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
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>&.
$£
there wa« T T The moon
ff—ff
F1 .
Ob.
Rng. Ii,
M1> ci .
n*»n,
Hn. t «. 1 I
Hb T|»» .
I K II
T. Tim.
H, Tim,
Tore.
TI rop.
P1 ntto
Mnuryn
CnlhJ non
n.ir 1. loy
Mr»n«? Chot ms
VIM. |
Vln. it
Via.
Vc.
i>n.
'dm
*
moon and It is ris-ing
F 1 .
O h .
F.ng. I i .
n b r l
t i n . t 11
Hh T p t . i i; T t
T . T b n .
T i m p .
VI n n o
M m t r y a
C n l l i l o*»n
n n r l . l c y
H e n s C h o r u s
V l n . t
V l n . I I
V i a .
V c .
in the n igh t
Fl .
Ob.
F.ng. It.
n»u r t.
tin. t r, I T
Mb Tpt. 1 *, Tt
T. Tbn.
n, Tbn.
TI mp „
1*1 nno
Mnuryn
Cnl hlc<?n
tin r I. ley
Mf*ns Cliorna
Vtn. t
V i m II
Via.
nn.
or a thousand horses
111
Fl .
O b .
F.ng. h .
lib CM .
Iln.
i t. i r
m » Tpt-.
i f. 11
T . T i m .
p n r c .
T S tnp.
1» i m t o
M m » r y n
C n Mi t e e n
Hnrl.lcy
M e n s
Cliortis
VIVI. II
V i a .
V c .
»hat ts the price of a t h o u ^ T a n d horsTs
3$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
T . Tbn.
n. Tbn .
T hnp.
Mntiryn
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 >
r 1.
Ob.
F.ng. h .
m> r I .
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 .
o h .
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
. . L I
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
F l .
E n g . h .
n b Ci .
Jin*
i s n
nb T p t *
i R II
T . T b n .
n . T b n .
P e r c .
T l m p .
P l n 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
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 ?
O h .
F u g . h .
Mb c I .
• In . F. I I
tu> T p i . I f , I I
T . T i m .
11. T i m .
T \ w p .
PI n n o
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*
O b .
h .
n i j f i ,
n ^ n .
Mil . t ft I I
Hl» Tp t . I f. I 1
T . T h n .
»*. I ' h n .
f ' n t c .
T l m p .
r» i n i io
H n i i t y , i
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 .
r \ .
J in . I r. i l
\\b T|»! . I A I I
T .
T t m p .
P I n u n
M n t i r y n
f.'nl 111 n o i l
t inr I 1 r y
H O U R
C h o r u s
VI I I . !
V l n . II
V) a .
n .
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 .
o n .
H»*« gon» H«<» 9on« nou»
• goM now
$<>"• now •»nf . i f f
'» gon« now
r 1 .
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 .
T i m p .
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
n b T p h .
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
imm
&
F l .
O b .
E n g . h .
Hb C I .
H n . 1 ft I I
Rb T p t > I 6 I I
T . T b n .
B . T b n .
T i m p .
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
P e r c .
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
• Cg)!
F l .
Ob.
ring. h.
nb c l .
Hrm.
Mh. t fc f l
nb T p t . I t, 11
T . Tbrt.
n . Tbn .
T n r c .
Timp.
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.
F,ng, h.
nh Ct .
Hrsn.
Iln.
T ft M
fib Tpfc.
I fi JT
T. Thti.
n. Tbn.
Vnrr,.
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.
P I n n o
M m i r y n
Cnf I i1 c n n
W o r n
H n r f . l o y
Mo n s ( . ' h o r n s
V I n . 1
V J n . I I
V i a .
V c .
, W J - 6 6
r:
1
£ > . J &
f o r h i s boay I F " * ! - t „ M t * tfc« I t t n o r t h and He 's g o t a c l e a n b u r i a l by t h « g racs o f
I
n .
Ob.
Eng. h .
Hn. t r, I l
Kb T p t . t fc t t
T, Thn.
n . Thn.
Tlmp.
!* I nno
Mnurya
Cnl 111 con
Hat I. I c y
Hons Chorus
V i m
V I n . I t
V i a .
t m .
u n a rt 1 f r w
I hav« B««n him thla day. . . and ha riding and galloping I"
God."
and we•1L Will vou g o . lass ie 9®
Las-sie f -» go •M vv'lJ
U§
f i .
Ob.
r,ng, h.
lib t: \ .
Iln. t * i r
lib TpK T ft I t
T. Tbn.
n. Tim.
TI rop.
Mnuryn
Cntlilcen
tin rt ley
Mens Chorus
Vln. t
VIn. tl
Via .
Vc.
on.
Hartley f i r i t on the
m
F'l .
Ob.
Fng. h.
fib rl .
Tlrm.
Iln. I ft I f
nb T p u 1 % It
T. Tbn.
n. Tbn.
Pore.
TI mp.
PI nno
Mmiryn
Cfit 111 con
Hnrt.tcy
Mrns Cborus
VIn, T
Vln. It
Via.
Vc.
and X 3 l went by qulck-ly blessing
l ^ l mm 1^1
m
F J .
O b .
F.ng. h .
nb CI .
l i n n .
f i n . t t, i r
n b T p K I ft I I
T . T b n .
II. T b n .
TI mp .
I> I,
M . m r y n
f*.-iI h 1 n n n
l i a r I. I c y
M e n s C h o r u s
V J n . I
V l n . I I
V i a .
V c .
® ;
COUld s a y n o t h i l l ^ / J j i looked up a - gain there was Michael up
( 3 D -
Aft . . . J O
n .
Ob.
fing. h.
Mb CI .
Iln, t f. f t
M> Tpi.. 1 ft U
T. Tbn.
11. Tim.
M'hrip
I11 nno
Mnuryn
Cnt 111 con
Norn
n . i r t l c y
Mens Chorus
Vln. I
VJn. II
Via.
Vc.
DB.
P i
ft
¥
flit . . . J=fcO
with fine clothes on him and new shoes on his feet I
Cathleen begins to cry
P
F l .
O b .
E n g . li.
H b C} .
H n n ,
H n .
I t, II
n b Tpt»
I ft It
T . T b n ,
n. Tbn.
T o r e ,
T i m p .
r t n n o
M n u r y a
Cnt.bt c p n
H a r t l e y
Hons Chorus
V l n . 1
V l n . II
V i a .
V c .
m
i s
It's little the H m r of him knows of tha «•«, . . Bartlay will be lost now, and let you call on Eamon
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?"
=
i i
F] .
O h .
F,ng. h .
n h <M .
Iln.
I ft 11
W h Tpfc.
T *, II
T . T h n .
B . T h n .
T I m p .
IM n u n
M m i r y a
Cat hi cpii
H a r t l e y
M e n s
C h o r u s
V l n . t
V l n . II
V i a .
w
m • good ^ coffin out of tha whit* boards. Cor I won't llv* aft«r t h « . " I'v# had a husband and ahu«banda fa - th«r and
sons In this
3
n .
Ob.
r.ng. l i .
m> c\.
flnn.
Iln. t fr 1 i
lib T p t . TP. r t
T. Tbn.
n . Tbn.
Tlmp.
V I nno
Mnuryn
Cnt h tc rm
lint I; Icy
Hons Chorus
VJti. I
VIn . I t
V i a .
M
qyz.
Vc.
n n .
• - ; ~ -*
I-K E E E E L 1
~1T • • ' — ' • ' • • ~ * r!
& 1 1 ' = ' • —T.
fBc
i o T o ( th«m wer® f o u n d *n* A#** i»t them wert In tin 4 - *h#t 1
F1 .
Ob.
Rug. h .
»b r l .
itn. f f . f l
lib T p t . t f> ff
T . Tim,
M. Tbn.
1' I aw>
Mmiryn
Cnt 111 noil
n n r t l o y
Mens Chorus
VJn. 1
V l n . I I
V i a .
Vc.
I
Th«« Stephen and Shawn They're all *•>«•
$
Ft.
Oh.
F.ng. h.
lib CI .
Hnn.
Itn. t ft II
Kb Tpt, T * II
T. Tbn.
n. Tbn.
'I' I wp.
I' I nno
Matiryn
Crtl 111 con
Norn
Hnrliloy
Hons Chorus
Vln. I
Vln. II
Via.
Vc.
DB.
fJf
w
and was In th* gr»«t III ttM *** ®f C'«9°r " * Then there was rr
II.
Ob.
Tug. h.
lib r» .
Hn. r. 11
Mb Tpt. t u f t
T. Tim.
n. Tbn.
T I mp.
TI nno
Mnuryn
Cnl Illorn
HnrtIry
Mnpis (*?»>• us
V111.
VJn. II
Via.
r I .
Ob.
Fng. h.
lib r 1 .
Iln» I f. 1 I
IUj Tpt . t a i r
T. Tbn.
I*. Tbn.
f'nrc.
T \ mp.
PI m m
Mmiryn
Cat hlcen
Morn
Ilnr f.toy
Hons Chorus
VI»». t
VIn, II
Via.
Vc.
on.
#t>n of lh«» w"° drowned when his **• *i Then there was Patch
1 1 .
O b .
T u g . h .
Mb r I .
( h i . I h I !
l ib T p t . I R I !
T . T b n .
T l m p .
M n u t y n
CM 111 c e n
fin r t 1 o y
M e n s C h o r u s
V1 n . I
V l n . I I
V i a .
turned o ve r .
f
v \ .
Ob.
Rug . h .
I ln . t ft 1 f
nil Tpi . I ft T I
T . T i m .
n . T b n .
T \ nip.
Pi mto
Mnnryn
Cnt 111 oon
Hnr I t oy
Hons Cbot u s
V1 n . f
V J n . I I
V i a .
Vc .
n n .
- in? in and not looked out then
m
n .
Oh.
F.ng. 1i«
lib r 1 .
flRII .
I In. I ft f I
Hit Tpl . t ft 11
T. Tim.
11. Tbn.
TI mp.
PI nno
Hnurya
On I hioon
nr»r 1.1 oy
Mens Cliot its
VI n, I
Vln. II
Via.
nn.
i
"flf there vers four men car-ry - ing something In the half of a r e d ®a4*
r 1.
Ob.
r.ncf. h.
Hrtn.
tin. t u II
Mb Tpl. 1 f. f I
T. Tl»ii.
n. Tim.
T1 mp.
Pi ntio
Mnittya
Cnlhlcnn
flnr 1 1 ny
M m m Chorus
V \ n. I
VI »i. II
Via.
Vc.
igbS sl Kaurya pauses for a moment> with her hand stretched out towards the door.
*r*Jr wa-ter dripping out of It #nd leaving a track to the
n .
O h .
Ttig. I».
fib r l .
Mr?n.
Iln.
t r. 11
lib Tpl-.
I ft ft
T. T i m ,
R. Tbii.
•r I m p .
PI n n o
M a u r y n
Co I hi c o n
Unr L t ny
Mmiih
("l»«» its
V l n . 1
V J n . II
m
teg
tk
e g i n * ecar h«ard something through the door that is half opened
Nora and Cathleen speak to each other in a whisper
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
F l .
O b .
E n g . h .
Bb CI.
ttn.
I l II
B b T p t •
I 6 II
T, T b n .
R. T b n .
T i m p .
Piano
M a u r y a
C a k h l e e n
N o r a
H a r t l e y
M e n s
C h o r u s
V l n . I
V l n . II
V i a .
V c .
D B .
- - i l z & >
The door opens and o l d w o S w n b e g T n t o com® in, crossing themselves on the threshhold, and kneel down in front of'Haurya and the girls Maurya speaks as if In a dream Isn't it Michael?
"Michapl i after bflng
2 = - ~ 1
Atoil,
Fl •
Ob.
Eng. h.
Bb CI.
Bsn.
Iln. I (i II
Bb Tpt• I t II
T. Tbn.
IS. Tbn.
Pore.
Timp.
Piano
Maurya
Cnthleen
Bartley
Mens Chorus
Vln. I
Vln. II
Via.
Vc.
DB.
I, T Q £ >
ip
fount! in the far north, ana if he was found there, now could he be in this place?"
P I .
Ob.
E n g . h .
Bb c l .
IJsn.
Hn. I & I I
Bb Tpt• I 6 II
T . T b n .
B. T b n .
Perc.
T J m p ,
Piano
M a u r y a
r\tthleen
H a r t l e y
M^ns Chorus
V l n . I
V l n . 1 1
V i a .
V c .
DB.
do be a - l o t of iwsn f l o a t - irig round In the w
M. . > 7 n d g >
Fl.
O b .
E n g . b ,
n b C l ,
II n.
I fi II
n b T p t ,
I ft 11
T . T b n ,
R. T b n .
Tirop.
P i a n o
M a u r y a
C a t h l e e n
B a r t l e y
M e n s
C h o r u s
V l n . I
V l n . 11
V i a .
D B .
t
* cm
SsszJIMG
-f*jJTand what vay if it "as Mi would they know
Fl.
O b .
E n g . h .
n b e l .
t i n . I ft T J
lib T p t . I fi IX
T . T b n .
n . T b n .
T l m p .
P i a n o
M m i r y a
f!n( h i cr»n
Hnrtlcy
H o n s C h o r u s
VI n . 1
VI f t . I I
V c .
DB.
chael they had
Fl.
Ob.
F.ng. h.
Hb CI .
tin. I ft 11
Hb Tpt . T ft I 1
T. Tbn.
n. Tbn.
Tlmp.
Plnno
Mnurya
Cat.hl.cen
Hartley
Mons Chorus
VI n. t
Vln. II
Via.
Vc.
OB.
for when a
F1 .
Ob,
F.ng. b.
Mb CI .
Itn. t fc IX
Mb Tpt. 1 f. It
T. Tbn.
n. Tbn.
Tiinp.
P i nno
Maurya
Cnllilcen
Hartley
Hens Chorus
VJn. 1
VIii. It
Via.
Vc.
m.
»!=== and the wind it blowing its hard, set hi® own mother would
' ®
n .
nh.
rnq. h.
Mln r l .
n<*n.
tin. I f. I f
nh rpt , » R i t
. Tbn.
H. Tbn.
Ivmc ,
T \ mp.
P \ n no
M;in i yn
I U I r>r>n
Horn
H.1»" 1,1 r» y
llnni f'hortiR
Vltu t
Vln. f t
Vln.
Vr;,
nn.
mm
, 7 » r j , ; : m
i to say vhat WIB. "
mm
g^=j£g n<^,
r . T i g , 1 1 1 .
n h f : i .
» " ' ' ' p i ; . T R J I
r . T b n
P n r c .
r i n n o
M n u r y a
« S r r \ a t " n , f " ° P S l o w l y , a - d _ t . l t , , , t h - m I n h . , £ — , .
H t " n t ^ " 7 - a t h i e e n r e a d i e s o u t ^ n u , i e e n r e a c n e s o u t a n h a n d s M a u r y * t h e c l o t h e ; * t h a t b e l o n g e d t o M i c h e l
N o r a l o o k s o u t J
f - ' i I h I o n n
H n r l l n y
F t r » n f5 C h o r u s
V J n , t
V t n . I T
n .
Ob.
F.ng. h .
Hb CI .
Hnn,
Mn. T ti ! J
nb T p l .
I ft 11
T. Tbn.
n. Tbn.
T i inp.
P I nno
Hmir yn
Cnl b 1 nct»
Pn r 1. loy
fin tin Cbor tis
V l n . t
VI n. II
V i a .
V c .
nn.
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
F l .
O b .
E n g . h .
M b CI .
H n n ,
?!n.
I r, II
nu Tpfc.
t ft IT
T . T b n .
n. T b n .
T l m p .
P t n n o
M n u r y a
Cfil hi o c n
M o r n
H a r t l e y
M e n s
C h o r u s
V l n , I
V l n . II
V i a .
V c .
DB#
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.
Solo ft
Fl.
O b .
Eng. 1i.
nb c l .
lln. I * TI
n b T p t •
1 R It
T. T b n .
0. T b n .
T l m p .
P i n n o
M n u r y a
C n t h l c e n
Tin rt ley
M e n s
C h o r u s
V l n . 1
V l n . II
V i a .
V c .
D B .
3
i = =
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
= = !
(s»u) If
F l .
O b .
R n g . h .
nb Cl .
H n .
I ft I I
n b T p t ,
t ft it
T . T b n .
R. T b n .
P o r e .
T l m p .
P i n n o
M a u r y a
Cntlilcen
P n r t l e y
Moris
C h o r d s
V ] n . I
V l n . II
V i a .
o n .
fwurya raises her head and speaks as If she did not see the people a round her
f > f T h e y
fhy They' re a now.
F l .
o b .
F.rtg. h .
Hb Ol .
I1nti.
t t n . t fc I I
m> T p t . i f> i t
T . T b n .
Jt. T i m .
T1 mp .
P I n n o
M n u r y n
Ca t l i t c o n
flnrtloy
Mens C h o r u s
V l n . I
V l n . 1 1
V i a .
V c .
, J*lf They «r« «11
'fUmmm a n ^ the re Is n ' t Any-thinq more
mm
Th«y* r«
Th«y'ff«
Fl.
Ob.
F.ng. h.
nb CI .
Osn.
Iln. 1 ft II
nb Tpfc* I fc II
T. Tbn.
11. Tbn.
TJmp.
Plmio
Mnurya
Cn Hi loon
Hartley
Mo us Chorus
Vln. II
Via.
n j | ,
—1
w * =
_ — ^ —
1 1 — = =====asss=====: : * g — ^ —!—2BLI 1
- m —i — 1
ftit. .... ATtimfa
Iff that th» sea can 1,0 to me I*1^L hav* no call now to be up. crying and
«fnjp They're gonp
P
F t .
Ob.
F.ng. h .
n b C l .
Hn. I ft J I
nb T p t . I ft u
T . T b n .
R. T b n .
TJtnp.
TM nno
Mmtrya
C a t h l e e n
n a r t l e y
Moris C h o r u s
V) n . 1
V I n . I I
V i a »
V c .
*frd pray — ing when th® wind blows frow th« south and the
n .
Oh.
Eng. h .
nb CI .
Iln. t fc I I
nb Tpl . I * I I
T . Tbn.
n. Tbn.
Tlmp,
PJnno
Mnuryn
Cnlhl oc»r>
n n r t l o y
Moris Chorus
V I n . I
V l n . I I
V i a .
I3B.
I I "g — = = 1 — = 3 ~ j
— ^ —
and the iurf le in the. eaut
m m
F l .
Ob.
Eng . In
nb t : l .
Hnn.
Hn. 1 h ?I
Hh Tpfc. T H f t
T. Tbn .
n . T b n .
T I mp.
P i nno
Mntiryn
I h 1 oon
ttn r h l n y
Mnns Chor tm
VI n . I
V I n . I I
V! n.
Vc.
n n .
s t i r with th« two 9 c * « t = = B _
J 100
n .
Ob.
Eng. h.
m r I .
tif?n.
tin. I f* II
lib T p K t f. It
T. Tbn.
M. Tbn.
T I Hip .
V \ nun
Mnuryn
Cnl 111 non
Morn
tin r I. J ey
Hons Chorus
V J n. I
Vln. II
Via.
Vc.
i
noise -
•mf two nol§-«
F l .
Ob.
Eng. Ji.
13b C I .
Hfrn.
fin. t ft I I
nh T p t . I K II
T. Tbn.
n. Tbn.
TI tnp.
P \ nno
Mnuryfi
Cn lh ionn
Bar I;Icy
Mens Chorus
V l n , 1
v i n . I I
V i a .
Vc.
n
now to b« going down to g * t Ho-ly
Fl.
Ob.
Eng. h.
Rb CI.
Ran.
Iln. I ft II
fib Tpt. t A It
T. Tbn.
n. Tbn,
TI ntp.
M n n o
Mnurya
CnUileen
Dartley
Mens Chorus
Vln. I
Vln. II
Via.
Vc.
DB.
<m>
dark night
> M 0 0
F l .
O b .
E n g . h .
B b C I .
B a n .
fin.
I fc II
nb Tpt. 1 t. 11
T . T b n .
0 . T b n .
TJmp.
Pi m i o
Mfitirya
C M 111 c c n
N o r n
B n r t l e y
M o n n
C h o r u s
V l n . 1
V l n . I I
V i a .
D B .
i
aurya turns
to flora. *Glve ne the Holy Water, Nora, there's a small cup of it still on the dresser,
Fl.
Ob.
Eng. h.
nb Cl.
fin. I ft II
nb Tpt» t t. II
T. Tbn.
n. Tbn.
TI inp.
Pi niio
Mrturya
Cnthlcen
Nora
Hartley
Mons Chorus
Vln, I
Vln. II
Via.
Vc.
i CGB>
^~zjMaurya dropa Michael^a clothes across Hartley'a teet.fc^zi^Then ahe aprinklca th" Holy Water over him
Acttl, i J M 1 0
r i .
Ob.
Eng. h.
15b CI.
Hn. I ft II
nb Tpt. I ft II
T. Tbn,
0. Tbn.
Tlmp.
r I nno
Mnurya
f.'nt lilorn
tin rt ley
Mens Chorus
Vln. 1
Vln. II
Via.
DB.
tm
It's a great
Fl.
Ob.
Eng. h.
Bb CI.
Iln. I t JI
Bb Tpt. 1 fc II
T. Tbn.
B. Tbn.
Tl mp.
P! nno
Mmirya
Cjnt hlccn
Norn
tlnrtlcy
Mens Chorus
Vln, I
Vln. II
Via.
Vc.
DB.
<m>
It isn't that I tiav«n't
f
AivJ Area
F l .
Ob.
Eng . h .
Bb C I .
PRO.
l ln . I «. I I
fib Tpfc, t ft I I
T . T b n .
n . T b n .
TI nip„
PI nno
Mniiryn
Cnf b J p r n
H u r t l e y
Moris C h o r u s
V l n . I
V l n . I I
V i a .
V c .
Cm
2=1
<W>
7 y.
t prayed lor you Bar tUy. aay - In? prayers In tha d«rlc night
Fl.
Ob.
Rng. h.
Ob Cl.
tlsn„
Hn. I ft 11
nb Tpt, t *- ii
T. Tbn,
n. Tbn.
Pore,
TI inp.
r! nnn
Mnurya
rnt lit oen
Mora
nartley
Mons Chorus
Vln. I
Vln. II
Via.
Vc.
DB.
P
til you wouldn't know what I'd b««n saying It's * 9«at
3
O b .
F.ng. 1i.
K b Cl .
flsn.
Iln.
I ft II
n b Tpfc.
I f. It
T . T b n .
H . T b n .
T l m p ,
P In n o
M n u r y a
C f l t h l e e n
J
fin r t l e y
Monr?
C h o r u s
V l n . T
V I n . II
V i a .
V c .
#i
P i
Jllb l^EIE mm
great
($«(«) great
flrf. . , , .
r i.
Ob.
Eng. b.
Mb CJ .
Hnn.
tin. t ft i r
nb Tpt. . l ft l l
T. Tbn.
P. Tbn,
Tlmp.
Pi ano
Mnurya
Cnl.bl orn
• narfcley
Mnns Chorus
Vln. 1
VIn. II
Via.
!M
m
AuuJ J:I10
Fl.
Ob.
Fng. h.
Bb Cl .
Hn. 1 Br II
nb Tpt * i 4; 11
T. Tbn.
13. Tbn.
It
— ' 1 ' - ~ : l
ri ^ ^ 1111 • = — — . . - - • — ^ 1
= w — 1
«)
— — — . . — ~ r ~ F — | —
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Mnurya
Cntliloen
Nora
Hartley
Moris C h o r u s
Vln. 1
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She kneels down again. m i
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She crosses herself nd begins to pray
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• t ) l B J I ^ C C I ' o f Hichael 'e clothe* beside the body.|
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could hear her cry - ing from h«« t o t h # aprlng wnli.
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P I and would a ~ ny ona hava thought that7
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man trill soon b« - •«! of an—y - thing aha may do# and
•an will soon b« t i r " *d o f *n~Y - thing ahe may do-
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f » l l - n ' t It nine days th*r has , cried and wept
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row in thi» hou##
7 /fade great #or - row in thla house
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(/ Piaurya puts the empty cup mouth downwards on the tabler and U y i her hands together on Barttey's fectj . ^ They're all to- <?e - ther this
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may th« «1—mighty God Have ^
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