RIDERS TO THE SEA

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Michael Carson, B.M., M.M,

Denton, Texas

December, 1993

\m a -v /•. ^ f •<* ;! \ lO i -J <°W

RIDERS TO THE SEA

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Michael Carson, B.M., M.M,

Denton, Texas

December, 1993

\m a -v /•. ^ f •<* ;! \ lO i -J <°W

Carson, Michael, Riders to the Sea. Doctor of Musical

Arts (Composition), May, 1994, 205 pp., Discussion and

Analysis, lvi pp., bibliography, 5 titles.

Riders to the Sea is a chamber opera in one act of

approximately 40 minutes in duration. The single act is

divided into six scenes that progress without pause. The

vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1

baritone, and an off-stage chorus of men's voices (tenor I,

tenor II, baritone, and bass; two per part). The orchestra

will be comprised of winds (1-1-1-1-1), brass (2-2-1-1),

strings (2-2-2-2-1), piano, 2 percussionists, and tape, that

will be used to provide a continuous background of surf and

wind sounds. Authentic Irish folk songs are threaded

throughout the work, generally functioning as a background

element, while twentieth-century compositional techniques

are utilized primarily for special effects.

TABLE OF CONTENTS

DISCUSSION AND ANALYSIS vii

Discussion vii

The Libretto vii

Folk Melodies viii

Chamber Opera ix

Analysis xi

The Ariosos xi

Arias and Duets xiv

Folk Music xxxiii

History of Folk Music xxxiii

Utilization of Irish Folk Melodies xxxv

Closing xxxvii

END NOTES xl

BIBLIOGRAPHY xli

APPENDIX A - Authentic Irish folk tunes used in Riders

to the Sea xliii

APPENDIX B - LIBRETTO FOR RIDERS TO THE SEA li

RIDERS TO THE SEA

Scene 1 1

Scene 2 16

Scene 3 51

Scene 4 77

Scene 5 118

Scene 6 156

iii

LIST OF ILLUSTRATIONS

Figure Page

1. Binary form of "It's Hard Set We'll Be" Scene 2, measures 98-119 xii

2. Division of formal sections compared to division of orchestral choirs in "It's Hard Set We'll Be" Scene 2, measures 98-199 xii

3. Binary form of "It's Michael's, Cathleen" Scene 4, measures 98-119 xiii

4. Division of formal sections compared to division of orchestral choirs in "It's Michael's, Cathleen" Scene 4, measures 98-119 xiv

5. Binary form of "They're All Together This Time" Scene 6, measures 208-220 xiv

6. Division of formal sections compared to division of orchestral choirs in "They're All Together This Time", Scene 6, measures 208-220 xv

7. Symmetry in antecedent phrase of A period from "He's Gone Now", Scene 3, measures 5-14 xvi

8. Melismatic line from second half of A antecedent of "He's Gone Now", Scene 3, measures 39-41. . . . xvi

9. Antecedent phrase of B period from "He's Gone Now", Scene 3, measures 46-51 xvii

10. Final presentation of A material from "He's Gone Now" Scene 3, measures 62-66 xvii

11. Incipient ternary form of "He's Gone Now" Scene 3, measures 4-71 xviii

12. Division of formal sections compared to division of orchestral choirs in "He's Gone Now" from Scene 3, measures 4-71 xviii

13. Ternary form of "There Were Two Men", Scene 4, measures 16-64 xix

IV

LIST OF ILLUSTRATIONS

Figure Page

14. Second half of antecedent phrase of the first period of "There Were Two Men", Scene 4, measures 18-20 xix

14. Second half of consequent phrase of the first period of "There Were Two Men", Scene 4, measures 23-26 xix

15. Oboe and solo Violin imitation of the B period first phrase, and vocal line through the second phrase from "There Were Two Men", Scene 4, measures 30-42 xx

16. Third and final phrase of the B period from "There Were Two Men", Scene 4, measures 44-51 xx

17. Division of formal sections compared to divisions of orchestral choirs in "There Were Two Men", Scene 4, measures 16-64 xxii

18. Ternary form in "They're All Gone Now", Scene 6, measures 62-103 xxii

19. Maurya's entrance with choral accompaniment in "They're All Gone Now", Scene 6, measures 62-65. xxiii

19. Men's chorus imitating Maurya's line in the antecedent phrase of the B period, in "They're All Gone Now," Scene 6, measures 76-80 xxiii

20. Men's chorus imitating Maurya's line in the consequent phrase of the B period, in "They're All Gone Now", Scene 6, measures 85-88 xxiv

21. Division of formal section compared to divisions of orchestral choirs in "They're All Gone", Scene 6, measures 58-103 xxiv

22. Through composed form of "I've See the Fearfulest Thing", Scene 5, measures 51-114 xxv

23. Orchestral effects in Scene 5, measures 71-89. . xxvii

v

LIST OF ILLUSTRATIONS

Figure Page

24. Division of formal sections to division of orchestral choirs from "I've Seen the Fearfulest Thing", Scene 5, measures 51-114 xxxii

25. "Feast of the Birds"-Vc., Bn. / Background / Scene 1, measures 27-32 xxxvi

26. "Oh, the Cruel Wars"-Eng. h. / Middleground / Scene 2, measures 16-24 xxxvi

27. "Johnny's Gone to Hilo"-Piano / Background / Scene 3, measures 72-78 xxxvii

28. "The Banks of the Roses"-Via. / Middleground / Scene 4, measures 1-14 xxxvii

29. "The Winding Banks of the Erne"-Bb CI. / Background / Scene 6, measures 37-42 xxxviii

30. "Wild Mountain Thyme"-M.C., Vc., DB., T. Tbn., B. Tbn. / Middleground / Scene 5, measures 96-100. xxxix

V I

DISCUSSION AND ANALYSIS

Discussion

Riders to the Sea is a chamber opera in one act of

approximately 40 minutes in duration. The single act is

divided into six scenes that progress without pause. The

vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1

baritone, and an off-stage chorus of men's voices (tenor I,

tenor II, baritone, and bass; two per part). The orchestra

is comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings

(2-2-2-2-1), piano, 2 percussionists, and tape, which are

used to provide a continuous background of surf and wind

sounds.

The Libretto

The story of the opera is an adaption of the play

Riders to the Sea by John Millington Synge (1871-1909). The

treatment of the text involves some minor updating and

adaption to conform to traditional operatic forms, including

recitatives, arias, duets, trios, etc. The setting for the

story is an island off the west coast of Ireland. The

action takes place in a cottage kitchen. The opening scene

finds Maurya (soprano), the mother, with her two daughters,

Cathleen (alto) and Nora (soprano), waiting to hear the fate

of her son Michael, who has been missing at sea for nine

days. Meanwhile, Bartley, her other son, is determined to

vii

go to the mainland to sell two horses, a trip that Maurya

opposes, for she fears he, too, will perish, and there would

be no men left in the family. In spite of his mother's

pleading, Bartley goes and in so doing fulfills his mother's

prophetic fear by drowning in an accident. Bartley's body

is brought up about the same time Maurya and her two

daughters find out for certain that Michael had drowned as

well. At least two male and two speaking female extras are

cast in the last scene as people from the docks who bring

Bartley's body home.

Folk Melodies

In Riders to the Sea, the use of authentic Irish folk

melodies is an important element designed to create unity

and cohesiveness throughout the work and at the same time

provide an ethnic element. The melodies are integrated into

the orchestral and vocal fabric primarily as background

material; however, they may occasionally emerge as

foreground material. The melodic lines are for the most

part lyrical in nature with the rhythmic structure patterned

to some extent after that of the Irish folk tunes. This

works to enhance the setting of the text in a more

authentic, Irish fashion. The recitatives are both

accompanied and spoken; however, arioso passages are used as

well.

viii

The model of the treatment of the recitative is opera

comioue, a French comic opera of the early 19th century

(c. 1825). An example of this form of opera is La Dame

blance (1825) by Boieldieu (1775-1834) and La Sirene (1844)

by Auber (1782-1871).

Chamber Opera

Chamber opera is a distinct 20th century genre. One of

the early pioneers was Richard Strauss (1864-1949). A

composer who is known typically to score his works for very

large orchestras, he turned to an orchestra of only 23

musicians in his opera Ariadne auf Naxos (1912). Although

this work is considered a grand opera, it represents a turn

towards a reduction of means and scope. Another, even

earlier example of this new simplicity and conciseness of

form and expression is the chamber opera Savitri (1908),

composed by Gustav Hoist (1874-1934). In 1917, Igor

Stravinsky (1882-1971) composed Renard, an opera with on-

stage chamber orchestra, motionless singers, and actor-

mimes. This work and another, Mavra (1922), firmly

established the new genre of chamber opera, later enjoying

success with such works as The Rape of Lucretia (1946) by

Benjamin Britten (1913-1976), Romeo und Julia (1947) by

Boris Blacher (1903-1975) , and more currently, La Tracredie

de Carmen (1983) by Peter Brook (b. 1925).

One act chamber operas that exhibit folk and

IX

nationalist characteristics, forming the more specific

category under which Riders to the Sea would be classified,

are numerous. Sunday Costs Five Pesos (1947) by Charles

Haubiel (1892-1978), The Stranger of Manzano (1947) by Julia

Smith (b. 1911), Bonev Quilien (1951) by Herbert Haufrecht

(b. 1909), and Deirdre (1956) by Leon Stein (b. 1910) are

representative.

In the past, there have been other attempts to set

Riders to the Sea as an opera. Prior to 1914, Ethel Smith

and Ivor Gunney explored the idea of setting the play;

however, the first successful endeavors occurred at the

hands of Fritz Hart and, more notably, Henri Rabaud, whose

setting was titled L'Appel de la Mer1. Still another

setting far more remarkable in every way was composed by

Ralph Vaughan Williams, who began the project in 1925.

Vaughan Williams retained the name of the play for his

setting and published the work in 1936 with the premiere

performance taking place before the public on December 1,

1937, in London by the Royal College of Music. The forces

Vaughan Williams used in his production include two flutes

(second doubling on piccolo), one oboe, one English horn,

one bass clarinet, one bassoon, two horns, one trumpet, one

timpani, one bass drum, one sea machine, and strings (not

more than 6-6-4-4-2). The vocal parts were assigned as

follows: Maurya—contralto; Cathleen—soprano; Nora--

x

soprano; a woman—mezzo soprano; a chorus of women on and

off stage; and a man and woman with non-singing roles.

Analysis

This portion of the paper will be divided into two

sections. The objective of the first section is to

investigate the most important sung portions of Riders to

the Sea. The duets and ariosos whose dramatic content is

the most vital to the story will be categorically described

as to form. Generally, the ariosos are cast in binary form

while the duets are set in ternary and sometimes through-

composed form.

The Ariosos

The first example, Bartley and Maurya's arioso "It's

Hard Set We'll Be" from Scene 2, measures 98-119, is in

binary form, with Bartley singing in the A period and Maurya

singing in the B period. In the antecedent phrase of the

first period, Bartley instructs Cathleen as to what to do,

while he is away at Galway Fair. In the following phrase

Bartley sings, "It's hard set we'll be with no one but one

man to work." The phrases of the A section form a

contrasting period. In the antecedent phrase of the second

period, Maurya conveys her fear that Bartley will perish at

sea like the other male members of their family. In the

xi

consequent phrase Maurya reproaches Bartley for leaving the

girls and herself with no man to take care of them. The

phrases of the B section form a contrasting period. See

fig. 1.

Figure 1 -- Binary form of "It's Hard Set We'll Be" Scene 2, measures 98-119.

The orchestral activity during "It's hard set we'll be"

is divided into three sections: (1) strings — measures 98-

106, {2) woodwinds — measures 106-111, and (3) strings —

measures 111-119. See fig. 2

Figure 2 — Division of formal sections compared to division of orchestral choirs in "It's Hard Set We'll Be" Scene 2, measures 98-199.

A 98 106

B

110 111 119 Bartley Maurya

Strings Woodwinds Strings

The second example, Nora's solo arioso "It's Michael's,

Cathleen," from Scene 4, measures 92-108, is in binary form.

In the antecedent phrase of the first period Nora sings,

"It's Michael's, Cathleen; it's Michael's," in reference to

the bundle of clothes brought to them by the young priest.

In the following consequent phrase, Nora is echoed by the

xii

chorus on the line, "God spare his soul." The phrases of

the A section form a contrasting period. The second period

is set off from the first by a change of key, from D minor

in the A section to Db Major in the B section. In the

antecedent phrase in the second period, Nora wonders aloud,

"What will Mother say when she hears of this," followed by

the consequent phrase in which she completes her thought,

"and Bartley on the sea." The phrases of the B section form

a contrasting period. See fig. 3.

The orchestral activity during "It's Michael's,

Cathleen" begins in measure 92 with the full orchestra

except for the oboe. In measure 94, while the brass fades

away, the oboe enters on beat 3 in imitation of the incipit

at the unison. In measure 97, the woodwinds fade out

leaving only the strings to accompany the rest of the

arioso. See fig. 4.

Figure 3 — Binary form of "It's Michael's, Cathleen" Scene 4, measures 98-119.

A B '92 - 98 1 'lOl - 108 1

The third example, Maurya's solo arioso "They're All

Together This Time" 'from scene 6, measures 208-220, is in

binary form. In the antecedent phrase, Maurya laments

because all of her men are now dead. In the following

phrase, she continues with "and the end has come." The

xiii

Figure 4 — Division of formal sections compared to division of orchestral choirs in "It's Michael's, Cathleen" Scene 4, measures 98-119.

A m. 98

Woodwinds

Brass

Nora

Strings

B -ffi. 101

mm. 92 94 97 101 108

phrases of the 1A section form a contrasting period. In the

antecedent phrase of the second period, Maurya asks God to

have mercy on Bartley's soul and concludes with "and on

Michael's soul" in the consequent phrase. The phrases of

the B section form a contrasting period. See fig. 5.

The orchestral activity during "They're all together

this time" begins with just the woodwind choir. In measures

216-220 the full orchestra comes in including the off-stage

men's chorus. See fig. 6.

Figure 5 Binary form of "They're All Together This Time" Scene 6, measures 208-220.

. >208 - 213 * '213 - 22(7

Arias and Duets

The first example of a duet is Maurya and Cathleens'

xiv

Figure 6 Division of formal sections compared to division of orchestral choirs in "They're All Together This Time", Scene 6, measures 208-220.

A 208

Woodwinds

Brass

Maurya

Mens chorus

Strings

B 21 3 216 [220

duet "He's gone now" from scene 3, measures 4-71. The duet

is in incipient ternary form ( A B A ) with Maurya singing

the A period, Cathleen singing the B period, and together

singing the final A period.

The shape of the first period's antecedent phrase is a

symmetrical arch that occurs in mm. 5-14. The peak of the

arch is reached on the downbeat of m. 10 with an E2 half-

note on the word "God." See fig. 7. The consequent phrase

(measures 17-25) of the first period is a reiteration of the

antecedent, making the A section a parallel period. Before

and during the consequent phrase (measures 14-21), the men's

chorus interjects a repeating four-note pattern using the

text "God spare us all." This forms an ostinato under

Maurya's vocal line until measures 22-25, when the men's *

chorus and Maurya sing "God spare us all for we won't see

him again" in a homophonic texture.

After the first instrumental interlude (measures 25-33)

the A period begins with the first half of the antecedent

xv

Figure 7 -- Symmetry in antecedent phrase of A period from "He's Gone Now", Scene 3, measures 5-14

I ffln com now, he's Rons now, God spar* us all Per we'll not»• hl« again

phrase being identical to the previous presentations;

however, in the second half of the antecedent new text in a

melismatic setting creates contrast between the two parts of

the phrase. See fig. 8.

Figure 8 — Melismatic line from second half of A antecedent of "He's Gone Now", Scene 3, measures 39-41.

when the black night is falling,

In measure 41 the key changes from Bb to B minor as

Maurya sings the final line of this section, "I'll have no

son left to me in the world". In measure 46, the B section

begins in the established key of B minor with Cathleen

rebuking Maurya for sending Bartley away without her

blessing. Between Cathleen's statements, Maurya, who seems

oblivious to Cathleen's scoldings, interjects, "He's gone

now", at the original pitch level with the same motivic

profile. See fig. 9.

Just before the second instrumental interlude from

xvi

Figure 9 — Antecedent phrase of B period from "He's Gone Now", Scene 3, measures 46-51.

v&M He's zone now.

Why would'nt you give him your blessing?

"He's Gone Now" (m. 55), the key changes from Bb major to B

minor. The interlude occurs in measures 56-62 with the

material being the same as before; however, in the first

presentation, the key was Db major, and in the second

presentation, the key is Bb major. In measures 62-71, the

final return of the A period takes place without a

consequent phrase. See fig. 10. Maurya and Cathleen are

singing the title ve^se together with accompaniment from the

men's chorus. All three elements come together in a final

homophonic presentation of the text "God spare us all, for

we'll not see him again." See fig. 11.

Figure 10 -- Final presentation of A material from "He's Gone Now" Scene 3, measures 62-66.

xvi i

Figure 11 — Incipient ternary form of "He's Gone Now" Scene 3, measures 4-71.

B

4-14 17-25' (II. mm. 25-33) 3 ^ 2 "42-46" 46-50"51-55' (II. mm. 56-62) '62-71'

Bb major B minor Bb major

The use of the orchestra during "He's Gone Now" is in

measures 4-26, 31-52, and 62-71. In the instrumental

interludes in measures 25-33 and 56-62, the woodwinds are

predominant; however, the parts have been rearranged. See

fig. 12.

Figure 12 — Division of formal sections compared to division of orchestral choirs in "He's Gone Now" from Scene 3, measures 4-71.

A

2 5

A«

y* 56

A "

62 71

Woodwinds

Brass

Maurjra

Cftthleen

Kens Chori

Strings

1

* »

1

i

1

F

1

F

1 1

11 21 26 31 1*2 52 61 71

The second example of a duet in Riders to the Sea is

Nora and Cathleen's duet "There Were Two Men," from scene 4,

measures 16-60. The duet is in ternary form with Nora

singing the A period and Cathleen singing the B and A

periods. See fig. 13.

XVlll

Figure 13 — Ternary form of "There Were Two Men", Scene 4, measures 16-64.

k B A'

16-20 '22-26' 30-37 37-42 W*-5i 53-58 58-6^

D uinor Bb minor d minor

Both the antecedent and consequent phrases (measures 16-17

and 22-23 respectively) are parallel as Nora sings the same

text for both—"'There were two men' says he." The second

halves of each phrase differ from one other. The text for

the antecedent's second half (measures 17-20) describes what

the two men were doing and the consequent second half

(measures 23-36) relates what then happened to them. See

fig. 14.

Figure 14 — Second half of antecedent phrase of the first period of "There Were Two Men", Scene 4, measures 18-20.

tM tolaeh ettrf* mt tft*

Figure 14 -- Second half of consequent phrase of the first period of "There Were Two Men", Scene 4, measures 23-26.

The B period (measures 30-51) is actually a phrase group

consisting of three phrases — measures 30-37, 37-42, and

44-51. The first phrase begins with Cathleen telling Nora

to give her the knife so that she may cut away the string

xix

that ties the bundle of clothes the priest brought them.

The key has shifted to Bb minor, and the oboist and a solo

first violinist imitate the vocal line at the unison and at

a distance of six beats in measures 30-34 and 13 beats in

measures 33-42. Here, the second phrase activates before

the first phrase ends. See fig. 15.

Figure 15 — Oboe and solo Violin imitation of the B period first phrase, and vocal line through the second phrase from "There Were Two Men", Scene 4, measures 30-42.

c.

Ob. 4 Vln.

The third and final phrase of the B period is divided

between Nora, who in measures 44-47 sings, "I've heard tell

it was along way to Donegal", and Cathleen, who responds by

singing, "It is, surely." See fig. 16.

Figure 16 — Third and final phrase of the B period from "There Were Two Men", Scene 4, measures 44-51.

The final A period begins in measure 53. The key of D

minor is reestablished as Cathleen sings,"There was a man in

xx

here" using the same opening melody. Now the subject is

about a man who told her how long it would take to walk to

Donegal. The final A section comes to a close in measures

61-64 when Nora then sings, "And what time would a man take

and he be floating?"

The orchestral background of "There Were Two Men"

begins in measure 16 with only the strings accompanying

Nora's vocal line until measure 21 when the woodwinds enter.

The brass enters in measure 25 completing the full orchestra

on the words "caught in the rocks." The instrumentation

returns to strings and woodwinds in measures 27-52. In

measure 52, the woodwinds recede until measure 57, where

they return and remain until the end of the duet. See fig.

17.

The third example is Maurya's aria, "They're All Gone

Now", from scene 6, measures 58-103. The form is ternary,

and Maurya sings all three sections alone; however, there is

extensive activity on the part of the men's chorus. The

men's chorus presents a four measure introduction on a D

major pedal. They repeat this pattern twice, using the

first line of the text each time. Maurya enters in measure

62 with the same text. See fig. 18.

Maurya seems to be in a serene state, as she sings of

not having to worry about what the sea can do to her, now

that Bartley is dead. In the antecedent phrase of the B

xxi

Figure 17 — Division of formal sections compared to divisions of orchestral choirs in "There Were Two Men", Scene 4, measures 16-64.

61 64

Figure 18 -• Ternary form in "They're All Gone Now", Scene 6, measures 62-103.

A B A *

'62-69 '70-76' '76-80' '80-86' '89-95' ' i ^ T o F '

D major E minor E major

period, the men's chorus is used to echo Maurya's text "and

the surf is in the east". See fig. 19.

The consequent phrase is treated in the same manner as

the antecedent where Maurya sings of the sounds of the surf #

"making a great stir with the two noises". The men's chorus

echoes the words "with the two noises". See fig. 20.

Because of their similarity, the antecedent and consequent

phrases of the first period are parallel.

xxii

Figure 19 — Maurya's entrance with choral accompaniment in "They're All Gone Now", Scene 6, measures 62-65.

Mens Chorus

Mmirya

Th«y'r* a n now.

"Th«y'r« *U

Figure 19 — Men's chorus imitating Maurya's line in the antecedent phrase of the B period, in "They're All Gone Now," Scene 6, measures 76-80.

Mnurya

Mens Chorus

•urf is ill th« •••!.

In the return of the A period, the key has changed from

E minor of the B period to E major. The antecedent and

consequent phrases are parallel, as Maurya sings of not

having to get holy water in the dark night, or worry about

"what way the sea is when other women will be crying." *

The orchestral forces are used sparingly in this aria.

The strings are in support of the vocal line of the entire

aria, while the woodwinds join forces with the strings in

measures 89-103. See fig. 21.

xxiii

Figure 20 — Men's chorus imitating Maurya's line in the consequent phrase of the B period, in "They're All Gone Now", Scene 6, measures BB-SS.

N.C .

«lth IM M

•>r r r 1 1

Figure 21 — Division of formal section compared to divisions of orchestral choirs in "They're All Gone", Scene 6, measures 58-103.

Woodwinds

Maurya

Mens chorus

A 62

B " 76

A' 89

Strings

103

58 62 74 78 80 86

The final example is Maurya and Cathleen's duet, "I've

Seen the Fearfulest Thing", from scene 5, mm. 51-114. The

duet is through-composed with Maurya singing the A period,

Cathleen the B period, and Maurya the C period. See

fig. 22.

The duet begins with a seven measure introduction in which a

xxxv

Figure 22 — Through composed form of "I've See the Fearfulest Thing", Scene 5, measures 51-114,

5 1 - 5 7 58-64 64-71 85-89 9 0 - 9 5 102-106 1^9-114

tympanum roll on Eb provides the only accompaniment. In mm.

51-54, Maurya sings, "I've seen the fearfulest thing any

person has seen", to which Nora replies in mm. 56-64, "Tell

us what it is you seen". In the antecedent phrase of the A

period (mm. 58-64) Maurya gives an account of what she has

seen. She arrived at the spring well and was praying to

herself as she waited for Bartley to ride by. In the

consequent phrase of the first period (mm. 64-71) Maurya

sings of how Bartley rode by on the red mare "with the gray

pony beside him", and concludes the phrase with "The Son of

God spare us". Cathleen asks, "What is it you seen?", to

which Maurya replies, "I seen Michael himself." The phrases

of the A section form a contrasting period.

The orchestral activity at this moment (measures 71-89)

is extremely important. The great intensity of the drama is

projected through three elements, the first being a "sound

mass" created by the mens chorus, who begin on their lowest

pitch in measures 68-71. In measures 71-75, the sound mass

expands to cover more than a two octave range before it

recedes back to the lowest pitch in measure 72. There it

xxv

remains until measures 88-89 when it again expands and

begins a glissando up and down a jagged path. The second

element is an upward glissando in the strings in measures

71-78. In measures 79-88, the strings cease their glissando

and settle on sustained pitches. This coincides with the

beginning of the glissandi activity in the men's chorus.

The third element is the upward triplet sixteenth-note,

eighth-note pattern in the flute and oboe supported by the

sustained pitches in the other wind instruments. See

fig. 23.

In the antecedent phrase of the B period (mm. 85-89)

Cathleen tells Maurya that she hasn't seen Michael. In the

consequent phrase (measures. 90-95), Cathleen continues to

tell her mother that Michael is dead, and he received a

"clean burial by the grace of God". By this time all

orchestral activity has stopped, leaving just a tympanum

roll on C2 to accompany Cathleen in the consequent phrase.

The phrases of the B section form a contrasting period.

At the end of Cathleen's line in measure 95, Maurya

exclaims in measures 96-99 that "I have seen him this

day . . . and he riding and galloping!". Heightening the

dramatic effect of her outburst, the orchestral forces are

gain utilized. The men's chorus is singing a two-part

presentation of the Irish folk song "Wild Mountain Thyme,"

with the Bb clarinet and viola doubling the tenor's line and

xxvi

Figure 23 — Orchestral effects in Scene 5, measures 71-89.

F.nq. 1*.

fin. t & I!

flb Tpt. f ft fl

Tln»p.

ttnuryn

Hartley

Hens Choriti

7©

- W (

XXVI1

Figure 23 — Continued.

m» m .

Run.

nb r p t i * ir

I I . Tbn

Pftrc.

Tlmp.

f lnno

Mnuryn

e* th leen

Har t ley

Hens Chorus

Via.

x x v m

Figure 23 — Continued.

O b .

h .

I*h CI .

t i n , 1 i Tt

ro» T | > t . t * f !

T l m p .

M m i r y n

ftArtlcy

H e n s C h o r u s

XXIX

Figure 23 -- Continued.

P n a . It

f b « : i .

Wt Tpt f ft I I

Vt. T b n .

r f* rc .

Mmiryii

P C n t h l c e n

P n r t l e y

H c n t C h o r u s

V l n . 1

VI r». 11

XXX

Figure 23 — Continued.

Kng. h.

Kb CI

nb Tf»t f I ft

n. Tbn.

rrrc.

t Imp.

Plrmo

Mnuryit

Cfilhlcen

nnrlle*

wcn» rimrMi

XXXI

the bassoon, cellos, and double bass doubling the baritone

and bass line. The flute and violin are imitating one

another with a repetitive, sixteenth-note, quintuplet

figure. The oboe, English horn, French horns, trumpets, and

snare drum are presenting a series of two to four sixteenth-

note, repetitive, staccato pitches, each group ending on an

eight-note. See fig. 24.

Figure 24 — Division of formal sections to division of orchestral choirs from "I've Seen the Fearfulest Thing", Scene 5, measures 51-114.

A e 102

Voodwinds Iran

ftmuifflon Mftvrj*

Hint Chorus Strings

65 6a *5 *<r 9

102 too

9* 93

The orchestral activity ceases in measure 100 with the

exception of the cellos, double bass, and timpani, playing

an El and EO pedal tone. This bass line descends by half

steps to CI and CO (measure 111) and provides the only

accompaniment to the C period until measure 111. In the

antecedent phrase of the C period (measures 102-106), Maurya

again begins her account of what she has seen singing:

"Bartley went by saying 'the blessing of God on you' and I

xxxii

could say nothing." In the consequent phrase of the C

period (measures 109-114), Maurya sings of looking up again

at the gray pony and seeing Michael upon it "with fine

clothes on him and new shoes on his feet." Once again the

full orchestra {measures 111-114) supports this moment in

the drama. The phrases of the C section form a contrasting

period.

Folk Music

In this second section of the analysis, folk music will

be briefly defined and discussed in regard to its position

in serious music in the nineteenth and twentieth centuries.

Appendix A provides the Irish folk melodies incorporated in

Riders to the Sea. This appendix documents where, when, and

how the folk melodies are used along with examples of the

pieces themselves.

History of Folk Music

This part of the analysis will deal with one of the

single most important issues of Riders to the Sea: the use

of authentic Irish folk melodies, primarily in the areas of

recitation and occasionally during sung passages. A brief

summary will be presented on folk music itself. This will

include a look at the rise of national styles, an

examination of Irish folk music's origins, and, finally,

their application in Riders to the Sea2.

xxxiii

The nineteenth century saw the development of a

nationalist movement in which the style of individual

countries became more separate and distinct. From this came

a new type of tonal framework in which composers adapted

small forms indicative of folk song into larger canvases of

musical expression3.

In the twentieth-century, the pursuit, study, and use

of folk material covered a much wider range and was

researched with more precision and rigorous scholarly

method. Composers of this era began to turn away from

traditional styles, allowing the folk idiom to design new

styles and to further extend into the realm of tonality4.

In 1947, the International Folk Music Council was

founded, and it attempted in 1955 to define folk music to

the satisfaction of its international membership. "Folk

music is the product of a musical tradition that has been

evolved through the process of oral transmission. The

factors that shape the tradition are: (i) continuity that

links the present with the past; (ii) variation which

springs from the creative impulse of the individual or the

group; and (iii) selection by the community, which

determines the form or forms in which the music survives".5

xxxiv

Utilization of Irish Folk Melodies

The application of authentic Irish folk melodies in

Riders to the Sea is accomplished through interweaving

throughout the musical fabric melodies taken from the Joyce,

Pigot, Forde, Graves, and Allington collections. These

collections represent some of the oldest specimens of Irish

folk music ever assembled.

The selection of melodies for Riders to the Sea was

utilized in ranges from the basic incipit to the entire

piece. Generally, the melodies appear in the background of

the musical texture, but frequently they do occur in the

middle ground, and far less frequently in the foreground.

There may be an occasional alteration in the melody to

accommodate the musical lines around it.

Figures 25-30 provide examples of the use and treatment

of the Irish folk melodies throughout the opera. Each scene

is addressed in regards to the title of the melody, the

instrument (or instruments) used for that melody, its

position in the texture, and the scene and measure numbers.

See figs. 25-30.

Appendix A provides complete documentation of the

authentic Irish folk melodies used in Riders to the Sea.

The information given includes the title of the folk song,

the collection to which it belongs, its position in the

texture, where it is located, what instruments are used, the

X X X V

genre, how much of the melody is presented, and the

alterations there are, if any. Finally, the folk song

itself is presented in full or in part.

Figure 25 — "Feast of the Birds"-Vc., Bn. / Background / Scene 1, measures 27-32.

Ob, 2nd Vlns., Bto CI 4 Vc,, Bit.

1st Vln.,Fl. Ob. 2nd Vint,, TO- CI. Ve., Bn.

#/ ## -J 9 MP L

—F1 5—^ ^ Y 1 ur T i i ,

If f ,,f f

Figure 26 — "Oh, the Cruel Wars"-Eng. h. / Middleground / Scene 2, measures 16-24.

j,to3 0\mm

Bb CI

xxxv :L

Figure 27 -- "Johnny's Gone to Hilo"-Piano / Background / Scene 3, measures 72-78.

• pnai

A J P • H p z p p

. „

Figure 28 -• "The Banks of the Roses"-Via. / Middleground / Scene 4, measures 1-14.

I I VTTI»

II VIn.

Vc##DB

II Vln,

Vc.,DB.

Closing

The major theme of Riders to the Sea is man's struggle

against nature, a Romantic concept indicative of the 19th

century. Another issue characteristic of the 19th century

style is the harmonic and melodic language used in Riders to *

the Sea. Only during great moments of intensity,

particularly in the 5th scene, are 20th century techniques

and style characteristics such as "sound mass" and atonality

used.

X X X V 1 1

Figure 29 -- "The Winding Banks of the Erne"-Bb CI. / Background / Scene 6, measures 37-42.

r i

iwn.

The cohesive factors of the opera include the text of

the play and the use of authentic Irish folk melodies that

weave throughout the musical fabric. Therefore the most

apparent characteristics of Riders to the Sea are

"Nationalism" with the use of the folk melodies;

"Naturalism" with the use of a real and believable setting

with the forces of nature ever present; and conservative use

of common practice harmonic language.

x x x v m

Figure 30 — "Wild Mountain T h y m e V c . , DB., T. Tbn., B. Tbn. / Middleground / Scene 5, measures 96-100.

*gpr

*"'7UEhE

xxxix:

END NOTES

1. Salzman, Eric, Twentieth-Century Music: An

Introduction, 2nd Edition (Englewood Cliffs, New

Jersey: Prentice Hall, 1974), 68-69.

2. Wachsmann, Klaus P., "Folk Music", New Grove Dictionary

of Music and Musicians, ed. Stanley Sadie; Vol. 6

(London: Macmillan, 1980), 693.

3. Salzman, Eric, Twentieth-Century Music: An

Introduction, 2nd Edition (Englewood Cliffs, New

Jersey: Prentice Hall, 1974), 68-69.

4. Grout, op.cit., 665.

5. Wachsmann, Klaus P., "Folk Music", New Grove Dictionary

of Music and Musicians, ed. Stanley Sadie; Vol. 6

(London: Macmillan, 1980), 693.

xl

BIBLIOGRAPHY

Graves, Alfred Perceval. The Celtic Sonqbook. Great

Britain: Earnest Benn, 1928.

Grout, Donald Jay. A History of Western Music. New York:

W. W. Norton, 1973.

Joyce, Patrick Weston. Old Irish Folk Music and Songs,

Dublin: Longmans, Green, and Co., 1909.

Salzman, Eric. Twentieth-Centrv Music: An Introduction.

2nd Edition. Englewood Cliffs, New Jersey: Prentice

Hall, 1974.

xli

Wachsmann, Klaus P. "Folk Music", New Grove Dictionary of

Music and Musicians, ed. Stanley Sadie; Vol 6. London:

Macmillan, 1980.

xlii

APPENDIX A

Authentic Irish folk tunes used in Riders to the Sea

1. The Croppy Boy (Joyce Collection) pg. 141, no. 300. [A] Background / Scene 1, measures 1-6 / Violas /

Narrative Air / 1st 3/4 of the piece / Altered: Rhythm

[B] Background / Scene 4, measures 66-76 / Piano; Clarinet: measures 66-68; English horn: 68-69; Violas: 69-71; French horn: 71-76 / Retrograde presentation / Narrative Air / 1st 4/5 of the piece / Altered: Rhythm.

m

Oh, the Cruel Wars (Joyce Collection) pg. 168, no. 366. Background / Scene 2, measures 17-24 / English Horn / Set Dance / 1st 1/2 of the piece / Unaltered.

xliii

3. Gradh Mo Chroidhe Do Shean Wig; Your Old Wig is the Love of mv Life (Pigot Collection) pg. 346, no. 690. [A] Background / Scene 1, measures 64-71 /Bassoon,

Cellos, Double Basses / Reel / 1st 1/3 of the piece / Unaltered.

[B] Background / Scene 1, measures 81-88 / Bassoon, Cellos, Double Basses / Reel / 1st 1/4 of the piece / Unaltered.

s -

4* Jenny Dwyer (Joyce Collection) pg. 169, no. 370. [A] Background / Scene 1, measures 91-96 / Cellos,

Piano / Double Jig / 1st 1/4 of the piece / Altered: Metrically.

[B] Background / Scene 2, measures 139-143 / Bassoon / Double Jig / 1st 1/4 of the piece / Altered: Rhythmic Augmentation.

n r i r - —i

m

xliv

Lamentation for Father Charles O'Rodican (Forde Collection) pg. 315, no. 612. Background / Scene 1, measures 57-61 / Bb Clarinet, Cellos, Piano: measures 57-61; Bassoon: 59-61 / Hornpipe / 1st 1/3 of the piece / Unaltered.

1

6. Charles M'Huqh, The Robber (Forde Collection) pgs. 258-259, no. 463. Middleground / scene 1, measures 14-18 / 2nd Violins, Oboe / Double Jig / 1st 1/10 of the piece / Altered: Rhythm.

7. The Feast of the Birds (Forde Collection) pg. 259, no. 464. Background / Scene 1, measures 27-32 / Cellos, Bassoon /Hornpipe / 1st 1/4 of the piece / Altered: Rhythm.

Vrr -=TTY -J. ~wrt § ' — E g Z J l } } lp 9 - — # —

J: Er f * J Y— £ap:

xlv

An Bunnan Buidhe; The Yellow Bittern (Forde Collection) pg. 314, no. 609. Middleground / Scene 2, measures 5-8 / Violas, English Horn / Hornpipe / 1st 1/4 of the piece / Altered: Rhythm.

i IEE 5

I if 'J J J J j Ui> rr 7J77

9. Moirin Ni Chealla: Moreen o'Kelly or The Pilgrimage to Skellig (Joyce Collection) pg. 56-57, no. 110. Background / Scene 2, measures 25-36 / Bb Clarinet: 25-33, / Bassoon: 34-36 / Song / 1st 2/5 of the piece / Altered: Metrics.

10. The Banks of the Roses (Joyce Collection) pg. 65. no. 128. Middleground / Scene 4, measures 1-15 / Violas / Song / Complete piece / Unaltered.

i SSI

xlvi

11. The Winding Banks of Erne (Allingham Collection) pg. 64-65. [A] Middleground / Scene 2, measures 53-61 / English

Horn: 53-59, Bassoon: 59-61 / Song / 1st 1/5 of the piece / Altered: Fifth note of passage.

[B] Middleground / Scene 6, measures 37-43 / Bb Clarinet / Song / 1st 1/5 of the piece / Altered: Fifth note of passage.

M A • dieu to Del • a • shan - ny, where 1 was bred and

burn; Go where I may, I'll think of youf At

sure as night and morn... 1he kind - ly sput, the

r&Tj N aj. friend-lr town, where ev' - ry-one w l-smvn. And

I Si ft

not a farr in all the place but jiart-ly *»»rin* my own ; Tlirre'*

N-r

m4 n hintM* I»r win-tlow,'I hrn*\ ihH a tu*e»»r hill. Hut

N4—N

c.w or west, in for-e»cn lands* 1*11 re-col4ect them still... I

xlvii

12. Shule Agra; Come mv love (Graves Collection) pg. 50. Middleground / Scene 2, measures 98-110 / 2nd Violins: 98-104 / Violas: 100 / 1st Violins: 105-107 / Oboe: 106-110 / English Horn: 107 / Song / 1st 3/4 of the piece / Unaltered.

m £ His hair was black, his eye was blue, His arm was stout, his

-3 H S 3 tn j u ^ IE * J ^ # * J

word »a* true. 1 wish in my heart I was with you. Co

trj—r

d* - - thu, ma • vuur • • nccn staun. Shule , . . shule,.

3 = 3 ^ shule a * jjra Un • ly death can ease my uuc, Since the

zsz c » 3 »"

lad of my hrart from me did ' go. Go

xlviii

13. The Flight of the Earls (Graves Collection) pg. 42-43. Background / Scene 2, measures 123-138 / Bassoon: 123-124, 125-128 / Bb Clarinet: 124-125 / Cello: 128-138 / Song / Complete piece / Altered: measure 35-Register shift and Pitch alteration.

O - - ther shores a . crois the tea We

speed with *wcll - ing sail; Vet still there lin - gen

^ w/

f p r ^ T r = p ^ — on our lee A phan • torn In - nu * fail. Oh,

THTI m —

0 # rs -—1 *

tJ U - 4 ^ n f * M

s

sear no:, fear not, £en * • tie £hos:» Vour

e £

ions shall iurn tin • true! Tho' uin to fiv w

your

/T\

love - ly coast, They Irate their hearts wuh you.

14. I've found my Bonnie Babe a nest. (Graves Collection) pg. 4 8. Background /Scene 2, measures 81-83 / Violas / Song / 1st 1/5 of the piece / Altered: Placement of beat.

7 b ± £ : if :—f3—fy V "—*-—f-j

rock you thereto to - sy rest. As • tore Ma-chree!

xlix

15. Johnny's Gone to Hilo / Songs of the Sea; Clancy Brothers and Tommy Makem. [A] Foreground / Scene 2, measures 132-135 / Maurya /

Song / 1st 2/5 of the piece / Unaltered. [B] Background / Scene 3, measures 71-78 / Piano /

Song / 1st 2/5 if the piece / Unaltered. [C] Background / Scene 3, measures. 79-94 / Piano,

Clarinet, Violas, Cellos / Song / 1st 2/5 of the piece / Unaltered.

il s

16. Wild Mountain Thyme; Clancy Brothers and Tommy Makem. Background / Scene 5, measures 96-100 / Off stage chorus of mens voices / Song / 1st 1/10 of the piece / Unaltered.

APPENDIX B - LIBRETTO FOR RIDERS TO THE SEA

By J. M. Synge An Adaption by C. Michael Carson

N: "Where is she?"

C: "She's lying down God help her, and may be sleeping if she's able . . . What is it you have?

N: "The young priest brought them. It's a shirt and a plain stocking that were got off a drowned man in Donegal. We'll find out if it is Michael's sometime when mother is down looking by the sea."

C: "How would they be Michael's, Nora? How would he go the length of that way to the far north?"

N:

N:

"The young priest says he's known the like of it, 'If it is Michael's they are,' says he, 'you can tell your mother he's got a clean biirial by the grace of "God, and if they're not his, let no one say a word about them.'"

C: "Did you ask him if he would stop Bartley from taking the horses to Galway fair today?"

"I won't stop him,' says he, 'but let you not be afraid.'"

C: "Is the sea bad by the rocks, Nora?"

N: "Middling bad, God help us. There's a great roaring in the west, and it's worse it'll be getting when the tides turned to. the sea. Shall I open it now?"

C: "Maybe she'd wake up and come in before we're done. It's a long time we'll be, and we're both crying."

N: "She's moving about on the bed. She'll be coming in a minute."

C: "Give me the ladder and I'll put them in the wood loft. That way she won't know of them at all. Give me the ladder and I'll put them in the wood loft and maybe when the tide turns she'll be going down to see if he'll be floating in from the east."

li

M: "Isn't it enough wood you have for this day and evening?"

C: "There's bread baking, and Bartley will want it when the tide turns if he goes to Connemara."

M: "He won't go this day with the wind rising from the south and west. He won't go this day for the young priest will stop him surely."

N: "He'll not stop him, Mother, and I heard Eamon Simon and Stephen Rheety saying he would go."

M: "Where is Bartley?"

N: "He went down to see if there would be another boat sailing in the week, and I'm thinking it won't be long before he's here now, for the tides turning and the wind's blowing from the east."

C: "I hear someone passing the gate."

N: "He's coming now and in a hurry."

B: "Where is that bit of new rope, Cathleen?"

C: "Give it to him, Nora? it's on a nail by the white boards."

N: "Is this it Bartley?"

M: "You'd do right to leave the rope hanging by the boards Bartley. There will be sorrow I'm telling you, if he's washed up in the morning, or the next morn, or any morning of the week, for it's a deep grave we'll make him by the grace of God."

B: "I've no halter for the mare, and I must go now quickly. This is the one boat going for two weeks or beyond it, and the fair will be a good fair for horses."

M: "It's a hard thing they'll be saying about you if the body is washed up and there's no man to make the coffin, and after I've gotten the finest white boards found in Connemara."

lii

B: "How would he be washed up, and we after looking each day for nine days, and a strong wind blowing a while back from the west and south?"

M: "If he wasn't found, then . . . The moon is raising the sea, and there was a star up against the moon, and it is rising in the night. If it was a hundred horses, or a thousand horses you had, what is the price of a thousand horses against a son when there is only one son left?"

B: "Go down each day Cathleen, and see if the sheep aren't jumping on the rye. If the west wind holds with the last bit of the moon, it's hard set we will be with no one but one man to work."

M: It's hard set we'll be surely the day you're drowned with the rest. What way will I live and the girls with me and I an old woman looking for the grave?"

B: "Is she coming to the pier?"

N: "She's passing the greenhead and letting her sails fall."

B: "I'll have half an hour to go down, and you'll see me again in two or three days, maybe four if the wind is bad."

M: "Isn't it a hard and cruel man who won't hear a word from an old woman, and she holding him from the sea?"

C: "It's the life of a young man to be going on the sea, and who would listen to an old woman with only one thing to say and the saying it over and over."

B: "I must go now quickly. I'll ride down on the red mare, and the grey pony will run behind me . . . the blessing of God on you."

M: "He's gone now. He's gone now. God spare us all for we'll not see him again. He's gone now. He's gone now. God spare us all for we'll not see him again. He's gone now. He's gone now, and when the black night is falling, I'll have no son left to me in the world."

C: "Why wouldn't you give him your blessing?"

M: "He's gone now."

liii

C: "And he looking back at the door."

M: "He's gone now."

C: "Isn't it sorrow enough on everyone without your sending him away with an unlucky word in his ear?"

M&C: "He's gone now. He's gone now. God spare us now for we won't see him again."

N: "You're taking the wood from the bread."

C: "The son of God forgive us, Nora, we're forgetting his bit of bread."

N: "And it's hungry he'll be going till dark night."

C: "It's starving he will be surely!" Mother go down to the spring well and give him this when he passes."

N: "You'll see him then and the dark spell will be broken and you can say, 'God speed you', so he'll be easy in his mind."

M: "Will I have time?"

C: "If you go now quickly."

M: "It's hard set I am to walk."

C: "Give her the stick, Nora, or she may slip on the stones."

N: "What stick?"

C: "The stick Michael brought from Connemara."

M & C & N: "In the big world, the old people do be leaving things

after them"

M: "for their sons and daughters, but in this place, it is the young men that do be leaving things behind for them that do be old."

C: "Wait Nora, maybe she'd come back quickly. She's that upset. God help her, you wouldn't know what she'd do."

N: "Is she gone round by the bush?"

liv

C: "She's gone now . . . Bring it down quickly, for the Lord knows when she'll be back again."

N: "The young priest said he'd be passing tomorrow and we might go down and speak to him if it's Michael's they are."

C: "Did he say what way they were found?"

N: "'There were two men,' says he, 'and they were rowing around the black cliffs of the north.' 'There were two men,' says he, 'and the oar of one of them caught in the rocks.'"

C: "Give me the knife, Nora, the strings perished with the salt and there's a black knot on it you wouldn't loosen in a week."

N: "I've heard tell it was a long way to Donegal."

C: "It is surely. There was a man in here awhile ago. He said if you set off walking from the rocks beyond, it would be seven days before you'd be in Donegal."

N: "And what time would a man take and he be floating?"

C: "The Lord spare us, Nora. Isn't it a hard thing to say if it's his they are?"

N: "I'll get his shirt off the hook, that way we could put the one flannel on the other. It's not with them, Cathleen, and where will it be?"

C: "I'm thinking Bartley put it on this morning for his old shirt was heavy with salt. There's a bit of the same stuff. Give me that and it will do. It's the same, Nora, but wasn't there great rolls of it in the shops of Galway? It's the same, Nora, but doesn't many another man have a shirt like Michael's?"

N: "It's Michael's, Cathleen. It's Michael's. God spare his soul. What will Mother say when she hears of this and Bartley on the sea."

C: "It's a plain stocking, just a plain stocking."

N: "It's the second one of the third pair I've knitted, and I put in three score stitches and dropped four of them."

lv

C: "It's that number, it is. Oh, Nora . . . "

C&N: "Isn't it a bitter thing"

C: "to think of him floating all that way to the far north and no one to mourn him but the black vultures that do be flying on the sea."

C&N: "Isn't it a pitiful thing"

N: "when there is nothing left of a man who was a great rower and fisher but a shirt and a plain stocking."

C: "Tell me, is Mother coming, Nora? I hear a sound on the path. Put these things away before she comes in. Maybe it's easier she'll be after giving her blessing to Bartley."

N: "She's coming up to the door. We'll put it here in the corner. Will she see it was crying I was?"

C: "Keep your back to the door the way the light'11 not be on you. Don't let on anything the time he's on the sea. You didn't give him his bit of bread? Did you see him riding down? God forgive you. Isn't it a better thing to raise your voice and tell what you seen? Did you see Bartley? I'm saying to you."

M: "My heart is broken from this day."

N: "Did you see Bartley?"

M: "I've seen the fearfulest thing."

N: "God forgive you. He's riding the mare now over the green head and the gray pony behind him."

M: "The gray pony behind him?"

C: "What is it that ails you?"

M: "I've seen the fearfulest thing any person has seen."

C: "Tell us what it is you seen."

M: "I went down to the spring well and stood there saying a prayer to myself, then Bartley came along and he riding on the red mare with the gray pony beside him. The Son of God spare us."

lvi

C: "What is it you seen?"

M: "I seen Michael himself!"

C: "You did not, Mother. It was not Michael you seen for his body is after being found in the far north and he's got a clean burial by the grace of God."

M: "I have seen him this day . . . and he riding and galloping! Bartley came first on the red mare and went by quickly saying 'The blessing God on you,' and I could say nothing. I looked up again at the gray pony and there was Michael upon it with fine clothes on him and new shoes on his feet!"

C: "It's doomed we are from this day."

N: "Didn't the young priest say the Almighty God wouldn't leave her destitute with no son living?"

M: "It's little the likes of him knows of the sea . . . Bartley will be lost now, and let you call on Eamon and make me a good coffin out of the white boards, for I won't live after them. I've had a husband and a husband's father and six sons in this house. Some of them were found and some of there were not found. What shall I do? They're all gone, they're all gone. There was Stephen and Shawn who were lost in the great wind and was found in the bay of Gregory. Then there was Cheamus and his father and his own father again who were lost in the dark and not a sign was seen of them when the sun came up. Then there was Patch who drowned when his boat turned over. I remember four women coming in and not saying a word. I looked out then and there were four men carrying something in the half of a red sail and water dripping out of it and leaving a track to the door.

N: "Did you hear that Cathleen? Did you hear that noise?"

C: "There's someone crying out by the seashore."

M: "Isn't it Michael?"

C: "Michael is after being found in the far north, and if he was found there, now could he be in this place?"

lvii

M: "There do be a lot of men floating round in the sea and what would they know if it was Michael they had or another man like him, for when a man is nine days in the sea and the wind is blowing, it's hard set his own mother would be to say what man it was."

C: "It's Michael, God spare him for they've sent us a bit of his clothes from the far north."

N: "They're carrying a thing among them and there's water dripping out of it."

C: "Is it Bartley?"

E: "It is surely, God rest his soul."

C: "What way was he drowned?"

E: "The gray pony knocked him into the sea, and he was washed out where there is a great surf on the white rocks."

M: "They are all gone now, and there isn't anything more that the sea can do to me. I'll have no call now to be up crying and praying when the wind blows from the south and the surf is in the east, and the surf is in the west making a great stir with the two noises. I'll have no call now to be going down to get Holy Water in the dark night. I won't care what way the sea is when other women will be crying. Give me the Holy Water, Nora, there's a small cup of it still on the dresser. It's a great rest I'll have now. It isn't that I haven't prayed for you, Bartley, saying prayers in the dark night till you wouldn't know what I'd been saying, but it's a great rest I'll have now and it's time surely, and great sleeping I'll have after sun set."

C&N: "She's quiet now and easy"

C: "but the day Michael was drowned you could hear her crying from here to the spring well."

C&N: "She's quiet now and easy."

N: "It's fonder she was of Michael . . . "

C: "and would any one have thought that?"

lviii

C&N: "An old woman will soon be tired of any thing she may do"

C: "and isn't it nine days Mother has cried and wept"

N: "and made great sorrow in this house."

M: "They're all together this time and the end has come, may the Almighty God have mercy on Bartley's soul and on Michael's soul . . . and may he have mercy on my soul, and on the soul of everyone left living in the world. Michael has a clean burial in the far north and Bartley will have a fine coffin made out of the white boards. What more can we ask than that? What"

M & C & N: "more can we want than that?"

M: "No man at all can be living for ever and we must be satisfied."

lix

Riders to the

Sea

by C. M. Carson

Instrumentation and Voices

1 Flute 1 Oboe 1 English Horn 1 Bb Clarinet 1 Bassoon 2 French Horns 2 Bb Trumpets 1 Tenor Trombone 1 Bass Trombone 2 Percussionists 1 Piano 2 First Violins 2 Second Violins 2 Violas 2 'Cellos 1 Double Bass

Voices

Maurya - Soprano Cathleen - Soprano

Nora - Mezzo-Soprano Bartley - Baritone

Off Stage Mens Chorus

2 First Tenors 2 Second Tenors 2 Baritones 2 Basses

Performance Notes

The individual scenes should progress without pause.

When time signatures change during the course of a page, it

is restated at the start of the next page. On a few

occasions the off-stage mens chorus produces sound mass

sonorities with indeterminate pitch content. These are

represented by large black bands in the staff lines of the

mens chorus, including three types: (1) wide block—chorus

sings steady, sustained pitches ad libitum and avoiding

doubling (2) narrow block—each person sings his lowest

possible note, and (3) mobile block—like the wide block,

except the pitches are moving up and down using "glissando."

On occasion when the narrow block changes to a wide block,

the conductor should instruct which singers are to remaain

at their lowest note and which ones are to move and where

they should move.

Flute

Oboe

English horn

Bb Clarinet

Bassoon

Horn I & II

Trumpet I 6 II

Tenor Trombone

Bass Trombone

Tercussion

Timpani

Piano

Maurya

Cathleen

Nora

Bartley

Mens Chorus

Violin I

Violin II

Viola

Violoncello

Double Bass

\

Jk 5 = f = f j i = 4 = ± =

5 j 1 J _ — & vy—«z_a«—<— ~ &

fjj 4.

± ) ^ r — — k - —

"= g*

'

*

l = X = — • — %

Fl.

Ob.

Eng. h.

Bb CI.

Bsn.

Hn. I 6 II

Bb Tpfc• I * II

T. Tbn.

B. Tbn,

Perc.

* Tlmp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

Vln. I

Vln. II

Via,

Vc.

r iueda

Fl.

Ob.

Eng. h.

Bb CI.

ltn. 1 & II

Bb Tpt• I & II

T. Tbn,

B. Tbn.

Timp.

Piano

Maurya

Cathloen

Nora

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

Vc.

f^TFP

Fl,

Ob.

Eng. h.

Bb CI.

Bsn.

Hn, I & II

Bb Tpfc• I & II

T. Tbn.

Q. Tbn.

Timp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

•n?——--f

|lights 90 up curtain rises

Kit. . . iteO F1 •

Ob.

Eng. h.

Bb CI.

Bsn,

Hn. I * II

B b Tpfc.

I ft II

T. Tbn.

B. Tbn.

Perc.

Timp.

Piano

Maurya

Cathleeri

Nora

Bartley

Mens Chorus

Vln. I

VIn. II

Via.

Vc.

DB.

I & ' S S

5h«'s ly lng down God help

Nora speak* in a low vole* front* £

th» door.

(3§>

Fl.

Ob.

Eng. h.

Bb CI.

Bsn.

Iln. I & II

Bb Tpt. I 6 II

T. Tbn.

B. Tbn,

Perc.

Timp.

Piano

Maucya

Cathleen

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

Vc.

_and »Ay be aieeping Zll ah*'a able . . . what "1» it you have?"

SI in ao 11-ly, and takee a bundle from under

l"Tha young prleat brought than i ' m 11' a a * tK.t. u,

ahirt and a plain atockingh that were got off a drowned Man in Donegal "

Cathleen atopa -her wheel with a audden movement, and leana out to llatan. . f l n d o u t lf

~ia Hichaeli aome--•time when mother ia

How would they be [Michaels, Nora? How would he go the length of that way to the far north?"

down looking by the

J-i/1

P I .

Ob.

Eng. h.

Bb CI.

Bsn.

Iln,

I 6 II

Bb Tpt. I «. II

T. Tbn.

B. Tbn.

Perc.

Timp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

Vc.

DB.

E|fc

Tha door which Notfa half closed lk.blotm ISESS

Did you ask him If ha would atop Bartlay from tak

la tha •aa bad by tha

"Tha young priaat aaya ha'a known t h W j i w y fair today?" iika of It, *If it ia Michaal'a thay -**I won't atop "Middling art," aaya 'ha, 'you can tall your ,hi»,' aaya ht, bad, GoT mothar ha'a gdt a claan burial by 'but lat you not halp ua tha graca of Cod, and if thay'ra not M a , lat " '* , J

TBart Iing tha horaaa to rocka, Nora?"

ba afraid. no ona aay a word about

Eng. h

Bb CI .

Bb Tpt I * I I

T. Tbn.

B. Tbn.

P e r c .

P iano

Mavirya

Nora

roaring | n and f t • H worse i t ' l l be

getting when the

Mens Chorus

Vln . I

Vizx. -tip

Cathleer i

Bartley

Vln . I I

Fl.

O b ,

Erig, h.

B b C I .

Bsn.

Hn. I & II

Bb Tpt• I 6 II

T. Tbn.

B. Tbn.

Tlmp.

Piano

Maurya

Cathleen

Mora

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

Vc,

DB.

Cathleen comes to the table

Shall I open It now?" tides turned to the »ea

Pitt. P P

*1*1. ~n?

Fl.

Ob.

Eng. h.

Bb Cl.

Bsn.

Hn. 1 S II

Bb Tpt. I & II

T. Tbn.

B. Tbn.

Timp.

Piano

Maurya

Cathleen

Bavtley

Mens Chorus

Vln, I

Vln. II

Via.

DB.

- / ^ " M a y b a a h a ' d w a l t a u p a n d c o m e I n b a f o r a w t ' r i d o n * . I t ' s a l o n g t i n * w a ' l l b « , a n d * a ' r a b o t h e r r i n g

foora goea to t h a l n n a r door and I l a t a n a • ) " S h e ' a Moving about on t h a bad. S h a ' l l

m

¥ f ff

fp-«np

IeI ff-cs^p ~gmfT ff^tnp

f f > W

PI.

Ob.

Eng. h.

Bb Cl.

Bsn.

Hrw I & II

Bb Tpt • I 6 II

T, Tbn.

B. Tbn.

Timp.

Piano

Maurya

Cathleen

Nora

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

ILJ :——~i_ - * p

J #

— • • • : « W • ^

tT

- - y ~ ^ b = ~ g = : • — » • ' . " ~

,fc —

• • ••• — — — " •

«f*Give me the ladder and £»n put themln thr

coming In « minute.

Fl.

Ob.

Eng• h.

Bb CI.

Dsn.

Hn. I 6 II

nb Tpt. i s n

T. Tbn.

B. Tbn.

Timp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

VIn. I

Vln. II

Via.

Vc,

DB.

wood loft That way she won't know of them at ail

Fl.

Ob.

Eng. h.

Bb CI.

Dsn.

Hn. I & It

Bb Tpfc• I 6 II

T. Tbn.

B. Tbn•

Perc.

Timp.

Piano

Maurya

Cathleen

Nora

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

Vc.

DB.

Fl.

Ob.

Eng. h.

Bb CI.

Bsn.

Hn. I & 11

Bb Tpt. I & 11

T. Tbn,

B. Tbn.

Perc.

Timp.

Piano

Maurya

Cathleen

Nora

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

w

f ? ^ fff

f p = — m ( e o )

me the Give

iiT-Xi

Fl.

Ob.

Eng. h.

Bb CI.

Hn. I (. II

Bb Tpt» I 6 II

T. Tbn.

0. Tbn.

Perc.

Timp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

Vln. 1

Vln. II

Via.

Vc.

—*c*r5"»pr

i*

z wood toft

p

& mmm

III

Fl.

Eng. h.

Bb CI.

Bsn.

Hn. I 6 II

Bb Tpt. I ft II

T. Tbn.

B. Tbn.

Timp,

Piano

Maurya

Cathleen

Nora

Bartley

Mens Chorus

Vln. I

Vln. II

wm

P*Rt r ft*' * I b* flointnl

f

J'bO

Fl.

Ob.

Eng. h.

Bb CI,

Bsn.

Hn. I ft II

Bb Tpt. I 6 It

T. Tbn.

B. Tbn.

Timp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

DB.

n f = - W

nf ="fff

n p = - f f f

i p l l p p l

-nf—fff

Fl.

Ob.

Eng. h.

Bb CI.

Bsn.

Hn. I & II

Bb Tpt. I 6 II

T. Tbn.

B. Tbn.

Timp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

Vln. I

VJn. II

Via.

Vc.

SCENE3I

bI auryaeomtrS from the In-ner room and speaks to heel "Isn't it .enough wood

•' you have for th\s day and evening?

•There's bread athleen throws down the fit

T?

-np CD •*>—*"

Fl.

O b .

F.ng. h .

n b CI.

tin.

I t. JI

nb Tpfc.

I S II

T . T b n ,

0. T b n .

T l m p .

P i a n o

M a u r y a

C n t h l e e n

Hartley

M e n s

C h o r u s

VI n. I

V l n . II

V i a .

DB.

Maurya aita down on the dtool bv the fire

baking, and Hartley will want it when the tide turn* if he goes to Connemara

5 L or a picks up the od OIIV fSlltfl it

rOunf

1 1 m i

^ * 1

F l .

Ob.

F.ng. 1i.

nb r t .

lln. t fc TI

m» Tpt . I R f l

T. Tim.

n. Tbn.

Tirop.

Piano

Mnurya

-cathloen

Nora

Hart ley

Mans Chorus

Vln. 1

V ln . I I

V ia.

Vc.

• n j Ht won't S® th is d * j witVi tl*e *i*<i r i f l l ag from th«

Fl.

Ob.

F.ng. h.

Hrt, t f. 11

nb Tpt-, I s, 11

T. Thn.

•f'Jinp.

P i mto

Mnurya

Cnt 1i 1 cpn

Hartley

Mens Chorus

VI». I

Vln. II

Via.

DB.

go this day lot the He won't South *>t%6 wfcst

W=

P

fcs

Jcctl J ^ O

n .

Ob.

F.ng. b.

Kb t:1 .

Iln. \ t, I I

nb *rpi-. I ft I T

T. Tbtl.

H. Tbn.

*f i wp.

1 \ nno

Mnuryn

»r,it It 1 ern

Knrf.lcy

Moris Cboms

VJn. I

Vln. I I

Via.

Vc.

$>•

•rnf young priest will stop^Him rT>rr

Fl.

Ob.

F.ng. h.

nb ci.

tin. t ft II

lib Tpt. 1 * II

T. Tbn.

R. Tbn.

Timp.

Piano

Mnurya

Calhloen

Nora

Da r H e y

Mens Chorus

Vln. I

Vln. II

Via.

Vc.

DB.

— — I W W W EOTTLP

m

m

•WNere i« Bartley?

$? "He went down to see if there would be another boat tailing in the week, and I'm thinVln^j If He'll not atop him, Mother, and 1 heard

Eamo[* s^fnon and Stephen fiheety aaying he would go

f

n .

Ob.

F.ng. h ,

» b CI .

H n .

t ft I I

lib Tpf;.

I ft )t

T . T b n .

n . Tbn.

TI m p .

PI n n o

Mnuryn

Cnt l i l c c n

Norn

n n r l i l e y

Mona C h o r u s

V I n . I

Vlr i . I I

V i a .

V c .

DB,

f • '(*

m

Give it I hear someone passing the gate."

to him, Nora»

won't be long be ~ * i fore he1® here now

for the tide* turn-ing and the wind'* blowing from the east

'He's comin pow and In d. hurry.

_fc±22ZULS

Bartley in and looks Where is that bit at them sadly^ rope Cathleen?"

of new

re&sssrj

kuA no F l .

O b .

F.ng. h .

O b C I .

flsn.

fin.

I ft II

M b T p t .

I (t It

T . T b n .

B. T b n .

T o r e .

Tlrnp.

P i a n o

M m i r y a

Cnt 111 c e n

H a r t l e y

M e n s

C h o r u s

Vln. I

V l n . II

V i a .

V c .

D D .

3" " J I mmm

"You'd do rlgrit to leive the

* * T T h t r e rope hhnging by the boards Bartley *

|>y the white boards

-m * 18 this it Bartley?

give® rope

I

F l .

Ob.

Fng. h .

Mb CI .

l inn.

Iln. I r. i i

nb Tp*:. t ft I I

T. Tbn.

n. Tbn.

TJmp.

r i n n o

Mmiryn

Cnthloen

n n r t l e y

Mens Chorus

VJn. 1

V In . I I

V i a .

DO.

•m

tel-TTrig you, , _ . I*m ^ * * he's washed up i r \p w i l l be «or—ro

F I .

Ob.

Eng. h.

nb t:i .

Hr?n.

(In. I r. 1 r

nb Tpt. ? * i t

T. Tbn.

n . Tbn.

Pore.

Tlmp.

PI nno

Mnnryn

Cnf 111ooti

Hartley

Mons Chorus

V l n . 1

Vln. II

Via.

or a r t y morning of the

n .

Ob.

F.ng. I>.

wh c:l .

Hrii .

Iln, l u l l

nh Tpt-» ! * IT

T. Tbn.

11. Tbn.

Tore.

T t mp.

T f ntio

Mnutya

Cnl 111 ocn

nnrf.loy

Mnns Chorus

VI u. t

VI11. It

Via.

P

00==

will b« ®or - row There

There will be sor - *ow

hJsis

Aif . „L,. .J.S

r i .

Ob.

F.ng. b.

nb Cl ,

lln. ft II

nb Tpt. I fc f t

T. Tbn.

n. Tbn.

TI mp.

P1 nno

Mntiryn

C<il 111ecm

D/irlilny

Men s Cliortis

VIn. t

VI n. II

Via.

for ifc'f a 4e«p grtv# w « f l l " f t k # * i m by the grate of

Ther#

Thtrt sorrow > by th» gr««« of

Fl.

Ob.

F.ng. h.

nb CI.

Nrm.

tin. t fi II

i nb Tpt. X ft It

T. Tbn.

n. Tim.

Pore.

Timp.

Plnno

Mnurya

Cn Hi leer*

HnrLley

Mf»r»s Chorus

V i m 1

VJn. II

Via.

DB.

It's a hard thin? about you if the they'll be saying body is washed up

I've no halter for the ware, and I must go now quickly. This Is the one boat go-ing for two weeks or beyond it, and the fair will be a good fair for horses.

rtiey begins to w

m = :

Fl.

Ob.

F.ng. h .

H b CI .

nsri.

Jin.

i ft ir

nb T p t . i « ti

T . T b n .

H. T b n ,

T i m p .

P i n n o

M a u r y a

C M h l o e n

H o r n

H a r t l e y

Mriis

C h o r u s

VI n . t

V l n « II

V i a .

D O .

coffin, !'v* gotten the fineet | Maurva looks around white boards found in Connemara.* 1 u 1 '

to make the end there'* no

Fl.

O b .

F.ng. h.

Hb c; I .

tin.

I *. 1 r

lib T p t .

r ft it

T. T b n .

n. T b n .

TI mp.

Pi ntio

M n u r y n

Cnt.lilepn

ttn rl:loy

Mf»ns

C h o r u s

V l n . t

V I n , II

V i a .

IU».

I towards the boards.\

1 = ^

1 ^

How would he be washed up, and we

F1 .

Oh.

Rng. h.

Iln. f IT

nil rpt.

f ft It

T. Tbn.

R. Tbn.

Ttrop.

Pinno

Mnuryn

Cnf hioen

Karl; Icy

Moris Chorus

VI11. 1

V)n. it

Via.

1)0.

jojh% Atui : . m

It he wasn't -Found# then . .

after looking each an<31 a •trong wind from the west and day for nine days, blowing a while back south?*

U£3i3£2£

F l ,

O b .

Rng . I t .

n»> <: \ .

t in . i h i f

Mb Tpt - , T ft t I

T . T b n .

f l . T b n .

T l m p .

V i nno

M n t i r y a

Cnt h l o e n

l ia r H e y

Mens C h o r u s

V I n . t

V i r i . 11

V i a .

t>&.

$£

there wa« T T The moon

ff—ff

F1 .

Ob.

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M1> ci .

n*»n,

Hn. t «. 1 I

Hb T|»» .

I K II

T. Tim.

H, Tim,

Tore.

TI rop.

P1 ntto

Mnuryn

CnlhJ non

n.ir 1. loy

Mr»n«? Chot ms

VIM. |

Vln. it

Via.

Vc.

i>n.

'dm

*

moon and It is ris-ing

F 1 .

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t i n . t 11

Hh T p t . i i; T t

T . T b n .

T i m p .

VI n n o

M m t r y a

C n l l i l o*»n

n n r l . l c y

H e n s C h o r u s

V l n . t

V l n . I I

V i a .

V c .

in the n igh t

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F.ng. It.

n»u r t.

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Mb Tpt. 1 *, Tt

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1*1 nno

Mnuryn

Cnl hlc<?n

tin r I. ley

Mf*ns Cliorna

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or a thousand horses

111

Fl .

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lib CM .

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i t. i r

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i f. 11

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p n r c .

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M m » r y n

C n Mi t e e n

Hnrl.lcy

M e n s

Cliortis

VIVI. II

V i a .

V c .

»hat ts the price of a t h o u ^ T a n d horsTs

3$j&

m

S S « = L « - i

n.

Ob.

F.ng. h.

Mb r I .

Unn.

Ihi. t ft 11

m> Tpi-. I f, t T

T. Tbn.

n. Tbn.

Pr»rc.

Tlmp.

fMnno

Mmiryn

Cnl lilocn

Parlloy

Hons Chorus

vln. i

VIn. II

Via«

HD.

Sk a - gainst a son when th«rt 18 only on\J SQt, lef£>

III

rt.

Ob.

fing. h.

Hn. t ft ir

lib Tpt * t K 11

T. Tbn.

n. Tim.

Tlmp,

PI niio

Mnutyn

Cnlhicen

Barf: ley

Hons Chorus

VI it. t

VJn. II

Via.

no.

i

While Hartley works at the halter,! bt tusni 1

Go down each day Cath- leen,

trt $

ft

n .

Oh.

Trig. I i .

nb <" \ .

I ln. i t. i r

nb Tpt« I f. I t

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Cn(h1e**n

Ofir 1: lr*y

Mens Chorus

V I n . 1

VJn . I I

V i a .

V c ,

m

•fm tee i f the sheep aren't

¥

m

Ob.

F.ng. h.

M> ri ,

tlRIl .

ftn« t r, 11

m» Tpl . I $. 11

T. Tim.

0. Tim.

T V tnp.

PI nno

Mfinryn

Cnl hi cc?n

nnrl.loy

Hons Chorus

VI n, 1

Vln. II

Via.

a y - — — —' — —' - - -

ill i i

* r

zjf*.—^ zz —

1*71

- rn f If the west wind holds with the last ©it of the moon, it's hard set ve will

ri.

ob.

Eng. h.

tin. t r, 11

m> Tpt, t t. r r

n . T b t » .

fvrc.

Timp.

P t nno

Mnuryn

Cnt hloen

Horn

finr l.ioy

Hons Chorus

VI n. T

VIn. II

Via,

we '11 be

b® with no on<| |jUt o n e m a n to work.

< 3 >

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I ln. I r, 1 l

Hh T p t . I it t l

T. Tbn.

n. Tbn.

T \ »np.

H1 nno

Mmiryn

Cn lh in rn

Hnrt. 1 oy

Mcms Chorus

VI rt. I I

V i a .

1 1 —

; r= 1 | *

ft ^ * 1

Jjf-j —S" - = i ' - = s _ — . J

- t r -1

^ - = " * • • • - 1 - : i - y r_ .—-_ j |

i r f day ySTre drowned with ih* rest. Wfiat way wi l l I live and the q L t i s w i t h

~ n < g )

r I.

ob.

F.tig. b.

Mb ri .

tin. I ft II

m» Tpt. I ft II

T. Tbn.

H. Tbn.

Ttmp.

PJ nno

Mmiryn

Cnl hlf?r?n

flirt: ley

Mens Chorus

VIn. It

Via.

' Vc.

nn.

looking for the grave

Bartfey laya down the halter, taken off s old coat, and puta on a newer one of

fcgflPIfl

r i .

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r . n g . h .

Mb <!t .

I l t l . { t, 11

fib T p t . f ft * T

T . T b n .

n . T i m .

T I mp .

PI n t io

Mnt t ryn

Cnt h l c o n

Hnr L l o y

H o n s C h o r u s

VI11. t

V I n . J I

V i a .

i m .

L ' ' 1 I "She ' s pass ing the greenhead tWora looks o u t . f . . . , l e t t i n g her s a i l s f a l l . "

BariJsy ge t s fiis pursel " I ' l l have half an hour to J[ go down, and y o u ' l l see

I s she coming t o the p i e r ? and ipfraw,?

Fl.

F.ng. h.

Bb CI «

!?Rr»,

Jin. t t, II

nb tph. I Si II

T. Tbn.

n. Tbn.

Tirop.

Piano

Maurya

Cnihlecn

Bar I.ley

Hons Chorus

Vln. I

Vln. II

Via.

aurya turne around ~to~tKe Eire, and puta her ahavl o-

m head

a^ain in two or three daya, maybe four if the wind ia bad

lis

Accel . . . J s 8 0

r 1.

Ob.

ftng. Ii.

!1n. i t. i r

Hl» Tpt. i n 11

T. Tim.

H. Tim.

TI inp.

PI nno

M.niryn

Cnt hi con

nr»r l.loy

Mf»ns Chorus

VI tu II

Via.

kctl. . . . J : B 0

from an old woman, and she holding him from the sea?

^ If# the Hfe of a young man going on the nea, and

Ob.

F.ng» h .

t i n . t f» I f

Mb Tpl . I t I I

T. Tim.

T \ mp.

r i ntiD

» — — s » * - — T — I

4 11

' u a * " •• " " " 1 _

v j r = 1 )~x

_ — - 1

Hftttryn

Cn!hi con

Hrtrt.lcy

Mr ns Chorus

VI n. I

VIn . I I

v i a .

who would listen to an old *° ~ wan only one Thing to say anc^he sayinglt over and 1

F1 .

Ob.

F.n^ . b.

Kb V} .

Hon.

fit

m

. m :

:mm£ tin.

r r f r

nil Tpt*. t n 11

T. Tbn.

n. Tbn.

T \ mp.

P t mio

— = qj» — : z:

4--'

• t — =

u — — m

- b - ' — M M

F

1 1 - - = 4 — r — — j j

- • — i - - * j y i i % i i

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3 3 * : " E • rJ;—' •• , ' n w c

nJ

"" £ ^ . " . -*

f , i f ,

M.niryn

Cnt hicnn

Hartley

over, *

l a

. w - *1 must go now quickly. I'll ride down on the red mar«, I „ and the gray pony will run behind me . . . the blessing of-

IBartley takes the halter^ Cod on you."

Mens Chortis

VI n. t

Vln. II

Via.

ft

@>

Vc.

I)D.

Iscaiilg | Fl.

Ob.

Eng. h.

0b CI.

Bsn.

Hn. I ft II

Bb Tpt. I 6 II

T. Tbn.

B. Tbn.

Tlmp.

Piano

Maurya

Cathleen

Nora

Bartley

Mens Chorus

Vln. I

VIn. II

Via.

DB.

p

m

i

M ^Jdo)

E n g . h .

&b C I

Bb Tpfc , I * I t

T . T b n ,

« . T b n

** P e r c .

P i a n o

r l a u r y a

gon» now,

now. C a t h l e e n

N o r a

H a r t l e y

Mf»ns C h o r t i g

* " * " . J 7 k » w > ( j § ) V l n . l

V l n . I I

Fl.

Ob.

Eng. h.

lib CI.

!?n. I 6 II

0b Tpfc. 1 i II

T, Tbn.

B. Tbn.

Tlmp.

Piano

Matirya

Cathleen

Nora

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

Vc.

DB.

p

"Y\P God spars us all

Cod wears us all.

m bji=

PI.

Ob.

Eng. h.

Hn. t ft n

nb Tf>t. I ft 11

T. Tbn«

0. Tbn.

Tlmp,

Pi nno

Maurya

Cathleen

Hartley

Mons Chorus

Vlr». I

Vln. II

Via.

Ka'0 gone

God apar* ua «xi Cod spare us Ood «par» u* all

Poq «par« us.

Fl.

Ob.

F.ng. h.

Rb Cl .

tin. I R II

fib Tpt. I t II

T. Tbn.

B. Tbn.

Timp.

Pinna

Maurya

Cathleen

Hartley

Mens Chorus

Vln. 1

Vln. II

h*lf now. -ff not see him a — gain

God epara us »U for w'll

God spara us al* ,or not seehlm a - gain L" ~~ fa

® vF:

Fl.

Ob.

Eng. h.

Iln. I ft I 1

nb Tp*. i fc n

T. Tbn.

n. Tbn.

Tlwp.

T 1 nno

Maurya

Cathleen

Bartloy

Moris Chorus

Vln. I

Vln. II

Via.

Fl.

Ob.

Eng. h.

Hb CI.

Iln. I & II

nb Tpt. I ft II

T. Tbn.

B. Tbn.

Tlmp.

Plnno

Maurya

Cathleen

Nora

Bartley

Mnns Chorus

Vln. I

Vln. II

Via.

IN

Fl.

Ob.

fcng. h,

nb Cl.

tin. 1 K IX

nb Tpfc. I fc II

T. Tbn.

n. Tbn.

TJmp.

Piano

Matirya

Catbleen

Nora

Hartley

Hens Chorus

Vln. I

Vln. II

Via.

DB.

$

th« black night In railing

m (St)

n

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nb T p t *

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T . T b n .

n . T b n .

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C a t h l e e n

H a r t l e y

H o n s

Chorus

V l n . I

V l n . II

V i a .

$

l9tt to «• In thm world

wouldn't you

I t .

Ob.

F.ng. l i .

Mb r f .

tin. I *. I I

Hb Tpl . I & f T

f. Tim.

n. Tim.

T 1 mp.

Pi mm

t M m t r y n

f!n! h i con

MnrI Ir?y

Metis Choi MR

VI n. I

VJn. I I

V i a .

i>n.

hi* your b l m i n g ?

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Mb c I .

• In . F. I I

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T . T i m .

11. T i m .

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Mnt t ryn

CM 111 POM

h n r I. l u y

Mons Clio* t t s

V t n . 1

V111. I I

V i a .

*rryfH«'« gon« now

h« looking back a t thfr " door I « n ' t i t socrow e — nough on mveryon*

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f ' n t c .

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r» i n i io

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Cnl h i n o i i

Hn r I 1 r

MoilS C h o i n s

V l n . f

V I n . I t

V i a .

m

ttnt your landing h i* a *«y with an unlucky word In

i , , * 7 = — * ?

n n t j . I i .

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t inr I 1 r y

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C h o r u s

VI I I . !

V l n . II

V) a .

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Oh.

r.nq. U.

IMi C.l .

Hflli.

Itn. I IV VI

M> T p t , 1 * f t

T . Tim.

n . Tbn .

Tltnp.

P l n u o

Mniityn

fin

Hnr I, Iny

Mfins C h o r u s

VI11. 1

V i m I I

V i a .

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H»*« gon» H«<» 9on« nou»

• goM now

$<>"• now •»nf . i f f

'» gon« now

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r.iig. h.

Mb C.\ .

linn.

Ihi. I t. U

Mb Ti»t . I ft I t

T. Tbn.

n. Tbn.

r<r» r c.

TI mp.

P i nt*o

Mmttyn

Cnl 111orn

ftnrt Iny

Mons Chorus

Vfn, t

Vlti. II

Via.

won't

won't hln a

Jjr God »par» u» hi* « won't

won't God spar* ua

Fl.

O b .

E n g . h •

B b C I .

B s n .

Hn.

I ft II

nb T p t . I 6 XI

T . T b n .

n. T b n .

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P i a n o

M a u r y a

C a t h i e e n

H a r t l e y

Moris

C h o r u s

V l n . 1

V l n . II

V i a .

V c .

I

Haurya takea up the tonga and begin* raking tha fir* aimlessly without looking around. Cathleen cuts

the bread and The eon of Sod forgive us, Mora, we're forgetting hie bit of bread

turns to Haurya

Cathieen take* It's starving he

will be surelyf the bread out

Wmsm dra turns towards

*Znd It'e hungry he'll be going

dgr* n*9 h t

7ou'i8 liking IB* wood from the bread

PI.

Ob,

Eng. h.

Ob CI.

Iln. I ft II

Bb Tpl:. I * II

T. Tbn.

B. Tbn.

Perc.

Timp.

Piano

Maurya

Cathleen

Nora

Hartley

M*?ns Chorus

Vln. I

Vln. II

Via.

Vc.

DB.

CM)

Mother go down to the spring veil an<! give him this

when he passes

"f*TY you f 11

<M)

in

PI.

O b .

E n g . h .

lib C I .

D s n .

Itn.

1 & II

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I 6 II

T . T b n .

13. T b n .

P e r c .

T i m p .

P i a n o

M a u r y a

C a t h l e e n

H a r t l e y

H o n s

C h o r u s

V l n , I

V l n . II

V i a .

n

^ c««v • \( rj

P p£3

then and the *arlt »p«ll will be broken and you can

Fl.

O b .

Eng. h.

B b CI .

Ban.

Un. I 6 II

Hb Tpt. I ft II

T. Tbn.

B. Tbn,

Timp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

£232

Es5233 in his mind. say, God he'll be

Atctf. . . ,

Ob.

F.ng. h.

!fn, t ft II

ni» Tpt. 1 * II

T. Tbn.

n. Tbn.

Perc.

Tlrop.

Piano

Mmirya

Cnlhiocn

Hartley

Mons Chorus

VI n. 1

Vln. II

Via.

31£pf:

Maurya pauses, and" t)ie weeping rises a little more loudly from the women, then

. . . and may he have mercy on my soul, and oni.9*n>t8 »»ay jMaurya bends her head. the soul of everyone left living in the world."

111

r i .

Ob.

Fug, 1i.

nb el .

IIn. I t, J I

fib Tpt:. t ft I I

T. Tbn.

n, Tbn.

Timp.

Pi nno

Mnuryn

Cnlhtccn

Mora

Hnrt-loy

Hons Cliorus

Vl t i . I

VI n. I I

Via.

Vc.

Ml-chael hat a cl#an bu-rl-al

!

Fl.

Ob.

Eng. h.

Hb Cl.

tin. I ft II

nb Tpt. I & II

T. Tbn.

D. Tbn.

Perc.

Timp.

Piano

Mnurya

Calhleen

Nora

Hartley

Mens Chorus

Vln. t

Vln. II

Via.

a n d Bartley will have a £ l n e nof-fm made nort

Fl.

Ob.

Frig. h.

nb C I .

tin, r. if

m> Tpt. I & II

T. Tbn.

n . Tbn.

Pore.

Tlrnp.

Plnno

Maurya

''nllilcen

Hartley

Mons Chorus

Vln. I

Vln. II

Via.

DD.

mote cap wa ask than Chat? boards What

Fl.

Ob.

Eng, h.

Bb CI.

fin. I ft 11

Rb Tpt. I & II

T. Tbn.

B. Tbn.

Timp,

Piano

Mnurya

:nthloen

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

not*, can v« w a n t t h a n tJ| i ?

want than that?

Fl.

Ob.

Eng. h•

Bb CI.

Han.

(In. I b II

Kb Tpt. 1 & II

T. Tbn.

B. Tbn.

Timp.

Piano

Mnnrya

Ca tli1 cen

Nora

Hartley

Mens Chorus

Vln. 1

Vln. II

Via.

OB.

LtLTt

mM

«?ls I w

ri.

O b .

F.ng. ti.

B b C I .

H s n ,

lln.

I & II

B b T p t .

I fi II

T . Tbr».

B. T b n .

T i m p .

P i a n o

M n u r y n

: a t h l c e n

H a r t l e y

H e n s

C h o r u s

V l n . I

V l n . II

V i a .

V c .

I

Maurya itneela down again Curtain and lights alowly fail and bows her head

35Dtrf

Eng. h.

Bb Cl.

Hb Tpt

T. Tbn

H. Tbn.

Piano

Maurya Maurya stands up (instead! iy while Cathleen nnxlouBly wa^rh— i *11 1 I

It'# hard set I am to walk."

y O U now quickly. Noir h # r th" atl<* *°r®, or she may

th« stonea.' Nora

Dei rt ley

Hons Chorus

Cathleen

Vln. 11

Fl.

Ob.

Eng. h.

Db CI .

Bsn.

II n. I 6 II

Bb Tpt. I (. II

T. Tbn.

B. Tbn.

Timp.

Pi ano

Maurya

Catbleen

Nora

Hartley

Mons Chorus

Vln. 1

Vln. II

Via.

DB.

M

mmm ^fjp In the big

Fr r Tf"-" f I JftIpln the big world, the

,

rh« stick Hi Haurya takea tha stick that ITU I 1"' h,r

chaal brought fro* Connamara

IBo?TgStri the atick.f

In the big what atlckf"

^ 1

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&

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E n g . h .

Hb C I .

H n . 1 ft I I

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T . T b n .

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P i a n o

Mmirya

C a t h l e e n

N o r a

H a r t l e y

Mf»ns C b o r u a

V l n . I

V l n . I I

V i a .

V c .

mm

t h ings a f t e r o ld peo-p le fo r t h e i r sons ana Leaving them

t h ings a f t e r t h e m

lWving th ings a f t e r t h e f f i

E n g . h

B b c i

B b Tpt-.

I * II

T . T b n .

B. T b n

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F<fe

Pi a n o

wmk M a u r y a

daughter,

N o r a

B a r t l e y

<m>

M e n s

Chorus

V J n . T

Cafchleen

V l n . ii

V i a .

— . - m p

Enq. h

Bb CI .

»b Tpt

T. Tbn

B. Tbn.

Timp.

Piano

Maurya

•«ving thing# behind for th»m th

Nora

Hartley

Hons t . / * Chorus

if

Cathleen

V] n. ii

F1.

Ob.

F.ng. h.

Bb CI .

Bsn.

lln. I It II

Hb Tpt * I ft II

T. Tbn.

n. Tbn.

Tlmp.

Piano

Maurya

Cathleen

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

Iwora go*» over to th» Iadd of

Fl.

Ob.

F,ng „ h.

13b CI ,

tin. 1 H IT

nb Tp*. I t. ! I

n. Tbn.

Tlmp.

Maurya

Cathleen

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

Scin« K

"Walt Mora, m»yb« aha'd come back quickly. Shft's that upaat* God halp h#r, you wouldn't know what aha'd do

a aha gona round by the

F1.

Ob.

Eng. h.

nb ci.

Mn. I ft II

nb Tpt. I ft II

T. Tbn.

B. Tbn.

Tltnp.

Piano

Maurya

Cathleen

Hartley

Mens Chorus

Vln. 1

Vln. II

Via.

DB.

3ES :.; !S!

Bring it down quickly, for th«Lor<ss knows wnan

•he' 11 be back again.fifora qota the bundle from the loft.l

1

"Sh«

P

Fl.

Ob.

E n g . h*

n b c i .

tin.

I 6 II

nb Tpt. I R II

T . T b n .

B. T b n .

T i m p .

P i a n o

M a u r y a

C a t h l e e n

H a r t l e y

M e n s

C h o r u s

V J n . I

V l n , II

V i a .

"Bid he aay what way they were found?

m Th» yoting prieet eaid he'd be patiinq tomorrow and we might go down and apeak to him If It's Michael'» they are iHora cornea downj

Fl.

ob.

Eng. h.

Bb CI.

Bnn.

Hn. I ft II

Rb Tpt. I s II

T. Tbn.

Timp*

Piano

Matirya

Cathlcen

Hartley

Mens Chorus

Vln. 1

Vln. II

Via.

fcMaurya awlta alowly. |

<©

n .

Ob.

F.ng. h.

Hb Cl .

linn.

Hn. I f, 1 r

nb rpt,

I * JI

T. Tbn.

n. T b n .

T i m p .

V\ nno

flnnrya

CnUil

Mora

Flar hi r»y

H o n s Cltnrtm

VI n. I

VIn. II

V i a .

V c .

o n .

"there wefS tvo they were rowing a men", fays he

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nb c l .

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Mh. t fc f l

nb T p t . I t, 11

T . Tbrt.

n . Tbn .

T n r c .

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P l a n o

Mmtrya

CnHil r»«?n

Mora

H a r t l e y

Mens Chorus

VI n . .1

V l n . IX

V i a .

DB*

w

"**r round black c l l f£» of the north

F1 .

Ob.

fing. h .

Pb c i .

Pro.

I ln. t fi T. I

Pb Tpl . t ft I t

T. Tbn.

P. Tbn.

Tore.

T i mp.

Pinno

Mmirya

Cal;hleen

Pn r fc 1ey

Mrrns Chorus

V l n . I

V In , I I

V i a .

Vc.

nn.

3

m a

there VffS tay# h# ot thf» and the oar

«fnp

is

#«p "C-t*' n f

1

FL.

Oh.

F.ng. h.

Rb Cl .

ttnn.

Hn. t t, II

lib Tpt. 1 % It

T. Tbn.

n. Tbn.

Pnrc.

Ttrop,

PI ano

M m i t y a

Cfilht <?en

Nora

Tin r tley

Moris Chorus

VL N. 1

V]N. II

Via.

V c .

DB.

W~1

i f—If

=~,ff

f caught in the rocks.

m

+f

F? .

Ob.

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nh Ct .

Hrsn.

Iln.

T ft M

fib Tpfc.

I fi JT

T. Thti.

n. Tbn.

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Tfmp.

Pi m m

Mmitya

CMh1«?s»n

Mora

Oa r I: ley

Hons Chorum

VI n. 1

Vln. Tl

Via.

Vc,

rm.

tHe .fcnife No- ri per- ished With the tn® gtrlngn ve m«

M J : 6 0

Ft .

Ob.

Kng. b.

Ob Cl.

Urii.

( In. t fc II

Mb Tpt. t R It

T. Tbn.

n. Tbn,

Timp.

Pi nno

Mmirya

Cathleen

Mora

Hartley

Mens Chorus

Vim 1

Vln. II

Via.

Vc,

t in .

p — i

salt and thir^i i biacK knot on it >y6u 'wSSRan• t idoaen in a We*k

C3B>

-J =^=aa»^pf>

PI.

Ob.

Eng. Ii.

nb C1 .

llr». t f, 11

nb rpi i r. it

T. Tbn.

n. Tbn.

Tlmp.

H ano

Maurya

Cnhhleen

Bar t l<?y

ftens Chorus

VJti. 1

Vln. IX

Via.

Vc.

m

VOl $

It is

«f*| heairi tall It w«i a long way to Done-gal

$

Fl.

Ob.

ring. h.

nb rA .

nsru

Un. I ft II

m? Tpt. I fc II

T. Tbn.

n. Tbn.

pr?rc *

Tlrop.

Plnno

Mnurya

Cnthl rpii

Nora

Hartley

Mens Chorus

VJn« I

Vln. tl

Via.

Vc.

m.

<m>

fher£ WAS h iman In here a

i

*>P / r r ? \

u

p i .

Ob.

E n g . h .

Bb CI.

H s n ,

fin.

J R II

O b T p t .

I ft II

T. Tbn.

FJ. T b n .

p R r c .

Tlrop.

P i a n o

M a u c y a

C a t h l e e n

Bnrtley

H e n s

C h o r u s

Vln. I

V l n . I I

V i a .

V c .

on.

w

set oft walk - ln<? from fche rocks be-while a-9°

W

Fl.

Ob.

Eng. ti.

Bb Cl.

Dsn,

tin, I ft II

Hb Tpt• 1 ft II

T. Tbn,

n. Tbn.

Tlmp.

Piano

Maurya

Cathleen

Hartley

Mens Chorus

Vln. I

Vln. II

Via.

V c.

t would be / days be - Eore you'd

Fl.

Ob.

Eng. h,

Bb Cl.

Dsn.

tin. I fc II

fib Tpt. I 6 II

T. Tbn.

H. Tbn.

Pore.

Tlmp.

Piano

Maurya

Cathleen

Mora

Hartley

Mensi Chorus

Vim. I

Vln. II

Via.

Vc.

DB.

be in Done--gal.

i

And what time would a man take and he be

tr

Fl.

Ob.

Eng. h•

Db CI.

Un, I fc I!

nb Tpt. i t u

T. Tbn.

n. Tbn.

Tlmp.

Piano

Maurya

Cathleen

Mora

Bartley

Mens Chorus

VI n. I

Vln. II

Via.

J-60, .

Cathleen opens the bundle and takes of 4 a bit of a stocking. They look at them eagerly. Cathleen speaks In a low voice

"^jP floating?

Fl.

Ob.

Eng. h•

!?b CI.

fin. I 6 II

fib Tpt. I fi II

T. Tbn.

n . Tbn.

Tlmp.

Piano

Maurya

Cafchleen

Nora

Bartley

Mens Chorus

VI n . I

Vlrt. II

Via.

Vc.

<E)

"Tha Lord apara ua, flora. Isn't tt a hard thina to aay if it'a his thay ara.«

1*11 gat hli ahlrt oil tha hook that way wa could put tha ona flan nal on tha othar."

Nora looks I through Bomef

\ ( ----- . 1

a * Soio a " ^

uTY y — - = Z r

===£=== —

Solo ^ ^

Its h _ f f .

— — J Z H

—£ tr = r z = — =

Fl.

Ob.

Eng. h.

0b CI.

Bsn.

Hn. I c. II

nb Tpt• I ft XI

T. Tbn.

n. Tbn.

Pore.

Ti*np.

Piano

Maurya

Cathleen

Dnrtley

Mens Chorus

VJn. I

Vln. II

Via.

I 'M thinking Bartle put it on this morn- "l^l c o r n a r. "Thares lng for his old shirt | 0f th« same stuff was haavy vith salt.** |G1V«

hanging in tha cornar Cathlaan, and whara

Fl.

Ob.

Eng. h.

13b CI.

Ban.

Hn. I 6 II

nb Tpt. I ft II

T. Tbn.

11. Tbn.

Tlmp.

Piano

Maurya

Catbleen

Dartiey

Mens Chorus

Vln. I

VIn. II

Via.

Vc.

it's the

land Ihey compare Uieilannei.

Fl.

Ob.

Eng. h.

Bb CI.

ftsn.

Mn. 1 6 II

nb Tpt. I ft II

T. Tbn.

n. Tbn.

Tlmp.

Piano

Maurya

Catlileen

Mora

Bartley

Hons Chorus

Vln. I

Vln. II

Via.

wasn't there great rolls of It in the shops of Gal -

<© ff

F l .

Ob.

Rng. h ,

Bb C l .

Osn.

Iln. I £ J I

nb Tpfc. I ft I I

T. Tbn.

B. Tbn.

Timp.

Pinno

Mnurya

Cathleen

Nora

Ba r t l e y

Monfl Chorus

V l n . I

V l n . I I

V i a .

*

Fl.

Ob.

Eng. h.

Rb CI.

Iln. 1 6 II

fib Tpt. I fi II

T, Tbri,

n. Tbn.

Tlmp.

Maurya

Cathlcen

Hartley

Mens Chorus

Vln. I

VI n. II

Via.

Vc.

t>n.

Qr~~—mm :~3 1/^, • , • • i i

no ther nan

im^rn 111

mm

F l .

O b .

E n g . h .

Rb C I .

l l n . I *. 11

n b T p t , I *. I I

T . T b n .

n . T b n .

T l m p .

P1 n n o

M a u r y a

C a t h l o e n

H a r t l e y

H o n s Chorus?

V l n . I

V l n . I I

V i a .

0 j j P ) ^ c c J J : 116

1

in

m

^

i 1

y—c; tq: ~'*T — - ^ — > = = t e |

* ' l H r — j t — —« -

m

< S ! D

ff : I

f f

m

kuA. m

• + t have a ® h l r t l i k e M i - c h a e U .

0 ^ -

- < S X

ipp

y -

f f

f p

Fl.

Ob.

Eng. h.

Pb CI.

I!n. t r. JI

nb Tpfc. I ft I I

T. Tbn.

n. Tbn.

Tlmp.

PI nno

Maurya

Cathleen

Dart ley

Mens Chorus

VI n. 1

VIn. It

Via.

•f

ieert It's Hi—chaels God spare his

F1 .

O b .

E n g . h .

n b CI .

H n , I (i 11

Hb T p t , I & I I

T . T b n ,

T l r o p .

P l n n n

M a u r y a

C a t h l c e n

B a r t l e y

Mons C h o r u s

V l n » I

V l n . I I

V i a .

V c .

DB.

• m f what w i l l Mother »«)r when she hea r s of

i

flih . . . . J>t

F l .

O b .

E n g . h .

H n .

I f, 11

Tib T p t .

I 6 II

T . T b n .

B . T b n .

T l m p .

IM m i o

M n u r y a

Cathleen

B a r t l e y

M o n s

C h o r u s

V l n . I

V l n . II

V i a .

giipE

. . . J);8d

It's a plain stocking

and Bart-ley on the a«a

I I I

*4cetX • J $ 0

F1»

Ob.

Kng. b.

nb CI.

Rsn.

Iln. I fir I I

nb Tpt * I R II

T. Tbn,

B. Tbn.

Timp.

Piano

Maurya

Cnthleen

Nora

Hartley

Mens Chorus

Vln. 1

Vln. tl

Via.

DO.

P

| § = § p

Ju«t a plain stock - ing

, ,

Fl.

Ob.

Eng. h.

nb CI.

Iln. I li II

nb Tpt. I ft 11

T. Tbn.

R. Tbn.

Timp.

Piano

Maurya

Calhlcen

Nora

Hartley

Mrrns Chorus

VI n. I

Vln. I*

Via.

DB,

m=m§. I've knitted It's the «e-cond one of the third pair

Fl.

Ob.

Eng. h.

13b CI .

t i n . I & 11

nb Tpt. i r. u

T . T h r u

n. T b n .

T i m p .

Piano

Mnurya

Cnthleen

nartlcy

Hons Chorus

Vln. I

Vln. II

Via.

in three score and I ntl - ches and

Fl.

Ob.

F,ng. h.

Hb CI.

I3sn.

Iln. I ft II

nb Tpt. 1 t IT

T. Tbn.

fl. Tbn.

Tlmp,

Pi ano

Mnurya

CnUiloen

Hartley

Mons Chorus

Vln. I

Vln. II

Via.

Cathleen counts the stitches and cries ou "It's that number, It is. 6h Nora . I ~

dropped four of them,

Fl.

Ob.

F.ng. h«

fib Ct.

Iln. I fc II

nb Tpt« T fi 11

T. Tbn.

11. Tbn.

Timp,

Pi ano

Mnurya

CMItlcen

Hartley

Mons Chorus

VJn. 1

Vln. II

Via.

1

n

•m*. r

i

F l .

Ob.

Eng. h .

nb CI.

Dsn.

Iln. t 6 I I

nb Tpt , 1 & I I

T. Tbn.

n . Tbn.

Pe rc .

Timp.

Piano

Maurya

Cafclileen

Nora

Har t l ey

Morts Chorus

Vln. I

VIn. I I

Via .

r t ^ T T S

b. 'jr

bitter thing

l f r f I#-n't it a bitttr f iin

Fl.

Ob.

Eng. h.

Kb CI.

fin. t 6 II

lib Tpt« 1 S II

T, Tbn,

I!. Tbn.

Perc.

Tlmp.

Piano

Mnurya

Cathleen

Hartley

Mens Chorus

Vln. 1

Vln. II

Via.

Vc.

P

floating to think of that vay

Fl.

Ob.

Eng. h.

Hb CI.

Dsn.

I!n. I fc II

nb Tpt. I & II

T. Tbn.

B. Tbn.

Tlmp.

Piano

Maurya

Celt hi een

Nora

Bartley

Mens Chorus

Vln. 1

Vln. II

Via.

Vc.

f

him but the black vultures to the far north and no one to mourn

ri.

Ob.

Eng. h .

Oh C I .

Bsn .

Hn. I 6 I I

Bb T p t . I 6 I I

T, Tbn.

B. Tbn.

Timp.

P i a n o

Mnurya

CaUi leen

H a r t l e y

Moris Chorus

V l n . 1

V l n . I I

V i a .

Vc.

Partes

PI.

Ob.

F.ng. h.

Bb CI.

Han.

fin. 1 ft II

nb Tpt. I ft II

T. Tbn.

n. Tbn.

t'rrr.

T I inp.

P i niu)

Mmiryn

Cnthlcen

Nora

Hartley

Mens Chorus

V3n. I

Vln. II

Via.

Vc.

DB.

-Z1"" -J — J - j. — — — =

f * 1 #•>

f \f K » ' ' j. , — — —

I»-n't It * Pit-lj'M

4 * Is-n'tit a pit-i-ful thing when there is nothing

F l .

O b .

E n g . h .

Bb C l .

H n . I I. I I

Hb T p ^ . I £ 1 !

T . T b n .

B . T b n ,

T l m p .

P i n n o

M n u r y a

C n U i l o e n

B ? i r t l e y

M e n s C h o r u s

V l n . 1

V l n . I I

V i a .

V c .

m

• f t ) l e f t o f a man who was a g r e a t rower and f i a h e r b u t * s h i r t and a p l a i n

F l .

Ob.

Eng. h .

nb C I .

Ban.

t in. 1 fc I I

nb T p t . 1 r. i i

T. Tbn.

n . Tim.

P n r c .

Timp.

Pi nno

Mrmryn

Cnlh lcc t i

Morn

n a r t l c y

Mons Chorus

V l n . I

V l n . I I

V i a .

Vc.

DB.

m

tnf.

[Nora awinga haraalf around, and I Ithrowa out har arm on tha clothca J *fr stocking

Fl .

Ob,

Eng. h .

Bb CI.

Dsn.

»n. 1 6 I I

nb Tpfc. 1 6 I I

T. Tbn.

Fl. Tbn.

Fere.

Ttrop.

Plnno

Mnurya

Cnthleen

Nora

Hart ley

Mens Chorus

V ln . 1

V ln . I I

V ia.

Vc.

DB.

T h L l * : l j .^ t h*g^o w l n^ l < o r < > 7 ' fcathleen fcmrna fcoWarda ihT^oot I naar a aourtd on th« path."

Fl.

Ob.

Eng. h.

Bb CI.

Iln. I t. II

lib Tpt. 1 f. II

T. Tbn.

n. Tbn.

Porn,

Tl mp.

M nno

Mnuryn

Cni.bl cen

Nora

Hartley

Mans Chorus

Vln. ±

Vln. II

Via.

Vc.

"Put these things away before she cornea In. Maybe it'a eaaler she'll be after giving her blessing to Bartley

Shea coming up to the door

Fl.

Ob.

Eng. h.

nb Cl.

Ran.

Iln. I fc SI

nb Tpt. I fi IX

T. Tbn.

H. Tbn.

TJmp.

Pi nno

Mnuryn

Cnl til cem

hartley

Mens Chorus

V i m I

Vltt. II

Via.

Vc.

DB.

ora helps 'Cathiaan ~ | t T R y B ^ ! t ^ i K ? 5 S ? ^ ^ ? T T o n T * ^ « t h f w ^ « ? b a c k ' b o ! t K losa frtia bundle. In thm chimav cor «*y •Pinning *h»«i

Ha'11 put It hare in in tha cornar

, (mf)

frruhtj " f *

Fl.

Ob.

Eng. h.

Ob Cl.

Ban.

lln. 1 6 1!

nb Tpt. I ft XI

T. Tbn.

B. Tbn.

Pure.

Tlmp.

Piano

Mnurya

Cathleen

Mora

Bartley

Mens Chorus

Vln. I

Vln. II

Via.

DB •

p

"Xaep your back to~th« door tha way tha light'11

pj not bi on y o u ,

fr.-P.ct to if. a o o r . l ^ ^ C

"Will aha aaa 1% waa crying I waa

EH5S5

t

| S c c n t |

r i .

O b .

F . n g . h .

n b < : t .

f i r m .

I l n .

t I I

I H » T p t .

r ft i t

T . T b n .

n . T b n .

f o r e .

T I m p .

P i n » i o

M n u r y n

C f M h i c o n

W o r n

f i n r t I c y

M t ? n s

C h o r u s

V I 1 1 . t

V I n . I I

V i a .

^ a u r y « c t o w « T j u r ^ r © c y r l o w i y ' w T t h o v i t l o o k i n g a t t h s g i r i f

a n d g o e a o v e r t o h e r s t o o l a t t h e o t h e r e l d e o f t h e f i r s

P T h e g i r l s l o o k a t e a c h o t h e r .

im,

F l .

Ob.

F.ng. 1i.

nb v . ) .

I In . I f. I I

Mt T p t . f t. I t

T . T im .

11. T i m .

T imp,

P in no

Mnuryn

Cnl Ii1 c r n

n n r l . l o y

Monj? Chorus

V t n . t

V I n . H

V i a .

t)D.

i

Th« cloth with th« bread la e t u i in har hand

Ft .

Ob.

F.ng. h.

Hb r. \.

Mn« I ft I I

lib Tpt. I ft t t

T, Tbn.

n.

Tore.

T1 rop.

Pin no

Mntiryn

Cnl 111 o m

Nnrt;lr»y

Mo >19 Chorus

VI h. t

VIn. 11

Via,

jjCathlwjcontli^^

FlforfTpoTnU^^

mt

Fl.

Ob.

T.tig. h.

M j <!1 .

nmi.

fill, t r, n

Tpt. i ft f ?

T. Thn.

n. Tim.

Tnrc.

TI inp.

r» 1 nno

Mmiryn

Cnl lit ec*n

No r n

lift r I ley

Hons Chorus

VIn. II

Via.

Vc.

iJ^aurYa^eglJTB^t^^ry goftly, without turning around. j

Tou didn't glr« hi* his bit of bread?H

r l .

O b .

F.?ig. h .

M ) CI .

llrt.

I fc I I

lib Tpfc •

I ft I t

T, T i m .

T Imp.

PI n n o

M n n r y n

CfiUilcen

tin rt. Icy

M e n s

C h o r u s

V I » . 1

V I n . II

V i a .

D C .

Maurya goaa on crying

jCathiean aknge wiui a iittig iwpatT encaTj "Did you aaa hln riding down?

118

Fi.

Ob.

F.ng. Ii.

nb rl .

Usui.

Ifn. iv J T

Ph Tpt. ! * ! !

T. Thn.

n. Tbn.

T \ inp.

Mnuryn

Cr»t hloen

P n r M c y

Jtmis Chorus

VI ti. t

VIn. II

Via.

Isn't It a bitter thing to raise your ft Cod forgive

•*?*—#(1§)

Fl.

O b .

E n g . h .

linn.

Iln.

t t, 1 t

ni» T p t .

T f. I t

T . T b n .

n. T b n .

T o r e .

Ti m p .

PI m m

M n u r y n

Cnl 111 n r n

n n r l l o y

Motif?

C h o r u s

V l n . 1

V l n . II

V i a .

i m .

i

voice and ball what you «e«n. Did you see Bartley? I'm naylng to

I

i

Fl .

O h .

T.ng. h .

M b C ! .

tin.

r. i r

m> T p t .

? r. 11

•r. T b n .

n. T h n .

Tltnp.

Pi ttMO

M r m r y n

C n l h l c e n

Unrt.lny

Monsi

Chortts

V t n. t

VI n. 11

V i a .

P I

$

My heart i* broken from this day

<frf Did you «*?«

f 1.

O h .

F.ng. h .

nh <:J .

lift.

I r, 1 I

n h T|»t .

? R t 1

'r. T b n .

n. T i m .

TI flip.

P i n n o

M m i r y n

Cnl hi c c n

ttnr I; Icy

Moris

C h o r u s

V I n . T

V I n . II

V i a .

mmm

i Uf La.

v# seen the fearfulest thing.

P I'l

vot j" zs-'py Hp' God forgive

I

(*,.) °"h

m (j|0 / HjEzOSSi

Ft.

Oh.

Fng. h.

Mh rt .

iinti.

tin. t u f f

1 U> Tpt, t (. \ r

T. Tim.

K. Tbn.

TI mp.

Mnuryn

Cnlhi cpn

Norn

Hn r t-.loy

Monn Chorus

Vln, T

V J n . n

Via.

i

l gpapli riding the mare now o - ver the green head and the 9™y

f

Fl.

O b .

F.ng. h .

lib CI .

Hn.

t ft I r

ni» rpt. I ft 11

T. T b n .

n. T b n .

T1 tnp.

Pi n u n

M n u r y n

Cnl hi e c u

H o r n

Rnrfclcy

M e n s

C h o r u s

VI11. T

VI n. tt

v i a .

m .

Maurya is atartiad to tha point that h«r shawl falla back from head and » h w i h»r whlta teased hair. •

MTha gray pony behind him?"

W . ICathlaan gosit to tha

f po-ny be- hind him. +*\f > • f f

f I .

Ob.

F.ng. I i .

Hr?n.

t in . I f, I r

?U» Tpt . T ft I t

T . T im.

!l. T im .

T l m p .

Mniiryn

Cnl 111orn

Tin r I. I c y

Hons C h o r u s

V l i t . I

V J n . I I

V J a .

V c .

t ve seen the f ea r tu le s t thing

m

4a*l. , . , }-&$

Ob.

F.ng. 1».

Mb ri .

fin. I r. 11

m» Tpt. f r, 11

T. Tbn.

11. Tbn.

T \ mp.

f» i ntio

Mn*»r yn

Cnt 111 ncn

Hr»r 1.1 oy

Hons

Chorus

vlti. t

VI n. II

Via.

t in .

At.u-1. . . * 8 4

P iWjpan-y person hat aeen.

pm mm IciithlMn and Nora crouch down in front of th» old woman at the lira

Tell us what It la you seen.

m F l .

Ob.

E n g . 1i.

nb c l .

I t n . f. t r

lib T p t * T ft n

T . T b n .

H . T b n .

T1 mp.

P i ?mo

Mnt i rya

C n l h l c c n

Hfir I: l e y

Mrms C h o r t i s

V I n . t

V I n . I f

V i a .

V c .

•fthpdown to the spring wal l and stood thera say-lnq a prayet to my- s e l f , then

rl.

O h .

fing. H.

lib CI .

tin.

I K f I

111) Tpl .

I R fl

T . T b n .

H. T b n .

T i m p .

Mniiryrt

Cfil 111opn

rinr t. toy

H o n s

C h o r u s

VI n. t

V l n . II

V i a .

V c .

tt

t ^ - r = l a

Bart Ley came *r long and he riding on the j r e d m s r e with the gray

IN

F 1 .

Ob.

F.ng. h ,

Mb r 1 .

Tlfsii.

tin, i f. ? r

ni» Tpt.

? f. 11

T. Tim.

R. Tim.

Pnrc.

TI mp.

fM m m

M n u r y n

C.i I h 1 ncn

Hnr I: ley

Moms

C h o r u s

VI n. I

V J n . II

V i a .

V c .

nn.

side him Son of God spare us

"What is it you men?

ri.

Ob.

F.ng. h,

fib r 1 .

Itn. t ft II

nb Tpt * t ft ft

T. Tbn.

n. Tbn.

TI mp.

P\;

Mmiryn

Cathloen

Hnrhley

Mo 113 Chorus

VI ii . 1

VIn. II

Via.

Vc.

I a««n Michael himself I

F t .

Ob.

Hng. h .

lib ty

fin. t f. ? r

nh T p t . ? fi 11

T. Tbn.

M. Tbn.

P«?rc.

TJmp.

M nno

Mnitrya

C n l h l c p n

Mora

n . i r U c y

Mens Chorus

VIn . I

VIn . I I

V i a .

Vc.

I>R.

1WW^=

M « ) f

r 1 .

Ob.

F.ng. 1».

Mb f: I .

f in. I R IT

nil Tpi . ? s I I

T . Tbn.

n . Tbn .

P o r e .

T lmp.

Pi nno

Mnnryn

C n l h l r c n

fin rt: I c y

Hen a Chorus

v l n . T

V l n . I I

V i a .

V c .

-t»lf you did

m .

Ob.

Fug. 1i.

nb c i .

f in. f r, ? r

m> T p K r f. i r

T . Tbn,

f l . T i m .

T I mp.

T inno

Mnuryn

Cnl 1i! ncn

Hnr l i ioy

Mrms Chorus

VI11. 1

V l t i . I t

V i a .

V\l not mo - ther I t was nofc Michael you se*n

r 1 .

O b ,

K n g . I i .

Mb V 1 .

f i n , f ft i r

f ib T p l - . t ft i r

T . T b n .

n . T b n ,

T I mp.

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with fine clothes on him and new shoes on his feet I

Cathleen begins to cry

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we are fro* thla day

Didn't the young privet | ^ | •ay tha Almighty God wouldn't-! "" I laava har destitute with no 1

son living?"

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one crying out by the seashore.

m "Did you hear* that Cathleen? Did you hear a noise?"

They look at each other, and then at Maurya who is still staring at the door

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fount! in the far north, ana if he was found there, now could he be in this place?"

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Cathieen speak in a whisper tof have come in. I® it Bartley? • the women that

1j "They're carrying a thing among them -and there's water dripping out of It?

I(EXTRA) i *Tt~ls surely",! Jl God rest his I

sou 1 .

Extras/SO Two younger women come in ami pull out the table. The mpn carry In the body of Bartley laid on a plank

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Cathleen speak* to the two younger as they are doing no

What way was he drowned?

with a bit of the sail over it, an liay it on the table.

The gray pony knocked him into the sea, and he waa washed out where there is a great surf on the white rocks.

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IMaurya has gone over and knelt down at the head of the table. The women are crying softly and awayiwi themselves with a alow movement

Cathleen kneel at the other end of the table. The men kneel near the door

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f > f T h e y

fhy They' re a now.

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may th« «1—mighty God Have ^

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on B a r t l e y ' a soul §nd on Ml -- chael's soul.

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