 1 2
Tbn.
a2 Bs.Tbn. Tuba
Timp. Vib.
l.v.
Glock.
l.v.
2 Chimes
l.v.
1
Perc. 2
3
8va
Piano
Harp
Ca.
Geo. 8
E.G. with authority T. 3
8
Or
3
der in
the court!
Or
with authority Judges Bar. Or
3
der
in
the court!
Bass
S
right
i
de
a.
right
i
de
a.
right
i
de
a.
right
i
de
a.
A T.C. T 8
B
div.
Tempo I subito e deciso
unis.
I sub. unis.
Vn. II
sub. div. Va. sub. Vc. sub. div.
unis.
Cb. sub.
= 88
der in
the
552
Act II–Scene 3
rit.
113
a tempo
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Silence suddenly fills the courtroom.) quietly, with respect but also conviction Ca.
She Geo. 8
E.G.
T. 8
Judges Bar. with authority Bass 3
Or
3
der in the court in
3
the name of
3
the law
of this
coun
try!
S
A T.C. T 8
B
rit.
a tempo
div.
I Vn.
div. II unis.
Va. div. Vc.
Cb.
bore
them,
your
553
Act II–Scene 3
117 1 2 Fl. 3
1 Ob.
sotto voce
sotto voce
sotto voce
sotto voce
2
Cl. in B
1 2
Bs.Cl. sotto voce 1 2
Bn.
sotto voce
sotto voce Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Ca.
Hon ors.
They
are
hers
un
til
they
come
of
age.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
S
A T.C. T 8
B
unis.
div.
unis.
unis.
div.
unis.
I Vn. II
Va.
Vc.
pizz. Cb.
554
Act II–Scene 3
Più mosso (un poco agitato)
122
= 92
1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2 with Vn. II
Bs.Cl. 2. 1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
3
3
3
Ca.
She
is
re spon si ble for their lives.
Geo. 8
E.G. (sarcastically) T. 3
8
Where
have
you
(sarcastically) Judges Bar. 3
Where
have
you
(sarcastically) Bass 3
Where S
A T.C. T 8
B
Più mosso (un poco agitato) div.
unis.
I Vn. II
div.
unis.
Va. cant., legato
unis.
Vc.
div. Cb.
= 92
unis., arco
have
you
555
Act II–Scene 3
127
a2
1 2 Fl. 3
1 Ob. 2 a2 Cl. in B
1 2
Bs.Cl. (2.) 1 2
Bn.
Cbn.
1 2 Hn. in F
3.
3.
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Ca.
Geo. 8
E.G.
T. 3
8
been,
Ma dam?
On an
been,
Ma dam?
On an
been,
Ma dam?
On an
is
land
in
the
sea?
You
are speak ing
of
a slave,
is
land
in
the
sea?
You
are speak ing
of
a slave,
is
land
in
the
sea?
You
are speak ing
of
a slave,
Judges Bar. 3
Bass 3
S
A T.C. T 8
B
I Vn. II
div. Va.
Vc.
Cb.
unis.
div.
unis.
556
Act II–Scene 3
133
(a2)
1 2 Fl. 3
1 Ob. 2 (a2) Cl. in B
1 2
Bs.Cl. (2.)
a2
1 2
Bn.
Cbn. 3
1 2 Hn. in F
(3.)
3
3 4
1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Ca.
Geo. 8
E.G.
T. 8
3
not
some one like you
not
some one like you
not
some one like you
or me.
The
law
is clear
in the Bi ble
and
here.
in the
Bi ble
Judges Bar. 3
or me.
The law
is clear
and here.
Bass 3
S
A T.C. T 8
B
3
I Vn. 3
II
3
Va.
Vc.
Cb.
or me.
The law
is clear
in the Bi ble
and
557
Act II–Scene 3
Più maestoso
= 72
139 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2 1 2
Bn.
Cbn.
1 2 Hn. in F
3 4
1 2
Tpt. in C
3
1 2
Tbn.
a2 Bs.Tbn. Tuba
Timp. Sus. Cym., with Timp. sticks 1 Trg. Perc. 2 Crash Cym. 3
Piano
Harp
Ca.
Geo. 8
E.G.
T. 8
Slav
er y
is
not
a
mat ter
for
a
slave
to judge.
Slav
er y
is
not
a
mat ter
for
a
slave
to judge.
Slav
er y
is
not
a
mat ter
for
a
slave
to judge.
for
a
slave
to judge.
Judges Bar.
Bass
here. div.
unis.
S
Slav
er y
is
not
unis.
a
mat ter
div.
unis.
A
Slav
er y
is
not
a
mat ter
for
a
slave
to judge.
Slav
er y
is
not
a
mat ter
for
a
slave
to judge.
er y
is
not
a
mat ter
for
a
slave
to judge.
T.C. T 8
div. B
Slav
Più maestoso
= 72
div. unis.
div. I Vn.
div. II div. a2
div. Va.
Vc. div. Cb.
unis.
558
Act II–Scene 3
144
L’istesso tempo
= 88
1., solo
1 2 with Harp
Fl. 3
Ob.
1 English Horn, solo
to English Horn E.H.
with Vn. II
1 2
Cl. in B
Bs.Cl. 1. 1 2
Bn.
Cbn. take straight mute
with straight mute
take straight mute
with straight mute
1 2 Hn. in F
3 4 take straight mute 1 2
Tpt. in C
take straight mute 3 play into stand 1 2
Tbn.
sotto voce Bs. Tbn.: play into stand Bs.Tbn. Tuba sotto voce Timp. Vib., motor on 1
Pedal
Pedal
Perc. 2
3 to Celesta
Celesta
Piano
Harp
(to Edward)
(looking at Margaret) meno
Ca.
Fa
ther,
Mar
3
g’ret is
3
of
no
val
ue
to you,
or
an y one.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
S
A T.C. T 8
B
L’istesso tempo
= 88
pizz.
unis., arco
div., pizz.
arco
pizz.
arco
pizz.
unis., arco
unis., pizz.
arco
I Vn. II
Va. on the beat Vc. sempre stacc. on the beat
div., arco
Cb. sempre stacc. pizz.
559
Act II–Scene 3 1. solo
150
( = )
1 2 with Harp
Fl. 3
Ob.
1 solo
E.H. with Vn. II Cl. in B
1 2
Bs.Cl. 1. 1 2
Bn.
Cbn. (with straight mute) 1 2 Hn. in F
(with straight mute) 3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp. Vib.
(Vib.) 1
Ped. sempre Perc. 2
3
Celesta
Harp
3
Ca. 3
She was more
3
3
than a mo ther to me.
Now
her
si
lence
screams
a grief
we
Geo. 8
quasi
(to himself)
E.G. 3
I
have com mit ted
no
crime.
T. 8
Judges Bar.
Bass
S
A T.C. T 8
B
pizz.
unis., arco
div., pizz.
div., pizz.
div., pizz.
arco
div. a3, arco
div. a2, pizz.
unis., arco
arco
pizz.
I
Vn. II
unis., arco
Va.
Vc. div. Cb. pizz.
arco
( = )
560
Act II–Scene 3
= 92
(1.)
155 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 1. 1 2
Bn.
Cbn. (with straight mute) 1 2 Hn. in F
(with straight mute) 3 4 1 2
Tpt. in C
3 ord.
take straight mute
sotto voce Bs. Tbn.: ord.
Bs. Tbn. take straight mute
1 2
Tbn.
Bs.Tbn. Tuba sotto voce Timp. Vib. 1 Pedal Perc. 2
3
Celesta
Harp
3
3
Ca. 3
dare not
know.
But you canhelp change the de bate
rag
ing theland.
Geo. 8
E.G. 3
I
have com mit ted
no
crime.
T. 8
The law
is
clear
in
the
Bi
ble and here.
The law
is
clear
in
the
Bi
ble and here.
The law
is
clear
in
the
Bi
ble and here.
Judges Bar.
Bass
S
A T.C. T 8
B
= 92 pizz.
arco
div., pizz.
unis., arco
I Vn. II
div., pizz.
unis., arco
Va. div. a2 Vc. unis., arco Cb.
div.
561
Act II–Scene 3
161
(1.)
1 2 Fl. 3
Ob.
1
E.H. espr. 1 2
Cl. in B
Bs.Cl. 2. 1 2
Bn.
Cbn. remove mute
open
1 2 Hn. in F
remove mute 3 4 with straight mute
remove mute
1 2 Tpt. in C
with straight mute
remove mute
3
2. with straight mute
(2.)
1. with straight mute remove mute
1 2
Tbn.
Bs. Tbn., with straight mute
remove mute
Bs.Tbn. Tuba
Timp. (Vib.)
1
Perc. 2
3
to Piano
Celesta
Harp
3
3
Ca.
Let
the charge re
flect
our crimes
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
S
A T.C. T 8
B
I Vn. II
espr. Va.
Vc. pizz. (div.) Cb.
as
well as
hers.
562
Act II–Scene 3
Più decisio (l’istesso tempo) 166
a2
1 2 Fl.
sub.
fltg. 3
Ob.
1 sub.
E.H. 2. Cl. in B
1 2
6
6
6
a2
1.
6
sub. Bs.Cl. a2
a2
1 2
Bn.
sub.
sub.
sub.
sub.
Cbn.
1.
2.
1.
a2
1 2 Hn. in F
open
3.
4.
3.
3 4 2., open 1 2
Tpt. in C
open 3
a2, open 1 2
Tbn.
a2, open Bs.Tbn. Tuba
Timp. sub.
sub.
Xyl. 1 Vib. Perc. 2
Chimes, hard hammers 3
Piano
Harp
Ca.
Geo. 8
E.G. 3
I
have com mit ted
no
secco
crime.
con forza
legato
T. 8
He
secco
has
com
mit ted
no
The law
crime.
is
clear
in the
Bi ble
and here.
con forza
legato
Judges Bar.
He
has
com
mit ted
no
He
has
com
mit ted
no
secco
legato
The law
crime.
is clear
in the Bi ble
and
con forza
Bass
crime.
The law
is
clear
in the
S
A T.C. T 8
B
Più decisio (l’istesso tempo) unis. I sub. Vn.
pizz.
arco
sub. div.
unis.
II div., pizz.
sub.
sub.
sub.
sub.
unis., arco
Va. unis.
div. unis.
Vc. sub. arco
sub.
Cb. sub. sub.
563
Act II–Scene 3
171
solo
Picc. 3
(a2) 3
soli Fl.
1 2
Ob.
1
3 3
3
E.H. (a2) Cl. in B
1 2
Bs.Cl. (a2) 1 2
Bn.
Cbn. 3
(a2) 1 2
Hn. in F
a2
3.
3 4
in relief
3
in relief 1.: open
1 2
Tpt. in C
1., solo
1.
3 3
3
3
3 a2 1 2
Tbn.
sub.
a2 Bs.Tbn. Tuba
sub. Timp. Glock.
sub.
3
Xyl.
3
3 3
1
3
3
3
3
Vib.
Wd. Blk.
Perc. 2 3
Chimes
3
3
3
Crot.
3
Piano
3
Harp
Ca.
Geo. 8
E.G.
T. 3
8
We
do not make laws
We
do not make laws
We
do not make laws
or
for sake
laws,
or
for sake
laws,
or
for sake
laws,
Judges Bar. 3
here. Bass
3
Bi ble
and here.
S
A T.C. T 8
B
I 3
Vn.
sub.
div. II 3
sub.
Va. 3
Vc.
Cb.
sub.
3
3
3
3
3
3
3
564
Act II–Scene 3
176
solo
Picc. 3
3 3
a2, soli Fl.
1 2
Ob.
1
3 3
3
E.H. Cl. in B
1 2
Bs.Cl. (a2) 1 2
Bn.
Cbn.
1 2
Hn. in F
(3.) 3 4 (1.) 1 2
Tpt. in C
3 a2 1 2
Tbn.
a2 Bs.Tbn. Tuba
Timp. 3
Xyl.
3 3
1 Wd. Blk.
3
Perc. 2 Crot.
3
3
3
3
3
3
Piano
3
3 3
Harp
Ca.
Geo. 8
E.G. con forza T. 8
We
fol
low
them
pre
cise
ly.
The
charge
is
theft,
the
sen
tence
charge
is
theft,
the
sen
tence
charge
is
theft,
the
sen
tence
con forza Judges Bar.
We
fol
low
them
pre
cise
ly.
The con forza
Bass
We S
A T.C. T 8
B
I Vn. II
Va.
Vc.
Cb.
fol
low
them
pre
cise
ly.
The
565
Act II–Scene 3
rit.
181
to Flute
= 72 Flute
( =
)
( =
)
Picc. 3
3
a2 1 2
Fl.
3 3
Ob.
1
E.H. Cl. in B
1 2
Bs.Cl. (a2) 1 2
Bn.
Cbn.
1 2 Hn. in F
(3.) 3 4 1., solo
3
1 2
Tpt. in C
3
3 a2 1 2
Tbn.
(a2) Bs.Tbn. Tuba
Timp. 3
Xyl.
3 3
1 3
Wd. Blk. Perc. 2 Crot.
3
3
3
Piano
3
3
3
3
Harp
Ca.
Geo. 8
E.G.
T. 8
just.
This
one
will
be
made
rea dy
for
ex
e
cu
tion.
just.
This
one
will
be
made
rea dy
for
ex
e
cu
tion.
just.
This
one
will
be
made
rea dy
for
ex
e
cu
tion.
Judges Bar.
Bass
S
A T.C. T 8
B
rit.
= 72
I Vn. II
Va. div. Vc.
Cb.
566
Act II–Scene 3
186
Raucous, like a drinking song
= 72
Piccolo
to Piccolo
Picc.
a2 Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
a2 1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
a2 1 2
Tbn.
a2 Bs.Tbn. Tuba
Timp.
1
Perc. 2
3 8va
Piano
Harp
(While the judges confer with one another, Caroline pleads with her father to intervene and have the verdict overturned.) Ca.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass (relieved) S
Bound and made read y,
bound
and made read y,
bound
and
read y
for ex
e
cu
tion.
bound
and made read y,
bound
and
read y
for ex
e
cu
tion.
bound
and made read y,
bound
and
read y
for ex
e
cu
tion.
bound
and made read y,
bound
and
read y
for ex
e
cu
tion.
(relieved) A
Bound and made read y, (relieved)
T.C. T 8
Bound and made read y, (relieved)
B
Bound and made read y,
Raucous, like a drinking song I Vn. II
Va. unis. Vc.
Cb.
= 72
567
Act II–Scene 3
190 Picc.
a2 Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. (a2) 1 2
Bn.
Cbn. a2, soli
1 2 Hn. in F
a2, soli
3 4 1 2
Tpt. in C
3
(a2) 1 2
Tbn.
(a2) Bs.Tbn. Tuba
Timp.
1
Perc. 2
3 8va
Piano
Harp
Ca.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
div.
unis.
S
Bound and made read y,
bound and made read y,
bound
and
read y
for ex
e
cu
tion.
Bound and made read y,
bound and made read y,
bound
and
read y
for ex
e
cu
tion.
Bound and made read y,
bound and made read y,
bound
and
read y
for ex
e
cu
tion.
Bound and made read y,
bound and made read y,
bound
and
read y
for ex
e
cu
tion.
A T.C. T 8
B
I Vn.
unis. II
Va.
Vc.
Cb.
div.
568
Act II–Scene 3
194 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 2.
a2
1 2
Bn.
Cbn. 1. 1 2 Hn. in F
3. 3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Ca.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
div.
unis.
S
She
is
not
like
you
and
you
or
and
she
is
not
like
you
and
you
or
A
T.C.
She
is
not
like
you
or
me,
T 8
She
is
not
like
you
or
me,
and
she
is
not
like
you!
She
is
not
like
you
and
you
or
She
is
not
like
you
or
me,
and
she
is
not
like
you!
She
is
not
like
you
and
you
or
B
I Vn.
unis. II div.
Va. div. Vc.
Cb.
unis.
unis.
569
Act II–Scene 3
199 Picc.
a2 Fl.
1 2
Ob.
1
E.H. 1. Cl. in B
1 2
Bs.Cl.
2.
a2
1 2
Bn.
Cbn. a2 1 2 Hn. in F
sub.
a2
3 4 sub. 1., solo 1 2
Tpt. in C
3
1 2
Tbn.
(a2) Bs.Tbn. Tuba
Timp.
1
Perc. 2
3 8va
Piano
Harp
Ca.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
S
me!
Bound and made read y,
me!
Bound and made read y,
me!
Bound and made read y,
A
T.C. T 8
B
me!
Bound and made read y,
div.
unis. I Vn.
div.
unis.
II
unis. Va.
Vc.
Cb.
570
Act II–Scene 3
204
to Flute
Picc.
a2 Fl.
1 2
Ob.
1
E.H. Cl. in B
1 2
Bs.Cl.
(a2) 1 2
Bn.
Cbn.
(a2)
soli
1 2 Hn. in F
(a2)
soli
3 4 1 2
Tpt. in C
3
1 2
Tbn.
(a2) Bs.Tbn. Tuba
Timp.
1
Perc. 2
3 8va
to Celesta
Piano
Harp
Ca.
Margaret Garner:
(quietly, to herself)
M.G.
I Geo. 8
E.G.
T. 8
Judges Bar.
Bass
S
Bound andmade read y,
Bound and read y
for ex
e
cu
tion!
Bound andmade read y,
Bound and read y
for ex
e
cu
tion!
Bound andmade read y,
Bound and read y
for ex
e
cu
tion!
Bound andmade read y,
Bound and read y
for ex
e
cu
tion!
A T.C. T 8
B
div. I Vn. II div. Va.
Vc.
Cb.
am
not
poco
571
Act II–Scene 3
209
1.
1 2 Fl. 3
Ob.
1
E.H. 2. Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn. 1. 1 2 Hn. in F
3. 3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
Ca.
M.G.
like
you.
I
am
me.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass (to one another) S
She
is
not
like
you
or
(to one another) A
She
T.C.
is
not
like
you
or
(to one another)
T 8
She
is
not
like
you
or
me,
and
she
is
not
like
you
or
me,
and
she
is
(to one another) B
She
is
unis. I Vn.
legato II unis.
Va. div. Vc.
Cb.
legato
legato
572
Act II–Scene 3
214
( .= )
1 2 Fl.
Flute 3
Ob.
1
E.H. 2.
(1.) Cl. in B
1 2
Bs.Cl. 1 2
Bn.
Cbn.
.
gliss
(1.) 1 2 Hn. in F
sub.
cresc. . gliss
sub.
cresc.
(3.) 3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
(Margaret suddenly rises from her chair and glances around the courtroom, glaring at the onlookers.) Ca.
M.G.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass tutta forza S
me,
and she
is
not
like you
or
you
or
me!
me,
and she
is
not
like you
or
you
or
me!
not
like you
or
me, and she
is
not
like
me!
not
like you
or
me, and she
is
not
like
me!
tutta forza
A
T.C.
tutta forza
T 8
tutta forza
B ( .= )
I Vn.
div.
div.
unis.
II
div.
unis.
Va.
Vc.
div. Cb.
573
Act II–Scene 3
Maestoso
= 80
218a2 1 2 Fl. 3
Ob.
1
E.H. a2 Cl. in B
1 2
Bs.Cl. 3
a2
6
6
3
1 2
Bn.
Cbn. a2 1 2 Hn. in F
a2
3.
3 4 1 2
Tpt. in C 3
a2 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Glock. 1
Vib. Perc. 2
Chimes 3 Celesta
to Piano
Celesta
3
3
3
Harp
Ca. (emphatically)
3
M.G.
I am
not
like you.
I am me!
Geo. 8
E.G. (to Margaret) T. 8
Si
3
3
3
3
lence!
You have no au thor
lence!
You have no au thor
lence!
You have no au thor
Judges Bar.
i ty.
3
Si
3
3
Bass
3
i ty.
3
Si
3
3
S
A T.C. T 8
B
Maestoso
= 80 div.
I sub. Vn. unis. II sub. Va. unis.
sub.
sotto voce
sub.
sotto voce
sub.
sotto voce
Vc. unis. Cb.
3
i ty.
574
Act II–Scene 3
223
a2
rit.
Slower
= 60
1 2
3
3
3
3
Fl. 3
Ob.
1 to Oboe
E.H. dolce
3
Cl. in B
1.
1 2
Bs.Cl. a2 1 2
Bn.
Cbn.
a2
a2
1 2 Hn. in F
a2
3.
a2
3 4
1 2 Tpt. in C 3
a2 1 2
Tbn.
Bs.Tbn. Tuba
Timp. sub. Glock. 1 Vib. Perc. 2 Chimes 3
Piano
Harp
(to the Judges, refusing to sit down) 3 3
M.G. 3
You
have no au thor
i
ty.
I am not
T. 8
Judges Bar.
Bass
S
A T.C. T 8
B unis.
rit.
Slower
= 60
div.
I quasi div.
Vn.
div.
unis.
II 3
quasi div.
Va. quasi 1 solo div. a2
dolce
Vc.
div.
quasi
Cb. quasi
gli altri, div. unis.
like
you.
I am
575
Act II–Scene 3
accel. poco a poco
229
= 72 (accel.)
= 80
1 2 3
Fl. 3 3
1
3
3 3
Ob.
Oboe 2 3
(1.) Cl. in B
2.
1 2
3
3
3
Bs.Cl.
1 2
Bn.
Cbn. 1., solo
3
1 2 Hn. in F
3
sub.
3
3.
3 4 3
1 2
Tpt. in C
3
3 3
1 2
Tbn.
3
Bs.Tbn. Tuba
Timp. Sus., Cym. 1 Trg. Perc. 2 B.D.
Tam.
8ba
8ba
3 Piano
Piano
Harp
(The militia officer restrains Margaret) Ca.
M.G.
me!
I
am
me!
I
am!
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
S
A T.C. T 8
B
accel. poco a poco
= 72 (accel.)
unis.
= 80 div.
unis.
I unis.
Vn. II
unis. Va. tutti, div. Vc.
Cb.
div.
unis.
576
Act II–Scene 3
236 1 2 3
Fl. 3 3
1 3
Ob. 2
3
Cl. in B
1 2 3
Bs.Cl. 3
1 2
Bn.
Cbn. 3
3
3
3
3
1 2 Hn. in F
3
3 4 3
1 2 Tpt. in C
3
3
1 2
Tbn.
3
Bs.Tbn. Tuba
Timp.
Sus. Cym. 1 Trg. Perc. 2 Tam. 3
Piano
8ba
Harp
Ca.
M.G.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass div.
unis.
3
3
3
3
S 3
3 3
3
Bound and made read y,
bound and made read y…
3
div.
Bound and made read y,
3
unis. 3
bound and made read y…
3
3
3
A 3
3
Bound and made read y,
T.C.
bound and made read y…
Bound and made read y,
bound and made read y…
T 3 8
3
3
Bound and made read y,
B
3
3
bound and made read y…
3
3 3
3
3
Bound and made read y,
bound and made read y…
div.
I 3
Vn.
3 3
div.
3
unis.
II unis. div. Va. 3
Vc.
Cb.
3
3
Bound and made read y, unis.
div.
3
Bound and made read y,
div.
3
3
bound and made read y…
3
3
bound and made read y…
577
Act II–Scene 3
240 1 2 Fl. 3
1 Ob. 2 3
Cl. in B
1 2
Bs.Cl. 3
sub.
a2
1 2
Bn.
Cbn. take straight mute
with straight mute
take straight mute
with straight mute
remove mute
1 2 Hn. in F
3 4 3
1 2
Tpt. in C
3 3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1 B.D. Perc. 2 Tam. 3
Piano
8ba
fast arp.
Harp
Ca.
M.G.
Geo. 8
E.G.
T. 8
Judges Bar. (quasi recitativo) (pointedly, looking directly at Margaret) Bass 3
I S
A T.C. T 8
B
unis. I Vn.
unis.
div.
II
Va.
div. a2 Vc.
Cb.
3
3
3
or deryou in the name of the law of this land to be
578
Act II–Scene 3
245
1.
1 2 Fl. 3
1 Ob. 2 a2 Cl. in B
1 2
Bs.Cl. 1. 1 2
Bn.
Cbn. 1., solo, open 1 2 Hn. in F
a2 (with straight mute)
remove mute
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1 (B.D.) Perc. 2 (Tam.) 3
Piano
8ba
Harp
(banging his gavel resolutely) (The judges retire to their chambers.)
(Margaret is led away; the townspeople file out of the courtroom.)
Ca.
M.G.
Geo. 8
E.G.
T. 8
Judges Bar.
Bass
3
3
ex e cut ed by sun rise to mor
row!
(reassured) 3 3
S
She is not like you or me… (reassured) 3 3
A
She is not like you or me… T.C.
(reassured)
3
T 3
8
She is not like you or me… (reassured)
3
B 3
She is not like you or me…
pizz. I Vn.
unis.
pizz.
II
Va. (div.) Vc.
Cb.
579
Act II–Scene 3
250
soli
1 2
3
Fl.
3
3 soli 1 3
Ob.
soli
3 3
3
to English Horn
2 soli Cl. in B
1 2 3
3
sub.
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
8ba
Harp
M.G.
Geo. 8
E.G.
I Vn. II
Va. unis. Vc. div. Cb.
580
Act II–Scene 3
254
L’istesso tempo ( = 80), ma più amabile (cantando)
1 2 Fl. 3
Ob.
1 English Horn
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1.
2.: open
1 2 Hn. in F
open 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(dismayed by the verdict) 3
Car. 3
Fa
ther,
you must urge
clem en cy
from the court.
They will hear
you.
3
3
They will lis ten to you.
Geo. 8
E.G.
L’istesso tempo ( = 80), ma più amabile (cantando)
arco
I Vn.
arco II
Va. pizz.
div.
unis., arco
Vc.
unis., pizz. Cb.
arco
div.
581
Act II–Scene 3
259
Vi—
1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Car.
3
Geo. 8
Don’t
let her
die
with out dig
ni ty.
Don’t
E.G.
Vi— I Vn. II
Va. unis., pizz.
arco
pizz.
arco
Vc.
Cb.
let her hang
3
for the wrong rea
son.
582
Act II–Scene 3
—de
263 1 2 Fl. 3
Ob.
1 dolce
E.H. dolce Cl. in B
1 2 3
3 3
Bs.Cl. with voice Bn.
1 2 with violas dolce
Cbn.
1. 1 2 Hn. in F
Tpt. in C
3
with voice
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Car.
Geo. 8
(disturbed, yet betraying no sign of emotion) (coolly)
secco
E.G. 3
3
3
3
She must suf fer the con
—de I div.
Vn. II
div. Va.
Vc.
div., pizz. Cb.
unis., arco
se quen
ces
of what she has
3
done.
583
Act II–Scene 3
268
1.
1 2 dolce
Fl. 3
Ob.
1
E.H. 2. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1. 1 2 Hn. in F
3. 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Glock. 1
Perc. 2
3
Piano
fast arp.
Harp
Car.
And
so
must
you.
And
so
must
you.
Geo. 8
(angrily)
E.G. 3
3
Mean ing what,
1 solo I Vn.
unis.
div.
unis.
unis.
unis.
II
Va. div. Vc.
Cb.
div.
3
ex act ly?
584
Act II–Scene 3
273
Poco meno mosso
1 2 Fl. 3
Ob.
1 dolce
E.H. dolce Cl. in B
1 2 dolce
Bs.Cl. dolce
Bn.
1 2 dolce
Cbn.
1. 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
full rich Car. 3
We are so
3
at odds
in these past few years.
Our land
will
not
sur
vive
this vi
3
o lent test.
Geo. 8
E.G.
Poco meno mosso
tutti
I Vn. II unis. Va. unis., pizz.
arco
pizz.
pizz.
arco
pizz.
Vc.
Cb.
585
Act II–Scene 3
278
1.
1 2 Fl. 3
Ob.
1 to Oboe
E.H. 1., solo Cl. in B
1 2 dolce
Bs.Cl. dolce Bn.
a2
1 2
Cbn.
1.
2.
1 2 Hn. in F
3.
4.
3 4 1., solo
Tpt. in C
1 2 dolce 3
Tbn.
1 2 non cresc.
Bs.Tbn. Tuba non cresc.
Timp.
1
Perc. 2
3
Piano
Harp
Car. 3
No,
no.
We
No,
no.
We
are
beg
are
beg
Geo. 3
8
3
E.G.
Daugh
ter,
are you
3
threat en ing me?
div. I Vn.
div.
unis.
div.
II
div. Va. div. a2, arco
(div.)
Vc.
div., arco Cb.
unis.
586
Act II–Scene 3 (1.)
283 1 2 Fl. 3
1 Ob. 2 solo 3
2. Cl. in B
3
1 2
Bs.Cl. (a2) Bn.
1 2
Cbn.
(2.) 1 2 Hn. in F
(4.) 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Edward turns away as Caroline and George start to leave the courtroom. Caroline looks back at her father, then impulsively runs over to him.) 3
Car.
ging you.
Don’t fail
Geo. 8
ging you.
E.G.
unis. I Vn.
unis. II unis.
Va.
Vc.
Cb.
me.
It is all
3
in your
hands.
Act II–Scene 3
289
1.
1 2 Fl. 3
1 Ob. 2 1. 2. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
Car.
Geo. 8
E.G.
I Vn. II
Va.
Vc.
Cb.
587
588
Act II–Scene 3
295
Don’t hurry
flowing, with motion
= 72–80
1 2 Fl. 3
1 Ob. 2 1., solo Cl. in B
1 2 dolce
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Caroline gently takes her father’s hands and presses one against her cheek, kissing his palm.) (Caroline and George exit.)
(Alone in the courtroom, Edward contemplates the course of his life.)
(examining his hands)
E.G. 3
3
No thing.
Don’t hurry
= 72–80
I seeno
thing at all.
flowing, with motion
div.
pizz. I Vn.
div.
pizz.
II div.
unis.
unis.
div.
Va. unis.
Vc. 3
dolce div. Cb.
589
Act II–Scene 3
= 80
302 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
E.G. 3
No wound, no rash.
Yet they
burn.
What lights
= 80
arco
I Vn.
arco II div., arco
pizz. Va.
Vc. 3
Cb.
unis.
the
590
Act II–Scene 3
307
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Edward steps forward a few feet — thereby “leaving” the court room — and moves to a dimly lit area of the stage.) 3
E.G. 3
flame?
Is it Car o line’s
I gli altri, div. II unis. Va.
Vc.
Cb.
or
tutti (div.)
1 solo
Vn.
kiss,
Mar
g’ret’s
coals of
fire?
591
Act II–Scene 3
312
Subito più agitato
= 88
1 2 Fl. 3
1 Ob. 2
2.
a2 Cl. in B
6
a2
1 2 3 6
Bs.Cl. 6
Bn.
1 2
Cbn.
1.
1.
3.
3.
1 2 Hn. in F
Tpt. in C
3 4
1 2
3 a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp. Glock. 1
Crot. Perc. 2
3
Piano
Harp
(dismissing any questions or doubts from his mind.)
E.G.
Damn
Subito più agitato
it
to hell!
I
3
am
ap
proved.
= 88
unis. 6
I 3
3
div.
Vn.
unis.
unis.
6
II 3 6
div. unis.
Va. 3
div. Vc.
Cb.
3
unis.
6
soli
592
Act II–Scene 3
315
a2
1 2 Fl. 3 solo 1 3
Ob. 2
a2 Cl. in B
1 2
Bs.Cl. a2 Bn.
1 2
Cbn.
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
piĂš cantabile (legato) meno E.G. 3
Clear
3
ly what the world
3
3
in sists
I should
be.
Law
and cus tom en
dorse
me.
div.
unis.
div.
div.
unis.
div.
div.
unis.
div.
unis.
unis.
div.
unis. 3
I 3
Vn.
unis.
6
II 3
div.
Va.
div. Vc.
Cb.
6
div. a3
div. a2
593
Act II–Scene 3
rit.
319
Tempo primo
= 72–80
1 2 Fl. 3
1 espr.
Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(reconsidering) cant. E.G. 3
3
Yet my on
rit.
Tempo primo
ly
child
= 72–80 div., pizz.
I Vn.
div., pizz. II
Va. unis. Vc.
Cb.
looks at me
with
594
Act II–Scene 3
= 80
324 1 2 Fl.
poco 3
1 Ob. 2
Cl. in B
1 2 poco
Bs.Cl. poco Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
E.G. 3
strange
eyes;
cold
= 80
ap prais
al
where na ked
unis., arco
div. sul A sul D
arco
sul D
I Vn. II
unis., pizz. Va.
Vc.
Cb.
div., arco
3
a dor
a
tion
used
to
live.
595
Act II–Scene 3
330
accel.
Come sopra, più agitato
= 88
rit.
’
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4
a2
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
aggressively
E.G.
Am
accel.
I not a le gal man?
Come sopra, più agitato
God’s blue print,
flawed
in mere ly
= 88 unis., pizz.
I Vn.
unis.
div.
pizz.
II
unis.
div.
unis. div.
pizz.
Va.
pizz.
div. a2 Vc.
div. Cb.
unis.
div.
unis., pizz.
or
rit.
di nar y ways?
’
596
Act II–Scene 3
335
a tempo ( = 88)
Poco più largamente
1 2 Fl. 3
1 Ob. 2 a2 Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1. 1 2 Hn. in F
Tpt. in C
3. 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(assuming an aristocratic air) E.G. 3
3
Hats
still tip,
gen
tle wo men dip
a tempo ( = 88) I Vn. unis. (pizz.) II
arco, quasi non vib.
Va.
unis. (pizz.) Vc.
(pizz.) Cb.
heads cour
te ous ly
Poco più largamente
(pizz.)
unis. (pizz.)
their
arco, quasi non vib.
to me.
597
Act II–Scene 3
340
Subito tempo primo
= 72
a2
1 2 6
Fl. 3
1 Ob. 2 a2 Cl. in B
6
1 2
Bs.Cl. 6
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(introspectively) E.G.
And yet.
Subito tempo primo arco
= 72 div.
3
I Vn.
arco
div.
6
II
div. Va. 6
div. Vc.
arco Cb.
And yet.
598
Act II–Scene 3
346 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2. Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(inwardly, glancing at his hands) E.G.
They sear
like
mol ten
lead.
3
(Look at them.
Look at
arco
pizz. I Vn.
pizz.
arco
unis.
div., arco
II div., pizz. Va.
div., pizz. unis., arco Vc.
Cb.
them!)
unis.
599
Act II–Scene 3
351 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2. Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(upon reflection)
più espr.
E.G. 3
If the flaw
3
3
is in the blue
print,
why
must I choose?
If the flaw
arco
div., pizz. I Vn.
pizz.
div. a3
div. a2
arco
II
pizz. Va.
Vc.
Cb.
arco
is in the
600
Act II–Scene 3
356
lunga
1 2 lunga
Fl. 3
lunga 1 lunga
Ob. 2
lunga Cl. in B
1 2 lunga
Bs.Cl. lunga
2. Bn.
1 2 with violas
lunga
Cbn.
2.
lunga
4.
lunga
1 2 Hn. in F 3 4 lunga
Tpt. in C
1 2 lunga 3 lunga
Tbn.
1 2 lunga
Bs.Tbn. Tuba
lunga Timp. lunga 1 lunga Perc. 2 lunga 3
lunga
lunga
Piano
lunga
lunga
Harp
(The lights dim slowly.)
(Lights out) lunga
E.G. 3
blue
print—
then
I
must
choose.
1 solo tutti, div.
lunga
I
unis.
Vn.
gli altri, div. div. a2
div. a3
lunga
unis.
II lunga Va. soli
div.
unis.
div.
lunga
Vc. lunga Cb.
attacca
Act II, Scene 4:
601
In the town square of Richwood Station, Kentucky; the next morning, at dawn. = 72
Moderato (in the manner of a procession) 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2 cant. ed espr.
Bs.Cl.
Bn.
1 2
Cbn.
take straight mute
1.
with straight mute
1 2 sub.
Hn. in F
sub.
sub.
sub.
take straight with straight mute mute
sub.
3. 3 4 1.
Tpt. in C
solo
1 2 sub.
cantando
3 take straight mute Tbn.
1 2 take straight mute
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(At dawn, a group of local citizens—including the town authorities; Caroline and George; as well as some slaves from nearby plantations— processes somberly into the town square at Richwood Station. 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.) (Cilla is standing at the base of an executioner’s scaffold.)
(The hangman brings forth the condemned prisoner. Margaret’s hands, bandaged from the burns she received from the hot coals, have not yet been tied up in preparation for execution.)
(Margaret is led up the scaffold steps.)
Cilla: C.
Mar
g’ret
Mar
g’ret
Mar
g’ret
Dear
Car.
M.G.
Geo. 8
Moderato (in the manner of a procession)
= 72
div.
I Vn.
div. II
div. Va.
Vc.
Cb.
div. a2
602
Act II–Scene 4
8 1 2 Fl. 3
1 Ob. 2 1., solo Cl. in B
1 2 molto espr. solo
Bs.Cl.
Bn.
molto espr.
1 2
Cbn.
remove mute 1 2 Hn. in F
remove mute
(1.) Tpt. in C
a2, open
3 4
take straight mute
1 2 take straight mute 3 with straight mute
Tbn.
1 2 with straight mute
Bs.Tbn. Tuba
Timp.
1
Perc. 2 B.D. 3
Piano
Harp
(When Margaret reaches the top of the platform, the hangman places a noose around her neck and positions her on the gallows’ raised platform. Scattered about are a number of ropes, which will be used to secure her limbs tightly.)
C.
God
no
more.
Car.
M.G.
Geo. 8
I Vn. II unis.
div.
Va.
div. a3 Vc.
div. Cb.
603
Act II–Scene 4
15
Subito agitato
= 108
L’istesso tempo
= 108
1 2 Fl. 3
1 Ob. 2
7
a2 Cl. in B
1 2
Bs.Cl. a2 Bn.
a2
1 2
Cbn.
open 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
2.
remove mute
a2, open
remove mute
Bs.Tbn., open
1 2
Bs.Tbn. Tuba
a2 (open)
Timp.
1
Perc. 2
3
gliss. inside piano
Piano
Harp
(Edward Gaines runs in, excitedly waving a document.) C.
Car.
M.G.
Geo. 8
Edward Gaines: E.G.
Hold
Subito agitato
= 108
L’istesso tempo
on!
Hold
= 108
unis. I Vn. unis. II ord. unis. Va. quasi non vib. unis., ord. Vc. quasi non vib. Cb. quasi non vib.
unis., ord.
sub.
7
div.
unis.
604
Act II–Scene 4
poco agitato
19
= 72
a tempo
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2 Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
Car.
M.G.
Geo. 8
E.G.
on!
I’m
tell in’ you
poco agitato
to
hold
on.
= 72
a tempo
I Vn. II
Va.
div. Vc.
Cb.
605
Act II–Scene 4
= 104
25 1 2
3
Fl. 3 3
1 3
Ob. 2
3
1. Cl. in B
1 2 3
Bs.Cl. 1. Bn.
3
1 2
3
Cbn.
1.
3
1 2 Hn. in F
3
3 4 open
with straight mute
remove mute
with straight mute
remove mute
3
1 2 Tpt. in C
open
3
3 a2 Tbn.
1 2 a2
3
3
Bs.Tbn. Tuba
3
Timp.
1
Perc. 2
3
Piano
Harp
(Edward looks at the faces in the crowd, seeking some sign of approval or acknowledgement of his beneficence) C.
Car.
M.G.
Geo. 8
(in a pointed aside to George and Caroline) poco meno espr.
full voice
E.G. 3
The judg es have grant ed clem en cy‌
3
clem en cy,
And
3
if the guil
= 104
ty par ty
div.
re pents
unis.
I sub.
Vn.
unis.
3
div.
II 3
sub.
unis. div.
3
Va. sub. unis.
div.
3
unis., arco
3
Vc.
pizz. Cb.
sub. div.
606
Act II–Scene 4
30 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
fast arp.
C.
Car.
M.G.
Geo. 8
not quite full voice E.G. 3
3
3
her mon strous crime,
she
will be re man
3
ded
to my cus
3
to dy.
I Vn. II
Va.
Vc. pizz. Cb.
arco
607 Molto più animato = 108
Act II–Scene 4
35
Come sopra
= 72
1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl. 2. Bn.
1 2
Cbn.
1.
a2
1 2 Hn. in F
Tpt. in C
sub.
3. 3 4
1.
1 2
3 a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
(Upon hearing of the stay of execution—which eliminates the need for him to bind the prisoner’s body—the hangman leaves Margaret’s side and walks over to the edge of the gallows platform to accept the legal document from Edward.)
(stepping forward, thrilled)
(Overjoyed and relieved, Caroline embaces her father.)
(George shakes Edward’s hand.)
C. (still full voice)
3
Thank
Car.
Thank
God.
Thank
you.
M.G. (still full voice) Geo. 8
Thank
God.
Thank
you.
E.G.
Come sopra
Molto più animato = 108
= 72
I Vn.
unis.
div.
II
Va. div. a2
(div.)
unis.
Vc.
div. Cb.
608
Act II–Scene 4
riten.
40 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (2.) Bn.
2.
1 2
Cbn.
(a2)
1. take straight mute
1. 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 2 (a2)
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Celesta
Piano
Harp
(to Margaret) 3
port. C. 3
you, sweet Je sus.
Do you hear
that?
You will live,
daugh ter.
Praise myMak er, you will live,
Car.
M.G.
Geo. 8
E.G.
riten. I Vn. unis.
div.
II
div.
unis.
Va. div., pizz. Vc.
unis. Cb.
pizz.
609
Act II–Scene 4
= 72
45 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1. 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
less intense 3
C.
my
an
gel.
Car.
M.G.
Geo. 8
E.G.
= 72 6
6
6
6
6
6
6
6
6
6
6
6
I Vn.
unis. II
Va. arco Vc.
Cb.
610
Act II–Scene 4
= 80
47
3
3
1 2 Fl.
3
3
1 Ob. 2
Cl. in B
3
1 2
3
3
Bs.Cl.
Bn.
1 2
Cbn.
1. remove mute 1 2 Hn. in F
Tpt. in C
remove mute 3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
C.
Car. (in a state of transcendence) 3
3
M.G.
Oh,
yes.
I
will live.
I
will
live.
Geo. 8
E.G.
= 80
div.
3
unis.
I 3
3
Vn.
div.
3
3
3
II
Va. unis. Vc.
arco Cb.
pizz.
3
3
3
611
Act II–Scene 4
52
3
1.
1 2 Fl.
3
3
3
3
3
3
3
3
3
3
1 Ob. 2 3
Cl. in B
1 2
Bs.Cl. 1. Bn.
1 2
Cbn.
a2, open
a2
a2, open
a2
1 2 Hn. in F 3 4 1. Tpt. in C
1 2
3 1.
a2 Tbn.
1 2 Bs. Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
C.
Car.
M.G.
I
will
live
Geo. 8
E.G.
I 3
3
Vn.
3
unis.
3
3
3
3
div.
II 3
div.
unis.
Va. 3
3
3
3
div. Vc.
Cb.
unis.
div.
612
Act II–Scene 4
57
L’istesso tempo
= 80 (don’t drag)
1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
3 4 1. take straight mute
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
Harp
C.
Car. poco
più cantabile
3
M.G.
a
mong
the cher ished.
It will be
just
so.
Side
by
Geo. 8
E.G.
L’istesso tempo
= 80 (don’t drag)
I 6
Vn.
6
sub.
unis. II
6
espr.
6
Va. unis.
port.
Vc. arco Cb.
6
side
in our
613
Act II–Scene 4
62
1. solo
1 2 Fl. 3
1 Ob. 2 1. solo Cl. in B
1 2
Bs.Cl. 1. solo Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Celesta
(solo)
Harp
C.
Car.
3
M.G.
gar
den
it will be
just
so.
Geo. 8
E.G.
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
I Vn.
6
sub.
sub.
II
Va. div. Vc.
Cb.
sub.
sub.
arco
614
Act II–Scene 4
67
Subito più mosso
= 100
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1. 1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. Vib., hard yarn mallets 3
3
3
3
3
3
1 3
3
3
3
Pedal Perc. 2
3
Celesta
3
3
3
3
3
Harp
3
3
3
3
3
C.
Car.
quasi M.G. 3
Ringed
by a
har
Geo. 8
E.G.
Subito più mosso div. I Vn. div. II
Va. unis. Vc.
Cb.
= 100
3
vest
3
3
of
love.
No
more
bru
tal
615
Act II–Scene 4
72 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
2.: with a slight separation on each note
1.: with a slight separation on each note a2
4.: with a slight separation on each note
3.: with a slight separation on each note a2
1. 1 2
Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.)
3
3
3
1 3
3
3
3
3
3
3
3
3
3
3
(Ped.) Perc. 2
3
Celesta moderately fast arp.
Celesta
3
3
Harp
3
3
3
C.
Car.
(making eye contact with Cilla in the crowd) M.G.
days Geo. 8
E.G.
I Vn. II
Va.
Vc.
Cb.
or
nights.
3
616
Act II–Scene 4
77
Molto più lento 1.
6
= 72
6
6
6
6
6
6
6
6
6
6
6
1 2 Fl. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Ob. 2 1. Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
3 4 1., with straight mute
Tpt. in C
remove mute
1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.)
3
3
3
1
3
3
Ped. sempre Perc. 2
3
6
6
6
6
6
6
6
6
6
6
6
6
Celesta
sempre 3
Harp
3
3
3
3
3
sub. 3
3
3
3
3
C.
Car. port. 3
M.G.
Good Geo. 8
E.G.
Molto più lento
= 72
I Vn. II
Va. sub.
div.
Vc.
div. Cb.
bye,
sor
row…
3
617
Act II–Scene 4
80
(1.)
6
6
6
6
6
6
6
6
2.
6
6
6
6
1 2 Fl. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Ob. 2 (1.) Cl. in B
2.
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.)
3
3
3
1
3
3
3
3
3
(Ped.) Perc. 2
3
6
6
6
6
6
6
6
6
6
6
6
6
Celesta
3
3
3
3
3
3
Harp 3
3
3
3
3
3
C.
Car. poco M.G.
Death Geo. 8
E.G.
I Vn. II
Va.
Vc.
Cb.
is
dead
for
ev
er.
I
live.
618
Act II–Scene 4
83
(2.)
6
6
6
6
6
6
6
6
1 2 Fl. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Ob. 2 (2.) Cl. in B
1 2
Bs.Cl.
Bn.
1 2
Cbn.
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp. (Vib.) 1 (Ped.) Perc. 2
3
6
6
6
6
6
6
6
6
Celesta
3
3
3
3
Harp 3
3
3
3
C.
Car.
M.G.
Oh,
yes,
I
live!
Geo. 8
E.G.
unis.
6
6
6
6
unis.
6
6
6
6
I Vn. II
Va.
Vc.
Cb.
619
Act II–Scene 4
accel.
1.
Subito molto agitato (ma non troppo presto)
85
= 96
1 2 Fl. 3
1 Ob. 2 (2.) Cl. in B
1 2
Bs.Cl. a2 Bn.
1 2
Cbn.
1 2 Hn. in F 3 4
1., open Tpt. in C
1 2
3 a2 Tbn.
1 2 a2
Bs.Tbn. Tuba
Timp.
(Vib.)
Sus. Cym., hard yarn mallets 3
3
3
1
3
(Ped.)
Tam.
Perc. 2 B.D. 3
to Piano 6
6
6
6
Celesta
3
3
Harp 3
3
(While the crowd’s attention is focused elsewhere, Margaret deliberately trips the trap door’s lever and hangs herself.)
(Startled by the onlooker’s screams, the hangman quickly turns around and is shocked to see Margaret’s limp body dangling just inches off the ground. He rushes over in a futile attempt to save her.)
C.
Car.
M.G.
Geo. 8
E.G.
Subito molto agitato (ma non troppo presto)
accel. 6
6
6
6
6
6
6
6
div.
I Vn. II
Va. unis. Vc.
unis. Cb.
= 96
620
Come sopra, ma più pesante ed agitato
= 72
Act II–Scene 4
88 1 2 Fl. 3
1 sub.
Ob. 2
sub. Cl. in B
1 2 sub.
sub.
sub.
sub.
Bs.Cl. (a2) Bn.
1 2 sub.
Cbn. (marc.)
1 2 Hn. in F
sub.
sub.
3 4 sub.
sub.
sub.
sub.
sub.
sub.
1 2 Tpt. in C 3
Tbn.
1 2 sub.
sub.
(a2) Bs.Tbn. Tuba
2 drums Timp.
(Sus. Cym.)
l.v.
(Tam.)
l.v.
1
Perc. 2
3
Piano
Piano
8ba
Harp
port. C.
Mar
g’ret…
Mar
g’ret…
Car.
M.G.
Geo. 8
E.G.
Come sopra, ma più pesante ed agitato
= 72
unis. I
Vn. II
Va.
Vc. marc. Cb. marc.
div.
No!
621
Act II–Scene 4
93 1 2 Fl. 3
1 Ob. 2 1. Cl. in B
1 2 sub.
Bs.Cl. sub. 1. Bn.
1 2 sub.
Cbn.
1 2 Hn. in F
sub. 3 4 sub.
1 2
3
sub.
Tpt. in C
molto espr.
3 sub. Tbn.
1 2 sub.
molto espr.
sub.
3
a2
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
to Celesta
Piano
8ba
Harp
(Caroline noteces Margaret’s scarf in her father’s front pocket. She removes it, silently ascends the scaffold, and reverently ties it around Margaret’s waist.) C.
Mar
g’ret!
Dear
God,
No
more.
Car.
M.G.
Geo. 8
E.G.
div. I
Vn. unis.
div. II
div.
unis.
Va.
div. Vc. with a slight separation unis.
div.
Cb. with a slight separation
unis.
622
Act II–Scene 4
98
1., solo
Agitato
= 96
lunga
1 2 espr.
Fl.
lunga
3 lunga 1 Ob.
lunga 2
Cl. in B
1., solo
lunga
espr.
lunga
1 2
Bs.Cl. lunga Bn.
1 2 lunga
Cbn.
lunga 1 2 Hn. in F
lunga 3 4 lunga
Tpt. in C
1 2 lunga 3 lunga
Tbn.
1 2 lunga
Bs.Tbn. Tuba
lunga Timp. lunga 1 lunga Perc. 2 lunga 3
Celesta
to Piano
lunga
lunga
Celesta
lunga
lunga
Harp
lunga C.
lunga Car.
lunga M.G.
lunga Geo. 8
lunga E.G.
Agitato
= 96
lunga
I Vn.
lunga II lunga
Va. lunga Vc. lunga Cb.
(no break)
623
Act II–Scene 4
102 Quasi
adagio
= ca. 63–66
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 sempre sotto voce
Bs.Cl. sempre sotto voce Bn.
1 2 sempre sotto voce
Cbn. sempre sotto voce
1 2 Hn. in F
Tpt. in C
3 4 1 2
3
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1 Tam. Perc. 2 possibile B.D. 3 possibile
Piano
Piano
8ba
Harp
(Edward walks away.) C.
Car.
M.G.
Geo. 8
(stunned; looking at his hands)
E.G.
No breeze,
Quasi adagio
no cool
stream
calm
these
palms.
Un healed,
there is
no
peace.
= ca. 63–66
I Vn. II
Va.
Vc.
div. Cb.
attacca
Epilogue
624 110 Graceful,
tenderly, don’t hurry (grazioso e teneramente)
= ca. 80
1 2 Fl. 3
1 Ob. 2
1 2
Cl. in B
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
fast arp. always
Harp
(The hangman unties the noose around Margaret’s neck, and holds her in his arms before the townspeople and slaves. The light begins to dim; eventually, all that is visible is Margaret’s body, which seems to float alone and above the crowd.) C.
Sweet
Je
sus,
help
us
break
through
the
Sweet
Je
sus,
help
us
break
through
the
Sweet
Je
sus,
help
us
break
through
the
Sweet
Je
sus,
help
us
break
through
the
Je
sus,
help
us
break
through
the
Sweet
Je
sus,
help
us
break
through
the
Sweet
Je
sus,
help
us
break
through
the
Sweet
Je
sus,
help
us
break
through
the
Sweet
Je
sus,
help
us
break
through
the
Car.
Geo. 8
The Slaves: S
A S.C. T 8
div.
unis.
B
Sweet The Townspeople: S
A T.C. T 8
div.
unis.
B
Graceful, tenderly, don’t hurry (grazioso e teneramente) unis.
= ca. 80
I Vn.
div. II div. a2
Va. unis. Vc. div., pizz. Cb. arco
div. a2
625
Act II–Epilogue
116 1 2 Fl. 3 solo 1 Ob. dolce 2
1 2
Cl. in B
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
night. Car.
Geo. 8
div.
unis.
S
night.
Chast
ened
by div.
Thy
ho
ly
might,
unis.
A
night.
S.C.
Chast
ened
by
Thy
ho
ly
might,
Chast
ened
by
Thy
ho
ly
might,
ened
by
Thy
ho
ly
might,
Thy
ho
ly
might,
T 8
night. div.
unis.
B
night.
Chast div.
unis.
S
night.
Chast
ened
by div.
unis.
A
night.
T.C.
Chast
ened
by
Thy
ho
ly
might,
Chast
ened
by
Thy
ho
ly
might,
Chast
ened
by
Thy
ho
ly
might,
T 8
night. div.
unis.
B
night.
div.
unis.
I Vn.
div. a2 II
div. a2 Va.
Vc.
Cb.
div. a2
626
Act II–Epilogue
122 1 2 Fl. 3
1 Ob. 2
1 2
Cl. in B
Bs.Cl.
1 2
Bn.
Cbn.
1., solo 1 2 Hn. in F
dolce 3 4 1 2
Tpt. in C 3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
bless
ed
sight.
Car.
Geo. 8
Slaves and Townspeople: div.
unis.
div.
S
Guid
ed
by
Thy
ho
ly
light
in
div.
to
unis.
Thy
bless
ed
sight.
div.
A S.C. T.C.
Guid
ed
by
Thy
ho
ly
light
Guid
ed
by
Thy
ho
ly
light
in
to
Thy
bless
ed
sight.
in
to
Thy
bless
ed
sight.
Thy
bless
ed
sight.
T 8
unis.
div.
unis.
B
Guid
ed
by
Thy
ho
ly
light
in
to
I Vn.
div. a3
div. a2
unis.
II div. a2 Va.
Vc.
Cb.
div. a2
627
Act II–Epilogue
130
1., solo
1 2 with Vn. I
Fl. 3 solo 1 Ob.
dolce 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1., solo
1. 1 2 Hn. in F
3. 3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
Caroline: Car.
Have
mer
cy.
Have
mer
cy
on
us.
Help
us
break
Have
mer
cy.
Have
mer
cy
on
us.
Help
us
break
mer
cy.
Have
mer
cy
on
us.
Help
us
break
George: Geo. 8
unis. S
Have
unis. div. A
Have
S.C. T.C.
mer
cy.
Have
mer
cy
on
div.
us.
Help
us
break
unis.
unis.
div.
T 8
Have
mer
cy.
Have
mer
cy
on
div.
us. unis.
Help
us
break
div.
B
Have
mer
cy.
Have
mer
cy
on
us.
Help
I sub.
Vn.
div.
div. a2
II
div. a2 Va.
Vc.
Cb.
div. a2
us
break
628
Act II–Epilogue
138 1 2 Fl. 3 solo 1 Ob.
dolce 2
Cl. in B
1 2 poco
Bs.Cl.
1 2
Bn.
poco Cbn.
1 2 Hn. in F
poco 3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
Soon, Car.
through
the
night.
through
the
through
the
night.
through
the
night.
through
the
through
the
Geo. 8
night.
S
A S.C. T.C. T 8
night.
B
I Vn.
poco II poco
Va. poco Vc. poco
Cb. poco
night.
soon
my
bold
heart
ed
girl,
629
Act II–Epilogue
L’istesso tempo
poco rit.
146
= ca. 80
1 2 Fl. 3
1 Ob. 2 2. Cl. in B
1 2 meno
Bs.Cl. meno 1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp. Glock. 1 Crotales Perc. 2
3 8va
Piano
(non arp.)
Harp
meno C.
I’ll
be
there.
I’ll
be
there.
Car.
Geo. 8
* S
div. *
Break
through
the
night,
Break
through
the
night,
Break
through
the
night,
the
night,
A S.C. T.C.
*
T 8
div. *
unis.
B
Break
poco rit.
through
L’istesso tempo
= ca. 80
I sotto voce div.
Vn. unis. II
sotto voce div. a3
unis.
Va. sotto voce Vc. unis., arco
sotto voce
Cb. sotto voce
* The SATB White Chorus should sing together with the Black Chorus in bars 212 through 237, but must not be seen.
630
Act II–Epilogue
154 1 2 Fl. 3
1 Ob. 2 2. Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp. (Glock.) 1 (Crot.) Perc. 2
3
8va
8va
Piano
Harp
C.
Car.
Geo. 8
div.
unis.
quasi
S
break
through
the
night;
unis.
Let
her
lin
div.
ger
a
while
ger
a
while
ger
a
while
a
while
quasi
A S.C. T.C.
break
through
the
night;
Let
her div.
lin unis.
quasi
T 8
break div.
through
the
night;
unis.
Let
her
lin
unis. quasi
div.
B
break
I Vn. II
Va.
Vc.
Cb.
through
the
night;
Let
her
lin
ger
162
631
Act II–Epilogue
L’istesso tempo = ca. 80
1 2 Fl. 3
1 Ob. 2 (2.) Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
1 2 Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc. 2
3
Piano
Harp
C.
Car.
Geo. 8
S
and
ride
the
light,
and
ride
the
light.
and
ride
the
light,
and
ride
the
light.
A
S.C. T.C.
div.
unis.
div.
T 8
and
ride
the
light, div.
and
ride
the
unis.
light. div.
B
and
ride
the
L’istesso tempo = ca. 80
light,
and
ride
the
light.
div.
I Vn.
sub. II sub. div. a3
Va.
Vc. sub. Cb. sub.
632
Act II–Epilogue
169 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
Cbn.
a2 1 2 Hn. in F
a2 3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tuba
Timp. Vib. 1 Pedal
Pedal
Chimes
Perc. 2 B.D. 3
Piano
8ba
Harp
(The curtain descends slowly.) C.
Car.
Geo. 8
S
A S.C. T.C. T 8
B
1 solo
tutti, div.
1 solo
tutti, div.
2 soli, div.
tutti, div.
I Vn.
sub.
2 soli, div.
tutti, div.
II sub. unis. Va.
div. Vc. sub. div., pizz.
unis., arco
div., pizz.
Cb. arco
sub.
arco
unis., arco
div. a2