! ! ! ! ! ! THE FOOTSTEPS DIE OUT FOR EVER (2016) FOR

NARRATOR, DRUM SET, AND ORCHESTRA ! ! ! ! ! ! ! A THESIS IN Music Composition ! Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree ! MASTER OF MUSIC ! ! ! ! ! ! by ANDREW J. HARBISON ! B.M., California State University, Fullerton, 2007 ! ! ! ! ! ! ! Kansas City, Missouri 2016 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2016 ! ANDREW JAMES HARBISON ! ALL RIGHTS RESERVED ! ! THE FOOTSTEPS DIE OUT FOR EVER (2016) FOR

NARRATOR, DRUM SET, AND ORCHESTRA ! ! Andrew James Harbison, Candidate for the Master of Music Degree ! University of Missouri-Kansas City, 2016 ! ! ABSTRACT ! ! A Tale of Two Cities, serialized in weekly and monthly installments and finally published as a single volume in November 1859, is one of Charles

Dickens’s best-loved and most-analyzed novels. In The Footsteps Die Out For

Ever, I have sought to pay homage to Dickens’s work, heightening and extending the drama of the story by writing music for drum set and orchestra to accompany the narrator, who recites text drawn from the novel.

The Footsteps Die Out For Ever begins with a brief flourish on the tubular bells, introducing the piece’s scalar material, and the narrator reciting the opening paragraph of A Tale of Two Cities: “It was the best of times, it was the worst of times....” This text sets the stage for the action and commentary to follow in the narrative, as well as reminding the listener of his or her own place in time. Dickens compares the period of the French Revolution to “the present period,” a conceit which makes the work relevant not only to his time, but just as much to our own.

iii The rest of the composition’s text is an edited version of the novel’s final chapter, titled “The Footsteps Die Out For Ever.” The music uses recurring motives to represent characters, themes, and ideas, and serves as background illustrating much of the action, including the tumbrils that carry the prisoners of the Revolution, the guillotine’s grim work, an intimate conversation between Sydney Carton and a seamstress, Carton’s recollection of Christ’s declaration “I am the resurrection and the life...”, Carton’s execution, and his prophetic last thoughts foreseeing the end of the

Revolution and its evils. In those final words, Carton’s thoughts turn to the lives for which he is laying down his life, and end with the famous concluding words of the novel: “It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.”

iv APPROVAL PAGE ! The faculty listed below, appointed by the Dean of the Conservatory of Music and Dance, have examined a thesis titled “The Footsteps Die Out For Ever

(2016) for narrator, drum set, and orchestra,” presented by Andrew J.

Harbison, candidate for the Master of Music degree, and certify that in their opinion it is worthy of acceptance. ! Supervisory Committee ! James Mobberley, DMA, Committee Chair Conservatory of Music and Dance ! Andrew Granade, Ph.D. Conservatory of Music and Dance ! Chen Yi, DMA Conservatory of Music and Dance

v CONTENTS ! ABSTRACT...... iii ! INSTRUMENTATION...... vii ! PROGRAM NOTES...... viii ! PERFORMANCE NOTES AND DURATION...... ix ! MOTIVES...... x ! TEXT...... xi ! THE FOOTSTEPS DIE OUT FOR EVER...... 1 ! VITA...... 25

vi Instrumentation ! 2 Flutes 2 Oboes (Oboe 2 doubles English horn) 2 Clarinets in Bb (Clarinet 2 doubles bass clarinet) 2 Bassoons (Bassoon 2 doubles contrabassoon) ! 4 Horns in F 2 Trumpets in Bb Tenor trombone Bass trombone Tuba ! 4 Timpani (E2, A2, Bb2, E3) 2 Percussionists: ! Percussion 1 Percussion 2 Tubular bells (C4-F5) Bass drum Brake drum Temple blocks (shared with Perc. 1) Marimba (five octaves) (optional) Large tam tam Crotales (C7-C8) Temple blocks (shared with Perc. 2) ! Drum set

! Narrator ! Piano ! Strings

vii Program Notes A Tale of Two Cities, serialized in weekly and monthly installments and finally published as a single volume in November 1859, is one of Charles Dickens’s best-loved and most-analyzed novels. In The Footsteps Die Out For Ever, I have sought to pay homage to Dickens’s work, heightening and extending the drama of the story by writing music for drum set and orchestra to accompany the narrator, who recites text drawn from the novel. ! In A Tale of Two Cities, Charles Darnay is the Marquis St. Evrémonde (though he has renounced the title), an aristocrat and emigrant from France living in England with his wife Lucie, daughter, and father-in-law. Sydney Carton is Darnay’s doppelgänger; a ne’er-do-well who has wasted his life, he is in love with Lucie as well. Confessing his hopeless love to her, he states that he “would embrace any sacrifice for you and for those dear to you.” In the latter half of the novel, Darnay returns to Paris and is unjustly imprisoned and sentenced to death in the frenzied fervor of the French Revolution. Following Darnay to Paris, Carton contrives to exchange places with him on the night preceding his execution; Darnay escapes, and Carton dies in his place. ! The Footsteps Die Out For Ever begins with a brief flourish on the tubular bells, introducing the piece’s scalar material, and the narrator reciting the opening paragraph of A Tale of Two Cities: “It was the best of times, it was the worst of times....” This text sets the stage for the action and commentary to follow in the narrative, as well as reminding the listener of his or her own place in time. Dickens compares the period of the French Revolution to “the present period,” a conceit which makes the work relevant not only to his time, but just as much to our own. ! The rest of the composition’s text is an edited version of the novel’s final chapter, titled “The Footsteps Die Out For Ever.” The music uses recurring motives to represent characters, themes, and ideas, and serves as background illustrating much of the action, including the tumbrils that carry the prisoners of the Revolution, the guillotine’s grim work, an intimate conversation between Sydney Carton and a seamstress, Carton’s recollection of Christ’s declaration “I am the resurrection and the life...”, Carton’s execution, and his prophetic last thoughts foreseeing the end of the Revolution and its evils. In those final words, Carton’s thoughts turn to the lives for which he is laying down his life, and end with the famous concluding words of the novel: “It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.”

viii Performance Notes The narrator may be male or female. The text should be spoken naturally and directly, with inflection and expression, never over-dramatically. Some differentiation can be made in the dialogue between Carton and the seamstress, through a slight lowering and slight raising in pitch, but the narrator should not give discrete voices to the characters. ! As noted in measures 16 and 17, the box around the narrator’s text specifies the approximate length of time it should take the narrator to speak the text (regardless of where the text ends within the box). Spoken text should always begin slightly after the downbeat of the measure, and always finish by the end of the last measure in which the box appears, and closer to the box’s end if possible. Spoken text finishing earlier than the end of the box is always acceptable. ! The marimba part may be omitted. If a marimba is available but is smaller than five octaves, the octaves in measures 12 and 294 may be played an octave higher. ! ! Duration ca. 18 minutes

ix Motives

Tumbrils strings, winds, brass 4 Œ Œ 5 Œ Ó 4 Œ Œ 6 Œ Ó™ &4#œœ œ 4#œœ œœ 4#œœ œ 4#œ œœ bassoonsbœ bœ bœœ bœœ œ bœœ bœœ œ œœ ? 4 Œ Œ nœœ 45 Œ Œ #œœ œ 4 Œ Œ nœœ 46 Œ Œ #œœ œ

strings ? 4 Œ #œœ Œ 5 œœ Œ #œœ Ó 4 Œ #œœ Œ 6 œœ Œ #œœ Ó™ 4 œ œ 4 œ œ 4 œ œ 4 œ œ œ œ

Guillotine Heaven Jesus { stopped horns, cup-muted trumpets 3 flute and clarinet

w sustained, slow-moving bœ œ œœ ˙˙ ˙ #˙ ˙ ? & #w harmonics in violins and violas Y 3 tubular bells æ brakeæ drum

Peace Crowds violins, violas, clarinets asynchronously flute œ ˙ ˙ #œ œfi#œ œ ˙ & ˙™ & œ œ bœ œ bœ bœ

Knitting-Women bass clarinet ? 5 Œ bœ bœ bœ 4 bœ œ œ œ bœ œ œ œ œ Œ bœ œ bœ œ œ œ

bassoon ? 5 bœ bœ bœ 4bœ œ œ œ bœ œ œ œ œ Œ bœ œ œ œ bœ œ œ

contrabassoon ? 5 Œ Œ Œ Œ { 4 bœ œ œ œ bœ bœ œ œ œ bœ œ bœ œ œ œ bœ

x Text ! Text by Charles Dickens (1859) !Edited by AJ Harbison (2016) ![Book the First: I. The Period] It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way—in short, the period was so far like the present period, that some of its noisiest authorities insisted on its !being received, for good or for evil, in the superlative degree of comparison only. ![Book the Third: XV. The Footsteps Die Out For Ever] Along the Paris streets, the death-carts rumble, hollow and harsh. Six tumbrils carry the day's wine to La Guillotine. All the devouring and insatiate Monsters imagined since imagination could record itself, are fused in the one realisation, Guillotine. And yet there is not in France, with its rich variety of soil and climate, a blade, a leaf, a root, a sprig, a peppercorn, which will grow to maturity under conditions more certain than those that have produced this horror. Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious license and oppression over again, and it will surely yield the same fruit according to its kind. Six tumbrils roll along the streets. As the sombre wheels of the carts go round, they seem to plough up a long crooked furrow among the populace in the streets. Ridges of faces are thrown to this side and to that, and the ploughs go steadily onward. So used are the regular inhabitants of the houses to the spectacle, that in many windows there are no people, and in some the occupation of the hands is not so much as suspended, while the eyes survey the faces in the tumbrils. Here and there, the inmate has visitors to see the sight; then he points his finger, with something of the complacency of a curator or authorised exponent, to this cart and to this, and seems to tell who sat here yesterday, and who there the day before. There is a guard of sundry horsemen riding abreast of the tumbrils, and faces are often turned up to some of them, and they are asked some question. It would seem to be always the same question, for, it is always followed by a press of people towards the third cart. The horsemen abreast of that cart, frequently point out one man in it with their swords. The leading curiosity is, to know which is he; he stands at the back of the tumbril with his head bent down, to converse with a mere girl who sits on the side of the cart, and holds his hand. He has no curiosity or care for the scene about him, and always speaks to the girl. Here and there in the long street of St. Honore, cries are raised against him. If they move him at all, it is only to a quiet smile, as he shakes his hair a little more loosely about his face. He cannot easily touch his face, his arms being bound. The clocks are on the stroke of three, and the furrow ploughed among the populace is turning round, to come on into the place of execution, and end. The ridges thrown to this side and to that, now crumble in and close behind the last plough as it passes on, for all are following to the Guillotine. In front of it, seated in chairs, as in a garden of public diversion, are a number of women, busily knitting. The tumbrils begin to discharge their loads. The ministers of Sainte Guillotine are robed and ready. Crash!—A head is held up, and the knitting-women who scarcely lifted their eyes to look at it a moment ago when it could think and speak, count One. The second tumbril empties and moves on; the third comes up. Crash!—And the knitting-women, never faltering or pausing in their Work, count Two. The supposed Evrémonde descends, and the seamstress is lifted out next after him. He has not relinquished her patient hand in getting out, but still holds it as he promised. He gently places her with her back to the crashing engine that constantly whirrs up and falls, and she looks into his face and thanks him. "But for you, dear stranger, I should not be so composed; nor should I have been able to raise my thoughts to Him who was put to death, that we might have hope and comfort here to-day. I think you were sent to me by Heaven." "Or you to me," says Sydney Carton. "Keep your eyes upon me, dear child, and mind no other object." "I mind nothing while I hold your hand. I shall mind nothing when I let it go, if they are rapid." "They will be rapid. Fear not!" The two stand in the fast-thinning throng of victims, but they speak as if they were alone. Eye to eye, voice to voice, hand to hand, heart to heart, these two children of the Universal Mother, else so wide apart and differing, have come together on the dark highway, to repair home together, and to rest in her bosom. "Brave and generous friend, will you let me ask you one last question? I am very ignorant, and it troubles me—just a little." "Tell me what it is." "I have a cousin, an only relative and an orphan, like myself, whom I love very dearly. What I have been thinking as we came along, and what I am still thinking now, as I look into your kind strong face which gives me so much support, is this:—If the Republic really does good to the poor, and they come to be less hungry, and in all ways to suffer less, she may live a long time: she may even live to be old." "What then, my gentle sister?" "Do you think:" the uncomplaining eyes in which there is so much endurance, fill with tears, and the lips part a little more and tremble: "that it will seem long to me, while I wait for her in the better land where I trust both you and I will be mercifully sheltered?" "It cannot be, my child; there is no Time there, and no trouble there." "You comfort me so much! Am I to kiss you now? Is the moment come?" "Yes." She kisses his lips; he kisses hers; they solemnly bless each other. The spare hand does not tremble as he releases it; nothing worse than a sweet, bright constancy is in the patient face. She goes next before him—is gone; the knitting-women count Twenty-Two. xi "I am the Resurrection and the Life, saith the Lord: he that believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me shall never die." The murmuring of many voices, the upturning of many faces, the pressing on of many footsteps in the outskirts of the !crowd, so that it swells forward in a mass, like one great heave of water, all flashes away. Twenty-Three. ! ***** They said of him, about the city that night, that it was the peacefullest man's face ever beheld there. Many added that he looked sublime and prophetic. One of the most remarkable sufferers by the same axe—a woman—had asked at the foot of the same scaffold, not long before, to be allowed to write down the thoughts that were inspiring her. If he had given any utterance to his, and they were prophetic, they would have been these: "I see long ranks of the new oppressors who have risen on the destruction of the old, perishing by this retributive instrument, before it shall cease out of its present use. I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, in their triumphs and defeats, through long years to come, I see the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out. "I see the lives for which I lay down my life, peaceful, prosperous and happy, in that England which I shall see no more. "I see that I hold a sanctuary in their hearts, and in the hearts of their descendants, generations hence. "It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known."

xii ! ! ! ! ! ! ! ! ! ! ! The Footsteps Die Out For Ever is dedicated to my family: ! To my father, who was never less of a father to me than Dr. Manette was to Lucie, and often was more; ! To my mother, the Mrs. Manette whom Lucie never knew, but whom I have the privilege to know; ! To my brother, a fellow Darnay/Carton along the path; ! To my wife, my own Lucie and so much more; ! And to my daughter, my own little Sydney: may she win her way up in the path of life well.

Transposed Score The Footsteps Die Out For Ever Based on the final chapter of A Tale of Two Cities by Charles Dickens

Charles Dickens (1859) AJ Harbison (2016)

q = 90 10-12" 4 a2 5 4 4 >œ. 4 4 Flutes 1 & 2 ° U U & ∑ ∑ ŒÓ ∑ f

a2 U U >œ. Oboes 1 & 2 & ∑ ∑ ŒÓ ∑ f

U U >œ#. Clarinet in Bb 1 & ∑ ∑ ŒÓ ∑ f Bass Clarinet U U Clarinet in Bb 2 & ∑ ∑ ∑ w# fp>

U U a2 Bassoons 1 & 2 ? ∑ ∑ ∑ ¢ w fp>

>œ. Horns in F 1 & 2 ° U U & ∑ ∑ œ Œ Ó ∑ f

>. U U œ Horns in F 3 & 4 & ∑ ∑ œ Œ Ó ∑ f

a2 U U >œ#. Trumpets in Bb 1 & 2 & ∑ ∑ ŒÓ ∑ f U U Trombones ? ∑ ∑ œ ŒÓ ∑ œ f>. U U Tuba ? ∑ ∑ ŒÓ ∑ ¢ œ f>. U U Timpani °? ∑ ∑ ∑ ¢ wæ fp> Tubular Bells medium leather mallets to Brake Drum Brake Drum hard yarn mallets U U U Percussion 1 ° fiœb Œ j fiœ# œ ˙ œ œ ∑ / œ Ó & œfiw œ œ w f> ∑ p > Bass Drum Percussion 2 U U œ Œ Ó ¢ / ∑ ∑ f> ∑

f drumsticks (f) n. U U Drum Set wæ w / ∑ ∑ œ ŒÓ Œ æ It was the best of times, it was the worst of times, f> it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, Narrator it was the season of Light, it was the season of Darkness, U∑ it was the spring of hope, it was the winter of despair, ∑ ∑ we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way— in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. ” “>œ. U U œ & ∑ ∑ ŒÓ ∑ Piano f U U ? ∑ ∑ ŒÓ ∑ œ œ { >. 10-12" 4 q = 90 5 4 4 >œ. 4 4 Violin I ° U U & ∑ ∑ ŒÓ ∑ f

U U >œ. Violin II & ∑ ∑ ŒÓ ∑ f

U U >œ. Viola & ∑ ∑ ŒÓ ∑ f

U U div. Violoncello ? ∑ ∑ w ∑ w fp>

U U div. Double Bass ? ∑ ∑ w ∑ ¢ w 1 fp> A q = 70, rit. pesante, > 5 4 #œœ. 6 3 7 4 3 4 detached 5 4 4 4 4 4 ˙# ˙ w 4 4 4 Fl. 1 & 2 ° ŒÓ ∑ ∑ ∑ ˙ ∑ ∑ & 3 f mf

> #œœ. Ob. 1 & 2 & ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ ∑ f

>. 3 Cl. 1 œ# & ŒÓ ∑ ∑ ∑ ˙# ˙# ˙ w ∑ ∑ f mf

B. Cl. ∑ ∑ ŒÓ & ˙ w w w ˙ w# >™ ™ œ# fp> f pp p f>. - Bsn. 1 & 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ÓŒ nœœ ¢ w p fp>

a2 >œ. Hn. 1 & 2 ° ˙ & œ# ŒÓ ∑ œ# œ ˙ w w w ˙ œ Œ Ó f >™ ™ œ p f pp p f>.

a2 >œ. Hn. 3 & 4 & œ# ŒÓ ∑ ∑ ˙ w w w ˙ œ Œ Ó f >™ ™ œ f pp p f>. a2 >. Tpt. 1 & 2 ##œœ > & ŒÓ ∑ ∑ ˙™ w w w ˙™ œ# ŒÓ f f pp p f>.

f pp > >. Tbns. ? œ ŒÓ ∑ ∑ ˙b ™ w w w ˙b ™ œ ŒÓ œ. ˙b w ∑ ∑ ˙b œ f> ™ ™ . f> p p> >f

Tba. ? ŒÓ ∑ ∑ ∑ ∑ Œ Œ ¢ œ œ -œ f>. ˙b ™ w ˙b ™ >. f> p p> f p

Timp. °? æ æ æ æ æ ∑ ∑ ˙b æ wæ wbæ wbæ ˙b æ ŒÓ ¢ wæ >™ ™ œ fp> f pp p f>. Tubular Bells Marimba to Tub. B. to Marimba medium yarn mallets to Br. D. Br. D. Œ ? °/ œ Ó ∑ ∑ ∑ ∑ & w# ∑ œ ŒÓ f> œ p f>. Temple Blocks æ B. D. œ Œ Ó ˙æ™ œ Œ Ó ¢ / f> ∑ ∑ ∑ ∑ ∑ p f>

f f pp (f) n. > j Dr. wæ ˙ ˙ ˙æ wæ w w ˙ œ œfiœ / œ ŒÓ ™ Œ ∑ œ™ ŒŒ ∑ ™ œ Œ Œ æ æ æ æ æ f> f> f> mp

“” #>œ. œ# & ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ ∑ f Pn.

? ŒÓ ∑ ∑ ∑ ∑ ∑ ŒÓ œ ˙b ™ w œ b˙™ w œ f> œ f>. f>. { q = 70, rit. A pesante, div. 4 >. 6 3 ˙ 7 >œ 4 3 4 >. detached 5 4 #œœ 4 4 œ# œ 4 œ# ™ ˙ ˙™ 4 4 ˙b 4 œ 4 Vln. I ° ™ & ŒÓ ∑ Œ ∑ ∑ Œ œ Œ f p ff p f mf-

div. ˙ >œ >. > œ# œ œ# ™ ˙ ˙™ œ #œœ. ˙b ™ Vln. II & ŒÓ ∑ Œ ∑ ∑ Œ Œ f p ff œb p f mf-

> > > Vla. œ. ˙ œ# œ œ œ# ™ ˙ ˙™ œ. & ŒÓ ∑ Œ ∑ ∑ ˙b ™ Œ Bœ Œ f p ff p f mf-

> > Vc. ? b˙™ w b˙™ -œ# w ∑ ∑ b˙™ w ∑ ∑ b˙™ œ Œ Œ w f œ fp> p f>. mf

> > D.B. ? b˙™ w b˙™ -œ w ∑ ∑ b˙™ w ∑ ∑ b˙™ œ Œ Œ ¢ w f œ fp> p f>. mf 2 5 4 6 4 5 4 6 4 13 sim. 4 bœœ- - 4 bœœ 4 bœœ œ 4 bœœ 4 bœœ 4 bœœ 4 bœœ œ 4 Bsn. 1 & 2 °? Œ Œ #œœ œœ Œ Œ nœœ Œ Œ #œœ œœ œ Œ Œ nœœ Œ Œ #œœ œœ Œ Œ nœœ Œ Œ #œœ œœ œ ¢ a2 3 + + + Hn. 1 & 2 ° & ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ ˙ Œ p œ ˙ ™ n. a2 cup mutes 3 Tpt. 1 & 2 & ∑ ∑ ∑ ∑ ∑ ∑ Œ pœ œ œœ ˙˙™ n. sim. Tba. ? Œ Œ Œ Œ Œ Œ Œ œ Ó œ Œ œ Ó™ œ Œ œ Ó œ Œ œ Ó™ ¢ œ- - œ œ œ œ œ œ Brake Drum æ æ Mar. °? ∑ ∑ ∑ ∑ ∑ ∑ / ˙æ ˙æ™ Œ pp n.

soft yarn mallets Tpl. Bl. j fij fij j fij j fij fij j / Œ œfiœ ŒÓÓŒ œ œ Ó Œ œ œ œfiœ ŒÓŒ œ œ Ó Œ œfiœ ŒÓŒ œ œ Ó Œ œ œ œfiœ Œ ¢ p

j j j j j j j j j Dr. œfi œ œfi œfi œfiœ œ œfi œfi œ œfi œfi œfiœ œfiœ œ / œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ

Along the Paris streets, the death-carts rumble, * Narr. Six tumbrils carry the day's wine to La Guillotine. ∑ ∑ ∑ hollow and harsh. 5 4 6 4 5 4 6 4 4 sim. 4 4 4 4 4 4 4 Vln. I ° Œ Ó Œ Œ Œ Ó™ Œ Œ Œ Ó Œ Œ Œ Ó™ & œ- œ œ œ œ# œ œ œ œ œ œ œ œ# œ sim. div. unis. div.sim. Vln. II & œ# Œ Ó œ# Œ Œ Œ Ó™ œ# Œ Œ œ# Œ Ó œ# Œ Œ Œ Ó™ -œ œœ œ œb œ œœ œ œb œ œœ œ œb œ œœ sim. div. unis. div. sim. Vla. B Œ œ Ó Œ œ Œ Œ œ Ó™ Œ œ Œ Œ œ Ó Œ œ Œ Œ œ Ó™ œ- #œ œ œ #œ œ œ #œ œ œ #œ sim. Vc. ? œ- Œ œ Ó Œ œ# Œ œ Œ œ Ó™ Œ œ# Œ œ Œ œ Ó Œ œ# Œ œ Œ œ Ó™ œ œ œ sim. D.B. ? œ- Œ œ Ó Œ œ Œ œ Œ œ Ó™ Œ œ Œ œ Œ œ Ó Œ œ Œ œ Œ œ Ó™ ¢ œ œ œ

= 204 5 4 6 4 4 bœœ 4 bœœ 4 bœœ 4 bœœ œ 4 Bsn. 1 & 2 °? Œ Œ nœœ Œ Œ #œœ œœ Œ Œ nœœ Œ Œ #œœ œœ œ ¢ 3 a2 3 a2 + + + + + + + Hn. 1 & 2 ° ∑ Œ Ó™ & œ œ œœ ˙˙ ˙# p n. p œ ˙ œ ˙ n.

a2 3 Tpt. 1 & 2 & ∑ Œ ∑ ∑ pœ œ œœ ˙˙ n. cup mute T. Tbn. ? ˙# ∑ Ó œb ˙ œ ˙ œ ˙ Ó™ p 3 n. cup mute B. Tbn. ? ∑ ÓŒ œ Ó ∑ p œ ˙#

Tba. ? Œ Œ Œ Ó Œ Œ Œ Ó™ ¢ œ œ œ œ œ œ œ œ

3 æ æ Br. D. ° ˙æ ˙æ Œ œ œ œ Œ Ó™ / ∑ pp n. ∑ ppp

Tpl. Bl. fij j fij fij j ÓŒ œ œ Ó Œ œfi ŒÓŒ œ œ Ó Œ œ œ œfi Œ ¢ / œ œ

j j j j j Dr. œfi œfi œ œfi œfi œfiœ œfiœ œ / œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ

Narr. All the devouring and insatiate Monsters imagined since imagination could record itself, are fused in the one realisation, Guillotine.

4 45 4 46 4 Vln. I ° œ œ# & œ Œ Œ œ Œ Ó Œ œ Œ œ œ œb œ œ œ œ œ œ# œ œ# 5

Vln. II Œ Ó Œ ŒŒ œ œ œ œ# & œœ# Œ œœ# Œ œœ# Œ œ œ# œ œ œb œb œœ œb œ 7

Vla. B Œ Œ Œ Ó Œ Œ Œ Ó™ œ œ œ #œœ œ œ œ #œœ

Vc. ? Œ œ# Œ œ Œ œ Ó Œ œ# Œ œ Œ œ Ó™ œ œ

D.B. ? Œ œ Œ œ Œ œ Ó Œ œ Œ œ Œ œ Ó™ ¢ œ œ * The end of the box, rather than the end of the last line of text, shows the approximate timing of the spoken text. 3 B 24 4 5 4 6 5 4 4 sim. 4 4 4 Ob. 1 & 2 ° Œ Œ Œ Ó Œ Œ Œ Ó™ Œ Œ Œ ŒŒ Œ Œ Œ ŒŒŒ & œ œ œ œ œ œ œœ# œ œ œ œ œ œ œ œœ# œ œ p- bœ- - œ bœ œ bœ œ bœ œ sim. Cl. 1 & œ# ŒÓ œ# Œ Ó œ# ŒÓÓ Ó™ œ# ŒŒŒ œ Œ ŒŒ œ# ∑ ŒŒŒ œ# p- - œ- œ œ œ

bœœ bœœ bœœ bœœ œ bw Bsn. 1 & 2 ? Œ Œ nœœ Œ Œ#œœ œœ Œ Œ nœœ Œ Œ #œ œ œ w Œ ∑ ∑ ∑ ¢ I. o Hn. 1 & 2 ° & ∑ ∑ ∑ ∑ ˙ ˙ ˙™ ˙ ∑ ∑ p ™ IV. Hn. 3 & 4 Œ & ∑ ∑ Ó ˙˙# œœn œ œ p œ #œ ˙ ˙™ ˙ ˙™ ˙ ˙™ ˙ ˙b ™ ˙

Tba. ? Œ Œ Œ Ó Œ Œ ÓÓ™ ∑ ∑ ∑ ∑ ¢ œ œ œ œ œ œ œ to B. D. Bass Drum Tpl. Bl. fij j fij ° ÓŒ œ œ Ó Œ œfi Œ ÓŒ œ œ Ó Œ ˙ Œ ∑ ∑ œ Ó Ó Ó œ Ó / œ ppp, almost inaudible ¢ æpp n.

j j j j ¿fi ¿fi¿ ‚ ¿fi¿ ¿fi¿ ‚ ¿fi¿ ‚ Dr. œfiœ œfiœ œ œfiœ ¿ ¿ œ ¿ ¿ ‚ ¿ ‚ / œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ æ œ ŒŒ Œ œ Ó œ ŒŒ Œ œ Ó pæ pp p

softer, more introspectively; with motion, not too slowly And yet there is not in France, with its rich variety of soil and climate, a blade, a leaf, a root, a sprig, a pepper- Narr. ∑ ∑ ∑ corn, which will grow to maturity under conditions more certain than those that have produced this horror. B

4 5 4 > 6 5 4 >œ œb œ>œ 4 œœ œb œ 4 œ œ# ™ œ ˙ 4 4 Vln. I ° œ# ™ œ œ œ œ™ ˙™ Œ œœ œ# ∑ ∑ ∑ ∑ ∑ & 7 mf pp p f p > >œ œb œ>œ œœ œb œ œb œ™ œ ˙ Vln. II œ# ™ œ œ œ œ™ ˙™ Œ œœ œ# ∑ ∑ ∑ & 7 mf pp p f p p˙b ™ ˙ ˙™ ˙

Vla. B Œ œ Œ Œ œ Ó Œ œ Œ Œ w ∑ ∑ ˙ ˙ ˙ ˙ œ œ #œ œ œ #w p p ™ ™

Vc. ? Œ œ# Œ œ Œ œ Ó Œ œ# Œ œ Œ w ∑ ∑ ˙™ ˙ ˙b ™ ˙ œ œ p p

D.B. ? Œ œ Œ œ Œ œ Ó Œ œ Œ œ Œ w ∑ ∑ ∑ ∑ ¢ œ œ p

= 32 Ob. 1 & 2 ° & Œ Œ œ Œ ŒŒ œ Œ Œ Œ Ó™ œ Œ Œ œ Œ bœ œ œ œ bœ œœ# œ œ bœ œ œ

Cl. 1 Ó™ Œ ŒŒ ŒÓ™ Œ Ó™ ŒŒŒ Œ ¢& œ# œ œ# œ œ# œ# œ I. I. II. Hn. 1 & 2 ° ∑ ∑ w œ & ˙ ˙ b˙™ ˙ w# œ p ™ po ™ mp

Hn. 3 & 4 & ∑ ∑ ˙# ™ ˙ ˙™ ˙˙# ∑ ¢ mp˙™ ˙ ™ 3:5 4:5 Br. D. ° œ œ œ œ œ œ œ / ∑ ppp ∑ ppp ∑

B. D. Œ Œ Œ Œ Œ Œ Œ Œ Œ ¢ / Ó œ Ó œ Ó œ Ó œ œ œ œ œ

fi j j j æ æ ¿fi¿ ¿ ¿ ‚ ¿fi¿ ‚ ¿ ¿ ‚ ‚fi¿ ¿fi‚ ¿fi¿ æ ‚ æ Dr. ŒŒ Œ Ó Œ Y™ Œ Y™ / œ œ œ œ œ Œ Œ œ œ Œ ‚ J¿ ‚™

more quickly and intensely Sow the same seed of rapacious license and oppression over again, Narr. Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. and it will surely yield the same fruit according to its kind.

˙# Vln. I ° ˙b ™ ˙ œ ˙ & ˙ ˙ ˙™ ˙ ˙™ œ œ p cresc.™ poco a poco ˙n Vln. II & ˙ ˙b ˙ ˙™ ˙ ˙# ™ œ œ ˙™ ˙ œ p cresc.™ poco a poco

Vla. œ B ˙ ˙ ˙ ˙ ˙™ œ œb ˙™ ˙ œ ˙™ & p cresc.™ poco a poco ™ ˙b œ ˙™ œ# Vc. ? ˙™ ˙ ˙# ™ ˙ ˙™ œ œ ˙™ ? ¢ p cresc. poco a poco 4 C

37 6 5 > 4 5 >. 4 4 4 4 Hn. 1 & 2 ° #œœ #˙™ ˙˙ œ œœ ˙œ œ# ™ ˙ & ÓÓ ∑ ˙™ Œ ˙ ™ ∑ ˙˙™ œ œ ¢ mf mp mf p mp ™ Timp. °? æ ŒÓ ∑ ÓÓ™ ∑ ∑ ∑ ¢ fœæ œ œ > f> æ æ Br. D. ° ˙æ œœ™ Ó œæ œœ‰‰ œœÓ œ Ó Ó™ / p > > > p> ∑ ∑ ∑ to T. Bl. B. D. œ Œ œ Œ œ Œ œ Œ œ Œ œ Ó Ó™ ¢ / p ∑ ∑ ∑ f n. 3 3 3 j j j æ j j j æ ¿ fi œfi fi ‚ ¿ fij ‚ œfi œfi fij ‚ æœfi œfi ¿ fi œfi ‚ fi Dr. ˙æ™ ÓÓ™ Œ œ œ œ œ œ œœ œ œ œœœ œ œ œ œ œ œœ œœœ œ œœœœ œœœœ œœœ œ œœœœœ œ œ œ œ œœ œ œ œ œ / œ œ œ œ œ 3 œ œ ‚ æ æ ‚ æ ‚ 5 æ ‚ f pæ mf æ æ æ C 6 5 4 5 œ œ# ˙ œ# œ > œ™ œ >œ > 4 ˙ > 4 œb 4 œ œ 4 œ œ œ Vln. I ° œ# œ œ# ™ œ œ œ# œ œb œ œn œ œb œœœ œ# œ# œ œœ œ œœ œ œ œ# œ & ™ œ œ™ œ œ# ™ œ œ ™ f > > 7 œ ˙# > - - - - > œ œ œ œ œ œb œ™ Vln. II œ œ# œ- --œ œb - œ# -œ --œ œb -- - œ- œ# ˙ œ# œ œ œ œ œ œ œn œ & œ œb œ œ œ# œ œb œ- œ œ™ œ œœ œ f -- - - 7 œ œ œb Vla. œ œ œ ˙™ œ œ & -œ œœœ œœœ œ œ œ# œœœœ œ# œœ œ ˙™ ˙™ œ œ œb œ f -- --œ œ œœœ œœœ œ œ œœ - div. ? ≥ ≥ ≥ ≥ ≥ ≥ œ œ# œ œ j ‰ j ‰ j‰ & Œ œ œ ˙b ˙ œ ˙ œ# œ -œ ˙ ˙™ ˙ ˙ ˙ ˙n Vc. f- - div. pizz. ≥ ≥ ≥ ≥ ≥ ≥ ? j ‰ j ‰ j‰ œ œ# œ Œ œ Œ Œ Œ Œ Œ œ Œ œ œ œ œ ˙ œ# œ œ ˙ œ œ œb œ œ œ# œb f- - - ≥ ≥ ≥ ≥ ≥ ≥ D.B. ? j ‰ ˙ j ‰ œ j‰ ˙# œ œ ˙™ ˙ ¢ œ œ# œ ˙™ ˙b ™ ˙ ˙# ˙b ™ œb œ f- - - D =

3 43 4 5 a2 4 5 4 6 4 œ ˙™ 4 4 4 4 4 4 4 Fl. 1 & 2 ° ˙ ˙ ˙ & ∑ Œ J Œ ˙ ˙ ™ Ó ∑ ∑ ∑ mp sim. 3 a2 Ob. 1 & 2 ∑ Œ j Œ ∑ Ó Œ Ó Œ Œ Œ Ó™ & œ ˙™ ˙™ ˙ ˙ œ œ œ œ œœ# œ p p- #œ- bœ #œ 3 a2 sim. ˙ Cl. 1 & 2 & ∑ Œ œ ˙# ™ Œ ˙˙ ˙ ˙# ™ ˙ ˙ Ó œ# Œ Ó œ# ŒÓÓ Ó™ pJ ˙ p- œ- œ

B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ a2 sim. >. bœ-œ - bœœ bœœ bœœ œ Bsn. 1 & 2 ? ∑ ∑ ∑ Ó™ ˙ œ# œ Œ nœœ Œ Œ #œœ œœ Œ Œ nœœ Œ Œ #œœ œœ œ B p f p ¢ 3 I. + + + + + >+ Hn. 1 & 2 ° œ œ #˙ œ ˙™ ˙ ˙ œ#. & œ Œ œ Œ J Œ ˙™ Ó ŒÓ ∑ ∑ ∑ pp f (cup mutes) >. œ Tbns. ? ∑ ∑ ∑ ∑ B ŒÓ ∑ ∑ Ó™ Ó™ f sim. Tba. ? ∑ ∑ ∑ ∑ Œ Œ Œ Ó Œ Œ Œ ŒÓ ¢ œ -œ œ œ œ œ œ œ f>. mf p-

Temple Blocks

B. D. fij j fij fij j °/ ∑ ∑ ∑ ∑ ÓŒ œ œ Ó Œ œfiœ ŒÓŒ œ œ Ó Œ œ œ œfiœ Œ ¢ p 5 j ¿ j j Dr. œfiœ œ œ æ Œ œfiœ œ œfiœ œfiœ œ / œ œ œ œ œ ∑ ∑ ∑ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ ‰ J œ Œ ‚ ‚ J¿ æ æ æ æ mp mf close f> mf p hi-hat Six tumbrils roll along the streets. As the sombre wheels of the carts go round, Narr. ∑ ∑ ∑ ∑ ∑ they seem to plough up a long crooked furrow among the populace in the streets. D asynchronously repeat pattern until the œ œ ˙ 4 5 4 5 4 end of the solid line, vary 6 4 œ œ 4 4 4 4 4 rhythms, bow changes ad lib. 4 4 Vln. I ° & ∑ ∑ ∑ œ Œ Œ œ Œ Ó œ 3 . œ œ œ œ œb f> - mf- - œb œb œ ˙ pp, murmuring œ œ œ sim. Vln. II & ∑ ∑ ∑ Œ Œ Œ Ó Œ Œ Œ Ó™ 3 œœ# œœ# #œœ œœ# œœ# #œœ f>. œb mf- œb - sim. Vla. ˙™ ˙ ∑ ∑ ∑ B Œ Œ Œ Ó Œ Œ Œ Ó™ & œ -œ œ #œœ œ œ œ #œœ f>. mf- sim. div. - œ ˙ ∑ ∑ ∑ ? Œ œ# Œ œ- Œ œ Ó Œ œ# Œ œ Œ œ#œœ œœ œ & ˙™ œ œ Vc. f>. mf ? Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ Ó™ ÓŒ œ œ œ sim. - D.B. ? ∑ ∑ ∑ Œ œ Œ -œ Œ œ Ó Œ œ Œ œ Œ œ œ œ# œ ¢ ˙ œ ˙ œ œ f>. mf 5 51 4 45 4 45 4 45 4 Ob. 1 & 2 ° œ œ œ œ œ œ œ & œ Œ œ Œ œ Œ œ Ó œ Œ œ Œ œœb Œ œ Ó Œ œ Œ Œ œ Ó Cl. 1 & œn ŒÓ œ Œ œ Ó œ ŒÓÓ œ Ó œn ŒÓ œ Œ œ Ó 5 6 B. Cl. ∑ ∑ ‰ j ∑ & œ# œ œ# œ œ# œ œ# œ > sim. pœ œ . pœ œ . œœ. - œ ˙™ Bsn. 1 & 2 B œœ Œ bœ-œ Œ œœ Œ bœœ œœ Œ œœ Œ bœœ Œ œœ Œ bœœ œœ Œ œœ Œ bœœ Œ œœ Œ bœœ œœ ¢ f mf p 3 + + + + + + + Hn. 3 & 4 ° ∑ ∑ ∑ ∑ ˙ œ# œ œ ‰ & ˙ #˙ ˙ œ œ™ œ™ œ œ™ œ p > > œ œ#œ œ Tbns. B ∑ ∑ ∑ ∑ ∑ Ó œ p Tba. ? Œ œ Œ Œ œ Ó Œ œ Œ Œ œ ŒŒ Œ œ Œ Œ œ Ó ¢ œ œ œ œ œ œ j j j j j j j T. Bl. ° œfi œfi œfi œfi œfi œfi œfi / ÓŒ œ ÓŒ œ Œ Ó Œ œ ÓŒ œ œ Ó Œ œ ÓŒ œ Œ ¢ 3 j j j Dr. œ œfiœ œfiœ œ œ œ œfiœ œfiœ œfiœ œ / œ œ œ Œ œ œ ‰ J Œ œ œ ‰ œ™ Œ œ œ ‰ œ ‰ œ™ ‰ J Œ œ œ ‰ J ‰ æ æ æ æJ æ æ Ridges> of faces are thrown to this side and to that, and the So used are the regular inhabitants of the houses to the spectacle, that in many windows there are no people, and in some Narr. plows go steadily onward. the occupation of the hands is not so much as suspended, while the eyes survey the faces in the tumbrils. 4 5 4 5 4 5 4 4 asynchronously, sim. 4 4 4 4 4 4 Vln. I ° œ & œn œb œ œb œb p, murmuring asynchronously repeat pattern until the end of the solid line, vary rhythms, bow changes ad lib. Vln. II & œ œb œ œ œb œb pp, murmuring sim. Vla. - B œ Œ œ Œ œ Œ bœœ Ó œ Œ œ Œ œ Œ bœœ Ó œ Œ œ Œ œ Œ bœœ Ó f>. - unis. sim. div. unis. -œb - œ œb œ b œ œœ œb œ Vc. ? Œ Œ œ Œ Ó Œ Œ œ Œ œ Œ Œ œ Œ Ó œ. œ œ f> mf sim. -œ - œ œ œ œ œ D.B. ? œ œ œ œ Œ Œ Œ Ó œ Œ Œ Œ Ó œ Œ Œ Œ Ó ¢ f>. mf E =

57 4 6 4 5 6 a2 5 4 sim. 6 4 œ 4 4 œ 4 œ 4 œ 4 >œ. 4 - 4 Ob. 1 & 2 ° œ Œ œb Œ œbœ Œ œ Ó™ œ Œ œ Œ œ Œ œ Ó œ Œ œ ŒŒ œ œ œ œ Œ œb Ó œbœ Œ œ Œ & œ -œ œ p 3 f >œ. - Cl. 1 & œ ŒÓÓ œ Ó™ œn ŒÓ œ Œ œ ÓÓ œ Ó™ ÓÓ œ ŒÓ f asynchronously repeat pattern until the end of the solid line, vary rhythms, breathe as needed to Cl. 2 Clarinet 2 5 # n n n B. Cl. j Ÿ Ÿ Ÿ Ÿ & ‰ ∑ ‰ j ‰ j ∑ œ# œ- ˙™ œ œ œ# œ œ œ#. œ p œ# ˙™ œ# ˙ œ œ ˙ œ# œ pp, murmuring œ œ œ œ œ œ# œ œ #œœ œœ Bsn. 1 & 2 B Œ œ Œ bœœ Œ œ Œbœœ œœ œœ Œ œ Œ bœœ Œ œ Œbœœ œœ Œ œ Œbœœ œœ œœ Œ Œ œœ œ Œ Œ ¢ f mf mp + + + + + + + Hn. 1 ° œ ŒÓÓ œ Ó œ ŒÓ œ Œ œ Ó œ Œ œ Ó ∑ ∑ & a2 ™ ™ 3 sim. + + + + + + + + Hn. 3 & 4 Ó™ ∑ ∑ ∑ œ Œ Ó œ Œ Œ & œ œ œœ œœ œœ ˙˙™ sim. œ œ -œ œœ œ. ™ pp f> - T. Tbn. B Œ œ Œ œb--Œ œ Ó™ œ Œ œ Œ œ Œ œ Ó œ Œ œ Ó™ ∑ ∑ mf p- sim. sim. œ. œ- œ B. Tbn. B ? -œ Œ œ Œ œ Œ œ Ó™ œ Œ œ Œ œ Œ œ Ó œ Œ œ œ œ# Œ Ó Œ Œ mf p- - - œ œ . p f> sim. Tba. - ? ∑ ∑ ∑ ∑ ∑ Œ œ Ó Œ œb Œ ¢ œ# œ- f>. j j j j j j j j j T. Bl. ° œfi œfi œfi œfi œfi œfi œfi œfi œfi / ÓŒ œ ÓŒ œ œ Œ Ó Œ œ ÓŒ œ Œ Ó Œ œ œ Œ Ó œ ÓÓŒ œ ¢ > fi j j j Dr. œ œ œ œ œ œ œ œfiœ œ œ œ œ œfiœ œfiœ œfiœ œfi œ / Ó‰ ŒÓŒ‰ œ Œ‰ ŒŒ ‰ œ ‰ Œ‰ ‰ œ™ ‰ œ œ Œ ≈ J ™ Œ ≈ ™ Œ œ Œ æJ æJ æ œ œ œ J œ œ æ æJ æ æ œ æ J æ æ J 3 3 æ æ æ fæ p Here and there, the inmate has visitors to see the sight; then he points his finger, with something of the complacency of a curator Narr. or authorised exponent, to this cart and to this, and seems to tell who sat here yesterday, and who there the day before. ∑ ∑ E 4 6 4 5 6 5 4 6 4 4 4 4 4 4 asynchronously, sim. 4 4 Vln. I ° œ œ & œb œ œb œb mp, murmuring asynchronously, sim. Vln. II œ & œn œb œ œb œb p, murmuring asynchronously repeat pattern until the end of the solid line, vary rhythms, bow changes ad lib. œ Vla. B ∑ ∑ ∑ ∑ Ó™ ‰ œb œ œ œb œ œ œ# œ œ œb pp sim. pp, murmuring - >. œ - œ Vc. ? ∑ ∑ ∑ ∑ Ó™ œ œ œ œ# Œ Ó œ Œ Œ p f - sim. >. œ - œb D.B. ? ∑ ∑ ∑ ∑ Ó™ œ œ œ œ# Œ Ó œ Œ Œ ¢ p f 6 6446 45 4 46 Ob. 1 & 2 ° œ #œ œ œ & œ Œ #œœ ŒŒ œ #œ Œ Ó œ Œ œœb Ó œb Œ œœ Œ p œ Cl. 1 & œ ŒŒŒŒ œ œ ÓÓ ÓÓ œ ŒÓ p

Cl. 2 &

œ #œœ œ# œ œ œ# œ œ #œœ œœ Bsn. 1 & 2 B Œ œœ Œ œ ŒŒ Œ œœ œ Œ Œ œœ œ Œ Œ ¢ p + + + + + + + + + Hn. 3 & 4 ° & œ Œ ŒŒ œ œ Œ #œ Ó œ Œ œ Ó œ Œ Œ pœ #œœ œ #œ œ œœ œ œb œ œ œ œ œ B. Tbn. ? Œ ŒŒ Œ Ó œ# Œ Ó œ Œ Œ p

Tba. ? œ Œ œb Œ Œ œb Œ œb Ó Œ œ Ó Œ œb Œ ¢ p œ œ# œ j j T. Bl. œfi fij j œfi fij ° Ó Œ œ œ œ Œ Ó œfi ÓÓ œ Ó ÓŒ œ œ ¢ / œ 3 j j j j j Dr. j œ œfiœ œ œfiœ œfiœ œ œ œœ œ œ œ œ œfiœ™ œfiœ™ œfiœ œ / ‰ œ ‰ J ‰ J Œ ‰ J ŒŒ œ ™ ‰ œ Œ ≈ J Œ ≈ J Œ Œ æ 3 æ æ

There is a guard of sundry horsemen riding abreast of the tumbrils, and faces are often turned up It would seem to be always the same question, for, it is always followed by a Narr. to some of them, and they are asked some question. press of people towards the third cart. 46 45 4 46 Vln. I ° &

Vln. II &

Vla. B

œ œb œ œ œ œ œ Vc. ? Œ ŒŒ Œ Ó œ# Œ Ó œ Œ Œ mf œ œb œb œb œ œb D.B. ? Œ ŒŒ œ Œ Ó œ# Œ Ó œ Œ Œ ¢ mf

=

6846 45 4 46 Ob. 1 & 2 ° œ #œ œ œ & œ Œ #œœ ŒŒ œ #œ Œ Ó œ Œ œœb Ó œb Œ œœ Œ

œ Cl. 1 & œ ŒŒŒŒ œ œ ÓÓ ÓÓ œ ŒÓ

Cl. 2 & n. œ #œœ œ# œ œ œ# œ œ #œœ œœ Bsn. 1 & 2 B Œ œœ Œ œ ŒŒ Œ œœ œ Œ Œ œœ œ Œ Œ ¢ + + + + + + + + + Hn. 3 & 4 ° Œ ŒŒ œ Œ #œ Ó œ Œ Ó œ Œ Œ & œ #œœ œ #œ œ œ œ œœ œ œb œ œ œ œ œ B. Tbn. ? Œ ŒŒ Œ Ó œ# Œ Ó œ Œ Œ

Tba. ? Œ œb Œ Œ Œ Ó Œ œ Ó Œ Œ ¢ œ œb œ œb œ# œ œb j j T. Bl. œfi fij j œfi fij ° Ó Œ œ œ œ Œ Ó œfi ÓÓ œ Ó ÓŒ œ œ ¢ / œ j j j j j j fi œfi œfi œfi> j r œfi œfi > Dr. œ œ œ œ œ œ œ œ œœ œ œ œ œfi œ œœ œ™ œ / ‰ œ ‰ J ‰ J Œ ‰ J ŒŒ œ ™ ‰™ R ‰™ œ Œ‰ J Œ ≈ J ‰™ R Œ æ 3 æ æ The horsemen abreast of that cart, frequently point out one man in it with their swords. The leading curiosity is, to know which is he; he stands at the back of the tumbril with his head Narr. bent down, to converse with a mere girl who sits on the side of the cart, and holds his hand.

46 45 4 46 Vln. I ° &

Vln. II &

Vla. B

œ œb œ œ œ œ œ Vc. ? Œ ŒŒ Œ Ó œ# Œ Ó œ Œ Œ

œ œb œb œb œ œb D.B. ? Œ ŒŒ œ Œ Ó œ# Œ Ó œ Œ Œ ¢ 7 726 5 4 I. 6 5 4 4 œ œ 4 œ 4 ˙ 4 Fl. 1 & 2 ° œ# œ™ œ œœœ ˙˙ œœ ˙ œ# œ œ ˙ & ∑ ™ J ÓÓÓŒ Ó p p n. Ob. 1 & 2 œ #œ œ œ œ #œ & œ Œ #œœ ŒŒ œ #œ Œ Ó œ Œ œœb Ó œb Œ œœ Œ œ Œ #œœ ŒŒ œ #œ Œ Ó ˙ ˙# ™ ˙ œ w ˙ Cl. 1 & œ œ™ œ Œ Œ ˙™ Œ œ œ œ ™ ™ Ó pJ p p n. asynchronously, sim. Ÿ# Ÿn Ÿn Ÿn Cl. 2 ˙ œ ˙ Œ ˙™ ˙ œ Œ ˙ Œ œ œ œ œ™ œ œ œ Œ & ™ œ# J œ# œ p p p œ# œ p, murmuring œ#œœ œ# œ œ œ# œ œ #œœ œœ Bsn. 1 & 2 B Œ œœ Œ œ ŒŒ Œ œœ œ Œ Œ œœ œ Œ Œ ∑ ∑ ¢ sim. pp + + + + + + + Hn. 1 & 2 ° Œ ŒŒ œ Œ #œ Ó œ Œ Ó ∑ ∑ ∑ & œ œ œ œ œ p- #-œ œ #œ ppp + + + >+ >˙ -œ œ-bœœ œœ ˙˙™ œœ Hn. 3 & 4 Ó™ ˙ ™ ∑ Œ œ œ ™ ŒÓ ∑ ∑ & 3 mp p mf n. œ œb œ œ œ œ B. Tbn. ? Œ ŒŒ Œ Ó œ# Œ Ó ∑ ∑ ∑ ppp Tba. ? Œ œb Œ Œ Œ Ó Œ œ Ó Œ Œ Œ œb Œ Œ Œ ¢ œ œb œ œb œ# œ œb œ œb œ œb œ œ p j j j T. Bl. œfi fij j œfi fij œfi fij j ° ÓŒ œ œ œ Œ Ó œfi ÓÓ œ ÓÓŒ œ œ Ó Œ œ œ œ Œ Ó œfi Ó ¢ / œ œ j j ¿fij ‚ ¿ ‚ ¿fij ‚ ‚ ¿fij ¿fi¿ O ¿fij ‚ Dr. j œfiœ™œfiœ œ ¿ ¿™ ‚ ¿ O ¿ ¿ ¿ ‚ ¿ ¿ ¿ œ œ / ‰ œ ≈ J Œ J ‰ J Ó Œ œ ŒŒ ‰ J æ æ ‚ 3 3 æ æ He has no curiosity or care for the scene about him, and always speaks to the girl. Here If they move him at all, it is only to a quiet smile, as he shakes his hair a little more Narr. and there in the long street of St. Honore, cries are raised against him. loosely about his face. He cannot easily touch his face, his arms being bound.

46 45 4 46 asynchronously, sim. 45 Vln. I ° œ œ & ∑ ∑ ∑ Ó™ œb œ œb œb n. pp, murmuring Vln. II &

Vla. B œ œb œ œ œ œ œ œ œb œ œ œ œb œ Vc. ? Œ ŒŒ Œ Ó œ# Œ Ó œ Œ Œ Œ ŒŒ Œ œ p œ œb œb œb œ œb œ œb œb œb œ D.B. ? Œ ŒŒ œ Œ Ó œ# Œ Ó œ Œ Œ Œ ŒŒ œ Œ œ ¢ p F = asynchronously 78repeat pattern until the end of the solid line, vary rhythms, breathe as needed n # n n Cl. 1 ° Ÿ Ÿœ Ÿ Ÿ & œ# œ œ# pp, murmuring mf p mp p Cl. 2 & f p . . . œ# œ . œ. #œœ. œœ . œ. #œœ. œœ . Bsn. 1 & 2 B ∑ ∑ ∑ Œ Œ œœ Œ œ Œ Œ Œ œœ Œ œ Œ Œ Œ œœ ¢ p a2 a2 3 + + + œ#+œ +œ + + + Hn. 1 & 2 ° ? œœ ˙# ˙ & ∑ ∑ ∑ ∑ œ œ œ ˙ Œ p œ ˙ n. p 3:5 3:5 n. a2 (cup mutes) remove mutes 3 Tpt. 1 & 2 & ∑ ∑ ∑ ∑ Œ ∑ ∑ pœ œ œœ ˙˙ n. (cup mute) T. Tbn. B ? ˙# ˙ œ œ ∑ Ó œ ˙b œ œb œ œ œ w ŒÓ œb ˙ œ ˙™ n. (cup mute) mf p p B. Tbn. ? ˙ ∑ ∑ ÓŒ œ Œ ˙ œ œ ˙# ™ œ# ˙ œ œ œ# œ ™ p œ ˙# p n. mf p still pesante and detached Tba. ? œ œb œb œb œ œ Œ œ œb œb œb œ œ Œ œ# œ œb œ œ œ œ Œ œ# ¢ œ# œ œ œ œ# œ œ œ œ œ œ 3:5 œ mf>. p æ æ æ Br. D. ° ˙æ ˙æ™ œ ˙æ / ∑ ∑ ∑ ∑ . ∑ pp n pp n. j j j j j j j j j T. Bl. œfi fij œfi j œfi fij œfi j œfi fij œfi j œfi fij œfi j œfi Œ œ Œ œ œ Œ œ œfi ŒŒ œ Œ œ œ Œ œ œfi Ó œ Œ œ œ Œ œ œfi Ó œ Œ œ œ Œ œ œfi ŒŒ œ Œ ¢ / œ œ œ œ > 3 j j j j j j j j j j Dr. œfiœ œfiœ œfiœ œfi œ j œ œfiœ œfiœ œfiœ œ œ œ œ œ œfiœ œfiœ œfi œ j œ œfiœ œfiœ œfiœ œ œ / œ Œ œ ≈ J ™ Œ ≈ ™ Œ œ Œ‰ œ ‰ œ ‰ Œ ‰ œ ŒŒ œ™ œ ‰ œ Œ ≈ J ™ Œ ≈ ™ Œ œ Œ‰ œ ‰ œ ‰ Œ œ æ J J æ J 3 J œæ æ J J æ J 3 mf pæ æ æ æ æ The clocks are on the stroke of three, and the furrow ploughed among the populace Narr. ∑ ∑ ∑ is turning round, to come on into the place of execution, (short pause) and end. ∑ F

Vln. I ° & mf f p Vln. II & f p Vla. B f p mf still pesante and detached >. œ œ œb œ œ œ œ œb œ œ œ œ œb œ œ œ œ œ Vc. ? œ# œ œ œ œ Œ œ# œ œ œ œ Œ œ œ œ Œ œ f p still pesante and detached œ# œ# >. œ œb œb œb œ œ œ œb œb œb œ œ œ œb œ œ œ œ D.B. ? œ# œ œ œ Œ œ# œ œ œ Œ œ œ œ Œ œ ¢ f p 8 G 85 Ÿ#~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿn~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿn~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ob. 1 ° œ >. . œ & j ‰ÓÓ ˙ ˙ œ ÓÓ ˙b ™ ˙ œb Ó Ó œb œ œb œ œ Œ œn œ œ ˙™ ˙ œ ™ . . 3 p >. > mp 3 >

Ÿn~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿb~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿn~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 Ob. 2 ˙ ˙ œ œ œ & œ# ÓÓ ˙# ˙ œ# ÓÓ ˙™ ˙ œ. ÓÓ ™ . œb œœ œ# Œ œ œ p. p ™ . > . 3 > > mp >

Cl. 1 & mf p

to B. Cl. Bass Clarinet < h > Cl. 2 ŒÓ ∑ Œ & œ œ œb œ œ œb œ œ œb œ œ œb œ œ n. pœ œ œ œ œ œ œ œ œ œ

I...... œœ. #œœ œ# œ œ. œœ. #œœ œœ œ. œœ. #œœ œ# œ œ œœ œœ œ# œ œ. ˙˙ ? Bsn. 1 & 2 B Œ Œ Œ Œ œ Œ Œ Œ Œ œ Œ Œ Œ œ œ Œ œb œ œ œ œb ¢ n. p

a2 + + ˙# ˙ œ+œ + + Hn. 1 & 2 °? ∑ ∑ w# ∑ ∑ ∑ p n.

+ œ# œ+ + + + + Hn. 3 & 4 ∑ ∑ ? œ œ# œn ˙™ ∑ ∑ ∑ & 4:5 4:5 p n.

T. Tbn. ? œ# ∑ ∑ ∑ Ó œb œ Ó ∑ Ó™ œ p œ ˙# ™ n. p

B. Tbn. ? œ ∑ ∑ ∑ ÓŒ œ Ó ∑ Ó™ œ p œ# ˙™ n. p

. Tba. ? œ ŒÓ œ œ. Ó Œ œ. Ó Œ œ..œ ŒÓ œ. Œ Ó œ..œ Œ œ# ¢ œ. . œ. . œb. œb. œb. œb. œb. œ œ

æ æ æ Br. D. ° ˙æ™ ˙æ œ Œ œ Œ œ ˙æ™ Ó / ∑ ∑ pp pp n. ∑ ∑

j j j j j j j j j T. Bl. fij œfi j œfi fij œfi j œfi fij œfi j œfi fij œfi j œfi fij œfi œ œ Œ œ œfi ŒŒ œ Œ œ œ Œ œ œfi ŒŒ œ Œ œ œ Œ œ œfi Ó œ Œ œ œ Œ œ œfi Ó œ Œ œ œ Œ œ ¢ / œ œ œ œ

3 3 œfij j j j œfij œfij j > > Dr. œœ œ œ œ œ œ™ œfiœ™ œfiœ œ j œ œfiœ œ œfiœ œ œ œ œœ œ œ œ œ œ™ œfiœ™ œ œœ / ‰ J ŒŒ œ ™ ‰ œ Œ ≈ J Œ ≈ J Œ Œ‰ œ ‰ J ‰ J Œ ‰ J ŒŒ œ ™ ‰ œ Œ ≈ J Œ ≈ J Œ‰™ R Œ‰ J æ æ æ 3 æ æ

The ridges thrown to this side and to that, now crumble in and close behind In front of it, seated in chairs, as in a garden of public Narr. the last plough as it passes on, for all are following to the Guillotine. ∑ diversion, are a number of women, busily knitting. ∑ G

Vln. I ° & f p f

Vln. II & f p

Vla. B p f p

œ# œ# œ# œ# œ œ œ œb œ œ œb œ œ œ œb œ œ œ œb œ œ œ œb œ œ œ œb œ œ œb œ œ Vc. ? Œ Œ Œ

œ œ œ œb œ œ œ œ œb œ œ œ# œ œb œ œ œb œ œ œ# œ œb œ œ œb œ# D.B. ? œ œ Œ œ Œ œ Œ œ œ ¢ 9 * The conductor should cue the downbeat of measure 96, H then cue the narrator for "A head is held up," and then a2 cue the orchestra for beat three of the measure. 92 Ÿn~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ# . œ œb œ ˙# ™ ˙# ™ œ UU Fl. 1 & 2 ° œ & ∑ ∑ Œ‰ J J ŒŒŒŒÓ ∑ p mf, no cresc. sub. f

a2 n~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ œ >œ. œ œ# œ œ ˙b ™ ˙b ™ œ UU Ob. 1 & 2 & œœb Œ Œ Ó ∑ Œ‰ J J ŒŒŒŒÓ ∑ mf>. p mf, no cresc. sub. f

n n Ÿ ~~~~~~~~~~~~~~~~~~~~~~~ >. Ÿ ~~~~~~~~~~~~~~~~~ ˙ œ œ UU Cl. 1 œ œ# œ# ™ J & ˙# ŒÓ ∑ Ó™ Œ‰ œ# J ŒŒŒŒÓ ∑ mp n. p mf, no cresc. sub. f

>. UU B. Cl. Œ ‰ œ# & œb œb œb J ŒŒŒŒ œ# œ# œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f p

>œ. UU œ Bsn. 1 ? œb œ œ œ œb Œ œb œ œ œ œb œb œ œ œ œb ‰ J ŒŒŒ œ œ# œ œ# œ œ œ œ œ f p Contrabassoon >. œ UU Bsn. 2 ? ∑ ∑ ∑ ÓŒ‰ J ŒŒŒŒŒ œ œ# œ œ œ œ ¢ f p

o >œ. UU Hn. 1 & 2 œ œ# °? ∑ ∑ ∑ & ÓŒ œ# ŒŒŒŒÓ ∑ p f

a2 3 + + + + >. UU Hn. 3 & 4 o œ ? ∑ ∑ ∑ & œ œ œœ œœ œœ œ ŒŒŒŒÓ ∑ p f p open >. œ#œ UU Tpt. 1 & 2 & ∑ ∑ ∑ ÓŒ‰ J ŒŒŒŒÓ ∑ f

remove mutes open >. UU Tbns. ? ∑ ∑ œ œ.œ Ó Ó ÓŒ‰ J ŒŒŒŒÓ ∑ f> f

half-valve gliss. UU - Tba. ? œ œ ÓÓ ∑ ∑ ÓŒ‰ j ŒŒŒ œ Œ -œ Œ œ Œ ¢ œ# p- > f>. œb f>. j UU Timp. ° ? ∑ ∑ ∑ ÓŒ‰ bœ ŒŒŒŒÓ ∑ ¢ f>

3 j j UU Br. D. ° œ œ œæ œæ œæ œ ŒŒŒŒ Ó / ∑ ∑ ∑ pp sub.> f ∑ to B. D. Bass Drum j j UU T. Bl. œfiœœœœœ ‰ŒÓ ∑ ∑ Ó Œ ‰ œ ŒŒŒ œ Ó / œ f> p ∑ ¢ 3 > œ mf

> > æ œj UU Dr. œ œæ w ˙™ ˙ ˙™ ˙ ˙™ œ œ ŒŒŒŒÓ ∑ / œ æ æ æ æ æ æ æ ¿œ mf p, noæ cresc. æ æ æ æ æ æJ J sub. f

on beat 4-1/2; not too loudly or dramatically U and the knitting-women who scarcely lifted their The tumbrils begin to The ministers of Sainte Guillotine A head is Narr. Crash!— U eyes to look at it a moment ago when it could discharge their loads. are robed and ready. Ó Œ ‰ Œ held up, ∑ think and speak,

? j UU & ∑ ∑ ∑ ÓŒ‰ nœ ŒŒŒŒÓ ∑ œ. Pn. p f> p UU 3 3 3 3 3 3 3 3 ? ŒŒŒ œ œ œ œ œ œ œ œ œ œ j œ œ# œ œ œ# œ œ œ œ# œ# œ œ œ œ œ# œ œ# œ œ œ œ œ œ œ# œ# œ œ bœ œ œ œ œ œ#. œ œ œ œ œ#. œ œ œ œœ. œ œ . . . . . >. œ œ œ œ œ œ œ { H sul A n n b n b pizz. h Ÿ ~~~ Ÿ ~~~~~~~~~ Ÿ ~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~ UU Vln. I ° < > œ# ˙ « & ˙ ŒÓÓ Ó ˙™ ‰ j ŒŒŒŒÓ ∑ mp p n. œ# œn n. p f> pizz. Ÿn~~~~~~~~~~~~~~~~~~~~~~~~ Ÿn~~~~~~~~~~~~~~~~~~ Ÿb~~~~~~~~~~~~ UU Vln. II « & œ# ˙ ˙# ‰ j ŒŒŒŒÓ ∑ mp p ˙ œb ™ f> b b # pizz. arco h Ÿ ~~ Ÿ ~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~ UU Vla. < > «j B œ ˙ ‰ œ ŒŒŒ ˙™ ˙™ ˙ mp p˙™ f> p arco sul G sul G pizz. UU ˙ ˙ ˙ Vc. > - - - « ™ ™ ? œ# œb Œ Œ œ œ œ# Œ Œ œ œ ‰ j ŒŒŒ œ -œb œ -œb - f -œ - >œ œ- - >œ >œ p

pizz. sul A - -œ# - arco > - > -œb œ œ - > -œb œ -œ UU - D.B. ? œ# œ- œ œ œ- œ œ «j œ œ œb Œ Œ Œ Œ ‰ œb ŒŒŒ œ Œ -œ Œ œ Œ ¢ f > f- > 10 I n~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >. 98 Ÿ˙# ˙# œ œ# œb œ œ# œ œ Fl. 1 & 2 ° ∑ ∑ Ó‰ J J Ó ∑ ∑ & 5 p mf, no cresc. sub. ff

n~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >. Ÿ˙ ˙ œ œ# œ# œ œ œb œ Ob. 1 & 2 ∑ ∑ Ó‰ J J Ó ∑ ∑ & 5 p mf, no cresc. sub. ff

Ÿn~~~~~~~~~~ >œ. œ œ# œ# œ œ œ Cl. 1 & ∑ ∑ ∑ ‰ œ# J J Ó ∑ ∑ 5 p mf, sub. ff no cresc.

B. Cl. Œ Œ œ Ó & œ# œ# œ œ œ# œ# œ œ œ# œ# œ# œ œ œ œ# œ# . œ# œ œ œ# œ œ sub. >ff pœ# œ œ# œ

>œ. Bsn. 1 ? œ# œ Œ œ œ œ œ# œ œ œ# œ œ œ Œ œ œ# Œ Œ œ# œ# œ# œ œ œ# œ œ sub. ff pœ œ œ œ

Cbsn. ? œ# œ œ œ# œ œ œ# œ œ œ Œ œ œ œ# œ œ œ# Œ œ œ œ œ œ œ œ œ œ œ Œ œ ¢ p

a2 + + + o >œ. Hn. 1 & 2 ° œ œ & ∑ ∑ ∑ œ œ# œ œ œ Ó ∑ ∑ p 3 p ff

> #œœ. Hn. 3 & 4 & ∑ ∑ ∑ Ó œœ Ó ∑ ∑ p ff

cup mutes remove mutes open >. #œ. -˙ . -˙ œ#œ Tpt. 1 & 2 & Ó œ ˙# œ ˙# Ó ∑ Ó ‰ JÓ ∑ ∑ mf ff

>. Tbns. ? œ#œ ∑ ∑ ∑ Ó ‰ J Ó ∑ ∑ ff

- >. - Tba. ? -œ œ œ œ œ œ Œ -œ Œ œ Œ Œ œ Œ -œ Œ œ ‰ jÓ ∑ ∑ ¢ - > - > œ ff>.

j Timp. °? ∑ ∑ ∑ Ó ‰ œ Ó ∑ ∑ ¢ ff>

j j j Br. D. ° Ó ‰ œ Ó œœœœ‰ œæ œæ œ Ó / ∑ mf ∑ pp> pp sub.> ff ∑ ∑ Tam-tam j j æ æ æ æ B. D. Ó ‰ œ Ó Ó ‰ œ Ó ˙æ™ ˙æ ˙æ™ ˙æ ¢ / ∑ p ∑ ff> pp

>j Dr. œ / ∑ ∑ ˙™ ˙ ˙ œ œ Ó ∑ ∑ pæ, no cresc. æ æ æJ J¿ sub. ff

on beat 3-1/2; not too loudly or dramatically And the knitting-women, never The second tumbril empties and Narr. count One. Crash!— faltering or pausing in their moves on; the third comes up. Ó ‰ ∑ Work, (short pause) count Two.

>œ. ? ∑ ∑ ∑ Ó ‰ #œœ Ó ∑ ∑ J Pn. ff 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 ? Ó ∑ ∑ œ# œ œ# œ œ# œ œ# œ œ œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ œ { >. I arco >. > pizz. œ œ œ œ œ œ œ œ œ Vln. I ° œ# œ ™ ™ œ œ# >œ « « & Œ‰ ‰ j Ó ∑ Ó ‰ jÓ ∑ ∑ p f œ œ > ff> arco >. > pizz. œ œ œ œ œ œ œ œ Vln. II œ# œ ™ œ# ™ œ > « « & Œ‰ œœ ‰ j Ó ∑ Ó ‰ jÓ ∑ ∑ p f œ# œ > ff> pizz. > œ « Vla. œ œ œ œ œœ >œ# > œ# > > «j B œ™ ‰ œ œ œ œ œœœ œ Ó ∑ Ó ‰ œ Ó ∑ ∑ f f J J ff> pizz. pizz. arco œ œ - >œb« - Vc. ? -œ œ œ œ «j œ Œ œ Œ Œ œ Œ œ- Œ œ ‰ œ Ó ∑ ∑ f>. mf> mf- > ff> arco pizz. two soli (stagger pizz. arco arco pizz. bow changes) - >« - D.B. ? œ- œ œ œ œ «j œ Œ œ Œ œ Œ Œ œ Œ œ- Œ œ ‰ œ Ó ˙ ˙ ˙ ˙ ¢ - f> mf> mf- > ff> p ™ ™ 11 J 104 43 q = 60 Fl. 1 & 2 ° j & ∑ ∑ ∑ ∑ ˙b ˙b ‰ŒŒ ∑ ∑ ∑ b ˙™ b ˙ b ˙˙n ™ ˙™ œ p pp

Ob. 1 ∑ ∑ ∑ ∑ j‰ŒŒ ∑ ∑ ∑ & ˙b ™ ˙b ˙n ™ ˙™ œ p pp

to Eng. Hn. English Horn Ob. 2 fij fi œb j‰ Œ Œ œb œ œ œb & ∑ ∑ ∑ ∑ ˙b ˙b ∑ ∑ ˙ ™ ˙b ™ ˙™ œ mp, dolce p pp

4 4 4 4 j Cl. 1 & ∑ ∑ ÓŒ ˙b œb œb w Œ œb œb œ œ œb œb œ œ œb œb ‰ œ œb œb œ œ p ˙b ™ ˙b ˙b ™ ˙ pp p Clarinet 2 to Cl. 2 B. Cl. j & ÓŒ ÓÓ ∑ ‰ j ‰ œ# œ# ˙™ ˙ ˙™ ˙ œ œb œ œ œ œ œ œb œ œ œ œ œ œb œ œ œ œ œ œb œ œ œ œ œ œb œ œ œ œb œ œ œ œ œ n. p

Bsn. 1 ? Œ Œ ∑ ˙™ ˙b ˙b ™ ˙™ œ ‰ŒŒ ∑ ∑ ∑ œ œ# œ œ ˙# ™ ˙ w n. p ppJ

Cbsn. ? œ œ œ œ ∑ ∑ ∑ ˙b ™ ˙™ œ ‰ŒŒ ∑ ∑ ∑ ¢ œ# ˙™ ˙ pp pppJ n.

Hn. 1 & 2 ° ∑ Ó Œ bœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & b ˙˙b ™ b ˙˙b bb˙ œb w p ™ b˙™ ˙

cup mutes I. I. II. Tpt. 1 & 2 j & ∑ ∑ ∑ ∑ ∑ ∑ Œ ˙b ŒŒ‰b œœb ˙™ ∑ ∑ ¢ pp- pp- ™ ppp

l.v. l.v. to T. Bl. æ æ æ Tam-tam ° ˙æ™ ˙æ œ Ó Ó Ó™ ˙æ œ ŒŒ ¢ / ∑ ∑ pp ∑ ∑ ∑ ∑ ∑

continuous circular sweep soft mallets brushes on snare drum tap ¿ Dr. Y ˙ œ˙ ŒŒ ˙ œ Œ / ∑ ∑ ∑ ∑ Ó™ æ œ ŒŒ ∑ ∑ œ™ ™ œ™ pp p p ŒŒ Œ Œ

with a slightly softer and gentler tone The supposed Evrémonde descends, and Narr. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ the seamstress is lifted out next after him.

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pn. ? ∑ ∑ ∑ ∑ ∑ ˙b ™ ∑ ∑ ∑ ∑ ∑ bp˙™ { J 43 q = 60 Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

arco div. in 3 unis. pizz. Vla. ÓŒ b˙ bœ œb w ˙b b ˙˙b b˙™ ˙™ œ œb Œ œb Œ œb B ∑ ∑ bb˙˙ bb˙ ˙ bb ˙™ b ˙ b ˙™ ˙™ œ ‰ŒŒ Œ p ™ ™ ™ ™ ppJ mpœb œb œb

Vc. ? ∑ ∑ ∑ ∑ ∑ ŒŒ œb Œ ŒŒ Œ œb ŒŒ œb œ Œ mpœb œb œ œ œb

arco tutti stagger bow changes D.B. ? ˙ Ó ∑ ∑ ∑ ∑ ˙b ™ ˙™ ˙™ ˙™ ˙™ ˙™ ¢ ™ n. pp 12 K 115 bœœ™ bœ œ œœ ˙˙™ œœ œb j b ˙ Fl. 1 & 2 ° ™ ™ bœ & ∑ ∑ ∑ ∑ ∑ J Œ ‰ bœ œ œ œ œ œ p Œ

Ob. 1 & ∑ ∑ ∑ ∑ ∑ ˙b ™ ˙™ ˙™ ∑ p 3 Eng. Hn. j fi œb œb & Œ ˙b œ™ ‰ œb fiœ œ œ œ ˙b ∑ ∑ ∑ œ œb œb ˙™ ∑ p mp mp 4 4 4 4 4 Cl. 1 & œb œ œ œ œb ‰ œ œ œ œb œ œ œ œb œ œ ‰ œb œb œ œb œb œ œ œb œb œ ‰‰ œb œb œ ‰ ‰ œb œb 4 J 4 4 4 Cl. 2 j j j j j & ‰ œb œ œ œ œ œ œb œ œ œ œ ‰ œ œb œ œ œ œb œ œ œ œ œ ‰ œb œ œ œ œ œ œb œ œ œ œ ‰ œ œb œ œ œ œb œ œ œ œ œ ‰ œb œ œ œ œ

˙b ™ œ œb ˙ œ œb ˙ œb ˙b Bsn. 1 ? ∑ ∑ ∑ ∑ ∑ B ¢ a2 p a2 + + + + Hn. 1 & 2 ° & ∑ ∑ ∑ ∑ œ #œœ ˙˙ # ˙˙# ™ ∑ ∑ œ #œœ ˙˙ ¢ pp ™ ppp pp ppp > ŒŒ œ ¿ ŒŒ œ Œ Œ Œ ¿ ¿™™ Œ Dr. / ˙™ œ˙™ ˙™ ˙™ œ˙™ œ ˙™ ˙™ œ˙™ ˙™ œ ŒŒ œ Œ Œ œ ŒŒ œ Œ Œ œ ŒŒ œ Œ Œ œ Œ Œ He has not relinquished her patient hand in He gently places her with her back to the crashing engine that constantly "But for you, dear stranger, I should Narr. getting out, but still holds it as he promised. whirrs up and falls, and she looks into his face and thanks him. not be so composed; K arco Vln. I ° nO O & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ‰ n œ œ n.J arco j Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ‰ n œOn œO n. arco Vla. nO O B œb Œ œb Œ Œ Œ œb ŒŒ ∑ ∑ ∑ Œ‰ n œ œ œb œb œb œb œb œ n.J Vc. ? Œ œb ŒŒ œb ŒŒ œb œb Œ œb œb œb Œ Œ ∑ ∑ ∑ ∑

D.B. ? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ¢

= 124 accel. to m. 135 fiœ œb Fl. 1 & 2 ° œ œ œb œ œ bœ ˙ & œ œb œ œ œ œ œ œ b œ œ œ œ œb œ œ∑ œ œ ∑ ∑ ∑ ∑ ∑

Ob. 1 ∑ ∑ ∑ & œb œ œn œ œ œ œ œ ∑ ∑ ∑ pp p to Ob. 2 œ œb œ œ œb œb ˙™ ˙™ Eng. Hn. & ∑ ŒŒ œb œ œb ∑ ∑ mp 4 3 n. 4 j 3 Cl. 1 ‰‰‰ ∑ ∑ ∑ ∑ & œb œ œb œ ˙™ ˙™ pœ n. Cl. 2 j ‰ j j ‰ŒŒ & ‰ œ œb œ œ œ œb œ œ Œ œ ∑ ∑ ∑ ∑ ∑

œb Bsn. 1 B œ ˙ œb ˙b œ œ œb œ Œ‰ J œb œb œ œ œb œ ∑ ∑ ∑ ¢ pp p I. + + + Hn. 1 & 2 ° & ∑ ∑ ∑ ∑ ∑ ˙b ™ ˙b ™ ˙b œb ‰ pp J

a2 a2 cup mutes j Tpt. 1 & 2 ∑ ∑ ∑ ∑ ∑ ˙# œ ‰ œ# ˙˙ ¢& œ# ˙˙# # ˙ œ pp Temple Blocks > to B. D. Tam-tam ° œ œ j ¢ / ∑ ∑ ∑ ∑ ∑ œ œ œ œæ œæ Œ ∑ ∑ . p 5 n j ¿ œ ¿ Œ Œ ‰ j Œ Œ ¿ ¿ Dr. / ˙™ œ ˙™ ˙™ œ œ˙™ ˙™ ˙™ ˙™ œ ‰ ˙™ œ Œ Œ œ Œ Œ œ Œ œ œ ŒŒ œ Œ Œ do not speed up along with orchestra "I mind nothing "nor should I have been able to raise my thoughts to Him who was put "I think you were sent "Or you to me," says Sydney Carton. "Keep your eyes upon Narr. while I hold to death, that we might have hope and comfort here to-day. to me by Heaven." me, dear child, and mind no other object." your hand. accel. to m. 135 Vln. I ° O O & ˙™ ˙™ ∑ ∑ ∑ ∑ ∑ ∑ pp n.

Vln. II ˙b & ˙O™ ˙O™ ∑ ∑ ∑ ∑ ∑ ™ . æ pp n stagger bow changes ppæ O ™ O ™ Vla. B ˙™ ˙™ ∑ ∑ ∑ ˙b ™ ˙™ ˙™ pp n. pp Vc. ? ∑ ∑ ∑ ∑ ∑ ŒŒ Œ Œ Œ pœb œb œb œ D.B. ? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ¢ 13 L q = 70 a2 132 5 >. >. >. >œb . œ œb œb œb œ œn œ œ œ œ 4 œ œb œb œ Fl. 1 & 2 ° ∑ ∑ ∑ ÓÓ ‰ Œ‰ ÓÓ & 5 5 f p f p f ff

a2 >. œb œb œ Ob. 1 & 2 . œb œ œ & ∑ ∑ ∑ œ œ œb œ œb œ œ œb œ œ œ œ œ œ œ œ œ œb ÓÓ - . œ œ œ œb œ œ œ œb 7 f - . - ff

a2 >. >. œ œb œ œ Cl. 1 & 2 & ∑ ∑ ∑ ÓÓ Ó™ Œ œ œ ÓÓ f f ff

Bsn. 1 B ∑ ∑ ∑ ? ÓÓ ∑ ÓÓ œ œ f>. ff>.

Cbsn. ? ∑ ∑ ∑ ÓÓ ∑ ÓÓ ¢ œ œ f>. ff>.

I. II. o a2 + + >o. >. ˙b b˙+ œ œ™ œb œ œ œb œ œ œ œ œ Hn. 1 & 2 ° ˙b ™ ™ b ˙™ œ J œ œ ™ J ÓÓ & ™ 3 f mf ff

a2 a2 4 > > Hn. 3 & 4 bœ. fi œb. œb œb œ œ œb œ œ œ ÓÓ & ∑ œb œb œn œb œb nœ œb œb œ ˙ œb 4 . ff pp f mf open a2 remove mutes > >. > œ œ. œ bœbœ nbœ œn œ œ œ™ > > œ™ œ œ > œ œ œ œb œb Tpt. 1 & 2 œœ Œ Œ ˙˙™ bœ œb b œ œ œb œ™ œ œ œb œb œ œ™ œb œ œn œ ÓÓ & b œ ™ 7 mf p f > ff

T. Tbn. ? ∑ ∑ & œb ÓÓ ˙b œb œb œ œ œb œ œb œb œ œ œb œ œb œb œ œ œb œ. p f œb œb œ œb > ff

> B. Tbn. ? œ. ∑ ∑ ˙b œb ÓÓ Ó™ œb ÓÓ p f œ œ ff>.

- - Tba. ? ∑ ∑ j ‰ -˙b j ‰ œ j ‰ ˙ ÓÓ ¢ ˙b œb œ œ. œb. -œ -œ œ p f>. ff>.

3 j to Tub. B. æ æ æ æ æ æ Br. D. ° ˙æ™ œ œæ œ œ™ œ œ™ œ œæ œæ ‰ œ œ ≈ œ œ œ œ ‰ œæ œæ œ Ó Ó / ∑ ∑ pp f> mp > > > > pp ff>

Bass Drum to Tam-tam T. Bl. / ∑ ∑ ∑ œ œ Œ œ œ œ œ Œ œ œ œ Ó Ó ¢ f> ff> choke drumsticks j > , cymbal ¿ fi ¿ ¿ æ ¿ æ ¿ Dr. ˙™ œ ‰ ˙™ œ œ œ ™™ œ Œ œæ œ œæ œ ÓÓ / œ Œ Œ œ ŒŒ œ œ œ ‚œ œ Œ œ œ œ œ Œ œ Œ ¿œ f p f

"I shall mind nothing when "They will be Narr. I let it go, if they are rapid." rapid. Fear not!" ∑ ∑ ∑

>. >œ. bœ bœ bœ ? ∑ ∑ ∑ & ÓÓ ∑ ÓÓ Pn. f f ? ∑ ∑ ∑ ÓÓ ∑ ÓÓ œ œ œ œ >. >. { L

q = 70 div. 5 >œ. ˙b ˙b 4 b˙˙™ ˙˙ Vln. I ° ™ ™ & ∑ æ æ ÓÓ ∑ pp f p

div. >œb . ˙b ˙™ ˙˙ Vln. II ˙b ™ ˙b ™ ˙b ™ & æ æ æ ÓÓ ∑ æ æ æ f p

> div. œ. b ˙ ˙ Vla. ˙ ™ ˙ B ˙b ™ ˙b ™ ˙b ™ ÓÓ ∑ & æ æ æ f p

arco ≥ ≥ ≥ ≥ ≥ Vc. ? Œ Œ Œ Œ « j ‰ j ‰ ÓÓ œb œ ˙ œ- œ œb- ˙ œ- -œ œ œb œb œ œb f> >.

pizz. arco ≥ ≥ ≥ ≥ ≥ D.B. ? « j œ j ˙ ˙™ ˙™ œ Œ Œ ˙b ‰ œb ‰ œ ÓÓ ¢ . œ œ - - œ œ n f - - >. 14 138 3 ˙b ˙™ ˙˙ ˙˙™ 4 Fl. 1 & 2 ° ™ ™ ˙˙™ ˙˙ ˙˙™ ˙˙™ ˙˙ ˙˙™ - & Ó ™ ™ Ó ™ ™ Ó ˙˙™ ˙˙ ˙˙™ ˙˙ ˙˙™ ˙˙ n. p n. n. p n. n. p n. n. p pp mf b ˙ ˙ ˙ Ob. 1 & 2 ˙ ™ ˙ ˙ ™ nb˙˙ ˙˙ ˙˙ ˙ ˙ ˙ & Ó ™ ™ Ó ˙ ™ ˙ ˙ ™ Ó ˙˙b ™ ˙˙ ˙˙™ ˙˙ ˙˙™ ˙˙ n. p n. n. p n. n. p n. n. p pp mf - Cl. 1 & 2 ˙˙™ ˙˙ ˙˙™ ˙ ˙ ˙ & ™ ™ Ó ˙™ ˙ ˙™ Ó ˙˙™ ˙˙ ˙˙™ Ó ˙˙™ ˙˙ ˙˙™ ˙˙ ˙˙™ Ó ¢ n. p n. n. p n. n. p n. n. ™ p ™ pp mf ™ n. ˙ ˙ ˙ œ ˙ Hn. 1 ° ™ ™ fij ˙# & Ó ∑ ∑ ∑ ∑ ∑ œ ˙ ŒÓ ¢ n. pp n. p n. Eye to eye, voice to voice, hand to hand, heart to heart, these two children of the Universal Mother, The two stand in the fast-thinning throng of Narr. else so wide apart and differing, have come together on the dark highway, to repair home together, ∑ ∑ victims, but they speak as if they were alone. and to rest in her bosom. 3 ˙˙™ ˙b˙™ ˙ ˙™ ˙ ˙ ˙ 4 Vln. I ° ™ ™ ˙™ ˙ ˙™ ˙˙ ˙˙ ˙˙ ˙- & Ó Ó Ó ™ ™ Ó ˙˙™ ˙˙ ˙˙™ ˙ n. n. p n. n. p n. n. p n. n. p mf ˙˙™ ˙ ˙ ˙ Vln. II ˙ ™ ˙ ˙ ™ ˙ ˙ ˙ & Ó Ó ˙ ™ ˙ ˙ ™ Ó ˙˙™ ˙˙ ˙˙™ Ó ˙˙™ ˙˙ ˙˙™ ˙˙ n. n. p n. n. p n. n. p n. n. ™ p mf ™ ˙˙™ Vla. Ó bb˙˙™ ˙˙ ˙˙™ Ó ˙b ™ ˙ ˙™ Ó Ó Ó ¢& ˙™ ˙ ˙™ ˙˙™ ˙˙ ˙˙™ ˙˙™ ˙˙ ˙˙™ n. n. p n. n. p n. n. p n. n. ™ p mf ™ n. M = 14743 Fl. 1 & 2 ° & ˙˙™ ˙˙™ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ n.

Ob. 1 & –˙™ ˙™ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ n. to Eng. Hn. English Horn œfij œ Ob. 2 ˙# ™ œ ˙ œ fij œfiœ# œ ˙ œ & ˙™ ˙™ ∑ œ# Œ œ œ œ ŒŒ ∑ ∑ — n. mp, dolce 3 4

Cl. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ‰ J J ‰ ‰ p 4 4 4 4 4 4 4 4 4 j j Cl. 2 & œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ¢ p J J one brush and one stick sweep Dr. Œ ¿ ¿ Œ / ∑ ∑ œ˙™ ¿ ˙™ œ œ˙™ ¿ ˙™ œ œ˙™ ¿ ˙™ œ œ˙™ ¿ ˙™ œ p Œ ‚ Œ Œ ‚ Œ

"Brave and generous friend, will you let me ask you one last "I have a cousin, an only relative and an orphan, Narr. "Tell me what it is." ∑ ∑ question? I am very ignorant, and it troubles me—just a little." like myself, whom I love very dearly. M 43 Vln. I ° & ˙˙™ ˙˙™ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ n.

Vln. II & ˙˙™ ˙˙™ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ™ ™ n. unis. Vla. & ∑ B ˙ ˙ ˙™ ˙™ ˙b ™ ˙™ ˙™ ˙™ ˙™ p ™ ™ pizz. Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ŒŒ ∑ ŒŒ ŒŒ ¢ mpœ œ œ N = 157 j œ ˙ ˙ œfiœ œ ˙ œ ˙ œ œb œ œ œ œ ™ ™ Eng. Hn. ° ŒŒ œ œ Œ œ œ ∑ ∑ ∑ & 3 7 mp p mf n.

Cl. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ‰ ‰‰ ‰ J 4 4 4 4 mp 4 4 4 4 4

j j j Cl. 2 & ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ¢ J mp a2 + + Hn. 1 & 2 ° & ∑ ∑ ∑ ∑ œ ˙˙ ˙˙™ ∑ ∑ ∑ ¢ p n. Œ ¿ ¿ ¿ Œ Dr. ˙™ ¿ ˙™ ˙™ ¿ ˙™ ˙™ ¿ ˙™ ˙™ ¿ ˙™ ˙™ ¿ / œ œ Œ œ ‚œ Œ ‚œ œ Œ œ ‚œ Œ œ "What I have been thinking as we came along, and what I am still thinking now, as I look "—If the Republic really does good to the poor, and they come to be less hungry, and in all ways Narr. into your kind strong face which gives me so much support, is this: to suffer less, she may live a long time: she may even live to be old." N unis. stagger bow changes 4 Vln. I ° & ∑ ∑ ∑ ∑ œ œb œ p˙™ ˙™ ˙™ ˙™ œ unis. stagger bow changes 4 Vln. II & ∑ ∑ ∑ ∑ œ œb p˙™ ˙™ ˙™ ˙™ œ œ stagger bow changes ˙™ ˙™ ˙™ ˙™ ˙™ Vla. B ˙™ ˙b ™ ˙™ ˙™

œ œb Vc. ? ∑ œb ŒŒ ∑ œb ŒŒ œ Œ œ Œ Œ œ ŒŒ ŒŒ ŒŒ ¢ œ 15 166 O Fl. 1 & 2 ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. 1 ∑ ∑ ∑ ∑ ŒŒ ∑ ∑ ∑ ∑ & ˙ pœb ™

3 Eng. Hn. œb & ∑ ∑ ∑ œ œ œ œ ˙ ˙™ ∑ ∑ ∑ ∑ mp

4 Cl. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ ‰ œ œ œ œ œ ‰ œ ‰ Œ Œ J 4 4 4 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Cl. 2 œ œ œ ‰ j ‰ j ‰ j ‰ j ‰ j œ œ ¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

a2 + + + + Hn. 1 & 2 ° & ∑ ∑ ∑ ∑ ∑ ∑ œœ ˙˙ ˙˙™ ∑ œ œœ ˙˙ ¢ p ™ p

Br. D. ¢°/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

¿ Œ ¿ ¿ Œ ¿ Dr. ˙™ ˙™ ¿ ˙™ ˙™ ¿ ˙™ ˙™ ¿ ˙™ ˙™ ¿ ˙™ ˙™ ¿ / œ Œ œ ‚œ Œ œ œ Œ œ Œ ‚œ Œ œ œ Œ œ

"What then, my "Do you think:" the uncomplaining eyes in which there is so much "that it will seem long to me, while I wait for her in the better land where I Narr. gentle sister?" endurance, fill with tears, and the lips part a little more and tremble: trust both you and I will be mercifully sheltered?" ∑ O

Vln. I ° ˙b ˙ ˙ ˙ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ & ™ ™ ™ ™ cresc. poco a poco

˙b ˙ ˙ ˙™ ˙™ ˙™ Vln. II & ˙™ ˙™ ˙™ ˙™ ™ ™ ™ cresc. poco a poco

Vla. B ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ cresc. poco a poco

œ œ Vc. ? œ ŒŒ œ Œ Œ ŒŒ œ ŒŒ ŒŒ ŒŒ ŒŒ œb ŒŒ œ ŒŒ œ Œ Œ ¢ œ œ cresc. poco a poco

= 176 a2 œfiœ œb ˙ ˙™ Fl. 1 & 2 ° & ∑ ∑ Œ ∑ ∑ ∑ ∑ ∑ p n.

œfiœ œb ˙ ˙™ œ ˙ œ œ œn œfiœ œ œ œ Eng. Hn. & ∑ ∑ Œ ŒŒ œ ˙ ∑ p n. mp

œœœœœœœœœ œœœœœœ œœ œ œœœœœœ œœœœœœœœœ œœœ œb œœœœ œ œb œœœœœœœœœœœœœ œb œœœœœœœœœœœœœœ œb œœœœœœœœœ œb œœœ œn œœœœœœœœœœœœœ Cl. 1 Œ Œ Œ & 3 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 6 7 mf

3 3 3 3 3 3 3 3 3 3 3 3 j j j Cl. 2 œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ Œ ¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mf Tubular Bells to Br. D. Br. D. °/ ∑ ∑ & Œ ˙ ∑ ∑ ∑ ∑ ∑ ∑ ¢ p drumsticks Œ ¿ ¿ Œ Œ ¿ ¿ æ Dr. ˙™ ˙™ ¿ ˙™ Œ ˙™ ¿ ˙™ ¿ ˙™ ¿ ˙™ ˙™ ¿ œ Œ œæ / ‚œ Œ œ œ Œ œ ‚œ Œ œ œ œ J‰ ‚œ ‚œ mf

"It cannot be, my child; there is no Time "Is the moment Narr. "You comfort me so much! "Am I to kiss you now? there, and no trouble there." ∑ come?" ∑

˙b ˙ œb ˙ ˙™ ˙™ ˙™ ˙™ ˙™ ˙b ™ Vln. I ° ™ ™ & f

˙™ ˙™ œ ˙ ˙™ ˙™ ˙™ ˙™ ˙™ œ ˙ Vln. II & f

˙b ˙ ˙ Vla. B ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ™ ™ ™ f

Vc. ? œ œ œ œb ŒŒ ŒŒ Œ ŒŒ œ ŒŒ Œ ŒŒ œb ŒŒ ŒŒ ¢ œ œ œ œ fœ 16 P 185 46 45 43 Fl. 1 & 2 ° j & ∑ ∑ ∑ ∑ ∑ ∑ ŒŒ œœb œœ™ œœb œ œœb œœb œœb œœ ˙˙™ ∑ mp ™ pp

Ob. 1 & ∑ ∑ ∑ ˙ ˙™ œb œb œ ˙™ ∑ ∑ ∑ ∑ p ™ pp

> > > > > > > œ œ œ œ ˙ fi œb Eng. Hn. œœ™ œb œœ™ œ œb œ™ œ™ œ ™ œ ™ ™ œ œ™ œb œ œ œ œ œ ˙ & ∑ ∑ ∑ œb ™ ∑ J J ™ ™ f p mp pp

Cl. 1 & ∑ ∑ ∑ ˙™ œ œb œ ˙™ ∑ ∑ ∑ ∑ p˙™ pp

to B. Cl. Bass Clarinet Cl. 2 & ∑ ∑ ∑ Œ Œ œ œ œ œ œb œ œ œ œ œb œ œ œ œ œb œ œ œ œ œb pp p œn œn

Bsn. 1 ? ∑ ∑ ∑ ∑ ∑ ∑ Œ œ œ œ œ œb œ œ œ œ œb œ œ œ œ pp p

Cbsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ œ œ œ œb œ œ œ œ œb Œ ¢ pp

Tpt. 1 & 2 ° . & ∑ Œ œœb Œ Ó™ Œ œœb œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ mf. .

Dr. / ∑ Œ w ŒŒ ˙™ œ œ ŒŒ ∑ ∑ ∑ ∑ ∑ ∑ ∑ æ æ æ ‚œ mfæ n. mfæ pæ f

quietly The spare hand does not tremble as he releases it; She kisses his lips; he kisses hers; they solemnly Narr. "Yes." nothing worse than a sweet, bright constancy is Œ bless each other. ∑ ∑ ∑ in the patient face.

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pn. ppp

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ≈ œœ œb œœœ œb . “‘ { P

˙ 6 ˙ ˙ 5 w 3 > > > > div. ™ 4 ™ ™ 4 4 > >œb > œb œb œ œ œb œ™ œ œ œ™ ˙™ Vln. I ° œœ™ œb œœ™ œ ™ ™ & Œ ™ ∑ ∑ ∑ ∑ sub. p, f pp no cresc.

div. b˙O ™ ˙O ™ ˙O ™ w~ ˙™ œ ˙ ˙b ™ ˙™ Vln. II & Œ ∑ ∑ ∑ ∑ sub. p, mf pp no cresc.

div. >. unis. div. > . > . >œb œb . œ œbœ > Vla. œœ œœ ˙b œ œ™ ˙™ B ∑ & Œ ‰ŒÓ™ Œ ‰ ‰Œ ŒŒ ˙ œb ∑ ∑ ∑ ∑ f p f mf pp

arco pizz. > >. œb œ œb œb œb Vc. ? œ. œ ? œ œ œb œ œb œb œ œb œ ∑ & Œ œb. ŒÓ™ Œ œb. Ó ŒŒ Œ Œ Œ Œ Œ Œ Œ f> > f mf

pizz. œb œ œb œb œ œb œb œb D.B. ? ∑ ∑ ∑ œ œ Œ œ œ Œ Œ Œ Œ Œ œb Œ œ œb œ Œ ¢ mf 17 196 4 43 Q B. Cl. ° Œ ‰Œ∑ Œ Œ ∑ ∑ ∑ ∑ & œn ˙ ˙™ ˙™ œ œ œ œ œb >. œ œ œ œ œb mp mf f p n.

Bsn. 1 ? œb œb ‰Œ∑ Œ œb ∑ ∑ ∑ ∑ œn œ œ œ œ >. œ œ œ œ œ œ œ ˙™ ˙™ mp f p n.

œb >. œb Cbsn. ? œ œ œ œ œn œ ‰Œ ∑ œ œ œ œ œ œ ˙ ˙™ ˙™ ∑ ∑ ∑ ∑ ¢ p mp f p n.

o >o Hn. 1 & 2 ° bœ. & ∑ Ó ≈ œ ‰Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ fR

>. Hn. 3 & 4 & ∑ Ó ≈ bbœ ‰Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ fR

r Tbns. ? ∑ Ó ≈ œ ‰Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ f>.

Tba. ? ∑ Ó ≈ r‰Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ œ f. > soft rubber mallets asynchronously; repeat this pattern in a fairly steady tempo as written until the end of the Brake Drum Crotales solid line, but do not line up with meter or to Crot. other instruments › Tub. B. ° Œ æ Œ ŒŒ & ∑ / œæ œ œ ‰ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ & œ œ œ œ œ œ œb œ ppp mf p œ œ ppp

Tam-tam æ æ æ æ æ æ B. D. ˙æ™ ˙æ™ ˙æ™ ˙æ™ ˙æ™ ˙æ™ ¢ / ∑ ∑ ∑ ∑ ∑ ∑ n. pp sempre

four soft mallets (roll one cymbal with each hand) > YY™ YY™ YY™ YY™ YY™ YY™ Dr. / ∑ ˙ œ œ ‰Œ ∑ ŒŒ ∑ ∑ æ æ æ æ æ æ æ ‚œ æ æ æ æ æ æ pæ mf p n. pp sempre

—is gone; (short pause) slowly, quietly, reverently, not overdramatic She goes next the knitting-women "I am the Resurrection and the Life, saith the Lord: Narr. before him— ∑ ∑ count Twenty-Two. ∑ ∑ ∑ ∑

r ? œ & ∑ ŒŒ ≈ bbœ ‰Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ >. à la mf f "La Cathédrale engloutie," Pn. floating and muted n. ppp sim. 10 10 10 ? œ ‰Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œœ œb œœœ œœœœœ œb œœœœœœ œb. nœ œœœ œœœ œœœ œœ œ œœœ œb . œb . >. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ <“ > °

{ 4 3 Q ° 4 4 #O ™ O ™ O ™ O ™ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # ˙™ ˙™ ˙™ ˙™ n. p Vln. I

O O O O & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙™ ˙™ ˙™ ˙™ n. p

O O O O & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙™ ˙™ ˙™ ˙™ n. p Vln. II

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙O™ ˙O™ ˙O™ ˙O™ n. p

div. unis. O ™ O ™ O ™ O ™ ∑ ÓÓŒ B ŒŒ ˙# ™ ˙™ ˙™ ˙™ & ˙ ˙˙ ˙˙ œœ ∑ ∑ bpp˙ p ™ ™ n. n. p Vla.

O ™ O ™ O ™ O ™ & ∑ ÓÓŒ B ŒŒ ∑ ∑ ˙™ ˙™ ˙™ ˙™ ˙ ˙ ˙ œ pp p ™ ™ n. n. p arco >« Vc. ? œ ŒŒ œ œb ≈ œ ‰Œ Œ Œ œb œ ŒŒ œ œ ŒŒ œ Œ R ˙™ ˙™ ˙ ˙™ ˙™ ˙ f p n. p œ œ

arco stagger bow chgs. >« D.B. ? œ ŒŒ œ œb ≈ œ ‰Œ Œ Œ œb œ ŒŒ œ œ ŒŒ œ Œ R ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ¢ f p n. p 18 208 to T. Bl. › Crot. ° & ∑ ∑ n. Tam-tam æ æ æ æ æ æ æ æ æ æ ¢ / ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™

Dr. YY™ YY™ YY™ YY™ YY™ YY™ YY™ YY™ YY™ YY™ / æ æ æ æ æ æ æ æ æ æ "and whosoever liveth and believeth in me "he that believeth in me, though he were dead, yet shall he live: Narr. shall never die." ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pn. 10 10 10 10 10 10 10 10 10 10 ? œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœœ œœ œ œœœ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {° O ™ O ™ O ™ nO ™ O ™ O ™ O ™ O ™ O ™ & ˙™ ˙™ ˙™ n ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ∑ Vln. I n. O O O O O O O ™ O ™ O ™ & ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ∑ n. O O O O O O O & ˙O™ ˙™ ˙™ ˙™ ˙O™ ˙™ ˙™ ˙™ ˙™ ∑ Vln. II n. O ™ O ™ O ™ & n ˙Ob ™ ˙O™ ˙O™ ˙O™ ˙O™ ˙O™ ˙™ ˙™ ˙™ ∑ ™ n. O O ™ O ™ b O ™ O ™ O ™ O ™ O ™ O ™ B ˙™ ˙# ™ ˙™ ˙n ™ ˙™ ˙™ ˙™ ˙™ ˙™ ∑ Vla. n. O O O O O bO ™ ˙O ™ ˙O ™ ˙O ™ B ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ∑ n. Vc. ? œ ∑ œ ˙ ˙™ ˙™ œ ˙ œ ˙ ˙ ˙™ ˙™ ˙™ n. D.B. ? ¢ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™

= R 218 fi fi fi > fi œ > Cl. 1 ° ∑ ∑ ∑ ∑ ∑ œ œ œ ‰œ œ œ ŒŒœ œ œ œ œ œ œ œ™ ‰œ œ œ & œ œ# ™ œ œ œ# ™ mp> , intensely but not too >loudly

B. Cl. j j œ œb & ∑ ∑ ∑ ∑ ∑ ‰ œ# œ# œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ p mpJ

Bsn. 1 ? ∑ ∑ ∑ ŒŒ Œ œ œb œ œb œ œ# œ œ œ# œ pœ œ pp Cbsn. ? ∑ Œ œ œb œ œb Œ œ ¢ ppp˙ œ ˙# œ œ# œ œ œ# œ pœ œ mp ™ pp 5 œb œb B. Tbn. °? ∑ ∑ ∑ ∑ œ œœœ ˙# ∑ œ# œœœœœ Œ œ œb œ 6 pp œ œ ˙ p 5 mp Tba. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ŒŒ ¢ pœ Temple Blocks to Br. D. › j j Crot. ° œfiœ œ œ æ æ fiœ œ œfi & ∑ / ŒŒ ‰ œæ œæ œ ∑ Œ œ œ œ æ ∑ ∑ p 3 œ ˙™ n. Bass Drum l.v. to B. D. æ æ æ æ æ æ Tam-tam œ ŒŒ ˙æ™ ˙æ™ ˙æ™ ˙æ™ ˙æ™ ˙æ™ ¢ / p ∑ ppp, almost inaudible pp p

drumsticks pp p Y™ ¿¿ Dr. Y ™ æ æ æ æ æ æ / æ ŒŒ ˙æ™ ˙æ™ ˙æ™ ˙æ™ ˙æ™ œ˙æ™ ŒŒ p ppp, almost inaudible p Narr. ∑ ∑ ∑ The murmuring of many voices, ∑ the upturning of many faces,

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pn. pp sim. ? œœ œb œœœ œœœœœ œb œœœœœœ œœœ œœ œb œœœœœœ œ œ œb œ œ œ œœœœœœ œœ œb œœœ œœœœ œ œb œ œœœ œ œ œœ œb œœœ œ œ œ œœœ œ œ œb œ œœ œœœœœ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‘ { *“ R unis. asynchronously, as before Vln. I ° œ œ œ œb & ∑ œb œb p, murmuring mf mp unis. asynchronously, as before Vln. II œ & ∑ œn œb œ œb œb p, murmuring mf mp f unis. asynchronously, as before œ Vla. B œb œ œ œb œb p, murmuring mf mp f mf stagger bow changes Vc. ? ∑ ∑ ∑ ∑ ∑ ˙ ˙ ˙ stagger bow changes p ™ ™ ™ D.B. ? ¢ ˙™ ˙# ™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ f p 19 a tempo 4-6" 226slight accel. a2 œ# œ œ œb 4 œ œb œ œ# œ œ 4 Fl. 1 & 2 ° œ œ# œ U U & ∑ ∑ ∑ Œ œ œ# œ ∑ ŒŒŒ ∑ f ff

a2 3 3 3 3 3 > >. œ œ œ# ™ U U Ob. 1 & 2 & œ œ œ œ œ œ œ œb œb œ œ œ œ œ œ œ# œ œ œ# œ œ ∑ ŒŒŒ ∑ œ œ œ œ œ# œ œ# . œ# . 3 3 >. > > 3 mp mf f ff œ# 7 œ œ œ œ œ# œ Cl. 1 ˙ œ œ# œ œ# œ# U U & Œ ∑ ∑ œ# œ# œœ œ ∑ ŒŒŒ ∑ pp œœ œ# œ 7 7 f ff œ# œ œ œ œ œ œ B. Cl. œ œb œn œ# œ# œ œ# œ œ œ œ œ# œ# U U & œ J ‰ ‰ J œ ∑ ŒŒŒ ∑ mf ff

3 3 U U Bsn. 1 ? Œ ŒŒŒ ∑ œb œ œb œb œ œb Œ Œ œ œ œb ∑ mp œ œ# œ œ œ# f ff

Cbsn. ? œ# œ œ œb U U œ œb œb œ œb Œ œn œ œb œ œ# œ œ ∑ ŒŒŒ ∑ ¢ œ œ# œ 3 3 mf ff

a2 5 œ œ œ œ œ œ U U Hn. 1 & 2 ° ∑ ∑ ∑ œ œ œ# œ œ ∑ ŒŒŒ ∑ & œ œ 3 5 p f ff

a2 > U U Hn. 3 & 4 & ∑ ∑ ∑ œ œ# œ œ™ ∑ ŒŒŒ ∑ mf ff

a2 > œ œ# œ# œ œ# œ œ™ U U Tpt. 1 & 2 & ∑ ∑ ŒŒ œœ œ œ# ∑ ŒŒŒ ∑ 7 p mf ff

U U T. Tbn. ∑ ∑ ? œ™ œ œ œ™ œ œ# œ œ œ œ œ œ œ œ œ œ ∑ ŒŒŒ ∑ & œb œ 3 3 mf f ff

3 5 U U B. Tbn. ? Œ ∑ ŒŒŒ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mp mf™ ™ f ff 3 5 U U Tba. ? Œ ∑ ŒŒŒ ∑ ¢ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mp mf™ ™ f ff Brake Drum 3 j 3 3 3 3 3 3 5 to Tub. B. U Br. D. æ æ æ fij fij æ ° ˙æ ‰ œœ œ ‰ œæ œœ œ œœ œ œ œ œ œ œæ œœœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œæ ŒŒŒ U& / p ff ∑ ∑ æ æ æ æ U B. D. ˙æ™ ˙æ™ ˙æ™ ˙æ™ ŒŒŒ U ¢ / mp mf f ff ∑ ∑ mf f ff 3 3 3 mp 3 3 3 3 3 fff j œfij æ ¿ ¿ ‚ æ ¿ œfij ‚ ¿ ¿ ¿ œfij æ U U Dr. æ ‰ œœ œ ‰ œ œœ œ œ œ œ œæ œœœ œœ œ œ œ œæ ∑ ŒŒŒ ∑ / œ˙ Œ œ œ œ œ œ œ™ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ 3 mp mf f ff quietly, not too dramatically gaining speed, volume and intensity until m. 229 all flashes Twenty- the pressing on of many footsteps in the outskirts of the crowd, so that it swells forward in a mass, like one great heave of water, U Narr. ŒŒaway. Three. U∑

sim. œb œ œ œb œ œb œ œb œ œœ œœ œœ œœ œœ U U ? œ œœœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ŒŒŒ ∑ 5 Pn. pp ff 5 U U ? œœ œœ œœ œœ œœ ŒŒŒ ∑ œb œœœ œ œœ œœ œ œ œ œb œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ ∑ œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ <“ > keep general contour of line, but gliss. to highest possible begin to move it higher with each pitch during last beat 4-6" repetition (exact pitches are not 4 { slight accel. important) 1 a tempo "h 4 Vln. I ° U U & R ŒŒŒ ∑ ff keep general contour of line, but gliss. to highest possible begin to move it higher with each pitch during last beat repetition (exact pitches are not important) "h 1 U U Vln. II & R ŒŒŒ ∑ ff keep general contour of line, but gliss. to highest possible begin to move it higher with each pitch during last beat repetition (exact pitches are not important) "h 1 U U Vla. B R ŒŒŒ ∑ accent individual ff staggered bow changes etc. G > G > G > G > G > U U Vc. ? ∑ ŒŒŒ ∑ ˙™ ˙™ ˙™ ˙™ ff accent individual staggered bow changes etc. G > G > G > G > G > U U D.B. ? ∑ ŒŒŒ ∑ ¢ ˙™ ˙™ ˙™ ˙™ ff 20 S q = 60 T 2334 43 4 43 4 43 42 43 42 43 4 43 Eng. Hn. ° . & ∑ ∑ ∑ ∑ ŒŒ fi œ ˙ ˙ Œ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ p n. 3 3 Cl. 1 Œ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ# ˙ œœœ ˙ œ œ œ ˙ p ™ pœ to Cl. 2 B. Cl. & w œ ˙ œ œ ˙ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ p pw n.

I. I. II.

Hn. 1 & 2 ° fiœ œ œ j & ∑ ∑ ∑ w ∑ ∑ ˙™ ∑ œ œ œ œ œ œ™œ œ™ œ œ w ∑ ppw n. pp˙™ n. p 3 #pw n.

III. Hn. 3 & 4 & ∑∑ ∑∑∑ ∑∑∑∑∑∑ ∑ ¢ ppw n. Tubular Bells

Tub. B. ° j & œb fiw ∑∑∑∑∑∑∑∑∑∑∑ ∑ ¢ p soft mallet ¿ Dr. ∑∑ ∑∑∑ ∑∑∑∑∑∑ ŒÓ ∑ / ‚œ p

S q = 60 T 4 43 4 43 4 43 42 43 42 43 4 43 Vln. II ° & ∑∑∑∑∑∑∑∑∑∑∑ ∑ œ œ œ pœ œ div. div. in 3 Vla. ˙ B ∑ ∑ ∑ w bœ œ™ ˙ w ˙™ ˙œ œ™ œ ˙™ ˙ ˙™ ww ˙™ pw ˙™ ™ ™ #w ˙ ™ div. Vc. ? w ˙™ œ œ ˙ Œ w ˙ œ™ ˙ ˙ ˙b ˙™ œ œ™ œ ˙b ™ ˙ ˙™ ™ p w œ w ˙™

D.B. ? ∑∑ ∑∑∑ ∑∑∑∑∑∑ w ˙™ ¢ p

=

246 42 43 42 43 42 43 42 43 Ob. 1 ° ∑ ∑ ∑ ∑ ∑ ∑ ŒŒ ∑ ∑ ∑ ∑ & ˙ œ p ™ pp

fi œ ˙ ˙ œ œ Eng. Hn. & ∑ ∑ Œ œ œ œ œ Œ œœ ˙™ œ Œ Œ ∑ ∑ ∑ ∑ ¢ mp pp mp 3 pp one brush and one stick sweep Œ Œ Œ Œ ¿ Œ Œ Œ Œ Dr. ¿ ¿ ¿ ¿ / œ˙™ ˙™ ¿ ˙ œ˙™ ˙™ ¿ ˙ œ˙™ ˙™ ¿ ˙ œ˙™ ˙™ ¿ ˙ p ŒŒ ŒŒ ŒŒ ŒŒ

One of the most remarkable sufferers by the same axe—a woman—had asked at the foot They said of him, about the city that night, that it was the Many added that he looked Narr. of the same scaffold, not long before, to be allowed to write down the thoughts that peacefullest man's face ever beheld there. sublime and prophetic. were inspiring her.

sim. 3 3 3 3 3 3 3 3 3 3 3 3 œ œ œb œ œ œ œb œ œ œ œ œœ œœ œb œ œ œ œ ? œœœœœœœœ œœ œœœ œœœœœ œœ & œ œ œb œ œ œ œb œ œ œ œb œ œ œ œ œ œ œ œ œ 3 3 3 3 3 3 3 3 3 3 œœœ œ œœœœ œœ œ œœ œœœœœ œœ œœœœœœ œœ œœ 3 3 3 3 Pn. ppp pp p ? ˙™ ∑ ∑ ˙™ ∑ ∑ ˙™ ∑ ∑ ˙™ ∑ ∑ ˙™ ˙™ ˙™ ˙™ “‘ { ° sempre 42 43 42 43 42 43 42 43 Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙™ ˙b ™ ˙ pp

Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙™ ˙™ ˙b pp div. in 2 Vla. œ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ B #œ ˙ #œ ˙ ˙ #œ ˙ #œ ˙ ˙ œ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙

unis. Vc. ? ˙™ ˙™ œ œ œ œ ˙ ˙™ œ œ œ œ ˙ ˙™ œ œ œ œ ˙ ˙™ œb œ ˙™ ˙™ œ œ œ œ ˙ ˙™ œ œ œ œ ˙ ˙™ œ œ œ œ ˙ ˙™

D.B. ? ˙™ ˙™ ˙ ˙™ ˙™ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ¢ ™ ™ ™ ™ 21 U

a2 3 2 4 3 a2 258 3 4 4 4 + + + +4 + + Hn. 1 & 2 ° ∑ ∑ ∑ ∑ ∑ & œ œ œ œ œ ˙ ˙ p œ œ œ œ œ ™ ™ + + + a2 a2 3 + + + ? œ ˙˙ ˙™ Hn. 3 & 4 & ∑ ∑ ∑ ∑ ∑ ∑ p . . . œ w ˙™ œ œ ˙ œ œ œ Tbns. ? ∑ ∑ ∑ ÓŒ œ ˙™ œ ˙™ ˙™ œ ¢ p Timp. °? æ æ æ ˙b æ™ ˙b æ™ ˙b æ œ ŒÓ ∑ ∑ ∑ ∑ ¢ ppp p Tub. B. ° & ∑ ∑ ∑ w ∑ ∑ ∑ ∑ p B. D. œ Œ Ó ¢ / ∑ ∑ ∑ pp ∑ ∑ ∑ ∑ drumsticks ¿ Œ ¿ j j Dr. ¿ œ æ æ œfiœ œfi ˙™ ˙™ ¿ ˙ œ ŒÓŒ œfiœ ˙æ œæ œ ÓŒ Œ œ Œ ˙™ / œ œ œ æ ŒŒ p p ppJ p pæ pp If he had given any utterance to his, and they were prophetic, "I see long ranks of the new oppressors who have risen on the destruction of the old, perishing by Narr. they would have been these: this retributive instrument, before it shall cease out of its present use.

œ œ œ œ œb œ œ œ œ œ œ œ œ œb œ œ & œ œ œ œ œ œ œ œ ‰ŒÓ ∑ ∑ ∑ ∑ Pn. 3 3 3 3 3 3 J ? ∑ ∑ ∑ ˙b ™ w w w ˙™ b˙™ w w w ˙™ { <“ > * U 43 42 4 43 Vln. I ° & ˙™ ˙™ ∑ ∑ ∑ ∑ ∑ ∑ p n. Vln. II ˙ ˙ ∑ ∑ ∑ ∑ ∑ ∑ & œ œ unis. div. p n. Vla. B œ ˙ œ ˙ ˙b˙ w w ˙™ ∑ œ ˙ œ ˙ staggerw w w ˙™ 3 bow changes Vc. ? œ œb ™ ˙ ˙™ œb œ ˙ œ staggerw w w ˙™ œ bow changes D.B. ? ¢ ˙b ™ ˙™ ˙ w w w ˙™ œ ˙

I. = a2 a2 266 . . -œ™ œ. 5 œ# œ# œ#œ œ ˙# œ# œ œn œn œ œ œ œ œ #œ œ œ™ œ# ˙ œ w œ œ ˙™ œ™ œ™ œ ˙ œ œ œ œ œ œ œ ˙# 4 œ w Fl. 1 & 2 ° Œ‰ ŒŒ Œ‰ ‰ J ‰ & 3 p p p mf mp p Cl. 1 & 2 w & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ w ¢ -o p + Hn. 1 & 2 ° ∑ ∑ ∑ ∑ Œ ˙# ˙™ ∑ & ˙# ™ ˙™ ˙# ˙™ n. mp-o n.

˙#+ ˙ -o Hn. 3 & 4 ™ ™ ? ∑ ∑ ∑ ∑ & Œ ˙ ˙# ™ ∑ n. ˙ ˙™ mp-o n. a2 3 - #˙™ #œ #œ™ ˙ #˙ ˙ Tpt. 1 & 2 & # ˙™ # œ# œ™ ˙ ∑ ŒŒ‰™ œ# œ œ# ˙™ ∑ Œ # ˙ ˙™ ∑ p n. mp n. mf- n. I. ˙ ˙ Tbns. ? ˙# ™ ˙™ -˙ ˙ ∑ ∑ ˙™ ˙™ œ. ™ ∑ p n. p mf pp Tba. ? ˙™ ˙™ ∑ ∑ ∑ ¢ p n. ˙ ˙ œ ˙ ˙™ p ™ ™ mf. - pp to Crot. Tub. B. ° ∑ ∑ ∑ ˙ ∑ & ˙™ ™ Œ ˙ ∑ ∑ p p p to Tam-tam B. D. œ ŒŒ œ ŒŒ œ œ Œ ¢ / pp ∑ ∑ ∑ pp ∑ p mp ∑ ∑ quick cymbal scrape fi ¿ fi j ¿ ¿ ¿ ¿ ‚ j ¿ ‚ ‚ ¿ ¿ ‚ j ¿ j ¿ ¿ ‚ œfi ¿ fi ¿ ‚ O ¿ Dr. œ Œ Œ œfiœ ™ ™ œfiœ œ œfiœ œ œ œ œ ™ Œ J ‰ŒÓ / œ œ œ œ œ œ œ œ œ p mp mf mp p begin slightly after beat 2 "I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, in their triumphs and defeats, "gradually making expiation Narr. through long years to come, I see the evil of this time and of the previous time of which this is the natural birth, Œ for itself and wearing out. ∑

Pn. ? ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙™ ∑ { ™ ™ ™ ™ ™ ™ ˙ ˙ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œ. - ™ < > “ - 5 - œ. -˙ œ œ™ ˙ 4 œ w Vln. I ° fi . ˙ œ œ œ# ˙™ œ# œ œ œ œ œ œ œ œ# œ œ#. œ œ œ œ J ‰ & . ˙ œ# œ# 3 p 3 ™ mf f p - . -˙ -œ# œ œ ˙ œ w Vln. II œ# œ œ œ fiœ ˙ œ œ œ œ œ œ œ & ˙™ œ œ œ œ. œ# ˙ œ# œ œn J ‰ p œ . 3 3 mf f p . . - w Vla. #˙™ ˙™ #œ ˙ ˙™ n˙™ ˙™ œ ˙ ˙™ B ˙™ ˙™ œ ˙ ˙™ n ˙™ ˙™ œ ˙ ˙™ Œ mf f p Vc. ? ˙™ ˙™ ˙™ ˙™ ˙n ™ ˙™ œ. ∑ mf f ˙- ˙™ D.B. ? ˙- ˙ ˙™ ˙™ ˙™ ˙™ ˙n ™ ˙™ œ. ™ ∑ ¢ mf f 22 V 275 4 3 4 œ œ œ ˙ ˙ 4 w ˙ 4 4 Fl. 1 & 2 ° œ# œ™ œ™ ˙ ˙™ ˙˙ w ˙™ ˙ œ & ™ ™ ‰ ™ ™ Œ ˙ œ ˙˙ ˙˙ Ó ∑ 3 n. to Ob. 2 ˙ ˙ fiœ# œ Eng. Hn. & Ó™ ˙ œ# œ œ œ œ ˙ ∑ ∑ ∑ ∑ p

Cl. 2 to B. Cl. Cl. 1 & 2 & ##œ˙™ œ™ ˙ œ™ ‰ ˙˙™ #˙˙ # ww# ˙˙™ #œ ˙™ Œ ∑ ∑ ¢ ™ ™ n. Tam-tam æ B. D. ° ˙æ™ ¢ / ∑ ∑ ∑ ∑ ∑ ∑ n.

four soft mallets (roll one cymbal with each hand) ¿¿ Dr. / ∑ ∑ ∑ ∑ ∑ ŒŒ æ n.

"I see the lives for which I lay down my life, peaceful, prosperous and "I see that I hold a sanctuary in their hearts, and in Narr. happy, in that England which I shall see no more. the hearts of their descendants, generations hence. ∑

V 4 3 4 œ# ˙ div. ˙ ˙ ˙ ˙ 4 ˙ œ ˙ œ œ ˙ 4 ™ 4 Vln. I ° ™ ™ w ˙ & f

div. unis. div. Vln. II œ# œ ˙ ˙ #˙˙™ ˙˙ w w w ˙˙ œ œ# ˙™ & ™ ™ w w w f

œfiœ œ# div. œ œ ˙ ˙ Vla. ™ ˙™ œ œ# B ˙ w œ ˙™ ˙ ˙ ˙ ˙ p f

div. Vc. ? ∑ ∑ ÓŒ œ w w w ˙™ pp f div. D.B. ? ∑ ∑ ÓŒ ¢ œ w w w ˙™ pp f

= W asynchronously; play given notes in given octave randomly, not too fast, 2824 Crotales until the end of the solid line 4 › œb Tub. B. ° œ œ œ# œ & ∑ & œ pp

Tam-tam wæ wæ wæ wæ wæ wæ wæ ¢ / p

Dr. YY YY YY YY YY YY YY / æ æ æ æ æ æ æ pp raise head, lift eyes "it is a far, far better rest that I go to than Narr. "It is a far, far better thing that I do, than I have ever done; ∑ ∑ ∑ I have ever known." W

4 stagger bow changes as needed ° 4 b O O b- O O b- O O & ∑ b w~ ˙™ œ ‰ b w~ ˙™ œ ‰ b w~ ˙™ œ ‰ n. pp J J J Vln. I stagger bow changes as needed j r O O & ∑ w~ w~ ˙O™ œO ≈ œO w~ w~ ‰ œ ˙™ n. pp - J

stagger bow changes as needed j ∑ ‰ O O O ‰ O & #w~ w~ #œ ˙™ w~ œ™ #˙ w~ n. pp - - Vln. II stagger bow changes as needed j j ∑ ‰ ‰ & w~ w~ œO œO ˙O w~ œO œO ˙O w~ n. pp - -

stagger bow changes as needed O- O O O O- B ∑ w~ w~ w~ ‰ œ ˙™ ˙™ œ ≈ œ w~ n. pp J J R Vla. stagger bow changes as needed 3 - 3 - B ∑ w~ w~ ˙O Œ œO œO w~ Œ œO ˙O ™ w~ ¢ n. pp J J 23 X a2 Ÿb~~~~~~ 289 œ# œ 9 ˙™ 4 œ œb œ œ# œ œ 8 4 Fl. 1 & 2 ° & ∑ ∑ ∑ Ó Œ Œ™ ŒÓ p ff œ fff>. a2 b~~~~~~ œ Ÿ˙™ Ob. 1 & 2 œ œ# œ œ œ# & ∑ ∑ ∑ Ó Œ œ œb Œ™ œ ŒÓ p ff fff>. flutter tongue 5 ˙™ œ œ# œ# œ œ Cl. 1 & ∑ ∑ ∑ Ó œ# œœ œ œ æ Œ™ ŒÓ œ œ# 7 Bass Clarinet p ff œ# . 3 fff> 3 ˙™ œ# œ œ œ œ# B. Cl. ∑ ∑ ∑ ‰ œ œ œ Œ™ ŒÓ & œ œ# 3 3 œ œ# p ff fff>. œ#- -œ ˙b ™ Bsn. 1 ? ∑ ∑ ∑ Ó B Œ™ ŒÓ

p ff œ fff>. - -œ# ˙b ™ Cbsn. ? ∑ ∑ ∑ Ó B œb- œ Œ™ ŒÓ ¢ 3 œ a2 p ff fff>. ˙ Hn. 1 & 2 ° ˙ ˙ ™ & ∑ ∑ œ œ# œ ∑ Œ™ ŒÓ 3 œ p p ff fff>. a2 a2 #˙˙ Hn. 3 & 4 ∑ ∑ œ œ# œ ∑ ™ Œ™ ? ŒÓ & ˙# p ff œ 3 fff>. p ˙˙™ Tpt. 1 & 2 ™ & ∑ ∑ ∑ ∑ Œ™ œ# ŒÓ p ff #œ. 3 3 fff> T. Tbn. ? œ# ˙™ ? ∑ ∑ Ó œb œ & œ# œ œ œb œ Œ™ ŒÓ œ œb œ 3 œ p ff fff>. B. Tbn. œb ? ? ∑ ∑ œ œ# & œb ˙b ™ Œ™ ŒÓ œb œ œ# œ p ff œ fff>. 3 ˙# ˙ ˙b ˙ ™ Tba. ? ∑ ˙b œ œ# Œ™ ŒÓ ¢ ˙ ˙# 3 pp˙b ff œ fff>. Timp. °? æ æ æ æ æ Ó ˙b æ wbæ wbæ wbæ ˙b æ™ Œ™ œ ŒÓ ¢ pp ff œ fff> Marimba #œ œ œ #b˙™ › to Mar. œ œ œ ™ nnœœ Crot. ° œ œ œ# œ æ J ? & ∑ ∑ Ó Œ & æ ‰‰ œ ŒÓ n. 5 œ f ff fff> l.v. to B. D. Bass Drum …damp Tam-tam wæ œ Œ Ó œ Œ Ó ¢ / ∑ ∑ ∑ fff> choke cymbal drumsticks YY ¿ , Dr. æ Ó w w w ˙™ ‰‰ œ œ ŒÓ / æ æ æ æ æ æ œ n. ppæ æ æ fæ fæJ fff bow head, close eyes Narr. ∑ ∑ ∑ ∑ ” ∑ ∑ . “>˙ œ . #œ. œ #˙™ ∑ ∑ ∑ Ó Œ œ œb ˙™ ‰‰ J ? œ ŒÓ & œ# œ æ 3 æ œ ppp ff f fff>. Pn. sim. 5 5 . 5 5 5 5 œb œ œ# œ . . b >˙ œ . œb œ œœ œœ œœ œ#. #œ. œ œ #˙™ ? ? ∑ œ œb œœ œ#. œ œb œœ œ# & œb œ œb œœœ œœ œ œœœ œ b ˙™ ‰‰ J ŒÓ œb œ œb œ 5 5 œ# #œ œ œ# œ œb . 5 5 æ œ œb œ œb œ œ œ . œ œ œ œ œ œ . 5 3 æ X œ. 9 sul G 4 > # 8 œ 4 {° # w~ w~ w~ w~ ˙O ™ ‰‰ J ŒÓ & ™ œ# Vln. I f f fff>. sul G O œ & w~ w~ w~ w~ ˙™ ‰‰ J ŒÓ œ# f f fff>. sul G O ‰‰ œ# ŒÓ & w~ w~ w~ w~ ˙™ J œ Vln. II f f fff>. sul G ‰‰ œ ŒÓ & w~ w~ w~ w~ ˙O™ J œ f f fff>. sul C O œ B w~ w~ w~ w~ ˙™ ‰‰ J ŒÓ œ. Vla. f f fff> sul C œ B w~ w~ w~ w~ ˙O ™ ‰‰ J ŒÓ œ f f fff>. sul C 3 œ 3 œ >œb œ œ >œb œ ˙ œ ? œ# œ œb œ œ# ™ œ ™ ? J ÓÓ œb œ œ# œ œ & œ# œ œb ‰‰ ŒÓ 3 3 3 œ Vc. p ff f fff>. 3 œ 3 œ >œb œ œ >œb œ ˙ pizz. ? œ# œ œb œ œ# ™ œ ™ ? « ∑ œb œ œ# œ œ & œ# œ œb Œ™ ŒÓ 3 3 3 œ p ff sul E fff> 3 3 œ ? œ# œ œb œ œ w# ˙™ ? J Œ œb œ œ# œ & œ œ œb œ œ# ‰‰ ŒÓ œ# œ œ œ 3 œ D.B. pp ff f fff>. 3 3 pizz. ? œ# œ œb œ œ w# ˙™ ? « Œ œb œ œ# œ & œ œ œb œ œ# Œ™ ŒÓ ¢ œ# œ œ œ 3 œ pp ff fff> 24 Kansas City, 2016 VITA ! Andrew James Harbison was born on December 25, 1985, in Abington,

Pennsylvania. He was homeschooled throughout his elementary and secondary education and graduated from high school in 2001. He received a two-year scholarship to study piano at California State University, Fullerton, in Fullerton, California, and studied piano and composition. He was selected for the Men’s Chorus Award in 2005 for his musical excellence and leadership in that ensemble under the direction of Robert Istad, and was also one of the first three recipients of the Alan A. Mannason Scholarship in

Composition at the university. The faculty of the music department chose him to be the student speaker representing the department at the university’s

College of the Arts commencement ceremony in May 2007, where he graduated with summa cum laude honors. His degree was a Bachelor of

Music in Composition.

Andrew has composed in various styles and genres, including concert music, pop songs, and music for theatre and film. He received his first paid commission in 2009, for the Hutchins Consort, a Newport Beach, California- based string ensemble. In December of that year, he became a published composer when Kallisti Music Press in Philadelphia published his art song

New Hope. He released a CD of original acoustic rock music in December

2010 entitled Songs From My Shelf, which he wrote, recorded and produced himself. Kansas City pianist Lamar Sims premiered his Five Scenes for solo piano in May 2014 along with choreography created for the piece by

25 Stephanie Whittler, and the piece will be performed by James Gibson on

World Oceans’ tour throughout Europe during the summer of 2017. A Magic

Like Thee, for SATB chorus, was chosen by The Singers, a Minneapolis-based choral ensemble, out of nearly 400 submissions to be one of four pieces to receive its premiere in May 2014 as well. In 2015 LifeHouse Theater

(Redlands, CA) premiered Paul: The Road To Damascus, a full-length musical theatre production with music and orchestration by Harbison. He also received an Inspiration Grant from ArtsKC Regional Arts Council in 2015 to fulfill a commission from FuseBox New Music to compose a work for the students of Harmony Project KC, where in 2016 he will begin a two-year

Composer-in-Residence program.

Andrew is a lifetime member of the Pi Kappa Lambda Professional

Music Honor Society, the Golden Key International Honour Society, and the

National Society of Collegiate Scholars. He is also a member of the American

Society of Composers, Authors and Publishers (ASCAP) and the American

Composers Forum. All of his music is self-published by AJ Harbison Music.

26