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BENJAMIN BRITTEN
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Curlew River ScoTe eman
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Op,71
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'Sumidagawa' of Juro Motomasa (1395–1431)
by
WILLIAM PLOMER German translation by Ludvig Landgraf Production notes by Colin Graham
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© 1964, 1965 by Faber and Faber Lto German translation© 1965 by Fabet and Faber Ltd Copyrights transferred to Faber Music Ltd 1966 First published in 1983 by Faber Music Ltd Amended impression 2008 Bloomsbury House 74-77 Great Russell Street London WC1B 3DA Music drawn by Peter Vinson Cover design by B. L. Wolpe Printed in England by Caligraving Ltd
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All rights reserved
-1SBN10:0-571-50720-4
nanceEAN13: 978-0-571-50720-7coreance SCore Permissión to perform this work in public must be obtained rom the Society duly controlling performing rights unless there is a urrent icence for public performance from the Society in force in relation to the premises at which the performance is to take place.
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Such pernmission must be obtained ín the UK from
Performing Right Society Ltd, 29-33 BernersStreet, London W1P 4AA
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The right of Benjamin Britten to be identi ed as the composer of the musical work entitled Curlew River is hereby asserted, The name of Benjamin Britten as composer must therefore be stated in association with any performance, recording or other use of this work or any part of it. Any derogatory treatment of this work is illegal. No arrangement of this work may be made without the prior written permission of the publishers.
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To buy Faber Music publications or to nd out about the full range of titles available please contact your local retailer or Faber Music sales enquiries:
Faber Music Limited, Burnt Mill, Elizabeth Way, Harlow, CM20 2HX England Tel: +44 (0) 1279 82 89 82
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Fax: +44 (0) 1279 82 89 83
fabermusicstore.com
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DER ABT, ELF MÖNCHE, VIER AKOLUTHEN UND SIEBEN LAIENBRÜDER, d.h. die Besetzung der Parabel: DIE IRRE
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Drei Tenöre Drei Baritone
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DREI ASSISTENTEN (Akoluthen) Schauplatz: Eine Kirche an einem Fluß im Marschland. Zeit: Frühes Mittelalter.
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THE ABBOT, ELEVEN MONKS, FOURACOLYTES AND SEVEN LAY BROTHERS, who make up the cast of the Parable:
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THE FERRYMAN
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THE TRAVELLER
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THE BOY |OsrTHE SPIRIT OF (An Acolyte)
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Three Tenors Three Baritones Two Basses
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THREE ASSISTANTS (Acolytes) The scene is set in a church by a Fenland river in early
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The rst performances of Curlew River were given by the nglish Opera Group at Orford Church, Sufolk, on 13th June, 1964, and subsequently, as part of the Aldeburgh Festival.
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The casts were as follows:
THE MADWOMAN
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Peter Pears Robert Tear
THE FERRYMAN
John Shirley-Quirk
Neil Howlett
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THE SPIRIT OF THE BOY
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Bernarà Morgan
HIS VOICE
Bruce Webb John Newton
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Don Garrard
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John Barrow Bernard Dickerson
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Brian Etheridge Edward Evanko John Kitchener Peter Leeming
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Philip May
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Nigel Rogers
THE INSTRUMENTALISTS
Richard Adeney ( ute) Neill Sanders (horn) Cecil Aronowitz (viola) Stuart Knuşsen (double bass) Osian Ellis (harp)
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James Blades (percussion)
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Philip Ledger (organ)
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Benjamin Britten Viola Tunnard
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Robert Cornford
Movement Instruction
Claude Chagrin
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Colin Graham
Music under the direction of assisted by
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INTRODUCTION Performance or For ormance
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This foreword was written in 1964 at Britten's request to explain what he meant by his unfamiliar use of notation in the score. Curlew River was the rst of the stage works that he wrote to be performed without a conductor, and it was essential that every singer and player should understand what he wanted. (see g. [11) indicates tremolando with a gradual, unmeasured The sign accelerando. Instruments are sometimes shown in an unusual position on the page For example, on page 21 the horn and drums are written above the voices of the chorus. This is because they are sharing the TRAVELLER's tempo, which is slower than the tempo of the chorus and organ. Whenever a yoice or an instrument moves at a difference speed from other voices or instruments, the difference in tempo is clearly shown in the score. (See the words 'Own
USal
tempo at g. (14)) Dotted barlines are used in two different ways: (1) in the conventional
way as a
subsidiary form of solid barline, and (2) when there are two different tempi happening simultaneously. (For examples of (1) see page 1; for an example of (2) see page 21.) Solid barlines are only used when all singers and players arrive simultaneously at the beginning of a new bar. (See g. [19] where the pauses over the previous rests for the chorus and organ allow them to wait for the slower tempo of the FERRYMAN, horn and
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drums.) There are many occasions, throughout Curlew River, where an ordinary pause sign is
not adequate for conveying the exible tting-in of the different tempi The sign m (curlew sign) overá note or rest shows that the performer must listen and wait till the other performers have reached the next barline, or meeting-point-i.e., the note or rest can be longer or shorter thán its written value. For instance at g {14] the TRAVELLER sings his phrase at a speed that is unrelated to the double bass's crotchets, and when he reaches the second syllable of "journey' he may have to prolong the tied quaver or he may have to make it shorter. In all passages where there are two different tempi the alignment between the dotted barlines should be thought of as approximate. Non-alignment is also to be found where a voice or an instrument has the indication 'freely (see one bar after g- [20]) or rall. (see Instruments at g. [76]). On page 43 the ute plays at the MADWOMANS's speed, but the non-alignment shows that their closely-linked counterpoint has the freedom independence: no two performances are likely to be exactly the same. This applies to the similar passage from page 47 onwards, where the footnote explains that after the entry of each voice the interrelation of the written parts is only approximate. There is no conductor in Curlew River; the instrumentalists, as in chamber music, are responsible for taking the lead whenever the music demands it. Normally the leading instrumentalists ts in with the voices, but on occasions a gesture or movement from the singers indicates the beginning of a phrase - these are described in Colin Graham's Production Notes, which are included with this score. Thę sign L shows who is to lead each passage as far as 1 and the name of the leading instrument for the time being is also underlined in the margin. Continúous cues have been given in the instrumental parts throughout the work. The music of Curlew River has been planned so that the singers can get their entries by listening instead of by relying on a conductor's beat. For example, at g. [4] the ABBOT's rst quaver sets the speed for the other singers.
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There ate no conventional time signatures in thẹ work. The word 'measured' at g. [1] is enough to show that after the freedom of the plainsong the music now moves with a pulse and time patterns. A time signature in brackets shows the unit for counting in, but the actual number of units may vary from bar to bar. (See g. (29] where the rst bar of the (4/4) has ve crotchets in it.) Where the unit changes frequently, the change is
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indicated above the stave. (See page 39.) In a series of triplets (or quadruplets, quintuplets, etc.) the gure 3, 4 or 5 is shown in every case, instead of being taken for
granted: this is to avoid any possible confusion while sight-reading.
IMOGENHOLST
Perusal Score EINLEITUNG Performance PerrPerformanc Score
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Das vorliegende Vorwort wurde 1964 auf Brittens Ersuchen geschrieben, um seine ungebräuchliche Notation in der Partitur zu erklären. Fluß der Möwen war das erste seiner ohne Dirigenten aufzufūhrenden Bühnenwerke: Es war geboten, daß jeder Sänger und Spieler seine Absichten genau verstehen sollte. (s. Ziff. [1)) heißt: Tremolando mit allmählichem, freiem Das Zeichen Accelerando. Die Instrumente erscheinen in der Partitur mitunter in unüblicher Position; so zeigt z.B. S.21 Horn und Trommeln über dem Chor, weil ihr Tempo das gleiche wie das des Reisenden und langsamer als das des Chors und der Orgel ist. Wann immer sich eine Stimme oder ein Instrument in anderem Zeitmaß als die übrigen Stimmen oder Instrumente bewegt, zeigt die Partitur diese Unterschiede klar an (s. 'eigenes Zeitmaß bei Ziff.[14). Punktierte Taktstriche wurden auf zweierlei Weise verwendet: Einmal als konventionelle, untergeordnete Taktstriche, dann aber auch bei gleichzeitigen, verschiedenen Zeitmaßen. (Beispiele der ersten Gattung nden sich auf S.1, ein Beispiel der zweiten auf $.21.) Normale Taktstriche wurden nur dort benützt, wo alle Sänger und Spieler gleichzeitig zu Beginn eines neuen Taktes anlarngen (s. Ziff. [19], wo die Fermaten über den vorangehenden Pausen des Chors und der Orgel diesen erlauben, auf das langsamere Tempo des Fährmanns, des Horns und der Trommeln zu warten). An vielen Stellen würde das übliche Fermatenzeichen zur Darstellung der exiblen Anpassung unterschiedlicher Tempi nicht genügen. Das Zeichen m ('MöwenZeichen) über einer Note oder Pause besagt, daß der betreffende Ausfūhrende warten mus, bis die anderen den nächsten Taktstrich oder Treffpunkt erreicht haben, d.h. die Note oder Pause mag lẫnger oder kūrzer sein als ihr notierter Wert. Bei Ziff. [14] zum Beispiel singt der Reisende seine Phrase in einem von den Kontrabaß-Vierteln unabhängigen Tempo, und da er die zweite Silbe von Reise erreicht, mag er die zur punktierten Viertel hinūbergebundene Achtel zu verlängerm oder zu verkürzen haben.
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An allen, verschiedene Tempi aufweisenden Stellen ist đer Abstand zwischen den
übereinstimmenden punktierten Taktstrichen als ein ungefährer anzusehen. Solche Nichtübereinstimmung ndet sich auch dort, wo eine Sing- oder Instrumnentalstimme als 'freely' (s. den Takt nach Ziff. (20]) oder mit 'rall.' (s. die Intstrumentalstimmen nach Ziff. [76]) bezeichnet ist. Auf S.43 spielt die Flöte im Zeitmaß der Irren, doch zeigen die divergierenden punktierten Taktstriche, daß der eng verbundene Kontrapunkt zwischen den beiden
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Stimmen zugleich die Freiheit der Unabhängigkeit besitzt Es werden wohl keine zwei Aufführungen genau gleich ausfallen. Dies gilt auch für die ähnliche Stelle von S.47 an; es erklãrt da die Fußnote, daß nach jedem
Einsatz das
Verhältnis
der Stimmen
zueinander als ein bloß ungefähres anzusehen ist. Der Flufß der Möwen wird ohne Dirigenten gespielt; wie in der Kammermusik ist
-or
jeweilig ein Instrumentalist sinngemãss für die Führung verantwortlich. Im großen und ganzen paßt sich die führende Instrumentalstimme einfach an die Singstimmen an, aber gelegentlich bekundet eine Geste oder Bewegung der Sänger den Anfarng einer Phrase: vergl. die der vorliegenden Partitur beigeschlossenen Regieanweisungen von
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Colin Graham. Das Zeichen L weist dem jeweiligen Instrument seine führende Rolle bis zum Zeichen1 an; außerdem ist der Name des jeweils führenden Instrumentes am Rande unterstrichen. Die Instrumentalstimmen enthalten durchgehend klein gedruckte Stichnoten. Der Flufß der Möuwen wurde so geplant, daß die Sänger ihre Einsätze
zuhörend
erfassen, ohne sich aufs Taktschlagen eines Dirigenten verlassen zu müssen. Bei Ziff. [4] etwa bestimmt die erste Achtel des Abtes das Tempo für die andern Sänger. Konventionelle Taktvorzeichnungen gibt es in điesem Werke nicht. So genügt bei Ziff. (1] das Wort 'measured', um anzuzeigen, daß die Musik nach der Freiheit des cantus planus nunmehr einem Puls folgt und sich rhythmisch gestaltet. Taktvorzeichnungen bezeichnern Zählzeiten, ohne daß die Anzahl dieser Einheitern von Takt zu Takt konstant bleiben muß: Vergl. den fünf Viertel enthaltenden ersten Takt des (4/4) bei Ziff. [29]. Wechselt die Zählzeit hāu g, so wird dies über dem Notensystem verzeichnet (s. S.39). In einer Reihe von Triolen, Quartolen, Quintolen usw. erscheint die Ziffer 3, 4 oder 5 durchwegs: Um jedes mögliche Mißverständnis zu verhüten, werden diese Bezeichnungen nirgends als selbstverständlich angenommen.
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IMOGENHOLST
Übersetzung von Hans Keller)
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NOTES
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CURLEW RIVER is based upon the medieval Japanese No-play, SUMIDAGAWA, by Juro Motomasa. Grateful acknowledgements are offered to the authoritative translation made by the Japanese Classics Translation Committee, under the chairnmanship of Dr. Sanki lchikawa, and published in Tokyo in 1955 by the Nippon Gakujutsu Shinkokai Japan Society for the Promotion of Scienti c Research).
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producers
of CURLEW, RIVER make
substantial use of Colin
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Graham's
Production Notes, it is requested that an acknowledgement of Mr. Graham's original production should be included in the programme.
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RIVER
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Fluß derMMöwen
Per
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Libretto by
BENJAMN BRITTEN
WILLIAMPLOMER
(1913-1976) The ABBOT and his company of MONKS, ACOLYTES and INSTRUMENTALISTS walk
NO
Not
singing in procession to the acting area.
ziehensingendin Proressio
ENAKOLYTEN und INSTRUMENTALISTEN
Slow Lento ALL VOICES ALLE STINNEN cresc.
mance Praae
um, Ré-rựm Cre- á tor,
té
Prae-sta, i Pepi s
e.
per
p
cle
sci-mus, Ut pro tu
Pa-tri- quecôm-par 0-ni - ce, CumSpí- ri-u
or Pera
dim.ondrll,
méod
Pa -rádi-to,
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nur MoNCHEwithoutBasses) dim.
Voices .
Sis práe sul Ne pol - lu
et
-
3. Régnansper
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au
-
stó
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a
an- tur
cór- po - ra.
Ő-mne
sáe-cu - lum.
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men. .
The ABBOT comesforward to address the çongregation. Der ABT ritt vor,um die Gemeindeanzureden.
Tenor Solo
Monks
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measured
men.
misurato 3) (with
Perustl
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soft 4)
or
Organ
Drums
with thimbles
Perc
LP
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(no cresc
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always sustained Organ
Perc.
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olways Indicates tremolando with gradual,unmeasured accelerando
Thisedition 1983 byFaberMusic Ltd
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ABBOT ABT
would have
Good souls,
aufwas ich
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know sa -
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Organ
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Abot The Bro-thers have come to day Heut kg -men die Bru - der her
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show yoU Ein Wun-der euch
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Abot How
in
in
sad
mis-chance
bitt 'rer
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as kom ven žer-chen von afGod's Got-tes grace Gng-de. MONKS(in unison);
MÖNCH
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pp.
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The Cur-lew
Ri
Der Mö-wen - u
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ver
läuft,
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Nichtlan - ge her,
A-mid souls. a-kin to you, Un-ter See - len so wie ihr
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A sign was gi-ven of God's grace.
Ein Zei- chenkamvon Got:tes Gno-de
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Organ
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moving forward animando
Abbot
As can-dle-shine Wie Ker- zen-sche in
(smooth)
Organ
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In
a
dis - mal
A freshet
place,
spilt
In
Ein Quell ent-sprint
In der dunk-len Nocht,
a
des-ert waste,
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cresc.
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in no -cence Un- schuld gar
Out
A
shin - eth guilt,
Mehr sche int
So
als Schuld,
sign
was
giv - en
of
kom
ein
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Von
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Not Fo
Abbot God's gOod
Got- tes
grace.
Gna
rman al Sco
de.
piùf
Organ
hard stidks
Perc.
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cresc.
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4
lively
core Nance
They exhort the congegation. Sie rufen dieGermeindeauf.
vivace
sust.
Abtot the souls of all that für See- len, die om
for)
tet
Tenors
By
all
the way- side,
Ein- samster-ben
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oh- ne Freund.
sust.
to
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Baritones
that
fal
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fo
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that die
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len
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By way - side
all
die ster - ben
oh
a- lone.
Freund.
SUSt.
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of
all
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US Organ
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that fal am Wee
By
the way - side,
-
Ein-samster - ben
USa
one
USal
FOerfo
Drums
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rall.
Abbot O praise
0 lobt
our God that lift - eth up The den Her'nder die er - hebt, Die
fal- len, ie- len,
the lost.
least.
the ver
ver-lor'n,
tan.
T Pra
Wot Praise
Lobt
our den
eth The al Qut. die
that
Lobt
er
God. Herr'n,
that ift
er - hebt
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auf.
least.
en. len,
ve
tan
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the ost.en,
the ve
the ver.Jor
the
least tan.
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Lobr
den Herr'nder die
er- hebt, Die
e- len,
ver
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Or o
Organ
sof sticks Perc.
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our Godthat lift - eth up The fal-len,
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Slow Lento
moving
TheMONKSwhoare to play theMADWOMAN, the TRAVELLER and the FERRYMAN are
andante lento
ceremonially prepared.
e moN
5
diedieIRRE.den REISENDEN spielen sollen,werden
feierlich vorbereitet.
Abbot
Be -lov-ed,
Ahr
at
Freunde, nun
tend
To oụr mys- te- ry,
For
schauet Das My- ste- ri - um.
dyingOway
Organ
re
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Flute
mutedcold Hom
p
Harp
marked muted
Pp smooth
Drmance Double bass
Foro CN
Drums
Perc.
For
For
Flute
Hom
Drmance Harp
Rer Viola
Db
Perc
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Score mance
Score | nance
Flute
Sim
Horn
NO
Ham
Sre
brmance
m
Viola
rm
No P
Db
NO
Drums
brmance, Flute
6
Per Score
No Penance
NO
Pe Score
K Penance
Horn
Pe No
Harm
mao
Srmance Viola
Pe
Db.
NO
No
NOT
Perc
re rmance
omance salScore
omance 6alScore
Sre brmance
nance Score
SCore
Pe ance
Flute
Horn
Per NO P
N rP
re
brmancet vea
Db.
Drùms
Perc.
Ure brmance
ance Score
7
NSCOre mance|While
the MADWOMAN and the
| Während die
IRRE
und der
Flute
Per Horn
p
Cdim.
NO
Per
NO P
Na
dim.
dim,
Sre Sre ormance%
m
Viola dim,
NO P
Db
NO
dim.
dim,
Sre
mance
Umance
Score l
mance
bIScore
Score
Score ance
ormance
%ance
9
TRAVELLER leave the acting area with their ACOLYTES, the MONKS pl ace benches to one side: then, with the ABBOT, they sit on them,
REISENDE den Sthauplatz mit ihren AKOLYTEN verlassen, setzen die MÔNCHE Bänke auf eine Seite;dann setzen síe
he Flute dim Horn
dim.
dim,
Harp
Drmar
usa rfor
FOfo
Viola4
US
FO
dim.
Db
dim. Drums
dim.
Drmanc
representing a chorus of PILGRIMS in the ferryboat. The FERRYMAN is revealed.
sich mit dem ABT auf sie und stellen einen Chor von PILGERN dor,die im Föhrboot sitzen. Der FÄHRMANN wird sichtbar.
8
Slow Lento
The FERRYMAN comes forward.
Der FÄHRMANNO
tritt Vor,
Flute
FO forn' open
Foe
Horn
Harp
orman Viola
orer
Db.
dim, hard stidks Perc.
ormance
h f eovily
omance
al Scor
omance ralScore
alSr
core
manceIn
FERRYMAN FÄHRMANN
P ance Per I
lch
am the
fer-ry-man.
bin der Föhr-mann.
lScore orPmance
row the fer ryboat
lch führdos
Fabr
boot
Hom
J
unmuted,non vibrato
Viela
-P
E dim.
dim.
mance
Db
sal
dim. LDrums
Perc.
otFor
dim.
P
otFor
Lot For
Ferryman
9 vertheCur- lew, U-ber denFlußhier,
mance
Horm
Vioa dim.
Our
wide
and reed
Den
weit
ver-schilf
S
Perc.
Y
-
ter
P
Pe
rP
NO
m f arked
-
Co an
manca,
Horn
Viola
p
SrP an
In
NO ormance aScore
- ver-y sea
Son
- demTa ge,
PeorPe
p L
Pec
mance
e
An je
omance
alScore
e
SCore Amance
ormance
nance N SCore
Ferryman
C
lch
demWet -ter
he
row
fak
stok
das
Hom
Viola
Sre brmanc
Drums
Pec.
Pert on
eruscO erfo
eru
No Per
Ferryman
boat
boot. Horn trem.
Mola
re
J
ar
cON
brmance
Oan
Db.
Perc.
9 H
F f lowing con moto
tFe
P
Tenors and
aritones
ABBOT and
tween wo Se, Zwi - schen zwei
Basses
Ure
bmance Ggan
Zwi
schen zWei
king -doms..
the-ri-
Rei - chen hin-stromt
EA
RFo ver. der
hen hin -stomt
On
Hier.
Her
Not FOer
Db.
mance
side seits
emance
olScore
mance alScore
thedas-
his e dies sice seits das
always sustained
Horn
Sre
his dies
NotF
core
rmance
ance
e- West cheLLano, Che Land,
Land West
Land west
of
che
Core ance
dim,
fer he be
ethe-Fast -em-fens.
Per
Und
West Lond
Und dort
- ther. the
East- ern
dri - ben des Os - tens oor.
Sot
Der-
Organ
mance
alSc rma Flu st
lows.
alSc rma
Be - tweentwo
Zwi
ver
ows
FluB strömthin.
Schen zwei
Abbot
&
B.
n
ows |Be tönt hinZwi
-
tween
DWo
schen zwei
king- doms, the
Rei - chen, der
Flufsri he
H.Ver
ows.
FluR strömt hin.
Ogan
manc
USal S e Forform
As before
form
Come sopra
10FERRYMAN FÄHRMANN.
To- day
3-
is an im-por - tant day,
Ma - ny peopleneedthe fer ry
Heut' ist ein be-son - d'rer Tag,
Vie - le wo-Hen auf die
Fh - re
Organ
Horn
Srmance
Viola
RrPe m e Pe
nan
dim
NONSr P
Db. dim, Drums
wp
Perc.
mf heavily
fl
fl
fl
Smance
mance
Score l
mance alScore
im
Score nance
mance
FerynanEPe
enance Score To reach the
Der Flu
zu
-ther barnk,
u - berquer n,
the
fol
ben
SOm
are sich ga-ther V melt dos Vok.
Horn
rola
NO
E dim.
2
rmanc
dim.
Drums
Per a
Pere
PeruSC
Pes
Per Ferryman
Pry
-
tet vor demGrob,
Als wär's
PeruPer r
eir
Horn
Mola
rmanae Db
Pel's
Pe
No P
Perc
Not
NO Smooth
FerymanE shrine
fo
Grod
tum.
nem
rmance
Nsal
Viola
ON orm
or N
Db.
Perc.
rmance
ormance
al Score
omance alScore
day Jahr
SCore
Srmance
Pe Score
Ferryma
Therewas a
e
mance Perc.
aance
snance
The ri Die Leut'-
bu- ri - al:
Be-er- di -gungi
ver folk
be-lieve Some
spe -
vom Flus - se glau- ben Be-son -
Drums
Perfo Perus ore nce PP=
orPertonc
Perus
Perus
orPer
Ferryman
de
is gäb's
there dort
To heal he
Die Kran-ken
Hom
mance
anc
f
P e
Perc.
Rers
Not P
Not
FerymanH
mance
sick
hilft
core
in bo-dy- and
soul.
an Korper- und
Geist.
Horn
perPer
eru
Peru
per Per
Viola
Perc.
Smance
ormance NO
Score l
PPp:
ormance
Score l
Sre brmance Ferrymarn
Score mance
5
ee Pe Score ance -day. Deshalb
is anim-por tant y
Mark
ist heut'ein wich ti-ger Tag.
this
open
Horn
well,
oP
non vib,
Viola
E dim.
bre brman
p=
dim
dim.
dim, Drums
Perc.
Jheovily
Per orPer
dim.
Peror Per
peorPer
Ferrymar
allof y al
Mark this
wel!
Merkt's euch
gut
Horn
re
brman Perc.
Peru
He sits in the boat The TRAVELLER aporoaches. Er setzt sich in das Boot.DerREISENDEnāhert sich,
13) Slowly trudging Andante pesante
For t Per
Per ForPer
Harp
Sre brmance
Pprès de latable-withnails
heavy (but sustained)
sim.
sal fornN
Harp
Db
ormance
dim.
iormance salScore
P (butheavy)
iormance salScore
salS
mancel6
ER
t
from the
Icome from the West-land.
lch
Harp
Score rnance
(Own tempo, slower than instruments) 4T(eigenes Zeitmas,die Viertel angsamer als die der Instrumente)
West-land
qus dem West-land,
komm aus dem West - land,
on
salS
jOur
auf
der
ney. Rei - se.
For
mance repeat (in tempo)
PeruScor
Db
Eor Per nd eru
Peru
For Per
F t or Per
Traveller Far,
far north-ward,
Weit.
weit nord-wdrts,
mance
Haro
far, far north - ward
must.
weit, weit nord- wärts führt
Perna
sie
mich;
Per SC
Per
Per
Pe
Db
NON
NO
pocof Traveller
mancé
Wea -
y daysof ra -vel
Schwe
re
-
Rei-se-
to
-ge
before
lie. lie
-
me
gen vor mir.
alSco
N rPman
Harp
N D6
mance
# See Introduction, p. ix s. Einleitung, S, %
omance
olScore
omanc&
alScore
dim.
Drmanco
1RTavele ABBOT
manc al Score
tempo)
P SGore al ABT
Traveller 9E
P
Far, tar Weit. weit Tenors
north nord
ward
wärts
it.
Bari tones and Basses
he muB
must-
er
Wel
Far, Weit,
(with soft 4')
weit
mance
Organ
y PP
Hart
OS
Oer
dying
Db
dyingaway soft sticks,centre of drut
Drums
re
ormanę
Qrmo alSC
dim
om
Abbot Wea
Schwe
Ý re
days of Rei - se
tra - vel lie ta - ge lie -
alSo
be fore gen vor
him. ihm.
Schwere
Vea
days.
vor
1hm.
re
ormana
re
Harp
Sim. Db.
TDrums
Perc.
rmance
đin
omance
alScor
ormance
al Scor
re
rmance
Score
Score
Nmance
TRAVELLER REISENDER
cresc.
P(onimating
Be-hínd me, Im Rük-ken,
orPmance Heaths
un-der clouds and mist, un-ter Wol - ken - dunst,
and pas tures] have cross'
Hei - den und Wei-den ich durch-zog;
Har
e ormance cresc.
(b
o
USal
Usal
TravelerE
FOrform ot
Woods
Wald
andnoor-lands und Moo
re
35
havepass
ich
durchschritt.
Usal
F to
Harp
rDrmance
anc
an
Perus co
D
Pe
Per Traveller
Ma - ny
a
pe-ril,
ma-nya pe -ril
I
have
Ma - ny a peril | have faced; Mon -chen Ge-fah- ren hielt ich stand;
faced,-
Man-chenGefah-ren, anchefoh-ren hielt ich- stond;-
e rmanca Viola
m Drums (soft sticks,centre of drum)
Per
P r erf
Pe NO
lS
Pe NO
Perc.
rmance
omance alScore
omance alScore
ralS
bre
ore
Score ance
Srmance 16 (d= instruments")mance Axpressiye Traveller
E May God preserve Be -schu -tze Gott
- ing
men!
die Wan-d'rer
oll'!
way-far
May God
pre- serve
Be-schü - tze
Gott
way- far ing die Wan- drer
Flute Solo Horn
Harp
Srmance
noturale
Viola
Lo Db.
Drums
Perc.
re Srmance,
171Slow
Wento
Traveller men!
all'!2 Flute
The TRAVELLER arives at the ferry.
)
DerREISENDEkomt bei derFahrean.
nance SCore
pers
Pe
Here- is thebank of the CurlewRi
ver,
Hier- ist das U-fer desMö-wen us- ses, Z
Horn
re
Harn
brmançe Vigla
DE
Drums
dim,
Fo
hard sticks, naturale
Perc.
re rmance fl
Sor ormance
al Scor
rmanc alScore
lS
Sre
orence
brmance
core nce
(Owntempo,asat (4) eigenesZeitmaß, s. 14)
Traveller And
now ich
Und jetzt
have
reach'd the
die
Fäh-re
fer-ry
er - reichte,
(Traveller's tempo) Hom
N
près de lo table
Sre Harn ormance
Sa
sim.
DB,
PerPe
asa
NotFo for Nc
NotFor or
otFo
The FERRYMAN prepares to cast off. Der FÄHRMANN bereitet sich vor,abzustossen.
Traveller
E And
nov
Und jetzt
|
have
ich die
reach'd
the fer-
ry.
Fähreer-reich-te.
Sre brmance
fdim.
Harp
O P m
pe fdim.
NO
NO
qyicker
più mosso
brmance
lch seh'
fer ry boat
dos Föhr
boc
a-bout
das legt
to
bald
leave.
ab.
Šiow-Lento
Horn
erus F erf
an
onc
L
Viola
im Db.
Orume Perc.
bre
mance
ormance
alScore
omance alScore
re rmance
Pe Score Score el orPmance rPnance
18 Traveller
Fer - ry-man! Fähr
mann!
Horn
NOrP
LS Viola Drums
Srmanc
scO
conan
Flowing- Conmoto TenorsB &eritones p9
er
Be - tween two
king - doms, O
Zwi -schenzweiiRei - chen, 0ABBOT&BessesPp
No
Be
tween two
Ri
On-his.
ow!
- chen, O
Hier-
ow!
R
king - doms, O
Zwi - schen zwei Rei
- ver.
Flug strömhin!
FluR
Hier
ström hin!
side, the. } land of
die. Sei - te
this
side.the
die
Sei- te
the
iwest-li
ches
land of
the
west-li ches
re
rmanc
L
Traveller
alormN S HaveHast
(41 Horn
S
orm you a du noch
place for me? Plotz für mich?
K
A place for me in your boat?
Noch Platz für mich in dem Boot?
E Drums
Perc.
E (PP)
fl
fl
ormance West.
the-
Lond.
de
o- thes,dyke iand marshand Amere,The
and" -
ren Deich
und
Morsch und
Mor,
Das
ther,dyke
and
marsh and
mere, The
nd
Marschund
Mor, Das
Land
of
Lond- des
he
Öst
Abbot West.
Or
Lond
Auf
der
and
- ren Deich
Land Land
of des
he öst
Organ
mance
ormance
al Score
ormance
alScore
alSc
re
nce
Srmance
FERRYMAN-FÄHRMANN . Ve-ry wei! Ja
-
sír.
wohl,
is room
for you.
Pray
Es ist Platz
für dich.
Steig'
There
Hem.
get- in
nur
ein,
di
|Drums Perc.
dim.
re
ore nce
Srmance East -ern - li
Fens,
he
chen Moars,i
East
- ern
Fens,
i
East- en
öst - li - chen
the
. chen Moors,i ost
Ore Fens. Moors.
Perfo nce erusc
East- ern Fens.
i-
Noi
chen Moors.
Organ
rmance,
salS
19KUsal (Madwoman)
otFOÍorm
UsalSN
ot Forforme
otFo
lively Flute
rall.
LP
Quick Presto
2P
errymar
SrmancR
Pray. Steig' rall. .
get
nur
alSc
But rst Docherst
may |
ask you
möchtich frd- gen:
Whatis that
Wasiist
dey
Perusa
Per" r
Horn
Db.
rall.
Lrem
Drums
Perc.
Dre fi
,Score mance
The FERRYMAN rises DerFÄHRMANN ertebt sich.
mance
PP-
mance alScore
mance alScore
alSc
re
SCoreance
rmance
Score nance
20(distant)
MADWOMAN (of) IRRE (hinter der Szene)
peorPe
23
(freely)
You mock Ihr höhnt
me!
You ask
mích!
Ihr fragt
Whi-ther I, whi-her
o.
Wo- hin ich, wo-hin ich geh:
mich!
(lively)
Flute
Ferryman
strange noise Up
ormance
the
high-way here?
wir - re Läm Auf der Lond-stra
RFor P mhce Pe orP
pesrPe Whi - ther
Wo - hin
I,
whi -ther I
Score
dort?
You mock
gO.
ich, wo-hin ich geh:
Ihr hhõhnt
me! mich!
You ask Ihr fragt
me
mich!
Flute
Ore
ormance FerrymanH
for
May didyou seeVhoit tiarjs sing:ige? Ei-neask, Frag', saht ihr quch Werdasis ist,der dortsingt?
rusaN
Db.
NotFe
otFO
Not Medwoman
(off)
How should I, how should I, how shouldi know? Wie wüsst'ich's,wie wüsst'ichs,wie wüsst ich's je?
Flute rmançe
Ferryman
NO
P
TRAVELLER REISENDER
Perusal
Perfor r
Yes, Ja,
Perusal S
P r er
the people were watching A wo-marn in the road die Leu-te be-gaff-ten Ei-ne Frau dort auf der Strasse
Whc
Sie
Db
rmance
ormance
al Score
ormance
al Score
alS
Sre
core mance
Score mance
Drmance24
Dassionote
Madwoman
(off)
Were the nest of the aur- le roodiv)
Wo das Nest mei -ner
ls not edwithsnow
Mö -we Nochnícht fü t derSchne
Viola
Traveiler
re Srmance
seemstobe cra-y istscheinbarir-re.
Wsns9
sFmthe Black Mountains.
&)-
D
Macwema Where che eves of
W
s
rus
rfor
possiarote
the lambAre untorn by the crow,
dieAt-gen desLomm'sNichtzerhocktedie Kräh
NotF
The cr-rion crowDie Ne- bei-kröh'.
Viola
bre
Traveller
Sco
Srmance
The peoplewere a mused Whentheyheard her singing
Die Leute unte-hielt das,Wennsie ir Singenhä-ten:
P r enan
Db
J(freely)
penp
Madwomar
(off
Therelet me, there let
(lively).
er KOor Per
THE MADWOMAN appears.
Die IRRE tritt auf.
me,therelet me g0
Dot-hin ich, dort -hin ich,dort -hin ich geh'!
Flute
FERRYMAN Slow Lento FÄHRMANN
re Srmance
46
OCcel,
TravellerR They all be- gan laugh
Dannmugensie laHorn
ing.
- chen.
rus FO
She is
com-ing
this
Siekommtschon die- ses
Wegs
nat
Db Drums
Perc.
re fl
fi
rmance
omance
Score l
ormance
al Score
S
mance
Kance
The TRAVELLER sits in the boat Der REISENDE setzt sich in đos Boot.
f
eScore orPemance
Madwoman
pe
25
Let me in!
Let me out!
Lot michein
Last mich ous!
O
Flute
Ferryman
mance
I
will de -lay
the
lch
hal - te jetzt
dos Fährboot auf.
fer-ry
boat.
I
TravellerE
should like toseeher.
mad-wo- man,
lch säh' sie soger-ne.
For ma
or
Horn
will wait for the
lchwart'nochaufdie Ir re,
For
Db.
mance Perc.
onc Per ore Per
Pp
core
Drums
fcely)
or Perfonce Perus
Perus orPer
22
Madwoman
Tell me the, tell me the way lch nicht verstehinichtversteh'!
Let
Tell me the, tell me the way! lchnicht ve-steh,nichtversteh'!
me
in!
Log michein!
(lively)
Flute
mand
USaS
orm
FERRYMAN, TRAVELLER,ABBOT and CHORUS FÄHRMANN,REISENDER,ABT und CHỌR
USalS
(chattering freely in two parts)
(freies zweistimmigess Reden)
NotFoN
nce Not Fo mance
mance |Score
NotFo
She is comingthis way!
SiekommtdiesesWegs! .
Not PO
We will wait for the madwoman, %.
Wir erwarten die die Irsinige.
mance al Score
Score
mance
nce
SCore ance
P Sc PE
Madwoman
Let me out!
How can you,how can you,how can you say Wer wugt' es, wér wugt' es,wer wust'es je
Logt mich aus.
Flute G oroodly)
unmuted
Viola
Ferryman
Traveller, Chons rus We wish to see her. %.
S
Wirwoll'n siesehen..
or orm
Db
24)
passi Sionate
RFor
Madwoman Why
the point
of
Wie durch Spi -tze
an
ar - row
Di -vid-eth
the day?
des Pfei -les Die Zeit uns ver- geh'
Why to live is to warm- An i-mage of clay Wiedes Le-bens Ge-stalt Nuraus Lebm be.steh"
Flue
mance Viola
P Ferryman
Traveller, E t and rus
Dh.
25 fuety,
P Woman
manceé Flute
Dun-kel
wie
eh'2
n
Let me in!
Let meout!
Logt michein!
Loßt mich aus
T(lively)
Iturn me,Iurn me,
Von hin,nen, von hinnen,von
xfo
Viola Ferr
Travelle S Abbot and Chorus
NO
Wewishto hearhersinging. . Wir woll'n sie singenhoren.
We will laugh at her Crazily singing.
Wirver-lochen sie,blõdsinnig singend. %
mance
manc olScore
mance
Score I
re
Drmance
Score
Score | ormance
omance
-3 turn mea -way!
Turn me, I
hin- nen ich geh'!
turn
me
away!
Hin-nen ich, hin- nen ich
KiFor
geh!
Flute
Ferryman
Tevelles, Chorus
Pelore
Srmar Db.
Perusal Score
Perusal S
NotFor Performance Not PYormance For
NotFor Per
Madwoman
ce
Sre
repeat ad Jib.
brmance Flute
bre
al
Madwoman
dim,
Perus
Perus orPerfo
26
For Perfo
(broodly)
Pert Eor Per pizz.
Viola
f dim)
Slow-Lento Travelte
Pp
horus
brmar
She Wan - ders
rav
Sie wan- dert
ra
ing send.
raw
-
ra-
a
lone
send,undganz al
ing
and all
lein
Fo foN Organ
Sre ymance
&tFo
PPp
mance
Score |
uSa
wmance
olScore
nce
nce
mance
Shearri ves at the ferrÝ and takesa few steps to the lef, then to the right. as íf dancine. Sie kommtan der Fähre an und geht einige Schrittenach links, donn noch rechts, wie im Tanze.
210
MADWOMAN IRRE
Clear Wie
Fantastic-Fantastico
a
as
sky
wol-ken -lo
with-
ser
out
a
Him-mel
cloud May
be
klar
oft ein
ist
a
mo-ther's mind,
Mut- ter- herz,
Flute
P
7
près de la table t
Pp
Harp
arco
For o
Viola
For
MadwomanH But
dark- er
Auch dunk-ler
than
a
als
die
star-less
schwar-ze
night
With
not
Nocht Ganz
one
stern- los,
gleam, not
one,
No
oh - ne
Licht,
Kein
gleam to Licht
show the
zeigt-
ihr
den
Flute
mance,
cresc.
Tesc.
Harp
Yidla
67 Madwoman H - dccel.(freely)
manceFlute
7.6
accel. (freely)
cresc.
m
28 AII
|Al -
is- dearbut uncleartoo,
les-
klar doch un-klar auch,
rm
Harp
accel.(fre ely)
Viola
mance
L Scormanc
Umance
alScore
Pp
way.Weg.-
Ure brmance
Score al
agitato 0gitato
Madwoman
Love for my Lie - be zum
or
child con-fus-es me: Kind, die machtmich wir:
(59)
Where is
Wo
my
dar - Iing now?
ist mein Lieb-ling jetzt?
Viola
f
fp rall. .
-3 voma
Sre ormanc
Oling now
Where is my dar Wo ist mein Lieb
ete
ng jetzt?
Where?
Where?where?
Wo2
Wo?-Wo?
Shall |
askthese travel lers?
OFrag'ich die-se Rei-senden?
Viola
orPe
Or will they al - so laugh
Oder, grausam, verlach
per
Slow
29Lento For P
ABBOT(60) ABT
at her chen sie sie
As she wan Wenn Sie wan -
ders rav dertir
As she wan -
dersrav
ing. re
tal
ne re,
and all
ing,
and all
re,
und ganz
und ganz
a
ol
CHORUS (inunison)
Sre brmance
core
nc
Wennsie wan - dert ir
ing.
ray
-/re,
aal -
Organ
Slow-Lento
(owntempo)
AOMAN
30
FO
NotFor
She falls to theground. Sie fallt zu Boden.
Does he know. his mother's grief?
(owntempo)
orman
bn AbbotA
Kennt er sei - ner MutterSchmerz?
nan
core Oance
Quick
Allegro
be
lone? - lein?
Dew on-
the
Rrass
Tou ouf- dem Gros
Sparkles like Ihope And then is Hoffnungs voll strahlt Unddann ver
(with Reeds or mutations)
Organ
re rmance fi
nce alScore
ance
+ The crochet is here a symbol for a whole bar of
Die Viertel ist hier Symbo! für einen ganzen
ormanc alScore
Takt.
omance alScore
ance Score
ormance
Dew Tou
gone.
-geht.
on ouf
he dem
Score mance Spark-les
grass
Gras
like hope
Hoffnungs - voll–
And
then
EorP
is
gone.
Und- donn ver geht.
strahlt
Organ
Drmance
31
MCAN
Dew Tau
on–the
ouf
nance
Score mance
Score l
Spark-les like Hoff-nungs-voll
dem
on
Dew on- the... Tau- auf- dem.
hiope,
strahlt,
quasi
gliss.
re
-nothing
sdim.
SCoreance
core nanc
Drmance
the. dem
rem.
1 Harp
the..
auf dem,
32 Shesinksdown. Z Sie sinkt nieder.
Pp
Perusal Sc
Madwoman
les
here
it's
gone!
Ist
hier,
ist
fort!
NotFor Per
Harp
Drmance
ABgoT
PP(whispered)
Peru Core
or Perrance
Perus
NOrPer PP
Organ
mance
mance
alScore
Is
she
Soll
sie
T
mance olScore
Pern
rPe
ore
Scoreance
ormance
Score mance
31
dim.
r
Abbot pass her
days
Com-plain ing
of
their
gen
ih
ren
Nur
Le -ben Jang
CHORUS O Baritones &Basses Tau
ou
klo
bit - ter taste?
bit- t'renSchmerz?
dem
re
dim.
an. orman Salo
usarfor
afor
erusa
E It's
rs
Ist
Te
It's
here
hier,
Ist
here,
Not
hier,
Solo P.
...it's
-.ist
ore -e
...it's ...ist
gone!
Abbor
ormar
SalS
orormance
sal Score Kor ormance
(ral l)
Organ
The MADWOMAN raises her head and gazes into the distance.
33 DiemIRREerhebtihrenKopfundblickt easured in dieFeme.
ore
ormance
A
OMAN
misurato
S
Near
the
Black Moun - tains There
|Nah den Schwarz-ber - gen
Dort
I
ich
Flute
Vila
or Per'
o
Db.
ore ormance
7»6
ormance
al Score
ormance alScore
alS
Dre
Score I
Srmance Madwoman
mance alScore
ForP mance
dwel.
There
dwelt, Far,
Im Wes - ten
wohnt
lebt'
far
in
P
r
the West,
ich fern von
hier,
Flute
Lpp Viola
ce
736
SrmanceDb.
erfor rusa
Rerfor erusa
)
erusa per
Madwoman There I
was
liv-ing
There with my on-ly
With my child,
Not
Dort leb-te ich mit mei-nem Kind,
Flute
child.–
Mitmei-nemeinz'gen Kind. -
NotN
L Viola
Srmance
S
m
orP n
Db.
34
Lpp
otFor P
mating
animato
cresc.
otFor
Madwoman
Oneday
a-las he vanish'd,
Dochei-nes Tags verschwand er,
re Srmance
Flun
One day Ach, do
he
vani sh'd:
ver- schwand er:
ma
mpcresc
(6) muted
Horn
Pesc,
NO rP
fola
re rmance
NO
Db. 7
mpcresc.
umance Score
pe
mance olScore
re
rmance
mance salScore
mance al Score
66)
al
Madwoman
With si - lence ev -'ry roomwas DasSchweigen je-der Kam-mer
FluteG
Full of
full, füllt,-
his
ab-sence,
Eor
Mit sei-nem Fern - sein,
L fresc.
Horn
-
fresc. Viola ormance
mfcresc. Dh.
fnsl.
For
Madwoman
on-ly childwaslost,
Roar-inglike thesea
Meineinzig Kindver-schwand,
BriHendwiedieSe
lute
ormancě Hom Viola
O
Db.
Madwoman
Seiz'das, a slave By a
Srmance
stran- ger,
AlsSklav' ge-roubt Durch den Fremd-ling,
a for-ei gn er den Aus-län- der.
Flute
-o
They Sie
dim.
Horn dim.
Viola
NO
(as ifz)
D
mance
smance al Score
omanc alScore
alS
Score mance
ormance34
in Madwomar
told me he was tak-en East- ward, sag-ten,da er fort-zOgOst - wärts,
)
mance ol Score east,-
OAHongthedrovers'uak East, DenViehtriebentlangNachOst, -
east-ward,
ost-wärts,
east.
Ost,-
Flute
Lp (asif 7)
(osifz )1
e
Horn
rmanceViola
(asif 7)1. PP
D
sÍor
Pp(asif 7)
otFor
otFo
36ower,. Piùlento Madwoman
Clear and
un-clear in mind.
Klar und un- klar im
Geist-
East ward
wan- der
Ost- wärts zieh'
ich
on,
da - von,
re
Drmance Harp
Db
perPe
pe
per
pizz.
NO
She weeps Sie weint.
69 Madwomarn
Drmance
chon,
sCO
Tong--in
Seho'mich ngch mei-nem Sohn.
Harp
in
long- ing
for
my
Sehn mich noch mei-nem
Son.
Sohn.
Ppmarked
dim
Not
XNO
Db.
re
ymance
ymance
alScore
mance alScore
al S
ore mance
mance
mance S Ncore
Slow, as before Lento, come sopra
37
35
ABBOT &CHORUS
(in unison)
A
thou - sand leagues may
Und te nn
ten
tou- Send
Sun
Mei
len,
Sun (Mei
der
A
len
Dir
mo- ther
and
Mu
und
-
ter
her
den
Ogan
mance
J)
re
-e
or
or
Harp
repeat (in tempo)
sa
m
For Abot Chorus
,But that wouldnot di Das wür - de nicht ver -:
son Sohn,
mi nish rin - gern
Her iyearn-ing,
her 'yearn-ing
Die 'Sehn-sucht,
die Sehn-sucht nachdem
for
her
mance
Drgan
erus
0)
erus
FRerto t
Harp
TRAVEDR REISENDE
38Flowing
dim.and rall.
mf slowly lento
mance Will
her search be at an end
Here, at the Cur-lew
Find't die Sa- chehier ihr End Hier an dem
or
hild.
Kind.
Ri -ver,
Now shehasreach 'dthe Grlew Ri-ver?
MB-wen- us-se,ONun
do sie kam zumMöwen- usse?
Nsal S
For
Organ
fl
fl
mance
ormance Score
ormance
alScore
1S
ore
core
ormance
Score ormance
The MADWOMAN rises
Die IRRE erhebt sich
(asat B)
OMAN
orormance
P clearly
Fer-ry-man, Let me get in-to your boat! Fähr-mann, loß mich hin-ein in dein Boot!
The ri ver– ow - ing– be Der. Fluf trennt hier die bei -
ore
The ri - ver
i ow ing
Der Fluß trennt
ormance
hier
be
die
bei -
On Auf
tweentwo_realms den- Rei-che
den
this side.che Land.of- thedie - ser- Seit' iwest- li ches.
his
Dween pwo realms
side. the
Aie - Ser Seit die
Rei - che
alSc or 'Land of
the
iwest-li - ches
Organ
otFo
otFo
otFo
MadwomanH
michinein indein Boot
Fer-ry- man, fer - rY - man,
Fähr-monn, Fähr
mann,
PP Bt ore ormance
dim.
On
the-
Scmar
&West.
Auf- der
Lond
Abbor
On Aut
o-
ther, the
on -
East
der'n',des-0s
em
fens.
tensMoor.
dim ther.
the
de
an
der'n
the
des
East- ern
Os
tens
fens.
Moor.
Organ
() 390Lively vivacel)
ore
NANN
ormance open
How canI take you in my fer.ry boat, Wienähmich dich hier in das Fähr-boot,
Un-less you tell me Where you have come from, Wenn du mir nicht sagst Von wo du her - kómist,
Horn
Viola |Drums
(hard sticks)
ere
ore
mance
fl
fl
sal
E
mance
Score l
Umance
olScore
SC
mance
Kormance sal Score
Sal Score
9)
For ormance
Ferry And whereyou are Und wo
Horn HE
Vila
NSal 3
- ing?
For .
du jetzt hin-gehst?
-P E
nance
sco
Drums
Perc.
oer pe MADWOMAN
IRRE
56
I come from the Black Mountains!
lch komm'vondenSchwarzbergen!
Flute
6)
pet
ForP
Se arching for,searching for Some-one.. |Su-chendnoch,suchendnoch Ei- nem.
nanc
For Pernd
Per
tFor Per
8)
I tell you, BlackMbuntainwoman,
So you come from the Black Moun-tains! So. du kommst von den Schwarzber- gen!
ans
ei--nem...
Per 41
PP(imitating)
Some-one...
Sco Pe n
Pen Sco
Viola
tFor Per
Ich sag' dir, Schwarzber- ge-Mtter,
alSC
Viola
N orP ma Db.
orp
or
Drums
Perc.
hance
PP
mance al Score
manc alSco
orence
bre Drmance
Score al
Ferryman
fait..42 piùlento
For ormance Rfool Je-der
Narr
d'ring
cansee our feetare wand-ringou thoughsare erkennt Deine Füsse
Horm
re
ir - ren Dein Geist geh
tF
For sul pont.
Sre Viola Srmance NsaNS
Drums
centre of drum (hard sticks)
Perc.
Not For ormo
Not For or
otFor Şlow (d. )
aceel
Lentod. )
MADWOMAN
İRRE
Sre
coreance
Srmance
ore
|(PP)
FORenc
Ferryman
pel
d'ring too. re quch.
For
Letme getin to yourboat! Logmichhinein indeinBoot!
SC
pe ForPe
Flute
+
Dre Srmance
CHom
ormar sal Sco
ormar Nsal Sc
SalS
O
For N
natural e
Viola
Foe
naturale
Drums
Perc.
re rmance
Pp.
ermance
alScore
mance olScore
e Srmance
%ore ace
score
43]ively.
Pemance or
Ferryman
39
Hsavily3)
I will not takeyou a-cross theCur-lew
lch setz'dich nicht ü -ber'n Flut-der M6-wen
Unlessyou en- ter - tain
us
with yoursingíng!
Wenndu uns nicht noch Spas machst
REISENDERAR I
durch dein Singen!
ORUS
Und
re
Srmanc A
m
oper
Hom
(occel)
Viola
Perc.
ance
anc
Kerus ore
Ferryman
Un-less you en-ter-tain us Wenn du uns nicht noch Spaß mochst
TravelerE
Unless you en-ter-tain
lot
us
Wenn du uns nicht noch Spos machst
We want to hear yousing
Wir woll'n dich singen hö
rman
re
YotForPer
quick (os before)
Drums
Sre Srmance
re
m
Perusal S
-
-
ing
ren, Ten,
durchdein Sin
with your sing drchdein Sin
cra-zi -ly sing - ing! ir-sirnig Sin - gen!
alS orm
R
with you sin
Uness vouen
Wenn du uns nicht noch
gen
Cntnoch
ing
Undessyou en-ter -
Wenn du uns nicht noch
gen!
We want to hear you dsin
- 56
Wirwoll'ndich singen hö
Make uslaugh with your sing - ing. Moch'uns lochen durchSin gen,
ing.
ren,
Mad
Ir
Organ
NO
Drums
Perc.
rmance
NO
H
olwoys f
omance alScore
omance alScore
alSc
Score mance
tmance40
Sc
al Score
orP mance
repeat cesc.and accel.until =
Ferryman
-tain
us
Spaß machst
with your sing-ing! durch dein Sin-gen!
T.
repeat cresc.andaccel.until withvour sine.i
durch dein Sin- gen!
Soa6 mochst
NO
NO
repeatcrescandaccel.unti-
Bt.
cra-zi -ly sing -ing!
irsinnig Sin gen
mance
Abbot
repeatcresc,andaccel.until Era
man!
du!
mN
m
repeat cresc. and accel. until
Organ
(12)
Drums
Perc.
A broadly
largamente
Ferryman
mance
sing!
Show us what you can do! Zeig'uns nun dei - ne Kunst!
Mad - wo-man,
Ir-sinn'-ge
sing!
Show us what you can
Mad -Xwo- man.
sing! Sing!
TravellerE Zeig uns nun
đei- ne
do!
Kunst!.
Im Sinn'- ge
Abbot Show us what you an dol eIguns nun dei - ne Kunst!
T
Wo- man Sinn'- ge
Ssng
1.
Qshow us what
vou can
do!
Zeiguns nun dei - ne Kunst!
Mad-
man
Ir -sinn' -ge
sing
Mad-woman
sing! sing!
B. S nat you can do! Leig uns nun dei heKunst!
mance
Ir sinn-ge
B. Show us what
you can)
Zeig uns nun dei ne
do!
Kunst!-
Mad- wo -man 86) IT- sinn'- ge
SIng
Sing.
US
Organ
Drums
Perc.
mance
mance ol Score
mance 1Score
SC
ormance
45
MADWOMAN
Coreance
mance al Score
Slow, as before Lento, come sopra
IRRE
P calmly
You re-fuse a passage
or- ant man!
To
me,
Nurmirdu verweigerst die Fohrt
nch-ter Mann!
a noble wo-man!
Der dek da-me!
It
ill becomesyou,Gurlew
Nr schlechtdirstehenMowen-
Organ.
Flute
ormar Harp
ot
Viola
Srmar
fer-ry.man, Such
-
in-cvi-j-
ugfer- ge, Solch Unhö ichkei-ten.
ty.
ŘRYMAN
EARMANN
pe
Or gan
ot
umc
P
ThisBlackMountainwoman Us-es a high --
#E
(PP)
Flute
a
Harp
FO
FO
Db.
re fl
rmance fl
uber.heblich
o
Drmand
fl
ownwayoftalking!
2Die Scwazberge - Da-meSoricht a-ber reich - - lich
LỰ
ormance
alScore
ormance
al Score
-alS
Score mance
Srmance Madwoman
1
Score l mance
90) P trely)
Let me Den- ke
re du
mind
you ein - mgl
Of
the
An den
fa mous berühm
ten
tra -vel
ler
Rei-sen - den,
S Who
once
made
De
fand
einst
Feryman
brmance Organ
usa FOrforce t
Usa
Usa
NotForfor
rmance
rmance 46 al Score
Not Fo
sance
IS
xolScore
owntempo)
dim.
Madwoman
rid--dle Rät- sel
In this CHier an
ve-ry die-sem
"Birds of
place
NotFo
- V6
gel
the Fen-land, thoughyou oat or
desMoorlands, ach, ibr iegt vor-b
NotF P
NotFor
Harp
y.
repeat( intempo)
Sre
fl
fl
fi
Jrmance, regular
Perusal
NotFor Perfor
Srmance
omance ol Score
Perusal S NotFor Perfor
ormance ol SCore
Perusal
NotFor Per
Score nance
Drmance
mance
Score al
43
Madwoman
Wld birds,
Tell
can-not un der-stand your cry, gel, ich ver - steh nicht eu - ren Schrei,
Wild-võ
Sagt
me,
mir,–
does the
lebt die
one
IJove
ForPer'
Lie - be noch
(like the voice)
Flute
LPp
re
Harp Drmance
In
Hier
more lively
this world sill in die ser
live?* Welt?"
Ferry. man, Fähr - mann,
there
the
seh' ich
der
wild
birds
Vö - gel
oat! Flug?
(92) more livel
Flute
Sc
mờ
Harp
Doco cresc.
NO er
NO
NO Macwoman
ormance
see the wild birds
fAly!
inc
lchhö der Vö-gel Schrei! pocó accel.
anc core
What are tho se birds?
Wienenntman sie
Flute
PeorP
cresc. poco accel.
r
Harp
re fl
ForPer
TheMADWOMAN turns, watching the ight of the birds. Die IRRE wendet sich um und beobochtet den Flug der Vögel.
Madwoman
orman
fl
PerS
pet
Per ForPer
mance
mance
olScore
manc
Scor |
rmance
Nance
Score l
47
Madwoman
For
Nicht
FERRYMAN
FHRMANN
En tén,nenn sie!
FO
They're on -ly com-mon gulls.
Ganz
core
Flute
No Pe nane Pe
ge-mei- ne
En-ten.-
Per man
per
wi th at
Drums
ofhand
No Per
Perc.
rall...
slower
più lento
96) fconforno Madwoman
man
Here,
Hier,
by the Cur-lew Ri-ver, an dem Flußder M6- wen,
Call
them.
n'sie,
I
Cbeg of
ich
bit-te
you,
dich.
Cur Mö
-
ews wen
of the
Fen-land,
ous dem Moorland.
Flute
8
Not Fo
NotFo
FERRYMAN FAHRMANN
I begyourpar-don, ch bitt Ver-ge-bung,
Srmance
fi
Gulls you may call them!
What are those birds? Wie nennt man sie?
Those? Die?
mance
fl
PeEor Score Pe mance
muted
Living in this famousplace Wohnend an berühm-tem Platz
Ishouldhavekrown To call them
Mi ichSiewohlNen-nen:
Cur
-
lews
Mö -
wen
ScO
Hom
perPer
Db.
Drums
with ngers
Peru NO
Perc. H
mance
mance SCOre
manc S I core
éeru
mance
49
nance Score
MADWOMAN
aance
Pheer
IRRS
99) pp (owntempo)
Pe Score
Instead of gulls.
:"Tell
An stattEnten.
freely
N orP
-350
Feryman
me, does the one
"Sagt mir,
love
lebt die Líe - be noch
the Fen.Iant qus dem Moorland.
PP(like
TRAVELLER
Modwoman)
A tra-vel-ler at this ve-ry
imance
Rore
Dizz,
Ein Reisender
an die
place aied:
Thinking of Der Gelieb-
ser Stelle rief:
formance USal Sco
for
Usal
USal S
repeat
Harp
PP regular
TheMADWOMANmakes as if to follow the birds Die IRRE tut so, als wolle sie den Vogeln folgen.
ce
Madwoman
man
3
In
this world stitt
Hier
in die ser
live?"
Welt2
Pp (likeModwoman)
FerymanE
For
ysal
salíor
She too is seek-ing some-one lost. Sie quch den so Ver- miß -ten sucht,
Search ing for Forscht noch ih rem
Traveller9 his la - dy love- tendocht'er
- Yearn - ingfor a wo-man. - Seh nendnachder Frausich.
do
CHORUS Tenors
mance Flute
For
son. Sohn.
Pp (likeModwomon)
Birdsof the Fen-and, Vö-gel des Moorlands,
(q00)
P al SCON
or man
she
sie
like the voices:
or
Or
Harp
imance
grodual cresc.
omance
al Score
ormance
alScore
alSc
Score ance
rmance
Score nance
Ferryman9 Rirds of the Fen-and. :Vögel desMoorlands
from iove
Both oevollk
Both de-rive from longing Bei de triebt die Sehn - sucht.
orPer
Traveller Both from love. ↑
Both de-rive from long - ing. Bei -de triebt die Sehn-Sucht
Srmance Organ
Birdsof the Fentand:
!
"Vö-gel
Lie - be voll.
des Moorlands,"
cresc
PP
Peru co
Peru
For Perf
will askyoutoo, Is the
Baritones
Srman
erusal S
orPe
m
T.
fragt euchwohl ouch," Ist mein
Peru
Forerf an
child | love Stil |lie bes Kind am
She will ask_ and
liv ing?" Le - ben?"
Ja so fragt
sie
Ppa (ikeMadwoman)
"is the child
Birds of the Fenland, she will ask you too, Võ - gel des Moorlands, sie frogt euch wohl auch,
"Ist mein lie
cforma
ABBOT and Basses
Not Foerforn
-
I love Still bes Kindam
Rrusat
PP* (likeModwoman)
,NotF
Birds
of
Vö
gel
livLe
the Fen-land,
shewill ask
you
too,
des Moorlands, sie fragt euch wohl auch,
Flute
mance
Score ance
Score ance
Harp
Not Viola
mance
Not
Not repeat (grodual cresc.)
#Each entryy of voice should follow the note indi cated by the arrow. After this, the interrelation of the parts in the score is only approximate. Die Einsätze haben den durch die Pfeile ongezeigten Noten zu folgen - wonoch das Verhöltnis der Stimmen zueinander als ein nur ungefähres anzusehen ist.
rmance
Score | mance
Score | mance
resc
Ferryman
She.
will ask,
frogtsie dann,
she
will
ask
fragt
sie
dann,
she
will
ask. donn,
But an -
swer, answer theyill
DochAnt - -wort,Antwort kot ir resc,
TravellerH She
will ask.
fragt
sie dnn
↑
bfragt
sie
But an-- Swer,answertheywill
Doch Ant- -wort,Antworkommtihr
Orean ormaace
Perus C
or Perfan
Perus
orPerf
erus
T. she will ask.
But Doch
und sie frogt,
orman2
ing?"
"ls
Shewill ask and
lSC
the child
mein lie
kommt
So frágt sie.-
- ben?"
"Ist
they will
an -Swer
Ant-wort
-
love Still
bes Kind am
und
not.
"Tell me,does the one I "Sagt mir, lebt die Lie- be
ihr nicht,
she so
will fragt
ask sie,
Butanswer they will not.
Sco l
liv
DochAntwort kommtihr nicht.
Şhe will ask So fragt sie
Le
and she will ask, und so frogtsie,
But answer
Flute
rmance Harp
erPer
Peru P , er Viola
Per
rPer
arco
D cresc.
mance
mance
Score l
Umance
olScore
S
coreance
Score
tmance
orPemance
Ferryman
I
not,
they
kommt
nicht,
Birds
will
ihr
nicht.
of
the
gel
dim,
Per
though you och.ihr
Fen-land
des Moor-lands,
dim.
Traveller they
not, nicht,
will
kommt ihr
"Birds
not
of
"Vo
nicht.
gel
the Fen-land.
though you
des Moor.- lands,
ach,i
dim,
mance
Organ
eruserfo
erusErfo
V dim.
erus
T.
In.
love noch
Hier
Tell
me, does the
"Sogt
mir, lebt
die
thi s world still in
die - ser
live? Welt?
In- this world still
love Lie - be noch
one
this wortd der Welt
Ir
ir
Hier. in
dim
Ldim.
live? Welt?
die - ser
dim.
tmance
Abtbo
they kommt
Flute
will ihr
Dot.
ic
ot FRerform aunmuted
Horn
Tell
me,
Sogt
mir,
the
one
I
lebt die
does
Lie
be
love
noch
In this worl d stilI Hier in die ser
dim.
tFO
t
dim.
Smance Han
(4 Per pe
PerrPe
Per
Viola
NO Db. dim.
mance
Score I
Umance
mance
olScore
S
ormance
Score l
Score mance
102)
FerrymanPG
orP nance y
wia birds.
Dei
M5wen, -
oat
iegt
(103)
! cannot un-derstandyourchy.
lch
versteh'nichteu
ren Schrei.
TravellerE wld birds,
oat iegt vor
M6-
I cannot under stand
lch
wen,
yourAS
ver-stehnicht eu
re
rmance
Organ
Reru co
erus T.
er pe
Not Perf
stil die
live, -
-
Welt,
ser
still
der
eru live?"
ser Welt?"
B. this
de
worl d Welt
ThT Jsal
still die
still live?" die- serWelt?"
live. -
ser Welt
Ah Ach
mance Jrm
live?
Welt?
ier,.
this world
still
hier
die
in
li
ser Welt,
still die
live? Se
Welt?
Ah
Flute
No
Horn
PP
se
fl
fl
fl
fl
fl
Srmance Harp
r
pen Viola H
Db
mance
Jmance
alScore
Jmance alScore
e
e rmance
Score
ormance
Perusal Score
Pmance
Coming forvard,the MADWOMAN goesuptothe FERRYMAN 1 S and joins her hands in supplication.
Ngchvorne konmend ritt die IRRE zum FÄHRMANNund bittet mit gefolteten Händen
T Birds
of
Vỏ - gel
the
Fen-land,
she hasheard you
des
Moorlands,
sie
hör -
te
There
rying
Im
euch schrei- en,
West,
in
the moun-tains.
fer - nen Lond
in
dhe
in
den Ber-gen,
Psn smooth
Birds of
Võ -ge
mance
the
des
Fenland,
she hasheard you sie
Mbor-londs
There
cY: ing
hör - te euch schrei - en,
Im
the
West,
in
the moun.tains
fer- nen
in
Land,
in
den Ber-gen,
Organ
Flute
For
mance)
salrfor in
her
Usalsfor
home.
How
far,
how ve - ry
ih
rem Heim.
Wie weit her, schrecklich
h
her home. rem Helm.
How far, how ve- Y Wie weit her,schreck-lich
far,
weit,–
Birds of the Fen-land, 'comes this Vö - gel des Moorlands, komnt dies
wand'ring ar- me
Birds
wand'ring
Ab.
Srmance
e mance
of the Fen-land, (comes this
Vộ- gel des Moorlands,kommtdies
dim.
Organ
Flute
far, weit,
Reru Per p
Harp