Richard Danielpour

MARGARET GARNER
opera in two acts

Libretto by
Toni Morrison

Piano Vocal score

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
Piano Vocal score
Act I
Prologue................................................................................1
Scene 1................................................................................21
Scene 2................................................................................95
Scene 3..............................................................................149
Act II
Scene 1..............................................................................201
Scene 2..............................................................................240
Intermezzo.........................................................................269
Scene 3..............................................................................274
Scene 4..............................................................................313
Epilogue.............................................................................322

Commissioned by the Michigan Opera Theatre,

Cincinnati Opera Association,
and The Opera Company of Philadelphia.

Associated Music Publishers, Inc.

New York, NY
 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.

The composer has approved the following cuts:

Act I, Scene 3: bars 136-144 inclusive
Act I, Scene 3: bars 248-250 inclusive
Act I, Scene 3: bars 308-327 inclusive
Act I, Scene 3: bars 493-501 inclusive
Act II, Scene 3: bars 259-263 inclusive

These cuts are marked as “Vide” in the score and parts.

Also, the composer suggests a single intermission of no more than 20 minutes.

 Synopsis

Act I, Scene 1: Kentucky, April 1856

The opera begins in total darkness, without any sense of location or time period. A large group of
slaves gradually becomes visible, shackled and caged on a trading block. In a call-and-response song, they
beg for deliverance from their suffering.
The scene shifts to the lively town square in Richwood Station, Kentucky; it is April 1856. In
preparation for an auction, members of slave families are separated from each other, so that they can be
sold individually. The local townsfolk bid enthusiastically for these “picknies and mammies and breeders
and bucks,” even though they consider them nothing more than personal burdens in need of civilizing.
In the crowd of onlookers is a handsome man named Edward Gaines, a native of the region but
absent for twenty years, accompanied by his daughter Caroline. He interrupts the auction when an “old
estate rich in history” is brought to the block, asserting that this property, Maplewood Plantation, belonged
to his deceased brother and therefore cannot be sold. As no one disputes the claim, Gaines acquires
Maplewood. However, the self-assured Gaines is dismayed to learn that none of the townsfolk remembers
him, only his well-respected older brother. The younger Gaines informs them that he has survived life’s
challenges; once happily married, he now is a widower with a child to raise. He grandiosely proclaims that
he will fill Maplewood with a multitude of possessions, and announces that he intends to retain all the
plantation’s “goods and property” (i.e., its slaves). The enslaved who were waiting to be auctioned therefore
are reunited with their families.
While Gaines signs the ownership papers for Maplewood Plantation, the slaves celebrate with
dance and music. The singing of Margaret Garner, an attractive young slave, captivates Gaines; after the
crowd disperses, he takes her red scarf, which she had dropped accidentally. He nostalgically recalls his
childhood, even though he had been forced to leave town under purportedly disreputable circumstances.
He promises himself that this time the townsfolk will not forget him.

Scene 2: Harvest time, about six months later

Singing a wry, somewhat defiant work song, the slaves head back to their quarters after a day
toiling in the fields. Cilla, the mother of Margaret’s husband, Robert, joins the couple for supper; their
spirits are light-hearted while they prepare the evening meal. Yet when Margaret insists upon seeing her
baby immediately after saying grace, Cilla, warm-hearted yet world-wise, cautions her against such an
intense attachment to the child. Margaret persists, however, and sings a Lullaby to the baby while Robert
and his mother eat dinner. Casey, the treacherous foreman at Maplewood Plantation, unexpectedly appears
at the cabin and delivers shocking news: Robert is being sent away that night to another plantation.
Margaret is to remain at Maplewood, but now will work in the plantation’s main house. When Casey
tosses a fancy dress at Margaret, it is clear that Gaines expects sexual favors from her. Robert voices his
anger, but Margaret reassures him of her faithfulness, and the two pledge their love.

Scene 3: Maplewood Plantation, in the early summer of 1858

In the parlor at Maplewood Plantation, a reception is being held to celebrate the marriage of
Caroline Gaines to George Hancock. The guests include the local townspeople, whom Edward is very
eager to impress. However, a discussion at the party about the nature of love quickly develops into a
heated disagreement between Edward and George. To break the tension, the newlyweds begin the reception’s
traditional “first dance.” The guests quickly join in the waltz; ironically, only Gaines is without a partner.
When the dance concludes, Gaines graciously toasts the couple. But then Caroline accidentally
makes matters worse again by asking Margaret, now the house servant, for her opinions on love. The

i
guests are outraged that a person of “quality” would ask a slave for her opinion. To show their disapproval
of Gaines, and the social manners he seemingly allows at Maplewood, the haughty guests leave the party
abruptly. Distressed by their rudeness, Gaines lashes out at Caroline, who ruined what he had hoped
would be a proud moment; now, he claims, his neighbors have “more reason to gossip and despise” him.
He dismisses her attempts to mollify him, yet watches wistfully as the newlyweds leave for their honeymoon.
After the party, Gaines notices Margaret returning to clear the glasses, and lingers to observe her.
Unaware of his presence, she continues to reflect upon the nature of love. Edward emerges from his hiding
place and accosts her. She resists his advances and begins to struggle vigorously. But Edward is determined
to have his way; he overpowers her and drags her forcibly from the parlor.

Act II, Scene 1: Maplewood Plantation; Sunday, February 24, 1861, in the early evening
Margaret, whose life has been sustained by her quest for freedom, begins to cry when Robert arrives
and confirms that they are scheduled to leave in just three hours. He attempts to calm her anxieties, and
Margaret is overwhelmed by love for her husband, a man of great moral courage and strength of character.
Suddenly, Margaret notices that Cilla is not packing any of her own things. In spite of Margaret’s pleas to
join them, Cilla proclaims that she is too old to begin a new life; her joy is simply to see her son’s family
safe and living elsewhere. Although sympathetic with Margaret and Robert’s dreams for a free life, Cilla
has made peace with her own, and sings of her reliance upon God.
Footsteps are heard approaching, and Cilla and Margaret are terrified when Casey storms into
the cabin. At the same time, Robert inadvertently walks into the trap when he returns with the
children. Casey pulls out a pistol, and Robert impulsively attacks him. A violent struggle ensues, but
Robert hesitates and cannot bring himself to shoot Casey. Yet when Casey calls Margaret a “black slut,”
Robert strangles him to death. Cilla instantly understands that Robert’s action has doomed the family,
and she and Margaret beg him to run, regardless of any personal danger they might be in. Cilla drags
Casey’s body away; Robert and Margaret sing of their love and make plans to meet later.

Scene 2: In the Free State of Ohio, March 1861

Three weeks have passed since Robert and Margaret successfully escaped from Maplewood, and
crossed the frozen Ohio River on the Kentucky border to reach Cincinnati, a city in the “Free State” of
Ohio. Now both outlaws, they live with their children in an underground shed, in hopes of avoiding
recapture by their masters. Standing outside underneath a huge elm tree, Robert and Margaret discuss
speculation about the country’s new President. Margaret shudders when she hears of Lincoln’s belief
that the “Union is Sacred” and that “A House Divided Cannot Stand,” for she knows that means war is
inevitable.
Ever hopeful, and sharing Margaret’s dream for a better future, Robert asserts that freedom is
nearly theirs–after all, they now live in a state whose name means “beautiful”! Here, their children will be
able to grow up with dignity, and their own marriage will be respected as sacred. He will protect Margaret
always, just as the elm tree always protects them.
Only moments after Robert insists that they return to the shed because of the potential dangers
facing them outside, Edward Gaines arrives, accompanied by slave catchers. He pounds on the shed door,
promising that no harm will be done; he just wants to claim his property. Intoxicated, Gaines breaks down
the shed door. An exchange of gunfire leaves neither man hurt, but the slave catchers tie up Robert. As he
is being dragged outside, Gaines grabs Margaret. He laments that his bed is cold; he wants her to heat it
up, just as she once did with hot coals. Breaking loose, Margaret recklessly plunges her bare hands into the

ii
fire and grabs several pieces of coal; she lunges at Gaines, attempting to burn him. Gaines yells that she
can pretend to be as crazy as she likes, he doesn’t care even if she mangles herself in the process. Margaret
sees Robert outside, standing on a tall box underneath the elm tree. A noose has been placed around his
neck, and he is surrounded by fiery torches planted in the ground. His cries of love to her are cut off when
one of Gaines’s men kicks the box away. Determined that her children not be forced to endure a lifetime
filled with slavery’s horrors, Margaret violently attacks and murders them: first slitting the throat of her
daughter, then stabbing the younger one. Shocked by the bloody carnage, Gaines and his men surround
Margaret.
Intermezzo:
In this moment “out of time,” total darkness envelops the stage. Gradually, the image of Margaret,
alone, becomes visible. With defiant and noble grandeur, she embraces her life’s circumstances.

Scene 3: In a Courtroom, in early April 1861

Margaret Garner sits in the middle of a courtroom, surrounded by militia officers. After capturing
the runaway slave in Ohio, Edward Gaines had her transported back to Kentucky, where she now stands
trial for the “theft and destruction” of the two dead children, considered his property. Local citizens fill the
courtroom gallery, for they have followed the case with great interest and curiosity, and eagerly await
Margaret’s sentencing by the three presiding judges.
Caroline Gaines tries to rationalize with her father, and contends that Margaret stands wrongly accused:
a mother who kills her children cannot be said to steal them. The proper charge, she insists, is murder–for
Margaret killed human beings. The judges argue vehemently that Margaret’s case is one of “property” and
the financial loss suffered by Gaines. Furthermore, Margaret has no legal right or claim to her children;
slaves own nothing, least of all their master’s other slaves. The onlookers concur rowdily. Laughing cynically
at Caroline’s perceived naiveté, the judges add that the veracity of their beliefs is confirmed and defended
by the Bible.
Caroline senses the hopelessness of the situation, and makes a personal appeal to her father on Margaret’s
behalf. She pleads that a man of her father’s stature could influence the debate on slavery that is tearing
apart the country, as well as their family. Margaret is not the only one guilty of a crime, she admonishes;
everyone bears some of the blame for the discord. But Gaines merely reiterates that he has committed no
crime; society and the law affirm his behavior. When the judges declare that Margaret is to be executed for
theft, the onlookers express relief–for it confirms their deeply held conviction that they are superior to
Margaret. Having sat quietly throughout the proceedings, Margaret suddenly rises from her chair, and
glares at those in the courtroom. She states emphatically that indeed she is not like them; she is a unique
individual over whom no one present has any power. Citing their full legal authority, the judges officially
sentence Margaret to be executed by sunrise. They quickly recess to their chambers, and the condemned
prisoner is led from the courtroom. Dismayed by the verdict, Caroline again begs her father to urge the
court for clemency. Betraying no sign of emotion, although secretly disturbed by the trial, Edward coolly
states that Margaret must suffer the consequences of what she has done. Caroline retorts that her father
also must accept responsibility for his actions, then walks out.
Left alone in the silent courtroom, Edward Gaines contemplates the course of his life, and wonders
why he feels so troubled. His relationship with Caroline, once so close and loving, has deteriorated badly.
Feeling under tremendous stress, Gaines realizes that he must choose between the love of his radical
daughter and the traditional way of life to which he has always aspired.

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

—Mary Lou Humphrey

iv
 MARGARET GARNER
Opera in two acts
Act I, Scene 1: Prologue
Toni Morrison Kentucky, April 1856. Richard Danielpour
(2003)
(The opera begins in total darkness, without any sense of location or time period.)

Misterioso
= 60–63

r. h.
r. h.

(Out of the blackness, a large group of

slaves gradually becomes visible. They
are huddled together on an elevated
platform in the center of the stage.)

13
3 6

3
3

espr.

Premiere: 5/2006 Copyright © 2005 by Associated Music Publishers, Inc. (BMI) and
Revised: 04/2007 G. Schrimer, Inc. (ASCAP) New York, NY Property of:
International Copyright Secured. All Rights Reserved. G. Schirmer Rental Library
Bellvale Road
Warning: Unauthorized reproduction of this publication is Chester, NY 10918
prohibited by Federal law and subject to criminal prosecution. SUPPLIED ON LOAN ONLY
 2 Act I–Scene 1

17 Cilla:
3

No, no more. No

Margaret Garner:
3

No, no more. No

Robert Garner:

3
No, no more. No
*The Slaves (“Black Chorus”), visible, on stage:
*The Townspeople (“White Chorus”), unseen:
3
S

No, no more. No

3
A

No, no more. No
Ch.

T
3
8
No, no more. No

B
3
No, no more. No

*Although they must not be seen in the opening prologue (mm. 17 through 184),
the SATB White Chorus should sing the opening chorus with the Black Chorus.
 Act I–Scene 1 3

22 espr.

C.

3
more, not more. Please, God, no

espr.
3
M.G.

more, not more. Please, God, no

espr.

R.G.
3
more, not more. Please, God, no

espr.

3
more, not more. Please, God, no
espr.
3
A

more, not more. Please, God, no

Ch.
espr.

T
3
more, not more. Please, God, no

espr.

B
3
more, not more. Please, God, no
 4 Act I–Scene 1

27
3
gl. port.
C.

more. No, not more. Dear God, no more!

3
M.G. gl. port.

more. No, not more. Dear God, no more!

gl.

R.G. por
t.
3
more. No, not more. Dear God, no more!

3
gl. port.
S

more. No, not more. Dear God, no more!

3
A gl. port.

more. No, not more. Dear God, no more!

Ch.

gl.
T port.
8 3
more. No, not more. Dear God, no more!

gl.

B port.
3
more. No, not more. Dear God, no more!
 Act I–Scene 1 5

Con energia, with rhythmic vitality

= 152
32 sotto voce
C.

sotto voce
M.G.

sotto voce

R.G.

sotto voce
S

sotto voce
A

Ch.
sotto voce

sotto voce

Con energia, with rhythmic vitality

= 152

sempre stacc.
 6 Act I–Scene 1

38

47 with an “edge”, confident, defiant

C.

No, no, no, no, no more! No, no, no, no, no more!

with an “edge”, confident, defiant

M.G.

No, no, no, no, no more! No, no, no, no, no more!

with an “edge”, confident, defiant

R.G.

No, no, no, no, no, no more! No, no, no, no, no,

with an “edge”, confident, defiant

S

No, no, no, no, no more! No, no, no, no, no more!
with an “edge”, confident, defiant
A

No, no, no, no, no more! No, no, no, no, no more!
Ch.
with an “edge”, confident, defiant

No, no, no, no, no, no more! No, no, no, no, no,

with an “edge”, confident, defiant

No, no, no, no, no, no more! No, no, no, no, no,

sempre stacc.
 7

53

C.

No, no, no, no, no, no more! No, no, no, no, no, no, no more!

M.G.

No, no, no, no, no, no more! No, no, no, no, no, no, no more!

R.G.

No, no, no, no, no, no more! No, no, no, no, no,

No, no, no, no, no, no more! No, no, no, no, no, no, no more!

No, no, no, no, no, no more! No, no, no, no, no, no, no more!
Ch.

No, no, no, no, no, no more! No, no, no, no, no,

No, no, no, no, no, no more! No, no, no, no, no,
 8 Act I–Scene 1

59

C.

No, no, no, no, no, no, no more!

M.G.

No, no, no, no, no, no, no more!

R.G.

more. No, no, no, no more!

No, no, no, no, no, no, no more.! No, no, no, no, no more!

No, no, no, no, no, no, no more! No, no, no, no, no more!
Ch.

more. No, no, no, no more! No, no, no, no, no more!

more. No, no, no, no more! No, no, no, no, no more!
 Act I–Scene 1 9

65
sub.
S

No, no, no, no, no more! No, no, no, no, no, no more!

sub.
A

No, no, no, no, no more! No, no, no, no, no, no more!
Ch.
sub.
T

No, no, no, no, no more! No, no, no, no, no, no more!

sub.

B
No, no, no, no, no more! No, no, no, no, no, no more!

marcato sub.

Margaret:
71

An kles cir cled

sempre stacc.
 10 Act I–Scene 1

77

M.G.
3
with a chain.

No, no, no, no, no more. No, no more!

No, no, no, no, no more. No, no more!

Ch.

T
8
No, no, no more. Please, God, no, no more!

No, no, no more. Please, God, no more!

84

M.G.

Skin bro ken by

 Act I–Scene 1 11

91
3 .
port
M.G.

a cane.

No, no, no, no, no, no, no more!

Ch. No, no, no, no, no, no, no more!

T
8
No, no, no more. No more.

No, no, no more. No more.

97

M.G.

Blood y

No, no, no, no, no more!

Ch. No, no, no, no, no more!

T
8
No, no, no, no, no more!

No, no, no, no, no more!

 12 Act I–Scene 1

103

M.G.

pil lows

sub.

No, no, no, no, no, no more! No, no, no.

sub.
A

No, no, no, no, no, no more! No, no, no.

Ch.
sub.

T
8
No, no, no, no, no, no more! No, no, no.

sub.

No, no, no, no. Please, God, no more!

110

M.G.

un der my head.
 Act I–Scene 1 13

115

M.G.

No, no, no more. No, no more. No, no more. No, no, no.

Ch. No, no, no more. No, no more. No, no more. No, no, no.

T
8
No, no, no more. No, no more. No, no more. No, no, no.

No, no, no more. No more. Dear God, no more!

120

M.G.

Wish ing, pray ing I

No, no, no, no, no, no, no more!

A

Ch. No, no, no, no, no, no, no more!

T
8
No, no, no, no, no, no, no more!

Dear God, no more. No more!

sotto voce
 14 Act I–Scene 1

127

M.G.
3
was dead.

sub.

Cilla:
133

No, no, no, no, no more! No, no, no, no, no more!

Robert:

No, no, no, no, no more! No, no, no, no, no more!

S
No, no, no, no, no more! No, no, no, no, no more!

No, no, no, no, no more! No, no, no, no, no more!
Ch.

T
8 No, no, no, no, no more! No, no, no, no, no more!

B
No, no, no, no, no more! No, no, no, no, no more!
 Act I–Scene 1 15

139

C.

No, no, no, no, no, no! Dear God, please, no more!

R.G.

No, no, no, no, no, no! Dear God, please, no more!

No, no, no, no, no, no! Dear God, please, no more!

No, no, no, no, no, no! Dear God, please, no more!
Ch.

T
8
No, no, no, no, no, no! Dear God, please, no more!

No, no, no, no, no, no! Dear God, please, no more!
 16 Act I–Scene 1

144

147

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

Dear God, no more, not more. Please, no more.

Dear God, no more, not more. Please, no more.

Ch.

T
8 Dear God, no more, not more. Please, no more.

B
Dear God, no more, not more. Please, no more.
Don’t hurry, più pesante ( = 144 sempre)

154 Margaret:

Blood y pil lows un der my head;

sim.
 Act I–Scene 1 17

158

M.G.

wish ing, pray ing I was dead.

Cilla:
161

Please God, no more.

Robert:

Please God, no more.

Please God, no more.

Please God, no more.

Ch.

T
8
Please God, no more.

Please God, no more.

 18 Act I–Scene 1

Margaret:
164

Mas ter’s brand is fol low ing me;

166 full, rich

M.G.

rope can swing from an y old tree.

Cilla: pleading
169

Please God, no more.

Robert: pleading

Please God, no more.

pleading

Please God, no more.

pleading
A

Ch. Please God, no more.

pleading

T
8 Please God, no more.
pleading

Please God, no more.

 Act I–Scene 1 19

172

176

C.

Please God, no more. Please God,

R.G.

Please God, no more. Please God,

Please God, no more. Please God,

Please God, no more. Please God,

Ch.

T
8
Please God, no more. Please God,

Please God, no more. Please God,

 20 Act I–Scene 1

molto
180

C.

no more. No more!

molto

R.G.

no more. No more!

molto

no more. No more!

molto

no more. No more!
Ch.
molto

T
8
no more. No more!

molto

no more. No more!
 21
Act I, Scene 1:
(The lights go up, and illuminate the entire stage. The “elevated platform” (In preparation for the auction, members of slave
on which the slaves stood at the beginning of the opera is revealed now to families are being separated from one another,
be a trading block situated in the middle of the busy town square in Richwood grouped according to gender and age.)
Station, Kentucky. It is April 1856. The local townspeople are gathering
eagerly for a slave auction. Also in the crowd is Edward Gaines, accompanied
by his daughter Caroline.)

185

sim.

188

191

194 rall.
 22 Act I–Scene 1

= ca. 104 Auctioneer:

198 come recitativo, freely

8
3 3
By the pow ers in vest ed and by cus toms in gest ed I

201 rall. a tempo

Auc.
8
3
here by de clare and al low:

204

Auc.
8
The

6 6
6

206

Auc.
3 3 3
8
sale of all goods and cat tle and wood land,

espr.
 Act I–Scene 1 23

208

Auc.
8 3
slaves and plant ing fields dark with loam.

210

Auc.
8

6 6

espr. 3

212

Auc.
8
I here by de clare and al low

6 6

3 3

214

Auc.
3 3 3 3 3
8
an old es tate rich in his t’ry is now on the mar ket for a gen tle man’s
 24 Act I–Scene 1

216

Auc.
8
pock et, a prize in

espr. 3

219

Auc.
8 3
the whole coun ty.

6 6
6
3

221

Auc.
8 3 3 3
Your shrewd eyes will light up dol lar for dol lar,

3
espr.

223

Auc.
3 3 3 3
8
pound for pound,thebest est val ue for miles a round.

3
 Act I–Scene 1 25

(A foreman approaches the slaves.)

225

espr. 3

(The foreman cracks his bullwhip, and the slaves immediately

assume different positions for inspection: they bare their teeth,
expose their backs, stretch out their necks, etc.)

Subito più mosso = 116

228

6 6

Slapstick

6 6

The Townspeople (“White Chorus”):

232

How much? How much?

How much? How much?

T
8
How much? How much?

How much? How much?

6 6
 26 Act I–Scene 1

234

S
3 3 3
3
For pick nies and mam mies and breed ers and bucks? How much? How much?
3

A
3 3 3
T.C. For pick nies and mam mies and breed ers and bucks? How much? How much?

T
3 3 3
8 3
For pick nies and mam mies and breed ers and bucks? How much? How much?

B
3 3
3 3
For pick nies and mam mies and breed ers and bucks? How much? How much?

6 6

(Slapstick)

6 6

236

S
3 3 3
3
What say? What say? For milk ing and plow ing and spin ning and
3

A
3 3 3
T.C. What say? What say? For milk ing and plow ing and spin ning and

T
3 3 3
8 3
What say? What say? For milk ing and plow ing and spin ning and

B
3 3
3 3
What say? What say? For milk ing and plow ing and spin ning and

6 6

6 6
 Act I–Scene 1 27

238 tutta forza

S
3
can ning and such. O, what a prob lem to de
tutta forza
A

3
can ning and such. O, what a prob lem to de
T.C.
tutta forza

T
8 3
can ning and such. O, what a prob lem to de
tutta forza

B
3
can ning and such. O, what a prob lem to de

241

cide. O, what a

cide. O, what a
T.C.

T
8
cide. O, what a

cide. O, what a

6 6 6
 28 Act I–Scene 1

243

S
3
bur den on our shoul ders: for

3
A

bur den on our shoul ders: for

T.C.

T
3
8
bur den on our shoul ders: for

B
3
bur den on our shoul ders: for

6 6 6
Slapstick

246

S
3 3 3
3 3
those who have no thing, are no thing, do no thing ex cept for we
3 3

A
3 3 3
T.C. those who have no thing, are no thing, do no thing ex cept for we

T
3 3 3
8 3 3
those who have no thing, are no thing, do no thing ex cept for we

B
3 3 3
3 3
those who have no thing, are no thing, do no thing ex cept for we
3
 Act I–Scene 1 29

249

S
3 3 3
3 3
who clothe them and feed them and let them sleep
3 3 3

A
3 3
who clothe them and feed them and let them sleep
T.C.

T
3 3 3
8 3 3
who clothe them and feed them and let them sleep

B
3 3 3
3 3
who clothe them and feed them and let them sleep

3 3

252

S
3 3 3
3
when they are ill. We teach them all they
3

A
3 3 3
when they are ill. We teach them all they
T.C.

T
3 3 3
8 3
when they are ill. We teach them all they

B
3 3
3 3
when they are ill. We teach them all they
3

3 3 3
3
 30 Act I–Scene 1

255

S
3 3
3
will ev er know, all they will ev er know of God and work and
3

A
3 3
will ev er know, all they will ev er know of God and work and
T.C.

T
3 3
8 3
will ev er know, all they will ev er know of God and work and

B
3 3
3
will ev er know, all they will ev er know of God and work and

3 3
(Hns.)

259

home!

T.C. home!

T
8
home!

home!

3 3 3 3 3 3 3 3 3
3
 Act I–Scene 1 31

263 Auctioneer: molto

8
3 3 3
By the pow ers in vest ed and by cus toms in gest ed, I

265

Auc.
8
3 3 3
here by de clare and al low this sale to be now o pen!

268

S
3
What say? What say? For

A
3
What say? What say? For
T.C.

T
3
8
What say? What say? For

B
3
What say? What say? For

(Hns.)
 32 Act I–Scene 1

271

S
3 3
3 3
milk ing and plow ing and spin ning and can ning and such.
3

A
3 3
3
T.C. milk ing and plow ing and spin ning and can ning and such.

T
3 3
8 3 3
milk ing and plow ing and spin ning and can ning and such.

B
3 3
3 3
milk ing and plow ing and spin ning and can ning and such.
3

3 3

274
3
S

How much? How much? For

3
A

How much? How much? For

T.C.
3
T
8
How much? How much? For

How much? How much? For

3
 Act I–Scene 1 33

277

S
3 3
3 3
pick nies and mam mies and breed ers and bucks, who know no thing of
3 3

A
3 3
pick nies and mam mies and breed ers and bucks, who know no thing of
T.C.

T
3 3
8 3 3
pick nies and mam mies and breed ers and bucks, who know no thing of

B
3 3 3 3
pick nies and mam mies and breed ers and bucks, who know no thing of

3 3 3 3

280

God and home!

God and home!

T.C.

T
8
God and home!

God and home!

 34 Act I–Scene 1
(Auctioneer brings forth the first slave for sale.)
rit.
283 3 3 3 3

Poch. meno mosso = 96–104

Auctioneer:
287 come recitativo, freely chanted
port.

8 3 3 3
Now this here is Cil la. A bout fif ty, she thinks. A cook,a child nurse,laun dress and seam stress.

colla voce

ben misurato accel.

290 freely
Auc.
8
3
This bid be gins at two

colla voce

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

(accel.) a tempo
293

Auc.
8
hun dred dol lars. Do I hear two for ty, two for ty, two for ty, two for ty?
 Act I–Scene 1 35

295 rall. a tempo

Auc.
8
Yes! Two hun dred

emphatically

Two for ty.

emphatically

Two for ty.

T.C. emphatically

T
8
Two for ty.
emphatically

Two for ty.

rall. a tempo

298 accel.

Auc.
8 3 3
for ty. Do I hear three hun dred,three hun dred,three hun dred? I need three hun dred dol lars.

colla voce
 36 Act I–Scene 1

a tempo (enthusiastically) rall. a tempo

300

Auc.
8
Yes!

Three hun dred!

T.C. Three hun dred!

T
8
Three hun dred!

Three hun dred!

a tempo (enthusiastically) rall. a tempo

302

Auc.
8 3
Three hun dred dol lars. Do I hear four

6 6 6 6

6 6 6 6
 Act I–Scene 1 37

304

Auc.
8
3 3 3 3
hun dred,four hun dred, four hun dred,four hun dred dol lars…

excitedly

S
3 3 3 3
Four hun dred,four hun dred, four hun dred, four hun dred,

excitedly

A
3 3 3 3
Four hun dred, four hun dred, four hun dred, four hun dred,
T.C.
excitedly

T
8
3 3 3 3
Four hun dred, four hun dred, four hun dred, four hun dred,

excitedly

B
3 3 3 3
Four hun dred, four hun dred, four hun dred, four hun dred,

6 6 6 6 6 6 6 6
 38 Act I–Scene 1

306 Maestoso = 52–54

Auc.
8
impatient, forcefully

Edward Gaines:

Hold on! Hold

four hun dred!

T.C. four hun dred!

T
8
four hun dred!

four hun dred!

Maestoso = 52–54

Perc.

più pesante
309

E.G.
3 3
on! I’m tell ing you to hold on!
 Act I–Scene 1 39
Playfully, but a little agitated
313 = 104–108 (startled, a little nervously)
sim.
S

Who is it? Who is it? Who

(startled, a little nervously)
sim.
A

Who is it? Who is it? Who

T.C. (startled, a little nervously)
sim.
T
8
What is it? What is it?
(startled, a little nervously)
sim.
B

What is it? What is it?

Playfully, but a little agitated
= 104–108 3 3 3
3 3

3
3 3
3 3

3 3 3
3 3
3
always well articlulated

317

is it? Who is it? Who is it? Who is it? Who

is it? Who is it? Who is it? Who is it?

T.C.

T
8
What is it? What is it? Who is it? Who is it?

What is it? What is it? Who is it? Who is it?

3 3 3 3
3 3

3 3
3 3

3 3 3 3
3 3
 40 Act I–Scene 1

321

is it? Who is it? Who is it? Who is it? Who

Who is it? Who is it? Who is it? Who is it? Who

T.C.

T
8
Who is it? What is it? What is it? What is it?

Who is it? What is it? What is it? What is it?

3 3 3
3 3 3
3
3 3

3 3

L’istesso tempo ( = 104–108)

324 Auctioneer:

8
Ex

is it? Who is it?

T.C. is it? Who is it?

T
8
What is it? What is it?

What is it? What is it?

L’istesso tempo ( = 104–108)

3
3

3
3
 Act I–Scene 1 41

328 (polite, but annoyed)

Auc.
8
cuse me, sir.

331

Auc.
8
Le gal bus ’ness is in pro gress here.

335 poco

Auc.
3 3 3
8
By the pow ers in vest ed and by cus toms in gest ed…
(interrupting the Auctioneer)
Edward:

I beg your

dolce
 42 Act I–Scene 1

338

E.G.

par don!

Moderato
342 più espr.
= 48
E.G.
3
This farm be longed to my bro ther. It

dolce

346

E.G.
3
can’t be sold to an oth er.

( )

= 104
349 Auctioneer: meno

8 3
It is true. If a fam i ly mem ber calls the claim, no

3 3 3 3 3 3 3 3
 Act I–Scene 1 43

351
port.
Auc.
8 3
sale can take place here and now.

3 3 3

più sonore
354 = 63–72 sotto voce
Edward:

I am a Gaines. Ed ward Gaines, bro

espr.

358

E.G.
3
ther of the de ceased.

(increduously)
363 quasi sotto voce

E.G.
3 3
Don’t you re mem ber me?
 44 Act I–Scene 1
Con moto (un poco agitato)
= 144–152
Townspeople: (their curiosity aroused)
366

Ed ward Gaines? Who is he? Did old Gaines have a bro

Who is he? Ed ward Gaines? Did old Gaines have a bro

T.C.

T
8
Ed ward Gaines? Who is he? Who is he? Ed ward Gaines?

Who is he? Ed ward Gaines? Who is he? Ed ward

Con moto (un poco agitato)
= 144–152

369

ther?

ther?
T.C.

T
8
Who is he? Ed ward Gaines? Ed ward Gaines?

Gaines? Who is he? Ed ward Gaines?

 Act I–Scene 1 45
= 72–80
371 Edward:

3 3
3
I was born a mong you and now I’ve re

374

E.G.
3
turned. Does n’t an y one re mem ber me?

Con moto (un poco agitato)

= 144–152
sempre stacc. legato
377
3
S

No, no, no. No, no, no. Was it a

legato
sempre stacc. 3
A

T.C. No, no, no. No, no, no. Was it a

sempre stacc.
T
8
No, no, no. No, no, no. No, no, no. No, no, no.
sempre stacc.
B

No, no. No, no. No, no. No, no.

Con moto (un poco agitato)
= 144–152
 46 Act I–Scene 1

rall.
380

long time a go?

long time a go?

T.C.

T
8
No, no, no. No, no, no. No. No.

No, no. No, no, no, no, no. No, no, no.

rall.

sotto voce

Come sopra = 80
full
384 Edward:

3 3
You thought I was lost, did n’t you, in a rough life of the

slow grace note,

on the beat

(Perc.)
 Act I–Scene 1 47

388 sotto voce

E.G.

game. You were wrong. (Well,

391 Più mosso = 92

E.G.

no, you were n’t…)

Più maestoso
394 = 80
E.G.

Well, yes, you were!

6 6 6 6

3 3 3

With swing = 160

396

3 3
3 3
 48 Act I–Scene 1

secco più cantabile

400

E.G.
3 3 3 3 3
I was just a boy when an y of you last saw me.

3
3

404

E.G.
3
But I’ve been
3
3 3 3

3 3
3 3 3

407

E.G.
3 3
3 3 3 3
hap pi ly mar ried with a daugh ter we both a dored.

3 3 3
3 3

410 3 3
3 3 3

3 3
3 3
3 3 3
 Act I–Scene 1 49

L’istesso tempo
413

3 3 3 3

sub.

416

E.G.
3 3
3 3
Now I’m a wid ow er, a man

420 più dolce

E.G.
3
3 3 3 3 3
of means, a fa ther with a child to raise.
3

424
3 3 3 3
 50 Act I–Scene 1

(pointedly)
428

E.G.
3 3 3
3
What my bro ther owned I have right of first

full, grand
431

E.G. 3 3 3
3 3
3 3
of fer to buy. Which I do now, friends.
3

434

E.G. 3
3
3
Which I do now.

3 3 3
3 3

437
3 3

3 3 3 3 3 3
3 3 3 3
 Act I–Scene 1 51

441 Auctioneer:
port 3 3
.

8
It is true. It is the law.

7
6

445

Auc.
8

It is true.

It is true. It is true, it is the law.

T.C.

T
8
It is true. It is true, it is the law.

It is true, it is the law.

 52 Act I–Scene 1

447
3 3 3
Auc.
8 3
We must en ter tain his right un der the law.

3 3 3

6
3 6
dolce

450

Auc.
8

secco

Un der the law.

secco
A

Un der the law.

T.C.
secco

T
8
Un der the law.
secco

Un der the law.

3 3 3
3 3 3
3 3 3
 Act I–Scene 1 53

453
3
Auc.
8 3 3 3
What is your pleas ure, Mis ter Gaines,

sempre stacc.
(solicitously)
457 poss. 3
Auc.
8
sir? What parts in t’rest you?

3 3 3 3
3
3 3
3
poss.

461 Edward:

3 3 3 3
I want it all. I’ll have it all.

3 3
3 3

sempre non legato (poco marcato)

465

E.G.
3 3 3
Ev ’ry box of Chi na tea be longs to me.

3 3 3
sub. 3
 54 Act I–Scene 1

469

E.G.
3 3
3 3
3
Ev ’ry bod y, ev ’ry broom, ev ’ry mule and ev ’ry loom.
3 3 3
3
3

3 3 3 3 3

(pointing at the slaves) molto

472

E.G.
3
Keep all the goods
3

475

E.G. 3 3 3 3
and pro per ty to geth er.
3

3 3 3
3 3 3 3
3 3

479

E.G.
3 3
I’ll have it all.
3
3

3 3 3
3 3
3
 Act I–Scene 1 55

482 3 3 3 3
3 3 3

3
3 3 3 3

(The auctioneer and Edward shake hands after

agreeing on terms for the sale of Maplewood Plantation.)
485
3

3 3 3 3

(Edward shakes hands with his neighbors.) (The auctioneer hands Gaines some legal paperwork to examine, and the townspeople
begin to disperse. Several prominent businessmen remain to witness the transaction,
as does Edward’s daughter Caroline, who will inherit Maplewood one day.)

489
3 3

3
3 3 3 3

3 3

493 3
3

3 3 3 3
3 3

3 3
 56 Act I–Scene 1

(The slave families, now allowed to stay together thanks

to Edward’s generosity, celebrate in dance and song.)

With rhythmic vitality (like a gospel chorus), but not hurried

= 104
498 Clap (follow piano part); improvise shouts, mm. 498–501 Cilla:

Clap (follow piano part); improvise shouts, mm. 498–501 Margaret:

Clap (follow piano part) Robert:

A
Chorus of Slaves:
Clap (follow piano part); improvise shouts, mm. 498–501
S

A
Clap (follow piano part); improvise shouts, mm. 498–501
A

A
Clap (follow piano part); improvise shouts, mm. 498–501
T
8
A
Clap (follow piano part); improvise shouts, mm. 498–501
B

With rhythmic vitality (like a gospel chorus), but not hurried

= 104

claps
 Act I–Scene 1 57

502

C.

lit tle more time, a lit tle more time, more time

M.G.

lit tle more time, a lit tle more time, more time

R.G.

lit tle more time, a lit tle more time, more time

lit tle more time, a lit tle more time, more time

lit tle more time, a lit tle more time, more time
S.C.

T
8
lit tle more time, a lit tle more time, more time

lit tle more time, a lit tle more time, more time
 58 Act I–Scene 1

506 meno

C.

with the child ren we love.

meno

M.G.

with the child ren we love.

meno

R.G.

with the child ren we love.

meno

with the child ren we love.

meno
A

S.C. with the child ren we love.

T
8
with the child ren we love, time with our bro thers.
meno

with the child ren we love.

 Act I–Scene 1 59

510

C.

We feel the mer cy of our Lord God with the

M.G.

We feel the mer cy of our Lord God with the

R.G.

We feel the mer cy of our Lord God with the

We feel the mer cy of our Lord God with the

We feel the mer cy of our Lord God with the

S.C.

T
8
We feel the mer cy of our Lord God with the

We feel the mer cy of our Lord God with the

non legato
 60 Act I–Scene 1

514

C.

grace of a lit tle more time.

M.G.

grace of a lit tle more time.

R.G.

grace of a lit tle more time.

keep clapping
S

grace of a lit tle more time.

keep clapping
A

S.C. grace of a lit tle more time.

keep clapping
T
8
grace of a lit tle more time.

keep clapping
B

grace of a lit tle more time.

sub.
 Act I–Scene 1 61

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

C.

An

M.G.

An

end claps

522

C.

oth er sea son of friend ship tell ing sto

M.G.

oth er sea son of friend ship tell ing sto

526
più sonore
C.

ries, shar ing se crets by the fire.

più sonore
M.G.

ries, shar ing se crets by the fire.

 62 Act I–Scene 1

530 resume clapping

We feel the mer cy of our Lord God with the

resume clapping
A

S.C. We feel the mer cy of our Lord God with the

resume clapping
T
8
We feel the mer cy of our Lord God with the
resume clapping
B

We feel the mer cy of our Lord God with the

claps

534 keep clapping

S

grace of a lit tle more time.

keep clapping
A

S.C. grace of a lit tle more time.

keep clapping
T
8
grace of a lit tle more time.
keep clapping
B

grace of a lit tle more time.

 Act I–Scene 1 63
Margaret:
538 full voice

More nights to curl like a vine

542

M.G.

in our hus band’s arms.

Robert:
546

More days to bask in the light

 64 Act I–Scene 1

full voice
550 Cilla:

Our
full voice
Margaret:

Our

R.G.

of our lov er’s eyes.

554

C.

fa thers’ graves we can still at tend with

M.G.

fa thers’ graves we can still at tend with

 Act I–Scene 1 65

558

C.

Sweet Will iam and col um bine.

M.G.

Sweet Will iam and col um bine.

sempre

Sweet Will iam and col um bine.

sempre

Sweet Will iam and col um bine.

S.C.
sempre

T
8
Sweet Will iam and col um bine.

sempre

Sweet Will iam and col um bine.

 66 Act I–Scene 1

molto
562

C.

Lit tle more time, a

molto

M.G.

Robert:

Lit tle more time, a

molto

Lit tle more time, a

molto

Lit tle more time, a

molto
S.C.

T
8
Lit tle more time, a
molto

Lit tle more time, a

(Hn.)
 Act I–Scene 1 67

566

C.

lit tle more time, more time with the child ren we love.

R.G.

lit tle more time, more time with the child ren we love.

lit tle more time, more time with the child ren we love.

lit tle more time, more time with the child ren we love,
S.C.

T
8
lit tle more time, more time with the child ren we love.

lit tle more time, more time with the child ren we love.
 68 Act I–Scene 1

570

C.

We feel the mer cy of our

R.G.

We feel the mer cy of our

We feel the mer cy of our

tutta forza
A

time with our mo thers. We feel the mer cy of our

S.C.

T
8
We feel the mer cy of our

We feel the mer cy of our

 Act I–Scene 1 69

574

C.

Lord God with the grace of a lit tle more time.

R.G.

Lord God with the grace of a lit tle more time.

Lord God with the grace of a lit tle more time.

Lord God with the grace of a lit tle more time.

S.C.

T
8
Lord God with the grace of a lit tle more time.

Lord God with the grace of a lit tle more time.

 70 Act I–Scene 1

578 continue clapping

C.

continue clapping
R.G.

continue clapping
S

continue clapping
A

S.C.
continue clapping
T
8

continue clapping
B

poco marc.
 Act I–Scene 1 71

(continue clapping) clapping:

584 end clapping

(Gaines nods in assent to the contract’s terms,

L’istesso tempo then turns to the businessman standing next to
him and asks for a pen with which to sign the
= 104 contract.)
590 (Cl.)

dolce

(Holding a homemade play doll.)

596 Margaret: tenderly

I made a lit tle play

600

M.G.

doll for my ba
 72 Act I–Scene 1

604

M.G.

by, with but ton eyes and

608

M.G.

hair of yarn;

dolce

612 full voice

M.G.

The lips are made of

(Distracted from his paperwork, Edward turns

around and notices Margaret, who is wearing a
616 red scarf. He is captivated, and grateful for
his good fortune to have just purchased her.)

M.G.

rose – col ored thread. One

 Act I–Scene 1 73

621 meno
M.G.

day she will

625

M.G.

love it; I am

629

M.G.

wait ing for her to

(Edward turns around again, and finishes signing the

contract. The businessmen extend handshakes of con-
633 -gratulations to him on the acquisition of Maplewood.)

M.G. port.

love it
 74 Act I–Scene 1

637

M.G.

When she is old e nough to

(When one of the slaves brings in

Margaret’s infant daughter, wrapped
in a white cloth, Margaret puts the
( = 104) play doll in her pocket in order to
641 cradle the baby tenderly in her arms.)

M.G.

hold it.

647

M.G.

I’m watch ing this mys ter y called

652 full, rich resume clapping

M.G.

child.

claps
 Act I–Scene 1 75

a tempo
= 104
658 Cilla:

Robert:

A
S.C.

T
8
A

A
a tempo
= 104

cresc.
 76 Act I–Scene 1

662

C.

lit tle more time, a lit tle more time, more time

R.G.

lit tle more time, a lit tle more time, more time

lit tle more time, a lit tle more time, more time

lit tle more time, a lit tle more time, more time
S.C.

T
8
lit tle more time, a lit tle more time, more time

lit tle more time, a lit tle more time, more time

l. h.
 Act I–Scene 1 77

666 sub.

C.

with the child ren we love.

sub.

R.G.

with the child ren we love.

sub.

with the child ren we love.

with the child ren we love, time with our mo thers.

S.C.
sub.

T
8
with the child ren we love.
sub.

with the child ren we love.

 78 Act I–Scene 1

670

C.

We feel the breath of our Lord God with the

R.G.

We feel the breath of our Lord God with the

We feel the breath of our Lord God with the

We feel the breath of our Lord God with the

S.C.

T
8
We feel the breath of our Lord God with the

We feel the breath of our Lord God with the

 Act I–Scene 1 79

674

C.

gift of a lit tle more time.

R.G.

gift of a lit tle more time.

gift of a lit tle more time.

gift of a lit tle more time.

S.C.

T
8
gift of a lit tle more time.

gift of a lit tle more time.

 80 Act I–Scene 1

678

C.

We feel the breath of our Lord God with the

R.G.

We feel the breath of our Lord God with the

We feel the breath of our Lord God with the

We feel the breath of our Lord God with the

S.C.

T
8
We feel the breath of our Lord God with the

We feel the breath of our Lord God with the

 Act I–Scene 1 81

682 end clapping

C.

gift of a lit tle more time.

end clapping
R.G.

gift of a lit tle more time.

end clapping
S

gift of a lit tle more time.

end clapping
A

gift of a lit tle more time.

S.C.
end clapping
T
8
gift of a lit tle more time.

end clapping
B

gift of a lit tle more time.

end clapping
 82 Act I–Scene 1

686 sub.
S

We feel the breath of our Lord God.

sub.
A

S.C. We feel the breath of our Lord God.

sub.

T
8
We feel the breath of our Lord God.
sub.

We feel the breath of our Lord God.

poco meno mosso

690 Cilla:

We feel the breath

mmm

S.C. mmm

T
8 mmm

B
mmm

poco meno mosso

 Act I–Scene 1 83
A tempo
primo
693 = 104
C.

of our Lord God.

Margaret:

We feel the breath of our Lord God.

Robert:

We feel the breath of our Lord God.

With the

With the
S.C.

T
8
With the

With the

A tempo
primo
= 104
 84 Act I–Scene 1
(The slaves exit slowly; Margaret
is the last of the slaves to leave.)

700
all slaves clap
S

gift of a lit tle more time.

all slaves clap
A

gift of a lit tle more time.

S.C.
all slaves clap
T
8
gift of a lit tle more time.

all slaves clap

B

gift of a lit tle more time.

molto legato claps

non legato

(After completing his transaction with Edward, the auctioneer departs with
the businessmen. Caroline remains, cheerfully conversing with their wives.)
706

712

716 lunga

r. h.

clapping ends
 Act I–Scene 1 85
(Edward watches the last
townspeople leave.)
freely
Moderato = 88–92 Edward: (disappointed, somewhat disgusted)
721
(don’t drag)

3 3
Look at them. They were my neigh bors

(as needed)

725 (freely)

E.G.
3 3
once. They pre tend they don’t re mem ber me.

729 Casey:

8 3
It was a long time

3 3 3 3 3 3
3

732

Ca.
8
a go, sir. You’ve been a way for twen ty years.
(turning back around, facing Casey)
Edward: (to himself)

Twen ty years.
 86 Act I–Scene 1

full voice
736

E.G.
3
3 3 3 3
They pre tend. They lie, and they say they don’t re mem ber me.

(Margaret’s scarf, still lying on the ground, catches Edward’s attention; he starts walking towards it.)
740

3 3 3 3 3 3
3

(looking in the opposite direction from Gaines)

743 Casey:

8 3
Some thing in the past, sir?

747 rit. Adagio ma non troppo = 72

Ca.
8 (Edward picks up Margaret’s scarf,
Some thing best for got ten?
and mindlessly puts it in his pocket.)
Edward:

I was just a boy.

rit. Adagio ma non troppo = 72

sub.
 Act I–Scene 1 87

751

E.G.
3
3 3
The trou ble I caused was in es cap a ble for a boy

754 Casey:

8 3 3
But ev ’ry boy has an ap pe tite, sir.

E.G.
3
with an ap pe tite.

Subito più mosso

= 88–92 rit.
3 3 3 3 3 3 3
757

Misterioso
= 60
760

6 6 6 6
 88 Act I–Scene 1

floating, somewhat lightly

761

E.G.
3
I left un der a

6 6 6 6

762

E.G.
3
cloud of sus pi cion.

6 6 6 6

763

E.G.

It was

6 6 6 6

764

E.G.

no thing, no thing to raise

6 6 6 6
 Act I–Scene 1 89

765

E.G.

eye brows.

6 6 6 6

Subito più mosso = 88–92

766 half voice poco

E.G.
3 3
The girl was so young,

6 3 3

6
3 3

768

E.G.
3
3 3 3
3
and from such a fine fam i ly;

3 3 3 3

3 3 3 3

freely, not completely in full voice

770 sotto voce (quasi whisper) cantabile
E.G.

3 3
things got a lit tle out of hand. So now they pre

espr.
 90 Act I–Scene 1

773 Come sopra = 60

E.G.
3
tend nei ther I nor it ev er hap pened.

6 6

776 6
6

6 6
6 6 6 6

lunga
778

E.G.

What a shame. I re mem ber! I re mem ber ev ’ry thing.

Andantino grazioso
= 88–92
(wistful, yet still optimistic)
784

E.G.

I re mem ber the curve of ev ’ry hill, the swans in the

sim.
 Act I–Scene 1 91

789

E.G.

pond; I re mem ber them still. I re mem ber

794

E.G.

ev ’ry tree: ma ple, birch, wil lows and

più sonoro
799

E.G.
3
pine. I can see them now, shad ing the drive,

804

E.G.

shel t’ring me from the heat. Ma ple,

 92 Act I–Scene 1

809

E.G.
birch and the o dor of pine. I re mem ber ev ’ry

814

E.G.

tree, but none of them re mem bers me.

dolce, espr.
820

sub.

824 cantabile

E.G.

The well, the

 Act I–Scene 1 93

829

E.G.
3
creek, fish ing by the lake. Eve nings of laugh ter with girls who

834 full voice

E.G.
3
want ed to play. I re mem ber

839

E.G.

ev ’ry tree, but none of them re

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

E.G.
mem bers me.
dolce
 94 Act I–Scene 1

849

a tempo
854 poco rit.

E.G.
3
They won’t for get

espr.
3

(Edward exits, with Caroline at

his side. Casey follows them.)
858

E.G.

me a gain!

ca. 25’

attacca
 95
Act I, Scene 2:
Harvest time, about six months later.
(The slaves – some of whom are children, barely 10 or 12 years old – return to their quarters
after a day of working in the fields. In time with the percussion’s strong, syncopated beat, they
perform a series of domestic chores: chopping wood, pumping water, beating rags, etc.)

With rhythmic vitality

= 96–100

Congas

8ba
7

13

8ba
18

8
8ba
 96 Act I–Scene 2
Robert:
full voice
23

Turn my face to the dy ing sun can’t

The Slaves:
S

Turn my face to the dy ing sun

Turn my face to the dy ing sun

T
8
Turn my face to the dy ing sun

B
Turn my face to the dy ing sun

25

R.G.
straight en my back ’til the work is done.

can’t straight en my back ’til the work is done.

S.C. can’t straight en my back ’til the work is done.

T
8
can’t straight en my back ’til the work is done.

B
can’t straight en my back ’til the work is done.
 Act I–Scene 2 97
27

R.G.
Plowed the field, baled thehay

Plowed the field, baled thehay

S.C. Plowed the field, baled thehay

T
8 Plowed the field, baled thehay

B
Plowed the field, baled thehay

29

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

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

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

T
8
go in’ to dance on the lead mule’s back some

B
go in’ to dance on the lead mule’s back some
 98 Act I–Scene 2

31

day. O moth er, O fa ther, don’t a ban don

day. O moth er, O fa ther, don’t a ban don

S.C.

T
8
day. O moth er, O fa ther, don’t a ban don

day. O moth er, O fa ther, don’t a ban don

8ba

35

me, while my sweat still sweets the rich brown soil of dear old Ken

me, while my sweat still sweets the rich brown soil of dear old Ken
S.C.

T
8
me, while my sweat still sweets the rich brown soil of dear old Ken

me, while my sweat still sweets the rich brown soil of dear old Ken
 Act I–Scene 2 99
39 (non dim.)
S

tuck y. O moth er, O fa ther, don’t a ban don me.

(non dim.)
A

S.C. tuck y. O moth er, O fa ther, don’t a ban don me.

(non dim.)
T
8
tuck y. O moth er, O fa ther, don’t a ban don me.
(non dim.)

tuck y. O moth er, O fa ther, don’t a ban don me.

(Congas)

8ba

44 Margaret:

Boss is hap py at his plate If

Long as he gets his fowl;

S.C. Long as he gets his fowl;

T
8
Long as he gets his fowl;

B
Long as he gets his fowl;
 100 Act I–Scene 2

shouted like a gospel singer

47

M.G.

I stand at his cook ing stove, Be lieve it!

shouted like a gospel singer

Robert:

Be lieve it!

his sup per will be foul!

his sup per will be foul!

S.C.

T
8
his sup per will be foul!

B
his sup per will be foul!
 Act I–Scene 2 101

50

M.G.

O moth er, O fa ther, don’t a ban don me while my blood floods the

R.G.

O moth er, O fa ther, don’t a ban don me while my blood floods the

O moth er, O fa ther, don’t a ban don me while my blood floods the

O moth er, O fa ther, don’t a ban don me while my blood floods the
S.C.

T
8 O moth er, O fa ther, don’t a ban don me while my blood floods the

O moth er, O fa ther, don’t a ban don me while my blood floods the

8ba
 102 Act I–Scene 2

55

M.G.

vel vet dirt of dear old Ken tuck y. O moth er, O fa ther,

R.G.

vel vet dirt of dear old Ken tuck y. O moth er, O fa ther,

vel vet dirt of dear old Ken tuck y. O moth er, O fa ther,

vel vet dirt of dear old Ken tuck y. O moth er, O fa ther,
S.C.

T
8
vel vet dirt of dear old Ken tuck y. O moth er, O fa ther,

vel vet dirt of dear old Ken tuck y. O moth er, O fa ther,
 Act I–Scene 2 103

60

M.G.

don’t a ban don me while my sweat stillsweets the rich brown soil of dear old Ken

R.G.

don’t a ban don me while my sweat stillsweets the rich brown soil of dear old Ken

don’t a ban don me while my sweat stillsweets the rich brown soil of dear old Ken

don’t a ban don me while my sweat stillsweets the rich brown soil of dear old Ken
S.C.

T
8
don’t a ban don me while my sweat stillsweets the rich brown soil of dear old Ken

don’t a ban don me while my sweat stillsweets the rich brown soil of dear old Ken
 104 Act I–Scene 2

65 =
M.G.

tuck y.

R.G.
tuck y.

(almost shouting)

tuck y. Crackuh back cut uh cane pull uh mule chop uh cot ton

(almost shouting)

tuck y. Crackuh back cut uh cane pull uh mule chop uh cot ton
S.C.
(almost shouting)

T
8
tuck y. Crackuh back cut uh cane pull uh mule chop uh cot ton

(almost shouting)

tuck y. Crackuh back cut uh cane pull uh mule chop uh cot ton

=
 Act I–Scene 2 105

70

M.G.
Crack uh back cut uh cane pull uh mule chop uh cot ton

R.G.
Crack uh back cut uh cane pull uh mule chop uh cot ton

split uh wood Crack uh back cut uh cane pull uh mule chop uh cot ton

split uh wood Crack uh back cut uh cane pull uh mule chop uh cot ton
S.C.

T
8 split uh wood Crack uh back cut uh cane pull uh mule chop uh cot ton

B
split uh wood Crack uh back cut uh cane pull uh mule chop uh cot ton
 106 Act I–Scene 2

75

M.G.

split uh wood Crack, cut, pull, chop, split; Crack, cut, pull, chop, split;

R.G.
split uh wood Crack, cut, pull, chop, split; Crack, cut, pull, chop, split;

split uh wood Crack, cut, pull, chop, split; Crack, cut, pull, chop, split;

split uh wood Crack, cut, pull, chop, split; Crack, cut, pull, chop, split;

S.C.

T
8 split uh wood Crack, cut, pull, chop, split; Crack, cut, pull, chop, split;

B
split uh wood Crack, cut, pull, chop, split; Crack, cut, pull, chop, split;
 Act I–Scene 2 107

tutta forza
80 = =
M.G.
Crack, cut, pull, chop, split!

tutta forza

R.G.
Crack, cut, pull, chop, split!

tutta forza

S
Crack, cut, pull, chop, split!

tutta forza

Crack, cut, pull, chop, split!

S.C.
tutta forza

T
8 Crack, cut, pull, chop, split!

tutta forza

B
Crack, cut, pull, chop, split!

3 3
= =

3
3 3 3
3 3
3
3

3
 108 Act I–Scene 2

Soprano solo from the chorus:

85 full voice

Boss is hap py in his bed If

Long as his pil low’s down y;

Long as his pil low’s down y;

S.C.

T
8

B
 Act I–Scene 2 109

87 (S. solo)

I stood by his sleep y head

his face would be as fluf fy.

his face would be as fluf fy.

S.C.
shouted like a gospel singer
T
8
Tell it to me!

shouted like a gospel singer

B

Tell it to me!
 110 Act I–Scene 2

Robert:
89

Plowed the field, baled the hay

Plowed the field, baled the hay

Plowed the field, baled the hay

S.C.

T
8
Plowed the field, baled the hay

B
Plowed the field, baled the hay
 Act I–Scene 2 111

91

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

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

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

S.C.

T
8
go in’ to dance on the lead mule’s back some day.

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

l.h.
 112 Act I–Scene 2

94 Margaret:

O moth er, O fa ther, don’t a ban don

R.G.
O moth er, O fa ther, don’t a ban don

O moth er, O fa ther, don’t a ban don me while my

O moth er, O fa ther, don’t a ban don me while my

S.C.

T
8
O moth er, O fa ther, don’t a ban don me while my

O moth er, O fa ther, don’t a ban don me while my

8ba
 Act I–Scene 2 113

99 shouted like a gospel singer

M.G.

me Sing it to me! O moth er,

shouted like a gospel singer

R.G.
me Sing it to me! O moth er,

tears mud dy the rich brown soil of dear old Ken tuck y. O moth er,

tears mud dy the rich brown soil of dear old Ken tuck y. O moth er,
S.C.

T
8
tears mud dy the rich brown soil of dear old Ken tuck y. O moth er,

tears mud dy the rich brown soil of dear old Ken tuck y. O moth er,
 114 Act I–Scene 2

104

M.G.

O fa ther, don’t a ban don me of

R.G.
O fa ther, don’t a ban don me of

O fa ther, don’t a ban don me while my blood floods the vel vet dirt of

O fa ther, don’t a ban don me while my blood floods the vel vet dirt of
S.C.

T
8
O fa ther, don’t a ban don me while my blood floods the vel vet dirt of

O fa ther, don’t a ban don me while my blood floods the vel vet dirt of
 Act I–Scene 2 115

109 =
M.G.

dear old Ken tuck y.

R.G.

dear old Ken tuck y.

(almost shouting)

dear old Ken tuck y. Crackuh back cut uh cane pull uh mule

(almost shouting)

dear old Ken tuck y. Crackuh back cut uh cane pull uh mule
S.C. (almost shouting)

T
8 dear old Ken tuck y. Crackuh back cut uh cane pull uh mule

(almost shouting)

dear old Ken tuck y. Crackuh back cut uh cane pull uh mule

=
 116 Act I–Scene 2

114

Crack uh back cut uh cane pull uh mule

Crack uh back cut uh cane pull uh mule

chop uh cot ton split uh wood; Crack uh back cut uh cane pull uh mule

chop uh cot ton split uh wood; Crack uh back cut uh cane pull uh mule

S.C.

T
8 chop uh cot ton split uh wood; Crack uh back cut uh cane pull uh mule

chop uh cot ton split uh wood; Crack uh back cut uh cane pull uh mule
 Act I–Scene 2 117

119

chop uh cot ton split uh wood;

chop uh cot ton split uh wood;

chop uh cot ton split uh wood; Crack, cut, pull, chop, split; Crack, cut,

chop uh cot ton split uh wood; Crack, cut, pull, chop, split; Crack, cut,
S.C.

T
8 chop uh cot ton split uh wood; Crack, cut, pull, chop, split; Crack, cut,

chop uh cot ton split uh wood; Crack, cut, pull, chop, split; Crack, cut,
 118 Act I–Scene 2

124 =

pull, chop, split; Crack, cut, pull, chop, split!

pull, chop, split; Crack, cut, pull, chop, split!

S.C.

T
8 pull, chop, split; Crack, cut, pull, chop, split!

B
pull, chop, split; Crack, cut, pull, chop, split!

3
=

3
3
3

3 3 3 3

3 3 3 3
129

3 3 3 3 3 3
3 3 3 3 3

3 8ba 3 3 3 3
 Act I–Scene 2 119
(Upon hearing the bell that signals the day’s end, the workers wash up for
supper. Cilla is waiting at Margaret and Robert’s cabin to welcome them home.)
Moderato, ma non troppo
= 80 (don’t drag)
134

141 Cilla:
3

You left the light be hind you.

3
6
6

145
3
C.

Did you have a wor ri some day?

6 6

(Cilla, Robert and Margaret go inside the cabin,

and begin preparing dinner.)

148

6
meno
6
 120 Act I–Scene 2

Poco più mosso = 84

Robert: full voice
151

3 3 3
Ev ’ry new day is like yes ter day.

154

R.G.
3
Work the crops, for get a bout pay. End each

meno
6

157

R.G.
3 3 3
daylike the one be fore. Don’t leave the field ’til the light’s too

*A slight interruption of the trill is necessary to facilitate this passage.

 Act I–Scene 2 121

Più mosso = 92
161 Cilla:

This Gaines is not like the last one.

R.G.

poor.

Più mosso = 92

sub.

165 3
C.

A mean streak rides his brow.

più

168 jokingly

C.

3
The oth er one had a heart— some times!
 122 L’istesso tempo Act I–Scene 2

= ca. 92 don’t hurry

171 Margaret: scherzando

No such thing as a bos s’s heart. He can’t waste the space.

Robert:

= ca. 92 If
don’t hurry 6 6 6 6 6 6

6 6 6 6 6 6

174

M.G.
3
he would lease out his own 3 heart’s

R.G.
3 3
he could har vest corn in his chest,he would lease out his own heart’s
6 6 6 6 6

6 6 6 6 6

(Cilla beckons for Robert and Margaret

molto rit. Solemn and soulful to sit down at the dinner table.)
(Margaret and Robert
176 laugh heartily.) = ca. 80 Cilla:

Ease

M.G.

place!

R.G.
place! molto rit. Solemn and soulful = ca. 80
6 6

6 6
 Act I–Scene 2 123

179 full voice

C.
3
your selves, ease your selves.

183

C.

The ta ble is laid. The sup per is plain but

188 (All three sit down to dinner.)

C.

warm.
Margaret:
3 3
port.

You’ve got milk and straw ber ries too.

Meno mosso = ca. 69–72

192 poco rit. Cilla:
C.

Dear Lord in

cant.
 124 Act I–Scene 2

197
3
C.

Hea ven, make us grate ful for our food.

Margaret: (like a responsorial)

Bless ed Lord Sweet Je

Robert: (like a responsorial)

Bless ed Lord Sweet Je

200
3 3
C.

Keep us welland in Your sight. Pro tect

M.G.

sus mmm

R.G.

sus mmm
 Act I–Scene 2 125

203
3
C.

those in dan ger, and let us be guid

M.G.

Take my hand…

R.G.

Take my hand…

don’t drag
206
3 3
C.

ed byYour Hea ven ly Light. Mmm

M.G.

Pre cious Lord… mmm

R.G.

Pre cious Lord… mmm

don’t drag
 126 Act I–Scene 2

210

po
C.

rt
.
3
A men.

cant.

A piacere
Robert: (exuberantly, quasi parlando)
215

3
You are a har vest time bles sing,ma ma.

ben articulato

Moderato = 72 Margaret:
218 (to Cilla) dolce, cantando

How’s my ba by?

3 3 3

dolce, espr.

3 3 3 3 3 3 3 3 3 3 3 3

più espr.
221 3

M.G.

Not cry ing for me? How’s

3
dolce
3 3 3 3 3 3
3 3

3 3 3 3
 Act I–Scene 2 127

224 3

M.G.

my sweet ness? Not mis sing me?

3 3 3 3 3 3 3 3

3 3 3
3

Cilla:
227 darkly 3 sotto voce 5

She’s sleep ing, Mar g’ret, sleep ing. Not a frown on her su gar but ter face.

sotto
voce

231 A little more lively (poco più mosso)

C.
(laughing)
Robert:

Did you ev er see a moth er like that? The child sup

234 meno not quite full voice

R.G.
3 3 3
posed to need the moth er; now here the moth er needs the child more.

dolce
 128 Act I–Scene 2

237 Margaret:

3
3
I need to smell her breath.

R.G.

241 Cilla:

The ba by needs her rest.

3

M.G.

I need to see her eyes,

don’t drag
245 emphatically

C.

It’s dan g’r ous, daugh ter,

M.G.

her smile. don’t drag

 Act I–Scene 2 129

quick grace note

249

C.

to love too much. The Lord

full voice Più lento = 58–60

253 freely
C.
3
giv eth and the Lord tak eth a

più mosso
come recitativo
257
3
C.

way. Come to your sup per be fore you wake her.

= 80
Margaret:
261 peacefully

She is my sup per, the food of my heart.

dolce
 130 Act I–Scene 2
Moderato = 72
Pochiss. più mosso (smiling, reaching out to Robert)
265

M.G.

Oh, no. Oh, no.

Robert:

And what am I? The leav ings?

Pochiss. più mosso Moderato = 72

Subito doppio movimento

= 144
( = )
269 3

M.G.
3
3
You are the pulse. With

3 3

3 3

273 non troppo pesante

3
M.G.
3
out you I have no heart.
Robert:

3
3
3
And with out you I
non troppo pesante
3 3
3 3

3 3 3
3 3 3
 Act I–Scene 2 131

277 (They embrace.)

R.G.
3
have no pulse to give.

3 3 3 3 3 3

3 3 3
3 3 3
cresc.

Il mezzo tempo = 72 più mosso

(interrupting) come recitativo
281 Cilla: poco agitato
3

E nough said. Go get your heart be fore you break mine.

3 3

3 molto cresc.

a tempo (don’t drag) (As Cilla and Robert eat dinner, Margaret
sings tenderly to the child.)
284 (Margaret goes to get the baby.)

espr.

Moderato semplice, flowing

290 = 42–44 ( = 84–88) Margaret:
tenderly 3 3

3
Sad things, far a way
 132 Act I–Scene 2

294
3 3
M.G.
por
3
t.
3
Soft things, come and play Love ly ba by…

sim.

298
3 3 3
M.G.

Sleep in the mea dow, sleep in the hay

full, rich
302 3 3
3 3 3 3
M.G.
3 3
Ba by’s got a dream in’ on the way. Bad

306 più cantabile 3 3 3 3

3
M.G.
3 3 3
things, far a way Pret ty things, here to stay
 Act I–Scene 2 133

310 molto cantabile, full voice

3 3
3
M.G.
3 3 3 3 3
3
Sweet ba by, smile at me Love ly ba by, go to sleep.

più sonoro

less full full, vibrant

314 3
3 3 3 3 3 3
M.G.
3 3
Sleep in the mea dow, sleep in the hay Ba by’s gon na dream the night a

318 full, warm hearted

3 3
M.G.

way. Love ly ba by, pret ty

dolce sotto voce

323 3
3 3
M.G.
port.
3
ba by Ba by’s gon na dream the

3 3 3
dolce
 134 Act I–Scene 2
(Casey approaches the cabin, armed with
a double-barreled shotgun and carrying
a satchel. He loiters for a few minutes,
passing the time by cleaning his gun.)
327 (non rit.)
3 3 3
M.G.
3
night a way.

3
espr.

ancora meno mosso

Più lento, slower (slower still)
= ca. 72 = 66
331 3
3 3 3 ’ 3
M.G.

Sleep in the meadow, sleep in the hay Ba by’s gon na

334 3 =
port. 3
M.G.
*
dream… Ba by’s gon na dream…

going gradually from closed mouth

337 to partially open mouth.
3
M.G. port.
Ba by’s gon na dream… mmm ah

*mm 335–336 ossia: “mmm” (humming)

 Act I–Scene 2 135
Subito agitato = 92
Casey: (quietly, standing in the cabin doorway)
341 (not hurried, ben misurato)

8 Not to night.

marcato sempre
(Perc.)

sim.
344

Ca.

No bo dy dreams to night.

(Perc.)

347 Robert:

What d’you say? What’s that you say?

(Casey enters the cabin abruptly, non

349 and confronts Robert.) Casey: molto sarcastically troppo

8 What’s that I say?

R.G.

7
 136 Act I–Scene 2

(Casey points his gun at Robert.)

molto
353 with anger

Ca.
8
What’s that (a) you say.

357 Robert:
’

Ex cuse me, sir. Yes, sir.

marcato

360

R.G.

What’s that you say, sir?

rit. Quasi andante = 80

365 Casey:

8
Bet ter. Much bet ter.

sempre marcato e secco

 Act I–Scene 2 137

369

Ca.
8
What I say is, no hap py dark y dream in’ ta

Sost.

373 sotto voce

3
Ca.
8
night. Mis ter Gaines has oth er plans… oth er plans.

(Sost.)

378 Cilla:

What plans, Mis ter Cas ey?

Ca.
8
(Grace notes before the beat) I’m talk in’ to your boy, Cil la,

Sost.
381 3
(to Robert) 3
Ca.
8 3
not you. You have been rent ed out,

(Perc.)

(Sost.) Sost.
 138 Act I–Scene 2

quasi parlando,
aggressively
384 3

Ca.
8 3
boy. Mis ter Gaines wants you on your way ta night so you’ll be

387 (almost shouted)

Ca.
8 3 3 3
read y for work at sun rise. Not
Robert:

3
Where, sir? Where is he send ing me?

Sost.

Più agitato = ca. 84

391

Ca.
8
3
your bus ’ness to know; on ly your bus ’ness to

6 6 6 6 6 6

3 3 3 3 3 3
 Act I–Scene 2 139

poco accel. a tempo ( = ca. 80)

(pointing to the door) (almost shouted)
393

Ca.
8
go. The wa gon’s on the road. Hop to it boy!

L’istesso tempo poco riten.

396 Margaret: 3

I’ll get read y. Hold the ba by, Ma ma.

399 a tempo
M.G.

Casey:

8
Hold on, girl. You’ll get read y all right. But you won’t need the wa gon.

402 (quietly, with innuendo)

Ca.
8
Mis ter Gaines wants you in the house, his house.
 140 Act I–Scene 2

405 full voice

Ca.
8
Ain’t that nice? No more field work. Ain’t that nice?

più sonoro
408 3 più
po
rt.
Ca.
8 3 3
You can putyour feet up in his house all day, all night, too.

(Casey pulls a stylish housedress out of his satchel.

He waves the dress, like a red flag, in Robert’s
face, then tosses it at Margaret.)
412 full voice (Casey leaves.)

Ca.
8
Ain’t that nice? Ain’t that nice? Ain’t that nice?

Sost.

slightly faster
(Robert and Margaret
(As he walks away, Casey sings a parody of Margaret’s “Lullaby”.)
exchange troubled glances; (laughing derisively)
416 Cilla rocks the baby.) (mockingly, but coolly) 3 3
Ca.
8 3 3 3 3
La da da da da La da da day. Ha, ha, ha, ha, ha, ha, ha, ha.

sotto voce
 Act I–Scene 2 141
a piacere (erupting in rage) molto
(Robert tries at first to contain his emotions.)
420 Robert: sotto voce

3
Skunk, snake, son of a whore.

Sost.

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

Con moto, ben misurato = 126

425

429 Cilla:

Please! Don’t wake the ba by.

Robert:
433 full voice

3
Yel la bel ly! That son of a dog.
 142 Act I–Scene 2

436 Margaret:
3 3

Cool down, Ro bert. He will hear you.

440

M.G.

445 Robert:

3 3
I am a man, ain’t I? Ain’t I a man?

449 Margaret: quasi

Yes, you are.

R.G.

Ain’t I? Ain’t I?
 Act I–Scene 2 143

453
3
M.G.

To me, and to us.

Robert:
456

3
I know, I know, I know what is on his mind.

(lovingly)
460 Margaret:

It won’t hap

R.G.

Bas tard!

464

M.G.

pen. It won’t hap pen, be lieve me. Be lieve me!

 144 Act I–Scene 2

468 Robert:

How can you know? How can you be sure?

472

R.G.

You can’t con trol

476 Margaret:

His daugh ter lives there too.

R.G.
3
a snake in his own nest.

480

M.G.

He will be have.
 Act I–Scene 2 145

484 Cilla:

3
Be lieve her, son. It can’t be for too
sotto voce

espr.

488

C.

long.

492 Margaret:

We will find a way.

497 (moving closer to Robert)

M.G.

Stay strong.

sempre
 146 Act I–Scene 2

503 mezza voce, legato

M.G.

He is not the mas ter of me.

511

(Standing downstage center,

Robert and Margaret are holding
hands. As they sing, they gradually Molto moderato
move apart.)
= ca. 54–58 hold back
519 rit. Margaret:

Hold me.

transparent
dolce cantando

a tempo hold back a tempo

524

M.G.

dolce Stay sweet.

Robert:

3
Hold on. Stay strong.
a tempo hold back a tempo
 Act I–Scene 2 147

Poco più mosso

= ca. 63
530 meno

M.G.
Be my moon rise. You are my
meno

R.G.
Be my dawn. You are my
Poco più mosso
= ca. 63

legato

535

M.G.
shoul der. You are my cour age.

R.G. 3
shoul der. You are my spine. You are my cour age.

540

M.G.

And you are the sign That love is the on ly mas ter the

R.G.
3
That love is the on ly mas ter the
 148 Act I–Scene 2

544

M.G.
3
3
heart o beys; Love is the on ly mas

R.G. 3
3
heart o beys; Love is the on ly mas

548 meno

M.G.
3
ter that my heart o beys.
meno

R.G.
3
ter that my heart o beys.

cant.

(Evening falls as Robert leaves.)

(fade to black)
dolce
552

ca. 47’

attacca
 149
Act I, Scene 3:
Maplewood Plantation, in the early summer of 1858.
Grazioso con rubato
= ca. 126
(Solo piano)

espr.

espr.
7

(The lights go up gradually; the guests begin to enter.)

(In the candlelit parlor at Maplewood Plantation, a wedding reception is being held to celebrate
the marriage of Caroline Gaines, Edward’s daughter, to George Hancock. The guests — the
local townspeople whom Edward is very eager to impress — waltz to the gentle accompaniment
of a parlor piano, and enjoy generous amounts of freely flowing champagne.)
13

legato ed espr.

19

espr.
 150 Act I–Scene 3

27 (Orchestra)

espr.

34

Edward:
40 3

Please, may I have your at ten tion?

Sost. Sost.
46 The Guests: (gathering around) well articulated

S
Mis ter Gaines wants to speak.
well articulated

A
Mis ter Gaines wants to speak.
well articulated

T
8 Mis ter Gaines wants to speak. Gath er
well articulated

B
Mis ter Gaines wants to speak. Gath er

(cresc.) dolce
 Act I–Scene 3 151

51

Gath er ’round our gra cious host. There is no thing so

Gath er ’round our gra cious host. There is no thing so

T.C.

T
8
’round our gra cious host. There is no thing so

’round our gra cious host. There is no thing so

58 dolce

fine as see ing a cou ple in love, a cou ple in love!

dolce

fine as see ing a cou ple a cou ple in love, a cou ple in love!
T.C.
dolce

T
8
fine as see ing a cou ple in love, a cou ple in love!
dolce

fine as see ing a cou ple in love, a cou ple in love!

 152 Act I–Scene 3

a tempo, grazioso ma poco lento

rit. ( = ca. 120)
66

73 Edward:

I prom ised Car o line’s moth er two things.

(non troppo )
79

E.G.
3
One, that I would stay a wid ow er;

86

E.G.

two, that I would see to our daugh ter’s fu ture care.

 Act I–Scene 3 153

92

E.G.

Car

100

E.G.

o line has prov en the right ness of those prom is es.

108 quasi

E.G.

She will in her it a sound es tate– which, I might add, has grown from mod est to

(An elegant display of crystal champagne glasses has been set out on
a side table for the guests. A few of them replenish their drinks.)
tenderly
118

E.G.

grand. And her choice of hus band is ev ’ry thing her moth er would have

Sost. Sost.
 154 Act I–Scene 3

126

E.G.

wished for. A man of sta ture and learn

The Guests:
molto legato

Beau ti ful words from our gen er ous host!

molto legato
A

Beau ti ful words from our gen er ous host!

molto legato

T
8
Beau ti ful words from our gen er ous host!
molto legato

Beau ti ful words from our gen er ous host!

(The pompous guests blatantly examine the

room’s furnishings to judge their quality.)
Vi–
133 riten. a tempo
E.G.
ing.

S
And her choice of hus band

A
T.C. And her choice of hus band

T
8
And her choice of hus band

B
And her choice of hus band
riten. a tempo

dolce
 Act I–Scene 3 155

–de
139 dolce
S

is ev ’ry thing her moth er wished for.

dolce
A

is ev ’ry thing her moth er wished for.

T.C.
dolce
T
8
is ev ’ry thing her moth er wished for.
dolce
B

is ev ’ry thing her moth er wished for.

espr.

Caroline:
147 espr. serene
por
t.

And you, fath er? Is he what you have wished for me?

Edward:
153

3 3 3 3 3
Ex act ly so, pre cise ly so. Am I right, George?
 156 Act I–Scene 3

George:
159

8
I’m not sure that I de serve her, but I will spend my life

165 meno
’
G.H.
8
try ing to serve her and earn the de vo tion she squan ders on

172

G.H.
8 me.
The Guests:

S
There is noth ing so won drous as be ing in

A
There is noth ing so won drous as be ing in

T
8
There is noth ing so won drous as be ing in

B
There is noth ing so won drous as be ing in

Sost.
 Act I–Scene 3 157

Caroline:
176

There is noth ing so won drous as be ing in a mar riage for love!

G.H.
8
There is noth ing so won drous as be ing in a mar riage for love!
meno

love. There is noth ing so won drous as see ing a mar riage for love, a
meno

A
love. There is noth ing so won drous as see ing a mar riage for love, a
T.C.

T
8
love. There is noth ing so won drous as see ing a mar riage for love,

B
love. There is noth ing so won drous as see ing a mar riage for love,

dolce

Sost.
183 riten.
S

mar riage for love.

mar riage for love.

T.C. meno

T
8
a mar riage for love.
meno

a mar riage for love.

riten.
 158 Act I–Scene 3

Meno mosso = 104

dolce cant.
191 Edward:

3
3 3
Car o line, my a dor a ble Car o line. Give your

dolce cant.
dolce cant.

(Caroline walks across the room to her father, who is waiting with
open arms. He embraces her too tightly, however.)
198

E.G.
fath er a daugh ter’s em brace.

a tempo
(lightheartedly)
accel. poco a poco
204 Caroline:

Oh, fa ther, I can not breathe.

dim. poco a poco

210 (Caroline goes to mingle with the guests.) rit.

C.G.

3 3 3 3 3 3 3 3 3

3 3 3 3 3 3
(dim.)
 Act I–Scene 3 159

Più comodo (don’t drag) = 92

(Caroline turns to her father upon hearing her name.)
warmly
214 Edward:

3
For give me, Car o line, my arms are like my love. Strong and all em brac ing.

(Caroline suddenly lets go of her father’s hands,

(reassuringly, taking her father’s and turns away from him to walk towards George,
Caroline: hands in hers) who is downstage, on the other side of the room.)
220 3 warm, pure

Nev er mind, fath er. I have pros pered so much in your arms,

sotto voce

225 più sonoro (George embraces Caroline tenderly.)

C.G.

I can now em brace an oth er.

più cant.

Meno mosso, stately = 84

(sensing that Edward feels somewhat rejected)
230 George: 3

3 3
8 3
There is no ri val here. Love does not con quer or dis

sotto voce
 160 Act I–Scene 3

234 (ten.)

G.H.
3
8
pose; it dou bles and tri ples with use.

(ten.)

237

G.H.
8 3 3 3
The lan guage of love is al ways con fus ing.

espr.

Poco più mosso = 92

240 come recitativo, freely
G.H.
8 3 3 3 3 3
It can nev er be as clear as the e mo tion it tries to con vey.

dolce 3 3
3 3
 Act I–Scene 3 161

243

G.H.
8
The

3 3 3 3 3 3
3 3 3 3 3 3

(Edward puts up his hand to interrupt George in mid-sentence.)

Con moto = ca. 152

246 Vi– –de
G.H.
8
lan guage of love…

251

255 Edward:

The lan guage of love is

secco
 162 Act I–Scene 3

259

E.G.

an im pos ter, hid ing in dress es of

(emphatically)
(full voice)
262 George:

8
The lan guage of love is a ma gi cian,

E.G.

verse.

sub. 3
secco 3
3 3

266

G.H.
8 3
turn ing ros es in to doves on the wing.

E.G.

The
 Act I–Scene 3 163

(not quite full voice)

270

G.H.
8
A

E.G.

lan guage of love is an in fant’s hand in a fath er’s glove.

274 3

G.H.
8
raft in a storm y sea, off er ing res cue.

277

G.H.
8
The Guests:

The lan guage of love is of ten hard to ex plain. It may of fer true joy, but it can

The lan guage of love is of ten hard to ex plain. It may of fer true joy, but it can

T
8
The lan guage of love is of ten hard to ex plain. It may of fer true joy, but it can

The lan guage of love is of ten hard to ex plain. It may of fer true joy, but it can
 164 Act I–Scene 3

281

end in such pain!

end in such pain!

T.C.

T
8
end in such pain!

end in such pain!

più secco

285

288 George:

8
The
 Act I–Scene 3 165

292

G.H.
8
lan guage of love is a light house to guide us o ver heav y waves. Edward:

The

296 sub.

E.G.
3 3
lan guage of love is a thief re spect ing no house hold, steal ing the loved ones a way.

3
3

301

E.G.

The Guests:

The lan guage of love is too com plex to be known. What is

The lan guage of love is too com plex to be known. What is

T
8
The lan guage of love is too com plex to be known. What is

The lan guage of love is too com plex to be known. What is

 166 Act I–Scene 3

304

bought with out price, can nev er be owned!

bought with out price, can nev er be owned!

T.C.

T
8
bought with out price, can nev er be owned!

bought with out price, can nev er be owned!

308 Vi–

310 Edward:

The lan guage of love is an im

 Act I–Scene 3 167

313 George:

8
…is a ma gi cian, turn ing

E.G.

pos ter, is an in fant’s hand in a fa

316

G.H.
8 3
ros es in to doves on the wing!

E.G.

ther’s glove.
The Guests:

The

The
T.C.

T
8
The

The

marc.
 168 Act I–Scene 3

319

S.

lan guage of love is a dan ger ous art. It can o pen your eyes or it will

A.

lan guage of love is a dan ger ous art. It can o pen your eyes or it will
T.C.

T.
8
lan guage of love is a dan ger ous art. It can o pen your eyes or it will

B.

lan guage of love is a dan ger ous art. It can o pen your eyes or it will

322

S.
3
tear out your heart!

A.
3
tear out your heart!
T.C.

T.
3
8
tear out your heart!

B.
3
tear out your heart!

marc.
 Act I–Scene 3 169

–de
325

marc.

(Embarrassed by the argument that has broken out between her father
and her new husband, Caroline walks away. She goes over to the side
table and picks up a crystal champagne glass.) George:
328

8
Is a ma gi
(getting angry)
Edward:

The lan guage of love is an im pos ter.

333

G.H.
8
ian. It’s a light house to guide us.

E.G.

It’s an in fant’s hand in a fa ther’s glove. It’s a thief

sempre
sotto voce
 170 Act I–Scene 3

(definitively, ending the discussion)

338 full voice

E.G.
3 3
re spect ing no house hold, steal ing the loved ones a way!

cresc.

rit. Grazioso = 116–120

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

It’s a clip per ship with room af ter room for danc ing and

E.G.

(cresc.) cresc.

(The newlyweds Caroline and George begin

the traditional “first dance”; the others join
in the waltz one couple at a time. Ironically, only
Gaines is without a partner; he is forced to
watch the festivities.)
rit. a tempo
Tempo primo = ca. 126
348

C.G.

cakes and tea and cham pagne!

molto espressivo
(cresc.)
 Act I–Scene 3 171

354

(As the guests waltz, Gaines

continues to watch alone.)

360

meno

(Margaret enters the room to bring in another tray

of glasses. Although she is dressed more nicely now,
in the uniform befitting a house servant, she acts in a
more subjugated manner. Gaines, standing alone,
quietly takes notice of her arrival.)
366

molto espr. espr.

372
 172 Act I–Scene 3

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

377 Edward:

3
Well, that is our an swer then. Cham

382

E.G.

pagne heals all wounds and puts all ar gu ments to bed.

quasi espr.

dolce
387

E.G.
3
Con grat u la tions, son. Bless ings, daugh ter.

espr.
 Act I–Scene 3 173

392

hold back A tempo = 92

(warmly)
(Margaret starts to
398 leave the room.) Caroline: 3

3
Mar g’ret, wait a mo ment.

404
3
C.G.

Come to me. What do you think?

dolce

poco meno mosso

(somewhat surprised)
410 Margaret: sotto voce

Ex cuse me, ma’am?

 174 Act I–Scene 3
a tempo
Caroline:
415

What do you think a bout love?

420 3
3
C.G.

We were dis cus sing the words to de scribe it.

dolce

425 Edward:

Child! Dear child!

6 6 6 6

(to Margaret)
Caroline:
428 3

3 3
Do they help us to love? Or hurt us be yond re pair?

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

sub.
 Act I–Scene 3 175

433 (to her father)

3
C.G.

I want to know. I want to know what she thinks.

3 3 3 3 3 3 3 3
3 3 3 3

(insistent)
Edward:
438

Child! Please, child, no more!

The Guests:
(almost whispering)

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

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

T
8
What is all this talk a bout, talk a bout? What is all this talk a bout, talk a bout?
(almost whispering)

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

sotto voce
 176 Act I–Scene 3
Poco più mosso
440 = 120

E.G.

poco

talk a bout? What is all thistalk a bout? Oh, dear. Oh, dear. We thought he was
poco

talk a bout? What is all thistalk a bout? Oh, dear. Oh, dear. We thought he was
T.C. poco

T
8
talk a bout? What is all thistalk a bout? Oh, dear. Oh, dear.
poco

talk a bout? What is all thistalk a bout? Oh, dear. Oh, dear.

Poco più mosso = 120

6 6 6

443

S.

qual i ty. Oh, dear. Oh, dear. This is a mis

A.

qual i ty. Oh, dear. Oh, dear. This is a mis

T.C.

T.
8
We thought he was qual i ty. Oh, dear. Oh, dear. This is

B.

We thought he was qual i ty. Oh, dear. Oh, dear. This is

 Act I–Scene 3 177

447

S.

take qual i ty folk would nev er make!

A.

take qual i ty folk would nev er make!

T.C.

T.
8
a mis take qual i ty folk would nev er make!

B.

a mis take qual i ty folk would nev er make!

450

Oh, dear. Oh, dear. This is a pro found in sult.

Oh, dear. Oh, dear. This is a pro found in sult.

8
Oh, dear. Oh, dear. This is a pro found in sult.

Oh, dear. Oh, dear. This is a pro found in sult.

marc. e secco
 178 Act I–Scene 3

riten. a tempo
454

S.

This is a mis take qual i ty folk would nev er make!

A.

This is a mis take qual i ty folk would nev er make!

T.C.

T.
8
This is a mis take qual i ty folk would nev er make!

B.

This is a mis take qual i ty folk would nev er make!

riten. a tempo

più pesante

Moderato = 80
458 (don’t drag) Edward:

3
Car o line, you

calmo

463

E.G.
3
are too will ful. She can’t an swer you.
 Act I–Scene 3 179

469

E.G.

She won’t an swer you.

rit. a tempo ( = 80)

475 Caroline: legato

3
Why not? She has loved me, served me,

481 3

C.G.
3
taught me in thesefew years; watch’d o ver my sleep.

ad lib.

487 meno

C.G.

Who knows bet ter than she how to say what love is?

3 3
 180 Act I–Scene 3

Vi–
493 3 più 3
3
C.G.

Can words do it jus tice, Mar g’ret? En cour age its suc cess?

sotto voce

cant. scherzando
–de
497 3 3
3
C.G.
3
Or, as my fa ther says, is the lan guage of love an im pos ter? A thief in the

L’istesso tempo = 80
502

C.G.

night? His
Margaret:
3

Beg ging your par don, Miss Car o line. Mis ter Gaines is the ex pert here.

sotto voce
 Act I–Scene 3 181
riten. a tempo
508

C.G.
3
love is rough, while yours is ten der.

M.G.
(emphatically)
espr.
Edward:

3 3
You see? She has no thing to
a tempo
riten.

full voice
rt.

513
po

E.G.
3
3
say on the mat ter. Love is not in her vo cab u lar y.

(thoughtfully)
518 Margaret:

Words of love are moths; eas y food for flame.

E.G.
 182 Act I–Scene 3

524

M.G.

Ac tions a lone say what love may

529

M.G.

be.

poco

= 80
3 5 5 3 5 5
535

3 3
3 3

3 3
5 5 5 5

Subito più mosso

agitated, wild
537 Edward: angrily

3
3 3
E nough! E nough! We have all had e nough of this non sense.

3 3
3 3
 Act I–Scene 3 183

542 = 80
E.G. 3
I re fuse to hear a slave com ment

3 5 5

6 6
3 appass. dim.
3
3

3
5 5

545

E.G.
3
on things out side her scope.

547 parlando

E.G.
3 3
Our guests are right. Her views are

6 6 6 6 6 6 6 6
sempre 3 3 3 3 3 3 3
 184 Act I–Scene 3

(to Margaret)
549 sotto voce (parlando)
port.
E.G.
3 3
worth less. You are ex cused. Leave us.

6 6 6 6 6 6 6 6
3 3 3 3

Sost.
551 (Margaret exits.)

E.G.

6 6 6 6 6 6 6

Sost.
Poco più agitato = 84
553 rit. 3
Caroline:

Fa ther, you shame me.

6 6 6

556 3

C.G.
3 3
She is as com plete a hu man as you are.
George:

8 3
Since she is a moth er,
 Act I–Scene 3 185
(The parlor clock strikes 10 o’clock. A few
of the guests realize that the late hour
560 now gives them an alibi to leave the party.)

C.G.

G.H.
8 3 (to Caroline)
may be more so.
Edward:

You dis ap

564

E.G.
3
point me. How could love ex ist in a slave? Pas sion, per haps.

(pleading with her father

to be reasonable)
569 Caroline:

There are

E.G.
3
3
But how would she know the dif f’rence?
 186 Act I–Scene 3

(looking into each other’s eyes)

574 port.
3
C.G.

3
man y kinds of love, fa ther. And man
George:

8
And man

578 molto espr.

C.G.

y kinds of lov ers.

molto espr.

G.H.
8
y kinds of lov ers.

6
 Act I–Scene 3 187
Poco agitato
= 144–152 (ben misurato)
The Guests:
582 leggiero e stacc.

This is too sub tle for me, and me, and me. Per
leggiero e stacc.
A

This is too sub tle for me, and you, and me, and me. Per
leggiero e stacc.

T
8
This is too sub tle for me, and me, and me, and you, and me. Per
leggiero e stacc.

This is too sub tle for me, and me, and you, and me. Per

6
sempre stacc., ma leggiero

588

haps it is time to say good night, good night and good night.

T.C. haps it is time to say good night, good night and good night.

T
8
haps it is time to say good night, good night. Ar gu ment chills a

haps it is time to say good night, good night. Ar gu ment chills a

 188 Act I–Scene 3

594

Good night, good night, good night, good night and good

Good night, good night, good night, good night and good
T.C.

T
8
par ty. Good night, night, good night, good night and good

par ty. Good night, night, good night, good night and

(The guests leave, bowing stiffly; they disapprove of Molto moderato

Gaines’s behavior and act coolly towards him. He is
angered and annoyed by their early departure.) = ca. 66
600 Edward: quasi parlando

3
Fools, id i ots. What

night.

T.C. night.

T
8
night.

good night.
Molto moderato
= ca. 66
 Act I–Scene 3 189

604

E.G.
3
do they know a bout “qual i ty” folk?
3 3 3
3 3 3 3 3

3
cant.

(to Caroline and George, with regret)

608 come recit.

E.G.
3
This was to be a proud mo ment. Now you have

cant.

612

E.G.
3 3
3
giv en my neigh bors more rea son to gos sip and de spise

3
espr.
 190 Act I–Scene 3

Più mosso = 72
616 Caroline: 3

I am sor ry, fa ther, if I up set you.

George:

8 3
por Don’t think us un grate ful forthis cel e bra
t.
E.G.

me.
3 Più mosso = 72

Poco più animando

621 = 80
C.G.

We did not mean to be rude,

G.H.
8 tion. We did not mean to be rude,

624

C.G.
3
on ly to say what we be lieve.

G.H.
3
8
on ly to say what we be lieve.

cant.
 Act I–Scene 3 191

627

C.G.

Hon es ty should not of

G.H.
8
Hon es ty should not of

630 = 126
C.G.

fend you.

G.H.
8
fend you. Edward: come recit. agitated
4

I am

633 7
cantabile

E.G.

not so weak as to be of fend ed by in no cence. But

 192 Act I–Scene 3

636 poco

E.G.
7
I have a rep u ta tion to main tain.
like a church chorale

= ca. 63
640 Caroline:

Fa ther, please try.

E.G.
3
My sweet Car o line,

643

E.G.

it does n’t mat ter. All is well.

 Act I–Scene 3 193

(kissing Caroline tenderly) (shaking George’s hand)

646 more personal

E.G.
3
Take care ofyour selves. Good bye, take

5 5

(Caroline and George leave, eager to depart on their honeymoon. Gaines pauses, and somewhat wistfully watches them walk away.)
649

E.G.

care.

(regaining his inner strength)

boldly
654 breve

E.G. 3
3 3 3 3
It does n’t mat ter at all. I have suc ceed ed just as I said I would.
breve
 194 Act I–Scene 3
Adagio = 72 Più mosso = 80 Adagio = 72
658 Edward:

3 3 3 3
En vy is the true price of wealth… which I eas i ly, hap

Ancora più mosso = 80

664

E.G.
3
pi ly pay.

poco espr. (inwardly)

= 60
671

E.G.
3
A rich man has man y rem e dies.

6 6
6 6

8ba
(Edward begins to leave, but when he notices Margaret returning
to clear the champagne glasses, he lingers in a hiding place.)

675

6 6
6 6

8ba
 Act I–Scene 3 195

(Margaret picks up a glass and holds it to the light, peering into it as if it were a crystal ball.)
680

poco

Andante = 84–88
(looking at the glass)
686 Margaret:

Are there man y kinds of love? dolcissimo Show me

3 3 3 3 3

3 3 3 3 3 3

691
3
M.G.

each and ev ’ry one. You can’t, can

3 3

3 3 3 3 3 3 3 3

696 por
t. 3
M.G.

you? For there is just one kind.

dolce 3 cant.
3 3

3 3 3 3 3 3 3 3
 196 Act I–Scene 3

Con moto
701 = 104 ( = 52)
M.G.

sempre cantando

3
3 3 3 3
3

706 with simplicity

M.G.

On ly un har nessed hearts can sur vive a locked down life. Like a riv er

712 più sonoro

M.G.

rush ing from the grip of its banks, as light es capes the cold est star;

sonoro
719 3 3

M.G.

A qual i ty love– the love of all loves– will break a

espr.
cresc.
 Act I–Scene 3 197

725
3
M.G.

way. When sor row clouds the mind, the spine grows strong; no pret ty words can soothe or

dolce

732

M.G.

cure what heav y hands can break. When sor row is deep, the se cret soul keeps

dolce

739 3 3

M.G.

its weap on of choice: the love of all loves.

sotto voce
espr.

745 espr.

M.G.

No pret ty

3
 198 Act I–Scene 3

751 3

M.G.

words can ease or cure what heav y hands can do. When sor row is deep,

allarg.
full voice
L’istesso tempo (don’t drag)
757 sonoro = 104
3
M.G.
3
the se cret soul keeps its qual i ty love.

cresc.

764

M.G.

When sor row is deep, the se cret soul keeps

espr.
sotto voce

770 3 3

M.G.

its weap on of choice: the love of all loves!

dolce espr.
 Act I–Scene 3 199
(Edward slowly emerges from his hiding place and walks towards Margaret, looking her over with unmistakable
intent. She is unaware of his presence, however, as she is looking down at the glass in her hand.)
775

sotto voce

(coolly; unintentionally startling Margaret)

780 = 80 Edward:

Such fine sen ti ments.

misterioso

pedale sempre

784

E.G.

Too fine, I think, for a

(He gently takes the glass from her hand. Assuming an air of
gentility, Edward then takes Margaret’s red scarf from his
pocket and slowly ties it around her neck.)
full voice
787

E.G.

slave. But I have my remedies.

 200 Act I–Scene 3
790 quasi
(Margaret resists his advances.)

E.G.
A man has man y rem e dies.

marc. più cresc.

molto cresc.

Più largamente = 72
794 Margaret: agitated

They can not touch the se cret soul.

(losing control)
molto

E.G.
Più largamente = 72 Your soul is

(Margaret begins to struggle vehemently. But Edward Più maestoso

797 overpowers her, and throws her forcibly to the floor.)

E.G. 3
not on my mind.
5

(The curtain falls slowly.)

800

(a2)

ca. 73’
 Act II, Scene 1: 201
Maplewood Plantation.
Sunday, February 24, 1861, in the early evening.
(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.)

Con moto, poco agitato = 104–108 Cilla:

Margaret: Not yet.

3

Has he come? 6

3 6
cresc. poco a poco
3

5 6

6 6 6 6 6
3 3

C.

Not yet. But soon.

M.G.

Is he here? Has he come?

3
3

(Margaret suddenly notices that Cilla is packing a carpetbag.)

Agitato, ma meno mosso = 84–88
12 unsettled

M.G.
3
What are you do ing? Where are the chil dren?
 202 Act II–Scene 1

16 rit.

Cilla: A tempo = 84–88

20 (with assurance)

Rob ert is my son and his word is gold.

sotto voce sempre

Sost.
28 più cantabile

C.

Calm your self. Your daugh ter is with

sempre più cantabile

as needed as needed
(Margaret begins to search the room for signs of the children. She
becomes increasingly anxious when she realizes they are not there.)
Subito più mosso
34 quasi = 104–108
C.

Kate. So is the lit tle one.

3
 Act II–Scene 1 203

38

L’istesso tempo
= 104–108
41 Margaret: agitated
3

Why are you fold ing their

as needed

44

M.G.
3
clothes? You’re pack ing them a way! What

legato edespr.

Poco meno mosso

= 92
47
’
M.G.
3 3
aren’t you tell ing me? Has Cas ey been here?

as needed
 204 Act II–Scene 1

50

M.G.

Is he tak ing them a way?

= 52–54
54 Cilla:

3
Mar g’ret, you have changed so. Each time you vis it I see

( as needed)

a tempo poco rit.

60 move forward
3
C.

less of you and more of a wet hen. 3

Moderato, flowing
= 112
64

C.

Don’t cut up so. The news is good.

3 3 3 3
 Act II–Scene 1 205

67

C.

Margaret:

3
What news? Please, Cil la. What is hap pen ing?
3 3 3 3 3 3 3 3 6 6 6 6

70
6 6 6 6

Più maestoso = 104

74 Cilla:

3
It’s time, dar ling girl. At last,

Quasi Adagio = 60
78

C.
3
the time has come. The plan is set.
 206 Act II–Scene 1

83 3 3 3 3

C.

That’s why your hus band is late. He is mak ing sure that all is in place.

sim.
a tempo
87 poco allarg.

C.

You’re leav ing to night!

Lively = 120 più espr.

91

C.

Margaret: Sweet er than syr up and right

Sweet Je sus!

sub.

94

C.

on time.
 Act II–Scene 1 207

97 Margaret:

Sleep my ba bies in the

100

M.G.

mead ow, Sleep my ba bies in the hay; My

103

M.G.

ba bies got some dream in’ to do

106

M.G.

’cause free dom’s on the way.

 208 Act II–Scene 1

109

marc.

Cilla:
111 with joyful exuberance

Sleep my ba bies in the mead ow, Sleep my ba bies in the

Margaret:
with joyful exuberance

Sleep my ba bies in the mead ow, Sleep my ba bies in the

114

C.

hay; My ba bies got some

M.G.

hay; My ba bies got some

 Act II–Scene 1 209

117

C.

dream in’ to do ’cause free dom’s on the way.

M.G.

dream in’ to do ’cause free dom’s on the way.

120

C.

M.G.

(Robert arrives, and immediately embraces Margaret.)

123

marc.
 210 Act II–Scene 1

(feigning anger at Robert)

127 Margaret:

You did n’t say a word last Sun day.

(taking her seriously)
Robert:

I could n’t. I

stacc. sempre

(teasing)
131

M.G.

You ought to tell me what

R.

had to be sure.

( ) ( ) ( ) ( )
marc.

134

M.G.

you’re do ing... some times!

R.

You

( ) ( )
 Act II–Scene 1 211

138 meno

R.

need to keep it qui et in here.

( )

141

( ) ( ) ( ) ( )
cresc.

= 72
143 Margaret:

Al right.

( ) ( ) ( )
6 6

146 =
M.G.
3
When do we leave?
 212 Act II–Scene 1

Half tempo = 72
149 Margaret:

O Lord, I
Robert:

3
Three hours from now.

152 3 3

M.G.

am gon na cry.

as needed

155 Robert:

3
3 3
You? Not you! My sol dier girl’s go ing to cry?

dolce legato e dolce

 Act II–Scene 1 213
(Robert tries to embrace poco rall.
Margaret, but she pulls away,
158 embarrassed to show her tears.)

R.G.
3 3 3 3
It’s al right. It’s al right.

dolce, cant.

Moderato = 42
162 ( = 84) tenderly

R.G.

Go cry, girl, you have won your tears; go

light, transparent

sempre legato

166

R.G.

cry, girl, o bey your ten der years. The string is cut, the tale is told. I

170

R.G.
3
know. Don’t think I don’t know.
cant.
 214 Act II–Scene 1

più cantabile
174

R.G.

cant. The gate is o pen, the

3

178

R.G.

way is clear; the work is done and the time has come, I know. Don’t

più sonoro

182

R.G.
3
think I don’t know. Go cry, girl.

(Margaret feels overwhelmed

186 with love for Robert.)

R.G.

Girl, go cry.
 Act II–Scene 1 215

190 cantabile

(Drawing closer, they kiss.)

194
’

Con moto = 104

(recovering her composure, but still anxious)
198 Margaret:
3

Where will we go? Are there oth ers?

(reassuringly)
Robert:

3 3
It’s al right. It’s al

più mosso
201 espr.
3 3

M.G.

Do we have mon ey? Where will we hide?

R.G.

right.
 216 Act II–Scene 1

a tempo
204 Robert: emphatically
3

3
It’s al right. I am in charge now.

207 (teasing) p
ort.

R.G.
3
3 3
Ev ’ry thing is read y— ex cept you. Now you help

211

R.G.
3 3
ma ma fin ish pack ing. I’m go ing for the

(Cilla looks around the room one more time, to make sure
that all of Robert and Margaret’s belongings are packed.)
213 (He leaves.)
riten.
R.G.

child ren.
 Act II–Scene 1 217

Andante comodo
= 72
217 (locking the last bag) Cilla:

All done. I’m through.

Margaret: 3

Where are your things?

220

C.

Dar ling girl, I

3

M.G.

I don’t see your things, ma ma.

223 3 3

C.

am too old to tread new wa ters. I am bound to stay

dolce
 218 Act II–Scene 1

226

C.

here.

229 Cilla:

No, I
Margaret: più espr.

Ma ma! You have to come with us.

232 3

C.

don’t. You know I won’t.

dolce

as needed
 Act II–Scene 1 219
(Briefly overcome by painful emotions, Cilla looks
away from Margaret, who is attempting to make
direct eye contact with her mother-in-law.)
235

Recitativo, poco più mosso

= 76
239 Cilla:

3
See ing you, my son and my grand child ren

244 3
3
C.

gone from this place, a way from Sa tan’s breath is my bless ing.

248

C.

Don’t mourn me. When my fam

sotto voce sotto voce

 220 Act II–Scene 1

253 3 meno legato

C.
3
i ly is safe, I will be on ly near the cross— not on it.

5
259

quasi

Adagio = 54
264 Cilla: più cant.
floating
C.

He is by, for ev er by me. In His shad ow I will lin ger on a

267 floating

C.

while ’til He calls me. He is by, for

 Act II–Scene 1 221

271 più espr.

C.

ev er by me. No trum pets or streets of

cant.

274 sub.

C.

gold. He will come in si lence and gath er

277

C.

me in His arms.

espr. cant.
 222 Act II–Scene 1

280 Cilla: cantabile

He is by, for ev er by me.

Margaret: cantabile 3

Please don’t con fine us to the edge of your mind in shad ow.

283 più cantabile

C.

No trum pets or streets of gold. He will come

M.G.

We don’t want trum pets or streets of gold. As

espr.

286 (full voice)

C.

in si lence and gath er me in His

(full voice)

M.G.

we leave in si lence, give us your

molto cantabile
 Act II–Scene 1 223

poco rit. Poco più mosso = 72

289

C.

arms.

M.G.

arms.

espr.

Poco meno mosso = ca. 60

293

C. port
.
A men.

M.G.
port.
A men.

Con moto, ma non troppo

296 = 108
Margaret: 3

It ’ll break my heart know ing

 224 Act II–Scene 1

300
3
M.G.

that you are still here. We

304

M.G.
3
can’t be free with out you.

308
3
M.G.

Rob ert will in sist.

Cilla:
312

Hush, child. Hear me now: Don’t waste mus cle where none is want
 Act II–Scene 1 225

316
3
C.

ed. You will need ev ’ry bone

320

C.
3
3
and sin ew plus your mind to get a way

324

C.

from here. Fol low your hus band.

328

C.

Save your child ren, moth er!

meno
 226 Act II–Scene 1

332

C.

Rear up, now.

(They hear footsteps

336 3 approaching the cabin.)

C.

Help Rob ert with the chil dren. Here he comes.

340 =
C.

8va

cresc.

(Casey glances around the cabin, then picks up one

L’istesso tempo of their carpetbags and throws it across the room.)
(Margaret and Cilla are shocked when
Casey, not Robert, storms into the cabin.)
344
 Act II–Scene 1 227
Pochiss. meno mosso
= 96
rit.
347 Casey: freely 6

8
Plan ning a lit tle trip?

350
3
Ca.
3 3
8
Or just clean in’ out the sty?

Poch. più mosso = 104–108

(offstage)
353 Robert:

3
The child ren are com ing! The child

cresc. cresc.

Subito agitato = 120+

(Upon entering the cabin, Robert halts abruptly when he sees Casey.)
356

R.G.
ren are…
 228 Act II–Scene 1

Come sopra = 96
359 Casey: quasi parlando

8
Well, I’ll be. Well, I’ll be.

= 48 ( = 96)
362

Ca.
8 3
Look what crawled out of the woods.

365

Ca.
8 3
Pap py bear. Com in’ to get mam my bear and all the

(to Cilla)
369

Ca.
8 3
lit tle cubs? I guess you must be Gold i locks.
 Act II–Scene 1 229

373

Ca.
8
Seems the por ridge is all et up.

Pochiss. più mosso

378 = 100
3
Ca.
8 3
Let me see what I can of fer

382 (pulling a pistol out of his coat)

3
Ca.
8
you. Gun pow der might be a lit tle dry,

(Casey points the pistol

at Cilla’s mouth.)
385

Ca.
3
8
but Gold i locks got to eat, don’t she?

sub.
230 Act II–Scene 1

389

(motioning to Robert and Margaret

with his free hand)
393 Casey: darkly

8 3
Let’s just line up o ver there.

dim.

(Impulsively, Robert attacks Casey. A violent struggle ensues,

during which Robert manages to wrest away Casey’s pistol.)

Più agitato = 108

398

sub.

(Robert grabs Casey from behind,

yet hesitates to shoot him.)

400
 Act II–Scene 1 231

402

3
3
3

poco rit.

406

dolce

dim.

= 92
quasi parlando
412 Casey: 3 più cant.
3

8
3
You kill me, both of us is dead. Your

416

Ca.
8
fam i ly too. (livid, filled with rage)
Robert:

And if you live, will they?

 232 Act II–Scene 1

420 Margaret:

3
Don’t kill him. He’s al read y dead.
dolce

425

M.G.

(to Margaret)
Casey:
3

8
You black slut! Don’t ya beg for me!

molto agitato forcefully

429 Robert:

Dog with out teeth! Re mem ber

 Act II–Scene 1 233

Molto agitatissimo = 126

432

R.G.

hell? Go

436 (Casey struggles to break free from Robert’s grasp.)

R.G.

home to it now!

(Robert strangles Casey to death.) molto allarg.

440

(When Casey’s body begins to crumple to the ground,

Robert finally lets go of him.)

Più maestoso = 80

443

dim.
234 Act II–Scene 1

dolce espr. e legato

448

dim.

Più calmo
= 72
453 Cilla:

3
Lap of God, Rob ert. What have you done?
molto cant.

sub.

Come sopra
= 72
(clasping her hands)
Più largamente = 54
457 Cilla:

Robert: For give

Proved my worth as a man and your son.

 Act II–Scene 1 235

460

C.

3
him, Fa ther. This may be the end.
Margaret:

No! No, we can’t

463 quasi parlando

M.G.

change what is done. Quick! Rob ert, you have to run!

Robert:

3
I can’t leave

466 3

M.G.
3
Tell me where to meet you. Then go!

R.G.
3
you all here!

cant.
 236 Act II–Scene 1

469

M.G.

agitated

R.G.

The bot tom… by the mi mo sa. The grass is

poco espr.
473

R.G.
3
tall there. When the moon hits the top of the

477 Cilla:

Hur ry, son!

meno

R.G.
3
pines, the wag on will be there.

3
 Act II–Scene 1 237
(She covers Casey’s body.)
molto rit.
481 3

C.
3
Make tracks, now! We’ll han dle God’s out cast.

Tranquillo = 66
484 Robert:

3
Mar g’ret. Oh, my

488 Margaret:
’

espr. 3
The bot tom… tall grass… mi mo sa…

R.G. 3

sweet, lov ing wom an!

 238 Act II–Scene 1

491

M.G.

…touch es pine.

R.G.
3
Be there when the moon light… …touch es pine.

495

M.G.

…wag on wheels.
a bit more anxious

R.G.
3
Lis ten for the wag on wheels.
 Act II–Scene 1 239

498

M.G.

…moon light.

R.G.
3
Watch for the moon light.

Più largamente = 60 a piacere (Robert kisses her.)

502 freely 3 almost whispered

M.G.

We’ll meet you in the moon light. Go!

(Robert runs away.) (Lights out.)

506 breve

ca. 24’
240
Act II, Scene 2:
In the Free State of Ohio, three weeks later.
(At twilight, on an evening in late March 1861. (Robert is standing underneath a huge elm tree, near the
Three weeks have passed since Margaret and Robert entrance to an underground shed where he and Margaret,
successfully escaped from Maplewood, and crossed the now both outlaws, are hiding with their children in an attempt
frozen Ohio River on the Kentucky border to reach to avoid being recaptured and returned to their masters.
Cincinnati, a city in the “Free State” of Ohio.) Glimmering hot coals can be seen in a hole in the shed’s
earthen floor.)
Misterioso, ma con moto
= 92–96

5 (offstage Trumpet) 5 3 3
3

sub.

3
10 poco

17

(Tpt.) 3 meno

Moderato = 80
(emerging from the shed)
21 Margaret:

3 3
What else have you heard? What are they say ing a
(Tpt.)
 Act II–Scene 2 241

Poco più mosso = 84+

24

M.G.

bout him?
Robert:

3 3 3
They say this new Pres i dent does n’t hiss

sempre dolce

(Tpt.)

sempre

28

R.G.
3 3
like a snake; that he talks like a man.

sotto voce

Come sopra = 80
33 Margaret:

3
What else have you heard?

6 6 6 6 6 6 6
 242 Act II–Scene 2

35
3
M.G.

What has he said?

Più mosso = 84
poco
38 Robert:

3
3
That a house di vid ed can not stand.
3
3

3 3 3 3 3 3

40 full voice

R.G.
3
And that the Un ion is sac

3 3 3 3 3 3
3 3

42

R.G.

red.

dolce cant.
 Act II–Scene 2 243

Margaret: come recitativo

45 3
3

That means war… You bet ter make your spir it read y, dar ling.

48 Poco meno mosso = 72

M.G.

3
Oh, Ro bert,
6 6 6 6 6 6

3 3 3 3 3 3
sempre

51

M.G.

The chil 3dren are trou bled.

6 6 6 6 6 6

3 3 3 3 3
( sempre)
ossia

cry

54

M.G.

They cry in their

6 6 6 6 6 6

3 3 3

3 3 3
( sempre)
 244 Act II–Scene 2

57

M.G.

sleep.
6 6 6 6

3 3

3 3
( sempre)
cresc. poco a poco

59 Robert:

3 3
I know, I know, I know, I know. But free dom is in our

6 6 6 6

Più andante
rit. = ca. 76
(with hope)
62 Margaret:

3
Tell me a gain: What is the

R.G.

teeth. espr.

3
espr.
 Act II–Scene 2 245

65

M.G.

name of this place?

Robert:

3 3
3
O hi o. It means “beau ti ful.”

68
3
M.G.

Is it? Is it beau ti ful? molto cantabile

R.G. 3

So I hear. A beau ti ful

3
cantabile

71 Margaret:

Tell me.

R.G.

place for a fu ture.

 246 Act II–Scene 2

come recitativo poco riten. A tempo = ca. 80

75 ’
3 3
M.G.

Tell me what the fu ture will be like. Robert: not quite full voice
’
3
It will be with

3
legato
3

3 3 3 3 3 3 3 3
molto cant.

78 più sonoro

R.G. 3 3
3
you as my wife no oth er man can touch or claim. It will be

accel. poco a poco

82

R.G.
3 3
3
the child ren seat ed, not bent. Seat ed in school rooms, not
 Act II–Scene 2 247

(accel.) = 88–92
(più sonoro)
86

R.G. 3 3
3
bend ing through rows of corn. It will be me paid for my la bor

cresc.

poco riten. Grazioso = 60

90 Margaret:

molto Will I plant a gar den?

R.G. 3

with coin of the realm.

(cresc.)

93

M.G.

Mend your shirts by lamp light? Will I watch from a win dow
Robert:

3
It will be just so.
 248 Act II–Scene 2

97 3

M.G.
3
3 espressivo
our chil dren tum bling in clov er and rose mar y?
Robert:

Trust me, Mar

Più mosso = 80
100 Margaret: quasi

3 3 3
Will they swim in clear wa ter

R.G.

g’ret. It will be just so.

3 3

più
104

M.G.
3
un til their skin glit ters like brass? Tell me…

3 3 3 3 3 3
 Act II–Scene 2 249

108

M.G.
non troppo
Tell me.
Robert:

3
3
They will. It will be just so.

Come sopra
= ca. 76
111 Robert:

Look! Do you see this tree?

full, rich
115

R.G.

How it’s low er ing its branch es to pro tect you

3
più sonoro
 250 Act II–Scene 2
Poco più mosso
accel. = 92
118 Margaret:

That is

R.G.
3 3
3 3
no mat ter what the weath er brings. I mag ine…

3
sempre cantabile ed espr.

121

M.G.

how it will al ways be…

full voice
Robert:

That is

124 Margaret:

That is

( )

R.G.

how I will al ways be. That is

 Act II–Scene 2 251

poco
127 meno ’
M.G. port.

how it will al ways be.

meno
poco
’
port.
R.G.

how it will al ways be.

poco
’

( )

= 108 (suddenly coming to his senses)

131 Robert:

Come in side. It’s dan g'rous out

 252 Act II–Scene 2

(As they walk back to the shed, Robert puts

136 his arm protectively around Margaret.)
come recit.

R.G.
3 3
here. Some one might see us.

played freely
3 3 6
6

(offstage) humming
139 *
Slave Catchers (8):
T
8
Mmm
(offstage) humming
*
Slave Catchers (8):
B

Mmm

6 6 6 6 6 6 6 6

*All male singers may accompany the Slave Catchers,

offstage, if necessary, through m. 159.
 Act II–Scene 2 253

141
port.
T
8
Cat.
port.
B

sub. 6 6 6

6 6 6 3

143
port.
T
8
Cat. Mmm
port.
B

Mmm
6 6 6 6 3 6 6
6

145
port.
T
8
Cat. Mmm
port.
B

Mmm 3
6 6 6 6 6 6 6
 254 Act II–Scene 2
(Once inside the shed, Robert thinks he hears a group of men (Accompanied by several slave catchers,
approaching, and grabs his pistol. Margaret runs to protect Edward Gaines—who appears to be somewhat
the children, who are sleeping in the corner behind a blanket.) intoxicated—pounds on the shed door.)

3 3 3 3
147

Edward:
151 (No sound is heard from inside the shed.)

O pen up! O pen up! If

Slave Catchers:

T
8
O pen up! O pen up!

O pen up! O pen up!

3 3

155

E.G. 3
3
blood shed is on your mind, don’t wor ry. I

3
 Act II–Scene 2 255

159

E.G.
3 3 3 3 3
just want what is mine. 3
3

Edward:
L’istesso tempo
162

O pen up! O pen up!

Slave Catchers:

T
8 O pen up! O pen up!

O pen up! O pen up!

l.h.
(sus. cym.)

(B )

166 dolce più sonoro port.

E.G.
No harm. Come soft ly.

T port.
8 No harm.
Cat.
port.
B

No harm.
 256 Act II–Scene 2

Edward: (not quite full voice)

169 quasi

3
Slave Catchers: There is no thing

T
8 O pen up! O pen up!

O pen up! O pen up!

port
172 .

E.G.
you can do.
3
3
3 3

3 3

(Gaines breaks down the shed door and fires

his pistol in the air. Robert shoots at Gaines,
but misses his target.)

Maestoso = 92–96

175
3 3

3 3 3 3 3 3

178
 Act II–Scene 2 257
(Overpowered, Robert is knocked to the ground and tied up.
Margaret emerges from behind the children’s blanket.)
181

(Emotionally spent, Margaret falls to her knees.) (grief–stricken)

187 Margaret:

No!

6 6 6

as needed
191

M.G.

No more!

6 6 6 6 6 6 6 6 6

194

M.G.

No! No more! No
6 6 6 6 6 6 6 6 6
 258 Act II–Scene 2
accel.
(getting up from the floor) a tempo
197 quasi recit.

M.G.

more! Why

6 6 6 6 6 6

sub.

200 (full voice)

M.G.
3 3 3
3
can’t you leave us be? Why can’t you leave us a

sub.

204

M.G.

lone?

Edward:

Leave

sotto voce
 Act II–Scene 2 259

208

E.G.

mur der ers be? I own him!

3 3 3

213

E.G.
3
I own your child ren!

3 3 3

3
3 5

quasi
218 (’)
sub.

E.G.

I own you!
 260 Act II–Scene 2

(pleading)
223 Margaret: freely

Some bod y help us!

sub.
ten.

( )

3
227 Margaret:

Please, some bod y!

sub.
ten.

( )

(Margaret weeps silently as Edward

231 removes his hat, overcoat, and gloves.)

M.G.

Please, no more!

sub. sub.

( )
 Act II–Scene 2 261

Edward:
235 port.

3
My bed is cold, girl. It wants warm ing.

sub. sub.
ten.

( )

239

E.G.

Re mem ber…

sub.
ten.

( )

(with increasing vigor

and excitement)
243

E.G.
3
Re mem ber? Re mem ber? Re mem

sub.

( )
 262 Act II–Scene 2
accel.
248

E.G.
3 3 3
3 3
ber the bed warm er you ran o ver my sheets? First you filled it

Più mosso = 108

(accel.) accel. molto
Margaret: wildly
252

(almost shouted) Here they are! Take

E.G.
3
6
with hot coals as I re call…

sub. sub.

(With her bare hands, Margaret grabs some (Gaines manages to grasp Margaret’s wrists,
and forces her to drop the coal. He notices
coals out of the smoldering fire and lunges
that her hands have been scorched.)
at Gaines, attempting to burn him.)
256 = 72
M.G.
3
them! Take them!

3 3

sub.
6 6 6 6

3 3
 Act II–Scene 2 263

259 Edward: (derisively)

3 3
Pre tend to be cra zy

262 (derisively)

E.G.
3 3
as much as you like. Man gle your self, I don’t care.

sub.

265

E.G.

sub.

(B.D.)
 264 Act II–Scene 2

quasi parlando
full voice
268

E.G.
6
6
Cas ey was not e nough? Will you kill me, too? Oh, no, my lit tle crow.

= 54 (A slave catcher returns to the shed.)

271

275 Slave Catcher:

He’s bound and read y, sir.

sub.

sub.

(B.D.)

= 54 molto rubato
278 Margaret: 3

Damn your mar ble eyes,

 Act II–Scene 2 265

280 shouted
3
M.G.

Damn your sli ther ing soul! Your

282 a piacere (don’t hurry)

3
3
M.G.

mis ’ra ble, pu trid heart.

6 6 6

(to the slave catcher)

come recit.
286 Edward:

3
Take the young ones to the wag on. Then light the

sub. sub.

289

E.G.

fire. The night is cold and

sub.
sub.
 266 Act II–Scene 2

293

E.G.

prom is es to be long.

sub.

(In the dim light, Robert can be seen standing outside 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.)

(don’t hurry)
296

300

304
 Act II–Scene 2 267

308

a tempo
Con rubato = ca. 54 poco rit.
313 Robert:

Mar g’ret! Mar

cant. cantabile

as needed

318

R.G.

g’ret! I love you! I love!…

espr.
 268 Act II–Scene 2

(Gaines’ pistol shot interrupts Robert’s rit. L’istesso tempo = 54

cry, killing him instantly.)
323 Margaret: 6

3
* Ne ver to be born a gain in to sla

sub. (B.D.)

(Margaret violently attacks her daughter,

327 murdering her by slitting her throat.)

v’ry!

6 6 6 6

= 54
(She stabs her younger child to death.) (Margaret collapses, dropping
the knife.)
lunga (Horrified, Gaines and his men
surround Margaret.)
329 (Lights out.)

(B.D., Tamtam)
lunga

ca. 40’

* text ossia: My children will not live a life in¡ attacca

 269
Intermezzo
(Total darkness envelops the stage.)
Adagio doloroso
= ca. 92

lontano

Poch. più mosso

5 = 96

più cantabile espr.

cantabile

Poco più mosso

move forward = 104
13

( ) ( )
dolce

17

espr.
270 Intermezzo
21 3

espr.

dolce
rall. = 92
25

n
3
29

sub. sub.

Don’t drag
32 3 = 52 (in 2)

dolce

37

l.h.
dolce

allarg.
41
 Intermezzo 271
(The image of Margaret, alone, gradually becomes visible.
Her state of mind clearly is changing.)

Con rubato = ca. 84

= 72 (consoling herself, almost like crying)
45 Margaret: plaintive

Mm, Ah,

port.

Più mosso = 96
accel. (slurring the words slightly) cantabile
50
po
M.G. rt.

Mm, Ah… Like a riv er rush ing from the

espr.

55

grip of its banks.

non troppo
60

dim. al
niente
non troppo
 272 Intermezzo

(With defiant grandeur, Margaret embraces her life’s circumstances.)

Adagio, con rubato

(full voice)
65 = 69–72 Margaret:

Dark ness, I sa lute you.

ten. ten.

ten. ten.

70
’
M.G.
3
Rea son has no pow er here, o ver the dis

74

M.G.

con so late.
 Intermezzo 273

78 Margaret:

3
Grief is my plea sure;

= 72, don’t drag

82

M.G.

thief of life, my lov er now.

86

M.G.

Dark ness,

(with quiet acceptance)

91 quasi (fade to black)
lunga

M.G.

I sa lute you. lunga

ca. 47’
274 Act II, Scene 3:
In a Courtroom, in early April, 1861.
(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 lights go up gradually.)

Moderato, ma con moto = 88

(The stage is fully lit.)

( = 88)
6

Judge 1:
11

8 3
What is the charge?
Judge 2:

3
What is the charge?
Judge 3:

3
What is the charge?
Edward: 3

3
Theft, Your Hon ors.

3 6
6
 Act II–Scene 3 275

15 poco pesante

J.1
8 3
And the val ue of the theft?
poco pesante

J.2
3
And the val ue of the theft?
poco pesante

J.3
3
And the val ue of the theft?
3 3

E.G.

3
Hun dreds, Your Hon ors.

18

J.1
8
Have the

J.2

Have the

J.3

Have the

E.G.

Hun dreds of dol lars lost.

6

6
 276 Act II–Scene 3

21 poco pesante

J.1
8
sto len goods been found? And
poco pesante

J.2

sto len goods been found? And

poco pesante

J.3

sto len goods been found? And

E.G.

They have, sirs.

6
6

24 legato

J.1
8
what is the con di tion of these goods?
legato

J.2

what is the con di tion of these goods?

legato

J.3

what is the con di tion of these goods? (looking at Margaret)

E.G.

Ru ined. Use
 Act II–Scene 3 277

28 3

J.1
3
8
3
How did they come to be ru ined?

J.2
3 3
3
How did they come to be ru ined?

J.3
3 3
3
How did they come to be ru ined?

E.G.
3 3
less. The ac cused de stroyed

Poco più mosso

= 92 A tempo = 88
32

J.1
8
By ac ci dent or de lib er ate ly?

J.2

By ac ci dent or de lib er ate ly?

J.3

By ac ci dent or de lib er ate ly?

E.G.
3
3 3 3
them, Your Hon ors. De lib er ate ly.
Poco più mosso
= 92 A tempo = 88
 278 Act II–Scene 3

36 legato

J.1
8
De scribe, please, the de stroyed goods.
legato

J.2

De scribe, please, the de stroyed goods.

legato

J.3

De scribe, please, the de stroyed goods. più cantando

3

E.G.

Chil dren, sirs. Two chil dren,

accel. Più mosso = 92 Tempo I = 88

(in an aside to Gaines)
40 Caroline:

Fa ther, this is mad

sub.

E.G.
3
both mine. I mean, both my pro per ty.

accel. Più mosso = 92 Tempo I = 88

 Act II–Scene 3 279

43 (pleading)

Ca.
3
ness. George: All the more rea son to
(pleading)

8 (retorting loudly, embarrassing Caroline) 3

Edward: All the more rea son to

Mad ness, yes– Hers, not mine.

47 (The judges nod their consent.)

Ca.
3
spare her. Your Hon ors, may I speak?

Geo.
8
spare her.

3 3 3
3

Più lento = 60
51 Caroline:

The charge is false.

sotto voce
 280 Act II–Scene 3

Tempo I = 88
55

Ca.
3
Not theft, but mur der it should be. Judge 1:

8
That is a

Judge 2:

That is a

Judge 3:

That is a
Tempo I = 88

59

J.1
8
ver y dif f’rent mat ter. Yet it comes to the

J.2

ver y dif f’rent mat ter. Yet it comes to the

J.3

ver y dif f’rent mat ter. Yet it comes to the

 Act II–Scene 3 281

63 meno

J.1
8 3 3 3 3
same thing. The is sue be fore us is of pro per ty; a fi nan cial loss…
meno

J.2
3 3 3 3
same thing. The is sue be fore us is of pro per ty; a fi nan cial loss…
meno

J.3
3 3 3 3
same thing. The is sue be fore us is of pro per ty; a fi nan cial loss…
6

6 3

molto rit. a tempo ( = 88)

67

J.1
8
not a de bate a bout the hu man soul

J.2
not a de bate a bout the hu man soul

J.3

not a de bate a bout the hu man soul

a tempo ( = 88)
6 6
6
3
molto rit.
6

poco
 282 Act II–Scene 3

69 Caroline: amabile

Re spect ful ly, we beg to

George: amabile

8 6
Re spect ful ly, we beg to

(emphatically)
72

Ca.
3
dif fer. A mo ther who kills her
(emphatically)
3
Geo.
8
dif fer. 6 A mo ther who kills her
3

75 più legato

Ca.

chil dren can not be said to steal them.

più legato

Geo.
8
chil dren can not be said to steal them. (interrupting angrily)
Edward:

They did n’t be long to her.

 Act II–Scene 3 283
forcefully
rit.
80

E.G.
3
She has no right to them, liv ing or dead…

= 80
84

E.G.

Liv ing or dead. It is clear in our sys tem

88

E.G.
3 3
she owns no thing— least of all my slaves.

3 3

3 3
6
 284 Act II–Scene 3

= 120
The Townspeople:
Soprano:
92 (assertively)

Yes! Yes! Lis ten to him. Lis ten to him. He is right. Lis ten to
Alto:
div. (assertively) unis. unis.
div.

Yes! Yes! Lis ten to him. Lis ten to him. He is right. Lis ten to
Tenor:
(assertively)

8
Yes! Yes! He is right! Lis ten to him. Lis ten to him.
Bass:
(assertively)

Yes! Yes! He is right! Lis ten to him. Lis ten to him.

97

him. Lis ten to him. Lis ten to him. Lis ten to him.

him. Lis ten to him. Lis ten to him. Lis ten to him.
T.C.

T
8
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.He is
 Act II–Scene 3 285

101 div.
S

He is right. He is right.

He is right. He is right.
T.C. div. unis.

T
8
right. He is right. He is right.

right. He is right. He is right.

106 tutta forza

He has the right i de a.

tutta forza

He has the right i de a.

T.C. tutta forza

T
8
He has the right i de a.
tutta forza

He has the right i de a.

 286 Act II–Scene 3
Tempo I subito e deciso = 88
rit.
Judge 1: with authority
112

8
3 3
Or der in the court! Or derin the court!
with authority
Judge 2:

3 emphatically, come recit.

Or der in the court!
Judge 3:

3 3 3 3
Tempo I subito e deciso = 88 Or der in the court in the name of the law of this
rit.

sub.

a tempo
(Silence suddenly fills the courtroom.)
114 Caroline: quietly, with respect but also conviction

She bore them, Your Hon ors. They are hers

J.3

coun try!
a tempo

119 3
3
3
Ca.

un til they come of age. She is re spon si ble for their lives.

legato
 Act II–Scene 3 287
Più mosso (un poco agitato)
124 = 92 (sarcastically)
Judge 1:

3
8 3
Where have you been, Ma dam? On an is land
(sarcastically)
Judge 2:

3 3
Where have you been, Ma dam? On an is land
(sarcastically)
Judge 3:

3
3
Where have you been, Ma dam? On an is land
Più mosso (un poco agitato)
= 92

129

J.1
8
in the sea? You are speak ing of a slave,

J.2

in the sea? You are speak ing of a slave,

J.3

in the sea? You are speak ing of a slave,

 288 Act II–Scene 3

133

J.1
3
8
not some one like you or me. The

J.2
3
not some one like you or me.

J.3
3
not some one like you or me.

136

J.1
8
law is clear in the Bi ble and here.

J.2

The law is clear in the Bi ble and here.

J.3

The law is clear in the Bi ble and

 Act II–Scene 3 289
Più maestoso = 72
139

J.1
8
Slav er y is not a mat ter for a slave to judge.

J.2

Slav er y is not a mat ter for a slave to judge.

J.3

here. Slav er y is not a mat ter for a slave to judge.

div.
unis.

S
8
Slav er y is not a mat ter for a slave to judge.

div. unis.
A

Slav er y is not a mat ter for a slave to judge.

T.C.

T
8
Slav er y is not a mat ter for a slave to judge.

div.

Slav er y is not a mat ter for a slave to judge.

Più maestoso = 72
 290 Act II–Scene 3
L’istesso tempo = 88
(to Edward) (looking at
144 Caroline: Margaret)

3
3
Fa ther, Mar g’ret is of no val ue to you, or

meno
148 3

Ca.
3
3
an y one. She was more than a mo ther to me.

152 =

Ca.
3
Now her si lence screams a grief we
(to himself)
Edward: quasi

3
I have com mit ted no crime.
 Act II–Scene 3 291

155 3
3
Ca.
3
dare not know. But you can help change the de bate

= 92
158

Ca.

rag ing the land.

(to Caroline and George) quasi
Edward:

3
I have com mit ted no crime.
Judge 1: sempre staccatiss.

8
The law is clear in the Bi ble and here.
Judge 2: sempre staccatiss.

The law is clear in the Bi ble and here.

Judge 3: sempre staccatiss.

The law is clear in the Bi ble and here.

Subito più mosso
= 92
 292 Act II–Scene 3

161 3 3
Ca.

Let the charge re flect our crimes as

165

Ca.

well as hers.

Edward:

3
I have com mit ted no crime.

Judge 1: secco legato

8
He has com mit ted no crime.
secco
Judge 2: legato

He has com mit ted no crime.

Judge 3: secco legato

He has com mit ted no crime.

 Act II–Scene 3 293
Più decisio (l’istesso tempo)
168 con forza

J.1
8
The law is clear in the Bi ble and here.

con forza

J.2

The law is clear in the Bi ble and

con forza

J.3

The law is clear in the

sub. sub.

sub.

171

J.1
3
8
We do not make laws

J.2
3
here. We do not make laws

J.3
3
Bi ble and here. We do not make laws

3
 294 Act II–Scene 3

174

J.1
8
or for sake laws,

J.2

or for sake laws,

J.3

or for sake laws,

6
6 6
6

176 con forza

J.1
8
we fol low them pre cise ly. The charge
con forza

J.2

we fol low them pre cise ly. The charge

con forza

J.3

we fol low them pre cise ly. The charge

6
6
 Act II–Scene 3 295

179

J.1
8
is theft, the sen tence just.

J.2

is theft, the sen tence just.

J.3

is theft, the sen tence just. 6

rit. = 72
182 = .

J.1
8 This one will be made read y for ex e cu tion.

J.2
This one will be made read y for ex e cu tion.

J.3
This one will be made read y for ex e cu tion.

rit. = 72
= .
 296 Act II–Scene 3
(While the judges confer with one another, Caroline pleads with
her father to intervene and have the verdict overturned.)

Raucous, like a drinking song . = 72

Townspeople Chorus:
Soprano:
186 (relieved)

Bound and made read y, bound and made read y, bound and read y for ex e
Alto: (relieved)

Bound and made read y, bound and made read y, bound and read y for ex e
Tenor: (relieved)

8 Bound and made read y, bound and made read y, bound and read y for ex e
(relieved)
Bass:

Bound and made read y, bound and made read y, bound and read y for ex e

Raucous, like a drinking song . = 72

189

cu tion. Bound and made read y, bound and made read y,

cu tion. Bound and made read y, bound and made read y,

T.C.

T
8
cu tion. Bound and made read y, bound and made read y,

cu tion. Bound and made read y, bound and made read y,

 Act II–Scene 3 297

192 div. unis.

bound and read y for ex e cu tion.

T.C. bound and read y for ex e cu tion.

T
8
bound and read y for ex e cu tion. She is not like

bound and read y for ex e cu tion. She is not like

195 div. unis.

She is not like you and you or

T.C. She is not like you or me, and she is not like you and you or

T
8
you or me, and she is not like you! She is not like you and you or

you or me, and she is not like you! She is not like you and you or
 298 Act II–Scene 3

199

S
me!

A
me!
T.C.

T
8 me!

B
me!

203

S
Bound and made read y, bound and made read y, bound and read y for ex e

A
Bound and made read y, bound and made read y, bound and read y for ex e
T.C.

T
8 Bound and made read y, bound and made read y, bound and read y for ex e

B
Bound and made read y, bound and made read y, bound and read y for ex e
 Act II–Scene 3 299

(quietly, to herself) poco

206 Margaret:

I am not like you.

S
cu tion!

A
cu tion!
T.C.
T
8 cu tion!

B
cu tion!

as needed
210

M.G.

I am me. (to one another)

S
She is not like you or
(to one another)

T.C. (to one another) She is not like you or

T
8 She is not like you or me, and she is
(to one another)

B
She is not like you or me, and she is
 300 Act II–Scene 3
(Margaret suddenly rises from her chair and glances
around the courtroom, glaring at the onlookers.)

214 tutta forza

=
S

me, and she is not like you or you or me!

tutta forza

T.C. me, and she is not like you or you or me!

tutta forza

T
8
not like you or me, and she is not like me!
tutta forza

not like you or me, and she is not like me!

Maestoso
(emphatically)
= 80
218 Margaret: 3

I am not like you. I am me!

 Act II–Scene 3 301

(to Margaret) rit. Slower = 60

221 Judge 1: 3

3
8 3 3
Si lence! You have no au thor i ty.
(to Margaret)
Judge 2:

3
3 3 3
Si lence! You have no au thor i ty.
(to Margaret)
Judge 3:

3
3 3 3
Si lence! You have no au thor i ty. rit. Slower = 60
3

sub.

(to the Judges, refusing to sit down)

Margaret:
225 3
3

3
You have no au thor i ty. I am not like you. I am

quasi

(accel.)
accel. poco a poco = 72
229

me! 3 I am me!

3
3
3
3

8ba
302 Act II–Scene 3

(accel.) = 80
(The militia officers restrain Margaret.)
232

I am!
3

8ba

Townspeople Chorus:
Soprano:
236 div.

3
Bound and made read y, bound and made read y…
Alto: 3 3
div.

3
Bound and made read y, bound and made read y…

Tenor:

3 3
8 3 3
Bound and made read y, bound and made read y…

Bass:

3 3
3 3
Bound and made read y, bound and made read y…
3

3 3
 Act II–Scene 3 303

239
3 3 3 3
S

Bound and made read y, bound and made read y…

3 3 3 3
A

Bound and made read y, bound and made read y…

T.C.

T
8 3 3
3 3
Bound and made read y, bound and made read y…

B
3 3
3 3
Bound and made read y, bound and made read y…
3

(pointedly, looking directly at Margaret)

242 Judge 3: (quasi recitativo)

3 3 3 3

I or der you in the name of the law of this land to be

8ba 8ba 8ba

 304 Act II–Scene 3

245 (banging his gavel resolutely) (The judges retire to their chambers.)

J.3 3 3 3

ex e cut ed by sun rise to mor row!

Townspeople Chorus: (reassured)
Soprano:
3
3

She is not like you or me…

Alto:
3
3

She is not like you or me…

Tenor: 3

3
8
She is not like you or me…
Bass:

3
She is

(Margaret is led away; the townspeople file out of the courtroom.)

248

T
8
T.C.
3

not like you or me… 3

3
3
3
 Act II–Scene 3 305
L’istesso tempo ( = 80), ma più amabile (cantando)
252 (dismayed by the verdict) Caroline: 3

Fa ther, you must urge

256

Ca.
3 3
3 3
clem en cy from the court. They will hear you. They will lis ten to you.

as needed
259
Vi–
George: 3

8
Don’t let her die with out dig ni ty. Don’t let her hang

262
–de
Geo.
3
8
for the wrong rea son.
306 Act II–Scene 3
(disturbed, yet betraying no sign of emotion)
(coolly)
265 Edward: secco

3 3
3 3
3
She must suf fer the con se quenc es of what she has done.

3 3
3

269 Caroline:

And so must you.

George:

8
And so must you. (angrily)
Edward:

3
3 3
Mean ing what, ex act ly?

Poco meno mosso

Caroline: full, rich
273

3 3
We are so at odds in these past few years. Our land will not sur vive
 Act II–Scene 3 307

277
( )
Ca.

3
this vi o lent test. Edward: 3

3
Daugh ter, are you threat en ing me?

281 Caroline:

3
No, no. We are beg ging you.
George:

8 3
No, no. We are beg ging you.

(Edward turns away as Caroline and

George start to leave the courtroom.
Caroline looks back at her father,
then impulsively runs over to him.)

284 Caroline:
3

3
Don’t fail me. It is all in your hands.

3
3
 308 Act II–Scene 3

289

(Caroline gently takes her father’s hands and flowing, with motion
presses one against her cheek, kissing his palm.) (Alone in the courtroom, Edward
(Caroline and George exit.) contemplates the course of his life.) (examining his hands)
295 Don’t hurry = 72–80 Edward:

No thing.

dolce

as needed

300

E.G.
3
3 3
I see no thing at all. No wound, no rash. Yet they

3
3

304 = 80
E.G.

burn. What lights the flame?

 Act II–Scene 3 309
(Edward steps forward a few feet—thereby
“leaving” the courtroom—and moves to a
308 dimly lit area of the stage.)
3
E.G.
3
Is it Car o line’s kiss, or Mar g’ret’s coals of fire?

(dismissing any questions

or doubts from his mind)
Subito più agitato
312 = 88
E.G.
3
Damn it to hell! I am ap proved.
r.h.

r.h. 6

3
6 l.h.
sub.

più cantabile (legato)

315 meno

E.G.
3 3 3 3
Clear ly what the world in sists I should be. Law and cus tom en dorse me.

rit.
318 6

3
espr.

each ½ beat
 310 Act II–Scene 3
Tempo primo = 72–80
(reconsidering)
321 Edward: cant.

3 3
Yet my on ly child looks at me with strange eyes:

as needed

= 80
325

E.G.
3
3
cold ap prais al where na ked a dor a tion used to

Come sopra, più agitato = 88

aggressively
accel.
329

E.G. 3

live. Am I not a le gal man?

rit.
332

E.G.

God’s blue print, flawed in mere ly or di nar y ways?

 Act II–Scene 3 311
a tempo
(assuming an aristocratic air)
335 ( = 88)
E.G.
3
Hats still tip, gen tle wo men dip their

senza

Poco più largemente Subito tempo primo = 72

338

E.G.
3
heads cour te ous ly to me.
6

(introspectively)
343

E.G.

And yet. And yet. They sear

347 (inwardly, glancing at his hands)

E.G.

3
like mol ten lead. (Look at them. Look at them!)
 312 Act II–Scene 3

(upon reflection)
351

E.G.
3 3
If the flaw is in the blue print why must I

354 più espr.

E.G.
3
choose? If the flaw is in the blue print–

357 (The lights dim slowly.)

E.G.
3
then I must choose.

(lights out)
360 lunga

sotto voce

ca. 62’

attacca
 313
Act II, Scene 4:
In the town square of Richwood Station, Kentucky;
the next morning, at dawn.
(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.)
Moderato (in the manner of a procession)
= 72
Cilla:

Mar g’ret Mar g’ret Mar

(The hangman brings forth the (Margaret is led up the scaffold steps. When she reaches the top of the platform, the hangman
condemned prisoner. Margaret’s places a noose around her neck and positions her on the gallows’ trap door. Scattered about are
hands, bandaged from the burns a number of ropes, which will be used to secure her limbs tightly.)
she received from the hot coals,
have not yet been tied up in
preparation for execution.)

C.

g’ret Dear God no more.

Subito (Edward Gaines runs

agitato in, excitedly waving
11 = 108 a document.)

Timp. gliss.
 314 Act II–Scene 4

= 108
17 Edward:

7
Hold on! Hold on!

poco agitato a tempo

20

E.G.
I’m tell in’ you to hold on.

= 72 = 104
24

E.G.
3
The judg es have grant ed

Timp. gliss.

(looking around at the faces in the

crowd, seeking some sign of approval
or acknowledgement of his beneficence)
(in a pointed aside to George and Caroline)
26 poco meno espr. full voice

E.G.
3
clem en cy… clem en cy. And if the guil

sub.
 Act II–Scene 4 315
not quite full voice
29

E.G.
3 3 3 3
ty par ty re pents her mon strous crime, she will be re

3
3

32

E.G.
3 3
mand ed to my cus to dy.

(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.)
(Overjoyed and relieved, Caroline (George shakes Edward’s hand.)
Come sopra = 72 embraces her father.)

35 Caroline: (still full voice)

Thank God. Thank you.

George: (still full voice)

8
Thank God. Thank you.
 316 Molto più animato = 108 Act II–Scene 4
(stepping forward, thrilled)
(to Margaret)
39 Cilla: po 3
rt
.

3 3
Thank you, sweet Je sus. Do you hear that? You will live,

= 72 less intense
riten.
43
3
C.

daugh ter. Praise my Mak er, you will live, my

dim. poco a poco

46

C.

an gel.

= 80
(in a state of transcendence)
Margaret:
49 3
3

Oh, yes. I will live. I will live. I will

3 3
3 3
 Act II–Scene 4 317

53

M.G.

live
3 3 3
l.h.

3 3
3

L’istesso tempo = 80 (don’t drag)

57 poco
3
M.G.

a mong the cher ished. It will be just so.

as needed

61 più cantabile
3
M.G.

Side by side in our gar den it will be just so.

= 100
65 Margaret:

3 3
Ringed by a har vest of
3 3 3
3

( as needed)
 318 Act II–Scene 4

69 quasi

M.G.
3 3
love. No more bru tal days or nights.
3 3 3
3 3 3 3
3

(making eye contact with Cilla in the crowd)

73

M.G.

3 3
3 3 3 3 3
3

77 Molto più lento = 72 Margaret:

Good bye,
6 6 6 6 6 6 6 6

3 3 3 3
sub.

3 3 3 3
( as needed)

79 port.
3
M.G.
sor row… Death is
6 6 6 6 6 6 6 6

3 3 3 3 3 3 3 3
 Act II–Scene 4 319

81 poco

M.G.

dead for ev er. I live.

6 6 6 6 6 6 6 6

3 3 3 3 3 3 3 3

83

M.G.

Oh, yes, I live!

6 6 6 6 6 6 6 6

3 3 3 3 3 3 3 3

Subito molto agitato

(ma non troppo presto) = 96
accel.
(While the crowd’s attention is focused elsewhere, Margaret
85 deliberately trips the trap door’s lever and hangs herself.)

M.G.

6 6 6 6

B.D. + Tamtam

3 3 3 3
 320 Act II–Scene 4
(Startled by the onlookers’ screams, the Come sopra, ma più pesante ed agitato
hangman quickly turns around and is
shocked to see Margaret’s limp body dangling = 72
just inches off the ground. He rushes over in a
futile attempt to save her.)
87 rit. Cilla:

Mar g’ret… Mar g’ret…

+Sus.Cym.
sub.
molto

molto

molto

90 po po
rt. rt
.
C.
No! Mar g’ret!
8va

sub.
sub.

( )

(Caroline notices Margaret’s scarf in her father’s front

pocket. She removes it, silently ascends the scaffold, and
94 reverently ties it around Margaret’s waist.)

C.

Dear God, no more.

( )
 Act II–Scene 4 321

Agitato = 96
98

Timp. gliss.

(no break)

Quasi adagio = ca. 63–66

(stunned; looking at his hands)
102 Edward:

No breeze, no cool stream calm these palms.

8ba 8ba 8ba 8ba 8ba

sempre

(He walks away.)

106

E.G.

Un healed, there is no peace.

attacca
8ba 8ba
322
Epilogue
(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.)
Graceful, tenderly, don’t hurry (grazioso e teneremente)
= ca. 80
110 Cilla:

Sweet Je sus, help us break through the

The Slaves:
Soprano:

Sweet Je sus, help us break through the

Alto:

Sweet Je sus, help us break through the

Tenor:

8
Sweet Je sus, help us break through the
Bass:

Sweet Je sus, help us break through the

The Townspeople:
Soprano:

Sweet Je sus, help us break through the

Alto:

Sweet Je sus, help us break through the

Tenor:

8
Sweet Je sus, help us break through the
Bass: div. unis.

Sweet Je sus, help us break through the

Graceful, tenderly, don’t hurry (grazioso e teneremente)
= ca. 80

sim.
 Act II–Scene 4 323

116

C.

night.

night. Chast ened by Thy ho ly might,

S.C. night. Chast ened by Thy ho ly might,

T
8
night. Chast ened by Thy ho ly might,

div.
B

night. Chast ened by Thy ho ly might,

night. Chast ened by Thy ho ly might,

night. Chast ened by Thy ho ly might,

T.C.

T
8
night. Chast ened by Thy ho ly might,

night. Chast ened by Thy ho ly might,

 324 Act II–Scene 4

122

C.

Guid ed by Thy ho ly light in to Thy

Guid ed by Thy ho ly light in to Thy

Guid ed by Thy ho ly light in to Thy

S.C.

T
8
Guid ed by Thy ho ly light in to Thy

Guid ed by Thy ho ly light in to Thy

Guid ed by Thy ho ly light in to Thy

Guid ed by Thy ho ly light in to Thy

T.C.

T
8
Guid ed by Thy ho ly light in to Thy

Guid ed by Thy ho ly light in to Thy

 Act II–Scene 4 325

128

C.

bless ed sight.

bless ed sight. Have mer cy. Have

S.C. bless ed sight. Have mer cy. Have

T
8
bless ed sight. Have mer cy. Have

bless ed sight. Have mer cy. Have

+Caroline:
S

bless ed sight. Have mer cy. Have

T.C. bless ed sight. Have mer cy. Have

+George:
T
8
bless ed sight. Have mer cy. Have

bless ed sight. Have mer cy. Have

cantabile
 326 Act II–Scene 4

134 ( )
S

mer cy on us. Help us break through the night.

( )
A

S.C. mer cy on us. Help us break through the night.

( )
T
8
mer cy on us. Help us break through the night.
( )
B

mer cy on us. Help us break through the night.

( )
S
Ca.
mer cy on us. Help us break through the night.
( )
A

T.C. mer cy on us. Help us break through the night.

( )
T
Geo.
8
mer cy on us. Help us break through the night.
( )
B

mer cy on us. Help us break through the night.

sim.

140 Cilla:

Soon, soon my bold – heart ed

quasi
 Act II–Scene 4 327

poco rit.
145 meno

C.

girl, I’ll be there. I’ll be there.

L’istesso tempo = ca. 80

The Slaves:
150 Soprano:

Break through the night, break through the

Alto:

Break through the night, break through the

Tenor:

8
Break through the night, break through the
Bass:

Break through the night, break through the

* The Townspeople:
Soprano:

Break through the night, break through the

Alto:

Break through the night, break through the

Tenor:

8
Break through the night, break through the
Bass:

Break through the night, break through the

* The SATB White Chorus should sing together with the Black Chorus in bars 150 through 168, but they must not be seen.
 328 Act II–Scene 4

156 quasi
S

night; Let her lin ger a while

quasi

night; Let her lin ger a while

S.C.
quasi

T
8
night; Let her lin ger a while

quasi

night; Let her lin ger a while

quasi

night; Let her lin ger a while

quasi

night; Let her lin ger a while

T.C.
quasi

T
8
night; Let her lin ger a while

quasi

night; Let her lin ger a while

 Act II–Scene 4 329
L’istesso tempo
= ca. 80
162
( )
S

and ride the light, and ride the light.

( )
A

and ride the light, and ride the light.

S.C.
( )
T
8
and ride the light, and ride the light.

( )
B

and ride the light, and ride the light.

( )
S

and ride the light, and ride the light.

( )
A

and ride the light, and ride the light.

T.C.
( )
T
8
and ride the light, and ride the light.

( )
B

and ride the light, and ride the light.

(The curtain descends slowly.)

169

ca. 74’