The Grand Duke 2
Uploaded by
Jay Marshall WolmanThe Grand Duke 2
Uploaded by
Jay Marshall WolmanThe Grand Duke
or,
The Statutory Duel
Comic Opera in Two Acts
Words By Music By
W. S. Gilbert Arthur Sullivan
Edited with an Introduction by Marc Shepherd
Oakapple Press
New York
2009
The libretto and music of The Grand Duke are in the public domain.
The editor does not believe that he has any copyright in this material,
even though the version presented in this edition is different from
those that have appeared before. It is still Gilbert & Sullivan’s The
Grand Duke, and not anyone else’s.
Therefore, this work may be freely copied or transmitted in any form
without credit or compensation to the editor, though giving credit
would be the courteous thing to do.
The accompanying Introduction and Critical Commentary are the
editor’s original work, but these too may be freely shared according to
the Creative Commons “Attribution–Noncommercial–Share Alike
3.0” license, http://creativecommons.org/licenses/by-nc-sa/3.0/.
A performer’s edition, which omits the Introduction and Critical
Commentary, is available at:
http://www.lulu.com/content/paperback-book/the-grand-duke-
performers-edition/7857266
First Impression: December 2008
Second Impression: June 2009
Third Impression: October 2009
Fourth Impression: November 2009
Errors brought to the editor’s attention will be corrected in future printings
and will be noted in an errata list posted at http://www.oakapplepress.com/.
Libretto & Music: Public Domain
Introduction & Commentary
©Marc Shepherd 2009
Published by Oakapple Press, New York, New York
Printed in the United States by Lulu.com
CONTENTS
Preface ............................................................................................................................................. vii
Introduction .............................................................................................................................. xi
Historical Context .......................................................................................................................... xi
Genesis ......................................................................................................................................... xiii
Production .................................................................................................................................. xxii
Post-Production ......................................................................................................................... xxvi
Legacy ...................................................................................................................................... xxviii
Assessment ................................................................................................................................xxxiv
The Grand Duke; or, The Statutory Duel
Overture..................................................................................................................................................3
Act I
1. Chorus with Solos ........................“Won’t it be a pretty wedding?” .......................................14
a. Duet—(Lisa & Ludwig) .............“Pretty Lisa, fair and tasty” ...............................................24
Dialogue ....................................................................................................................................33
2. Solo—(Ludwig) with Chorus .......“By the mystic regulation of our dark association”............34
Dialogue ....................................................................................................................................40
a. Solo—(Ludwig) .........................“Opoponax! Opoponax! Eloia!”........................................41
Dialogue if No. 2a is Included .....................................................................................................42
Dialogue if No. 2a is Omitted .....................................................................................................43
3. Song—(Ernest) with Chorus........“Were I a king in very truth” ............................................44
Dialogue ....................................................................................................................................52
4. Duet—(Julia & Ernest).................“How would I play this part?” ..........................................54
5. Chorus & Song—(Ludwig) ...........“My goodness me! what shall I do?” .................................62
Dialogue ....................................................................................................................................75
6. Song—(Notary).............................“About a century since” ....................................................77
Dialogue ....................................................................................................................................85
7. Quintet—(Julia, Lisa, Ernest, Notary, & Ludwig)
“Strange the views some people hold” ..............................86
8. Quintet—(Julia, Lisa, Ernest, Notary, & Ludwig)
“Now take a card and gaily sing” ......................................97
9. Entrance of Chamberlains ..........“The good Grand Duke of Pfennig-Halbpfennig”..........110
a. Song—(Rudolph) ......................“A pattern to professors of monarchical autonomy” .......114
Dialogue ..................................................................................................................................120
b. (optional) Exit of Chamberlains .......................................................................................120
Dialogue ..................................................................................................................................121
10. Duet—(Baroness & Rudolph) ......“As o’er our penny roll we sing”
Original Version (Two Verses) .............................................................................................124
Abridged Version (One Verse)..............................................................................................137
iii
Dialogue ..................................................................................................................................144
11. Song—(Rudolph) ..........................“When you find you’re a broken-down critter” ..............145
Dialogue ..................................................................................................................................151
12. Finale..............................................“Come hither, all you people”
Original Version .................................................................................................................153
a. Song—(Ludwig) .........................“Oh, a monarch who boasts intellectual graces” .............176
b. Song—(Julia) .............................“Ah, pity me, my comrades true” ...................................185
c. Duet—(Julia & Lisa) ..................“Oh, listen to me, dear” .................................................192
d. Song—(Lisa)...............................“The die is cast” .............................................................196
e. Solo—(Ludwig) .........................“For this will be a jolly Court” .......................................200
Abridged Version ................................................................................................................213
a. Song—(Ludwig) .........................“Oh, a monarch who boasts intellectual graces” .............234
b. Song—(Julia) .............................“Ah, pity me, my comrades true” ...................................243
c. Duet—(Julia & Lisa) ..................“Oh, listen to me, dear” .................................................248
d. Song—(Lisa)...............................“The die is cast” .............................................................252
e. Solo—(Ludwig) .........................“For this will be a jolly Court” .......................................256
Act II
13. Introduction & Chorus ...............“As before you we defile”................................................269
14. Recit.—(Ludwig) ...........................“Your loyalty our Ducal heartstrings touches” ................275
Song—(Ludwig) with Chorus.......“At the outset I may mention” .......................................275
15. Recit.—(Ludwig) ...........................“Yes, Ludwig and his Julia are mated!” ...........................291
Song—(Lisa) ...................................“Take care of him” .........................................................291
Dialogue ..................................................................................................................................296
16. Duet—(Julia & Ludwig)................“Now Julia, come, consider it from” ..............................297
17. Chorus with Solos—
(Baroness & Ludwig) .........“Your Highness, there’s a party at the door” ...................302
Dialogue if No. 17a is Included .................................................................................................312
a. Chorus ........................................“For any disappointment we are sorry unaffectedly” .......312
Dialogue ..................................................................................................................................314
18. Song—(Baroness) & Chorus ........“Now away to the wedding we go” .................................316
19. Recit. & Solo—(Julia) ...................“So ends my dream” .......................................................319
Dialogue ..................................................................................................................................328
20. Duet—(Julia & Ernest).................“If the light of love’s lingering ember” ............................330
Chorus ...........................................“Now bridegroom and bride let us toast” .......................338
21. Song—(Baroness) with Chorus ....“Come, bumpers—aye, ever so many” ...........................340
22. Solo—(Ludwig) & Chorus ...........“Why, who is this approaching?” ....................................347
23. Song—(Herald) & Chorus ...........“The Prince of Monte Carlo” .........................................349
24. Recit.—(Ludwig) ...........................“His Highness we know not” .........................................356
25. Entrance of Prince & Princess with Costumier & Six Nobles
Duet—(Prince & Princess) ...........“We’re rigged out in magnificent array” .........................359
Dialogue ..................................................................................................................................370
26. Dance ....................................................................................................................................372
Dialogue if Roulette Song (No. 27) is Omitted ...........................................................................376
Dialogue if Roulette Song (No. 27) is Included ...........................................................................377
iv
27. Song—(Prince) with Chorus ........“Take my advice—when deep in debt” ..........................378
Dialogue ..................................................................................................................................387
28. Ensemble ........................................“Hurrah! Now away to the wedding we go” ...................389
a. Song—(Rudolph) with Chorus.“Well, you’re a pretty kind of fellow” .............................392
Dialogue ..................................................................................................................................403
29. Finale..............................................“Happy couples, lightly treading” ...................................405
AppendiCES....................................................................................................................................413
Textual Discussion .................................................................................................................415
A Survey of the Source Material ..................................................................................................415
Production Repeats .....................................................................................................................419
Versions of the Text ....................................................................................................................421
Disagreements between Score and Libretto .................................................................................423
Editorial Procedure .....................................................................................................................424
Critical Apparatus ..................................................................................................................427
Sources ............................................................................................................................................427
Musical Sources...........................................................................................................................427
Literary Sources ...........................................................................................................................429
Recordings ..................................................................................................................................430
How to Read the Critical Apparatus................................................................................................431
General Commentary ......................................................................................................................432
Staccato Dots ..................................................................................................................................468
Courtesy Accidentals .......................................................................................................................474
Early Press Reviews..................................................................................................................478
The Times ........................................................................................................................................478
Pall Mall Gazette .............................................................................................................................480
Musical Standard .............................................................................................................................482
The Athenæum .................................................................................................................................486
The Illustrated London News ............................................................................................................486
Musical Times ..................................................................................................................................488
The Year’s Music 1897 .......................................................................................................................490
BIBLIOGRAPHY ...............................................................................................................................496
v
Preface
L ibrettist W. S. Gilbert (1836–1911) and composer Arthur Sullivan (1842–1900) wrote four-
teen comic operas together. The Grand Duke (1896) was the last and least successful of
these.1
The Grand Duke’s early publication history followed the same pattern as most of the Savoy
Operas. A vocal score was prepared fairly quickly and hurried into print, to capitalize on the ex-
pected surge of popularity. Like the other early scores, that of The Grand Duke was riddled with
errors, and it did not fully reflect all of the changes the creators had made after opening night.
Indeed, for a variety of reasons, the score of The Grand Duke was considerably worse than usual.
It was also not a shining example of the music typesetter’s art.
Most of the other G&S vocal scores eventually benefited from a revised edition in modern
notation, reflecting the settled text of each work as performed by the flame-bearers of the “tradi-
tion,” the D’Oyly Carte Opera Company. But as the D’Oyly Carte never revived The Grand
Duke on stage, the first edition was also the final one.
This is the first new edition of the vocal score since 1896. In preparing this new edition, I had
several goals in mind. First, I wanted to produce a score that was significantly clearer, more read-
able, and more faithful to Gilbert and Sullivan’s intentions than the 1896 edition, which here-
tofore was the only one in existence.
Second, I wanted to produce a score meeting, if not exceeding, the quality of Gilbert & Sulli-
van vocal scores generally available from commercial publishers. This score is decidedly not a
commercial venture; in fact, you can download it for free on the Internet. (You can also purchase
a professionally printed and bound version for a modest cost.) But, I did not want it said that the
score is merely “good, considering that it is free.”
Third, I wanted to produce a score that would be recognized as a work of serious scholarship,
within its defined scope. I’ve included an introduction describing the history of the opera, and
an appendix describing the relationships of the sources and the editorial procedure. There is an
extensive critical apparatus describing variants, performance options, and emendations to princi-
pal sources. Directors and students of the Gilbert & Sullivan canon are likely to have many ques-
1 Thespis (1871) had fewer performances—64 to The Grand Duke’s 123. But Thespis was intended to be an
inconsequential seasonal piece for the Christmas holiday. Such pieces never had long runs; for a work of
its kind, Thespis was typical. See Terence Rees, Thespis: A Gilbert & Sullivan Enigma (London: Dillon’s
University Bookshop, 1964), esp. Chapter Six, “Did thespis fail?” pp. 71–89. (“Before we join the un-
numbered ranks of those who have attempted to answer this question, it will be as well to form some idea
of what the creators of Thespis set out to do before we try to decide whether or not they succeeded in
doing it.”) But by the time of The Grand Duke, no producer, and especially not Richard D’Oyly Carte,
would have considered a 123-performance run remotely acceptable.
vii
The Grand Duke
tions about variants and performance alternatives that are answered in the introduction and ap-
pendix.
Like most of the Savoy Operas, The Grand Duke passed through several versions before reach-
ing its final form. Because the opera failed rather badly in its initial go-around, modern produc-
ers are more willing to second-guess Gilbert and Sullivan’s decisions than they would with an
acknowledged masterpiece like The Mikado. Hence, G&S performing groups usually tinker with
the text—adding back music that the creators themselves had deleted, and deleting some that
they had retained. In fact, one cannot really say that there is a standard version of The Grand
Duke. In every production, directors make their own decisions about how much of the surviving
material to incorporate.
As I recognize that no two productions are likely to make the same textual choices, I’ve tried
to make available all of the surviving performance alternatives as clearly and conveniently as I
could. However, convenience and practicality are sometimes in conflict. Wherever possible, I
have presented textual variants “in-line,” and the performer can choose which of two alternatives
to use. But a score that presents too many options could become cluttered and unreadable. At
times, I’ve elected to present just one option in the main text, and to describe the alternative(s)
in the critical apparatus. In these cases, I have given primacy to Gilbert & Sullivan’s intentions,
but as explained in the appendix, the creators’ intentions are not always transparent. Some of the
alternatives relegated to the critical apparatus are compelling, and could very well be the ones
Gilbert & Sullivan would have preferred. We don’t always know for sure.
In recent years, several Sullivan operas have received full-dress critical editions, and more are
underway. I hope we’ll see critical editions of the entire G&S canon in my lifetime, but such
projects typically require at least a decade apiece to complete, and to my knowledge no one yet is
working on The Grand Duke. The first edition of the vocal score of The Grand Duke had to suf-
fice for 113 years, and while I have every hope of being superseded much sooner than that, I’ve
undertaken this effort with the view it’s unlikely that anyone else will tackle the opera anytime
soon.
At the same time, this is not a comprehensive critical edition. I considered some limitations of
scope to be essential, if the project was to be brought within a reasonable compass. I have not
consulted the composer’s autograph score or early band parts, although I have relied on the ob-
servations of those who have. I have also not considered pre-production variants, and I have not
collated exhaustively all of the libretto variants.
The most difficult scope decision was what to do about the dialogue. Just as with the music,
the dialogue survives in multiple versions. And just as with the music, modern directors often
choose to reinstate lines that Gilbert deleted, and to delete lines that he kept. No doubt there
would be some value in presenting all of these alternatives—both music and dialogue—in one
place. However, the dialogue variants are voluminous in themselves and are adequately covered
in other available sources. Therefore, with only a few exceptions, I have presented only one ver-
sion of the dialogue, namely, the settled state that Gilbert approved for publication after all of
the post-première changes had been completed. The rationale for the dialogue is discussed more
fully in the appendix.
viii
Preface
I am mindful of my own tendency to allow these types of projects to remain in gestation for
many years. Indeed, almost four years elapsed between a widely circulated draft and this final
version. Readers who know me are no doubt aware of several other such projects that I have
promised, but not yet delivered. In releasing this new edition of The Grand Duke now, I hope
that I am fulfilling a genuine need, in a manner that will stand the test of time.
Acknowledgments
Many people reviewed drafts of this score, supplied source materials, or answered my many
questions. The participants at QWERTY/Conn III gave the score a concert reading in May
2005. Florrie Marks, musical director of The Gilbert & Sullivan Society of Chester County, PA,
used the score for their production in November 2005 and provided many practical suggestions
based on that experience. The 2005 draft was used in at least three other productions that I know
of, and in each case one or more participants provided comments afterwards.
Andrea Stryker-Rodda organized a “proofing team” consisting of Paul Howarth, Steven Lich-
tenstein, Philip Sternenberg, and Clive Woods. Their comments went far beyond mere proof-
reading, extending to hundreds of improvements, great and small. Lichtenstein gave up several
weekends to work in the Seattle Gilbert & Sullivan Society’s archives, where he resolved dozens
of thorny questions by checking the vocal score against the orchestration.
Many others provided helpful suggestions, including Lisa Berglund, Jennifer Cole, Stan
DeOrsey, Paul Ensell, Deborah Jacobson, Daniel Kravetz, Laurie Marks, Mitchell Orman, Leo-
nard Pinsker, William Revels, Laura Schatz, Samuel Silvers, Douglas Whaley, and Peter Zavon.
Steven Lichtenstein posted a detailed Grand Duke errata list to the Gilbert and Sullivan Ar-
chive on the Internet, from which I benefited enormously. Mike Storie was kind enough to send
me a gratis copy of the amended vocal score that the Seattle Gilbert & Sullivan Society prepared
for their 1999 production.
Lastly, I wish to thank the subscribers to the Internet discussion group Savoynet for their en-
thusiasm, scholarship, and encouragement over a period of many years. An abridged version of
this score was used to prepare the Savoynet Performing Group’s 2009 production at the Interna-
tional Gilbert & Sullivan Festival in Buxton, England. I received many helpful suggestions from
the group, particularly from Musical Director Ori Siegel.
My apologies to anyone whom I’ve forgotten to thank. It goes without saying that the text
and any remaining errors are my responsibility alone.
Marc Shepherd
New York City
October 2009
ix
Introduction
Historical Context
As the nineteenth century entered its final decade, Richard D’Oyly Carte’s theatrical empire
comprehended the most popular civilized entertainment to be found in the English-speaking
world. His Savoy Theatre anchored an extensive network of touring companies that played the
operas of W. S. Gilbert and Arthur Sullivan throughout Britain. Their powerful appeal had
gradually cemented a collaboration that was the envy of all, and the peer of none. The authors
enjoyed and abused the advantages of wealth and luxury. By the virtue and abilities of Carte and
his diplomat–wife Helen, the partnership produced prosperity that none of the participants,
however talented, could have achieved alone. But after the production of The Gondoliers in 1889,
the triumvirate unravelled, and though Carte would bring Gilbert and Sullivan together twice
more, the partnership’s magic touch was gone forever.
The circumstances of this decline and fall are sufficiently well known that I need only sum-
marize them. From 1877–1889, Carte produced a string of ten new Gilbert & Sullivan operas,
none of which failed, and most of which were enormously successful. During this period, inter-
ruptions to the collaboration were brief; when composer and librettist were reunited, they con-
tinued to write new pieces as good as, or better than, the ones that had come before.
But while The Gondoliers was playing to packed houses, Gilbert discovered that Carte had
charged the partnership £500 for replacing carpets in the Savoy Theatre lobby. Gilbert believed
that under the terms of their agreement this expense should be Carte’s alone, while Carte be-
lieved it was properly chargeable to all three. Sullivan didn’t seem to care either way, but when
pressed, sided with Carte.
The upshot was that Gilbert withdrew the performance rights to his libretti after The Gondo-
liers closed in 1891, and vowed to write no more for the Savoy. Carte, on his own for the first
time since 1877, needed a new repertoire. He turned to other composer–librettist teams, and
paired Sullivan with Sydney Grundy to produce Haddon Hall (1892). None of these works
achieved the success of even the least successful opera Gilbert & Sullivan had written for the Sa-
voy.1 Gilbert, in the meantime, wrote The Mountebanks (1892) with Alfred Cellier, finally com-
pleting an opera based on the “lozenge plot” that Sullivan had several times refused to set. Later,
Gilbert embarrassed himself with Haste to the Wedding, (1892; music by George Grossmith),
which closed quickly after just 22 performances.
While all of this was going on, Gilbert’s dispute with Carte and Sullivan played out in
court—and in public. Without retracing every twist and turn of the litigation, two conclusions
can be briefly stated. The first is that Gilbert was morally right: Carte had indeed been less than
forthcoming in his accounting of the partnership’s expenses. The second is that Gilbert, in the
end, won only a Pyrrhic victory. He had proven Carte wrong, but destroyed the partnership in
the process.
1 The run of Haddon Hall was slightly longer than that of The Sorcerer (1877), which was not written for
the Savoy, and was produced at a time when expectations and expenses were much lower. It also exceeded
that of Thespis, which was never intended to be a long-running piece (and wasn’t a Carte production in
any event).
xi
The Grand Duke
With their legal troubles finally behind them, Gilbert and Sullivan agreed to collaborate
again. The reunited team needed a new business arrangement. Previously, Gilbert, Sullivan and
Carte had been co-equal partners—sharing production expenses and profits equally. In the car-
pet quarrel’s wake, Carte wanted to ensure that he would never again have to explain his book-
keeping to the litigious librettist. For the new opera, Gilbert was guaranteed a flat fee, while Sul-
livan and Carte partnered under the old arrangement. This agreement relegated Gilbert to the
role of writer-for-hire: insulated from loss, but unable to share in any windfall profit.
There was no windfall profit. Utopia Limited bowed at the Savoy Theatre on October 7, 1893,
for a run of 245 performances. One cannot exactly say the opera failed. Its nine-month run
would have been considered more than respectable at most other theatres, but by Gilbert and
Sullivan’s own standards it had to be reckoned a disappointment. The one certain thing is that
only Gilbert made any money from it. The production was lavish, perhaps to excess. Sullivan
and Carte bore all the expenses, while Gilbert happily collected his royalty—a situation that can-
not have pleased his former partners. It is tempting to wonder if Carte would have let Utopia run
longer, had all three of them been sharing the expenses, as in the past.
In the four intervening years since The Gondoliers, much had changed on the theatrical scene.
Richard D’Oyly Carte was no longer London’s leading impresario. George Edwardes, a former
Carte assistant, was now turning out hit after hit while Carte struggled. Along the way, Edwardes
managed to invent a new genre: the musical comedy. These pieces had slender plots and lacked
the biting satire of Gilbert’s works. They featured colorful settings, dance numbers, abundant
spectacle, and songs that were largely interchangeable from one show to the next. More impor-
tant, Edwardes wasn’t dependent on a single writer–composer team. Indeed, many of these mus-
ical comedies were practically written by committee. It didn’t seem to matter.
The works of Gilbert and Sullivan turned out to be far more durable than anything Edwardes
produced, but in 1893 it was musical comedies the public wanted, not comic operas—a trend
Gilbert cannot have helped but notice. With its lavish setting, sumptuous costumes, and a leng-
thy but irrelevant Drawing Room scene dominating the second act, Utopia Limited tipped its cap
to prevailing tastes. But the result was a jumble: the opera tried to straddle two genres, and as a
result, wasn’t a great example of either one.
The opera did not have an easy gestation. Sullivan objected to the contralto role of Lady So-
phy, which he thought resembled too closely the old ladies with fading charms that figured in so
many of the earlier Savoy libretti. Gilbert also restructured his opera around the virtues—and, as
it turned out, the limitations—of his latest actress protégée, the American-born soprano Nancy
McIntosh, who was brought in to play the heroine of the piece, Princess Zara.
As Utopia came to a close, Carte planned a revival of The Mikado, for which Gilbert proposed
Nancy McIntosh as Yum-Yum. Carte and Sullivan wanted nothing further to do with her, and
so the team was at loggerheads once more. The familiar scene repeated itself: Gilbert withdrew
the London performance rights to his operas, and Carte had to look elsewhere for a repertory. As
before, Carte turned to another composer to keep his theatre booked, while Sullivan looked for a
new librettist. By 1894, unable to find anything to his satisfaction, Sullivan instead revised and
expanded one of his earliest operas, The Contrabandista, which he had written in 1867 with li-
brettist F. C. Burnand. Rechristened The Chieftain, with a new second act grafted onto the
lightly amended 1867 first act, this failed miserably.
Gilbert too stayed busy, writing his best libretto of the 1890s, His Excellency (1894). But for
Gilbert’s insistence on employing the controversial Miss McIntosh as the heroine, Sullivan likely
would have set His Excellency, and it likely would have been a success. Instead, the opera went to
the minor composer F. Osmond Carr, and Gilbert’s ante-penultimate libretto began its journey
to almost complete obscurity.
xii
Introduction
With Gilbert and Sullivan having again tried, and failed, to replicate apart the success they’d
had together, the time was ripe for the collaboration to resume. All agreed there would be no role
for Nancy McIntosh in the new piece, and Sullivan happily endorsed to the plot outline Gilbert
offered him, which the composer said was “as clear and bright as possible.”1
The Grand Duke; or, The Statutory Duel, opened at the Savoy Theatre on March 7, 1896, for a
run of 123 performances.2 This time, there was no doubt that the partners had failed. Reviews
were mixed to negative, and houses fell off quickly. Gilbert had sold the libretto outright for
£5,000 and was insulated from losses, which were borne by Sullivan and Carte alone. After just
four months, Carte threw in the towel.3 On tour, The Grand Duke did no better. The opera
opened in the provinces on March 16, 1896 in Nottingham, remaining on tour through April
1897.4 After that, the opera disappeared from the D’Oyly Carte repertory.5
Genesis
Shortly after completing Utopia Limited, Gilbert started sketching the plot for an opera that
would take place in a Germanic land ruled by a detested monarch. Gilbert tossed ideas back and
forth in his plot-book, as he usually did.6 At one point the hated ruler was to be the Grand Duke
of Hesse Halbpfennig, who had the nasty custom of choosing his subjects’ names out of a vase at
random, and compelling them to marry.7 But eventually, the detested ruler became the Gover-
nor of Elsinore in His Excellency, and Hesse Halbpfennig was left for another day.
That day was not long in coming. In late November 1894, one Bertram Ellis, editor of the
Keene Evening Sentinel in New Hampshire, wrote Gilbert a letter enclosing an editorial he had
written with the outlines of a proposed comic opera:8
1Letter of August 11, 1895. Quoted in Hesketh Pearson, Gilbert: His Life and Strife (London: Methuen &
Co Ltd, 1957), p. 185.
2In contrast, at Daly’s Theatre George Edwardes produced The Geisha on April 25, 1896, for a run of 760
performances, as well as The Circus Girl at the Gaiety on December 5, 1896, for a run of 494 perform-
ances. It was these types of shows the public was now flocking to. See Kurt Gänzl, The British Musical
Theatre: Volume I, 1865–1914 (New York: Oxford University Press, 1986), pp. 619, 627.
3 There was no American production. Most curiously, the opera was produced in Berlin at the Theater
Unter den Linden on May 20, 1896, where it met with a modest success.
4 Cyril Rollins and R. John Witts, comps., The D’Oyly Carte Opera Company in Gilbert and Sullivan Op-
eras: A Record of Productions 1875–1961, (London: Michael Joseph, 1962), p. 98.
5In contrast, Utopia Limited remained in the provincial touring repertory until March 1900 (Rollins and
Witts, p. 109).
6 The Gilbert plot books show the librettist in his laboratory, and they are often as fascinating for the
ideas not pursued as for those that were.
7 W. S. Gilbert Papers, British Library Add. MS. 49289, ff. 74–78. The reference to the Grand Duke of
Hesse Halbpfennig is on f. 77. The volume has Gilbert’s sketches for Utopia Limited and His Excellency,
as well as the beginnings of The Grand Duke (which he completed in a subsequent volume).
8 The letter is quoted in John Wolfson, Final Curtain: The Last Gilbert and Sullivan Operas (London:
Chappell & Company Limited, 1976), p. 68. The editorial itself is reproduced p. 69. Michael Ainger
xiii
The Grand Duke
Dead, Yet Alive.
The resuscitation of an executed criminal furnishes a theme for the plot of a
comic opera worthy the pen of the wittiest, most talented librettist. The legal, fi-
nancial and social situations and predicaments are complex enough to tax the in-
genuity of the most cunning. Suppose the governor of New York should grant
the request for permission to experiment upon the next victim of the electrical
chair and suppose the victim should be brought back to life after he had been de-
clared dead by the proper authorities, then what would result?
The executed man would be dead. His wife, if he had one, would logically be
a widow. Could she marry another man without committing bigamy? Would she
be obliged to marry him again in order to be his wife? The man’s position would
be equally puzzling. His children would be orphans and his wife would be a wi-
dow but he would not be a widower. For his wife would not be dead. He there-
fore could not marry again.
His property, if he had any: where would the title to that be? His death could
be proved by the record of the execution. His heirs and next of kin would take
the property, perhaps, and the poor resuscitated man would be penniless. An
administrator or executor would be appointed and his estate would be settled.
But suppose the man were insolvent. Could the creditors collect anything from
the man? If he should accumulate property after his revival and should be sued
for a former debt, could he prove his own death as a defense?
The poor unfortunate, more dead than alive, would be sorry that he had been
brought back to life. Without family or fortune he would be tempted to commit
suicide were it not for the fact that, being dead, it would be impossible. The only
way left for him would be to begin life anew, to be christened again, to take a
new name and seek new fortunes, to be in fact another man, who it is to be
hoped would learn a lesson from his first existence and not place himself in a
similar predicament a second time by committing another murder and being ex-
ecuted over again.
Gilbert must have appreciated Ellis’s sense of whimsy: the reasoning employed is strikingly
Gilbertian. Indeed, Gilbert pasted the editorial onto the first page of the plot book for The
Grand Duke.1 But Gilbert told Ellis that he was already working on a piece involving “an imagi-
nary law by which under certain circumstances, a man who is physically alive is regarded as civil-
ly & socially dead. Through the agency of a deus ex machina, the operation of this law (made to
last 100 years) comes suddenly & unexpectedly to life again.”2
Wolfson suggests that the Ellis editorial “inspired” The Grand Duke,3 but Gilbert’s response
was quite specific that he was already far advanced with his own work, even saying that Ellis’s
version “would involve an entire reconstruction of the second act.”4 If Wolfson is right, then
dates Ellis’s letter to November 28, 1894 (Michael Ainger, Gilbert and Sullivan: A Dual Biography (Ox-
ford: Oxford University Press, 2002), p. 355, n. 29).
1 British Library, Add. MS. 49290.
2 Letter of January 14, 1895. Quoted in Ainger, p. 356.
3 Wolfson, p. 69
4 Ainger, p. 356
xiv
Introduction
Gilbert lied through his teeth. Nevertheless, the coincidence is a remarkable one. Gilbert offered
to pay Ellis £50 if he employed any of his ideas in the opera. It is not known if he did so.
The opera was originally destined for the Lyric, to be produced by George Edwardes as a suc-
cessor to His Excellency. An early cast list included most of the key players from that opera, in-
cluding George Grossmith in the title role (then called Wilhelm, Grand Duke of Hesse Halb-
pfennig), Alice Barnett, Rutland Barrington, Jessie Bond, and Nancy McIntosh as the daughter
of the Prince and Princess of Monte Carlo (a character then called Casilda). It also included Ri-
chard Temple, creator of The Mikado and other principal bass roles, who was not in His Ex-
cellency, but wasn’t then at the Savoy either. But once Nancy McIntosh informed Sullivan that
she was leaving the stage,1 the way was cleared for Gilbert and Sullivan to return to the Savoy.
Gilbert negotiated with Helen Carte throughout the first half of 1895, finally signing a contract
in August.2
The two commentators who have studied Gilbert’s plot books in detail, Jane W. Stedman and
John Wolfson, disagree on which ideas came first. In September 1853, a short story by Tom Tay-
lor called “The Duke’s Dilemma” appeared in Blackwood’s Magazine. The story concerns Grand
Duke Leopold of Niesenstein, who is destitute and has lost his court. He hires a troupe of itine-
rant French actors as substitutes, to impress the visiting Princess Wilhelmina of Hanau, whom
he hopes to marry. The ruse is successful, and Leopold wins Wilhelmina. Wolfson quotes a line
from the story that seems clearly to have made its way into the opera: “The Grand Duke…began
to suspect that the government of a grand duchy is a much easier matter than the management
of a company of actors.”3
In 1889, Henry Brougham Farnie adapted “The Duke’s Dilemma” into a comic opera with a
score by Tito Mattei that was initially called The Grand Duke. There was evidently a problem
obtaining rights to the title, and at the last minute it was changed to The Prima Donna.4 Al-
though it closed after a run of just 60 performances, Gilbert cannot have been unaware of the
opera, which hewed rather closely to the original Taylor story.
Wolfson finds additional similarities between Farnie’s version and Gilbert’s. He mentions the
“highly theatrical entrance” of the Prince and Princess of Hanau, where they are greeted by
members of the acting company, disguised as courtiers wearing Shakespearean costumes. Wolf-
son observes that Gilbert moved the Prince and Princess to Monte Carlo, shifted their entrance
to the second act, and put Ernest Dummkopf’s troupe in Troilus and Cressida costumes.5
The first plot sketch that Wolfson identifies as clearly resembling The Grand Duke begins as
follows:
1 Sullivan responded to Nancy on April 30, 1895, “I am so glad you mean to take up Concert and Orato-
rio work again, for I am convinced that that, and not the stage, is your proper sphere. I am sure with a
little help to start you, you will do well there.” Ainger, p. 356.
2 Jane W. Stedman, W. S. Gilbert: A Classic Victorian & His Theatre (Oxford: Oxford University Press,
1996), p. 305.
3The quote is precisely the sentiment of Ernest’s first song, No. 3 (“Were I a king in very truth”). For a
more detailed summary of “The Duke’s Dilemma,” see Wolfson, p. 70. The first page of the story as
printed in Blackwood’s is reproduced on p. 71.
4 Wolfson reproduces the title page of the Lord Chamberlain’s license copy, with the original title The
Grand Duke. The words “Grand Duke” are crossed out, and “Prima Donna” substituted (Wolfson,
p. 72).
5 Wolfson, p. 73
xv
The Grand Duke
The Grand Duchy of Hesse Halbpfennig is governed by the Grand Duke
Wilhelm. This Grand Duchy is only 10 acres in extent, & it has one small
town—Spiesesaal [sic]. The Grand Duke is not at all popular—he is practically
penniless & imposes dreadful taxes which cripple his fifty subjects.
In babyhood he was betrothed to Casilda, daughter of the Prince & Princess
of Monaco. He & she have never met for he has never been able to afford to tra-
vel to Monaco & the Prince of Monaco has never been able to afford to travel to
Hesse Halbpfennig. But Casilda is now of age & as the Prince has just won a
large sum of money at a game called Roulette which he has just invented, he
makes up his mind to pay his future son in law a visit, accompanied by his wife
and daughter. This visit is a source of dreadful inconvenience to Wilhelm—who
is ashamed to let the Prince & Princess know how poor & insignificant he is, &
who, moreover, having fallen in love with one Bertha, a beautiful villager, is alto-
gether anxious to escape from his troth to Casilda.1
Wolfson says that the conspiracy to overthrow the Duke, the device of the sausage-roll, the
Statutory Duel, the theatrical company, and the topsy-turvy consequences of a “civil death,” all
now make their way into successive plot drafts. Similarities to “The Duke’s Dilemma” and the
Ellis editorial seem to be abundant.
According to Stedman, the connections with “The Duke’s Dilemma” and The Prima Donna
were widely noted in the press, but Gilbert denied them.2 Siding with Gilbert, Stedman con-
cludes that “Instead, the plot of The Grand Duke is essentially a throwback to that of Thespis, in
which actors replace Olympian gods and mythology provides an equivalent of Julia Jellicoe’s
professional right to play the Grand Duchess.”3
Stedman is of course correct about the superficial similarities between The Grand Duke and
Thespis, but the progression of ideas in Gilbert’s plot book suggests that this was not the original
concept.4 The one certainty is that the Julia Jellicoe character and the sub-plot around profes-
sional precedence came into the opera quite late. Gilbert read his plot sketch to Sullivan on 8
1 Facsimile of Gilbert’s Grand Duke plot book in Wolfson, p. 76. In my transcription, I have ignored
canceled words and have cleaned up the punctuation slightly, but have retained Gilbert’s characteristic
use of the ampersand.
2 Kurt Gänzl takes it as a given that The Grand Duke was based on The Prima Donna. See Gänzl, p. 577.
3 Stedman, p. 307, n. 25. Stedman misquotes the title of the original Taylor story as “The Duke’s Diffi-
culties.” She was most likely confusing it with the play Taylor adapted from his story in 1861, A Duke in
Difficulties. Fitz-Gerald calls the story “The Duke’s Surprise” (S. J. Adair Fitz-Gerald, The Story of the
Savoy Opera, (London: Stanley Paul & Co., Ltd., 1924, p. 180)). There is no doubt Wolfson is correct
about the title, as he reproduces a photo-facsimile of a page from Blackwood’s in which the story first ap-
peared.
The entire story, “The Duke’s Dilemma: A Chronicle of Niesenstein,” is reprinted in David Eden ed.,
The Grand Duke: 1896–1996, (n.p.: The Sir Arthur Sullivan Society, 1996), pp. 34–54; and in A. J. Burgess,
The Notary and other Lawyers in Gilbert & Sullivan (Hadleigh, Suffolk: Jardine Press, 1997), pp. 401–419.
Burgess also reprints the complete libretto to The Prima Donna (pp. 420–474).
4 David Eden agrees with Wolfson and me, against Stedman, that “The Duke’s Dilemma” was the
source. See David Eden, “Sources of The Grand Duke,” in The Grand Duke: 1896–1996, op. cit., pp. 4–7.
xvi
Introduction
August 1895, and at that point there clearly was no Julia. In a long letter three days later, Sullivan
replied:
I have studied the sketch plot very carefully, and like it even more than I did
when I heard it first on Thursday. It comes out as clear and bright as possible.
I shall be very pleased to set it, and am prepared to begin (as soon as you have
anything ready for me) and have written to Carte to tell him so. There is one very
important suggestion I should like to make, which, if you see your way to accept,
will relieve me of a vast amount of unnecessary technical labour, and turn diffi-
cult situations into easy ones for me. Of course I speak entirely from a musical
point of view. How would it do to make Lisa the principal soprano part, and
make Elsa the contralto. She might be the leading tragedy lady of Ludwig’s
troupe, and contralto of the Operatic company—not necessarily old, but (if
played by Brandram) staid and earnest, a suitable wife for the manager, and from
whose mouth the theatrically highflown sentiments from romantic plays would
come very forcibly, especially as they would be uttered in rich contralto register.
Then see what an advantage this will be to me. In all the concerted music there
would be a soprano and contralto, instead of two sopranos, and when Countess
Krakenfeld is the only female in concerted pieces we shall have the immense ad-
vantage of having a soprano and not a contralto at the top, getting plenty of
brightness. This would make everything run as easily as possible for me, for I as-
sure you I am, or rather have been, at my wits’ end sometimes to know how to
deal with concerted pieces which have no middle parts—i.e. no tenor or contral-
to, or where the top part is cramped by the limited range of the contralto voice.
So, if you see your way to fall in with this suggestion, you will lighten my
work, very considerably. Perry would make an admirable young shrewish, no-
nonsense-about-her Countess Krakenfeld.1
It is remarkable to learn that Sullivan had found it a struggle over the years to “deal with con-
certed pieces which have no middle parts.” For whatever pains it may have cost him, Sullivan did
1 Pearson, pp. 185–186. Arthur Jacobs quotes a draft of what must surely be the same letter—saying the
finished copy doesn’t survive (Arthur Jacobs, Arthur Sullivan: A Victorian Musician, 2nd Ed. (Portland,
Oregon: Amadeus Press, 1992, p. 365)). The draft has some important clues not found in the letter as
Pearson prints it:
I have made out a rough music plot of your sketch, as I always do, by
which you will see that, as it stands at present, there is scarcely anything for El-
sa to do. It is however an advantage, as it gives you a tabula rasa to work upon,
according to the special qualifications of the actress and singer who is to play
the part.
I am going to make a startling suggestion with regard to the cast, which al-
though you may not see your way to accept it, I am sure you will not reject
without considering it, as it is for a purely musical reason I make it. It will turn
very difficult musical situations into very easy ones for me.
How would it be to make Lisa the principal soprano part (Palmay) and
make Brandram, Elsa?… [The remainder of the draft is similar to the finished
version that Pearson prints.]
xvii
The Grand Duke
a masterful job with the three quintets in Act I that involve the two sopranos. In any event, Gil-
bert was not persuaded:
Of course I quite understand that it would greatly simplify matters for you if Lisa
were a soprano and Elsa a contralto – but can’t this advantage be secured without
such a mortal disruption as your suggestion would involve? To make the ingénue
part a (more or less) comic old woman, and to turn the (more or less) comic old
woman into a young girl – taking, moreover, the leading characteristics of Lisa
and giving them to Elsa and leaving a Lisa a colourless soprano and nothing else,
would, I am afraid, involve a total reconstruction and consequently great loss of
time – to the manifest detriment of the story. Certainly let Lisa be the leading
soprano and Elsa the contralto, but (I suggest) not an elderly and plain contralto
but a young, pretty and sympathetic girl. Such a girl (perhaps a mezzo would
do?) would not be difficult to find. Then Brandram could play the Countess
(who ought certainly to be middle-aged and plain – though not ugly) and Perry
the Princess of Monaco.1
Gilbert’s dramatic instincts here were correct. Perry, who played such roles as Nekaya in Uto-
pia Limited and Yum-Yum in The Mikado, would have been most unsuitable as the Countess
(Baroness), while Brandram and Palmay would have competed for attention in the two leading
female roles in the theatrical company. But to make room for Palmay, Gilbert transformed Lisa
into precisely what he said he didn’t want—a “colourless soprano.”
Sullivan persisted, and apparently secured (or thought he had secured) Gilbert’s agreement to
exchange Brandram with one of the sopranos. But when he informed Carte, Helen Carte dashed
off a patronizing telegram in which she chastised the composer for making side agreements with
Gilbert, which she believed threatened to disrupt delicate casting negotiations with the librettist.
letter received but fear it makes matters worse and much regret you
telegraphed gilbert without communicating first with us as promised.
the proposed arrangement upsets everything including palmay engage-
ment altogether. palmay would be impossible as the sympathetic
ingénue elsa and gilbert clearly conveys that the countess would not
fit perry whom he obviously intends for elsa. this means that either
you must be content with perry as your soprano or else that she plays
the small part in second act and owen is shelved entirely as gilbert
does not consider owen suited to elsa and in either case we leave out
palmay. moreover gilbert evidently intends making brandram more gro-
tesque and laughed-at in elsa than she would have been in the coun-
tess. telegraph me immediately explaining what you really mean about
the cast as it is quite impossible we can confirm unless everything is
clear about the proper employment of these artists. monday all was sa-
tisfactory now all is confused. please wire gilbert immediately saying
1 Letter of August 12, 1895. Jacobs, p. 366.
xviii
Introduction
that on consideration you prefer reverting to the former arrange-
ment.1
Helen continued her argument in a letter the same day, which is remarkable for exhibiting the
brazen control over the composer that the Cartes now held:
You will remember that on Monday morning I begged you never again until all
questions were settled to send off important letters or telegrams to Mr. Gilbert
without giving us a chance of consulting with you first. You remember that
D’Oyly and I (I especially) have had over six months of arduous and most anxious
correspondence and interviews to bring about what has now happened – and
what I knew you wished – and now that in consequence things are in train for a
real settlement surely it is not asking much that you should not send off impor-
tant communications to Mr. Gilbert involving us without giving us a chance of
expressing our opinions – especially when they are diametrically opposite to what
we have clearly arranged with you at our last meeting. It would seem to me that
simply because Mr. Gilbert agreed to a suggestion of yours as to Brandram play-
ing Lisa (a suggestion which you will recall you made without consulting us at all)
you thought no more of what was to be done with the rest of the cast but instant-
ly expressed yourself delighted.2
The hiring of the Hungarian soprano Ilka Palmay3 is curious. That she was a major talent is
undisputed, but the opera had developed to this point with no obvious role for her. Wolfson be-
lieves that Gilbert needed a ‘star’ as a foil to Barrington, once it became clear that Grossmith,
Temple and Bond wouldn’t be available for the new opera.4 It is clear that Gilbert had originally
hoped to feature the three former Savoy stalwarts, and it is equally clear that the roles they would
have played (the Grand Duke and the Prince & Princess of Monte Carlo respectively) were re-
duced in prominence as the opera took its final shape.5 But the connection between their non-
participation and Palmay’s engagement seems to be no more than speculation.6
1 Jacobs, p. 366.
2 Jacobs, p. 367.
3 The soprano was credited as “Mdme Ilka von Palmay” in the first-night programme, but according to
Jacobs she told the Sketch on April 15, 1896, that the correct form was “Ilka Palmay” (Jacobs, p. 365, n. 4).
Jacobs calls her “von Palmay” in his main text despite this; Stedman and Ainger both adopt “Palmay.”
4 Wolfson, pp. 83–84.
5 The Library of Congress deposit copy of the libretto (reproduced in Wolfson, pp. 211–279) has a duet
for the Prince and Princess, followed by a quintet for Ludwig and his four “wives,” both of which were
deleted before opening night (deposit copy, pp. 50–52). The plot book also suggests a scene for Ernest and
Rudolph in the middle of Act II that never made it into any of the libretto drafts.
6 Wolfson quotes from Bond’s autobiography, in which she says that her retirement was a secret until
after the Mikado revival had begun in November 1895 (Wolfson, p. 84). He says, without documentation,
that “at the final moment, Mr. Temple and Miss Bond broke the news to Gilbert that they would not be
appearing in the new opera” (ibid.). Wolfson says further that she “abandoned Gilbert as the rehearsals
for The Grand Duke approached” (ibid.). But the letters between Gilbert, Sullivan, and Helen Carte
xix
The Grand Duke
What is clear is that significant parts of the opera were rewritten or expanded for Palmay, and
she became the de facto second star of the piece, after Barrington. Her two big duets with Ernest
(No. 4, No. 20), her grand concert aria (No. 19), the topsy-turvy references to her foreign ac-
cent, and the sub-plot concerning her professional precedence, all entered the opera after the role
of Julia was invented for her.
To Wolfson, this was the fatal flaw:
Countess Palmay1 was an unquestionably fine performer. She has left behind
several very fine gramophone records and photographs which prove it. Mme
Palmay had a strong European accent which Gilbert had to ‘accommodate’ if he
was going to use her in a Savoy production. As all of the other members of the
Savoy troupe were English, and as the opera was set in Germany, it appealed to
Gilbert’s sense of the ridiculous to have the one Savoyard with an accent portray-
ing the one ‘English’ character in the opera.
Thus Gilbert created the role of Julia Jellicoe the ‘English’ commedienne [sic]
with the German accent, and her role grew and grew and grew. When it finished
growing, the libretto which Sullivan had initially thought to be ‘clear and bright’
was utterly unrecognizable.2
Wolfson later refers to Palmay as “the soprano for whom he destroyed the libretto of The
Grand Duke.”3 This surely misses the mark in a number of respects. All of the elements that Sul-
livan had approved in the initial plot sketch remained recognizable in the final text of the opera.
It is more accurate to say that with the addition of Julia, and the incidents relating to her, the
libretto had a surfeit of promising ideas competing for attention.
Furthermore, Julia is at least arguably the most interesting character in the opera. The role of-
fers what is probably the greatest comic potential of any that Gilbert and Sullivan wrote for a
soprano. In the hands of a capable actress, Julia’s scenes are among the highlights of the piece—
as most of the first-night critics seem to have recognized.
It is doubtful whether even the initial conception was as “clear and bright” as Sullivan
thought.4 Throughout the late 1880s and early 1890s, Gilbert’s libretti became progressively more
complicated, and The Grand Duke had fallen victim to that trend long before Ilka Palmay came
on the scene. As Stedman explains:
[I]n his librettos of the 1890s, he relaxed his long-held principles of comic con-
struction. More than his contemporaries, he had hitherto adhered to the unities
of French drama in his librettos, a form in which other writers notoriously
quoted above make clear that, by August 1895, there was no role in the opera for Jessie Bond. When and
why Grossmith and Temple decided not to participate remains unexplained.
1 Palmay was a Countess by virtue of her marriage in the early 1890s to Austrian Count Eugen Kinsky. A
sentence later, Wolfson demotes her to “Mme.,” the style she adopted on the stage.
2 Wolfson, pp. 88–91.
3 Wolfson, p. 91.
4Sullivan agreed to a number of projects that turned out badly—including some, like The Chieftain, that
he should have known were dubious ideas. His judgment of an unelaborated plot sketch must be taken
with some caution.
xx
Introduction
sprawled. His best plots are neat, ingenious, and single (or so balanced as to seem
single), and are confined to two acts between which little time elapses. Although
the incidents may be melodramatic, they are arranged in a framework of logical
alternatives, often beginning with an absurd premise related to a seemingly sim-
ple romantic problem. This initiating problem, ostensibly solved in Act 1, gives
rise to a more difficult problem for Act 2, the solution of which allows the first
solution to be put into effect, as in The Mikado.
The post-1890 librettos, however (except for Haste to the Wedding), have mul-
tiple plots, often with enough incident to furnish two of Gilbert’s early operas.
This loosening had begun unnoticed in The Gondoliers with its three pairs of lov-
ers, its dramatis personae whom Gilbert determined ‘all shall equal be’, and its
long time-lapse between acts. Fortunately, the brilliance of the lyrics and score
concealed the suggestion of diffuseness in the structure, but Cellier and Carr were
not Sullivan.1
The intrigues of the Grand Duke’s betrothal-in-infancy to the Princess of Monte Carlo, the
topsy-turvy consequences of a “civil death,” and the comic situation of a theatrical troupe replac-
ing the Grand Duke’s courtiers, were probably as much material as the opera needed. To bring it
all together, Gilbert needed to invent the Statutory Duel, and he needed to arrange for two of
these to be fought in the first act. To create a reason for the two duels, he needed a conspiracy to
dethrone the Grand Duke, the wholly irrelevant device of the sausage-roll, and the contrived
coincidence of Ludwig choosing the Grand Duke’s detective as a confidant. All of this is merely
exposition to the story Gilbert really wanted to tell.
Arthur Jacobs condemns the mechanical nature of the plot:
It was the most heartless and mechanical of all Gilbert’s works for Sullivan. Such
extravagances as the love-potion in The Sorcerer or the gallery of ghosts in Ruddi-
gore still left room for the play of genuine tenderness and the arousal – even
through laughter – of genuine sympathy; but in The Grand Duke contrivance is
all, and the pairing of male and female characters at the end is like tidying the
board after a game. Even the contrivance itself is not water-tight, since the con-
spiracy to dethrone the Grand Duke, a vital motive to the plot at first, is forgot-
ten by the end. (So is the comic signal of eating a sausage roll.) A weakening of
artistic resolve must have caused Sullivan to accept a plot and a treatment which
in earlier years he would have rejected as lacking in those genuine human feelings
to which his music responded so happily.2
Wolfson is, of course, correct that the addition of Julia Jellicoe to the story made the plot even
more convoluted. However, it is hard to agree with Wolfson’s ultimate conclusion that Gilbert
had irreparably harmed a “clear and bright” idea. The story had long since acquired too many
characters and sub-plots for its own good.
The libretto suffered from other structural problems, as well. The title character makes a strik-
ing impression in Act I, but then entirely disappears from the action until the final moments of
1 Stedman, pp. 304–305.
2 Jacobs, p. 371.
xxi
The Grand Duke
Act II. Gilbert himself must have recognized this as a weakness, but a contemplated scene in the
middle of Act II for Ernest and the Grand Duke never made it into the opera.1
Gilbert often ended his operas with a startling revelation or a trick of logic, but the contriv-
ance that ends The Grand Duke—the discovery that the Ace counts lowest in a Statutory Duel—
is not one of his better ones. Gilbert originally had another idea: “resuscitation must be through
the agency of the Alteration of the Calendar.”2 Wolfson finds this “too complicated for even a
Gilbert plot,” although it cannot have been worse that the solution he ultimately settled upon.
Production
It took Gilbert and Sullivan a number of months to get the new opera ready. In the mean-
time, Carte once again secured Gilbert’s permission to perform his libretti, and a successful re-
vival of The Mikado was mounted on November 6, 1895. Gilbert rehearsed the cast, and Sullivan
conducted the first night. George Grossmith, Rutland Barrington, Jessie Bond, and Rosina
Brandram were all on hand to reprise their original roles, with Richard Temple joining in Janu-
ary.3 After The Mikado opened, Sullivan went to Germany to supervise a production of Ivanhoe
in late November that was not successful.
Rehearsals for The Grand Duke began in January. Wolfson notes, “Sullivan’s diary for the re-
hearsal period is empty. This is a bad sign. The only other times when Sullivan had failed to
make diary entries were during periods of illness, depression, or the rehearsals of The Chieftain.
Sullivan could tell in advance when something wasn’t working.”4 Wolfson may be jumping to
conclusions, but it is certainly true that there are no diary entries between December 22, 1895 and
March 6, 1896. Whatever the reason for it, Sullivan’s silence, and the lack of any significant cor-
respondence or eyewitness accounts, leaves us without any accounts of what must have been a
tumultuous rehearsal period.
We get some idea of the changes undertaken in rehearsal from the U. S. Library of Congress
deposit copy.5 In this text, the title character is called Wilhelm, his Grand Duchy is Hesse
1 A number of amateur productions have invented their own solutions to this problem. Peter Kline sug-
gested interpolating the “capital plot” trio from Utopia Limited for Ernest, Rudolph, and the Notary.
Kline offers his proposed solution royalty-free, but one cannot help concluding that the cure is worse than
the disease (Peter Kline, Gilbert and Sullivan Production, (New York: Richards Rosen Press, Inc., 1972),
p. 230). Somewhat more effectively, in a 2005 production, New York City’s Blue Hill Troupe introduced
a scene for Rudolph and Ernest in the middle of Act II, transferring Rudolph’s “Well, you’re a pretty
kind of fellow” (with some word changes) and making it a duet for the two characters. This, at least, had
the merit of repurposing music from within The Grand Duke itself.
2 That is, the introduction of the Gregorian calendar, decreed by Pope Gregory XIII in 1582 to correct for
leap-year errors in the earlier Julian calendar. Many countries, including parts of Germany, did not adopt
the Gregorian calendar until much later, leaving the world with two calendars ten or more days apart.
The last countries to adopt the Gregorian calendar did so in 1919. Britain and its colonies did so in 1752.
Gilbert set the date of The Grand Duke as 1750.
3 Stedman suggests that Carte did the new opera a disservice, as The Mikado “reminded audiences of the
standard they themselves had set” (Stedman, p. 308).
4 Wolfson, p. 91.
5 Reproduced in a photo-facsimile in Wolfson, pp. 211–279.
xxii
Introduction
Halbpfennig, and Ludwig’s first bride is Elsa. The names “Wilhelm” and “Hesse Halbpfennig”
bore too close a resemblance to those of Queen Victoria’s German relatives, and were changed
before the opening to the unobjectionable “Rudolph” and “Pfennig Halbpfennig.” Elsa was re-
named Lisa, and a separate minor character named Elsa introduced. This last change seems en-
tirely unmotivated, and must have been awfully confusing for the cast and composer.1
The Grand Duke’s second solo in Act I was originally a lyric imported from The Mounte-
banks, “When your clothes, from your hat to your socks.” The song was set—by Cellier or pos-
sibly his assistant—and included in the vocal score published in America, but was never heard in
England. Gilbert replaced it with “When you find you’re a broken-down critter,” retaining many
of the verbal ideas, but giving Sullivan a less wordy lyric to set. It had been a patter song in The
Mountebanks; Sullivan took a much different approach.
Lastly, there were a number of large cuts in Act II, mostly in the last part of the act—perhaps
simply to bring an overly-long opera to an overdue conclusion, or perhaps to reduce the impor-
tance of the Prince and Prince of Monte Carlo. There was also a quartet for Ludwig, Julia, Elsa,
and the Baroness deleted from the middle of the act.2
What we don’t know is when all these changes took place. The Library of Congress deposit
copy is date-stamped March 5, 1896, but it was printed in America. Gilbert would have had to
allow time for the libretto to travel across the Atlantic, to be re-set and printed in time for depo-
sit in advance of the London première.3 Unusually for a Gilbert libretto, the copy submitted to
the Lord Chamberlain for licensing was identical to the text offered for public sale on the first
night, which suggests that there were no significant alterations made in the final days before the
production.4
1 In Gilbert’s plot drafts, before the character of Julia was introduced, the two principal female characters
in the theatrical troupe were Lisa and Elsa. Apparently Gilbert had trouble deciding which name he liked
better.
2 Wolfson says, “The rehearsal text of The Grand Duke…differs greatly from that performed at the Savoy
on opening night.… Most of the rewrites for The Grand Duke were made after rehearsals had begun.”
(Wolfson, p. 109.) I am not persuaded that the amount of change was all that unusual. The difference
between the two Grand Duke texts is not as great as the difference between the two Pirates of Penzance
texts (license and first-night). There too, the two texts were an ocean (and at least a month) apart.
Wolfson identifies one other significant change purportedly undertaken during the opera’s gestation. He
quotes “The Stroller’s Song” (pp. 85–86; facsimile of Gilbert’s draft on p. 87), which he believes is the
precursor to Ernest’s song, “Were I a king in very truth.” But the Stroller’s Song is not in the Grand Duke
plot book. It is bound into a volume that contains fragments from a number of works, from H.M.S. Pi-
nafore to The Fortune Hunter. The plot draft that precedes the Stroller’s Song mentions a traveling theatr-
ical company, but it also includes a South Pacific king who has no knowledge of European courts. On the
whole, the draft bears a greater resemblance to Utopia Limited (with the theatrical troupe taking the place
of the Flowers of Progress) than it does to The Grand Duke. See W. S. Gilbert Papers, British Library
Add. MS. 49306, ff. 93–101.
3 Wolfson says that, “Before 1900 a copyright could only be secured in America on a work which had
been printed from plates which had been set in the United States. It was also necessary to secure the
American copyright before the first English performance” (Wolfson, p. 108).
4 Among the Gilbert & Sullivan operas, only Thespis, Princess Ida and The Grand Duke have identical
license and first-night texts. It is, of course, possible that changes were made in later rehearsals that Gil-
bert did not bother to transmit to the printer.
xxiii
The Grand Duke
When Sullivan returned to his diary on Friday, March 6, it was only to report: “Busy. Full
dress rehearsal at 2.30. Rehearsed overture at 1.45. Opera went without stoppage. It was enthusi-
astically received by large audience.”1
He was less sanguine after the première the next day: “Began new opera “Grand Duke” at ¼
past 8 – usual reception – opera went well – out at 11.15. Parts of it dragged a little – dialogue too
redundant but success great and genuine I think. Supped at Savoy with Oppenheim &c. – then
home. Thank God opera is finished & out.2
Reviews published the next day gave him encouragement. He wrote in his diary, “Newspaper
notices of new opera all splendid.” The première had been a glittering occasion, with the house
no doubt filled with long-standing devotees of the Savoy Operas, who were prepared to be elated
at a new Gilbert & Sullivan production, and who weren’t going to let anything disappoint them.
But once the opera settled into a run, the reviews were far from uniformly “splendid,” with the
libretto coming in for some particularly harsh criticism.
Reginald Allen presented a cross-section of the contemporary reviews in The First Night Gil-
bert and Sullivan, and I will allow just a few of these to stand as typical. “Mr. Gilbert has stood
still, but Sir Arthur Sullivan has advanced,” wrote Man of the World. “Sir Arthur Sullivan has
done better than his librettist, and perhaps would have done better still if he had not been dul-
lened by that Sausage Roll,” offered the Musical Standard. “Mr. Gilbert has lost all his gaiety and
nearly all his old brilliance,” chimed the City.3
The Athenæum pronounced the opera to be of “average merit.” The Musical Times said the
opera found Gilbert “exercising a familiar art upon still fresh matter amid peals of approving
laughter.” And perhaps, most famously, The Times: “The Grand Duke is not by any means an-
other Mikado, and, though it is far from being the least attractive of the series, signs are not
wanting that the rich vein which the collaborators and their various followers have worked for so
many years is at last dangerously near exhaustion.”4 The opera had its share of favourable re-
views, but it was notices like this one that, whether fairly or not, came to be seen as representa-
tive of what Gilbert and Sullivan—and particularly Gilbert—had achieved.
1 For their 1890s operas, Gilbert & Sullivan had invited dress rehearsals—a practice they had not em-
ployed in earlier years. It is the invited audience to which the composer is referring.
2 The passage has been widely excerpted. There is a photo-facsimile in Wolfson, p. 95.
3For all of the quotes in this paragraph, see Reginald Allen, The First Night Gilbert and Sullivan, Centen-
nial Edition (London: Chappell & Co. Ltd., 1975), p. 419.
4 All of the reviews excerpted in this paragraph are printed in full in the Appendix.
xxiv
Introduction
Figure 1. The Illustrated London News, 14 March 1896, showing facsimile of the Herald’s Song
xxv
The Grand Duke
Post-Production
Like most of the Gilbert and Sullivan operas, the text of The Grand Duke was altered after the
opening night to account for audience reaction and the experience of live performance.1 The
changes on this occasion were more radical than usual. In addition to numerous dialogue cuts
throughout the opera, the duet for Rudolph and the Baroness (No. 10, “As o’er our penny roll
we sing”) was cut in half, and there were several cuts in the Act I finale. In Act II, three entire
songs were cut: the Baroness’s drinking song (No. 21, “Come, bumpers—aye, ever so many”),
the Prince’s roulette song (No. 27, “Take my advice—when deep in debt”), and Rudolph’s pat-
ter song (No. 28a, “Well, you’re a pretty kind of fellow”).
Normally, Gilbert and Sullivan worked together on any post-première changes. Whether they
did so after The Grand Duke remains an open question. Sullivan did not refer to the opera in his
diary again after mentioning the “splendid” notices it had received the morning after. The opera
opened on a Saturday, and by Wednesday Sullivan was recuperating in Monte Carlo. According
to Wolfson, the cuts mentioned above were all effected within a week—that is, by the following
Saturday.2 When could Sullivan—whether in person or by letter—have discussed them?
Yet, several of the cuts required changes to the surrounding music. David Russell Hulme re-
ports that these changes are notated in Sullivan’s autograph in the hand of “what I am reasonably
sure is that of his secretary and musical assistant Wilfred Bendall.”3 In parts of the Act I finale,
these changes went as far as recomposing the passages in question. Would Bendall have so funda-
mentally altered the work without the composer’s agreement? Of course, Sullivan might have
been sick of The Grand Duke by this time, and may simply have told Gilbert and Carte that they
could do with it whatever they wanted.
Whether Sullivan approved some, all, or none of these cuts—and whether his approval took
the form of active participation or resigned acquiescence—has yet to be discovered. Hulme notes
that the cuts were not incorporated in the vocal score, which he takes as evidence that Gilbert
had acted unilaterally. However, Hulme apparently did not realize that the vocal score was pub-
lished during the first week of performances, probably before any major cuts were decided on
(see Figure 1, p. xxv). The failure of the opera may have rendered moot the possibility of a re-
vised edition.
Wolfson blames the cuts entirely on Gilbert, and like many commentators, he is not con-
vinced they were the right ones.4 The Baroness’s drinking song and the Prince’s roulette song
have proven to be the two most popular detached songs in the opera. In the hands of capable
performers, both songs generally make a strong impression. Wolfson has it right when he ob-
serves that, “The opera could have been far better served if other numbers had been cut.”5 Unlike
the other two songs, Rudolph’s Act II patter song is not particularly distinguished, but its dele-
1Princess Ida seems to be the only Gilbert and Sullivan opera that had no significant change to the words
or music after the opening night, although it did have one cosmetic change: the renumbering of the acts.
2 Wolfson, p. 100. I have not found any other source that confirms the changes were made within a week.
3 David Russell Hulme, “The Operettas of Sir Arthur Sullivan: A Study of Available Autograph Full
Scores,” Diss. University of Wales, 1986, p. 293.
4 Stedman, too, presumes the cuts were entirely the librettist’s doing (Stedman, p. 309).
5 Wolfson, p. 100.
xxvi
Introduction
tion left the title character with scarcely more than a cameo at the end of the opera.1 Dialogue
cuts in the final scene turned an already abrupt ending into a cipher.
As late as May 3, 1896, Gilbert sent Helen Carte a revised libretto, apparently responding to
cuts she had recommended: “I return your book with the suggestions for cuts. I have agreed to
all that appear to me to be possible—I have given my reasons for objecting to those to which I
have objected.”2 No one yet has has identified what those cuts were, or whether they were put
into performance. In any case, it was too late to save The Grand Duke.3
Gilbert’s final disposition of the material came in a revision of Songs of a Savoyard.4 Three lyr-
ics from The Grand Duke were selected to stand alongside the Bab Ballads and other lyrics from
Gilbert’s operas. They are worth noting here, if only to indicate what the librettist thought was
his best work from the opera:
“Were I a king in very truth” (title: “A Manager’s Perplexities”)
“When you find you’re a broken-down critter” (title: “Out of Sorts”)
“At the outset I may mention” (title: “A Classic Revival”)
In 1909, Gilbert proposed to Charles H. Workman that he would write a new comic opera
with Edward German (Fallen Fairies), and then launch a season of revivals, consisting of the op-
eras not then in the D’Oyly Carte Opera Company repertory. “These,” he wrote,” along with
the opera I am writing with German, & the opera I hope to follow that with—ought to give a
season of 18 months.”5
For Gilbert to do this, he actually had to buy the rights to these operas back from Helen
Carte, to whom he’d sold an exclusive performance license earlier in the decade. He wrote to her
on April 16, 1909:
The only suggestion I have to make arises out of your last letter in which you
suggest that if you decide to produce, on tour, any of the operas that are not in
1 In my experience, in lieu of cutting the song entirely, a more common solution in modern performances
is to retain Rudolph’s Act II patter song, but to trim it by a verse.
2 Ainger, p. 363.
3 The official production prompt books for many of the Savoy Operas reside in the D’Oyly Carte ar-
chives, now located in the Theatre Museum in London. Unfortunately, the prompt books for several op-
eras, including The Grand Duke, are missing. Clearly they were available for John Wolfson to consult be-
fore Final Curtain was published in 1976 (an excerpt is pictured on p. 92 of that book), but by the time
the collection went to the Theatre Museum, they had disappeared. These prompt books might help settle
the matter of which cuts were made when.
4 W. S. Gilbert, The Bab Ballads, with which are included Songs of a Savoyard, 2nd Ed., (London: George
Routledge and Sons, 1898). Many of the lyrics included in the volume were slightly altered to fit the new
context. For instance, in “A Manager’s Perplexities,” the lyric ends with “Can govern and rule, with a
wave of his fin, | All Europe and Asia—with Ireland thrown in” (emphasis mine). The matching line in
the first verse is changed to “Can govern a tuppenny–ha’penny State” (note the change from this to a).
5 Letter of April 9, 1909. British Library, Add. MS. 49339, f. 120. Gilbert must not have had high expecta-
tions for his new operas. In the old days, a run of eighteen months for just one opera was not an unrea-
sonable expectation. Here, it was his forecast for Fallen Fairies, another new opera not specified, and a
season of multiple revivals—albeit of operas that were previously unsuccessful.
xxvii
The Grand Duke
your repertoire, after they have been produced in London by me, you shall be en-
titled to have the use of any alterations I may make or authorize.
It occurs to me that in such a case the amounts paid by Bertie Sullivan and
myself (or by myself alone in the cases of The Mountebanks and His Excellency)
should be returned to us as (1) it would be the success of the piece in London
that would prompt you to add it to your repertoire and (2) the alterations would
probably be very material, especially in Ruddygore [sic], Utopia Limited and The
Grand Duke.
I do not make this a condition, as I rely upon your being appealed to by its
reasonableness.1
Fallen Fairies failed miserably. Gilbert fell out with Workman over the dismissal of Nancy
McIntosh early in the run, and the season of revivals never happened. Gilbert was on record as to
what he thought was wrong with Ruddigore, but we do not know what he would have altered in
Utopia Limited or The Grand Duke. It is one of the great might-have-beens in the history of the
Savoy Operas.
Legacy
Gilbert and Sullivan may have agreed on very little in 1896, but they agreed on at least one
thing: the libretto was The Grand Duke’s undoing. On March 12, 1896, the composer wrote to
F. C. Burnand from Monte Carlo, “Why reproach me? I didn’t write the book!!”2 Gilbert ren-
dered a similar verdict in a letter to Mrs. Bram Stoker just two days after the première: “I have
had a rather bad time of it, but now that the baby is born I shall soon recover. I pick up very
quickly (thank God!) after these little events. I’m not at all a proud Mother, and I never want to
see the ugly misshapen little brat again!”3 With both of its creators disowning it, the D’Oyly
Carte Opera Company had no reason even to consider reviving The Grand Duke.4
For most of the twentieth century, scarcely anyone had anything good to say about the opera,
although most writers who touched upon it would have done so without the benefit of hearing a
professional performance (or perhaps any performance). A brief survey of critical opinion will
serve to illustrate just how low the work’s reputation had sunk.
By twenty-six years after the première, H. M. Walbrook regarded the opera as entirely forgot-
ten:
Its run was the shortest in the annals of Gilbert and Sullivan . . . and it has
never been seen since. It is never mentioned. Even of those who saw it, the ma-
jority have forgotten it, or remember it only as a vastly dull affair of which the
less said the better.
1 Letter of April 16, 1909. British Library, Add. MS. 49339, f. 122. Also quoted in Pearson, p. 249.
2 Allen, p. 420.
3 Ibid.
4 Utopia Limited likewise remained out of the repertory, although it was considered for revival several
times (and rejected—primarily due to cost) before finally returning during the 1975 centenary season.
xxviii
Introduction
The failure here must sorrowfully be put down to the librettist. Plot, dialogue,
characterization, wit, everything, is mechanical. It reads like the work of a tired
man. . . . There is his manner but not his wit, his lyrical fluency but not his
charm. . . . Its libretto was as cold as the snows of the Jungfrau, without a touch
of their beauty.
Even Sullivan with all his joie de vivre could not breathe life into it. Here and
there, of course, he had his moments…but, for the most part, the lyrics were un-
inspiring and the melodies uninspired. In short, The Grand Duke must be admit-
ted as making a quite curiously feeble and depressing ending to the long and bril-
liant collaborative achievement.1
In 1928, in the first musical analysis of Sullivan’s operas, Thomas F. Dunhill was dismissive:
The Grand Duke, or The Statutory Duel was the last work in which the two
men wrote together in double harness, and truth to tell, it proved to be such a
poverty-stricken affair that one would gladly draw a veil over the whole proceed-
ings. In no respect whatever can it compare with any of their previous produc-
tions. Even Utopia Ltd, in its weakest pages, had at least an air of successful resus-
citation. The Grand Duke could not possibly be galvanized into any kind of life at
all, although an able company of players struggled hard to do their best for it.
It was as if Gilbert and Sullivan were trying to extract ore from an old mine
that was worked out. The wealth of humour and melody, brought forth with
such regularity, had once seemed inexhaustible. Now, alas, it completely failed.
The plot was involved and almost unintelligible; the lyrics were mostly common-
place in idea and clumsy in execution; the music (though it could not help hav-
ing a certain facility in rhythm) seemed like the work of an utterly tired and
worn-out man. It was impossible even to pretend to be interested in the doings of
the dull puppets which peopled the stage. They obviously depressed Sullivan so
much that only two or three times in the course of the proceedings was he able to
throw out a stray hint of the old tunefulness, and the old skill.
If the quasi-Greek chorus which opens the second act could be rescued from
its surroundings, and provided with new words, it would give pleasure, for it has
a dignified style which is truly characteristic of the composer: [Here, Dunhill
quotes a few measures of “As before you we defile, Eloia! Eloia!”]
The soprano solo, “Take care of him,” a tiny fragment of graceful melody, and
the Herald’s song, proclaiming the approach of the Prince of Monte Carlo, are
also a little more than a mere dim echo of past successes, though the latter is
spoilt by some commonplace phrases. For the rest there cannot be the slightest
chance of survival, even in the mental recollection of those who heard the work
at the Savoy.
1 Walbrook, pp. 122–124.
xxix
The Grand Duke
The opera was performed 123 times (it is amazing that it survived so long) and,
in justice to Sullivan’s memory, as well as Gilbert’s, it is to be hoped that it will
never be heard again.1
Isaac Goldberg, in one of the best early historical surveys of the partnership, is a bit less cate-
gorical in his condemnation, although he condemns it all the same:
Gilbert, in the last libretto that he was to do for Sullivan, was clearly the
“played out humorist” that he had sung in His Excellency. The plot has more co-
herency than that of Utopia, but is far less consequential. The pen of the author
strays; as in Utopia, he announces themes and, having secured his initial laughter,
forgets to develop them. The construction is swollen, the manner is florid; the
old self-censorship has relaxed. The verses are good, in a routine manner, but
they recall, inevitably, the happier days of the selfsame hand. The tale, built on a
pack of cards, collapses like a house built of the same material.
The eating of a sausage roll, employed as a sign of recognition by members of
the secret society, might meet with approval from dealers in delicatessen, but
from Gilbert it comes as rather indigestible humour. . . . When Ernest makes
nothing of rulership over a grand duchy as compared with the direction of a
theatrical troupe . . . Gilbert is reverting to his second last opera and to his very
first, almost in confession of sterility. Julia’s ballad, “How would I play this part”
is Elsie’s [sic] “Were I thy bride” in thin disguise. Rudolph’s patter, “When you
find you’re a broken down critter” is a sorry attempt to duplicate the glorious
nightmare of the Lord Chancellor in Iolanthe. On the other hand, the opening of
the second act is of distinctly individual caliber, and Sullivan, as usual, responded
with a lift in the music. The hyper-intellectual patter-song of Ludwig, with its
French and Latin and Greek, recalls for a moment the learned fays of Iolanthe,
but it has a swing and a wit all its own; for verbal jugglery and metrical click it is
unsurpassed in the series. . . .
There is little, essentially, to say for the music which Sullivan, out of his wea-
riness, wrote for The Grand Duke. It is clear that in this piece, as in Utopia, his
grip upon the text was relaxing; he pays less attention to the words, setting them
with less regard than formerly to their natural rhythms, and exhibiting less con-
science in his arbitrary treatment of their natural accents. He tries, as in Utopia
he tried, to write the waltz as Offenbach and the Viennese understood it, but he
falls into the undistinguished dance of musical comedy. His music, always so de-
pendent upon cleverly repeated patterns, becomes a search chiefly for new se-
quences, until—if the pun may be pardoned—in its very excess of sequence it
becomes inconsequential. The patter songs, especially, betray a fountain run dry.
Yet there are dying spurts. The Introduction and Chorus that opens Act ii is
in the vein of the Greek dance in Patience, and betters it. The quintet in Act i,
“Strange the views some people hold,” deserves a place only second to the Ma-
drigals in The Mikado, Ruddigore and The Yeomen of the Guard. The music to the
entrance of the Grand Duke (also used as the opening motif of the potpourri that
1 Thomas F. Dunhill, Sullivan’s Comic Operas, (London: Edward Arnold & Co., 1928), pp. 210–211.
xxx
Introduction
passes as an overture) sounds suspiciously like a parody of the fourths and fifths
that make up the theme of Wagner’s Flying Dutchman.
There was not lacking the usual reception of a Gilbert and Sullivan opera;
there were those who, even now, could sing rhapsodies to this decaying formula.
Carte himself must have felt, however, that death was in the air. The manner in
which he bedizened Utopia and The Grand Duke suggests, in the pathos of dis-
tance, the rouging of a corpse. Or, perhaps, he too was declining towards the
empty pomps of musical comedy. . . .
The opera ran through one hundred and twenty-three performances, took
cold from the frost and died. It is the least known—if known at all—of the Gil-
bert and Sullivan operas, and the least likely to be revived. The machine had run
down.1
It is notable that the three critics quoted here at length—Walbrook, Dunhill and Goldberg—
are far more dismissive of the work than even the least-enthusiastic critics who actually saw the
opera in 1896. One cannot help concluding that they were ratifying what appeared to be posteri-
ty’s judgment, rather than evaluating the opera afresh.
To the extent The Grand Duke registered on the radar screen during this period, it was
through the occasional amateur production. The obstacles to performing it, if only psychologi-
cal, must have been daunting. Besides the overwhelming critical consensus that there was noth-
ing in it of merit, amateur groups are usually reluctant to produce an opera they have not heard,
and opportunities to hear The Grand Duke were rare.2 When the opera was produced, G&S afi-
cionados would travel long distances to see it. An academic conference in Kansas in 1970 drew an
international audience, in large part because a production of The Grand Duke was on the pro-
gram.
It is difficult to know just how often the opera was performed before the 1960s, but in Janu-
ary 1965 the Gilbert & Sullivan Journal reported that a production in Leicester the preceding No-
vember was “the first in this country for seven years.”3 Just a month later, the Geoids Amateur
Operatic Society in London mounted a production “probably as complete musically as any re-
vival of that opera can hope to be,” which Bridget D’Oyly Carte attended.4
Activity picked up in the U.S. in the 1960s, as well. The American Savoyards under Dorothy
Raedler mounted the first American professional production in June 29, 1959, at their summer
1 Isaac Goldberg, The Story of Gilbert and Sullivan or The ‘Compleat’ Savoyard, (London: John Murray,
1929), pp. 424-429.
2 Stephen Turnbull reports that there was “a steady trickle” of amateur productions in the first half of the
twentieth century, although he notes only one—a “full scale production with orchestra for five nights in
1931” by the Musical Society in Pickering. He adds, “From 1962 onwards the lists of amateur productions
of G & S operas published in The Savoyard gives a useful though incomplete indication of a gradually
growing popularity from (on average) just one production a year in the early 1960s to three or four a year
by 1980.” Stephen Turnbull, “The Grand Duke Since 1896,” in The Grand Duke: 1896–1996, op. cit., p. 22.
3 Paramount, “A Thing of Shreds and Patches,” in The Gilbert & Sullivan Journal, Vol. VIII, No. 16
(January 1965), p. 266. We are also told that a Mr. and Mrs. Freckingham saw all seven performances,
plus the dress rehearsal.
4 “Ourselves and the Operas: Random Notes by the Editor,” in The Gilbert & Sullivan Journal, Vol. VIII,
No. 17 (May 1965), p. 279.
xxxi
The Grand Duke
home in Monmouth, Maine,1 and repeated it in New York at the Greenwich Mews Theatre on
May 11, 1961.2 The Lyric Theater Company of Washington, D. C., gave four performances in
1962. Peter S. Diggins wrote in the Washington Post, “[T]he difficulties were worth surmounting,
for the work is a delight. . . . Throughout the work are echoes of their earlier and more successful
collaborations, but Pfennig Halbpfennig retains a flavor all its own.”3
The opera was completely ignored in the early days of the gramophone.4 The first recordings
came in the 1960s, once it became economically feasible for amateur groups to produce record-
ings of their own shows. First to appear was a 1962 recording by the aforementioned Lyric Thea-
ter Company, which presented a slightly abridged text and an orchestration derived from the
vocal score.
The same company produced and recorded the opera again in 1965, this time a word- and
note-complete performance of the first-night text (or, what Lyric thought to be a first-night text)
with the original orchestration. Paul Hume of the Washington Post was not amused: “If the world
can struggle along without hearing every single note of Mozart and Beethoven, would it not be
the part of wisdom, economic, artistic, and esthetic, to confine the excellent energies and talents
of this company to those things that are worth them? Last night . . . was an interminable, insuf-
ferable bore in every way for 99 per cent of the time. Alas.”5
In 1966, the BBC broadcast a complete cycle of the Savoy Operas, with former D’Oyly Carte
patter baritone Peter Pratt taking the comic roles throughout the series. Pratt, of course, had
never played The Grand Duke on stage, but he had an innate sense of the required style. The op-
era received a crackling performance. The recording was never published due to artist rights is-
sues, though copies taken off-the-air have circulated widely.
Next up were three more amateur recordings: the Mt. Oread G&S Company in 1970 (the
Kansas production referred to above); the University of Michigan Gilbert and Sullivan Society in
1973; and the Cheam Operatic Society in 1974, whose recording was published commercially on
the Pearl label. All of these recordings were distributed in the international Gilbert and Sullivan
community, and all had a role in the opera’s rehabilitation.
1 I am grateful to Stan DeOrsey for providing details of the production in Maine.
2 Louis Weissman, Letter to the Editor in The Gilbert & Sullivan Journal, Vol. VIII, No. 6 (September
1961), p. 75. The editorially supplied caption described it as the “New York Premiere,” but this was incor-
rect: New York’s Blue Hill Troupe had performed the opera in 1937. The first known amateur production
in America was given by the Philadelphia’s Savoy Company in 1936.
The semi-professional Light Opera of Manhattan (LOOM) produced the opera a number of times, in-
cluding a one-week run during the 1975 centenary season and at least two other occasions in the 1980s.
3 Published August 3, 1962; quoted in Kline, p. 214.
4 So far as I am aware, the first recording of any material from The Grand Duke came in 1950, on a disc of
instrumental excerpts called “Gilbert and Sullivan Favourites” (New Symphony Orchestra of London;
Stanford Robinson, cond. Decca LK4099), which included the Dance from Act II (No. 26). Obviously
Robinson took the word “favourites” loosely—to his credit.
5 Paul Hume, “Revival Fails to Revive Feeble Musical.” My copy of the review is a press cutting that
omits the date.
xxxii
Introduction
What really turned the tide was the D’Oyly Carte recording in 1976. The company had in-
cluded a concert performance of the work during the 1975 centenary cycle,1 which was a rag-tag
affair, coming as it did just twenty-four hours after the company’s first new production of Utopia
Limited since the nineteenth century.2 But the recording the following year was a strong perfor-
mance. The recording took the same Act I cuts as the original production, but it included the
three “lost” songs from Act II. For the first time since the original production, The Grand Duke
could be widely heard in a performance at least approximating what the creators had intended.
The change in the opera’s fortunes was dramatic. Over the next ten to twenty years, most per-
forming groups specializing in Gilbert and Sullivan added The Grand Duke to their regular rota-
tion. Today, one can count on several worldwide productions of it per year. In any given place,
of course, one may have to wait a number of years for its return, but there is no longer a sense
that The Grand Duke is a great rarity. As Stedman notes, “the twentieth century has proved that
The Grand Duke is by no means unplayable.”3
Indeed, many performers who specialize in G&S find it liberating to tackle an opera for
which there are no settled expectations. There is no “tradition,” no standard set of moves, in-
flections and gags. The audience doesn’t mouth the words before they’re spoken, or laugh at the
jokes before they’re made. This doesn’t make performing The Grand Duke a superior experience
to that of the other operas; it is just a different experience.
Audiences usually come to The Grand Duke without expecting very much. Generally, they are
pleasantly surprised, for while the work is undoubtedly too long if performed without cuts, it is
full of bright comic situations and Gilbert’s characteristic topsy-turvy wit. Sullivan’s contribution
has been considered first-rate from the beginning. The opera shows him branching out into a
more harmonically adventurous Continental operetta style. For all of his complaints about work-
ing with Gilbert, his old collaborator had brought out the best in him after all.
A failure in its own day and largely ignored for almost eighty years thereafter, The Grand
Duke now enjoys a modest renaissance.
1 In the twentieth century, the opera’s only other live professional performance in England came on 29
June 1996 at Oxford Town Hall, with David Steadman conducting the National Concert Orchestra, the
Oxford Operatic Society, and a line-up of soloists that included Richard Suart (Rudolph), David Field-
send (Ernest), Leon Berger (Ludwig), Michael Rayner (Notary and Herald), John Ayldon (Prince), Kate
Flowers (Julia), Pauline Birchall (Lisa), Gillian Knight (Baroness) and Catherine Mikic (Princess).
In the United States, the Light Opera of Manhattan performed the opera professionally on a number of
occasions in the 1970s and ’80s.
2 “But things that fortnight did not stop even with Utopia Limited. For the final—Saturday—night the
Company completed the G. & S. cycle by turning to the even less known Grand Duke. In this case what
they came up with was not a proper production, but simply a concert version, with the cast sitting in
three rows across the stage…. With the exception of Julia Goss in Ilka von Palmay’s original part, how-
ever, and John Ayldon, whose rendering of the Prince of Monte Carlo’s “Roulette” song towards the end
won him the only encore of the evening, none of the singers overcame the restrictions this type of per-
formance imposes; and the effect, after the previous night’s virtuoso effort, was unmistakable anti-climax.
It seemed a disappointing way to end a historic—and otherwise sparkling—season.” Tony Joseph, The
D’Oyly Carte Opera Company: 1875–1882, (Bristol: Bunthorne Books, 1994), p. 331.
3 Stedman, p. 309.
xxxiii
The Grand Duke
Assessment
Whereas criticism of The Grand Duke published in the period 1900–1960 was almost un-
iformly unfavorable, criticism published since then has taken a much more balanced view. In
Gilbert and Sullivan Production, Peter Kline argued that Gilbert’s achievement had been misun-
derstood:
The Grand Duke suffers by comparison with other Gilbert and Sullivan operas
not so much because of its inferiority as because its merits are of a different na-
ture and tend not to be seen if one looks at it with too many preconceptions. It is
a sad irony that Gilbert and Sullivan were so often accused of repeating them-
selves, and yet when they genuinely struck out into new territory the results went
unappreciated. . . .
The Grand Duke represents new territory for both Gilbert and Sullivan. Its
plot is pure farce that rises at times to comedy but almost never to the satire that
had previously been Gilbert’s trademark. As farce it has a kind of significance
better appreciated by devotees of the theatre of the absurd than by those schooled
in the tradition of comedy of manners. Indeed, The Grand Duke explores some
of the same thematic material later developed by Eugene Ionesco; in it, role-
playing is carried to extremes that altogether break the bonds of rationality. Top-
sy-turvydom depends for its effect on the assumption of a rational world in
which, for humorous effect, relationships that are conventionally understood in
one light are reversed in order to be viewed in some other light. The basis of see-
ing the world as philosophically absurd is a perception that there is no meaning-
ful rational order: no right way for things to be.1
Max Keith Sutton observes that “It takes a certain perversity to defend a work so often ma-
ligned (or ignored) as the last Gilbert and Sullivan opera.”2 He finds “possibly decadent reasons
for considering it a significant work,” echoing many of the same themes that Kline did:3
The libretto is significant, first of all, in dealing with . . . the way that social
roles can obscure a person’s sense of identity, especially as the individual shapes
his personality to fit his role and lets himself be defined by forces outside himself.
In The Grand Duke, “law” is the name for the external forces—law in the form of
a dramatic contract or a provision whereby a man can undergo “social death” . . .
To exist in the opera means to have a legally defined part, a professional role, and
the role can become radically split from one’s needs and desires as a human be-
ing.
1 Kline, pp. 215–216.
2Max Keith Sutton, “The Significance of The Grand Duke,” in James Helyar, ed., Gilbert and Sullivan:
Papers Presented at the International Conference Held at the University of Kansas in May 1970, (Lawrence,
Kansas: University of Kansas Libraries, 1971), p. 221.
3Kline’s book actually came out in 1972, slightly later than Sutton’s paper was delivered, but I suspect
Kline formulated his views while working on Lyric Theater Company’s productions in 1962 and 1965. I
have no evidence that Kline heard Sutton’s paper in 1970, although it is conceivable he did.
xxxiv
Introduction
My second reason for valuing the opera concerns its forms as much as its
themes. I remember Gilbert’s words—the brat was “misshapen”: some speeches
are too long, some songs may be unnecessary—but I still find the work well-
conceived. Why? Mainly because the action enforces the satire upon theatricality
and role-playing. The plot extends the satire in two directions by dramatizing an
equation between the theatre and politics, the point of Ernest’s first song. . . .
Such juxtapositions are typical of Gilbert, but here his skill in constructing a plot
which reveals actors politicking and politicians acting keeps the satire dynamic,
moving continually in two directions. Perhaps it reminds us of how showman-
ship has become a requirement for political success. . . . In this country, at least,
it may remind us of how actors really do become governors or senators, if not
grand dukes. . . .
The moral decadence within the world of the opera is clearly focused on one
dominant character. This is Julia Jellicoe, the most compulsive role-player and
the most articulate denier of human individuality. Bent on the one goal of win-
ning the highest possible status, she seems to have no other personal con-
cerns. . . . Through Gilbert’s frequent allusions, Troilus and Cressida provides a
sinister backdrop for the farcical disorder of The Grand Duke, and Cressida’s pre-
tenses and disloyalty set a pattern for Julia Jellicoe. On Julia and her unstable
world, falls the shadow of Shakespeare’s “dragon wing of night,”1 of personal
ambition and pride eclipsing loyalty and integrity. Dressed in the second act for
their role in Shakespeare’s play, Gilbert’s characters manifest some of the flaws of
their counterparts. The worst of these flaws is falseness—not simply through ly-
ing but through denying any responsibility for the chaos that snowballs around
them. This trait is the essential link between Julia and that tantalizing, fickle, ir-
responsible woman whom emblemizes the breakdown of loyalty, reason, and civi-
lized order in Troilus and Cressida.2
Lastly, Sutton emphasizes the importance of games and artifice in the libretto:
Figuratively, the characters play games with each other. . . . A pack of cards
determines the winner of a Statutory Duel; a roulette wheel earns the dowry for
the Princess of Monte Carlo…. The mood of carousal and license in [Act II] de-
mands that [the Prince’s] song be restored. Sullivan gives it both verve and hearty
vulgarity in mimicking the style of the café chantant; and Gilbert’s words supply
apt images for the world of the opera. With the actors crowding about the rou-
lette wheel, staking their fortunes on a game of chance, the scene acquires sym-
bolic dimensions: we glimpse the world as a “cosmic game” . . . .
Gilbert sacrificed the gambling scene because it must have looked untidy once
he began second-guessing, but he should have realized that the loose and playful
1 Sutton is quoting Troilus and Cressida, V, ix, lines 17–18: “Achilles. The dragon wing of night
o’erspreads the earth | And, stickler-like, the armies separates [sic]” (Stanley Wells and Gary Taylor, eds.,
William Shakespeare: The Complete Works, Compact Edition, (Oxford: Oxford University Press, 1988),
p. 748).
2 Sutton, pp. 221–226.
xxxv
The Grand Duke
form of Aristophanic comic opera had room for it. For the whole opera resembles
an elaborate game. Real actors imitate actors on the stage; the fictional actors in
turn play at dueling, and at running a grand duchy. The importance of costumes
and ceremony—as in the arrival of the Prince of Monte Carlo—makes the opera
seem almost like a series of charades. Ludwig invites the audience to participate
in the game when he outlines the ground rules for them at the start of Act II, and
the constant allusions to artifice allow no one to forget that each event is a staged
spectacle. There is even a fictitious set of spectators on the stage—or just behind
it—whose assumed presence launches the Act I finale on a perfect note of comic
self-consciousness.
This calling attention to its own artifice is a final strong point of The Grand
Duke. However ugly it may be in theme and characterization, it is very much a
“play”—a playful exposure of man’s foolishness. Man can pretend that his profes-
sional role is everything, that he has no personal freedom, that life is a cosmic
game of roulette.1
In A Most Ingenious Paradox, Gayden Wren offers a mixed assessment of the work. He says it
“is in most respects Gilbert’s most incoherent libretto.”2 He elaborates:
In part, this is because the plot mechanism itself creaks. A key event, such as
Ludwig’s persuading the Grand Duke to stage his own death, is made possible
literally by the luck of the draw—Ludwig draws a higher card than Ernest. In
The Mikado, similarly bizarre developments occur frequently, but they are done
through characters negotiating, pleading, and arguing, offering a sound character
basis for the superficially implausible ensuing developments. . . .
The Grand Duke is built on an inherently weak plot framework. Most of the
previous Gilbert & Sullivan operas rely on a single preposterous element—the
witch’s curse in Ruddigore, for example. . . .
This is not the case with The Grand Duke. The implausibility of the statutory
duel itself could be worked through, but it is joined by the infant engagement of
Rudolph and the Princess of Monte Carlo, a conspiracy of actors, a good-
humored detective, the invention of roulette, and so on.
To add to the unlikeliness of it all, as Alan Jefferson points out, the mechan-
ism of the opera requires that all of the opera’s key events, including the wed-
dings of Ludwig and of Rudolph, the Princess’s birthday, the expiration of the
Statutory Duel law, and the overthrow of the Grand Duke, take place on the
same day. None has any relation to each other—they occur simultaneously simp-
ly because the plot won’t work any other way. . . .3
Finally, Wren points out that the gimmick that ends the piece “is an arbitrary one at that,
since it takes two coincidences—Ludwig happening to draw an ace against Ernest and then
1 Sutton, pp. 226–227.
2 Gayden Wren, A Most Ingenious Paradox, (New York: Oxford University Press, 2001), p. 261.
3 Wren, pp. 261–262.
xxxvi
Introduction
Ludwig and Rudolph likewise happening to use an ace in their staged duel—to make the mistake
relevant. Had Ludwig drawn a 10 to Ernest’s 9, the opera would presumably end unhappily.”1
At the same time, Wren finds The Grand Duke an outstanding example of metatheater—that
is, “theatre that is about theatre—about the act of the play itself. It breaks down the hypothetical
fourth wall separating the audience from the actors, and rejects suspension of disbelief in favour
of blurring the line between art and reality.”2 To be sure, Gilbert had experimented with the
genre before. In Our Island Home, Thomas German Reed’s acting company appeared “as them-
selves, supposedly marooned on a desert island while touring…Ages Ago.”3 And in A Sensation
Novel, another comic opera for the German Reeds, “a novelist faces a rebellion by his own char-
acters.”4
In The Grand Duke, everyone is play-acting. The actors’ rules of professional precedence de-
termine the roles they’ll play as members of the Grand Duke’s court. The real-life Hungarian
accent of Ilka Palmay becomes the play-acting English accent of Julia Jellicoe. The Prince arrives
with a company of actors (“supernumeraries”) who have been dressed by a “very well known cos-
tumier.”
At least one reviewer sharply criticized Gilbert for using the lame rhyme “lowest”/“ghost.” But
Wren points out that Gilbert is, in fact, doing something clever here, for after the Notary com-
mits this solecism, he goes on to chide the author for doing so: “When exigence of rhyme com-
pels, | Orthography foregoes her spells, | And ‘ghost’ is written ‘ghoest.’” The rest of the charac-
ters then get into the act, retorting, “With what an emphasis he dwells | Upon ‘orthography’ and
‘spells’! | That kind of fun’s the lowest.” As Wren notes, “This is an exceptionally rich passage,
with several levels of self-referential humor.”5
In this survey of modern criticism, I give the last word to the characteristically succinct Harry
Benford:
The Grand Duke is a much neglected opera. Its principal shortcoming is that it is
too long. Its principal virtue grows out of that very shortcoming: a competent di-
rector can omit songs, chop paragraphs of dialog, and come out with a jolly even-
ing’s entertainment. Try it; you’ll see.6
1 Wren, p. 262.
2 Wren, p. 264.
3 Wren, loc. cit.
4 Wren, p. 265.
5 Wren, p. 269.
6 Harry Benford, The Gilbert & Sullivan Lexicon, Third Edition, (Houston, Texas: Queensbury Press,
1999), p. 199.
xxxvii
The Grand Duke
Dramatis Personæ.
Rudolph (Grand Duke of Pfennig Halbpfennig)
Ernest Dummkopf (a Theatrical Manager)
Ludwig (his Leading Comedian)
Dr. Tannhäuser (a Notary)
The Prince of Monte Carlo
Viscount Mentone
Ben Hashbaz (a Costumier)
Herald
The Princess of Monte Carlo (betrothed to Rudolph)
The Baroness von Krakenfeldt (betrothed to Rudolph)
Julia Jellicoe (an English Comédienne)
Lisa (a Soubrette)
Gretchen⎫
Olga
⎪
Bertha ⎬ (Members of Ernest Dummkopf’s Company)
Elsa
Martha ⎭
⎪
Chamberlains, Nobles, Actors, Actresses, &c.
Act I.—Public Square of Speisesaal.
Act II.—Hall in the Grand Ducal Palace.
Date: 1750
First produced at the Savoy Theatre, London, under the management
of Mr. R. D’Oyly Carte, on Saturday, 7th March, 1896.
3
The Grand Duke
WRITTEN BY COMPOSED BY
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4 The Grand Duke
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6 The Grand Duke
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Overture 7
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? œ ‰ œ œ ‰ œ œœ ‰ œœ œœœ ‰ œœœ œœ œ œ ‰ ‰ œ̇ . œ œ œ œ̇ . œ œ œ
J J ‰ ‰ ‰ ‰
j j
& œœ ‰ œœ œœ œ œœ œœ œœ œœ ‰ œ œ œ œœ œœ œœ œœ œœ
œœ œœ ‰ œ œ ‰ œœ œœ ‰ œ
104
œœ œœ
œ œ J
? #˙. . . . #˙.
œ ‰ œ œ ‰ œ œ̇ ‰ œ œ ‰ œ œ̇ ‰ œ œ ‰ œ œ̇ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
j j j j # œœ . œœ œœ n œœ œ œœ œ
œ
& œœ . œ œœœ ‰
œ œ œ œ œ œ ‰ œ œ ‰ ‰ .. n œ œ œ œ # œœ œ œ ‰ ‰ œ.
109
œ nœ œ œ œ œ #œ J J >
J p f
j œœ œœ ‰ œœ œœ œ œ œ œ œ œœ
? œ. œ ‰ # œœ œœ œœ ‰ ‰
œ.
œ J ‰ ‰ œ ..
œ œ œ J J œ. œ œ œ œ J œ
J J >
F
& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ. œœ. œœ.
œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ
114
œœ œœ œœ
. . . . . . . . . . . . . . . . . . . . . . . . . . .
p staccato j
. œœ. œœ. œ.
? œj ‰ ‰ j ‰ ‰ j
œ. ‰ ‰ œj ‰ ‰ œœ ‰ ‰ œ ‰ ‰ J ‰ ‰ ‰ ‰ œ ‰ ‰ j
. œ. . J œ. J J œ. ‰ ‰
j
œ ‰ ‰ œœœœ .... œœ # œœ œ n œ j
& œœœ œœœ œœœ œœ œœ œœ œ. œ. # œ. œ œœ. œœ # œœ œœ œ. ‰ ‰ n œœ ..
119
# œ. œœ
. . . . . . . . . . . # œ. œ. . œ
f >.
j j œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ œ. œ. œ. œ. œ. œ. œœ. œ.
?œ ‰ ‰ œ ‰ ‰
. . J ‰ ‰ œ .. œ œ œ œ œ œ J ‰ ‰ œ.
>
10/’09
8 The Grand Duke
œ ‰ œ œ œj ‰
& œœ œœ # # œœ œœ œœ œœ # œœ œœ œœ # œ œœ œ œ œ œ œœ œœ œœ ‰ œœ # # œœ ‰ œœ
‰ ‰ ‰ ‰
124
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œœ ‰ œœ n œœœ ‰ œœœ œœ œœ œœ ‰ œœ œ ‰ œ œ ‰ œ
J
œ j j
& œœ ‰ œœ # œœ ‰ œœ œœ # œ œœ œ ‰ œœ œœ œ œ ‰ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
129 G
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
œ œ œ œ œ œ œ œœ œœ œ œ œ œ
? œ ‰ œ œ ‰ œ œœ ‰ œœ œœœ ‰ œœœ œœ œ œ ‰ ‰ œ œ œ ## œœ œœ œ
œ œ #œ œ
œ
J J J J œ #œ œ
œ œ œ œ œœ œœ œ œœ œœ
& œœ œœ œœ œœ œ œ œœ œ œ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ
134
J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j œœœ œœœ
œ
?œ œ œ œ œ œ œ œ œ œj œ # œ œ œ œ
j
œ #œ œ œ œ œ œ
j
J ‰ œ œ œ
œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ
œ
j j j j
œœ œœ ‰ œœœ œœ œœ œ œœ œœ # œœ œ # œœ ‰ # œœ œœ ‰ œœ # œœ ‰ # # œœ œœ ‰ œœ
& # œœœ
139
œ œ œ . œ œ œ .. # œ œ œ œ # œ œ œ œ
J
œœ œœ œ #œ. œ #œ œ œ œ nœ œ œ
? œ
J
œ œ ‰ œœ œ #œ.
œ .
œ
œ œ #œ. œ ‰ #œ œ ‰ œ œ ‰ nœ œ ‰ œ
œ J #œ J
j #
# œœ ‰ ‰ Œ ‰ Œ ‰ Œ œ ## # œ œ
J œ œ j j
144
&# œ J J œ œ ‹œ œ
p
j
œ̇ ‰ œj œ j
œ œ
j
œ œ
j
œ # # ˙˙˙ .. ˙˙˙ ..
? ˙ ˙. # # ˙ .. ˙ ..
.
#### œ œ œ œ œ œ œ œ œ #œ #œ
œ # œj # œ j j J
œ ‰
J J J ‹œ J œ
148
& œ œ. J J
? # # # # # ˙˙˙˙ .... n ˙˙˙ ... ˙˙˙ .. ˙˙˙ .. # ˙˙˙ ...
˙. ˙ .. ˙ .. ˙.
10/’09
Overture 9
#### œ . œ ‰ œj œ œj œ j j
H
œ œ˙ œj ‹ œ j
œ # œ˙ . œ œ
j
œ n œœ . œj œjœ ‰ j
153
& J œ ˙ œœ
. . J J
? #### n œœœ ... œœ .. ˙˙ .. ˙˙ .. ˙. # œœ .. œœ ‰ œœ
œ. œ. ˙. ˙. ˙. J J
#### œ œ. œ œ œ œ œ. œ.
œœ œ. œ. œœ. .
158 Ossia:
& œ. . . œ.
.
? # # # # n œœ ‰ ‰ œœ ‰ œ
‰ œ ‰ ‰ œœ ‰ ‰
J J J J
#### j œ˙ . œ œ
& œ. œ œ œ. œ œ. œ. œ œ œ œj ‰ œj
œœ œ. œ. œœ. œ.
j
œœ œ œj ‰ œ J œ
. œ. . œ. œ. œ œ J
? # # # # n œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ .. œ ‰ œ œ œœ œœ ‰ ‰ ˙˙ ..
œ œ œ J J
J J J J J J
œ
Ossia:
œ. œœ œœ œœ œ œœ œœ œœ œœ œœ œ œœ
. . . œ. . . . . . œ. .
n œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œ œ œ œ œ œ œ œ œ œ œ
#### . #˙. œ. œ œ œ
œ œ Jœ œ œ. œœ œœ œœ œœ œ œœ
163
& œ̇ œ ‹ œ œ œ. œ œ œ. œ. œœ œœ œœ œ.
J J J J . . . . . . . .
? # # # # ˙˙ .. ˙. # ˙˙ .. n 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
œœ œœ œœ œœ .. ˙.
168
& œœ .. œœ .. . œ ˙œ. . ˙˙ ..
p Œ̇ . ‰ ‰ œ ‰ œ̇ ‰
? # # # # œ œœ œœ œœ .. ˙. ˙˙˙ ..
.
œ˙˙ .
. ˙. œ ‰ ˙˙ ..
œ ˙.
10/’09
10 The Grand Duke
##
& ## . œ ˙.
174
˙œ. œ ˙. ˙˙ .. ˙˙ .. œœ ‰ œ œ ‰ œ
Œ̇ ‰ ‰ ‰ ‰
œ ‰ œ ‰ ˙.
? # # # # ˙˙˙ ... œ˙˙ .
. ˙. ˙. ˙˙ .. œœ ‰ œ œ ‰ œ
#### # œ œ n œ œ œ n œ œ œ œ œ ‰ n œ œ ‰ œ nnnn
‰ ‰
180
& nœ œ œ œ œ œ nœ œ œ œ œ œ nœ
n œ œ n œ œ œ œ œ˙ ‰ n œ œ ‰ œ n
cresc.
? #### n œ œ œ œ œ œ n œ œ œ œ œ œ n ˙ . ‰ # œ œ ‰ ˙ . œ . nn n
185
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
˙˙˙ .. œœœ
? ˙ .
. œ ‰ ‰ Œ ‰
J
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
K
œ œ œ œ œ œ # œ œ œ œœ ‰ œœ # # œœ ‰
190
&œ œ œ œ œ œ œ œ œ œ œ œœ
œ
f
œ œ œ œ œ œ œ
? œ œ # œ œ œ œœ ‰ œœ œœ ‰ œ
œ
œ œ j
& œœ ‰ œœ # œœ ‰ œœ œœ # œ œœ œ ‰ œœ œ œ œ ‰ œ œ ‰ œ
œ œ œ œ œ # # œœ ‰ œœ œœ ‰ œœ # œœ ‰ œœ
195
œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ
? œ ‰ œ œ ‰ œ œœ ‰ œœ n œœœ ‰ œœœ œœ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
J
œ j j
œ œ œ ‰ œ œœ ‰ ‰ œ œ ‰ œ œ œ œ
& œœ # œ œœ œ ‰ œœ œ ‰ œ œ ‰
200
œ œ J œœ œœ œ œ œœ œœ œ œ œ œ œ
œ œ œ œœ œœ
? œœ ‰ œœ n œœœ ‰ œœœ œœ œ œ ‰ ‰ œ̇ . œ œ œ œ̇ . œ œ œ # ˙œ . œ œ œ
J J ‰ ‰ ‰ ‰ ‰ ‰
10/’09
Overture 11
j j
& œœ
j œœ œœ ‰ œ œ œ œœ œœ œœj œœj ‰
œœ œœ œœ œœ œ
œœ œœ ‰ œ œ ‰ œœ œœ ‰ œ
205
œœ œœ
œ œ J œ. œ œ
J p
j œœ
? . . . # ˙ . œ . œ ‰
œ̇ ‰ œ œ ‰ œ œ̇ ‰ œ œ ‰ œ œ̇ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ J
J J
j n # œœœ ... œœ œœ n œœ œ œ œ
œ œ œ # œœ œœ œ ‰ ‰
& n œœ œœ œœ œœ ‰ œœ œ ‰ ‰
210
#œ J J œ.
>
f
œœ œ œ œ œ œ œœ
? # œœ œœ œœ œœ ‰ œœ J ‰ ‰ œ.
œ.
œ œ œ œ œ J ‰ ‰ œœ ..
J >
Original Version: mm. 214a–223a
La
& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ. œœ. œœ. œœ. œœ. œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ
214a
œœ
. . . . . . . . . . . . . . . . . . . . . . . . .
p j
j ‰ ‰ j ‰ ‰ œœ. ‰ ‰ œ ‰ œœ. œœ. œ.
? œj ‰ ‰ j j
. œ. ‰ ‰ œ. œ. J œ. ‰ J ‰ ‰ J ‰ ‰ œ ‰ ‰
J œ. ‰ ‰
j œœ .. j j œ
& œœœ œœœ œœœ œœ œœ œœ œ œ # œ œ ‰ ‰ œœ .. œœ œœ # œœ œ n œ œœ n œœ ‰ ‰ œœ ‰ J
219a
œ # œ
œ. . œ. œ. œ. œ. # œ.
. . . . . . . . . # œ. œ. . œ. œ.
œœ. œœ. œœ. œœ. œœ. œœ. n œœ. f j [F ]
? œj ‰ ‰ œj ‰ ‰ œ œ. œ. œ. n œ. œ. œ. œj
. . J ‰ ‰ œ .. œ œ œ œ œ œ œ ‰ ‰ œœ ‰ ‰
. .
Revised Version: mm. 214b–221b
Lb
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
214b
& œœœ œœœ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . . . .
œœ
. . . . . .
. .
p
œœ. ‰ ‰ œ
j œœ. œ.
? œj ‰ ‰ œj ‰ ‰ j
œ. ‰ ‰ œj ‰ ‰ ‰ ‰ J ‰ ‰ œJ ‰ ‰
. . . J œ.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ j œ
œœ œœ œœ œœ œœ ‰ J
218b
& œœœ œœœ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . . . .
œœ
. . . œ.
. .
œ. j œœ. j [F ]
?œ ‰ ‰ j j
œ. ‰ ‰ œj ‰ ‰ œœ. ‰ ‰ œ ‰ ‰ œ ‰ ‰
J œ. ‰ ‰ . J œ. ‰ ‰ J œ.
10/’09
12 The Grand Duke
œ ‰ œ œ ‰ œ œ ‰ œ # œ ‰ œ # œœ œ œœ j j
‰ ‰ œ n œœ . œ œœ ‰ œ
224
& J J
œ œ œœ œ œ ‰ ‰ œ ‰ ‰ # œœœ ‰ ‰ œœœ ‰ ‰
? œœ ‰ ‰ œœ ‰ ‰ œ ‰ ‰ œœ ‰ ‰
J J J J œ œ J J
J J
œ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œœ œœ ‰ œ œ ‰ Jœ
228
& J
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ f
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ J ‰ Jœ
œ œ œ œ j j j
M
œœ œœ # œœ ‰ œœœ œœœ ‰ œœœ # œœœ .
œ ‰ œ œ ‰ ‰ œœ # œœ ‰ œœ œ œœ ‰ œœ
232
& . œ œ
œ œ œ œ
? œœ ‰ œœ œœ ‰ œœ
œœ œ œ œ
œ ‰ œœ œœ ‰ œœ œ ‰ œ œ ‰ œ œœ .. œœ ‰ œ
œ œ œ œ œ
J J
œ œ
236
œ
œ œœ œœ œœ œœ œœ # œœ œœ œœ œœ b œœ œœ # # œœ œœ œœ œœ œ œœ # # œœ œœ œœ œœ œ œœ
&
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ
# œœœœ œœ œœ œœ œœ œœ # œœ œœ œœ b œœœ œœœ œœœ n œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ
# œœ œœ œœ œœ œœ # œœ œœ œœ
240
&
ƒ
?
˙. ˙. ˙. ˙.
˙. ˙. ˙. ˙.
œœ œ œ œœ 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
244
&
bœ nœ œ œœ œœ œœ œœ
?œ ‰ Œ # œœ œœ ‰ ‰ Œ # œœ œ ‰ ‰ Jœ ‰ ‰ œ ‰ ‰ œ ‰ ‰
J J
œ J J J J
10/’09
Overture 13
œ œ œ œœ 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 œœ œœ œœ œœ œœ
248
&
œœ œœ œœ œœ œœ œœ
bœ nœ œ
?J ‰ ‰ Œ # œœ œœJ ‰ ‰ Œ # œœ J
œ œ œ
œ ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ ‰ Œ ‰
J J
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œœ œœ œœ
253
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&œ œ œ
œ. œœ œœ œœ œœ œœ œœ œ. œ. œœ œœ œœ œœ 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 U˙ .
œ œ œ œ œ œ œ œœœ œœ œœœ œœ œœ .. œœ œœ ˙˙˙ ..
œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ Œ ‰ œœ ..
œ œ œœ œœ .
257
& J J J J J J
œœ œœ œœ œ œ œ œ j œ j œ jU
? œ œ œ œœ œœ œœ œœœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ Œ ‰ œ . œ œ ˙.
J œ J œ J œ. œ œ ˙.
10/’09
14 The Grand Duke
Act I.
No. 1. Opening Chorus with Solos.
Scene.—Market Place of Speisesaal, in the Grand Duchy of Pfennig Halbpfennig. A well, with decorated iron-work, up l.c.
Gretchen, Bertha, Olga, Martha, and other members of Ernest Dummkopf’s theatrical company are discovered, seated at
several small tables, enjoying a repast in honour of the nuptials of Ludwig, his leading comedian, and Lisa, his soubrette.
œ œ œœ . œ œ œ œ œ œ œ œ œ
Allegro giojoso.
#### c œ œ . œ œ œ œ œ œ œ œ œœ œœ œ œœ œœ œœ œœ œœ œ œ œœ
& J œ œ
f
? # # # # c œœœ œœœ œœœ ... # œœœ œœ œœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
Piano
œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
J
j
4
# # # # œ œ œ # œ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œœ ‰ Œ Œ
& œ œ œ œ œ œ œ œ œ œ œ œœ œœ
œ œ
p . .
? # # # # œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ œ n˙
œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
J J J J J J J J
œ œ œ œ #œ œœ # œ œ œ œ œ œ œ
# # œ œ œ œ œ œ ˙
& # # œ œ œœ œœ œ œ œ œ œ
7
œ Œ
˙ œœ œœ œœ œœ n œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ
cresc.
? #### ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
œ œ œ œ œ œ œ œœ
10
#### œ # œ œ
J # œœœ œœ œœœ
œ n œœœœ œœœ n # œœœ
œ œ
n œœœ
œ
œ #œ œ
œœ œœ
& J J J
f
? # # # # n œœ œœ œœ œœ œœ œœ œœ œœ œœ j j j
w œ œ œ œ œ œ œ œ œ œ
J œ œ œ œ œ œ œ œ œ
10/’09
Act I 15
#### f
A
∑ ∑ œ œ œ œ œ œ œ
13
S & J J J J J J
#### fj j j j j j j j
Won’t it be a pret - ty
∑ j j j j j j j j
A & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Won’t it be a pret-ty wed-ding? Won’t it be a pret-ty, pret - ty
#### f
Chorus
V ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
J J J J J J J J J J J J J J J J
f
Won’t it be a pret-ty wed-ding? Won’t it be a pret - ty wed-ding?
? #### ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B
J J J J J J J J J J J J J J J J
Won’t it be a pret-ty wed-ding? Won’t it be a pret - ty wed-ding?
#### œ œ œ œ œ œ œ œ œ œ
A
& œ œ œ j œ œ œ œ œ œ œ
J 3 œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œœ œœ œœ œœ œœ œœ œœ œœ
3
? # # # # œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
3 3
œ œ J œ œ œ œ œ œ œ
#### j j j j
œ œj œj œ œ œj œj œ œ Ó œ œ œ œœ
J J œJ œJ
16
S & œ J J
####
wed-ding? Will not Li - sa look de - light - ful? Smiles and tears in plen - ty
j j j j j j j jj j j
A & œ œ œ œj œj œj œj œj œj œj œj œj œj œj œj œj œ œ œ œ œ œ œ œ
wed-ding? Will not Li - sa look de - light-ful, Li -sa look de-lightful? Smiles and tears in plenty
- shed-ding,
# # # # œj œj œj j j j j j j j j j j j j j œ
Chorus
V œ œ œ œ œ œ œ œœ œ œ œ œ J œ œ œ œœ œ œ
T
J J J JJ J J
Such a pret - ty, pret-ty wed-ding, Will not Li -sa look de-lightful? Smiles and tears in plenty
- shed-ding,
? #### œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ
B
J J J J J J J J J J JJ J J J J J J J J JJ J J
Such a pret - ty, pret-ty wed-ding, Will not Li -sa look de-lightful? Smiles and tears in plenty
- shed-ding,
#### œ œ œ œœ œ œ
& œ œ œ œ œ œ œ œ œ Ó œ
œ œ œœ œœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? # # # # œœœ œœœ œœ œœ œ œ œ œ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
10/’09
16 The Grand Duke
19
#### j
œ œj j œj œj # œj œj œ œ Œ j j
S & œ J œ œ #œ
shed - ding— Which in brides of course is right - ful. One could
#### j j j j j # œj
œ œ ‹ œj
j j j Œ
A & œ œ œ œ œ œ œ œ
shed - ding— Which in brides of course is right - ful. One could
####
Chorus
V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
J J J J J J J J J J J J J J J J
Smiles and tears in plen - ty shed - ding— Which in brides of course is right - ful.
? #### œ œ œ œ œ œ œ œ œ
J
œ œ œ
J J J
œ œ œ œ
J J J J
B
J J J J J J J J
Smiles and tears in plen - ty shed - ding— Which in brides of course is right - ful.
#### œ œ œ œ œ
& œ œ #œ œ œ œœœœœ œœ œœ
œ œ œ
œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ j
? #### œœ œœ œœ œœ ‹ œœ œ œ œ œ. œ
œ. œ
#### j j
œ œj œj # œj œ œj œ œJ œJ œ œ Jœ œJ œ œ œJ œ œ œ œ œ œ
21
S & J J J J J J J J J
# # # # œj j j j œj j œ œ œ œ œ œ œ œ œ œ œ
say, if one were spite - ful, Con-tra - dic-tion lit- tle dreading,Her bou - quet is sim-ply
j œ
A & œ œ #œ œ J J J J J J J J J J œ œ Jœ œJ 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
Chorus say, if one were spite - ful, Con-tra - dic-tion lit- tle dreading,Her bou - quet is sim-ply
T V J J J J J J J J J J J J J J J J J J J J J J J J
One could say, if one were spite-ful, Contra-diction lit - tle dread-ing, Her bouquet is sim-ply, sim-ply
? # # # # œœJ Jœœ Jœœ Jœœ œœJ Jœœ Jœœ œœJ n œœJ Jœœ Jœœ Jœœ œœJ œœJ œœJ œœJ œœ œœ œœ œœ # œœ œœ œœ œœ
B J J J J J J J J
One could say, if one were spite-ful, Contra-diction lit - tle dread-ing, Her bouquet is sim-ply, sim-ply
####
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ
œœ
œœ
œœ
œœ
œœ # œœœ œœœ
œœ œ œ œœœ œœœ
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? #### œ Œ ˙ nœ Œ ˙ œ Œ ˙
œ ˙ nœ ˙ œ ˙
10/’09
Act I 17
24
#### œ œ Ó œ œ œ œœ œ œ j j
œ œj œj œ œ œj œj œ
j
S & J J JJ J J J
#### œ
fright - ful— Still ’twill be a pret - ty wed-ding! Oh, ’twill be a pretty
œ Ó j j jj jj j j j j j j
A & œ œ œ œ œ œ œ œ œ œ œ œ œj œj œj œj
fright - ful— Still ’twill be a pret-ty wedding, wed-ding! Oh, ’twill be a pretty
#### œ œ œ œ œ œ
Chorus
V J J J J J J œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œœ
T
J J J J JJ JJ J J J J J J J J JJ
? # # # # œœ œœ œœ œœ n œœ œœ
fright-ful, sim-ply fright-ful, fright-ful— Still ’twill be a pretty wedding! Oh, ’twill be a pretty, pretty
œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ J J JJ JJ J J J J J J J J JJ
J J J J J J J J
B
œ œ œœ œœ œ œ œ œ œ œ œ œ œœ
fright-ful, sim-ply fright-ful, fright-ful— Still ’twill be a pretty wedding! Oh, ’twill be a pretty, pretty
#### œ œ œ œ Œ œ œ œœ œ œ œ œ œ œ œ œ œœ
& œœœ œœœ œœœ œœœ n œœœ œœœ
œ œ
œœœœ œœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? #### œ Œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ
œ
#### j j j j œ œ j j
œ œ œ œ œ J œ J œ œj œ . œ œ
J œJ J œ œj # Jœ œJ # œ œ œ œ
27
S & J J
#### j j j j j j j j j j
wed-ding! Such a pret-ty, pret-ty wed-ding! Such a pret-ty wed-ding, such a charm -
j j j j
A & œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œj œ # Jœ œJ # œ œ œ œ
#### œ œ
wed-ding! Such a pret-ty, pret-ty wed-ding! Such a pret-ty wed-ding, such a charm -
œ Jœ n œJ œJ œJ œJ n œJ œ œ . œ œ œ. œ
Chorus
œ œ œ nœ
T V J J J J J J J J Jœ J J J
œ œ œœ œœ œœ ..
wed-ding! Such a pret-ty, pret-ty wed-ding! Such a pret-ty wed-ding, such a charm - ing,
? # # # # œœ œœ œ œ œ œ œ œ œ œ œ. œ œ œ œœ
J J J J J J J
unis.
B
J J J J J J J J J J J
#### œ œ
wed-ding! Such a pret-ty, pret-ty wed-ding! Such a pret-ty wed-ding, such a charm - ing,
& œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ # œœ œœ # œœ œœ œœ œœ
nœ œ œ œ œ œ nœ œ
œ œ œœ œœ n œœ œœ œœ œœ n œœ œœ ˙ œ œ œœœ œœœ œœœ œœœ œœœ œœœ
? # # # # œœœ œœœ œ
˙ œ œ œ
10/’09
18 The Grand Duke
#### œ œ #œ œ ˙ œ
œ œ nœ œ #œ œ œ œ œ œ œ œ Ó
30
S &
####
- - - ing, charm - - - - - - ing wed - ding!
A & œ œ nœ œ #œ œ œ œ ˙. œ ˙. œ œ œ Ó
#### ˙ .
- - - ing, charm ing, charm - ing wed - ding!
œ ˙. œ ˙. œ œ
Chorus
T V œ Ó
charm - ing, charm - ing, charm - ing wed - ding!
? # # # # ˙˙ .. œœ ˙. œ œ œ
˙. œ Ó
unis.
B
œ. œ. œ. œ. . . .
charm - ing, charm - ing, charm - ing wed - ding!
#### œ œ #œ œ ˙ œ œ œ
& œœ œœ n œœ œœ # œ œ n œœ œœ œœ œ œ ˙ œ ‰
œœ œœ œœ œ
? # # # # œœ œœ œœ œœ œœ œœ œœ œœ œœœœ œœœ
œ
œœœ
œ
œœœ
œ
œœœ
œ
œœœ
œ
œœœ
œ
œœœ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œœ œœ œœ œœ œœ œœ œœ œœ
34
#### ∑ ∑ ∑ Ó Œ & œj œj œ ˙
Elsa. B j
œ œj
&
œ. œ. œ. œ. œ. . . œ. œ. . œ. œ. . œ. œ. œ. . œ. œ. . œ. œœ.
If her dress is bad-ly
# # # # œ. œ œ œ. œ œ œ. œ œ œ œœ
& Œ œ œœ œœ œœ œœ œœ œœ n œœ œœ
œœœœœœ œ œ
œ œ œ œ p
œ œ œ œ œ œ œœ œœ œ œ œ œ œ
œ œ
œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ
? # # # # œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œœ œ Ó
œ. œ Œ Œ nœ
# # # # j j j j j n œj œj j œ j j
Œ & œj œj œ ˙ œ œ
39
& œ œ œ œ œ n œ œ œœ
Bertha.
Elsa
œ œ
####
fit - ting, Theirs the fault who made the trous - seau. If her gloves are al - ways
& œ œ œ œ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n 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 Ó Œ Œ nœ
œ œ
10/’09
Act I 19
#### j j j j j n œj œj œj œ œ œ œ # œ œJ œ # œj j # œj œj
Œ
42
& œ œ œ œ œ nœ œ œ œ
Olga.
œ &J J J J J
œ
Bertha
#### .
œ œ œ. # œ. œ œ. # œ œ
splitting, Cheap kid gloves,we know, will do so. If up - on her train she stum-bled, On one’s
& Œ . . # œ. œ.
œœ œœ œœ œœ n œœ œœ œœ œœ œœœ œœœ œœœ œœœ
œ œ œ œ
œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ
? #### œ Œ œ Œ Œ œ œ œ œ œ œ œ œ
œ
45
# # # # œ # œ œ œ # œj j Gretchen.
j # œj n œ œ œ œj # œj j j œj œ œ œ œ # œj j j œj
Four Girls.
Olga & J J JJ œ &œ J JJ œ œ JJ J J œ & œ
trainone’s always treading. If her hair is rather tumbled, Still ’twill be a pretty wedding! Such a
# # # # œ. # œ. œ. œ. # œ . œ. œ. œ. # œ œ . . œ. œ. # œ
& . œ. œ. # œ. n œ . . œ. œ. œ œ . œ. œ. œ.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? #### œ œ œ œ œ œ œ nœ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ
48
#### œ œ œ œ œ œ Œ ∑
C
∑
Four
Girls & J J J J J J
pret-ty, pret-ty wed-ding!
#### Ó œ Jœ œ œJ œ œJ œ œJ œ Jœ œ œ œ œ œ
Œ J J Jœ œJ
(Four Girls with Chorus.)
S & & J J J J J J J
#### Ó
Such a ve - ry, ve - ry pret-ty wed-ding! Won’t it be a pret - ty
& Œ & œ Jœ œ œJ œ œJ œ œJ œ Jœ j j j j j j j j
œ œ œ œ œ œ œ œ
A
J J J J J
#### Ó
Chorus Such a ve - ry, ve - ry pret-ty wed-ding! Won’t it be a pret-ty wedding?
V Œ œ œ œ œJ œ œJ œ œJ œ Jœ œ œ œ œ œ œ œ œ
T V J J J J J J J J J J J J J J
œ Jœ œ œJ œ œJ œ œJ œ Jœ
Such a ve - ry, ve - ry pret-ty wed-ding! Won’t it be a pret-ty wedding?
? #### Ó Œ ? J J J J J œœ œœ œœ œœ œœ œœ œœ œœ
B
J J J J J J J J
œ œ œœ œ œ œ œ
Such a ve - ry, ve - ry pret-ty wed-ding! Won’t it be a pret-ty wedding?
œ œ œ œ œ œ œ œ œ œ
# # # # œ. œ. œ œ œ œ œœ œ
C
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
fœ
œ n # œœœ # œœœ n # œœœœ # ˙˙˙˙ .... œœ œœ œœ œœ œœ œœ œœ
? #### œ œœœ
cresc.
Œ œœ œœ œœ œœ œœ œœ œœ
10/’09
20 The Grand Duke
51
# # # # œj j j œj œj j j œj œj j j j œ œ œ œ œj j œ . œ œ œ
S & œ œ œ œ œ œ œ J J J J œ J J J
wed - ding? Oh, ’twill be a pret-ty wed- ding, Such a pret-ty, pret-ty wed-ding, Such a pret-ty
#### j j j j j j j j j j j œj œj œj œj œj j j œ . j j j
A & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Oh, ’twill be a pret-ty, pret-ty wed- ding, Such a pret-ty, pret-ty wed-ding, Such a pret-ty
#### œ œ œ œ œ œ œ œ œ œ œ œJ n Jœ Jœ Jœ œJ n œJ œ œ .
Chorus
V œ œ œ
T
J J J J J J J J J J J J J J J
Oh, ’twill be a pret-ty, pret-ty wed- ding, Such a pret-ty, pret-ty wed-ding, Such a pret-ty
? # # # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œJ œJ œ .
unis.
œ œ œ
B
J J J J J J J J J J J J J J J J J J J
#### œ œ œ œ œ œ œ œ œ œ
Oh, ’twill be a pret-ty, pret-ty wed- ding, Such a pret-ty, pret-ty wed-ding, Such a pret-ty
& œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ n œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œœ œœ œ œ œ œ œœ œœ œœ œœ n œœ œœ œœ œœ n œœ œœ ˙
? # # # # œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œ
˙ œ
#### j
œ œj # œJ Jœ # œ œ œ œ œ œ nœ œ #œ œ œ œ œ œ œ œ #œ
54
S &
#### j œj # œJ œ # œ œ œ œ
wed-ding, Such a charm - - - - - - ing, charm - - - -
A & œ J œ œ nœ œ #œ œ œ œ ˙. œ
#### n œ œ
wed-ding, Such a charm - - - - - - ing, charm - - - ing,
œ œ œ. œ ˙. œ ˙. œ
Chorus
T V J J J J J
wed-ding, Such a charm - ing, charm - - - ing, charm - - - ing,
? # # # # œJ Jœ œœ œœ œœ .. œœ ˙˙ .. œœ ˙. œ
J J J
unis.
B
wed-ding, Such a charm - ing, charm - - - ing, charm - - - ing,
#### œ #œ
& œ œ # œœ œœ # œœ œ œ œ
œ œ œ œœ œœ n œœ œœ # œ œ n œœ œœ œœ œ œ
nœ œ
? #### œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ œ œ
10/’09
Act I 21
57
#### œ ˙ œ
D
œ œJ Œ œ œ œ œ
S & J œ œ œ
- - - - ing wed-ding! Here they come, the cou - ple
#### j j œ œ œ
A & ˙. œ œ œ Œ œ œ œ œ
charm - - - ing wed-ding! Here they come, the cou - ple
#### ˙ . œ œ Œ œ
Chorus
V œ J J œ œ œ œ
T
œ œ
œ œ œ œ
charm - - - ing wed-ding! Here they come, the cou - ple
? #### ˙ . œ œ œ Œ œ œ œ
B
J J
charm - - - ing wed-ding! Here they come the cou - ple
œ œ œ œ
#### œ ˙ D
œ œ œ œ
œ œ œ
& œ ˙ œœœ œœ Œ œ œ œ œ
f
? # # # # œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
60
#### œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ
S
œ
plight - ed— On life’s jour - ney gai - ly start them. Man and
#### œ œ œ œ œ
& œ œ œ œ œ œ œ
A
œ
plight - ed— On life’s jour - ney gai - ly start them. Man and
#### œ
Chorus
œ œ œ œ œ œ œ
T V œ œ œ œ œ
œ œ œ œ œ
plight - ed— On life’s jour - ney gai - ly start them. Man and
? #### œ œ œ œ œ œ œ
B œ
plight - ed— On life’s jour - ney gai - ly start them. Man and
œ œ œ œ œ
#### œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œœ œ œœ œ
œ œ
> > œ œ œ œ œ œ œ œœ
? # # # # œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœ œœ œœ œœ œœœ œœœ œœœ œœ œœ œœ œœ
˙
10/’09
22 The Grand Duke
#### j œ œ œ j
œ œ œ œ œ œ œ œ œ.
63
S & œ. œ œ œ
####
maid for aye u - ni - ted, Till di - vorce or death do
& j œ œ œ œ. j
A
œ. œ œ œ œ œ œ œ
maid for aye u - ni - ted, Till di - vorce or death do
#### œ . j œ œ œ
Chorus
T V œ œ œ #œ œ œ œ œ œ
? #### œ . œ œ œ
maid for aye u - ni - ted, Till di - vorce or death do
j œ œ œ œ œ
B œ œ œ œ
maid for aye u - ni - ted, Till di - vorce or death do
#### jœ œ œ œ œ œ œ
& œœ .. œœ œ œ ˙˙ n œœœ œœœ œœ œ œœ œœ œœ
œ
œœœ œœœ œœœ œœ
? #### œœ œœ œœ # œœ œœ œœ ˙ œœ œœ œœ œ . œœ œœ œœJ
˙ ˙ ˙ œ œ
#### œ œ œ œ j œ
œ œ œ œ œ œ
66
S & œ œ œ. œ œ
####
part them! Man and maid for aye u - ni - ted, Till di -
& j œ œ œ
A œ œ œ œ œ. œ œ œ œ œ œ
part them! Man and maid for aye u - ni - ted, Till di -
#### œ œ œ œ
Chorus
V œ œ œ. œ #œ œ œ œ
T
J
œ. œ œ
part them! Man and maid for aye u - ni - ted, Till di -
? #### œ œ œ œ œ œ
B J œ œ œ
œ œ œ œ
œ œ œ œ œ
part them! Man and maid for aye u - ni - ted, Till di -
####
œœœ j‰ œ œ.
J
˙ œ œ
& œœ
? # # # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ
œ
œœœ
œ
œœœ
œ
œœœ # œœ œœœ œœœ
œ œœ œ œ œœœœ n œœœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ
10/’09
Act I 23
69
#### ˙ œ œ œ œ œ œ œ œ œ ˙
S &
vorce, di - vorce or death shall part
####
A & ˙ œ œ œ ‹œ œ nœ #w
vorce, di - vorce or death shall part
#### n ˙ ˙. œ
Chorus
T V œ œ œ œ ˙
vorce, di - vorce shall part
? #### ˙ œ œ œ #œ œ œ n˙
B ˙
vorce, di - vorce or death shall part
˙ œ œ œ
#### ˙ œ œ œœœ ‹ œœœ œœœ œ
œœ œœœ œœ
œ ˙˙˙˙
&
nœ œ œ œ œ œ œ œ œœ
? # # # # œœ œœ œœ œœ œ œ œœ œœ #œ œ
œ
œ œ
œ
œ
œ
˙
˙
#œ œ
#### ˙ nnnn 3
œ. œ œ. œ œ. œ œ œ Ó ∑
72
S & J J J 4
#### nnnn 3
them. Here they come, the cou - ple plight-ed.
& j j j Ó ∑ 4
A
˙ œ. œ œ. œ œ. œ œ œ
#### nnnn 3
them. Here they come, the cou - ple plight-ed.
j j j
Chorus
T V ˙ œ. œ œ. œ œ. œ œ œ Ó ∑ 4
them. Here they come, the cou - ple plight-ed.
? #### ˙ œ. œ œ. œ œ. œ œ œ Ó ∑ n n n n 43
B
J J J
œœ œ. œ. œ. œ. . . œ. œ. œ. œ. . . œ. œ. . œ. . œ. œ. œ. . œ. . œ.
them. Here they come, the cou - ple plight-ed.
# # # # œœ œ œ œ. œ. œ .
œ œ œ. œ œ œ. œ. œ œ œ. n n n 3
& n 4
˙ ˙˙ ˙˙˙˙ ˙˙ œœ œœœ ˙˙ œœ œœœ
? # # # # œ Œ ˙˙˙ ˙˙ ˙˙ ˙ ˙˙ ˙ n n n n 43
œ
10/’09
24 The Grand Duke
No. 1a. Duet—(Lisa & Ludwig) with Chorus.
(Ludwig and Lisa come forward.)
3
E Allegretto. Tempo di Valse.
∑ ∑ ∑ ∑ ∑
76
Lisa &4
p
3 ∑ ∑ ∑ Œ œ œ
Ludwig V4 œ #œ œ.
Pret - ty Li - sa,
3 œ ‰ œj œ œ œ ‰ œj œ œ œ
E
&4 œ œ Œ œ œ #œ œ œ
œ p
? 43 # œœœ ‰ Jœ œ œ œ ‰ œJ œ œ œ œ œ ∑
œ œ
œ n n œœ œœ
˙ œ ˙
VŒ Œ #œ
81
Ludwig
œ œ #œ œ œ. œ #œ ˙ œ
fair and tas - ty, Tell me now, and tell me tru - ly,
˙ œ ˙
&Œ œ #œ œ œ Œ #œ œ ˙ œœ
œ Œ # œ # œœ Œ œ
œœœ œœœ œ œ n œœœ œœœ œœ œœ œœ œœ œœ œœ
?
œ œ n œœ œœ œ œ œ œ
∑ j j œ œ ∑
87
Ludwig V œ œ œ œ ˙ œ œ
Have-n’t you been ra - ther ha - sty?
& Œ #œ œ #œ œ œ Œ #œ nœ #œ œ œ Œ nœ #œ
?œ œœ
œ
œœ
œ œ # œœ œœ
œ
œœ œœ
œ # œœ œœ
œ
œœ œœ
10/’09
Act I 25
V œj œj œ œ œ
F
˙ œ Œ
92
œ ˙ œ œ œ
Ludwig
œ
.
œ œ #3œ œ œ œ. œ. # œ. œ. n œ.
Have-n’t you been rash un - du - ly? Am I quite the
œ Jœ ‰ œ
œ # œ. œ. œ. œ. œ. ‰
j
œ ‰ œ œ J ‰
& œ J
œœ œœ œœ œœ œœ œœ . œœ. œœ.
? œ œ œ œ
œ œ œ # œœœ œ œ
œ
V œ Œ œ Œ œ Œ
97
#œ œ œ.
Ludwig
œ œ œ
# œ. œ. œ. œ. œ. ‰ # œ. œ. œ. œ. œ. # œ. . œ. œ. # œ. œ. œ.
dash - ing spo - so That your fan - - - cy
& œ. # œ. œ. œ. œ. # œ ‰
.
œ œœ. œœ. .
œ œœ. œ œœ. œœ. œœ.
? # œœ œ œ # œœ œ Œ #œ œ œ œ œ
V œ Œ œ ∑ Œ
101
Ludwig
œ ˙ œ œ
œ. œ. # œ. œ. œ. œ. œ. # œ. œ. œ. # œ. œ. # œ. œ. # œ. œ. œ. œ.
could de - pict you? P’r’aps you
& ‰ J ‰ œ œ œ œ
p
. œœ. œœ. œœ. œœ.
? œœœ œ œ œ œ Œ œ #œ œ œ
œœ œœ
j j
V œ ‰ œ œj œ œ ˙ Œ #œ œ #œ œ œ Œ #œ œ #œ œ œ
105
(She expresses admiration.)
Ludwig
œ œ #œ œ œ
think me on - ly so - so? Well, I will not con - tra - dict you!
œ n œ œ œ œ œ
& #œ œ J ‰ #œ œ #œ œ œ Œ #œ œ #œ œ œ
? # œœ œœ œœ œ œ œ œ œ œ
œ œ Œ ∑ œ #œ œ œ #œ œ œ #œ œ
10/’09
26 The Grand Duke
f œ #œ ˙
œ œ
G
& Œ #œ œ ∑ ∑
111
S œ œ œ
f
No, he will not con - tra - dict you!
A & Œ œ œ #˙ œ ˙ œ ˙ œ ∑ ∑
f
Chorus No, he will not con - tra - dict you!
T V Œ œ œ ˙ œ ˙ œ ˙ œ ∑ ∑
f
No, he will not con - tra - dict you!
? Œ œ œ ˙ œ ˙ œ ˙ œ ∑ ∑
B
œ #œ ˙
No, he will not con - tra - dict you!
œ œ œ œ œ ˙ œ ˙ œ ˙˙
#œ œ œ œ #œ b # ˙˙ .. œ
˙ ..
G
& œ #œ œ œ œ
f p.
œ œœœ œœœ ˙ ˙˙ .
? # œœ œ œ # œœœœ œœœ
œ
œœœ
œ # ˙˙˙˙ œœ
œ
˙˙ œœ ˙. .
˙ œ ˙ œ ˙ œ
117
Lisa & œ ˙ œ #œ œ ˙ nœ
Who am I to raise ob - jec - tion? I’m a child, un -
˙ œ ˙ œœ
& n ˙˙ .. ˙ œ œ
˙ b # œœ œœœ
Œ
˙
Œ n œœ œœœ # œ œ œ ˙ nœ
Œ
? ˙ ˙ œ ˙ œ œœœ œœœ œ œ
˙.
œ ˙˙ œ ˙ ˙. œ œ œœ œœ
Œ Œ
œ Œ œ œ ˙ œ œ nœ œ
123
Lisa & #œ œ ˙ nœ
taught and home - ly— When you tell me you’re per -
œ ˙ œ ˙ œœ œ b n œœ œœ
& #œ œ ˙ nœ ˙ œ ˙ œ bœ œ
œ
Œ
œœœ œœœ œœ œœ ˙
? œ œ œ œ ˙˙ œ b ˙˙ œ
œ Œ
10/’09
Act I 27
& ˙ bœ Œ bœ bœ Œ bœ bœ b˙ œ
128
Lisa b˙ œ
fec - tion, Ten - der, truth - ful, true, and come - ly—
& ˙ b œœ b œœœ Œ b œœ b œœ b˙ bœ œœ Œ b œ b b œœœ b bb ˙˙˙ œœ
œ
Œ bœ œ Œ bœ œ
Œ bœ œ
? b˙. b˙. b˙. b˙. œ œ
b˙ Œ
œ bœ bœ bœ b˙
H
& Œ bœ bœ bœ Œ bœ
133
Lisa œ bœ œ
That in quar - rel no one’s bold - er, Tho’ dis -
bœ bœ b œ.
& b b œ. œ œ.œ œ.œ b œœ b œœœ œœœ n b œœ œ œ bœ œ. œ. b b œ. œ œ.œ œ.œ
œ. œ. œœ. b b b œœœ œœ œœ . œœœ. œœœ. . . œœ.
? bœ œ b b œœ œœ œœ œ œ b b œœœ b œœ œœ
& bœ bœ œ bœ bœ bœ b˙ œ Œ œ œ Œ bœ
138
Lisa bœ
sen - sions al - ways grieve you— Why, my love, you’re
bn œœ b œœ b œœ b œ.
& b œœ b œœœ œœœ bœ œ. œ. œ
b œœ
œ
œœ
œ
œœ
Œ b œœ
nœ
œœ
œ
bœ œœ œœ b b b œœœ œœ œœ b œ. œœ. œœ.
?b œ œ œ b œœ œ œ bœ œ œ œ Œ Œ
&˙ b˙ Œ œ œ nœ œ n˙
143
Lisa œ bœ b˙ œ œ œ
so much old - er That, of course, I must be - lieve you!
& Œ b œœ œœ b œœ b œœ bœ
œ œ ˙. ˙ . b œ œœ œœœ œœœ œœœ # œœœ œœœ œœœ n œœœ œœœ œœœ
?œ Œ Œ œ Œ Œ œ Œ Œ bœ œ œ bœ œ œ œ œ œ
10/’09
28 The Grand Duke
f
& œ œ œ œ ˙.
J
Œ œ Œ Œ Œ ∑
149
S œ ˙
f p
Yes, of course, she must be - lieve you!
A & #œ Œ œ œ Œ œ #œ Œ œ ˙. ˙ Œ ˙.
fb œ
Yes, of course, she must be - lieve you! If
œ bœ œ ˙. p
Chorus
T V Œ œ Œ œ Œ ˙ Œ ˙.
?fœ
Yes, of course, she must be - lieve you! If
œ œ œ œ œ ˙. ˙ p˙ .
B Œ Œ Œ Œ
Yes, of course, she must be - lieve you! If
& b # œœœ Œ œœ œ œœ ˙˙ ..
J
n œœ Œ
œ œ œ b # œœ Œ œ ˙. ˙. ˙.
f [dim.]
? œ Œ œ œ Œ œ œ Œ œ ˙. ˙. ˙.
œ œ œ œ œ œ ˙. ˙. ˙.
[p]
Œ œ Œ #œ nœ œ Œ #œ
155
S & #œ œ #œ œ #œ œ œ
If he ev - er acts un - kind - ly, Shut your
& ˙. œ Œ œ œ Œ œ œ Œ œ œ Œ
A
œ
he ev - er acts un - kind - ly, Shut your
Chorus
T V ˙. œ Œ œ œ Œ œ œ Œ œ œ Œ œ
he ev - er acts un - kind - ly, Shut your
B
? ˙. œ Œ œ œ Œ œ œ Œ œ œ Œ œ
he ev - er acts un - kind - ly, Shut your
& Œ #œ œ # n œ˙ œ œœ Œ #œ n˙ œ # n œ˙ œ œœ Œ #œ n˙ œ
[p]
? ˙. œ œ œ œ œ œ œ œ
œ œ
˙. œ œ
10/’09
Act I 29
˙ œ ˙ œ
Œ œ
160
S & #œ ˙ œ #œ œ #œ
eyes and love him blind - ly— Should he call you
& œ Œ œ Œ œ Œ œ œ Œ œ œ Œ œ
A
#œ œ
Chorus eyes and love him blind - ly— Should he call you
T V œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ
eyes and love him blind - ly— Should he call you
? œ Œ œ #œ œ œ œ œ œ #œ œ
B Œ Œ Œ Œ
eyes and love him blind - ly— Should he call you
˙ œ ˙ Œ œ œ
& ˙. #˙ # œœ ˙˙ œœ # œœ œœ # œ˙ œ
œ œ # œ˙ . œ œ œ œ œœ œ œ œ
? œ ˙. œ #œ
& Œ #œ nœ œ œ Œ ˙
165
S #œ œ œ ˙ œ œ
names un - come - ly, Shut your mouth and love him
A & œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ
names un - come - ly, Shut your mouth and love him
Chorus
T V œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ
names un - come - ly, Shut your mouth and love him
B
? œ Œ
œ #œ Œ œ #œ Œ œ œ
Œ
œ œ
Œ
œ
names un - come - ly, Shut your mouth and love him
& Œ # œœ n œœ # œ˙ œ œ Œ ˙˙ ˙˙ œ
œ œœ œœ . œ ˙ ..
? œ #œ œ œ #œ œ œ #œ œ œ œ œ œ
œ œ
10/’09
30 The Grand Duke
œ
& ˙ œ œ #˙ œ Œ #œ œ #˙
K [cresc.]
Œ œ
170
dumb - ly— Should he rate you right - ly— left - ly—
& œ Œ œ Œ œ ˙ œ Œ œ œ ˙ œ
[cresc.]
A
œ
dumb - ly— Should he rate you right - ly— left - ly—
Chorus
V œ Œ œ œ Œ œ ˙ œ Œ œ œ ˙ œ
[cresc.]
T
dumb - ly— Should he rate you right - ly— left - ly—
B
? œ Œ œ œ Œ œ ˙[cresc.] œ Œ #œ œ ˙ œ
dumb - ly— Should he rate you right - ly— left - ly—
œœ
& ˙˙˙ .. œ œœœ œœœ # ˙˙ œœ Œ # œœ œœ n # ˙˙˙
K
Œ œ
œ œ œ œ nœ nœ œ œ
#˙. œ œ
cresc.
? œ Œ œ
œ
œ ˙ œ f œ œ œ
& Œ #œ #˙ œ
175
˙
[ ]
S œ
f
Shut your ears and love him deaf - ly. Ha! ha! ha!
&Œ ˙ œ œ œ
[ ]
A œ œ ˙ œ ˙ œ œ
f
Shut your ears and love him deaf - ly. Ha! ha! ha!
œ œ œ
Chorus
VŒ œ œ ˙ œ ˙ œ ˙ œ
[ ]
T
f œ œ œ
Shut your ears and love him deaf - ly. Ha! ha! ha!
?Œ œ œ ˙ œ ˙ œ
[ ]
˙ œ
B
˙
Shut your ears and love him deaf - ly. Ha! ha! ha!
#œ œœ ˙˙ œ œœœ œ œ œ œ œ œ œ œ
& Œ œœ œ ˙ œœ # ˙˙˙ ˙
œ œ f
? ˙. œ ˙. œ ˙. œ œ œ˙ œ œœ
œ
œœ
œ Œ Œ
10/’09
Act I 31
& Œ œ Œ œ #œ Œ
180
S #œ œ œ ˙ œ œ #œ œ
Thus and thus a - lone Lud - wig’s wife may
A & Œ œ œ œ Œ œ ˙. œ Œ œ œ Œ œ
Thus and thus a - lone Lud - wig’s wife may
Chorus
T V Œ œ œ œ Œ œ ˙. œ Œ œ œ Œ œ
Thus and thus a - lone Lud - wig’s wife may
? Œ œ œ œ Œ œ ˙. œ Œ œ œ Œ œ
B
œ
Thus and thus a - lone Lud - wig’s wife may
#œ œ œ œ ˙ œ œ #œ œ
& # œ œ
#œ œ œ Œ œ ˙ œ œ #œ œ #œ Œ œ
œœ œœ œœ œœ œœ œœ œœ œœ
? œ œ œ œ œ œ œ œ œœœ œœœ
œ œ œ œ œ
œ ˙ œ œ Œ
& œ Œ Œ œ œ œ Œ
185
S œ œ ˙ œ
hold her own! Thus and thus and thus a - lone
A & œ Œ œ ˙. Œ œ œ œ Œ œ œ Œ œ ˙ Œ
hold her own! Thus and thus and thus a - lone
Chorus
T V œ Œ œ ˙. Œ œ œ œ Œ œ œ Œ œ ˙ Œ
hold her own! Thus and thus and thus a - lone
? œ Œ œ ˙. Œ œ œ œ Œ œ œ Œ œ ˙ Œ
B
œ ˙ œ
hold her own! Thus and thus and thus a - lone
œ œ œ œ œ Œ œ œ œ ˙ œ
œ ˙ œ œ œ
& œ Œ Œ œ œ Œ œ ˙ œ
œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ
? œœœ œœœ œ œ œ
œ œ œ œ œ œ œ
10/’09
32 The Grand Duke
œ œ œ #œ ˙. ˙ ˙.
œ Œ
191
S & œ
Lud - wig’s wife may hold her
A & ˙ œ œ Œ œ ˙. ˙ Œ ˙.
˙. ˙.
Lud - wig’s wife may hold her
˙
Chorus
T V ˙ œ œ Œ œ Œ
Lud - wig’s wife may hold her
B
? ˙ œ œ Œ œ ˙. ˙ Œ ˙.
Lud - wig’s wife may hold her
. . . . .
& ˙. œ
œ œ
˙
œ #œ œ. # œ. œ. œ. œ. œ. œ # œ. œ œ n œ. œ. œ. œ. œ. œ œ œ.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ
& ˙. œ Œ Œ ∑ ∑ ∑ ∑
196
(Ludwig and Lisa sit at table.)
S
own!
A & ˙. œ Œ Œ ∑ ∑ ∑ ∑
own!
˙. œ
Chorus
T V Œ Œ ∑ ∑ ∑ ∑
own!
B
? ˙. œ Œ Œ ∑ ∑ ∑ ∑
œ œœ.
own!
# œ œ œœ # œ œ œ œ œJ # œ œ œ œ œ œœ Œ Œ
& œJ ‰ J ‰ ‰ J ‰ #œ œ œ œ j‰ Œ Œ
œ
œ œ œ
? œ œ œ œœœœ Œ Œ œœœœ Œ Œ œœœœ Œ Œ œœœ Œ Œ œ Œ Œ
œ.
10/’09
Act I 33
Enter Notary Tannhäuser.
Notary. Hallo! Surely I’m not late?
(All chatter unintelligibly in reply.)
Notary. But, dear me, you’re all at breakfast! Has the wedding taken place?
(All chatter unintelligibly in reply.)
Notary. My good girls, one at a time, I beg. Let me understand the
situation. As solicitor to the conspiracy to dethrone the Grand Duke—a con-
spiracy in which the members of this company are deeply involved—I am invited
to the marriage of two of its members. I present myself in due course, and I find,
not only that the ceremony has taken place—which is not of the least conse-
quence—but the wedding breakfast is half eaten—which is a consideration of the
most serious importance.
(Ludwig and Lisa come down.)
Ludwig. But the ceremony has not taken place. We can’t get a parson.
Notary. Can’t get a parson! Why, how’s that? They’re three a penny!
Ludwig. Oh, it’s the old story—the Grand Duke!
All. Ugh!
Ludwig. It seems that the little imp has selected this, our wedding day, for a
convocation of all the clergy in the town to settle the details of his approaching
marriage with the enormously wealthy Baroness von Krakenfeldt, and there
won’t be a parson to be had for love or money until six o’clock this evening!
Lisa. And as we produce our magnificent classical revival of Troilus and
Cressida to-night at seven, we have no alternative but to eat our wedding-
breakfast before we’ve earned it. So sit down, and make the best of it.
Gretchen. Oh, I should like to pull his Grand Ducal ears for him, that I
should. He’s the meanest, the cruellest, the most spiteful little ape in Chris-
tendom!
Olga. Well, we shall soon be freed from his tyranny. To-morrow the Despot
is to be dethroned.
Ludwig. Hush, rash girl! You know not what you say.
Olga. Don’t be absurd! We’re all in it—we’re all tiled, here.
Ludwig. That has nothing to do with it. Know ye not that in alluding to our
conspiracy without having first given and received the secret sign, you are
violating a fundamental principle of our Association?
10/’09
34 The Grand Duke
No. 2. Solo—(Ludwig) with Chorus.
p r
Vb c Ó Œ j r œj. r j œ œj. r
œ œj. r
Allegro marziale e misterioso.
Ludwig
œ. œ œ œ. œ
By the mys - tic re - gu - la - tion Of our
& b c ˙˙ .. ≈ œ
˙. œœ ≈ œ œœ ≈ œ œœ œœ ≈ œ œ ≈ œ
p j j œ œ
? c j ‰ œ œ
Piano
j ‰ j ‰ j ‰
b œ ‰ œ ‰ œ ‰ œ ‰
œ œ œ œ J J
j r j œr j r j r œ . n œ œ . œ œ . r b œ . œ œ . œ j r
œ . Rœ œ œ . œ
Ludwig V b œ . œ œ .
3
œ. œ œ.œ J œ J R J R
R J R J J
œ ≈ œ œ ≈ œ œj ‰ œ ≈ œ
dark As-so - ci - a - tion, Ere you o - pen con - ver-sa - tion With an - o - ther kin-dred soul, You must
œ
& b œœœ ≈ œ œœ ≈ œ œœ ≈ œœ
œ œœ ≈ œ œœ ≈ n œ œœ ≈ œœ ≈ œ b œœ ≈ œ œ œ œ œ
? œ ‰
j j
œ ‰ œœ ‰ œ œœ ‰ œ ‰ œ ‰ b œœ ‰ œœ
œ‰
œœ
œ œœ ‰ œœ ‰
b œ œ œ ‰ J œ œ J J J ‰ J J
J J J J
. œ j r (Producing one.)
V J R . œ œ Œ
b œ ∑ Ó Œ j r
6
œ
œ. œ
Ludwig
œ. œ j œr j œr j r j r
eat a sau - sage- roll! If, in
S &b Ó Œ J R œ. œ. œ. œ œ. œ ˙ Ó
j r r r
œ . œ œj. œ œj. œ œj. œr œj. œr ˙
You must eat a sau - sage-roll! A sau - sage - roll!
A
&b Ó Œ Ó
You must eat a sau - sage-roll! A sau - sage - roll!
Vb Ó Œ œ. œ œ. œ œ. œ œ. œ œ. œ ˙ Ó
Chorus
T
J R J R J R J R J R
œ . œ j r œj. œr œj. œr ˙
You must eat a sau - sage-roll! A sau - sage - roll!
? Ó Œ œ. œ Ó
B b J R J R œ. œ
j j j
You must eat a sau - sage-roll! A sau - sage - roll!
œ ≈ œ ≈ œ j œ j j
b
& œ œœ œœ œ ‰
‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ .
j‰ ≈
œ œ œ œ œ œ . œ œœ œ œ œ œœ œ
œ œ œ j j j j j œœ œœ j‰
? œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ j œ
b J J J œ œ œ ‰ œ ‰ œ ‰
œ
‰ J ‰ J ‰ œ
œ œ œ
10/’09
Act I 35
j r j r
j
Vb œ. r j r
œ œj. r
œ œj. r œ. œ œj. r
œ œj. r
9
Ludwig
œ œ. œ œ œ. œ
turn, he eats an - o - ther,That’s a sign that he’s a bro - ther—Each may
& b œ ≈ œ œœ ≈ œ œœ ≈ œ œ ≈ œ œœœ ≈ œ œœœ ≈ œ œœ ≈ œœ œœ ≈ œ
œ
j j j j
? œ ‰ œ ‰ œœ ‰ œ
œ ‰ œ ‰ œ ‰
œ
œ ‰
œ
œ ‰
b œ œ J J œ œ J J
œ œ. r œ. œ œ j r
V b œJ . n œ œJ . œ b œJ . œ œ œ.
11
R J R J R J R œ. œ
R
Ludwig
ful - ly trust the o - ther. It is quaint and it is droll, But it’s
j
& b œœ ≈ n œ œœ ≈ œ œœ ≈ œ b œœ ≈ œ œ
œ
œ œ œ
≈ œœ ≈ œ ‰ œœ ≈ œ
bœ œœ œœ œœ ‰ œœ ‰
? b œœ ‰ œ ‰ œ
œ ‰ œ ‰ œ ‰ œ ‰
J œ J J J J J J
J
œ . œ j œr Œ j r
b ∑ Ó Œ
13
Ludwig V J R . œ œ œ. œ
r r
œ . œ œj. œ œj. œ œj. œr œj. œr ˙
bil - ious on the whole. It’s a
S &b Ó Œ J R
Ó
Ve - ry bil - ious, ve - ry bil - ious on the whole.
j r r r
A
&b Ó Œ œ . œ œj. œ œj. œ œj. œr œj. œr ˙ Ó
Chorus
Ve - ry bil - ious, ve - ry bil - ious on the whole.
Vb Ó Œ œ. œ œ. œ œ. œ œ. œ œ. œ ˙ Ó
T
J R J R J R J R J R
œ . œ œ . œ œj œr œj. œr œj. œr ˙
Ve - ry bil - ious, ve - ry bil - ious on the whole.
? Ó Œ Ó
B b J R J R .
j
Ve - ry bil - ious, ve - ry bil - ious on the whole.
j j j j j
& b œœ ≈ œ œœ ≈ œ œœ ‰œœ ‰
œ
œœ ‰
œ
œœ ‰ œœ ‰
œ œœ ‰ ˙ .
œ˙ . œ . œ œ ‰
œœ ≈ œ
œ œ
J
œ œœ œ j j œœ ‰ œœ ‰ œœ ‰
? œ ‰ œ œ ‰ j ‰ œj ‰ j
b J J ‰ œ ‰
J œ
‰
œ œ œ ‰ œ J J J
œ œ œ
10/’09
36 The Grand Duke
j r j r œ j r j r j r œ œj. r
œ n œJ . œ n œJ .
S
Vb œ.
16
Ludwig œ œ. R œ. œ œ. œ œ. R œ
grea - sy kind of pas - ty, Which, per - haps, a judg - ment has - ty Might con -
& b œ ≈ œ # œœ ≈ œ n n œœ ≈ œ œœ ≈ œ œ ≈ œ # œœ ≈ œ n n œœ ≈ œ œœ ≈ œ
? b œœ ‰ œ
bœ ‰ œœ ‰ j
œ
œ ‰
œ
bœ ‰ œœ ‰ j
J J J œ ‰ J J J œ ‰
j r œ. œ r j r j r œ. j r
Vb œ. R œJ . œ œ
18
Ludwig œ J œ œ. œ œ. œ J R œ. œ
si - der ra - ther tas - ty: Once (to speak with-out dis-guise) It found
œ ≈ œ
& b œœ ≈ œ œ œ ≈ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ
œ œ œ ≈ œ œ
œ œœ œœ œ #œ
? b œœ #œ œœ œ # ˙˙
n œœ œ Œ
j r
V b œ . œr œj. œ œ Œ ∑ ∑
20
Ludwig
j r j j
n œ . œr œj. œr œ . œr œj. œr ˙
fa - vour in our eyes.
S &b Ó Œ œ. œ Ó
It found fa - vour, it found fa - vour in our eyes.
A
&b Ó Œ # œj. œr j r j r j r j r
nœ . œ œ . œ œ . œ œ . œ ˙ Ó
It found fa - vour, it found fa - vour in our eyes.
œ. œ œ. œ œ. œ œ. œ œ. œ ˙
Chorus
T Vb Ó Œ J R J R J R J R J R Ó
It found fa - vour, it found fa - vour in our eyes.
? Ó Œ œ. œ œ. œ œ. œ œ. œ œ. œ Ó
B b J R J R J R J R J R ˙
j
It found fa - vour, it found fa - vour in our eyes.
j j j
&b ≈ ≈
œ œ œ œ #œ ‰
œ œœ ‰ nn œœ ‰ œœj ‰ j
œœœœ ‰
j
œœœœ ‰
œœ ≈
œœ
œ œ n œœ
œœ j j j j j r
? œ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ œœ ≈œ œ Œ
œœ œœ œ . œ
b J J J œ œ œ œ œ œ œ œ
œ ≈œ œ ≈ œ œ œ. œ
10/’09
Act I 37
p r j r j r j r œ. œ j r j r j r œ. œ
Vb Ó Œ
23
j œ œ. œ œ. œ œ.œ J R œ. œ œ.œ œ.œ J R
œ.
Ludwig
But when you’vebeen six months feed - ing (As we have) on this ex-ceed - ing Bil - ious
j j j‰ j‰ j j
&b Ó ≈œ
œ œ
Œ œœ ‰ œœ ‰ œœ ≈
œ œ œ
œ œ œœ ‰ œ ‰ œ ≈ œœ
p
? œ œ œ œ ≈œ bœ œ ‰ œœ ‰ œœ ≈ œœ œœ ‰ œ œ ‰
b œ ‰ œ œ ‰ œ œ ≈œ
œ œ œ J J J J J J
r r
Vb œ. œ œj. œ œJ .
r j r
œ œJ . r j rœ j
26
J œ œ. œ œ. œ œ. œ
R
Ludwig
j j j
food, it’s no ill - breed - ing If at these re - pul - sive pies Our of -
j œœ ‰ œ
& b # œœ ‰
b œ œœœ ‰
œ œœ ≈ œ #œ ‰
œ œ
j ‰
œœ
œ
œœ œ ≈ œœ
œœ œ
j j j j œ
?b œ ‰ œ ‰ œ ‰ œ ≈ œ j ‰ #œ ‰ œ ≈ œœ
œ œ œ œ
j r r
V b œ . œ œj. œ ˙ œ. œ œ bœ œ
T
Œ ∑
28
Ludwig
f
fend - ed gor - ges rise!
j r j r j r
&b Ó Œ j r b œ . œ œj. œr œ œ . œ b œ . œ œj. œr œ Œ
œ.œ
S
f
Yes, at these re - pul - sive pies Our of - fend-ed gor - ges rise!
&b Ó Œ j r b œj. œr œj. œr œ j r j r b œj œr Œ
œ.œ œ.œ œ.œ . œ
A
f
Yes, at these re - pul - sive pies Our of - fend-ed gor - ges rise!
œ . œ b Jœ . œ œ j r j r œj œr
Chorus
Vb Ó Œ œ. œ Œ
T
J R J R R bœ . œ bœ . œ . œ
f j r bœ. œ œ. œ œ j r j r j r p j r
Yes, at these re - pul - sive pies Our of - fend-ed gor - ges rise!
?
B b Ó Œ œ.œ J R J R bœ . œ bœ . œ œ . œ œ œ . œ
Yes, at these re - pul - sive pies Our of - fend-ed gor - ges rise! Our of -
& b œœ ≈ œœ œœ ≈ œœ œœœ
T
bœ. œœ b œ . œ œœ œœ .. œœ b b œœ .. œœ b œ . œœ œœ
œ . œ b b œœœ ... œœ œœ .. œœ œœ œœ .. œœ b œœ .. œœ œœ .. œ œœ œ. bœ
f p
? œ œ œ œ œ
b œ ≈ œ nœ ≈ œ œ œ. œ b˙. œ. œ b˙. œ. bœ
b˙. œ. œ b˙. œ. bœ
10/’09
38 The Grand Duke
p r
Vb œ Œ Ó ˙. j r œj. œr œj. œ œj. œr œj r
31
œ.œ . œ
Ludwig
p r
j r œj. œr œj. œ œj. œr œj r
But, but, By the mys - tic re - gu-la - tion Of our
&b Ó œ Œ ˙.
œ.œ . œ
S
p r
But, but, By the mys - tic re - gu-la - tion Of our
&b Ó œ Œ ˙. j r œj. œr œj. œ œj. œr œj r
œ.œ . œ
A
p r
But, but, By the mys - tic re - gu-la - tion Of our
j r œj. œr œj. œ œj. œr œj r
Chorus
Vb Ó œ Œ ˙.
œ.œ . œ
T
? b œj. œr œj. œr œj. œr œj. œr p˙ . j r
œ . œ œJ . Rœ œJ . Rœ œJ . œR œ . œ
j r
But, but, By the mys - tic re - gu-la - tion Of our
fend - ed gor - ges rise! Our gor - ges rise! By the mys - tic re - gu-la - tion Of our
&b Œ Œ j‰ j‰ j‰ j‰
œ˙˙ .. œ . œ œ œ œœ
œ b n œœœ œ . œ œœ
œ œœœ œœœ
?b j j
œ Œ œ Œ œ œ . œ œ œ . œ œj ‰ œj ‰ œ ‰ œ ‰
œ œ ˙. œ œ œ
œ
j r j j r r j r
Vb œ . œ œ . œ œ . œ œj. œr œJ . n œ œJ . Rœ Jœ . œ b Jœ . Rœ Jœ . Rœ œJ . Rœ œ
34
œ. œ
R R
Ludwig
j r j r j r r j r
œ . œ œ . œ œ . œ œj. œr œJ . n œ œJ . Rœ Jœ . œ b Jœ . Rœ Jœ . Rœ œJ . Rœ œ
dark As - so - ci - a - tion, Ere you o - pen con - ver-sa - tion With an - o - ther kin-dred soul, You must
S &b R
œ. œ
j r j r j r j r œ. r œ. j r
dark As - so - ci - a - tion, Ere you o - pen con - ver-sa - tion With an - o - ther kin-dred soul, You must
œ œ
A
& œ . œ œ . œ œ . œ œ . œ J n Rœ œJ . R Jœ . œ b Jœ . Rœ J Rœ œJ . R œ
b œ. œ
j r j œr j r j r œ . n œ œ . œ œ . r b œ . œ œ . œ œ . œ œ j r
Chorus dark As - so - ci - a - tion, Ere you o - pen con - ver-sa - tion With an - o - ther kin-dred soul, You must
V b œ .œ œ. œ. œ œ.œ J œ œ. œ
T
R J R J J R J R J R
œ. œ. œ œ. œ œ. œ œ œ
? b œJ . œ œJ . Rœ œJ . œ œ . œ J n Rœ J R J Rœ b Jœ . R J R œJ . R œ. œ
dark As - so - ci - a - tion, Ere you o - pen con - ver-sa - tion With an - o - ther kin-dred soul, You must
B R R J R J R
dark As - so - ci - a - tion, Ere you o - pen con - ver-sa - tion With an - o - ther kin-dred soul, You must
& b œj ‰ œj ‰ œœ . œ œ
j‰ j j j
œœ ‰ œœ ‰ b œœœ ‰
j
œœœ ‰
j
œœœ ‰
j
œœ ‰
j
œœ ‰
œœ œœ œ œœœ . œ œœ œ œ œ œ œ
j j j j j j j
? b j ‰ j‰ œ ‰ œ ‰ œj ‰ j ‰ œj ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
10/’09
Act I 39
j œr f Vibrato.
. œ ‰ ≈ œr œ . œ
U
b œ Œ ∑ Œ
37
Ludwig V J R . œ œ J
j œr j œr j œr j r j r jf r j r j r j r
eat a sau - sage-roll! A sau - sage -
b œ . œ
& J R œ. œ œ. œ œ . œ . œ . œ œ . œ œ .œ œ . œ œ .œ œ .œ
S
J R
j œr j r j r j r j r j r jf r j r j r j r
eat a sau - sage-roll! You must eat a sau - sage-roll, a sau - sage - roll, A roll, a roll, a roll, a
A b œ .
& J R .œ œ œ œ . œ œ . œ œ . œ œ . œ œ . œ œ .œ œ . œ œ .œ œ .œ
œ . œ œj. œ œ
r œ œ . œ œjf. r j
eat a sau - sage-roll! You must eat a sau - sage-roll, a sau - sage - roll, A roll, a roll, a roll, a
œ. œ œ. œ œ. r j r j r
Chorus
Vb œ. œ
T
J R J R J R J R J R J R œ œ. œ œ .œ œ .œ
œ. œ œ. œ œ œ. œ j r j r j r œ.f œ œ.
eat a sau - sage-roll! You must eat a sau - sage-roll, a sau - sage - roll, A roll, a roll, a roll, a
?b J R J R œ. œ œ œ. œ œ. œ
B
J R J R œ.œ œ. œ œ.œ J R J R J R J R
eat a sau - sage-roll! You must eat a sau - sage-roll, a sau - sage - roll, A roll, a roll, a roll, a
j j j j j j
& b œ ‰ œj ‰ j‰ œœ ‰ ˙˙
U
œœ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œ Œ ˙˙
œœ œœ œ œ œ œ œ f
j j
? b œj ‰ œ ‰ j
œ ‰
j
œ ‰ œ ‰ 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
j r j r j r
Vb œ ‰ ≈ r œ. œ œ ≈ r j œ
40
œ.
œ J œ œ. œ œ. œ
Ludwig
r j r r j r
roll, a sau - - sage roll! A roll, a roll, a sau - sage -
j r j r j ≈ r j r j
S &b œ. œ œ. œ œj. œ œ. œ œ œ œ. œ œ.
œ œ . œ
r j r
roll, a roll, a roll, a sau - sage - roll! A roll, a roll, a sau - sage
r j r
A
& b œj. œ œ. œ œj. r j
œ œ. œ œ
r j ≈ r j
œ œ. œ œ.
r j œ œ. œ
r j r j r j r j ≈ r j r j r
roll, a roll, a roll, a sau - sage - roll! A roll, a roll, a sau - sage
j r j
Chorus
Vb œ. œ œ. œ œ. œ œ . œ œ œ œ . œ
œ œ. œ œ.
T
œ. œ œ. œ œ. œ œ. r œ œJ . œ
œ œJ .
roll, a roll, a roll, a sau - sage - roll! A roll, a roll, a sau - sage
? œ œ ≈ œ œ. R
B b J R J R J R J R J J R R
j
roll, a roll, a roll, a sau - sage - roll! A roll, a roll, a sau - sage -
& b b œœœœ œœœ ‰
œ n ˙˙˙˙ œœ
œ
≈
œ œ
≈ œ œ ≈ œ œ ≈ œ
? œ. œ œ. œ œ. œ œ. œ œ ≈ œ œ ≈ œ
b œ. ≈ œ œ ≈ œ œ
œ œ. œ œ. œ œ. œ œ
10/’09
40 The Grand Duke
œ œ. œ n˙ ˙. U
V b œ. œ œ œ œ.
J ‰ ‰ ≈ R J Œ ∑
42
Ludwig ˙.
œ œ. œ œ. œ œ. nœ œ ‰ ‰ ≈ œ œ U
roll! A sau-sage - roll!
S & b œ. J R
œ ˙. Œ ∑
roll! A sau - sage - roll!
œ œ. œ ˙ U
& b œ. œ ‰ ‰ ≈ r ˙. Œ ∑
J œ œ œ
A
roll! A sau - sage - roll!
œ œ. œ n˙ U
Chorus
T V b œ. œ ‰ ‰ ≈ bœ œ
J R
œ ˙. Œ ∑
? b œJ ‰ ‰ . œ ˙
roll! A sau - sage - roll!
j r ˙. U
B
R œ ‰ ‰ ≈ œ œ œ ˙.
Œ ∑
roll! a roll! A sau - sage - roll!
≈œ œ ≈œœ j œœ œœ œœ U
ww
œœ b œœœœ Œ
&b œ ≈ œ ˙ ≈ n œ œ
œ ‰ Œ œœ Œ œœ œœ ww
f
œ ≈ œ œJ n ˙˙ œœ U
?b ‰ ˙ œ ‰ Œ œ Œ œ Œ œ œ w
J œ œ œ œ w
Martha. Oh, bother the secret sign! I’ve eaten it until I’m quite uncomfort-
able! I’ve given it six times already to-day—and (whimpering) I can’t eat any
breakfast!
Bertha. And it’s so unwholesome. Why, we should all be as yellow as frogs if
it wasn’t for the make-up!
Ludwig. All this is rank treason to the cause. I suffer as much as any of you. I
loathe the repulsive thing—I can’t contemplate it without a shudder—but I’m a
conscientious conspirator, and if you won’t give the sign I will. (Eats a sausage
roll with an effort.)
Lisa. Poor martyr! He’s always at it, and it’s a wonder where he puts it!
Notary. Well now, about Troilus and Cressida. What do you play?
If No. 2a is Omitted, go to p. 43
10/’09
Act I 41
Dialogue if No. 2a is Included
Ludwig (struggling with his feelings). If you’ll be so obliging as to wait until
I’ve got rid of this feeling of warm oil at the bottom of my throat, I’ll tell you all
about it. (Lisa gives him some brandy.) Thank you, my love; it’s gone. Well, the
piece will be produced upon a scale of unexampled magnificence. It is confi-
dently predicted that my appearance as King Agamemnon, in a Louis Quatorze
wig, will mark an epoch in the theatrical annals of Pfennig Halbpfennig. I en-
deavoured to persuade Ernest Dummkopf, our manager, to lend us the classical
dresses for our marriage. Think of the effect of a real Athenian wedding pro-
cession cavorting through the streets of Speisesaal! Torches burning—cymbals
banging—flutes tootling—citharæ twanging—and a throng of fifty lovely
Spartan virgins capering before us, all down the High Street, singing:
No. 2a. Solo—(Ludwig).
r œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ‰ . œr
V 43 Œ Œ ‰. œ R R R R R R R R R R R R
Andante maestoso.
Ludwig
œ ≈ œr j
O - po - po-nax! O - po - po-nax! O - po - po-nax! E - loi - a! O-
&43 œ . œ œ . œ j
J œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ
p F œ œ œ œ œ œ œ œ œ
œœ r
? 3 œ . œ œœ .. œ œ ≈ œ œj j
Piano
4 œ. œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
J œ œœ œ œ œ œ œ œ œ œ œ
œ. œ œ
V œR œR Rœ œR œR œR œR œR œR œR œR Rœ ‰ œ
4
Ludwig J
po - po - nax! O - po - po - nax! O - po - po - nax! E - loi - - a! E -
j j
&œ œœ œ œœ œœ œœ œœ œœ œœ œ
œœ œ œœ œ œ œ œ œ œ œœ
? œj œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ
œœ œ œ œ œ œ œ œ œ œ
œ. œ œ œ œ ˙ U̇
‰ Œ
6
Ludwig V J
U˙
loi - a! E - loi - a!
œœ œœ ˙˙˙
œœ ‰ œœ
& œœj œœ œœ œœ œ œœ
j ‰
J J
‰ Œ
œ œ œ œ œœ œ ƒ U
? œj œ œœ œœ œœ j
œœ ‰
j
œ ‰
j
œ ‰ ˙ Œ
œœ œœ œ œ œ œ œ œ ˙
10/’09
42 The Grand Duke
Dialogue if No. 2a is Included (cont’d)
Ludwig. It would have been tremendous!
Notary. And he declined?
Ludwig. He did, on the prosaic ground that it might rain, and the ancient
Greeks didn’t carry umbrellas! If, as is confidently expected, Ernest Dummkopf is
elected to succeed the dethroned one, mark my words, he will make a mess of it.
[Exit Ludwig with Lisa.
Olga. He’s sure to be elected. His entire company has promised to plump
for him on the understanding that all the places about the Court are filled by
members of his troupe, according to professional precedence.
Ernest enters in great excitement.
Bertha (looking off). Here comes Ernest Dummkopf. Now we shall know all
about it!
All. Well—what’s the news? How is the election going?
Ernest. Oh, it’s a certainty—a practical certainty! Two of the candidates
have been arrested for debt, and the third is a baby in arms—so, if you keep your
promises, and vote solid, I’m cocksure of election!
Olga. Trust to us. But you remember the conditions?
Ernest. Yes—all of you shall be provided for, for life. Every man shall be
ennobled—every lady shall have unlimited credit at the Court Milliner’s, and all
salaries shall be paid weekly in advance!
Gretchen. Oh, it’s quite clear he knows how to rule a Grand Duchy!
Ernest. Rule a Grand Duchy? Why, my good girl, for ten years past I’ve
ruled a theatrical company! A man who can do that can rule anything!
Go to p. 44.
10/’09
Act I 43
Dialogue if No. 2a is Omitted
Ludwig (struggling with his feelings). If you’ll be so obliging as to wait until
I’ve got rid of this feeling of warm oil at the bottom of my throat, I’ll tell you all
about it. (Lisa gives him some brandy.) Thank you, my love; it’s gone. Well, the
piece will be produced upon a scale of unexampled magnificence. It is confidently
predicted that my appearance as King Agamemnon, in a Louis Quatorze wig, will
mark an epoch in the theatrical annals of Pfennig Halbpfennig. I endeavoured to
persuade Ernest Dummkopf, our manager, to lend us the classical dresses for our
marriage. Think of the effect of a real Athenian wedding procession cavorting
through the streets of Speisesaal! Torches burning—cymbals banging—flutes
tootling—citharæ twanging—and a throng of fifty lovely Spartan virgins capering
before us, all down the High Street, singing “Eloia! Eloia! Opoponax, Eloia!” It
would have been tremendous!
Notary. And he declined?
Ludwig. He did, on the prosaic ground that it might rain, and the ancient
Greeks didn’t carry umbrellas! If, as is confidently expected, Ernest Dummkopf is
elected to succeed the dethroned one, mark my words, he will make a mess of it.
[Exit Ludwig with Lisa.
Olga. He’s sure to be elected. His entire company has promised to plump
for him on the understanding that all the places about the Court are filled by
members of his troupe, according to professional precedence.
Ernest enters in great excitement.
Bertha (looking off). Here comes Ernest Dummkopf. Now we shall know all
about it!
All. Well—what’s the news? How is the election going?
Ernest. Oh, it’s a certainty—a practical certainty! Two of the candidates
have been arrested for debt, and the third is a baby in arms—so, if you keep your
promises, and vote solid, I’m cocksure of election!
Olga. Trust to us. But you remember the conditions?
Ernest. Yes—all of you shall be provided for, for life. Every man shall be
ennobled—every lady shall have unlimited credit at the Court Milliner’s, and all
salaries shall be paid weekly in advance!
Gretchen. Oh, it’s quite clear he knows how to rule a Grand Duchy!
Ernest. Rule a Grand Duchy? Why, my good girl, for ten years past I’ve
ruled a theatrical company! A man who can do that can rule anything!
10/’09
44 The Grand Duke
No. 3. Song—(Ernest) with Chorus.
Allegro con brio.
b œ
& b b b b 68 œ œ œ œ ‰ n œœ œœ ‰ œœ œœ ‰ n œœ œ ‰ n œ œœ œœ œœ œœ œœ œœ œœ œœ b n œ b œœ œœ œœ
3
œ œ
ƒ œœ ..
? b b b 68 ‰ œœ œ œœ œ œœ œ œœ œ œ . œ . œ
Piano
bb ‰œ ‰œ ‰ œ ‰ bœ œ. ∫œ. œ ‰
b j j j
V b bbb ∑ Œ ‰ Œ œ œ œ œ
5
Ernest œ œ J J œ œ œ
j
1. Were I a king in ve - ry truth, And
bb b œ ‰ j ‰
& bb œ œœ œœ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ p
? b b œ ‰ œj œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb J
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ nœ œ œJ œ ‰ Œ
V b bbb œ œ œ œ œ œ œ œ ‰
9
Ernest
J J J J J J J
j
bbbb
had a son— a guile - lessyouth— In pro - ba - ble suc - ces-sion;
nœ
& b œœ ‰ œœ œœ ‰ œœ b œœ ‰ œœ œœ ‰ œœ œ ‰ œ œ ‰ œ œ ‰ Œ
nœ
œ œ œ œ nœ œ œ œ b œœ œœ œœ œœ œœ
? bb œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œœœœ œœœœ ‰ œœœœ
bbb J
œ œ œ œ œ œ œ œ œ œ œ œ œ
b j j j
V b bbb ∑ Œ ‰ Œ œ œ œ œ
13
Ernest œ œ J J œ œ œ
œ nœ œ œ
To teach him pa - tience, teach him tact, How
b œ œ j
& b bbb œ œ œ nœ œ œ ‰ Œ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
J J œ œ œ œ œ œ œ œ œ
[p]
œ œœœœ œœœœ œœ œœ œœœœ œœœœ ‰
? b b œœœ ‰ ‰ œœ œœ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb
œ œ œ œ œ œ œ œ
10/’09
Act I 45
b œ œ œ nœ nœ œ œ œ
V b bbb œ œ œ œ œ œ œ œ
17
Ernest
J J J J J J J J
prompt - ly in a fix to act, He should a-dopt, in point of fact, A
b
& b b b b b œœ ‰ œœ œœ ‰ œœ b œœ ‰ œœ œœ ‰ œœ œœœ ‰ œœœ œœœ ‰ œœœ œ ‰ œ œœ ‰ œœ
œœ œœ œ œ
œ œ œ œ œ œ œ œ
? bb œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
bbb œ j œ
F1
œ œj ‰ Œ j j
b ‰ Œ ‰ œ. nœ #œ
21
Ernest V b nœ œ J J nœ œ
>œ . >œ . > nœ nœ #œ œ
man - a - ger’s pro - fes-sion. To that con - di - tion
b
& b bbb
j
n œœœ ‰ œœœ œœœ ‰ œœœ œœœ ‰ ‰ œ . œ. n ## œœœ ... # n œœ J J
>
? bb b œ ‰ œ œ ‰ œ œ ‰ ‰ œ.
> >œ . n nn œœœ .. #œ œ
. ‰ n œ ‰ œ
bb œ œ œ œ œJ œ. œ. nœ œ
b j j j j j j j
V b bbb # œ n œ œ n œ n œJ œJ ‰ Œ n œ # œ
25
Ernest #œ nœ œ #œ nœ #œ œ
he should stoop (De - spite a too fond mo-ther), With eight or ten “stars”
n
b #œ #œ nœ œ # œ ‰ œ œ ‰ œ # Ÿ~~~~~~~~~~~~~~~
˙ . #œ nœ #œ œ
& b bbb J J ‹œ œ J J
#œ œ nœ œ œ œ
? bb
b b b nœ œ
‰ n œ ‰ œ nœ ‰ # # œœ ‰ œœ
œ nœ ‰ # # œœ ‰ œœ
œ ‰ n n n œœœ œ ‰ œœœ
nœ
b j n œ^ . b œ^ .
V b bbb n œ #œ nœ j #œ œ œ œ #œ œ ‰ Œ œ
29
Ernest
œ J J J J J
in his troupe, All jea - lous of each o - ther! All jea - lous
n
b nœ #œ nœ œ # œ ‰ œ œ ‰ œ # Ÿ~~~~~~~~~~~~~~~
& b bbb J J ˙. #œ œ nœ. œœ ..
œ.
nœ œœ n nn œœœ œœœ œœ b œ .
? bb n œ œ ‰ œ b œ.
b b b n œ ‰ n n œœ œ ‰ œ nœ ‰ nœ
œ ‰ œ
nœ ‰ œ.
œ.
10/’09
46 The Grand Duke
^
bbbb œ^ . b œ^ . œ^ œJ œ . j j
‰ œ œ Jœ Jœ œJ œJ Jœ Jœ œJ Jœ œ œj ‰ œ
j
G1
Œ
33
Ernest V b
j œœ
of each o - ther! Oh, the man who can rule a the - a - tri - cal crew, Each
j œœœ j
& bbbb œ.
b n œœ .. œœ .. b ˙˙˙ ... œœ ‰ œ œ œœ ‰ œœ œœ ‰ œœ œœ ‰ Jœ
œ œ œ ‰
J œ œ
œ. œ œ
nœ œ
[F ] p
? bb b ∫ œ . j j j j j
bb œ. ˙. œ ‰ œ œ œœ ‰ œ œœ ‰ œ œœ ‰ œ œ ‰ œ
œ œ
∫œ. œ. ˙. œ œ œ œ
b œ œ œj œj ‰ œ œ Jœ œ œJ Jœ œ œ
V b b b b J J œJ J J Jœ
œ œ œ œ
J œJ Jœ œJ œ
38
Ernest J J J J J J
j œ j
mem-ber a ge-nius (and some of them two), And man-age to hu-mour them, ear-ly and late, Can
œœ ‰ œœ œœœ
& bbbb b œœœ ‰ n œœœ œœœ ‰ œœœ œ J
œ
J ‰ œœ
œ œ.
œœœ œœ œœœ œœ .. œœ œœ œœ œœœ ‰
[F ] [p]
? bb b œ ‰ œ ‰ j j
bb œ œœ œ œ ‰ œj œ ‰ œj œ. œ œ œ œ. œ œ œ
œ œ œ œ œ œ œ. œ
bbbb j j œ œ œ œ H1 œ . j
œ ‰ ‰ ∑ ∑
42
Ernest V b œ œ J J J J
gov-ern this tup-pen-ny State!
f
bb
&bbb ∑ Œ ‰ ‰ œj œj œœ œœ œœ œœ œœ œœ œœ œœ œj œj ‰ œj
J J J J J J J J J J J J J
S
A
fœj œj œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ j
Oh, the man who can rule a the - a - tri - cal crew, Each
Chorus
? bb b ∑ Œ ‰ ‰ J J J J J J J J J J J J ‰ Jœ
T
B bb
Oh, the man who can rule a the - a - tri - cal crew, Each
j œœ œœ
bbbb œ œ œ œ œ
œ œ œ œœ ‰ n œœœ œœ ‰ œœœ œœ ‰ Jœ œ ‰ œ œ œ
H1 3 3
& b œœ œœ œœ œœ œœ œœ
œ œœ œœ œœ
œ
J
[F ] f [F ]
? bb b œ . j j
bb ∫œ. bœ. œ ‰ œ ‰ œ œ ‰ œ œ ‰ œj œ ‰ ‰
œ œ œ œ œ œ œ
10/’09
Act I 47
b œ œ œ œ œœ œœ œj œj ‰ œœ œœ œœ œœ œœ œjœ œjœ œj œœj n œœ œ ‰ ∫ œœ
& b b b b œJ œJ Jœœ œJ Jœ œœJ
46
J J J J J J J J J J J œ J Jœ J
S
A
œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œ œ œ œ nœ œ b œ œ œ œ œœ
mem-ber a ge-nius (and some of them two), And man-age to hu-mour them, ear - ly and late, Can
b
Chorus
? bb b J J J J J J J J J J ‰ J œ œ œ œ œ œ œ œ œ œ ‰ J
T
B bb J J J J J J J J J J
mem-ber a ge-nius (and some of them two), And man-age to hu-mour them, ear - ly and late, Can
j œ œœœ j
b œœ ‰ œœœ
& b b b b œœœ ‰ n œœœ œœœ ‰ œœœ b
œ ‰ œœœœ œœœ œœœ œœ œœœ œœ œœ œœ œœ n œœ œœ ∫ œœœ
œ J J œ nœ œ œ œ œ œ J
f [F ]
bœ œ œ œ bœ œ œ j œ. œ œ j
? bb b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ
bb J J J œ œ. œ œ œ œ œ œ œ œ
bb b b œ œœ œ œ . œ ˙. j
œ ‰ ‰ œœ œœ œœ œœ .. œœ œœ
50
S
A & b œJ J œJ œ . J J J J
˙.
œ œ œ œ. œ œ œœ ..
gov - ern this State, gov - ern this State! this poor
? b b b œJ œJ œJ œ . œ ‰ ‰ œ œœ œœ ˙˙ .. œœ œœ
Chorus
T
B bb J J J J J
œ œ
gov - ern this State, gov - ern this State! this poor
b b b œœ œ œ œ œ œ œ œ ˙˙ . j
b
& b œ œ œœ œœ ˙ .. œœœ .. œœœ œœœ
œ .. œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ ˙˙ ..
? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
bb œ œ. œ œ
J
b j
.
& b b b b ˙˙ . œ ‰ ‰ Œ ‰ ∑ ∑ ∑
54
S
A œ
State!
˙. œ
Chorus
? bb b ˙ . œ ‰ ‰ Œ ‰ ∑ ∑ ∑
T
B bb J
State!
b b b œ œJ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ n œ œœ œœ œœ œœ œœ œœ
b œ œ œ œ œ œœœ
3
& b œœœ œ nœ œ œ œ nœ œ œ
[ƒ]
œ œœ œœ œœ
? b b b œ ‰ œœœ œœ œœ œœ ‰ Œ ‰ œœ ‰ œ œœ ‰ œ œœ ‰ œ œœ ‰ œ œ .
bœ œ.
œ.
bb œ œ œ ∫œ.
œ
10/’09
48 The Grand Duke
b j
V b bbb ∑ ∑ Œ ‰ Œ œ œ œ
59
Ernest œ œ J J
j
2. Both A and B re -
b œ ‰ j ‰
& b b b b œœ œœ b n œ b œœ œœ œœ œ œœ œœ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ œ œ œ œ œ œ œ œ
œœ .. œ p
? bb œ j
bbb œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
J œ œ œ œ œ œ œ œ œ œ œ
b j j œ œ nœ œ
V b bbb œ œ œ œ œ œ œ œ œ œ
63
œ œ J J J J J
Ernest
J
hear - sal slight— They say they’ll be “all right at night” (They’ve both to go to
b
& b b b b œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ b œœ ‰ œœ œœ ‰ œœ œ ‰ œ œ ‰ œ
œ œ œ œ œ œ œ œ nœ œ œ œ b œœ œœ œœ œœ
? bb œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b b b b œJ œ ‰ Œ ‰ ∑ ∑ j j
œ œ Jœ œ œ
67
Ernest V b J J
j œ œ
school yet); C in each act must
b nœ œ œ œ nœ j
& b bbb œ ‰ Œ
nœ œ œ œ n Jœ œ œ ‰ Œ œ
œœ œœ ‰ œœ œœ ‰ œœ
œœ J œ œ œ œ
[p]
? bb œ œœœœ œœœœ ‰ œœœœ œœœœ œ œ œ œ
‰ œœœ œœœ ‰ œœœ œœœ ‰
œ
œ œ
œ
œœ œœ ‰ œ ‰ œ œ ‰ œ
bbb J
œ œ œ œ œ
b j œ ‰ œ Jœ œJ œ nœ
V b bbb œ ‰ œ œ Jœ œ œ œ œ
71
œ œ J J J
Ernest
J J J
change her dress, D will at-tempt to “square the press”; E won’tplay Ro - me -
b
& b b b b œœ ‰ œœ œœ ‰ œœ b œœ ‰ œœ œœ ‰ œœ b œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? bb œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
Act I 49
b nœ œ œ œ œ j œ œ œj ‰ Œ
V b bbb
F2
‰ Œ ‰ œ.
75
Ernest J J nœ œ J J
>œ . >œ . >
o un - less His grand - mo- ther plays Ju - liet; F
bb b b œ ‰ œ œ ‰ œ j
‰ œœ œ ‰ œœ œœ ‰ ‰ œ . œ. n ## œœœ ...
& b œ œ
œœ œ œ
œ n œ
œœ œ œœ œ œ
œ
>
? b b b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ >œ . >œ . n nn œœœ ..
bb œ .
œ œ œ œ œ œ œ œJ œ. œ.
bb j j j j j j j
V b b b nœ nœ #œ n œ œ n œ n œJ Jœ ‰ Œ n œ
79
Ernest œ #œ #œ nœ œ #œ
claims all hoy - dens as her rights (She’s play’d them thir - ty sea-sons); And
n
bb b b # n œœ nœ #œ œ #œ #œ nœ œ # œ ‰ œ œ ‰ œ #Ÿ~~~~~~~~~~~~~~~
& b nœ J J J J ˙. ‹œ œ
? bb b #œ œ #œ œ # n œœ œœ # œœ œœ
b b nœ ‰ n œ œ ‰ œ nœ ‰ n œ œ ‰ œ nœ ‰ #œ œ ‰ œ nœ ‰ # œ œ ‰ œ
b j j j
V b bbb # œ #œ nœ j #œ œ œ œ #œ œ ‰ Œ œ
83
Ernest nœ #œ œ nœ œ J J J J J
G must show her - self in tights For two con-vinc - ing rea-sons— Two
n
bbb # œ nœ #œ
J # œ n œ œ # œ ‰ œ œ ‰ œ #Ÿ~~~~~~~~~~~~~~~
œ
J nœ ˙.
b
& b J J #œ œ
n œ œ n œ œ n œ œ n n œœ œœ œœ
? bb b ‰ n n œœ ‰ œœ ‰ n n œœ ‰ œœ ‰ nœ ‰ œ ‰ nœ œ ‰ œ
b b nœ œ nœ œ nœ œ nœ
b b b n œ^ . b œ^ . œ^ . b œ^ . œ œ^ .
œ^ j
œ Jœ Jœ Jœ Jœ Jœ œJ
G2
b J Œ ‰ œ
87
Ernest V b
ve - ry well - shap’d rea - sons! Oh, the man who can drive a the -
bb œ. œœ .. j
& b b b nœ. œœ ..
œ. n œœ .. œ. b ˙˙˙ ... œœ
œ ‰ œ œ œœœ ‰ n œœœ œœœ ‰ œœœ
œ
b b œœ ..
? bb b ‰ œ j
bb œ. ∫œ. œ. ˙. œ œ œœ ‰ œ œœ ‰ œ
œ. ∫œ. œ. ˙. œ œ œ
10/’09
50 The Grand Duke
b œ œ j j œ œ œ œ j j œ œ Jœ œ œJ œJ œJ
V b b b b J J œJ œ ‰ œ J J œJ J J œJ J J œ œ ‰ J
œ œ
92
Ernest
J J
a - tri - cal team, With wheel-ers and lead-ers in or - der su-preme, Can gov-ern and rule, with a
bb b b œj ‰ œœœ œœœ j jœœ œœ
œœ ‰ œœ œœ ‰ œœ œœ ‰œ œ ‰ œœ
j œ.
& b œœ J J ‰ œ
œ œ nœ œ œ œ J J œ œœœ œœœ œœœ œœ ..
[F ] p [F ] [p]
j
? bb b œ ‰ j j j j j
bb œ ‰ œj œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œj œ. œ œ œ
œ œœ œ œ œ œ œ œ œ œ œ œ œ. œ
b œ œ œj œj œ J J J œ . œj‰ ‰
œ œ œ
V b b b b œJ Jœ Jœ
H2
∑
96
Ernest
J J
wave of his fin, All Eu-rope— with Ire-land thrown in!
f
b
& b bbb ∑ ∑ Œ ‰ ‰ œj œj œœ œœ œœ œœ œœ œœ
J J J J J J J J
S
A
fœj œj œœ œœ n œœ œœ œœ œœ
Oh, the man who can drive a the -
Chorus
? bb b ∑ ∑ Œ ‰‰ J J J J J J J J
T
B bb
Oh, the man who can drive a the -
bb œ œœ ‰ œœ œœ ‰ œœ
& b b b œœ œœ œœ œœ ‰ œœ œœœ
H2 3
œœ œœ œœ œœ œœ œœœœ
œœœœ œ nœ œ œ
[F ]
? bb b œ . œ œ œ œ.
bb ∫œ. bœ. œ ‰ œ ‰ œ œ
œ
‰ œ
œ œ œ
b b b b œœ œœ œj œj ‰ œj œœ œœ œœ œœ œœ œœ œœ œœ œj œj ‰ œœ
100
& b
J J J J J J J J J J J J J J J J
S
A
œœ œœ œœ œœ j b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ
a - tri - cal team, With wheel-ers and lead - ers in or - der su - preme, Can
Chorus
? b b J J J J ‰ œJ J J J J J J J J J J ‰ J
T
B bbb
a - tri - cal team, With wheel-ers and lead - ers in or - der su - preme, Can
j
œœ œœ j œ œ j
bb b b œœ ‰
œœ œœ ‰ œ œ œ œœ ‰ n œœ œœ ‰ œœ œœ ‰ œœœ œœœ ‰ b œœœ
3
& b œ J J œ œ œ œ œ J J œ
f [F ] f [F ]
j j bœ œ œ œ bœ œ œ j
? bb œ ‰ j œ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb œ J J J
œ œ œ œ
10/’09
Act I 51
bb œ œ œ œ j j j j œ œ œ. œ. j
& b b b œJ œJ Jœ œJ œœJ œœ œœ œœ n œœ œœ ‰ ∫ œ œ œœ œœ œ . œœ œ
œ œ
103
œ.
J J J J J J J J
S
A
gov-ern and rule, with a wave of his fin, All Eu-rope, all Eu - - - rope— with
œ œ œ œ nœ œ bœ œ œ œ œ œ œ œ .. œ. œ œ œœj
Chorus
œ
? bb b J œ œ œ œ œ œ œ œ œ
œ œ œJ œ œ œ œ. œ
T
B bb J J J J J J J J J J ‰ J J J
œ œ
gov-ern and rule, with a wave of his fin, All Eu-rope, all Eu - - - rope— with
œ œ œ œ œ œ œ œ œ
b œ
& b b b b œœœ œœ œœ œœ n œœœ œœœ œœœ œœœ n œœœ œœ ∫ œœ œœœ œ œ œ œœ œœ
J
? b b œ. œ œ œ j œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ
b b b œ. œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
b ˙. j j
& b bbb ˙ . œœ .. œœ œœ ˙ . œ ‰ ‰ Œ ‰
107
S
A ˙. œ
Ire - - - land thrown in!
. œœ .. œœ œœ ˙. œ
? b b b ˙˙ .
Chorus
bb J ˙. œ ‰ ‰ Œ ‰
J
T
B
Ire - - - land thrown in!
b ˙. j œ œ œ
& b b b b ˙˙ .. œœœ .. œœœ œœœ œœ J œ œœœ
3
œœ œ œ œ œ
œ .. œ œ
[ƒ]
˙˙ .. œ. œ œ œœ œœ œœ œœ
? bb œ ‰ œœ œœ œœ œœ ‰ Œ ‰
bbb œ. œ œ
J œ
b œ œ œ œ œ œ
& b b b b œœ ‰ n œœ œœ ‰ œœ œœ ‰ n œœ œœ ‰ n œœ œ œ œ œ œ œ œœ œœ b n œ b œœ œœ œœ
111
œ œœ ..
? bb b œ ‰ œ œ œ œ œ œ œ œ. œ. œ
bb œ œ ‰ œ œ ‰ œ œ ‰ bœ œ. ∫œ. œ ‰
j j
bb œ
&bbb œ
œ
‰ œœ ‰ ‰ j ‰ ‰ œœœœ ‰ ‰ ˙˙ .. œœ (Exeunt
‰ ‰ Œ
115
all but Ernest.)
œ œ ˙˙ .. œœ
J
œ j j j j
? bb b œ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ˙. œ ‰ ‰ Œ
bb œ œ œ ˙. œ
10/’09
52 The Grand Duke
Ernest. Elected by my fellow-conspirators to be Grand Duke of Pfennig
Halbpfennig as soon as the contemptible little occupant of the historical throne is
deposed—here is promotion indeed! Why, instead of playing Troilus of Troy for
a month, I shall play Grand Duke of Pfennig Halbpfennig for a lifetime! Yet, am
I happy? No—far from happy! The lovely English comédienne—the beautiful
Julia, whose dramatic ability is so overwhelming that our audiences forgive even
her strong English accent—that rare and radiant being treats my respectful ad-
vances with disdain unutterable! And yet, who knows? She is haughty and
ambitious, and it may be that the splendid change in my fortunes may work a
corresponding change in her feelings towards me!
Enter Julia Jellicoe.
Julia. Herr Dummkopf, a word with you, if you please.
Ernest. Beautiful English maiden—
Julia. No compliments, I beg. I desire to speak with you on a purely
professional matter, so we will, if you please, dispense with allusions to my per-
sonal appearance, which can only tend to widen the breach which already exists
between us.
Ernest (aside). My only hope shattered! The haughty Londoner still despises
me! (Aloud.) It shall be as you will.
Julia. I understand that the conspiracy in which we are all concerned is to
develop to-morrow, and that the company is likely to elect you to the throne on
the understanding that the posts about the Court are to be filled by members of
your theatrical troupe, according to their professional importance.
Ernest. That is so.
Julia. Then all I can say is that it places me in an extremely awkward
position.
Ernest (very depressed). I don’t see how it concerns you.
Julia. Why, bless my heart, don’t you see that, as your leading lady, I am
bound under a serious penalty to play the leading part in all your productions?
Ernest. Well?
Julia. Why, of course, the leading part in this production will be the Grand
Duchess!
Ernest. My wife?
Julia. That is another way of expressing the same idea.
Ernest (aside—delighted). I scarcely dared even to hope for this!
10/’09
Act I 53
Julia. Of course, as your leading lady, you’ll be mean enough to hold me to
the terms of my agreement. Oh, that’s so like a man! Well, I suppose there’s no
help for it—I shall have to do it.
Ernest (aside). She’s mine! (Aloud.) But—do you really think you would care
to play that part? (Taking her hand.)
Julia (withdrawing it). Care to play it? Certainly not—but what am I to do?
Business is business, and I am bound by the terms of my agreement.
Ernest. It’s for a long run, mind—a run that may last many, many years—
no understudy—and once embarked upon there’s no throwing it up.
Julia. Oh, we’re used to these long runs in England: they are the curse of the
stage—but, you see, I’ve no option.
Ernest. You think the part of the Grand Duchess will be good enough for
you?
Julia. Oh, I think so. It’s a very good part in Gerolstein, and oughtn’t to be a
bad one in Pfennig Halbpfennig. Why, what did you suppose I was going to
play?
Ernest (keeping up a show of reluctance). But, considering your strong
personal dislike to me and your persistent rejection of my repeated offers, won’t
you find it difficult to throw yourself into the part with all the impassioned
enthusiasm that the character seems to demand? Remember, it’s a strongly emo-
tional part, involving long and repeated scenes of rapture, tenderness, adoration,
devotion—all in luxuriant excess, and all of the most demonstrative description.
Julia. My good sir, throughout my career I have made it a rule never to allow
private feeling to interfere with my professional duties. You may be quite sure
that (however distasteful the part may be) if I undertake it, I shall consider myself
professionally bound to throw myself into it with all the ardour at my command.
Ernest (aside—with effusion). I’m the happiest fellow alive! (Aloud.) Now—
would you have any objection—to—to give me some idea—if it’s only a mere
sketch—as to how you would play it? It would be really interesting—to me—to
know your conception of—of—the part of my wife.
Julia. How would I play it? Now, let me see—let me see. (Considering.) Ah, I
have it!
10/’09
54 The Grand Duke
No. 4. Song—(Julia) & Duet—(Julia & Ernest).
j r j
b
& b b b 42 ∑ ∑ ∑ ∑ œ œr œ œ œ œ
Allegretto grazioso.
Julia
How would I play this
b
V b b b 42 ∑ ∑ ∑ ∑ ∑
.
Ernest
. . . j
. œ ˙˙ œœ
b
& b bb 24 ≈ œ. œ. œ. œ. œ. œ. œ œ. œ œ
œ.
œ
œœ ‰ Œ œ. œ. œ. œ. œ. œ.
œ. œ. ˙˙
f . . J p
.œ œ œ. œ. œ. œ. œ œ. .
œ. œ. œ œ. œ.
Piano
? bb b 42 ≈ ‰ Œ
b
b œ. j
& b bb œ ‰ œj œ bœ œ œ œ œœ œ œ œ ‰ œ bœ
6
J J œ
Julia
J
part— The GrandDuke’s Bride? All ran - cour in my heart I’d du - ly
b j
& b bb œ ‰ œj œœ œœ œœ .. ‰ œ. œ œ. œ. œ œ. œ
. .
‰ œœ b œœ
n œœ
? bb b œ
bœ œ œœ . œ. œ. œ. œ. œ. œ. œ œ bœ œ
b ‰ Jœ œ œ . ‰ ‰ Jœ œ œ
r j r
bbbb ˙ ≈ œr œ œr œ œ œ œ œJ œ Jœ œ ≈ œr œ œr œ œ œ œ
12 Q
Julia & J
hide— I’d drive it from my re - col - lec-tion And ’whelm him with a
b œ. œ. œ. œ. ≈ œ
& b b b œœ b œœ r œ
œœ œ. . œ. œ. œ. .œ œ
. œ. œ. œ. œ. œ. œ.
.
œ. œœ. œœ. œœ. œœ. œœ. œœ.
? b b b œœ œœ œ œ œ œ. œ œ. œ œ
b œ œ. œ. œ.
10/’09
Act I 55
b œ j j j œ j r r
& b b b J œJ œJ œ ≈ œR Rœ œR œR œR Rœ œR œ œ œj J œ n œ œ n œJ œ œ ‰ œJ
16
Julia
J
. . . .
mock af - fec - tion, Well cal-cu-la-ted to de - fy de-tec-tion— That’s how I’d play this part— The
bb b b œ. œ. œ. . ≈ œ. œ. œ. œ œ œ œ j
& œ n œ œœ n œœ œ b œœœ œœ œœ œœ œœ œœ ‰ b œœ
J œ œ œ œ œ nœ
.œ . .
? b b b . œœ . œœœ . œœ. œ. œœ œœ œœ œœ œ j
b œ œ œ œ œ œ œ œ ‰ œ
œ œ œ œ œ œ
j r j
b
& b bb œ œ ‰ œj œ œr œ œ œ œ œ . j bœ œ ‰ œj
21
Julia
œ œ œ
Grand Duke’s Bride. With ma-ny a win-some smile I’d witch and woo; With
b
& b b b œœ ‰ n œœ ‰
j j ‰ j œ. œ œ. œ. œ œ. œ ‰ j œœ œœ ‰ œj
œ œ . . œ œœ
bœ œ œ
? b b b œj ‰ œj ‰ œ œ. œ. œ. œ. œ. œ. œ bœ œ œœ
b ‰ œJ ‰ Jœ œ œ ‰ œJ
œ œ œ
b b b œj œ œj œ œ .
R a tempo. r
b j bœ ≈ r œ œr œ œ œ
27
& œ œ œ
rit.
Julia
œ ˙ œ œ
gay and girl - ish guile I’d fren - zy you— I’d mad-den you with
b
& b b b œ. œ. œ. œ. œ. œ. œ ‰ j
œ n˙ œ b œœ
r
œœ œ. œ. œ. œ. œ. œ. .
œ
. .
? b b b œ œ. œ. œ œ. œ. œ œ. œœ. œœ.
œ b ˙˙
rit. a tempo.
œœ œœ
b ˙ œ œ œ œ. œ
Œ
b b b b œ œ œ œj ≈ r œr r œ œ œ œ j ≈ r œr r r r œr r
32
Julia & J J J œ œ œ œ œ J J J œ œ œ œ œ œ
my ca - res- sing, Like tur-tle, her first love con-fess-ing— That it was“mock” no mor-tal
b b b œ. œ. œ. . ≈ œ. œ. œ. œ.
& b œ œ. œ. œ œ œ œ. œ. ≈ œ. œ. œ. n œ œ. œ. œ.
. . . .
œ. . œœ. œœ. œœ. œœ. .œ .
? b b b . œœ . œœœ . œ œœœ
cresc.
œ œ. œ œ œ. œ bœ
b œ œ œ œ. œ. œ.
10/’09
56 The Grand Duke
r
b œ œ œ
& b b b J J J Jœ œ œr œ b œ œ œ n œ . j œ nnnn
36
Julia
J J œ œ ˙
would be guess-ing— With so much win-some wile I’d witch and woo!
b œ œ œ œ j j ≈ j ≈
& b bb b œ œ
œ
œ œœ
j œœ œ
œœ œ œœ œœœ œœ ... œœœ ...
œ œ ˙˙ nnnn
. n n œœ. œœ. . ˙
œœ œœ œœ œœ. . . œœ. œ œj œj. ≈ œj. ≈
? bb b œ b œœ œœ nnnn
b œ J J œ œ œ. œ. ˙
˙
‰ ≈ œr œr . œKr œr œr œr œr œr œr œ ‰ œj œ . œrK œr œr œr œr œr œr
S
&Œ
41
Recit.
Julia
R
Did a - ny o - ther maid With you suc - ceed, I’d pinch the for-ward jade— I would in -
&˙ ˙˙ ˙˙ ˙˙
˙ #˙ #˙ ˙ ˙
p trem.
? ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
‰ œj œj. œr b œ œ Rœ Rœ # œ œ ‰ œj # œj. œr n œ œ Rœ œ œj # œj ‰ œ
45
Julia & #œ R R J J R R R J
deed! With jea - lous fren-zy a - gi - ta - ted (Which would, of course, be sim - u - la - ted), I’d
& b # ˙˙˙ # ˙˙ # ˙˙ # ˙˙ # ˙˙
˙ b˙ b˙ n˙ n˙
? ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙
œ . œ . œ
& Jœ . œR Jœ . œR # œR Rœ Rœ œR R Rœ ≈ œR # œJ R œJ R
# # œ œ œ œ # Rœ œ ≈ œ
50
R R R R
string.
Julia
R R
make her wish she’d nev-er been cre-a-ted— I’d make her wish she’d nev - er been cre - a - ted— I’d
#˙ #˙
string. e cresc.
& # ˙˙ b ˙˙ #˙
˙ b ˙˙ # ˙
n ˙˙
# ˙
˙˙
?
10/’09
Act I 57
f œ Con
n œ fuoco. œ r
& R R Rœ R œR œR Rœ Rœ œ œ œR œ œ œR œ Rœ œ œR œ œR œ œ. œ
54
rall.
Julia
R R R R J
make her wish she’d nev- er been cre - a - ted— Did a-ny o-ther maid With you suc-ceed! And
œœ. n .
œ
œ œœ œœ œœ
& #œ . œœ # œœ œœ # œœ # œœ œœ #˙
. . .
f.
#œ n œ. œ. œ. œ. œœ. œœ j œ˙˙ # œ
# œœ n œœ œœ œ
dim. colla voce.
? #œ œ
j j j j j j
T Tempo i mo.
œ œ œ œ œ. œ œ œ bbbb b œ œ œ œ œ œ
58
Julia & #œ œ #œ #œ.
should there come to me, Some sum - mers hence, In all the child - ish
j j bb œ
& # œœ œœ # œœ œœ œœ œœ # œœ .. œœ # œœ œ # # œœ .. œ b b n œ œœ œœ œœ œœ œœ
œ
nœ œ œ œœ œ œ œœ . œ œ œœ #œ. œ bœ bœ œ œ
bb b b b œ œ œ œ
Tempo i mo.
? œ . œ œ œ. œ
J J
b
& b bb œ . bœ ˙ j œr œr œ œ œ œJ œ œ œj
U a tempo.
œ
63
œ
[rall.]
Julia
J œ œ J J
.
.œ œ. . œ. œ. œ œ œ.
. œ. œ.
glee Of in - no - cence, Fair babes, a - glow with beau-ty ver-nal,
b j œ
& b b b œœ .. œœœ b œœ
œ n œœ ˙ bœ œœ
j
Œ̇
œ. œ bœ œ ˙˙ œ. œœœ
. œœ. œœ. œœ.
[rall.] a tempo.
? bb b œ . œ œ œ œ œ
b J œ œ. œ. œ. œ
bbb ≈ r r r œ œ œ j r r r r r r r œ œ œ œ
b œ ≈ œ œ œ œ œ œ œ J J J J
68
Julia & œ œ œ œ œ œ J J J œ
. œ. œ. œ. œ.
My heart would bound with joy di - ur-nal! This sweet dis-play of sym-pa - thy ma-ter-nal,
. . œ
bb b b ≈ œ. œ œ. .
œ. œ œ œ
& ≈ œ. œ. œ. n œ œ. œ. œ. b œ œ œœ œ
.
œœ. œœ. œœ. œœ. b œœœ. œœœ. œœ œœ
? bb b . œ œ œ œ œ
b œ œ. œ. œ. œ. œ. œ
10/’09
58 The Grand Duke
b r r j
& b b b œJ œ œ b Jœ œ œ n œ . j œ
J ‰ œ ‰ ‰ œj œ œJ œ œ
72
Julia
œ œ J J J
Well, that would al - so be A mere pre - tence! My his - tri - o - nic
b b b b œj jœ j j r
œœ œ œ. œ œ œ œ. œ. œJ œ œ
& œ œœ œœ œœ œœœ œœ œ œœ ‰ œœœ ‰ œ
. n n œœ. œœ
. . œ œ œ . ...
. . œœ. œœ. œ œj j j œœ. œœ. œœ œœ
? b b b œœ œœ b œœ
cresc.
œ ‰ œ ‰ œ œ œ. œ œ œ œ œ
b J J œ œ œ œ
b œ. œ. œ œ œ j j
& b bb j œ œ œ œ ‰ ‰ Jœ
77
Julia
œ J R R œ œ œ
art, Though you de - ride, That’s how I’d play that part— The
b
Ernest V b bb ∑ ∑ ∑ ∑ ∑
bb œ œ œ œ œ œ. œ. œ j
& b b R œ œ. œ. œ œ. œ. œ. J œ œ œ R œ œ. œ. œ œ. œ. . . œ. œ œœ n œœ œœœ
. . . . œ
? bb b œœ. œœ. œœ œœ œœ. b œœ œœ
œœ
b œ œ œ. œ œ
œ
œ
œ
œ œ œ ‰ Œ ‰ œ œ œ
J œ œ œ
bb Uœ 6 œ.
Allegro vivace.
j
&bb œ j ‰ œj œj
œœœ
œ ‰ ‰ Œ ‰ Œ
82
Julia œ 8 œ œ.
Grand Duke’s bride! My boy, when two
bb U 68 j
Ernest Vbb ∑ ∑ Œ ‰ Œ œ œ. ‰ œj œj
Oh joy! when two
U >j
bbb j ‰ 68 œ
Allegro vivace.
& b œœ œœœ ‰ œ œ œ œœ ‰ ‰ ‰ œ œ
œ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œ
f U p
? b b b œj ‰ œ 6 ‰ œ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ
b œ 8 œ œ
œ
10/’09
Act I 59
bb j œj œ œ j j œ. œ œ œ œ ‰ Œ j
&bb
86
Julia
œ J J œ œ J J J œ
glow - ing young hearts, From the rise of the cur-tain, Thus
bb
Vbb j œj œ œ
J
j j
œ œ œ. œ œ œ œ ‰ Œ œ
j
Ernest
œ J J J J
glow - ing young hearts, From the rise of the cur-tain, Thus
bb œ œ œ. . . œ. . . œœ
&bb œ œ œ œ œœ œœ œœ b n œœ œœ œœ œ. œœ œœ œœœ œœœ œœœ
. .
œœ œœ œœ œœ œœ œœ œœ
? bb b J ‰ ‰ J ‰ ‰ j ‰ ‰ Jœ ‰ ‰
b œ œ
b j
œ œj œ ‰ œ .
j
& b bb œ . œ œj œj œj œ œJ œ j
œ œ.
89
Julia
J J œ
throw them - selves in - to their parts, Suc - cess is most cer-tain! most
b œ. œ œ œ œ
Ernest V b bb œ . œ œj œj œj œ œJ œ
J J
œ
J J J J ‰ ‰ œJ œJ
> œœ. . . œœ. . . œœ.
throw them - selves in - to their parts, Suc - cess is most cer-tain! If the
bb b b œj ‰ ‰ ‰ œ œ œ œœ œœ œœ œœ
& œœœ œ œ œ œ œ œ. œ. œ. œ. œ.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ
? bb b œ œ œ œ œ j ‰ ‰ Jœ ‰ ‰ j ‰ ‰
b œ œ œ œ œ
b
& b b b œj œj ‰ j
V
Œ ‰ ∑ Œ ‰ Œ
93
Julia œ
cer - tain! The
j
b
V b b b œJ œ n œj œ œj Jœ œ œ n œ œ j œJ
J J J J œ
œ
J œ
J œ
J
œ
J œ
j œJ
Ernest
J
rôle you’re pre - par’d, you’re pre - par’d to en-dow, to en - dow With such del - i - cate
b . œ. n œ. œ. œ. n œ. œ. œ. œ. œ. œ. œ. œ.
& b bb œ œ.
V
œ. œ. œ. œ.
œœ œœ œœ œœ œ œ
œ œ œ œ œœ œœ œœ œœ
? bb œ œ œ œœ œœ
bb œ
10/’09
60 The Grand Duke
b j œ j j
& b b b œj œj œj œj œ œJ œ œ œ œ œ œj ‰ Œ ‰
96
Julia J J J J J œ
rôle I’m pre-par’d to en - dow With most del - i - cate touch - es!
b b b œJ œ ‰ ‰ œ œ j
V b J J J œ n œj œ œj Jœ
œ
J
œ œ n œ œ j œJ
J J J J œ
Ernest
J
. . œ œ. n œ. œ. . œ.
. .œ œ. n œ. œ. œ.
touch - es, By the heav’n, by the heav - en a - bove us, I vow You shall
b œ œ . . œ œ œ. . œ œ.
& b bb œ
œœ œœ œœ œœ œ œ œœ œœ œ œ œ œ
? bb b œ œ œ œ œ œ œ œ œ œ œ œ
b
j j j j
bbbb ‰ ‰ œj œj œ . œ œj œj œj œ Jœ œJ œ œ
W
∑ Œ
99
Julia &
Yes, the rôle I’m pre - par’d to en-dow With most
b œ œ œ œ j j j j
Ernest V b bb J n œ # œ œ J J ‰ œj œj œ . œ œj œj œj œ Jœ œJ œ œ
œ. n œ. # œ. œ. . œ. œ. . œ. . œ. W
be my Grand Duch-ess! If the rôle you’re pre - par’d to en-dow With such
b bbb œ œ œ œ. œœ ‰ ‰ œ œ œ œ œ œ
& œ œ
œœ œœ j b œœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ
? b b b n œ œœ œœ n n œœ œœ bœ. œ
b œ œ œ œ œ œ œ œ œ
b œ œ œ. œ j j j j œ j j
& b bb œ œ ‰ ‰ œ œ
J Jœ œ œ œ œ J Jœ œ œ œ œ
103
Julia J J J J J
œ
del - i - cate touch-es, By the heav-en, the heav-en a - bove us, I vow, I
b
V b bb œ œ œ.
J œ œ ‰ ‰ Jœ Jœ œ Jœ œJ Jœ J œJ œ œ œ nœ ‰ œ
J J J J J
Ernest
J J J
del - i - cate touch-es, By the heav-en, the heav-en a - bove us, I vow, I
b b b b œ. . . œ. . . œœ œ œ œ œ œ
& œœ œœ œœ b n œœ œœ œœ œ œœ œœ b œœ œœ œœ œœ œœ œœ n œœœ œœœ œœœ œœ œœ œœ n œœ œœ œœ
œ œ œ œ œ œn œ œ œ
œ
? b b b œœ ‰ ‰ n œœœ ‰ ‰ œ j
œ ‰ ‰ œj ‰ ‰
j
cresc.
b J J œ ‰ ‰ œ. œ ‰ ‰ bœ œ œ
J œ. œ œ œ bœ œ œ
10/’09
Act I 61
f
˙. œ.
bbbb ˙ .
107
Julia & œ. œ. œ.
f
vow I will
b œ. œ. œ. œ. œ. bœ.
V b bb
Ernest
nœ. œ.
vow You shall
b œ. œœ ..
& b b b œœ ‰ œœ ...
œœ ..
œ œ.
œœ ..
œ.
b œœ ..
nœ.
œ.
b œœ ..
œ.
œ œ.
f
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb . œ. U̇. j
&bb ˙ Œ ‰ ˙. Œ ‰
111
œ œ œ. œ.
(Dance.)
Julia
be your Grand Duch-ess!
bb U̇.
V b b ˙. œ. Œ ‰ ˙. œ œ œ. œ. Œ ‰
(Dance.)
Ernest
J
be my Grand Duch-ess!
bb U j
& b b ˙˙˙ ... œœœ ‰ Œ ‰ ˙˙˙ .. ˙˙˙ ... ˙˙ .. œœ ‰ ‰ œ œ œ
˙. œ ˙ .. ˙. ˙. œ
U œœœ œœœ œœ œœ œœ
? bb b œ œ œ œ œ œ œ ‰ Œ ‰ ˙ . ˙.
b œ œ œ œ œ œ œ ˙. ˙. ˙. œ
b œ. œ.
œ œ œ œœ .. œ. œ œ œ œ œ œ
& b bb œ .
œœ
œ œ nœ nœ œ œ
117
b n œœ ..
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
? bb b
b
b b b œJ ‰ ‰ œ œ œ . œ. œ œ œ œ œ œ
b œœ n œ n œ œ œ nnbb c
121
& œ œœ .. b n œœ .. œ œ
œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
? bb b
b nnbb c
Segue.
10/’09
62 The Grand Duke
No. 5. Chorus & Song—(Ludwig).
Enter all the Chorus with Ludwig, Notary, and Lisa—all greatly agitated.
bœ
Allegro agitato.
b œ . œ œ . œ œ . œ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ
&b c
œ f S S ˙ ˙
˙ ˙
? b b c b œœ Œ
˙ ˙ ˙ n ˙˙ ˙˙
b œ. œ œ. œ œ. œ œ. œ œ œ n œœ œœ œœ œœ œœ œœ n œœ # œœ œœ n œœ œœ # œœ œœ
& b œ . œ œ . œ œ . œ œ . œ # œœœ œœ œœ
4
œ œ œ œ œ œ œ œ œ œ œ œ œ
S ˙ ˙ cresc. molto. œ œ #œ œ œ œ #œ œ nœ œ œ œ œ œ
˙˙ ˙˙
? bb œ ‰
J
œ œ nœ bœ œ bœ œ #œ bœ œ #œ nœ œ œ œ œ
b J ‰ œ n œ œj ‰ œ œ
&b œ
7
f
? b b # ˙˙˙ ˙ ˙˙˙ ˙ # ˙˙˙ ˙ ˙˙˙ ˙ œœ œ œ n œ œ œ œ œ
œ œ nœ œ œ œ œ
f
b ‰ œ œ œ Jœ œ œ Jœ œ œ œ œ œ œ œj œ
&b ∑
10
Excited Chorus.
S
A J J J J J J J J J J J J
Chorus My good - ness me! what shall I do? Why,what a dread-ful sit - u -
T ? bb ∑ ∑ ∑
B
b j j j œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ
& b œ ‰ œ œ œ ‰ œ œ œ œœ œœ #œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ
10/’09
Act I 63
b b œj j Œ Ó ∑ ‰ œ œJ œJ Jœ Jœ œ Jœ
13
S
A & œ J J
[ f ] (to Ludwig). œ œ œ œ œ œ
a - tion! I’m sure I don’tknow where to
? b b ‰ œ œ œJ Jœ œ J J J œ œ Jœ Jœ œ J J J œ Œ
Chorus
T
B J J J J J J J Ó
œ œ œ œ œ œ œ
It’s all your fault, you boo-by you— you lump of in-dis-crim-in - a-tion!
b œ œ œ œ œ œ œ œ
& b œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
b œ
&b J œ œJ œJ Jœ Jœ œJ œJ œJ œj Œ Ó ‰ Jœ Jœ œJ Jœ Jœ œ œj
16
J J
S
A
œ œJ Jœ œJ œ œJ Jœ œJ Jœ
go— it’s put me in - to such a tet - ter— But this, at all e-vents, I
Chorus
T ? bb ∑ ‰ J J Œ Ó
B
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
It’s put me in - to such a tet-ter—
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b b œj j œ œ œ œ œj œj œj j Œ Ó Œ j j œj œj j j
19
S
A & œ J J J J œ œ œ œ œ
know— the soon-er we are off, the bet-ter! Yes, the soon - er off, the
œ œ œJ œJ œ œ œ œ œ œ œ œ œ œ
Chorus
? bb ∑ Œ J J J J J J J J
T
B J J J J
œ œ
œ œ œ œœ œœ œ œ œ œ
Yes, the soon-er off, the bet - ter! Yes, the soon - er off, the
bb œœ œ œ œ œ œ n œœœ œœœ œ œ # œœ œœ œœ œœ n œœœ œœœ œ œ
& œ œ œ œ œ œ œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ
#œ œ œ œ
10/’09
64 The Grand Duke
œ œ. œ œ œ Œ œ œ j j
Vb
b ∑ Œ ‰ Jœ œ œ Œ ‰ œ œj œ
22
J J J R J J
Recit.
Ernest
What means this a - gi - ta - to? What d’ye seek? As your Grand
b
S
A & b œJ œj Œ Ó ∑ ∑ ∑
bet-ter!
œ
Chorus
? bb J œ Œ Ó ∑ ∑ ∑
J
T
B
œ
bet-ter!
b # œœ # œœ
& b # œœœ œ œ œ œ
Ó Ó œœ Œ Ó œœ
œ
Œ
œ
? bb œ œ œ œ œ œ Ó Ó #œ Œ Ó œ Œ
œ œ œ œ œ œ #œ œ
b œ. œ œ ‰ œJ Jœ œ 42 œ
Allegro con spirito.
Vb J R Œ ∑ ∑
26
Ernest
J
œœœœœ œ œ
Duke e - lect I bid you speak!
b j œ œ œ œ œ œ œ œ
& b b ˙˙ œœ ‰ Œ 42 j
œ œ œ œ
˙ œ œœ
ƒ œ œœ œœ
j
? b ˙
b
j
œ ‰ Œ 2
4 œ œ œ œ œ œ œ œ œ œ b œœ œ œ
˙ œ œ œ œ œ
b ‰ œj œ. œ œ œ œ œ œj r r r r j
Vb Œ œ. œ œ œ œ œ œj
30
Ludwig J R J J J R J
bb œ œ Œ
1. Ten min - utes since I met a chap Who bow’d an ea - sy sa - lu -
œ. œ œ œ œ. œ œ œ
& œ œ œ œ œ œ.
p œœ
œ œœ œ œœœ œœœ œœœ
? bb œ œ # œœ œ
œ Œ œ œ œ œ œ œ
10/’09
Act I 65
r
b . œ
V b œj œj ‰ œj Jœ R Jœ Jœ œ . œ œ œj œr œ œr œr n œj œJ œj œj ‰ œj
34
Ludwig
J R J
ta - tion— Thinks I, “This gen-tle - man, may-hap, Be - longs to our As - so - ci - a- tion.” But,
b ‰ œj œ . œ œ œ œ. œ œ œ œ j
&b œ œ œ œ œ œ nœ . œ œ ‰ œ
œ œœ œœ œœ œœœ œœœ b œœ œœ œ œœ œ œœ
? b œ œœ œ œ œ œ œ œ
# œ
b œ œ œ
j
bb j
œ œj Jœ
j
œ œj œJ œ
j j œ
œ n œj J Jœ
j œ
œ n œj J Jœ
j j j j
39 J1
Ludwig V œ œ œ œ œ
on the whole, Un - cer-tain yet, A sau-sage-roll I took and eat—That chap re-plied (I
b œ. œ œ œ œ œ œ nœ œ œ œ
&b œ
j
œ œ. œ. œ
j
œ œ. œ. œ. œ
j
œ n œ. . . œ
j
œ n œ. . . œ œ œ
nœ nœ
? bb œ œœ œ
œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ̇ œ
bb j j r r j œj œj œj œj j œ œj j
K1
∑ ∑
44
Ludwig V œ œ œ œ œ œ J œ
fj œ œ
don’t em-bel-lish) By eat-ing three with ob-vious rel-ish.
& bb ∑ ∑ ∑ ∑ ‰ œ J J
(angrily).
S
f
Why, gra - cious
b j
&b ∑ ∑ ∑ Œ ‰ œj œ œ œj œj
(angrily).
A
J
f j œ œj j
Why, gra - cious, gra - cious
b ‰ œj œ œ
Chorus
Vb ∑ ∑ ∑ œ
(angrily). [ ]
T
J J J œ
f œ œ œ œ œ œ
Why, gra - cious pow’rs,why, gra - cious
? b ∑ ∑ Œ ‰ Jœ J J œ J œ J J J
b J
(angrily).
B J
Why, gra-ciouspow’rs,why, gra - cious, gra - cious
K1
b œ œ œ œ œ œ œ œ œ œ œœ ‰ b œœj œ œœ
&b œ œ. œ œœ œœ œœ n œœ œ œœ œ Œ œ
œ œœ œœ œœ
. f
? b œœ œ œ œ œ œœ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ
b œ œ œ œ œ œ
10/’09
66 The Grand Duke
œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ j œ
&b
b œ œj ‰ Jœ
49
S J J J J œ J J
œ œ œ œ œj œ
pow’rs, No chum of ours Could eat three sau - sage - rolls with rel- ish! No
b j œ œj ‰ œ
A &b œ
J
œ
J
œ
J
œ
J
œ
J
œ
J
œ
J œ J J J
pow’rs, No chum of ours Could eat three sau - sage - rolls with rel- ish! No
b œ œ œ œ
Chorus
œ œ œ œ œ œ œ œ œ œ ‰ œ
T Vb J J J J J J J J J J J J J J J
œ œ œ œ œ œ
pow’rs, No chum of ours Could eat three sau - sage - rolls with rel- ish! No
? bb J j œ œ œ œ œ œ
B œ œJ œ
J J J J J J J J J J J ‰ J
œ
pow’rs, No chum of ours Could eat three sau - sage - rolls with rel- ish! No
b œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Jœ
&b œ
œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ
? bb œ œ œ œ œ œ œ œ œ ‰ œœ
œ œ
œ J
b j
Vb ∑ ∑ ∑ Œ ‰
53
Ludwig œ
œ œ œ œ œ œ œ œ œ œ
2. Then
b œ œ œ œ œ œ œj œ
&b J J J J J
œ
J j Œ
œ
S
œ œ œ œ œj œ
chum of ours Could eat, could eat three sau - sage - rolls with rel - ish!
b œ œj
& b œJ œ
J
œ
J
œ
J
œ
J
œ
J J J
œ
J j Œ
œ
A
chum of ours Could eat, could eat three sau - sage - rolls with rel - ish!
b œ œ œ œ
Chorus
T V b œJ œ
J
œ
J
œ
J
œ
J
œ
J
œ œ
J J J J J J œ
J œ Œ
J
œ œ œ
chum of ours Could eat, could eat three sau - sage - rolls with rel - ish!
? bb j j œ œ bœ œ œ œ j
B œ œ œJ œ
J J J J J J J J J J œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
chum of ours Could eat, could eat three sau - sage - rolls with rel - ish!
œ œ
b œ œ
&b œ Œ
œœ œœ œœœ œœœ œ œ œœ œœ œœ œœ
? b b œœœ œœ
œœ
œœ
œ
œœ
œ œ œ b œœœ œœœ œ œ Œ
œ
10/’09
Act I 67
b . œ œ j r r r r j
V b œJ œ œ. œ œ œ œ œ œ œ œj j œj ‰ œj
57
Ludwig R J J J R J œ œ
re - as-sur’d, I let him know Our plot— each in - ci - dent ex - plain-ing; That
b œ. œ œ œ œ. œ œ ‰ œj
&b œ œ œ œ œ œ œ. œ œ
p
œ œœ œœœ œœœ œœ œœœ œœ œœ
? b b œ œœ œ œ
# œ œ œ œ œ œ œ œ œ
b œ. œ œ j r r r r j j
Vb œ œ. œ œ œ œ œ œ n œj œJ œ œj ‰ œ
61
J R J J R J œ
Ludwig
J
stran - ger chuc - kled much, as though He thought me high - ly en - ter - tain-ing. I
b œ. œ œ œ œ œ j
&b œ. œ œ œ œ œ n œ œ. œ œ ‰ œ
œ œœ œœœ œœœ b œœ œœ
? b b œ œœ œ œ
# œ œ œ œ œ œœ œ œœ
j
bb j
œ œj œJ
j
œ œj Jœ œ
j j œ
œ n œj J
œ j œ
œ n œj J
œ
65 J2
Ludwig V œ J J
told him all, Both bad and good; I bade him call— He said he would: I
b œ. œ. œ.
&b œ
j
œ œ. œ. œ
j
œ œ. œ. œ. œ
j
œ n œ. œ. œ
j
œ n œ. œ.
œœ œœ œ œ n œœœ n œœœ
? bb œ œ œ œ œ œ œ œœ œ œ œœ œ
b r r j j j j j
V b œj
j j j j j œ œ
69
Ludwig œ œ œ œ œ œ œ œ œ œ
ad - ded much— the more I muck-led, The more that chuck - ling
b b œ œ nœ œ œ œ œ œ œœ œ œ œ œœ œœ œœœ œ œ œ
& œ œ œ œ œ. œ œ.
? b b œ̇ œ œ œ œ œ
œ œ œ œ œ œ
10/’09
68 The Grand Duke
bb j j
œ œJ œ œj
K2
∑ ∑ ∑ ∑
72
Ludwig V
f œ œ œ œ œ œœ œ œ œœœ œ œ
chum - my chuc - kled!
& bb ∑ ∑ ‰ œj J J J J J J
(angrily).
S
(angrily). f
A bat could see He could - n’t be A chum of
&b
b ∑ Œ ‰ œj œJ œj œj œj œ œ œ œ œ œ œ œj
A
J J J J J J J
f
‰ œj Jœ œj œJ œJ œj œj œJ Jœ Jœ
A bat, a bat could see He could - n’t be A chum of
b
Chorus
Vb ∑
(angrily). [ ]
œ œ œ œ œ
T J J J J J
f œ œ œ
œ œJ œ œ œ j œ œ
A bat could see, a bat could see He could - n’t be A chum of
? bb Œ ‰ œ J J œ J J J œ œ œ œ œ J J
J J J J J J
(angrily).
B
J J
œœœ œ œ œ œ œ œ œ œ œ œ œ
A bat could see, a bat, a bat could see He could - n’t be A chum of
œ œœ œœœ œœœ
K2
b œ œœ ‰ b œœj
& b n œœ œ Œ
œ œ œ
f
? b b œ œœ œ œœœ œœœ œœœ œœœ œœœ œœ
œœœ œœœ œœœ œ œœ œ
œ œ œ œœ
œ œ œ œ
œ
œ
b œ œœ œ jœ œ œj ‰ œJ œ œ œ œœ œ œ œœœ œ œ œ œ œ œ œj œ
&b
77
S œ J J
J J J J J
ou - rs if he chuc-kled! He could-n’t, could - n’t be A chum of ou - rs if he
b œ œœ œ jœ œ œj ‰ œ œ œj œ œ œ œ œj œ
A &b œ J J J
œ œ œ
J J J
œ
J
œ
J
œ
J J J
ou - rs if he chuc-kled! He could-n’t, could - n’t be A chum of ou - rs if he
b œ œ œ œ œ œ œ œ
Chorus
œ œ ‰ œ œ œ œ œ œ œ œ œ
T Vb J J J J J J J J J J J J J J J J J J J
œ œ œ j j œ œ œ œ œJ œJ b œ
ou - rs if he chuc-kled! He could-n’t, could - n’t be A chum of ou - rs if he
? bb œ œ œ œ œ
B J J J J J J ‰ J œ œ J J J J J J œJ œJ
œ œ œ œ œœ œ œ œœœ œ œ œ œœœœ œ
ou - rs if he chuc-kled! He could-n’t, could - n’t be A chum of ou - rs if he
&b
b œ œ œ œœ œ œ œ ‰ œJ œ œ
œœ œœ œœ œ œœ œ œ œ œ œ œœ œœ œœœ œœœ œœœ œ œ œ
? b b œ œ œ œœ œ ‰ œœœ œœœ œœœ œœ œœ œ œ bœ œœœ œœ œœ
œ
J
10/’09
Act I 69
j Lj r
b
Vb Œ ‰ œ œ . œ œj. œr j œr j j j j r r œr œr œj œj ‰ œj
82
Ludwig
œ. œ œ œ œ œ œ
3. Well, as I bow’d to his ap-plause, Down dropp’dhe with hys-te-ric bel-low— And
b œ Œ ∑ ∑ ∑ ∑
S &b J œj
b œ
chuc-kled!
&b Œ ∑ ∑ ∑ ∑
A
J œj
b œ œ Œ
Chorus chuc-kled!
T Vb J J ∑ ∑ ∑ ∑
? b œJ œj Œ
chuc-kled!
B b ∑ ∑ ∑ ∑
œ
chuc-kled!
bb
L
œ Œ ‰ j
& œ . œ œ œ . œ œ œ . n œœ œ .
œ œ œ œœ œ œ. œœ œœ œ œ œ œ œ b œœœ
p .
œœ œœ
? b
b Œ n ˙œ œ œ
œ̇ œ œ œ̇ œ œ nœ
b j r r r j j r œr b œr œr œ
V b bœ . œ œj. œ j b œ œj œ
j œ ‰ b œj
87
Ludwig œ. œ œ œ J J
that seem’d right e - nough, be-cause I am a dev’-lish fun-ny fel - low. Then
b j
& b bœ. œ œ. œ œ. bœ œ. œ œ œ ‰ œ œ œ bœ œ œ œ
œ b n œœœ œœ
? bb œ œ b œœ œ œ œ œ b œœ œ œœ œ b œœ œ œœ
œ
b j j j j j j j
M
Vb œ œ œ œ œ œ œ œ œ œ œ œj œ œ b Jœ œ
91
Ludwig œ œ œ œj J J J J J J J J J J
sud-den-ly, As still he squeal’d, It flashed on me That I’d re-veal’d Our plot, with all de -
b
& b œœ # œœ b n œœ n œœ b œœ n œœ b b œœ n œœ ˙
b ˙˙
? b b œœ # œœ b œœ n œœ b b œœ n œœ
b n œœ n œœ ˙
˙
10/’09
70 The Grand Duke
bb n œj œ œ r r œ œ b œ œ œj œ œ j ∑ ∑
96 rall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Ludwig V J J œ œ J J J J J J œ
f
tails ef-fec-tive, To GrandDuke Ru-dolph’s own de - tec- tive!
b j
&b ∑ ∑ Œ ‰ œj œ œJ b œJ œ œ œJ Jœ ‰
a tempo.
S
J J
fj j j j j j j j
What fol - ly fell, To go and tell—
b
A &b ∑ ∑ Œ ‰ œ œ œ œ œ œ œ œ ‰
f
What fol - ly fell, To go and tell—
b ‰ Jœ n œJ œJ œJ œJ œ œ œ
Chorus
T Vb ∑ ∑ Œ J J J ‰
f ƒ]
What fol - ly fell, To go and tell—
? bb ∑ ∑ Œ ‰ Jœ œ œ œ œ œ œ œ œ
[
B J J J J J J J J
bœ
j ‰ ‰ a œtempo. œ œœ b œ œ œ œ œ
What fol - ly fell, To go and tell—What
b j œ
& b œœ ‰ Œ ˙ œœ œ œ œ œ œ
œ b ˙˙ œ œ
J
j colla voce. j f nœ œ œ œ
? bb œ ‰ Œ ˙ œ ‰ ‰ œœœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ
œ ˙ œ J
ƒ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb ‰ œj J
O
∑
101
S & J J J J J
ƒ] j
What fol - ly fell, To go and tell Our plot to
b j
&b Œ ‰ œ œ œj œj œ œ œ œ œ œ œ j
[
A œ J J J J J J J J œ
b ‰ ƒ] j œ j œ j
What fol - ly, fol - ly fell, To go and tell Our plot to
œ œj œ œ œ œ œ œ œ œ
Chorus
b œ œ
[
T V œ J J J J J J J J J J J
œ œ
What fol - ly
œ œ œ
fell, What fol - ly
œ j
fell, To go and tell Our
œ
plot
œ
to
? bb J J œ J J J œ œ J œ œ œ œ œ J J
B J J J J J J J
fol - ly fell, What fol - ly, fol - ly fell, To go and tell Our plot to
b œ œœ œœœ œ œ œ œ œ œ œ œ œ œ œ
‰ b œœj œ
O
&b Œ œ œœ œœ œœ œ
œ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œ œœ
? b b œœ œ œ
œ œ œ œ
œ œ
10/’09
Act I 71
b œ œ œ œ œj œ j œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œj ‰ œJ
105
S
J J J J J
j
a - ny one’s de - tec - tive! What fol - ly fell, Our plot to tell To
b b œ œ œ œ œj œ œ œj ‰ œ œ œ œ œ œ œ œ œj
A & J J J J J J J J J
a - ny one’s de - tec - tive! What fol - ly fell, Our plot to tell To
b œ œ œ œ
Chorus
Vb J J J J œ œ ‰ œ œ œ œ œ œ œ œ œ
T J J J J J J J J J J J
a - ny one’s de - tec - tive! What fol - ly fell, Our plot to tell To
? bb œ œ œ œ œ œ œ j j œ œ œ œ
J J J J J J ‰ J œ œ œJ œ J J J J
B
J
œ œ œ œ œ œ œ œ œ œ œ œ œ
a - ny one’s de - tec - tive! What fol - ly fell, Our plot to tell To
&b
b œ œ œ œ œ œ œ œ ‰ œJ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ
? bb œ œ œ œ œ œ ‰ œœ œœ œœ œ œ œ œ
J
b œ œ œ œ j œ j j j j œ œ j j
&b œ j ‰ œ œ œ
109
œ J œ œ œ J J œ
(Attacking Ludwig.)
S
J œ J
a - ny one’s de - tec - tive! You boo - by dense— You oaf im-mense, With
b œ œ œ œ j œ j j j j
A &b œ J œ j ‰
J œ œ
j
œ œ œj œ œ
J
œ
J œ œ
j
a - ny one’s de - tec - tive! You boo - by dense— You oaf im-mense, With
b œ œ œ œ
Chorus
Vb J J J J œ œ œ œ œ œ œ œ œ ‰ œ œ
T J J J J J J J J J J J
œ j œ œ œ œ œ œ œ œ œ
a - ny one’s de - tec - tive! Boo - by, boo - by! O you oaf! Boo - by,
? b b b œJ œ
J œ œ J œ J J J J J J J ‰ J J
B J J
œ œ œ œ œ. . œ. œ. œ œ
œ œ œ.
a - ny one’s de - tec - tive! Boo - by, boo - by! O you oaf! Boo - by,
.
&
bb œ œ œ nœ œ bœ œ œ œ nœ œ
œ œ œœ œœ œœœ œœœ œœœ b œœ œœ œœ œœ œœœ œœœ œœœ œœœ
? b b b œœœ œœœ œ œ œ œ œ œ
œ
10/’09
72 The Grand Duke
b j j j œ
&b œ œ œ J œ œ j œ j j j
œ œ œ Jœ œ œ j œj j œ
œ J Jœ Jœ
113
S J J œ J J J œ
no pre-tence To com-mon sense! A stu - pid muff Who’s made of stuff Not worth a pinch of
b b j j j œj œ œ j j j j j œj œ œ œj j j œJ œ œj
A & œ œ œ J J œ œ œ œ œ J J œ œ J
no pre-tence To com-mon sense! A stu - pid muff Who’s made of stuff Not worth a pinch of
b œ œ Jœ Jœ
Chorus
T V b œJ Jœ œJ Jœ œ ‰ œ œ
J J J
œ œ
J J
œ œ
J J
œ œ œ œ
J J J J J J
? b b œJ Jœ œJ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
boo-by! O you oaf! Stu - pid muff Who’smade of stuff Not worth a puff of can-dle -
B J ‰ J J J J J J J J J J J J J J
. œ. .
œ. œ
boo-by! O you oaf! Stu - pid muff Who’smade of stuff Not worth a puff of can-dle -
. . œ œœ . œœ
b b bœ œ œ œ œ n œ œ b œ. œ œ œ œ nœ œ nœ œ œ œ œ œ œ œ
&
b œœ œœ œœ œœ œœœ œœœ œœœ œœœ b œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
? b œ œ œ œ œ œ œ œ
b
b 68 œj œj œj j œ œ œ
P
& b œJ ‰ œ œ œ
J œ œ œ œ
J œ
118
S œ J J J
snuff! Pack up at once and off we go, un - less we’re an - xious to ex -
b œ 68 j j j j j j j œ œ œ
A &b J
‰ œ œ œ œ œ #œ œ œ œ œ œ œ J J
snuff! Pack up at once and off we go, un - less we’re an - xious to ex -
b œJ j œ
Chorus
6 œ œ œ œ œ œ
T Vb ‰ 8 J J J œ œ œ
J
œ œ
J
œ
J œ J œ J
? b b œJ
snuff! Pack up at once and off we go, un - less we’re an - xious to ex -
6 œ œ œ œ œ œ œ œ œ œ œ
B ‰ 8 J J J œ œ œ
J J J #œ J J J
snuff! Pack up at once and off we go, un - less we’re an - xious to ex -
œ œœ ‰ œœ
bb J
P
& ‰ 68 œ œ œ ‰ œ ‰ œ œ ‰ œ œ
œ ‰ œ
œ œ ‰ œ
œ œ # œœ œœ œœ œœ œ œ œœ œœ œ œ
œ œ œ
œ œ œ œ œ
œœœ
? bb J ‰ 68 œ œ œ œ ‰ œ œ ‰ œ œ ‰ œ # œ ‰ œ œ ‰ œ œœ ‰ œœ
œ œ œ œ œ œ œ œ œ #œ œ œ œ
10/’09
Act I 73
j
b b œ œ œ œ œ j
œ œ œ œ. œ œ œ œ œ œ œ
122
S & J J J œ œ J J J J J J
hi - bit Our fai - ry forms all in a row, strung up up - on the Cas - tle
b j j j j j j œ œ œ
A & b œJ Jœ œJ œ œ œ œ #œ œ œ. œ œ œ œ J J
hi - bit Our fai - ry forms all in a row, strung up up - on the Cas - tle
b œ œ œ œ j j j œ
Chorus
T b
V J J J œ
J
œ œ œ
J
œ
J
œ. œ œ œ œ œ œ
J J
? b b œJ Jœ œJ œ
hi - bit Our fai - ry forms all in a row, strung up up - on the Cas - tle
œ œ œ œ. #œ œ œ œ œ œ œ
B
J J œ œ
J J J J J J
bb œœj ‰ ‰ œ
hi - bit Our fai - ry forms all in a row, strung up up - on the Cas - tle
& œ œœ œœœ œœœ œ ‰ œ # œœœ ‰ œœœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœœ ‰ œœœ
œ œ œ œ œ œ œ œ
? bb œ ‰ ‰ œ œ œ 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 œ œ œ œ
b œ œ ‰ œ œ œJ b œ . œ œœ œ. œ œJ œJ b œ . œ œœ œ. œ 2
b J Jœ œJ 4
126
S & J J J J J J J
gib-bet! Pack up at once, off we go! Packup at once, off we go! Packup at
j j
b œ
& b œJ Jœ ‰ Jœ Jœ J
œ. œ œœ œ. œ œJ œJ œ . œ œœ œ. œ œjœ 42
A
J J J
gib-bet! Pack up at once, off we go! Packup at once, off we go! Packup at
b œ œ œJ Jœ œ . bœ œ œ œ. œ œJ œJ œ . bœ œ œ œ.
Chorus
T V b J Jœ ‰ Œ ‰
J J J J 42
œ œJ Jœ œ . œ œ œ œ. œ œJ œJ œ . œ œ œ œ.
gib-bet! Packup at once, off we go! Packup at once, off we go!
? b œJ Jœ ‰ Œ ‰ J J J J 42
B b
gib-bet! Packup at once, off we go! Packup at once, off we go!
j œ œ œ œ œ
bb œœ ‰ ‰ œœœ ‰ ‰ b œœœœ ‰ ‰ œœœ ‰ ‰ b œœœœ ‰ ‰ œœœ ‰ ‰ b œœœœ ‰ ‰ œœœ ‰ ‰ b œœœœ ‰ ‰ œœœ ‰ ‰ 2
& œ J J J J J J J J J 4
? b œœ ‰ ‰ œœ ‰ ‰ œ
j‰ ‰ œ ‰‰
œ œ
j‰ ‰ œ ‰ ‰
œ œ
j‰ ‰ œ ‰‰
œ œ
j‰ ‰ œ ‰ ‰ 2
œ
b 4
J J œ J œ J œ J œ J
10/’09
74 The Grand Duke
bb 2 ƒ b ˙ œ œ ˙ ˙ ˙ œ Œ
131
S & 4
once and off we go!
b b 2ƒb˙ ˙ ˙ ˙ ˙ œ Œ
A & 4
once and off we go!
b 2ƒ ˙
Chorus
b œ œ ˙ ˙ ˙ œ Œ
T V 4
Off, aye, off we go!
ƒ
? b 42 ˙ n˙ ˙ ˙ ˙ œ Œ
B b
Off, aye, off we go!
œœ ..
b b 2 b b ˙˙ b ˙˙
˙ ˙˙˙ ˙˙˙ œœ .. j œ œ œ
& 4 b˙ b˙ ˙ ˙ œ œ
ƒ
? b b 42 ˙ n˙ ˙ ˙ ˙ ˙
˙ n˙ ˙ ˙ ˙ ˙
œ œ œœœœ œœœœœ œ
b b œ œ œœœœ œœœœœ œ œœœœ œ œ ‰ œ œ
137
& œ œ J
œ œ œœ œ œœ b œ œœœ œœ œœ œœ œœ œœœ œœœ
? b b œœ œ œœ œ œ œ ‰ œœœœ œœ
œœ
œœ œœ œœ
œœ œ œ œ œ
œ œ
J
œ œ œ œ œ œ j
œ œœ j
(Exeunt Chorus. Manent Ludwig, Lisa, Ernest, Julia, and Notary.)
bb J œœœ œœ œœ œœ ‰ ‰ œœ ‰ Œ
143
& œ œ œ œœ œ
J
œ œ œœ œœ œœ
? b b b œœœ œœœ œ œ J œ œ j j
œ œ œ œ ‰ œ
j ‰ œ ‰ Œ
œ œ
10/’09
Act I 75
Julia. Well, a nice mess you’ve got us into! There’s an end of our precious
plot! All up—pop—fizzle—bang—done for!
Ludwig. Yes, but—ha! ha!—fancy my choosing the Grand Duke’s private
detective, of all men, to make a confidant of! When you come to think of it, it’s
really devilish funny!
Ernest (angrily). When you come to think of it, it’s extremely injudicious to
admit into a conspiracy every pudding-headed baboon who presents himself!
Ludwig. Yes—I should never do that. If I were chairman of this gang, I
should hesitate to enrol any baboon who couldn’t produce satisfactory credentials
from his last Zoological Gardens.
Lisa. Ludwig is far from being a baboon. Poor boy, he could not help giving
us away—it’s his trusting nature—he was deceived.
Julia (furiously). His trusting nature! (To Ludwig.) Oh, I should like to talk
to you in my own language for five minutes—only five minutes! I know some
good, strong, energetic English remarks that would shrivel your trusting nature
into raisins—only you wouldn’t understand them!
Ludwig. Here we perceive one of the disadvantages of a neglected education!
Ernest (to Julia). And I suppose you’ll never be my Grand Duchess, now!
Julia. Grand Duchess? My good friend, if you don’t produce the piece how
can I play the part?
Ernest. True. (To Ludwig.) You see what you’ve done.
Ludwig. But, my dear sir, you don’t seem to understand that the man ate
three sausage-rolls. Keep that fact steadily before you. Three large sausage-rolls.
Julia. Bah!—Lots of people eat sausage-rolls who are not conspirators.
Ludwig. Then they shouldn’t. It’s bad form. It’s not the game. When one of
the Human Family proposes to eat a sausage-roll, it is his duty to ask himself,
“Am I a conspirator?” And if, on examination, he finds that he is not a
conspirator, he is bound in honour to select some other form of refreshment.
Lisa. Of course he is. One should always play the game. (To Notary, who
has been smiling placidly through this.) What are you grinning at, you greedy old
man?
Notary. Nothing—don’t mind me. It is always amusing to the legal mind to
see a parcel of laymen bothering themselves about a matter which to a trained
lawyer presents no difficulty whatever.
All. No difficulty!
Notary. None whatever! The way out of it is quite simple.
10/’09
76 The Grand Duke
All. Simple?
Notary. Certainly! Now attend. In the first place, you two men fight a
Statutory Duel.
Ernest. A Statutory Duel?
Julia. A Stat-tat-tatutory Duel! Ach! what a crack-jaw language this German
is.
Ludwig. Never heard of such a thing.
Notary. It is true that the practice has fallen into abeyance through disuse.
But all the laws of Pfennig Halbpfennig run for a hundred years, when they die a
natural death, unless, in the meantime, they have been revived for another
century. The Act that institutes the Statutory Duel was passed a hundred years
ago, and as it has never been revived, it expires to-morrow. So you’re just in time.
Julia. But what is the use of talking to us about Statutory Duels when we
none of us know what a Statutory Duel is?
Notary. Don’t you? Then I’ll explain.
10/’09
Act I 77
No. 6. Song—(Notary).
b j
V b b 42 ‰ ∑ ∑ ∑ Œ ‰ œ œ œ Jœ Jœ œ .
Allegretto.
Notary
J J J œ
j
b b 2 œ. œ. œ. œ
1. A - bout a cen-tury since, The
œ œ œ œœ œœ œœj ‰ œœ ‰ œœj ‰
œ
b j j j j j j
& 4J . œ. œ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ
. œ. . œ œ œ œ. œ. œ. œ. œ.
f. œ. . . . . .
p
? b b 42 œJ œ œ œ. œ œ œ œ. œ. œj ‰ j œ. j
‰ Jœ. ‰ œj ‰ œJ. ‰ œj ‰
Piano
œ ‰ J‰ œ
b œ. œ. . . .
b b j j œj œj j ‰ j j j j œ œj n œj j
b œ œ œ œJ . œR œJ Jœ ‰ œ
7
Notary V œ œœ œ œ œ œ œœ œ œ œ J J J
j ‰ nj j j
code of the du - el - lo To sud - dendeathFor want of breath Sent many a strap-ping fel-low. The
b j j
& b b ‰ œœ ‰ œœ ‰ œj ‰ œœj ‰ œj ‰ œj ‰
œœ œœ œœ # œœœ ‰ œœ œœœ œœœ
œ. n œœœ œœœ ‰ b œœ
œ. œ. œ. œ. . œ. . œ
.
? b b œ. ‰ j j j j œ. ‰ œ œ
b J œ. ‰ œ. ‰ œj ‰ œ. ‰ œ ‰ Jœ. ‰ œ. ‰ J œ œ ‰ œj
. . J
j j j j
b
V b b œJ Jœ œJ Jœ ‰ œj œj œj œ œ œj œ œ ‰ œ œ œj Jœ œj œj œj Jœ œ
13
Notary œ J
j ‰ œj ‰ œœj
thenpre-sid-ing Prince (Who use-less blood-shed ha-ted), He pass’dan Act,Short and com - pact, Which
b j ‰ œœj ‰ j
& b b œœ œœ ‰ œœ
j
œœœ ‰ n œœœ ‰ œœœ œœ œ œœœ œœ œœj ‰ œœ œœ j
œœœ ‰
œ œ œ. œ. œ nœ œ œ
. . . . .
? bb œ ‰ j ‰ œ. ‰ b œ j j . .
b J œ. J œ ‰ œ. ‰ Jœ ‰ Jœ ‰ n œ œ œj ‰ œ œ œ
J
‰
b b œJ œ œ œ j
b œ œ Œ Œ ‰ œ œJ œ œJ œj œ œ œ œj œ œJ œ Jœ œj
19 A1
Notary V J J J J J J J J J
may be brief - ly sta-ted. Un - like the com-pli - ca - ted laws A Par-lia-men-t’ry
b j j œ .
bœ
& b b œœ ‰ n œœœ ‰ n œœœ œœœ b œœœ n œ n œœ b œœ n œœ b œ œœ œ. œ. œ œ œ œ œ œ. œ œ. œ. œ
œ . . .
p
œœ. œœ. œ œœ œœ. . .
? b œ ‰ œ ‰ œ œ b œœ œœ œœ œ œ œœ œ œ. œ.
.
œ œ
œ
œ.
œ
œ
bb J J . J
10/’09
78 The Grand Duke
f j j
bbb ∑ ∑ Œ ‰ œ j j j j
œ œ œ œ œj œj œ œ
25
Julia & J
f œ. œ œ œ œJ
We know the com - pli - ca - ted laws A
b J R Jœ . œ œ œ
Lisa &bb ∑ ∑ Œ ‰ œ
J R J J
f
We know the com - pli - ca - ted laws A
b œ œ œ œ œ œ œ œ
Ernest Vbb ∑ ∑ Œ ‰ œ
J J J J J J J J J
j j f
We know the com - pli - ca - ted laws A
b
Vbb œ œ œ œj œ œj œj œj. œr œj œ ‰ œ œ œ œ j
J J J œ œ œ œ œj œ
Notary
J J J J
fœ œ œ œ œ œ œ œ œ œ
draughts - man draws, It may be brief - ly sta - ted. We know the com - pli - ca - ted laws A
? bb ∑ ∑ Œ ‰ J J J J J J J
Ludwig b J
We know the com - pli - ca - ted laws A
b œ. œ œœ . œ œ œ œœ œ œ
&bb œ œ œ œ
.
œ.
œ œ œ. œ œ
œ œ œœ œœ œ œ
f
œœ œœ. œœ n œœ œœ œœ œœ œœ œœ
œ œ œ
œ
œœœ
? b
bb
œ
œ. œ œ œ œ œ œ
œ
b j bœ œ œ j j j j j jŒ
&bb œ J œ ∑
30
Julia
J J J œ œ œ œ œ œ œ œ œ œ œ œ
b œ. œ œ. j
Par - lia - men-t’ry draughts-man draws Can - not be brief - ly sta-ted.
Lisa & b b J R J b Rœ œ
J
œ
J
œ
J œ œ œ œ œ œj j œj œj Œ
œ
∑
Par - lia - men - t’ry draughts-man draws Can - not be brief - ly sta-ted.
b œ œ œ œ œ œ œ j œ œ œ œ œJ Œ
Ernest Vbb J J J J J J J œ œ
J J J J J
∑
j j j j
Par - lia - men-t’ry draughts-man draws Can - not be brief - ly sta-ted.
b œ j œ n œ b œ œ œj ‰ œ
Notary V b b J œJ œJ œ œ
J
œ œ œ œ
J œ
J J J
œ œ Jœ œJ
J J
œ œ
? b J œJ J œ œ œ
Par - lia - men-t’ry draughts - man draws Can - not be brief - ly sta-ted. 2. By this in - ge - nious
J œ œ œ œ J œ œbœ œ j œ Œ ∑
Ludwig bb J J J J J œ J
Par - lia - men-t’ry draughts - man draws Can - not be brief - ly sta-ted.
b œ. œ œ. bœ œœ œœ œ œœ ‰ œœj ‰ œœj
& b b œœ œ œœ œœ œœ œœ œœ œœ œ œœœ œœ Œ
œ œ. œ.
œœ œœ œ [p ]
bœ œ œ œ œ œbœ œ œ
? b œ œ œ œ œ œ œ œ œ œ œ
œœ Œ œ. ‰ œj ‰
bb J .
10/’09
Act I 79
b j j j œ œj œj j ‰ j j j j j j
V b b œ. œ œ œ œ œj œ œ œ œ œ n œ œ
35
Notary œ œ œ œ
j ‰ n œj
law, If a - ny two shall quar-rel, They may not fight With fal - chions bright (Which
b j j ‰ œœj ‰ j
& b b ‰ œœ ‰ œœ œœ ‰ œj ‰ œœj ‰ œœ
j ‰ œj
œœ
‰ œœ # œœ
œ. œ. œ. œ. œ. œ. œ. . œ. .
? b œ. ‰ œj ‰ œ. ‰ œj j ‰ œj ‰
bb J . J ‰ œ. ‰ œj ‰ œ. œ.
J ‰ œ. ‰
. J . . J
b
V b b œJ Jœ Jœ . œ œ œ ‰ œ œ œ Jœ œ ‰ œj œj œj œ œ œj
40
Notary
R J J J J J J œ
b b ‰ œj œ
seem’d to him im - mor-al); But each a card shall draw, And he who draws the
œœœ j j ‰ œœj ‰ œœj ‰ n œœj ‰ j
& b œœ œœ n œœœ œœœ ‰ b œœ œœ œœ ‰ œœ œœœ
. œ œ œ œ. œ. œ. œ. .
? b œJ. ‰ œ œ œ œ ‰ œj œ ‰ œj ‰ œ. ‰ b œ œ
j
‰ œ
j ‰
bb J . J .
b j j j j j œ j j œ œ œ œ
œ œj J
œ œ œ œ Œ
Vbb œ œ ‰ œ œ œ J œ
45
J
Notary
J J J J J J
low-est Shall (so ’twas said) Be hence-forth dead— In fact, a le - gal “gho-est.”
j j
b
& b b ‰ œœj ‰ œœj œœ œœ œjœ ‰ œœ œœœ
j
œœœ ‰ œ ‰ n œœ ‰ n œœ œœ œœ
œ œ œ bœ
bœ
nœ
œ. œ. œ œ n œ œ œœ
p
? b b œ. ‰ œ. ‰ œ ‰ œ ‰ œ œ b œœ œœ
b J J n œ œ œj ‰ œ œ œ
J ‰ J J
b œ j j œ œ œ j œj œ j
J Jœ Jœ œ œ œ œ œj œ j
A2
Vbb Œ ‰ œ œ
50
Notary
J J J J J œ œ œ
(When ex - i - gence of rhyme com - pels, Or - tho-gra-phy fore - goes her spells, And
b œ œ œ œ. œ. œ
& b b n œœ b œœ n œœ b œ œœ . . œ. œ œ œ œ
.
œ. . œ. œ œ œ œ œ.
.
œœ. . œ œœ. . . œœ œœ.
? b œœ œ œ œœ œ œ.
œ
œ œ œ œ. .œ œœ . œœ
œ œ œ.
bb .
J
10/’09
80 The Grand Duke
f j j
bbb ∑ Œ ‰ œ j j j j
œ œ œ œ œj œj œ œj b Jœ œ œ
55
& œ
(aside.)
Julia
J J J
f œ. œ œ. œ œ œ œ œ Jœ . œ œ . b œ
With what an em-pha - sis he dwells Up - on “or - tho - gra -
b œ
&bb ∑ Œ ‰ œ J R J R J J J R J R
(aside.)
Lisa
J
f
With what an em - pha - sis he dwells Up - on “or-tho - gra -
b œ œ œ œ œ œ œ œ œJ Jœ œ œ
Vbb ∑ Œ ‰ œ J J J J J J J J
(aside.)
Ernest
J J J
(aside.) f
œ œ œ j œj
With what an em-pha - sis he dwells Up - on “or - tho - gra -
b
Vbb j j j œr j œ ‰ œ J J J œ œ œ œj œ œJ œ Jœ œj
Notary
œ œ œ. œ J J J J
f
(aside.) œ
œ œ œ œ œ œ œJ œ œ œ
“ghost” is writ - ten “gho- est.”) With what an em-pha - sis I dwell Up - on “or - tho - gra -
Ludwig
? bb
b ∑ Œ ‰ J J J J œJ J œ œJ J J J J
With what an em-pha - sis he dwells Up - on “or - tho - gra -
b œ. œ œ. œ œœ œ œ œœ . œ œ . b œ
&bb œ œ œœ œœ œœ œ œ
œ œ œ. œ œ œ œ œ
f
œœ n œœ œœ œœ œœ œœ
œ
œœ
œ
œœ œœœ œ b œœ œ
? bb
b œ œ œ œ œ œ œ œ
œ
b j j j j j
&bb œ œ œj œ œj Œ ∑
60
Julia
œ œ œ œ œ œ œ œ
j
phy” and “spells”! That kind of fun’s the low-est.
b j
Lisa & b b œJ œ
J
œ
J œ œ œ œ œ j
œ œj œ œj Œ ∑
j
phy” and “spells”! That kind of fun’s the low-est.
b œ œ œ œ œ œ œ œ Jœ Œ ∑
Ernest Vbb J J J œ
J J J J J
b j j j j j
phy” and “spells”! That kind of fun’s the low-est.
Vbb œ œ œ œ œ
J
œ œ nœ bœ œ œj Œ Œ ‰
œ
j
Notary
J J
? b œJ œ œ œ œ œ œ bœ
phy” and “spells”! That kind of fun’s the low-est. 3. When
œ œ j
Ludwig bb J J J J J œ Jœ Œ ∑
phy” and “spells”! That kind of fun’s the low-est.
b
& b b œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ
œ œ
dim. - - - - - - - - - - - - - - - p
œœ œœ œ œ œ œ œ bœ œ œœ œj j
? bb œ œ œ œ œ œœ œ ‰ œ ‰ œ œ
b œ œ œ œ
10/’09
Act I 81
bb b r œr r œr j j r œr r œr r r ≈ r j j
B
œ œ œ œ œ œ
64
Notary V œ œ œ œ œ œ œ œ œ
off the los - er’s popp’d (By pleas-ing le - gal fic-tion), And friend and foe Have
b
& b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ. œ œ œ œ œ
. . . . . . . . . . . n œ. œ. œ. œ. œ. œœ.
? b œ œ œ œ œœ œœ œœ œ œ œ œœ œœ n œœ œœ œœ œœ œœ œœ
b b œ. œ. œ. œ. . . . œ. œ. œ. . . . . . . . .
r r
b
V b b n œJ œ œ . œr œJ n œ œ n œJ . Rœ n œ œj ‰ œj n n n œ œ œ œ œj œj
67
Notary
J J J R R
wept their woe In coun - ter - feit af - flic - tion, The win-ner must a-dopt The
b
& b b œœ n œœœ œœ œœœ œœ œœœ nnn œ œ œ œ œœ œœ
n œ. œ. œ. œ. œ. n œœœ œœœ. œœœ œœœ # œœœ œœœ n œœœ œœœ œœœ œœœ œœœ œ
œœ. œ. œ. œ. œ. . .
. . . . . . . . . . .
œ œ œ œ nœ œ œœœœœ œ . . . œœ. œœ. œœ.
? b œ œ œ œ œ
bb œ œ œ œ œ œœ nn n œœ œœ œœ
. . . . . . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
rœ r œ r r r j cresc. r j r fœ .
≈ œ œ œ. œ # œ œJ . # Rœ
71
œ
V R œ R œ œ œ œ. œ œ. œ J J R J R
Notary
J
los-er’s poor re - la - tions— Dis - charge his debts, Pay all his bets, And take his ob - li -
& œœ œœ œœ œ œœ œœ œ œ
b œœ. œ. œœ. œ. œœ œœ œ œ œ œ œ œœœ œœœ
. . . œ. . . . . œ. œ. œ. œ. œ. . . œœœ. œœœ.
œœœ # œœ
. .
œ.œ
f
? œœ. œœ. œœ. œœ. œœ. œœ. # œœ. œœ. œœ. œœ. œœ. œœ. n œœœ. œœœ. œœœ. œœœ. œœœ. œ. # œ. œ.
cresc.
œ œ. œ. œ. œ. œ œ
[F ]
# œ œ œ #œ j œ œ #œ j
C
V J Jœ ‰ Jœ œ ‰ œ œ œ ‰ œ
75
Notary J J J #œ J J J J #œ J J J
. œ. œ. # œ
ga - tions. The win - ner must a - dopt The los - er’s poor re - la - tions— Dis -
& # # œœ œ œ.œ œ.œ # œœ œ. # œ. œ œ œ #œ #œ œ. . # œ œ œ # œ # œ œ.œ
. œ. . . . .
. p œœ. œœ.
? œœ œ. œ. œ. œ. .
# œœ . œœ
. #œ
# œ œ œ.
.
œ .
œ # œœ
œ. # œ œ. œ # œ
dim.
œ œ œ œ œ.
10/’09
82 The Grand Duke
V œ n œ œ œ œJ ≈ Rœ œ œœ œ œ ≈ œ œ œ œ ≈œ œ œ œ ≈ œ bbb
80
Notary
J R J J J R J J J R
charge his debts, Pay all his bets, Dis - charge his debts, Pay all his bets, And
b
& # œœ n œœ œœ œœ œœ ≈ œœ # œœ n œœ œœ œœ œœ ≈ œœ # œœ # # œœ œœ œœ œœ ≈ œœ # œœ # # œœ œœ œœ œœ ≈ œœ b b
nœ œœ œœ œœ œœ œœ œœ œ #œ œœ œœ œœ # œœ œœ œœ œœ
? œœ œ œ ≈œ œ œ œ ≈ œœ # œœ œ œ ≈ œ #œ œ œ ≈ œ bbb
b b bpoco œ œJ . Rœ œJ œ ‰ œ œ œ œ j œj œ œ œ j
b œ œ œ œj Jœ
84 D a tempo.
V J J J œ J J J œ
rall.
Notary
J J J J
take his ob - li - ga-tions. In short, to brief - ly sum the case, The win - ner takes the
b b b b œj ‰ j ‰ j
œœ ‰ ‰ œ
j œ œ œ œ œ œ œ œ. œ. œ. œ
& œ n œœœ œ œœ . .
.
œ. .
. œ.
p a tempo.
? b b n b œœ ‰ œj ‰ j œ œ œ œœ. œœ. œ œœ. œ. œœ.
poco rall.
b J œ œ œ œ œ. œ œ. œ œ œ œ. œ. œ œ. œ
b
&bb ∑ ∑ Œ ‰ œ j j j j j j j j
89
œ œ œ œ œ œ œ œ
cresc.
Julia
J
œ. œ œ
How neat-ly law-yers state a case! The
b
&bb ∑ ∑ Œ ‰ œ J R Jœ . Rœ œJ œJ œ œ J
cresc.
Lisa
J
b œ œ œ œ œ œ œ
How neat - ly law - yers state a case! The
∑ ∑ Œ ‰ œ œ
Vbb J J J J J J J J
cresc.
Ernest
J
b b œj œ j œj j j
How neat-ly law-yers state a case! The
V b œ œ j œj œr œj œ ‰ œ œ œ œ j
J J J œ œ œ œ œj œ
œ œœ .
cresc.
Notary
J J
cresc. œ
œ œ œ œ œœ œ œ
los - er’s place, With all its ob - li - ga - tions! How neat-ly law-yers state a case! The
Ludwig
? b
bb ∑ ∑ Œ ‰ J J J J œJ J J J
How neat-ly law-yers state a case! The
œ. œ œ. œ
b
& b b œ œ œ œ. œ. œ œ œœ œ œ
œ œ œ œ . œ œ œ œ œœ œœ œœ œ
œœ. œœ n œœ œœ œœ œœ œœ œœ œ
œ œ œœœ
? b œ œœ
cresc.
œ œ œ
bb œ. œ
œ œ œ œ
10/’09
Act I 83
b j j f
& b b œ b œJ œ œ œ j j j j j ‰ œ
94
Julia
J J J œ œ œ œ œ œ œ œ œ œ œ
œ J
œ. œ j f
win - ner takes the los - er’s place, With all its ob - li - ga-tions! How
b œ . b œ œ œ œ j j j
Lisa &bb J R J R J J J
œ œ œ œ œ
œ œ œ œ
j ‰ œ
J
b œ œ œ œ œ œ œ j œ œ œ œ œ ‰ fœ
win - ner takes the los - er’s place, With all its ob - li - ga-tions! How
Ernest Vbb J J J J J J J œ œ
J J J J J J J
j j j j j f
win - ner takes the los - er’s place, With all its ob - li - ga-tions! How
b œ œ œ j œ œ
Notary Vbb J J J œ J œ œ œ J œ œ nœ bœ œ œ ‰ œ
J J J
œ œ œ œ œ œ œ œ œ œ bœ œ fœ
win - ner takes the los - er’s place, With all its ob - li - ga-tions. How
Ludwig
? bb
b
J J J œJ J J œ
J J J J œ J ‰ J
j œ
win - ner takes the los - er’s place, With all its ob - li - ga-tions! How
b b œœ . œ œ. bœ œœ œœ œ œœ œœ œœ œœ œœ œœ
& b œ œ œœ œ œœ œ ≈ œ œ œ
œ œ œ f
b œœ œœ œœ œœ œ œœ œ œ œ bœ œ œ œœ >œ œœ
? b œ œ œ
bb œ œ œ œ
bb E œ œ œ œ œ œ œ ‰ ‰ œ œ Rœ œ Rœ œ œ œ ‰ ‰ œ
98
Julia & b R R R R J J J J R R J J J J
j
neat - ly law - yers state a case! The win-ner takes the los - er’s place. How
b œ œ œ œ Rœ œ Rœ œ œ œ
Lisa & b b œR R œR R œJ œ
J J ‰ ‰ œ
J R R J J J ‰ ‰ œ
b œR Rœ œR œR œJ œ œ œ œ œ œ œ œ œ œ œ
neat - ly law - yers state a case! The win-ner takes the los - er’s place. How
Ernest b
V b J J ‰ ‰ J R R R R J J J ‰ ‰ J
neat - ly law - yers state a case! The win-ner takes the los - er’s place. How
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Notary Vbb R R R R J J J ‰ ‰ J R R R R J J J ‰ ‰ J
? b œR Rœ œR œR œJ œ œ œ œ œ œ œ œ œ œ œ
neat - ly law - yers state a case! The win-ner takes the los - er’s place. How
Ludwig bb J J ‰ ‰ J R R R R J J J ‰ ‰ J
œ œ œ
neat - ly law - yers state a case! The win-ner takes the los - er’s place. How
b b b Eœœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœ œ œ œ œ œ
& œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
? b œ œ œ œ œ
bb œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ
10/’09
84 The Grand Duke
b b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œj œj n œj œj ‰ œr œr
102
Julia & R R R R R R R R R R R R R R R R J J
b b œr œr œr œr œr œr œr œr œr œr œr œr œr œr œr œr j œj n œj œj n œj œj ‰ œr œr
neat-ly law-yers state a case! The win-ner takes the los-er’splace,With all its ob - li - ga-tions, ob-li -
Lisa & b œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œœ
neat-ly law-yers state a case! The win-ner takes the los-er’splace,With all its ob - li - ga-tions, ob-li -
Ernest Vbb R R R R R R R R R R R R R R R R J J J J J J ‰ RR
neat-ly law-yers state a case! The win-ner takes the los-er’splace,With all its ob - li - ga-tions, ob-li -
b bœ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œœ
Notary V b b R R R R R R R R œR œR œR Rœ œR Rœ Rœ Rœ œJ J J J J J RR
? b b œ œ œ œ œ œ œ œ œR œR œR Rœ œ œ œ œ œ œ œ œ œ œ œœ
neat-ly law-yers state a case! The win-ner takes the los-er’splace,With all its ob - li - ga-tions, ob-li -
Ludwig b R R R R R R R R R R R R J J J J J J ‰ RR
œ œ œ œ œœ œ œ # n œœ œœ # n œœ. œœ.
neat-ly law-yers state a case! The win-ner takes the los-er’splace,With all its ob - li - ga-tions, ob-li -
bb œ œ œ œ œ œ œ j
& b œ œ œ œ ‰ œœœ
J
bœ œœ œœœ œœœ œœœ œœœ œœ œœ œœ œ
œ œ œœ œœ œœ. œœ.
? b œœ œ œ œ J ‰ œj
bb
b ˙ U̇ ˙
&bb ∑ ∑
106
Julia
U̇
ga - - - - - - tions!
b ˙ ˙
Lisa &bb ∑ ∑
U̇
bb b ˙ ˙
ga - - - - - - tions!
Ernest V ∑ ∑
U̇
ga - - - - - - tions!
b ˙ ˙
Notary Vbb ∑ ∑
U̇
? b ˙
ga - - - - - - tions!
Ludwig bb ˙ ∑ ∑
U j œ j
ga - - - - - - tions!
b ˙ ˙˙˙ œœ œj œ œ œ œ œœ œœ œœ œœ œ œœ œœ ‰ œœ ‰
& b b ˙˙˙ ˙ œœ œ œ œ œ œ J œœ
U j j
? b
bb ˙ ˙ œ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
‰ œ ‰
˙ ˙ œ J J œ
10/’09
Act I 85
Ludwig. I see. The man who draws the lowest card—
Notary. Dies, ipso facto, a social death. He loses all his civil rights—his
identity disappears—the Revising Barrister expunges his name from the list of
voters, and the winner takes his place, whatever it may be, discharges all his
functions and adopts all his responsibilities.
Ernest. This is all very well, as far as it goes, but it only protects one of us.
What’s to become of the survivor?
Ludwig. Yes, that’s an interesting point, because I might be the survivor.
Notary. The survivor goes at once to the Grand Duke, and, in a burst of
remorse, denounces the dead man as the moving spirit of the plot. He is accepted
as King’s evidence, and, as a matter of course, receives a free pardon. To-morrow,
when the law expires, the dead man will, ipso facto, come to life again—the
Revising Barrister will restore his name to the list of voters, and he will resume all
his obligations as though nothing unusual had happened.
Julia. When he will at once be arrested, tried, and executed on the evidence
of the informer! Candidly, my friend, I don’t think much of your plot.
Notary. Dear, dear, dear, the ignorance of the laity! My good young lady, it
is a beautiful maxim of our glorious Constitution that a man can only die once.
Death expunges crime, and when he comes to life again, it will be with a clean
slate.
Ernest. It’s really very ingenious.
Ludwig (to Notary). My dear sir, we owe you our lives!
Lisa (aside to Ludwig). May I kiss him?
Ludwig. Certainly not: you’re a big girl now. (To Ernest.) Well, miscreant,
are you prepared to meet me on the field of honour?
Ernest. At once. By Jove, what a couple of fire-eaters we are!
Lisa. Ludwig doesn’t know what fear is.
Ludwig. Oh, I don’t mind this sort of duel!
Ernest. It’s not like a duel with swords. I hate a duel with swords. It’s not
the blade I mind—it’s the blood.
Ludwig. And I hate a duel with pistols. It’s not the ball I mind—it’s the
bang.
Notary. Altogether it is a great improvement on the old method of giving
satisfaction.
10/’09
86 The Grand Duke
No. 7. Quintet—(Julia, Lisa, Ernest, Notary, & Ludwig).
œ. œ œ œ
&b c ∑ ∑ ∑ ∑
Allegro moderato.
Lisa J
œ. œ œ œ
1. Strange the views some
Ernest Vb c ∑ ∑ ∑ ∑ J
1. Strange the views some
j
Notary Vb c ∑ ∑ ∑ ∑ œ. œ œ œ
1. Strange the views some
?b c ∑ ∑ ∑ ∑ œ. œ œ œ
Ludwig J
1. Strange the views some
Œ œ œ
Allegro moderato.
&b c œ œ œ ˙ ẇ ˙. Œ œ Œ œœ Œ
∑ Œ œ œ œ ˙ ˙. œ
f p
˙˙ ˙˙ .. œœ Œ œ
? c w w ẇ œ
Piano
b w Œ Œ
w
˙. #œ œ œ œ #œ œ œ
&b ∑ œ Œ Ó
6
Julia
j
Strange the views some peo - ple hold!
j œ. bœ œ ‰ œ
Lisa & b œ. œ ˙ œ. œ œ œ œ œ œ Ó J J
œ. œ ˙ œ œ œ #œ œ œ. œ œ œ
peo - ple hold! Two young fel - lows quar - rel— Then they fight, for
V b J œ. Ó J ‰ J
Ernest
J
peo - ple hold! Two young fel - lows quar - rel— Then they fight, for
j bœ œ œ œ b œ ‰ œJ
Notary V b œ. œ ˙
J œ. œ œ Ó œ.
J
œ œ
peo - ple hold! Two young fel - lows quar - rel— Then they fight, for
? œ. œ ˙ œ. œ œ œ Ó œ. œ œ ‰ œ
Ludwig b J J J J
peo - ple hold! Two young fel - lows quar - rel— Then they fight, for
œ Œ œœ Œ
& b œœ Œ œœ Œ œ Œ Œ b œœœ # œœ
˙
œœ Ó œ
œ
œ œœ œœ bœ
?b œ Œ Œ w Ó Œ œ Œ
w ˙
˙
10/’09
Act I 87
w
&b ∑ ∑ Ó œ œ
10 cresc.
Julia œ
S j j
Strange, oh, strange
& b œ. œ
J ˙ œ. œ œ œ œ ˙ œ. œ œ œ
cresc.
Lisa
œ
œ. S
both are bold— Rage of both is un - con - troll’d— Both are stretch’d out,
˙ œ. œ
Vb œ ˙
J œ. œ œ nœ œ œ J œ œ
cresc.
Ernest
J
Sœ .
both are bold— Rage of both is un - con - troll’d— Both are stretch’d out,
œ. nœ #˙ œ œ œ œ œ. nœ. œ œ œ
Vb J J nœ œ
cresc.
Notary
J J
Sœ . œ œ nœ
both are bold— Rage of both is un - con - troll’d— Both are stretch’d out,
Ludwig
? b œ. œ ˙
J
œ œ
J
œ œ œ ˙ œ. cresc.
J
both are bold— Rage of both is un - con - troll’d— Both are stretch’d out,
j
& b œœ Œ # œœ Œ œœ Œ Œ œ œ œœ ˙˙ œœ .. œœ œœ œœ
œœ œœ w˙ . nœ w˙ œ nœ œ n œ˙ Œ œÓ œ
cresc.
? Œ Œ
b
œ œ œ œ œ A1 œ f
&b œ œ Œ œ nœ
14
Julia J œ. œ. J œ œ œ
f
the views, Pri-thee where’s the mo - ral? Ding, ding dong, ding dong,
&b œ ˙ œ œ. œ. œ œ œ Œ œ nœ œ œ
Lisa
œ J J œ
œ œ. #œ. f
stark and cold! Pri-thee where’s the mo - ral? Ding, ding dong, ding dong,
Vb œ. œ œ #œ J
œ
J
nœ œ Œ œ nœ œ œ
Ernest
J œ
f
stark and cold! Pri-thee where’s the mo - ral? Ding, ding dong, ding dong,
œ. œ œ œ œ œj œ . œ. j œ œ
Notary Vb J œ nœ Œ nœ œ œ œ
œ nœ fœ nœ
stark and cold! Pri-thee where’s the mo - ral? Ding, ding dong, ding dong,
? ˙ œ œ. œ. œ œ Œ œ œ œ
Ludwig b J J œ
stark and cold! Pri-thee where’s the mo - ral? Ding, ding dong, ding dong,
œ œ
A1
&b œœ Œ Ó œœ Œ # œœ
œ.
Œ n n œœ. œ. Œ nœ œ œ œ
. œ nœ œ œ
f
œ nœ ˙ œ œ œ œœ. S
?b Œ Œ
œ. œ. œ. ˙˙ ww
10/’09
88 The Grand Duke
j j ‰ pj j j œ
&b ˙ œ ‰ œ nœ
18
Julia œ œ œ ˙ œ œ œ œ. œ œ
j ‰ pj j
dong! Ding, ding dong, ding dong, dong! There’s an end to fur - ther
j j
Lisa &b ˙ œ ‰ œ nœ œ œ œ ˙ œ œ œ œ. œ œ œ
j ‰ pœ œ
dong! Ding, ding dong, ding dong, dong! There’s an end to fur - ther
j œ. œ œ œ
Ernest Vb ˙ œ ‰ œ nœ œ œ œ ˙ œ J J J
j ‰ p j j œ.
dong! Ding, ding dong, ding dong, dong! There’s an end to fur - ther
j
Notary Vb ˙ œ ‰ œ nœ œ œ œ ˙ œ œ œ œ nœ
J œ
œ nœ œ ‰ pœj œj œ
dong! Ding, ding dong, ding dong, dong! There’s an end to fur - ther
?b ˙ œ œ œ œ ˙ j
Ludwig J ‰ J . œ œ œ
dong! Ding, ding dong, ding dong, dong! There’s an end to fur - ther
j j
& b ˙ œœ œœœ ‰ œœ nœ œ œ œ ˙ œœ œœœ ‰ Œ ∑
˙ nœ œ nœ œ œ ˙ nœ œ p
Œ S Œ
? j j
b ˙ ˙ w ˙ œ ‰ Œ œ. ‰ œ. œ. œ.
˙ ˙ w ˙ œ
j j œ œ œ œ
&b œ Œ œ œ nœ œ. nœ œ
22
œ œ œ œ. J œ œ
cresc.
Julia
J
ac - tion, And this bar - bar-ous trans - ac - tion Is des - cribed as “sat - is -
j j j j œ
&b œ œ Œ
œ œ œ. œ bœ œ œ œ œ œ œ. œ œ
cresc.
Lisa
ac - tion, And this bar - bar-ous trans - ac - tion Is des - cribed as “sat - is -
œ œ ‰ ‰ œ Jœ œ. œ œ œ œ œcresc. œ œ œ. œ œ #œ
Ernest Vb J J J
ac - tion, And this bar - bar-ous trans - ac - tion Is des - cribed as “sat - is -
j j œ œ. œ
Vb œ œ Œ œ œ œ. œ nœ œ œ œ œ J œ œ
cresc.
Notary
J
œ nœ œ.
ac - tion, And this bar - bar-ous trans - ac - tion Is des - cribed as “sat - is -
? œ œ ‰ ‰ œj œj œ . j
œ œ œ œ œ
œ œ
J
œ
cresc.
Ludwig b
ac - tion, And this bar - bar-ous trans - ac - tion Is des - cribed as “sat - is -
j
&b ∑ ∑ Ó œ œ nœ œ˙ .. n œ œ œœ
j
j œœ n œœ œ˙ .. œ œ # œœ
?b œ œ. Œ œ. œ. œ. ‰ œ. œ. œ. œ. œ.
.
10/’09
Act I 89
œ f
&b œ. œ. Jœ. ‰ ‰ œJ. œ. ‰ n œ. œ. ˙ n˙ Œ œ #œ nœ #œ #œ
26
Julia J J J J J
f j j j
fac - tion”! Ha! ha! ha! ha! sat - is - fac - tion! Ding, ding dong, ding dong,
œ. œ. Jœ. ‰ ‰ œJ. œ. ‰ œ. œ. ˙ œ #œ nœ #œ
Lisa & b nœ J J #˙ Œ #œ
œ œ. f œ. œ. œ. œ. œ. œ. ˙
fac - tion”! Ha! ha! ha! ha! sat - is - fac - tion! Ding, ding dong, ding dong,
œ
Ernest Vb J J J ‰ ‰ J J ‰ J J n˙ Ó Ó Œ
f œ. œ. S
fac - tion”! Ha! ha! ha! ha! sat - is - fac - tion! Ding
œ j j j j j ˙
Notary Vb œ. J J ‰ ‰ œ. œ. ‰ œ. œ. ˙ n˙ w
f œ. S
? b œ Jœ. Jœ. J ‰ ‰ œj œ. ‰ œ. œ. ˙
fac - tion”! Ha! ha! ha! ha! sat - is - fac - tion! Ding
J J J ˙ ˙ w
Ludwig
.
œ œj .œœ. ‰ ‰ œœ.
fac - tion”! Ha! ha! ha! ha! sat - is - fac - tion! Ding
b œœœ œœ. ‰ n œœ œœ ˙˙ œ #œ nœ #œ
& œ.
n œ œ J œ. œ. ˙ # n ˙˙˙ Œ #œ
J
œ œf . .
? œ œ œ. œ ‰ ‰ œ œœ. œœ. œœ. ˙ n >˙˙ ww
˙
b J œ
J J ‰ ˙
œ ‰ œ #œ nœ #œ nœ. œ œ œ
B1
& b n˙ n˙ œ ‰ Œ
30
Julia
J #œ J J
dong! Ding, ding dong, ding dong, dong! Each is laid in
Lisa & b nœ œ # œj ‰ œ #œ nœ #œ #œ nœ œ # œj ‰ Œ #œ.
j
œ œ œ
dong! Ding, ding dong, ding dong, dong! Each is laid in
#œ nœ œ ‰ Œ œ #œ nœ œ œ. œ œ œ
Ernest Vb J Ó Œ J ‰ Œ J
S
dong, ding dong! Ding dong, ding dong! Each is laid in
Vb ˙ n˙ w ˙. Œ œ. œ œ œ
Notary J
S
dong! Each is laid in
? ˙ ˙ w ˙. Œ œ. œ œ œ
Ludwig b J
dong! Each is laid in
j œ #œ nœ #œ #œ j B1
& b n˙ œ œ
# œ # œœ
‰ n ˙ œ # œœœ ‰ Œ ∑
Œ Œ #œ
p
˙ n >˙ w ˙ œ
?b ˙ ˙ w ˙ œ Œ œ. Œ œ. Œ
10/’09
90 The Grand Duke
œ œ. œ bœ œ œ œ œ ˙
& b nœ ˙ œ
34
˙
cresc. poco rit.
Julia J
f
church - yard mould— Strange the views some peo - ple hold! Strange the views
j
& b #œ œ ˙ œ. œ bœ œ œ œ ˙ Ó œ œ
poco rit.
Lisa
œ. fœ
church - yard mould— Strange the views some peo - ple hold! Strange the
œ œ ˙ œ œ œ œ œ ˙ œ
Vb J Ó
poco rit.
Ernest
f
church - yard mould— Strange the views some peo - ple hold! Strange the
œ œ ˙ bœ. œ œ œ bœ œ ˙ œ œ
Vb J Ó
poco rit.
Notary
fœ
church - yard mould— Strange the views some peo - ple hold! Strange the
?b ˙ œ. œ œ œ œ œ ˙ œ
œ œ Ó
poco rit.
Ludwig J
church - yard mould— Strange the views some peo - ple hold! Strange the
œ ˙œ
poco rit.
&b ∑ ∑ ∑ œ
Ó œ œœ
f
? œ. œ. œ. œ. œ. œ. œ. œ. œœ œœ
cresc.
b Œ Œ Œ Œ Ó
œ œ œ œ
ad lib.
œ œ œ
&b œ œ ˙. œ œ œ œ
J ‰ Ó
38
a tempo.
Julia
j
some peo - ple hold! Strange, strange,
&b ˙. Œ œ.
a tempo.
œ œ œ œ. œ ˙ Œ
J ˙
ad lib.
œ
Lisa
˙. œ. œ.
views, Strange the views some peo - ple hold! Strange,
œ œ œ œ ˙ ˙.
Vb Œ J J Œ
a tempo.
ad lib.
Ernest
views, Strange the views some peo - ple hold! Strange,
j
Vb ˙. Œ œ. œ œ œ œ. œ ˙ ˙. Œ
a tempo. ad lib.
Notary
J
views, Strange the views some peo - ple hold! Strange,
? ˙. Œ j j Œ
œ. œ œ œ œ. œ ˙ ˙.
a tempo. ad lib.
Ludwig b
j
œ ‰ Œ Ó
views, Strange the views some peo - ple hold! Strange,
&b ˙˙ œœ Œ œœ Œ œœ Œ œœ Œ Œ
a tempo. colla voce.
Ó œ œ ˙˙ œœ
œ ˙
p
˙ œ
?b ˙ Ó œ Œ œ Œ œ Œ œ Œ ˙ œ Œ
10/’09
Act I 91
œ œ. œ
&b Œ ∑ ∑
42
œ
dim. [a tempo.]
Julia
œ œ J ˙.
j j
Oh, strange the views.
œ. œ œ œ
&b Œ œ Œ œ. œ ˙
[a tempo.]
˙. J
dim.
Lisa
œ œ.
œ ˙. œ. œ œ œ œ. œ
Oh, strange the views. 2. Bet - ter than the me - thod old,
œ. œ J ˙
Vb ΠΠJ
[a tempo.]
J
dim.
Ernest
Oh, strange the views. 2. Bet - ter than the me - thod old,
j
Vb Œ œ œ. œ ˙. Œ œ. œ œ œ œ. œ
J ˙
dim. [a tempo.]
Notary
J
Oh, strange the views. 2. Bet - ter than the me - thod old,
?b Œ j ˙. œ. œ œ œ œ. œ ˙
œ œ. œ Œ
[a tempo.]
J J
dim.
Ludwig
Oh, strange the views. 2. Bet - ter than the me - thod old,
&b ∑ ∑ œ Œ œœ Œ œœ Œ œœ Œ
[a tempo.]
œ
p
œœ œ œ œœ
? Œ œ ˙ Œ Œ œ Œ œ Œ Œ
b ˙.
˙. #œ œ œ œ #œ œ œ
&b œ Œ Ó ∑
46
Julia
Bet - - - ter than the me - thod old,
j œ. bœ œ ‰ œ œ. œ
Lisa &b œ. œ œ œ œ œ œ Ó J J J ˙
œ œ #œ œ œ. œ œ œ œ.
Which was coarse and cru - el, Is the plan that we’ve ex-toll’d.
œ. œ œ
Ernest Vb J
Ó J ‰ J J ˙
j nœ #˙
Which was coarse and cru - el, Is the plan that we’ve ex-toll’d.
œ œ bœ œ œ œ. œ b œ ‰ Jœ œ.
Notary Vb œ. Ó
J J
œ œ
Which was coarse and cru - el, Is the plan that we’ve ex-toll’d.
? œ. œ œ œ Ó œ. œ œ ‰ œ œ. œ ˙
Ludwig b J J J J
Which was coarse and cru - el, Is the plan that we’ve ex-toll’d.
œ Œ œœ Œ
&b œ Œ Œ b œœœ # œœ˙ œœ Ó œ œœ Œ # œœ Œ
œ
œœ bœ œœ œœ
?b w Ó Œ œ Œ Œ Œ
w ˙
˙
10/’09
92 The Grand Duke
w œ
&b ∑ Ó œ œ œ œ œ
50 cresc.
Julia œ
S
Bet - ter, bet - - - - - ter is the
b j j ˙
& œ. œ œ œ œ ˙ œ. œ œ œ œ
cresc.
Lisa
œ œ
S
Sing thy vir - tues man - i - fold (Bet - ter than re - fi - nèd gold),
œ œ ˙ œ . cresc. œ œ œ œ. œ œ #œ
Ernest V œ.
b œ œ nœ
J
J J
Sœ .
Sing thy vir - tues man - i - fold (Bet - ter than re - fi - nèd gold),
œ œ œ œ œ œ. nœ. œ œ œ œ. œ œ œ œ
Vb J nœ œ J
cresc.
Notary
J J J J
? b Sœ . œ œ nœ œ nœ ˙
Sing thy vir - tues man - i - fold (Bet - ter than re - fi - nèd gold),
œ œ œ œ œ ˙ œ.
J J
cresc.
Ludwig
Sing thy vir - tues man - i - fold (Bet - ter than re - fi - nèd gold),
j
& b œœ Œ Œ œ œ œœ ˙˙ œœ .. œœ œœ œœ œœ
Œ Ó
˙w. nœ w˙ œ nœ œ n œ˙ Œ œÓ œ œ nœ
cresc.
? ˙
b
œ. j œ f j
œ œ œ œ ‰ œ
A2
&b Œ nœ
54
Julia œ œ œ œ œ ˙
f
Sta - tu - to - ry Du - el! Sing, sing song, sing song, song! Sing,
j j
Lisa & b œ. œ œ œ œ œ Œ œ nœ œ œ œ ˙ œ ‰ œ
œ. œ f
Sta - tu - to - ry Du - el! Sing, sing song, sing song, song! Sing,
Vb J #œ œ nœ œ Œ œ nœ œ œ ˙
j
œ ‰ œ
Ernest
œ
f
Sta - tu - to - ry Du - el! Sing, sing song, sing song, song! Sing,
œ œ œ œ j
Notary V b œ. J œ nœ Œ nœ œ œ œ ˙ œ ‰ œ
fœ nœ œ ‰ œ
Sta - tu - to - ry Du - el! Sing, sing song, sing song, song! Sing,
? b œ. œ œ œ œ œ œ œ ˙
Ludwig J œ Œ J
Sta - tu - to - ry Du - el! Sing, sing song, sing song, song! Sing,
œ œ j
œœ ‰ œ
A2
& b œœ Œ # œœœ Œ n n œœ. œ. Œ nœ œ œ œ ˙ œœ
. . œ nœ œ œ ˙ nœ œœ œ
œ. S f Œ S
?b œ Œ œ Œ œ
œ
œ. œ. œ. ˙ w ˙ ˙
˙ w ˙ ˙
10/’09
Act I 93
j ‰ pj j j œ œ j j
& b nœ Œ
58
Julia œ œ œ ˙ œ œ œ œ. œ œ œ œ œ
j ‰ pj j
sing song, sing song, song! Sword or pis - tol nei - ther u - ses— Play-ing
j j j
Lisa & b nœ œ œ œ ˙ œ œ œ œ. œ œ œ œ œ Œ
œ œ
j ‰ pœ œ œ .
sing song, sing song, song! Sword or pis - tol nei - ther u - ses— Play-ing
œ œ œ œ œ ‰ ‰ Jœ Jœ
Ernest V b nœ œ œ œ ˙ œ J J J
j ‰ pj j œ.
sing song, sing song, song! Sword or pis - tol nei - ther u - ses— Play-ing
œ œ œ j j
Notary V b nœ œ œ œ ˙ œ œ œ J nœ œ Œ œ œ
? b nœ œ ‰ pj j
sing song, sing song, song! Sword or pis - tol nei - ther u - ses— Play-ing
œ œ œ ˙ j j j
Ludwig J œ œ œ. œ œ œ œ œ ‰ ‰ œ œ
sing song, sing song, song! Sword or pis - tol nei - ther u - ses— Play-ing
j
& b nœ œ œ œ ˙ œœ œœ ‰ Œ ∑ ∑
nœ œ œ ˙ nœ œœ
Πp
?b j‰ Œ œ. ‰ œ.j œ. œ. œ. œ. Œ œ. œ.
ww ˙˙ œœ
f
& b œ.
œ œ œ œ œ nœ œ. nœ œ œ œ œ. œ. œJ. ‰ ‰ Jœ.
62
J œ œ
cresc.
Julia
J J J
f
card he light - ly choos - es, And the los - er sim - ply los - es! Ha! ha! ha!
j j
& b œ. œ bœ œ œ œ œ œ œ. œ œ œ nœ œ. œ. œJ. ‰ ‰ Jœ.
cresc.
Lisa
J J
œ œ. fœ. œ. œ.
card he light - ly choos - es, And the los - er sim - ply los - es! Ha! ha! ha!
œ. œ œ œ œ œ œ œ œ. œ œ #œ
Vb J J J J ‰ ‰ J
cresc.
Ernest J
.
jfJœ œ. ‰ ‰ j
card he light - ly choos - es, And the los - er sim - ply los - es! Ha! ha! ha!
œ œ. œ œ œ
V b œ. œ nœ œ œ œ œ œ œ. J œ.
cresc.
Notary
J J
œ nœ œ. .œ fœ. œ.
card he light - ly choos - es, And the los - er sim - ply los - es! Ha! ha! ha!
? b œ. j œ œ œ œ j
œ œ œ œ œ J J J J ‰ ‰ œ.
cresc.
Ludwig
œ j. .
card he light - ly choos - es, And the los - er sim - ply los - es! Ha! ha! ha!
j œœ.
&b ∑ Ó œ œ n œ œ˙ .. n œ œ œœ n œ . œ œœœ œœœ ‰ ‰ œ
J
j œ œ f .
j œœ n œœ œ˙ .. œ œ # œœ œ œ œ. œ ‰ ‰ œ.
?b œ ‰ œ. œ. œ. œ. œ. J œ
. J
10/’09
94 The Grand Duke
. . . œ œ ‰ œ
& b œJ ‰ n œJ Jœ ˙ n˙ Œ #œ nœ #œ #œ n˙
66
Julia
J
j j j
ha! sim - ply los - es! Sing, sing song, sing song, song! Sing,
œ #œ nœ #œ œ # œj ‰ œ
Lisa & b œ. ‰ œ. œ. ˙ #˙ Œ #œ nœ
œ. œ. œ. ˙
ha! sim - ply los - es! Sing, sing song, sing song, song! Sing,
b ‰ n˙ Ó Ó Œ œ #œ nœ œ ‰ Œ
Ernest V J J J J
j j j S S
ha! sim - ply los - es! Sing song, sing song!
b ‰ ˙ n˙ w ˙ n˙
Notary V .œ œ
. œ. ˙
S S
? b œ. ‰ œ. œ. ˙
ha! sim - ply los - es! Sing song!
Ludwig J J J ˙ ˙ w ˙ ˙
j
ha! sim - ply los - es! Sing song!
. ˙˙ œ #œ nœ #œ n ˙ œ # œœœ ‰ œ
& b œœJ ‰ n œœ. œ œœœ. ˙ # n ˙˙˙ Œ #œ Œ #œ
. . . n >˙ n >˙
? œœ ‰ œœ œœ ˙
˙ ˙ ˙
w
w
˙
˙ ˙
b J
#œ nœ #œ p
nœ. œ œ œ œ
B2
&b n˙ œ ‰ Œ nœ
70
Julia #œ J J ˙
p
sing song, sing song, song! If so - ci - e - ty were poll’d,
j j
Lisa & b #œ nœ #œ #œ nœ œ #œ ‰ Œ #œ. œ œ œ #œ œ ˙
pœ .
sing song, sing song, song! If so - ci - e - ty were poll’d,
œ #œ nœ œ œ œ œ œ œ ˙
Ernest Vb Ó Œ J ‰ Œ J
p .
Sing song, sing song! If so - ci - e - ty were poll’d,
Vb w ˙. Œ œ œ œ œ œ œ ˙
Notary J
p ˙
If so - ci - e - ty were poll’d,
?
Ludwig b w ˙. Œ œ. œ œ
J
œ œ œ
If so - ci - e - ty were poll’d,
#œ nœ #œ j B2
&b #œ n ˙ œ # œœœ ‰ Œ ∑ ∑
Œ #œ
p
? b ww ˙
˙
œ
œ œ. œ. œ. œ. œ.
Œ Œ Œ Œ
10/’09
Act I 95
œ bœ œ œ œ ˙ œ œ œ œ
& b œ. œ ˙ œ
74 cresc. poco rit.
Julia J
j f
Who’d sup - pose the me - thod old? Strange the views some peo - ple
& b œ. œ bœ œ œ œ ˙ Ó œ œ ˙. Œ
poco rit.
Lisa
œ. fœ ˙.
Who’d sup - pose the me - thod old? Strange the views,
œ œ œ œ œ ˙ œ
Vb J Ó Œ
poco rit.
Ernest
Who’d sup - pose the me - thod old? Strange the views,
bœ. œ œ œ bœ œ ˙ fœ œ
Vb J Ó ˙. Œ
poco rit.
Notary
˙ fœ œ
Who’d sup - pose the me - thod old? Strange the views,
? b œ. œ œ œ œ œ Ó
poco rit.
˙. Œ
Ludwig J
j
œ ‰ Œ Ó
Who’d sup - pose the me - thod old? Strange the views,
œ ˙
&b ∑ ∑ œ œœ œœ ˙˙
poco rit.
Ó Ó
fœ
? b œ. œ. œ. œ. œ. œ œœ ˙˙
cresc.
Œ Œ Œ Ó Ó
ad lib.
œ œ œ œ œ.
&b œ œ ˙. œ œ œ œ œ
J ‰ Ó
78
œ
a tempo. dim.
Julia
œ œ J
j
hold! Strange, strange, Oh, strange the
œ. œ œ j
&b J œ œ. œ ˙ Œ Œ
a tempo.
œ
ad lib.
˙
dim.
Lisa
œ œ œ.
œ. œ œ œ œ. œ ˙ œ
Strange the views some peo - ple hold! Strange, Oh, strange the
˙. œ. œ
Vb J J Œ Œ
a tempo. dim.
J
ad lib.
Ernest
Strange the views some peo - ple hold! Strange, Oh, strange the
j
Vb œ. œ œ œ œ. œ ˙ ˙. Œ Œ œ œ. œ
a tempo. ad lib. dim.
Notary
J J
Strange the views some peo - ple hold! Strange, Oh, strange the
? j j j
œ. œ œ œ œ. œ ˙ ˙. Œ Œ œ œ. œ
a tempo. ad lib. dim.
Ludwig b
Strange the views some peo - ple hold! Strange, Oh, strange the
&b œ Œ œœ Œ œœ Œ œœ Œ Œ ∑
a tempo. colla voce.
œ œ œ œ ˙˙ œœ
p ˙
? œ Œ Œ
b œ œ œ Œ œ Œ ˙ œ Œ Œ œ ˙
10/’09
96 The Grand Duke
p
&b w ˙
82
˙ w
dim.
Julia
p
views. Ding dong,
b
& w ˙ w
dim.
Lisa
˙
p
views. Ding dong,
œ œ œ œ œ
V œ
b œ œ ˙ Œ œ
dim.
Ernest
p
views. Ding, ding dong, ding dong, dong! Ding, ding dong,
Vb w ˙ ˙ w
dim.
Notary
p
views. Ding dong,
Ludwig
?b w ˙ ˙ w
dim.
views. Ding dong,
&b w ˙ ˙˙ w
w ˙ w
p
?b w
dim.
˙ w
w ˙ ˙ w
π U
&b ˙ ˙ Œ Œ
85
Julia œ œ w
π U
ding dong, dong, dong!
Lisa &b ˙ ˙ œ Œ œ Œ w
π U
ding dong, dong, dong!
œ ˙ œ w
Ernest Vb œ Ó Œ
π U
ding dong, dong, dong, dong!
Notary Vb ˙ ˙ œ Œ œ Œ w
π U
ding dong, dong, dong!
?
Ludwig b ˙ ˙ œ Œ œ Œ w
U
ding dong, dong, dong!
&b ˙ ˙ œ Œ Ó ∑
˙ œ
π̇
? U
b ˙˙ Œ Ó ∑
˙ œ Attacca.
10/’09
Act I 97
No. 8. Quintet—(Julia, Lisa, Ernest, Notary, & Ludwig).
& b 42 œ œ b œ œ œ œ œ œ œ b œ œ œ b œ œ œ ≈ n œ # œ œ ≈ b œ œ œ ≈ n œ # œ œ ≈ n œ œ n œ œ œJ ‰ œ œ
Allegro vivace.
œœ œœ
ƒ b b œœ œœ œœ œœ b bb œœœ œœœ b œœœ b œœ p
? b 42 b œ œ œ œ b n œœœ œ œœœ b œœ œ
œ ‰ œ œ
Piano
J ‰ J ‰ J ‰ J ‰ œ J œ œ
r r
Vb ∑ ‰ Jœ œJ œJ œJ Jœ œJ œJ œJ œ œ œ Jœ œj œj œj œj œ Œ
6 Con brio. (offering a card to Ernest).
Notary
J
1. Now take a card and gai-ly sing How lit-tle you care for For-tune’s rubs—
j j j j j j≈ 3 j≈ 3
& b œœ ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœœ ‰ œœœ œœœ œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
f
? œj ‰ œ œ œj ‰ œ œ œj ‰ œ œ j
œœ ‰ œœ
j
œœ œœ ‰ œœ œœ
j
œœ ≈ œ œ œ œJ ≈ œ œ œ
b œ œ œ œ œ œ œ œ œ
f
‰ ≈ Rœ œ œ œ
3 3
&b ∑ ∑ ∑ J ‰ #œ
12
(dancing).
Julia
fr
A King! He’s
&b ∑ ∑ ∑ ‰ ≈œ œ œ ‰ nœ œ
(dancing).
Lisa
J
f r œ. œ œ
A King! He’s
œ. œ œ. œ œ ‰
Vb ∑ ‰ ≈ œ J R J R J R œ Œ Œ
(drawing a card).
J
Ernest
fr œ œ œ œ
Hur - rah, hur - rah!— I’ve drawn a King! I’ve
Vb ∑ ∑ ∑ ‰ ≈œ J ‰
(dancing).
Notary
f
A King! He’s
?b ∑ ∑ ∑ ‰ ≈ Rœ œ œ ‰ œ
J
(dancing).
Ludwig
A King! He’s
r œ œœ ‰ j œ œœ œœ ‰ n # œœ œœ
& b œj ≈ œ œ œj ≈ œ œ œj ≈ œ œ ‰ œœ ‰ œ ≈ œœ œ œ
3 3
œ œ J J J R J
f œ œ f œ œ
? b œ ≈ œ œ œ œ ≈ œ œ œ œ ≈ œR œœ ‰ #œ œ œ ≈œ œ œ ‰ œ
J J œ ‰ J ‰ J œ
J J J œ œ
3 3
R J
10/’09
98 The Grand Duke
œ œ œ pj j j j j j j j j j j
œ
J1
&b nœ
17
Julia
J œ œ œ œ œ œ œ œ œ œ œ
p
drawn a King! Sing Hearts and Dia - monds, Spades and Clubs! Sing Hearts and -
& b n˙ œ nœ œ j j j j j j j j j j j
Lisa
J œ œ œ œ œ œ œ œ œ œ œ
œ pœ
drawn a King! Sing Hearts and Dia - monds, Spades and Clubs! Sing Hearts and
˙ œ œ œ œ œ œ œ œ œ œ œ œ
Ernest Vb J J J J J J J J J J J J
pj j j
drawn a King! Sing Hearts and Dia - monds, Spades and Clubs! Sing Hearts and
˙ œ œ œ j j j j j j j j
Notary Vb J œ œ œ œ œ œ œ œ œ œ œ
j pj j j
drawn a King! Sing Hearts and Dia - monds, Spades and Clubs! Sing Hearts and
? ˙ œ œ j j j j j j j j
Ludwig b œ œ œ œ œ œ œ œ œ œ œ œ
œ.
drawn a King! Sing Hearts and Dia - monds, Spades and Clubs! Sing Hearts and
œ œ j . œ. n œ. n œ. œ. œ. œ. œ. œ. œ.
œ œœ œ
J1
& b n˙ œ n œœœ œ
p
˙˙ œœ œœ j œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b
j j j j j f j œ. œ œ j œ œj Jœ . œR œ j
&b œ œ œ n œJ . œR œ n œJ . œR
22
Julia œ œ œ œ J R J J J
f
Dia-monds, Spades and Clubs! How strange a thing! He’s drawn a King! An ex - cell’nt card— his chance it
j j
&b œ œ
j j j œj n œ . œ œ j œ. œ
œ J R œ œj n œ . œ œ j œ. œ
œ J R
Lisa œ œ œ J R J J J R J
f
Dia-monds, Spades and Clubs! How strange a thing! He’s drawn a King! An ex - cell’nt card— his chance it
œ œJ œ. œ œ j j r j œ Jœ . œ œ j j r
Ernest V b n œJ œ
J
œ
J
œ
J J J R J œ œ.œ œ J R J œ œ.œ
j fj j r j œ
Dia-monds, Spades and Clubs! How strange a thing! I’ve drawn a King! An ex - cell’nt card— my chance it
j j j j œ. œ œ j j r j œ œ. œ
Notary Vb œ œ œ œ œ œ œ. œ œ J J R J œ œ. œ œ J J R
fj j r j
Dia-monds, Spades and Clubs! How strange a thing! He’s drawn a King! An ex - cell’nt card— his chance it
? j j j j j j j r
Ludwig b œ œ œ œ œ ‰ Œ ‰ œ œ.œ œ ‰ Œ ‰ œ œ.œ
Dia-monds, Spades and Clubs! He’s drawn a King! His chance it
œ. œ. œ. j j j
b œ. œ ‰ n œœœ ‰ œ ‰ n œœ ‰ œ ‰ n œœ ‰ œ ‰ n œœ ‰
& J œ œ œ œ œ œ
J J J J
f
œœ
? n œœœœ œœœœ œœœœ œœœœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
b J J J J J J J J
10/’09
Act I 99
F
j œr œ
& b œ. œ œ œ
K1
‰ ∑ ∑ Œ
27
Julia œ.
F
aids! Sing Di - a - monds, Hearts, and
j r œ
Lisa & b œ. ‰ ∑ ∑ Œ œ
œ. œ
œ
œ
F
aids! Sing Di - a - monds, Hearts, and
œ œ. œ œ œ œ
Ernest V b œ. ‰ ∑ ∑ Œ J R
F
aids! Sing Di - a - monds, Hearts, and
œ. œ j r
Notary Vb ‰ ∑ ∑ Œ œ. œ œ œ œ
Fœ
aids! Sing Di - a - monds, Hearts, and
? ‰ ∑ ∑ Œ œ. œ œ œ œ
Ludwig b œ. J R
aids! Sing Di - a - monds, Hearts, and
K1
& b œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œ ≈ œ œ ≈œ œ ≈œœ ≈œ
p F
b ˙˙ ˙˙ œœ. œœœ. œœœ. œœœ.
? œœ ‰ Œ ∑ ˙ ˙
b
J
œ œ fœ
œ œ. ‰ j œr œ œ œ œ œ ‰ J
&b
33
Julia œ.
f
Spades and Clubs— Di - a - monds, Hearts, and Clubs and Spades! Sing
j r ‰ œJ
Lisa &b œ œ œ. ‰ œ. œ œ œ bœ œ œ œ
fœ
Spades and Clubs— Di - a - monds, Hearts, and Clubs and Spades! Sing
œ œ œ. œ. œ œ œ œ œ œ œ
Ernest Vb ‰ J R ‰ J
fœ
Spades and Clubs— Di - a - monds, Hearts, and Clubs and Spades! Sing
j r œ
Notary Vb œ œ œ. ‰ œ. œ œ nœ bœ œ œ ‰ J
fœ
Spades and Clubs— Di - a - monds, Hearts, and Clubs and Spades! Sing
? œ œ œ. ‰ œ. œ œ œ œ œ œ œ ‰ J
Ludwig b J R
œœ œ
Spades and Clubs— Di - a - monds, Hearts, and Clubs and Spades! Sing
œ œ ≈œ œ ≈œ œ ≈œ œ ≈ ≈ œ.
&b œ ≈œœ ≈œ œ ≈œœ œ œ œ ≈ œ
J
f
œœœ. œœœ. b n œœ.
3
? œ. œ. œ. œœ œœ œ b œ. œ. œ œ
b œœ œœ œœ œ œœ œœ œœ
œ
10/’09
100 The Grand Duke
j j œ j œ j
& b œJ œJ œ œ j r j œ œ œ œj œj œr j J œ œ œ
39
J J J J J œ
Julia
œ. œ œ J . œ
Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds,Hearts, and Clubs and Spades! Sing Hearts and Dia-monds,
œ j j œ œ j œ j
& b J œJ œ œ j r
œ . œ œj J J
œ
J œ œj œj œr j J œ œ œ
J J J œ
Lisa
. œ
Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds,Hearts, and Clubs and Spades! Sing Hearts and Dia-monds,
œ j j œ œ j œ j
V b J œJ œ œ j r j J J
œ œ œj j œr j J œ œ œ
J J J œ
Ernest
œ. œ œ J œ. œ
Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds,Hearts, and Clubs and Spades! Sing Hearts and Dia-monds,
œ j j œ œ j œ j
V b J œJ œ œ j r j J J
œ œ œj j œr j J œ œ œ
J J J œ
Notary
œ. œ œ J œ. œ
œ œ œ œ œ œ œ œ œ œ
Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds,Hearts, and Clubs and Spades! Sing Hearts and Dia-monds,
? J J J œ j J J œ œ
J J J œ. œ œ J j J J J œ
b J œ. œ œ J
Ludwig
J R J R
Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds,Hearts, and Clubs and Spades! Sing Hearts and Dia-monds,
œ œ œ œ œ œ œ œ œ œ
&b œ j J œ œ j J œ
œœ .. œ œœ œœ .. œ œœ
œ œ œ œ
? ˙ œ. ‰ ˙ œ. ‰
b ˙ œ. ˙ œ.
j j j
&b œ œ œj j
œ œœœœœœœœ œ ‰ œ ∑ ∑
44
Julia ˙
Spades and Clubs— Sing Hearts and Spades!
j
œ œj œj
j
Lisa &b œ œ œ œ œ œ œ œ œ œj ‰ œ ˙ ∑ ∑
Spades and Clubs— Sing Hearts and Spades!
j j j
Ernest Vb œ œ œj œ j œ
œ œœœ œœœœ œ ‰ ˙ ∑ ∑
Spades and Clubs— Sing Hearts and Spades!
j
œ œj œj
j
Notary Vb œ œ œ œ œ œ œ œ œ œj ‰ œ ˙ ∑ ∑
œ œ
Spades and Clubs— Sing Hearts and Spades!
? œ œ œ œ œœœ œœœœ œ ‰ ˙ ∑ ∑
Ludwig b J J J J J
œ
œ . œ œJ œ œ œ
Spades and Clubs— Sing Hearts and Spades!
J ‰ J ‰
&b œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ œœ ‰
f
œ œ œ ˙ œœœ ‰ œ œœœ œœœ œœœ œœœ œœ œœ
? œ
b œ̇ œ J
œ J ‰ J J‰ ‰ œ œ
10/’09
Act I 101
œ œ Jœ œ œ œ œ œ œ r r
Vb ∑ ∑ ∑ ‰ œ œ œJ
50
J J
Con brio. (to Ludwig).
Notary
J J J J J J
œ.
2. Now take a card with heart of grace— (What - ev - er our
&b œ œ œ œJ ‰ j j j j
œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ ‰
3
œœ œœ œœ œœœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ
p
? œœœ œœ œœ j j j j
b œ J ‰ œœ œœ œœ ‰ œ œ œ ‰ œ œ
œ œ œ œ œ
œ ‰
œ
œ œ
œ œ
œ
œ
‰ œ
œ
œ
œ
j j j j
Vb œ œ œ œ Œ ∑ ∑ ∑
56
Notary œ
f œ œ. œ œ. œ Jœ . Rœ
fate, let’s play our parts).
? ∑ ∑ ∑ ‰ ≈R J R J R
b
(drawing card).
Ludwig
Hur-rah! hur - rah!— I’ve drawn an
j ‰ j j≈ 3 j≈ 3 j≈ 3 j r œ œœ ‰ œœ ‰
&b œœ ≈ œ ≈ œ œJ ‰
œœœ œœœ œœœ œ œœœ œ œœ œ œ œœœ œ œœ
3
œ J J
f f œ
j j #œ
? ≈ œ œ œ œJ ≈ œ œ œ œJ ≈ œ œ œ œJ ≈ œ œ œ œ œ œ œ ‰ œ
b œœ ‰ œœ œœ œœ J ≈ R œJ ‰ J J ‰
3 3 3 3
fœ œ œ ‰ #œ œ œ œ œ p
œ œj œj œj œj œj j j
J2
&b ‰ ≈R nœ
61
J œ œ
(dancing).
Julia
J
(dancing). f p
An Ace! He’s drawn an Ace! Sing Clubs and Dia - monds, Spades and
r
Lisa & ‰ ≈œœ
b œ ‰ nœ œ
J
n˙ œ nœ œ j j j j j
J œ œ œ œ œ
j j
œ œ
(dancing). f
j‰ œ œ pœ
An Ace! He’s drawn an Ace! Sing Clubs and Dia - monds, Spades and
r ˙ œ œ œ œ œ œ œ œ
Ernest Vb ‰ ≈œœ œ J J J J J J J J
(dancing). f œ p
An Ace! He’s drawn an Ace! Sing Clubs and Dia - monds, Spades and
r œ œ œ
V ‰ ≈œ
b J ‰ ˙ œ œ œ œj œj œj œj œj j j
œ œ
Notary
J
j pj j j j j
An Ace! He’s drawn an Ace! Sing Clubs and Dia - monds, Spades and
? œ œ ˙ œ œ j j
Ludwig b J ‰ Œ Œ œ œ œ œ œ œ œ œ
œ. n œ.
Ace! I’ve drawn an Ace! Sing Clubs and Dia - monds, Spades and
œ œ j . œ. n œ. œ. œ.
j œ
& b œ ≈ œœ
œœ œœ ‰ n # œœ œœ n œ˙ œœ œ
J2
œ œ œ n œœœ œ
R J p
œ f œ œ ˙˙ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œJ ≈ œ œ œ ‰ œ œ œœ œœ œœ œœ œœ œœ œœ
b œ œ œ
R J
10/’09
102 The Grand Duke
j j j j j j j j j f j œ. œ œ j nœ. œ œ j œ. œ
&b
67
Julia œ œ œ œ œ œ œ œ œ œ J R J œ J R J œ J R
f
Hearts! Sing Clubs and Dia-monds, Spades and Hearts! He’s drawn an Ace! Ob - serve hs face— Such rare good
&b j j j j j j j j j œj n œ . œ œ œj Jœ . Rœ œ j
œ n œJ . Rœ
Lisa
œ œ œ œ œ œ œ œ œ J R J J
fœ
Hearts! Sing Clubs and Dia-monds, Spades and Hearts! He’s drawn an Ace! Ob - serve his face— Such rare good
œ œ œ œ œ œ. œ œ j j r j œ œ. œ
Vb J nœ œ œ œ J J R J œ œ.œ œ J J R
Ernest
J J J J J J J J
j f j j r j œ œ. œ
Hearts! Sing Clubs and Dia-monds, Spades and Hearts! He’s drawn an Ace! Ob - serve his face— Such rare good
j j j j j j j j œ j j r
Notary Vb œ œ œ œ œ œ œ œ œ œ œ.œ œ J J R J œ œ. œ
fj j r j
Hearts! Sing Clubs and Dia-monds, Spades and Hearts! He’s drawn an Ace! Ob - serve his face— Such rare good
? j j j j j j j j j
Ludwig b œ œ œ œ œ œ œ œ œ ‰ Œ ‰ œ œ.œ œ ‰ Œ
œ. œ. œ. œ.
Hearts! Sing Clubs and Dia-monds, Spades and Hearts! I’ve drawn an Ace!
œ. œ. j j
œ. œ. œ ‰ n œœœ ‰ œ ‰ n œœ ‰ œ ‰ n œœ ‰
&b J œ œ œ œ
J J J
f
œœ œœ œœ œœ n œœ œœ œœ
? œœ œœ œœ œœ œœ œœ œœœœ œœœœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
b
J J J J J J
F
j j œr œ
& b œJ œ n Jœ . œ. œ
K2
œ ‰ ∑ ∑ Œ
72
Julia
R œ.
F
for - tune falls to few! Sing Di - a - monds,
j œ. œ j r
Lisa & b œJ œ J R œ. ‰ ∑ ∑ Œ œ œ. œ œ
F
for - tune falls to few! Sing Di - a - monds,
œ j j r ‰ ∑ ∑ Œ œ œ. œ œ
Ernest V b J œ œ . œ œ. J R
F
for - tune falls to few! Sing Di - a - monds,
b j œ Jœ . œ œ. ‰ ∑ ∑ Œ œ j r
Notary V œ J R œ. œ œ
Fœ
for - tune falls to few! Sing Di - a - monds,
? j j r œ. œ œ
Ludwig b ‰ œ œ . œ œ. ‰ ∑ ∑ Œ J R
Good for - tune too! Sing Di - a - monds,
j
K2
œ œ œ ≈œœ ≈œ œ ≈œœ ≈œ œ ≈œœ ≈œ œ ≈œœ ≈œ œ ≈œ
& œ ‰ n œœ ‰
b
œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ
≈
J
p F
œ œ œœ ‰ Œ b˙ ˙ œœ. œœœ.
? ˙˙ ˙˙
b œ ‰ œ ‰ ∑
J J J
10/’09
Act I 103
œ œ œ œ œ. j œr œ œ œ œ œ
&b ‰
78
Julia œ.
Hearts, and Spades and Clubs— Di - a - monds, Hearts, and Clubs and
œ ‰ j r œ
Lisa &b œ œ œ œ. œ. œ œ bœ œ œ
Hearts, and Spades and Clubs— Di - a - monds, Hearts, and Clubs and
œ œ œ œ œ. œ. œ œ œ œ œ œ
Ernest Vb ‰ J R
Hearts, and Spades and Clubs— Di - a - monds, Hearts, and Clubs and
j r œ
Notary Vb œ œ œ œ œ. ‰ œ. œ œ nœ bœ œ
Hearts, and Spades and Clubs— Di - a - monds, Hearts, and Clubs and
? œ œ œ œ œ. ‰ œ. œ œ œ œ œ œ
Ludwig b J R
œ ≈œ œ ≈œ
Hearts, and Spades and Clubs— Di - a - monds, Hearts, and Clubs and
œ œ ≈œ œ ≈œ œ ≈œ
&b œ ≈œœ ≈œ œ ≈œœ ≈œ œ ≈œœ œ œ œ ≈
œœœ. œœœ. œœœ. œœœ. b n œœ.
3
? œ. œ. œ. œœ œœ œ b œ. œ.
b œœ œœ œœ œ œœ œœ
f
&b œ ‰ œJ œ œ œj œj j r j œ œ œ j
œ œj j r j Jœ
84
J J J J
Julia
œ. œ œ J œ. œ œ
fœ
Spades! Sing Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds, Hearts, and Clubs and Spades! Sing
&b œ ‰ J œ
J œ œj œj j r j
œ
J œ
J œ j
œ œj j r j J
œ
Lisa
J œ. œ œ J œ. œ œ
œ ‰f œJ
Spades! Sing Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds, Hearts, and Clubs and Spades! Sing
Vb
œ œ œj j j r j œ
J œ œ j
œ œj j r j Jœ
Ernest J J œ œ. œ œ J J œ. œ œ
fœ
Spades! Sing Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds, Hearts, and Clubs and Spades! Sing
Vb œ ‰ J œ œ œj œj j r j
œ
J œ j r j J
œ j
œ œj
œ
Notary J J œ. œ œ J œ. œ œ
J
fœ œ œ œ œ œ œ œ
Spades! Sing Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds, Hearts, and Clubs and Spades! Sing
j œ j
?
b œ ‰ J J J J œ
J œ. œ œ J J J J J œ. œ œ œ J
Ludwig
J R J R
œ.
Spades! Sing Hearts and Dia-monds, Spades and Clubs— Sing Dia-monds, Hearts, and Clubs and Spades! Sing
œ œ œ œ œ œ œ œ
&b J œ j J œ œ j J
œœ .. œ œœ œœ .. œ œœ
f
? œœ œ ˙ œ. ˙ œ.
b œ œ ‰ ‰
˙ œ. ˙ œ.
10/’09
104 The Grand Duke
& b œJ œ œj œj j
œ œj œj
j
œ œœœœœœœœ j œ
L
œ ‰
89
Julia
J ˙
Hearts and Dia-monds, Spades and Clubs— Sing Hearts and Spades!
& b œJ œ œj œj j
œ œj œj
j
œ œœœœœœœœ j œ
Lisa
J œ ‰ ˙
œ œj œj
Hearts and Dia-monds, Spades and Clubs— Sing Hearts and Spades!
j
V b œJ œ œj œj
j
Ernest
J œ œœœœœœœœ j œ
œ ‰ ˙
Hearts and Dia-monds, Spades and Clubs— Sing Hearts and Spades!
V b œJ œ œj œj j
œ œj œj
j
œ œœœœœœœœ j œ
Notary
J œ ‰ ˙
œ œ œ œœœœœœœœ œ
Hearts and Dia-monds, Spades and Clubs— Sing Hearts and Spades!
?b J J œJ œ
J œ
J œ œ œ ‰ ˙
Ludwig J J J J
Hearts and Dia-monds, Spades and Clubs— Sing Hearts and Spades!
œ
œ. œ J ‰
&b œ œ œ œ œœœœœœœœ j œ
L
œ œ œ œ œ ‰ œ
f
œ œ œ œ œ œœ ˙ œœœ ‰ œœ œœœ œœœ
?b œ œ̇ œ J J ‰
bbbbb ‰ j
œ Jœ œJ
M
Vb ∑ ∑ ∑ ∑ ∑
94
Con brio.
Notary
œ œ œ œ œ.
œ œ œ œJ ‰ œ
3. That both these
J J bbb j ‰
&b ‰ ‰ œ bœ œ œ b b œ œ œ
œœ œœ
p
œ œ
3
? œœ ‰ œœ ‰ œœœ œœ œœ œœ œœ œ œ b œ j
œ œ bb b œ ‰ œ œ
b J J œ œ œ J ‰ œ œ bœ œ œ bb œ œ œ
b œ œ œ œJ œ j j j œ
V b bbb J J œJ Jœ œ œ œ œ œJ J Jœ œJ œ œ œ œJ Jœ Jœ J
100
Notary
J J R R J
maids may keep their troth, And nev-er mis - for-tune them be - fall, I’ll hold ’em as trus-tee for
b j j j j j
& b b b b œœ ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ
œ œ œ œ œ œ ∫œ œ œ œ œ œ œ œ œ
? b b œj ‰ œ œ j
œ ‰ œ
j
œ œ ‰
j
œ œ œ ‰ œ œ œ ‰ œ
j
œ
bbb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
Act I 105
[S ]
b b b ‰ f œj œJ . œ œ. œ œ. œ œ ‰ œ œ nœ œ œ œ œ
105
Julia & bb R J R J R J nœ
b b ‰ f j j r j r œj . œr j [‰S ]
He’ll hold ’em both! He’ll hold ’em both! Yes, he’ll hold ’em
Lisa b
& bb œ œ . œ nœ . œ bœ œ œ nœ œ n˙ œ œ
œ [‰S ] œ
He’ll hold ’em both! He’ll hold ’em both! Yes, he’ll hold ’em
bb b ‰ f œ œ. œ œ. œ œ. œ
J R J R œ œ ˙ œ œ
Ernest V bb J J R J
He’ll hold ’em both! He’ll hold ’em both! Yes, he’ll hold ’em
b œ.
Notary V b bbb ‰ ∑ ∑ ∑ ∑ ∑
fœ œ. œ œ. œ œ [S ] œ œ œ œ
both—
Ludwig
? bb ‰ J
bbb
J R J R œJ . Rœ J ‰ ˙ œ œ
He’ll hold ’em both! He’ll hold ’em both! Yes, he’ll hold ’em
b œ j œ œœ œœ n n œœ œœ n œ˙ œ œ
& b b b b œœ ‰
œœ n œœ œ b œœ ‰ œœ
J
œ n œœœ
œ
j
f
œ œ œ œ Sœ œ œ œ ˙˙ œœ œœ
? bb œ ‰ œ œ œ œ ‰ œ œ œ ˙ œ
bbb J
œ
bb b j p j j j j j j j j j j j j j j j j j œ . cresc.
œ œ œ œ J Rœ
111 O
Julia & bb œ œ œ œ œ œ œ œ œ œ œ œ nœ œ
bbb j p j j
both! Sing Hearts, Clubs, Dia-monds, Spades and all! Sing Hearts, Clubs, Dia-monds, Spades and all! By joint de-
b j j j j j j j j j j j j j j j n œj . œr
cresc.
Lisa & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb b œ pœ
both! Sing Hearts, Clubs, Dia-monds, Spades and all! Sing Hearts, Clubs, Dia-monds, Spades and all! By joint de-
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ
V bb J J
cresc.
Ernest
J J J J J J J J J J J J J J J J J R
b b b ‰ pœj œj
both! Sing Hearts, Clubs, Dia-monds, Spades and all! Sing Hearts, Clubs, Dia-monds, Spades and all! By joint de-
j j j j j j j j j j j j j œj œ œJ . œ
b œ œ œ œ œ œ œ œ œ
cresc.
Notary V b œ œ œ œ J R
p
Sing Hearts, Clubs, Dia-monds, Spades and all! Sing Hearts, Clubs, Dia-monds, Spades and all! By joint de-
? b b œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ Jœ œJ . Rœ
cresc.
Ludwig bbb J J J J J J J J J J J J J J J
œ. n œ.
both! Sing Hearts, Clubs, Dia-monds, Spades and all! Sing Hearts, Clubs, Dia-monds, Spades and all! By joint de-
j œ. œ. n œ. œ. œ. œ. œ. œ. j j
bbbb œ. n œœ. œœ. œœ œœ œ ‰ n œœ ‰
O
& b œœœ
. . œ
p
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœ
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J ‰ œ‰
bbb œ
J J
10/’09
106 The Grand Duke
j j f j œ œ3 œ
b
& b b b b œ œj Jœ . œR œ œj Jœ . œ œ œj œJ . œ œ nœ J J J œ n œj Jœ . œ
116
Julia
R J R J J R
b b j j j r j j j r œj j j r œj f j n œ œ3 œ
cree As our trus - tee This No - tary we will now in - stal— In cus - to - dy let him keep our
b
& b b œ œ nœ . œ œ œ nœ . œ œ n œj n œ . œ
Lisa œ nœ . œ nœ J J J J J R
œ f j œ œ œ nœ j œ. œ
cree As our trus - tee This No - tary we will now in - stal— In cus - to - dy let him keep our
b œ œ œ. œ œ j Jœ . œ œ œ œ. œ
V b bbb J J J R J J J J nœ J J J J nœ J R
3
Ernest J œ R R
f j œ œ œ
cree As our trus - tee This No - tary we will now in - stal— In cus - to - dy let him keep their
b œ. œ œ j Jœ . œ œ œ œ. œ œ œ œ œ. œ
V b b b b œJ Jœ J R J J J J nœ J J J J J J R
3
Notary
J œ R R
œ fn œ œ œ3 œ œ œ nœ.
cree As our trus - tee This No - tary they will now in - stal— In cus - to - dy let me keep their
? b b œJ Jœ Jœ . œR œ œ œ. œ œ œ œ. œ J J J œ
Ludwig bbb J J J R J J J R J J J J J R
j ‰ œj ‰ j
cree As our trus - tee This No - tary we will now in - stal— In cus - to - dy let him keep their
b b b j ‰ œj ‰ j œ
œ ‰ n œœ ‰
j
œ ‰ n œœœ ‰
j
œ ‰ n œœ ‰
& b b œœ n œœ œœ
œ
n œœ
œ œ œ œ
J J
fj j
? bb œ ‰ œ ‰ œ ‰ œj œ j œ nœ œ n œ
cresc.
‰ ‰ œ ‰
bbb œ œ œ œ œ œ œ ‰ nœ ‰ œ ‰ nœ ‰
J J J J J J
b j j j j
& b bbb œ œ œ œ œ œ œ œ œ œ nœ œ bœ œ œ œ
121
nœ œ bœ œ
dim - - - - - - - - - - - - - in - - - - - - - - - - - - - uendo.
Julia
J J J J J J J J J J J J J J J J
hearts. By joint de - cree As our trus - tee, As our trus - tee This No - tary we will now in -
b j j j j
& b bbb œ œ œ œ œ œ œ œ œ œ nœ œ bœ œ œ œ nœ œ bœ œ
dim - - - - - - - - - - - - - in - - - - - - - - - - - - - uendo.
Lisa
J J J J J J J J J J J J J J J J
nœ œ œ œ
hearts. By joint de - cree As our trus - tee, As our trus - tee This No - tary we will now in -
b j j j j
V b bbb J J J J œ œ œ œ œ œ nœ œ bœ œ œ œ nœ œ bœ œ
dim - - - - - - - - - - - - - in - - - - - - - - - - - - - uendo.
Ernest
J J J J J J J J J J J J
hearts. By joint de - cree As our trus - tee, As our trus - tee This No - tary we will now in -
b œ œ œ œ j j j j
V b bbb J J J J œ œ œ œ œ œ nœ œ bœ œ œ œ nœ œ bœ œ
dim - - - - - - - - - - - - - in - - - - - - - - - - - - - uendo.
Notary
J J J J J J J J J J J J
œ œ œ œ œ œ œ œ œ œ nœ œ
hearts. By joint de - cree As their trus - tee, As their trus - tee This No - tary they will now in -
? bb bœ œ œ œ nœ œ bœ œ
J J J J J J J J J J J J
dim - - - - - - - - - - - - - in - - - - - - - - - - - - - uendo.
Ludwig bbb J J J J J J J J
œœ. n n œœ. n œœ. œœ.
hearts. By joint de - cree As our trus - tee, As our trus - tee This No - tary we will now in -
j . . n œ. . .
n n œœ œœ. n œœ. œœ . .
n œœ n œœ. n œœ. œœ
b
& b bbb œ ‰ œ œ œ n œœ n œœ œ
œ J
dim - - - - - - - - - - - - - in - - - - - - - - - - - - - uendo.
œ œ œ œ œ œ œ œ œ nœ œ bœ œ œ œ nœ œ bœ œ
? bb œ ‰ œ œ ˙ ˙ ˙ ˙
bbb J
10/’09
Act I 107
bb b p j ‰ F n n b Marcato.
n n œj. œ œ
r
P
Œ ∑ ∑ Œ œ
126
Julia & b b nœ
b b pj ‰ F
stal— Sing Di - a - monds,
b Œ ∑ ∑ Œ œ nnb j r œ
Lisa & b b nœ nn œ. œ
bb b b p j ‰ f œ F
stal— Sing Di - a - monds,
œ œ ˙ Œ œ n n b œ. œ œ
Ernest V b nœ nn J R
b b pj ‰ F
stal— As our trus - tee. Sing Di - a - monds,
b Œ ∑ ∑ Œ œ n n b œj œr œ
Notary V b b nœ nn .
p fœ œ œ ˙ Fœ
stal— Sing Di - a - monds,
? b b n œJ ‰ Œ n n b œ. œ œ
Ludwig bbb nn J R
stal— As our trus - tee. Sing Di - a - monds,
b n œ. r n
& b b b b œJ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ nnnb
P
œœ ≈ œ œ ≈œ
œ œ œ œ œœ œ œ œœ œ œ œœ œ
p f p
b˙ ˙ œœ. œœœ.
dim.
? b b n œœ ‰ Œ ∑ n ˙˙ ˙˙ nnn b
bbb J n
œ œ œ œ œ. j œr œ œ œ
&b ‰
131
Julia œ.
Hearts, and Spades and Clubs! Di - a - monds, Hearts, and
œ ‰ j œr œ
Lisa &b œ œ œ œ. œ. œ bœ
Hearts, and Spades and Clubs! Di - a - monds, Hearts, and
œ œ œ œ œ. œ. œ œ œ œ
Ernest Vb ‰ J R
Hearts, and Spades and Clubs! Di - a - monds, Hearts, and
j r œ
Notary Vb œ œ œ œ œ. ‰ œ. œ œ nœ
Hearts, and Spades and Clubs! Di - a - monds, Hearts, and
? œ œ œ œ œ. ‰ œ. œ œ œ œ
Ludwig b J R
œ ≈œ œ ≈œœ ≈œ
Hearts, and Spades and Clubs! Di - a - monds, Hearts, and
œ
œ ≈œ ≈œ
œ
&b œ ≈œœ ≈œ œ ≈ œ œ œ3 œ œ ≈
œœœ. œœœ. œœ. œœ. œœ. œœ œœ œœœ. œœœ. b n œœœ.
? œ œ œ œ
b
10/’09
108 The Grand Duke
œ fœ
&b œ œ ‰ J œ œ œj j j r j Jœ œ œ j
œ œj
136
Julia J J œ œ. œ œ J J
f
Clubs and Spades! Sing Hearts and Dia-monds, Spades and Clubs, Sing Dia - monds, Hearts, and
&b œ œ œ ‰ œJ œ
J
œ œj j
œ j r j Jœ œ
J
œ j
œ œj
Lisa
J œ. œ œ J
fœ
Clubs and Spades! Sing Hearts and Dia-monds, Spades and Clubs, Sing Dia - monds, Hearts, and
Vb
œ œ œ ‰ J œ œ œj j j r j Jœ œ œ j
œ œj
Ernest J J œ œ. œ œ J J
fœ
Clubs and Spades! Sing Hearts and Dia-monds, Spades and Clubs, Sing Dia - monds, Hearts, and
V b bœ œ œ ‰ J œ œ œj j j r j Jœ œ œ j
œ œj
Notary J J œ œ. œ œ J J
fœ œ œ œ œ œ
Clubs and Spades! Sing Hearts and Dia-monds, Spades and Clubs, Sing Dia - monds, Hearts, and
?
b œ œ œ ‰ J J J Jœ œ œ. œ
j J J J œ œ
Ludwig J J R œ J J
œœ
œ
œ.
Clubs and Spades! Sing Hearts and Dia-monds, Spades and Clubs, Sing Dia - monds, Hearts, and
œ ≈ ≈ œ œ œ œ œ œ œ
&b J œ œœ .. œ œœ
j J œ œ
f
. œ.
? b œœœ œœ
œ
œœ œ ˙ œ. ‰ ˙
b œ ˙ œ. ˙
j r j Jœ œ œ œj œj j j j j r œr j f œ œ œ œ. ‰
&b
141
Julia
œ. œ œ J J œ œ œ œ œ œ
œ œ œj œj j j j j r r j fœ
Clubs and Spades! Sing Hearts and Dia-monds, Spades and all! Sing Di-a- monds, Hearts and all!
œ œ œ
Lisa & b œj. œr œj J J J œ œ œ œ œœ œ œ. ‰
œ œ œj œj j j j j œ œ œ fœ
Clubs and Spades! Sing Hearts and Dia-monds, Spades and all! Sing Di-a- monds, Hearts and all!
Vb j r j Jœ J J œ œ œ œ RR J
œ œ œ. ‰
Ernest
œ. œ œ
f
œ œ œj œj
Clubs and Spades! Sing Hearts and Dia-monds, Spades and all! Sing Di-a- monds, Hearts and all!
œ j
Notary V b œj. œr œj J J J œ œj œj œj œR œR Jœ œ œ œ œ. ‰
œ œ œ œ œ
œ œ œ œ œR œR Jœ f œ
Clubs and Spades! Sing Hearts and Dia-monds, Spades and all! Sing Di-a- monds, Hearts and all!
? œ. œ œ J j J J J J œ œ ‰
Ludwig b J R J J J J œ.
Clubs and Spades! Sing Hearts and Dia-monds, Spades and all! Sing Di-a- monds, Hearts and all!
œ œ œ œ œ >œ œœ œœ
& b œ. œ j J œ œ œ œ œœœ œ œœœ œœ œ œ œœœ ... ‰
œ. œœ
f
œ œ œ œ
? œ. ‰ œ œ œœœ œ œ œ œ œ œœ . ‰
b œ. œ œ œ œ œ .
>
10/’09
Act I 109
ƒ˙ ˙ Uœ ˙ ˙
&b œ ∑
147
Julia
ƒ U
Hearts and all!
Lisa &b ˙ ˙ œ œ ˙ ˙ ∑
ƒ ˙ Uœ œ ˙ ˙
Hearts and all!
˙ ∑
Ernest Vb
ƒ˙
Hearts and all!
˙ Uœ œ ˙ ˙
Notary Vb ∑
ƒ˙
Hearts
˙ Uœ and
œ
all!
? ˙ ˙ ∑
Ludwig b
œ
œœ .. œ œ ‰
Hearts and all!
œœ œœœ U
&b œœ Œ œ Œ ∑ ∑ ∑ J
ƒ f
U œœœ œœœ
? Œ Œ ∑ ∑ ∑
b œ œ J ‰
œ œ
œ œ
œ œ œ œ ˙ œ . œœ œ œ œ œ
&b œ ‰ œ ‰ œ ˙œ ≈ œ œ ≈ œ œ . œ ‰ œ ‰ œ ‰ œ
153
J J J J J
œ œ œ ≈ œ œœ ≈ œ ˙˙ œœœ œœœœœœ œœœ œœ ≈ œ œœ ≈ œ
? b œœ ‰ œœ ‰ œœœ œœ ˙˙ œœ œœ
J J J‰ J‰ J ‰J ‰ J ‰
J‰ J‰
œ œ. œ. œj œ œ œ. œ. .
œ œœ œœ œœ œœ. œ œ œ œ
œ œ. œ. œj œ œ œ. œ.
&b œ œ œ œ œ œ œ œ œ. œœ. œœ
j j
159
œ
œ œ œ œ œ
j
œœ œœ. œœ. œœ œœ. œœ. œ œœ. œœ. œœ œ. œœ. œœ œœ. œœ. œœ œ œœ. œœ.
? b œœ ‰ œ œ œ œ
J
(Dance and Exeunt—Ludwig r., Ernest l., and Notary off c. with the two Girls.)
œ. œ. œ . œ œœ . œ œœ . œ œ . œ œ œ. œœ. U˙
b œ œ
j
Œ Œ ˙˙˙
165
& œ œ œ œ œ œ œœ œœ
œ
œ
. . œ œ œœ.
? b œœ œ œœ œœ œœ œ œ œ Œ œ Œ ˙
œ œ. u̇ [Attacca.]
10/’09
110 The Grand Duke
No. 9. Entrance of Chamberlains & Grand Duke.
March. Enter the seven Chamberlains of Grand Duke Rudolph.
# # cAndante allegretto.
∑ ∑ ∑ ‰. r Ó Œ
&
œ
p p
? ## c ‰ œj œ œ œ ‰ œj œ œ œ ‰ . œr
Piano
˙ ˙ œ Œ Œ
˙ ˙
# r r r
& # œ .. r œ œ .. œ œ .. r ‰. r
5
œ œ .. R œ œ
.. œ œ .. œ œ œ œ œ
? # # œ .. œ œ
.. œ œ .. œ œ ..
R œ œ œ
.. œ ‰ . œr
R R R œ .. R R œ œ œ
## r r r
r œ œ .. œ r
9
& œ .. œ œ .. R œ .. œ œ
.. œ œ .. œ œ
œ œ œ
? # # œ .. œ .. œ œ .. œ
R œ .. œ œ .. œ
œ R R œ .. œ R œ œ œ Œ
R R
# œ œ. œ œœ . œ œ . œ œœ . œ œ˙ œ œœ œœ . œ œ n œœ œœ œ . œ # œœ
& # œœ œœ .. œœ œœ . œœœ œ
b œœ œ ‰ œœ œœ œœ
13
œ œ œ œ œœ
3
œ
J
? # # œ .. r ..
œ œœ .. œ œœ .... œ
R œ .. œ œ œ
.. œ œ œ r
R R œ .. R R œ ‰. œ
œ ..
œ.
# # œ œ . œ œ . œ œœ .. œ œ . œ œ . n œœœ œ˙˙ œ # œœ œœ œ n œ˙ œ . œ œ .. œ # œ . œ œ Œ
œœ . œœ .. œœ
17
& œœ œœ .. œ œ . œ . œ . ˙
f>
? # # œ .. r ..
œ œœ .. œ œœ .... œ
R œ .. œ œ .. œ œ .. œ
œ œ œ œ
R R R œ .. R œ œ
œ ..
10/’09
Act I 111
# # Chorus of Chamberlains. j j
∑ Ó Œ œ œ œj œj
21
V œ œ
4 tenors.
T œ
The good Grand Duke of Pfen-nig
3 basses. œ œ
Chorus
? ## œ œ œ
B ∑ Ó Œ J J Jœ Jœ
The good Grand Duke of Pfen-nig
## Œ j ‰ œj ‰ j ‰ Œ j ‰ œj ‰ j ‰ Œ j ‰ œj ‰ j ‰
& œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ meno f
œ œ
> j j j j j œœœ ‰ œj
? # # œj ‰ œœ ‰ œœœ ‰ œœ ‰ j ‰ œœ ‰ œœœ ‰ œœ ‰ j ‰ œ
œ ‰ œœ ‰
œ œ J œ œ œ J œ œ œ J
# j j
V # œ œ œ œ œ œ œ œj œj Jœ œJ Jœ Jœ œ
24
T œ œ
œ œ œ œ œ œ
Halb - pfen - nig, Tho’, in his own o - pi-nion, ve - ry, ve - ry big, In
œ œ œ œ œ œ œ œ œ œ
Chorus
B
? ## J J J J J J J J
Halb - pfen - nig, Tho’, in his own o - pi-nion, ve - ry, ve - ry big, In
# j j j ‰ œj ‰ j ‰ j j
& # Œ œœ ‰ Œ
œœ # œœœ
œ ‰ Œ œœ œœ œœ Œ œœ ‰ Œ
œ
œœ ‰
œœ
œ œ
j
? ## ˙ ˙ œ ‰ œœœ ‰ œœœ ‰ œœœ ‰ ˙
˙
˙
˙ ˙ œ J J J ˙
# j j j j j j j j j j j j j
œ œj œ œ œ
V # œ œ #œ œ œ œ œ œ œ œ #œ œ nœ J Jœ œJ # œJ
27
point of fact he’s no-thing but a mis - er - a - ble prig, Is the good Grand Duke of Pfen - nig
? # # œJ Jœ # œJ œJ Jœ œJ Jœ œJ œ œ #œ œ nœ œ #œ œ œ œ
J œJ J J J œJ
Chorus
B J J J J œ
point of fact he’s no-thing but a mis - er - a - ble prig, Is the good Grand Duke of Pfen - nig
## Œ j j j‰ Œ j j‰ j
& œœ ‰ Œ œœ ‰ Œ n œœœ œœ ‰ Œ œ œœ ‰ œj ‰
œ œœ œ n œœ # œœ œ œœ
j œ
? ## œ ‰ œ ‰ j ‰ n œ ‰ j ‰ œJ ‰ j ‰ # œJ ‰ j ‰ Jœ ‰ J ‰ Jœ ‰
œ J nœ J œ œ
#œ
10/’09
112 The Grand Duke
#
V # œ œ œ Œ ∑ ∑ ∑
30
Halb-pfen-nig!
? ## # œ œ œ Œ
Chorus
B ∑ ∑ ∑
. œœ.
.œ œœ. œœ. œœ. œœ. n œœ œœ. œ. œœ. œœ. œ. œœ. œœ. œœ. œœ.
Halb-pfen-nig!
.
## œ. œœ. œœ J ‰ J ‰ J‰
& # œœœ œœœ œœœ J ‰ J ‰ J ‰ J ‰
p . .
? ## œ œœ œœ & œ œœ œœ ‰
j
œ
j œ. n œœ. ‰ œœ. ‰ œœ. ‰ . . œ œj . . œ œj ‰
œœœ. œœ œœ
. . . œ. œ. œ. ‰ œœ
œ œ œ œ œ œ n œ˙. ‰ œ œ œœ. œ. œ.
œ J J J J
## Ó j
Œ œ nœ œ œj œj œj œj # œj œj œ n œ
34
T V œ J œ œ
œ nœ œ œ œ œ œ # œ œ Jœ n œ
Though quite con - temp-ti - ble, as ev - ’ry one a - grees, We
œ œ œ
Chorus
? ## Ó Œ J J J J
B
J J J
Though quite con - temp-ti - ble, as ev - ’ry one a - grees, We
# # # ˙˙ œ
J ‰ Œ j j j ‰ j ‰ j ‰ Œ
‰ œ ‰ œ
& # ˙˙ œ œœ n œœ # œœœ œœ
œ
# œ ‰ œ ‰ n œj ‰ œ ‰ j ‰ j ‰ Œ
& # # ˙˙˙ œœ ‰ Œ ?
œ J nœ J œ
j ‰ œ
J J œ
## j j
œ œj œj n œj œ # œj œj œ n œ
j œ cresc.
œ œ bœ œ
bœ J J n œJ J J J b œJ Jœ
37
T V œ œ
must dis - sem - ble if we want our breadand cheese, So hail him in a cho - rus, with en -
? ## œ bœ œ œ # œ œ Jœ n œ œ œ b œ œ b œJ Jœ b œJ Jœ
Chorus
B J Jœ Jœ n œJ J J J
n œ cresc.
J J J J
must dis - sem - ble if we want our breadand cheese, So hail him in a cho - rus, with en -
## j ‰
j
‰ œj ‰ œj ‰ n œj ‰ Œ
& # ˙˙ œ
œ œœ b œœ œœ œœ b œ n ˙˙ ‰ œ ‰ œ bb ˙˙ ‰ œ ‰
J cresc. J J J
j j
? # # œ ‰ Jœ ‰ n œ ‰ œ ‰ œ ‰ j ‰ œ ‰ Œ j j
bœ ‰ œ ‰ œ ‰ œ ‰
j j
œ nœ J J œ J bw
10/’09
Act I 113
40
## n œ œ # œ œ n œ f b œ œ #œ œ œj œ œ w
T V J J JJ J J J œ œ œ œ
f w
? # # n œJ œJ # œ Jœ b œ b œ b œ n œ
thu - si - a-sm big, The good Grand Duke of Pfen-nig Halb-pfen-nig! The good,
œ œ œ œ
Chorus
J J J J œ œ œ œ
B J
œ œ
thu - si - a-sm big, The good Grand Duke of Pfen-nig Halb-pfen-nig! The good,
## j‰ b b œœ b œœ n # œœ œœ œ œœ n œ œœœ œœ œœ Œ
œ
Œ œ œ œ œœ
& nœ œ œ œ œ œ
b œ nn ˙˙ ‰ œ ‰ b œœ œ œ
J J f f
j‰ bœ bœ n œ œ #œ œ Œ ˙ n ˙˙
? # # b œj ‰ œj‰ œ bœ bœ nœ #œ œ ˙
#œ œ œ #œ œ
b˙ bœ
44
## œ œ œ œ œ œ œ ˙ .. œ ˙. Œ
T V œ œ œ J
œ œ œ œ œ œ œ ˙ .. œ ˙.
the good Grand Duke of Pfen - nig Halb - pfen - nig!
œ
Chorus
B
? ## œ œ J Œ
j
the good Grand Duke of Pfen - nig Halb - pfen - nig!
## œ œ œ œ œ œ ˙˙ .... œœ ˙˙ ..
& œ œ ˙œ œœ œ n œœ œœ ˙˙ .... œ
œœ œ ˙.
œ œ œ œ œ
? # # œœ œ ˙ ˙˙ œ #œ nw ˙˙ .. Œ
˙ ˙ w
Enter the Grand Duke Rudolph. He is meanly and miserably dressed in old and patched clothes, but blazes with a profusion
of orders and decorations. He is very weak and ill, from low living.
# # œ œ . œ œ . œ œœ . œ œ . œ œœ . œ œ˙ œ œœ œœ . œ œ n œœ œœ œœœ œ . œ # œœ
œ
b œœ œ ‰ œœ œœ œœ
48
& œœ œœ .. œ œ œ œ œ œ œœ
3
œ
J
? # # œ .. ..
œ œœ .. œ œœ .... œ
R œ .. œ œ .. œ œ
.. œ ‰. r
R R R R R œ œ œ œ
œ ..
œ.
# # œ œ . œ œ . œ œœ .. œ œ . œ œ . n œœœ œ˙˙ œ # œœ œœ œ n œ˙ œ . œ œ .. œ # œ . œ œ Œ
œœ . œœ .. œœ
52
& œœ œœ .. œ œ . œ . œ . ˙
f>
? # # œ .. ..
œ œœ .. œ œœ .... œ
R œ .. œ œ .. œ œ .. œ œœ œ œ
R R R R œ .. R œ œ
œ ..
10/’09
114 The Grand Duke
No. 9a. Song—(Rudolph).
##
Ó Œ ‰. œ œ . r j œ œ . r j œr œj. œr œj. œr j œr œj. œ
56
Rudolph V R J œ œ. R J œ œ. œ. R
j
1. A pat -tern to pro - fes - sors of mon - ar - chi - cal au - to - no-my, I
# j j j
& # Œ j‰ j‰ ≈ œ œ ‰ ≈œ œ‰ ≈ œ œœ ‰ œœ ‰ œœj ‰ œœ
≈œ
œ œ œ œ œ œ œ
[p]
? # # œ ‰ œj ‰ œj ‰ œ ≈ œ œœ ‰
j œ œ
œ ‰ œ≈ œ œœ ‰ œœ ‰ œœ ‰ œœ ≈ œ
Piano
œ≈
œ œ œ J J J J J
>
## œ . r j r j r r j r
r j œ œ. r j œ œ. œ œ. œ œj.
59
Rudolph V J œ œ. R J œ œ. œ œ. œ
# # œj ‰ j
don’t in - dulge in lev - i - ty or com - pro - mis - ing bon - ho - mie, But
j j j j
& ≈ œ œ ‰ ≈ œ œœ ‰ œœ ‰ œœ ‰ œœ ‰
œ œ œ œ
? # # œœ ‰ œ ≈ œ œœ ‰ œ ≈ œ œœ ‰ œœ ‰
œœ ‰ œœ ‰
J J J J J J
r r r
#
V # œj. # œr œj.
r
œ œj. # œr œj. œ œj. r j œ œj. # œr œj.
61
Rudolph œ œ. œ
dig - ni - fied for - mal - i - ty, Con - sis - tent with e - co - no - my, A-
## j ‰
& œ ≈ œ œj ‰ ≈ œ j
œœ ‰ ≈ œ œj ‰ ≈ œ
œ œ œ œ œ œ
? # # œœ ‰ œ ‰ œœ ‰ œ ‰ œœ ‰ œ ‰ œœ ‰ œœ ‰
J œ J œ J œ J J
J J J
# œ. œ œ. r j. œ r j. r r
V # J œ œ. œ. ‰.
63
Rudolph
R J R J #œ œ R J œ #œ œ œ œ
bove all o - ther vir - tues I par - tic - u - lar - ly prize. I
# œ
& # œ ≈ œ œ ≈ œ œœ ≈ ≈ œ œ ≈ œ # œ ≈ œ œj ‰ œ
œ #œ œ #œ n œ œ œœ
œœ œœ œœ
? # # n œœ ‰ œœ ‰ œœ ‰ œ ‰ ‰ ‰ œ ‰ nœ
J J J J œ
J
10/’09
Act I 115
r
# .
V # œJ œ œj. r
œ œj. r r j r j
œ œj.
r
œ œj. r
65
Rudolph
R œ œj. œ œ. œ œ. œ
nev - er join in mer - ri - ment— I don’t see joke or jape a - ny— I
# j j
& # œj ‰ œœ
j ‰
œœ
j ‰ œœ ≈ j ‰ œ ‰ œ ≈ œ œ ‰
œ œœ œœ œ œ
? ## œ ‰ œ ‰ œ œ ≈ n # œœ n œœ ‰ œœ ‰ œœ
J J J ‰ J J J ‰ Œ
r r j r j r r
## œ . œ œ. œ œj. r
œ œj. r j œ œj. œ
67
Rudolph V J R J œ œ. œ œ. œ œ.
nev - er to - ler - ate fa - mi - li - a - ri - ty in shape a - ny— This,
# j j
& # œj ‰ œœ
j ‰
œœ
j ‰ œœ ≈ j ‰ œ ‰ œ ≈ œ œ ‰
œ œœ œœ œ œ
? ## œ ‰ œ œ ‰ œ ≈ n # œœ n œœ ‰ œœ ‰ œœ ‰
J J ‰ J J J J Œ
# j r j
V # œ. r j r j œ œ r j r j r
69
Rudolph
œ œ. œ œ.
r j
œ œ. R J. œ œ. œ œ. œ œ. œ
## j j
joined with an ex - tra - va - gant re - spect for tup - pence ha’ - pen-ny, A
& œœ ‰ œœ ≈ œ œœ ≈ œ œj
‰ œ ‰ œœ ≈ œ œœ ≈ œ œœj ‰
œ
? # # œœ ‰
j
œ ‰ œœ ‰
j œ . œ œj ‰ j
œ ‰
j j
œœ ‰ œœ ‰
J œ œ ‰ #œ œ
J
# # j r j r j r j r j r œ . œ [(Speaking.)]
œ j
V œ. œ œ. œ œ. œ œ. œ œ. œ J R œ ‰ J Œ Œ ‰ œ
71
(To Chamberlains.)
Rudolph
œ
j œj j Ÿ
key - note to my cha - rac - ter suf - fi - cient-ly sup-plies. Ob - serve. My
## j ‰ j j j j j œ œ j œ.
& œ
œ œœ ‰ œœ ‰
œ
œœ ‰
œ
œœ ‰ # œœœ ‰ n œœ ‰ œœ ‰ œœ ‰
œ
œ . # œ œ ‰ n œœ .. œ
j j j
? # # œœj ‰ j
œ ‰
j
œ ‰ œ ‰ œ ‰ n œ ‰ œj ‰ œj ‰ j ‰ Œ Œ #œ
œ œ œ nœ œ œ #œ #œ
œ #œ
10/’09
116 The Grand Duke
# # œj j Œ
(The snuff-box is passed with much ceremony from the Junior Chamberlain, through all
Ó ∑ ∑
74
V œ
the others, until it is presented by the Senior Chamberlain to Rudolph, who uses it.)
Rudolph
œ
# # œj ‰ j ‰ œ>œœ dolce. œ œ œ
snuff box!
œ œ œ
œ œ œ œ
& œœ œ ‰ œ œ œ
œ œ œ œ œ œ œ ‰ œ
œœ œ J J
[F ]
? ## n œ ‰ œ ‰ j ‰ Œ œœœ ‰ œœœ œœœ ‰ œœ # œœ
j ‰ œJ ‰ j ‰ œJ ‰
œ œ œ j‰ J J ‰
J œ œ
J J œ œ
>
#
V # ∑ ∑ ∑
77
Rudolph
œ œ œ
# # 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 J J
œœ œœœ œœœ œ œ
? # # j ‰ œ ‰ Jœ ‰ œœœ ‰
œ
œ j œ œ ‰ œJ ‰ n œ ‰ # Jœ ‰
œ J J œ ‰ J ‰ J ‰ J ‰ J J
80
## ∑ ∑
Rudolph V
# # œœ œ #œ œ nœ œ œ œ nœ œ œ #œ
#œ
œ #œ
œ
& œ #œ œ nœ œ œ œ nœ œ œ #œ œ
œ
œœ n œœœ ww˙
? ## œ ‰ n œJ ‰ #œ ‰ J ‰ . œœ
J J œ
# r r r r r r r r r r r r r
V # ‰. Œ Œ ‰ . Rœ
82
Rudolph œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ.
## œ
That in - ci - dent a key - note to my cha - rac - ter sup - plies. 2. I
œ
& œ ‰ Œ
˙˙˙ j ‰ Jœ ‰ Ó
J œ
f
? # # ˙˙˙ ˙ œœ ‰ œj ‰ Ó
˙ ˙ J œ.
10/’09
Act I 117
r r r
#
V # œJ . r j œ œ. r j œ œj. œ œj. œ œj.
r j œ
84
Rudolph
œ œ. R J œ œ. œ œ. R
weigh out tea and su - gar with pre - ci - sion ma - the - ma - ti - cal— In -
# # œj ‰ j
≈ œ œ ‰ ≈ œ œj ‰ j j ≈ œ
& œ œ œ œ œ œœ ‰ œœ ‰ œœ
[p]
? # # œœ ‰ œ
œ ≈ œ œœ ‰ œ ≈ œ œœ ‰ œœ ‰ œœ ‰ œœ ≈
J J J J J
r r r r
#
V # œJ . r j œ œ. r j œ œj. œ œj. œ œj.
r j
86
Rudolph
œ œ. R J œ œ. œ œ. œ
# # œj ‰
stead of beer, a pen - ny each— my or - ders are em-phat - i - cal— (Ex -
j
& ≈ œ œ ‰ ≈ œ œj ‰ j
œœ ‰
j
œœ ‰
j
œœ ‰
œ œ œ œ œ
? # # œœ ‰ œ ≈ œ œœ ‰ œ ≈ œ œœ ‰ œœ ‰ œœ ‰ œœ ‰
J J J J J J
r r r
## j
V œ . # œr œj.
r j
œ œj. # œr œ . œ œj. r j œ œj. # œr œj.
88
Rudolph œ œ. œ
tra - va - gance un - par - don - a - ble, a - ny more than that I call), But,
#
& # œj ‰ ≈ œ œj ‰ ≈ œ œj ‰ ≈ œ œj ‰ ≈ œ
œ œ œ œ œ œ œ
? # # œœ ‰ œ ‰ œœ ‰ œ ‰ œœ ‰ œ ‰ œœ ‰ œœ ‰
J œ J œ J œ J J
J J J
# . r j r
V # œJ œ œ. œ œ. r j. œ œ. r ‰.
90
Rudolph
R J R J #œ œ R J œ #œ . œ œ œ
on the o - ther hand, my Du - cal dig - ni - ty to keep— All
# œ œ œ œ œ ≈ œ #œ ≈ j ‰
& # œ ≈ œ œœ ≈ œ ≈
#œ œ
≈
#œ n œ œ
œ œ œœœ
œœ œœ œœ
? # # n œœ ‰ œœ ‰ œœ ‰ œ ‰ ‰ ‰ œ ‰ nœ
J J J J œ
J
10/’09
118 The Grand Duke
r
#
V # Jœ
. œ œj. r
œ œj. r r j r j
œ œj.
r
œ œj. r
92
Rudolph
R œ œj. œ œ. œ œ. œ
# j j
Court - ly ce - re - mo - ni - al— to put it com - pre-hen - sive-ly— I
& # œj ‰ œœ
j ‰
œœ
j ‰ œœ ≈ j ‰ œ ‰ œ ≈ œ œ ‰
œ œœ œœ œ œ
? ## œ ‰ œ ‰ œ ‰ œ ≈ n # œœ n œœ ‰ œœ ‰ œœ ‰ Œ
J J J J J J
# . r r j r j r r
V # œJ œ œ. œ œj. r j r œ œj. œ
94
R J œ œ. œ j œ œ. œ œ.
œ.
Rudolph
# j j
ri - gid - ly in - sist up - on (but not, I hope, of - fen - sive-ly) When-
& # œj ‰ j ‰ j ‰ ≈ j ‰ œ ‰ œ ≈ œ œ ‰
œ œœ œœ œœ œœ œœ œ œ
? ## œ ‰ œ œ œ ≈ n # œœ n œœ ‰ œœ ‰ œœ ‰
J J ‰ J ‰ J J J Œ
# j r j
V # œ. r j r j Kr Kr j œ œ. r j r j r
96
Rudolph
œ œ. œ œ. œ œ œ. R J œ œ. œ œ. œ œ. œ
## j j
ev - er ce - re - mo - ni - al can be prac - tised in - ex-pen - sive-ly— And,
& œœ ‰ ≈ œ œ ≈ œ j ‰ œ ‰
œœ ≈ œ œ ≈ œ œj ‰
œœ œ œ œ œ œ
? # # œœ ‰ j
œ ‰
j
œ ‰ œ . œ œj ‰ j j
œ ‰ œœ ‰ œœ ‰
j
J œ œ œ #œ œ
J ‰
r j
## j r œj. œr œj. œr œj. œr œj. œ œ . œ œ ‰ Jœ Œ Œ ‰ œ
98
V
[(Speaking.)] (To Chamberlains.)
Rudolph
œ. œ J R œ
j œj j Ÿ
when you come to think of it, it’s real - ly ve - ry cheap! Ob - serve. My
## j j j j j œ œ j œ.
& j‰ œ ‰ œœ ‰ œœ ‰ œ ‰ # œœœ ‰ n œœ ‰ œœ ‰ œœ ‰ œ . # œ œ ‰ n œœ .. œ
œœ œ œ œ œœ
j j j j
? # # œœj ‰ j
œ ‰
j
œ ‰ œ ‰ œ ‰ n œ ‰ œ ‰ œj ‰ j ‰ Œ Œ #œ
œ œ œ œ nœ œ œ #œ #œ
#œ
10/’09
Act I 119
# # œj. r
(Handkerchief is handed by Junior Chamberlain to the next in order, and so on
Ó ∑ ∑
101
V œ œ
until it reaches Rudolph, who is much inconvenienced by the delay.)
Rudolph
j ‰ œ>œœ dolce. œ
hand - ker-chief! [(Keeping back a sneeze.)]
# # œj ‰ œ œ œ œ œ œ œ œ œ œ œ
& œœ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ
œœ œ J J
[F ]
? ## n œ ‰ œ ‰ j‰ Œ œœœ ‰ œœœ œœœ ‰ j œœœ # œœœ
œ œ œ j‰ J J ‰ J œ ‰ J ‰ j‰ J ‰
œ
J J œ œ
>
104
## ∑ ∑ ∑
Rudolph V
œ œ
œ
# # 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 J J
œ œœ œœ œ œ
? # # j ‰ œœœ ‰ Jœœ ‰ œœœ ‰ j ‰ œJ ‰ Jœ ‰ Jœ ‰ œ ‰ Jœ ‰ n œ ‰ # Jœ ‰
œ J J œ J J
#
V # ∑ ∑
107
Rudolph
# # œœ œ #œ œ nœ œ œ œ nœ œ œ #œ
#œ
œ #œ œ
& œ #œ œ nœ œ œ œ nœ œ œ #œ œ œ
n œœœ n œœœ ww˙ œœ
? ## œ ‰ J ‰ #œ ‰ J ‰ .
J J œ
# r r r r r r r r r r r r r
V # ‰. Œ Ó
109
œ œ œ œ œ œ œ œ œ œ œ œ œ
Rudolph
œ
œœ.
## œ
It’s state - ly and im - pres - sive, and it’s real - ly ve - ry cheap!
œ
& œ ‰ Œ ˙˙˙ j ‰ œJ ‰ Ó
J œ
f
? # # ˙˙˙ ˙ œœ ‰ œj ‰ Ó
˙ ˙ J œ.
10/’09
120 The Grand Duke
Rudolph. My Lord Chamberlain, as you are aware, my marriage with the wealthy Baroness
von Krakenfeldt will take place to-morrow, and you will be good enough to see that the
rejoicings are on a scale of unusual liberality. Pass that on. (Chamberlain whispers to
Vice-Chamberlain, who whispers to the next, and so on.) The sports will begin with a Wedding
Breakfast Bee. The leading pastrycooks of the town will be invited to compete, and the winner
will not only enjoy the satisfaction of seeing his breakfast devoured by the Grand Ducal pair, but
he will also be entitled to have the Arms of Pfennig Halbpfennig tatto'd between his
shoulder-blades. The Vice-Chamberlain will see to this. All the public fountains of Speisesaal
will run with Gingerbierheim and Currantweinmilch at the public expense. The Assistant
Vice-Chamberlain will see to this. At night, everybody will illuminate; and as I have no desire to
tax the public funds unduly, this will be done at the inhabitants’ private expense. The Deputy
Assistant Vice-Chamberlain will see to this. All my Grand Ducal subjects will wear new clothes,
and the Sub-Deputy Assistant Vice-Chamberlain will collect the usual commission on all sales.
Wedding presents (which, on this occasion, should be on a scale of extraordinary magnificence)
will be received at the Palace at any hour of the twenty-four, and the Temporary Sub-Deputy
Assistant Vice-Chamberlain will sit up all night for this purpose. The entire population will be
commanded to enjoy themselves, and with this view the Acting Temporary Sub-Deputy
Assistant Vice-Chamberlain will sing comic songs in the Market Place from noon to nightfall.
Finally, we have composed a Wedding Anthem, with which the entire population are required
to provide themselves. It can be obtained from our Grand Ducal publishers at the usual discount
price, and all the Chamberlains will be expected to push the sale. (Chamberlains bow and
exeunt.)
No. 9b. (optional) Exit of Chamberlains.
Andante allegretto.
œ
## c
œ
œ
œœ œœ . œ œ . œ œœ . œ œ . œ œœ . œ˙ œ œœ
œ
œœ . œ œ n œœ
œ œ œœœœ
& œ .. œ œ œ œ
f
? ## c Π..
œ œœ .. œ œœ .... œ œ .. œ œ œ
.. œ
Piano
œ .. R R R œ .. R
œ .. R R
# œ œœ . œ # œœ œ œœ . œ œ . œ œœ . œ œ . œ œ . n œœœ œ˙˙ œ
& # œœ b œœ œ ‰ œœ œœ œœ œœ
4
œ .. œ œ œ
3
J œ.
? ## œ r ..
œ œœ .. œ œ .... œ œ ..
R œ
œ œ ‰. œ œœ .. R œ R
.. R
œ. j œ
# #œ œœ œ n œ˙ œ . œ œœ .. œ # œ . œ œœ n œœœ . œ œ˙ . j œ ˙˙ œœ ‰
& # œ œ ˙œ˙ .
7
˙ œ . œœ .. œ ˙ ˙ J
p
œ
? # # œ .. œ .. œ œ œ
œ œ .. R œ œ œ ‰ ≈œ œ Œ œ Œ œ Œ œ ‰
R R J
10/’09
Act I 121
Rudolph. I don’t feel at all comfortable. I hope I’m not doing a foolish thing
in getting married. After all, it’s a poor heart that never rejoices, and this wedding
of mine is the first little treat I’ve allowed myself since my christening. Besides,
Caroline’s income is very considerable, and as her ideas of economy are quite on
a par with mine, it ought to turn out well. Bless her tough old heart, she’s a mean
little darling! Oh, here she is, punctual to her appointment!
Enter Baroness von Krakenfeldt.
Baroness. Rudolph! Why, what’s the matter?
Rudolph. Why, I’m not quite myself, my pet. I’m a little worried and upset.
I want a tonic. It’s the low diet, I think. I am afraid, after all, I shall have to take
the bull by the horns and have an egg with my breakfast.
Baroness. I shouldn’t do anything rash, dear. Begin with a jujube. (Gives
him one.)
Rudolph (about to eat it, but changes his mind). I’ll keep it for supper. (He sits
by her and tries to put his arm round her waist.)
Baroness. Rudolph, don’t! What in the world are you thinking of?
Rudolph. I was thinking of embracing you, my sugarplum. Just as a little
cheap treat.
Baroness. What, here? In public? Really you appear to have no sense of
delicacy.
Rudolph. No sense of delicacy, Bon-bon!
Baroness. No. I can’t make you out. When you courted me, all your
courting was done publicly in the Market Place. When you proposed to me, you
proposed in the Market Place. And now that we’re engaged you seem to desire
that our first tête-à-tête shall occur in the Market Place! Surely you’ve a room in
your Palace—with blinds—that would do?
Rudolph. But, my own, I can’t help myself. I’m bound by my own decree.
Baroness. Your own decree?
Rudolph. Yes. You see, all the houses that give on the Market Place belong
to me, but the drains (which date back to the reign of Charlemagne) want
attending to, and the houses wouldn’t let—so, with a view of increasing the value
of the property, I decreed that all love-episodes between affectionate couples
should take place, in public, on this spot, every Monday, Wednesday, and Friday,
when the band doesn’t play.
Baroness. Bless me, what a happy idea! So moral too! And have you found it
answer?
Rudolph. Answer? The rents have gone up fifty per cent, and the sale of
opera glasses (which is a Grand Ducal monopoly) has received an extraordinary
10/’09
122 The Grand Duke
stimulus! So, under the circumstances, would you allow me to put my arm round
your waist? As a source of income! Just once!
Baroness. But it’s so very embarrassing. Think of the opera glasses!
Rudolph. My good girl, that’s just what I am thinking of. Hang it all, we
must give them something for their money! What’s that?
Baroness (unfolding paper, which contains a large letter, which she hands to
him). It’s a letter which your detective asked me to hand to you. I wrapped it up
in yesterday’s paper to keep it clean.
Rudolph. Oh, it’s only his report! That’ll keep. But, I say, you’ve never been
and bought a newspaper?
Baroness. My dear Rudolph, do you think I’m mad? It came wrapped round
my breakfast.
Rudolph (relieved). I thought you were not the sort of girl to go and buy a
newspaper! Well, as we’ve got it, we may as well read it. What does it say?
Baroness. Why—dear me—here’s your biography! “Our Detested Despot!”
Rudolph. Yes—I fancy that refers to me.
Baroness. And it says—Oh, it can’t be!
Rudolph. What can’t be?
Baroness. Why, it says that although you’re going to marry me to-morrow,
you were betrothed in infancy to the Princess of Monte Carlo!
Rudolph. Oh yes—that’s quite right. Didn’t I mention it?
Baroness. Mention it! You never said a word about it!
Rudolph. Well, it doesn’t matter, because, you see, it’s practically off.
Baroness. Practically off?
Rudolph. Yes. By the terms of the contract the betrothal is void unless the
Princess marries before she is of age. Now, her father, the Prince, is stony-broke,
and hasn’t left his house for years for fear of arrest. Over and over again he has
implored me to come to him to be married—but in vain. Over and over again he
has implored me to advance him the money to enable the Princess to come to
me—but in vain. I am very young, but not as young as that; and as the Princess
comes of age at two to-morrow, why at two to-morrow I’m a free man, so I ap-
pointed that hour for our wedding, as I shall like to have as much marriage as I
can get for my money.
Baroness. I see. Of course, if the married state is a happy state, it’s a pity to
waste any of it.
Rudolph. Why, every hour we delayed I should lose a lot of you and you’d
lose a lot of me!
10/’09
Act I 123
Baroness. My thoughtful darling! Oh, Rudolph, we ought to be very happy!
Rudolph. If I’m not, it’ll be my first bad investment. Still there is such a
thing as a slump even in Matrimonials.
Baroness. I often picture us in the long, cold, dark December evenings,
sitting close to each other and singing impassioned duets to keep us warm, and
thinking of all the lovely things we could afford to buy if we chose, and, at the
same time, planning out our lives in a spirit of the most rigid and exacting
economy!
Rudolph. It’s a most beautiful and touching picture of connubial bliss in its
highest and most rarefied development!
Duet in two verses is on next page
Duet in one verse is on p. 137
10/’09
124 The Grand Duke
No. 10. Duet—(Baroness & Rudolph).
Original Version: Two Verses
# # Allegretto j
24 ∑ Œ ‰ œj œj. œr œj œj œj œ œj œj œj j œj j
comodo.
Baroness & œ œ
# 2
1. As o’er our pen - ny roll we sing, It is not re - pre -
Rudolph V # 4 ∑ ∑ ∑ ∑ ∑
>
## 2 ˙ œj ‰ j j
& 4 œœ œœ œœ œœ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ
j ‰
œœœ œœœ
œ œ œ œ œ œ œ œ œ
p
? # # 42 œj ‰ œ j j j j
Piano
œ œ ‰ œ œ 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 r
j œj ‰ œ œj. œ œj œ
j j œ œj œj œj œr œj j j j j œj
6
& œ . œ œ œ œ
œ
Baroness
##
hen - sive To think what joys our wealth would bring Were we dis-pos’d to do the thing Up -
j ‰ j j ‰ j ‰ œ œ œj ‰ œ œ
& œœ œœ ‰ œœ œœ œœ œœ œœ
œ œœœ œœœ œ œ œ œ œ œ œ
œ # œœ œœ œœ œœ œœ
? # # œj ‰ œ œ j
œ ‰ œ œ
j
œ ‰ œ œ
j
œ ‰ œ œ œj ‰ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# # j j j j œj j ‰ j j r j j j
œ . bœ œ œ œ n œj n Jœ ‰ ∑
11
Baroness & œ œ œ #œ œ œ
j j b œr j œj
on a scale ex - ten-sive. There’s rich mock-tur-tle— thick and clear—
## ∑ ∑ ∑ Œ ‰
V œ œ. œ
(confidentially).
Rudolph
Per - haps we’ll have it
#
& # œjœ ‰ œœ œœ j
œœœ ‰ œœœ œœœ œ. bœ œ œ
n n œœ .. œœ n œ n œœ œœ n œœ .. b œ œ œ
œ œ œ
nœ œ n n œœ ‰ œœ œœ nœ œ
? # # œj ‰ œ œ j ‰ œ œ j ‰ n œœ œœ j ‰ n œœ œœ
œ œ œ œ nœ J nœ
10/’09
Act I 125
# œ . n œ œj j ‰ œj
& # Œ ‰ n œJ j j ‰ ∑ Œ
16
œ œ n œj
(delighted).
Baroness J R nœ
# j j
You are an o - pen - hand-ed dear! No
V # œ n œj n Jœ ‰ ∑ Œ ‰ j j œr n œj j j œ Œ
Rudolph
nœ œ. œ #œ
##
once a year! Tho’, mind you, it’s ex - pen-sive.
œ.
& œœ n œ n œœ œœ nœ. nœ œ œ œ œ n œj
‰
œ
j‰
œœ œœ # œœ œœ
‰ j
œœ
#œ
nœ œ œ n n œœœ ‰ œœ œœ n b œœ œœ œœ ‰
? ## n œ ‰ œ œ b n œœJ ‰ œœ œœ œœ œœ ‰ œœ
J J J
Jœ
## j j A1 j j
j œr n œj j j œ ‰ œ œ . œ œj œj œj œj œ ‰
21
& œ. œ œ œ
Baroness
#
‰ œj j j
doubt, it is ex - pen- sive. How fleet - ing are the glut-ton’s joys!
V # ∑ Œ œ. œ œj œj œj œj œ ‰
œ
Rudolph
How fleet - ing are the glut-ton’s joys!
## j
j ‰ ‰ œ œ ≈œœ œ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ
A1
& œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œ œ œœ œ
? ## n œ ‰ œ œ œ
œ œ œ
œœ œ
œœ œ ≈œœ œ ≈œœ œ œ ≈œ œ
œJ œ œ œ ≈ œ œ
# ‰ œj œ . j j
& # Œ œ œj œj œj œj œ ‰ ∑
26
œ
Baroness
##
‰ œj œ . j j
‰ œj
With fish and fowl he light - ly toys,
V Œ œ œj œj œj œj œ ‰ Œ
œ
Rudolph
#
With fish and fowl he light - ly toys, And
& # œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ
œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ
? ## œ œ œ œ œ ‰
œ J ‰ ≈ ≈œ œ ≈œ J
œ œ œ œ œ œ œ
10/’09
126 The Grand Duke
## ∑ ∑ œ œ Jœ ‰
∑ Œ ‰ œ
31
&
(surprised).
Baroness
J J J
# # j r j j œj j j j j r j j œj j j ‰
As two-and-six?
V œ . #œ œ #œ nœ œ œ . #œ œ #œ nœ œ ∑
Rudolph
œ
## œœ œœ
pays for such ex - pen - sive tricks Some times as much as two-and-six!
& ≈ ≈
n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ 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 œœ
œ œ œ œ œJ ‰ Œ œ œ œ œ œJ ‰ Œ œ œ œ J
## j
∑ ∑ Œ ‰ œ # œj. # œr œj œ j
# œ ‰ # œj ‰
36
Baroness & J
j
Some - times as much as two - and -
##
V Œ ‰ œ œ œ j ‰ Œ ‰ œ # œj. # œr œj œ # œj ‰ # œj ‰
Rudolph
J J J œ J
. . œ. . .
# # œœ œœ # # œœ # œœ # œœ œœ œ. œj # œ
As two - and - six. Some - times as much as two - and -
œ j œ j‰ j‰
& œœ # # œœ œœ œœ . œ # œ
# œ œ . # œ œœ œœ # œœ # # œœœ
œ œ œ œ
. . œœœ. j œœ. œœ. œœ. œ œœ
? # # œœœ œœœ œ œ œ œ œ # œœ
# œ œ œ œ J ‰ #œ œ œ
j ‰ œj ‰
œ œ œ œ J J
## j j
j ‰ œj œ # œj # œj œ # œ
B1
œ ‰ Œ Œ Œ
41
Baroness & œ œ
six! It gives him no ad - van - tage, mind—
## j
Rudolph V œ ‰ Œ ∑ ∑ ∑ ∑
six!
## B1
œœ # œœ # œœ # œ
& œ ≈œœ œ œ ≈œœ œ œ #œ #œ œ #œ œ ‹ œ
#œ
#œ œ œ œœ œœ œœ œœ œœ œœ
? # # œ ≈ œ œ œ œ ≈ œ œ œ # œ ≈ œœ œœ œœ #
œ ≈ œœ œ
#
≈œœ œ
œ #œ
10/’09
Act I 127
# j j
& # Œ ‰ œj œ # œj # œj œ # œ Œ Œ ‰ œj
46
Baroness
œ œ
For you and he have on - ly dined, And
#
Rudolph V # ∑ ∑ ∑ ∑ ∑
## œ ‹ œœ # œœj # œ # œœ # œœ œœ # œ # œœ
œ
& #œ #œ œ #œ œ ‹ œ œ
# œœ œœ œœ # œœ œœ œœ # œœ œœ œœ # œœ œœ œœ # œœ œœ œœ
? ## ≈ œ œ œ #œ ≈ œ œ œ œ ≈ œœ œ ≈œœ œ ≈ œœ œ
œ #œ œ
## j œj n œj j j r œj j j œj œj ‰
j œr œj j ∑
51
Baroness & #œ . œ œ œ #œ . œ œ œ
#
you re-main, when once it’s down, A bet - ter man by half - a-crown!
V # ∑ ∑ ∑ Œ ‰ œ œ œ œ œJ ‰
(doubtfully).
Rudolph
J J
œœ œœ
By half - a-crown?
## œ
& n œœJ ‰ # œ œœœ n œœœ œœœ œœœ
‰ j‰
# œœœ œœœ œœœ œœ œœ œœ
‰ œœ œœ œœ
œœ œ œ œ œ œ œ
#œ j
? # # œJ ‰ œ œ œ ‰ j œ œ œ œ œ œ œœœ
œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ J
œ œ œ œ œ
## Πj j j
‰ œ œ œ j ‰ Œ ‰ œ # œ . # œr œj œj œ ‰ # œj ‰
56
&
(decisively).
Baroness
J J J œ
# j j
‰ œ # œj. # œr œj œj œ ‰ # œj ‰
By half - a - crown! Yes, two - and-six is half - a -
Rudolph V # ∑ ∑ Œ
.œ œœ. œœ.
œ œ. œ.
# # œœ # œœ # œ œ œ. œj
Yes, two - and-six is half - a -
# j j j j
& # œœ # # œœ œœ œœ # œœ # œœ ‰ œœ ‰ n œœœ ‰ n # œœœj ‰
œ œ œ œ œ œ
. . . œ. œ. œ. j j
? # # œœœ œœœ œœœ œj œ œ
# œœ # œœ œœ œœ œ œ ‰ œj ‰ j j
œ œ
J œ œ œ ‰ œ ‰
œ œ œ œ
10/’09
128 The Grand Duke
# j 68 œj j œj œj œ œ œ œj ‰ ‰ œj œj
& # ˙ œ.
61 C1
nœ
(Dancing.)
Baroness œ J J J
crown! Then let us be mod-est - ly mer - ry, And re -
# j 68 œj j œj œj œ œ œ œj ‰ ‰ œj œj
V # ˙ œ. nœ
(Dancing.)
Rudolph œ J J J
crown! Then let us be mod-est - ly mer - ry, And re -
## j
C1
≈ œ œ ≈ œ œ
& n ˙˙ œœ .. œœ œœ œœ œœ œœ œœ œœ œœ œœ
˙ œ. œ œ œ œ œ
? ## j
≈ œ œ ≈ œ œ
˙ œ. œ œ œ œ œ
## j j
œ œj œj œ œJ Jœ œ œj ‰ ‰ œj œj œ œ œ œ œ œ œj œj œ œ j
œ œj
65
Baroness & J J J J J J J J J
## j j œ œj ‰ ‰ œj œj œ œ œ œ œ œ œj œj œ j
œ œj
joice with a der - ry down der-ry, For to laugh and to sing No ex - tra - va-gance bring—It’s a
Rudolph V œ œj œj œ œJ Jœ J J J J J J J J
œ
J
joice with a der - ry down der-ry, For to laugh and to sing No ex - tra - va-gance bring—It’s a
##
& œœ ≈œ œ œœ œœ ≈ œœ œœ œœ œœœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ
œ œœ œœ œ œ œœ œ œœ œ œ œ œ œ
œ
? ##
≈œ œ œ ≈œœ œ œ ≈œ œ ≈ œ œ œ
œ œ œ
# # j j œj œj j œj j j ‰ Œ j j j j œ œj ‰ ‰ œj œj
œ œj œ œ Jœ Jœ
69
Baroness & œ œ œ œ œ œ J
## j j j j j j j j
joy e - co-nom - i - cal, ve - ry! Then let us be mod-est - ly mer-ry, And re -
j j j œ œj ‰ ‰ œj œj
Rudolph V œ œ œ œ œ œ œ œ ‰ Œ œ œ œj œj œ Jœ Jœ J
joy e - co-nom - i - cal, ve - ry! Then let us be mod-est - ly mer-ry, And re -
# j 68 œ œ œ ‰ ‰ œ œ
& # œœ ≈ œ œœ
œœ œ œœ œœœ ≈ œœ œœj œ œœ œ œ œœ œ œ œ
œ œ œ œ
? ## œ ≈ œ œ œ œ ≈ œ œ œ ≈œ œ œ ≈œ œ œ
œ œ
10/’09
Act I 129
# j j j œ œ ‰ ‰ j j œj œj j œj j j j j j œ
& # œ œj œ œ Jœ n œJ œœ
73
Baroness J J œ œ œ œ œ œ œ œ J JJ
# j j j j œ œ ‰ ‰ j j œj œj j œj j j j j j œ
joice with a der-ry down der-ry, For to laugh and to sing No ex - tra-va-gance bring— It’s a
Rudolph V # œ œ œ œ Jœ n œJ J J œ œ œ œ œ œ œ œ J œœ
JJ
joice with a der-ry down der-ry, For to laugh and to sing No ex - tra-va-gance bring— It’s a
## n œœœ œ ‰ ‰ œœ
& œ
n œœ œ œ œœ œ n œ œ
œ œ œœ œ œ # œœ œ œ œœ œ œ
œ œ œ
œ œ
? ## j j œ œ
≈œœ œ ≈œ œ œ œ ‰ œ ‰ J
‰ œ
œ œ
# j j j j
& # œ œ œj œj Jœ œ œ œj ‰ Œ ‰ ∑ ∑
77
Baroness
# j j j
joy e - co - nom - i - cal, ve - ry!
V # œ œj œj j Jœ œ œ œj ‰ Œ ‰ ∑ ∑
œ
Rudolph
œ œ œ œ œ œ œ œ œ œ œ œj œ
joy e - co - nom - i - cal, ve - ry!
## œ œ ‰ ‰ œ œ
& œœ œ œœ
œ œ œ
œ
? # # œj ‰ œ ‰ œœ ≈œ œ œœ ≈ œ œœ œ œœ œ n # œœ
œ b œ
Jœ J ‰ J ‰
## j
∑ 42 Œ ‰ œj j œr j œj j œ œj œj œj j j j
81
Baroness & œ. œ œ œ œ œ
##
2. Al - though, as you’re of course a - ware (I nev - er tried to
Rudolph V ∑ 42 ∑ ∑ ∑ ∑
# # œJ ‰ ‰ œj ‰ ‰ 2 œj ‰ Œ j j
& œœœ 4 œœœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ
j‰
œœœ œœœ
œ œ œ œ œ œ œ
? # # # œœ ‰ œ ‰ œœ ‰ Œ j j j
œJ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ
Jœ J œ œ œ œ œ œ œ œ œ
10/’09
130 The Grand Duke
## j r j j j œj œj j j r
j œj ‰ œj j
œ œj œj œj œj ‰
86
& œ. œ œ œ œ œ œ. œ
œ
Baroness
## j
hide it), I moist - en my in - si - pid fare With wa - ter— which I can’t a - bear—
Rudolph V ∑ ∑ ∑ ∑ Œ ‰ œ
Nor
## j ‰ j j ‰ j
& œœ œœ ‰ œ œ œœ œœœ œœœ
j‰ œ œ œœœ ‰ œœ œœ
œ œœœ œœœ œ œœ œœ œ œ
œ # œœ œœ œ œ
? # # œj ‰ œ œ j
œ ‰ œ œ
j
œ ‰ œ œ
j
œ ‰ j
œ œ œ ‰ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
## ‰ œj j b œr j œj j j j b œr j œj
∑ Œ œ j n Jœ œ
91
& œ. œ œ. œ
nœ
Baroness
# j j j
This pleas - ing fact our souls will cheer,With fif - ty thou-sand
Rudolph V # œj. œr œj # œ œ œ Œ ∑ ∑ ∑
I— I can’t a - bide it.
#
& # œœj ‰ j ‰ œ œ n œœ . b œ œ œ œœ n œ n œœ œœ n œœ .. b œ œ œ
œ œœœ œœœ œœœ œœ œœ n œ ..
n œœœ œœœ n n œœ œœ œœ n œœœ œœœ
? # # œj ‰ œ œ j‰ œ œ j‰ n n
œ œ œ œ nœ J ‰ nœ
j‰
# œ . n œ œj j j j j ‰
& #
j j n œJ Jœ ‰ ≈ r n œj j j œj Œ
96
œ J R nœ œ œ nœ œ œ #œ
nœ
Baroness
pounds a year We could in-dulge in ta - ble beer! We could—I’ve tried it!
##
V ∑ ∑ Œ ‰ j n œj ‰ Œ Œ ‰ œj
(incredulously).
nœ
Rudolph
#
Get out! Yes,
.
& # œœ n œ n œœ œœ n œœ . n œ œ œ œ œ nœ
j‰
œ
j ‰
œœ œœ # œœ œœ
‰ j
œœ
#œ
? # # n n œœ œ œ nœ
‰ œ œ n œœJ ‰
œœ œœ n b œœ œœ œœ nœ œœ œœ œ ‰ œ
J J ‰ b œJ ‰ œœ œ œ
Jœ
10/’09
Act I 131
## j j j
‰ œ œ. œ œj œj œj œj
A2
∑ Œ œ ‰
101
Baroness & œ
# j j j j
Oh, he who has an in-come clear
V # œj. r j j j œ ‰ œ œ. œ œj œj j œj œ ‰
Rudolph
œ nœ œ œ œ œ
yes, of course you’ve tried it! Oh, he who has an in-come clear
## j ‰ j A2
‰ œ œ ≈œœ œ
& œ œœ œœ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ
œ œœ œœ œ œœ œœ œœ œœ œ œœ œ œ œœ œ
? ## n œ ‰ œ œ œœ œ œ œ œ
œ œ œ œ œ œ ≈œ œ ≈ œ ≈œ
œJ œ œ œ ≈ œ œ œ œ œ
##
Œ ‰ œj œ . j j
œ œj j j j
œ ‰ Œ ‰ œj
106
& œ œ œ œ
Baroness
#
‰ œj œ . j j
Of fif - ty thou - sand pounds a year Can
V # Πj
Rudolph œ œ œj œ
j œj
œ
œ ‰ ∑
Of fif - ty thou - sand pounds a year
#
& # œ ≈œœ œ œœ ≈ œœ œœ œœ œœ ≈ œ œ
œœ œœ œœ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ
œœ œœ œœ œœ œ œœ œ œ œ œ œœ œ œ œœ œ
? ## œ ‰ œ œ ‰
œ J ≈œœ œ ≈ œ œ œ œ ≈œ œ œ J
œ œ
# # j r j j œj j j
111
j œj. # œr œj ‰ ∑ œ œ œ œJ ‰
& œ .#œ œ #œ nœ œ
(doubtfully).
Baroness
œ J R R
## j
‰ # œj œ n œj œj ‰
pur-chase all his fan - cy loves—Con - spi - cuous hats— Two-shil-ling gloves?
Rudolph V ∑ ∑ Œ ∑
œœ œœ
Two - shil-ling gloves—
## ≈ ≈
& n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ
œ œ œ œ
? ## œ ≈ œ œ œ œ œ œ œ œœœ
œ ≈œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œJ ‰ Œ œ œ œ œ œJ ‰ Œ œ œ œ J
10/’09
132 The Grand Duke
## j
∑ ∑ Œ ‰ œ # œj. # œr œj œJ j
# œ ‰ # œj ‰
116
Baroness &
j
Yes, think of that, two - shil - ling
## ‰ œ # œj. # œr œj œJ
j
V ∑ œ œ œ j ‰ Œ # œ ‰ # œj ‰
(positively).
Rudolph
J R R œ
.œœ œœ. œ. # œœ. œœ. œ. j
# # œœ # œœ
Two - shil - ling gloves— Yes, think of that, two - shil - ling
## œ j œ j‰ j‰
& œœ # # œœ œœ œœ œ #
#œ œ.œ . # œ œ # œ
œœ œœ # œœ # # œœœ
œ œ œ œ
. . . . œ. œ. œ œ
? # # œœœ œœœ œœœ œj œ œ œ # œœ
œ œ
# œœ œœ œœ œ œ ‰ œ
j‰ j‰
œ
œ œ œ œ J J J #œ œ
## j j
j ‰ œj œ # œj # œj œ # œ
B2
œ ‰ Œ Œ Œ
121
Baroness & œ œ
gloves! Cheap shoes and ties of gau - dy hue,
#
Rudolph V # œj ‰ Œ ∑ ∑ ∑ ∑
gloves!
## B2
œœ # œœ # œœ # œ
& œ ≈œœ œ œ ≈œœ œ œ #œ #œ œ #œ œ ‹ œ
#œ
# œœ œœ œœ # œœ œœ œœ # œœ œœ œœ
? ## œ ≈ œ œ œ œ ≈ œ œ œ #œ ≈ œ œ œ œ ≈ œ œ œ œœ œ
œ #œ ≈
# j j
& # Œ ‰ œj œ # œj # œj œ # œ Œ Œ ‰ œj
126
Baroness
œ œ
And Wa - ter - bu - ry watch - es, too— And
##
Rudolph V ∑ ∑ ∑ ∑ ∑
# j # œœ # œœ œœ # œ œ
# œœ # œ # œ œ
& # # œœ ‹ œœ #œ œ ‹ œ # œœ œ
# œœ œœ œœ # œœ œœ œœ # œœ œœ œœ # œœ œœ œœ # œœ œœ œœ
? ## ≈ œ œ œ #œ ≈ œ œ œ œ ≈ œ œ œ œœ œ ≈ œœ œ
œ #œ ≈ œ
10/’09
Act I 133
# j j œj n œj j j r œj j
& # # œj. œr œ œj Œ ‰ œ œ œ œ œj ‰
131
Baroness
œ œ #œ . œ œ J J
#
think that he could buy the lot Were he a don-key— Oh no, he’s not!
V # ∑ ∑ ∑ j œj œj ‰ ∑
Rudolph
œ
œœ œœ
Whichhe’s not!
# # œœ ‰
& n œJ # œœœ œœœ n œœœ œœœ œœ ‰ # œœœj ‰ œœœ œœœ œœ œœ œœ ‰ œœ œœ œœ
œ œ œ
œ œ œ œ
#œ
? # # œJ ‰ j œ
œ œ œ œœ
œ œ œœ œœ œ ‰
œ
œ ‰ œ œ œ œ œ ‰
œ œ œ œ œ œ J
œ œ œ œ œ
# j j j
& # ∑ ∑ Œ ‰ œ # œ . # œr œj œj œ ‰ # œj ‰
136
Baroness
j j
That kind of don - key he is
## j r j
V Œ ‰ œ œ œ j ‰ Œ ‰ œ # œ . # œ œ œj œ ‰ # œj ‰
Rudolph
J J J œ
. . œ. . .
# # œœ œœ # # œœ # œœ # œœ œœ œ. œj
Oh no, he’s not! That kind of don - key he is
œ j j j j
& œœ # # œœ œœ œœ # œœ # œœ ‰ œœ ‰ œœ ‰ n # œjœ ‰
œ œ œ œ œ œ nœ œ
. . œœœ. j œœ. œ. œ. j j
? # # œœœ œœœ œ # œœ # œ œœ œœ œ œ ‰ œj ‰ j j
œ œ œ œ
œ œ œ ‰ œ ‰
œ œ œ œ J
# j 68 œj j œj œj œ œ œ œj ‰ ‰ œj œj
& # ˙ œ.
141 C2
nœ
(Dancing.)
Baroness œ J J J
not! Then let us be mod-est - ly mer - ry, And re -
## ˙ œ. j 68 œj j j œj œ œ œ œj ‰ ‰ œj œj
V nœ œ œ
(Dancing.)
Rudolph
J J J
not! Then let us be mod-est - ly mer - ry, And re -
## j
C2
& n ˙˙ œœ .. œœ œœ ≈ œ œ œœ œœ ≈ œ œ œœ
˙ œ. œ œ œœ œœ œ œ œœ œœ œ
? ## j
˙ œ. œ ≈ œ œ œ ≈ œ œ œ
œ œ
10/’09
134 The Grand Duke
## j j
œ œj œj œ œJ Jœ œ œj ‰ ‰ œj œj œ œ œ œ œ œ œj œj œ œ j
œ œj
145
Baroness & J J J J J J J J J
## j j œ œj ‰ ‰ œj œj œ œ œ œ œ œ œj œj œ j
œ œj
joice with a der-ry down der-ry, For to laugh and to sing Is a ra - tion - al thing— It’s a
V œ œj œj œ œJ Jœ J œ
Rudolph
J J J J J J J J
joice with a der-ry down der-ry, For to laugh and to sing Is a ra - tion - al thing— It’s a
## ≈œœ
& œœ œœ œœ œœ œœ ≈ œœ œœ œœ œœœ ≈ œœ œœ
œ œ
œœ
œ œœ
œ
≈ œœ œœ
œ œ
œœ
œ
œ œ œ œœ œ
? ## œ œ
≈œ œ œ ≈œœ œ œ ≈œ œ ≈ œ œ
œ œ œ
# # j j œj œj j œj j j ‰ Œ j j j œ œj ‰ ‰ œj œj
œ œj œj œ Jœ Jœ
149
Baroness & œ œ œ œ œ œ J
# # j j œj œj j œj j j ‰ Œ
joy e - co-nom - i - cal, ve - ry! Then let us be mod-est - ly mer-ry, And re -
j j j œ œj ‰ ‰ œj œj
Rudolph V œ œ œ œ œ œ œ œj œj œ Jœ Jœ J
joy e - co-nom - i - cal, ve - ry! Then let us be mod-est - ly mer-ry, And re -
# j 68 œ œ œ ‰ ‰ œ œ
& # œœ ≈ œ œ
œœ œœ œœ œœœ ≈ œœ œœj œ œœ œ œ œœ 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 œ œ ‰ ‰ j j œj j j j j j j j j œ
œ œj œj œ Jœ n œJ œ œ
153
Baroness & J J œ œ œ œ œ œ œ œ œ œ J J J
## j j œ œ ‰ ‰ j j œj j j j j j j j j œ
joice with a der - ry down der-ry, For to laugh and to sing is a ra - tion-al thing—It’s a
V œ œj œj œ Jœ n œJ J J œ œ œ œ œ œ œ œ J œ œ
J J
Rudolph
œ œ
joice with a der - ry down der-ry, For to laugh and to sing is a ra - tion-al thing—It’s a
# œ
& # n œœ œ œ œœ œ n œ n œœ œ ‰ ‰ œ œ œ œ œ œ œ œ œœ œ œ œœœ œ œ
œœ # œœ œ
? ## j j œ œ
≈œ œ œ ≈ œœ œ œ ‰ œ ‰ J
‰ œ
œ œ
10/’09
Act I 135
## j j j j j
‰ 42
D
j œ œ œ œj ‰ Œ ∑ ∑
157
Baroness & œ œ œ œj
# # j j j œj j j j ‰ Œ
joy e - co-nom - i - cal, ve - ry!
Rudolph V œ œ œ œj œ œ œ ‰ 42 ∑ ∑
œœ ≈ # # œœ. œœ. n n œœ.
joy e - co-nom - i - cal, ve - ry!
## j œœ ≈ # œœ. œœ. n œœ.
j
42
D œ j
œ œ œ œ ‰ ‰ œ
œ
œœ œ œ
2
& œ
œœ œœ œœ œœ œœ œœ œœ
? # # œj ‰ œ ‰ œœ ‰ Œ œ ≈ œ œ
œœ
œ œ ≈ œ œ œ
œ Jœ J
œœ . . . . .
≈ # œœ œœ n œœ œœ ≈ # œœ œœ œœ.
j
## œ œ œ œ œ œ œ œ ‰ ‰ œ œ j
161
œ
& J
œœ œœ n # œœ œœ œœ n # œœ
3 3 3
? # # œœœ œœ œœ œ
≈ œœœ # œœœ œœœ œ ≈ œœ œœ œœ œ ≈ œ œ nœ ≈
## œ œ œ œ œ œ œ œ œœ # # œœ. œœ. n n œœ. œœ ≈ # œœ. œœ. n œœ.
‰ ‰ œj
j
≈
œ j
œ
165
&
3
œœ b œœ
3
œœœ œœ œœ œœ œœ œœ œœ œ
3
# œœœ œ œ œ œœ
? ## n œ ≈ œ œ œ ≈ œœœ œœœ œœœ œ ≈ œ œ œ œ ≈ œ œ œœ
# œ œ œ œ ‰ ‰ œ œ œ #œ œ œ œ œ œ #œ œ œ œ
& # œ œ œ œœ
169
#œ J
3 3 3 3
œœ œœ œœ œœ œœ # # œœ œœ œœ œœ # # œœ œœ
3
? # # œœœ ≈ œœœ œœœ
3
#
3
œ ≈ œ œ œ œ ≈ œ œ œ œ ≈ œ œ œ
œ
E œ. œ. n œ. œ. . . œ. œ. œ. œ. œ. # œ.
173
## #œ
j
œ ≈ œ œ œ œ ‰ œj œ œ
& #œ
n œœ œ œ œœ
# œœœ œ œ œ
3 3 3 3
nœ œ œ œ œœ ≈ œœ œœ œœ ≈ œœ œœ
? # # n œœ ≈ œœ œœ œœ œ œ ≈ œœ œœ œœ
10/’09
136 The Grand Duke
n . œ. .
œ œ. œ. œ. œ. œ. œ.
## œ ≈ #œ œ j j œ # œ. œ. # œ.
œ
j
œ ‰ ‰ œ
177
œ
&
œœ œ œ œœ œœ # œœœ œœœ œœ œœ œœ œœ
3 3 3 3
? ## œ ≈ œœ œœ œ œ ≈ œ œ œ œ œ œ œ
œ ≈ œ ≈
## nœ œ j
j
œœ ≈ # # œœ. œœ. n n œœ. œœ ≈ # # œœ. œœ. n œœ. œœ œ œœœ
# œœ ≈ œœ œœ œ œJ ‰ ‰ œ
j œ j
œ
181
&
œ
n œœ œœ œ œœ
3 3
œ œ œ œ ≈œœ œ œœ œœ œœ œœ œœ œœ œœ œœ n œ œ œ œ
? ## ≈ œ ≈ œœ œ œ ≈ œ œ œ œœ ≈ œœ œœ œœ
œ
œ ≈ #œ œ œ œ ≈œœ œ œ œ œ
# œ œ ‰ ‰ œ
j
œ œ œ ‰ Œ
œ
& #
186
J œ J
œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ
3
œœ œœ œœ œœ œœ # œœ œœ
3 3
? # # œœ ≈ œœ œœ œœ # œœ ≈ œœ œœ œœ œ ≈ œ œ œ œ ≈ œ œ œ J ≈ œ œ bœ
R bœ
œœ (Exit Baroness.)
191
# # ‰ ≈ œœ œœ œœ œj ‰ Œ œœ œ
œ
œ
‰ ≈ œ œ œœ œj ‰ œj ‰ œœ ‰ Œ
& œœ œ œ œ œ J
R R
? ## b œ œ œœ ≈ œ œ b œ bœ œ œœ ‰ œœ ‰ j
bœ œœ œ ‰ Œ
œ J R bœ bœ œ J J œ
Go To Page 144.
10/’09
Act I 137
No. 10. Duet—(Baroness & Rudolph).
(Abridged Version: One Verse)
# # Allegretto j
24 ∑ Œ ‰ œj œj. œr œj œj œj œ œj œj œj j œj j
comodo.
Baroness & œ œ
# 2
As o’er our pen - ny roll we sing, It is not re - pre -
Rudolph V # 4 ∑ ∑ ∑ ∑ ∑
>
## 2 ˙ œj ‰ j j
& 4 œœ œœ œœ œœ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ
j ‰
œœœ œœœ
œ œ œ œ œ œ œ œ œ
p
? # # 42 œj ‰ œ j j j j
Piano
œ œ ‰ œ œ 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 r
j œj ‰ œ œj. œ œj œ
j j œj œj œj j r j
œ . œ œ œj œj œj œj œ
j
6
& œ
œ
Baroness
## j ‰
hen- sive To think what joys our wealthwould bring Were we dis-pos’d to do the thing Up -
j j ‰ j ‰ œ œ œj ‰ œ œ
& œ œœ ‰ œœ œœ œœ œœœ œœ
œœ œœœ œœœ œ œ œ œ œ œ
œ # œœ œœ œœ œœ œœ
? # # œj ‰ œ œ j
œ ‰ œ œ
j
œ ‰ œ œ
j
œ ‰ œ œ œj ‰ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# # j j j j œj j ‰ j j r j j j
œ . bœ œ œ œ n œj n Jœ ‰ ∑
11
Baroness & œ œ œ #œ œ œ
j j b œr j œj
on a scale ex - ten-sive. There’s rich mock-tur-tle— thick and clear—
## ∑ ∑ ∑ Œ ‰
V œ œ. œ
(confidentially).
Rudolph
Per - haps we’ll have it
#
& # œœj ‰ œœ œœ j
œœœ ‰ œœœ œœœ œ. bœ œ œ
n n œœ .. œœ n œ n œœ œœ n œœ .. b œ œ œ
œ œ œ
nœ œ n n œœ ‰ œœ œœ nœ œ
? # # œj ‰ œ œ j ‰ œ œ j ‰ n œœ œœ j ‰ n œœ œœ
œ œ œ œ nœ J nœ
10/’09
138 The Grand Duke
# œ . n œ œj j ‰ œj
& # Œ ‰ n œJ j j ‰ ∑ Œ
16
œ œ n œj
(delighted).
Baroness J R nœ
# j j
You are an o - pen - hand-ed dear! No
V # œ n œj n Jœ ‰ ∑ Œ ‰ j j œr n œj j j œ Œ
Rudolph
nœ œ. œ #œ
##
once a year! Tho’, mind you, it’s ex - pen-sive.
œ.
& œœ n œ n œœ œœ nœ. nœ œ œ œ œ n œj
‰
œ
j‰
œœ œœ # œœ œœ
‰ j
œœ
#œ
nœ œ œ n n œœœ ‰ œœ œœ n b œœ œœ œœ ‰
? ## n œ ‰ œ œ b n œœJ ‰ œœ œœ œœ œœ ‰ œœ
J J J
Jœ
## j j j j j
r j j œ ‰ œ œ. œ œj œj j œj
A
j œ ‰
21
Baroness & œ . œ nœ œ œ œ œ
# ‰ œj œ . j j
doubt, it is ex - pen-sive. Oh, he who has an in - come clear
V # ∑ Œ œ œj œj œj œj œ ‰
œ
Rudolph
Oh, he who has an in - come clear
## j ‰ j A
‰ œ œ ≈œœ œ
& œœ œœ œœ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ
œœ œœ œ œœ œœ œœ œœ œ œœ œ œ œœ œ
? ## n œ ‰ œ œ œ
œ œ œ
œœ œ
œœ œ ≈œœ œ ≈œœ œ œ ≈œ œ
œJ œ œ œ ≈ œ œ
# ‰ œj œ . j j ‰ œj
& # Œ œ œj œj j j œ ‰ Œ
26
Baroness
œ œ œ
# ‰ œj œ . j j
Of fif - ty thou-sand pounds a year Can
V # Œ œ œj œj œ
j œj œ ‰ ∑
œ
Rudolph
Of fif - ty thou-sand pounds a year
#
& # œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ œœ ≈ œ œ
œœ œœ œœ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ
œ œœ œ œ œœ œ œ œ œ œœ œ œ œœ œ
? ## œ ‰ œ œ œ œ
œ J ≈ ≈ œ œ ≈œ J ‰
œ œ œ œ œ œ œ
10/’09
Act I 139
31
# # j r j j œj j j j j r j ‰ ∑ œ œ œ œJ ‰
& œ . #œ œ #œ nœ œ œ œ . #œ œ
(doubtfully).
Baroness
J R R
## j
‰ # œj œ n œj œj ‰
pur - chase all his fan - cy loves—Con - spi-cuous hats— Two-shil-ling gloves?
Rudolph V ∑ ∑ Œ ∑
œœ œœ
Two - shil-ling gloves—
## ≈ ≈
& n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ
œ œ œ œ
? ## œ ≈ œ œ œ œ œ œ œ œœœ
œ ≈ œ œ œ œœ œ œ œ œ œ œ
œ œ œ œ œJ ‰ Œ œ œ œ œ J ‰ Œ œ œ œ J
## j
∑ ∑ Œ ‰ œ # œj. # œr œj œ j
# œ ‰ # œj ‰
36
Baroness & J
Yes, think of that, two - shil - ling
## j
V ∑ œ œ œ j ‰ Œ ‰ œ # œj. # œr œj œ j
# œ ‰ # œj ‰
(positively).
Rudolph
J R R œ J
.œ œ. œ. . .
# œœ œœ œ. j
Two - shil - ling gloves— Yes, think of that, two - shil - ling
## œ œ œ j # # œœ # œœ œ œ j‰ j‰
& œœ # # œœ œœ œœ # œ . œ # œ
# œ œ . # œ œœ œœ # œœ # # œœœ
œ œ œ œ
. . . . œ. œ. œ œ
? # # œœœ œœœ œœœ œj œ œ œ œ # œœ œ
# œœ œœ œœ œ œ ‰ j‰ j‰
œ
J J #œ œ œ
œ œ œ œ J
## j j
j ‰ œj œ # œj # œj œ # œ
B
œ ‰ Œ Œ Œ
41
Baroness & œ œ
gloves! Cheap shoes and ties of gau - dy hue,
# j
Rudolph V # œ ‰ Œ ∑ ∑ ∑ ∑
gloves!
## B
œœ # œœ # œœ # œ
& œ ≈œœ œ œ ≈œœ œ œ #œ #œ œ #œ œ ‹ œ
#œ
# œœ œœ œœ # œœ œœ œœ # œœ œœ œœ
? ## œ ≈ œ œ œ œ ≈ œ œ œ #œ ≈ œ œ œ œ ≈ œ œ œ œœ œ
œ #œ ≈
10/’09
140 The Grand Duke
# j j
& # Œ ‰ œj œ # œj # œj œ # œ Œ Œ ‰ œj
46
Baroness
œ œ
And Wa - ter - bu - ry watch - es, too— And
#
Rudolph V # ∑ ∑ ∑ ∑ ∑
## œ ‹ œœ # œœj # œ # œœ # œœ œœ # œ # œœ
œ
& #œ #œ œ #œ œ ‹ œ œ
# œœ œœ œœ # œœ œœ œœ # œœ œœ œœ # œœ œœ œœ # œœ œœ œœ
? ## ≈ œ œ œ #œ ≈ œ œ œ œ ≈ œ œ œ œœ œ ≈ œœ œ
œ #œ ≈ œ
# j
& # # œj. œr œj œj œj œj n œ œj # œj. œr œj œj Œ ‰ œ œ œ œ j‰
51
Baroness
J J œ
##
think that he could buy the lot Were he a don - key— Oh no, he’s not!
V ∑ ∑ ∑ j œj œj ‰ ∑
Rudolph
œ
œœ œœ
Whichhe’s not!
# œ
& # n œœJ ‰ # œ œ œ œ œ
‰ j‰
# œœœ œœ œœ œœ
‰ œœ œœ œœ
œœ œœ n œœ œœ œœ œœœ œœœ œ œ œ œ œ œ
#œ
? # # œJ ‰ œ œ œ ‰ j œ œ œ ‰ œ œ œ œœœ
œ œ œ œ œ œ ‰ œ œ
œ œ œ œ œ œ J
œ œ œ œ œ
## j j j
∑ ∑ Œ ‰ œ # œ . # œr œj œj œ ‰ # œj ‰
56
Baroness &
# j j
‰ œ # œj. # œr œj œj œ ‰ # œj ‰
That kind of don - key he is
Rudolph V # Œ ‰ œ
J
œ œ j ‰
J J œ
Œ
. . œ. . .
# # œœ œœ œ œ
Oh no, he’s not! That kind of don - key he is
œ j # # œœ # œœ # œ œ œ. œj j
# œœ ‰
j
œœ ‰
j
œœ ‰ n # œjœ ‰
& œœ # # œœ œœ œœ # œœ nœ œ
œ œ œ œ œ œ
. . œœœ. j œ. œ. œ. j j
? # # œœœ œœœ œ œ œ œ # œœ
œ # œœ œœ œœ œ œ ‰ œj ‰ j j
J œ œ œ ‰ œ ‰
œ œ œ œ
10/’09
Act I 141
# j 68 œj j œj œj œ œ œ œj ‰ ‰ œj œj
& # ˙ œ.
61 C
nœ
(Dancing.)
Baroness œ J J J
not! Then let us be mod-est - ly mer - ry, And re -
# j 68 œj j œj œj œ œ œ œj ‰ ‰ œj œj
V # ˙ œ. nœ
(Dancing.)
Rudolph œ J J J
not! Then let us be mod-est - ly mer - ry, And re -
## j C
≈ œ œ ≈ œ œ
& n ˙˙ œœ .. œœ œœ œœ œœ œœ œœ œœ œœ œœ
˙ œ. œ œ œ œ œ
? ## j
≈ œ œ ≈ œ œ
˙ œ. œ œ œ œ œ
# j j j j
& # œ œ œ œ œJ œJ œ œj ‰ ‰ œj œj œ œ œ œ œ œ œj œj œ œ j
œ œj
65
Baroness J J J J J J J J J
## j j œ œj ‰ ‰ œj œj œ œ œ œ œ œ œj œj œ j
œ œj
joice with a der-ry down der-ry, For to laugh and to sing Is a ra - tion - al thing— It’s a
V œ œj œj œ œJ œJ J
œ
Rudolph
J J J J J J J J
joice with a der-ry down der-ry, For to laugh and to sing Is a ra - tion - al thing— It’s a
##
& œœ ≈œœ œœ œœ ≈œ œ œœ œœœ ≈ œœ œœ œœ œœ ≈ œœ œœ œœ
œ œœ œœ œ œ œœ œœ œ œœ œ œ œ œ œ
œ œ
? ##
≈œœ œ ≈œ œ œ œ ≈œ ≈ œ œ œ
œ œ œ
# # j j œj œj j œj j j ‰ Œ j j j j œ œj ‰ ‰ œj œj
œ œj œ œ œJ Jœ
69
Baroness & œ œ œ œ œ œ J
# # j j œj œj j œj j j ‰ Œ
joy e - co-nom - i - cal, ve - ry! Then let us be mod-est - ly mer-ry, And re -
j j j œ œj ‰ ‰ œj œj
Rudolph V œ œ œ œ œ œ œ œj œj œ œJ Jœ J
joy e - co-nom - i - cal, ve - ry! Then let us be mod-est - ly mer-ry, And re -
# j 68 œ œ œ ‰ ‰ œ œ
& # œœ ≈ œ œœ œœ œœœ ≈ œœ œœj œ œœ œ œ œœ œ œ œ
œ œœ œ œ œ œ
? ## œ ≈ œ œ œ œ ≈ œ œ œ ≈œ œ œ ≈œ œ œ
œ œ
10/’09
142 The Grand Duke
## j j
œ œj œj œ Jœ n Jœ œ œ ‰ ‰ j j œj œj j œj j j j j j œ œ œ
73
Baroness & J J œ œ œ œ œ œ œ œ J J J
# j j j j œ œ ‰ ‰ j j œj œj j œj j j j j j œ
joice with a der - ry down der-ry, For to laugh and to sing is a ra- tion-al thing—It’s a
Rudolph V # œ œ œ œ Jœ n Jœ J J œ œ œ œ œ œ œ œ J œ œ
J J
joice with a der - ry down der-ry, For to laugh and to sing is a ra- tion-al thing—It’s a
## n œœœ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œœ œ œ
& œ œ œ œœ œ n œ œ œ œœ # œœ œœ œ
nœ
? ## j j œ œ
≈ œ œ œ ≈ œœ œ œ ‰ œ ‰ J
‰ œ
œ œ
## j j j j j
‰ 42
D
j œ œ œ œj ‰ Œ ∑ ∑
77
Baroness & œ œ œ œj
# j j j j
joy e - co-nom - i - cal, ve - ry!
V # œ œj œj j œ œ œ œj ‰ Œ ‰ 42 ∑ ∑
œ
Rudolph
œœ ≈ # # œœ. œœ. n n œœ.
joy e - co-nom - i - cal, ve - ry!
## j œœ ≈ # œœ. œœ. n œœ.
j
42
D œ j
œ œ œ œ ‰ ‰ œ
œ
œœ œ œ
2
&
œ
œœ œ œ œœ œ œ
? # # œj ‰ œ ‰ œœ ‰ Œ œ ≈ œœ œœ
œœ
œ œ ≈ œœ œœ œœœ
œ Jœ J
œœ . . .
≈ # œœ œœ n œœ œœ .
≈ # œœ. œœ œœ.
j
## œ œ œ œ œ œ œ œ ‰ ‰ œ œ j
81
œ
& J
3 3
œœ œœ n # œœ œœ œœ n # œœ
3
? # # œœœ œœ œœ œ
≈ œœœ # œœœ œœœ œ ≈ œœ œœ œœ œ ≈ œ œ nœ ≈
## œ œ œ œ œ œ œ œ œœ ≈ # # œœ. œœ. n n œœ. œœ ≈ # œœ. œœ. n œœ.
‰ ‰ œj
j
œ j
œ
85
&
3 3
œœ b œœ
3
œœœ # œœœ œœ œœ œœœœ œœ œœ œœ œœ œœ œœ œœ œ
? ## n œ ≈ œ œ œ ≈ œœ œœ œ ≈ œ œ œ œ ≈ œ œ œœ
10/’09
Act I 143
89
## œ œ œ œ œ œ œ œ ‰ ‰ œ œ œ #œ œ œ œ œ œ #œ œ œ œ
& œ #œ J
3 3 3 3
œœ œœ œœ œœ œœ # # œœ œœ œœ œœ # # œœ œœ
3
3
? # # œœœ ≈ œœœ œ
3
#
œ œœ ≈ œ œ œ œ ≈ œ œ œ œ ≈ œ œ œ
œ
E œ. œ. n œ. œ. . . œ. œ. œ. œ. œ. # œ.
## j
œ ≈ œ œ œ œ j œ œ
‰ œ
#œ
93
& #œ
n œœ œ œ œ
# œœœ œ œ œ
3 3 3 3
nœ œ œ œ œœ ≈ œœ œœ œœ ≈ œœ œœ œœ
? # # n œœ ≈ œœ œœ œœ œ ≈ œœ œœ œœ
n . œ. .
œ œ. œ. œ. œ. œ. .
## œ j œ # œ. œ. # œ.
≈ #œ œ œ ‰ œj œ
j
œ ‰
97
œ
&
œ œ œ œ œ # œœœ œœœ œœ œœ œœ œœ
3 3 3 3
? ## œœ ≈ œœ œœ œœ œœ ≈ œ œ œ œ œ œ œ
œ ≈ œ ≈
## nœ œ j œœ # # œœ. œœ. n n œœ. œœ # # œœ. œœ. n œœ. œœ œ œœœ
j
# œœ ≈ œœ œœ œ œJ ‰ ‰ œ ≈
œ j
≈
j œ
101
&
œ
n œœœ œœœ œœ œœ
3 3
œ ≈œœ œ œœ œœ œœ œœ œœ œœ œœ œ n œ œ œ œ
? ##
œ ≈ œ ≈ œœ œ œ ≈ œ œ œœ œœ ≈ œœ œœ œœ
œ ≈ #œ œ œ œ ≈œœ œ œ œ œ
## œ œ
j
‰ ‰ Jœ œ œ œ ‰ Œ
106 œ
& œ J
œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ b œ
3 3 3
œœ œœ œœ œœ œœ # œœ œœ
? # # œœ ≈ œœ œœ œœ # œœ ≈ œœ œœ œœ œ ≈œœ œ œ ≈œœ œ J ≈œœ
R bœ
œœ (Exit Baroness.)
111
# # ‰ ≈ œœ œœ œœ j
œ ‰ Œ œœ œ œ
‰ ≈ œ œ œœ
œ
j
œ ‰ œj ‰ œœ ‰ Œ
& œœ œ œ œ œ J
R R
? # # bb œœ œ œœ ≈ œœ œœ b œ bœ œ œœ ‰ œœ ‰ j
œ ‰ Œ
œ J R bœ bœ œ J J œ
10/’09
144 The Grand Duke
Rudolph. Oh, now for my detective’s report. (Opens letter.) What’s this!
Another conspiracy! A conspiracy to depose me! And my private detective was so
convulsed with laughter at the notion of the conspirator selecting him for a
confidant that he was physically unable to arrest the malefactor! Why, it’ll come
off! This comes of engaging a detective with a keen sense of the ridiculous! For
the future I’ll employ none but Scotchmen. And the plot is to explode to-
morrow! My wedding day! Oh, Caroline, Caroline! (Weeps.) This is perfectly
frightful! What’s to be done? I don’t know! I ought to keep cool and think, but
you can’t think when your veins are full of hot soda water, and your brain’s
fizzing like a firework, and all your faculties are jumbled in a perfect whirlpool of
tumblication! And I’m going to be ill! I know I am! I’ve been living too low, and
I’m going to be very ill indeed!
10/’09
Act I 145
No. 11. Song—(Rudolph).
b
V b b 68 ∑ ∑ ∑ ∑
Allegretto doloroso.
Rudolph
œ. œœ œ nœ. j
œ œ ˙.
bb b 6 œ . œ b ˙.
J n n ˙œ .. bœ. ˙.œ.
œ.
& 8
f œ. bœ œœ
b b 6 b œœ .. œœ œœ j
n ˙œ .. bœ.
Piano. dim.
b
& 8 J œ bœ
J œ. b œœ . bœ ? J
b j œj œj œj œj œj # œj œj œj œj ‰ ‰ œj œj
Vbb ∑ Œ ‰ ‰
5
Rudolph
œ
1. When you find you’re a bro - ken-down crit-ter, Who is
˙˙˙ .. œœœ j œœ œœ œœ ‰ ‰
& ˙bbb .
. œ ‰ ‰ Œ ‰ j j
œœ ‰ ‰ œœ ‰ ‰ œœœ J
J œ nœ
p
œ j
? bb œ œ œ œ
b œ œ œJ ‰ ‰ Œ ‰ œ ‰ ‰ œj ‰ ‰ j
œ ‰ ‰ Œ ‰
œ œ œ
b œ œj ‰ ‰ œj œj œj œj œj œj # œj œj œJ œj ‰ Œ j
V b b œJ œJ Jœ œJ n Jœ œJ
9
Rudolph
J œ
all in a trim-mle and twit-ter, With your pa - late un- plea-sant - ly bit-ter, As
b b œj ‰ ‰ j ‰ ‰ j j j œœ œœ œœ ‰ ‰
j œ œ ‰ ‰
b
& œ
œ
œœ
œ œœ ‰ ‰ œœ ‰ ‰ œœœ œœ
œœœ J œ œJ
œ œ
j j j
? bb œ ‰ ‰ œ ‰ ‰ œ
j‰ ‰ Œ ‰ œ Œ œ Œ j
œ ‰ ‰ Œ ‰
b œ œ œ
J œ œ
b b j j j j n œj œ j j j j
b œ ‰ ‰ ‰ œ œ œ œ œj œj
13
Rudolph V œ œ œ œ J J J J nœ œ
b
if you’d just bit - ten a pill— When your legs are as thin as di -
j ‰ ‰ j ˙.
& b b œœ œ œ œœœ œœœ ‰ ‰ Œ ‰
# n ˙˙ ..
nœ
j j
j ‰ œ Jœ ‰ ‰ œ ‰ ‰ œ ‰ ‰
? b œ ‰ ‰ œ ‰ ‰ œ J J
bb œ œ J
10/’09
146 The Grand Duke
j
b
Vbb œ n œj ‰ ‰ œj œj j j
n œ # œj # œj œ œj œj
j j j
n œ # œj ‰ ‰ b œ œ
16
Rudolph
vi - ders, And you’re plagu’d with un - ru - ly “in - si - ders,” And your
b bb j œ j ‰ ‰ j # œ # œ œj ‰ ‰
& # œœn œ œ œ
# n # ˙˙˙ ... # n # œœœ
j
? bb
b œ ‰ ‰ Œ ‰ #œ ‰ ‰ œj ‰ ‰ j
#œ ‰ ‰ Œ ‰
J
b j j j j j j j j j j œj œj œj œj
V b b œ n œ œ œ œ œ œ œj ‰ œ
A
Œ ‰
19
Rudolph
œ œ œ œ.
œ œœ œœœ # n œœœ
spine is all creep - y with spi-ders, And you’re high-ly gam-boge in the gill—
bbb œœ . œ ‰ œ œj j j ‰ œJ
& nb œœ . n œ ‰ b œœ .. œ. œœ .. n œœ . œ œœ
œ
? b b #b œœ .. nœ.
n œ.
bœ.
nœ.
œœ .
. ˙. ˙.
b ˙. ˙.
b U j j j
Vbb j j ‰ Œ ‰ j j‰ Œ ‰ Œ ‰ ‰ œj œj œ œ œ œJ Jœ Jœ
23
(Almost spoken.)
œ œ œ œ
Rudolph
Creep-y! Creep-y! When you’ve got a bee-hive in your
n œœ œœœ bn œœ œœ n œœ b œœ œœ b œ œ b œ œ n œ œ
b œ bœ b œ œ b œ œ n œ œ œ œ œj U‰ œ.
&bb œ œ ‰ bœ.
œ. b œœ ..
œ
? bb j U‰ ‰ œ. nœ.
b ˙. ˙. œ. œ ˙.
˙. ˙. œ. œ
b
V b b œ. ‰ n œj œj œ œ œ Jœ Jœ Jœ œ. ‰ œ Jœ b Jœ Jœ œ œj œj œj
27
Rudolph
J J J J J
head, And a sew-ing ma-chine in each ear, And you feel thatyou’ve eat - en your
b j
& b b n œœ œœ œœ n œœ . œ œ œœ .. n œœœ ... œœ œœ œœ œœ œ bœ
nœ
j œ
œ
bœ œ œ
j
œ œ œ œ. .
.
? bb œ œ œ #œ. œ. # œœ . œœ œœ œœ œœ .. œœ .. œ.
b ˙. ˙. ˙. ˙.
10/’09
Act I 147
b j j j j j j j j j jB
V b b œJ Jœ œ. ∑
31
œ œ œ œ œ œ nœ œ œ œ
œ.
Rudolph
bed, And you’ve got a bad head-ache, a head-ache down here—
b j
& b b n œœ œ œœ j j‰ ‰ Œ ‰ ∑
œ n ˙˙ .. œœ
œ
? b b œœ˙ .. œœ .. œ. œ.
b . ˙. œœ˙ ..
. œ # œ œ œ œ œ ˙˙ .. # ˙ .
b U j j
Vbb Œ ‰ ‰ j j j œj œj œ œj œj j œj œj œ œj j œJ œ œ œj
35
œ œ œ œ œ
Rudolph
When such facts are a - bout, And those symp-toms you find In your bo - dy or
b U j
&bb ∑ œ.
œ œ œ œ œ œ œ œ œ œ œ œ œœ .. œœœ .
.
œ
U œœœ œœœ œœœ œœœ
? bb œ
b # œ œ œnœ ‰ ‰
j J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ œ. nœ.
œœ . œ œ œœ
J
b j j
Vbb ‰ j j j œj œj œ œj œj j œj œj œ œj j Jœ œ
39
œ. œ.
œ œ œ œ œ
Rudolph
crown, It’s a sha - dy look out—You may make up your mind Thatyou’d bet-ter lie
b j œ.
&bb œœ .. œœ œ œ œ œ œ œ œ œ œ
œ œ
œ œœ œœ œœ œœ œœ œœ
œ. œ œ œ
J œœ
? bb jŒ œœœ œ œœœ œœ œ. œ.
œ
b œ. œ J ‰ ‰ J ‰ ‰ J ‰ ‰
J
œ ‰ ‰ œ. œ.
j j Ÿ
b
V b b œ.
œ œ œ œj œj œ œ œ Œ ‰
43
Rudolph
J ˙. œ.
j j Ÿ
down— Go at once, go at once and lie down!
b bb œœ œ œœ œœ .. œœ ‰ ‰ j œ œ
& œœ œœ œœ œ œ œ ˙. œ. œ
f
? b œ. œ. œ.
œ.
œ ‰ ‰ ˙˙ ..
˙.
œœ .. œœ ‰ ‰
b b œ. œ. œ J
J
10/’09
148 The Grand Duke
bb b C ∑ ∑ ∑ Œ ‰ ‰ œj œj œj œj œj œj # œj œj
47
Rudolph V
œ j
2. When your lips are all smear - y— like
bb b œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ œj ‰ ‰ œ ‰ ‰ Œ ‰ œœj ‰ ‰ œœj ‰ ‰
& J œœ œœ
œ nœ
œ. œ . œœ .. j p
? b b œœ˙ ... œœ .. œœ .. œ . œ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ Œ j j
b œ ‰ œ ‰ ‰ œ ‰ ‰
œ. J J œ œ
b j j j j œ œ œ œ n œ œ œ œj ‰ ‰ œj œj œj œj œj œj # œj œj
Vbb œ œ ‰ ‰ œ œ
52
Rudolph
J J J J J J J
tal - low, And your tongue is de - cid - ed - ly yal-low, With a pint of warm oil in your
j
b j
& b b œœ œ œœ œœ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œ j
œœœ ‰ ‰
j j
œœ ‰ ‰ œœ ‰ ‰
œ. œ. . œ. œœ œœ œœ œœ. œœ. œ nœ
. .
j j
? b b œ œœ œœ œœ ‰ ‰
b
œ ‰ ‰ œ ‰ ‰
œ
œ
œ
œ
œ
œ ‰ ‰
œ œ ‰ ‰ œj ‰ ‰
J œ œ J œ œ
œ J
b œ j j j
Vbb J œ ‰ ‰ œ œ j j j j n œj œ œ ‰ ‰ ‰ œ œ
56
Rudolph œ œ œ œ J J J J
swal-low, And a pound of tin - tacks in your chest— When you’re
b bb œ œ œ. ‰ ‰ j j j œj ‰
& œœ œ œ. œ
œ. . J œ ‰ ‰ œ ‰ ‰ œœ
j ‰ œœ œ
œ œ
‰
nœ œ
j j
? b b œ œœ œœ œœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œœ ‰ œœ œœ ‰ ‰
b J œ œ
œ J J J
j j j
œ n œj œj œ œj œj œ n œj ‰ ‰ œj œj
j j
bbb n œ # œj # œj œ œj œj
59 D
Rudolph V
down in the mouth with the va-pours, And all o - ver your Mor - ris wall -
b nœ
&bb œ nœ œ #œ œ #œ nœ nœ œ #œ #œ
œ #œ nœ œ œ #œ
πj j
? b b # n œœ ‰ ‰ œœ ‰ ‰ # œœœ ‰ Œ ‰ # # n œœœ ‰ ‰ œœœ ‰ ‰
b œ œ J J
10/’09
Act I 149
j j j j
b
V b b nœ #œ ‰ Œ bœ œ œj œj œj œj œj œj œj ‰ œ j j j œj œj œj œj
62
Rudolph
œ œ œ
pa - pers Black bee-tles are cut-ting their ca-pers, And craw-ly things nev - er at
nœ bœ nœ #œ œ bœ nœ bœ œ bœ œ nœ bœ Ÿ Ÿ
bb b # œ # œ œ # œ n œ Ÿœ bŸœ
œ bœ
&
œœ œœ
2 2
? b # #n œœœ ‰ Œ ‰ n # n œœœ ... b n # œœœ ... b œœ ..
nœ.
œœ .
.
n
œ ‰ ‰ œ ‰ ‰
bb J J
b U [a tempo.]
Vbb Œ ‰ j j j
œ œ œ Œ ‰ j j j
œ œ œ Œ ‰ Œ ‰ ‰ œj œj
66
[(Almost spoken.)]
œ.
Rudolph
rest— Craw-ly things! Craw-ly things! When you
b .
& b b œJ ‰ ‰ ? œ n Jœ b œœ
. œ b œœ . œ ˙˙ .. œœ .. œœ U‰ ‰ &
J J J
œœ π un poco rit.
? bb J ‰ ‰ j U‰ ‰
b œ . n œ b œœ. n˙. œœ .. œœ
J œ b œœ . œ b ˙˙ .. œ. œ
J J
bb b b œj œj œj œ œ œ U
‰ n œj j
œ œ œ œ Jœ Jœ œJ œ. œ
E
‰ œ
70
V J J J œ. J
Rudolph
J J J J
U
doubt if your head is your own, And you jump when an o-pen door slams— Then you’ve
bbb
b œœ . œ. œœ .. n œœœ ... œœ . œ œ ‰ œ œ
& . b œœ .. n œœ œœ œœ n œœœ . œœ œœ œ.
p a tempo.
? bb œ . œ˙ œ œ # œ . œ. .
# œœ . œœ œœ œœ Zj
b ˙. nœ. ˙. œ. œ ‰ ‰
.
œ
>
b b b b œ œ œ œj j j œ œ œj j j j j j j j j j œ Œ
74
V J J J œ œ J J œ œ œ œ œ nœ œ œ œ J
œ.
Rudolph
œ œ œ
got to a state, to a state which is known To the me - di - cal world as “jim - jams.”
b j ‰ œœœœœœ
& b b bn œœ j
b œœ œœ
j
œ n œœ œ œœ j
œ n ˙˙ ..
œ. œœ
? b b œœ˙ .. œ. œœ ..
˙.
œœ ..
˙. œ. œœ ‰ Œ ‰
b .
10/’09
150 The Grand Duke
U j j
bbb ‰ ‰ j j j œj œj œ œj œj j œj œj œ j
œ œj
F
∑ Œ
78
V
œ œ œ œ
Rudolph
œœ
b b ˙˙ ..
If such symp-toms you find In your bo - dy or head, They’re not
J ‰ ‰ UŒ
œ œ
b ˙.
&bb ‰ œ œ œ œ œ œ œ œ œ œ œ œ
? bb b ˙ . j ‰ ‰ UŒ ‰
œœœ
‰ ‰ œœœœ ‰ ‰ œœœ
‰ ‰
œœœ
‰ ‰
b b ˙˙ .. œœ J J J J
œ
b j j j
V b b œJ œ ‰ j j œj œj œj œ œj œj œj œj œj œ œj œj
82
œ œ œ.
œ œ
Rudolph
ea - sy to quell— You may make up your mind You are bet - ter in bed, For you’re
b œ. j j
&bb œœ .. œœœ . œ œœœ .. œœ œ œ œ œ œ
œ œ œ
œ œ œ
œ œ
œ
. . œ
J œœ
? bb j œœœ œ œ œœœ œœ
b œ. nœ. œ. œ ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰
J
œ ‰ ‰
j j j j j j U
Ÿ
bbb œ œ œ œ œ œ œ œ œ œ j
œ ‰ ‰
86
V J œ. œ. œ.
rall.
Rudolph
J ˙.
U
not at all well, No, you’re not at all well, not at all well!
b œ. œœ œ œœj rall.œ . j
œœ ‰ ‰
Ÿ
jœ œ
& b b œœ œœ œœ œœ œœ œœ
[a tempo.]
œœ œœ œœ œ œ œ œ . ˙. œ. œ
f
œ.
? b œ. œ. œ. œ. œ. œ ‰ ‰ U˙˙ .. œœ .. œœ ‰ ‰
bb œ. œ. œ. œ. œ ˙. J
J
b
Vbb ∑ ∑ ∑ ∑
91
(Sinks exhausted and weeping at foot of well.)
Rudolph
œ œ œ œ j
bb b œ œ œ œ œ œ œ œ œ œ ‰ ‰ œœj ‰ ‰ œ ‰ ‰ Œ ‰
& J œ œœ
œœ .. œœœ .. œœ .. j
? b œ˙ .. . œœ .. œ. œ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ Œ ‰
bb œ. œ J
J
10/’09
Act I 151
Enter Ludwig.
Ludwig. Now for my confession and full pardon. They told me the Grand
Duke was dancing duets in the Market Place, but I don’t see him. (Sees
Rudolph.) Hallo! Who’s this? (Aside.) Why, it is the Grand Duke!
Rudolph (sobbing). Who are you, sir, who presume to address me in person?
If you’ve anything to communicate, you must fling yourself at the feet of my
Acting Temporary Sub-Deputy Assistant Vice-Chamberlain, who will fling
himself at the feet of his immediate superior, and so on, with successive foot-
flingings through the various grades—your communication will, in course of
time, come to my august knowledge.
Ludwig. But when I inform your Highness that in me you see the most
unhappy, the most unfortunate, the most completely miserable man in your
whole dominion—
Rudolph (still sobbing). You the most miserable man in my whole dominion?
How can you have the face to stand there and say such a thing? Why, look at me!
Look at me! (Bursts into tears.)
Ludwig. Well, I wouldn’t be a cry-baby.
Rudolph. A cry-baby? If you had just been told that you were going to be
deposed to-morrow, and perhaps blown up with dynamite for all I know,
wouldn’t you be a cry-baby? I do declare if I could only hit upon some cheap and
painless method of putting an end to an existence which has become insupport-
able, I would unhesitatingly adopt it!
Ludwig. You would? (Aside.) I see a magnificent way out of this! By Jupiter,
I’ll try it! (Aloud.) Are you, by any chance, in earnest?
Rudolph. In earnest? Why, look at me!
Ludwig. If you are really in earnest—if you really desire to escape scot free
from this impending—this unspeakably horrible catastrophe—without trouble,
danger, pain, or expense—why not resort to a Statutory Duel?
Rudolph. A Statutory Duel?
Ludwig. Yes. The Act is still in force, but it will expire to-morrow afternoon.
You fight—you lose—you are dead for a day. To-morrow, when the Act expires,
you will come to life again and resume your Grand Duchy as though nothing
had happened. In the meantime, the explosion will have taken place and the
survivor will have had to bear the brunt of it.
Rudolph. Yes, that’s all very well, but who’ll be fool enough to be the
survivor?
Ludwig (kneeling). Actuated by an overwhelming sense of attachment to
your Grand Ducal person, I unhesitatingly offer myself as the victim of your
subjects’ fury.
10/’09
152 The Grand Duke
Rudolph. You do? Well, really that’s very handsome. I daresay being blown
up is not nearly as unpleasant as one would think.
Ludwig. Oh, yes it is. It mixes one up, awfully!
Rudolph. But suppose I were to lose?*
Ludwig. Oh, that’s easily arranged. (Producing cards.) I’ll put an Ace up my
sleeve—you’ll put a King up yours. When the drawing takes place, I shall seem to
draw the higher card and you the lower. And there you are!
Rudolph. Oh, but that’s cheating.
Ludwig. So it is. I never thought of that. (Going.)
Rudolph (hastily). Not that I mind. But I say—you won’t take an unfair
advantage of your day of office? You won’t go tipping people, or squandering my
little savings in fireworks, or any nonsense of that sort?
Ludwig. I am hurt—really hurt—by the suggestion.
Rudolph. You—you wouldn’t like to put down a deposit, perhaps?
Ludwig. No. I don’t think I should like to put down a deposit.
Rudolph. Or give a guarantee?
Ludwig. A guarantee would be equally open to objection.
Rudolph. It would be more regular. Very well, I suppose you must have
your own way.
Ludwig. Good. I say—we must have a devil of a quarrel!
Rudolph. Oh, a devil of a quarrel!
Ludwig. Just to give colour to the thing. Shall I give you a sound thrashing
before all the people? Say the word—it’s no trouble.
Rudolph. No, I think not, though it would be very convincing and it’s
extremely good and thoughtful of you to suggest it. Still, a devil of a quarrel!
Ludwig. Oh, a devil of a quarrel!
Rudolph. No half measures. Big words—strong language—rude remarks.
Oh, a devil of a quarrel!
Ludwig. Now, the question is, how shall we summon the people?
Rudolph. Oh, there’s no difficulty about that. Bless your heart, they’ve been
staring at us through those windows for the last half hour!
* Gilbert seems to have slipped here. Rudolph wants to lose. The line should either be
“But suppose you were to lose?” or “But suppose I were to win?”
10/’09
Act I 153
No. 12. Finale.
(Original Version)
Vc ∑ ∑ ∑
Allegro vivace ed agitato.
Rudolph
bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœœbœ œ œ œœœœ œ bœ œ œ
&c ∑
ƒ
œœ œœ œœ b œœœ œœœ œœœ œœœ b n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Piano
?c œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
V Ó Œ œ œ œj œj œ b œj œj œ œ œ œj œj œ b œ Œ
4
Rudolph
J J J J J J
Come hi - ther, all you peo - ple—When you hear the fear - ful news,
∑ ∑ Ó Œ j j
Ludwig V bœ œ
nœ
All the
j j j j j
& J ‰ œj ‰ Ó œœ ‰ ‰ œœ b œœ ‰ Œ œœ ‰ ‰ œœ b œœj ‰ Œ
œ œ œ œ œ œ
Í p
œ j j j j j œj
? œœœ ‰ œj ‰ ˙ œ ‰ ‰ œ œ ‰ Œ œ ‰ ‰ œ ‰ Œ
J ˙ œ œ œ œ œ œ
∑ Ó Œ j j j j j œj j j j œj
7
Rudolph V œ œ #œ nœ œ œ œ œ
j j j j j œj j j j œj
And they’ll all cry “Lord, de - fend us!” When they
j j j bœ j j j j j bœ
Ludwig V œ œ œJ œ J œJ œ œ œ œ œJ œ œ œ #œ nœ œ œ œ œ
j
pret-ty wo-men weep’ll,
- Men will shi-ver in their shoes. And they’ll all cry “Lord, de - fend us!” When they
j j
& œœ ‰ ‰ œœ b œj ‰ Œ
j j
œœ ‰ ‰ œœ b œj ‰ Œ j ‰ ‰ œj œj ‰ ‰ œœ
# œœœ œœœ œœ œœ
œ œ œœ œ œ œœ
? œj ‰ ‰ œj œj ‰ Œ j ‰ ‰ j œj ‰ Œ j j j j
œ œ œ ‰ ‰ œ œ ‰ ‰ œ
œ œ œ œ œ œ œ œ œ œ
10/’09
154 The Grand Duke
10
j j j œ œ j j j œ œ œ bœ œ j Œ Ó Œ j j
Rudolph V œ œ #œ J J œ œ œ J J J J J œ œ œ
learn the fact tre-men-dous That to give his man his gru - el This ple -
j j jœ œ j j j j j
V œ œ #œ J J œ Œ Ó Œ œ œ b œJ Jœ œ b œ œ œj Œ
Ludwig
J
j ‰ ‰ œj j j ‰ ‰ j j ‰ ‰ œj b œj ‰ ‰ j j ‰ ‰ j
learn the fact tre-men-dous In a Sta - tu - to - ry Du - el—
& œœœ œœ œœ ‰ ‰ œj œœ œœ b œœ œœ œ œœ b œœ n œœ
œ œœ bœ œ
j j j j j j j j
? #œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ b œ ‰ ‰ œ œj ‰ ‰ œj b œj ‰ ‰ œj
#œ œ œ œ œ œ bœ œ œ œ bœ œ
j j j j j j Πj j j j j j
bœ œ œ œ #œ Ó Œ œ ‰ œ ‰ œ ‰ œ ‰
13
Rudolph V b œ #œ œ
j j b œj b œj œj j j j j j
bei - an man of shod - dy— YourGrand Duke does not re -
j j j j
Ludwig V Ó Œ œ œ œ œ #œ œ œ œ ‰ œ ‰ œ ‰ œ ‰
This con - temp - ti - ble nobod
- - y— YourGrand Duke does not re -
j j b œj ‰ ‰ j j ‰ . .
b
&b œœ ‰ ‰ j j ‰ ‰ œœ b œœ ‰ # œœj b œœ # œ n œ œ
bœ œœ b œœ œ œœ œœ œ œ. œ. b œ. œ. n n œœ. b œœ œœ œ
.
? œj ‰ ‰ œj b œj ‰ ‰ œj j ‰ ‰ j j ‰ ‰ œj œj ‰ œj ‰ œj ‰ œœ œ
bœ œ œ ‰
œ œ bœ œ bœ œ œ œ œ œ œ J
(During this, Chorus of men and women have entered, all trembling with apprehension
Œ Ó ∑ ∑
16
V
under the impression that they are to be arrested for their complicity in the conspiracy.)
œ
Rudolph
fuse!
V Œ Ó ∑ ∑
œ
Ludwig
b œ œ œ œ œ œ b œ œ n œJ j j œ b œ œ n œJ j j
fuse!
& j ‰ œœ b œœ ‰ b œ œ œ œ œ b œœœ n ˙˙˙ œœ ‰ Œ
œ
œ
f
? b œœ ‰ œœœœ œœœœ b œœœœ ‰ ‰ œ œœ ‰ b œœœœ œœ b œœœ
‰ œj œ œ œ œ œj ‰ œ œ
dim.
œ œœ œ ‰
J J J J J œ œ œ œ
10/’09
Act I 155
p
j ‰ j ‰ j ‰ j œj œj œj œj # œj œj j
A
&Ó Œ
19
S
œ œ œ œ œ œ œ œ nœ
p
With fal - t’ring feet, And our mus-cles in a qui - ver, Our
&Ó Œ j ‰ j ‰ j ‰ j œj œj œj œj # œj œj j
œ œ œ œ œ œ œ nœ
A
p
With fal - t’ring feet, And our mus-cles in a qui - ver, Our
j j j j j j
Chorus
T VÓ Œ œ œ œ ‰ œ ‰ œ ‰ œ œ œJ œJ œJ œJ Jœ œ œ
p
With fal - t’ring feet, And our mus-cles in a qui - ver, Our
?Ó Œ j j j j j j j j j j j
B œ œ ‰ œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ
With fal - t’ring feet, And our mus-cles in a qui - ver, Our
A
&Ó Œ
œ œœ œœ œœ œœ œœ œœ œœ œœ # # œœ œœ œœ œœ n n œœ
œ . . .
p
?œ œ œœ. œœ. œœ. œœ œœ œ œ œ œ œ œ œ œœ
œ œ
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
j j j j j j j
& œ ‰ œ ‰ œ ‰ œ # œ œ n œ œj œj œj ‰ j œj œj ‰ œj ‰ œj ‰ œj œj
22
œ
S
fate we meet With our feel - ings all un-strung! If our plot com - plete He has
j
& œj ‰ œj ‰ œj ‰ œj œj œ œj œj œj j ‰ œj œj œj ‰ œj ‰ œj ‰ œj œj
œ
A
j ‰ j ‰ b œj ‰ œj œj j j j j n œj ‰ j j j ‰ j ‰ j ‰ j j
Chorus fate we meet With our feel - ings all un-strung! If our plot com - plete He has
T V œ œ œ œ œ œ œ œ œ œ œ œ œ
fate we meet With our feel - ings all un-strung! If our plot com - plete He has
? œj ‰ œj ‰ œj ‰ œj œj œ œ œ œ œJ ‰ œj œj œj ‰ œj ‰ œj ‰ œj œj
B J J J J
fate we meet With our feel - ings all un-strung! If our plot com - plete He has
& œœ œœ œœ œœ # œœ œœ n œœ œœ œ œj ‰ œœ œœ œœ œœ œœ
. . . œ nœ œ œ . . .
œ. œœ. b œ. œ œ œœ œœ œœ œœ œ œœ. œœ. œœ. œœ œœ
? œ œ œ
œ œ œ œ ‰ œ
J
10/’09
156 The Grand Duke
j œj j j j j j œj b œj ‰ œj ‰ œj ‰ j j b œj ‰ œj ‰ j ‰ j j
25
S & œ œ #œ œ œ œ nœ œ œ œ œ
man-ag’d to dis - ki - ver, There is no re - treat— There is no re - treat— We shall
j j j j j
& œj œ œj # œj œj œj œj n œ œ ‰ œ ‰ œj ‰ Œ
j j j
A œ ‰ œ ‰ œj ‰ œ œ
man-ag’d to dis - ki - ver, There is no re - treat— no re - treat— We shall
j n œ ‰ œ ‰ œJ ‰ œj œj
Chorus
T V œJ Jœ Jœ Jœ œJ œ Jœ œ
J
œ ‰ œ ‰ œ
J J J ‰ Œ
J J
man-ag’d to dis - ki - ver, There is no re - treat— no re - treat— We shall
? œj œj œj œj œj œj œj œj œ ‰ œ ‰ œ ‰ Œ œ ‰ œ ‰ œJ ‰ œJ œJ
B
J J J J J
man-ag’d to dis - ki - ver, There is no re - treat— no re - treat— We shall
& œœ œœ œœ # # œœ œœ œœ œœ n œœ b œœ œœ œœ œ œ bn œœœ œœ œœ Œ
œ. œ. œ. . œ. œ.
? œœ œœ œœ œœ œœ œœ œ œ
œ œ œ œ œ Œ œ œ œ Œ
œ. œ. œ. œ. œ. œ.
j j j j
& #œ ‰ œ ‰ œ ‰ œ ‰ Ó œ Œ œ Œ œ Œ œ Œ Ó
28
S nw
cer - tain - ly be hung! –tain - ly be hung!
& # œj ‰ œ ‰ œ ‰ œ ‰
j j j Ó Œ Œ Œ Œ Ó
A nw œ œ œ œ
Chorus cer - tain - ly be hung! –tain - ly be hung!
V # œ ‰ œj ‰ œj ‰ œj ‰
j Ó
T nw œ Œ œ Œ œ Œ œ Œ Ó
cer - tain - ly be hung! –tain - ly be hung!
? #œ ‰ œ ‰ œ ‰ œ ‰ nw Ó
B J J J J œ Œ œ Œ œ Œ œ Œ Ó
cer - tain - ly be hung! –tain - ly be hung!
& # œœ œœ œœ œœ bnw ˙. œ œœ Œ n œœœ Œ œœœ Œ œœœ Œ œœ œ œ ˙˙˙
#œ œ œ œ nw œ œ œ œ œ ˙
p
S
? Œ Œ Œ Œ œ Œ œœœœ
œ œ œ œ bw œ œ œ œ
œ œ œ œ bw œ œ œ œ œ
10/’09
Act I 157
∑ ∑ Ó ‰ œj œj œj œj œj œj œj
33
V œ
(aside to Ludwig).
œ
Rudolph
Now you be - gin and pitch it strong— walk
& œœœ œ œ ˙˙˙ œœœ ˙˙ ˙˙ ˙˙ ˙˙
œ ˙ œ p ˙ ˙ ˙ ˙
? œ Œ œ œ œœœ Œ
œ œ œ œ œ œ ˙ ˙ ˙ ˙
Œ œ Œ ˙ ˙ ˙ ˙
j
V œJ Jœ Jœ œJ Jœ œ œ ∑ ∑
37
Rudolph
‰ b œj œj œj
in - to me a - bu - sive - ly—
V ∑ ∑ Ó
(aside to Rudolph.)
Ludwig
I’ve sev - ’ral
& ˙˙ ˙˙ ˙˙ b b ˙˙ b ˙˙ ˙˙
˙ ˙ ˙ b˙ b˙ ˙
? ˙ ˙ ˙ ˙ b˙ ˙
˙ ˙ ˙ ˙ b˙ ˙
j j j j j j j j bœ œ b œj œ ‰ n œj œ œ
œ j j
Ó
40
Ludwig V b œ œ œ œ œ œ œ œ J
e - pi - thets that I’ve re - serv’d for you ex - clu - sive - ly. A choice se -
& b ˙˙ ˙˙ b ˙˙ ˙˙ b ˙˙ n˙
b˙ ˙ b˙ ˙ b˙ n ˙ n˙
? b˙ ˙ b˙ ˙ b˙ #˙
b˙ ˙ b˙ ˙ b˙ #˙
∑ Ó Œ ‰ Jœ œ œj œj ‰ Œ ‰ œj
43
Rudolph V J
No, you be - gin— No,
j j j j j j j j œ œ œ œj œj ‰ Œ ‰ œj œ œj œj ‰
Ludwig V œ œ œ œ #œ œ œ œ J J
lec - tion I have here when you are rea - dy to be - gin. No, you be - gin—
j j
& n # ˙˙ ˙˙ # ˙˙ ˙˙ n œœ ‰ ‰ œœ œœj ‰ ‰ œœj
˙ ˙ ˙ ˙ œ œ œ œ
? n˙ ˙ ˙ ˙ j j j j
œ ‰ ‰ œ œ ‰ ‰ œ
n˙ ˙ ˙ ˙ œ œ œ œ
10/’09
158 The Grand Duke
j j ‰ œj bbb C
V œJ œ œ ‰ Œ œ
J œj œj ‰ Ó ∑
46
Rudolph
you be - gin— No, you be -gin!
j j j j bbb C
Ludwig V Œ ‰ œ œJ œ œ œ œ j j‰ Ó
J œ œ ∑
p
No, you be - gin! No, you be -gin!
& Ó Œ j œj b œj ‰ œj ‰ œj ‰ œj ‰ j j j j j j j j bbb C
œ bœ œ œ œ œ œ œ œ
S
A
pœ œ # œj œj œj œj j j j j j j j j
Chorus (trembling). Has it happ’d as we ex - pect-ed? Is our lit - tle plot de -
? Ó Œ œ œ b œ ‰ œ ‰ œ ‰ œ ‰ b œ œœ œœ œœ œœ œœ œœ œœ b b b C
# œ
J J
T
B
bbb C
(trembling). Has it happ’d as we ex - pect-ed? Is our lit - tle plot de -
j j j
& œœ ‰ ‰ œœ œœ ‰ œ œœ b œœ œœ œœ œœ bœ œ œ œ œ œ œ œ
œ œ œ . . . .
p
? œj ‰ ‰ j j
œ ‰ œœ œ b # œœ
œ œ œ œ #œ œ œ œ œ œ œ œ
œ . œ. œ. œ. b œ œ œ œ œ œ œ œ bbb C
œ œ œ
b
B Allegro Vivace.
&bb C œ œ Ó ∑ ∑ ∑
49
S
A
tect - ed?
? b C œ œ Ó
Chorus
T
B bb œ œ ∑ ∑ ∑
. œ. œ. œ. . .
œœ. œœ œœ. œœ
tect - ed?
n œ n œ œ
b ‰ ?œ œœ œœ œœ œœ
B
œ œ œ œ
Allegro Vivace.
&bb C œ œ œ œ œ œ œ &
œ œ œ œ œ. œ. œ.
f. . . .
3
? b C
bb œ Œ Ó Ó Œ ‰ œ nœ nœ œ œ œ œ œ œ œ œ
3
œ. œ. œ. œ. œ
.
œ. œ. œ.
b
Vbb œ œ œ œ œ œ Jœ œ œj œ j j j j j j
53
(furiously).
Rudolph
J J # œ œ œ œ œ œ œ
œ #œ œ œ nœ œ #œ œ
1. Big bombs, small bombs, great guns and lit - tle ones! Put him in a pil - lo - ry!
b œœ œœœ œœ œœœ œœ œœœ œ. œœ œ œ
&bb œ. œ. œ.
. . . . . .
p
? b œ œ œ œ œ œ œ œ ˙˙ #˙ ˙˙ ˙
bb œ. œ. œ. œ.
œ. œ. œ. œ.
10/’09
Act I 159
b j j j j j
V b b œ œ œ œ Jœ œ œ ∑ ∑
56
Rudolph
Rack him with ar - til - le - ry!
V bbb ∑ œ œ œ œ œ œ Jœ œ œj œ
(furiously).
Ludwig
J J
Long swords, short swords, tough swords and brit - tle ones!
b œ œ bœ œ nœ bœ œ nœ
&bb œœ œœœ œœ œœœ œœ œœœ œ. œœ œ œ
œ. . œ. . œ. . . . .
f
? b n˙ n˙ ˙ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
bb ˙ ˙˙
b ∑ Ó Œ ‰ œ b œ œ ‰ Œ ‰ œ b œ b œJ ‰ Œ ‰ œ
Vbb
59
Rudolph
J J J J
j j (Pushes him.)
You muff, sir! E - nough, sir! A
b b b n œj œj œj œj œ Œ œ œ œ œ œ Œ Œ ‰ œ n œ œ ‰ Œ ‰ b Jœ œ Jœ ‰
Ludwig V J J J J
Frighthim in - to fits! Blow him in - to bits! You lout, sir! Get out, sir!
bb b œ n œ œ # œ œ œ n œ
œ b œ œ n œ b œ œ b œ œ œ b œ˙ œ n œ b ˙ œ
˙ ˙ bb œ˙˙ b œ œ˙˙ œ
&
f . .
. .
? b ˙˙ n˙ ˙˙ ˙ ˙˙ b˙ ˙˙ ˙ œ œœ œ bœ bœ œ œ
bb œ. œ. œ. œ.
b Œ ‰ œ b œ b Jœ ‰ Œ ‰ Jœ b œ œ œ œ œ œ b œ œ œ œ œ œ
V b b b œ Jœ ‰
63
Rudolph
J J J J J J J J J
b j j
hit, sir! It’s tit, sir! It’s tit, sir! For tat, sir! It’s tit, sir! For tat, sir! It’s—
V b b Œ ‰ œ nœ œ ‰ Œ ‰ b Jœ œ œJ Jœ b œ œ œ œ œ œ b œ œ œ œ œ œ
(Slaps him.)
Ludwig
J J J J J J J J
Take that, sir! For tat, sir! It’s tit, sir! For tat, sir! It’s tit, sir! For tat, sir! It’s—
bœ œ
bb b ˙˙ n œ b ˙˙ œ bb œ˙˙ b œ œ˙˙ œ b œ˙ œ
˙
œ˙ œ
˙
b œ˙ œ
˙
œ˙ œ
˙
&
. . . .
? b œ œœ œ bœ bœ œ œ
cresc.
bb œ. œ. œ. œ. œ œ. œ. œ œ. œ. œ œ. œ. œ œ. œ.
10/’09
160 The Grand Duke
bb b fœ(appalled).
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ
67
S &
bb b fœ
When two dought - y he - roes thun - der, All the world is lost in won - der;
œ œ œ œ œ œ œ nœ œ œ œ
(appalled).
A & œ œ œ œ
When two dought - y he - roes thun - der, All the world is lost in won - der;
b b fœ(appalled). œ œ œ œ œ œ œ œ œ bœ œ œ œ
Chorus
T V b œ œ
fœ
When two dought - y he - roes thun - der, All the world is lost in won - der;
? bb
(appalled). œ œ œ œ œ œ œ œ
B b œ œ œ œ œ œ œ
œ
When two dought - y he - roes thun - der, All the world is lost in won - der;
bœ œ bœ œ œ bœ œ œ œ nœ
bb b b œ œœ œ œ
œ bœ œ œ
œ
œ bœ œ œ œ nœ
nœ œ œ
&
f
? b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ b n œœœ œœœ œœ
œœ
œœ
œœ
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b nœ. œ œ œ œ œ œœ œœ ˙ œ œ œ œ œ
&bb œ œ Ó
71
S J ˙
When such men their tem - per lose, Aw - ful are the words they use!
b œ. œ œ œ œ œœ œœ œ œ œ #œ
A &bb J bœ œ œ ˙ nœ ˙ Ó
When such men their tem - per lose, Aw - ful are the words they use!
b ˙ ˙ ˙
Chorus
˙ œ œ œ œ
T Vbb ˙ ˙ ˙ Ó
˙ ˙ ˙ ˙ œ œ œ œ
Aw - ful, aw - ful, aw - ful! are the words they use!
? bb ˙ ˙ ˙ Ó
B b
œœ .. œœ œ œ œ œ
œœ œ œ œœ œœ œœ œœ ˙
Aw - ful, aw - ful, aw - ful! are the words they use!
œ œ b œœ
bb œœ .. J ˙˙ n œœœ œœ œ œ œ
& b œ œœ œœ # œœ œ œ # œ œ œ œ œ
nœ
˙ ˙ ˙ œ bœ œ œ
? bb œ œ #œ œ œ œ œ
b ˙˙ ˙
˙
˙ ˙
˙
˙ ˙ œ bœ œ œ œ
10/’09
Act I 161
b
Vbb ∑ ∑ ∑
76
Rudolph
b œ œ œ œ Jœ œ œj œ
Ludwig Vbb ∑ œ œ
J J
2. Tall snobs, small snobs, rich snobs and need - y ones!
b œœ œœ œœ œœœ œ. œœ œ œ
& b b œ #œ œ œ œ nœ œ œ œ. œœœ œ. œœœ œ.
. . . . . .
p
? bb œ # œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ
b œ. œ. œ. œ.
œ. œ. œ. œ.
bb b (jostling
j j j j j j ∑ œ œ œ œ
79
V
him).
Rudolph #œ œ œ œ œ œ œ
Whom are you al - lud - ing to? Fat snobs, thin snobs,
b j j j j j
Vbb ∑ œ œ œ œ Jœ œ œ ∑
(jostling him).
Ludwig
Where are you in - tru-ding to?
bb œ # œ œ œ n œ œ # œ œ œ œ bœ œ nœ bœ œ nœ
& b œœ œœœ œœ œœœ
œ. . œ. .
f
? b ˙ #˙ ˙˙ ˙ n˙ ˙ œœ. œœ. œœ. œœ.
bb ˙ n ˙˙ ˙˙
b
Vbb œ œ Jœ œ œj œj ‰ ∑ Ó Œ ‰ œ
82
Rudolph
J J J
j n œj œj œj œj œ j j j j
b ‰ œj œ œ œ œ œ
swell snobs and seed - y ones! To
Ludwig Vbb Ó Œ ‰
œ
Œ
I ra - ther think you err. To whom do you re - fer?
œ bœ œ nœ bœ œ bœ œ œ
b œ nœ œ #œ œ œ nœ
& b b œœœ œœœ œ. œ œ
œ. . œ.
. .
f
? b œœ. œœ. œœ. œœ. ˙˙ n˙ ˙˙ ˙
˙˙
b˙
˙˙
˙
bb
10/’09
162 The Grand Duke
b bœ j
V b b bœ œ ‰ Œ ‰ œ bœ ‰ Œ ‰ Jœ bœ œ œ nœ œ ‰
85
(makes a face at Ludwig).
Rudolph
J J J J J
b j j I
Vbb Œ ‰ œ nœ œ ‰ Œ ‰ b œJ œ œ ‰ Ó Œ ‰ œ
you, sir! do, sir! I jeer, sir! Gri - mace, sir!
Ludwig
J J
bœ
To me, sir? We’ll see, sir! Look
bœ œ n œ b ˙˙ œ bœ œ˙ œ b œ˙ œ œ
bb b ˙˙ b ˙˙ ˙ ˙ n œ b ˙˙
&
œ. œ. œ bœ b œ. œ. œ œ. œ. œ
? bb œ œ
cresc.
b œ. œ. œ. œ. œ. œ.
b ‰ b Jœ bœ œ œ œ bœ œ œ œ
Vbb Ó Œ œ œ œ œ
88
Rudolph
J J J J J J J J
b bœ bœ œ œ
I jeer, sir! Gri-mace, sir! I jeer, sir! Gri-mace, sir! I—
Vbb œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ
(makes a face at Rudolph).
Ludwig
J J J J J J J J J J J J
here, sir— A face, sir! Look here, sir— A face, sir! Look here, sir— A face, sir! Look—
bœ bœ œ˙˙ œ b œ˙ œ œ˙ œ b œ˙ œ œ˙ œ
bb b b ˙˙ ˙ ˙ ˙ ˙
&
b œ. œ. œ
? bb b œ œ. œ.
œ œ. œ. œ œ. œ. œ œ. œ. œ œ. œ.
b
bb b f œ(appalled). œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ
C
œ œ œ
91
S &
bb f œ œ œ œ
When two he - roes, once pa - ci - fic, Quar - rel, the ef - fect’s ter - ri - fic!
œ œ œ
(appalled).
A & b œ œ œ œ œ œ œ œ nœ
bb b f œ œ œ œ œ œ bœ
When two he - roes, once pa - ci - fic, Quar - rel, the ef - fect’s ter - ri - fic!
œ œ œ œ œ œ œ
Chorus
V œ œ
(appalled).
T
fœ œ œ œ œ œ œ œ œ
When two he - roes, once pa - ci - fic, Quar - rel, the ef - fect’s ter - ri - fic!
? bb
(appalled).
B b œ œ œ œ œ œ œ
bœ œ œ œ bœ œ œ bœ œ œ œ nœ œ
When two he - roes, once pa - ci - fic, Quar - rel, the ef - fect’s ter - ri - fic!
œ nœ œ œ
bb b b œ œ œ œ
C
& bœ œ œ œ bœ œ œ œ nœ
f
? b b œœœœ œœœœ œœœœ œœœœ œœœ
œ
œœœ
œ
œœœ œœœ
œ œ
œœœ
œ
œœœ
œ
œœœ
œ
œœœ
œ
b n œœœ
œ
œœœ
œ
œœ
œœ
œœ
œœ
b
10/’09
Act I 163
bb b f ˙ ˙ ˙ ˙ b˙. œ
95
S &
When two he - roes, once pa -
bb b f ˙ ˙ ˙ ˙ ˙. œ
A &
When two he - roes, once pa -
bb f œ œ
Chorus
V b œ œ œ œ œ œ œ
T
œ œ œ
fœ œ
When two he - roes, once pa - ci - fic, Quar - rel, the ef -
? bb œ œ œ œ œ œ œ
B b œ œ œ
When two he - roes, once pa - ci - fic, Quar - rel, the ef -
œ˙ œ œ œœ œ œ˙ œ œ œœœ œ œ
˙ œ œ b œ˙˙˙ œ œ œœœ œ
& bbb J ‰ Œ ˙
J ‰ Œ œ œ
J ‰ Œ
f
? bb œ œ œ œ œ œ
b œ œ œ œ œ
œ
b b˙ ˙ ˙ ˙ ˙ ˙ n˙ b˙
&bb
98
ci - fic, Quar - rel, the ef - fect’s ter -
b ˙ ˙ b˙ ˙ b˙ ˙ ˙. œ
A &bb
ci - fic, Quar - rel, the ef - fect’s ter -
b œ œ bœ œ œ œ. œ œ œ
œ bœ
Chorus
Vbb œ œ œ œ J
T œ
œ
fect’s ter - ri - fic! When two he - roes quar - rel, quar - rel, The ef-fect’s ter -
? bb œ œ bœ œ œ œ bœ œ œ. œ œ œ
B b œ œ œ J
fect’s ter - ri - fic! When two he - roes quar - rel, quar - rel, The ef-fect’s ter -
b œ œ œ œœ œ œ bœ œ œ œœ œœ n ˙˙ b ˙˙
& b b b ˙˙ œ ‰ Œœ ˙˙ œœ œ œ œœ b œœœ œœ œ ˙ ˙
J J ‰ Œ
j
? bb œ œ œ bœ œ œ œ. œ œ œ
b œ œ œ œ œ bœ œ œ. œ œ œ
10/’09
164 The Grand Duke
b ˙
& b b n˙ œ Œ nœ œ œ œ œ œ Œ nœ œ œ œ œ œ Œ Ó
102
S
J J J J J J J J J J J J
j j j j j j j j j
œ œ œ œ œj œ Œ œ œ œ œ œj œ Œ
b j
ri - - - fic! The ef - fect’s ter - ri - fic! The ef - fect’s ter - ri - fic!
A &bb ˙ n˙ œ Œ Ó
˙ ˙ nœ Œ œ œ œ œ œ œ œ œ
b J J J J n œJ Jœ Œ J J J J n œJ œJ Œ
Chorus ri - - - fic! The ef - fect’s ter - ri - fic! The ef - fect’s ter - ri - fic!
T Vbb Ó
œ œ œ œ œ œ œ œ
J J J J œj œj Œ J J J J œj œj Œ
ri - - - fic! The ef - fect’s ter - ri - fic! The ef - fect’s ter - ri - fic!
? b w œ Œ Ó
B bb
ri - - - fic! The ef - fect’s ter - ri - fic! The ef - fect’s ter - ri - fic!
b n˙ ˙
& b b ˙˙ n ˙˙ œ nœ œ œ
n œ œ œ œ œ œ œ œ n œœ Œ n œœ œ œœ œ n œœœ
œ
‰ j‰ j‰ j
œ œ œ
? b œ œ œ œ j j j j
bb œ œ œ œ œ œ j‰ Œ œ œ j‰ Œ œ ‰ œ‰œ‰œ‰
œ œ œ œ œ œ œ œ œ œ
bbb j j
∑ Œ œ œ œ œ. j Œ Œ Œ
106 D
Rudolph V œ œ œ œ œ
bbb
He has in - sult - ed me, and, in a
∑ ∑ Œ œ œ œ. j
Ludwig V œ œ œ Œ
bb b ‰ ‰ ‰ ‰ D
He has in - sult - ed me,
& j j
œ œ œj œj
bw www www
? b b œj ‰ œj ‰ j ‰ j ‰ b www ww w
b œ œ w bw
œ œ œ œ w w bw
b œ Œ Œ œ
Vbb œ œ œ œ nœ. j ˙ Ó ∑
110
Rudolph œ nœ. J œ
bb Œ jj œ Œ Œ œ œ œ ˙
n œ . œj
breath, This day we fight a du - el to the death!
b œ Œ œ œ œ œ Ó
Ludwig V œ nœ
b
and, in a breath, This day we fight a du - el to the death!
&bb
www n wwww www www b ˙˙ .. Œ
? bb ˙.
b ww w
w
w
w
w ˙˙ .
w w w w . Œ
10/’09
Act I 165
b j j j œ œ j j œ œ
Vbb ‰ œ œ nœ nœ. Œ Œ Œ
115 Notary. [Recit.] (checking them).
J œ œ œ
b
You mean, of course, by du - el (ver-bum sat.), A
& b b n œœ Œ Ó ∑ Ó œœ Œ
œ œ
? bb Œ Ó ∑ Ó œ Œ
b nœ
r j r
b œ
V b b J Jœ œJ œJ n œJ œJ Œ Ó Œ ‰ œj œ . œ b œ . œ n œj. œ b œ . œ
118
Moderato.
Notary
J R J R
œ
b Œ œ œœ œœ ‰ Œ
Sta - tu - to - ry Du-el. Ac - cord - ing to es - tab - lish’d le - gal
&bb ∑ ∑
J J J
S
A
j
What is that?
n œœ œœ Jœ
Chorus
? b ∑ Œ J J ‰ Œ ∑
T
B bb
j
What is that?
œ
j œ œ ‰ b œj ‰ n œj ‰ j
bbb Œ œœ ‰ œœ ‰ œœ Œ b œœ œ‰
Moderato.
& # ˙˙˙ .. œœ œœ œœ œœ œœ œœ œ œ
. nœ J
f p
? b ˙. Œ œ ‰ j ‰
J nœ œ Œ Œ œ œ œ
bb
b
Vbb œ Œ œ . œ œ . œ n œj. œr b œj. œr œ Ó nnn
121
Notary œ œ J R J R œ
j
u - ses, A card a - piece each bold dis - pu - tant choos - es—
b
& b b œœ œ œœ œ n œŒ œ œœ œ œ ‰ œj ‰ j j
n œœ ‰œ b œœ œ‰ œ œ œ Œ nnn
nœ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ n œœ œœ œœ œœ œœ
? b œ œ #œ œ œ œ œ œ œ #œ œ œ œ
bb œ Œ œ œ œ nnn
j j œj œj œj œj œ œj œj j ‰ j œ œ œ œ œ œj
j jŒ
124
V œ œ œ . œ œ J J J œ œ œ œ
Notary
j j
Dead as a doornail is the dog who los - es— The win - ner steps in - to the dead man’s shoes-es!
œ˙ . œ œ˙ œ . œ œ œ œ œœ j j
& ˙˙˙ ˙˙
˙ ˙ œ œ œ. œœ ‰ œœ ‰ œ
j‰ Œ
p ˙
? ˙ œœ œœ œ̇ œ œœ œœ j
˙ ˙ ˙ J ‰ J ‰ œ ‰ Œ
10/’09
166 The Grand Duke
j j j
j j œj œj œj œj œœ œœj œjœ ‰ œjœ œ œ œœ œœ œœj œœj
128
& œœ œœ œœ œ œ œ œ œœ .. œ œ
J J
S
A
œ œ œ œ œ œ œ œ. œ œ œ œ œ bœ œœ œœ n œœ œ
œ œ œ ‰ œJ
Chorus Dead as a door-nail is the dog who los - es— The win - ner steps in - to the
? œ œ. œ
œ œ œ œ œ œ
J J J J J J J J œ J J J œJ
T
J
B
j
Dead as a door-nail is the dog who los - es— The win - ner steps in - to the
& ˙˙˙ ˙˙ œ˙ . œ œœ œ ‰ œj œ
œœ œ
œ œœ œœ œœ œœ
˙ ˙˙ ˙ œ
œ bœ œœ œœ n œœ œ
? ˙ ˙ Œ œ œ œ
˙ œ
∑ Œ ‰ œj œ ‰ œj ˙ Ó
131 E Più vivo.
Rudolph V
‰ œj
A - greed! A - greed!
Ludwig V Ó Œ œ Œ Œ ‰ œj ˙ Ó
A - greed! A - greed!
& œœ œœ j j Œ Ó Œ ‰ œj ˙ Ó
unis.
œ œ
S
A
? œœ œœ œ œ ˙
Chorus dead man’s shoes - es! A - greed!
œ œ Œ Ó Œ ‰ Jœ Ó
unis.
J J
T
B
j j
dead man’s shoes - es! A - greed!
& œœ ‰ œœ ‰ Œ
E Più vivo.
œ œ ˙˙ ˙˙ ˙˙ ˙ ˙˙ ˙
˙ #˙
j
? œœ ‰ œ ‰ œ Œ Œ œ Œ œ œ œ Œ Œ
J œ œ œ œ œ
j j r j
V œ œ ‰. œ œ ‰ Œ ∑ ‰ œj œj. œr œj ‰ Œ
134 Recit. a tempo. Recit.
Rudolph
r r r
≈ œr œ b œ
Come, come, the pack! I’m on the rack!
V Ó Œ ≈œ œ œ Œ Ó Ó Œ
(producing pack of cards). (hands pack to Notary).
R R œ
Ludwig
Be - hold it here! I quake with
& ˙˙ ˙˙
Recit. a tempo. Recit.
b˙ ˙
˙ ˙˙ ˙˙ ˙˙
? ˙ ˙˙ ˙˙ ˙œ œ ˙ #˙ ˙
Œ Œ
˙ ˙ œ œ #˙ ˙
10/’09
Act I 167
j r r
∑ ∑ Œ œ œ œ œ Œ
137
V
a tempo.
Rudolph
j r n œr j ‰ Œ
If that’s the case—
V œ Œ Ó Œ œ œ œ ∑
(Notary offers card to Ludwig.)
Ludwig
fear! First draw to you!
œ
a tempo.
& ˙˙ ˙˙ # œœ œ # œœœ œœ # œœ œ # œœœ œ
b˙ ˙ œ # œœ œ # œœ œœ
? Œ #œ œ Œ œ #œ œ œ #œ œ œ
œ #œ œ œ œ #œ œ œ
#œ œ
r
V Ó ‰ œj œj. œ # œ Œ Ó ∑
#
140 (Drawing card from his sleeve.)
Rudolph
r
‰ œj œj. œ #
Be - hold the King!
V ∑ ∑ Ó
(Same business.)
Ludwig
Be-hold the
j œ #œ œ #œ œ œ œ œœœ œœœ #
& # œœ ‰ Œ Ó Œ #œ œ Œ Ó
œ fœ
j # œœ œœ œœ # œœœ
? œ ‰ Œ Ó œ œ #
Œ Œ Ó
œ
143
# Molto
œ Œ Ó ∑ ∑
V
vivace.
Ludwig
Ace!
&
# Ó Œ ‰ œœj œ
œ
j
‰ œœ œœ ‰ œœ
j œ
œ
œ
œ œœ ‰ œœj
J J
S
A
œ #œ œ œ œ œ œ œ œ
Chorus Hur - rah, hur-rah! Our Lud - wig’s won, And
?# Ó Œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ
J J J J
T
B
œœ
Hur - rah, hur-rah! Our Lud - wig’s won, And
#
& ‰ œ #œ œ œ œ # œ œ œ œ J œœj n œœœ ... j œ. j
œœ œœœ
œ ‰ œœj
Molto vivace.
œœ œœ .. œœ œœ
f ˙˙ œœ œœ œœ œœ œœ
˙˙ # œœ .. œœ œœ .. œœ
?# Œ ‰ œ œ. œ œ. œ œ œ œ ‰ œ
J J J J
10/’09
168 The Grand Duke
# œ œ j j
146
œ ˙ Œ œ œ œ
& œ œ œœ œœ œ œœ ˙ œ
unis.
J J J J œ
S
A
œ unis. œ œ
? # # œœ œœ œœ œ œ œ œ
wick - ed Ru-dolph’s course is run— So Lud - wig will as
œ
Chorus
œ œ œ œ œ œ œ
J J J J
T
B
# œ œ ˙
wick - ed Ru-dolph’s course is run— So Lud - wig will as Grand Duke
œ Œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œœ œœ œœ œœ œ œœ ˙˙
œœ œ œœ
? # # œœœ œœœ œœœ œœ
œ
œœ
œ
œœ
œ œ œ ˙˙ ..
˙.
œ˙ œ˙. œ
149
# œ œ œ œ. j
S
A & œ œ œ œ #œ œ œ œ
œ œ œ œ
Grand Duke reign Till Ru - dolph comes to life a - gain, Till
œ #œ œ ˙. œ
Chorus
T ?# œ
B
reign Till Ru - dolph comes to life a - gain, Till
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ #œ œ œ
& œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ
˙˙˙ ... # ˙˙˙ ... ˙ œ
?#
œ˙ . œ œ˙ . œ # œ ˙ . n ˙˙ œ
# œ j j œ
∑ Ó Œ œ œ. Œ
152
Rudolph V œ. œ œ œ
# œ.
Which will oc - cur to - mor - row! Yes,
œ œ œœ œœ œœ Œ ∑ ∑
& œ. œ œ œœ
J
S
A
œ. œ œ œ œ œ œ
Chorus Ru - dolph comes to life a - gain—
? # œ. œ œ œ œ œ œ Œ ∑ ∑
J
T
B
Ru - dolph comes to life a - gain—
# œ. œ œ œœœ œœ œœ
& œ œ œœ œœ œ œœœ Œ œ Œ œœ œ œ œ
J œ # œœ œœ œ
œœ .. œœ œœ œœ œœ œœ œœ p œ
p
œ œ
?# œ. œ œ œ œ œ œ œ Œ œ Œ œ œ œ œ
J
10/’09
Act I 169
# j j j j
œ ‰ œ œ œ œ œj œ œ Ó ∑ ∑ 68
156
Rudolph V
œ
# œ œ œ œ ## œœœ
yes. I’ll come to life to - mor-row!
œœ Œ œ. œ. œ œ n œœ œœ œœ œœ œœ œœ œœ œœ
& Œ œ. œœ œœ œœ œœ œœ œœ 68
. . œ. nœ
p
œœœ œœ Œ œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ b # œœ œ
?# ‰ œœ Œ . œ. œ ˙ w œ 68
# Andante j œ. œ œ œ œ œ œj
6 ∑ Œ ‰Œ j œ œ œ œ œJ
160 non troppo lento.
Gretchen & 8 œ J J
(with mocking curtsey). My Lord Grand Duke, fare - well! A pleas - ant jour - ney,
# 6 j‰ j
& 8 œœ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ # œœ ‰ œœ œœ ‰ œœ n œœ ‰ œœ œœ ‰ œœœ
œ œ œ œ œœ œ œ œ œ œ b œ œ œ œ œ œ œ
? # 6 œœJ ‰ j ‰
8 œ œ œ œ‰œœ‰œ œ‰ œ œ ‰ œ ˙. ˙.
# j œj ‰ Œ
165
j
œ œ j j œ j œ œ œ œ. œ # œ œJ œ ‰ Œ ‰
Gretchen & œ œ #œ œ #œ J J J
#
ve - ry, To your con - ve - nient cell In yon - der ce - - me - te - ry!
∑ ∑ ∑ ∑ Œ ‰ Œ œ
&
(curtseying).
Elsa J
#
Though
& œœ ‰ œœ œœ ‰ œœ œœ ‰ # œœ ‰
œ œ
œ‰ ‰ ‰ ‰ ‰ ‰
œ # œ n œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ œ
?# œ ‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ œœ
œ ‰ œ ‰ ˙. œ. œ ‰
# j j j œ #œ j j j j
& #œ œ œ œ œ œ œ ‰ J œ œ œ œ œ œ ‰ œ œ j j
170
Elsa
J J œ œ #œ œ
mal - con-tents a - buse you, We’re much dis-tress’d to lose you! You were, when you were
#
& œœ ‰ œœ # œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ # œœ ‰ # œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ 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 ‰ œ
˙.
10/’09
170 The Grand Duke
# j j
œ ‰ œ j j œ ‰ ‰ ∑ ∑
175
Elsa & œ. œ œ œ #œ œ œ. J
# j j œ ‰ j
liv - ing, So lib - ’ral, so for - giv - ing!
∑ ∑ Œ ‰ Œ œ
Bertha & J œ œ œ œ œ œ. J œ
#
So mer - ci - ful, so gen - tle! So
& ‰ ‰ ‰ ‰ ‰ ‰ œ
œœœ ‰ œœœ œœœ ‰ œœœ œœœ ‰ œœœ œœœ ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ
?#
˙. ˙. ˙. ˙. ˙.
# j j j j
œ œ ‰ ‰ ∑ ∑ ∑
180 F
Bertha & #œ œ œ ‹œ œ œ
# j j j
high - ly or - na ment - al!
& ∑ Œ ‰ Œ œ jœ œ œ #œ. œ œ œ œ œ œj
Olga
œ œ J
And now that you’ve de - part - ed, You leave us bro - ken -
j #œ. œ œ œ œ œ œ
# j F œ œ œ œ œ #œ. œ œ
& n # œœœ ‰ œœœ œœœ ‰ œœœ n œœœ ‰ œœœ œœœ œ œ œ œ œ œ J
œ œ œ œ
J J
œœ œœ œœ nœ œœ œœ # œœœ œœœ œœ
?# . œ J œ œ œ # œœ œ œ
˙ #˙. J #œ J J œ J J
œ
# œ œ œ œ œ œ œ œ œ # œ œ œ œj
Œ ‰ Œ œ
185
&
(pretending to weep).
Gretchen J J J J J J
# j
Yes, tru - ly, tru - ly, tru - ly, tru - ly— Tru - ly bro - ken -
j j j j j j
& Œ ‰ Œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
(pretending to weep).
Elsa
#
Yes, tru - ly, tru - ly, tru - ly, tru - ly— Tru - ly bro - ken -
& Œ ‰ Œ j j j j j j j
œ œ œ œ œ œ œ œ œ
(pretending to weep).
Bertha
œ œ œ œ
#
Yes, tru - ly, tru - ly, tru - ly, tru - ly— Tru - ly bro - ken -
& j j ‰ Œ j j j j j j j
(pretending to weep).
Olga
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
heart - ed! Yes, tru - ly, tru - ly, tru - ly, tru - ly— Tru - ly bro - ken -
# œ >œ j >œ j >œ j >œ j j
& œ œ œj œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ # œœœ œœ œœ œ œœ
œ œ œ œ œ œ œ
J
>œ . >œ . >œ . >œ .
? # œœ œœ œ œ œ ˙.
J
10/’09
Act I 171
# j œ œ œ œ œ œ #œ œ œ j œ.
œ Jœ ‰ Œ œ
J ‰ ‰ Œ ‰
189
Gretchen & J J J J œ œ.
heart-ed! Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed!
# j œj ‰ Œ j j j j j j
Elsa & œ œ œ œ œ œ #œ œ œ œ œ. œ. œ ‰ ‰ Œ ‰
heart-ed! Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed!
# j j
Bertha & œ œj ‰ Œ œ œ œj œ œj œ œj œ œ
j œ. œ.
j
œ ‰ ‰ Œ ‰
heart-ed! Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed!
# j j‰ Œ j j j j j j‰ ‰ Œ ‰
Olga & œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ
heart-ed! Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed!
œœ œœ œj œœ œj # œœ œj œ œ œj
Gretchen & Elsa with Sops.
# œœ .. œœ ‰ ‰ Œ
& Œ ‰ Œ
Bertha & Olga with Altos.
œ œ œ œ œ œœ .. j
unis.
S
J J J œ
Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed! We’re
# Πj j
& ‰ Œ œœ œœ œjœ œœ œjœ œœ œjœ œœ j
œœ œ. œœ .. œœ ‰ ‰ Œ j
unis.
œ. œ
J J J J
A
Chorus Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed! We’re
# ∑ ∑ ∑ ∑ Œ ‰ Œ j
T V œ
We’re
?# ∑ ∑ ∑ ∑ Œ ‰ Œ œ
B
J
j œ œœ œ œœœ œœ œœœ œœ # œœœ œœ œœ œ œœ œœ ..
We’re
# œ œ œ œ œ œ œ œ œ œ œ
& œœ œ œ œ œ J J J #œ œ. œ œ
‰ ‰ J
œ œ œ œ ˙. ˙. œ. œ n ˙˙ ..
?# J J J ‰ ‰ ˙.
10/’09
172 The Grand Duke
# j j j j j j
& œœ œœ œœ œœ b œœ œœ ‰ ‰ œœ œœ œœj œœj ‰ ‰ œœj œœj j
œœ ‰ ‰ Œ ‰
194
S
A
œ œœ œœ œœ # œœ œœ œœ œœ n œœ œœ œœ œœ œœ
tru - ly bro - ken - heart-ed, Tru - ly, tru - ly bro-ken - heart—
?# œ
Chorus
T
B J J J J ‰ ‰ J J J J ‰ ‰ J J J ‰ ‰ Œ ‰
tru - ly bro - ken - heart-ed, Tru - ly, tru - ly bro-ken - heart—
œ. œ œ œ
# œ œ œ œ œœ œ. œ œ œ
œ œ
œ œ œ œ œ œ œ œ
& œœ œ œ œ J J œ œ ‰ Jœ œ œ œ
J J J
œœ œœ œœ b œœ œœ œœ n œœ œœ œœ œœ
?# œ œ œ #œ œ œ œ œ œ J ‰ ‰ Œ ‰
œ J J œ J J œ J J
# j j j
Œ œœ œj ‰ ‰ Œ ‰ Œ bœ œ œ nœ
198
& œ œ œ œ œœ .. œœ
(Laughs, mocking him.)
J
unis. unis.
J J
S
A
œ. œ œ bœ œ œ nœ
We’re tru - ly bro - ken - heart— Ha! ha! ha! We’re tru - ly
œœ
Chorus
?# Œ œ œ œ œ œ. œ œ J
J J J ‰ ‰ Œ ‰ Œ J
unis. unis.
J
T
B
b
Ÿ~~~~~~~~~~~~~~~ b Ÿœ .
We’re tru - ly bro - ken - heart— Ha! ha! ha! We’re tru - ly
. œ œ œ œ œ nœ
# # œj ˙
# #œ œ
œ œ œ
œ œ œ œ œ œ
œ nœ
œ œ ‰ Jœ œ œ œ
j
& J J
bœ
J
b œœœ œœœ œœœ œœ .. œœ œœ œœ b œœ œœ œœ
?# Œ œ. œ œ J ‰ ‰ Œ ‰ Œ bœ œ œ
J J J J J
# j j j
G Allegro molto vivace con fuoco.
& œ. œ
œ c œ œ Œ Ó ∑
202
S
A
œ. œ œ c œJ œ Œ
bro - ken - heart-ed!
?#
Chorus
T
B J J Ó ∑
bœ
bro - ken - heart-ed!
# œœ bœ œ œ c œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ
Allegro molto vivace con fuoco.
G
& bœ œ œ Œ
J
ƒ
? # b œœ œœ n œœ .. œ
œ œ. c œ Œ Ó ∑
J
10/’09
Act I 173
# w #œ ‰ œ œ Ó ‰ œ œ œ œ œ #˙
Œ Œ ‰ œJ
205
Rudolph V J J J J J J J J
# ˙˙ ˙ ˙˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙
R - r - r - r - r - r - r - r - rap - scal-lions! in pe - ni -ten-tial fires, You’ll
˙ ˙ ˙ ˙ ˙ ˙ ˙
&
p f p f [p]
w #˙ > w #œ >
[ ] [ ]
?# # œœ Œ # œœ Ó
œ œ
# #œ. œ nœ œ œ œ j
œ . œ b œ ‰ œ œ œj œj œj œ . j j œ
œ œ ‰ J
209
Rudolph V J JJ J J J J œ #œ.
# b ˙˙ ˙ ˙˙ b ˙ n b ˙˙ ˙ ˙˙ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
rue the ri-bald-ry that from you falls! To - mor-row af - ter-noon the law ex-pires, And
& #˙
# ˙˙˙ n b ˙˙˙ n ˙˙˙ b # ˙˙˙ # www w
# # ww
?#
# ˙ .
‰ œj œj. œr ˙˙ . Œ ∑ 43
213
V
(Exit Rudolph, amid general ridicule.)
Rudolph
#œ #œ œ #œ
# œ # œ œ # œ # >œJ ‰ Ó œ œ # œ # œ
then— look out for squalls!
œ
#œ #œ œ #œ #œ œ
& ‰ 43
S f
# œ
œ œœ œœ œœ # ˙˙ œœ œœ œœ # ˙˙
?# n œ œ ‰ Œ ‰ # œ
œ œ ˙ œ ˙ # œœ œœ œœ ˙˙ 43
J œ J J J
œ
>
# Allegretto f œ œ œœ œ . # œ œ œ
3 ∑ Œ Œ œ œœ .. œ œ J œJ . # œ œ # œ
216 non troppo.
& 4
J J R
S
A
œ œ. r
Give thanks, give thanks to way - ward fate— By
f œ œ . œ œ œœ
Chorus
? # 43 ∑ Œ Œ œ . œ œ œ œ . œ œ
T
B J J J J R
Give thanks, give thanks to way - ward fate— By
# 3 œ œ œ œ œ œ œ œœ
Allegretto non troppo.
‰ œ œ œ œ œ œ œœœ ... œœ œœ œœœ ... # # œœœ œœœ œ
& 4 J œ. œ œ # œœœ
œ J
f j
? # 43 # œœœœ œ œ œ œ
‰ œ œ œ œ
œ
œ Œ œ œ œ œ. œ œ œ
J œ. œ œ œ œ. œ œ œ
œ.
10/’09
174 The Grand Duke
# n œj. œr œ œ œœ .. œ œ œ œœ .. # # œœ œœ œœ
œœ Œ œœ œ œ Jœ
220
& n œ . #œ œ œ J
J J R
S
A
œœ .. œœ œœ œ. r œ
œœ œœ œœ
mys - tic for - tune’s sway, Our Lud - wig guides the helm of State For
œ œœ œœ œœ ..
Chorus
?# J R œ Œ œ. œ œ œ
T
B J J J J R
mys - tic for - tune’s sway, Our Lud - wig guides the helm of State For
# œœ œœœ ... œ œœ œœ œœœ ... # # œœœ œœœ œœ
& n n œœœ ... # œœœ œœœ œœ œœ
œ
Œ œœ
œ œ.
œœ œ œ œœ
J
œœ œœ œœ œœ .
? # œ. œ œ œ œ
J
. œ œ œ
œ. œ œ œ œ œ œ œ. œ
œ œ œ.
j j
# œœ œœj œœ ˙˙
# . œ œ œ j j
& œœ . œ œ œ œj œ œ
224
J J . J
unis.(To Ludwig.)
.
S
A
œœ .. œœ œœ œœ ˙
one de - light-ful day! We hail you, sir! We greet you, sir! Re -
œ œ œ œ œ œ
Chorus
?# J J J ˙ Œ Œ œ œ œ Œ œ œ œ
J J J J
T
B
j
one de - light-ful day! hail you, sir! greet you, sir!
# .
& œœœ .. # œœ œœ œœ
œ œ œ
œ
œœ œ œ nœ œ œ œ œ œ œ œ
œ˙ œ ˙. œ˙ . œ œ œ
F
? # œ. œ œ œ
œ Œ Œ œ Œ Œ œ Œ Œ
œ. œ œ œ œ œ œ
J
# œ j j œ œ œ
& J œJ œ . œ œ œj œœ .. œ œ Jœ œœ .. # # œœ œœ # œœ
228
œ œ J J J R
S
A
œ. r
œœ œœ œœ œ
gale you, sir! We treat you, sir! Our ru - ler he By fate’s de-cree For
œ œ œ œ œ œ œ
Chorus
?# Œ œœ .. œ. œ œ œ
œ œ œ Œ œ œ œ œ J J J J R
J J J J J J
T
B
œ œœœ .. œ œ œ œ . # œ œ # œœ
–gale you, sir! treat you, sir! Our ru - ler he By fate’s de-cree For
# œ .. œ
& œ œ J œ œ œ. #œ œ œ
œ˙ œ œ œ œ œ œ˙ œ
. f œœœ œœ œœ œœ .. # œœ œœ
?# œ Œ Œ œ œ
œ œ œ. J œ
œ œ œ œ œ.
10/’09
Act I 175
# œj j r œ r ˙
& œ # œœ œ œœ ‰ œj œœ .. œ œ .. j œ. œ ˙ .. c
232
œ R œ œ. R
J J J J
S
A
œ œ œ œ j œ. œ œ. j œ ˙.
œœ œ œœ ..
Chorus one de - light - ful day! Hur-rah! hur - rah! hur - rah! hur - rah!
?#
œ œJ œ œ ‰ J œJ .
œ œ œ.
R J J
œ ˙.
R c
J
T
B
˙. ˙. ˙.
# œœœ # œœœ œœ
one de - light - ful day! Hur-rah! hur - rah! hur - rah! hur - rah!
œœ ˙. ˙. ˙.
& œ c
œœœ œœœ .. œœœ œœœ .. œœœ œœœ .. œœœ ˙˙˙ ..
? # œ œ œœ œ
œ
œœ
‰ J . . . . c
œ œ J
# cL’istesso tempo. œ # œ œ
Ó ‰ J J J œ œ Ó œ œ # œj œj n œ
236
Notary V J J œ œ œ
# c œœ ‰ Œ
You’ve done it neat - ly! Pi - ty that your pow’rs Are
& Ó ∑ ∑
J
S
A
œ
?# c œ ‰ Œ
Chorus
T
B J Ó ∑ ∑
œ tempo.
L’istesso
# c œ
& J ‰ œœ œœ œœ œœ œœ œœ ‰ œ œ œ œœ œœ œœ œœ ‰ œ œ œ œ œœ œœ œœ
œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ
œœœ p œ ‰ Œ
?# c œ ‰ Œ
J ‰ Œ Ó J œ ‰ Œ
J J œ
J
‰ Œ
239
# ∑ ∑ Ó Œ ‰ œ œ œj Œ Œ œ œ
Ludwig V J J J J
# œ. œ ˙ j
œ œj œ Jœ œ
No mat-ter, tho’ the
V J R œ Œ ∑ ∑
Notary
J
# ‰ j
li - mit-ed to four-and-twen-ty hours!
& œ œ œ œ œ œ œ ‰ œœ œœ œœ œœ œœ œœ œœ # œ œ œ œ œ ‰
œ œ j‰ œ œœœ œ œ œ œ œj‰ œœ œœ
œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
? # œ ‰ Œ œ ‰ Œ œJ ‰ œ ‰ œj ‰ j ‰ œœœœœ œœ œœœœœœœ œœ œ œœ
œ œœ œ œœ
J J J œ œ
10/’09
176 The Grand Duke
# j j r r #### 6
œ œj œj œj œ ‰ œj œ j r #œ œ œ ˙ Ó
243
V #œ . œ œ 8
rall.
Ludwig
time will quick-ly run, In hours twen - ty - four much may be done!
# j œj ‰ # œj ‰ œj ‰ # œj ‰ #### 6
& œœ œœ œœ œœ # œœ œ œ‰ ˙ Ó 8
œ œ œ
œœ œ n n œœ
œ œ # œœ n œœ # ˙˙
j j j j # # # # 68
colla voce.
? # œ˙ œ œ œ œ Œ œ ‰ œ ‰ œ ‰ œ ‰ ˙ Ó
œ œ œ œ ˙
No. 12a. Song—(Ludwig) with Chorus.
>œ . œ œ œ. œ. œ. œ. œ. œ. . . . œ.
œ
Allegro con brio.
246
#### 6 œ . œ œ œ. œ. œ. œ. œ. œ . .
œ. œ œ œ
& 8 J
[ f]
œœ. œœ. œœ.
? # # # # 68 œ ‰ ‰ œj ‰ ‰ œ
œ ‰ ‰ œ ‰ ‰ J ‰ ‰ œj ‰ ‰
j
∑ J J
. . .
250
#### Œ ‰ œ j j j j j jœ j
œ œj œj œj œ œ œ œj œ œJ œj œJ
Ludwig V œ œ œ œ œ œ J J J J J
œ. 1. Oh, a
j
mon-arch who boasts in - tel - lect - u - al gra -ces Can do, if he likes, a good
#### J ‰ ‰ œ j j œ j
œœ ‰ ‰ œœ œ œ
j
œœ ‰ ‰ œœœ ‰ ‰
& œ œ ‰ ‰ œœ œ
œœ. p
œœœ œœ œœœ œœ œœœ
? # # # # œœ ‰ ‰ Œ ‰ ‰ ‰ œ
J ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œj ‰ ‰
J J J J J
254
#### œ œ œ œ ‰ œ j j j œj œj œ œ œj j œj œj œ œ œj œ œJ œ Jœ
Ludwig V J J J J J œ œ œ J J œ J J J J
j
deal in a day— Can put all his friends in con - spi - cu - ous pla-ces, With plen-ty to eat and with
# # # # œ œ œ œj ‰ ‰ j ‰ ‰ œ œ œ œj ‰ ‰ œ œ œ j œ
œ ‰ ‰ œœ ‰ ‰
& œœ œœ œœ œœ œ œ œ œ œ
œœœ œœ œ
? #### œ œ j ‰ ‰ ‰ ‰ œ ‰ ‰ œœœ ‰ ‰ œœ ‰ ‰ œœœ
‰ ‰ Jœ ‰ ‰
J J J J J
œ œ
10/’09
Act I 177
258
#### œ œ œ œ ‰ ∑ Œ ‰ Œ j j j j j j j
Ludwig V J J J œ œ œ œ œ œ œ
. . . . # .
œ .
œ
# # # # œœ œœ œ j œ. ‹ œ. œ. œ # œ œ
œ J
no-thing to pay! You’ll tell me, no doubt, with un -
& #œ œ œ. œ. œ. ‰ ‰ ‰ œ œ ‰ # œœ œœ
œ œ œ œ
œ œ œ . . . .
? #### œ œ œ
œœ œœ. œœ. œœ. n œœ. œœ. œœ. œœœ œœœ œœœ œœ
J ‰ ‰ J ‰ ‰ œ. nœ.
262
#### j œj # œj œ œ œj j j j j j j j œj # œj œ œ œj
Ludwig V œ J J œ œ œ œ œ œ œ J J
#### ‰
plea - sant gri - ma - ces, To - mor - row, de - priv’d of your rib - bons and la - ces, You’ll
& œ œ œ œ œ ‰ œ œ ‰ # œœ œœ ‰ n œœ œœ œœ œœ œœ
# n œœ œœ œœ œœ œœ œ œ œ œ #œ œ œ œ œ
? #### œ . j ‰ ‰ œ. nœ. œ. j ‰ ‰
œ œ
265
#### j j j j j j j j j j j j j j j
œ # œj œ œJ œ œj
Ludwig V œ œ œ ‹œ œ œ œ œ œ #œ œ œ
#### j ‰ j j
get your dis - mis - sal— with ve - ry long fa - ces— But wait! on that to - pic I’ve
‰ ‹ œj ‰ ‰ j œœ ‰ ‰ œœ œ œ
& œ œ ‰ ‰ # œœœ ‰ ‰
nœ œ
œ œ œ
? #### œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ #œ ‰ ‰ œ ‰ ‰
J J J J J J
#### j œj # œj œ (Dancing.)
‰ œJ œ œ œ œ œ œ œ œ ‰ ‰
H1
J œJ J
268
Ludwig V œ J J J J J J
#### f œj
some-thing to say! I’ve some-thing to say— I’ve something to say!
& ∑ ∑ Œ ‰ Œ
œ
S
A
f œj
He’s
Chorus
T ? #### ∑ ∑ Œ ‰ Œ J
B
œœ œ œœ œ ˙˙ .. ˙. ˙˙ .. ˙.
He’s
H1
#### j
& n œœ œœ # œœ œ
œ
f
? # # # # œœ œœ œœ œ œ œ ‹œ. œ œœ œ ‹œ. œ #œ œ
œ œ œ ‹œ. œ œ ‹œ. œ #œ œ
J
10/’09
178 The Grand Duke
# # # # œj œj œj œj œj œj œ œ œ œ j
# œ œœ œ œ œœ œ œ. œ ‰ ‰
271
S
A & œ œ œ œ œ œ J J J J J J J
œ œ œ œ œ œ
some - thing, he’s some - thing, he’s some-thing, he’s some-thing to say!
œœ .. œœ
? # # # # œœJ œœ œœ œœ œœ œœ
Chorus
œ œ œ œ œ œ J ‰ ‰
T
B J J J J J J J J J J J
œ œ œ œ œ œ
some - thing, he’s some - thing, he’s some-thing, he’s some-thing to say!
œ œ œ œ
#### œ œ
œ œ
œ
œ œ œ œ œ œ j
œ œ œ ‰ ‰
& œ œ œ
? #### œ
œœœ œœœ œœœ œœœ œœœ # œœœ œœœ œœ œœ œœ
œ œ œ
œœ
œœ œ œ œ
œ
œ œ œ œ ‰ ‰
J
#### œ . œ œ j j j j œ j j
œ œ œ œ œJ œ œJ Jœ œ œJ Jœ
274
Ludwig V J J
œ. œ œ
Oh, our rule shall be mer - ry— I’m not an as - cet - tic— And
# œ œ œ œ œ œ œ œ œ œ œ œ
# œ. œ œ
& ## J
p
œœ j œœ j
? #### ∑ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
J J
277
#### j j j j œj œj j œj œj j œj œj j j j j j j
Ludwig V œ œ œ œ œ œ œ œ œ œ œ œ
while the sun shines we will get up our hay—By a push - ing young Mon-arch, of
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
œ œœ œœœ ‰ ‰ j ‰ ‰
? # # # # œœœ ‰ ‰ j œœ ‰ ‰ j ‰ ‰
J œ ‰ ‰ J œ J œ
280
#### j j j j j j j j j j œj œj œ œJ œ œ ‰ ‰
Ludwig V œ œ œ œ œ œ œ œ œ œ J J J
œ œ œ œ œ
turn en - er - get - ic, A ve - ry great deal may be done in a day!
#### œ œ œ œ œ œ œ œ œ œ œ
& ‰
œ œœ œœ œœ .. œœ
? # # # # œœJ ‰ ‰ œj ‰ ‰ œ
J ‰ ‰ œ
J ‰ ‰ #
‹ œ. œ ‰
10/’09
Act I 179
#### œ . j j j j j œj œj
J1 (During this, Ludwig whispers to Notary, who writes.)
œ j j œj j j œj
œ œœ œœ œ œœ œœ œ
283
S
A & J œœ œœ œœ œœ œ œ
œ.
Oh,
œ j
his rule will be mer - ry— He’s not an as - cet - ic— And
œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ
Chorus
? #### J œ œ œ œ œ œ
T
B J J J J J J J J J J J J
œ. œ œ
Oh, his rule will be mer - ry— He’s not an as - cet - ic— And
œœ œ œ œ œ œ œ œ œ œ œ œ
#### œ .
J1
œ œ
& J œ
f œœ œœ
? #### ∑ œ ‰ ‰ j
œ ‰ ‰ œ ‰ ‰ j
œ ‰ ‰
J J
#### j j j j œj œj j j œj j j œj j j j j j j
286
& œœ œœ œœ œœ œ œ œœ œœ œ œœ œœ œ œ œ œ Jœ œ Jœ
J J J J
S
A
œœ œœ œœ n œœ œœ œœ
? # # # # œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ
Chorus while the sun shines we will get up our hay— By a push - ing young Mon - arch of
J J J œ œ œ J J J J J J J J J J J J
J J J
T
B
œ œ œ œ œ œ œ
while the sun shines we will get up our hay— By a push - ing young Mon - arch of
# # # # œœœ œ œ œ œ œœ œ œ n œœ œ œ
&
œ œœ j j
? # # # # œœœ ‰ ‰ j
œ ‰ ‰ œœ ‰ ‰ j ‰ ‰ œœ ‰ ‰ œœ ‰ ‰
J J œ
#### j j j j j j j j j j œ œœ n œjœ j
# œ # œœ œœ # œœ
œ œœ œœ œœ ‰ ‰
289
& œ œ œJ # n œœ ‹ œ n œ n œœ œ
J J
J J J J J J J J J J
S
A
j j j œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
turn e - ner - get - ic, A ve - ry great deal may be done in a day!
œ œ œ nœ œ œ
Chorus
T ? #### J J J J J J J J J J J J J J J œJ ‰ ‰
B
œ œ œ œ œ œ œ
turn e - ner - get - ic, A ve - ry great deal may be done in a day!
# # # # œœ œ œ # œœ ‹ œ œ œœ # œ œ .
œ œ œ ‰ œJ
& J
? # # # # œœ ‰ ‰ n n œœ ‰ ‰ #œ ‰ ‰ # œœœ ‰ ‰ n œœ .. œœ ‰ ‰
J J œ œ. J
J J
10/’09
180 The Grand Duke
#### ∑ j
∑ ∑ Œ ‰ œ
292
Ludwig V œ
. . . . . œ.
œ œ.
# # # # œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ .
2. For
œ. œ. œ œ J ‰ ‰ œ j
& œ
. œœ. œœ. p
œ
œ œœœ.
? # # # # œ ‰ ‰ œj ‰ ‰ œ ‰ ‰ œj ‰ ‰ J ‰ ‰ œj ‰ ‰ œœ ‰ ‰ Œ ‰
J . J . . J
296
# # # # j j j j j(alluding
œ œ j j j j œ œ œj œ œJ œj œ
œ œ œ œ J
to Notary).
Ludwig V œ œ œ œ J J œ J J J
j
in - stance, this mea - sure (his an - ces - tor drew it), This law a - gainst du - els— to -
#### j œ j j
œœ ‰ ‰ œœ œ œ œ
œ ‰ ‰ œœ ‰ ‰ œ ‰ ‰
& œœ œ œ
œœ œœ
? # # # # œœœ ‰ ‰ œ ‰ ‰
œœœ œ ‰ ‰ œœœ
‰ ‰ œj ‰ ‰
J J J ‰ ‰ J J
299
#### œ œ œ œ ‰ œ j j j j œj œ œ œj j œj œj œ
Ludwig V J J J J J œ œ œ œ J J œ J
mor - row will die— The Duke will re - vive, and you’ll cer - tain - ly rue it— He’ll
#### œ œœœ œœ j j œ j
& œœ œ œœœ ‰ ‰ œ ‰ ‰ œœ œ œœ ‰ ‰ œœ œ œ
œœœ œœ œœœ œ
? ####
œ œ j ‰ ‰ ‰ ‰ œ
J ‰ ‰ ‰ ‰ Jœœ ‰ ‰
J J
œ œ
## j œ Jœ œ œ
V # # œJ œ œJ œ œ
J œJ J ‰ ∑ Œ ‰ ‰ œj œj
302
Ludwig J J
j . . # œ. œ.
give you “what for” and he’ll let you know why! But in
#### j œœ œœ # œœ j . œ. # .
œ œ œ
& œœ ‰ ‰ œœœ ‰ ‰ œ œ. œ. œ. œ. ‹ œ. œ J ‰ ‰
œ œ œ . . . .
? # # # # œœœ ‰ œ œ œ œ
œœ œœ. œœ. œœ. n œœ. œœ. œœ. œœœ œœœ œœœ œœ
‰ J ‰ ‰ J ‰ ‰ J ‰ ‰
J
10/’09
Act I 181
#### j j j j j j j œ r r
œ œ œ œj œj œj œj œj œj
306
Ludwig V œ œ œ œ œ œ œ #œ J J
##
& # # ‰ œ œ ‰ # œœ œœ
twen - ty - four hours there’s time to re - new it— With a cen - tu - ry’s life I’ve the
‰ n œœ œœ œœ œœ œœ ‰ œ œ ‰ # œœ œœ
œ œ œ œ #œ œ œ œ œ œ œ œ œ
? #### œ . nœ. œ. j ‰ ‰ œ. nœ.
œ
309
#### j œj # œj œ œ j j j j j j j j j j # œj œj œj
Ludwig V œ J J œ œ œ œ ‹œ œ œ œ œ œ
#### j j
right to im - bue it— It’s ea - sy to do— and, by Jin - go, I’ll do it! It’s
‰ n œœ œœ œœ œœ œœ j j
& œœ ‰ ‰ ‹ œœ ‰ ‰ œ ‰ ‰ # œœœ ‰ ‰
œ
#œ œ œ œ œ
? #### œ . j ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ J J J J
[ U ] (Signing paper, which Notary presents.)
# # # # œj j œj œ œj j j j # œj œj ‰ œœ œ œ œ
J Jœ J
312 H2
Ludwig V # œ J œ œ œ J J
œœ œ œœ œ ˙˙ .. ˙.
done! Till I per - ish your Mon-arch am I! Your Mon-arch am I— Your
# # # # œj [ U‰ ] ‰ œ œ œ
j
& n œœ # œœ
œœ œ n œœ œœ œ
f
œœ œœ œœ
? # # # # # œ [ U‰ ] ‰ œ ‰ ‰ œ œ œ
œ œ œ
‹œ. œ œ œ
J J J ‹œ. œ œ œ
#### œ œ
J Jœ œJ J ‰‰ ∑ ∑ ∑
315
Ludwig V
#### fj j j j j j j œ j
œ œœ œœ œœ œœ œœ œœ # œ œœ œœ œœ œœ œ .
Mon-arch am I!
& Œ ‰ Œ œ œ œ ‰ ‰
œ J J J J J J J
S
A
j
fœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ .. œœ
Chorus
-
Our Monarch, our Mon-arch, our Mon-arch, our Mon-arch is he!
? #### Œ ‰ Œ J J J J J J J œJ Jœ Jœ œJ œJ œ J ‰ ‰
T
B J
˙. ˙. œœ œ œ œ œ œ œ œ œ œ œ œ œ
#### ˙ .
Our Monarch,
- our Mon-arch, our Mon-arch, our Mon-arch is he!
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 œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œ œœ œ
œ
œ
œ ‰ ‰
‹œ. œ #œ œ œ J
10/’09
182 The Grand Duke
319
#### œ . œ œ œj œj œj œj œ œ œj œ œ œj œ œ œj œj œj œj œj œj
Ludwig V J J J J J J J
œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Though I do not pre - tend to be ve - ry pro-phet-ic, I fan - cy I know what you’re
#
# œ. œ œ œ œ œ œ œ
& ##
œ
J
p
œœ œ œœ
? #### ∑ œ ‰ ‰ j ‰ ‰ œœ ‰ ‰ j ‰ ‰ œœ ‰ ‰ j ‰ ‰
J œ J œ J œ
## j j j j j j j j j j j j j
V # # œ œ œ œ œ œ œj œj œj œj œ œj œj œ œj œj œ œj œj œj œ œ œ œ
323
Ludwig
go - ing to say— By a push-ing youngMonarch, of turn en - er - get- ic, A ve - ry great deal may be
#### œ œ œ œ œ 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 ‰ ‰ j ‰ ‰ œœJ ‰ ‰ j ‰ ‰ œœJ ‰ ‰ j ‰ ‰ œœ ‰ ‰ œœ ‰ ‰
J œ œ œ J J
#### œ œJ œ œ ‰ ‰
J2
∑ ∑ ∑
327
Ludwig V J J J
j
œ œj œj œj œj œj œj œj œj œj œj œj œj
done in a day!
#### œ. œ
& ∑
(astonished).
S
A J œ œ œ œ œ œ œ œ œ œ œ œ
j
Oh, it’s sim - ply un - can - ny, His pow - er pro-phet-ic, It’s
œ. œ œ œ œ œ œ œ œ
Chorus
? #### J œ œ œ œœ œœ œœ œ œ œ
∑ J J J œ œ œ J J J œ œ œ
J J J J J J
T
B
œ. œ
Oh, it’s sim - ply un - can - ny, His pow - er pro-phet-ic, It’s
#### œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ
œ. œ œ
J2
& ‰ J œ
f
# œœ .. œœ œœ œœ
#
? ## # ‹ œ . œ ‰ ∑ œ ‰ ‰ œj ‰ ‰ œ ‰ ‰ œj ‰ ‰
J J
10/’09
Act I 183
#### j j j j j j j j j j
œœ œœ œœj œœ œœ œœj œœ œœ j j j j j
œ œj œ Jœ œ Jœ
331
& œœ œœ œœ œœ
J J J J
S
A
œœ œœ œœ n œœ œœ œœ
? # # # # œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ
Chorus per - fect - ly right— we were go - ing to say— By a push - ing young Mon - arch of
J J J œ œ œ J J J J J J J J J J J J
J J J
T
B
œ œ œ œ œ œ œ œ
per - fect - ly right— we were go - ing to say— By a push - ing young Mon - arch of
# # # # œœœ œ œ œ œœ œ œ n œœ œ œ
&
œœ œœ j j
#
? # # # œœ ‰ ‰ œ
j ‰ ‰ œœ ‰ ‰ j ‰ ‰ œœ ‰ ‰ œœ ‰ ‰
J J œ
#### j j j j j j j j j œj œ œœ œœ n œjœ œjœ œœ ‰ ‰
œ œ œ # n œœ ‹ œ n œ n œœ # œœ # œœ œœ # œ œ
334
& J J J J J J J J J J J J
J
S
A
j j j œ œ œ veœ - ryœ
turn e - ner - get - ic, A
œœ œœ œœ
great deal may
œœ
be
œœ œœ œœ œ
done in a day!
? # # # # œJ Jœ Jœ n Jœ Jœ œJ œJ œJ
Chorus
J J J J J J J œ ‰ ‰
J
T
B
œ
turn e - ner - get - ic, A ve - ry great deal may be done in a day!
œœ # œ œ œ œ œ œ œ œ
# # # # œœ œ œ # œœ ‹ œ œ œ œ œ ‰ Jœ.
& J
? # # # # œœ ‰ ‰ n n œœ ‰ ‰ #œ ‰ ‰ # œœœ ‰ ‰ n œœ .. œœ ‰ ‰
œ œ. J
J J J J
#### ∑ j
∑ ∑ Œ ‰ Œ œ c
337
V
(Enter Julia, at back.)
Ludwig
. . . . . . . . . . . œ. œ.
œ
# # # # œ œ œ œ œ œ œ. œ. œ. œ. œ œ
This
.
œ. œ œ œ
& J ‰ ‰ Œ ‰ c
.
œ
œ œœ. œœ
œ
. œœ.
? # # # # œ ‰ ‰ j ‰ ‰ œ ‰ ‰ j ‰ ‰ J ‰ ‰ j ‰ ‰ œœ ‰ ‰ Œ ‰ c
J œ. J œ. œ. J
10/’09
184 The Grand Duke
####
K
c œr œr œ œr œj œj œr œr œj ‰ œj r r r j r r j
œ œ œR œ œ œj œ œ œ ‰ j
341 Andante.
Ludwig V R œ
####
ve - ry af-ter-noon— at two (a - bout)— The Court ap-point-ments will be gi - ven out To
& c œ
œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ ≈ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ ≈
œ œ œ œ œ œ œ œ œ œ œ
p
#
? ## # c œ œ œ œ≈ œ
œ œ œ œ œ œ œ œ #œ œ œœœ≈
œ œ œ œ œ œ œ œ œ œ #œ œ
343
# # # # j j j j r r r r œr œr ≈ r j j j j # œr r r r r r ‰
Ludwig V œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ ‹œ œ œ
####
each and all (for that was the con-di - tion) Ac - cord - ing to pro - fes - sion-al po - si - tion!
S
A & ∑ Ó Œ ‰ ≈ Rœ
œ
Hur-
? ####
Chorus
T
B
∑ Ó Œ ‰ ≈ R
Hur-
#### œœ œœ œœ j ≈ Rœ
& œœ œœ œœœ œœœ œœœ œœ œ œ # œœ œœ # œœœ ‹ œœœ œ
œ œ œ œ œœ œ œ œ œ #œ
[ f]
j œ
? #### œ œ n œ œ œ œ œ œœ œ œ œ œ œ œ œ ≈ R
œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
# # # # ŒJulia. (coming forward.) œ
‰ ≈ Rœ Œ Ó Œ ‰ ≈ œr
345
&
## j œ j
Oh,Heav’n! Ac -
& ## œ ≈ R œ ‰ Œ ‰ r r œr œr ‰ Œ Ó
œ œ
S
A
œ
rah! hur-rah! What’s the mat-ter?
? # # # # œJ ≈ R œJ ‰ ‰ œ œ œR Rœ ‰
Chorus
Œ Œ Ó
R R
T
B
. .
#### œ œ œ œœ ‰ r
rah! hur-rah! What’s the mat-ter?
œ œ j ‰.
& œ ≈ œ ≈ œ ‰ Œ ‰
œ. œ. œ
Œ œ
œ
œ œ œ p
? #### œ ≈ ≈ œ ‰ ‰ œ œ
J
œ œ ‰ ‰ œ œ œ œ ‰ Œ
œ. œ. œ. œ. œ. œ. œ. œ.
10/’09
Act I 185
#### L r r r r r r r r r r
œ œ œ œ œ œ œ œ #œ œ ‰ Œ Ó Œ ‰ œj
347
Julia &
# ## f r r r r
cord-ing to pro-fes- sion-al po - si - tion? Then,
S
A & # Ó Œ ‰ ≈ œr œr œr œr œr œ œ œr œr # œ œ ‰ Œ
f
Ac - cord-ing to pro-fes -sion-al po - si - tion!
? #### Ó ‰ ≈ Rœ œ œ œ œ œ œ œ œ # Rœ œR ‰
Chorus
T
B
Œ R R R R R R R R Œ
#### j j
Ac - cord-ing to pro-fes -sion-al po - si - tion!
r ‰ œœj
L
& œ œœœ # œœ ‰ ‰. œ œ œœœ # œœ ‰
# œœœ œ œ
œ # œœœ œ œ œœ
f
? #### j œ œ œ œ ≈ œr j j
˙ œ œ. œ. œ. œ. ˙ œ œ œ
œ. œ. . . œ
˙ œ
No. 12b. Song—(Julia) with Chorus.
#### ˙ œ ‰ Jœ œ œ œ œ œ œ œ ‰ #### 3
Ó
349
Julia & J J R R R R R R # 4
#### œ
j r r œr r r r # #
hor - ror! hor-ror! hor - ror! hor - ror! hor - ror!
& ∑ Ó œ œ œ œ œ # # # 43
œ œ œ œ œ œ œ
S
A
œ œ œ œ œ œ œ
Why, what’s the mat - ter? What’s the
? #### œ œ Rœ œ œ œ # # # # # 43
Chorus
∑ Ó œ
J R R R R R
T
B
#### #### 3
Why, what’s the mat - ter? What’s the
& ww ˙˙ œ œ œ œ œ # 4
ww ˙˙ œ œ
? #### w ˙ œ œ œ œ œ œ œ # # # # 43
#
w ˙
# # # # 3Andante (l’istesso tempo). (Lisa clinging to her.) œ
œ. .
∑ Œ Œ J Rœ œ œ
351
Julia & # 4 J
r r r
# # # # 3 œ œr œr œr œ œr œr œr œ œr ‰
Ah, pi - ty me, my
& # 4 œ ∑ ∑
œ œ œ œ œ œ œ œ œ
S
A
œ œ œ œ œ œ œ œ œ œ
mat-ter? What’s the mat-ter? What’s the mat-ter?
? # # # # 43 œ œ œ œ œ œ œ œ œ œ ‰
Chorus
T
B # R R R R R R R R R R ∑ ∑
j
mat-ter? What’s the mat-ter? What’s the mat-ter?
# # # # 3Andante (l’istesso tempo). œ œ œ œ œ œ œ œ œ œ œœ œ˙ . œ œ . œ
& # 4 œ œ ˙ œœ
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œœœœœ œœœœœœœœ
? # # # # 43 œ œ œ œ œ œ œ œ œ œ œœœ œ œ
˙ œ
# Œ
10/’09
186 The Grand Duke
#### j j
œ œj œJ . r j j
# œ œj œj œj Jœ
j
œ œ œj œ Œ
354
Julia & J œ œ œ
com - rades true, Who love, as well I know you do, This gen - tle child,
#### œ
& # œœ˙ œ œ œœ ˙˙ œœ œ œœ
˙ œ
? #### œ œ œ œ œ œ œ œ œ œ œœ œ œœœœ œ œœ œœœœœœœ œ œ
# ˙ œ Œ ˙ œ ˙ œ œ
#### Œ
357
‰ œj Jœ œJ œ œ œ Œ ∑
Julia & # J J
####
To me so fond - ly dear!
& # ∑ ∑ Œ Œ ‰ œ œ
unis.
R R
S
A
? #### œ œ œ Rœ r ‰ Œ
Chorus What’s the
# ∑ ∑ J R R œ
unis.
T
B
Why, what’s the mat -ter?
j Ÿ
# # # # ˙œ . œ œ . œ œœ œ œœ œœ œœ œœ œœ n # œœ n œœ # œœ œ
& # ˙ ‹ œœ ˙ œ 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 œ œ œ œ
#### Œ
360
Œ œ œ. nœ œ. œ œ j
œ n œ œj Jœ n œJ
Julia & # J R J J J
#### r
Our sis - ter-love so true and deep From many an
S
A & # œ œr ‰ Œ Œ ∑ ∑
mat-ter?
? ####
Chorus
T
B # ∑ ∑ ∑
#### œ j
& # œ œ œ œ œ n ˙˙œ .
œ n œœ œ œ œ nœ œ.
nœ œ nœ œ œ œœ œ # œœ
œ
nœ œ nœ œ
? # # # # œ œ œ œ œ œ œ œ œ œ œ œ n ˙ n œ œ œ œ œ œ œ œ œ n œ œ œ n œœ
# œ
10/’09
Act I 187
#### n œ . nœ œ.
œ Jœ . œ œ œ n œj # œ œ œ œ œ
363
Julia & # J R R J J
eye un-used to weep Hath oft be - guiled The
nœ j
#### ‰ n nn ˙˙œ . œ œ. œ
& # n œœ œœ œœ œœ n œœ œœ n œ œ œ œ nœ n œœ
nœ œ œ œ œ œ œ œ œ œ
nœ œ œ œ J
? #### Œ Œ nœ œ n˙ nœ œ œ nœ œ œ œ œ œ œ œ
# nœ œ nœ œ œ .
#### œ n œ j j j ‰
∑ Œ Œ ‰ œj
366
Julia & # J J nœ œ œ
coy, re - luc-tant tear! Each
#### œ œr œr ‰ Œ
& # ∑ Œ Œ ‰ œ Œ
R R
S
A
œ œ Rœ r ‰ Œ
What’s the mat-ter?
#œ
Chorus
? #### ∑ J R R œ ∑
T
B #
Why, what’s the mat-ter?
Ÿ
#### œ n œ j j œœ œœ n # œœ n œœ # œ œ
& # n œ
œ œ œ œ œœ # œœ
œ œ#œ œ œ œ œ œ œ
œ
? # # # # nn œœ n œ œ œ Œœ œ œ œ 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
#
#### M œ . # œ œ œ œ
369
œ œ œ ‰ œj œ. #œ œ œ œ œJ
Julia & # J RJ J J J J R J J J
sym - pa-thet - ic heart ’twill bruise When you have heard the fright - ful
#### œ .
& # n œœœ ... # œ n ˙˙˙˙ # ˙œ˙˙ œ ‰ œj œœœ .. # œ n ˙˙˙
œ .. ˙
? #### œœœ œœœ œ œœ œœœ œœœ œœœ œœœ œ œ œ œœœ
# œ œ œ œ œ œ œ œ œ
10/’09
188 The Grand Duke
372
#### œ œ r r r n œj ‰ j
‰ n œj œj n œj b œ œj nœ œ Œ
Julia & # R œ #œ œ
news (O will it not?) That I must now im - part!
#### n œ n œ . œ œ j nœ
# # ˙œ˙˙ œ b n œœ b n ˙˙ .. . n œ b nn œ˙˙ œ œœ
&
piu f
œ œ œ œ œ œ œ œ nœ ˙ bœ nœ œ ≈ œ œ œ nœ œ œ œ ˙ bœ nœ œ ≈ œ œ œ nœ œ œ œ
più
? ####
# ˙
#### #œ nœ. #œ œ. œ
∑ Œ Œ
375
Julia & # J R J
Her love for him is
#### r r b œr r ‰
S
A & # Œ ‰ nœ nœ œ ∑ ∑
What’s the mat-ter?
œ n œ b œR œ ‰ œ bœ nœ
Chorus
? #### n œ ‰ œ R R ‰ Œ Œ ∑
T
B # J R R R R R
Why, what’s the mat-ter? What’s the mat-ter?
j
#### n œ . œ œ. nœ b n n œœœ .
#œ
œœ œ n # œœ œœ . œ œœ . œj
& # bn ˙˙ .. œ œ ‹ œœ
J
f
? #### bœ nœ œ ≈ œ œ œ œ œ œ ˙ bœ nœ œ œ œ #œ
# ˙ nœ œ œ œ
#œ œ œ œ
## j j j j j j r r
& # # # œ œ œj œj œJ œJ œ ‰ œ œ œ œ ‹œ œ
378
Julia œ œ œ œ J J
all in all! Ah, curs - ed fate! that it should fall Un -to my lot To
#### j ‰ œœ
& # œœ œ œ ##œœ œ n œ œ œ œ œ œ œ œ œœœ œ œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
p
? #### œ œ œ
# œ œœ œ nœ ˙ œ ˙ œ œ
œ œ
10/’09
Act I 189
#### œ
381
œ. œ œ œ œ œ n Jœ œ œ œ ‰
& # J J
œœ œ
œ
Julia
J J J
break, to break my dar - ling’s heart!
#### œ . œ œ. j œ œ#œ
& # ˙˙ n œœ œ œœ œ n ˙˙ œœ œœ # œ œ œ œ
œ
? #### œ œ œœœœ œ œ œ œ œ œ ˙˙ œœ ..
# ˙ œ œ œ ‰ Œ
#### j
∑ Œ Œ ‰ œj œj. œr n œ œ # œ œ
384 N
V #
Ludwig.
J J J
# ##
What means our Ju - lia by these
& # # Œ Œ ‰ œr œr œr r ‰ Œ Œ ∑
œ
S
A
? # # # # œJ œ œ Rœ œ ‰ Œ
Chorus What’s the mat-ter?
T
B # R R R ∑ ∑
Well, what’s the mat-ter?
N
#### œ‹œ œ œ #œ#œ nœ œ œ œ œ œ œ œŒ œ œ œ œ n˙ œ
& # œ œ œ n˙
œœ .. œœ œœœœ œ œ œ œ œ œ œ œ nœ œ œ œ
? #### ˙ œ œ œ œ œ œ Œ
# œ
#### j
# Œ ‰ Jœ Jœ œJ Œ Œ ‰ œj œ œj œj ‰
387
Julia & œ
Ah, curs - ed fate! Ah, curs - ed fate!
#### œ . œ œ j r œr n œj œj # œj œ
V # J R J ‰ Œ œ œ J œ . œr œj ‰ œj œr œr
Ludwig
J
fate - ful looks? Please do not keep us all on ten - ter hooks— Now, what’s the
œ n˙ œ œ œ œ
#### œ œ œ n˙ œ œ œ
& # œ œ
? #### œ œ œ œ œ œ œ œœ œ œœ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œ œ
# œ œ œ œ œ œ œ œ
10/’09
190 The Grand Duke
#### j œ j
# ‰ œ œ ‰ ∑ c
390
Julia & œ J J
# # # # œr r ‰ r r œr r ‰
Ah, curs - ed fate!
Ludwig V # œ Œ ‰ œ œ œ Œ Œ c
#### r r œr r ‰
mat-ter? What’s the mat-ter?
r r r
S
A & # Œ ‰ œ œ œR œ ‰ Œ ‰ œ œ œ c
œ œ Rœ œ ‰ œ Rœ œ ‰
What’s the mat-ter? What’s the mat-ter?
? #### œ
Chorus
T
B # ‰ R R R Œ ‰ R R R Œ c
œ œ œ œ ˙
What’s the mat-ter? What’s the mat-ter?
#### œ œ œ œ ˙ c
& #
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
? #### œ œ œ œ œ œ œ œ œ œ c
# œ œ
#### ‰ œj œj œj j j œj œj j œj œ ‰ œj
# c Ó Œ Œ Œ
392
Un poco più vivo.
Julia & œ œ œ
œ
####
Our du - ty, if we’re wise, we nev - er shun. This
œ
& # c J ‰ œj ‰ œœ
j‰
œœ
j‰
œœ
j‰
œœ
j ‰
œœ
j ‰ j‰
œœ œœœ
j‰
œœœ
j‰
œœ
j‰
œœ
j‰
œœ œ œ œ œ œ œ
? # # # # c œœœ ‰ œj ‰ j
œ ‰
j
œ ‰
j
œ ‰
j
œ ‰
j
œ ‰ œ ‰
j j
œ ‰
j
œ ‰
j
œ ‰
j
œ ‰
# J
œ œ œ œ œ œ œ œ œ œ œ
####
‰ œj œ œj œj œj œ
j
# œj œj œj œj œj œj œj œj œ Œ Œ Œ
395
Julia &
Spar-tan rule ap - plies To ev - ’ry one. In thea-tres, as in life,
#### j j j j
& # œj ‰ œj ‰ œj ‰ œj ‰ j
œœœ ‰
j j j
œœœ ‰ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œœ ‰ œœ ‰
œœ œœ œœ œœ
? # # # # œj ‰ œj ‰ œj ‰ œj ‰ j j j 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
10/’09
Act I 191
#### œ œj œj œ
# œ œj œ œ Œ œ œ Œ Ó Œ ‰ œ Jœ . œ œ œ
398
Julia & J J R JJ
# ##
Each has her line— This part—the GrandDuke’s wife (Oh a -gon-y!) is
& # # ∑ ∑ Ó œ œ œ œJ œj Œ Ó
J J
S
A
œ œ œ œJ œ
Well, what’s the mat - ter?
? ####
Chorus
T
B # ∑ ∑ Ó J J J Œ Ó
Well, what’s the mat - ter?
## j j j j j j j j j j
& # # # œœ ‰ œœ ‰ œ ‰ œ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œœ ‰ œœ ‰ Ó
œ œ œ œ
∑
œ œ œœ œœ œ œ
j j j j j 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 ‰ Ó ∑
# # # # Vivace.
˙
O
Ó ∑ ∑ Ó Œ ‰ œj
402
& #
[Recit.]
Julia
mine! A
#### f œ. j j
& # ∑ Ó Œ ‰ œ œ. œ œ œ J œ œ œ #œ œ Œ Ó
J J R J J R J J
S
A
fœ œ . œ œ œ œ . œ œ œ # œ œ
Chorus Oh! that’s the mat-ter, that’s the mat-ter, is it?
? #### ∑ Ó Œ ‰J J R J J J R J J J J Œ Ó
T
B #
Vivace.œ œ œ
œœ œ œ œ œn œ # œ œ n œ
Oh! that’s the mat-ter, that’s the mat-ter, is it?
#### œœœœœœœ œ
O
& # Œ ≈Œ ∑ Ó ˙˙
˙
ƒ p
˙. ˙ œœ
? #### Œ n ˙˙ .. n ˙˙ œ n˙
# Œ ∑ Ó
#### n
‰ œj œj œj œj œj œj œj œj œj œj œj œj œj n n n n b b b
# œj œj œ . j j j
406
Julia & œ œ œ œ
# ## nnnn b
max-im new I do not start— The ca-nons of dra - ma - tic art De-cree that this re -
& # # ww n www b www nb b
w
? #### w nw bw nnnn b
# nb b
10/’09
192 The Grand Duke
b j j j r œ œ ŒŒ
&bb œ œ œ ≈ œ œ œ Œ Ó ∑
409
nœ
Moderato.
Julia
pul-sive part (The Grand Duke’s wife) is mine!
b ‰ œj œj œj œ Œ
&bb ∑ ∑ Ó Ó
(appalled, to Ludwig).
Lisa
b
Can this be so?
Ludwig Vbb ∑ ∑ ∑ Ó ‰ œj œj œj
b
I do not
& b b ww Ó Œ œj‰ œœj ‰ Œ Œ œj ‰ œœj ‰ Œ
Moderato.
n ˙˙
w ˙ œœ n œ œœ n œ
? bb w
b
bœ œ Ó Œ œj ‰ b œj ‰ Œ Œ œj ‰ b œj ‰ Œ
œ bœ œ bœ
b b b j ≈ r œj. œr j r j r j ‰ Œ Ó ∑ b b b b 42
413
Ludwig V œ œ œ . œ bœ . œ œ
j r r
b œ . œ œj. œ b œj. œr b b b b 42
know— But time will show If this be so.
S
A &bb ∑ Œ
œ Œ Ó
œ. œ œ. œ bœ. œ œ
Time will show If this be so.
? bb 2
bbbb 4
Chorus
T
B b ∑ Œ J R J R J R Œ Ó
j j ‰ œj ‰ b œœj ‰ œj‰
b œœ ‰ b œœj ‰ œj‰ b b b b 42
Time will show If this be so.
& b b œœj ‰ bœ b œ œœ b œœ b œ
j j
œœ ‰ Œ œ ‰ Œ
œ œœ œ œœ œ
j j j
? bb j ‰
b œ j ‰ œj ‰ b œj‰ œ ‰ j ‰ œj ‰ b œj‰ œ‰ Œ œ‰Œ 2
bbbb 4
œ œ œ œ œ
œ œ œ bœ œ œ bœ
No. 12c. Duet—(Julia & Lisa) with Chorus.
j r r
bb b b Allegretto œ œ nœ œ nœ œ œ ‰ œj Jœ Jœ
P
2 ∑ ‰ ‰
416 grazioso.
Lisa & 4 J
Oh, lis - ten to me, dear— I love him
b œ œ
& b b b 42 ‰ J n œ b œ œ œ œ. œ
j
œ nœ œ nœ œ œ œ nœ bœ œ œ. bœ œ. œ
p
? bb 2
œœ
œ
œœ b œ œœ œœ œœ œœ n œœ œ œœ
bb 4œ œ œ œ œ œ œ œ
œ
10/’09
Act I 193
j j
b œ
& b b b J Jœ œ œ ‰ Jœ œ j œ. œ œ. œ œ œ œj œj
420
Lisa
J J J œ J R J R
on - ly, dar - ling! Re - mem - ber, oh, my pet, On him my heart is
b œ œ nœ bœ œ œ œ œ œœœ
& b bb œ œ œ. œj œ n œ œ œ œ œ œ
˙ œœœ
œ œœ œ œ œœ œœ
? b b b œ œœ œ œ bœ œ œ nœ n œœœ œ
b œ œ œ œ œ nœ
j j r
b
& b bb œ Œ ‰ œ nœ œ œ œ œ ≈ œ œ œj œ .
424
Lisa
J J J J J J R œ
set! This kind - ness do me, dear— Nor leave me lone - ly,
b b b b j ‰ œ œ n œ œ œœœ . œn n œœœ . œ œœj ‰ b œ œœ œ œ œ b œœœ . œ œœœ . œ
& œœ œ J ‰
œœ n œœ œœ œœ œœ œœ
? b b b œ œœ œ œœ n
œ œ œ œ œ œ œ
cresc.
b œ œ œ
bb j œ œ. œ œ ‰ Jœ
& b b œ œj ‰ J J œ Jœ Jœ œ bœ œ œ j
J J J nœ œ ‰ Œ
428
R
Lisa
dar-ling! Be mer - ci-ful, my pet, On him my love is set!
bb b b œœ œ n œ œ b œ œœ œœ n œœ œ œ œ œœ œ b œ œ œœ œ b œ œ œ œ n œ b œ œ b œ œj b œj œr ≈ n œj
& œ nœ nœ œ œ œ œ œ . œ œ n œœ œœ b œœ
œ œ œœ œœ œ œ œ œ œ œ œ bœ œ j j
dim.
? bb b œ œ œ n œ ˙ ˙ œ œ. ≈ œ
b œ œ J œ. œ
j
bb b b Q ∑ ‰ œ œ n œ œ n œ œ œR œ ‰ Œ œ œ œ
433
& J R R
Julia.
R
bb b œœr ≈ œ œ n œ b œ œ œ œ.
Now don’t be fool-ish dear— You couldn’t
œ nœ œ nœ œ œ œ nœ bœ œ œ. bœ œ. œ
& b œ J
j
œ
r œ œ
? b b œ ≈ œœ œ œœ b œ œ
œ
œ
œœ œœ
œ œ
œœ
œ n œœ œ œœ
bb œ J œ œ
10/’09
194 The Grand Duke
b œ
& b b b R œR ‰ Rœ œR ‰ Œ ‰ œj œ œ r r ‰ j ‰ ≈ œr œr œr r œr
437
Julia
R R œ œ œ œ
play it, dar-ling! It’s “lead-ing bus-’ness,” pet, And you’re but a sou -
œ œ n œ b œ œ œ œ. œj œ n œ œ œ œ
bbbb œ œ œ œ œœœ œ œ
& œ ˙ œ œ
œœ œœ œ œ œœ n œœœ œ œœœ
? bb b œ œ œ œ bœ œ œ nœ œ œ nœ
œ
b œ
r
b j
& b bb œ ‰ Œ Œ ≈ œr œr œr œ œr ‰ j
œ ‰ Œ ≈ œr œr œr
441
Julia
brette. So don’t be mul-ish, dear— Al - tho’ I
œ. œ. j b œ˙
. œ œ.
bbbbj ‰ œ œ œ œ œ œ b˙ œ œ œ œœ œ œ n œ œ œ
& œœ J
œœ œœ œœ œœ œœ œœ œ œœ
? bb b œ
b
œ œ œ œ œ œ œ œ
b b b b œr œr ‰ r r r j j œ ≈œ œ
œ œ ‰ ‰ ≈œ œ œ ‰ ∑
445
Julia & J R J
say it, dar - ling, It’s not your line, my pet—
j b œœœ . œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ n œ œ œj œ œ
bb b b œ œ œ œ œ n œ œ œ œ nœ œ bœ œ
& J J ‰
œœ œœ œ œœ œ œœ œ œ ˙˙˙
œ œ
[cresc.] dim.
? bb b œ œ œ œ œ ˙
b œ
b r r j r j œ œr œr Œ
& b b b œJ œ œ œ ≈ œ œ ‰ Œ ∑
449
Julia J
I play that part, you bet! I play it—
œ Ÿ œ . œj œ # œ œ œ œ œ
œ œ œ
& bbbb J ‰ œ n œ b œ œ œ nœ bœ œ
bœ œœ œœ œœ œœ
? b b b œ˙
œ œ œ œ œ œœ œœ
œ œ
œœ
b œ œ œ
10/’09
Act I 195
bb œ r r j j
≈ œr œ ‰ ‰ ≈ œr œj ‰ ‰ ≈ œr œj ‰ Œ
&bb J
453 (Lisa overwhelmed with grief.)
Julia œ œ œ
I play that part, you bet! you bet! you bet!
œ. œ #œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ.
bbbb œ
j
œ ≈ J œ œ œ œ ‰ œœ ‰
œ
& R J J
œœ b œœ œœ b œ œœ œ œœ b œ œœ œ œœ
? bb b œ œ ≈ œ œ œ œ ‰ œ. ‰
b œ J œ
J
b j j r
V b bb Œ ‰ œj œ . œ œ œ œ ‰ ‰ ≈ œr œj œr œj œr œr œr œr œ œ
457
Notary. R 3 3 3 3
3
>
The la - dy’s right. The la - dy’s right, Tho’ Ju - lia’s en - gage - ment
b
& b bb ∑ ∑ Œ œœœ ˙˙˙
p
? bb ∑ ∑ Œ
bb œ ˙
œ ˙
bb b b r r r œ œ ‰ ≈≈ r j r j r j r œ œ œ r r r œ œr ≈ ‰ ≈ ≈ r
j r r r r r
3 3 3
461 3
V œ
3 3 3 3 3
œ œ œœ œ œ œ œ œœ
3
Notary
œ œ œ
Was for the stage meant— It cer-tain-ly frees Ludwig
- from his Con - nu-bi - al pro-mise. Tho’
b j
& b b b œœj ‰ œœ ˙˙ œœ ‰ œœœ
œ œ ˙ œ
? bb j ‰ j ‰
bb œ œ ˙ œ œ
œ œ ˙ œ œ
j r j r
b b b j r r r r r r r œ œ r r r œ œ ‰ ≈ ≈ œ œ œ œ œ œ œ œrœr œ 3 œ
r j r r r r r
b
464 3 33 3 3 3 3 3 3 3
Notary V œ œ œ œ œ œ œ œ œ œœ J R
mar-riage contracts—or whate’er you call ’em— Are ve - ry so-lemn, Dra-mat-ic contracts
- (whichyou all a - doreso)
b j
& b b b ˙˙˙ œœœ ‰ œœ
œ
˙˙
˙
? bb j ‰
bb ˙ œ œ ˙
˙ œ œ ˙
10/’09
196 The Grand Duke
bb b r r r œ œ Œ ∑
467 3
V b œ œ œ J
3
Notary
R
f r 3r r r 3r r
Are ev - en more so!
b
& b bb Œ œ œ œ R œ ≈ œ œ œ œ œ œ n œ œ nœ
R R R R nœ œ
3 3 3 3
R J R J
S
A
œ œ n3œ œ n œ n œ3 œ
That’s ve - ry true! Though mar - riage con - tracts are ve - ry sol-emn, Dra -
f œ 3œ œ œ œ œ œ œ
Chorus
? bb b ΠR ŠR J R J R R R R R R R
3 3 3
T
B b R R R
b j j
That’s ve - ry true! Though mar - riage con - tracts are ve - ry sol-emn, Dra -
& b b b œœœ ‰ œ œ
œ
œ
# œœ ... n œœ
nœ
œ
f
? bb b j ‰ œ j
b œ œ œ. œ
œ œ. œ
b b b b œ 3 œ œ 3 œ œ n3œ œ n œ r S
∑ ∑ ∑ ∑ n n n n 68
469
n œ
3
S
A & J R J R R R R œ
nœ
ma-tic con-tracts are ev-en more so!
? b b b œJ Rœ œJ œR œR R œR n œ n œ œ
Chorus
n n n n 68
3
∑ ∑ ∑ ∑
3 3
R
3
T
B b
j
mat-ic con-tracts are ev-en more so!
b œ nœ œ œ. n n n n 68
& b b b # œœœ ... n œœ nœ œ
S
nœ n œ œ n ˙˙˙ œ̇˙ n n œœ
f 3 j p rall.
nœ Œ
? bb b
b œ. œ
j #œ
n œœ ≈ œœœ œœœ ‰ ∑ ˙ n n n n 68
˙ ˙
œ. œ
No. 12d. Song—(Lisa) with Chorus.
6 j œ. œ
&8 Œ ‰ Œ œ
474
Lisa
œ œ. œ. #œ. œ. J
The die is cast, My hopes have
& 68 œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # # œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ 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
p
? 68 œ ‰ Œ ‰ œ ‰ Œ ‰ œ ‰ Œ ‰ ˙.
˙.
10/’09
Act I 197
j j j j
& œ. Œ bœ œ œ ‰ ‰
478
Lisa œ. œ œ. œ. œ œ
per - ish’d! Fare-well, O Past, Too bright to
& # œœ œœ œœ œœ œœ œ œ œ œ œ œ œ
œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j
? œ. œ ‰ ‰ ˙˙ . œœ .. œœ ‰ ‰ ˙˙ .
œ. œ . J .
j œ.
œ œ œ œ. œ. Œ ‰ œ. œ.
482
Lisa & œ J
last, Yet fond - ly che - rish’d! My hope has
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ
œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? ˙˙ .. j œ˙ .. #œ.
˙. œ. œ œ
j j œ. œ. œ. ˙.
œ ‰ œ œ ‰ œ
486
Lisa & œ. J J
fled, my life is dead, Its doom,
& œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ
œ œ œ œ œ œ
? ˙˙ .. œ˙ . #œ. ˙. ˙.
. ˙.
˙.
œ œ œ œ œj œ. œ j j j
œ ‰ œ œ. œ œ
490
Lisa & J œ œ. J
its doom is spo - - - - ken! My day is
& œœ œœ œœ œœœ # œœœ œœœ # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ
œœ œœ œœ œœ 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
10/’09
198 The Grand Duke
j f œ.
j œ. œ œ œ ‰ œj œ j œ.
& œ. Œ
494
Lisa œ J œ
pj
night, My wrong is right, is right In all
j j j j
& Œ œ œ œ œ ‰ ‰ Œ ‰ Œ œ œ œ œ. bœ.
cresc.
S
p
Her day is night, is right In all,
j j j
& Œ j j œ ‰ ‰ Œ ‰ Œ œ œ œ ˙.
cresc.
A
œ œ œ
p
Chorus Her day is night, is right In all,
V Œ œ œ œ œ ‰ ‰ Œ ‰ Œ
cresc.
œ œ œ ˙.
T
J J J J J
pœ œ œ œ œ
Her day is night, is right In all,
? Œ œ œ ‰ ‰ Œ ‰ Œ ˙.
J J J J
cresc.
B
J
œ. œ.
Her day is night, is right In all,
j j ‰ œ œœœ œ
J œ. œ.
& œœ . œ œ œœ œ œœ œœ œœ œœ # œœ œœ œœ nœ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œœ J
f
œ œ œœ œœ b œœœ œœœ œœœ
? œ œ œ œ œ œ œ œ œ bœ œ œ œ œœ œœ œœœ œœœ 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 œ ‰ ‰ œ bœ bœ œ.
498
Lisa & J J J J œ.
men’s sight, In all men’s sight— Ah me!
j j
œ ‰ ‰
dim.
S & ˙. ˙. œ. œ œ œ.
all men’s sight!
j j j‰ ‰
& œ œ œ.
dim.
A
#˙. œ. œ œ nœ. œ
all men’s sight, all men’s sight!
j
Chorus
œ œ.
V #œ b˙. œ œ.
dim.
T J œ J œ. œ ‰ ‰
all men’s sight, all men’s sight!
? ˙. ˙. œ. œ. j
œ. œ ‰ ‰
dim.
B
œ œ œ œ œ œ. œ
men’s, all men’s sight!
œ œ œ œ bœ bœ œ.
œ œ œ œ œ œ. œ œ œ œœ .. œ
& J J œ œ bœ bœ œ ‰
J
# œœœ œœ œœ œœ œœ b # œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ
dim.
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
10/’09
Act I 199
‰ œ nœ nœ œ. j j j j j j
& Œ Œ œ bœ bœ Œ œ bœ bœ Œ
502
Lisa œ. œ œ œ
Ah me! My heart is bro - ken, is bro - ken. My
& # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙ ... ˙˙˙ .. ˙˙˙ ..
œ œ œ œ œ œ œ œ œ œ œ œ ˙ . .
p π
?
˙. ˙. ˙. ˙. ˙.
j U
& bœ b œ œj j ‰ ∑ ∑ ∑
507
(Exit Lisa, weeping.)
Lisa
#œ œ œ . œ œ œ. œ
πU
heart is bro - ken!
& ∑ j‰ ‰ ∑ ∑ ∑
˙˙ .. œœ .. œœ
S
A
π U˙ .
Chorus bro - ken!
? ∑ œœ .. œœ ‰ ‰ ∑ ∑ ∑
˙. J
T
B
bro - ken!
j œœœ . œ œœ n œ œ b œ b œ œ b œ . œœœ . œ
& œœ .. œœœ ‰ ‰ bœ.
œ. b œœ .. œ œ œ ‰ ‰ Œ ‰ b œœ ..
J J
œ œ
J
U j
œœ .. œœ
? j ‰ ‰ ˙˙˙ ... œœ .. œœ ‰ ‰ j‰ ‰ Œ ‰
œ. œ ˙. œ. œ œ . œ œj œ œ . œ œj
. J
u̇
∑ ∑ Œ œ # œj ‰ ‰ c #œ j j Œ
513
V œ œ nœ
Ludwig. [Recit.]
J
Poor child! Where will she go?
bœ
& œœ n œ œ b œ œ b œœ ... œ # jœ # ˙
œœ œœ b ˙˙ ...
c
www
œ ‰ ‰ Œ ‰ œ
J
Í
? j‰ ‰ Œ ‰ bœ. j c w
œ œ nœ n˙.
n˙. w
10/’09
200 The Grand Duke
∑ ∑ ∑ ∑
517
&
(Spoken.)
Julia
j
That isn’t in your part, you know.
j nœ œ Œ ‰ œ b œ Œ ‰ œj œj œj n œ œj œj b œ
j j
V n œ œ Œ ∑
(sighing).(with an effort).
Ludwig
J
What will she do? Quite true! De-pres-sing to -pics we’ll not
& www œœ Œ Ó Ó Œ b œ b ww
œ œœ ww
? nœ Œ Ó Ó Œ œ nw
w
w nœ œ nw
U̇
V œJ . n œR œ Ó Ó œ œ Jœ b œJ j j j b œ bœ Œ bbb C
521
Ludwig
J bœ œ œ œ
U
touch up-on— Let us be - gin as we are go - ing on! For
& ww Œ b˙ bbb C
ww b b www www nb œœœ ˙
bw w œ
? bU˙
w nw w bœ Œ ˙ bbb C
w nw w bœ
No. 12e. Solo—(Ludwig) & Chorus.
bb b Allegro j j œ œJ Jœ œJ Jœ œ
V C œ œj œj œj œ œ Jœ
j Œ ∑
525 Vivace.
Ludwig
J
funis. j j j
this will be a jol - ly Court, for lit - tle and for big!
j
S
A
b
&bb C ∑ Ó Œ œ œ œ œ œj œj œ œj œj
funis.œ
Sing hey, the jol - ly jinks of Pfen-nig
? b C œ Jœ œ œ œ œ œ œ
Chorus
T
B bb ∑ Ó Œ J J J J J J J
œ. œ œ. œ. œ. œ. œ. œ. œ. œ.
Sing hey, the jol - ly jinks of Pfen-nig
b œ. œ. œ.
&bb C œ
Allegro Vivace.
œ. œ.
.
p f
œœ
? b C œœœ Œ
œœœ
Œ œ Œ
œœœ œœœ œœ
œ
œœ
œ
œœœ œœœ
bb
10/’09
Act I 201
b j j œj œj œj œj œ œ œ œ
Vbb Ó Œ œ J J œJ œJ œ Œ
528
Ludwig
œ œ J J
From morn to night our lives shall be as mer - ry as a grig!
b
&bb œ œ œ Œ ∑ Ó Œ œ
unis.
œ œ
S
A
œ œ œ
Chorus Halb - pfen - nig! Sing
? bb œ œ œ Œ ∑ Ó Œ
b
unis.
T
B
œ œ œ. œ
Halb - pfen - nig! Sing
b œœ œ œ œ. œ.
&bb œ œ. œ. œ. œ.
p f
œœ œœ œœ œœœ œœœ œœ œœœ œœœ
? bb Œ Œ Œ œ Œ
b œ œ œ
b
Vbb ∑ Ó Œ j j j j œj œj n œj œj
531
Ludwig œ œ œ œ œ
All state and cer - e - mo - ny we’ll e -
b b b j œj j j j j j j œ Œ ∑
S
A & œ œ œ œ œ œ œ œ œ œ
? b b œJ œJ œJ œ œ œJ œ œ œ œœ
Chorus
œ
hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
T
B b J J J J œ Œ ∑
. œ. œ. . œ. œ. œ. .
œ œ
œ œœ œ. ‰ œ.
hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
b b œ œ œ j
œ #œ œ
& b œ œ J
œ
p
œœ œ
? b b œœœ œœ œœœ œœœ
3
œ œ œ œœ Œ œ #œ
b œ œ œ œ
b j j j j j j j j n œj œj j j j j j j œj œj
V b b œ œ œ œ œJ Jœ œ
534
Ludwig œ œ œ œ œ œ œ œ œ œ œ
.
bb b œ. œ. n œ. n œ. œ. œ. œ. œ œ. ‰ œ. œ œ œ œ. œ. œ. # œ. œ. œ. œ. œ.
ter - nal - ly a - bol-ish— We don’tmean to in - sist up - on un - ne - ces - sa - ry pol - ish— And,
j
œ
& œ J
œœ œœ n œœœ œœœ œœ œœ
3
? bb œ œ œ œ œ
b œ nœ œ œ œ
10/’09
202 The Grand Duke
b œ j j j
V b b J Jœ œ n œ œ œ œj # œj j j
œ n œ œj œj œj j Œ ∑
537
Ludwig
J œ
b j j j j j
on the whole, I ra - ther think you’ll find our rule tol - lol - ish!
&bb ∑ Ó Œ œ n œ œ œj œ œ œ œJ œ
J
S
A
œ œ œ œ œ œ œ œ œ
Chorus Sing hey, the jol - ly jinks of Pfen-nig
? b ∑ Ó Œ œ œ œ œ œ œ œ œ œ
T
B bb J J J J J J J J
œ. œ. œ nœ œ . œ œ œ
.œ n œ. œ. œ. œ. œ. œJ ‰ n œ œ œ œ œ
j
Sing hey, the jol - ly jinks of Pfen-nig
b
œ
&bb œ J ‰
f œœ œœ œœ œœ
œœœ œœœ
3
? bb œœœ œœ œ œ œ œ
b œ œ œ œ ‰
œ J
b œ œ œj œj œ œ œ Jœ Jœ œ
Vbb Œ Œ Œ œ Œ Ó Œ œ Œ
540
Ludwig
J J J J
b j j j
The jol - ly, jol - ly jinks, The jol - ly, jol - ly jinks,
S
A &bb œ œ œ Œ Ó Œ œ n œ œj œ œ œ Œ Ó Œ œ
œœ œ œ œœ œ œ œ œ œ œœ
Chorus Halb - pfen - nig! The jol - ly, jol - ly jinks, The
? bb Œ Ó Œ œ œ œ œ œ Œ Ó Œ
T
B b œ œ J J J J
œ
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Halb - pfen - nig! The jol - ly, jol - ly jinks, The
& b œ œ n œœ œ œœ œ œ œ œ œ
œ
f p f
œœ œœ œœ p œœ œœ œœ œœ œœ œœ œœ œœ œœ
? b Œ œ œ œ
bb œ œ œ œ œ œ œ œ œ œ œ œ
b j j j j j j j j
Vbb Ó Œ œ œ œj œj œ œ œj œj œ œ œj œj œ œ œj œj
544
Ludwig œ
b œj j j j œ j j j j j j j j j j j j j j j j
The jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly
S
A
b
& b nœ œ œ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ
jol - ly, jol - ly jinks, The jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly
Chorus
? bb œ J J Jœ œJ J J Jœ œJ J J œJ œJ J J œJ œJ
b œ œ œ œ œ
J J J J
T
B
b
jol - ly, jol - ly jinks, The jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly
& b b œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ
œ œœ œ œœ œ œœ œ œœ œ
? b b œœ œœœ œœœ œ œ œ œ œ
b œ
10/’09
Act I 203
b p f
j j j j j j j j j j j j
T
Vbb œ Œ Ó Ó Œ œ
547
Ludwig
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b p unis. f
j j j j œj œj œ œ œJ Jœ œ œ œ œ
jinks! For this will be a jol - ly Court, for lit - tle and for big! Sing
S
A & b b œœ Œ Ó Ó Œ œ
œ œ œ œ J J J J
j j j j j j j j j j j j
jinks! For this will be a jol - ly Court, for lit - tle and for big! Sing
œœ pœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ fœ
Chorus
? b Œ Ó Ó Œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
B bb J J J J J J J J J J J J
jinks! For this will be a jol - ly Court, for lit - tle and for big! Sing
b b œœ œ œ œ œ œ œ œ œ. œ
œ œœ œœ œ œœ œ œœ œ œ. œ.
T
& b b œœ œ œ. œ. œ. œ.
œ œ œ œ p f
œ œœœ œœœ œœ œœœ œœœ
? bb Œ Œ œ Œ
b w œ
w
j j j p
b
Vbb
j j
œ œ œ œj œ œ œj œj œ œ œ œ j j j j œj œj œj œj
551
Ludwig
œ œ œ œ
b j j j j j j j p j j
hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig! From morn to night our life shall be as
& b b œ œ œ œ œ œ œ œj œ œ œ j j j j œj œj œ œ
S
A œ œ œ œ œ
j œj j j j j j j j j j j j j j j
hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig! From morn to night our life shall be as
? b b J J œJ œ œ œJ œ œ
œ œ œ pœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Chorus
œ
T
B b J J J J œ J J J J J J J J
. œ. œ. œ. œ. œ. œ. . œ œ
bb b œ œœ
hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig! From morn to night our life shall be as
œ œ œ œ œ.
& œ. œ. œ.
p
? b b œœœ œœ
œ
œœœ œœœ œœ œœ œœ
Œ
œœœ
Œ
œœœ
Œ
b œ œ œ
b œ œ f j j j j j
V b b J J Jœ Jœ œ œ œ œ œj œ œ œj œj œ Œ
554
Ludwig œ œ œ
f j j j j j
mer - ry as a grig! Sing hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
b œ œ
S
A & b b J J Jœ œ
J œ œ œ œ œ œj œ œ œj œj œ œ œ
Œ
j j j j j j j j j j
œ Jœ œ œj œ œ œ œj
mer - ry as a grig! Sing hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
? b b œ œœœ œœœ
œ
œ œœ œœ f œ œ
Chorus
œ œ J J J J J J J œ œ Œ
T
B b J J J J
b b œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œœ œ
mer - ry as a grig! Sing hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
b œ. œ. œ œ
& œ
f
? b b œœœ Œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ œ œ œœ œ
b œ œ
10/’09
204 The Grand Duke
bb bbbb œ œ
U
∑ Ó Œ Œ Œ
557
& b œ
Julia.
Julia
œ œ nœ œ
But stay— Our new made Court With -
b bbbb œ Œ Œ œ
&bb œ œ œ œ nœ œ
3
˙ œ œ œ œ œ œ œ
p
œœ. œœ. œœ. œœ. œœ. œœ.
? bb œ
dim.
b
˙ œ œ œ œ œ bbbb œ ‰ œ
J
œ œ
œ ‰ œ
J
œ œ
b b œ. œ œ œ j
&bb œ Œ œ. œ œ
561
Julia J nœ œ œ
out a court - ly coat is— We shall re - quire Some
bb œ ‰ Jœ œ œ
&bb nœ œ Œ œ œ Œ Œ œ œ œ
3
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb b œ ‰ Jœ œ œ ‰ Jœ œ œ ‰ Jœ œ œ
b œ œ
bb œ œ œ. œ œ œ œ œ
&bb nœ Œ
564
Julia
nœ œ œ J
Court at - tire, And at a mo - ment’s no - tice! In
bb œ
& b b nœ œ œ œ œ ‰ œJ œ œ nœ œ Œ œ
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb ‰ Jœ œ œ ‰ œJ œ œ ‰ Jœ œ œ
bb œ œ
œ
b ˙
& b bb œ nœ nœ Œ œ œ nœ nœ
567
Julia œ œ
œ œ
clothes of com - mon sort, Your cour - tiers must not
bb œ œ
&bb œ Œ Œ œ œ œ #œ œ œ Œ Ó
3
? bb n œœœ. .
œœœ
.
œœœ œœ. œœ. œœ. n œœœ. .
œœœ
.
œœœ
bb œ ‰ J œ ‰ œJ œ œ
œ ‰ J
b œ œ
& b bb œ Œ œ. nœ œ œ œ. œ œ œ
570
Julia J J
j j
gro - vel— Your new no - blesse Must have a dress O -
b œ
& b bb Ó Œ
œ
œ.
œ.
nœ œ
œ œ
œ
œ
œ ..
œ
œ œ
œ # n œ˙
nœ
œ
œœ. œœ. œœ j
œ. œ œ œ
? bb œ ‰ œ œ œ œ. œ #œ œ
bb J nœ. œ œ œ œ. œ œ œ
J
10/’09
Act I 205
b j
& b bb œ . œ œ œ œ œ Ó ∑ ∑
573
Julia
ri - gi - nal and no - vel.
b œ
& b bb œ . n Jœ œ
∑ Ó Œ œ œ. œ œ
J œ nœ
unis.
œ
S
A
œ œ . n Jœ œ œ
Now let us guess what kind of dress Would
œ. œ
J œ œœ
Chorus
? bb b ∑ Ó Œ œ
unis.
T
B b
œ. nœ œ œ œ œ œ
Now let us guess what kind of dress Would
b j œ œ œ œ œ.
& b b b n œœ˙ .. œ œœ
œ
œœ
œ œœ œœ œ . n Jœ œ œ œ. œ
J œ
œ
f
j
? b b b œœ .. œ œ
œ œ
œ
œ
œœ .. œœ œœœ œœœ # œœ .. œœ œœ œœ œœ ..
œ.
œœ œœ n œœ
œ œ œ
b J J n œ. œ œ œ J
bb j œ œ œ
& b b œœ .. œœ œ Ó ∑ ∑
577
S
A œ œ œ œ
n œœ .. œœ œœ œœ œœ œ
Chorus be both neat and no - vel.
? bb b J œ Ó ∑ ∑
T
B b
œ œ œ
be both neat and no - vel.
œ œ
bb b b œœ .. œ œ œ œ
J œ
& Œ œœ Œ Œ œœ Œ Œ
b n œœœ œ. b n œœœ œ. b n œœœ
nœ œ œ p . . .
? b b b œœ ... œJœ œœ œœ œœœ œœœ
Œ œ œ Œ Œ œ œ Œ Œ œ
b œ œ. œ. œ. œ. œ.
b
V b bb ∑ Ó Œ œ Œ
581 V
Ludwig
œ œ œ œ nœ œ œ
Old A - thens let’s ex - hume! The
bb œ œ
&bb œ œ #œ b œœœ
Œ Œ Œ Œ œ œ œ nœ œ
3
œœ œœ. œœ. n œœ. œ œœ œ
œ. . p
œœ. œœ. œœ. œœ. œœ. œœ.
? bb b œ œ œ œ œ Œ Ó ‰ œJ œ œ ‰ œJ œ œ
b œ œ. œ. œ. œ. œ œ
.
10/’09
206 The Grand Duke
b œ. œ œ j
V b bb œ œ Œ œ. œ œ
585
Ludwig J nœ œ œ
ne - ces - sa - ry dress - es, Cor - rect and true And
b œ ‰ œJ œ
& b bb œ œ nœ œ Œ œ Œ Œ œ œ œ
3
œ
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb œ ‰ œ œ œ ‰ Jœ œ œ ‰ œJ œ œ
bb J œ œ
œœ.
j
bbbb œ . œœ œœ œ nœ œ Œ
588
Ludwig V nœ œ œ bœ
J œ
all brand new, The com - pa - ny pos - sess - es. Hence -
b œ bœ œ ‰ Jœ œ
& b bb n œ œ œ œ nœ œ Œ œ
b œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb ‰ Jœ œ œ ‰ œ œ œ ‰ œ œ œ
bb œ œ J œ J
b j j
V b bb œ . Œ
591
Ludwig œ œ œ nœ œ œ œ. œ œ œ
forth our Court cos - tume Shall live in song and
j œ œ œ j
b bbb œ . œ œ œ œ J ‰ œ. œ œ
& bw nœ œ bw œ
w œ. œ œ œ ww
? bb jw œœ .. œœ œœ œœ
bb œ J œ
j
b œ œ
V b bb n œ Œ œ
594
Ludwig œ œ œ œ œ œ œ
sto - ry, For we’ll up - raise the dead old days Of
œ œ œ œœ œœ ‰ œœ .
œœ œ n œ œ œ
bbbb œ J ‰ œœ ‰
œœ
nœ œ
œœ
& J J œ.
œ. œ œ œ œœ œœ œœ .. œœ œœ œœ
? b b œœ .. œœ œœ œœ œ œ œ. œ œ œ
bb J J
10/’09
Act I 207
b j
V b bb œ . œ Ó ∑
597
Ludwig œ œ œ œ
bb
A - thens in her glo - ry!
S
A &bb ∑ Ó Œ œ œœ œœ œœ œ
œ
œ œ œ œ
œ
Chorus Yes, let’s up - raise The
? bb ∑ Ó Œ œ œ œ œ œ
T
B bb
Yes, let’s up - raise The
b b b b œ œ n œ œ œ. bœ œ œ œ œ œ œ
œ œœ œœ
œœ ‰ œœ œœ œœ ‰
& J J
œ. œ œ œ ˙˙ f œœ œœ
? b b b œœ .. œœ œœ œœ œœ œ œ
b Œ œ œ œ
J
b œ. œ
& b bb œ œœ œœ œœ œœ Œ
600
œœ œ œ œ. œ œ
œ J
S
A
œ œ œ. œ œ œ œ œœ œ
dead old days Of A - thens in her glo - ry! Hur -
? b b œœ
Chorus
bb œ œ œ œ. œ œ œ œ Œ
unis.
J
T
B
œ œ œ. œ œ œ œ œ œ œ œ
dead old days Of A - thens in her glo - ry! Hur -
bb b œ œ n œ œ œ œ œ. œ œ œ œ
œ
& b J œ
œœ . œœ œœ œœ œœ ˙˙˙
? b b œœœ œœ
œ
œœ
œ
œœ
œ œ .. œ œ œ œ
œœ
bb J
bb nbbb
Vbb ∑ ∑ ∑ Ó ˙
603
Ludwig
j j j j unis.
bb b œ ‰ œ œ ‰ œ œ ‰ œ œœ
œ œ nbbb
For
S
A & b œ œ œ œ œ ‰œ œ œ œ œ ˙ Ó
œ œ œ œ œ œ œ œ
rah! Hur-rah! Hur - rah! Hurrah! A - greed, a - greed, a - greed!
œ œ œ œ ˙
Chorus
? bb b ‰ J ‰ J ‰ J ‰J Ó nbbb
T
B b
œ œ œ œ œ œ œ œ œ œ œ bœ
œ œ nœ œ œ œ œ nœ
rah! Hur-rah! Hur - rah! Hurrah! A - greed, a - greed, a - greed!
bb b œ œ œ œ œ nœ nbbb
& b œ œ ˙
˙
˙˙˙ ˙˙˙ ˙˙˙ b ˙˙˙ n œœœ b œœœ # n œœœ n ˙˙ ˙
? bb b ˙ œ ˙ nbbb
b
10/’09
208 The Grand Duke
b jj œœ
V b b œj œj œjœj œ œ œJ Jœ J J œJ œJ œ Œ ∑ Ó Œ œ
607
Ludwig
f j j j j j j
this will be a jol-ly Court, for lit-tle and for big! From
b
S &bb ∑ Ó Œ œ œ œ œ œj œ œ œ œj œ œ œ Œ
f j j jj j j j j
Sing hey, the jol-ly jinks of Pfen-nig Halb-pfen - nig!
b
A &bb ∑ Ó Œ œ œ œ œœ œ œ œ œ œ œ œ Œ
f j j j j j j
Sing hey, the jol-ly jinks of Pfen-nig Halb-pfen - nig!
b
Chorus
T Vbb ∑ Ó Œ œ œ œ œ œj œ œ œ œj œ œ œ Œ
fœ œ œ œœ œ œ œ œ œ œ œ
Sing hey, the jol-ly jinks of Pfen-nig Halb-pfen - nig!
? bb ∑ Ó Œ J J JJ J J J J Œ
B b
. œ. œ. . œ. œ. œ. . œ œ
.œ œ œ
Sing hey, the jol-ly jinks of Pfen-nig Halb-pfen - nig!
b œ. œ. œ œ œœ œ œ œ
&bb œ œ. œ. œ.
.
[p] f [p]
? b œœœ œœœ œœ œœœ œœœ œœ œœ œœœ œœœ œœ œœ œœ
bb Œ Œ œ Œ œ œ œ œ œ Œ
b
Vbb j j j j œj œj œj œj œ œ
J J Jœ œJ œ Œ ∑
611
Ludwig
œ œ œ œ
b j j j j j j
morn to night our life shall be as mer - ry as a grig!
S &bb ∑ Ó Œ œ œ œ œ œj œ œ œ œj
j j j j j j
Sing hey, the jol - ly jinks of Pfen-nig
b
A &bb ∑ Ó Œ œ œ œ œ œj œ œ œ œj
j j j
Sing hey, the jol - ly jinks of Pfen-nig
b j j j
œ œ œ œj œ œ œ œj
Chorus
T Vbb ∑ Ó Œ œ
œ œ œ œ œ œ œ œ
Sing hey, the jol - ly jinks of Pfen-nig
? bb ∑ Ó Œ œ J J J J J J J J
B b
œ. œ œ. œ. œ. œ. œ. œ. œ. œ.
Sing hey, the jol - ly jinks of Pfen-nig
b œ. œ. œ.
&bb œ œ. œ.
.
f
œœ
? b œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ
[ ]
bb Œ Œ œ Œ œ œ
10/’09
Act I 209
œ ˙ w œ œ
bbb
W
œ œ œ Œ Œ œ œ
614
S &
Halb - pfen - nig! Sing hey, the jol - ly,
b œ ˙ w œ
A &bb œ œ œ Œ Œ œ œ œ
Chorus
Halb - pfen - nig! Sing hey, the jol - ly,
b œ œ œ nœ œ œ nœ b˙. œ
T Vbb œ œ œ Œ Œ
œ œ œ
Halb - pfen - nig! Sing hey, the jol - ly jol - ly jinks, the
? bb œ œ œ Œ nœ œ œ nœ b˙. œ
B b Œ
œœ œ œ œ œ œ œ
Halb - pfen - nig! Sing hey, the jol - ly jol - ly jinks, the
bb b œœ œœ œ œ œœ ˙˙ ˙˙ ˙˙
W
& œ œ œ œ ˙ ˙ ˙
ƒ ˙ œ œ nœ œ œ nœ bœ œœœ œœœ œœœ
? b b œ œ œœ Œ ˙ œ œ
b œ œ nœ œ œ nœ bœ œ œ œ
b œ œ œ œ ˙ w ˙ b˙
&bb œ œ
618
jol - ly, jol - ly jinks, Sing hey, sing
b œ ˙ w ˙ ˙
A &bb œ œ œ œ œ
jol - ly, jol - ly, jinks, Sing hey, sing
Chorus
b œ œ
T Vbb œ œ œ œ œ œ nœ œ œ nœ nw
œ œ
jol - ly, jol - ly jinks, Sing hey, the jol - ly, jol - ly jinks,
? bb œ œ œ œ œ nœ œ œ nœ nw
B b œ
œ œ œ œ œ œ
jol - ly, jol - ly jinks, Sing hey, the jol - ly, jol - ly jinks,
b œ œ œœ ˙˙ ˙˙ ˙˙ œœ œ b˙
&bb œ ˙ ˙ ˙ œ ‰ œœ ˙ b ˙
J
œ œ œ nœ œ nœ œ œ œ
? b b œœ œœ œœ œœ œœ œ œ œ œ œ nœ ‰ œ œ
b œ œ œ œ nœ œ nœ nœ œ
J
10/’09
210 The Grand Duke
b ˙ #˙ n˙ b˙ ˙ ˙ œ ˙ œ
&bb
622
hey, sing hey, sing hey, Sing
b ˙ ˙ w ˙
A &bb ˙ #˙ ˙
hey, sing hey, sing hey,
Chorus
b ˙ ˙ ˙
T Vbb ˙ n˙ nw ˙
˙
Sing hey, sing hey,
? bb ˙ n˙ nw ˙ ˙ ˙
B b
Sing hey, sing hey,
b œœ œœ œœ b ˙˙
&bb œ ‰ œœœ # ˙˙ # ˙ œ ‰ œ b˙
œœ ‰ œœ ˙˙
œ œ
œ œ œ œœ œ œ
# œœ œœ œœ œ. œœ. œœ.
J J J ˙ . . .
? bb n œ œ œ œ nœ œ œ œ nœ œ œ œ œ. œ. œ. œ. œ. œ.
b nœ ‰ œ œ œ nœ ‰ œ œ œ nœ ‰ œ œ œ œ œ œ œ œ œ
J J J
b œ ˙. œ œ ˙. œ
&bb œ œ œ œ œ
626
S œ
hey, the jinks, the jol - ly jinks of Pfen - - nig
b
A &bb ˙ ˙ ˙. œ œ œ œ œ n˙. œ
Sing hey, the jol - ly jinks of Pfen - - nig
œ œ b˙. œ
Chorus
b ˙ ˙ ˙. œ œ
T Vbb œ
Sing hey, the jol - ly jinks of Pfen - - nig
? bb ˙ ˙ œ œ œ œ œ ˙. œ
B b ˙.
Sing hey, the jol - ly jinks of Pfen - - nig
b œœ œœ ˙˙ .. œœ œœ ˙. œ
& b b œœœ œœ
œ.
œœ
œ.
œœ
œ. œ. œ. ˙˙ .. œœœ œœ œœœ œ œ b n ˙˙ .. œœ
.
? bb œ œ œ œ œ œ
b œ œ. œ. œ. œ. œ. ˙ ˙ ˙ ˙ ˙ ˙
. ˙ ˙ ˙ ˙ ˙ ˙
10/’09
Act I 211
b . œ œ
&bb ˙ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ
630 X
S
J J J J J J J J J J
Halb - - - pfen - nig! The jol - ly, jol - ly jinks, the jol - ly, jol - ly
A
b
& b b b˙. œ œ ‰ œj œj œj œj œj œ ‰ œj œj œj œj œj
Halb - - - pfen - nig! The jol - ly, jol - ly jinks, the jol - ly, jol - ly
b ˙. œ œ œ
Chorus
T Vbb ‰ œJ Jœ œJ œJ œJ ‰ Jœ Jœ œJ Jœ œJ
Halb - - - pfen - nig! The jol - ly, jol - ly jinks, the jol - ly, jol - ly
? b ˙. œ œ ‰ œJ Jœ œJ œJ œJ œ ‰ Jœ Jœ œJ Jœ œJ
B bb
Halb - - - pfen - nig! The jol - ly, jol - ly jinks, the jol - ly, jol - ly
b ˙. œœ œœ Œ ˙˙ œœ Œ ˙˙
& b b b ˙˙ ..
X
œ œœ ˙ œœ ˙
? b ˙ ˙ œ Œ ˙ œ Œ ˙
bb œ ˙ œ ˙
˙ ˙
(They carry Ludwig round stage and deposit him on the ironwork
b œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ Œ Ó 12
&bb
633 of well. Julia stands by him, and the rest group round them.)
S
J J J J J J J J J J J J J 8
jinks, the jol-ly, jol -ly, jol-ly, jol-ly, jol-ly, jol - ly jinks!
b j j j j j j j j j j j j j 12
A &bb œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ Œ Ó 8
jinks, the jol-ly, jol -ly, jol-ly, jol-ly, jol-ly, jol - ly jinks!
b œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ Œ Ó
Chorus
12
T Vbb J J J J J J J J J J J J J 8
jinks, the jol-ly, jol -ly, jol-ly, jol-ly, jol-ly, jol - ly jinks!
? b œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ Œ Ó 12
8
B bb J J J J J J J J J J J J J
œ. œ
jinks, the jol-ly, jol -ly, jol-ly, jol-ly, jol-ly, jol - ly jinks!
b œ w œ Œ œ. œ 12
& b b œœœ Œ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ww œœ J 8
? b œ Œ ˙ ˙ ˙ ˙ ˙ Œ Ó 12
8
bb œ ˙ ˙ ˙ ˙ ˙ œ
10/’09
212 The Grand Duke
Z L’istesso tempo. (q . = h before.)
œ œ œ
bb b 12 œœ œœ œœ œœ œœ œ œœ œœ œ œœ œœ œ œ œ œ œ œœ œœ œ œœ œœ œ œœ œœ
637
& 8 œ œ œ œ œ œ
œœ œ
? b b 12 œœœœ ‰ ‰ j œœœœ ‰ ‰ j œœ ‰ ‰ j ‰ ‰ œœœ ‰ ‰ j ‰
b 8 J œ ‰ ‰ J œ ‰ ‰ J œ J œ ‰
œ œ œ œ
œ œ œ œ œ
639
b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ‰ ‰ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J
œ œœœ ‰ ‰ j
? b b œœJ ‰ ‰ œj ‰ ‰ J œ ‰ ‰
œœ
œ ‰ ‰ # n œœ ‰ ‰ œœ ‰ ‰ œœ ‰
œ œ œ ‰
b
œ œ J J J J
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb b œ œ œ œ œœ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
641
& œ œ œ œ œ
œ œ œ
? b b œœœ ‰ ‰ œj ‰ ‰ œœœœ ‰ ‰ j ‰ ‰ œœœ ‰ ‰ j ‰ ‰ œœœ ‰ ‰ œj ‰ ‰
b J J œ J œ J œœ
œ œ œ
bb œ œ œ œ œ œ œ œ œ n œ # œ œ œ n œ œ œ n œ œ œœ # œ œœ b œ n œ œ
œ
b œ œ œ nœ #œ œ œ nœ œ œ nœ œ #œ bœ nœ
643
& œ œ œ œ œ œ
j
? b b œœœ ‰ ‰ b œœœœ ‰ ‰ œœœ ‰ ‰ b bn œœœœ ‰ ‰ n œœœœ ‰ ‰ œœœœ ‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰
b œ J J J J J J J
œ‰ j ‰ ‰ ‰ ‰ ˙ . b œ . œ. . ‰ b œj œ ‰ œ
b œ b œ œ œ œ œ œ œ œ œ œ œ ‰œ œ ‰œ
& b b J ‰ ‰ nœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ nœ ‰ ‰ ˙. b œ œ œ œœ ‰ ‰ n œ ‰ ‰
645
œ ‰‰ œ ‰‰
J J J J J J J J
b œœ œœ n n œœ n œœ ˙˙ .. œœ. œœ. œœ. œ b b œœ œœ n n œœ
œ b
? bb œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ˙ . œ œ œ œœ ‰ ‰ œ ‰ ‰ œ ‰‰ œ ‰‰
b J J J J J J J J J
˙ . œ. . œ œ œ œ œœ œ œ
bb b n œœ ‰ œ ˙ . œ bb œœ œ. œ ‰ œœ œœ ‰ œœ œœ ‰ œœ
œœ ‰ œœ œœ
‰ ‰ Œ ‰
œœ
œ ‰ ‰ Œ ‰
U
ww
648
& J‰‰ œ œ J J œ ww
J J
œœ b ˙˙˙ ... œœœ. œœœ. œœœ. œœ j j
n
? bb œ ‰ ‰ ˙ . œ œ œ œœ ‰ j œ ‰ œ‰œœ‰œ œ‰‰Œ ‰œ‰‰Œ ‰ U w
b J J œ œ œ œ œœ œ œ œ w
œ œ
End of First Act.
10/’09
Act I 213
No. 12. Finale.
(Abridged Version)
Vc ∑ ∑ ∑
Allegro vivace ed agitato.
Rudolph
bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœœbœ œ œ œœœœ œ bœ œ œ
&c ∑
ƒ
œœ œœ œœ b œœœ œœœ œœœ œœœ b n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Piano
?c œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
V Ó Œ œ œ œj œj œ b œj j œ œ œ œj œj œ b œ Œ
4
Rudolph
J J œ J J J J
Come hi - ther, all you peo - ple—When you hear the fear - ful news,
∑ ∑ Ó Œ j j
Ludwig V bœ œ
nœ
All the
j j j j j
J
& ‰ œj ‰ Ó œœ ‰ ‰ œœ b œœ ‰ Œ œœ ‰ ‰ œœ b œj ‰ Œ
œ œ œ œ œ œœ
Í p
j j j
? œœœœ ‰ œj ‰ ˙
j
œ ‰ ‰ œ
j œ ‰ Œ
j
œ ‰ ‰ œ œ ‰ Œ
J ˙ œ œ œ œ œ œ
∑ Ó Œ j j j j j j j j j œj
7
Rudolph V œ œ #œ nœ œ œ œ œ œ
j j j j j œj j j j œj
And they’ll all cry “Lord, de - fend us!” When they
j j j bœ j j j j j bœ
Ludwig V œ œ œJ œ J œJ œ œ œ œ œJ œ œ œ #œ nœ œ œ œ œ
j
pret-ty wo-menweep-’ll, Men will shi-ver in their shoes. And they’ll all cry “Lord, de - fend us!” When they
j j
& œœ ‰ ‰ œœ b œj ‰ Œ
j j j ‰ ‰ œj j ‰ ‰
œœ ‰ ‰ œœ b œœj ‰ Œ # œœœ œœœ œœœ œœ
œœ
œ œ œœ œ œ œ
? j ‰ ‰ j œj ‰ Œ j j 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
10/’09
214 The Grand Duke
10
j j j œ œ j j j œ œ œ bœ œ j Œ Ó Œ j j
Rudolph V œ œ #œ J J œ œ œ J J J J J œ œ œ
learn the fact tre - men-dous That to give his man his gru - el This ple -
j j j œ œ j j j j j
V œ œ #œ J J œ Œ Ó Œ œ œ b œJ Jœ œ b œ œ œj Œ
Ludwig
J
j ‰ ‰ œj j j ‰ ‰ j j ‰ ‰ œj b œj ‰ ‰ j j ‰ ‰ j
learn the fact tre - men-dous In a Sta - tu - to - ry Du - el—
& œœœ œœ œœ ‰ ‰ œj œœ œœ b œœ
œ œœ œœ b œœ œœ b œœ n œœ
œ
j j j j j j j j
? #œ ‰ ‰ œ œ ‰ ‰ œœ œ ‰ ‰ œ b œ ‰ ‰ œ œj ‰ ‰ œj b œj ‰ ‰ œj
#œ œ œ œ œ bœ œ œ œ bœ œ
j j j j j j Πj j j j j j
bœ œ œ œ #œ Ó Œ œ ‰ œ ‰ œ ‰ œ ‰
13
Rudolph V b œ #œ œ
bei - an man of shod - dy— YourGrand Duke does not re -
j j b œj b œj œj j j j j j j j j j
Ludwig V Ó Œ œ œ œ œ #œ œ œ œ ‰ œ ‰ œ ‰ œ ‰
This con - temp - ti - ble no-bod - y— YourGrand Duke does not re -
j j b œj ‰ ‰ j j ‰ . .
b
&b œœ ‰ ‰ j j ‰ ‰ œœ b œœ ‰ # œœj b œœ # œ n œ œ
bœ œœ b œœ œ œœ œœ œ œ. œ. b œ. œ. n n œœ. b œœ œœ œ
.
? œj ‰ ‰ œj b œj ‰ ‰ œj j ‰ ‰ j j ‰ ‰ œj œj ‰ œj ‰ œj ‰ œœ œ
bœ œ œ ‰
œ œ bœ œ bœ œ œ œ œ œ œ J
(During this, Chorus of men and women have entered, all trembling with apprehension
Œ Ó ∑ ∑
16
V
under the impression that they are to be arrested for their complicity in the conspiracy.)
œ
Rudolph
fuse!
V Œ Ó ∑ ∑
œ
Ludwig
b œ œ œ œ œ œ b œ œ n œJ j j œ b œ œ n œJ j j
fuse!
& j ‰ œœ b œœ ‰ b œ œ œ œ œ b œœœ n ˙˙˙ œœ ‰ Œ
œ
œ
f
? b œœ ‰ œœœœ œœœœ b œœœœ ‰ ‰ œ œœ ‰ b œœœœ œœ b œœœ
‰ œj œ œ œ œ œj ‰ œ œ
dim.
œ œœ œ ‰
J J J J J œ œ œ œ
10/’09
Act I 215
p
j ‰ j ‰ j ‰ j œj œj œj œj # œj œj j
A
&Ó Œ
19
S
œ œ œ œ œ œ œ œ nœ
p
With fal - t’ring feet, And our mus - cles in a qui - ver, Our
&Ó Œ j ‰ j ‰ j ‰ j œj œj œj œj # œj œj j
œ œ œ œ œ œ œ nœ
A
p
Chorus With fal - t’ring feet, And our mus - cles in a qui - ver, Our
j j j j j j
T VÓ Œ œ œ œ ‰ œ ‰ œ ‰ œ œ œJ œJ œJ œJ Jœ œ œ
With fal - t’ring feet, And our mus - cles in a qui - ver, Our
?Ó p j j j j j j j j j j j
B Œ œ œ ‰ œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ
With fal - t’ring feet, And our mus - cles in a qui - ver, Our
A
&Ó Œ
œ œœ œœ œœ œœ œœ œœ œœ œœ # # œœ œœ œ œ n n œœ
œ . . . œ œ
p
?œ œ œ œœ. œœ. œœ. œœ œœ œ œ œ œ œ œ œ œœ
œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ
j j j j j j j
& œ ‰ œ ‰ œ ‰ œ # œ œ n œ œj œj œj ‰ œj œj œj ‰ œj ‰ œj ‰ œj œj
22
fate we meet With our feel - ings all un -strung! If our plot com - plete He has
& œj ‰ œj ‰ œj ‰ œj œj œj œj œj j j ‰ j j j ‰ j ‰ j ‰ j œj
œ œ œ œ œ œ œ œ
A
fate we meet With our feel - ings all un -strung! If our plot com - plete He has
j ‰ j ‰ b œj ‰ œj œj j j j j n œj ‰ j j j ‰ j ‰ j ‰ j j
Chorus
T V œ œ œ œ œ œ œ œ œ œ œ œ œ
fate we meet With our feel - ings all un -strung! If our plot com - plete He has
? œj ‰ œj ‰ œj ‰ œj œj œ œ œ œ œ ‰ œj œj œj ‰ œj ‰ œj ‰ œj œj
B J J J J J
fate we meet With our feel - ings all un -strung! If our plot com - plete He has
& œœ œœ œœ œœ # œœ œœ n œœ œœ œ œj ‰
. . . œ nœ œ œ œœ
.
œœ
.
œœ
. œœ œœ
. b œ.
? œœ œœ. œ
œ
œ
œ
œ
œœ œœ œœ œœ œ
‰ œœ œ œœ. œœ. œœ. œœ œœ
œ
J
10/’09
216 The Grand Duke
j œj j j j j j œj b œj ‰ œj ‰ œj ‰ j j b œj ‰ œj ‰ j ‰ j j
25
S & œ œ #œ œ œ œ nœ œ œ œ œ
man-ag’d to dis - ki - ver, There is no re - treat— There is no re - treat— We shall
j j j j
& œj œj œj # œj œj j œj n œj œ ‰ œ ‰ œj ‰ Œ j j
œ ‰ œ ‰ œj ‰ œ œ
œ
A
Chorus
man-ag’d to dis - ki - ver, There is no re - treat— no re - treat— We shall
j ‰ œj œj
T V œJ Jœ Jœ Jœ Jœ œ œJ œ
J
œ ‰ œ ‰ œ
J J J ‰ Œ n œ ‰ œ ‰ Jœ
J J
man-ag’d to dis - ki - ver, There is no re - treat— no re - treat— We shall
? œj œj œj œj œj œj œj œj œ ‰ œ ‰ œ ‰ Œ œ ‰ œ ‰ Jœ ‰ Jœ œJ
B
J J J J J
man-ag’d to dis - ki - ver, There is no re - treat— no re - treat— We shall
& œœ œœ œœ # # œœ œœ œ œœ n œœ b œœ œœ œœ œ œ bn œœœ œœ œœ Œ
œ œ. œ. œ. . œ. œ.
? œœ œœ œœ œœ œœ œœ œ œ
œ œ œ œ œ Œ œ œ œ Œ
œ. œ. œ. œ. œ. œ.
& # œj ‰ œj ‰ œj ‰ œj ‰ Ó œ Œ œ Œ œ Œ œ Œ Ó
28
S nw
cer - tain - ly be hung! –tain - ly be hung!
& # œj ‰ œj ‰ œj ‰ œj ‰ nw Ó Œ Œ Œ Œ Ó
œ œ œ œ
A
Chorus
cer - tain - ly be hung! –tain - ly be hung!
T V # œj ‰ œj ‰ œj ‰ œj ‰ nw Ó œ Œ œ Œ œ Œ œ Œ Ó
cer - tain - ly be hung! –tain - ly be hung!
? #œ ‰ œ ‰ œ ‰ œ ‰ nw Ó
B J J J J œ Œ œ Œ œ Œ œ Œ Ó
cer - tain - ly be hung! –tain - ly be hung!
& #œ
œ œœ œœ œœ bnw ˙. œ œ Œ n œœ Œ œœ Œ œœ Œ œœ œ œ ˙˙˙
#œ œ œ œ nw œœ œœ œœ œœ œ ˙
S p
?
œ œ œ œ bw œ Œ œ Œ œ Œ œ Œ œ Œ œœœœ
œ œ œ œ bw œ œ œ œ œ
10/’09
Act I 217
∑ ∑ Ó ‰ œj œj œj
33
V
(aside to Ludwig).
Rudolph
Now you be -
& œœœ œ œ ˙˙˙˙ œœœ ˙˙ ˙˙
œ œ p ˙ ˙
? œ Œ œ œ œœœ Œ
œ œ œ œ œ œ ˙ ˙
Œ œ Œ ˙ ˙
j j j œ œ œ œ œ œj œ
V œj œ œ œ œ ∑
36
Rudolph œ J J J J J
‰ b œj œj œj
gin and pitch it strong— walk in - to me a - bu - sive - ly—
V ∑ ∑ Ó
(aside to Rudolph.)
Ludwig
I’ve sev - ’ral
& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ b b ˙˙
˙ ˙ ˙ ˙ ˙ b˙
? ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
j j j j j j j j œ b œj œ j j
‰ n œj œ œ
V bœ œ œ œ œ œ œ œ bœ œ Ó
39
Ludwig J
e - pi - thets that I’ve re - serv’d for you ex - clu - sive - ly. A choice se -
& b ˙˙ ˙˙ b ˙˙ ˙˙ b ˙˙ n n ˙˙
b˙ ˙ b˙ ˙ b˙ n˙
? b˙ ˙ b˙ ˙ b˙ #˙
b˙ ˙ b˙ ˙ b˙ #˙
∑ Ó Œ ‰ Jœ œJ œj œj ‰ Œ ‰ œj
42
Rudolph V
No, you be - gin— No,
j j j j j j j j œ œ œj œj ‰
Ludwig V œ œ œ œ #œ œ œ œ
œ
J Œ ‰ œj œJ œj œj ‰
lec - tion I have here when you are rea - dy to be - gin. No, you be - gin—
j j
& n # ˙˙ ˙˙ # ˙˙ ˙˙ n œœ ‰ ‰ œœ œœj ‰ ‰ œœj
˙ ˙ ˙ ˙ œ œ œ œ
? n˙ ˙ ˙ ˙ j j j j
œ ‰ ‰ œ œ ‰ ‰ œ
n˙ ˙ ˙ ˙ œ œ œ œ
10/’09
218 The Grand Duke
j j ‰ œj bbb C
V œJ œ œ ‰ Œ œ
J œj œj ‰ Ó ∑
45
Rudolph
you be - gin— No, you be -gin!
j j j j bbb C
Ludwig V Œ ‰ œ œJ œ œ œ œ j j‰ Ó
J œ œ ∑
p
No, you be - gin! No, you be -gin!
& Ó Œ j œj b œj ‰ œj ‰ œj ‰ œj ‰ j j j j j j j j bbb C
œ bœ œ œ œ œ œ œ œ
S
A
pœ œ # œj œj œj œj j j j j j j j j
Chorus (trembling).Has it happ’d as we ex - pect-ed? Is our lit - tle plot de -
? Ó Œ œ œ b œ ‰ œ ‰ œ ‰ œ ‰ b œ œœ œœ œœ œœ œœ œœ œœ b b b C
# œ
J J
T
B
j j bbb C
(trembling).Has it happ’d as we ex - pect-ed? Is our lit - tle plot de -
& œœ ‰ ‰ j
œœ œœ ‰ œ œœ b œœ œœ œœ œœ bœ œ œ œ œ œ œ œ
œ œ œ . . . .
p
? œj ‰ ‰ j j œ œ
œ œ ‰ œ œ b # œœ œ
œ.
œ
œ.
œ
œ.
#œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ bbb C
œ œ œ .
b
B Allegro Vivace.
&bb C œ œ Ó ∑ ∑ ∑
48
S
A
tect - ed?
? bb C œ œ Ó
Chorus
T
B b œ œ ∑ ∑ ∑
. . . .
œœ. œœ œœ. œœ œœ. œœ œœ. œœ
tect - ed?
b ? œ nœnœ
B Allegro Vivace.
&bb C œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ &
œ œ œ œ œ. œ. œ.
f. . . .
3
? bb C
b œ Œ Ó Ó Œ ‰ œ nœnœ œ œ œ œ œ œ œ œ
3
œ. œ. œ. œ. œ
.
œ. œ. œ.
b
Vbb œ œ œ œ œ œ œJ œ œj œ j j j j j j
52
(furiously).
Rudolph
J J # œ œ œ œ œ œ œ
œ
œ #œ œ œ nœ œ #œ
Big bombs, small bombs, great guns and lit - tle ones! Put him in a pil - lo - ry!
b
& b b œœœ œœœ œœ
œ. œœœ œœ
œ. œœœ œ. œœ œ œ
. . . . . . .
p
? b œ œ œ œ œ œ œ œ ˙˙ #˙ ˙˙ ˙
bb œ. œ. œ. œ.
œ. œ. œ. œ.
10/’09
Act I 219
b j j j j j
V b b œ œ œ œ Jœ œ œ ∑ ∑
55
Rudolph
Rack him with ar - til - le - ry!
V bbb ∑ œ œ œ œ œ œ Jœ œ œj œ
(furiously).
Ludwig
J J
Long swords, short swords, tough swords and brit - tle ones!
b œ œ bœ œ nœ bœ œ nœ
&bb œœ œœœ œœ œœœ œœ œœœ œ. œœ œ œ
œ. . œ. . œ. . . . .
f
? b n˙ n˙ ˙ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
bb ˙ ˙˙
b Œ ‰ œ bœ œ ‰ Œ ‰ œ bœ bœ ‰ Œ ‰ œ
Vbb ∑ Ó
58
Rudolph
J J J J J
j j (Pushes him.)
You muff, sir! E - nough, sir! A
b j j j j Œ ‰ œ n œ œ ‰ Œ ‰ b Jœ œ Jœ ‰
Ludwig V b b nœ œ œ œ œ Œ œ œ œ œ œ Œ
J J J J
Fright him in - to fits! Blowhim in - to bits! You lout, sir! Get out, sir!
bb b œ n œ œ # œ œ œ n œ œ
b œ œ n œ b œ œ b œ œ œ b œ˙ œ n œ b ˙ œ
˙ ˙ bb œ˙˙ b œ œ˙˙ œ
&
f . .
? b b ˙˙ n˙ ˙ ˙ ˙ b˙ ˙ ˙ œ œ. œ. œ bœ bœ œ œ
b ˙ ˙ ˙ œ. œ. œ. œ.
b Œ ‰ œ b œ b Jœ ‰ Œ ‰ Jœ b œ œ œ œ œ œ b œ œ œ œ œ œ
V b b b œ Jœ ‰
62
Rudolph
J J J J J J J J J
him.) j j
hit, sir! It’s tit, sir! It’s tit, sir! For tat, sir! It’s tit, sir! For tat, sir! It’s—
b b b(Slaps
Œ ‰ œ n œ œ ‰ Œ ‰ b Jœ œ œJ Jœ b œ œ œ œ œ œ b œ œ œ œ œ œ
Ludwig V J J J J J J J J
Take that, sir! For tat, sir! It’s tit, sir! For tat, sir! It’s tit, sir! For tat, sir! It’s—
bœ œ
bb b ˙˙ n œ b ˙˙ œ bb œ˙˙ b œ œ˙˙ œ b œ˙ œ
˙
œ˙ œ
˙
b œ˙ œ
˙
œ˙ œ
˙
&
. . . .
? b œ œœ œ bœ bœ œ œ
cresc.
bb œ. œ. œ. œ. œ œ. œ. œ œ. œ. œ œ. œ. œ œ. œ.
10/’09
220 The Grand Duke
bb b fœ(appalled).
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ
66
S &
bb b fœ
When two dought - y he - roes thun - der, All the world is lost in won - der;
œ œ œ œ œ œ œ nœ œ œ œ
(appalled).
A & œ œ œ œ
When two dought - y he - roes thun - der, All the world is lost in won - der;
b b fœ(appalled). œ œ œ œ œ œ œ œ œ bœ œ œ œ
Chorus
T V b œ œ
? b b fœ
When two dought - y he - roes thun - der, All the world is lost in won - der;
(appalled).œ œ œ œ œ œ œ œ
B b œ œ œ œ œ œ œ
œ
When two dought - y he - roes thun - der, All the world is lost in won - der;
bœ œ bœ œ œ bœ œ œ œ nœ
bb b b œ œœ œ œ
œ bœ œ œ
œ
œ bœ œ œ œ nœ
nœ œ œ
&
f
? b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ b n œœœ œœœ œœ
œœ
œœ
œœ
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b
C
f˙ ˙ ˙ ˙ b˙. œ b˙ ˙
&bb
70
bb b f ˙
When two he - roes, once pa - ci - fic,
˙ ˙ ˙ ˙. œ ˙ ˙
A &
bb b f œ
When two he - roes, once pa - ci - fic,
œ œ
Chorus
V œ œ œ œ œ œ œ œ œ œ
T
œ œ œ
fœ œ œ œ
When two he - roes, once pa - ci - fic, Quar - rel, the ef - fect’s ter - ri - fic!
? bb œ œ œ œ œ
œ œ œ œ
B b œ œ œ
When two he - roes, once pa - ci - fic, Quar - rel, the ef - fect’s ter - ri - fic!
œ œ œ œœ œ œ˙ œ œ œœ œ
˙˙ œ œ b œ˙˙˙ œ œ œœœœ œ œ œ œ œœ œ
bb ˙ œ œ
C
& b J ‰ Œ J ‰ Œ œ b ˙˙ œ ‰ Œœ
J‰ Œ J
f
œ œ œ œ œ
? b œ œ œ œ œ œ œ œ
bb œ œ œ
10/’09
Act I 221
b ˙ ˙ ˙ ˙ n˙ b˙ n˙ ˙
&bb
74
Quar - rel, the ef - fect’s ter - ri - - - -
b
A & b b b˙ ˙ b˙ ˙ ˙. œ ˙ n˙
œ. œ œ œ ˙
Quar - rel, the ef - fect’s ter - ri - - - -
b œ bœ œ œ ˙
Chorus
T Vbb œ œ œ bœ J
œ
œ bœ
When two he - roes quar - rel, quar - rel, The ef-fect’s ter - ri - - - -
? bb œ bœ œ œ œ œ. œ œ œ w
B b J
When two he - roes quar - rel, quar - rel, The ef-fect’s ter - ri - - - -
b œ œ œ œœ œœ n ˙˙ b ˙˙ ˙
& b b ˙˙ b œ œœ œ œ œœ b œœœ œœ œ n ˙˙˙ n ˙˙
˙ ˙
J ‰ Œ
j
? bb œ œ œ. œ œ œ œ œ œ œ
b œ bœ œ œ œ bœ œ œ. œ œ œ œ œ œ œ
b
& b b œ Œ n œJ Jœ Jœ Jœ œJ Jœ Œ n Jœ œJ Jœ œJ Jœ œJ Œ Ó ∑
78
fic! The ef - fect’s ter - ri - fic! The ef - fect’s ter - ri - fic!
b j j j j j j j j j j j j
A &bb œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ Ó ∑
fic! The ef - fect’s ter - ri - fic! The ef - fect’s ter - ri - fic!
b b n œ Œ œJ Jœ Jœ Jœ n œ œ Œ Jœ œJ Jœ œJ n œ œ Œ
Chorus
T V b J J J J Ó ∑
œ œ œ œ œ œ œ œ
fic! The ef - fect’s ter - ri - fic! The ef - fect’s ter - ri - fic!
? b b œ Œ J J J J œj œj Œ J J J J œj œj Œ Ó ∑
B b
fic! The ef - fect’s ter - ri - fic! The ef - fect’s ter - ri - fic!
b
& b b n œœ œ œ œ n œœ œ œœ œ n œœœ Œ n œœ œ œœ œ n œœœ ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j
œ œ œ œ œ œ œ œ
j j j j j j
? bb
b œ œ j‰ Œ œ œ j‰ Œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œj ‰ œj ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
222 The Grand Duke
bb b D Πj j
œ œ œ. j Œ Œ Œ œ œ œ Œ Œ œ
82
Rudolph V œ œ œ œ
He has in - sult - ed me, and, in a breath, This
b œ œ. j j j
Ludwig Vbb ∑ Œ œ œ œ œ Œ Œ œ Œ œ œ
He has in - sult - ed me, and, in a
bb b D
&
bw www www www
? b b b www ww w w
b w bw w
w w bw w
b œ j ˙
Vbb œ œ œ nœ. Ó ∑
86
Rudolph œ nœ. J œ
day we fight a du - el to the death!
b œ œ œ œ œ œ nœ. j ˙
Ludwig Vbb Œ Œ œ nœ œ Ó
breath, This day we fight a du - el to the death!
b
&bb
w www www b ˙˙ .. Œ
? b b n www w w ˙.
b w w ww ˙˙ .
w w . Œ
bb b ‰ j j j n œ . œ œ j j œ
œ Œ œ œ œ Œ Œ œ J Jœ œJ œJ n Jœ Jœ Œ
90 Notary. [Recit.] (checking them).
V œ œ nœ J
You mean, of course, by du - el (ver-bum sat.), A Sta - tu - to - ry Du-el.
b œœ Œ
& b b n œœ Œ Ó ∑ Ó # ˙˙˙ .. Œ
œ œ .
? bb œ Œ ˙.
b nœ Œ Ó ∑ Ó Œ
10/’09
Act I 223
r r
b
Vbb Ó Œ ‰ œj œJ . œ b œ . œ n œj. œ b œj. œ œ Œ
94
Moderato.
Notary
R J R œ œ
Ac - cord - ing to es- tab - lish’d le - gal u - ses, A
b œ œ œ
&bb Œ œ œ œ ‰ Œ ∑ ∑
J J J
S
A
j
What is that?
n œœ œœ Jœ
Chorus
? bb Œ ‰ Œ ∑ ∑
T
B b J J
What is that?
b b j ‰ œœ ‰ j j
b œœ Œ œ ‰ œ ‰ n œj ‰ j
b œœ ‰œ œ œ œœ œ n Œœ œ œœ œ
Moderato.
& œ œ œ
n œœ J œœ œœ œœ œœ œœ œœ œ œ n œœ œ œ œ œ œ œ œ
f p
? bb œ ‰ j ‰ œ Œ Œ œ œ œ œ œ #œ œ œ œ
b J nœ œ
b bb œ . œ œ . œ j r j r Ó nnn œ j j j j j j
97
Notary V J R J R nœ . œ bœ . œ œ œ œ œ œ œ œ œ
card a - piece each bold dis - pu - tant choos - es— Dead as a door-nail is the
bb b œj ‰ œj ‰ j‰ j‰ Œ nnn ˙
& n œ bœ œ œ œœ œ œœ ˙˙
œœ œœ œœ œœ œœ œœ œœ œœ n œœ œ œ œ œ ˙˙ ˙
p
? bb Œ œ œ œ œ œ #œ œ œ œ nnn ˙
b œ ˙
j
œ œj œj ‰ œj œ œ œ œ œ œj j j Œ
100
Notary V œ. J J J œ œ œ œ
dog who los - es— The win - ner steps in - to the dead man’s shoes - es!
j
& œ˙ . œ œ˙j œ . œ
œ
œ
œ œœ
. œ œœ j j
œœ ‰ œœ ‰ j ‰ Œ
˙ ˙ œ
? ˙ œœ œ œœ œœ j
œ œ̇ œ J ‰ J ‰ œ ‰ Œ
˙
10/’09
224 The Grand Duke
j j j
j j j j j j œœ œœj œjœ ‰ j œ
œœ œ œœ œœ œœ œœj œœj
103
& œœ œœ œœ œœ œœ œœ œœ œœ ..
J J
S
A
œ œ œ œ œ œ œ œ. œ œ œ œœ œ b œ œœ œœ n œœ œ
Chorus Dead as a door-nail is the dog who los - es— The win - ner steps in - to the
? œ œ œ œ œ œ œ œ. œ ‰ J œ œ œ
J J J J J J J œJ œ J J J J
T
J
B
j
Dead as a door-nail is the dog who los - es— The win - ner steps in - to the
& ˙˙˙ ˙˙ œ˙ . œ œœ œ ‰ œj œœœ œ
œ œœ œœ œœ œ
œ
˙ ˙˙ ˙ œ
œ bœ œœ œœ n œœ œ
? ˙ ˙ Œ œ œ œ
˙ œ
‰ œj œ ‰ œj ˙
E Più vivo.
∑ Œ Ó
106
Rudolph V
‰ œj
A - greed! A - greed!
Ludwig V Ó Œ œ Œ Œ ‰ œj ˙ Ó
A - greed! A - greed!
& œœ œœ j j Œ Ó Œ ‰ œj ˙ Ó
unis.
œ œ
S
A
? œœ œœ œ œ ˙
Chorus dead man’s shoes - es! A - greed!
œ œ Œ Ó Œ ‰ œJ Ó
unis.
J J
T
B
j j
dead man’s shoes - es! A - greed!
E Più vivo.
& œœ ‰ œœ ‰ Œ ˙˙ ˙˙ ˙˙ ˙˙
œ œ ˙ #˙ ˙ ˙
œ j
? œ œ
J ‰ œ ‰ œ Œ Œ œ Œ œ Œ
œ œ Œ
œ œ œ œ
j j r j
œ ‰. œ œ ‰ Œ ∑ ‰ œj œj. œr œj ‰ Œ
109 Recit.
V œ
a tempo. Recit.
Rudolph
r r r
Come, come, the pack! I’m on the rack!
V Ó Œ ≈œ œ œ œ Œ Ó Ó Œ ≈ œr œ b œ
(producing pack of cards). (hands pack to Notary).
R R
Ludwig
Be - hold it here! I quake with
& ˙˙ ˙˙
Recit. a tempo. Recit.
b˙ ˙
˙ ˙˙ ˙˙ ˙
? ˙ ˙˙ ˙˙ ˙œ ˙œ ˙ #˙ ˙
˙ ˙ Œ œ œ Œ #˙ ˙
10/’09
Act I 225
j r r
∑ ∑ Œ œ œ œ œ Œ
112
V
a tempo.
Rudolph
j r r j
If that’s the case—
V œ Œ Ó Œ œ œ nœ œ ‰ Œ ∑
(Notary offers card to Ludwig.)
Ludwig
fear! First draw to you!
œ
a tempo.
& ˙˙ ˙˙ # œœ # œœœ # œœœ
b˙ ˙ œ # œœœ œœ # œœ
œ # œœœ œœ
œ
? Œ #œ œ Œ œ #œ œ œ #œ œ œ
œ #œ œ œ œ #œ œ œ
#œ œ
j r
‰ œj œ . œ # œ
#
V Ó Œ Ó ∑
115 (Drawing card from his sleeve.)
Rudolph
r
Be - hold the King!
V ∑ ∑ Ó ‰ œj œj. œ #
(Same business.)
Ludwig
œ #œ œ #œ œ œ œ œœœ œœœ
Be - hold the
j #œ œ #
& # œœ ‰ Œ Ó Œ Œ Ó
œ fœ
j # œœ œœ œœ # œœœ
? œ ‰ Œ Ó Œ œ œ Œ Ó #
œ
# Molto
œ Œ Ó ∑ ∑
118 vivace.
Ludwig V
Ace!
# Ó Œ ‰ œœj œ ‰ œjœ œœ ‰ œjœ œœ œ ‰ œœj
& œ œ œœ
J J
S
A
œ #œ œ œ œ œ œ œ œ
Chorus Hur - rah, hur-rah! Our Lud - wig’s won, And
?# Ó Œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ
J J J J
T
B
œœ
Hur - rah, hur-rah! Our Lud - wig’s won, And
#
& ‰ œ #œ œ œ œ # œ œ œ œ J œœj n œœœ ... j œ. j
œœ œœœ
œ ‰ œœj
Molto vivace.
œœ œœ .. œœ œœ
f ˙˙ œœ œœ œœ œœ œœ
# œœ .. œœ œœ .. œœ
?# Œ ˙˙ ‰ œ œ. œ œ. œ œ œ œ ‰ œ
J J J J
10/’09
226 The Grand Duke
# œ œ j j œ ˙ œ œ
Œ œ
121
& œ œ œœ œœ œ œœ ˙ œ
unis.
J J J J œ
S
A
œ unis. œ œ
? # # œœ œœ œœ œ œ œ œ
wick - ed Ru-dolph’s course is run— So Lud - wig will as
œ
Chorus
œ œ œ œ œ œ œ
J J J J
T
B
wick - ed Ru-dolph’s course is run— So Lud - wig will as Grand Duke
# œ œ œ ˙ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œœ œœ œœ œœ œ œœ ˙˙ Œ
œœ œ œœ
? # # œœœ œœœ œœœ œœ
œ
œœ
œ
œœ
œ œ œ ˙˙ ..
˙.
œ˙ œ˙. œ
124
# œ œ œ œ. j
S
A & œ œ œ œ #œ œ œ œ
œ œ œ œ ˙.
Grand Duke reign Till Ru - dolph comes to life a - gain, Till
œ #œ œ œ
Chorus
T ?# œ
B
reign Till Ru - dolph comes to life a - gain, Till
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ #œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ œ
?# ˙˙˙ ... # ˙˙˙ ... n ˙˙˙ œ
œ˙ . œ œ˙ . œ # œ˙ . œ
# œ j j œ
∑ Ó Œ œ œ. Œ
127
Rudolph V œ. œ œ œ
Which will oc - cur to - mor - row! Yes,
# œ. œ œ œœ œœ
& œ. œ œ œœ œœ Œ ∑ ∑
J
S
A
œ. œ œ œ œ œ œ
Chorus Ru - dolph comes to life a - gain—
? # œ. œ œ œ œ œ œ Œ ∑ ∑
J
T
B
# œ.
Ru - dolph comes to life a - gain—
œ œ œœ œœ œœœ œœ œœ œœœ Œ œ Œ œ œ
& œ œ œ œœ œ
J œ # œœ œœ œ
œ. œœ œœ œœ œœ œœ œœ p p œ
? # œœ .. œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ
J œ
10/’09
Act I 227
# ‰ j j œj j j 68
œ œ œ œ Ó ∑ ∑
131
Rudolph V œ œ œ
#œ œ
yes. I’ll come to life to - mor-row!
# œ œ œ œ # œœ œœ Œ œœœ
& Œ œ. œ. œ. œ. œ. œ n œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ 68
œ œ n œœ
.
p
œœœ œ œ œ. œ. œ. œ. œ œ œœ œ œ˙ œ œ œ œw œ œ œ œ b # œœ œ œ 6
?# ‰ œ Œ œ Œ . . 8
# Andante
6 j œ. œ œ œ œ œ œj
∑ Œ ‰Œ j œ œ œ œ œJ
135 non troppo lento.
Gretchen & 8 œ J J
(with mocking curtsey). My Lord Grand Duke, fare - well! A pleas - ant jour - ney,
# 6 j j
& 8 œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ # œœ ‰ œœ œœ ‰ œœ n œœ ‰ œœ œœ ‰ œœœ
œ œ œ œ œœ œ œ œ œ œ b œ œ œ œ œ œ œ
? # 68 œœ ‰ j
J œ œ‰œ œ‰œœ‰œ œ‰ œ œ ‰ œ ˙. ˙.
140
# j œj ‰ Œ j
œ œ j j œ j œ œ œ œ. œ # œ Jœ œ ‰ Œ ‰
Gretchen & œ œ #œ œ #œ J J J
ve - ry, To your con - ve - nient cell In yon - der ce - - me - te - ry!
# ∑ ∑ ∑ ∑ Œ ‰ Œ œ
&
(curtseying).
Elsa J
Though
#
& œœ ‰ œœ œœ ‰ œœ œœ ‰ œ # œœ ‰ œ œ‰ ‰ ‰ ‰ ‰ ‰
œ # œ n œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ œ
?# œ ‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ œœ
œ ‰ œ ‰ ˙. œ. œ ‰
# j j
& #œ œ œ œ œ œj œj ‰ Jœ # œ œ œ œ œj œj ‰ œj j j
145
Elsa
J J œ œ œ œ #œ œ
#
mal - con -tents a - buse you, We’re much dis-tress’d to lose you! You were,when you were
& œœ ‰ œœ œ ‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œ ‰ # œ œœ ‰œ œ ‰œ
œœ œœ œœ œœ ‰ œœ œœ ‰ œœ
œ œ # œœ œœ œ œ œ œ œ œ # œœ œœ œ
?# œ ‰ œ œ ‰ œ œ‰œ œ ‰ œ œ‰œ œ‰ œ œ‰œ œ ‰œ
˙.
10/’09
228 The Grand Duke
# j j
œ ‰ œ j j œ ‰ ‰ ∑ ∑
150
Elsa & œ. œ œ œ #œ œ œ. J
# j
liv - ing, So lib - ’ral, so for - giv - ing!
∑ ∑ Œ ‰ Œ œ j j œ
Bertha & J œ œ œ œ œ œ. J ‰ œ
#
So mer - ci - ful, so gen - tle! So
& ‰ ‰ ‰ ‰ ‰ ‰ œ
œœœ ‰ œœœ œœœ ‰ œœœ œœœ ‰ œœœ œœœ ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ
?#
˙. ˙. ˙. ˙. ˙.
# j j j j F
œ œ ‰ ‰ ∑ ∑ ∑
155
Bertha & #œ œ œ ‹œ œ œ
# j j œ œj # œ . œ œj œ j
high - ly or - na ment - al!
& ∑ Œ ‰ Œ œ œ œ
Olga
œ œ œ J œ
And now that you’ve de - part - ed, You leave us bro - ken -
.
# j F œ œj œ œ œ ## œœ . œ œ
œ œ
œ œ œ œ
& n # œœœ ‰ œœœ œœœ ‰ œœœ n œœœ ‰ œœœ œœœ œ œ œ œ œ œ J
œ œ œ œ
J J
œœ œœ œœ n œœ œœ œœ # œœœ œœœ œœ
?# . œ œ œ œ #œ œ œ
˙ #˙. J J #œ J J œ J J
œ
160
# Œ ‰ Œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œj
&
(pretending to weep).
Gretchen J J J J J J
# j j j j j j j
Yes, tru - ly, tru - ly, tru - ly, tru - ly— Tru - ly bro - ken -
& Œ ‰ Œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
(pretending to weep).
Elsa
# Œ
Yes, tru - ly, tru - ly, tru - ly, tru - ly— Tru - ly bro - ken -
‰ Œ j j j j j j j
& œ œ œ œ œ œ œ œ œ
(pretending to weep).
Bertha
œ œ œ œ
#
Yes, tru - ly, tru - ly, tru - ly, tru - ly— Tru - ly bro - ken -
& j j ‰ Œ j j j j j j j
(pretending to weep).
Olga
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
heart - ed! Yes, tru - ly, tru - ly, tru - ly, tru - ly— Tru - ly bro - ken -
# œ œ >œ j >œ j >œ j >œ j j
& œ j œ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ # œœœ œœ œœ œ œœ
œ œ œ
œ œ
J
>œ . >œ . >œ . >œ .
? # œœ œœ œ œ œ ˙.
J
10/’09
Act I 229
# j œ œ œ œ œ œ # œ œ œ œj œ.
œ œJ ‰ Œ œ
J ‰ ‰ Œ ‰
164
Gretchen & J J J J œ.
heart-ed! Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed!
# j œj ‰ Œ j j
Elsa & œ œ œ œj œ œj # œ œj œ œ
j
œ. œ. œ ‰ ‰ Œ ‰
heart-ed! Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed!
# j
Bertha & œ œj ‰ Œ j
œ œ œj œ œj œ œj œ œ
j œ. œ.
j
œ ‰ ‰ Œ ‰
heart-ed! Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed!
#
& j j‰ Œ j j j j j j‰ ‰ Œ ‰
Olga
œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ
heart-ed! Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed!
j
œœ œœ œœj œœ œœj # œœ œœ œœ œ œjœ
Gretchen & Elsa with Sops.
# œœ .. œœ ‰ ‰ Œ
Bertha & Olga with Altos.
& Œ ‰ Œ œœ .. j
unis.
S
J J J œ
Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed! We’re
# j j
& Œ ‰ Œ œœ œœ œjœ œœ œjœ œœ œjœ œœ œjœ œœ . œœ .. œœ ‰ ‰ Œ j
unis.
. œ
J J J J
A
Chorus Yes, tru - ly, tru - ly— Tru - ly bro - ken - heart - ed! We’re
#
V ∑ ∑ ∑ ∑ Œ ‰ Œ j
T
œ
We’re
?# ∑ ∑ ∑ ∑ Œ ‰ Œ œ
B
J
j œ œœ œ œœœ œœœ œœœ œœœ # œœœ œœœ œœœ œ œœ œœ ..
We’re
# œ œ œ œ
& œœ œ œ œ œ J J J #œ œ. œ œ œ œ œ
‰ ‰ J
œ œ œ œ ˙. ˙. œ. œ n ˙˙ ..
?# J J J ‰ ‰ ˙.
10/’09
230 The Grand Duke
# œ j j j j j j j
œœ œœ œœ b œœ œœ ‰ ‰ œœ œœ œœ œœj ‰ ‰ œœj œœj j
œœ ‰ ‰ Œ ‰
169
S
A & œ
œ œœ œœ œœ # œœ œœ œœ œœ n œœ œœ œœ œœ
tru - ly bro - ken - heart-ed, Tru - ly, tru - ly bro-ken - heart—
?# œ œœ
Chorus
T
B J J J J ‰ ‰ J J J J ‰ ‰ J J J ‰ ‰ Œ ‰
tru - ly bro - ken - heart-ed, Tru - ly, tru - ly bro-ken - heart—
œ. œ œ œ
# œ œ œ œ œœ œ. œ œ œ
œ œ
œ œ œ œ œ œ œ œ
& œœ œ œ œ J J œ œ ‰ Jœ œ œ œ
J J J
?# œœ œœ œœ b œœ œœ œœ n œœ œœ œœ œœ
œ œ œ #œ œ œ œ œ œ J ‰ ‰ Œ ‰
œ J J œ J J œ J J
# j j j
Œ œœ œj ‰ ‰ Œ ‰ Œ bœ œ œ nœ
173
& œ œ œ œ œœ .. œœ
(Laughs, mocking him.)
J
unis. unis.
J J
S
A
œ. œ œ œœ unis. b œ œ œ nœ
Chorus We’re tru - ly bro - ken - heart— Ha! ha! ha! We’re tru - ly
?# Œ œ œ œ œ œ. œ œ J
J J J ‰ ‰ Œ ‰ Œ J
unis.
J
T
B
b
Ÿ~~~~~~~~~~~~~~~ œ b Ÿœ .
We’re tru - ly bro - ken - heart— Ha! ha! ha! We’re tru - ly
. œ œ œ œ nœ
# # œj ˙
# #œ œ
œ œ œ
œ œ œ œ œ œ
œ nœ
œ ‰ œ œ œ œ
j
& J J œ J
bœ
J
b œœœ œœœ œœœ œœ .. œœ œœ œœ bœ œ œœ
?# Œ œ. œ œ J ‰ ‰ Œ ‰ Œ b œœ œœ œ
J J J J J
# œ. j c œj œj Œ
G Allegro molto vivace con fuoco.
œ Ó ∑
177
S
A & œ
œ. œ œ c œJ Jœ Œ
bro - ken - heart-ed!
?#
Chorus
T
B J Ó ∑
bœ
bro - ken - heart-ed!
# œœ bœ œ œ œ vivace
œ con œfuoco. œœœ œœœ œœœ œœœœœœœœœœœœœœœœ
G Allegro molto
& bœ œ œ c Œ
J
ƒ
œ œœ n œœ .. œ
? # bœ œ œ. c œ Œ Ó ∑
J
10/’09
Act I 231
# w #œ ‰ œ œ Ó ‰ œ œ œ œ œ #˙
Œ Œ ‰ Jœ
180
Rudolph V J J J J J J J J
# ˙˙ ˙ ˙˙ ˙ ˙˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙˙ ˙ ˙˙ ˙
R - r - r - r - r - r - r - r - rap - scallions! in pe - ni - ten-tial fires, You’ll
˙ ˙
&
p f p f [p]
#˙ > #œ >
?# w w
[ ] [ ]
# œœ Œ # œœ Ó
œ œ
#
œ . œ b œ ‰ œ œj œ œ œ œ .
j j j j j ‰ Jœ
V # œ . œJ n œJ œJ Jœ œJ
184
œ #œ. œ œ
Rudolph
J J
# b ˙˙ ˙ ˙˙ b ˙ n b ˙˙ ˙ ˙˙ # ˙ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
rue the ri-bald-ry that from you falls! To - mor-row af - ter-noon the law ex-pires, And
&
˙˙˙ n b ˙˙˙ n ˙˙˙
?# # b # ˙˙˙ # www w
# # ww
# ˙ .
‰ œj œj. œr ˙˙ . Œ ∑ 43
188
V
(Exit Rudolph, amid general ridicule.)
Rudolph
#œ #œ #œ œ
# œ # œ œ # œ # >œJ œ œ œ #œ œ #œ #œ #œ 3
then— look out for squalls!
‰ Ó ‰ # œ œ #œ
& 4
S f
# œ
œ œœ œœ œœ # ˙˙ œ œœ œœ # ˙˙
?# n œ œ ‰ Œ ‰ # œœ œœ ˙˙ # œœœ œœ œœ ˙˙ 43
J œ J J J
œ
>
# Allegretto f .. œ œ œœ œ
3 ∑ Œ Œ œ œ œœ .. # # œœ œœ
191 non troppo.
& 4 œ œ œ J J #œ
J J R
S
A
œ œ. r
Give thanks, give thanks to way - ward fate— By
fœ œœ .. œœ œœ œœ
Chorus
? # 43 ∑ Œ Œ œ œ. œ œ
T
B J J J J R
# 3 œ œ œ œ œ œ
Give thanks, give thanks to way - ward fate— By
œ œœ
Allegretto non troppo.
‰ œ œ œ œ œ œ œœœ ... œœ œœ œœœ ... # # œœœ œœœ œ
& 4 J œ. œ œ # œœœ
œ J
f j
? # 43 # œœœœ œ œ œ œ
‰ œ œ œ œ
œ
œ Œ œ œ œ œ. œ œ œ
J œ. œ œ œ œ. œ œ œ
œ.
10/’09
232 The Grand Duke
# n œj. œr œ œ œœ .. œ œ œ œœ .. # # œœ œœ œœ
œœ Œ œœ œ œ Jœ
195
& n œ . #œ œ œ J
J J R
S
A
œœ .. œœ œœ œ. r œ
œ œœ œœ œœ œœ œœ
mys - tic for - tune’s sway, Our Lud - wig guides the helm of State For
œœ ..
Chorus
?# J R œ Œ œ. œ œ œ
T
B J J J J R
œ
mys - tic for - tune’s sway, Our Lud - wig guides the helm of State For
# œœ œœœ ... œœ œœ œœœ ... # # œœœ œœœ œœ
& n n œœœ ... # œœœ œœœ œœ œœ
œ
Œ œœ
œ œ.
œœ œ œ œœ
J
œœ œœ œœ œœ .
? # œ. œ œ œ œ
J
. œ œ œ
œ. œ œ œ œ œ œ œ. œ
œ œ œ.
j j
# œ. # œœ œœj œœ ˙˙ œ œ œ œ œ
j j
œ œj œ œ
199
& œ. J J . J
unis. (To Ludwig.)
.
S
A
œœ .. œœ œœ œœ ˙ œ œ œ
one de - light-ful day! We hail you, sir! We greet you, sir! Re -
œ œ œ
Chorus
?# J J J ˙ Œ Œ œ œ œ Œ œ œ œ
J J J J
T
B
# œ. j
one de - light-ful day! hail you, sir! greet you, sir!
& œœ .. # œœ œœ œœ œ œ œ
œ œ œ œœ œ œ nœ œ œ œ œ œ
œ˙ œ ˙. œ˙ . œ œ œ
F
? # œ. œ œ œ œ Œ Œ œ Œ Œ œ Œ Œ
œ. œ œ œ œ œ œ
J
# œ j j œ œ œ
& J Jœ œ . œ œ œj œœ .. œ œ œJ œœ .. # # œœ œœ œ
203
œ œ J R #œ
J J
S
A
œ. r
œœ œœ œœ œ
gale you, sir! We treat you, sir! Our ru - ler he By fate’s de-cree For
œ œ œ œ œ œ œ
Chorus
?# Œ œœ .. œ. œ œ
œ œ œ Œ œ œ œ œ J J J J R œ
J J J J J J
T
B
œ œœœ .. œ œ œ œ. #œ œ œ
–gale you, sir! treat you, sir! Our ru - ler he By fate’s de-cree For
# œ .. œ # œœ
& œ œ J œ œ œ. #œ œ
œ˙ œ œ œ œ œ œ˙ œ
. f œœœ œœ œœ œœ .. # œœ œœ
?# œ Œ Œ œ œ J œ
œ œ œ œ. œ
œ œ œ.
10/’09
Act I 233
# œj j r œ r ˙
& œ # œœ œ œœ ‰ œj œœ .. œ œ .. j œ. œ ˙ .. c
207
œ R œ œ. R
J J J J
S
A
œ œ œ œ j œ. œ œ. j œ ˙.
œœ œ œœ ..
Chorus one de - light - ful day! Hur-rah! hur - rah! hur - rah! hur - rah!
?#
œ œJ œ œ ‰ J œJ .
œ œ œ.
R J J
œ ˙.
R c
J
T
B
˙. ˙. ˙.
# œœœ # œœœ œœ
one de - light - ful day! Hur-rah! hur - rah! hur - rah! hur - rah!
œœ ˙. ˙. ˙.
& œ c
œœœ œœœ .. œœœ œœœ .. œœœ œœœ .. œœœ ˙˙˙ ..
? # œ œ œœ œ
œ
œœ
‰ J . . . . c
œ œ J
# cL’istesso tempo. œ # œ œ
Ó ‰ J J J œ œ Ó œ œ # œj œj n œ
211
Notary V J J œ œ œ
# c œ
You’ve done it neat - ly! Pi - ty that your pow’rs Are
& œ ‰ Œ Ó ∑ ∑
J
S
A
œ
?# c œ ‰ Œ
Chorus
T
B J Ó ∑ ∑
œ tempo.
L’istesso
# c œ
& J ‰ œœ œœ œœ œœ œœ œœ ‰ œ œ œ œœ œœ œœ œœ ‰ œ œ œ œ œœ œœ œœ
œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ
œœœ p œ ‰ Œ
?# c œ ‰ Œ
J ‰ Œ Ó J œ ‰ Œ
J J œ
J
‰ Œ
214
# ∑ ∑ Ó Œ ‰ œ œ jŒ Œ œ œ
Ludwig V J J œ J J
# œ. œ ˙ j
œ œj œ œJ œ
No mat-ter, tho’ the
V J R œ Œ ∑ ∑
Notary
J
# j
li - mit-ed to four-and-twen-ty hours!
& ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ‰ œœ œœ œœ œœ œœ œœ œœ # œœ œ œ œ œ œj‰ œ ‰ œœœ œ œ œ œ œj ‰ œœ œœ
œ œ œ œ œ œ œ œ
? # œ ‰ Œ œ ‰ Œ œJ ‰ œ ‰ œj ‰ j ‰ œœœœœ œœ œœœœœœœ œ œœ œœ œœ œœ œœ
J J J œ œ
10/’09
234 The Grand Duke
# j j r r #### 6
œ œj œj œj œ ‰ œj œ j r #œ œ œ ˙ Ó
218
V #œ . œ œ 8
rall.
Ludwig
time will quick-ly run, In hours twen - ty - four much may be done!
# j œj ‰ # jœ ‰ œj ‰ # œj ‰ #### 6
& œœ œœ œœ œœ # œœ œ œ‰
œ œ œ
œœ œ n n œœ # œœ n œœ
œ œ
˙
# ˙˙
Ó 8
j j j j # # # # 68
colla voce.
? # œ˙ œ œ œ œ Œ œ ‰ œ ‰ œ ‰ œ ‰ ˙ Ó
œ œ œ œ ˙
No. 12a. Song—(Ludwig) with Chorus.
>œ . œ œ œ. œ. œ. œ. œ. œ. . . . œ.
œ
Allegro con brio.
221
#### 6 œ . œ œ œ. œ. œ. œ. œ. œ . .
œ. œ œ œ
& 8 J
[ f]
œœ. œœ. œœ.
? # # # # 68 œ ‰ ‰ œj ‰ ‰ œ
œ ‰ ‰ œ ‰ ‰ J ‰ ‰ œj ‰ ‰
j
∑ J J
. . .
225
#### Œ ‰ œ j j j j j jœ j
œ œj j œj œ œ œ œj œ œJ œj œJ
Ludwig V œ œ œ œ œ œ J J œ J J J
œ. j
#### J ‰ ‰ œ j j j
1. Oh, a mon-arch who boasts in - tel - lect - u - al gra -ces Can do, if he likes, a good
j œ œœ ‰ ‰ œœ œ œ œ
œ ‰ ‰ œœ œ
& œ œœ ‰ ‰ œœ ‰ ‰
œœ. p
œœœ œœ œœœ œœ œœœ j
? # # # # œœ ‰ ‰ Œ ‰ ‰ ‰ Jœ ‰ ‰ ‰ ‰ œJ ‰ ‰ ‰ ‰ œ ‰ ‰
J J J J
229
#### œ œ œ œ ‰ œ j j j œj œj œ œ œj j œj œj œ œ œj œ œJ œ Jœ
Ludwig V J J J J J œ œ œ J J œ J J J J
# # # # œ œ œ œj ‰ ‰ j
j ‰ ‰ œ œ œ œj ‰ ‰ œ œ œ j
deal in a day— Can put all his friends in con - spi - cu - ous pla-ces, With plen - ty to eat and with
& œœ œœ œœ œœ œ
œœ ‰ ‰ œœ ‰ ‰
œ œ œ œ
œœœ œœ œœœ œœ œœœ
? #### œ œ j ‰ ‰ œ œ ‰ ‰ Jœ ‰ ‰
J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J
œ œ
10/’09
Act I 235
233
#### œ œ œ œ ‰ ∑ Œ ‰ Œ j j j j j j j
Ludwig V J J J œ œ œ œ œ œ œ
. . . . # .
œ .
œ
# # # # œœ œœ œ j œ. ‹ œ. œ. œ # œ œ
œ J
no-thing to pay! You’ll tell me, no doubt, with un -
& #œ œ œ. œ. œ. ‰ ‰ ‰ œ œ ‰ # œœ œœ
œ œ œ œ
œ œ œ . . . .
? #### œ œ œ
œœ œœ. œœ. œœ. n œœ. œœ. œœ. œœœ œœœ œœœ œœ
J ‰ ‰ J ‰ ‰ œ. nœ.
#### j j j œ j j j j j j j j j j œ j
œ œ # œ J œJ œ œ œ # œ J Jœ œ
237
Ludwig V œ œ œ œ œ œ
#### ‰
plea - sant gri - ma - ces, To - mor - row, de - priv’d of your rib - bons and la - ces, You’ll
& œœ œ œ œ œ ‰ œ œ ‰ # œœ œ ‰ œœ œ œ œ œ
# n œ œœ œœ œœ œœ œ œ œ œœ # n œ œœ œœ œœ œœ
? #### œ . j ‰ ‰ œ. nœ. œ. j ‰ ‰
œ œ
240
#### j j j j j j j j j j j j j j j
œ # œj œ œJ œ œj
Ludwig V œ œ œ ‹œ œ œ œ œ œ #œ œ œ
#### j ‰ j ‰ ‰ # œj ‰ j
get your dis - mis - sal— with ve - ry long fa - ces— But wait! on that to - pic I’ve
& ‰ ‹ œj ‰ ‰ œ ‰ œœ ‰ ‰ œœ œ œ
œ
œ œ œ œœ nœ œ
? #### œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ #œ ‰ ‰ œ ‰ ‰
J J J J J J
#### j œj # œj œ (Dancing.)
‰ œJ œ œ œ œ œ œ œ ‰ ‰
J Jœ Jœ
243 H1
Ludwig V œ J J J J J J
#### f j
some-thing to say! I’ve some-thing to say— I’ve some-thing to say!
∑ ∑ Œ ‰ Œ œ
S
A & œ
f œj
He’s
Chorus
T ? #### ∑ ∑ Œ ‰ Œ J
B
œ œ œœ œ H1 ˙˙ .. ˙. ˙˙ .. ˙.
He’s
#### j œ
& n œœ œœ # œœ œ
œ
f
œ œœ œœ œ œ œ œ œœ œ
? #### œ œ œ œ ‹œ. ‹œ. œ #œ œ
J ‹œ. œ œ ‹œ. œ #œ œ
10/’09
236 The Grand Duke
# # # # œj œj œj œj œj œj œ œ œ œ j
# œ œœ œ œ œœ œ œ. œ ‰ ‰
246
S
A & œ œ œ œ œ œ J J J J J J J
œ œ œ œ œ œ
some - thing, he’s some - thing, he’s some-thing, he’s some-thing to say!
œœ .. œœ
? # # # # œœJ œœ œœ œœ œœ œœ
Chorus
œ œ œ œ œ œ J ‰ ‰
T
B J J J J J J J J J J J
œ œ œ œ œ œ
some - thing, he’s some - thing, he’s some-thing, he’s some-thing to say!
œ œ œ œ
#### œ œ
œ œ
œ
œ œ œ œ œ œ j
œ œ œ ‰ ‰
& œ œ œ
? #### œ
œœœ œœœ œœœ œœœ œœœ # œœœ œœœ œœ œœ œœ
œ œ œ
œœ
œœ œ œ œ
œ
œ œ œ œ ‰ ‰
J
#### œ . œ œ j j j j œ j j
œ œ œ œ Jœ œ Jœ œJ œ Jœ Jœ
249
Ludwig V J J
œ. œ œ
Oh, our rule shall be mer - ry— I’m not an as - cet - tic— And
# œ œ œ œ œ œ œ œ œ œ œ œ
# œ. œ œ
& ## J
p
œœ j œœ j
? #### ∑ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
J J
252
#### j j j j œj œj j œj œj j œj œj j j j j j j
Ludwig V œ œ œ œ œ œ œ œ œ œ œ œ
#### œ œ œ œ œ œ œ œ œ œ œ œ
while the sun shines we will get up our hay— By a push - ing young Mon - arch, of
œ œ œ œ œ œ
&
œ œœ œœœ
? # # # # œœœ ‰ ‰ j œœ ‰ ‰ j ‰ ‰ j
J œ ‰ ‰ J œ J ‰ ‰ œ ‰ ‰
255
#### j j j j j j j j j j œj œj œ œJ œ œ ‰ ‰
Ludwig V œ œ œ œ œ œ œ œ œ œ J J J
œ œ œ œ œ
turn en - er - get - ic, A ve - ry great deal may be done in a day!
#### œ œ œ œ œ œ œ œ œ œ œ
& ‰
œ œœ œœ œœ .. œœ
? # # # # œœJ ‰ ‰ œj ‰ ‰ œ
J ‰ ‰ œ
J ‰ ‰ #
‹ œ. œ ‰
10/’09
Act I 237
#### œ . j j j j j œj œj
J1 (During this, Ludwig whispers to Notary, who writes.)
œ j j œj j j œj
œ œœ œœ œ œœ œœ œ
258
S
A & J œœ œœ œœ œœ œ œ
œ. œ j
Oh, his rule will be mer - ry— He’s not an as - cet - ic— And
œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ
Chorus
? #### J œ œ œ œ œ œ
T
B J J J J J J J J J J J J
œ. œ œ œ œ œ
Oh, his rule will be mer - ry— He’s not an as - cet - ic— And
#### œ .
J1
œ œœ œ œ œ œ œ œ œ œ
œ œ
& J
f œœ œœ
? #### ∑ œ ‰ ‰ j
œ ‰ ‰ œ ‰ ‰ j
œ ‰ ‰
J J
#### j j j j j œj j j œj j j œj j j j j j
œ œj œ œJ œ œJ
261
& œœ œœ œœ œœ œœ œ œœ œœ œ œœ œœ œ
J J J J
S
A
œœ œœ œœ n œœ œœ œœ
? # # # # œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ
Chorus while the sun shines we will get up our hay— By a push - ing young Mon - arch of
J J J œ œ œ J J J J J J J J J J J J
J J J
T
B
œ œ œ œ œ œ œ œ œ
while the sun shines we will get up our hay— By a push - ing young Mon - arch of
# # # # œœœ œ œ œœ œ œ n œœ œ œ
&
œ œ j j
? # # # # œœœ ‰ ‰ œ
j ‰ ‰ œœœ ‰ ‰ j ‰ ‰ œœ ‰ ‰ œœ ‰ ‰
J J œ
#### j j j j j j œj j j j œœ n œjœ j
œœ # œœ œœ œœ œœ œœ ‰ ‰
264
& œ œ#œ œ #œ
J Jœ J n Jœ ‹ œ n Jœ n Jœ # œ œJ J J J J J J
S
A
j j j œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
turn e - ner - get - ic, A ve - ry great deal may be done in a day!
? # # # # œJ Jœ Jœ n Jœ œJ Jœ
Chorus
J J J J J J J J J œ ‰ ‰
J
T
B
œ œ œ œ œ œ œ
turn e - ner - get - ic, A ve - ry great deal may be done in a day!
# # # # œœ œ œ # œœ ‹ œ œ œœ # œ œ œ œ ‰ Jœ.
& œ J
? # # # # œœ ‰ ‰ nn œœ ‰ ‰ #œ ‰ ‰ # œœœ ‰ ‰ n œœ .. œœ ‰ ‰
J J œ œ. J
J J
10/’09
238 The Grand Duke
#### ∑ j
∑ ∑ Œ ‰ œ
267
Ludwig V œ
. . . . . œ.
œ œ.
2. For
# # # # œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ .
œ. œ. œ œ J ‰ ‰ œ j
& œ
. œœ. œœ. p
œ
œ œœœ.
? # # # # œ ‰ ‰ œj ‰ ‰ œ ‰ ‰ œj ‰ ‰ J ‰ ‰ œj ‰ ‰ œœ ‰ ‰ Œ ‰
J . J . . J
271
# # # # j j j j j(alluding
œ œ j j j j œ œ œj œ œJ œj œ
œ œ œ œ J
to Notary).
Ludwig V œ œ œ œ J J œ J J J
j
in - stance, this mea - sure (his an - ces - tor drew it), This law a - gainst du - els— to -
#### j œ j j
œœ ‰ ‰ œœ œ œ œ
œ ‰ ‰ œœ ‰ ‰ œ ‰ ‰
& œœ œ œ
œœ œœ
? # # # # œœœ ‰ ‰ œ ‰ ‰
œœœ œ ‰ ‰ œœœ
‰ ‰ œj ‰ ‰
J J J ‰ ‰ J J
274
#### œ œ œ œ ‰ œ j j j j œj œ œ œj j œj œj œ
Ludwig V J J J J J œ œ œ œ J J œ J
mor - row will die— The Duke will re - vive, and you’ll cer - tain - ly rue it— He’ll
#### œ œœœ œœ j j œ j
& œœ œ œœœ ‰ ‰ œ ‰ ‰ œœ œ œœ ‰ ‰ œœ œ œ
œœœ œœ œœœ œ
? ####
œ œ j ‰ ‰ ‰ ‰ œ
J ‰ ‰ ‰ ‰ Jœœ ‰ ‰
J J
œ œ
## j œ Jœ œ œ
V # # œJ œ œJ œ œ
J œJ J ‰ ∑ Œ ‰ ‰ œj œj
277
Ludwig J J
j . . # œ. œ.
give you “what for” and he’ll let you know why! But in
#### j œœ œœ # œœ j . œ. # .
œ œ œ
& œœ ‰ ‰ œœœ ‰ ‰ œ œ. œ. œ. œ. ‹ œ. œ J ‰ ‰
œ œ œ . . . .
? # # # # œœœ ‰ œ œ œ œ
œœ œœ. œœ. œœ. n œœ. œœ. œœ. œœœ œœœ œœœ œœ
‰ J ‰ ‰ J ‰ ‰ J ‰ ‰
J
10/’09
Act I 239
#### j j j j j j j œ r r
œ œ œ œj œj œj œj œj œj
281
Ludwig V œ œ œ œ œ œ œ #œ J J
##
& # # ‰ œ œ ‰ # œœ œœ
twen - ty - four hours there’s time to re - new it— With a cen - tu - ry’s life I’ve the
‰ n œœ œœ œœ œœ œœ ‰ œ œ ‰ # œœ œœ
œ œ œ œ #œ œ œ œ œ œ œ œ œ
? #### œ . nœ. œ. j ‰ ‰ œ. nœ.
œ
284
#### j œj # œj œ œ j j j j j j j j j j # œj œj œj
Ludwig V œ J J œ œ œ œ ‹œ œ œ œ œ œ
#### ‰ j j j j
right to im - bue it— It’s ea - sy to do— and, by Jin - go, I’ll do it! It’s
& n œœ œœ œœ œœ œœ œœ ‰ ‰ ‹ œœ ‰ ‰ œ ‰ ‰ # œœœ ‰ ‰
œ
#œ œ œ œ œ
? #### œ . j ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ J J J J
[ U ] (Signing paper, which Notary presents.)
#### j j j œ j j j j j j œ
H2
œ œ œ œ œ
œ #œ œ J œ œ œ œ #œ œ ‰ J
287
Ludwig V J J J J
œ œ œ œ ˙
˙ .. ˙ .
j œ œ
done! Till I per - ish your Mon-arch am I! Your Mon -arch am I— Your
#### j [U]
& œ ‰ ‰ œœ œ œ # œœ œ
n œœ œ n œœ œœ œ
f
? # # # # # œ [ U‰ ] ‰ œ ‰ ‰ œœ œœ œœ œ œ œ ‹ œ . œ œ œ
J J œ œ œ ‹œ. œ œ œ
J
#### œ œ
J œJ Jœ J ‰ ‰ ∑ ∑ ∑
290
Ludwig V
# fj j j j j
## # œ œj œ œ œj œ # œœ œœ œœ œœ œœ œœ œ . j
Mon-arch am I!
& Œ ‰ Œ œ œ œ œ œ œ œ J J J J J J œ ‰ ‰
œ J
S
A
f j œ œ œ œ œ œ œœ .. œœ
Our Mon-arch, our Mon-arch, our Monarch, our Monarch is he!
œ œœ œœ œœ œœ œœ œœ
Chorus
? #### Œ ‰ Œ J œ œ œ œ œ œ J ‰ ‰
T
B J J J J J J J J J J J J
˙˙ .. ˙. œœ œ œ œ œ œ œ œ œ œ œ œ
œ œ
Our Mon-arch, our Mon-arch, our Monarch, our Monarch is he!
#### 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 œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œ œ œ œ
‹œ. œ #œ œ œ œ œ œ ‰ ‰
J
10/’09
240 The Grand Duke
294
#### œ. œ œ œj œj œj œj œ œ œj œ œ œj œ œ œj œj œj œj œj œj
Ludwig V J J J J J J J
œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Though I do not pre-tend to be ve - ry pro-phet-ic, I fan - cy I know whatyou’re
#### œ. œ œ œ œ œ œ œ œ
& J
p
œœ œœ œœ
? #### ∑ œ ‰ ‰ j‰ ‰
œ
œ ‰ ‰ j‰ ‰
œ
œœ ‰ ‰ j ‰ ‰
œ
J J J
## j j j j j j j j j j j j j
V # # œ œ œ œ œ œ œj œj œj œj œ œj œj œ œj œj œ œj œj œj œ œ œ œ
298
Ludwig
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
go - ing to say— By a push-ing youngMonarch, of turn en - er - get- ic, A ve - ry great deal may be
œ œ œ œ œ œ
&
œ œ œ œ œ
? # # # # œœœ ‰ ‰ j ‰ ‰ œœJ ‰ ‰ j ‰ ‰ œœJ ‰ ‰ j ‰ ‰ œœ ‰ ‰ œœ ‰ ‰
J œ œ œ J J
#### œ œJ œ œ ‰ ‰
J2
∑ ∑ ∑
302
Ludwig V J J J
j
done in a day!
&
####
∑ œ. œ œ œj œj œj œj œj œj œj œj œj œj œj œj
J œ œ œ œ œ œ œ œ œ œ œ œ
(astonished).
S
A
j
Oh, it’s sim- ply un - can-ny, His pow - er pro-phet-ic, It’s
œ. œ œ œ œ œ œ œ œ
Chorus
? #### J œ œ œ œœ œœ œœ œ œ œ
∑ J J J œ œ œ J J J œ œ œ
J J J J J J
T
B
œ œ œ œ œ. œ œ
Oh, it’s sim- ply un - can-ny, His pow - er pro-phet-ic, It’s
#### J2
œ. œ œ œœ œ œ œ œ œ œ œ œ œ œ œ
& ‰ J œ
f
œ. œœ œœ œœ
? # # # # ‹ # œœ .. œ ‰ ∑ œ ‰ ‰ j‰ ‰ œ ‰ ‰ j‰ ‰
J œ J œ
10/’09
Act I 241
#### j j j j j j j j j j j
œœ œœ œœ œœ œœ œœj œœ œœ j j j j j
œ œj œ œJ œ œJ
306
& œœ œœ œœ œœ
J J J J
S
A
œœ œœ œœ n œœ œœ œœ
Chorus per - fect - ly right— we were go - ing to say— By a push - ing young Mon - arch of
? # # # # œœ œœ œœ œ
œ
œ œ
œ œ
œœ œœ œœ œœ œœ œœ
J J J J J J
J J J J J J J J J J J J
T
B
œ œ œ œ œ œ œ œ
per - fect - ly right— we were go - ing to say— By a push - ing young Mon - arch of
# # # # œœœ œ œ œ œœ œ œ n œœ œ œ
&
œ œœ j j
? # # # # œœœ ‰ ‰ œ
j ‰ ‰ œœ ‰ ‰ j ‰ ‰ œœ ‰ ‰ œœ ‰ ‰
J J œ
#### j j j j j j j j j œ œœ n œjœ œjœ œœ ‰ ‰
œ œj œ # n œœ ‹ œ n œ n œœ # œœ # œœ œœ # œœ œ œœ
309
& J J J J J J J J J J
J J J
S
A
j j j œœ œœ œœ œ
œ n œœ œœ œœ œœ œœ œœ œœ œœ œœ
turn e - ner - get - ic, A ve - ry great deal may be done in a day!
? # # # # J œJ
œ
Chorus
T J J J J J J J J J J J J J Jœ ‰ ‰
B
œ œœ œ œ œ œ œ
turn e - ner - get - ic, A ve - ry great deal may be done in a day!
œœ # œ œ .
# # # # œœ œ œ # œœ ‹ œ œ œ œ ‰ Jœ
& J
? # # # # œœ ‰ ‰ n n œœ ‰ ‰ #œ ‰ ‰ # œœœ ‰ ‰ n œœ .. œœ ‰ ‰
J J œ œ. J
J J
#### j
∑ ∑ ∑ Œ ‰ Œ œ c
312
V
(Enter Julia, at back.)
Ludwig
. . . . . œ. . . . . œ. œ. . . . œ. œ.
œ
This
#
## # œ œ œ œ œ œ œ œ œ .
œ. œ œ œ
& J ‰ ‰ Œ ‰ c
.
œ
œ œœ. œœ
œ
. œœ.
? # # # # œ ‰ ‰ j ‰ ‰ œ ‰ ‰ j ‰ ‰ J ‰ ‰ j ‰ ‰ œœ ‰ ‰ Œ ‰ c
J œ. J œ. œ. J
10/’09
242 The Grand Duke
####
K
c œr œr œ œr œj œj œr œr œj ‰ œj r r r j r r j
œ œ Rœ œ œ œj œ œ œ ‰ j
316 Andante.
Ludwig V R œ
####
ve - ry af-ter-noon— at two (a - bout)— The Court ap-point-ments will be gi - ven out To
& c œ
œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ ≈ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ ≈
œ œ œ œ œ œ œ œ œ œ œ
p
#
? ## # c œ œ œ œ≈ œ
œ œ œ œ œ œ œ œ #œ œ œœœ≈
œ œ œ œ œ œ œ œ œ œ #œ œ
#### r r r
j j œj œj œr œr œr r œ œ ≈ œr œj œj # œj œj # œ œr œr ‹ œr œr œr ‰
318
Ludwig V œ œ œ
####
each and all (for that was the con-di - tion) Ac - cord-ing to pro - fes - sion-al po - si - tion!
S
A & ∑ Ó Œ ‰ ≈ Rœ
œ
Hur-
? ####
Chorus
T
B
∑ Ó Œ ‰ ≈ R
Hur-
#### œœ œœ œœ j ≈ Rœ
& œœ œœ œœœ œœœ œœœ œœ œ œ # œœ œœ # œœœ ‹ œœœ œ
œ œ œ œ œœ œ œ œ œ #œ
[ f]
j œ
? #### œ œ n œ œ œ œ œ œœ œ œ œ œ œ œ œ ≈ R
œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
# # # # Julia.
Œ ‰ ≈ œR
œ
‰ ≈ œr
Œ Ó Œ
320
&
(coming forward).
## j œ j
Oh, Heav’n! Ac -
& ## œ ≈ R œ ‰ Œ ‰ r r œr œr ‰ Œ Ó
œ œ
S
A
œ
? # # # # œJ ≈ R œJ ‰ œ œ ‰
Chorus rah! hur -rah! What’s the mat-ter?
Œ ‰ œ œ R R Œ Ó
R R
T
B
#### . .
œ œ œœ œœ ‰
rah! hur -rah! What’s the mat-ter?
j r
& œ ≈ œ œ ≈ œ œ ‰ Œ ‰
œ. œ.
Œ ‰. œ
œ
œ œ p
? #### œ ≈ œ ≈ œ ‰ ‰ œ
J œ œ œ ‰ ‰ œ œ œœ œ ‰ Œ
œ. œ. œ. œ. œ. œ. . œ.
10/’09
Act I 243
#### L r r r r r r r r r r
œ œ œ œ œ œ œ œ #œ œ ‰ Œ Ó Œ ‰ œj
322
Julia &
# ## f r r r r
cord-ing to pro-fes- sion-al po - si - tion? Then,
S
A & # Ó Œ ‰ ≈ œr œr œr œr œr œ œ œr œr # œ œ ‰ Œ
f
Ac - cord-ing to pro-fes- sion-al po - si - tion!
? #### Ó ‰ ≈ Rœ œ œ œ œ œ œ œ œ # Rœ œR ‰
Chorus
T
B
Œ R R R R R R R R Œ
#### L j j
Ac - cord-ing to pro-fes- sion-al po - si - tion!
# œœ ‰ ‰. r # œœ ‰ ‰ œœj
& œ œœœ œ œ œœœ
# œœœ œ œ
œ # œœœ œ œ œœ
f
? #### j œ œ œ œ ≈ œr j j
˙ œ œ. œ. œ. œ. ˙ œ œ œ
œ. œ. . . œ
˙ œ
No. 12b. Song—(Julia) with Chorus.
# ## ˙ œ ‰ Jœ œ œ œ œ œ œ œ ‰ #### 3
& # Ó
324
Julia
J J R R R R R R # 4
#### œ
j r r œr r r r # #
hor - ror! hor - ror! hor - ror! hor - ror! hor - ror!
& ∑ Ó œ œ œ œ œ # # # 43
œ œ œ œ œ œ œ
S
A
œ œ œ œ œ œ œ
Why, what’s the mat - ter?What’s the
? #### ## 3
Chorus
∑ Ó œ œ
J Rœ Rœ R Rœ œR œR # # # 4
T
B
#### #### 3
Why, what’s the mat - ter?What’s the
& www ˙˙˙ œ # 4
w ˙ œ œ œ œ œ œ
? #### w ˙ œ œ œ œ œ œ œ #### 3
# 4
w ˙
# # # # 3Andante (l’istesso tempo). (Lisa clinging to her.) œ
œ. œ œ. œ
∑ Œ Œ
326
Julia & # 4 J R J
r r r
# # # # 3 œ œr œr œr œ œr œr œr œ œr ‰
Ah, pi - ty me, my
S
A & # 4 œ œ œ œ œ œ œ œ œ œ ∑ ∑
œ œ œ œ œ œ œ œ œ œ
? # # # # 43 œ œ œ œ œ œ œ œ œ œ ‰
Chorus mat - ter? What’s the mat-ter? What’s the mat-ter?
# ∑ ∑
R R R R R R R R R R
T
B
j
mat - ter? What’s the mat-ter? What’s the mat-ter?
# # # # Andante œ œ œ œ œ œ œ œ œ œ œœ
3
& # 4 œ œ œ œ œ œ œ ˙˙œ . œ œ . œ
(l’istesso tempo).
œ œ œ œ œœ
œ œ œ œ œ œ œœœœœ œœœ œœœœœœœœ
? # # # # 43 œ œ œ œ œ œ œ œ œ œ œœœ ˙
# Œ
10/’09
244 The Grand Duke
#### j j j
# œ œ œj œj Jœ œ œ œj œJ . r j j j
œ œj œ Œ
329
Julia & J œ œ œ
####
com - rades true, Who love, as well I know you do, This gen - tle child,
œ
& # œœ˙ œ œ œœ ˙˙ œœ œ˙ œœ
œ
? #### œ œ œ œ œ œ œ œ œ œ œ œœ œ œœœœ œ œœ œœœœœœœ œ œ
# ˙ Œ ˙ œ ˙ œ œ
#### Œ
332
‰ œj Jœ œJ œ œ œ Œ ∑
Julia & # J J
####
To me so fond - ly dear!
& # ∑ ∑ Œ Œ ‰ œ œ
unis.
R R
S
A
? #### œ œ œ Rœ r ‰ Œ
Chorus What’s the
∑ ∑ J R R œ
unis.
T
B #
Why, what’s the mat -ter?
j Ÿ
# # # # ˙œ . œ œ . œ œœ œ œœ œœ œœ œœ œœ n # œœ n œœ # œœ œ
& # ˙ ‹ œœ ˙ œ 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 œ œ œ œ
#### Œ
335
Œ ‰ œj
M
œ. #œ œ œ œ œ #œ œ ‰ œj
Julia & # J RJ J J J
#### r
Each sym - pa-thet - ic heart ’twill bruise When
S
A & # œ œr ‰ Œ Œ ∑ ∑
mat-ter?
? ####
Chorus
T
B # ∑ ∑ ∑
#### œ œ . #œ ˙ # ˙œ˙˙ œ ‰ œj
M
& # œ
œ
œ œ œ œ n œœœ ... n ˙˙˙
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ
# œ œ œ œ œ œ
10/’09
Act I 245
#### œ .
338
#œ œ œ œ œ œ œ ‰ #œ nœ. #œ œ. œ
Julia & # J R J J J J J J R J
you have heard the fright - ful news Her love for him is
#### œ . # œ ˙ œœ œœ . œ œœ . j
& # œœœ ... n ˙˙˙ # ˙œ˙˙ œ œ œ œ ‹ œœ œ
f
? #### œœœ œ œ œ œœœ œœœœœœœœ œ œ
# œ œ œ ˙ œ œ
œ œ œ
# # # # œj j j j œ œ j j œj j r r
œ ‰ œ œ œ œ ‹œ œ
341
Julia & # œ œ œ J J œ œ œ J J
all in all! Ah, curs - ed fate! that it should fall Un-to my lot To
#### œ j ‰ œœ
& # œœ œ œ ##œœ œ n œ œ œ œ œ œ œ œ œœœ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
p
? #### œ œ œ
# œ œœ œœ nœ ˙ œ ˙ œ œ
œ
## œ œ. œ œ n Jœ œ œ
& # ## œ œ œ œ ‰
344
J J
œœœœ
Julia
J J J
break, to break my dar - ling’s heart!
#### œ . œ œ. j œ œ#œ
& # ˙˙ n œœ œ œœ
œ œ n ˙˙ œœ œœ # œ œ œ œ
? #### œ œ œœœœ œ œ œ œ œ œ ˙˙ œœ ..
# ˙ œ œ œ ‰ Œ
10/’09
246 The Grand Duke
347
#### ∑ c Ó
N Un poco più vivo.
Œ ‰ œj œj œj j œj œj œj j œj
Julia & # œ œ
####
Our du-ty, if we’rewise, we nev-er
& # Œ Œ ‰ œr œr c œj j Œ Ó ∑
œ
S
A
? # # # # œJ œ œ Rœ œ ‰ Œ
Chorus What’s the mat-ter?
T
B # R R R c ∑ ∑
# # # # œ ‹ œ œ œ # œ # œ n œ œ œ œ œ c œj ‰ j ‰ j ‰ j ‰ j ‰
-
Well, what’s the matter?
N Un poco più vivo.
& # œ j ‰ j ‰ j‰
œ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
œœ .. œ œ
? #### ˙ œ œ œœ œ œ œœ ‰ œj ‰ œj ‰ œj ‰ œj ‰ j j j
# c œ ‰ œ ‰ œ‰
J œ œ œ œ œ œ œ
#### ‰ œj œj œj œj œj œj œjœj œj œ ‰ œj œj œj œj œj œ Œ
# œ Œ Œ Œ Œ
350
Julia &
####
shun. This Spar-tanrule ap-pliesTo ev-’ry one. In thea-tres, as in life,
# œj ‰ œj ‰ œj ‰ œj ‰ j j j j j‰ j‰ j‰ j‰ j j j j
&
œœ œœ œ œ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœœ œœœ œœ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰
œ œ
œ œ œ œ
? # # # # œj ‰ œj ‰ œj ‰ œj ‰ j j j j j j j 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
## j œ œj œj œ œ ‰ œ œJ . œ œ œ
& # # # œ œ Jœ œ Œ œ Œ Ó Œ
354
Julia
J RJJ
##
Each has her line— This part—theGrandDuke’s wife (Oh a - gon-y!) is
& # ## ∑ ∑ Ó œ œ œ œJ œj Œ Ó
J J
S
A
? #### œ œ œ œJ œ
Chorus Well, what’s the mat-ter?
T
B # ∑ ∑ Ó J J JŒ Ó
Well, what’s the mat-ter?
####j j j j j j j j j j
& # œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
œ
œœ ‰ œœ ‰ œœ ‰
œ
œœ ‰ œœ ‰Ó
œ œ
∑
œ œ œ œ
j j j j j j j j j j
? #### œ ‰ œ ‰ #œ ‰ œ ‰ œ‰ œ ‰ ‹œ ‰ œ ‰ œ ‰ œ ‰Ó ∑
# œ œ #œ œ œ œ ‹œ œ œ œ
10/’09
Act I 247
O
#### ˙ Œ ‰ œj
Vivace.
# Ó ∑ ∑ Ó
358
&
[Recit.]
Julia
mine! A
#### f . j
& # ∑ Ó Œ ‰ œ œ . œ œ œ œJ œ œ œ # œj œ Œ Ó
J J R J J R J J
S
A
fœ œ . œ œ œ œ . œ œ œ # œ œ
Chorus
Oh! that’s themat-ter,that’s themat-ter, is it?
? #### ∑ Ó Œ ‰J J R J J J R J J J J ŒÓ
T
B #
Vivace. œ œ œ
œœ œ œ œ œ n œ # œ œn œ œ œ œ
Oh! that’s themat-ter,that’s themat-ter, is it?
O
#### œ œ œ œ œ ≈Œ
& # Œ ∑ Ó ˙˙˙
ƒ p
˙. ˙. ˙ œœ
? #### Œ n ˙ . n ˙˙ œ Œ ∑ Ó n˙
#
#### n
# œj œj œ . j j j ‰ œj œj œj œj œj œj œj œj œj œj œj œj œj n n n n b b b
362
Julia & œ œ œ œ
#### nnnn bb
max-im new I do not start— The ca - nons of dra - ma -tic art De-cree that this re -
& # ww n b
w n www b www
? #### w nw bw nnnn bb
# n b
b j j j r œ œ Œ Œ nœ
&bb œ œ œ ≈ œ œ œ Œ Ó ∑
365
Moderato.
Julia
pul-sive part (The Grand Duke’s wife) is mine!
b ∑ ∑ Ó ‰ œj œj œj œ Œ Ó
&bb
(appalled, to Ludwig).
Lisa
Can this be so?
b ∑ ∑ ∑ Ó ‰ œj œj œj
Ludwig Vbb
I do not
b Ó Œ œj‰ œœj ‰ Œ Œ œj ‰ œœj ‰ Œ
& b b www
Moderato.
n ˙˙ œœ n œ œœ n œ
˙
? b w bœ œ Ó j j
bb Œ œj ‰ b œ ‰ Œ Œ œj ‰ b œ ‰ Œ
œ bœ œ bœ
10/’09
248 The Grand Duke
b b b j ≈ r œj. œr œj œr j r j ‰ Œ Ó ∑ b b b b 42
369
Ludwig V œ œ . bœ . œ œ
j r r
œ . œ œj. œ b œj. œr œ
know— But time will show If this be so.
S
A
b
&bb ∑ Œ Œ Ó b b b b 42
œ. œ œ. œ bœ. œ œ
Time will show If this be so.
? b b b b b 42
Chorus
T
B bb ∑ Œ J R J R J R Œ Ó
j j
Time will show If this be so.
b j
& b b œœ ‰ œœ ‰ b œœj‰ œj‰ j ‰ œ ‰ b œœj ‰ œj‰
œœ b œœ b œ
j j
œœ ‰ Œ œ ‰ Œ b b b b 42
œ bœ b œ œœ œ œœ œ
j j j
? b œj ‰
bb j ‰ œj‰ b œj‰ œ ‰ j ‰ œj ‰ b œj‰ œ‰ Œ œ‰Œ b b b b 42
œ œ œ œ œ
œ œ œ bœ œ œ bœ
No. 12c. Duet—(Julia & Lisa) with Chorus.
b j r r
œ œ nœ œ nœ œ œ ‰ œj Jœ Jœ
P
& b b b 42 ∑ ‰ ‰
372 Allegretto grazioso.
Lisa
J
Oh, lis - ten to me, dear— I love him
b 2 œ œ
& b bb 4 ‰ J n œ b œ œ œ œ. œ
j
œ nœ œ nœ œ œ œ nœ bœ œ œ. bœ œ. œ
p
? b b b 42 œœ
œ
œœ b œ œœ œœ œœ œœ n œœ œ œœ
b œ œ œ œ œ œ œ œ
œ
j j
b œ
& b b b J œJ œ œ ‰ Jœ œJ j œ. œ œ. œ œ œ œj œj
376
Lisa
J J œ J R J R
on - ly, dar - ling! Re - mem - ber, oh, my pet, On him my heart is
bbb œ œ œ n œ b œ œ œ œ œ œœ œ
& b œ œ. œj œ n œ œ œ œ œ œ
˙ œœ œ
œœ œœ œ œ œœ n œœœ œœ
? bb b œ œ œ bœ œ œ nœ œ
b œ œ œ œ œ œ nœ
10/’09
Act I 249
j j r
b
& b bb œ Œ ‰ œ nœ œ œ œ œ ≈ œ œ œj œ .
380
Lisa
J J J J J J R œ
set! This kind - ness do me, dear— Nor leave me lone - ly,
j œ œ b œœœ . œ œœœ . œ
b b b b j ‰ œ œ n œ œ œœœ . œ n œœ . œ œœ ‰ b œ œœ œ
& œœ nœ œ J ‰
œœ n n œœ œœ œœ œœ œœ
? b b b œ œœ œ œœ œ œ œ œ
cresc.
b œ œ œ œ œ œ
b b b b œj j ‰ Jœ œ. œ œ œ œ œ ‰ Jœ œ bœ œ œ j
J J J nœ œ ‰ Œ
384
& œ J
RJ J
Lisa
dar-ling! Be mer - ci- ful, my pet, On him my love is set!
œ œ
bb b b œœ œ n œœ n œ œ b œ œœ œ n œ œ œ œ œœ œ bn œœ œ œœ œ b œ œ œœ œ n œ œb œ œ b œœ œj b œœj œr ≈ n œj
& œ œ œ. œ n œ œœ b œœ
œœ œœ œœ œœ œ œ œ œ œ œ œ bœ œ j j
dim.
? bb b œ œ n ˙ ˙ œ œ. ≈ œ
b œ œ J œ. œ
j
b ‰ œ œ n œ œ n œ œ œR œ œ œ œ
Q
& b bb ∑ ‰ Œ
389
J R R
Julia.
R
bb b b œœr ≈ œ œ n œ b œ œ œ œ. œj œ n œ œ n œ œ
Now don’t be fool-ish dear— You couldn’t
œ œ nœ bœ œ œ. bœ œ. œ
& œ J
r œ
? b b œ ≈ œœ œ œœ b œ œ œ
œ œ œœ œœ
œ œ
œœ
œ n œœ œ œœ
bb œ J œ œ
b œ
& b b b R Rœ ‰ Rœ œR ‰ Œ ‰ œj œ œ r r ‰ j ‰ ≈ œr œr œr r œr
393
Julia
R R œ œ œ œ
play it, dar-ling! It’s “lead-ing bus-’ness,” pet, And you’re but a sou -
œ œ n œ b œ œ œ œ. œj œ n œ œ œ œ
bbbb œ œ œ œ œœœ œ œ œ œ
& œ ˙
œœ œœ œ œ œœ n œœœ œ œœœ
? bb b œ œ œ œ bœ œ œ nœ œ œ nœ
œ
b œ
10/’09
250 The Grand Duke
r
b j
& b bb œ ‰ Œ Œ ≈ œr œr œr œ œr ‰ œj ‰ Œ ≈ œr œr œr
397
Julia
brette. So don’t be mul - ish, dear— Al - tho’ I
b œ˙ . œ œ . œ j b œ˙ . œ œ. œ
b j œœœ œ œ œ œ n œ œ
& b b b œœ ‰ œ J œœœ
œ œ œœ œœ œœ œœ œœ œœ
? bb œ œ œ œ œ œ œ œ œ œ
bb
b r r r j j
& b bb œ œ ‰ r r
œ œ ‰ ‰ ≈œ œ œ œ ≈ œ œ ‰ ∑
401
Julia J R J
say it, dar - ling, It’s not your line, my pet—
j b œœœ . œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ n œ œ œj œ œ
bb b b œ œœ œ œ n œ œ œ œ nœ
& J J ‰ œ bœ œ
œœ
[cresc.]
œœ œœ œœ œ œœ œ œ ˙˙˙
dim.
? bb b œ œ œ œ œ œ ˙
b œ
b r r j r j œ œr œr Œ
& b b b œJ œ œ œ ≈ œ œ ‰ Œ ∑
405
Julia J
I play that part, you bet! I play it—
œ Ÿ œ . œj œ # œ œ œ œ œ
œ œ œ
& bbbb J ‰ œ n œ b œ œ œ nœ bœ œ
bœ œœ œœœ œ œœ œœ
? b b b œ˙
œ œ œ œœ œœœ œ œœ
b œ œ œ
bb œ r r j j
≈ œr œ ‰
j
‰ ≈ œr œ ‰
j
‰ ≈ œr œ ‰ Œ
&bb J
409 (Lisa overwhelmed with grief.)
Julia œ œ œ
I play that part, you bet! you bet! you bet!
œ œ. œ #œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ.
bbbb
j
œ ≈ J œ œ œ œ ‰ œœ ‰
œ
& R J J
œœ b œœ œœ b œœ œœ œœ œœ b œœ œœ œœ œœ
? bb b œ œ ≈ ‰ œ. ‰
b œ J œ
J
10/’09
Act I 251
b j j r
R
V b bb Œ ‰ j œ. œ œœ œ ‰ ‰ ≈ r j r j r r r r œ œ
413 3
Notary. 3 3 3
œ œ œ œ œ œ œ œ œ
3
bb >
The la - dy’s right. The la - dy’s right, Tho’ Ju - lia’s en - gage - ment
&bb ∑ ∑ Œ
œœœ ˙˙˙
p
? bb b ∑ ∑ Œ
b œ ˙
œ ˙
b b r 3r r j r r r r r r
b ‰ ≈ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ‰ ≈ ≈ œr
r j r j r j r r r r
417 3 3 3
V b œ œ œ œ œ
3 3 3 3 3 3
Notary
bb
Was for the stage meant— It cer-tain-ly frees Lud-wig from his Con - nu - bi - al pro -mise. Tho’
j
& b b œœj ‰ œœ ˙˙ œœ ‰ œœœ
œ œ ˙ œ
? bb j ‰ j ‰
bb œ œ ˙ œ œ
œ œ ˙ œ œ
bb b b j r r r r r r r œj œr r r r œj œr ‰ ≈≈ œr œj œr œr œr œr œr œr œr œ 3 œ
420 3 3 3 3 3 3 3 3 3 3
Notary V œ œ œ œ œ œ œ œ œ œ œ J R
b j
mar-riage con-tracts—or whate’er you call ’em— Are ve - ry so - lemn, Dra - mat-ic con-tracts(whichyou all a - dore so)
& b b b ˙˙˙ œœœ ‰ œœ ˙˙
œ ˙
? bb j ‰
bb ˙ œ œ ˙
˙ œ œ ˙
bb b r r r œ œ Œ ∑
423 3
V b œ œ œ J
3
Notary
R
bb f r 3r r r 3r r
Are ev - en more so!
œ œ œ œ œ œ œ n œ œ nœ nœ œ
&bb Œ œ œ œ R ≈ J R J R R R R
3 3 3 3
R
S
A
f œ 3œ œ œ œ œ œ œ œ œ n 3œ œ n œ n œ3 œ
That’s ve - ry true! Though mar - riage con - tracts are ve - ry sol-emn, Dra -
Chorus
? bb ΠR ŠR J R J R R R R R R R
3 3 3
T
B bb R R R
j
That’s ve - ry true! Though mar - riage con - tracts are ve - ry sol-emn, Dra -
bb j œ œ
& b b œœ
œ
‰ œ
œ # œœ ... n œœ
nœ
œ
f
? bb j ‰ œ j
bb œ œ œ. œ
œ œ. œ
10/’09
252 The Grand Duke
b b b b œ 3 œ œ 3 œ œ n3œ œ n œ n œ r S
∑ ∑ ∑ ∑ n n n n 68
425 3
S
A & J R J R R RR œ
n3œ œ n œ n3 œ œ
mat-ic con-tracts are ev-en more so!
œ œ œ œ œ
Chorus
? bb b J R J R R R R ∑ ∑ ∑ ∑ n n n n 68
3 3
T
B b R
j
mat-ic con-tracts are ev-en more so!
b œ nœ œ œ. n n n n 68
& b b b # œœœ ...
nœ œ
S
n œœ n ˙˙˙
nœ nœ œ œ̇˙ n n œœ
f
j p rall. Œ
3
? bb b j #œ
≈ œ œœ ‰ ∑
œ ˙ nœ 6
b œ. œ
œ n œœ
œ
˙ ˙ nnnn 8
œ. œ
No. 12d. Song—(Lisa) with Chorus.
& 68 Œ ‰ Œ j œ. œ œ
430
Lisa
œ œ. œ. #œ. œ. J
The die is cast, My hopes have
& 68 œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # # œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ
p œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
?6 œ ‰ Œ ‰ œ ‰ Œ ‰ œ ‰ Œ ‰ ˙.
8 ˙.
j j j j
& œ. Œ bœ œ œ ‰ ‰
434
Lisa œ. œ œ. œ. œ œ
per - ish’d! Fare-well, O Past, Too bright to
& # œœ œœ œœ œœ œœ œ œ œ œ œ œ œ
œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j
? œ. œ ‰ ‰ ˙˙ . œœ .. œœ ‰ ‰ ˙˙ .
œ. œ . J .
j œ.
œ œ œ œ. œ. Œ ‰ œ. œ.
438
Lisa & œ J
last, Yet fond - ly che - rish’d! My hope has
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ
œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? ˙˙ .. j œ˙ .. #œ.
˙. œ. œ œ
10/’09
Act I 253
j j œ. œ. œ. ˙.
œ ‰ œ œ ‰ œ
442
Lisa & œ. J J
fled, my life is dead, Its doom,
& œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ
œ œ œ œ œ œ
? ˙˙ .. œ˙ . #œ. ˙. ˙.
. ˙.
˙.
& œ œ œ œ œj œ. œ j j j
œ ‰ œ œ. œ œ
446
Lisa
J œ œ. J
its doom is spo - - - - ken! My day is
& œœ œœ œœ œœœ # œœœ œœœ # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ
œœ œœ œœ œœ 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
j f œ.
j œ. œ œ œ ‰ œj œ j œ.
& œ. Œ
450
Lisa œ J œ
pj j j j j
night, My wrong is right, is right In all
& Œ œ œ œ œ ‰ ‰ Œ ‰ Œ œ œ œ œ. bœ.
cresc.
S
p
Her day is night, is right In all,
j j j
& Œ j j œ ‰ ‰ Œ ‰ Œ œ œ œ ˙.
cresc.
A
œ œ œ
p
Chorus Her day is night, is right In all,
V Œ œ œ œ œ ‰ ‰ Œ ‰ Œ
cresc.
œ œ œ ˙.
T
J J J J J
pœ œ
Her day is night, is right In all,
? Œ œ œ ‰ ‰ Œ ‰ Œ œ œ œ ˙.
J J J J
cresc.
B
J
Her day is night, is right In
œ.
all,
œ.
j j ‰ œœ œœœœ œ
J œ. œ.
& œœ . œ œ œœ œ œœ œ œ œ #œ œ œ
œœ œœ œœ œœ œœ œœ n œœ
œ œ œ œ œ œ œ J
f
œ œ œ œ œœ œœ b œœœ œœœ œœœ
? œ œ œ œ œ œ œ œ œ bœ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ
10/’09
254 The Grand Duke
454
œ œ œ œ œ œ. œ œ œ ‰ ‰ œ bœ bœ œ.
Lisa & J J J J œ.
men’s sight, In all men’s sight— Ah me!
j j
œ ‰ ‰
dim.
S & ˙. ˙. œ. œ œ œ.
all men’s sight!
j j j‰ ‰
& œ œ œ.
dim.
A
#˙. œ. œ œ nœ. œ
all men’s sight, all men’s sight!
Chorus
œ œ. j
V #œ b˙. œ œ.
dim.
T J œ J œ. œ ‰ ‰
all men’s sight, all men’s sight!
? ˙. ˙. œ. œ. j
œ. œ ‰ ‰
dim.
B
men’s, all men’s sight!
œ œ œ œ œ œ. œ œ œ
œ œ œ œ. œ œ œ bœ bœ œ. œ
œ œ œ œ œ œ œœ ..
& J J J bœ bœ œ ‰
# œœœ œœ œœ œœ œœ b # œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ
dim.
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
‰ œ nœ nœ œ. j j bœ j Œ j b œ b œj Œ j
& Œ Œ
458
Lisa œ. œ œ œ bœ œ œ
Ah me! My heart is bro - ken, is bro - ken. My
& # # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ˙˙˙ ... ˙˙˙ .. ˙˙˙ ..
. .
p π
?
˙. ˙. ˙. ˙. ˙.
10/’09
Act I 255
j U
& bœ b œ œj j ‰ ∑
463 (Exit Lisa, weeping.)
Lisa
#œ œ œ. œ œ œ. œ
πU
heart is bro - - - ken!
& ∑ j ‰ ‰ ∑
˙˙ .. œœ .. œœ
S
A
π U˙ .
Chorus bro - - - ken!
? ∑ œœ .. œœ ‰ ‰ ∑
˙. J
T
B
bro - - - ken!
j œœœ .
& œœ .. œœ ‰ ‰ bœ. œœ
œ. œ b œœ .. œ
J
U j
? ˙˙˙ .. œœ .. œœ
j . œœ .. œœ ‰ ‰
œ. œ ‰ ‰ ˙. œ. œ œ
j
. œ. œ
J
u̇
∑ ∑ Œ œ # œj ‰ ‰ c #œ j j Œ
467
V œ œ nœ
Ludwig. [Recit.]
J
Poor child! Where will she go?
bœ
& œœ n œ œ b œ œ b œœ ... œ #j #
œœ œœœ b ˙˙˙ ...
c
www
œ ‰ ‰ Œ ‰ œ
J
Í
? j‰ ‰ Œ ‰ bœ. j c w
œ œ nœ n˙.
n˙. w
∑ ∑ ∑ ∑
471
&
(Spoken.)
Julia
j
That isn’t in your part, you know.
j nœ œ Œ ∑ Œ ‰ œ b œ Œ ‰ œj œj œj n œ œj œj b œ
j j
V n œ œ
(sighing). (with an effort).
Ludwig
J
What will she do? Quite true! De-pres-sing to-pics we’ll not
& www œœ Œ Ó Ó Œ bœ b www
œ œœ w
? nœ Œ Ó Ó Œ œ
w nw
w nœ œ nw
10/’09
256 The Grand Duke
U̇
V œJ . n œR œ Ó Ó œ œ Jœ b œJ j j j b œ bœ Œ bbb C
475
Ludwig
J bœ œ œ œ
U
touch up-on— Let us be - gin as we are go - ing on! For
& ww Œ b˙ bbb C
w b b www www nb œœœ ˙
w bw w œ
? bU˙
w nw w bœ Œ ˙ bbb C
w nw w bœ
No. 12e. Solo—(Ludwig) & Chorus.
bb b CAllegro
j j œj œj œj œj œ œ œJ Jœ œ œ œ Œ ∑
479 Vivace.
Ludwig V
œ œ J J J J
funis. j j j j j j j j
this will be a jol - ly Court, for lit - tle and for big!
b ∑ Ó Œ œ œ œ œ œ œ œ œ
S
A &bb C œ
funis.œ œ Jœ œ œ œ œ œ œ
Sing hey, the jol - ly jinks of Pfen-nig
? b C
Chorus
T
B bb ∑ Ó Œ J J J J J J J
œ. œ. œ. œ. œ. œ. œ. œ.
Sing hey, the jol - ly jinks of Pfen-nig
b œ. œ. œ. œ.
œ
&bb C œ
Allegro Vivace.
œ. œ.
.
p f
œœ
? b C œœœ Œ
œœœ
Œ œ Œ
œœœ œœœ œœ
œ
œœ
œ
œœœ œœœ
bb
b j j œj œj œj œj œ œ œ œ
Vbb Ó Œ œ J J œJ œJ œ Œ
482
Ludwig
œ œ J J
b
From morn to night our lives shall be as mer - ry as a grig!
&bb œ œ œ Œ ∑ Ó Œ œ
unis.
œ œ
S
A
œ œ
Halb - pfen - nig! Sing
œ
Chorus
? b œ Œ ∑ Ó Œ
bb œ œ
unis.
T
B
b b œœ œ œ œ. œ
Halb - pfen - nig! Sing
& b œ œ œ œ. œ. œ. œ.
œ. œ.
p f
? bb œœ œœ œœ œœ œœ œœ œœ œœ
b œ œ œ Œ œ Œ œ Œ œ Œ œ œ
10/’09
Act I 257
b j j j j œj œj n œj œj
Vbb ∑ Ó Œ
485
Ludwig œ œ œ œ œ
b b œj œj œj j j œj j j
All state and cer - e - mo - ny we’ll e -
& b œ œ œ œ œ œ œ Œ ∑
œ
S
A
? b b œJ œJ œJ œ œ œJ œ œ œ œœ
Chorus hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
œ Œ ∑
T
B b J J J J œ
. . . .
bb b œ œ œ œ. œ. œ œ. œ. œ
œ. ‰ œ.
hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
œœ œ œ j
œ #œ œ
& œ
œ
œ J
p
œœ œ
? b œœœ œœ œœœ œœœ
3
œ œ œ œœ Œ œ #œ
bb œ œ œ œ
b j j j j
V b b œ œ œ œ œJ œJ j j j j n œj œj œj œj j j j j œj œj
488
Ludwig œ œ œ œ œ œ œ œ œ œ
. œ œ œ œ. œ. œ. # œ. œ. œ. œ. œ.
ter - nal - ly a - bol - ish— We don’t mean to in - sist up - on un - ne - ces - sa - ry pol-ish—And,
b b b œ. œ. n œ. n œ. œ. œ. œ. œ œ. ‰ œ. œ
j
& œ J
œœ œœ n œœœ œœœ œœ œœ
3
? b œ œ œ œ œ
bb œ nœ œ œ œ
b b œ œ œ n œj œj œj j j j j j j j j Œ ∑
491
Ludwig V b J J J œ #œ œ nœ œ œ œ œ
b j j j j j
on the whole, I ra - ther think you’ll find our rule tol- lol - ish!
S
A &bb ∑ Ó Œ œ n œ œ œj œ œ œJ Jœ œ
œ œ œ œ œ œ œ œ œ
Chorus Sing hey, the jol - ly jinks of Pfen-nig
? bb ∑ Ó Œ œ œ œ œ œ œ œ œ œ
T
B b J J J J J J J J
œ. œ. œ nœ œ . œ œ œ
.œ n œ. œ. œ. œ. œ. œJ ‰ n œ œ œ œ œ
Sing hey, the jol - ly jinks of Pfen-nig
j
b
œ
&bb œ J ‰
f œ œœ œœ œœ
œœœ œœœ
3
? bb œ œœœ œœ œœ œ œ œ
b œ œ œ œ‰
J
10/’09
258 The Grand Duke
b œ œ œj œj œ œ œ Jœ Jœ œ
Vbb Œ Œ Œ œ Œ Ó Œ œ Œ
494
Ludwig
J J J J
bb j j j
n œ œj œ œ œ
The jol - ly, jol - ly jinks, The jol - ly, jol - ly jinks,
S
A & b œ œ œ Œ Ó Œ œ Œ Ó Œ œ
œ œ œ œœ œ œ œ œ œ œœ
Halb - pfen - nig! The jol - ly, jol - ly jinks, The
? b œ
Chorus
Œ Ó Œ œ œ œ œ œ Œ Ó Œ
T
B bb œ œ J J J J
œ œ œ
Halb - pfen - nig!
œ
The jol - ly, jol - ly jinks,
œ œ œ The
bb
& b
œ œ œ œ œ œ œ œ n œœ œ œœ œ œ œ œ œ œ œ œ
œ
f p f
œœ œœ œœ p œœ
? b Œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
bb œ œ œ œ œ œ œ œ œ
b j j j j j j j j
Vbb Ó Œ œ œ œj œj œ œ œj œj œ œ œj œj œ œ œj œj
498
Ludwig œ
b œj j j j œ j j j j j j j j j j j j j j j j
The jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly
S
A
b
& b nœ œ œ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ
Chorus jol - ly, jol - ly jinks, The jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly
? bb œ J J Jœ œJ J J Jœ œJ J J œJ œJ J J œJ œJ
b œ œ œ œ œ
J J J J
T
B
jol - ly, jol - ly jinks, The jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly, jol - ly
b
& b b œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ
œ œœ œ œœ œ œœ œ œœ œ
? b œœ œœ œ
œœ œ œ œ œ œ
bb œ œ
p f
bb j j j j j j j j j j j j
T
V b œ Œ Ó Ó Œ œ
501
Ludwig
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b p unis. f
Œ œ œj œj œj œj œj œj œ œ œJ Jœ œ œ œ
jinks! For this will be a jol - ly Court, for lit - tle and for big! Sing
S
A & b b œœ Œ Ó Ó
J J J J œ
j j j j
p œ œœj œœj œœj œœj œœj œœj œœj œœj œœ œœ œœ œœ œœ
jinks! For this will be a jol - ly Court, for lit - tle and for big! Sing
œœ fœ
Chorus
? bb Œ Ó Ó Œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
B b J J J J J J J J J J J J
jinks! For this will be a jol - ly Court, for lit - tle and for big! Sing
b b œœ œ œ œ œ œ œ œ œ. œ
œ œœ œœ œ œœ œ œœ œ. œ.
T
& b b œœ œ
œ œ. œ. œ. œ.
œ œ œ œ p f
? bb œ œœœ œœœ œœ œœœ œœœ
b w œ Œ Œ œ Œ
w
10/’09
Act I 259
b b œj œj œj j j œj j j p
b œ œ œ j j j j œj œj œj œj
505
Ludwig V œ œ œ œ œ œ œ œ œ
b b œj œj œj j j œj j j p
j j œj œj œj œj œ œj
j
hey, the jol - ly jinks of Pfen-nig Halb - pfen - nig! From morn to night our life shall be as
S
A & b œ œ œ œ œ œ œ œ œ œ
j j j j j j j j j j j j j j j j
hey, the jol - ly jinks of Pfen-nig Halb - pfen - nig! From morn to night our life shall be as
? b b œJ Jœ Jœ œ Jœ œJ Jœ œ œ œ pœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Chorus
œ
T
B b J J œ J J J J J J J J
. œ. œ. œ. œ. œ. œ. . œ œ
bb b œ
hey, the jol - ly jinks of Pfen-nig Halb - pfen - nig! From morn to night our life shall be as
œ œœ œ œ œ œ.
& œ. œ. œ.
p
? b œœœ œœ
œ
œœœ œœœ œœ œœ œœ
Œ
œœœ
Œ
œœœ
Œ
bb œ œ œ
b œ œ f j œj j j j j j j
V b b J J œJ Jœ œ œ Œ
508
Ludwig œ œ œ œ œ œ œ œ œ œ
f j œj j j j j j j
mer - ry as a grig! Sing hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
b œ œ
S
A & b b J J œJ Jœ œ œ œ œ œ œ œ œ œ œ œ
œ Œ
j j j j j œj j j j j j j
mer - ry as a grig! Sing hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
œœ œœ œœ œœ œœ fœ œ
Chorus
? b œ œ œ œ œ œ J œ œ œ œ œ œ œ œ
T
B bb J J J J J J J J J J J Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ
mer - ry as a grig! Sing hey, the jol - ly jinks of Pfen - nig Halb - pfen - nig!
. œ œœ
& bbb œ œ. œ. œ œ
œ
f
œ œœœ œœœ œœ œœ œœœ œœœ
? b œœ Œ œ œ œ
œ
œ
œ
œœ œ
bb
b bbbb œ
U
&bb ∑ Ó Œ Œ Œ œ
511
œ
Julia.
Julia
œ œ nœ œ
But stay— Our new made Court With -
b bbbb œ Œ Œ œ
&bb œ œ œ nœ œ œ
3
œ ˙ œ œ œ œ œ œ
p
œœ. œœ. œœ. œœ. œœ. œœ.
? bb œ ˙
dim.
œ œ œ œ œ b b b b œ ‰ Jœ œ œ œ ‰ œJ œ œ
b
10/’09
260 The Grand Duke
b œ. œ œ j
& b bb œ œ Œ œ. œ œ
515
Julia J nœ œ œ
out a court - ly coat is— We shall re - quire Some
b œ ‰ Jœ œ
& b bb œ nœ œ Œ œ œ Œ Œ œ œ œ
3
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb œ ‰ œ œ œ ‰ Jœ œ œ ‰ Jœ œ œ
bb J œ œ
b œ. œ œ
& b bb œ œ œ nœ œ Œ œ
518
Julia
nœ œ œ J
Court at - tire, And at a mo - ment’s no - tice! In
b œ ‰ Jœ œ
& b bb n œ œ œ œ œ œ nœ œ Œ œ
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb b ‰ Jœ œ œ ‰ œ œ œ ‰ œ œ œ
b œ œ J œ J
b ˙
& b bb œ nœ nœ Œ œ œ nœ nœ
521
Julia œ œ
clothes of com - mon sort, Your cour - tiers must not
œ œ
& bbbb œ Œ Œ œ œ œ #œ œ œ œ
œ Œ Ó
3
? bb b n œœœ. .
œœœ
.
œœœ œœ. œœ. œœ. n œœœ. .
œœœ
.
œœœ
b ‰ J œ ‰ Jœ œ œ ‰ J
œ œ
b œ œ
& b bb œ Œ œ. nœ œ œ œ. œ œ
J œ
524
Julia J
j j
gro - vel— Your new no - blesse Must have a dress O -
b œ
& b bb Ó Œ œ
œ.
œ.
nœ œ
œ œ
œ
œ œœ .. œ œ
œ # n œ˙
nœ
œ
œœ. œœ. œœ œ.
j œ. œ œ œ
? bb b œ ‰ œJ œ œ œ #œ œ œ. œ œ œ
b nœ. œ œ œ
J
10/’09
Act I 261
bb j
& b b œ. œ œ œ œ Ó ∑ ∑
527
Julia œ
ri - gi - nal and no - vel.
bb œ œ . n Jœ œ œ œ. œ œ
&bb ∑ Ó Œ J œ nœ
unis.
œ
S
A
œ œ . n Jœ œ œ œ
Now let us guess what kind of dress Would
œ. J œ œœ
Chorus
? bb b ∑ Ó Œ œ
b
unis.
T
B
œ. nœ œ œ œ œ œ
Now let us guess what kind of dress Would
bbbb
j
œ œœ œœ œœ œ œ œ œ œ . n Jœ œ œ
œ.
œ. œ œ
& n œœ˙ .. œ œ œœ J œ
f
j
? b b b œ .. œ œ œ œœ .. œœ œœœ œœœ # œœ .. œœ œœ œœ œœ .. œœ œœ n œœ
b œ œ œ œ J n œ. œ œ œ œ. œ œ œ
J J
bb j œ œ œ
& b b œœ .. œœ œ Ó ∑ ∑
531
S
A œ œ œ œ
nœ. œœ œœ œœ œ
be both neat and no - vel.
? bb b œ . œœ
Chorus
J œ Ó ∑ ∑
T
B b
œ œ œ
be both neat and no - vel.
œ œ
bb b b œœ .. œ œ œ œ
J œ Œ
& œœ Œ Œ œœ Œ Œ
b n œœœ œ. b n œœœ œ. b n œœœ
. . .
nœ œ œ p
? b b b œœ ... œJœ œœ œœ œœœ œœœ
Œ œ œ Œ Œ œ œ Œ Œ œ
b œ œ. œ. œ. œ. œ.
bbbb œ
V
∑ Ó Œ Œ
535
Ludwig V œ œ œ œ nœ œ œ
Old A - thens let’s ex - hume! The
& bbbb Œ Œ œ Œ Œ œ œ
œ œ #œ b œœœ œ œ œ nœ
3
œœ œœ. œœ. n œœ. œ œœ œ
œ. .
p
? bb b œ œœ. œœ. œœ. œœ. œœ. œœ.
b œ œ œ œ œ Œ Ó œ ‰ œJ œ œ œ ‰ œJ œ œ
. œ. œ. œ. œ.
10/’09
262 The Grand Duke
b œ. œ œ j
V b bb œ œ Œ œ. œ œ
539
Ludwig J nœ œ œ
ne - ces - sa - ry dress - es, Cor - rect and true And
b œ ‰ Jœ œ
& b bb œ œ nœ œ Œ œ Œ Œ œ œ œ
3
œ
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb œ ‰ œ œ œ ‰ Jœ œ œ ‰ Jœ œ œ
bb J œ œ
œœ.
j
bbbb œ . œœ œœ œ nœ œ Œ
542
Ludwig V nœ œ œ
bœ
J œ
all brand new, The com - pa - ny pos - sess - es. Hence -
b œ ‰ Jœ œ
& b bb n œ œ œ œ bœ œ nœ œ Œ œ
b œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb b ‰ Jœ œ œ ‰ Jœ œ œ ‰ Jœ œ œ
b œ œ œ
b j j
V b bb œ . Œ
545
Ludwig œ œ œ nœ œ œ œ. œ œ œ
forth our Court cos - tume Shall live in song and
j œ œ œ j
b bbb œ . œ œ œ œ J ‰ œ. œ œ
& bw nœ œ bw œ
w œ. œ œ œ ww
? bb jw œœ .. œœ œœ œœ
bb œ J œ
j
b œ
V b bb n œ Œ œ œ
548
Ludwig œ œ œ œ œ œ œ
œ œ
sto - ry, For we’ll up - raise the dead old days Of
bbb œ œœ œœ ‰ œœ .
œ J ‰ œœ ‰ œœ œ n œ œ œ
œœ
& b nœ œ J
œœ
J œ.
œ. œ œ œ œœ œœ œœ .. œœ œœ œœ
? b b b œœ .. œœ œœ œœ œ œ œ. œ œ œ
b J J
10/’09
Act I 263
bb j œ
V b b œ. Ó ∑
551
Ludwig œ œ œ œ
bb
A - thens in her glo - ry!
S
A &bb ∑ Ó Œ œ œœ œœ œœ œœ
œ œ œ œ
œ
Chorus Yes, let’s up - raise The
? bb b ∑ Ó Œ œ œ œ œ œ
T
B b
Yes, let’s up - raise The
b b b b œ œ n œ œ œ. bœ œ œ œ œ œ œ œœ œœ œœ ‰ œœ œœ ‰
œ
œœ
& J J
œ. œœ œœ œœ ˙˙ f œœ œœ
? b b b œœ .. œ œ œ œœ œ œ
b Œ œ œ œ
J
bb œ. œœ œœ œ
&bb œ œœ œœ Œ
554
œœ œ œ œ. œ œ
œ J
S
A
œ œ œ. œ œ œ œ œœ œ
dead old days Of A - thens in her glo - ry! Hur -
? b b b œœ
Chorus
b œ œ œ œ. œ œ œ œ Œ
J
unis.
T
B
œ œ œ. œ œ œ œ œ œ œ œ
dead old days Of A - thens in her glo - ry! Hur -
bb b b œ œ n œ œ œ œ œ. œ
œ
& J œ œ œ œ
œœ . œœ œœ œœ œœ ˙˙˙
? b b b œœœ œœ
œ
œœ
œ
œœ
œ œ .. œ œ œ œ
œœ
b J
b nbbb
V b bb ∑ ∑ ∑ Ó ˙
557
Ludwig
j j j j unis. For
bb b œ ‰ œ œ ‰ œ œ ‰ œ œ œ
‰œ œ œ œ œ ˙ Ó nbbb
S
A & b œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
rah! Hur-rah! Hur - rah! Hurrah! A - greed, a - greed, a - greed!
œ œ œ œ ˙
Chorus
? bb b ‰ J ‰ J ‰ J ‰J Ó nbbb
T
B b
œ œ Hur œ œ œ
œ œ œ œ œ œ œ œ bœ œ
œ nœ œ œ œ œ œ nœ œ œ œ œ nœ ˙
rah! -rah! Hur - rah! Hurrah! A - greed, a - greed, a - greed!
bb b b nbbb
&
˙
˙˙˙ ˙˙˙ ˙˙˙ b ˙˙˙˙ n œœœ b œœœ # n œœœ n ˙˙ ˙
? bb b œ ˙ nbbb
b
10/’09
264 The Grand Duke
b jj œ œ
V b b œj œj œj œj œ œ œJ Jœ J J œJ Jœ œ Œ ∑ Ó Œ œ
561
Ludwig
f j j j j j j
this will be a jol-ly Court, for lit-tle and for big! From
b
S &bb ∑ Ó Œ œ œ œ œ œj œ œ œ œj œ œ œ Œ
f j j jj j j j j
Sing hey, the jol-ly jinks of Pfennig Halb-pfen - nig!
b
A &bb ∑ Ó Œ œ œ œ œœ œ œ œ œ œ œ œ Œ
f j j j j j j
Sing hey, the jol-ly jinks of Pfennig Halb-pfen - nig!
b
Chorus
T Vbb ∑ Ó Œ œ œ œ œ œj œ œ œ œj œ œ œ Œ
fœ œ œ œœ œ œ œ œ œ œ œ
Sing hey, the jol-ly jinks of Pfennig Halb-pfen - nig!
? bb ∑ Ó Œ J J JJ J J J J Œ
B b
. œ. . . . . œ œ
.œ œ œ œ œ. œ œ œ œ. œœ œ œ œ
Sing hey, the jol-ly jinks of Pfennig Halb-pfen - nig!
b œ. œ.
&bb œ œ. œ. œ.
.
[ p] f [ p]
œœ
? b b œœœ Œ
œœ
œ Œ œ Œ
œœ œœ
œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ œœ œœ
œ œ œ Œ
b
b j j j j j j œ œ
V b b œj œj œ œ œ œ œ œ J J Jœ œJ œ Œ ∑
565
Ludwig
b j j j j j j
morn to night our life shall be as mer - ry as a grig!
S &bb ∑ Ó Œ œ œ œ œ œj œ œ œ œj
j j j
Sing hey, the jol - ly jinks of Pfen-nig
b j
A &bb ∑ Ó Œ œ œ œ œ œj œj œ œj œj
j j j
Sing hey, the jol - ly jinks of Pfen-nig
b j
œ œ œ œj œj œ œj œj
Chorus
T Vbb ∑ Ó Œ œ
œ Jœ œ œ œ œ œ œ
Sing hey, the jol - ly jinks of Pfen-nig
? b ∑ Ó Œ œ J J J J J J J
B bb
œ. œ œ. œ. œ. œ. œ. œ. œ. œ.
Sing hey, the jol - ly jinks of Pfen-nig
b œ. œ. œ.
&bb œ œ. œ.
.
f
? b œœœ œœ œœ œœ œœ œœ œœ œœ œœ
[ ]
bb Œ œ Œ œ Œ œ œ œ œ œ œ
10/’09
Act I 265
œ ˙ w œ œ
bbb
W
œ œ œ Œ Œ œ œ
568
S &
Halb - pfen - nig! Sing hey, the jol - ly,
b œ ˙ w œ
A &bb œ œ œ Œ Œ œ œ œ
Chorus
Halb - pfen - nig! Sing hey, the jol - ly,
b œ œ œ nœ œ œ nœ b˙. œ
T Vbb œ œ œ Œ Œ
œ œ œ
Halb - pfen - nig! Sing hey, the jol - ly jol - ly jinks, the
? bb œ œ œ Œ nœ œ œ nœ b˙. œ
B b Œ
œœ œ œ œ œ œ œ
Halb - pfen - nig! Sing hey, the jol - ly jol - ly jinks, the
bb b œœ œœ œ œ œœ ˙˙ ˙˙ ˙˙
W
& œ œ œ œ ˙ ˙ ˙
ƒ ˙ œ œ nœ œ œ nœ bœ œœœ œœœ œœœ
? b b œ œ œœ Œ ˙ œ œ
b œ œ nœ œ œ nœ bœ œ œ œ
b œ œ œ œ ˙ w ˙ b˙
&bb œ œ
572
jol - ly, jol - ly jinks, Sing hey, sing
b œ ˙ w ˙ ˙
A &bb œ œ œ œ œ
jol - ly, jol - ly, jinks, Sing hey, sing
Chorus
b œ œ
T Vbb œ œ œ œ œ œ nœ œ œ nœ nw
œ œ
jol - ly, jol - ly jinks, Sing hey, the jol - ly, jol - ly jinks,
? bb œ œ œ œ œ nœ œ œ nœ nw
B b œ
œ œ œ œ œ œ
jol - ly, jol - ly jinks, Sing hey, the jol - ly, jol - ly jinks,
b œ œ œœ ˙˙ ˙˙ ˙˙ œœ œ b˙
b
& b œ ˙ ˙ ˙ œ ‰ œœ ˙ b ˙
J
œ œ œ nœ œ nœ œ œ œ
? b b œœ œœ œœ œœ œœ œ œ œ œ œ nœ ‰ œ œ
b œ œ œ œ nœ œ nœ nœ œ
J
10/’09
266 The Grand Duke
b ˙ #˙ n˙ b˙ ˙ ˙ œ ˙ œ
&bb
576
hey, sing hey, sing hey, Sing
b ˙ ˙ w ˙
A &bb ˙ #˙ ˙
hey, sing hey, sing hey,
Chorus
b ˙ ˙ ˙
T Vbb ˙ n˙ nw ˙
Sing hey, sing hey,
? bb ˙ n˙ nw ˙ ˙ ˙ ˙
B b
Sing hey, sing hey,
b œœ œœ œœ b ˙˙
&bb œ ‰ œœœ # ˙˙ # ˙ œ ‰ œ b˙
œœ ‰ œœ ˙˙
œ œ
œ œ œ œœ œ œ
# œœ œœ œœ œ. œœ. œœ.
J J J ˙ . . .
? bb n œ œ œ œ nœ œ œ œ nœ œ œ œ œ. œ. œ. œ. œ. œ.
b nœ ‰ œ œ œ nœ ‰ œ œ œ nœ ‰ œ œ œ œ œ œ œ œ œ
J J J
b œ œ œ œ ˙. œ œ ˙. œ
&bb œ œ
580
S œ
hey, the jinks, the jol - ly jinks of Pfen - - nig
b
A &bb ˙ ˙ ˙. œ œ œ œ œ n˙. œ
Sing hey, the jol - ly jinks of Pfen - - nig
œ œ b˙. œ
Chorus
b ˙ ˙ ˙. œ œ
T Vbb œ
Sing hey, the jol - ly jinks of Pfen - - nig
? bb ˙ ˙ œ œ œ œ œ ˙. œ
B b ˙.
Sing hey, the jol - ly jinks of Pfen - - nig
b œœ œœ ˙˙ .. œœ œœ ˙. œ
& b b œœœ œœ
œ.
œœ
œ.
œœ
œ. œ. œ. ˙˙ .. œœ
œ œœ œœ
œ œ œ b n ˙˙ .. œœ
.
? bb œ œ œ œ œ œ
b œ œ. œ. œ. œ. œ. ˙ ˙ ˙ ˙ ˙ ˙
. ˙ ˙ ˙ ˙ ˙ ˙
10/’09
Act I 267
b . œ œ
&bb ˙ œ
X
‰ œ œ œ œ œ ‰ œ œ œ œ œ
584
S
J J J J J J J J J J
Halb - - - pfen - nig! The jol - ly, jol - ly jinks, the jol - ly, jol - ly
A
b
& b b b˙. œ œ ‰ œj œj œj œj œj œ ‰ œj œj œj œj œj
Halb - - - pfen - nig! The jol - ly, jol - ly jinks, the jol - ly, jol - ly
b ˙. œ œ œ
Chorus
T Vbb ‰ œJ Jœ Jœ œJ Jœ ‰ Jœ Jœ œJ Jœ œJ
Halb - - - pfen - nig! The jol - ly, jol - ly jinks, the jol - ly, jol - ly
? b ˙. œ œ ‰ œJ Jœ Jœ œJ Jœ œ ‰ Jœ Jœ œJ Jœ œJ
B bb
Halb - - - pfen - nig! The jol - ly, jol - ly jinks, the jol - ly, jol - ly
b ˙. œœ œœ œœ
X
& b b b ˙˙ .. œ œœ Œ ˙˙ œœ Œ ˙˙
˙ ˙
? b ˙ ˙ œ Œ ˙ œ Œ ˙
bb œ ˙ œ ˙
˙ ˙
(They carry Ludwig round stage and deposit him on the ironwork
b œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ Œ Ó 12
&bb
587 of well. Julia stands by him, and the rest group round them.)
S
J J J J J J J J J J J J J 8
jinks, the jol - ly, jol- ly, jol- ly, jol- ly, jol- ly, jol - ly jinks!
b j j j j j j j j j j j j j 12
A &bb œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ Œ Ó 8
jinks, the jol - ly, jol- ly, jol- ly, jol- ly, jol- ly, jol - ly jinks!
b œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ Œ Ó
Chorus
Vbb 12
8
T J J J J J J J J J J J J J
jinks, the jol - ly, jol- ly, jol- ly, jol- ly, jol- ly, jol - ly jinks!
? b œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ Œ Ó 12
8
B bb J J J J J J J J J J J J J
œ. œ
jinks, the jol - ly, jol- ly, jol- ly, jol- ly, jol- ly, jol - ly jinks!
b œ w œ Œ œ. œ 12
& b b œœœ Œ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ww œœ J 8
? b œ Œ ˙ ˙ ˙ ˙ ˙ Œ Ó 12
8
bb œ ˙ ˙ ˙ ˙ ˙ œ
10/’09
268 The Grand Duke
œ œ œ
bb b 12 œœ œœ œœ œœ œœ œ œœ œœ œ œœ œœ œ œ œ œ œ œœ œœ œ œœ œœ œ œœ œœ
Z L’istesso tempo. (q = h before.)
591
& 8 œ œ œ œ œ œ
œœœœ ‰ ‰ j ‰ ‰ œœœœ ‰ ‰ j ‰ ‰ œœ œ
? b b 12 œœ ‰ ‰ j ‰ ‰ œœœ ‰ ‰ j ‰ ‰
b 8 J œ J œ J œ J œ
œ œ œ œ
œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ ‰ œ
593
J
œ œ
? b b œœJ ‰ ‰ œj ‰ ‰ œœJ ‰ ‰ œj ‰ ‰ œœœ ‰ ‰ # n œœœ ‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰
b J J J J
œ œ
œ œ œ
bb b œ œ œ œ œœ œ œ œœ œ œ 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
595
& œ œ œ œ œ œ
œ œ œœ œ
? b b œœœ ‰ ‰ œj ‰ ‰ œœœ ‰ ‰ œj ‰ ‰ œœ ‰ ‰ j ‰ ‰ œœœ ‰ ‰ œj ‰ ‰
b J J J œ J œœ
œ œ œ
bb œ œ œ œ œ œ œ œ œ n œ # œ œ œ nœ œ œ nœ œ œ #œ œ bœ nœ œ
b œ nœ œ œ nœ œ œ #œ œ bœ nœ œ
597
& œ œ œ œ œ œ œ œ œ nœ #œ œ
j
? b b œœœ ‰ ‰ b œœœœ ‰ ‰ œœœ ‰ ‰ b bn œœœœ ‰ ‰ n œœœœ ‰ ‰ œœœœ ‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰
b œ J J J J J J J
œ œœ œœ œœ œœ œœ
b b œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œœ ‰ ‰ Œ
œ œ œ œ U
b ‰ œJ ‰ ‰ Œ ‰ ww
599
& J J J J J ww
œ œ j j j U
œ œ
? bb œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ Œ œ
‰ ‰ ‰ Œ ‰ w
b J J J œ œ œ w
End of First Act.
10/’09
269
Act II.
No. 13. Introduction & Chorus.
(The Next Morning.)
Scene. Entrance Hall of the Grand Ducal Palace.
Enter a procession of the members of the theatrical company (now dressed in the costumes of Troilus and Cressida), carrying
garlands, playing on pipes, citharæ, and cymbals, and heralding the return of Ludwig and Julia from the marriage ceremony,
which has just taken place.
œœ œ œ œ œ . œ œ . œ œ . œ œ . œ œ œ œ œ . œ . œ .
œœ œœ œ œ œ œ œ. œ
& 43 ∑
Andante maestoso.
œ
f
œœœ # œœ œœ
3
œœ œœ b # œœœ
3
? 43 œ œ œ
#
Piano
œ œ œ
œ œ œ œ . œ œ . œ œ . œ œ . œ œœ œ œ œ
3
œœ
œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ œ œ ® œ œ ® œ œ œœ œœ œœ # œ œ œœ ® œ
3
4
& œœ #œ
3
œœ # œœ œœ
3 3
?œ œ œ œ
# œ œ œœœœ œœœœ œœœœ œœœœ œœœ œœœ
œ
6
œ ® œ ® œœ œœ œœ œœ œœ # œ œ œœ ® œ b œ œ œ œ œ. œ œ. œ œ. œ œ. œ
& œ #œ œ œ
3
3 3 3
? œœœœ œœœœ œœœœ œœœœ œœœ œœœ b b œœœ œœ b œœ œœ n œœ œœ
œ b œ œ n œ œ
8
œ . b œ œ œ œ œ . œ œ œ œ œ . œ b œ b œ œA Œ ‰ j
& bœ b œ . j œ. œ b˙ œ
.
œ bœ œ
œ œœ œœ œœ b œœ œœ b œœ b œœœ œœœ œœœ Œ œœ œœ œœ b œœ œœ b œœœ œœœ œœœ œœœ œœ
3 3 3
? b b œœ œ œ œ œ œ b b œ œ œ œ œ b œ
bœ bœ
10/’09
270 The Grand Duke
j œ bœ. œ œ bœ. œ
J nœ. J œ bœ. œ
& bœ. bœ œ. œ bœ. bœ bœ.
12
bœ œ œ œ œ nœ œ œ œ œ œ œ œ b œœ œœ
? b œœ œœ œœ œœ œœ b b œœœ œœœ œœœ œœœ œœœ ˙ .b œ œ œ œ œ ˙ œ œ œ n # œœ œ
b
bœ bœ
n œ œcresc.œ œœ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ
œ nœ œ œ œ œ œ
16
&
nœ œ œ
? n œœ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J ‰
œœ œ œœ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ
œœ œ œ œœ œ œ œœ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ
B
& œ œ œ œ œ œ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœœ
œ
20
œ œ œ œœ œ œ
œ œ f
œ œ œ œ œ œ œ œ œ œ œ
?œ œ œ œ œœœ œ œ œ œ œœœ œ ˙. ˙.
˙ . ˙ .
∑ ∑ ∑ ∑ ∑
24
Andante.
S
A &
˙ œ œ. œ œ. œ
? œ . œr œ . œ œJ . Rœ
Chorus
∑ Œ Œ ‰ J J
unis.
J J
T
B
As be - fore you we de - file, E - loi - a! E-
jAndante.
j
œ
& œ œœ j j j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœ œœœ
œ œœœ œœ
œœ
œœ
œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œj œ j j j j
con forza.
œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 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
10/’09
Act II 271
∑ ∑ ∑ ∑
29
S
A &
œ. œ œ . .
? . œ . œ Jœ . Rœ œJ Rœ œ ˙ œ . œ œJ . œR œJ œR
Chorus
‰
J R J R
T
B
loi - a! Pray you, gen - tles, do not smile If we shout, in clas - sic
j j
& œœj œœ œœ œœ œœ œœ œœ œ œœ œœ œœ
j
œœ œœ œœ œœ œœ œœ œ œœ œœ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ
? œj œ j j j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑ ∑ ∑ ∑
33
S
A &
œ. œ œ œ . œ œ . œ œJ . Rœ ˙
? œ. œ
Chorus
T
B J R ∑ J R J R Œ
style, E-loi - a! Lud - wig and his Ju - lia true
& œœj œœ œœœ œœœ œœœ
j
œœ œœ œœ œœ œœ
œ œ
œ. œœ œ. œ œ
? œj œ œœ œœ œœ œœœ . œ
œœ œ . œœ œœœ œœ
œœ œœ œœ œœ œœ
œœ . œ œ œ œ 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
J J J
∑ ∑ ∑ ∑
37
S
A &
œ. œ œ . œ œ . œ œJ . œ ˙
? b œJ . œR œJ . Rœ J R b ˙
Chorus
T
B
Œ J R J R R ‰ Jœ
Wed - ded are each o - ther to— So we sing, till all is blue, E-
j
& œœj œœ œœ œœ œœ œœ œœ j
bœ œ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ
œ œ œœœ œœœ œœœ
? œj œ œ b œœœ ...œ œ œœœ j j
œœ œœ œœ œœ œœ œœœ . œœ œ œ œ œ œœ
œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J
10/’09
272 The Grand Duke
∑ Œ Œ ‰ ≈ œr œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œœ œœ ‰ ≈ œœ
41
&
R RR R RRR R RRR R R R
S
A
? œ. œ œ ‰ œ œ. œ œ
Chorus O - po-ponax!
- O-po-ponax!
- O-po-ponax!
- E - loi - a! O-
Œ ∑ ∑
J
T
B
loi - a! E - loi - a!
j j
& œj œ œ œ œ œœj œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ
? œj œ œœ œ œ œj œ œœ œœ œœ
j
œ œ œ œ œ
j
œ œ œ œ œ
œœ œœ œ œœ œœ œœ œœ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œ œ ‰ œj œ . œ
C
ΠΠΠj
œ . œr
45
&RR RRR RRR R œœ
unis.
R R R œ
S
A
po-ponax!
- O-po-ponax!
- O-po-ponax!
- E - loi - a! E - loi - a! Wreaths of
œ . œr
Chorus
? ∑ ∑ ∑ Œ Œ J
T
B
Wreaths of
j
C
j œ. j
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ . œœ œœ œ
œœ œœ œ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ
più f
? œj œ jœ œœ œœ œœœ œœœ œœœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ
œ œ J J œ œ œ œ
j œj. œr ˙ ‰ Jœ œ. œ œ. œ œ. œ œ. ‰
49
S
A & œ. œ J
bay and i - vy twine, E - loi - a! E - loi - a!
˙ œ œ. œ œ. œ œ. œ œ
œ œJ .
Chorus
? œ. œ ‰ J J . ‰
T
B J R
bay and i - vy twine, E - loi - a! E - loi - a!
& œj œ j j j
œœ œœ œœœ œœœ œœœ œœ œœ
œ œ
œœ œœ œœ
œ œ œ
œœ
œœ
œœ
œœ œœœœ œœ
œœ
œœ
œœ
œœ œœ
œ œ œœœ œœœ œœœ
? œj œ œœ œœ œœ
j
œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ œœ
œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
Act II 273
j r j r j r œj. œr œj. œr j. œr œ . œ œ
& œj. œr œ . œ œ . œ œ
53
S
A ˙ œ. œ œ
œ. œ œ
Fill the bowl with Les - bian wine, And to re - vel -ry in - cline— E - loi - a!
? œ . œ œ . œ Jœ . œ œ .
œ . œ œJ . œR Jœ œR
Chorus
˙ œ . œR
J R J R R J R J
T
B
Fill the bowl with Les - bian wine, And to re - vel -ry in - cline— E - loi - a!
& œj œ œ œ œ j
œœ œœ œ œ
j
œ œ œ j
œœ œœ œœ œœ œœ œ œ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ
œ
œœ
œ
œœ œœ œœ
œ œ œ
? œj œ œœ œœ œœ j
œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j r j r b œ . œ œ . œ Jœ . œR
œ . œ œ . œ œJ . Rœ ˙
D
∑ Œ
57
S
A & J RJ R
œ . œ œ . œ œJ . Rœ ˙ b œ . œ œ . œ Jœ . œR
Chorus
For as gai - ly we pass on Pro - ba-bly we shall, a-
T ? ∑ J R J R Œ J RJ R
B
For as gai - ly we pass on Pro - ba-bly we shall, a-
j j j
D
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœœ œœœ œœœ œœœ œœœ
œ. œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ j
? œœ . œ œ œ . œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 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
J J J
r
& b˙ œ . œ œj. œ œ . j
‰ œj œ . œ œ . j ‰ œj
61
œ ˙ œ
J R œ œ. œ
S
A
œ. œ œ. œ œ.
non, Sing a Di - er - get - i - con— E - loi - a! E - loi - a! E-
? b˙ œ ‰ œJ œ . œ œ . œ
Chorus
T
B
J R J R J ˙ œ œ. œ
J
‰ œJ
non, Sing a Di - er - get - i - con— E - loi - a! E - loi - a! E-
j j
& œj œ œ œ œ œœ œœ œœ œœ
j
œœ œœ œœ œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ œœ
b œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ
? œj œ j j j j
œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 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
10/’09
274 The Grand Duke
j ‰ ≈ œr œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
66
& œ. œ œ. œ œ. œœ
R R R R R R R R R R R R R
S
A
r
Chorus loi - a! E - loi - a! O - po - po- nax! O - po - po - nax! O - po - po - nax! E -
? œ. œ œ. œ œ. œœ Œ Œ Œ ‰ œ
≈ R
J
T
B
loi - a! E - loi - a! O-
j j j
&œ œ œ œ œ œœ œœ œœœ œœœ œœœ œ œ œ œ œ
œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ
? œj œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ œ
œ.
& œ. œ ‰ ≈ œr œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œ œœ ‰ œœ
69
R R R R RR R R RR R R R J
S
A
œœ œ œ œ œœ œ œ œ œœ œ œ œœ œ . œœ œœ r œœ .. œ œœ œ
Chorus loi - a! O - po-po-nax! O-po-po-nax! O-po-po-nax! E - loi - a! E-
? R œ œ œ R œ œ œ R œ œ R œ. ‰ œ
≈ R œ ‰ Jœ
T
B R R R R R R R R
po - po-nax! O - po - po-nax! O - po - po-nax! E - loi - a! E - loi - a! E-
j
& œœj œœ œœ j
œœœ œœœ œœœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ œ œ œœœ œœ
œ
œœ
œ
œœ œœ
œ œ
? œj j j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ U
œ. œœ œœ
& œ. œ ‰ ˙ ˙ Œ
72
J ˙ ˙
S
A
œ .. œ œ U˙
loi - a! E - loi - a!
œœ œœ
?œ œ ˙
Chorus
‰ œ ˙ ˙ Œ
T
B J
œœ œœ U˙
loi - a! E - loi - a!
˙˙˙
& œj œ œ j ‰ œœ ‰ œœ ‰ Œ
œœ œœ œœœ œœ
œ œœ œœ
œ
J J
ƒ U
? œj œ œœ œœ œœ œœ
j ‰ j
œ ‰
j
œ ‰ ˙ Œ
œ œ
œ œ œ œ œ œ œ œ ˙ Attacca.
10/’09
Act II 275
No. 14. Recit. & Song—(Ludwig) with Chorus.
r
Vc Ó Œ ‰ . œr œr œr œr œr œr œr œr # œr œ œr ‰ ‰ ≈ œr
Andante. Recit.
Ludwig
Your loy - al - ty our Duc - al heart-strings touch-es: Al -
j ‰ Œ j ‰ œ.
& c œœ œœ .. œœ ˙˙ œœ œœ œœ
œ œ. œ ˙ œ œ œœ .. œ
p
?c œ j j
Piano
œ. œ ˙ œ ‰ Œ œ ‰ œ. œ
œ œ
r r œr r ‰ Œ r
r r r r r r œ œ œ œ . r œr # œr œr œ œr r ≈ r
3
Ludwig V œ œ œ œ œ œ œ #œ œ J R R J œ œ œ
j
low me to pre-sent your new GrandDuch-ess. Should she of-fend, you’ll gra-cious-ly ex - cuse her— And
j
& œj ‰ Œ œœ
j ‰ œ. œ œ ‰ œœ ‰ œj ‰ # œœ
j ‰
œœ œ œ . œ œœ œ # œœ œ
? œj ‰ Œ œ
j œ
‰ œœ .. œœ œ ‰ # œj ‰ œ
j ‰ œ ‰
œ J
œ J
œ r r r
V œR œ œ œ œ ‰ r ‰ c
5
R R R J J œ œ œ
Ludwig
œ
j j
kind - ly re - col - lect I did - n’t choose her!
œ
œ ‰ œ ‰ j ‰ c
& œ n œœ # œœœ œ
œ
? j j j
œ ‰ œ ‰ œ œ ‰ c
œ ˙˙ œ œ œ œ œ œ œ œ œ œ œ œ œj j
Allegretto.
c œ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ‰ œœ ‰ j j
œœ ‰ œœ ‰
5a
& œ
œ œ. œ.
f p.
3
?c ∑ Ó Œ œœ ‰ # œœ ‰ œœ ‰ # œœ ‰ œœ ‰ œœ ‰ œj ‰ j
œ ‰
j
œ ‰
J J J J J J œ œ. œ.
.
10/’09
276 The Grand Duke
j r r r r j r r r
j œ œ . œ œj. œ œj. œ œj. œ œ . œ œj. œ œj. œ œJ . œR
r
A1
VÓ Œ
9
œ.
Ludwig
1. At the out - set I may men - tion it’s my sov - er - eign in - ten - tion To re-
j j j
& œœj ‰ œœj ‰ j
œœ ‰
j
œœ ‰
j
œœ ‰
j j
œœ ‰ b œœ ‰
j
œœ ‰ œœ ‰ œœ ‰ j
œœ ‰ œœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. nœ œ. œ. œ.
.
j j j j
? œj ‰ œj ‰ j
œ ‰
j
œ ‰
j
œ ‰
j
œ ‰ #œ ‰
j j
œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ.
j r j r r j r r r r r r
V œ . œ œ . œ œj. œ # œ . œ œj. œr n œj. œ j œr œj. œ œj. œ œj. œ œj. œ
12
œ œ.
Ludwig
vive the clas - sic mem - o - ries of A - thens at its best, For the com - pa - ny pos-sess - es all the
& œj ‰ j‰ j j j j j‰ j
œœ œœ œ œœ ‰ œœ ‰ œœ
j‰
œœ
j‰
œ.
j‰ Œ œœ ‰ œœ ‰ œ
b œœ œœ ‰
. . . . . . œ. œ. . œ.
j j j j j j
? œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ. ‰ Œ j j j j
œ. œ. œ. œ. œ ‰ œ ‰ #œ ‰ œ ‰
œ. œ. J œ. œ. # œ. œ.
j œr j œr j œr œ . œ œj. œr j r œj. r j r j r j r j r
15
Ludwig V œ. œ. œ. J R œ .#œ œ œ . œ #œ .#œ œ . œ nœ œ.œ
ne - ces - sa - ry dress - es And a course of qui - et cram-ming will sup - ply us with the rest. We’ve a
j j j j j j j j j
& œ ‰ œ ‰ œœ ‰ œ ‰
œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ # œœ
j‰
œœ
j‰ œœ ‰ Œ
n œœ œœ œ. . . . . . . .
. . .
j j j œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œœ. ‰ Œ
? œj ‰ œ ‰
j œ ‰ œ ‰ #œ ‰ œ œ œ œ
œ. œ. œ. œ J
œ. œ. J J J J J
j r œj. r œ. j r œj. r œ.
V .
œ r j r œ. r j r
18
Ludwig
œ œ J #œ œ . œ œ œ J #œ œ . œ
j j
choir hy - por - che - ma - tic (that is, bal - let - o - pe - ra - tic) Who re -
& œ ≈ œ œ ≈ œ œ ‰ ≈ œ œ ≈ œ œ ≈ œ œ ‰ ≈ œ
#œ œ #œ œ
? œœœ ‰
œœœ
‰ # œJœœ ‰ Œ
œœœ
‰
œœœ
‰ # œœœJ ‰ Œ
J J J J
10/’09
Act II 277
r j r j r j r j r
V œj. r j. œ œ j r
20
Ludwig
#œ œ #œ œ . œ œ. #œ œ . #œ œ . œ. œ
spond to the cho - reu - tæ of that cul - ti - va - ted age, And our
≈ œ œ ≈ #œ j
& œ ≈ #œ œ ≈ #œ œ œ ≈ #œ œ ≈ œ œ ‰ Œ
œ œœ # œœœ ‰
? œœœ ‰ Œ
œœœ
‰ Œ b œœ ‰ œ
J J J J ‰ J
Œ
r r r j r r r r j r
V œj. œ œj. œ # œj. œ œj œ œj. œ # œj.
22
œ œ. œ œ. œ
Ossia:
.
clev - er cho - rus - mas - ter, all but cap - tious cri - ti - cas - ter Would ac -
. r . r bœ. r j r œ. r . r bœ. r j r
Ludwig V œJ œ Jœ œ J #œ œ . œ J œ œJ œ J #œ œ . œ
j j
clev - er cho - rus - mas - ter, all but cap - tious cri - ti - cas - ter Would ac -
œ œ b œ œ ≈ œ œ b œ
& œ ≈ œ œ ≈ œ b # œœ ‰ œ ≈ œ œ œ
≈ œ #œ ‰
b œ œ ≈ œ
œœ œœ
? œœJ ‰ œœ
J ‰ J ‰ Œ
œœ
J ‰
œœ
J ‰ J ‰ Œ
j r j r j r j r œ . œ j œr j r œj œr œ . œ œj r j œr
24 B1
Ludwig V œ . #œ œ . œ œ . #œ œ . œ J R œ . nœ œ.œ . J
R
. œ œ.
cept as the cho-re - gus of the ear - ly At - tic stage. This re - turn to clas - sic a - ges is con-
≈ j ‰ œ ≈ œj ‰ œœ ≈ œ # œœ ≈ œ n œj ‰ Œ œœ ‰
j
œœ ‰
j j
œœ ‰ Œ
& œœ # œ œ œ #œ
. . .
# œœ œ œ œœ. œœ. œœ.
? œœJ ‰ Œ œ ‰ Œ œ ‰ œ ‰
œœ
J ‰ Œ
J J J J ‰ J ‰ J ‰ Œ
j r œ. j r j r j œr œ . œ j r j r œj. r j r j r
œ œ
27
Ludwig V œ . J R œ . œ œ . œ œ . J R œ . #œ œ . #œ œ nœ . #œ œ œ.œ
sid - er’d in their wa - ges, Which are al - ways cal - cu-la - ted by the day or by the week— And I’ll
j j j j j j j j j
& œœ ‰ œœ ‰ œœ ‰ Œ b œ. ‰
œ œœ ‰ # œœ ‰ œœ ‰ œœ ‰ b # œœj ‰ œœ ‰ Œ
. . . . . . . . .
œ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
?œ ‰ J ‰ J ‰ Œ
J J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ Œ
10/’09
278 The Grand Duke
j b œr j r r j r j b œr j r r
œ n œj. œ œj. œ œj. r
30
Ludwig V bœ . œ. œ œ . œ bœ . œ. bœ
pay ’em (if they’ll back me) all in o - bo - loi and drach - mæ Which they’ll
& b œ˙ œ nœ Œ bœ œ œ Œ
. Œ ˙. Œ
? b w> b w>
nœ œ bœ Œ œ œ bœ Œ
V œj. œr œj. œr œj. œr œj. œr j r j r Œ ∑
32
Ludwig
œ. œ œ. œ œ
get (if they pre - fer it) at the Kal - ends that are Greek!
j
& œœj ‰ j‰
œœ
j‰
œœ
j‰
œœ
j‰
œœ
j‰
œœ œ ‰ œœ # # œœ œ˙ # œ
nœ œ
? w #˙ ˙ w˙ n˙
cresc.
bœ ‰ œ œ ‰ œ bœ ‰ œ ‰ œ
J J ‰ J J ‰ J J J ‰ Œ
j r j j j j j r
VÓ Œ œ . œ œ . œr œ . œr œ . œr œ . œr œj. œr Jœ . œR œ
35
œ. œ
(Confidentially to audience.)
Ludwig
At this junc - ture I may men - tion That this e - ru - di - tion sham Is but
j j j j j j j
& œ˙ œ #œ œ œ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
˙ œ. œ. œ. œ. œ. œ. œ.
[p]
? ˙˙ n ˙˙ œœ. ‰ j j j j j j
œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
J œ. œ. œ. œ. œ. œ.
j r œj. r œj. r œj. r j r œ. œ œ j r
38
Ludwig V œ. œ œ œ œ œ. œ J R œ. œ
clas - si - cal pre - ten - sion, The re - sult of stea - dy “cram.”: Pe - ri -
& œj ‰ j j j j j j ≈ œ
œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ
. œ. œ. œ. œ. œ. œ.
? œj ‰ j j j j j j
œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
. œ. œ. œ. œ. œ. œ.
10/’09
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r r j r r j r r
V œJ . œ Jœ . œ # œj. œ . n œ # œj. œ œj.
C1
œ œ.
40
J œ œ œ. œ
R R
Ludwig
phras - tic me - thods spurn - ing, To this au - di - ence dis - cern - ing I ad -
& œœ ≈ œ œ ≈ œ œ ≈ œ #œ ≈ œ œ ≈ nœ #œ ≈ œ œ ≈ œ œ ≈ œ
œ œœ ˙ n ˙˙˙˙ b˙
? œœ ‰ œ ‰ b # ˙˙ # ˙˙
J J
j r r œj. r j r j r
n œ œj. r Œ
42
Ludwig V œ. œ œj. œ œ œ. œ œ. œ œ
mit this show of learn - ing Is the fruit of stea - dy “cram.”!
∑ Ó Œ j r
S
A & œ. œ
Pe - ri -
œ. œ
Chorus
? ∑ Ó Œ J
T
B R
Pe - ri -
& œ ≈ nœ ≈ œ œ ≈ œ # œœœ ≈ œ n œœœ ≈ œ œ ≈ œ Œ
œ œœ œ
j j j j
? œœœ ‰ b œœ ‰ œ
œ ‰ bœ ‰ œœ ‰ œ œœ
J J œ œ œ ‰ Œ
r r j r r j r r
& œJ . œ œJ . œ œ. œ # œj. œ . n œ # œj. œ œj.
44
J œ œ œ. œ
R R
S
A
. œ œ.
? œJ œ œ. œ. œ œJ .
phras - tic me - thods spurn - ing, To this au - di - ence dis - cern - ing he ad -
œ #œ. œ nœ #œ. œ œ. œ
Chorus
T
B
R J R J R J R J R J R R J R
phras - tic me - thods spurn - ing, To this au - di - ence dis - cern - ing he ad -
& œ œ # œœ œœ nœ œ
œœ œœ
#œ œ œœ œœ b œœœ œœ
œ
f
? œ œ bœ œ œ œ #œ œ
œ œ bœ œ œ œ #œ œ
10/’09
280 The Grand Duke
j r
& œ . n œ œj. r j r œj. r j r j r Œ
46
œ œ. œ œ. œœ œœ . œœ œœ .. œœ œ
.
S
A
œ œœ .. œœ œœ .. œœ œ
œ œj.
Chorus mits this show of learn - ing Is the fruit of stea - dy “cram.”!
? œ. nœ œ. œ Jœ . œ œ Œ
T
B J R J R R R J R J R
mits this show of learn - ing Is the fruit of stea - dy “cram.”!
& œ b œœ œœ œœœ œœ œœ
3
œœ
œ œ œ œ œ œ œ œ
ƒ
? œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œ œ œ
œ œ
r r r r r r r
j œr œj. œ œj. œ œj. œ œj. œ œj. œ œj. œ œj. œ œJ . œR
A2
VÓ Œ
48
œ.
Ludwig
j
2. In the pe - ri - od So-crat - ic ev - ’ry din - ing-room was At - tic (Which sug-
j j
j‰ j‰ j‰ j j
& œj ‰ Œ Ó
œœ ‰ b œœ œœ ‰ œœ œ œœ ‰ œœ ‰
œœ ‰
œ. œ.œ œ. n œœ œ. œ.
œ.
[p] . .
j j j
j
? œj ‰ Œ Ó j j j
œ ‰
œ ‰ #œ ‰ œ ‰
j œ ‰ œ ‰ œ ‰
œ ‰
œ. # œ.œ. œ. œ. œ. œ.
œ.
j r j r j r j r r r œj. œr œj. œr œj. œr œj. œr
V . œ œ . œ œ . œ # œ . œ œj. œr n œj. œ œ œj.
œ
51
Ludwig
œ
gests an ar - chi-tec - ture of a top - sy - tur - vy kind), There they’d sat - is - fy their twist on a re -
& œœj ‰ j j j‰ j j j j
œ. œœœ
j‰ œœ ‰ œœ ‰ œœ œœ
j‰
œ.
j‰ Œ œœ ‰ œœ ‰ b œœ ‰ œœ ‰
. . . . . œ. œ. œ. œ.
j j j j j j
? œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ. ‰ Œ j j j j
œ. œ. œ. œ. œ. œ. œ ‰ œ ‰ #œ ‰ œ ‰
J œ. œ. # œ. œ.
r r r j r j
j œ œj. œ œj. œ. œ œ. œ œj. # œr œ . œr œj. œr
54
Ludwig V œ. œ J R
cher - ché cold ¥ - ris - ton, Which is what they call’d their lunch— and so may
j
& œj ‰ j
[a - ris - ton,]
œ ‰ j j j j j
n œœ œœ œœ ‰ œ ‰
œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰
. . œ. . . . . .
j j j œ.
? œj ‰ œ ‰
j œ ‰ œ ‰ #œ ‰ œ. ‰ œ. ‰
œ. œ. œ. œ. œ. œ ‰ œ
J J
œ
J
10/’09
Act II 281
j j
V # œ . # œr œ .
r j r œj. r œj. r œ. r j r
56
Ludwig œ nœ œ. œ œ œ J #œ œ . œ
you, if you’re in - clin’d. As they gra - du - al - ly got on, they’d trš -
j
[tre -
& # œj ‰ j ‰ j œ
œ. œœ œœ ‰ Œ œ ≈ œ œ ≈ œ
#œ
‰
œ ≈ œ
. .
. œ. œœ. ‰ œœœ œœœ
? œœ ‰ ‰ Œ # œœœ ‰
J J
œ J J ‰ J ‰ J Œ
j r j r r
V .œ œ. œ
œ œ. r j r j. r j. # œr œj. œr œj. # œr œj. # œr œj. œ œ j r
58
Ludwig
J #œ œ . œ œ #œ œ œ.œ
pes-qai prÕj tÕn pÒ - ton (Which is At - tic for a stea - dy and a con - sci - en - tious drink).But they
j
pes - thai pros ton po - ton]
œ j
œ ≈ œ ≈ ‰ ≈ ≈ ≈ ≈œ œ‰Œ
& œ œ #œ œ ≈ œ œ ≈# œ œ ≈ # œ œ œ œ # œ œ # œ œ
œ œœ # œœœ ‰ Œ
? œœœ ‰ œœœ # œœ
œ
œœœ œœœ
b œœ ‰ œ ‰
J J ‰ J‰ Œ J ‰ Œ J‰ Œ J J J
r r r j r r r r j r
V œj. œ œj. œ # œj. œ œj œ œj. œ # œj. œ œ .
61
œ œ. œ
Ossia:
.
mix’d their wine with wa - ter— which I’m sure they did - n’t ough - ter— And we
. r . r bœ. r j r œ. r . r bœ. r j r
Ludwig V œJ œ Jœ œ J #œ œ . œ J œ œJ œ J #œ œ . œ
j j
mix’d their wine with wa - ter— which I’m sure they did - n’t ough - ter— And we
œ ≈ œ œ ≈ œ bœ ‰ œ ≈ œ œ ≈ œ bœ ‰
& œ œ b # œœ œ ≈ œ œ œ b # œœ œ ≈ œ
œœ œœ
? œœJ ‰ œœ
J ‰ J ‰ Œ
œœ
J ‰
œœ
J ‰ J ‰ Œ
r j r j r r
j r j œ. œ œj. œ nœ j r
63
Ludwig V œ. #œ œ . œ œ. #œ œ . œ
J R œ. œ
j
mod - ern Sax - ons know a trick worth two of that, I think! Then came
& œœ ≈ # œ œj ‰ œœ ≈ # œ œ ‰ œœ ≈ œ # œœ ≈ œ n œj ‰ Œ
# œœ œ œ
? œœJ ‰ Œ œ ‰ Œ œ ‰ œ ‰
œœ
J ‰ Œ
J J J
10/’09
282 The Grand Duke
j r r j r r
œ œj. œ œj.
B2
œ Jœ . r j œ œJ . r j
65
Ludwig V œ. R œ œ. œ œ.
R œ œ. œ
rath - er risk - y dan - ces (un - der cer - tain cir - cum- stan - ces) Which would
j j j j j j
& œ ‰
œ œœ ‰ œœ ‰ Œ œœ ‰ œœ ‰ œœ ‰ Œ
. . . . . .
œ. œœ. œœ. œœ. œœ. œœ.
? œ ‰ J ‰ J ‰ Œ
J J ‰ J ‰ J ‰ Œ
j r r j
œ œJ . œ œj. r j
#œ œ .
r j r j r
67
Ludwig V œ. R #œ œ . œ nœ . #œ œ œ. œ
shock that wor - thy gen - tle - man, the Li - cen - ser of Plays, Cor - y -
j j j j j j
& b œœ ‰ œœ ‰ # œœ ‰ œœ ‰ œœ ‰ b # œœj ‰ œœ ‰ Œ
. . . . . . .
œ. œœ. œœ. œœ. œœ. œœ. œœ.
? œ ‰ J ‰ J ‰ J ‰
J J ‰ J ‰ J ‰ Œ
j b œr j r r r j b œr j r j r j
œ n œj. œ œj. œ . œ œ . œ œ . b œr
69
Ludwig b
V .œ œ. œ bœ .
ban - tian ma - ni - ac kick— Di - o - ny - si - ac or Bacch - ic— And the
& b œ˙ œ nœ Œ bœ œ œ Œ
. Œ ˙. Œ
? b w> b w>
nœ œ bœ Œ œ œ bœ Œ
V œj. œr œj. œr œj. œr œj. œr j r j r Œ ∑
71
Ludwig
œ. œ œ. œ œ
Dith - y - ram - bic rev - els of those un - de - cor - ous days.
& œœj ‰ j‰ j‰ j ‰ j‰ j ‰ œj ‰
œœ œœ œœ œœ œœ nœ œ œœ # # œœ œ˙ # œ
? w #˙ ˙ w˙ n˙
cresc.
bœ ‰ œ œ ‰ œ ‰ bœ ‰ œ ‰ œ
J J ‰ J J J J J ‰ Œ
10/’09
Act II 283
j r j j j j j j r
VÓ Œ œ . œ œ . œr œ . œr œ . œr œ . œr œ . œr œJ . œR œ
74 (Confidentially to audience.)
Ludwig œ. œ
j
And per - haps I’d bet - ter men - tion, Lest a - larm - ing you I am, That it
œ ‰ œj ‰ j j j j j
& œ˙ œ # œ˙ œ
œ. œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
. œ. œ. œ. œ. œ.
[p]
? ˙˙ n ˙˙ œœ. ‰ œj ‰ j j j j j
œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
J œ. œ. œ. œ. œ.
.
j r œj. r œj. r œj. r j r œ. œ œ j r
77
Ludwig Vœ. œ œ œ œ œ. œ J R œ . œ
is - n’t our in - ten - tion To per - form a Dith - y - ramb— It dis -
j j j
& œœj ‰ œœ ‰
j
œœ ‰
j
œœ ‰
j œœ ‰ œœ ‰ œœ ‰ œ ≈ œ
œ. œ. œ. œ. œ. œ. œ.
? œj ‰ j j j j j j
œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
. œ. œ. œ. œ. œ. œ.
r r j r r j r r
V œJ . œ œJ . œ # œj. n œ # œj. œ œj.
C2
œ œ.
79
œ œ. œ œ. œ
R R J
Ludwig
plays a lot of stock - ing, Which is al - ways ve - ry shock - ing, And of
& œœ ≈ œ œ ≈ œ œ ≈ œ # œ ≈ œ œ ≈ nœ #œ ≈ œ œ ≈ œ œ ≈ œ
œ œœ ˙ n ˙˙˙˙ b˙
? œœ ‰ œ ‰ b # ˙˙ # ˙˙
J J
j r r œj. r j r j r
n œ œj. r j Œ
81
V œ. œ œ œ. œ œ. œ œ
Ludwig
œ œ.
j r
course I’m on - ly mock - ing At the pre - va - lence of “cram.”
S
A & ∑ Ó Œ œ. œ
It dis -
? œ. œ
Chorus
T
B
∑ Ó Œ J R
It dis -
& œ ≈ nœ œ ≈ œ œ ≈ œ # œœœ ≈ œ n œœ ≈ œ œœ ≈ œ Œ
œ œ œ
j j j j
? œœœ ‰ b œœ ‰ œ
œ ‰ bœ ‰ œœ ‰ œ œœ
J J œ œ œ ‰ Œ
10/’09
284 The Grand Duke
r r j r r j r r
& Jœ . œ œJ . œ œ. œ # œj. n œ # œj. œ œj.
83
œ œ. œ œ. œ
R R J
S
A
. œ œJ .
? Jœ
plays a lot of stock - ing, Which is al - ways ve - ry shock - ing, And of
œ œ. œ #œ. œ œ. nœ #œ. œ œJ . œ œ. œ
Chorus
T
B
R R J R J R J R J R R J R
plays a lot of stock - ing, Which is al - ways ve - ry shock - ing, And of
& œœ œœ # œœ œœ n œœ œœ
œ œ #œ œ œ œ b œœœ œœ
œ
f
? œ œ bœ œ œ œ #œ œ
œ œ bœ œ œ œ #œ œ
j r
& œ . n œ œj. r r œj. r j r j r Œ
85
œ œj. œ œ. œœ œœ .
. œœ œœ .. œœ œ
S
A
œ œœ .. œœ œœ .. œœ œ
Chorus course he’s on - ly mock - ing At the pre - va - lence of “cram.”
? Jœ . nœ œ.
R J œ œj. œ Jœ . œ
J R J R
œ Œ
R R R
T
B
course he’s on - ly mock - ing At the pre - va - lence of “cram.”
& œ b œœ œœ œœœ œœ œœ
3
œœ
œ œ œ œ œ œ œ œ
ƒ
? œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œ œ
œ œ œ
r j r j r j r r j r j r
j œ œj. œ œ . œ œ . œ œ . œ œj. œ œ . œ œ . œ Jœ . Rœ
r
A3
VÓ Œ
87
œ.
Ludwig
3. Yes, on re - con-sid - er - a - tion, there are cust - toms of that na - tion Which are
j j j‰ j j‰ j j j
& œj ‰ Œ Ó œœ ‰ œœ ‰ œ œœ ‰ œ œœ ‰ œœ ‰ œœ ‰
œ. œ. b œœ œ. n œœ œ. œ. œ.
[p]
. .
? œj ‰ Œ j j j j j j j j
Ó œ ‰ œ ‰ #œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
œ. œ. # œ. œ. œ. œ. œ. œ.
10/’09
Act II 285
j r j r j r j r r j œr j œr j œr j œr
V . œ œ . œ œ . œ # œ . œ œj. œr n œj. œ œ
œ
90
œ . œ. œ. œ.
œ. œ
Ludwig
not in strict ac - cord - ance with the ha - bits of our day, And when I come to co - di - fy, their
& œœj ‰ j‰ j j j‰ jj j‰ j
œ. œœœ œœ ‰ œœ ‰ œœ œœ
j‰
œ.
j‰ Œ œœ ‰
œœ ‰ œ
b œœ œœ ‰
. . . . . œ.
œ. . œ.
j j j j j j
? œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ. jj j j
œ. œ. œ. œ. ‰ Œ œ ‰
œ ‰ #œ ‰ œ ‰
œ. œ. J œ.
œ. # œ. œ.
j r j r j r . j r j r j r
œ œJ œ œ. œ . œ œj. r
93
Ludwig V œ. œ œ. œ œ. R œ œ . #œ œ
rules I mean to mo - di - fy, Or Mis - sus Grun - dy,p’r’aps, may have a
j
& œj ‰ j
œœ ‰ j
œœ ‰ œœ ‰ œœ ‰
j
œœ ‰
j
œœ ‰
j
œœ ‰
j
n œœ œ. œ. œ. . . . .
.
j j j œ. ‰ œ. ‰ œ. ‰
? œj ‰ j
œ ‰ œ ‰ œ ‰ #œ ‰
œ. œ. œ. œ œ œ
œ. œ. J J J
V # œj. r j r j r œj. r œj. r œ. r j r
95
Ludwig
#œ œ . œ nœ œ. œ œ œ J #œ œ . œ
j
word or two to say. For they had - n’t mac - in - tosh - es or um -
& # œj ‰ j ‰ j ≈ œ œ ‰
œ. œœ œœ ‰ Œ œ ≈ œ œ
#œ œ ≈ œ
. .
. œ. ‰ œœ. ‰ œœœ œœœ
? œœ ‰ œ Œ ‰
œ
‰ # œJœ ‰ Œ
J J J J J
j r j r œ r j r j r j r j œr
V . œ œ . œ J . # œr œj. œr œj. # œr œj. # œ œ . œ œ . # œ
œ œ . # œ œ . œ œj œr
97
Ludwig
.
j
brel - las or go - losh - es— And a show - er with their dress-es must have play’d the ve - ry deuce, And it
œ ≈ œ j
& œ œ #œ ‰
œ ≈
œ≈œ œ ≈# œ œ ≈ # œ œ ≈œ œ ≈ # œ œ ≈#œ œ ≈ œ œ ‰ Œ
œ œœ # œœœ ‰ Œ
? œœœ ‰ œœœ ‰ # œœœ ‰ Œ
œœœ
‰ Œ
œœœ b œœ ‰ œ
J J J J J‰ Œ
J J‰ J
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r r r j r r r r j r
V œj. œ œj. œ # œj. j œ œj. œ # œj.
100
œ œ. œ œ œ. œ
Ossia:
œ.
must have been un - pleas - ing when they caught a fit of sneez - ing, For it
. r . r bœ. r j r œ. r . r bœ. r r
Ludwig V œJ œ Jœ œ J #œ œ . œ J œ œJ œ J # œ œj. œ
j j
must have been un - pleas - ing when they caught a fit of sneez - ing, For it
b œ œ ≈ œ ≈ bœ ‰
& œœ ≈ œ œ
œ
≈ œ b # œœ ‰ œ ≈ œ
œ œ œ œ b # œœ œ ≈ œ
œœ œœ
? œœJ ‰
œœ
J ‰ J ‰ Œ
œœ
J ‰
œœ
J ‰ J ‰ Œ
r j r j r r
j r j œ œ. œ œj. œ nœ j r
102
Ludwig V œ. #œ œ . œ œ. #œ œ . J R œ. œ
j
seems, of poc - ket hand - ker-chiefs they did - n’t know the use. They wore
& œœ ≈ # œ œj ‰ œœ ≈ # œ œ ‰ œœ ≈ œ # œœ ≈ œ n œj ‰ Œ
# œœ œ œ
? œœ ‰ Œ œ ‰ Œ œ ‰ œ ‰
œœ
J ‰ Œ
J J J J
r r
j œ œj. j œr œj. œ œj.
r
B3
œ œJ . r œ œJ . r j
104
Ludwig Vœ. R œ œ. R œ œ. œ
j j j j j j
lit - tle un - der - cloth - ing— scarce - ly a - ny - thing— or no - thing—And their
& œœ ‰ œœ ‰ œœ ‰ Œ œœ ‰ œœ ‰ œœ ‰ Œ
. . . . . .
œ. œœ. œœ. œœ. œœ. œœ.
? Jœ ‰ J ‰ J ‰ Œ J ‰ J ‰ J ‰ Œ
j r r j
œ Jœ . œ œj. r j
#œ œ .
r j r j r
106
œ
V . #œ œ . œ nœ . #œ œ œ. œ
R
Ludwig
j
dress of Co - an silk was quite trans - par - ent in de - sign— Well, in
j j j j j
& b œœ ‰ œœ ‰ # œœ ‰ œœ ‰ œœ ‰ b # œœj ‰ œœ ‰ Œ
. . . . . . .
œ. œœ. œœ. œœ. œœ. œœ. œœ.
? œ ‰ J ‰ J ‰ J ‰
J J ‰ J ‰ J ‰ Œ
10/’09
Act II 287
j b œr j r r r j b œr j r r
œ n œj. œ œj. œ œj. œ œj. b œr
108
Ludwig V bœ . œ. œ bœ . œ.
fact, in sum - mer wea - ther, some - thing like the “al - to - geth - er.” And it’s
& b œ˙ œ nœ Œ bœ œ œ Œ
. Œ ˙. Œ
? b w> b w>
nœ œ bœ Œ œ œ bœ Œ
V œj. œr œj. œr œj. œr œj. œr j r j r Œ ∑
110
Ludwig
œ. œ œ. œ œ
there, I rath - er fan - cy, I shall have to draw the line!
& jœ ‰ j‰ j‰ j ‰ j‰ j ‰ œj ‰
œ œœ œœ œœ œœ œœ nœ œ œœ # # œœ œ˙ # œ
? w #˙ ˙ w˙ n˙
cresc.
bœ ‰ œ œ œ bœ ‰ œ œ ‰ Œ
J J ‰ J ‰ J ‰ J J ‰ J
j r j j j j j r
VÓ Œ œ . œ œ . œr œ . œr œ . œr œ . œr œj. œr Jœ . Rœ œ
113
œ. œ
(Confidentially to audience.)
Ludwig
And a - gain I wish to men - tion That this e - ru - di - tion sham Is but
j j j j j j j
& œ˙ œ # œ˙ œ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
. œ. œ. œ. œ. œ. œ.
[p]
? ˙˙ n ˙˙ œœ. ‰ j j j j j j
œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
J œ. œ. œ. œ. œ. œ.
j r œj. r œj. r œj. r j r œ. œ œ j r
116
Ludwig V œ. œ œ œ œ œ. œ J R œ. œ
clas - si - cal pre - ten - sion, The re - sult of stea - dy “cram.” Yet my
j j j
& œœj ‰ œœ ‰
j
œœ ‰
j
œœ ‰
j œœ ‰ œœ ‰ œœ ‰ œ ≈ œ
œ. œ. œ. œ. œ. œ. œ.
? œj ‰ j j j j j j
œ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ Œ
œ. œ. œ. œ. œ. œ. œ.
10/’09
288 The Grand Duke
r r j r r j r r
V œJ . œ œJ . œ # œj. n œ # œj. œ œj.
C3
œ œ.
118
œ œ. œ œ. œ
R R J
Ludwig
clas - sic lore ag - gres - sive (If you’ll par - don the pos - ses - sive) Is ex -
& œœ ≈ œ œ ≈ œ œ ≈ œ # œ ≈ œ œ ≈ nœ #œ ≈ œ œ ≈ œ œ ≈ œ
? œœœ ‰ œœ ˙
œ ‰ b # ˙˙ n ˙˙˙˙ b ˙˙
#˙
J J
j r r œj. r j r j r
n œ œj. r Œ
120
Ludwig V œ. œ œj. œ œ œ. œ œ. œ œ
ceed - ing - ly im - pres - sive When you’re pas - sing an ex - am.
∑ Ó Œ j r
S
A & œ. œ
Yet his
œ. œ
Chorus
? ∑ Ó Œ J
T
B R
Yet his
& œ ≈ nœ ≈ œ œ ≈ œ # œœœ ≈ œ n œœœ ≈ œ œœœ ≈ œ œ Œ
œ
j j j j
? œœœ ‰ b œœ ‰ œ
œ ‰ bœ ‰ œœ ‰ œ œœ
J J œ œ œ ‰ Œ
r j r j r j r j r j r j r j r r j r
œ . œ œ . œ œ . œ œ . œ œ n œ œ . œ œ . œ œ .. œœ
œ
122
S
A & J R J R J #œ œ . œ œ . nœ #œ . œ œ . . j
. .
? œJ œR œJ œR œJ . Rœ # œ . Rœ j œ œ . œœ
clas-sic lore ag-gres-sive (If you’ll par - don the pos-ses - sive) is ex - ceed - ing-ly im -pres - sive When you’re
œ. nœ #œ. œ œ. œ œ. œ œ. nœ œ.
Chorus
J J R J R J R J R J R J œ œ.R J R
R
T
B
clas-sic lore ag-gres-sive (If you’ll par - don the pos-ses - sive) is ex - ceed - ing-ly im -pres - sive When you’re
& œ œœ # œœ œœ n œœ œ b œœ œœ œœœ
œœ œ #œ œ œ œœ b œœœ œœ
œ
œœ
f
? œ œ bœ œ œ œ #œ œ œ œ œ œ
œ œ bœ œ œ œ #œ œ œ œ œ œ
10/’09
Act II 289
j j Œ ∑ ∑ 43
125
S
A & œœ .. œœ œœ .. œœ ˙ .
? œœ .. œœ œœ .. œœ ˙˙ .
Chorus pass - ing an ex - am.
T
B J J . Œ ∑ ∑ 43
j ‰ œ œ ˙˙
pass - ing an ex - am.
j j œ œœ œ œ œœ œœ œœ œ 3
& œœœ ... œœœœ œœœœ ... œœœœ ˙˙˙ œœ œ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ 4
œ. . œ 3
? j j j
œ ‰ Œ Ó Œ œœ ‰ # œœ ‰ œœ ‰ # œœ ‰ œœ ‰ 3
œ. œ œ. œ ˙˙ œ J J J J J 4
œ. œ œ. œ
D
f
34Andante maestoso.
∑ Œ Œ j j œj. œr ˙ ‰ Jœ œ . œ œ . œ
œ . œr œ .
129
S
A & œ J
f ˙ œ œ. œ œ. œ
Wreaths of bay and i - vy twine, E - loi - a! E-
œ . œr œ . œ Jœ . Rœ
Chorus
? 43 ∑ Œ Œ ‰ J J
J J
T
B
Wreaths of bay and i - vy twine, E - loi - a! E-
34 œj
D Andante maestoso.
& œ œ œ œ j j j j
œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ
f
? 43 œœ œ œ œ œœ
j
œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ œœ
j
œœ œœ œœ œœ œœ
j
œœ œœ œœ œ œ
J œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ
j j
.
& œ œ œ. ‰ j œr œj. œr œ . œr œ j œr œj. œr œ . œr
134
S
A œ. ˙ œ.
œ. œ
loi - a! Fill the bowl with Les - bian wine, And to re - vel - ry in -
œ œJ . .
œ . œ œJ . Rœ Jœ Rœ
Chorus
? œ. ‰ œ . œ œJ . œ œ ˙
T
B J R R R J R
loi - a! Fill the bowl with Les - bian wine, And to re - vel - ry in -
& œj œ j j j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œj œ j j j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
290 The Grand Duke
r œ œ ≈ œr œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& œj. œ œ.
138
J R R R R R R R R R R R R R
S
A
œ œ r
œ œ.
Chorus cline— E - loi - a! O - po - po - nax! O - po - po - nax! O - po - po - nax! E -
? œ. J ‰ Œ Œ ‰ œ
≈ R
T
B J R
cline— E - loi - a! O -
j
& œœj œœ œœ œœ œœ œ œ œ œ œ
œ œ œ œ œ œœ œœ œœ œœ œœ
? œj œ j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ
œ œœ œ
œ.
& œ. œ ‰ ≈ œr œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œ œœ ‰ œœ
140
R R R R R R R R RR R R R J
S
A
œœ œ œ œ œœ œ œ œ œœ œ œ œœ œ . œœ œœ r œœ .. œ œœ œ
loi - a! O - po-po-nax! O-po-po-nax! O-po-po-nax! E - loi - a! E-
? R œ œ œ R œ œ œ R œ œ R œ.
Chorus
‰ œ
≈ R œ ‰ Jœ
T
B R R R R R R R R
po-po-nax! O-po-po-nax! O-po-po-nax! E - loi - a! E - loi - a! E-
j
& œœj œœ œœ j
œœœ œœœ œœœ
œ
œœ
œ œœœ œœ
œ
œœ
œ œ œ œœœ œœ
œ
œœ
œ
œœ œœ
œ œ
? œj j j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ U
œ. œœ
(Exeunt Chorus. Manent
& œ. œ œ ‰ œœ ˙ ˙ Œ
143
Ludwig, Julia, and Lisa.)
J ˙ ˙
S
A
œœ .. œ œœ œ œ U˙
loi - a! E - loi - a!
œ ˙
Chorus
? œ ‰ œ
˙ ˙ Œ
T
B J
U˙
loi - a! E - loi - a!
œœ œœ ˙˙˙
& œj œ œ j ‰ œœ ‰ œœ ‰ Œ
œœ œœ œœ œœ œœ œœ J J
œ œ œ
ƒ
? œj œ œœ œœ œœ œ
j ‰ j
œ ‰
j
œ ‰ ˙ Œ
œ œ
œ œ œ œ œ œ œ œ u̇ [Attacca.]
10/’09
Act II 291
No. 15. Recit. (Ludwig) & Song—(Lisa).
j j j r r r
Vc Ó Œ œ œ œj # œj œj œ œ œ œ œ œ Ó Œ‰ b œj œj œ œ œj. b œ
Recit.
Ludwig
Œ œj ‰ j
Yes, Lud-wig and his Ju - lia are ma - ted! For when an ob-scure co -
&c w ww œœ œœ œœ ‰ b b ww
ww w œ œ bw
p j j
?c w
Piano
w œ Œ œ‰ œ‰ w
w w œ œ œ w
j j j r j j ‰ j j j j bœ. œ bœ
œ œ . bœ œ œ œ b œ n œj œj œ b Jœ J R œ Œ œ
5
Ludwig V b œ œ
me - dian, whom the law backs, To sov-’reign rank is prompt - ly el - e - va - ted, He
& Œ ˙
œ
b b œœ œœœ œœœ b b b www b bb œœœ Œ ˙˙
? Œ bœ bœ œ bœ Œ b ˙˙
w
bœ bœ œ w bœ
j œ œ bœ b b b 43
œ . b œ œ œ œ bœ Œ œ œ œj n œj œj œj n Jœ Jœ œ . b œJ b ˙
8
Ludwig V J R J JJ JJ n œ
b b b 43
takes it with its in - ci - den-tal drawbacks! So Ju - lia and I are du-ly ma - ted!
& n ww Œ œ œ n œœ ˙˙
b œœ œœ b œœœ
bœ b www
bw ˙ b œœ
? w Œ œ bw b b b 43
w œ œ b˙ n˙
bw
(Lisa, through this, has expressed intense distress at having to surrender Ludwig.)
A1
j j
b
& b b 43 ∑ Œ Œ ‰ œj œj œ œ ‰ œj œj œj œj œj œ œj
12 Andante con espressione.
Lisa
1. Take care of him— he’s much too good to live! With
b
& b b 43 ‰ œœœ œœ
œ
‰ œœœ œœ ‰ œœœ œœ ‰ œœœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
[p]
? b 3 ˙. ˙. ˙. ˙.
bb 4 œ ‰ Œ Œ œ ‰ Œ Œ œ ‰ Œ Œ œ ‰ Œ Œ
J J J J
10/’09
292 The Grand Duke
b j j œ j œj Œ j
& b b œj œ œ Jœ J Jœ ˙ Œ œ œj
16
Lisa œ œ œ œ
him you must be ve - ry gen - - - - tle: Poor fel-low, he’s so
b œœ b œœœ n œœœ œœ j
&bb ‰ œœœ ‰ œ œ œ œ œœ ‰ œœœ n œœœ
œ œ œ œ bœ œ nœ œœ n œœ œ œ œ
? bb ˙ . ˙. ˙ œ j
b œ ‰ Œ œ ‰ ˙
Œ œ ‰ Œ Œ ˙ œ œ
J J
b j j j œ j
& b b œj œj œj œ œ œ J Jœ œ . nœ nœ ˙ œ Œ œ
20
Lisa
high - ly sen - si - tive, And O, so sen - ti - men - tal! Be
b œ œ
&bb ‰ œœ
œ
œœ ‰ œœ # œœ ‰ œœ œœ ‰ œ œ œ
œ œ œ œ
n œ œ œ œ #œ œ œ œ œ œ
n
? bb n ˙˙˙ œœœ
b ˙. ‰ Œ ˙. ˙ œœ
œ Œ œ ‰ Œ Œ
J J
b bb œ . œ œ œ n œj n œj œ nœ Œ œ œ œ œ b œj n œj œ
24
Lisa & J J J œ J J J J
sure you nev - er let him sit up late In chil - ly o - pen air con -
b b b b n œœœ .. œœ œœ œœ n œ n œ œ n œœ œœœ œ œ œ bœ nœ
& . œ. œ. œ. œœ œœ n œœ # œœ œœ œ ˙˙ œ œ
n œ œ n œœ œœœ œœ œ
? b œ ˙ ˙. Œ œ ˙ œ
bb œ˙ . ˙. œ œ œ
b œ ˙ j j
‰ œj œj œ Œ œ œj œ
B1
&bb œ ˙ œ
28
Lisa
œ œ œ J
ver - - - sing— Poor dar-ling, he’s ex - treme - ly de -
œ œ
b j œ œ œ œ
& b b œœ œœ œn ˙˙˙ œ œ œ œ ‰ œ œ œ ‰ œ œ œ
œ œœ
œœ œœ œ œœ œ œ b œœ
? bb œ œ ˙ œœ Œ ˙. œ œ˙ œ
b œ
œ ˙
10/’09
Act II 293
b œ œ j j
& b b J J œJ œJ n Jœ Jœ œ nœ ˙ Œ Œ ∑
32
Lisa
œ
- li - cate, And wants a deal of nurs - ing!
b ‰ œj j œj œ œ œ œ œ œJ
Ludwig Vbb ∑ ∑ Œ
œ
œ
b œ n œ˙ œ n œ œ
I want a deal of
&bb ˙ œœ n œœ ˙˙ œ Œ Œ ∑
œ œ
? b b œ̇ œ bœ œ bœ
œ œ ˙
œœ ‰ œ œ œ œ œ œ œ
b œ
.
‰ n œj œj œj œ . ‰ œj œ œ œ
b j œ
&bb Œ Œ œ Œ
36
Lisa
J œ J J
b
And O, re -mem - ber this— When he is cross with
Ludwig Vbb œ œ Œ ∑ ∑ ∑
j œ . j
b j œ
nurs - ing!
&bb Œ Œ ‰ n œj œ œœ œœ .. œœ œœ Œ ‰ n œœ œœ œœ œœ b n œœ
#œ œ
? bb œ
cresc.
œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b ‰ œ œ œ
Œ Œ Œ Œ Œ Œ
f j
b
&bb ˙ ‰ œ œ œ œ nœ œ œ œ œj b œ œj œ œ ˙
40
J J J J J J J J J œ œ œœœ
5
Lisa
J
j
pain, A flow -er and a kiss— A sim - ple flow’r— a ten - der kiss Will
b œ
& b b ˙˙˙ œ
œ œ œ
œ
œœ n œ œ ‰ œœ j
œ œœ œœœ œ ˙˙ œœ
j ‰
. œ ˙ œ
f b œœ œœ œœ
œ œœ œœ œœ
? bb
b œ J ‰ n œœ œ ˙ œ
j ‰
˙ œ
b œ œ j ‰ œj j œj œ . j
A2
&bb J Œ Œ Œ
44
Lisa
J œ. œ ˙ œ œ
bring him round a - gain! 2. His moods you must as -
b
& b b œj ‰ ˙ j
œœ œ œœœ œ œœœ œ ‰ œ œœœ œœ ‰ œœœ œœ
n œœ b ˙˙ œ œ œ œ œ œ œ œ
[p]
? b œj ‰ ˙ ˙. ˙. ˙.
bb ˙ . œ ‰ Œ Œ œ ‰ Œ Œ
œ ˙ J J
10/’09
294 The Grand Duke
b b j j j œj œj j j j j œ
b œ œ œ œ Jœ J œJ ˙ Œ
48
Lisa & œ œ œ œ œ œ
sid - u - ous - ly watch: When he suc - cumbs to sor- row tra - - - - gic, Some
b œœ b œœœ n œœœ œœ
&bb ‰ œœœ œœ ‰ œœœ ‰
n œ œ œ œœœ n œœœ
œ œ œ œ œ œ œ œ bœ œ
? bb ˙ . ˙. ˙. ˙ œ
b œ ‰ Œ Œ œ ‰ Œ Œ œ ‰ Œ Œ ˙ œ
J J J
b j j j j j œ j
& b b œj œ Œ œ œj œj œj œj œ œ œ J Jœ œ . nœ nœ ˙
52
Lisa
hard-bake or a bit of but -ter-scotchWill work on him like ma - gic.
b
& b b œœj ‰ œœœ œœ ‰ œœ œ
œ œ n œœ œ
‰ œœ # œœ ‰ œœ œœ
œ œ nœ œ œ œ œ œ œ #œ œ œ œ œ œ
n
? b œj ‰ ˙ ˙. ˙. œœ
bb ˙
œ œ ‰ Œ Œ œ ‰ Œ Œ
J J
b bb œ Œ œ œ. œ œ œ n œj j œ nœ. œ #œ œ
56
Lisa & J J J nœ œ J
To con - tra - dict a cha - rac - ter so rich In
b œ œ œ. œœ œœ
&bb ‰ œ œ œ b n œœ .. œ. œ.
œœ n œ n œ œ
œ. œœ œœ n œœ # œœ œœ œ n œœ œœœ
œ n œœ œœ œœ œ
n œ œ
˙ œœ
? b n ˙˙ œ œ ˙ ˙. Œ œ
bb œ˙ . ˙. œ œ
b œ j j
& b b J œJ Jœ b œJ n œ Jœ œ œ ˙ ‰ œj œj œ œ . j
B2
˙
60
Lisa œ
j œ œ œ œ
trust - ing love were sim - ple blind - - - ness— He’s one of those ex -
b œ
& b b ˙˙ œ œ b œ n œœ œœ œ n ˙˙ œ œ œ œ ‰ œ œ œ
œ œ œœ˙ œœ
œ œœ œ œœ
? bb œ œ œ ˙ œœ Œ œ ˙. œ
b ˙ œ œ œ ˙
10/’09
Act II 295
b œ œ œ j j
& b b œ œ œ œJ J J œJ œJ n œJ œJ œ nœ ˙ Œ Œ
64
Lisa
œ
b
al - ted na - tures which Will on - ly yield to kind - ness!
Vbb ∑ ∑ ∑ Œ ‰ œj j œj
Ludwig
œ
œ œ œ I on - ly
b œ œ œ œ n œ˙ œ n œ œ
&bb ‰ ˙ œœ n œœ ˙˙ œ Œ Œ
œ œ b œœ œ̇
? b b œ˙ œ œ bœ œ bœ œœ ‰ œ œ œ
b œ œ œ ˙
b
&bb ∑ Œ Œ ‰ n œj œj œj œ . œ Œ ‰ œj
68
Lisa
J œ
And O, the by - gone bliss! And
b œ œ œ œ Œ ∑ ∑
Ludwig Vbb œ œ œ œ J
j
b ‰ n œœj
yield to kind - ness!
&bb ∑ Œ Œ ‰ n œj œ œœ œœ .. œœ œœ Œ
# œ œ cresc.
œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ
? b œ
bb œ œ œ ‰ œ œ
Œ Œ Œ Œ
f
b b b œj œ œ . œ ˙ ‰ œ œ œ œ nœ œ œ œ œj b œj œj œ œ
72
Lisa & J J J J J J J J J J J J
j j
bb b œ œœ œœœ . n œ œ ˙˙
O, the pre - sent pain! That flow-er and that kiss—That sim-ple flow’r— that ten -der
œ œ œœ n œœ œœ ‰ j
& bœ œœ œ
œ ˙ œ œ .
œ œ œœœ œœ
f
? b œœ œ œ œ œ œ œ œœ b œœ œœ œœ œ œ œœ œœ
bb J ‰ nœ œ
Œ Œ
b œ œ œ Uœ ˙ (Exit, weeping.) U
b œ n œ Œ ∑ ∑
76
& b ˙ œ œœœœ J J J
5
Lisa
U˙ .
U œ œ œ œ
kiss I ne’er shall give a - gain!
b j j ‰ j œ ˙.
&bb ˙˙ œœ ‰ œ œ œœ œ œ œ ‰ œ œ
˙ œ n œœ b ˙œ˙ œf
œœœ U˙ .
? bb j j ‰ U œ œœ œœ˙ .œœ œœ ˙˙˙ ..
.
b ˙ œ ‰ œ ˙ œ
Œ
˙ œ œ ˙
10/’09
296 The Grand Duke
Julia. And now that everybody has gone, and we’re happily and comfortably
married, I want to have a few words with my new-born husband.
Ludwig (aside). Yes, I expect you’ll often have a few words with your new-born
husband! (Aloud.) Well, what is it?
Julia. Why, I’ve been thinking that as you and I have to play our parts for life, it
is most essential that we should come to a definite understanding as to how they
shall be rendered. Now, I’ve been considering how I can make the most of the
Grand Duchess.
Ludwig. Have you? Well, if you’ll take my advice, you’ll make a very fine part
of it.
Julia. Why, that’s quite my idea.
Ludwig. I shouldn’t make it one of your hoity-toity vixenish viragoes.
Julia. You think not?
Ludwig. Oh, I’m quite clear about that. I should make her a tender, gentle,
submissive, affectionate (but not too affectionate) child-wife—timidly anxious to
coil herself into her husband’s heart, but kept in check by an awestruck reverence for
his exalted intellectual qualities and his majestic personal appearance.
Julia. Oh, that is your idea of a good part?
Ludwig. Yes—a wife who regards her husband’s slightest wish as an inflexible
law, and who ventures but rarely into his august presence, unless (which would
happen seldom) he should summon her to appear before him. A crushed, despairing
violet, whose blighted existence would culminate (all too soon) in a lonely and
pathetic death-scene! A fine part, my dear.
Julia. Yes. There’s a good deal to be said for your view of it. Now there are
some actresses whom it would fit like a glove.
Ludwig (aside). I wish I’d married one of ’em!
Julia. But, you see, I must consider my temperament. For instance, my
temperament would demand some strong scenes of justifiable jealousy.
Ludwig. Oh, there’s no difficulty about that. You shall have them.
Julia. With a lovely but detested rival—
Ludwig. Oh, I’ll provide the rival.
Julia. Whom I should stab—stab—stab!
Ludwig. Oh, I wouldn’t stab her. It’s been done to death. I should treat her
with a silent and contemptuous disdain, and delicately withdraw from a position
which, to one of your sensitive nature, would be absolutely untenable. Dear me, I
can see you delicately withdrawing, up centre and off!
Julia. Can you?
Ludwig. Yes. It’s a fine situation—and in your hands, full of quiet pathos!
10/’09
Act II 297
No. 16. Duet—(Julia & Ludwig).
# r r j
V c ∑ Ó Œ ‰ j œ Jœ Jœ œ œ œ œJ Jœ œ
Allegro moderato.
Ludwig
œ J J
. . . . . . Now Ju - lia, come, Con - sid- er it from This
# œ œ œ œ œ œ j j
œœ ‰ œœ œœ œœ ‰ œ œœ
j œ
& c œ. œ œ œ œ œœ œ œ œ œ œ œ # œ œ
œ
J
f p
œ. œ. œ. œ. œ. œœ. œ œ
? # c œœ .. œ œ œ œ J œ œ œ #œ œ
œœ œœ œœ
‰ ‰ œœJ
Piano
œ J ‰ ‰ J J
J
# r r
j j
œ œj œj œ œ ‰ j œ Jœ œJ œ œ œ œJ Jœ œj j j
œ œj œj œ œ ‰ j
4
Ludwig V œ J J œ
dain-ty point of view— A tim - id ten - der Fem-in - ine gen -der, Prompt to coy - ly coo— Yet
# j‰ œ œ j
& œœ œ œ œ œ œ œœ
œ œ œ œœ ‰ œœ œœ œœj ‰ œ œ
œ œ œ
j ‰ œ
œ œ œ œ
œ
œ œ œ œ œ œœ
? # œJ ‰ ‰ œJ œœ œœ œœ œœ œœ œœ œœ
J ‰ ‰ J J ‰ ‰ œœJ œ ‰ ‰ œ œœ œœ œœ œœ
J J
# œ œ j
œ œj œj œ œj œj œj œj œj œj œ j j j
œ # œj œj œ œ œj œj œ
j
7
Ludwig V J J J œ
si - lence seek- ing, Sel - dom speak-ing Till she’s spo-ken to— A com - fy, co - sy, Ro - sy - po - sy
# j
& œœ ‰ ‰ œj œj ‰ ‰ œj œœ œ œ œ œ œœ œœ œœ w
œ #œ œ œ œ
œœ # œœ œœ œ œœ # œœ œœ œ œ J ‰# œ œ Œ œ œ
œœ
? # œœ ‰ ‰ œj œj ‰ ‰ œj œ œ œ œ œ œ œ œ
œ œ œ ‰ Œ œ
J ‰ Œ
J œ
J
# œr œr j œj j j j j j
‰ j œ. œ œj œj œj œ œ œ œJ Jœ œ ‰ j
10
Ludwig V œ œ œ œ œ
# #Ÿ~~~~~~~~~~~~~~~ j
in - no - cent in - gen-oo! The part you’re suit - ed to— (To give the deuce his due) A
& ˙ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœ œ
?# J œ œ
‰ J ‰ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ
J w œ œ
10/’09
298 The Grand Duke
13
# ∑ Ó Œ ‰ j œ j j j œj
Julia & œ œ œ œ œ
# œ j r r j r r j r r œ œr œr j j j Œ
I’m much o - blig’d to you, I
Ludwig V J œ œ œ œ œ œ œ œ œ J œ œ œ œ ∑
sweet (O, jim - i - ny!) Mim-i - ny pim-i - ny In - no - cent in - gen-oo!
j
# œ
& œ œ. œ œ œ œ œ œœ œ œ
œ. œ œ œ œ œœ ‰ œœj ‰ œ
5 5
. œ œ œœ œ œœœœœ œ œ œ
? # œœ ‰ Œ œœ ‰ Œ œ ‰ œ ‰ œj ‰ Œ œœœœœ œ œ œ
J J J J w
# j j
œ œ ‰ j œ j r r j œr œr j r r œ œ œ j œj j Œ
16
& œ œ œ
Julia
J J œ J œ œœ œ œ œœ J R R œ œœ
#
Œ ‰ j j œj œr œr œj œr œr œj œr œr œj r r j œJ œ œ Œ
don’tthink that would do— To play (O, jim-i - ny!) Mim-i - ny pim -i - ny, In - no-cent in-gen-oo!
V Ó
Ludwig
œ œ œ œ œ J
œ œ 5œ œ œ
O sweet (O, jim-i - ny!) Mim-i - ny pim -i - ny, In - no-cent in-gen-oo!
# œ j j j
& œœ œ œ œ œ œ œ œ. œ œ œ œ œ œœ œ. œ œ œ œ œ œœœ ‰ œœ ‰ œ ‰
5 5
œ œ . œ œ
œ p
?# œ œ œ œ œ œœ œ œ ‰ Œ œœ ‰ Œ œ ‰ œ ‰ œj ‰ Œ
œ œ œ J J J
J
# j j
A
j j œj œj œ œ œj œj
& Ó Œ
19
Julia œ œ œ œ J J
# œœœ œœ
You for - get my spe - cial ma - gic (In a
œ œ œ
& J ‰ J
‰ œ ‰ Œ œ œœ œ œœ
J
œ œ j œ #œ œ œ
?# œ ‰ œ ‰ œ ‰ Œ w
J J œ
# j j j j j j œj œj œj œj œJ œJ j j j j
œ œ œj œ œj œ œ œ œ
21
Julia & œ œ œ œ œ œ œ J J
high dra - ma - tic sense) Lies in sit - u - a - tions tra - gic— Un - de - ni - a - bly in-tense. As I’ve
# œ
& œœ œ œ œœ œ œœ œœ j‰ j‰
œ # œœ œœ # œœ œ œ
œ œ œ #œ œ œ ˙œ
?# œ w œœ ‰ œ ‰
œ œ œ œ J J
10/’09
Act II 299
24
# b œj œj œj œj œj j j j b œj j œ j œ j j b œj œj œj œj œj œj œj œj
Julia & œ œ œ nœ J œ œ œ
j
jus - ti - fied pro - mo-tion In the his - tri - on - ic art, I’ll sub - mit to you my no-tion Of a
# b œ ‰ n œj ‰ j
& b ˙˙ ˙
b ˙˙ œœœ ‰ Œ b˙ ˙
b ˙˙
b˙ b œœ œœ b ˙˙
S [S ] [S ] [S ]
? # b n ˙˙ ˙ j ˙
˙ b n œœ ‰ œJ ‰ œ ‰ Œ b n ˙˙ ˙
J
#
bœ œ Uœ Œ ∑ ∑ ∑
27
Julia &
# Ó U œ j j j
first - rate part.
Ludwig V Œ œ œ # œj œ œj œj Jœ œJ n œ œ œ œ ˙ ˙ Ó
U
Well, let us see your no-tion Of a first - rate part!
# œœ # œœ Œ j
& bœ œœ ‰ œœj ‰ œœ œ œœœ œœœ ˙˙ ˙˙˙ ww
b œœ œ œ œ ˙ ˙ w
f
U
? # b n œœ b œœ œœ Œ œ œ œ
n œ ‰ œ ‰ œJ ‰ œ œ ˙ ˙
J J ˙ ˙ w
# U] U]
(spoken,
31
&
dramatically). [ [
Julia
{II find
have a rival! Frenzy-thrilled,
} My heart stands still—with horror chilled—Hard as the millstone nether! Then
U U]
you both together!
# ∑ Œ ∑
&
[
>j .j
?# U b œœ œœ ‰ U]
∑ Œ # œœ ‰ Œ ∑
[
J œ
J.
>
34
# U]
&
[
Julia
quaily, quaky— I track her on her homeward way,
{
softly, slyly, snaily, snaky— Crawly, creepy,
}
U]
As panther tracks her fated prey!
# n œœ œ # ## œœœ # œœœ
& Œ b b œœœ b œœœ Œ n #n œœœ n œœœ Œ œ n œœ Œ ∑
[
π
U]
? # œ b b œœ Œ œœ n n œœ Œ œ nœ œœ # # œœ Œ #w
œœ œ # œœ œœ Œ œ #œ b ww
[
œ #œ
10/’09
300 The Grand Duke
37
# U U]
&
(Furiously.) [
Julia
I fly at her soft white throat— The lily-white
{ laughing leman! On her agonized gaze I
}{ My rival she—I have no doubt of her—So I hold on—till
the breath is out of her!—till the breath is out of her! }
œ b œœœœ
gloat With the glee of a dancing demon!
# U
& Œ ‰ ≈ R J ‰ Œ
j ƒ p w U
j U ww
? # œœ ‰ Œ œ ‰ Œ w
œ œ œ nœ œ bœ œ bœ w
œ u
40
# U
Julia &
{And then—Remorse! Remorse! O cold
} That lifeless form I gaze upon— That face, still warm But weirdly wan—
U
unpleasant corse, Avaunt! Avaunt!
# ∑
& n b ˙˙ ˙˙ b b ˙˙ n ˙˙
π
?# U
∑ ∑ ∑
43
#
Julia &
{Those eyes of glass
I contemplate— } {And then, alas,
Too late—too late!}
b œœœœ œœœœ
I find she is—your Aunt! Then, mad— mad—
# œœ
& b n ˙˙ Ó œœ ‰ Œ Œ Œ
b ˙˙ ˙˙ b ˙˙ J
ƒ j p
?# ∑ Ó # ˙˙ Ó œ ‰Œ ∑
œ
47
#
Julia &
b œœœœ
mad! With fancies wild—chimerical— Now sorrowful—silent—sad— Now hullabaloo hysterical!
#
& Œ Ó n b ˙˙ ˙˙ #˙ b˙ n˙ ˙
π
˙ ˙ b˙ ˙
?# ∑ ∑
10/’09
Act II 301
50
#
Julia &
#
Ha! ha! ha! ha! But whether I’m sad or whether I’m glad, Mad! mad! mad! mad!
& n˙ b˙ bœ œ œ œ œ œ # ˙ ˙
œ œ b ˙ ˙ ˙˙ ˙ # ˙˙ ˙ ˙˙ ˙ ˙ ˙ ˙
? # ˙ b˙ #œ œ œ œ nœ bœ œ œ œ. nœ ˙ bœ. nœ ˙ ˙ ˙ ˙ ˙
J J
# U] œ j r j
œ . œ œj œ œj œj œj œ œ œ œ œ œ
j
B
Ó Œ ‰ j
54
&
[
Julia
œ
U]
This calls for the re - sour-ces of a high - class art, And
# œ œ œ œ œ œ œ
(Wait till Julia springs up.)
& ∑ œ
œ œ œ œœœ
[
œ œ œ œ œ œ œœ œ
π U f
?# ˙ ˙
Œ
w
œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
w œ œ œ
˙ ˙
# j j j j j j j j j j j j j œ
& œJ œ œ œ œ œ œ Jœ œ œ ‰ œ œJ œ œ œ œ œ œ
58
Julia œ J
sat - is - fies my no-tion of a first - rate part, And sat - is - fies my no -tion of a
# ∑ Ó Œ ‰ œj œJ œj œj œj œj œj œj œJ
Ludwig V
And sat - is - fies her no -tion of a
# œ j j œ
& œ œ 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. œœ œœ
5 5 5
œ œ œ œ œ
? # œœ ‰ Œ œ ‰ Œ
œ œ ‰ œ ‰ œ œ œ œ ‰ œ
œ œ
œ
œ œ
J J J J J
# œ œ œ Uœ
& œ Ó ∑ ∑
61
œ ˙
(Exit Julia.)
Julia
U̇
first - rate part!
#
Ludwig V œ œœ ˙ Ó ∑ ∑
œœ œœœ œœœ œœœ œ œ
U œ œ œ
first - rate part!
# ˙ j œ œ œ œ œ œ œ œ œ œ œ œ œ J ‰ Œ œœœœ ‰ Œ
& ˙˙ ˙˙ œ‰
˙ œ J
U jƒ j j
?# ˙ œ œ œ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ ‰ œœœ ‰ œœ ‰ œœ ‰ œ‰Œ œ‰Œ
œ J œ œ œ J œ œ œœ œ
œ œ J J J J J [Attacca.]
10/’09
302 The Grand Duke
No. 17. Chorus with Solos—(Baroness & Ludwig).
Enter all the Chorus, hurriedly, and in great excitement.
œœœœœ œ œ œœœœœ œ œ
bb b C œ œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ n œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ n œ
Allegro con brio.
& J J Jœ n œJ J J Jœ n Jœ
f œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ nœ
? bb C œ œ œ œ œ
Piano
b
œ œ œ œ œ œ œ œ œ œ
bb b œ .. œ œ .. œ n œ . œ œ . œ b œ œ œ œ œ œ œ œ œ œ œ œ
5
& J J nœ. J œ. J bœ
œ
œ œ
œ œ
œ œœ œœ œœ œœ œ
œ œ
œ b œœ œœ œœ œœ œœ œœ
? b b œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b
S
bbb j œj œj j œj œ œ œj
A
∑ Ó ˙
9
S
A & œ œ J J
S˙ œ œ Jœ Jœ Jœ œJ
Your High - ness, there’s a par - ty at the
œ
Chorus
? bb ∑ Ó œ
T
B b J J J J
œ
j j j
Your High - ness, there’s a par - ty at the
b J
& b b ‰ ‰ n œ ‰ œ ‰ œ ‰ œj ‰ j ‰ j ‰ j œ
A
œœ œœ œœ
œ œ œ œ œ œ
œœ . .
? bb J ‰ n œ œ œ. œ. œ œ œ œ
b œ. œ. œ. œ œ œ
b
&bb ˙ Œ œ j œj j j œj œ œ œj œ œ Œ œ
12
S
A œ œ œ J J
˙ œ œ œ œ œ œ
door— Your High-ness, at the door there is a par - ty— She
œ œJ œJ œ Jœ J J œJ
Chorus
? bb Œ Œ
T
B b J J
door— Your High-ness, at the door there is a par - ty— She
b
& b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
Act II 303
b j œ œ œ œ œj œ œ œ œ j j j j j j
& b b œJ œJ Jœ œJ œ Jœ œJ Jœ J œ œ œ Jœ œ œ œ
15
J J J J J J J
S
A
œ œ œ œ œ œ œ œ œ œ
says that we ex - pect her, But we do not re - col-lect her, For we nev - er saw her coun -te-nance be -
? b b œJ œJ Jœ œJ œ Jœ œJ Jœ
Chorus
J J J J J J J J J œ œ œ J œ œ œ
T
B b J J J J J J J
says that we ex - pect her, But we do not re - col-lect her, For we nev - er saw her coun -te-nance be -
b
& b b œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ n œœœ œœœ
œ œ œ œ œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ
œ œ œ œ
b œ œ œ œ œ œ œ œ
&bb ˙ Œ œ Œ Œ
18
S
A J J J J J J J J œ œ
œ œ œ œ œ œ œ œ
fore! With rage and in - dig - na - tion she is rife, Be -
˙ œ œ œ
Chorus
? bb Œ J J J J J J J J Œ Œ
T
B b
fore! With rage and in - dig - na - tion she is rife, Be -
b
& b b œœœ œœ
œ
œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ
f
? bb œ œ œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ œ
b b b œ œ œ œ œ j œj j Œ j j œ œ j j œj j j j
21
S
A & J J J J J œ œ œ œ œ œ J J œ œ œ œ œ
œ œ œ œ œ œ œ œ
cause our wel-come was - n’t ve - ry heart - y— She’s as sul - ky as a su - per, And she’s
œ œ œ œ œ œ œ œ
Chorus
? bb J J J J J J J J œ œ Œ œ œ J J J J J J J J
T
B b J J
cause our wel-come was - n’t ve - ry heart - y— She’s as sul - ky as a su - per, And she’s
b
& b b œœ œœ œœ œœ œ œœ œœ œœ œ œ œœ œœ
œ œ œ œ n œœ œ œ œ b œœ œœ œ œ
? bb œ œ œ œ œ œ œ œ nœ œ œ œ
b œ œ œ œ œ œ œ œ nœ œ œ œ
10/’09
304 The Grand Duke
b j j œj œj ˙
& b b œ œj œj œj œj œj œj œj j j j œ Œ
24
j j œ
œ œ œ œ œ
S
A
œ ˙
swear-ing like a troop-er, O, you nev - er heard such lan-guage in your life! You
œ œ œ œ œ œ œj œj j œj œj œ œ œ œJ œJ
Chorus
? bb Œ
T
B b J J J J J J œ J J J
swear-ing like a troop-er, O, you nev - er heard such lan-guage in your life! You
b
& b b œœ œœ œœ œœ œ œœ œœ œœ œœ Œ ˙˙
œ œ œ œ œ œ œ œ œ ˙
>
? bb œ œ Œ
b nœ œ bœ œ œ œ nœ ˙
nœ œ œ œ bœ œ œ œ nœ ˙
>
j j j
b
& b b œj œ œ Jœ œ œj œj œj 32 Œ Ó Ó
27 L’istesso tempo.
œ
S
A
nev - er heard such lan - guage in your life!
œ œ œ œ
Chorus
? bb œ œ J J J J œ œ 32 œ Œ Ó Ó
T
B b J J J J
nev - er heard such lan - guage in your life!
bbb 32 j ‰ ‰ j ‰ j ‰ j ‰ j
L’istesso tempo.
& œœ œœ œœœ œœœ œœ œ bœ
œ œ œ œ b œ n œœœ
? bb 32 œ œ bœ œ bœ
b œ œ œ œ œ œ
œ œ œ œ
Enter Baroness von Krakenfeldt, in a fury.
b
&bb Ó Ó Œ j j j j œj j œj œj n œ œ
29
Baroness
œ œ œ œ œ œ
With fu - ry in - de - scri - ba - ble I burn! With
b
& b b œj ‰ ‰ œj ‰ b œj ‰ j ‰ j n œ j
œœ ‰ ‰ œj ‰ b œj ‰ œj ‰ b œj n œœœ
œœ œ b œ œœ œ
p
? bb œ œ bœ œ bœ œ œ bœ œ bœ
b œ œ œ œ
10/’09
Act II 305
j j j j j j j
b
& b b œj œj œj œ œ œj œ b œ n œ œ œ b œ b œJ œ œ b œj œ œj b œj œ
31
Baroness
J J J bœ
rage I’m near-ly rea-dy to ex - plode! There’ll be grief and tri - bu - la - tion when I learn To
b
& b b œj ‰ ‰ œj ‰ b œj ‰ œj ‰ b œj n œ œ
b œœ
j ‰ ‰ j‰ j ‰ j ‰ œ œ
nœ bœ
œœ œœ œ bœ
? b œ œ bœ œ bœ œ œ bœ nœ bœ œ
bb œ œ
b j j j
& b b œJ b œJ Jœ b œ œ œj œ œj œ Œ Ó Ó Œ
33
j j
œ œ
Baroness
b j j
œœ ‰ b œœj ‰ n œœj n œ
whom this slight un - bear - a - ble is owed! For what-
& b b ‰ b b œœ ‰ œ bœ œ bœ œ œ œ œ œ
œ œ œ œ œ
? b bœ bœ œ nœ œ
Œ b b ˙˙˙ b œœ n n œœ n œœ
Œ
bb
b j j j j j j
& b b œj n œ œj œj œj œ œj œj Jœ œJ j j œj œ œ œj œj œ œ œj Jœ œJ Jœ Jœ
35
œ œ
Baroness
b
ev - er may be due I’ll pay it dou-ble— There’ll be ter -ror in - de - scri-ba - ble and trou-ble! With a
& b b œ nœ œœ œ œœ œ œœ œ ‰ œ œ œœ œ œœ œ œœ œ œœ ‰ œ ‰
œ œœ ‰ œ œ
j j j j j j j j
? b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ ‰ œœ ‰
bb œ œ œ œ œ œœ œ œ œ œ
b b œ œ œ œ œj j j j j j œ j
b œ œj œj œJ œ œj œj œj œ Œ
37
Baroness & J J J J œ œ œ œ œ J
b
hur - ly bur - ly and a hub-ble-bub-ble I’ll pay you for this pret - ty e - pi - sode!
&bb ∑ Ó Ó Œ j j
œ œ
S
A
? b j j
Chorus Oh, what -
T
B bb ∑ Ó Ó Œ œ œ
Oh, what -
b j
& b b œ ‰ œ ‰ œ ‰ œ ‰ œœ ‰ œœœ œœœ ‰ œ ‰ œ ‰ œ ‰ œj ‰
œ œ œ œ œ œ œ œ œ œ
f
? b œ ‰ œ ‰ j‰ œ œ œ œ
bb œ œ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œJ ‰ Œ
10/’09
306 The Grand Duke
b j j j œj œj j j œj œj j œ œ
& b b œj œ œj œj œj œ œj œj œJ Jœ œ œ
39
œ œ œ œ œ J J J J
S
A
? b b œ œJ œ œ œ œJ œ œ œJ Jœ œ œ œ œ
ev - er may be due she’ll pay it dou-ble!— It’s ve - ry good of her to take the trou-ble— But we
œ œJ œ œ œ Jœ œ œ J J
Chorus
b J J J J J J œ J J J J J J J
J
T
B
ev - er may be due she’ll pay it dou-ble!— It’s ve - ry good of her to take the trou-ble— But we
b
&bb
œ œ œ œ œ j œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ j
? b b œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ œ ‰
œœ œ œ œ œ œ œ ‰
œœ
b œ ‰ œ ‰ œ ‰ œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ œ
œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰
J J
j
b œ
&bb J œ œ œ œj œj œj j j j œ œ œj œj œJ œ œj œj œj œ Œ n n n 68
41
S
A J J J œ œ œ J
œ œ œ œ œ œ œ œ œ œ œ œ œ
J Jœ Jœ Jœ œJ œ œj œj
Chorus don’t know what she means by “hub-ble-bub-ble”— No doubt it’s an ex-pression à la mode.
? bb J J J J J J J J J J Πn n n 68
T
B b J
don’t know what she means by “hub-ble-bub-ble”— No doubt it’s an ex-pression à la mode.
b j j n
&bb œœ ‰ œœ
œ œœ ‰ œj ‰ œ ‰ œ ‰ œ Œ n n 68
œ
> œœ œœ œœ œœ
? bb
œœ ‰ œœ ‰ œœ ‰ œœ ‰ œj j j
b œœ ‰
œ
œ ‰ œ
œ œ
‰ œ ‰ œ
‰
œ œ ‰ œ ‰ œ ‰ œ ‰ œœ Œ n n n 68
œ > œ œ œ
B
j j
& 68 ‰ ∑ Œ ‰ Œ j ‰ Œ ‰
42a Allegro vivace.
œ œ œ #œ œ œ
(To Ludwig.)
Baroness
Do you know who I am?
j j
V 68 ‰ ∑ ∑ ∑ Œ œ #œ œ
(examining her).
Ludwig
I don’t; Your
j œ œ œ
B
j j j
& 68 œ œ œ œœœ ‰ œœœ # # œœœ ‰ œœœ œœœ ‰ œœœ # œœœ ‰ œœ
Allegro vivace.
œ œ œ œ œ œ
J #œ
f p
? 68 œ œ œ œ œ œ œ œ œ
œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
J J J J J
œ œ œ œ œ œ œ œ
10/’09
Act II 307
∑ Œ ‰ Œ j j j ‰ Œ ‰
47
& œ œ œ #œ œ œ
(Showing pocket-handkerchief.)
Baroness
This proves I’m not a sham.
j j j œ œ œ œ ‰ ∑ Œ j j
V œ #œ œ J œ œ #œ œ
(examining it).
Ludwig
J
coun - te - nance I can’t fix, my dear. It won’t; It
& œœ ‰ œœ œ ‰ œ œœ ‰ œœ œœ ‰ œœœ œœœ ‰ œœœ # # œœœ ‰ œœœ œœœ ‰ œœœ # œœœ ‰ œœ
œ œ n 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 œ œ œ œ œ
∑ Œ ‰ Œ œ œ j œ œ ‰ Œ ‰
51
Baroness & J œ œ J
Ex - press your grief pro - found!
j j j œ œ œ œ œ
Ludwig V œ # œ œ J J Jœ J ‰ ∑ Œ j
œ œ
œ
J
on - ly says “Kra -ken-feldt, Six,” my dear. I sha’n’t! This
& œœ ‰ œœ œ ‰ œ œ œœ ‰ ‰ œ œœ ‰ ‰ œ
œ œ n œœ œœ œœ ‰ œœ œœ J œœ œœ œ œœ œœ œ
œ œ œ
?œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ . .
œ œ œ œ œ œ œ œ̇ ‰ œ œ ‰ œ œ̇ ‰ œ œ ‰ œ
∑ Œ ‰ Œ œ œ j œ œ ‰ Œ ‰
55
Baroness & J œ œ J
Ru - dolph at once pro - duce!
œ œ œJ œ j j œ
Ludwig V œ J J J
œ œ œ ‰ ∑ Œ
œ œ J
tone I nev - er al - low, my love. I can’t; He
& œœ ‰ # œ œ ‰ œœ œœ ‰ œ ‰ œœ œœ ‰ œ
œœ œœ ‰ œ
œœ ‰ œ
œœ œœ ‰ œ
œ œ œ
œ œ
? #˙. . . .
œ œ œ œ œ̇ œ œ œ œ̇ œ œ œ œ̇ œ œ œ
J J J J J J J J
10/’09
308 The Grand Duke
C
∑ Œ ‰ Œ j j j j j
59
&
(astonished).
Baroness
œ œ œ œ œ œ
He is - n’t at home just
œ œ
Ludwig V œJ J œ
J
œ
J
œ œ
J
œ ‰ ∑
is - n’t at home just now, my love.
j j C
& œœ ‰ ‰ œœ œœ ‰ œœ œœ ‰ n œœ n œœ œ
œ
œ
œ
œ
œ ‰ œ
œ
œ œ
j p
? #˙. œ. œ ‰ œœ # œœ œœ œœ œœ ‰ œœ
œ œ œ œ œ œ œ J
J J J J
œ. Œ ‰ ∑ ∑ ∑
62
Baroness &
f . f (dancing derisively).
j j j j j j
œœ œœ œj œ j j
now!
& Œ ‰ # œœ . œœ œ ‰ ‰ œ . œœ œœ œœ œœ œœ œœ
J J œ #œ J
S
A
f n œœ .. œœ œœ œ œ
He is - n’t at home just now! He has an ap - pointment par -
œ œœ fœ . œœ œœ œœ œœ œœ œœ
Chorus
? Œ ‰ J J œ œ œ
T
B
J J J ‰ ‰ J J J J J J
j n œœ . œœ œœ n œœ œ œœ
He is - n’t at home just now! He has an ap - pointment par -
# n œ .. œ œ œ # œœ œ
& # œœ ‰ ‰ œ
J œ ‰ ‰ œ.
J œœœ œœœ œœ œœ œœ œœ
œ. œ. œ. œ.
. .
f f p
œœ œ œ œ œ œ œœ
? J ‰ ‰ œœ .. œ œ œ œ œ œ. j ‰ ‰ œj ‰ ‰
J J ‰ ‰ œ. œ
j j œj j j œj j j œj j j j j j j j j j j j j j j j
œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
66
& œœ œœ œ œœ œœ œ
J
S
A
œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Chorus ti - cu - lar, ve - ry— You’ll find him, I think, in the town cem - e - ter - y; And that’s how we come to be
T ? œJ œJ Jœ œJ Jœ J J J J J J J J J J J J J J J J J J J
B
ti - cu - lar, ve - ry— You’ll find him, I think, in the town cem - e - ter - y; And that’s how we come to be
& œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ
. . . . . . . . . . . . . . . . . . . . . . . .
j œœ œ œ
? œj ‰ ‰ j ‰ ‰ œœ ‰ ‰ œ ‰ ‰ ‰ ‰ Jœ ‰ ‰ œ ‰ ‰ j
œ J œ J J œ ‰ ‰
10/’09
Act II 309
j j œj j j r r j j j œ j j j œ
j j
œœ # œœ œœ œ # œœ # œœ ‰ ‰ œ .. œœ œœ # œœ # œ n œ œœj
70
& œœ œœ œ œœ œœ œœ œœ œ
J J J
S
A
r r
mak - ing so mer - ry, For he is - n’t at home just now! He is - n’t at home just
œ œ œ œ œœ
? œ œ œ œ œ R œR Jœ Jœ Jœ œ
œ œ œ œ œ œ œœ œ œ œ œ œ
Chorus
œ.
J J J J J J J ‰ ‰ œ. œ œ œ œ
J J J
œ
J
T
B
j
mak - ing so mer - ry, For he is - n’t at home just now! He is - n’t at home just
& œœœ œœœ œœœ œœ œœ œœ œœ œœ # œœ œ ‰ ‰ œœœœ .... œœ œœ # œœ # œœ n œœ
œ. œ.œ # œ. œ . . . # œ. . . . . .
œœ
.
. . . . . .
f
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ. œ. œ. œ. œ. œ.
? œj ‰ ‰ œj ‰ ‰ œ
J ‰ ‰ œ .. œ œ œ œ œ œ
D
j j j j œ j œ
& Œ ‰ œ. œ
74
Baroness œ œ #œ œ œ œ #œ œ #œ œ J
But bless my heart and soul a - live, it’s im - pu-dence per -
j
& œ ‰ ‰ Œ ‰ ∑ ∑ ∑
J
S
A
? œœJ ‰ ‰ Œ
Chorus now!
T
B
‰ ∑ ∑ ∑
now!
j
D
& œ. ‰ ‰ œœ .. œœ ‰ œœ # # œœ ‰ œœ œœ ‰ œœ # œœ ‰ œ œœ ‰ œœ œ ‰ œ
œœ .. œ œ œ œ œ œ œ # œœ œ œ n œœ œœ
f p
.
œ
? œJ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
œ.
œ œ œ œ œ œ œ œ œ œ œ œ
78
œ œ œ j j j j j œ jœ œ
Baroness & J œ œ œ #œ œ œ œ #œ œ #œ œ J
son - i - fied! I’ve come here to be ma - tri - mo - ni - al - ly ma - tri -
& œœ ‰ œœ œœ ‰ œœœ œœœ ‰ œœœ # # œœœ ‰ œœœ œœœ ‰ œœœ # œœœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ #œ œ œ nœ œ
? œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
310 The Grand Duke
& œ œ œ ‰ ∑ ∑ ∑
82
Baroness
J
mo - ni - fied!
V Œ ‰ Œ œ œ œ œ œ
Ludwig
J œ j
œ œ
œ
J
œ j
œ œ
œ
J
œ
J J
For a - ny dis - ap - point - ment I am sor - ry un - af -
œ
& œœ ‰ œœ œœ J œœ ‰ œœ œœ ‰ œœ œœ ‰
œœ œœ
‰ œœ œœ ‰
# œœ œœ
‰ œœ
œ œ œ
? œ ‰ œ œ ‰ œ̇ . œ œ . # ˙œ .
œ œ œ ‰ ‰ œ œ̇ ‰ œ œ ‰ œ œ œ
J
œ
J
j œ œ j œ œ j œ
F
œ œ œ œ œ
V œ
86
Ludwig œ œ J œ œ J œ œ J J J
fect - ed - ly, But yes - ter - day that no - ble-man ex - pir’d quite un - ex -
& œœ ‰ œ œ ‰ œœ œœ ‰ ‰ œœ œœ ‰ œ
œœ œœ ‰ œ
œœ ‰ ‰ œœ
œ œ œœ œœ œ œ
? . . . #˙.
œ̇ œ œ œ œ̇ œ œ œ œ̇ œ œ œ œ œ œ œ
J J J J J J J J
V œ œ œ ‰ ∑ ∑ ∑
90
Ludwig
J
p (sobbing).
pect - ed - ly—
& ∑ œ # œj n œj b œj œj œ j j
# œ n œ b œj œj œ
j j
# œ n œ b œj œj
unis.
S
A
pœ
Tol the rid - dle lol! Tol the rid - dle lol! Tol the rid - dle lol!
œ œ
Chorus
? ∑ #œ nœ bœ œ #œ nœ bœ œ #œ nœ bœ œ
J J J J J J J J J J J J
unis.
T
B
j
Tol the rid - dle lol! Tol the rid - dle lol! Tol the rid - dle lol!
& œœ œœ œœ ‰
p
j j j
? œ. œ ‰ œ #œ nœ bœ œ œ #œ nœ bœ œ œ #œ nœ bœ œ
œ œ œ œ #œ nœ bœ œ œ #œ nœ bœ œ œ #œ nœ bœ œ
J J J J
10/’09
Act II 311
f (then laughing wildly).
‰ n œœ œœJ Jœœ Jœœ Jœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
& b œ œj œ
94
J J J J J J J J J
S
A
œ œœ œœ œœ œœ œœ œœ ..
lol lol lay! Tol the rid - dle lol! Tol the rid - dle lol! Tol the rid-dle lol! lol lol lay!
fœ œ œ #œ œ œ œ œ
Chorus
T
B
? bœ œ œ
J ‰ J J J J J Jœ # œJ Jœ œ œ J J J
J J
lol lol lay! Tol the rid - dle lol! Tol the rid - dle lol! Tol the rid-dle lol! lol lol lay!
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ ...
n œœ
& œ œ œ œ œ œ œ œ œ œ œ œ œ J
f
j œ œ œ # œ œ œ œ œ # œ œ œ œj œœ œœ ..
? bœ. œ œœ œœ ..
œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ
bœ. œ J #œ J #œ œ œ œ œ œ J
J
œœ . œœ œœ œœ œj œj j j j j j j j œj j œj œ . œ
& J. œ ‰ ‰
99
R J J œ œ œ œ
œ œ œœ œœ œœ œœ œœ œ œ œ œ œ œ . œ
J
S
A
œœ .. œœ œœ œœ œ
Tol the rol lid - dle lol, lid - dle lol, lid - dle lol! Tol the rid - dle lol lay!
R J J œJ Jœœ œœ œœ œœ œœ œœ .. œœ
Chorus
? J œœ œœ œœ œ œœ œœ œœ J ‰ ‰
T
B J J J Jœ J J J J J J
Tol the rol lid - dle lol, lid - dle lol, lid - dle lol! Tol the rid - dle lol lay!
œœ .. œœ œœ œœ œ œ j œœ
& œ. œ œ œœ œœ œœ œ œœ œœ œœ œœ œœœ œœœ œœ
œ
œ.
œœ .. œ ‰ ‰
œ J
œœ œœ œœ œ œœ ‰ ‰ œ œœ œœ œœ j œ. œ
? J ‰ ‰ œ œ œ œ œ
J œ œ œ œ œ œ. œ ‰ ‰
J
œœ .. œœ œœ œœ œj œj j j j j j j j j j j j
œœ œœ œœ œœ œœ .. œ ‰ ‰
103
S
A & J R J J œ œ œœ œœ œœ œœ œœ œœ œœ œ
œœ .. œœ œœ œœ œ œ
Tol the rol lid - dle lol, lid - dle lol, lid - dle lol! Tol the rid - dle lol lay!
œœ œœ œœ œœ œ. œ
Chorus
? J R J J œJ œJ œœ œœ œœ œ œœ œœ œœ
œ ‰ ‰
T
B J J J œJ J J J J J J œ.
J
œœ
Tol the rol lid - dle lol, lid - dle lol, lid - dle lol! Tol the rid - dle lol lay!
œœ œ œ j
& œœ ≈ œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœœ œœœ œœœ œ
œœ ‰ œœJ ‰ ‰
œ
œ œœ œœ œœ œœ ‰ ‰ œ œœ œœ œœ j
? œ ‰ ‰ J œ œ œ œ œ œ
œ ‰ œj ‰ ‰
J œ œ œ œ œ
10/’09
312 The Grand Duke
Dialogue if No. 17a is Included
Baroness. But this is most unexpected. He was well enough at a quarter to
twelve yesterday.
Ludwig. Yes. He died at half-past eleven.
Baroness. Bless me, how very sudden!
Ludwig. It was sudden.
Baroness. But what in the world am I to do? I was to have been married to
him to-day!
No. 17a. Chorus.
6 j j j j j jœ
S
A &8 Œ ‰ Œ œ œ œ #œ œ œ œ #œ œ œ #œ œ œ
J
œ
For a - ny dis - ap - point - ment we are sor - ry un - af -
œ œ # œ œJ œ
Chorus
? 68 Œ ‰ Œ œ œ œ #œ œ œ œ #œ J
T
B J J J J J
For a - ny dis - ap - point - ment we are sor - ry un - af -
68 œ œ œ œ œ
& œ œœœ ‰ œœœ # # œœœ ‰ œœœ œœœ ‰ œœœ # œœœ ‰ œœ œœ ‰ œœ œ ‰ œ
# œ œ œ n œœ œœ
f˙ . [p]
? 68 ˙˙ ..
Piano
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 j j jœ
&œ œ œ j œ œ œ œ ‰
5
S
A J œ œ œ #œ œ œ œ #œ œ œ #œ œ J J
œ œ œ œ œ œ œ œ
fec - ted-ly, But yes - ter - day that no - ble-man ex - pired quite un - ex - pec - ted-ly—
œ œ # œ œJ
Chorus
? œ œ œ œ œ œ #œ
T
B
J J J #œ J J J J J ‰
fec - ted-ly, But yes - ter - day that no - ble-man ex - pired quite un - ex - pec - ted-ly—
& œ ‰ œ œ ‰ œœ œœ ‰ œœ # # œœ ‰ œœ œœ ‰ œœ # œœ ‰ œ œ ‰ œ œ ‰ œ ‰
œœ œœ œœ œ œ œ œ œ œ œ œ # œœ œœ œœ n œœ œœ œœœ ‰ œœœ 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
10/’09
Act II 313
fœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ.
& œ œ œ.
10 [ ]
J J J J J J J J J J J J J
S
A
fœ œ œ œ œœ œœ œœ œ œ œ.
Tol the rid - dle lol! Tol the rid - dle lol! Tol the rid - dle lol! lol lol lay!
œ œ #œ œ œ
J Jœ # Jœ œJ
Chorus
? J J J J œ J J J œ œ œ.
[ ]
T
B
œ J J
Tol the rid - dle lol! Tol the rid - dle lol! Tol the rid - dle lol! lol lol lay!
œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ ..
& œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ J
œ œ.
[ f]
j œœ œœ ..
? œœ œ œ #œ œ œ
œ
œ œ #œ œ œ
œ œ œ œ œ œœ œœ ..
œ œ #œ œ œ J
J J œ #œ œ œ œ œ œ œ
œœ . œœ œœ œ œj j j j j j j œ. œ
& J . R J œJ œ œœ œœ œœj œœj œj œœj œœj œœ œœ œœ œœ œœ œ . œ ‰ ‰
14
œ J
S
A
œœ .. œœ œœ œ œ
œœ œœ œœ œœ œœ .. œœ
Tol the rol lid - dle lol, lid - dle lol, lid - dle lol! Tol the rid - dle lol lay!
R J œJ œJ Jœœ œœ œœ œœ œ œœ œœ œœ
Chorus
? J J ‰ ‰
T
B J J J œJ J J J J J J
Tol the rol lid - dle lol, lid - dle lol, lid - dle lol! Tol the rid - dle lol lay!
œœ .. œœ œœ œœ œ œ j œœ
& œ. œ œ œœ œœ œœ œ œœ œœ œœ œœ œœœ œœœ œœœ œ.
œœ .. œ ‰ ‰
œ J
œ œœ œœ œœ j
? œJ ‰ ‰ œœ ‰ ‰ œ œœ œœ œœ œ œ œ œ œ. œ
J œ œ œ œ œ œ. œ ‰ ‰
J
œœ .. œœ œœ œœ œj œj j j j j j j j j j j j
œœ œœ œœ œœ œœ .. œ ‰ ‰
18
S
A & J R J J œ œ œœ œœ œœ œœ œœ œœ œœ œ
œœ .. œœ œ œ
? J R œJ Jœ Jœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ. œ
Tol the rol lid - dle lol, lid - dle lol, lid - dle lol! Tol the rid - dle lol lay!
œœ
Chorus
J J J J J J J J J J J œ. œ ‰ ‰
J
T
B
œœ
Tol the rol lid - dle lol, lid - dle lol, lid - dle lol! Tol the rid - dle lol lay!
œœ œœ œ œ j
& œœ ≈ œ œ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœœ œœœ œœœ œ ‰ Jœœ ‰ ‰
œ œœ
œœ œœ œœ j
? œœ ‰ ‰ œœ ‰ ‰ œ œœ œœ
œ
œœ œ œ œ œ œœ ‰ œj ‰ ‰
J J œ œ œ œ œ
10/’09
314 The Grand Duke
Dialogue if No. 17a is Omitted &
Continuation if No. 17a is Included
Baroness. Is this Court Mourning or a Fancy Ball?
Ludwig. Well, it’s a delicate combination of both effects. It is intended to
express inconsolable grief for the decease of the late Duke and ebullient joy at the
accession of his successor. I am his successor. Permit me to present to you my
Grand Duchess. (Indicating Julia.)
Baroness. Your Grand Duchess? Oh, your Highness! (Curtseying profoundly.)
Julia (sneering at her). Old frump!
Baroness. Humph! A recent creation, probably?
Ludwig. We were married only half-an-hour ago.
Baroness. Exactly. I thought she seemed new to the position.
Julia. Ma’am, I don’t know who you are, but I flatter myself I can do justice
to any part on the very shortest notice.
Baroness. My dear, under the circumstances you are doing admirably—and
you’ll improve with practice. It’s so difficult to be a lady when one isn’t born to
it.
Julia (in a rage, to Ludwig). Am I to stand this? Am I not to be allowed to
pull her to pieces?
Ludwig (aside to Julia). No, no—it isn’t Greek. Be a violet, I beg.
Baroness. And now tell me all about this distressing circumstance. How did
the Grand Duke die?
Ludwig. He perished nobly—in a Statutory Duel.
Baroness. In a Statutory Duel? But that’s only a civil death!—and the Act
expires to-night, and then he will come to life again!
Ludwig. Well, no. Anxious to inaugurate my reign by conferring some
inestimable boon on my people, I signalized this occasion by reviving the law for
another hundred years.
Baroness. For another hundred years? Then set the merry joybells ringing!
Let festive epithalamia resound through these ancient halls! Cut the satisfying
sandwich—broach the exhilarating Marsala—and let us rejoice to-day, if we
never rejoice again!
Ludwig. But I don’t think I quite understand. We have already rejoiced a
good deal.
10/’09
Act II 315
Baroness. Happy man, you little reck of the extent of the good things you
are in for. When you killed Rudolph you adopted all his overwhelming
responsibilities. Know then that I, Caroline von Krakenfeldt, am the most
overwhelming of them all!
Ludwig. But stop, stop—I’ve just been married to somebody else!
Julia. Yes, ma’am, to somebody else, ma’am! Do you understand, ma’am? To
somebody else!
Baroness. Do keep this young woman quiet; she fidgets me!
Julia. Fidgets you!
Ludwig (aside to Julia). Be a violet—a crushed, despairing violet.
Julia. Do you suppose I intend to give up a magnificent part without a
struggle?
Ludwig. My good girl, she has the law on her side. Let us both bear this
calamity with resignation. If you must struggle, go away and struggle in the
seclusion of your chamber.
10/’09
316 The Grand Duke
No. 18. Song—(Baroness) & Chorus.
j
b
& b b 68 ∑ Œ ‰ ‰ j j œ. œ œj œj œj œj œ Jœ œj Jœ
Allegro vivace.
Baroness
œ œ J
Now a - way to the wedding we go, So then
b
S
A & b b 68 ∑ ∑ ∑ ∑
? b 6
Chorus
T
B bb 8 ∑ ∑ ∑ ∑
j
b œ œ
Allegro vivace.
œ
& b b 68 œ œ
œœ œœ œœ œ œ œ ‰ ‰ ‰ œ. œ œ œ œ œ œ œ œ
œ œ
f
? b 6 œœœ œœ œœ œœ œœ œœ œœ ‰ ‰ œœ ‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰ œœœ œœ
Piano
‰ ‰ œ
bb 8 œ œ œ œ œ J J J J J J ‰ ‰
b b œj œj j œj œj j œj ‰ ‰ Œ j
œ œj œj œj œj œ Jœ œj œj
b j œ.
5
& œ œ J
œ
Baroness
sum-mon the cha - ri - o - teers— No kind of re - luc-tance we show To em -
b j
&bb œ œ œ œ œ œ œ ‰ ‰ Œ j œ. œ œ œ œ œ œ
œ œ œ œ
œœ
? b b œœœ ‰ ‰ œœœ ‰ ‰ œœœ œœœ
‰ ‰ J ‰ ‰
œœœ œ œ
‰ ‰ Jœ ‰ ‰ œœ ‰ ‰ Jœœ ‰ ‰
b J J J J J
b j j j j j j j j j j j j œ j n œj
& b b œ œ œj œ œ œj œ ‰ ‰ Œ
9
Baroness œ œ. œ œ nœ œ nœ œ J œ
bark on our mar-ried ca - reers. Tho’ Ju - lia’s e - mo- tion may flow In the
b j j
& b b œ œ œ œ œ œ œ ‰ ‰ œ ‰ j œ. œ œ nœ œ nœ œ œ œ nœ
nœ œ nœ œ œ
j j j j
? b œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ n œœœ ‰ ‰ n œœœ ‰ ‰ n œœœ ‰ ‰ n œœœ ‰ ‰
bb œ œ œ œ J J J J
10/’09
Act II 317
b j j j j j
& b b œ œ n œj œ œ œj œ ‰ ‰ ‰ œJ œJ œ œ b œj œ œ œj œ œ œ Jœ œ
13
Baroness
J J J J J J J
form of im - pet - u - ous tears, To our wed-ding we’ll ea - ger - ly go, So summon, so
b j j
& b b œ œ nœ œ œ œ œ ‰ ‰ ‰ œœ œœ b œœ œœ œœ œœ œœ œœ œœ
œ œœ œœ œœ œœ
>
œœ œœ œœ œœ
? b b n œœœœ ‰ ‰ œœœœ ‰ ‰ œ œ
n œœœ ‰ ‰ œœœ ‰ ‰ œ œ
œ œ œœ œœ œœ œœ
œ J
b J J J J >
bb b œ j j j j j H j
œ ‰ ‰ ∑ ∑
17
Baroness & J œ œ œ œ œ œ.
j j œj j j œj j j œ j j œj j
sum- mon the cha - ri - o - teers!
& bbb ∑ Œ ‰ ‰ œ œ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ
J J J J J J
S
A
j j
œ œ œœ œœ œœ œœ œœ œœ œœ
To the wed-ding we’ll ea - ger - ly go, So sum-mon, so
œœ œœ œœ œœ
Chorus
? bb ∑ Œ ‰ ‰ J J J J J J J J J J J J
T
B b
To the wed-ding we’ll ea - ger - ly go, So sum-mon, so
b œ j ‰ ‰ œj ‰ ‰ œœ œœ œ œœ œœ œ œœ j
&bb œ œ œ œ œ œ œœ œœ œœ œœ
H
œ œœ œ œ œ.
œ j œ
? b b œœ ‰ ‰ œœœ ‰ ‰ œœœ j
‰ ‰ œ ‰ ‰ œ ‰ ‰ œœœ ‰ ‰ j ‰ ‰ Jœ ‰ ‰
b J J J œ œ J œ
œ
j
bb
œ
& b œ œ œ œ œ œ œj ‰ ‰ Œ
j j j j j
J
‰ ∑ ∑
21 (All dance off to wedding except Julia.)
J J J J J J J
S
A
j
sum-mon the cha - ri - o - teers!
œ j j j j j
Chorus
? bb J œ œ œ œ œ j
b œ ‰ ‰ Œ ‰ ∑ ∑
J J J J J J
T
B
j j j œ
sum-mon the cha - ri - o - teers!
bbœ œ œœ ‰ œJ n œ ‰ œ n œ ‰ n œ ‰ œ œ ‰ œ # œ ‰ œ
& b œœœ ‰ ‰ œœœ ‰ ‰
J
œœ
j j j œœ œœ œœ œœ œœ œœ œœ œœ
? bb œ œ œ ‰ ‰ Œ
b œ ‰ ‰ œ ‰ ‰ œ
‰ œ œ œ œ
10/’09
318 The Grand Duke
. . . . . œ
bbb œ œ œ. œ. œ. œ. œ. œ œ n œ œ n œ ‰ n œ ‰ œ œ ‰ œ # œ ‰ œ
25
& J
? b b œ œœ œœ œœ œœ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
œœ œ œœ œ œœ œ œœ œ
b œ œ
œ. œ. œ. œ. ‰ œ œ n œ œ n œ ‰ œ # œ ‰ œ œ
bbb œ œ #œ ‰ nœ œ œ
29
& J
? b b œ œœ œœ œ # n œœ œœ œœœ œœ œœ œœ œœ œ œœ œœ œ œœ œœ
b J ‰ ‰ Œ ‰ nœ œ
œ œ œ. œ œ œ. œ œ. œ. œ.
b œ œ bœ œ œ œ œ œ. œ n œ œ. œ n œ œ n n n #
&bb
33
œœ
. . .
#œ œ
nœ # œœ ..
? b b œœœ ‰ ‰ œœ ‰ ‰ œœJ ‰ ‰ œœ ‰ ‰ # n œœœ ‰ ‰ Œ ‰ Œ ‰n œ. nnn#
b J J J J
# œ. œ œ #œ œ 24 œ œ # œ œ
37
K
& œ œ #œ œ. ˙
# ˙ .. œœ œ # œ
p 4
œ .
? # œœ ‰ ‰ Œ ‰ n ˙˙ .. œœ ‰ ‰ Œ ‰ # ˙˙˙ .. 24 # n ˙˙
J ˙
J
42
# œ œ œ #œ œ œ œ
& #œ
? # œœ ‰ Œ œ œ œ
œ ∑ œ ˙ #˙
J ∑ ∑ ∑
Segue No. 19.
10/’09
Act II 319
No. 19. Recit. & Solo—(Julia).
r
# Andante. œ # œj. œ œ
L
& 42 ∑ ∑
Recit.
Œ #œ œ œ ‹œ œ œ ‰ œ
Julia
R R RR J
j
So ends my dream— so fades my vi-sion fair! Of
#
& 42 # ˙˙ œ ‰ Œ
œ
∑ Œ œ
#œ
∑ Œ œ
#œ
p
? # 2 ˙˙ œœ ‰ Œ œœ
Œ œœ
Piano
4 ∑ ∑ Œ
J
7
# œ. œ œ ‰ œj œ œj œj œj œ ‰ œj œj œj œj. œr œj œj j œj
Julia & J J œ
j
hope no gleam— dis - trac-tion and des - pair! My cher-ish’d dream, the Du-cal throne to
# ˙ ˙˙ ˙˙ œœ ‰ œ
& ˙ œ ˙˙ ˙˙
˙ ˙ œ œ
?# ˙ n ˙˙ ˙ œ ‰ œ ˙
˙
˙
˙
J
# ˙ Œ ‰ œj j r j j j œj œj j nbb b b 6
13
Julia & œ. œ œ œ œ œ bb 8
share, That aim su-preme has fa - ded in - to
# j j nbb b b 6
& œœ ‰ œœ œœ ‰ œœ ˙˙ ˙˙ bb 8
? # œœ ‰ œœ œœ ‰ œœ ˙˙ ˙˙ nbbb 6
bbb 8
J J
b j
. ‰ œ œ œ œ.
M
& b b b b b 68 œ œ
J ‰ ‰ ∑ ∑ Œ œ.
17 Andante con molto espressione.
Julia
air! All is dark - some—
b œ. œ. j‰ ‰ œœ ..
& b b b b b 68 œœ .. œœ .œ œ œ . n œœ . # œ n œ œ . n œœ .b œ œ œ
œ œ œ œ œœ .. œœ ..
œ.
p π
œ . œ
? b b b b 68 ˙˙˙ ... œœ .. n œœ ..
œ. œ.
œœ .. œ .
œ. œ. œœ ‰ ‰ œ œ œ
Œ
bb j j
J œ. œ. œ.
10/’09
320 The Grand Duke
œ. œ. œ.
b
& b bbbb Œ ‰ œ œ œ œ. œ. Œ ‰ œ œ œJ œ.
22
Julia
J
All is drea - ry. Bro - ken ev - ’ry pro - mise
b b b b œj ‰ ‰ œ œ œœ .. j
b
& b œ œ œœ . œœ ‰ ‰ œ œ œ ˙ œœ. .. œœ . œœ ..
œœ .. n n œœœœ ....
œ œ . œ .. œ .
? b b b j‰ ‰ œ œ œ Œ j j j‰ ‰ œ œ œ Œ j
œ. ‰ ‰ Œ ‰
bbb œ j j
. œ. œ. œ. œ. œ. œ. œ.
œ. j œ. œ œ
b
& b bbbb œ. Œ ‰ œ œ œ œ. œ. Œ ‰ œ œ œ
27
Julia
J J
plight - ed— Sad and sor - ry— weak and wea - - -
j j œ. œ œj
b
& b bbbb n n œœœœ .... œœ ..
œ.
œœ ‰ ‰ œ b œ œ œœ ...
œ œœ . œœ .. œœ ‰ ‰ œ œ œ n n ˙˙œ.. . œ œ
œ. œ
? b b b Œ j œ. œ. j ‰ ‰ œ œ œ Œ j j ‰ ‰ œ œ œ Œ j œ. j
bbb œ. J œ. j
œ. œ. œ. œ. œ. œ.
b œ. j
& b b b b b n œJ ‰ ‰ œ # œ œJ œ n Jœ n œ . œ.
N
Œ ‰ œ œ
32
Julia nœ. nœ. nœ
j j
ry, Ev - ’ry new - born hope is blight - ed! Death the
b n œœ ‰ ‰ œœ # œ œœ œœ ... œ . j
& b bbbb nœ œ œ n œ n œœ .. n œ˙ .. œ n œ n œœ .
n œ ..
œœ .
œ œœ
œ ‰ ‰ œ nœ œ
n œœ
˙. J J
nœ. j j
? b b b b œ. ‰ ‰ œ œ ˙ . œ . ˙. œ. œ œ œ ‰ ‰ Œ ‰
bb J J ˙. œ
J
b œ. œ. œ. œ nœ ˙. ‰ œ œ œj œ .
& b bbbb Œ œ.
37
Julia
J
Friend or Death the Foe, Shall I call up -
b œ. œœ .. œœ .. œœ n n œœ ˙˙ ..
& b b b b b b œœ .. œ. Œ ‰ œ œ œ œœ .. œœ ..
J
œœœ œœœ ... œœ œœœ ..
? bbb
bbb œ œ œ. œ ‰ ‰ œ œ . œ ‰ ‰ n œ œœ œ
œ J J J œ J J J nœ J J
10/’09
Act II 321
b
& b bbbb œ . œ n œj ˙ . Œ ‰ œ œj œ . jœ œ œ
42
Julia
nœ œ. œ J
on thee? No! I will go on liv - ing,
b
& b b b b b œœ .. œœ n œj n ˙˙ .. Œ ‰ œ œ b œœœœ ... œœœ ... n œœœœ ... œœ œ
œœ J
nœ . .
bœ. œ nœ œ œ nœ œ
? b b b œœ .. n œ ‰ ‰
bbb œ n œ œ n œœ .. œ nœ œ œ J J œ J J
J œ J J
b œ. œ. œ œ œ œJ ∫ œ .
& b bbbb Œ œ œ œ œ. œ j
47
Julia
J œ œ. œ.
liv - ing, tho’ Sad and sor - ry— weak and wea - ry!
b œ. œœœ ... œœœ ... j
& b b b b b n œœ .. œœ ‰ ‰ . œœ . œœ ..
b ˙˙˙ .. ˙˙˙ ..
. œ .. œ.
j j
nœ œ œ œ. œ j j
? bb b b ˙ .
bb œ. œ ‰ ‰ ˙. ˙. ˙. œ œ œ
J ˙. ˙.
b j œ. œ. œ. œ
O
& b bbbb Œ ‰ œ nœ œ nœ ˙.
52
Julia
J
Death the Friend or Death the Foe,
œœ n œœ œœ œœ .. œœ .. œœ .. œœ n n œœ ˙˙ ..
b œ. œ. œ. œ nœ ˙.
& b b b b b œœ ‰ œ nœ œ J
œ œœœ ... œœœ
? bbb œ j
œ Œ ‰ œ œœ œ œ ‰ œ œ
b b b œ. J J J J
œ œ
b j
& b bbbb Œ ‰ œ œ œj œ. œ. œ. œ nœ ˙.
56
Julia
Shall I call up - on thee? No!
œ œœ .. œœ .. œœ .. œœ
bb b b b œœ ‰ ‰ œ œ œ œ. œ. œ. œ
n œ n ˙˙ ..
& b J œ œ œ nœ ˙.
J
œ. œœœ œœœ ... bœ
? b b b b œœ .. œ ‰ nœ œ nœ ‰ œ n œœ œ
bb nœ J J œ J J
10/’09
322 The Grand Duke
b j œ œ œ œ.
& b bbbb Œ ‰ œ œj œ . œ. Œ ‰ œ œ œJ
60
Julia
nœ œ. œ J
œ. œ œ œ œ.
I will go on liv - ing, liv - ing, Sad and
œ. œ bœ œ
bb b b b œœœ ‰ ‰ œ n œ œ œ. œ. œ œ œ œ œ. œ . Œ ‰ œ bœ œ
& b J œ nœ œ œ. œ J
J
. œœ .. j œ œj œ
œ
œ .
. nb œœœ œœœ œœœ n œœœ .. œ. Œ n n œœ œœ œœ œœ ... œœœ ..
? bb b b n œ . œ œ ..
cresc.
œ ‰ ‰ œ J J ˙. œ.
bb J
b ∫œ. j p j
& b bbbb œ. œ j ‰ œ nœ œ œ. œ.
P
œ ‰ ‰ Œ
65
Julia œ. œ œ.
sor - ry— wea - ry and weak! Sad and sor - ry,
∫œ. œ. œ. œ
b ∫œ. œ œ. Œ ‰ Œ ‰ œœ ..
& b bbbb œ. œ. œ
œ œ. œ œ œ. œ
œ
œ n œ
œ œ
œ ˙ . b œœ ..
J J J ‰ ‰
? bb b b ˙˙˙˙ .... ˙˙˙ ...
˙.
œœ ..
œ
j
œ œ. œ
j ‰ ‰ Œ ‰
œ œ
j
bb œ. ˙. ˙.
70
b bbb b Œ ‰ j œ. œ. Œ ‰ œ j dim. j
Julia & b œ nœ œ œ œ. œ. œ. œ œ
weak and wea - ry! Sad and sor - ry— weak and
bb œ. Œ ‰ œœ n œœ œœ œœ˙ ...
& b b b b Œ ‰ œœ n n œœ œœ b œœ .. œœ .. œœ .. Œ ‰ œœ n n œœ œœ
? bb b b œ . j ‰ ‰ Œ ‰ j j‰ ‰ Œ ‰ j j‰ ‰
œ œ œ œ. œ œ œ œ. œ
b b ˙. ˙. ˙. ˙. ˙.
b œ.
& b bbbb œ œ n œj œ . œ. œ.
75
œ.
cresc.
Julia bœ. œ.
wea - ry! I will go on liv - ing,
b œ.
& b b b b b b b ˙˙ .. œ. b œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ
Œ ‰ œ j
? bb b b œ œ. œ.
cresc.
bb ˙. ˙. œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
Act II 323
b b bOssia:
˙. œ. œ
& bb
b nœ
79
J
œ.
Though sad and
b œ. œ œ œ œ œ œ. œ.
Julia & b bbbb nœ Œ ‰ œ b œ œJ
Sad and sor - ry— Sad and
b j j
& b b b b b n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ ‰ ‰ œœ ‰ ‰
œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
f j j
? bb b b
dim.
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ ‰ ‰ œ ‰ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ
b ∫œ. œ œ j ‰ ‰ Œ j j j U
& b bbbb œ œ nœ œ œ.
Lento.
‰ œ
83
œœ œ œ nœ œ œ œ
ad lib.
Julia
j U
sor - ry— Sad and sor - ry— weak and wea - - - -
b
& b b b b b œ .. œ
j ‰ ‰ Œ ‰ œj ‰ ‰ œœj ‰ ‰ n n œœj ‰ ‰ œœ .. œœ ‰ ‰
b b œœ . œœ œœ œ œ œ. œ
p colla voce.
? b b b œ. j j U
bbb œ ‰ ‰ Œ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ. œ ‰ ‰
œ. œ J J J œ. œ
b j
& b bbbb œ . œ ‰ ‰ ∑ 42 ∑ Œ ‰ œ œ ‰ Œ
87 Q Allegro vivace.
Julia
J J
œ
ry! No, no!
b œ œ œ œ œ œ œ œ œ œ œ œ œ œJ
& b bbbb œ . œ œ œ œ œ œ œ 42
J
‰ Œ ∑
œ. f
f p
œ œœœ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ 2
[a tempo.]
? b b b œ. J œ J ‰ Œ ∑
b b b œ. 4
b
& b bbbb ∑ Œ ‰ œ œ ‰ Œ ∑ ∑ Œ ‰ œj
92
Julia
J J
bb b b b œ œ œ œ œ œ œ œ œJ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ ‰ Œ
No, no! No,
& b ∑ J
n œœœ œœœ œœœ œœœ n œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ
? bbb J ‰ Œ ∑ œœ œœ œœ œœ œœ œœ œœ œœ
bbb J ‰ Œ
10/’09
324 The Grand Duke
œ œ œ œnœ œ Ÿ~~~~~~~~~~~~~~~~~~~~~~
b ˙
& b bbbb ‰ œj j ‰ Œ ˙ ˙
R
œ œ n œj ‰ Œ Œ
98
Julia
œ
j
no! No, no! Ah!
b j
& b bbbb ∑ ∑ ∑ n œœœ ‰ Œ
œ
Œ œœ ‰
œœ ∑ ∑
? bb b b œ ‰Œ j
bb ∑ ∑ ∑ œ Œ œ ‰ ∑ ∑
J œ
bb b b b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f Gaily.
& b ˙ ˙ ˙ ˙ nœ ˙ œ ‰ Jœ œ œ œJ
105
j
Julia
J
No, no! Let the
bb j
& b b bb ∑ ∑ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ ˙˙
œ œœ ˙
œœ ‰
œ. œ œœ
œœ. œ.
p
? bb b b ∑ ∑ œ œ œ œ j
bb
œ œ œ œ
œ œ
œ œ
œ œœ ˙ œ ‰ Œ
œ œœ ˙
b œ œ Jœ œ j j œj ˙ j
& b bbbb œ Jœ œ œ œJ œ œ ‰ Œ
112
Julia
J J œ
by - gone go by! For no good ev - er came of re - pin - - ing:
bb j j j j j j
& b b b b œœ ‰ œœ œœ œœ ‰ œ œœ œœ ‰ œœ œœ œœ ‰ œ œœ œœœ ‰ œœœ œœœ œœ ‰ ‰. œj
œ. œ. œ. œ. œœ. œ. œ. œ. œ. œ. œœ. œ. . . . œ.
? b b b b œJ ‰ Œ j j j j œœ. œœ.
j
bb œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰
bb œ œ œ œ Jœ œ œ Jœ œ œ Jœ j j œj
& b b bb Œ œ œ œJ œ
118
Julia J J J J J œ
If to - day there are clouds o’er the sky, Yet to - mor - row the sun may be
b bbb b œ œ œ œ ‰ œ j j j j
& b œ J œœ œœœ œœœ ‰ œœœ. œœœ œœ ‰ œœ œ œœ ‰ œœœœ œœœ ‰ œœ œ
. . . . œ. œ. œœ. œ. œ.œ. . œ. œœ.
. . . .œ
? b b b b œœ ‰ œœ œœ œ ‰ Œ j j j j
bb J J œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ
10/’09
Act II 325
b j jS j j j
& b bbbb ˙ œ ‰ Œ Œ ‰ œ œ œ œ œ. œ œ
124
Julia œ œ J J
shin - ing! To - mor - row, be kind, To - mor - row, to
b j œ œ j j
& b b b b b œœj ‰
œœœ œœœ œœœ ‰ ‰ œj œ œ œ J ‰ œ
œœ œœ œœ . œ œœ œœœ ‰ œœœ œœœ
œ.. . . œ n œJ ‰ œ œ
œœ. œœ. œœœ. œœœ. œœœ. œœ.
? bb b b j ‰ Œ j ‰ J ‰ œ ‰ œ œ œ ‰ œ ‰ œ œ
bb œ œ J J œ œ J
‰ œj œ j j
b j œ œ œ œ
& b bbbb œ œ œ œ. ‰ œJ œ
J ‰
130
Julia œ œ J J œ
j
me! With loy - al - ty blind I bow me to thee! To - mor - row,
bb j j j j j j œ
& b b bb œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœ . œ œœ œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœ ‰ ‰ œ
œ
nœ ‰ œ œ
J
? bb b b œ ‰ œ œ œ ‰ œ œ œ ‰ œ ‰ œ œ œ ‰ œœ œœ
bb J J J œ œ œJ ‰ œ œ J J
b œ
& b bbbb Œ ‰ Jœ œ œ ‰ Œ ‰ Jœ œ
J ‰ Œ ‰ œJ œ œ ‰
136
Julia J J
be kind, To - mor - row, to me!
j œ j j j
b
& b b b b b œœ . œ œj œj ‰ ‰ œœ œ . œ œj œj ‰ ‰ œ œ œ œj œj ‰ ‰ œœ
œ‰ œ
‰œ J œ œ. œ‰ J
œ œœ œœ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ
? bb b b œ ‰ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ
bb J J J J ‰ J ‰ J
b
& b bbbb Œ ‰ œj œ n œ œ n˙ œ nœ ˙ œ nœ
142
Julia
J J
j
With loy - al - ty blind I bow me
bb b b b œ œ œj œ n œ n˙ œœ n œ œ nœ
& b œ. nœ nœ œ̇ bœ n˙
‰ Œ
cresc . . . . . . . . . . . . . molto. f
œ œ œ œ œ œ n œœ b˙
? b b b b œ ‰ œ œ n œ˙ œ œ n nn œœ˙ b œ n œœ n œœ n n œœ ˙
bb J
10/’09
326 The Grand Duke
bb ˙ bœ ‰ Œ ‰ œJ œ œ œJ œ œ œJ œ œ Jœ
& b b bb
T
Œ
148
Julia J J J J
to thee! To - day is a day of il - lu - sion and
bb ˙ b˙ ˙ . . œœœ. ‰ .
œ. œ œ. ‰ œ. œ. œ. ‰ œ. œ.
& b b bb b ˙ œ ‰ œœ œœ œœJ ‰ b œœ œœ J J
J . . . J
.
œ p œœœ. œœœ. œœ. œœ. œœ. œœœ. œœœ. œœœ.
? bb b b n ˙˙ œ ‰ œ œ
dim. . . . . . . . . . . . . . . .
œ bœ j
bb œ œ œ. ‰ J J ‰
b j j j
& b bbbb œ
œ
œ Jœ œ œ œJ ˙ ‰ Œ
154
œ
œ. œ œ œ
J
Julia
b œœ. œœ. œœœ. œœœ.
sor - row, So vi - va To - mor - row! God save you,
b . j j‰
& b b b b b œJ ‰ œ. œ. œœ ‰ œ. œ. ˙ œ. œ. œ. œœ ‰ œœ œ œ ‰ Œ
. J J
œœ. œœ. œœ. œ. π
œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. ˙˙˙ œœ. œœ. œœ.
? bb b b œ ‰ œ œ œ ‰ œ ‰ œ œ J ‰
bb J J J J ‰
b
& b bbbb Œ Œ Œ
160
Julia œ œ œ œ œ œ œ œ œ
. . œœ. œœ. œœ. œœ. œœœ. œœ. œœ. œœ.
To - mor - row! Your ser - vant, To - mor - row!
bb
& b b bb n œœœ ‰ œœœ œœ. ‰ Œ n œ ‰ œ œ ‰ Œ n œ ‰ œ
œœ. ‰ Œ
œ œ œ œ œ
J J J J J J
n˙ œœ. œœ. œœ. n ˙˙ œœ. œœ. œœ. n ˙˙ œœ. œœ. œœ.
? bb b b ˙ J ‰ J ‰ J ‰
bb
bb œ œ œ œ
& b b bb Œ œ œ Œ œ Œ
166
Julia ˙
j j j j j j
God save you, To - mor - row! Your ser -
bb b b b œœ ‰ œœ œœ œœœ ‰ n œœ ‰ œœ œœ œœ ‰ n œ œœ œœ œœ ‰ œœ œœ
& b œœ œœ œœ œ.
Œ œ. œ. œ. œ. œœ œœ œœ ‰ œ. œ. œ. œ. œ.
. . . . . .
? bb b b ˙ œ. œœ. œœ. n ˙ ˙ ∫˙ b ˙˙
bb ˙ œ ‰ œ œ ˙ œ ‰ Œ ˙ ˙
J J
10/’09
Act II 327
b .
& b bbbb œ œ œ
U
Œ Œ
172
Julia J œ œ œ œ œ œ œ
vant, To - mor - row! God save you, To - mor - row!
bb j j œ œ bœ œ œ nœ œ œ
& b b b b œœœ ‰ œœœ œœœ œœ œ œ œ œ œ œ b œ œ œ œ œ
. . . .
˙ œœ
? b b b b ˙˙ J ‰ Œ œ˙ œ
œ œ˙ œœ œ
œ˙ n œ œ˙ œœ
bb
b œ
& b bbbb Œ Œ Œ œ œ
178
Julia œ œ œ œ œ œ
Your ser - vant, To - mor - row! God save you,
bb b b b b œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ
& b œ œ bœ œ œ nœ œ œ
? b b b œ˙ n œœ œœ œ œœ œœœ œœ
bbb œ˙ œ˙ n œ œ˙ œ˙ œ˙
b œ œ œ.
& b bbbb Œ œ œ Œ œ œ œ ∑
184
Julia ˙ J
œ. œ. œ. œ. .
œ. œ
To - mor - row! Your ser - vant, To - mor - row!
bb b b b œ œ œ n œ œ œ œ œ œ œ œ œ j
œœ ‰ Œ œ œ œ œ
& b œ œ œ œ œ
F
œœœ. œœœ. œœœ. œœ. œœ. œœ.
? b b b œ˙ n n œœœ œ
œ˙ œ œ˙
∫ n œœœ
œ˙
b œœ œœ
œ ‰ Œ œ œ œ
bbb J
b œ U‰ œ œ U
& b bbbb ∑ ˙ ˙ ∑ ∑ ∑ ∑
191
œ
[rall.] (Exit Julia.)
Julia J
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. U œœ œœ U˙˙
Your ser - vant, To-mor-row!
b œœ j œœ ‰ œj ‰ œœ ....
& b bbbb œ œ œ œ œ œ œ Œ ∑ œœ ‰ œ ‰
J
œœ ˙˙ œœ ....
J R
œœœ. œœœ.
. . .
œœœ. œœœ œœœ œœœ œœ. œœ. œœ. œœœ.
rall. . . . . . . . . . . . . . . . . . . . . . . .
ƒ a tempo. rU
? bb b b œ œ œ œ UŒ ∑ Jœ ‰ œj ‰ Jœ ‰ œj ‰ œœ .... œœ ˙˙
bb
10/’09
328 The Grand Duke
Enter Ernest.
Ernest. It’s of no use—I can’t wait any longer. At any risk I must gratify my
urgent desire to know what is going on. (Looking off.) Why, what’s that? Surely I
see a wedding procession winding down the hill, dressed in my Troilus and
Cressida costumes! That’s Ludwig’s doing! I see how it is—he found the time
hang heavy on his hands, and is amusing himself by getting married to Lisa.
No—it can’t be to Lisa, for here she is!
Enter Lisa.
Lisa (not seeing him). I really cannot stand seeing my Ludwig married twice
in one day to somebody else!
Ernest. Lisa!
(Lisa sees him, and stands as if transfixed with horror.)
Ernest. Come here—don’t be a little fool—I want you.
(Lisa suddenly turns and bolts off.)
Ernest. Why, what’s the matter with the little donkey? One would think she
saw a ghost! But if he’s not marrying Lisa, whom is he marrying? (Suddenly.)
Julia! (Much overcome.) I see it all! The scoundrel! He had to adopt all my
responsibilities, and he’s shabbily taken advantage of the situation to marry the
girl I’m engaged to! But no, it can’t be Julia, for here she is!
Enter Julia.
Julia (not seeing him). I’ve made up my mind. I won’t stand it! I’ll send in
my notice at once!
Ernest. Julia! Oh, what a relief!
(Julia gazes at him as if transfixed.)
Ernest. Then you’ve not married Ludwig? You are still true to me?
(Julia turns and bolts in grotesque horror. Ernest follows and stops her.)
Ernest. Don’t run away! Listen to me. Are you all crazy?
Julia (in affected terror). What would you with me, spectre? Oh, ain’t his eyes
sepulchral! And ain’t his voice hollow! What are you doing out of your tomb at
this time of day—apparition?
Ernest. I do wish I could make you girls understand that I’m only
technically dead, and that physically I’m as much alive as ever I was in my life!
Julia. Oh, but it’s an awful thing to be haunted by a technical bogy!
10/’09
Act II 329
Ernest. You won’t be haunted much longer. The law must be on its last legs,
and in a few hours I shall come to life again—resume all my social and civil
functions, and claim my darling as my blushing bride!
Julia. Oh—then you haven’t heard?
Ernest. My love, I’ve heard nothing. How could I? There are no daily papers
where I come from.
Julia. Why, Ludwig challenged Rudolph and won, and now he’s Grand
Duke, and he’s revived the law for another century!
Ernest. What! But you’re not serious—you’re only joking!
Julia. My good sir, I’m a light-hearted girl, but I don’t chaff bogies.
Ernest. Well, that’s the meanest dodge I ever heard of!
Julia. Shabby trick, I call it.
Ernest. But you don’t mean to say that you’re going to cry off!
Julia. I really can’t afford to wait until your time is up. You know, I’ve
always set my face against long engagements.
Ernest. Then defy the law and marry me now. We will fly to your native
country, and I’ll play broken-English in London as you play broken-German
here!
Julia. No. These legal technicalities cannot be defied. Situated as you are,
you have no power to make me your wife. At best you could only make me your
widow.
Ernest. Then be my widow—my little dainty, winning, winsome widow!
Julia. Now what would be the good of that? Why, you goose, I should marry
again within a month!
10/’09
330 The Grand Duke
No. 20. Duet—(Julia & Ernest) and Chorus.
b b b b Andante
9 Œ ‰ Œ
moderato.
‰ ‰ œj œj j r j j j j œj œ œ
Ernest V 8 œ. œ nœ œ œ œ J J
bb b b 9 ˙˙˙˙ ... œœ
If the light of love’s ling - er - ing em - ber Has
& 8 . œœ ‰ ‰
J
p œ œ œ œ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œœ
? b b b 98 j ‰ œœ œœ œœ œœ
Piano
œ œ œ œ œ œ
œ œ œ œœ œ œ
b œ J œ ‰ Œ ‰ œ ‰
‰ ‰
œ J
J
b j œ ‰ j r j j j j b œj œ
V b b b œJ œJ n œ œ . j œ
3
Ernest J œ œ. œ nœ œ œ œ J J
fa - ded in gloom, You can - not ne - glect, O re - mem - ber, A
b
& b bb
œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? b b œœ œœ œœ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ
bb œ ‰ ‰ Œ ‰ Œ ‰ ‰ ‰ Œ ‰ ‰ ‰
J œ œ
J J
b j œ ‰ j bœ j j r j j j
V b b b œJ Jœ n œ œ. œ œ œ . b œ n œj œ
5
Ernest J œ J J œ œ
voice from the tomb! That stern su - per - na - tu - ral dic - tion Should
b
& b bb b œœ œœ œœ œœ œœ œœ
bœ œ œ œ œ œ
œ œ œ œ œœ œœ œœ œœ œœ b œœ œœ œ œ
? b b œœ œœ œœ œœ œ œ œ œ œ œœ œ œ œj ‰ ‰ Œ ‰
bb œ ‰ ‰ Œ ‰ Œ ‰ ‰ ‰ œ
J œ
J
j r
b b œ. œ bœ
Vbb J œ œ n œj œJ œ œ œ . nœ œ œ n œJ œ Jœ Jœ b œj
7
Ernest
R J J J J J J J J
act as a sol - emn re - stric - tion, Al - tho’ by a mere le - gal fic - tion A
b
& b bb œ b œœ b œœ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ
b b œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b b b b œj ‰ ‰ n˙. œ. bœ. nœ.
b œ.
bœ n˙. bœ. nœ.
10/’09
Act II 331
b
& b bb ∑ ∑ Œ ‰ Œ ‰ Œ j
9
(in affected terror).
Julia
œ
b j j
V b bb b œ .
I
œ œ. Œ j œ. œ j œ ‰ ‰ Œ ‰
Ernest bœ œ œ œ.
j
voice from the tomb! A voice from the tomb!
b
& b b b b œœ .. b œ˙ . œ œ. œ. n œœ .. n œœ .. œœ
œ
‰
œ. ˙.
nœ. bœ. œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ
? bb b ˙ . œ. œ .˙ . œ.
b ˙ œ. œ Œ ‰ Œ ‰
.
b r j j j j œj œ œ Jœ n œj œ . œ ‰ j
A
& b b b œj. œ
12
Julia œ nœ œ œ œ J J J J œ
b
own that that ut - ter - ance chills me— It with - ers my bloom! With
& b bb
œ œœ œœ œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? b b œœ œ œ œ
œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb œ ‰ ‰ Œ ‰
œ œ ‰ ‰ œ
J
‰ ‰ Œ ‰ Œ ‰
J J
b
& b b b œj.
r j j j œ Jœ n œj œ . œ
œ n œj œj œ œ b œ œJ œJ J ‰ œj
14
Julia
J
b
aw - ful e - mo - tion it thrills me— That voice from the tomb! Oh,
& b bb
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? b b œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ
bb œ ‰ ‰ Œ ‰ ‰ ‰ œ ‰ ‰ Œ ‰ Œ ‰
œ œ J
J J
j j j œ . b œ b œ œ œ n œj œ œ œ
b
& b b b b œJ . œ œ œ b œj n œj œ œj œj
16
Julia
R J R J J J J J J
b
spec - tre, won’t a - ny - thing lay thee? Tho’ pain’d to de - ny or gain - say thee, In
& b bb bœ œœ œœ œœ œœ œœ œœ b œœ b œœ n œœœ œœœ œœœ œœœ œœœ œœœ
b œœ œ œ œ œ œ b
bœ œ œ
bœ œ œœ
? b b œœ œœ œ œ
j ‰ ‰ Œ ‰ j
bœ ‰ ‰ n˙.
bb œ ‰ ‰
œ œ bœ n˙.
J
10/’09
332 The Grand Duke
b b b b œj j œj œ n œ œ œ œ j j Œ j nœ. œ j
18
Julia & nœ J J J J J bœ bœ. bœ œ œ. œ œ
this case I can - not o - bey thee, Thou voice from the tomb! Thou voice from the
bb j
& b b n œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ .. b œ˙ . œ œ. œ. n œœ .. n œœ ..
œ œ œ œ œ œ œ œ œ œ. ˙.
nœ. bœ.
? bb b œ . bœ. nœ. ˙. œ. œ.˙. œ.
b œ.
bœ. nœ. ˙. œ.
bb j j j
& b b œ. œ ‰ ‰ Œ
21
Julia œ bœ. œ. œ œ
tomb! Thou voice from the
b j
Ernest V b bb Œ ‰ Œ ‰ Œ œ œ. nœ. œ œ
J
Thou voice from the
b ˙. œ.
& b b b œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙. œ.
œ œ œ œ œ œ œ œ œ
b œœ œœ œœ n œœ œœ œœ œœ œœ œœ
? bb b j œ˙ . œ œ nœ œ œ œœ . œ œ
b œ. œ ‰ ‰ Œ ‰
bbbb j j 43 œ . n Jœ œ œ . n œ œ œ . œj œ
(dancing). B
œ ‰ ‰ Œ
23 Allegretto grazioso. Tempo di Valse.
Julia & bœ. œ J
tomb! So, spec - tre ap - pal - ling, I bid you good -
b
Ernest V b bb n œ . œ. œ œ
J 43 œ Œ Œ ∑ ∑
tomb, from the tomb!
œ. nœ. œ œ œ j
b œ 34 œœ ‰ n œ œ j
& b bb œ. nœ œ
B
œ. nœ. œ J œœ œ. œ œ
œ J
n n n œœ˙œ œœœ œœœ b # œœœ œœœ œœœ b œœœœ œœœ œœœ œœ œœ œœ œœ œ œœ
? bb b
b
. .
43 œ œ œ œ œ œ œ
10/’09
Act II 333
b
& b bb œ Œ œ
27
Julia
œ œ œ œ œ œ œ œ œ œ œ œ
day— Per - haps you’ll be cal - ling When pass - ing this way. Your
b
& b bb œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? bb b œ œ œ œ œ
b
bbbb œ . nœ œ œ. nœ œ œ. nœ œ œ. œ œ
32 C
& J nœ œ œ J
Julia
J J
bo - gey -dom scorn - ing, And all your love - lorn - ing, I bid you good -
b œœœ .. nœ œ œœ .. œ œ
& b bb œ .. J œœ ..
œ.
nœ œ
J n œœœ ... nœ œ
J nœ œ œ œ. J
? bb b
œœ
œ
œœ
œ
œœ
œ
œœ
œ n œœœ œœœ n œœœ œœ
œ œœ œœ
b œ œ œ œ œ
b œ œ ˙
& b bb œ . œ nœ œ œ œ
37
Julia J œ œ nœ œ nœ
morn - ing. I bid you good - day. Good - morn - ing, good - morn - ing, good -
b
& b b b n œœœ ... œ œ
J œœ n œ œ n ˙˙˙ œ ‰ œ ‰
œ n œœ œœ J n n œœ œœ J n n œœ
œ œ œœ œœ n œœ
? b b œ nœ œ œ nœ œœ œœ Œ œœ œœ Œ œœ
bb
˙. œ œ œ
bbbb œ œ Œ Œ ‰ œ œ œ
42
Julia & œ nœ œ
˙. œ
morn - ing, good - day! Ah!
b œ œ œ
& b bb œœ
œ ‰
J n n œœ œœ
œ
J ‰ n n œœ œœ .. œ œ
? b b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b Œ Œ œ œ œ œ œ œ œ œ
10/’09
334 The Grand Duke
b œ œ Œ œ
& b bb n œ b œ œ œ nœ nœ œ œ
D
œ Œ Œ Œ
47
Julia ˙
So, spec - tre ap - pal - ling, I bid you good - day!
b
V b bb ∑ ∑ ∑ ∑ Œ Œ œ œ œ œ
(furious).
Ernest
My of - fer re -
b œ œ Œ
& b bb n œ b œ œ œ nœ nœ œ œ
D
œ Œ Œ œœ œ œœ œœ œœ
œ œ œ
œœ œœ œœ œœ œœ œœ œœ œ f
? b b b œœœ œœœ œœœ œ œ œ œ œ œ œ Œ Œ œ Œ œ œœ œœ œœ
b
b œ bœ œ œ œ œ œ œ
V b bb œ œ bœ bœ Œ
53
Ernest bœ œ
cal - ling, Your words I o - bey— Your fate is ap - pal - ling, And
b œ œ œ œ œ œ œ
& b b b b œœœ œœ b œœ b b œœœ œœ œœ b b ˙˙˙ œ b œœ œœ œœ b œœ œœ œœ
œ œ œ œœ
? bb œ œœ œœ bœ œ œ b˙ œ b bb œœœ œœ
œ
œœ
œ b bb œœœ œœ
œ
œœ
œ
bb œ bœ œ œ b˙ œ
b œ nœ œ bœ. œ œ.
V b bb œ Œ œ J œ bœ bœ œ œ œ œ bœ
58
Ernest œ J
bœ. œ.
full of dis - may. To pay for this scorn - ing I give you fair
b œ œ œ œ bœ bœ œ œ bœ
& b b b œœ n œœœ œœ ˙˙˙ œœœ b œœ .. œ œ œ œœ ..
b œœ bœ
? b b œœ œ
œ
œ
œ
˙
˙
œ
œ
œœ
Œ Œ Œ Œ œ Œ Œ
bb
b œ
V b bb œ œ b œ Œ
63
Ernest œ œ œ œ œ œ œ œ œ œ œ
warn - ing I’ll haunt you each morn - ing, Each night, and each day! I’ll
b
& b bb œ œ b œ
p
œ Œ
? b b bœ
bb Œ bœ n ˙˙˙ .. bœ ˙.
n ˙˙ ..
˙.
b n ˙˙ ..˙ œ
˙˙˙ ..
˙. #œ
10/’09
Act II 335
bbbb œ. nœ œ
E
∑ ∑ ∑ Œ Œ
68
Julia & œ J
Well, spec - tre ap -
b b œ. bœ œ œ œ. œ
Ernest Vbb J bœ œ bœ. œ œ œ
J œ nœ œ œ bœ œ œ Œ Œ
haunt you morn - ing, night, and day!
bbbb Œ b œœœ œ b œ˙˙ . œ bœ œ bœ. œ n œœ œ œ. nœ œ
E
& b œœ b ˙˙ œœ Œ Œ J
œ œ
p
? b b b œœ n œœ œœ
b œ̇ ˙. ˙. œ Œ Œ œ
œ œ
œ ˙. ˙. œ
b j
& b bb œ . nœ œ Œ œ
73
Julia
J œ. œ œ œ œ œ œ œ œ œ
pal - ling, I bid you good - day! Per - haps you’ll be call - ing When
b œ.
Ernest V b bb ∑ ∑ Œ Œ œ œ œ œ
J œ œ œ œ
To pay this scorn - ing I
b j
& b bb œ . nœ œ
J œ. œ œ œ Œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? bb b œ œ œ œ œ
b œ
b œ. nœ œ
& b bb œ œ. nœ œ
78
Julia œ œ œ œ œ J J
pass - ing this way. Your bo - gey-dom scorn - ing, And
b . ˙ œ nœ
Ernest V b bb œ œ œ œ
J œ œ œ œ
˙ œ bœ
give you warn - ing I’ll haunt
b œœœ .. nœ œ
& b bb œ œ œ œ œ œ œ .. J œœ ..
œ. nœ œ
J
œœ œœ œœ œœ œœ œœ œœ œœ
? bb b œ œ œ œ œ
b œ œ œ
10/’09
336 The Grand Duke
b œ. œ œ
& b bb œ . nœ œ œ. œ
J œ œ nœ œ
82
nœ œ œ J
Julia
J
all your love - lorn - ing, I bid you good - morn - ing, I bid you good -
b ˙ œ nœ œ bœ bœ œ œ œ œ œ
Ernest V b bb nœ œ œ œ nœ œ œ
you each morn - ing, Each night, and each
b œœ .. œ œ
& b b b n œœœ ... nœ œ
J nœ œ œ œ. J n œœœ ... œ
J œ œœ n œ œ
œ
? bb b n œœœ œœœ n œœœ œœ
œ œœ œœ n œœ œœ
œ
œœ œœ
b œ œ œ œ
bbbb ˙ œ œ œ œ
F
Œ
87
Julia & œ œ nœ œ nœ œ nœ œ
day! Good - morn - ing, good - morn - ing, good - morn - ing, good - day!
b
Ernest V b bb b œ œ œ nœ
œ
nœ œ
œ
nœ œ
œ
nœ œ
œ
nœ
day! Each morn - ing, each morn - ing, each morn - ing, each morn - ing! I’ll
b ˙
& b b b n ˙˙
F
œ œ œ œ
n œœ œœ J ‰ n n œœ œœ J ‰ n n œœ œœ J ‰ n n œœ œœ J ‰ n n œœ
nœ
? b b b n œ n œ œœ œœ Œ œœ œœ Œ œœ œœ Œ œœ œœ Œ œœ
b
b œ ˙. œ œ œ œ nœ bœ
& b bb Œ ‰ œ œ œ œ nœ
92
Julia
Ah! So, spec - tre ap -
b œ œ œ ˙
V b bb œ
Ernest œ bœ œ œ nœ œ œ ˙
haunt, I’ll haunt
b œ ˙. œ œ œ œ nœ bœ
& b b b œœ .. œ œ œ œ nœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? b b b œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b
10/’09
Act II 337
b œ œ œ œ
& b bb n œ œ œ œ Œ Œ Œ Œ œ œ.
97
Julia œ J
j
pal - ling, I bid you good - day! I bid you good -
b œ œ œ œ œ
Ernest V b bb œ Œ Œ Œ œ Œ œ œ. œ œ
œ œ ˙.
you each night and each day! I’ll haunt you each
œ œ
b
& b bb n œ œ œ œ Œ Œ œœ Œ œœœ œœ œ œ ˙.
fœ œœœ
œ œœ œœ œœ œ œ œœ
? b b œœ œ œ œ Œ Œ œ Œ œ œœ Œ œœ Œ œ
bb
b U̇.
& b bb œ
G
Œ Œ Œ ∑
102
˙. ˙
(Exeunt in opposite directions.)
Julia
day! good - day!
b U̇.
Ernest V b bb œ Œ Œ ˙. ˙ Œ ∑
U˙ .
night and day!
˙. œ œœ nœ œ
˙˙ ..
G
b ˙. œ œ œ ‰ n Jœ œ
& b bb œ ‰
J œ œ œ œ œ
œ œ
U f
? b b b œœ Œ Œ ˙. ˙˙ . œœ Œ Œ
œœ
œ
œœ
œ
b ˙. . œ
œ œ
bb b b œœ ‰ nn œœ œ œ
œœ ‰ œœ
œ œ Œ œ œ œ œ œ œ œ n b b b 68
j
œ
107
& J œ œ œ œ œ œ
J
œ œœ œ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ
? b b b œ œœ œ œ œ œ œ œ n b b b 68
b
Re-enter the Wedding Procession, dancing.
b b 6 œ ‰ ‰ œœœ ‰ ‰ b œœœ ‰ ‰ œœœ ‰ ‰ œœ ‰ ‰ # n œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰
Allegro vivace come i mo.
b
112
& 8 œJ J J J œ
J œ œ
J
œ
J J
œ j j
? b b 68 Jœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ j j
œ ‰ ‰ œ ‰ ‰
b œ œ œ
J J J œ œ
10/’09
338 The Grand Duke
f j œ j œj
bbb j j
H
j j
∑ Œ ‰ Œ j œ. œ œ œ œ œ œœ œ œ œ
116
& J œ J J
œ
S
A
f j œ. œ œœ œœ œ œ œ œ œ œ
Chorus Now bride - groom and bride let us toast In a
? bb ∑ Œ ‰ Œ J J J œ œ œ œ œ œ
T
B b œ J J J J J J
j j j j
Now bride - groom and bride let us toast In a
b œ j j j
H
& b b œ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœœ ‰ ‰ œœ ‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰
J œ œ œ œ œœ œ œ
? b b œj ‰ ‰ œ ‰ ‰ œj ‰ ‰ œ ‰ ‰
j j j j j j
œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
b œ œ œ œ œ œ œ œ
b j j j j j j j
‰ ‰ ‰ j j œ.
j unis.
œ œj œj œj œœj œœ œœ œj œj
& b b œœ œœ œœ œœ œœ œœ œœ
120
unis.
œ œ J J
S
A
mag-num of mer-ry cham - pagne— Let us make of this mo-ment the most, We may
œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ unis.œ œ
Chorus
? b b œ œ œœ œ œ œœ œ ‰ ‰ ‰ œj œj
œ.
J J J J J J J J J
b J J J J J J J
unis.
T
B
mag-num of mer-ry cham - pagne— Let us make of this mo-ment the most, We may
b b b œj ‰ ‰ œj ‰ ‰ œœœ
j j j j j j
‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰ œœ ‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰
& œœ œœ œœ
œ œ œ œ œ œ œ
? b b œj ‰ ‰ œ ‰ ‰
j j j j j j j
b œ œ œ
‰ ‰ ‰ ‰ œ œ
‰ ‰ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ œ œ œ œ œ œ
b j j j j j j j j j j j
& b b œ œ œj œ œ œj œ ‰ ‰ Œ œ œj n œj j œ
124
œ œ. j œ nœ
œ n œ œ œ œJ œ
S
A
œ n œœ œœ n œœ œ œ n œ œ œ
Chorus not be so luck - y a - gain. So drink to our sov - er - eign host And his
? bb œ œ œ œ œ œ œ ‰ ‰ Œ œ œ.
b J J J J J J J J J J J J œ œ œ œJ œJ
J J J
T
B
b b n œj ‰ ‰ œj ‰ ‰ n œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ n œj ‰ ‰ œj ‰ ‰ œj ‰ ‰
not be so luck - y a - gain. So drink to our sov - er - eign host And his
& b œ œœ œ œœ n œœ
n œœ œ n œœ œ n œœœ n œœ
œ n œœœ œ
j j j j
? b b œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰
b œ œ œ œ
œ œ œ œ
10/’09
Act II 339
j j j
bb j j j j
& b n œœ œœ œœj œœ œœ œœj
j ‰ ‰ Œ œœ b œœ œœ œœj œœ œœ œœj
128
S
A œ
nœ J J
n œœ œ œ
high - ly in - tel - li - gent reign— His health and his bride’s let us
œ œ œ œ œ œœ œœ œœ œœ
Chorus
? b œ œ œœ œ œ œœ œ ‰ ‰ Œ J œ œ
T
B bb J J J J J J J J J J J J J
b b œj ‰ ‰ œj ‰ ‰ j j
high - ly in - tel - li - gent reign— His health and his bride’s let us
b
& n œœœ œœœ œœ ‰ ‰ œœ ‰ ‰ b œœ œœ œœ œœ œœ œœ
n œœ œœ
j œœœ
? b œj ‰ ‰ œj ‰ ‰ j j
œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ ‰
bb œ J
œ œ œ œ
b j j j œ unis.j j j j j
& b b œœJ œœ œœ œœ œœ j
J
œœ œ ‰ ‰ Œ ‰
131
J J J J J œ œ œ œ œ œ
J
S
A
œ
toast In a mag - num, a mag-num of mer - ry cham - pagne!
œœ œœ œœ œœ œœ œœ
Chorus
? bb J œ œ œ œ œ œ ‰ ‰ Œ
b J J J J J J ‰
unis.
J J J J J J
T
B
j
toast In a mag - num, a mag-num of mer - ry cham - pagne!
b j œ œ œ œ œ œ œ ‰ ‰ œœ.# œ œ œ œ œ
& b b œœœ œœ
J
œœœ œœ œœ œ œ œ œ œ œ œ
œœ œœ œœ œœ ƒ
? bb j œœ œœœ
b œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ ‰ Œ ‰
J J J
œ
b b b œœ.# œ œ œ œ œ œœ.œ œ œ œ œ œœ.# œ œ œ œ œ œœ .œ œ œ œ œ n œœ .œ œ œ œ œ œœ .œ œ œ œ œ œœ .œ œ œ œ œ œœ .œ œ œ œ œ
134
&
œ. œœ . j
œ . œ œ œ œ œ œ œœ .. n œœ .. œœ .. b œœœ ..
? b b œœ .. œ .. œ. œ œ œ œ œ œ œ. nœ. œœ .. b œ ..
b ‰ ‰
r j
b œ
& b b œJ ‰ ‰ Œ
n œ
≈ n œœœ n œœ ‰ ‰ Œ ≈ n œœœœ œ
n œœœ ‰ ‰ œj ‰ ‰ Œ ‰ Œ ≈ œ œ n œ n b b 68
138 3
n œœ J
R
r j r j j
? b b n œœ ‰ ‰ Œ ≈œ œ œ ‰ ‰ Œ ≈ œ œ ‰ ‰ œ ‰ ‰ Œ ‰ Œ ≈ œ œ n œ n b b 68
b nœ œ œ œ œ
J 3 Segue No. 21.
10/’09
340 The Grand Duke
No. 21. Song—(Baroness) with Chorus.
b 6 j j j œ j
&b 8 ∑ Œ ‰Œ œ . œr œ Jœ œJ J œJ Jœ ‰ Œ
Allegro con brio.
Baroness œ œ
b 6
1. Come, bump - ers— aye, ev - er - so - ma - ny— And
S
A &b 8 ∑ ∑ ∑ ∑
? b b 68
Chorus
T
B
∑ ∑ ∑ ∑
b 6
& b 8 œJ ≈ œ œ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ œœ ≈œ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ
œœ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ œœ œ œ
f p
œ
? b b 68 J ≈ œ œ
œœ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ œœ ≈œ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ
œ œ œ œœ œ œ œ œœ œ œ œ œ œœ œ œ
b b j j j œj œ œ Œ j j j j j j j j j r r j r œj
5
Baroness & œ œ œ J J œ. œ œ œ œ œ œ œ œ œ œ œ œ.œ
b
then, if you will, ma - ny more! This wine does - n’t cost us a pen-ny, Tho’ it’s Pom - mé - ry,
&b œœ ≈ œœ œœ œœœ ‰ œœœ œœ ≈ œœ œœ œœ ‰ œœ œœ ≈œ œœœ ≈ œœ œœ
œœ œœ
≈
œœœ œœœ œœœ œœ ≈ œœ œœ
œœ œœ œœ œ œ œœ œœ œœ œœ œœ œ œœ œœ œœ œ œ œ œœ œœ œœ
j j
? b œ ≈œ œ œ ‰ œ
b œ ≈œ œ œ ‰ œ œ
j ‰ ‰ œj ‰ ‰ œ ‰ ‰ œ‰ ‰
œ œœ œ œ œ œœ œ œ œ œ œ œ
b b œj r j j j j j ‰ œj œj. œr œj œj œj j j œj œj œj j œj
9
& . œ œ œ œ œ. œ œ #œ œ
œ
Baroness
Pom - mé - ry, Sev - en - ty - four! Old wine is a true pa - na - ce - a For ev - ’ry con -
b
&b œœ ≈ œœ œœ n œœœ ‰ œœœ œœ ≈ œœ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ # œœœ ≈ œœœ œœœ œœœ ‰ œœœ
œœ œ œ œ œœ œ œ œ œœ œ œ
? b œ ≈œ œ œ ‰ œ ≈œ œ œ ‰ œ ≈œ œ œ ‰ œ ≈ œ œ nœ ‰ œ
b œ œ nœ
œ œ
10/’09
Act II 341
b .
&b œ œ œ ‰ œj œj j
œ # œj
j j
œ œ n œj
j
13
œ. œ
Baroness
J
cei - - - va - ble ill, When you cher - ish the sooth - ing i -
b
& b n œœ ≈ œœ œœ œœ ‰ œœ œœ ≈ œœ œœ # œœ ≈ œœ œœ # œœ ≈ œ œ nœ
œœ œœ # œœ ≈ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b ≈ œ œ nœ ‰ œ ≈œ œ ≈ nœ œ ≈ œ œ ≈ œ nœ
b œ nœ
œ œ œ
b j
& b œJ Jœ œ # œj. n œr j # œ . j Œ j
16
Baroness
œ nœ œ œ. œ
b
de - a That some - bo - dy else pays the bill! Old
& b # œœ ≈ œœ œœ œœ ‰ œ # œœ ≈ n ≈ ≈#œ œ œ ‰ œ
œ œ œ œ œœ œ œ œ # œœœ œ œ œ
#œ
œœ œœ œœ œœ
? b ≈ œ œ #œ ‰ œ ≈ œ œ #œ ‰ œ
b
œ œ ≈ œ œ œ ≈ œ œ œ
œ œ
b b j b œr j j j j j j ‰ Œ j œ . œ œ œ j œj j ‰ ‰ ‰ œ œ
19
Baroness & œ . œ œ œ œ bœ œ œ J R J J œ œ J J
wine is a plea-sure that’s hol-low When at your own ta - ble you sit, Foryou’re
b
& b œœ ≈ œ œ œ ‰ œ b œœ ≈ œœ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ œœœ ≈ œœœ œœœ œœœ ‰ œœœ
n œ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ
? b œ ‰ œ ‰ œ ≈œ œ œ ‰ œ
b œ ≈œ œ œ ≈œ œ ≈œ œ œ ‰ œ
œ
œ œ
b
& b œJ Jœ Jœ
j j
œ œ œJ œ œ œ b œj œj œj j r j œj. r œj œ . j
23
œ
Un poco rit.
Baroness
J J J œ . nœ œ #œ œ
b j
think-ing each mouth-ful you swal-low Has cost you, has cost you a three - pen-ny bit! So
œœ ≈ œœ œœ j j
&b œœ .. b œœ .. œœ œœ œœ .. œ ‰ ‰ n n œœ ‰ ‰ œœ .
. œ
b œœ .. œœœ œ
œ œœ œ. œ. œ œ œ. œ œ
j j
Un poco rit.
? b œ ≈œ œ œ. œ. œ œ œ. œ ‰ ‰ bœ ‰ ‰ œ. œ ‰
b œ œœ œ. œ œ œ bœ œ. œ
10/’09
342 The Grand Duke
j
œ œj j œ œj œj ‰ ‰ œ œ
bb aœtempo. j j
.
J œR œ . œr œ œj. n œr œj œ . j j
œ ‰ œ
27
Baroness & J œ
bump - ers— aye, ev - er - so - ma-ny— And then, if you will, ma - ny more! This
b œ. œ
&b œœ .. œœ œœ œ œ œ . ‰ œ œ œ. œ œ . n œ œ œœ ≈ œœ œœ œœ ‰ œœ
œ œ œ. œ #œ. œœ œ œ
a tempo.
? bb œ œœ œœ œœ œ . œœ œœ œœ œ
œ ≈ œœ œ œ ‰ œ œœ .. œ œ œ ‰ œœ œ
≈œ œ œ ‰ œ œ ≈œ œ œ ‰ œ
œ œ
œ œ
>
b b j r j j j j j j r r j œj œj œ . œ. j
œ ‰ ‰
31
Baroness & #œ . œ œ œ nœ œ œ œ œ œ œ œ.
f j
wine does-n’t cost us a pen-ny, Tho’ it’s Pom-mé - ry, Seven - ty four!
b ∑ ∑ ∑ Œ ‰ Œ
S
A &b œ
fœ
So,
? b
Chorus
T
B b ∑ ∑ ∑ Œ ‰ Œ J
So,
j œ
b
& b # œœœ ≈ œœœ œœœ œœœ ‰ œœœ œœ ≈ œœ œœ œœ ‰ œœ œœ .. œœœ ... œœ .. œœ ‰ œJ
œ œœ œ œ œ. œ. œ
? b œ ≈œ œ œ ‰ œ œ ≈œ œ œ ‰ œ œ. œ. œ. œ œ œ œ œ
b œ œœ œ œ œ. œ. œ œ œ œ œ
œ œ œ œ œ œ.
b b œ . œ œ j j œj œj œj ‰ ‰ j j j
œ . œr œ œ . n œr œj œ . j j
œ œ œ ‰ œœ
35
S
A & J R J œ œ
œ. œ
? b J Rœ œJ œ œ œJ œ œ ‰ ‰ œ œ œ. œ œ œ. nœ œ œ. œ ‰ œJ
Chorus bump-ers—aye, ev - er - so - ma - ny— And then, if you will, ma - ny more! This
T
B b J J J J J R J J R J J
œ. œ œ œœ. œ œ n œœ. œ œ œ ..
bb œœ .. œ œ œ œ ‰ œœ œœœ ... œœ œ œ
bump-ers—aye, ev - er - so - ma -ny— And then, if you will, ma - ny more! This
œ œœœ ‰ œ
œ œ ≈ œ œ ≈ œ œ ≈ œ œœœ ..
& J . J œ œ
J J
œœ œœ œœ j œœ œœ œ j œœœ # œœœ œœœ œœœ œœ ‰ œœ
? bb œ œ ‰ œ œ ‰ œ œ ‰ œœ œ ‰ ‰ ‰ œ
œ J J œ J
œ œ
10/’09
Act II 343
b b j r j j j j j œj œr œr œœ œœ œœ œœ .. œœ .. œ.
j
œ ‰ ‰
39
S
& # œœ .. œœ œœ œœ n œœ œœ œœ œ œ œ J J J J
J
A
œ
œœ œœ œœ œœ œ œ œ œ. œ.
wine does-n’t cost us a pen - ny, Tho’ it’s Pom - mé - ry, Seven - ty - four!
œœ .. œ. œ
Chorus
œœ œœ œœ œœ œœ
? bb
J J R R œ Jœ J œ. œ.
J R J J J J
J œ. œ ‰ ‰
J
T
B
œœ œœ œœ
wine does-n’t cost us a pen - ny, Tho’ it’s Pom - mé - ry, Seven - ty - four!
œ œ œ œ œ œ œœ .. œœ .. œœ .. œœ ^j
b b # œœœ ... œ œ œ nœ œ œœ .. œœ .. œœ .. œœ
& # œ. œ œ œ nœ œ œ œ œ œ
œœ ‰ œœœ œœœ ‰ œœœ œœœ œ
‰ œœ œ. œ. œ. œ œ^
? bb œ œ œ œ. œ
œ. œ. J
œ œ œ
b j j j œ Jœ œJ œ œ ‰ Œ j
&b ∑ Œ ‰ Œ œ œ . œr œ
43
Baroness
J J J œ
b ^
2. I once gave an ev - en - ing par - ty (A
&b ≈ ‰ œ œ ≈œœ œ ‰ œ œœ ≈ œœ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ
œ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ œ œ
p
^
? b œ ≈œœ œ ‰ œ œ
b ≈œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ
œœ œ œœ œœ œœ œœ
œœ œ œ œ œ œ œ œ œ œ œœ œ œ
b j j j r r j j j j
& b œ œj œ œ Jœ œ Œ œ œ œ œj œ œ œj œ
47
Baroness
J œ.
b
sand - wich and cut - o - range ball) But my guests had such ap - pe - tites
&b œœ ≈ œœ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ œœ ≈œ œ œ ≈œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœœ œœœ œœœ
? b œ ≈
b œ œ œ ‰ œ œ ≈œ œ œ ‰ œ œ
j ‰ ‰ œj ‰ ‰
œ œ œ œ œ œ œ œ œ œ œ œ
b r r j r œj œj. r j j j j j j œr j j j j
& b œj œj j
œ ‰
50
œ œ œ. œ œ œ œ œ œ. œ œ. œ œ œ œ
œ
Baroness
b
heart-y That I could - n’t en - joy it, en-joy it at all! I made a he - ro - ic en -
&b œœ ≈ œœ œœ œœ ≈ œœ
œœ œœ
œœœœ ≈ œœ œœ n œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ
œœ
œœ ≈ œœ œœ œœ ‰ œœ
œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b œj ‰ ‰ j
b œ ‰ ‰ œ ≈œ œ œ ‰ œ ≈œ œ œ ‰ œ ≈œ œ œ ‰ œ
œ œ œ œ œ œ
10/’09
344 The Grand Duke
b
& b # œj œ
j j j
œ œ œj œ
j œ. œ œ ‰ œj œj
54
œ.
Baroness
J
dea - vour To look un - con - cern’d, but in vain, And I
b
& b # œœ ≈ œœ œœ œœ ‰ œœ n œœœ ≈ œœœ œœœ œœœ ‰ œœœ œœ ≈ œœ œœ # œœ ≈ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ
? b ≈ œ œ nœ ‰ œ ≈ œ œ nœ ‰ œ ≈œ œ ≈ nœ œ
b nœ œ nœ
œ
b b œj j œj œj j œj œ œ j
œ # œj. n œr j # œ . j
57
Baroness & #œ nœ J J œ nœ œ
vow’d that I nev - er— oh nev - er— Would ask an - y - bo - dy a -
b ≈ œ œ nœ ≈ œ œ
& b # œœ # œœ ≈ œœ œœ œœ ‰ œœ # œœ ≈ n ≈
œ œœ œœ # œœ œœ œœ œ œ œ œ œ œ œ œ # œœœ œ œ
? b ≈ œ œ ≈ œ nœ ≈ œ œ #œ ‰ œ
b
œ œ œ œ ≈œœ œ ≈œœ
œ œ
b Œ
r
j œj. b œ œj œj j œj b œj œj ‰ Œ j œ . œ œ œ j œj
&b
60
Baroness
œ. œ œ œ J R J J œ
b
gain! But there’s a dis -tinc-tion de - ci - ded— A dif - fer-ence tru - ly im -
&b ≈ ‰ ≈ œœ ‰ œœ œœ ≈ œœ œœ œœ ‰ œœ
œ # œœœ œœœ œœœ œœœ n œœœ œœœ œœœ œœ
‰ œ b œœ ≈ œœ œœ
œœ œ œ œ œ œ œ œ œ œ œ
#œ
? b
b ≈ œ œ #œ ‰ œ œ ≈ œ œ œ ‰ œ ≈œœ œ ‰ œ ≈œ œ œ ‰ œ
œ œ œ
&b
b j
œ ‰ ‰ ‰ œ œ œ œ œ œj œj œ œ œ œ b œj œj œj
64
Baroness
J J J J J J J J J
b
mense— When the wine that you drink is pro - vi - ded, pro - vi - ded At
&b œœ ≈ œœ œœ œœ ‰ œœ œœ ≈ œœ œœ œœ .. b œœ .. œœ œœ œœ ..
œ œ œ œ œ œ œ œ œ. œ. œ œ œ.
? b
b ≈ œ œ œ ‰ œ œ ≈ œ œ œ. œ. œ œ œ.
œ œ œ œ œ. œœ
10/’09
Act II 345
bb j r j j. r j œ . j œ . œ œ j j œj œj œj ‰ ‰
œ œ
67
œ
Un poco rit. a tempo.
Baroness & œ . nœ œ œ #œ œ œ J R J œ œ
some - bo - dy el - se’s ex - pense. So bump - ers— aye, ev - er - so - ma - ny— The
b j
&b j
œ ‰ ‰ n n œœ ‰ ‰ b œœœ ... œœœ œj œœ .. œœœ œœœ œ œ œ œ . ‰ œ œ
œ œ œ. œ œ.
a tempo.
? b b œj ‰ ‰ b œj ‰ ‰ œ œ œ œ œ. œ œ œ œ
Un poco rit.
œ. œ ‰ œ ≈ œœ œœ œœ ‰ œœ œœ .. œœ œœ œœ ‰ œœ
œ bœ œ. œ œ
>
b j r œj œj. r œj j r r j r j j j
b œ ‰ œ œ #œ . œ œ œ n œj œ
71
Baroness & œ. œ nœ œ.
cost we may safe - ly ig - nore! For the wine does-n’t cost us a
b
& b œ .. œ œ # œœ .. nœ œ œœ ≈ œœœ œœœ œœœ ‰ œœœ # œœœ ≈ œœœ œœœ œœœ ‰ œœœ
œ
? bb ≈ œ œ œ ‰ œ
œ œ œ œ ≈œ œ œ ‰ œ œ ≈œ œ œ ‰ œ
œ œ œ œ œ œ
b b j j r r j j œj œ. œ. j
œ ‰ ‰ ∑
74
Baroness & œ œ œ œ œ œ œ.
pen - ny, Tho’ it’s Pom - mé - ry, Seven - ty - four!
f
&b
b ∑ ∑ Œ ‰ Œ j œ . œ œ j j œj
S
A œ J R J œ œ
œ. œ œ
So, bump -ers—aye, ev - er - so -
f
J R J œ œ œJ
Chorus
? bb ∑ ∑ Œ ‰ Œ œ
T
B J J J
œ. œ œ
œœ .. œ œ œ œ ‰ œœ
So, bump -ers—aye, ev - er - so -
bb j œ
& œœ ≈ œœ œœ œœ ‰ œœ œœ .. œœ ... œœ .. œœ ‰ œJ J
œ œœ œ œ œ. œ œ. œ
œœ œœ œ
? bb œ ≈ œ œ œ ‰ œ
œ. œ. œ. œ œ œ œ œ œ œ ‰ œœ
œ œœ œ œ œ. œ. œ œ œ œ œ œ J
œ. œ
10/’09
346 The Grand Duke
b j j j r œj œj. r œj j r r
&b œ œ ‰ ‰ œ œ œ ‰ œœ œœ
78
S
A
œ. œ nœ œ.
œ œ œ
œ. œ ‰ Rœ Rœ
ma - ny— The cost we may safe - ly ig - nore! For the
? b b œJ œJ ‰ ‰ œ œ Jœ œ. n œ Jœ œ.
Chorus
T
B
J R J R J
œœ.
ma - ny— The cost we may safe - ly ig - nore! For the
bb œœœ ... œ
œœœœ ≈ œ œ œ œ n œœ. œ œ œœœ ... œœœ ‰ œ
& œ. œ ≈ œ œ ≈ œ œ. œ œ
J J J
j œœ œœ œœ j œœœ # œœœ œœœ œœ œœ ‰ œœ
? b œ ‰ œ œ ‰ œ œ ‰ ‰ œ ‰ œ
b J œ J
œ
b j r j j j j œj œr œr œœ œœ œœ œœ ..
& b # œœ .. œœ œœ œœ n œjœ œœ œœ ..
81
S
œœ œ œ œ J J J
J
A
œœ œœ œ œ œ œ. œ.
wine does-n’t cost us a pen - ny, Tho’ it’s Pom - mé - ry, Seven - ty -
œœ .. œœ œœ œœ œœ œœ
Chorus
? bb œœ œœ œ. œ.
J R J J J J J JR R Jœ œ œ
J J
T
B
œœ œœ œœ œœ .. œœ ..
wine does-n’t cost us a pen - ny, Tho’ it’s Pom - mé - ry, Seven - ty -
b # œœœ ... œ œ œ nœ œ œ œ œ œ œ œ œœ ..
b œ œœ ..
& # œ. œ œ œ nœ œ œ œ
œœ œ œ œ œœœ œœœ
? bb ‰ œœ œœ ‰ œœ ‰ œ œ œ œ. œ.
œ œ œ œ. œ.
b j
& b œ. œ ‰‰ ∑ ∑ ∑ ∑
84
[(Exit Baroness.)]
J
S
A
œ. œ
Chorus
four!
? bb .
œ œ ‰‰ ∑ ∑ ∑ ∑
J
T
B
bb œœœœ .... œœ œ œœ œ œ œ œ œœ œ œ b œ œ œ œ œœ ‰ ‰ Œ ‰
four!
œœ ‰ J œ ≈ œ œ œ œ bœ œ. nœ nœ
& ‰ œ ‰ bœ œ ‰ bœ œ. œ œ œ J
J J J J
œœ œœ œœ œœ n œ œœ b œœ œœœ ... œœ œœ œœ œœ
? b b œœ .. œ
œ ‰ œj œ ‰ œ œ ‰ œ œ ‰ œœ œ ‰ œ œ œ œ J ‰ ‰ Œ ‰
J œ Attacca.
10/’09
Act II 347
No. 22. Solo—(Ludwig) & Chorus.
March heard.
Allegro marziale.
& c b œ œ œ œ œ œ œ œ œ œ œ œ b w b b œœ ‰ œœ ‰ b œœ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3
œœ ‰
Œ bœ œ œ b œœ ‰
ƒ J J J J
?c j j j j
Piano
∑ Œ b œ ‰ ‰ œ ‰ bœ ‰ Œ Ó
b œ bb œœ œ bœ
j # œœ # œœ # œœ 3
#
Ÿ ####
& b w bb œœ œœ œœ œ
bb œœ œ œ œ œ œ œ œ œ œ œ œ b œ # # œœœ ‰ œœ ‰ œœ ‰ œ ‰ j‰
4 3 3 3 3
3
Œ J ‰J ‰J ‰ J ‰ J J J œœœœœœ œ
j j j j j j j j 3 p
? Œ bœ ‰ œ ‰ œ ‰ bœ ‰ Œ Ó Œ # œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ œ œ œj ‰ Œ ####
3
bœ œ œ bœ #œ œ œ œ œ œ œ œ œ œ
8
#### Œ œ œ. œ œ. œ œ Œ ‰ j
Ludwig V J R J R œ œ
Why, who is this ap - proach - ing, Up -
#### j œ. œ œ œj ‰
≈ œœœ œœ ‰ œœ œœ œœ
3
& œœ ≈ # œ œœ ≈ œ œœ œ œ
3
œ œ J
? # # # # œœœ œœ œœ œœ œœ
‰ œ ‰ œ ‰ œ ‰ œœ
œ ‰ ‹ # œœœ œ ‰ œœ # œœ œœ
J J J J J J 3
#### œ œ œ. œ œ Œ ‰ œj œ œ j j
Œ
10
Ludwig V J œ œ œ
on our joy en - croach - ing? Some ras - cal come a -
#### j œ. œ œ j j 3
œ ≈#œ œ ≈ œ œ nœ œ œ nœ
3
œœ ≈ # œ œœ ≈ œ œœ ≈ œ œ œ œ œ œœ ‰ œ œœ ‰ œœ œœ œœ
3
& œ œ #œ œ
3
œ œœ n œ œ œ
? # # # # œœ ‰ œœ ‰ œœ ‰ œ ‰ œœ ‰ œœ œ ‰ œœ œ
œœ
‰
œœ n œœ œœ
œ J J J J ‰ J ‰ J ‰
J J J J 3
10/’09
348 The Grand Duke
#### œ œ j j
œ œ #œ œ œ œ # œ œ. ˙ œ Œ Ó
13 3
V
3 3
Ludwig œ œœ
poach - ing Who’s heard that wine we’re broach - ing?
j Ÿ~~~~~~~~~~~~
#### œ œ j Ÿ
3
œœ # œ. n œ. j
3
œ. œ. œ œ
3
œ œ #œ œ œ ‰ œ œ œ ‰ œ œ œ ‰
3
#œ œ ˙
3 3
&
3
J ‰ Œ . œœ
œ #œ œ
n œœ œœ œ œœ #œ œ n œœ œœ œœ
? #### œ ‰ œ œ œ ‰ œœ ‰ œœ ‰ œ œ
J J ‰ J J J J ‰ J ‰ J ‰ Œ Ó
#### Ó p
Œ œ œ œ œ Œ Ó
16
&
3
J J J
S
A
p œ œ3 œ œ
? #### Œ
Chorus Who may this be?
T
B
J J J Œ ∑
#### j œ œ œj ‰
Who may this be?
≈ œœœ œœ ‰ œœ . œœ œœ œœ
3
& œœ ≈ # œ œœ ≈ œ œœ œ
3
œ œ
J
? # # # # œœœ œœ œœ œœ œœ ‰ ‹ # œœ œœ
‰ œ ‰ œ ‰ œ ‰ œ œ œ ‰ œœ # œœ3 œœ
J J J J J J
####
Ó Œ œ œ œ œ Œ Ó ∑
18
&
3
J J J
S
A
œ 3œ œ œ œ. œ œ
? #### Œ
Who may this be?
œ. œ œ
Chorus
J J J Œ ∑ Œ Œ
J R
T
B
Who may this be? Who is he?
#### j œ. j j 3
≈ œ œœ ≈ œ œ œ œ ‰ œ œ œ œœ ‰ œœ œ œ œ
œœ œœ œ ≈ # œ œ ≈ œ n œ œ œ. œ
3 3
& œœ ≈ # œ œœ œ œ œ
3
n œ œ. .
œœ œœ n œ œ œ œœ j j j
? #### œ ‰ œ ‰
œ ‰ œ
‰ œ
œ œ œ ‰ œ œ œ J ‰ œœ ‰ œœ ‰ œœ ‰
œ
J
œ
J
œ
J
œ
J J ‰ J
## U
3
& # # Œ œj . œr œ Œ Œ Œ ∑ ∑
21
j r
(Enter Herald.)
œ.œ œ
S
A
? #### j r U
Chorus Who is he? Who is he?
∑ Œ œ.œ œ Œ ∑ ∑
unis.
T
B
Ÿ Ÿ Ÿ Ÿ
Who is he?
#### j U
œ œ œœœ œ œj œ œ œ j‰ œ #œ œ nœ ‰ j ‰ œ #œ œ nœ w
3
& œœ ≈ œ œ
3 3
3
œ œ. . . œ œ. . . œ œœ J œ œ œœ J ‰ œ ‰ Ó
J
? # # # # œj ‰ œj ‰ j j
œœ ‰ # œœ ‰ j n œœ œœ n # œœ œœ n œœ œœ n # œœ œœ j U
œ œ œ ‰ œ ‰ œ ‰ œ‰ œ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ Ó
J J J J J J J J [Attacca.]
10/’09
Act II 349
No. 23. Song—(Herald) & Chorus.
# # # # 12 j j j j j
8 Ó. Œ ‰ Œ
Un poco più lento.
V j œ œ œ œ œ œ. œ œ
œ
Herald
œœ. œœ. œœ. œœ.
The Prince of Mon- te Car - lo, From
# # # # 12
& 8 œ. œ ‰ ‰ œ. œ ‰ ‰ œœ .. œ ‰ ‰ œ. œ ‰ ‰
œœ .. J œœ .. J œ. J œœ .. J
p
? # # # # 12 œœ. ‰ ‰ œ . œœ. ‰ ‰ œœ. ‰ ‰ œ . œœ.
Piano
8 œ .. J J
œ.
J J
‰ ‰
œ œ. œ. œ.
#### j j j j j j j j
œ œj œ œj ‰ Œ œ œ œ œ œj
3
Herald V œ œ œ œ j J œ œ œ œ
œ
œœ. .œ œ.
Me - di - ter - ra - nean wa - ter, Has come here to be - stow On you his be -
#### œœ ‰ ‰ œœ ‰ ‰
& œœ .. œ ‰ ‰ œœ .. œœ ..
œ. J œœœ .. J œœœ .. J
œ. œ.
. .
? #### œ . œœ. œœ. ‰ ‰ œœ. ‰ ‰ œ .
J ‰ ‰ œ. œ œ. œ œ.
œ. œ. J œ. J œ. œ.
5
#### j œ ‰ ‰ œj j ‰ Œ œ œ œ œ œ œ ‰ Œ j
V œ J œ J J J œ
œ œ
Herald
.œ œœ. œœ.
eu - ti - ful daugh-ter. They’ve paid off all they owe, As
#### œœœ ‰ ‰ œœ ‰ ‰
& œœ ‰ œ ‰ œœ .. œ ‰ ‰ œœ ..
œ # œœ œœ .. J œ. J œ. J
œ. œœ. œœœ.
? #### œ ‰ ‰ œ. J ‰ ‰ œ. œ œ.
œ œ œ. J ‰ ‰ œ. J ‰ ‰
#### j œ j j j ‰ Œ j j j œj œj œ
œ œ œ œ œJ
7
V œ œ œ œ œ œ œ œ œ
Herald
J
œœ. .
ev - ’ry states - man ought - er— That Prince of Mon - te Car - lo And his be -
#### n œœœ ‰ ‰
& œœ . œ ‰ ‰ œœœ ‰ œœœ ‰ œ ‰
œ .. J n œœœ ... J œ œœ œœ ..
œ.
œœ. œœ.
? #### . J ‰ ‰ œ. J ‰ ‰ œ ‰ œ ‰ ˙.
œ œ. œ œ
˙.
10/’09
350 The Grand Duke
# ## œ j ‰ j
V # j ‰ Œ Ó.
L
œ ‰ œ ‰ Œ ‰ Œ
9
Herald J œ œ J œ œ
####
eu - ti - ful daugh - ter! From
& Ó. Œ ‰ Œ j j j j j j ‰ ‰
œ œœ œœ œœ œœ œœ œœ .. œœ
S
J
A
œ
Chorus
? #### œœ œœ œœ œœ œœ œœ .. œœ ‰ ‰
The Prince of Mon - te Car - lo!
Ó. Œ ‰ Œ œ J J J J J
J
T
B
œ. œ.
The Prince of Mon - te Car - lo!
#### j ‰ ‰ j ‰ ‰ j ‰ ‰ Œ
L
œœ ‰ ‰ œœ ‰ ‰
& œ œ j œ. œœ ..
n # œœ n œœœ # œœ œ œœ .. J
œ.
J
? #### j ‰ ‰ œ ‰ ‰ œj ‰ ‰ j ‰ ‰ œ. œœ. ‰ ‰ œ . œœ. ‰ ‰
œ œ J J
œ J œ œ œ. œ.
## j j j j j
V ##
j
œ œ œ œ œ œj œ j ‰ Œ ‰ Ó. Œ œ œ œj œj
11
œ
Herald
####
Me - di - ter - ra - nean wa - ter,
j j
On you his be -
& Ó. Œ ‰ Œ j œœ œœ œ œœ œœ ‰ Œ ‰
œ œ
S
JHas come
A
? #### Ó . j œœ œ œ œ œœ
Chorus here to be - stow
Œ ‰ Œ œ œ œ œ ‰ Œ ‰
J J J
T
B
## œœ. œ. œ.
Has come here to be - stow
& ## œ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ ..
œœ .. J œœœ .. J œœœ .. J œœ .. œ.
œ. . . œ.
? #### œ. œœ. ‰ ‰ œœ. .œ
œœ ‰ ‰ œ .
œ. J œ. œ ‰ ‰ œ.
œ.
œ.
œ. J œ. J œ.
#### j j
j œ ‰ Œ ‰ œj j ‰ Œ ‰ Ó. Œ ‰ Œ
13
V œ
Herald
œ œ
#### j j j j
j j ‰ Œ œœ œ
eu - ti– daugh-ter. As
& Œ ‰ ‰ œ œœ œœ œ .. œœ ‰ ‰
œ œ œ œ œ
unis.
œ œ
S
A
j
œœ œœ ..
–ful daugh-ter. They’ve paid off all they owe,
# œœ œ œ n œœ œœ œœ œœ œœ
Chorus
? #### Œ ‰ ‰ œ œ ‰ Œ
T
B
J J
J J J J ‰ ‰
#### œœ. œœ. œœ.
–ful daugh-ter. They’ve paid off all they owe,
‰ ‰ œœ ‰ ‰ œœ .. œ ‰ ‰ œœ .. œœ ‰ ‰
& œœœ œœ œœ .. J J œ. J
#œ œ.
.œ œœœ.
? #### œ œ. œ. œœ .
œ
‰
œ
‰ œ. J ‰ ‰
œ. J ‰ ‰ œœ . J ‰ ‰
10/’09
Act II 351
#### j j j j j j j œj œj œ
œ œ œ œ œ œ œ ‰ Œ ‰ Œ ‰
15
Herald V œ œ œ œ
##
ev - ’ry states - man ought - er— That Prince of Mon - te Car - lo
S & ## ∑ Ó. Œ œ œ œ œJ
J
####
And his be -
& ∑ Ó. Œ j j
A
œ œ œ
####
Chorus And his be -
V ∑ Ó. Œ œ œ œ
T
J J
? #### œ œ œ
And his be -
B ∑ Ó. Œ J J
#### œœ. .
n œœ ‰ ‰
And his be -
& œœ . œ ‰ ‰ n œœ . œ œœœ ‰ œœ ‰ œ
œœ
‰ œ.
œ .. J œ .. J œœ œœ ..
œ. œœ.
? #### œ . œ œ
J ‰ ‰ œ. J ‰ ‰ œ ‰ œ ‰ ˙.
œ. œ ˙.
17
#### ∑ ∑ Ó. Œ ‰ Œ œj
Herald V
# # # # œ j‰ œ ‰ œ j ‰ Œ ‰
The
& J œ œ ∑ ∑
S
J œ
####
eu - ti ful daugh - ter!
j j ‰ j j ‰Œ ‰
A & œ œ‰œ œ œ ∑ ∑
#### j j
eu - ti - ful daugh - ter!
j j
Chorus
T V # œ œ ‰n œ ‰ # œ œ ‰ Œ ‰ ∑ ∑
eu - ti - ful daugh - ter!
? # # # # n œJ Jœ ‰ œ œ ‰ œ œ ‰ Œ ‰ ∑ ∑
B
J J
#### œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ
eu - ti - ful daugh - ter!
j j œ ‰ ‰ œj ‰ ‰
œ‰ ‰ j‰ ‰ œ ‰ ‰Œ œ œ ‰
& œ ‰ œ ‰
n # œœ n œœœ # œœ J J .
j œœ œ œ œ
? # # # # œj ‰ ‰ œœ ‰ ‰ œ ‰ ‰ j‰‰ œj ‰ ‰ œ ‰ ‰ œj ‰ ‰ œœJ ‰ ‰ œj ‰ ‰ œJ ‰ ‰ œ ‰ ‰ œ. ‰ ‰
J œ œ œ J J J
œ œ œ
10/’09
352 The Grand Duke
#### j j j j
œ œj œ œ n œ . j j
M
j ‰ œj œ œ œj n œj œj œj ‰ Œ
20
Herald V œ œ œ œ
Prince of Mon - te Car - lo, Who is so ve - ry par - tick - ler, Has
#### j j œ œj œ
& œ œ œ œ œ nœ. œœ n œ œ œ œœ œœ œ jœ œ œ
œ. œ. œ œ œœ œ
J J
p j
? #### ˙ . œœ . œ. œ Ÿ~~~~~~~~~~~~~~~~~
˙˙ .. œ ‰ œ œ
œ
œ. œ. . œ
#### œ j j j j œ œ # œ œ # œj j ‰ Œ j
œ œ œ œ œ œ œ œ
22
Herald V J J J J œ œ
heard that you’re al - so For ce - re - mo - ny a stick - ler— There -
#### œ j j j
j jj j œ œ #œ œ #œ
& œ. œ œ n œœ . œ œœ œ œ œœ . œ œœ œ #œ œ #œ œ œ œ œ
‰
. .
. nœ. œ˙ .. œ. œœ ..
? # # # # œ˙ . œœ .. œ. Œ œ
J
## j j j j
V # # œ # œJ # œ œ œJ œ . œ ‰ œ #œ œ œj # œj œ ‰ Œ
24
œ œ j
œ
Herald
fore he lets you know By word of mouth au - ric - ’lar— (That
# # # # œ # œj œ œ j j œ
& #œ œœ . # œ œœ œœ # œœ œœ œœ # œœ œœ œ œ œ œ
˙. J œ
. œ. # Ÿ~~~~~~~~~~~~~~~~~~~
˙˙ .. œ j #œ œ œ
? # # # # # ˙˙ .. # # œœ . œ œ
26
#### j œj œj œj œ j œ œ œj œj ‰ ‰ j ‰ j j j ‰ Œ
nœ
un poco rit.
V œ œ œ œ œ œ j
œ
Herald
Prince of Mon - te Car - lo Who is so ve - ry par - tick - ’lar)— That
#### j j j
& n œœ ‰ ‰ # œœj ‰ ‰ œœ ‰ ‰ œœj ‰ ‰ œœ ‰ ‰ œ ‰ œ j‰ ‰
n œœ œœœ .. œœœ
.
? # # # # œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ
un poco rit.
j j
J J J J J ‰ ‰ œ ‰ ‰ œ. œ ‰ ‰
10/’09
Act II 353
####
N
j j j j j Ó.
œ ‰ ‰ Œ ‰ Œ
28
V j
a tempo.
Herald
œ œ œ œ œ œ. œ
#### j j j j j
Prince of Mon - te Car - lo Has
& Ó. Œ ‰ Œ œ œ œ œ œ œ œj œ j ‰ Œ ‰
œ
S
#### Ó .
From Me - di - ter - ra - nean wa - ter,
& Œ ‰ Œ j j j j j j ‰ Œ ‰
A
œ œ œ œ œ œ œ œ œj
#### œ œ œ œ œ œj œj œj ‰ Œ
Chorus From Me - di - ter - ra - nean wa - ter,
V Ó. Œ ‰ Œ œ ‰
T
J J J J
From Me - di - ter - ra - nean wa - ter,
? #### Ó . Œ ‰ Œ œ œ œ œ œ œ j j
B
J J J J J œ œ ‰ Œ ‰
#### œœ. œœ. œœ. œ.
N From Me - di - ter - ra - nean wa - ter,
œ ‰ ‰ œ. œ ‰ ‰ œ ‰ ‰ œœ ‰ ‰
&
a tempo.
œœ .. J œœ .. J œœ .. J œœœ .. J
œ. œ. .
? #### œ . œœ. ‰ ‰ œ . œœ. ‰ ‰ œ. œœ. ‰ ‰ œœ.
J J J œ. œ ‰ ‰
œ. œ. œ. œ. J
#### œ œ œ j j j Ó.
œ œ ‰ ‰ Œ ‰ Œ œ
30
Herald V J œ œ J
####
come here to be - stow On you They’ve
& Ó. Œ ‰ ‰ œj œj j œ ‰ œ ‰ œj j ‰ Œ ‰
S
œ J œ œ
####
His be - eu - ti - ful daugh-ter.
& Ó. Œ ‰ ‰ œj œj j j ‰ ‰ j j ‰ Œ ‰
œ œ œ œ œ œ
A
#### .
‰ ‰ œj œ
Chorus His be - eu - ti - ful daugh-ter.
V Ó Œ œ œ ‰ #œ ‰ œ œ ‰ Œ ‰
T
J J J J J
j j
His be - eu - ti - ful daugh-ter.
B
? #### Ó . Œ ‰ ‰ œ œ œJ Jœ ‰ œ ‰ œj œj ‰ Œ ‰
#### œ. œœ.
His be - eu - ti - ful daugh-ter.
œœ ‰ ‰ ‰ ‰ œœ ‰ ‰
& œœ .. œœ .. œœœ
œœœ ..
.
J
œ. œ. # œœœ œœ .. J
? #### œœ. ‰ ‰ œ . œ œ.
œ. œ œ. ‰ ‰ œ. J ‰ ‰
J œ. œ. œ œ
œ.
10/’09
354 The Grand Duke
####
œ œ œ œ œ ‰ Œ ‰ Ó. Œ ‰ Œ j
32
Herald V J J œ
## j j j j
paid off all they owe, That
S & # # Ó. Œ ‰ Œ œ œ œ œ œ œ œ œj ‰ Œ ‰
#### Ó .
As ev - ’ry states - man ought - er—
Œ ‰ Œ j j œ j j j
A & œ œ œ œ œ œ ‰ Œ ‰
####
As ev - ’ry states - man ought - er—
œ œ œ nœ œ ‰ Œ
Chorus
V Ó. Œ ‰ Œ œ œ ‰
T
J J J J J
? #### Ó . j œ œ œ œ
As ev - ’ry states - man ought - er—
Œ ‰ Œ œ J J J ‰ Œ ‰
B J œ œ
#### œœ. œœ. œœ. .
n œœ ‰ ‰
As ev - ’ry states - man ought - er—
& œœ .. œ ‰ ‰ œœ .. œœ ‰ ‰ œœ . œ ‰ ‰ n œœ . œ
œ. J œ. J œ .. J œ .. J
œœ. œœœ. œ. œœ.
? #### œ . œ . œ
œ. J ‰ ‰ œœ . J ‰ ‰ œ. J ‰ ‰ œ. J ‰ ‰
œ.
#### j j j j
œ œ œ œ œ ‰ Œ ‰ ∑
34
Herald V œ
# ## .
Prince of Mon- te Car - lo—
œ œ œ œJ œ j‰
S & # Ó Œ
J J œ œ
œ ‰ œ
J
j
œ ‰ Œ ‰
####
And his be - eu - ti - ful daugh-ter.
Ó. Œ j j j j ‰ œj œj ‰
A & œ œ œ œ œ ‰ œ Œ ‰
#### j j
And his be - eu - ti - ful daugh-ter.
‰ # œj œj ‰
Chorus
V Ó. Œ œ œ œ #œ œ ‰ nœ Œ ‰
T
J J
œ œ . œ Jœ # œ
And his be - eu - ti - ful daugh-ter.
? #### Ó . Œ J œ œ nœ œ ‰ œ
œ ‰ Jœ œ œ
B J J J J R RÔ J J
####
And his be - eu - ti - ful daugh-ter. His be-eu - ti - ful
& ‰ œ ‰ œ ‰ j‰ ‰ j ‰ ‰ j ‰ ‰ Œ œ
œœœ œœœ œœ œœ .. œ n œœœ œ J
œ. n # œœ # œœ
? #### œ ‰ œ ‰ ˙. j ‰ ‰ œ ‰ ‰ œj ‰ ‰
œ œ œ œ j‰ ‰
˙. œ J œ œ
10/’09
#### œ œ 2œ œ œ œ œ 2 œ œ
Act II 355
∑ Œ ‰ Œ œ
36
V J R R R R J R J R
[rall.]
Herald
J
p
The Prince of Mon-te Car - lo, He lets you
####
& ∑ Œ ‰ Œ j œ. œ.
[ ] rall.
œ
S
#### p
His daugh - - - - -
& ∑ Œ ‰ Œ j
[ ] rall.
œ ˙.
A
#### p
Chorus His daugh - - - - -
V ∑ Œ ‰ Œ œ œ. œ.
[ ] rall.
T
J
p j
His daugh - - - - -
? ####
w. œ. œ œ ˙.
[ ] rall.
B
daugh - - - - - - ter, His daugh - - - - -
# # # # œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ ˙.
& œ ‰ œ ‰ œ ‰ œ. œ.
œœ œœ œœ ˙ œ. . œ.
rall.
#
? ## # j j œ j
œ ‰ ‰ J ‰ ‰ œ ‰ ‰ J ‰ ‰ œ ‰ ‰ Jœ ‰ ‰
œ ˙.
œ œ œ
#### œ œ œ œ œ œ œ œ œ œ œ œ j
J R R R R R R R R R R J œ ‰ Œ ‰ ∑
38
V
2 2
Herald
####
know he’s here to be - stow His be - eu - ti - ful daugh - ter!
S & œ. œ. ˙. ∑
####
- - - - - - - - ter!
& ˙. ∑
A
˙.
####
Chorus - - - - - - - - ter!
T V œ. œ. ˙. ∑
? ####
- - - - - - - - ter!
B
˙. ˙. ∑
˘œ
# ## œœœ
- - - - - - - - ter!
& # œ .˙˙ . œ.
˙.
˙˙ .. J ‰ ‰ Œ ‰ Ó.
.
f
œ˙ .. œ. ˙. j
? #### ˙. œ ‰ ‰ Œ ‰ Ó.
œ
fl [Attacca.]
10/’09
356 The Grand Duke
No. 24. Recit.—(Ludwig).
∑ ‰ j j r r j j
Vc œ œ œ œ œ œ Œ
Allegro con brio. [Recit.]
Ludwig
œœ
His High - ness we know not—
œ j
& c œJ ‰ œ œ œ œ œ œ œ œ œ œ # œ œ œ ‰ Œ Ó
f p
? c œj ‰ ˙˙˙ œœœ ‰ œœ ‰
Piano
œ Œ Ó
œ J J
∑ Œ j r r œj r r r œr œr œ . œ œ œ œ
3
Ludwig V œ œ œ .œ œ œ J R J J œ
œœ nor the lo - ca - li - ty In which is si - tu-ate his Prin - ci -
œ j‰ Œ
& œJ ‰ œ œ œ œ œ œ œ œ œ œ #œ œ œ Ó ˙˙
˙
Ó
f p
? œj ‰ ˙˙˙ œœœ ‰ œœ ‰ Œ
œ Ó Ó
J J ˙
œ
j
V # œj œ œ Ó ∑
6
Ludwig
œ œ
œ œ #œ œ œ #œ œ
pa - li - ty;
J œ œ œ œ œ œ œ œ œ œ #œ œ
& Ó ‰
f p
˙˙ œœ
? Ó # ˙˙˙ œœ
J ‰ ˙ œ
j r r
V Œ œ œ œR r r r j œJ œ. œ œ Ó
8
œ J
Ludwig
œ œ œ œ R
But, as he guess - es by some odd fa - ta - li - ty,
œ ‰ Œ Ó Ó œ œ œ œ œ œ #œ œ
& J
œ ˙˙˙
? # œœ ‰ Œ Ó Ó
J
10/’09
Act II 357
j r r r j j j
Œ œ œ œ œ # œr œr œr œj œ œj # œj œj ‰ Ó Œ œ œ œj œ Œ
10 3
Ludwig V
This is the shop for cut and dried for - ma - li - ty! Let him ap - pear—
#œ ‰ Œ Ó Ó œ Œ # œœ Œ Œ œ œ #œ œ
& J œœ œ
f f œ
# œœ
? # œœœ ‰ Œ Ó Ó
œœ
Œ œ Œ Œ
J œ
13
‰ j j r œ . œr œj œj j œj œj œj b œj. œ œ Ó
O Moderato a la Marcia.
V œ œ. œ œ J #œ R
Ludwig
œ
nœ
He’ll find that we’re Re - mark - a - ble for cut-and dried for - ma - li-ty!
& œJ ‰ Œ Ó ww b œj ‰ Œ Œ
œ œ. œ
n œœ p
? J ‰ Œ Ó w œ j j j
nw b œJ ‰ œ ‰ œ ‰ œ ‰
(Exit Herald.)
(Ludwig beckons his Court.)
Ludwig. I have a plan—I’ll tell you all the plot of it—
He wants formality—he shall have a lot of it!
(Whispers to them through symphony.)
Conceal yourselves, and when I give the cue,
Spring out on him—you all know what to do!
(All conceal themselves behind the draperies that enclose the stage.)
j œ. œœ j
& b œœ ≈ # œ œœ ≈ œ œ ≈ œ œ œ. œ œœ ‰ œœ œœ
œ. œ œ ‰ œ œœ ≈ # œ œœ ≈ œ œ ≈ œ œ œ. œ œ
16 3
. . œœ
3 3
. J . . .
p
? b œœ ‰ œœ ‰ œœ ‰ œœ œ # n œœ œœ . n œ. œ. œ œ œ œ
‰ œ ‰ œ œ ‰ œœ œ œ œ ‰ œ ‰ œ ‰ œ ‰
J J J J J J 3
J J J J
j œ. œ œ j œ ≈ # œ œ ≈ œ œ b Jœ œ. œ. n œ. n œ Jœ œœ œœ # œ. n œ. œ. œ. œ.
& b œœ ‰ œ œœ ‰ œœ œœ œœ
19 3
. . . œ œ #œ œ
œ b œ. œ. œ. œœ œœ n œ
œœ œ œ œ
3 3
œ œœ œœ œ ‰ œœ ‰
3 3
œ œ
3
?b œ ‰ œ œ œœœ
J J ‰ J ‰ J ‰ J ‰ J ‰ J J
3
10/’09
358 The Grand Duke
b œ j n œ œ Ÿ̇ œ
J ‰ Œ ˙
22 3
& # œ œœ
œ œ
3
Più vivace.
œ nœ œ œ œ œ œ #œ œ œ œ #œ œ œ œ
œœ
˙
œœ n ˙˙˙ œœ π
œœ
?b J ‰ J ‰ J ‰ Œ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ n ˙ ˙˙ ˙
&b œ j ‰ j ‰ j ‰
26
˙ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ
? b ˙˙ ˙ ˙˙ ˙ ˙˙ n˙ ˙˙ ˙ j j j
œ ‰ œ ‰ œ ‰ œ œ
& b œj ‰ b œj ‰ œj ‰ œ œ œj ‰ b œj ‰ œj ‰ œ b œœ b b œœj ‰ œœ ‰ b œœj ‰ œ
j
29
bœ œ œ œ œ bœ œ œ bœ bœ b œœ
j j j j j j
? b bœ ‰ bœ ‰ œ ‰ œ œ bœ ‰ bœ ‰ œ ‰ bœ œ œ ‰ œ ‰ bœ ‰ bœ œœ
bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ
J J J
& b b œj ‰ œj ‰ œj ‰ j ‰ b œj ‰ j ‰ j ‰ b œj ‰ j ‰ œ b œ
32
œ œ bœ œ œœ b œœ œ œœ œœ œœ b œœ œ œœ b œ œ
j j j j j j j b œj j bœ œ
? b bœ ‰ œ ‰ bœ ‰ œ bœ bœ ‰ bœ ‰ œ ‰ œ œœ b œ ‰ ‰ œ
bœ œ œ œ œ bœ œ œ œ bœ œ œ ‰ œ œ
& b b b œœ ‰ œœj ‰ b œj ‰ œ
j j‰ j‰ j‰ œ j‰ Œ Œ
35
œ b œ b œœ b œœ œœ b œœ b œ n
œ œ bœ œ œœ œœ
j j j
? b œ ‰ œ ‰ bœ ‰ bœ œ bœ ‰ œ ‰ bœ ‰ œ œ œ
j‰ Œ Œ œœ œœ
bœ œ œ œ œ bœ œ œ œ œ œ
J J J
& b œj ‰ Œ Œ
38
bœ
j j j j j
nœ œ œœ ‰ Œ œœ ‰ Œ œœ ‰ Œ œœ ‰ Œ œœ ‰ Œ UÓ
? b œj ‰ Œ Œ b œœ œœ nœ œ œ œ œ
œ œ œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ uÓ Attacca.
J J J J J
10/’09
Act II 359
Entrance of Prince & Princess with Costumier & Six Nobles.
No. 25. Duet—(Prince and Princess).
Pompous March. Enter the Prince and Princess of Monte Carlo,
attended by six theatrical-looking nobles and the Court Costumier.
œ œ ‰ œ œœ ..
Allegroœ a la marcia. œœ œ œœ
œ œ œ œ œ œ
b 12 œ œ
œ ‰
& 8 J œ œ œ œ œ. œ . œœ œ œœ
œ œ œ œ œ ‰ Œ œ
J J J
ƒ œ
œœœ œœœ œ j ‰ ‰ œœœ ‰ ‰
? b 12 ‰ j ‰ ‰ œœJ ‰ ‰
Piano
8 œ‰ j ‰ ‰ J ‰ ‰ j ‰ ‰ J ‰ œ J
œ œ œ
œœ œ œ œ œœ œ œœœ œ œ œ œ œ œ
œ
œ œ œ œ œœ ‰ n œœ œ ‰ Œ œ
&b ‰ ‰ œ œ ‰ œ œ œ œ ‰
3
J
œœ œœ œœ
? b œj ‰ ‰ œœJ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰
œ œ œ œ œ
œœœ œ œ ‰ œ œœ .. œœ œ œœ œ œ œ œ b œœ œ œ
œ œ. œ ‰ J œ ‰
&b œ ‰ œ œ ‰ Œ
5
J œ
J
œœœ œœ œ b œœ
?b j œ j œ
œ ‰ ‰ J ‰ ‰ œj ‰ ‰ J ‰ ‰ œ ‰ ‰ œœ ‰ ‰ œj ‰ ‰
J J ‰ ‰
œ œ œ
œ œ œ œ œ œ œ œ
œœœ ‰ œ œœœ œ œœ œœœ ‰ œ œ œ œ œ ‰ œœ ‰ œ œ ‰
&b Œ ‰ c
7
œ œ œ œ
? b œj ‰ ‰ ‰ œ ‰ œœœ b n œœœ bœ
‰ œœ ‰ n œœ
œ ‰ œ ‰ Œ ‰ c
j r j j œj j œj œj
S
Vb c ∑ Ó Œ ‰
9
j
L’istesso tempo.
Prince
œ œ. œ œ œ œ
1. We’re rigged out in mag - ni - fi - cent ar -
& b c œœ œœ œœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ
p
? c œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b œ
10/’09
360 The Grand Duke
Vb œ œ œ œ œ œ œ œ œ œ œ
12
œ œ œ œ œ œ œ œ j j
œ œ
Prince
ray (Our own clothes are much gloom - ier) In
& b œœ œœ œœ œœœ œœœ œœœ œœ œœœ œœ œœœ œœœ œœœ œœ œœ œœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ
?b œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ
r j j j j
V b œj. œ œj œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œj œ œ
15
Prince
cos - tumes which we’ve hired by the day From a ve - ry well -
&b œ
œœ œœœ œœ
œ œœœ œœœ œœœ œœœ œœ œœ œœœ
œ œ œœœ œœœ œœœ œœ œœ œœœ
œ œ
œœœ œœœ
?b œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ
&b ∑ Ó Œ j j
18
(alternative)
œ œ
Princess With a
&b ∑ Ó Œ j j
(original)
œ œ
With a
Prince Vb œ œ œ œ ∑
known cos - tu - mier.
Vb ∑ j r r r r j j j j j
(bowing).
Costumier
œ œ œ œ œ œ œ œ œ œ
I am the ve - ry well - known cos - tu - mier.
&b œ œ œœ # œœ w
œœ # n œœ œ œ œœœ œœœ # ww
p
?b œ œ œ œ œ œ œ œ œ
œ œ œ œ
10/’09
Act II 361
j r j j j. r j
œ # œJ œ n œ # œ œ œ # œ œ œ # œ n œ œj œJ œ œj # œj œ
T1
b . œ œ œ nœ œ
20
& œ J J
(alternative)
j r j j n œj. r œ # œJ œ n œ # œ œ œ # œ œ œ # œ n œ œj œJ œ œ # œ œ
Princess bril - liant staff a Prince should make a show (It’s a rule that nev - er
& b œ . œ œ œ œ J
(original)
bril - liant staff a Prince should make a show (It’s a rule that
T1
& b # œœ œ œ # œœ
œ œ œœ œœ # œœ œ œ
œ œ # œœ œœ œœ # œœ œ œ
œ œ # œœ œœ œœ
?b œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ
j r j j j j
& b œ #œ ‰ j j j nœ œ bœ œ œ œ œ œ bœ œ œ
23
(alternative)
œ œ œ œ. œ œ œ
j r j b œj
va - ries), So we’ve en - gag’d from the Thea - tre Mo - na - co
j j n œj. œr œ œ bœ œ œ
Princess
(original) & b œ #œ œ œ œ œ. œ œ œ œ œ œ
nev - er va - ries), So we’ve en-gag’d from the Thea - tre Mo - - - -
& b # œœ n # œœ œœ œœ œœ œœ b œœ œ œ # œœ œœ œœ œ œ œ # œœ œœ œœ
œ œ œ œ œ
? b œ bœ œ œ #œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
j
& b œ œ œ œ œ œ # œj œ œ ∑
26
(alternative)
œ œ œ
j j j
Princess Six su - per - nu - me - ra - ries.
(original) & b œJ œ œ œ œ œ # œ œ œ œ œ œ ∑
- na - co Six su - per - nu - me - ra - ries.
Vb ∑ ∑ œ. œ œ œ œ œ œ œ
Nobles
J R J J J J J J
We’re the su - per - nu - me - ra - ries.
&b œ œ œ # œœ œœ œœ œ œ œ œœ œ œœ œœ œ
œ œ œ œ œœ œœ œœ œ œ œœ
?b œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ
œ œ
œ œ œ
10/’09
362 The Grand Duke
j j
j j œJ . œR Jœ œ œ j j œJ . Rœ Jœ œ œ
U1
&b Ó Œ Œ
29
œ œ œ œ
Princess
At a sa - la - ry im-mense, Quite re - gard - less of ex - pense,
j j j j
Vb Ó Œ j j œj. œr œ œ œ j j œj. œr œ œ œ Œ
œ œ œ œ
Prince
At a sa - la - ry im-mense, Quite re - gard - less of ex - pense,
j r j r
Vb Ó Œ j j œ . œ Jœ œJ œ j j œ . œ Jœ œJ œ Œ
œ œ œ œ
Herald
At a sa - la - ry im-mense, Quite re - gard - less of ex - pense,
Vb Ó Œ j j œj. œr œj œj œ j j œj. œr œj œj œ Œ
œ œ œ œ
Costumier
At a sa - la - ry im-mense, Quite re - gard - less of ex - pense,
j r j r
Vb Ó Œ j j œ . œ Jœ œJ œ j j œ . œ Jœ œJ œ Œ
œ œ œ œ
T1
At a sa - la - ry im-mense, Quite re - gard - less of ex - pense,
j j j j
Vb Ó Œ j j œj. œr œ œ œ j j œj. œr œ œ œ Œ
œ œ œ œ
T2
At a sa - la - ry im-mense, Quite re - gard - less of ex - pense,
Nobles
œ œ . œ œ œJ œ
Vb Ó Œ j j œJ . œR Jœ J œ œ œ
J J J R J
Œ
œ œ
T3
T4
At a sa - la - ry im-mense, Quite re - gard - less of ex - pense,
j j j j
B1
B2
?b Ó Œ œ œ œJ . œR Jœ œJ œ œ œ œJ . Rœ Jœ œJ œ Œ
At a sa - la - ry im-mense, Quite re - gard - less of ex - pense,
œœœ œ œœœ œœ
U1
& b b # œœ œœ œ n œœ œ œ œ œ
œ œ œ œ œœ œœ œœœ œ œ œ œœ œœ œœœ œœœ œœœ
œ œ #œ œ œ j j j j
? œ œ œ œ œ œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ
b œ œ œ œ
10/’09
Act II 363
j j œ œ œ œ j j œ œ œ
œ œ œ
V1
&b œ n˙ ˙
32
Princess œ œ œ œ J J œ
Six su - per - nu - me - ra - ries! Six su-per-nu - me - ra-ries! Ah!
j j œ j j j j ˙
Prince Vb œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ
Six su - per - nu - me - ra - ries! Six su-per-nu - me ra-ries! Ah!
˙ ˙ j
Herald Vb œ œ œ œ
J J
œ œ œ œJ œ œ œ œ œ
J J ˙
Six su - per - nu - me - ra - ries! Six su-per-nu - me - ra-ries! Ah! Ah!
j j j j
Costumier Vb œ œ œ œ œ ˙ ˙ œ
j j
œ œ œ œ œ œ œ ˙
Six su - per - nu - me - ra - ries! Six su-per-nu - me - ra-ries! Ah! Ah!
˙ ˙ j
T1 Vb œ œ œ œ
J J
œ œ œ œJ œ œ œ œ œ
J J ˙
Six su - per - nu - me - ra - ries! Six su-per-nu - me - ra-ries! Ah! Ah!
j j œ j j j j ˙
T2 Vb œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ
Six su - per - nu - me - ra - ries! Six su-per-nu - me - ra-ries! Ah!
˙
Nobles
œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ
T3
T4 Vb J J J J J J
Six su - per - nu - me - ra - ries! Six su-per-nu - me - ra-ries! Ah! Ah!
?b œ œ œ œ œ ˙ ˙ j j œ œ œ ˙
B1
B2 J J œ œ œ œ œ J J
Six su - per - nu - me - ra - ries! Six su-per-nu - me - ra-ries! Ah! Ah!
j j j
V1
& b œœ ‰ Œ Ó ∑ œœ ‰ Œ œœœ ‰ Œ ˙˙ ˙˙
œ œ ˙ ˙
p
j j j
? œ ‰ Œ Ó ∑ œ ‰ Œ œ ‰ Œ
b œ w
œ œ
10/’09
364 The Grand Duke
œ œ œ œ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. Œ
36
œ
œ
Princess
˙
Ah!
Prince Vb w ˙ w ˙. Œ
Ah!
Herald Vb ˙ ˙ ˙ ˙ ˙ ˙ ˙. Œ
Ah!
Costumier Vb w w w ˙. Œ
Ah!
T1 Vb ˙ ˙ ˙ ˙ ˙ ˙ ˙. Œ
Ah!
˙
T2 Vb w ˙ w ˙. Œ
˙.
Ah!
˙ ˙ w ˙ ˙
Nobles
T3
T4 Vb Œ
Ah!
? w w w ˙. Œ
B1
B2 b
Ah!
& b ˙˙ ˙˙ ẇ ˙˙ ˙˙˙ ˙˙ .. Œ
˙ ˙ ˙˙ ˙ ˙.
˙
π
? Œ
b w w w ˙.
j j œj j œj œj œ
Vb Ó ‰ œ œ œ œ œ œ œ
40
j j j œ œ œ œ
œ œ œ
Prince
2. They do not speak, for they break our gram-mar’s laws,
& b œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œ œœ œœ œœœ
œ œ œ œ œ œ œ œœœ œœœ œœ œ œ œœœ œœœ
[p]
? œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b œ
10/’09
Act II 365
j j j j j j j j j
V b œ œ œj œ œ œj œj œ
43
œ j j œ œ œ œ œ œ
œ œ œ œ œ
Prince
And their lan-guage is la - ment - a - ble— And they nev - er take off theirgloves, be -
& b œœ œœœ œœœ œœœ œœ œœœ œœœ œœœ
œ œœœ œœœ œ œœœ œœœ œœœ œœ œœ œœœ
œ œ œœœ œœœ
? œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b œ
j
Vb œ œ œ œ œ œ œ œ œ œ œ œ œj œj œj œj Œ
46
Prince œ œ œ
cause Their nails are not pre - sent - a - ble!
Nobles Vb ∑ ∑ Ó Œ œ
Our
& b œœ œœœ œœœ œœœ
œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ n œœ œœ # œœ
œ #œ œ œ œœœ œœœ
? œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œ œ œ
b œ œ œ
Princess. T2 j r j j j r #œ
&b Ó Œ j j .
œ œ œ . œ œ œ n œ œ œJ J
#œ œ nœ #œ œ œ œ œ
49
To ac - count for these short-com-ings ma - ni - fest
Nobles V b œj. œr œj œj œj œj œj ‰ ∑ ∑
nails are not pre-sent - a - ble!
T2
& b # www œ
#œ
œ œ #œ
œ œ œ
œ
œœ œœ # œ
œ œ
œ œ # œœ œœ œœ
p
? œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b
# œ n œ j œ œ j j œj ‰ j j j n œj. œr œj œj œj. œr œj b œ
j
b
52
& œ J œ œ #œ
Princess
J #œ œ œ œ
We ex-plain in whis-per ba - ted, They’reworth - y mem-bers of the brew - ing in - ter -
& b # œœ œ œ # œœ
œ œ œœ œœ # œœ n # œœ œœ œœ œ
œœ œœ b œ
œ œ #œ
œœ œœ
œ œ œ
? #œ œ œ
b œœ œœ œœ œœ œœ œœ œœ b œœ œœ œ
œ œ œ œ œœ œ œ
œ œ œœ œœ
10/’09
366 The Grand Duke
bœ œ œ j
&b œ œ œ œ œ œ œ œj œ œ œ # œ œ
55
Princess œ œ œ œ
est To the Peer - age e - le - va - ted.
&b œ œ œ # œ œ œ # œ œ œ
œ œ œ œœ œœ œœ œ œ œ œœ œœ œœ œ œœ œœ œœ œ œ
? œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ
b œ œ œ
j
j j œJ . Rœ Jœ œ œ
U2
&b ∑ Ó Œ
58
j j
œ œ œ œ
Princess
j j
j j œj. œr œ œ œ
They are ve - ry, ve - ry rich And ac -
Vb ∑ Ó Œ j j
œ œ œ œ
Prince
j r
They are ve - ry, ve - ry rich And ac -
Vb ∑ Ó Œ j j œ . œ œ Jœ œ j j
Herald
œ œ J œ œ
They are ve - ry, ve - ry rich And ac -
Vb ∑ Ó Œ j j œj. œr œj œj œ j j
œ œ œ œ
Costumier
j r
They are ve - ry, ve - ry rich, And ac -
V b œJ . Rœ œJ Jœ œJ œJ œJ œJ Ó Œ j j œ . œ Jœ Jœ œ j j
œ œ œ œ
T1
j
j j œj. œr œj œ œ
To the Peer - age e - le - va - ted. We are ve - ry, ve - ry rich And ac -
V b œJ . Rœ œJ Jœ œJ œJ œJ œJ Ó Œ j j
œ œ œ œ
T2
œ
j j œJ . Rœ Jœ J œ
Nobles To the Peer - age e - le - va - ted. We are ve - ry, ve - ry rich And ac -
V b œJ . Rœ œJ Jœ œJ œJ œJ œJ Ó Œ œ œ
J J
œ œ
T3
T4
j r j j j j j j j j j j
œ œ œJ . Rœ Jœ Jœ œ
To the Peer - age e - le - va - ted. We are ve - ry, ve - ry rich And ac -
? Ó Œ
B1
B2 b . œ œ œ œ œ œ œ
œ œ œ
To the Peer - age e - le - va - ted. We are ve - ry, ve - ry rich And ac -
œœœ œ œœœ
U2
& b œœ œœ œ b # œœœ œœœ œœ n œœœ œœ œœ œœ
œœ œ œœ œ œ œ œ œ
œ œœ œœ œœ œ œ œ œ #œ œ œ j j
? œ œ œ ‰ œ Œ œ ‰ Œ
b œ œ œ œ œ œ œ œ
10/’09
Act II 367
j œ œ œ
& b œJ . œR œJ œ œ n˙ ˙ œ
61
j j œ œ œ œ œ
œ œ
Princess
cord - ing-ly, as sich, To the Peer - age e - le - va - ted, E - le - va -
b j r œj œj œ j j œ œ œ œ ˙ ˙ œ œ ˙
Prince V œ. œ œ œ
cord - ing-ly, as sich, To the Peer - age e - le - va - ted, E - le - va -
j r ˙ ˙
V b œ . œ œJ Jœ œ j j œ œ œ œ œ œ œ ˙
œ œ
Herald
cord - ing-ly, as sich, To the Peer - age e - le - va - ted, E - le - va -
r j j
Costumier V b œj. œ œ œ œ j j
œ œ œ œ œ œ ˙ ˙ œ œ ˙
cord - ing-ly, as sich, To the Peer - age e - le - va - ted, E - le - va -
j rœ œ œ ˙ ˙
V b œ . œ J J j j œ œ œ œ œ œ œ ˙
œ œ
T1
cord - ing-ly, as sich, To the Peer - age e - le - va - ted, E - le - va -
b j r j œj œ j j œ œ œ œ ˙ ˙ œ œ ˙
V œ. œ œ
œ œ
T2
cord - ing-ly, as sich, To the Peer - age e - le - va - ted, E - le - va -
Nobles
œ œ œ œ œ œ ˙ ˙ œ œ ˙
T3
T4 V b œJ . œR œJ J œ œ
J J
cord - ing-ly, as sich, To the Peer - age e - le - va - ted, E - le - va -
? b œ. œ œ œ œ j j
B1
B2 J R J J œ œ œ œ œ œ ˙ ˙ œ œ ˙
cord - ing-ly, as sich, To the Peer - age e - le - va - ted, E - le - va -
j j
& b œœ œœ œœ œœ œœœ œœœ œœ ‰ Œ Ó ∑ œœ ‰ Œ j
œœœ ‰ Œ
œ œ œ œ œ œ
j j j j j
? œ ‰ Œ œ ‰ Œ œ ‰ Œ Ó ∑ œ ‰ Œ œ ‰ Œ
b œ œ œ œ œ
10/’09
368 The Grand Duke
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
V2
&b œ œ
65
Princess œ œ
ted! Ah! Ah!
˙ w ˙ ˙
Prince Vb œ œ
ted! Ah! Ah!
Herald Vb œ œ ˙ ˙ ˙ ˙ ˙
ted! Ah! Ah! Ah!
Costumier Vb œ œ ˙ w w
ted! Ah! Ah! Ah!
T1 Vb œ œ ˙ ˙ ˙ ˙ ˙
ted! Ah! Ah! Ah!
T2 Vb œ œ ˙ w ˙ ˙
ted! Ah! Ah!
˙
Nobles
œ œ ˙ ˙ w
T3
T4 Vb
ted! Ah! Ah! Ah!
B1 ?b œ œ ˙ w w
B2
ted! Ah! Ah! Ah!
V2
&b ˙ ˙˙ ˙˙ ˙˙ ẇ ˙˙
˙˙ ˙ ˙ ˙ ˙
p π
?
b w w w
10/’09
Act II 369
œ œ œ
&b œ œ œ œ œ Œ Ó
68
Princess w œ
Prince Vb w w œ Œ Ó
Herald Vb ˙ ˙ w œ Œ Ó
Costumier Vb w w œ Œ Ó
T1 Vb ˙ ˙ w œ Œ Ó
T2 Vb w w œ Œ Ó
Nobles
˙ ˙ w œ
T3
T4 Vb Œ Ó
B1 ?b w w œ Œ Ó
B2
œœ. œœ.
&b ˙ ˙˙˙ œœ Œ œœ Œ œœ Œ Ó
˙˙ œ
? Œ œ Œ œ Œ Ó
b w œ œ. œ.
10/’09
370 The Grand Duke
Prince. Well, my dear, here we are at last—just in time to compel Duke
Rudolph to fulfil the terms of his marriage contract. Another hour and we should
have been too late.
Princess. Yes, papa, and if you hadn’t fortunately discovered a means of
making an income by honest industry, we should never have got here at all.
Prince. Very true. Confined for the last two years within the precincts of my
palace by an obdurate bootmaker who held a warrant for my arrest, I devoted my
enforced leisure to a study of the doctrine of chances—mainly with the view of
ascertaining whether there was the remotest chance of my ever going out for a
walk again—and this led to the discovery of a singularly fascinating little round
game which I have called Roulette, and by which, in one sitting, I won no less
than five thousand francs! My first act was to pay my bootmaker—my second, to
engage a good useful working set of second-hand nobles—and my third, to hurry
you off to Pfennig Halbpfennig as fast as a train de luxe could carry us!
Princess. Yes, and a pretty job-lot of second-hand nobles you’ve scraped
together!
Prince (doubtfully). Pretty, you think? Humph! I don’t know. I should say
tol-lol, my love—only tol-lol. They are not wholly satisfactory. There is a certain
air of unreality about them—they are not convincing.
Costumier. But, my goot friend, vhat can you expect for eighteen-pence a
day!
Prince. Now take this Peer, for instance. What the deuce do you call him?
Costumier. Him? Oh, he’s a swell—he’s the Duke of Riviera.
Prince. Oh, he’s a Duke, is he? Well, that’s no reason why he should look so
confoundedly haughty. (To Noble.) Be affable, sir! (Noble takes attitude of
affability.) That’s better. (Passing to another.) Now, who’s this with his moustache
coming off?
Costumier. Vhy, you’re Viscount Mentone, ain’t you?
Noble. Blest if I know. (Turning up his sword-belt.) It’s wrote here—yes,
Viscount Mentone.
Costumier. Then vhy don’t you say so? ’Old yerself up—you ain’t carryin’
sandwich boards now. (Adjusts his moustache.)
Prince. Now, once for all, you Peers—when His Highness arrives, don’t
stand like sticks, but appear to take an intelligent and sympathetic interest in
what is going on. You needn’t say anything, but let your gestures be in
accordance with the spirit of the conversation. Now take the word from me.
Affability! (attitude). Submission! (attitude). Surprise! (attitude). Shame!
(attitude). Grief! (attitude). Joy! (attitude). That’s better! You can do it if you like!
10/’09
Act II 371
Princess. But, papa, where in the world is the Court? There is positively no
one here to receive us!* I can’t help feeling that Rudolph wants to get out of it
because I’m poor. He’s a miserly little wretch—that’s what he is.
Prince. Well, I shouldn’t go so far as to say that. I should rather describe
him as an enthusiastic collector of coins—of the realm—and we must not be too
hard upon a numismatist if he feels a certain disinclination to part with some of
his really very valuable specimens. It’s a pretty hobby: I’ve often thought I should
like to collect some coins myself.
Princess. Papa, I’m sure there’s some one behind that curtain. I saw it move!
Prince. Then no doubt they are coming. Now mind, you Peers—haughty
affability combined with a sense of what is due to your exalted ranks, or I’ll fine
you half a franc each—upon my soul I will!
* The first-night libretto has a longer version of this passage that sheds additional
light on the characters:
Princess. But, papa, where in the world is the Court? There is positively no
one here to receive us!
Prince. Well, my love, you must remember that we have taken Duke
Rudolph somewhat by surprise. These small German potentates are famous
for their scrupulous adherence to ceremonial observances, and it may be that
the etiquette of this Court demands that we should be received with a certain
elaboration of processional pomp—which Rudolph may, at this moment, be
preparing.
Princess. I can’t help feeling that he wants to get out of it. First of all you
implored him to come to Monte Carlo and marry me there, and he refused
on account of the expense. Then you implored him to advance us the money
to enable us to go to him—and again he refused, on account of the expense.
He’s a miserly little wretch—that’s what he is.
Prince. Well, I shouldn’t go so far…
10/’09
372 The Grand Duke
No. 26. Dance.
(Gong. The curtains fly back and the Court are discovered. They give a wild yell and rush on to the stage dancing wildly, with
Prince, Princess, and Nobles, who are taken by surprise at first, but eventually join in a reckless dance. At the end all fall
down exhausted.)
Allegro vivace e con fuoco.
b ˙˙ b ˙˙ b˙ b ˙˙ b˙ b ˙˙ b˙ b ˙˙
&4 2 ˙ ˙˙ ˙˙ ˙˙
ƒ
? 42
Piano
>j >j
j
œœœ œ œ œœ œœ œ j œj
& n œJ ‰ œ œ J ‰ ‰ j ‰ œ ‰ œœ ‰
5
œ œ #œ
j œ œ œ # œ œ œ # œ œ œ
œ
> œ œ œ#œ J œ #œ œ œ
> f
j ‰ #œ œ #œ œ
? j‰ œ ‰ œ œ # œ œ # œ œ œ # œ œ œj ‰ j ‰
œ ‰ #œ œ #œ œ
j j œj œœ œœ œœj ‰ ˙œ œ œ
œœœ œœ ‰ œœœ ‰ œœœ ‰ œ˙ œ œ œ˙ œ œ œ
10
& œœœ œ
œ œ œ œ œ
j œ œœœ
?œ œ j‰
œ œ ‰ œj ‰ œ œ œj ‰ œ œœ œ œœ œ œœ œ œœ œ œ
j œj j œj j >
j œ œ
œœœ ‰ œœ ‰ œœœ œ œœ ‰
œ b # œœ
œœ ‰ œœ ‰ œœœ œœ ‰
16
& œ˙ œ œ œ œœ œ
œœ œ œœ œ œ œ œ
œ œ
?œ œ œ œ j j ‰ j ‰ œ œœ œœ ‰ œ œœœ œ b # œœœ
œ ‰ œj ‰ œ œ œj ‰ œ œ J
> œ œœ œœ œœœ # œ œ n ˙˙
3
n œœœ # # œœ œ œœ œ n œj ‰ œ # œœœ
& #œ œ œ œ
A
˙
22
œ bœ œ œ œ ƒ
œ œ œœ œœ œœ œœ
? œ b œœ œ œ œ œ
œ
œ œ œ œ œ œ œ
œ œœ œ œœ
J ‰ Œ œ œ œ œ
10/’09
Act II 373
œ œœ œœ
œœ œœ # œ œ ˙˙ œœ œ ˙
3
œ œ œœœ
& œJ ‰ œ ˙ œ ‰ # ˙˙ ‰ œ œ œ
28
J 3
J
œœ œœ œœ œœ œœ œœ
? œ œœœ œœœ œ œ
œ œœ œ œœ
œ œ
œ œœ œ œœ œ #œ œ œ œ œ œ œ œ œ œ œ
œ
˙˙ œœ
œœ # œ œ ˙˙
œœ # œ . œ
3
# œœœ ˙ œ ‰ #œ. œ ˙
œ œ ‰ ˙˙
34
& ˙ J
J
œ œ # œœœ œœœ n œ œ # œœœ œœœ n œœœ œœœ
? œ œ œ œ # œ œœ œ œœ œ œ
œ# œ œ œ
œ œ œ œ
œ œ
j # œœ. œ. œœ. œ. œ. ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ n œ ≈ œ œ. # œ. œ. œ.
B
œ
& œ ‰ œj ‰ œ œœ œ œœ œœ œ œ œ œ
40
œœ pœ. œ. œ. œ. œ. œ œœœ œœœ œœœ œœœ œœ. œœ. œœ. œœ.
? J ‰ œj ‰ # œœ œœ œœ œœ œœJ ‰ Jœœ ‰ J ‰ J ‰ J ‰ J ‰
œ œ œ œ
# œœ. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ . . . . œ. œ # œ ≈ œ # œ ≈ œ œ ≈ œ
≈ œ œœ œœ œœ œ ≈
46
& œ œ œ
. . . . .
œœ. œœ œœ œœ œ œ œ œ œ
? # J ‰ Jœ ‰
œ œ ‰ œ ‰ œœ ‰ œœ ‰ œœ œœ œœœ œœ # œœœ ‰ œœœ ‰ # œœœ ‰ œœœ ‰
œ œ œ
J J J J J J J J
œ #œ œ #œ ≈ nœ #œ ≈ œ #œ ≈ #œ œ
# #œ ≈ œ #œ ≈ œ ≈ ≈#œ #œ ≈ #œ œ ‰ œ nœ #œ
52
& J
n # œœ œœ # n œœ œœœ # œœ # œœœ # ˙˙˙ # œœ œ n œ # œ
? # œœ ‰ œœ ‰ # œœ ‰
3
œ ‰ œ ‰ œ J ‰
J J J J J
3
10/’09
374 The Grand Duke
œ œ . œ œ
# œ. œ. œ. œ. œœœ. ≈ œ ≈ œ ≈ œ œ ≈ œ œ ≈ œ n œ ≈ œ œœ. # œœ œœ. œœ. œœ. ≈ œ ≈
C
& œœ œœ œœ œœ
57
œœœ. œœ. œœœ. œœ. œœœ. œœœ œœœ œœœ œœœ œœœ œœ. œœ. œœ. œœ. œœ. œ
œ œ ‰ œœ ‰
?# œ œ
J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
œ œ œ
J J
œ ≈œœ ≈œ
63
# œ ≈œ œ ≈œ œ. œœœ. œœ. œœœ.
œ œ
œœœ. ≈ œ ≈ œ ≈ œ œ ≈ œ œ ≈ œ n œ ≈ œ
& œ
œœ œœ œ
œ œ
œ œœ. œ. œ. œ. œœ. œœœ œœœ œœœ œœœ œœœ
œ œ
? # œJ ‰ œJ ‰ œJ ‰ Jœ ‰ œœ œœ œœ œœ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
b œ b œ b œ œ œ œ
# œ ≈ œ bœ ≈ œ œ œ
# œ œ œœœ œ œœœ œ n j ‰ œj ‰ j
D
œ œ ‰ œœœœ œœœœ œœœ ‰
69
& œ
J œœœ œœœ
j j j j ‰ nœ œ œ œ œ œ f
œœ ‰ b œœ ‰ œ ‰ b œ
?# ˙ b b œœœ n # œœœ œœ ‰ œœ œ œ œ œ ‰ n j ‰ j ‰
J œ œ œ œ œj ‰
J
j œj œœ œœ œœj ‰ ˙œ œ œ
& œœœœ ‰ œœœ ‰ œ˙ œ œ œ˙ œ œ œ œ˙ œ œ œ
75
œ œ
œ œœœ œœ œœ
? œj ‰ j ‰ j
œ œ œ ‰ œ œœ œœ œ œœ œœ œ œ œ
œ œ œ œ
j ‰ œj ‰ j œj j > >
œœœ j œ œ œ œ b # œœœ œ
# œ n œœœ
œœœ ‰ œœœœ ‰ œœœ ‰ œœœ œ œ ‰
81
& œœœœ œœœ œœ
œœ œ
bœ
? œj ‰ j ‰ j ‰ j ‰ œ œœ œœ ‰ œ œœœ œ b # œœœ œ b œœœ œ œ
œ œ œ œj ‰ œ œ J
10/’09
Act II 375
œ œœ œœ œœ # œ œ ˙˙ œœ œœ # œ œ
3 3
j œ œ # œœœ
E
& # # œœ œ œœ œ œ ‰ œ œ ˙ œ ‰ œ
87
J
ƒ
œœ œœ œœœ œœ œœ œœ œœ œ œ œ œ
? œ œ J ‰ Œ œ œ
œ
œ œ œ
œ
œ œ œœ œ œœ œ œœ œ œœ
œ œœ œœ
˙˙ œœ œ œ # ˙˙˙ œœœ # œ œ
3
œ œœœ œ œ œ # œœœ
&˙ œ ‰ ‰
93
J 3
J
œœœ œœœ œœ œœ œœ œœ œœ œœ
? œ œœœ œœœ œ
œ œœ œœœ œ # œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
œ˙ .
F j œ
n œ œœ œ œ œœ œ œ #œ #œ œ œ œ œ œ ## œœ ## œœ œ œœ œ
‰ #œ ‰ œ œ œ œ œ œ
99
& ˙ œ œ œ #œ
J J
œ œœ œ œ œœ œ œ œ œ œ œ œ œœ œœ œœ
? # œ œœ œ œœ œ œœ œ b œ œ ‰ œœ œœ œ ‰ œœ œœ œœ œœ œœ œœ œœ œ œ œ
J J
œ
œ œ œ
&J œ œ œ ˙ ˙ œ œœœœœ œ œœœœœœœœ
œ œœœ œœœ
105
J J
œœ [p] # œœ œœ #œ œ œ œ nœ f p # œœ œœ
?J ‰b œ œ b œœ œœ œœ œœ œœ ‰ œ œ œœ œœ œœ œœ œœ ‰ b œ œ
J œœ œœ œ œ œ œ J
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
110
J
# œœ œœ œœ œœ n œœ f œœ œœ œœ œœ œœ
? œ œ œ œ
b œ ‰ œ œ œ œ œ œ
J œœ œœ œœ œœ œœ œœ œœ ‰ œ œ J ‰ œ œ
J
œœœœœœœœ œœœœœœœœ œ œ œœ œ U˙
J œœ œ ‰ œœ ‰ ˙˙
‰ J ‰
115
& J J
œœ œœ œœ œœ œœ œœ œœ œœ œœ œ U
? œ œ œ œ J ‰ J ‰ j ‰ Jœ ‰ ˙
œ ˙
10/’09
376 The Grand Duke
Dialogue if Roulette Song is Omitted
Ludwig. There, what do you think of that? That’s our official ceremonial for
the reception of visitors of the very highest distinction.
Prince (puzzled). It’s very quaint—very curious indeed. Prettily footed, too.
Prettily footed.
Ludwig. Would you like to see how we say “good-bye” to visitors of
distinction? That ceremony is also performed with the foot.
Prince. Really, this tone—ah, but perhaps you have not completely grasped
the situation?
Ludwig. Not altogether.
Prince. Ah, then I’ll give you a lead over. (Significantly.) I am the father of
the Princess of Monte Carlo. Doesn’t that convey any idea to the Grand Ducal
mind?
Ludwig (stolidly). Nothing definite.
Prince (aside). H’m—very odd! Never mind—try again! (Aloud.) This is the
daughter of the Prince of Monte Carlo. Do you take?
Ludwig (still puzzled). No—not yet. Go on—don’t give it up—I daresay it
will come presently.
Prince. Very odd—never mind—try again. (With sly significance.) Twenty
years ago! Little doddle doddle! Two little doddle doddles! Happy father—hers
and yours. Proud mother—yours and hers! Hah! Now you take? I see you do! I
see you do!
Ludwig. Nothing is more annoying than to feel that you’re not equal to the
intellectual pressure of the conversation. I wish he’d say something intelligible.
Prince. You didn’t expect me?
Ludwig (jumping at it). No, no. I grasp that—thank you very much.
(Shaking hands with him.) No, I did not expect you!
Prince. I thought not. But ha! ha! at last I have escaped from my enforced
restraint. (General movement of alarm.) (To crowd, who are stealing off.) No, no—
you misunderstand me. I mean I’ve paid my debts!
All. Oh! (They return.)
Princess (affectionately). But, my darling, I’m afraid that even now you don’t
quite realize who I am! (Embracing him.)
Baroness. Why, you forward little hussy…
Go to p. 388.
10/’09
Act II 377
Dialogue if Roulette Song is Included
Ludwig. There, what do you think of that? That’s our official ceremonial for
the reception of visitors of the very highest distinction.
Prince (puzzled). It’s very quaint—very curious indeed. Prettily footed, too.
Prettily footed.
Ludwig. Would you like to see how we say “good-bye” to visitors of distinction?
That ceremony is also performed with the foot.
Prince. Really, this tone—ah, but perhaps you have not completely grasped the
situation?
Ludwig. Not altogether.
Prince. Ah, then I’ll give you a lead over. (Significantly.) I am the father of the
Princess of Monte Carlo. Doesn’t that convey any idea to the Grand Ducal mind?
Ludwig. (stolidly). Nothing definite.
Prince (aside). H’m—very odd! Never mind—try again! (Aloud.) This is the
daughter of the Prince of Monte Carlo. Do you take?
Ludwig (still puzzled). No—not yet. Go on—don’t give it up—I daresay it will
come presently.
Prince. Very odd—never mind—try again. (With sly significance.) Twenty years
ago! Little doddle doddle! Two little doddle doddles! Happy father—hers and yours.
Proud mother—yours and hers! Hah! Now you take? I see you do! I see you do!
Ludwig. Nothing is more annoying than to feel that you’re not equal to the
intellectual pressure of the conversation. I wish he’d say something intelligible.
Prince. You didn’t expect me?
Ludwig (jumping at it). No, no. I grasp that—thank you very much. (Shaking
hands with him.) No, I did not expect you!
Prince. I thought not. But ha! ha! at last I have escaped from my enforced
restraint. (General movement of alarm.) (To crowd, who are stealing off.) No, no—you
misunderstand me. I mean I’ve paid my debts! And how d’you think I did it?
Through the medium of Roulette!
All. Roulette?
Ludwig. Now you’re getting obscure again. The lucid interval has expired.
Prince. I’ll explain. It’s an invention of my own—the simplest thing in the
world—and what is most remarkable, it comes just in time to supply a distinct and
long-felt want! I’ll tell you all about it.
10/’09
378 The Grand Duke
No. 27. Song—(Prince of Monte Carlo) with Chorus.
(Nobles bring forward a double Roulette table, which they unfold.)
b j j œj
V b b b b 68 ∑ ∑ ∑ Œ ‰
Allegro con brio.
Prince œ nœ
œ. œœœ ... œœœ ... œ œ œ œœ œ œ œ œ œ
bb b b 6 œœœ ...
1. Take my ad -
& b 8 œ. œ. œ œ œ œ œ œ œ œ œJ ‰ ‰ Œ ‰
f œœ œœ œœ
? b b 6 œ. œ œ œ œ œœœœ œœœœ œœœ œœœ œœœœ ‰ ‰ Œ
Piano
bbb 8 œ. œ. œ ‰
œ. œ. J
œ.
b b b œj ‰ œ œ j j j j j œ j j j j
b œ œ ‰ ‰ œ n œj œ œ ‰ J œ œ œ ‰ œ œ nœ œ
5
Prince V b J
vice— when deep in debt Set up a bank and play Rou - lette! At once dis -
b
& b b b b œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
p
? bb œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j j j j ‰ œj œ n œ œj
b
V b bbb œ
œ œ œ œ œ œ œ œj œ
9
Prince J œ J œ œ œ
trust you sure - ly lull, And rook the pi - geon and the gull. The bird will
b
& b b b b œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œ ‰ œ œœ ‰ œœ œ ‰ œœ œœ ‰ œ
œœ
‰ œ
œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? bb œ ‰ œ œ ‰ œ œ ‰ œ nœ ‰ œ œ ‰ œ
bbb œ œ œ œ œ œ nœ œ œ œ œ ‰ œ œ ‰ œ œ ‰ œ
œ œ œ œ
j j j j œ j j j
b
V b bbb œ œ œ œ œ ‰ œ œ nœ œ œ œ œ ‰ ‰ œ n œj œj
13
Prince J J œ
stake his ev - ’ry franc In wild at - tempt to break the bank— But you may
b
& b b b b œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ n œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ nœ œ
? bb œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
11/’09
Act II 379
b j
V b bbb œ j j œ j j œ j j œj ‰ ‰ œj n œ Jœ
17
Prince #œ nœ œ nœ œ nœ #œ nœ œ
stake your life and limb The bank will end by break - ing him! Al-lons, en -
b
& b b b b n œœ ‰ œœ œœ ‰ œœ n œœ ‰ œœ œœ ‰ œœ n œœ ‰ œœ œœ ‰ œœ œœj ‰ ‰ œ. n œ. œ.
œ œ œ œ œ œ œ œ œ œ œ nœ
? b b b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ œ. n œ.
j œ.
bb
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œj n œj n œj
(All crowd round and eagerly stake gold on the board.)
b j n œj œ n œ œ j n œj œ
A1
V b bbb n œ œ nœ
21
Prince J œ J J œ J J
co - re— Gar- çons, fil - let - tes— Vos lou - is d’or - e— Vos roues d’char -
b b b b n œ n œ œ œ œ. ≈ œ n œ n œ œ œ œ. ≈ œ. n œ n œ œ œ œ. ≈ œ n œ n œ
& b n œ
R œ. . . R œ. n œ. R
n œ n œ œ œ œ. . n œ. œ. n œ n œ œ œ œ. . n œ. œ. n œ n œ œ œ œ. œ n œ n œ
? bb b R≈œ R≈œ R≈
bb
b
V b bbb œ j
œ Œ j œj ‰ j œj ‰ j œj ‰ j œj ‰ j ˙ .
24
œ œ œ œ œ
Prince
˙.
ret - te! Ho - là! ho - là! Ho - là! ho - là! ho - là!
b
& b bbb œ . Œ j œ ‰ œ ‰ œ ‰ œ
j ‰ ‰ ˙.
œ œ œ œ
j p
? b b œ. j œ
œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
cresc.
bbb Œ ∑
B1
f .
b
V b bbb œ . œ ‰ œ œ œ. œ. œ Jœ œj œ œ œ Jœ œj
28
Prince
J J J J J
˙˙ ... œœ .. œœ ...
Mais faites vos jeux— Al - lons, la clas - se— Le temps se
b ˙ œœ .. œœ . œœœ ...
& b bbb ˙. œ. œ œ œœ ‰ œœ œœ œ œœ
œœœ œœ œ œ œ œ
f p
? bb b œ. œ. œ ‰ ‰ œœ ‰ ‰ œ ‰ ‰
b b ˙. œ. œ. œ. œ J œ
˙. œ. J J
11/’09
380 The Grand Duke
b
V b bbb œ œ œ œ œ œ œ Œ ‰ ∑ ∑
32 (Spoken.)
Prince
J J J J J
pas - se— La banque se cas - se— Rien n’va plus!
bb œ œœ .. œœœ ...
& b b b œœœ ‰ œœœ œœœ œœ
œ œœ .. œœœ ... œœ œ n œ b œœ ‰ œœ œœ œ n œ
œ. œ. œ œ œ œ œ œ
F π
? b b b œœ ‰ ‰ œ œ. œ. œ œœ œ
bb J œ ‰ ‰ œ. œ. œ. œ ‰ ‰
J
‰ ‰ œ ‰ ‰
J œ. J J
b j j j j j œ ‰ j j œj œj œj œj œj
V b bbb Œ ‰ œ œ œ œ œ.
36
œ œ J
Prince
œ œ œ
Le dix - sept noir, im-pair et man - que! Ho - là! ho - là! vi - ve la
bb œ
& b b b b œœ ‰ œœ œœ œ œœ œœ ‰ œœ œœ ‰ œœœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ
bœ j j
? b b œœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œ ‰ ‰ œ ‰ j j
‰ œ ‰ ‰ œ ‰ ‰
bbb J œ J œ œ
J œ œ œ
bb b b j j
œ œ œ œ œ œ œ œ œj
C1
J ‰ œJ œ œ
40
Prince V b œ. J J J œ œ œ
ban - que! For ev - ’ry time the board you spin, The bank is bound to
bb œ n n œœ ‰ œœ œœ ‰ œœ ‰ œœ œœ ‰ œœ
& b b b œœ ‰ œœ œœ ‰ œ
œœ œœ ‰ œœ œœ œ œœ
œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ
j j
? bb œ ‰ ‰ œ ‰ ‰ nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb œ œ nœ œ œ œ œ ‰ œ œ ‰ œ
œ œ
b j (During Chorus, Princess
V b bbb œ . œ ‰ ‰ ∑ ∑ ∑
44
and Costumier rake in all the stakes.)
Prince
f j œ j j j
win!
bb j j
&bbb Œ ‰ Œ œ
œ œ
œ œ
œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ ..
J
S
A
f œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
Chorus For ev - ’ry time the board you spin, The bank is bound
? bb b Œ ‰ Œ J J J J
T
B bb J J
œœ
œ œ œ œ œ œ œ œ
For ev - ’ry time the board you spin, The bank is bound
j œ œ œ œœ œ œ œ
bbbb
& b œœ . œœ ‰ J œ œ
J œ œ œ œ œ œ œ œJ n œ œ
œ ‰ œ
œ œ J J J
f œœ œœ œœ œœ œœ œœ œœ œœ œ ..
? b b b œ ‰ œ œj ‰ œ n œ œ œ œ œ œ œ œ œ œ œœ .
bb œ nœ J J œ J J J
œ J
11/’09
Act II 381
b b œ. j
& b b b œ. ˙. œ ‰ ‰ Œ ‰ ∑
48
S
A
œœ .. ˙. œ
. œœ .. ˙. œ
to win!
? b b b œœ .
Chorus
bb ˙. œ ‰ ‰ Œ ‰ ∑
J
T
B
œ œœ .. œœœ ... œ œ œ œœ œ œ œ
to win!
bb b b œ œ œ œ œœ œ œœ .. œ.
œœœ ...
œ. œ œ œ
œ
œ œ œ œ œ œ
& b œ
œœ .. œœ .. f œœ œœ œœ
? bb b œ . œ. œ œ œ œ œ œ œ
œ œœœ œœœ œ œœ œœ
[ ]
bb œ. œ. œ.
œ. œ. œ.
j j j œ
b
V b bbb Œ ‰ œj n œj œ œj ‰ œJ œ j j j
œ œ ‰ ‰ œ n œj œ œ ‰ J œ
j
52
Prince œ
2. A cos - mic game is this Rou - lette! The lit - tle ball’s a true co -
b œ
& b bbb J ‰ ‰ Œ ‰ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ œ œ œ œ œ œ œ œ œ
œ p
? b b œœœ ‰ ‰ Œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb J
œ œ œ œ œ œ œ œ œ œ œ œ
b j j j œ œ œ j j j
V b bbb œ ‰ œ œ nœ œ œ œ œ œ œ œ œ œj
56
Prince J œ J œ
quette— A mai - den coy whom“num - bers” woo—Whom six - and thir - ty sui - tors
b
& b bbb œœ ‰ œ œ ‰ œ œ ‰ œ
œœ œœ œœ œœ œœ
œ ‰ œ
œœ œœ œœ ‰ œœ œ ‰ œ œœ ‰ œœ œ ‰ œœ
œ œ œ œ œ œ œ œ œ
? bb
bbb œ ‰ œ œ ‰ œ œ ‰ œœ œ ‰ œ œ ‰ œ n œ ‰ œ œ ‰ œ ‰ œ
œ œ œ œ œ œ œ œ œ nœ œ œ œ œ
b b b j ‰ œj œ j œ j j‰ j j œ j
b œ œ
60
Prince V b œ nœ œ J œ œ œ œ œ nœ œ J œ œ
sue! Of all com - plex - ions, too, good lack! For some are red and some are
b
& b b b b œœ ‰ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œ œ ‰ œ œ ‰ œ
œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ
? bb
bbb œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
11/’09
382 The Grand Duke
b j j j
V b b b b œ ‰ ‰ œ n œ œj œ # œj n œ j œ j j œ # œj n œ
64
nœ œ nœ j
œ œ
Prince
black, And some must be ex - treme - ly green, For half of them are not nine-
b
& b b b b œœ ‰ œœ œœ n œ œœ n œœ ‰ œœœ œœœ ‰ œœœ n œœ ‰ œœ œœ ‰ œœ n œœœ ‰ œœœ œœœ ‰ œœœ
œ œ nœ œ œ œ œ
? bb b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bbbb j j j j j
b œj ‰ ‰ œj n œ Jœ nœ œ nœ œ
A2
œ n œ œJ œ n œ œJ
68 (All stake again.)
Prince V J J
teen! Al - lons, en - co - re— Gar- çons, fil - let - tes— Vos lou - is
b
& b b b b œj ‰ ‰ n œ n œ œ œ œ. ≈ n œ œ. n œ n œ œ œ œ. ≈ n œ
œ. n œ. œ. R œ. . R œ. .
œ.
n œœ
j . . n œ n œ œ œ œ. . n œ. œ. n œ n œ œ œ œ. . n œ. œ.
? bb b œ ‰ ‰ œ. n œ œ R ≈œ R ≈œ
bb œ
j
b nœ
V b bbb œ œ n œj n œj œ j
œ Œ j œj ‰ j œj ‰ j œj ‰ j œj ‰ j
71
Prince
J œ œ œ œ œ
d’or - e— Vos roues d’char - ret - te! Ho - là! ho - là! Ho - là! ho - là! ho -
b n œ n œ œ œ œ. ≈ œ n œ
& b bbb Œ j œ ‰ œ ‰ j‰ ‰
R nœ œ. œ œ œ œ ‰ œ œ
n œ n œ œ œ œ. œ n œ j
nœ œ. j œ
? bb b R≈ Œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bb
f .
B2
b
V b bbb ˙ . œ. œ ‰ œ œ œ. œ. œ Jœ œj œ œ œ œ œj
75
Prince
J J J J J J
˙. ˙˙˙ ... œœ .. œœœ ...
là! Mais faites vos jeux— Al-lons, la fou - le! Ça roule—ça
œœ .. œœœ ...
& bbbb b ˙. ˙. œ. œ. œ
œœœ œœœ œœœ ‰ œœ œœ œ œ
œœ
œ œ
p f p
? bb œ œ œ
cresc.
bbb ∑ ˙. œ. œ. œ. œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ. œ. J J J
˙. œ.
11/’09
Act II 383
b
V b bbb œ œ œ Jœ œ œ œ Œ ‰ ∑ ∑
80
(Spoken.)
Prince
J J J J
rou - le— Le temps s’é - cou - le— Rien n’va plus!
bb œ œ
œœ .. œœœ ...
& b b b œœœ ‰ œœœ œœœ œœ
œœ .. œœœ ... œœ œ n œ b œœ ‰ œœ œœ œ n œ
œ. œ. œ œ œ œ œ œ
F π
œ
? bb b œ ‰ ‰ œ œ œœ œ
bb J œ ‰ ‰ œœ .. œ. œ.
œ. œ ‰ ‰ J
‰ ‰ œ ‰ ‰
J œ. J J
bbb Œ ‰ j œj j j j
œ œ. œ j
j œj œj œj œ œj
b J ‰ œj
84
V b œ œ œ œ
Prince
œ œ
Le trente - cinque rouge— im-pair et pas - se! Très bien, é - tu-diants de la
b
& b b b b b œœ ‰ œœ œœ œ œœ œœœ ‰ œœ œœ ‰ œœœ œœœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ œ bœ œ œ œ œ bœ œ œ œ
j j
? b b b œœ ‰ ‰ œ ‰ ‰ b œœ ‰ ‰ j
œ ‰ ‰ œ ‰ œ œ
‰ œ ‰
j
‰ œ ‰ ‰ œ ‰ ‰
j
bb J œ J
J œ œ œ
bb b b œ œ œ j j j
œ œ
C2
J ‰ Jœ œ œ œ
88
Prince V b œ. J J J œ œ œ œ œ œ
clas - se! The mo - ral’s safe— when you be-gin, The bank is bound to
b
& b b b b œœ ‰ œœ œœ ‰ œ n n œœ ‰ œœ œœ ‰
œœ œ œ œ
œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ œ œ
œœ ‰ œœ œœ œ œœ
œ œ œ œ œ œ œ
j j
? bb œ œ ‰ nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb œ ‰ ‰ œ ‰ nœ œ œ œ œ ‰ œ œ ‰ œ
œ œ
b j (Prince rakes in all the stakes.)
V b bbb œ . œ ‰ ‰ ∑ ∑ ∑
92
Prince
f j œ j j j
win!
bb j j
&bbb Œ ‰ Œ œ
œ œ
œ œ
œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ ..
J
S
A
f œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
Chorus The mo - ral’s safe— when you be - gin, The bank is bound
? bb Œ ‰ Œ J J J J
T
B bbb J J
œœ
œ œ œ œ œ œ œ œ
The mo - ral’s safe— when you be - gin, The bank is bound
j œ œ œ œœ œ œ œ
bbbb
& b œœ . œœ ‰ J œ œ
J œ œ œ œ œ œ œ œJ n œ œ
œ ‰ œ
œ œ J J J
f œœ œœ œœ œœ œœ œœ œœ œœ œ ..
? b b b œ ‰ œ œj ‰ œ n œ œ œ œ œ œ œ œ œ œ œœ .
bb œ nœ J J œ J J J
œ J
11/’09
384 The Grand Duke
b œ. j
& b bbb œ . ˙. œ ‰ ‰ Œ ‰ ∑
96
S
A
œœ .. ˙. œ
to win!
. œœ .. ˙. œ
? b b b œœ .
Chorus
bb ˙. œ ‰ ‰ Œ ‰ ∑
J
T
B
œ œœ .. œœ ... œ œ œ œœ œ œ œ
to win!
bb b b œ œ œ œ œœ œ œœ .. œœ . œœœ ...
œ. œ œ œ
œ
œ œ œ œ œ œ
& b œ
œ .. œœ .. f œœ œœ œœ
? bb b œ œ . œ. œ œ œ œ œ œ œ
œ œœœ œœœ œœ œœ
[ ]
bb œ. œ. œ. œ
œ. œ. œ.
j j j
‰ œj n œj œ œj ‰ œJ œ
b j j ‰ j œ j
V b bbb Œ œ œ ‰ J œ
100
Prince œ œ œ œ nœ œ
3. The lit - tle ball’s a flirt in - bred— She flirts with black— she flirts with
b œ
& b bbb J ‰ ‰ Œ ‰ œ ‰ œ œ ‰ œ
œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œ œ ‰ œ
œœ œœ œœ œ œ œ œ œ œœ œœ œœ
œ p
? b b œœœ ‰ ‰ Œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb J
œ œ œ œ œ œ œ œ œ œ œ œ
b j j j
V b bbb œ ‰ œ œ n œ œ œ œ œ œ œj œ
j j j
104
Prince J œ J œ œ œ œ œ œ
red; From this to that she hops a - bout, Then back to this as if in
b
& b b b b œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œ ‰ œ œœ ‰ œœ œ ‰ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ nœ ‰ œ œ ‰ œ ‰
bbb
œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ
bb b j j j j j j œ j
V b b œj ‰ œ œ n œ œ œ œJ œ œ œ ‰ œ œ n œ œ œ
108 D
Prince J œ œ
doubt. To call her thought - less were un - kind— The child is mak - ing up her
b
& b bbb œœ ‰ œ œœœ ‰ œœœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œ œ
œœ œœ
‰ œ
œœ œœ ‰ œœ œœ ‰ œœ
œ œ œ œ œ œ œ œ œ œ
? bb
bbb œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
œ œ œ œ
œ
œ
‰ œ œ
œ œ
‰ œ
œ
œ ‰ œ œ ‰ œ
œ œ œ œ
œ œ œ œ
11/’09
Act II 385
j j j j
bbbb b œ ‰ ‰ œ nœ œ œ j j œ j
n œ œ n œj
œ j
112
V #œ nœ #œ nœ j
un poco rit.
œ œ
Prince
mind, For all the world like all the rest, Which pré - ten - dant will pay the
b
& b b b b œœ ‰ œœ œœ n œ œ n œœj ‰ ‰ Œ ‰ j‰ ‰ Œ
n œœœ
‰ n œj ‰ ‰ Œ ‰
œ œ nœ œ bœ œœ
j j j
colla voce.
? bb œ ‰ œ œ ‰ œ œ ‰ ‰ Œ ‰ œ ‰ ‰ Œ ‰ œ ‰ ‰ Œ ‰
bbb
œ œ œ œ œ œ œ
bb b b [(All stake
j j j nœ œ j n œj œ nœ œ j n œj œ
V b œ ‰ ‰ œ n œ œJ
116
again.)] a tempo. E
Prince J œ J J œ J
best! Al - lons, en - co - re— Gar- çons, fil - let - tes— Vos lou - is
b
& b b b b œœj ‰ ‰ n œ n œ œ œ œ. ≈ n œ œ. n œ n œ œ œ œ. ≈
œ. n œ. œ. R œ. . R œ. n œ. œ.
nœ
j . . n œ n œ œ œ œ. . n œ. œ. n œ n œ œ œ œ. . n œ. œ.
œ. n œ œ
a tempo.
? bb œ ‰ ‰ R ≈œ R≈œ
bbb œ
b nœ
V b bbb œ œj n œj n œj œ j
œ Œ j œj ‰ j œj ‰ j œj ‰ j œj ‰ j
119
Prince
J œ œ œ œ œ
d’or - e— Vos roues d’char - ret - te! Ho - là! ho - là! Ho - là! ho - là! ho -
b n œ n œ œ œ œ. ≈ œ n œ j‰ ‰
& b bbb R nœ œ. Œ
œ
j œ ‰ œ ‰
œ œ œ ‰ œ œ
j
n œ n œ œ œ œ. œ n œ j œ
? bb R≈ nœ œ. Œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb
f .
F
bb
V b b b ˙. œ. œ œ œ œ. œ. œ Jœ œj œ . œ œJ œj
J ‰ J
123
Prince
J J
˙. ˙˙˙ ... œœ .. œœœ ... œœœ ...
là! Mais faites vos jeux— Qui per - te fit Au temps ja -
bbbb ˙. ˙. œœ .. œ. œ. œ œ œ
& b œœœ œœœ œœœ ‰ œœœ œœœ œœ
p f p
? bb b œ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰
cresc.
bb ∑ ˙. œ. œ. œ. œ
œ. œ. J J J
˙. œ.
11/’09
386 The Grand Duke
b
V b bbb œ . œ Jœ œ œ. Œ ‰ ∑ ∑
128
(Spoken.)
Prince
J J
dis Gagne au - jour - d’hui! Rien n’va plus!
bb œ œ œœ .. œœ ...
& b b b œœœ ‰ œœœ œœœ œœ œœ .. œœ . œœœœ ... œœœ œ n œœ b œœœ ‰ œœœ œœœ œ n œœ
.
F π
? b b œœ ‰ ‰ œ ‰ ‰ œ. œ. œ ‰ ‰ œœ ‰ ‰ œ ‰ ‰
bbb J œ œ. œ J œ
J œ. œ. J J
œ.
b bb Œ ‰ j œj j G œ œ œ œ œj Œ j j j j œ œ œ
œ œ œ œ J J J
132
Prince V bb œ œ J J œ
Tra la la la! le dou - ble zé - ro! Vous per - dez tout, mes no - bles
bb œ
& b b b b œœœ ‰ œœœ œœœ œ œœœ œœ ‰ b œœœ œœœ ‰ œœœ œœ ‰ œ œ ‰ œœ b œœœ ‰ œ œ ‰ œœ
œœ œœ
œ œœ œœ œ œ
bœ j j j j j
? b b b œœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
bb J œ J œ œ œ œ œ
J
b j j j
V b bbb œ . œ ‰ œ œ œ œ œ œ œ œ œ œ œ œj
136
J J œ œ
Prince
J J
hé - ros! Wher - e’er at last the ball pops in, The bank is bound to
bb nœ œ œ
& b b b œœ ‰ œœ œœ ‰ œ n œœ ‰ œœ œœœ ‰ œœœ œœœ ‰ œœ œœœ ‰ œœœ œœ ‰ œœ œœ œ œœ
œ œ œ œœ œ œ œ œ
j j
? bb œ ‰ ‰ œ ‰ ‰ nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
bbb œ œ nœ œ œ œ œ ‰ œ œ ‰ œ
œ œ
bb j j œ œ.
V b b b œ. œ ‰ ‰ ∑ Œ ‰ Œ
140
œ œ
rall.
Prince
J
f j j j j
win! The bank is bound
b œ j j
& b bbb Œ ‰ Œ œ
œ œ
œ œ
œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ ..
J
S
A
f œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ ..
Chorus Wher - e’er at last the ball pops in, The bank is bound
? bb Œ ‰ Œ nœ œ œ œ
T
B bbb J J J J J J
œœ
œ œ œ œ œ œ œ œœ
Wher - e’er at last the ball pops in, The bank is bound
bb b j œ œ œ œœ œ œ œ
b
& b œœ . œ ‰ J œ œ œ œ œ œ œ œ œ J nœ œ
œ J
œ ‰ œœ œ J J J
f œœ œœ œœ œœ œœ œœ œœ œœ œ ..
? b b œ ‰ œ œj ‰ œ œ œœ .
rall.
nœ œ œ œ œ œ œ œ œ
bbb œ nœ J J œ J J J
œ J
11/’09
Act II 387
U
b ˙.
V b bbb œ .
œ ‰ ‰ Œ ‰ ∑ ∑
144
œ.
[a tempo.] (Prince gathers in the stakes. Nobles fold up table and take it away.)
Prince J
to win!
U j
b œ. ˙.
S
A & b bbb œ . œœ .. ˙.
œ ‰ ‰ Œ
œ ‰ ∑ ∑
Uœ .
to win!
œ. ˙. œ
? bb b œ . œ.
Chorus
bb ˙. œ ‰ ‰ Œ ‰ ∑ ∑
J
T
B
to win!
Uœ œ œ œœ .. œœœ ... œœœ ... œ œ œ œœ œ œ œ œ œœ
b œ
œ œ œ œ œœ .. œ
& b bbb œ œ. œ. œ œ œ œ œ œ œ œ œ œJ ‰ ‰ Jœ ‰ ‰
œœ .. Uœ . œœ œœ œœ
œœ .. œœ
œ œ œ œ œœœœ œœœœ œœœ œœœ
[a tempo.]
? bb œ. œ. œ. œœ ‰ ‰ œj ‰ ‰
bbb œ. œ J
œ. œ. œ. œ
Ludwig. Capital game.—Haven’t a penny left!*
Prince. Pretty toy, isn’t it? Have another turn?
Ludwig. Thanks, no. I should only be robbing you.
Princess (affectionately). Do, dearest—it’s such fun!
* The four lines of dialogue on this page were cut after the first night, in consequence of the Roulette Song also being
cut. The rest of the dialogue, printed on the next page, is the same whether the Roulette Song is performed or not.
11/’09
388 The Grand Duke
Baroness. Why, you forward little hussy, how dare you?
(Takes her away from Ludwig.)
Ludwig. You mustn’t do that, my dear—never in the presence of the Grand
Duchess, I beg!
Princess (weeping). Oh, papa, he’s got a Grand Duchess!
Ludwig. A Grand Duchess! My good girl, I’ve got three Grand Duchesses!
Princess. Well, I’m sure! Papa, let’s go away—this is not a respectable Court.
Prince. All these Grand Dukes have their little fancies, my love. This Potentate
appears to be collecting wives. It’s a pretty hobby—I should like to collect a few
myself. This (admiring Baroness) is a charming specimen—an antique, I should
say—of the early Merovingian period, if I’m not mistaken; and here’s another—a
Scotch lady, I think (alluding to Julia), and (alluding to Lisa) a little one thrown in.
Two half-quarterns and a makeweight! (To Ludwig.) Have you such a thing as a
catalogue of the Museum?
Princess. But I cannot permit Rudolph to keep a museum—
Ludwig. Rudolph? Go along with you, I’m not Rudolph! Rudolph died
yesterday!
Prince and Princess. What!
Ludwig. Quite suddenly—of—of—a cardiac affection.
Prince and Princess. Of a cardiac affection?
Ludwig. Yes, a pack-of-cardiac affection. He fought a Statutory Duel with me
and lost, and I took over all his engagements—including this imperfectly preserved
old lady, to whom he has been engaged for the last three weeks.
Princess. Three weeks! But I’ve been engaged to him for the last twenty years!
Baroness, Lisa, and Julia. Twenty years!
Prince (aside). It’s all right, my love—they can’t get over that. (Aloud.) He’s
yours—take him, and hold him as tight as you can!
Princess. My own! (Embracing Ludwig.)
Ludwig. Here’s another!—the fourth in four-and-twenty hours! Would
anybody else like to marry me? You, ma’am—or you—anybody! I’m getting used to
it!
Baroness. But let me tell you, ma’am—
Julia. Why, you impudent little hussy—
Lisa. Oh, here’s another—here’s another! (Weeping.)
Princess. Poor ladies, I’m very sorry for you all; but, you see, I’ve a prior claim.
Come, away we go—there’s not a moment to be lost!
10/’09
Act II 389
No. 28. Ensemble.
# # # # 6Allegro con brio.
& 8 ∑ Œ ‰ Œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
(as they dance towards exit).
J J J J J J J J J
S
A
œ œ œ œ œ œ œ œ œ
Hur - rah! hur-rah! hur - rah! hur-rah! hur -
? # # # # 68
Chorus
T
B
∑ Œ ‰ Œ J J ‰ J J ‰ J J ‰ J J ‰ J
œ œ œ œ œ œ œ œ œ
#### 6 œ œ œ œ œ œ œ œ œ œ œ
Hur - rah! hur-rah! hur - rah! hur-rah! hur -
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& 8
f
? # # # # 68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Piano
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#### ˙ . œ ‰ ‰ ‰unis. j
œ œj œj œj œj œ œ œ œJ
j j œ.
5
& ˙. œ J
J œ œ
S
A
˙. œœ œ
rah! Now a - way to the wedding we go, So
? #### ˙ . œ. œ œ œ œ œ œJ
Chorus
J ‰ ‰ ‰ œj œj J J J œ
œ J J
unis.
J
T
B
œ œ
rah! Now a - way to the wedding we go, So
## ## œ œ œ
œ œ œ j j j ‰ ‰ œj ‰ ‰
& œ œ œ œ œœœ ‰ ‰ œœœ ‰ ‰ œœ œœœ
œ œ œ
? # # # # ˙˙ ... œœ œ œ œ j j j j
˙ œ œ œ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ œ œ œ
9
# # # # œj œj j œj œj j œ . j
œ ‰ j œ.
j
œ œj œj j œj œ œJ j œj
& œ œ œ J œ
œ
S
A
? # # # # œJ Jœ Jœ œJ œJ œJ œ. œ œ. œ œ œ œ œ œ œJ œ œ
summon the cha - ri - o - teers— No kind of re - luc-tance we show To em -
J ‰ œj
Chorus
J J J J
J J J J
T
B
#### j ‰ ‰ j ‰ ‰
summon the cha - ri - o - teers— No kind of re - luc-tance we show To em -
j j j
& œœ œœ œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœj ‰ ‰ œj ‰ ‰ œj ‰ ‰
œ œ œ œ œ œ œœ œœ
j j j j j j j j
? #### œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ œ œ œ œ œ œ œ
10/’09
390 The Grand Duke
#### U
(At this moment Rudolph, Ernest, and
∑ Œ ‰ Œ œ ˙. œ ‰ ‰ Œ j ˙.
13 Notary appear. All kneel in astonishment.)
Ernest V J J œ
For - bear! For - bear!
#### U œ ˙. œ ‰ ‰ Œ j ˙.
Notary V ∑ Œ ‰ Œ J J œ
For - bear! For - bear!
## U œ ˙. j ˙.
V ## ∑ Œ ‰ Œ œ ‰ ‰ Œ
Rudolph J J œ
For - bear! For - bear!
#### j j j j U
S
A & œ œ œj œ œ œj œ . Œ ‰ ∑ ∑ ∑
bark on our mar-ried ca - reers.
? # # # # œJ œJ œ œJ œJ œ œ. U
Chorus
Œ ‰ ∑ ∑ ∑
J J
T
B
# œœœ
bark on our mar-ried ca - reers.
#### j ‰ ‰ j ‰ ‰ j ‰ ‰
œœ U œ ‰ ‰ Œ
& # œœ ‰ ‰ ∑ J ‰ ∑
œ
# œœ œ
œœ œ
# œœ J
ƒ j j
? # # # # j ‰ ‰ j ‰ ‰ j ‰ ‰ œ U‰ ‰ ∑ œ ‰ ‰ Œ ‰ ∑
œ œ œ œ œ
#### œ œ ˙. ˙. œ 2
J ‰ ‰ Œ J ‰ ‰ Œ ‰
18
Ernest V J 4
For - bear!
# ## œ œ ˙. ˙. œ ‰ ‰ Œ 2
Notary V # J ‰ ‰ Œ J J ‰ 4
#### œ
For - bear!
J ‰ ‰ Œ œ ˙ j 2
Rudolph V J . ˙. œ ‰ ‰ Œ ‰ 4
œœ œœ
For - bear!
#
# # # œœ # œœœ # œœœ œœœ
& J ‰ ‰ Œ ‰ Œ ‰ # œ ‰ ‰ # œ ‰ ‰ œ ‰ ‰ œœ ‰ ‰ j ‰ ‰ 42
J J J J œ
j j j œ
? # # # # œj ‰ ‰ Œ ‰ Œ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ 42
œ œ œ œ J
10/’09
Act II 391
#### 2 Œ pj j j ‰ ‰ œj j
‰ œ œ ‰ n œj ‰ j j n œj œj œ ‰ œ
22
Ernest V 4 œ œ œ
#### 2 pj j j ‰ ‰ œj j
œ ‰ n œj ‰ j j n œj œj
This may not be! Frus - tra - ted are your plans! With
Notary V 4Œ ‰ œ œ œ œ
œ ‰ œ
#### 2 pj j j ‰ ‰ œj j
œ ‰ n œj ‰ j œj n œj œj
This may not be! Frus - tra - ted are your plans! With
Rudolph V 4Œ ‰ œ œ œ
œ ‰ œ
# ## j j j ‰ ‰ œj j
œœ ‰ n œœj ‰
This may not be! Frus - tra - ted are your plans! With
& # 42 Œ ‰ œ œœ j ‰ ‰ œ
œ œ œ œ œ œ œœ œœ. œœ
. œœ. œœ œ
p
? # # # # 42 Œ œ n œ œ. œ. œ.
‰ œj j
œ ‰ œ ‰
j j
œ ‰ ‰ œ œ œ œ œ
nœ ‰ ‰ j
œ œ
œ J J
#### j r j r j j
‰ œ œj œj n œj œ œ ‰ œj ˙
27 A
Ernest V œ . œ nœ . œ œ
#### j r j r j
j œj n œj œj
pa - ra - mount de - cree The Law for - bids the banns! The Law
Notary V œ . œ nœ . œ œ ‰ œ œ œ ‰ œj n ˙
# ## j r j r j
j œj n œj œj
pa - ra - mount de - cree The Law for - bids the banns! The Law
Rudolph V # œ . œ nœ . œ œ ‰ œ œ œ ‰ œj ˙
pa - ra - mount de - cree The Law for - bids the banns! The Law
#### j j j ‰ ‰ œj
A
n œœœ
& œœ ‰ n œœ ‰ œœœ Œ
œ œ œ œ œœ œœ
.
œœ
. œœ. œ̇ nœ œ
? #### j ‰ j j œ nœ œœ. œœ. œœ. n œ˙ #œ œ
œ œ ‰ œ ‰ ‰ œ œ œ Œ
J
#### ˙ œ nœ j
Œ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ
32
Ernest V J J
#### ˙ œ nœ j
for - bids the banns!
V Œ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ
Notary
J J
####
for - bids the banns!
Œ Œ nœ œ ‰ Œ œ ‰ Œ j
Rudolph V ˙ œ J J œ ‰ Œ
#### j
n œœ ‰ n œœj ‰ Œ j
for - bids the banns!
& ∑ ∑ Œ œœ ‰ Œ j ‰
œ œ œœ œœ
n œ cresc.
j œ
? #### œ œ nœ nœ œ œ ‰ œ
œ œ nœ œ ˙ ˙
œ ‰ Œ œ ‰ Œ œ œ
J J
10/’09
392 The Grand Duke
Ending if No. 28a is Omitted:
#### Œ f ˙ œ ‰ pj ‰ j‰ Œ j‰ Œ Œ ∑
38a
S
A & œ J œ œ œ œ
f ˙ œ p
The Law for - bids the banns!
? #### Œ
Chorus
œ J ‰ œ ‰ œ ‰ Œ œ ‰ Œ œ Œ ∑
J J J
T
B
#### >j
The Law for - bids the banns!
& ‰ Œ
n ˙˙ ˙ n œœ œ œœœ n ˙˙˙ n ˙˙˙ ˙˙
n˙
œœ
f p œ ˙ ˙ ˙ ƒ n œœ
˙ j
? #### ˙ j
j‰ œ ‰ œ ‰ Œ
j j œ ‰ Œ œ ‰ Œ
œ œ ˙ œ ‰ Œ J œ
˙ œ >
Ending if No. 28a is Included:
## ˙ œ
& ## Œ J ‰ œj ‰ j
œ ‰ Œ
j
œ ‰ Œ
68
38b
œ
S
A
˙ œ
The law for - bids the
? #### Œ
Chorus
œ J ‰ œ ‰ œ ‰ Œ œ ‰ Œ 68
J J J
T
B
####
The law for - bids the
6
& n ˙˙ n œœ œ œœœ n ˙˙˙ n ˙˙˙ 8
˙
˙ f p œ ˙ ˙
? #### ˙ j
j ‰ œ ‰
j j 68
œ œ ˙ œ ‰ Œ œ ‰ Œ
˙ œ
No. 28a. Song—(Rudolph) with Chorus.
# # # # Allegro
68 j ‰ ‰ Œ ‰ ∑ ∑ ∑
43 molto vivace.
S
A & œ
? # # # # 68 œ
Chorus banns!
‰ ‰ Œ ‰ ∑ ∑ ∑
J
T
B
#### 6 œ nœ ‰ œ nœ ‰ #œ œ ‰ œ œ ‰ œ #œ ‰ œ nœ ‰ œ ‹œ ‰ œ
banns!
& 8 jœ ‰ J
n œœ
f œ. œœ .. œœ œœ
# j œœ .. œ. œ œ j œ œ
? # # # 68 œ ‰ ‰ J ‰ ‰ J ‰ ‰ œ ‰ ‰ # œœ ‰ ‰ œœ ‰ ‰
œ
œ J J
This chord is omitted in some sets of band parts. In the editor’s view, the most satisfactory transition from No. 28 to
No. 28a is to perform mm. 38a–44a, and then begin No. 28a with the pick-up note on the third beat of the measure.
10/’09
Act II 393
#### ∑ Œ ‰Œ j j j j j j œ œj
œ œ œ œ
47
V œ œ œ œ œ œ
(furiously).
Rudolph
œ œ
# # # # œ œ œ. œ œ œ. œ ‰ ‰ Œ j ‰ ‰ œj ‰ ‰ j ‰ ‰ j ‰ ‰
1. Well, you’re a pret - ty kind of fel - low, thus my life to
& J ‰ œœ œœ j
œœ œœ œ œœ œ œœ œ œ
[p]
j j j j j j
? # # # # # œœ ‰ ‰ n œœœ ‰ ‰ œœ ‰ ‰ Œ ‰ œ ‰ ‰ œ ‰‰ œ ‰‰ œ ‰‰ œ ‰‰ œ ‰ ‰
J J J œ œ œ œ œ œ
#### j j j j j j œ œj
œ œ œ
52
Rudolph V œ œ œ œ œ J œ œ œ œ œ œ œ
####
shat - ter, O! My lit - tle store of gold and sil - ver reck - less - ly you
j j ‰ ‰ œj ‰ ‰
& œ j j‰ ‰
n œœ œœ œœœ
# œ œ œœ ‰ ‰ # œœj ‰ ‰ œœ œœ
j
œ œœœ œ œ
œ œ œ œœ
j j j j j j j
? #### œ . œ ‰ ‰ œ ‰ ‰ Nœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ. œ œ Nœ œ œ œ œ
#### j j B1 j j j j j j
œ œ œ œ
56
Rudolph V œ œ œ œ œ œ ‹œ œ œ œ ‹œ œ
scat - ter, O! You guz - zle and you gor - man-dize all day with cup and
## j j j j
& # # œœ œ œœ ‰ ‰ j j j j
œ ‰ ‰ ‹ œœ ‰ ‰ œœ ‰ œ‰ œœ ‰œ ‰ œ ‰ ‰ ‹ œœ ‰ ‰
œ œ œ œ œ œ œ œ œ
? # # # # œj ‰ ‰ œj ‰ ‰ j
œ ‰ ‰ œj ‰ ‰
j
œ ‰ ‰ œj ‰ ‰ j
œ ‰ ‰ œj ‰ ‰
œ œ œ œ œ œ œ œ
60
#### j
œ œ j j
œ œ j j
œ œ j # œ œj œ œ
Rudolph V œ œ œ œ œ œ œ J
# # # # j ‰ ‰ j ‰ ‰ œj ‰ ‰ Œ
plat - ter, O! And eat my food and drink my wine— es - pe - cial - ly the
j j
& œœ œ œ œœ œ œ n œœ œ œ ‰ ‰ œ n œ œ œœ # œ œ œœ œ œ
œ œ œ
j # œ œ œ œ œœ
? #### œ ‰ ‰ j ‰ ‰ œ nœ #œ œ #œ œ œ œ œ ‰ ‰ J ‰ ‰
œ œ #œ œ # œ œ œ œ ‰ ‰ Œ J J
‰ Œ J J
10/’09
394 The Grand Duke
#### œ
œ œ ‰ ∑ ∑ ∑ ∑
64
Rudolph V J
lat - ter, O!
#### f
& Œ ‰ Œ œ œ œ
J œ œ œ œ
J œ œ œ œ œJ œ œ œ œ œ œ
S
J J J J J J
f
The lat - ter, O! The lat - ter, O! Es - pe - cial - ly the lat - ter, O! The
#### j j
& Œ ‰ Œ j
Chor. A
œ œ. œ œ œ. œ œ œ. œ. œ. œ.
The lat - ter, O! Es - pe - cial - ly the
? #### Œ f œ œœ .. œœ œœ œœ .. œœ œœ # œœ .. œœ .. œœ .
‰ Œ œ œ .. .
T
B J J J
The lat - ter, O! Es - pe - cial - ly the
#### j j j j j j
& œ œ œœ œœ œ œœ œœ œœ œ œœ œœ # œœ . œ œ œœ . œ œœ œj œ ‰ œ
œ œ œ œ œ .. œ œ œ .. œ œ œ. œ. œ .. œœ œœ
f
? #### œ ‰ Œ 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
C1
∑ ∑ ∑ Œ ‰ Œ
69
Rudolph V J J J
But when compar’d with
#### œ œ œ œ œ œ œJ œ œ œ
S & J œ œ œ
J J œ J J œ œ
J
‰ ∑
lat - ter, O! The lat - ter, O! Es - pe - cial - ly the lat - ter, O!
#### j j j j
& œ œ œ j j j ‰ ∑
Chor. A
œ œ œ œ œ œ œ œ œ œ œ œ
lat - ter, O! The lat - ter, O! Es - pe - cial - ly the lat - ter, O!
? # # # # œœ œœ œœ ‹ œœ œœ œœ œœ ‹ œœ œœ œœ # # œœ œœ œ œ œ
‰ ∑
J J J J J J œ œ
J
T
B
lat - ter, O! The lat - ter, O! Es - pe - cial - ly the lat - ter, O!
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ j C1 j
& œœ œœ œœ ‹ œœ œœ œœ œœ ‹ œœ œœ œ # œœ œœ œœ œœ œœ ‰ ‰ œ ‰ ‰ œj ‰ ‰
‰ ‰ ‰ ‰ œ ‰ ‰ œ œ
œ œ
p
? #### ‰ j
œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10/’09
Act II 395
#### j j j j j j j j
œ œ œ œ œ œ œ œ Jœ Jœ œJ
74
V œ œ ‹œ œ œ œ œ
Rudolph
J
#### j ‰ ‰
o - ther crimes, for which your head I’ll bat - ter, O! This flib-ber - ty gib-ber - ty
& j ‰ ‰ j ‰ ‰ j ‰ ‰ œj ‰ ‰ j‰ ‰
œ œœ œ œ œœ œ œ
œœ œœ # œœœ œœœ
# n œœ
œ
œ
j j
? #### j‰ ‰ j ‰ ‰ œj ‰ ‰ œj ‰ ‰ œ ‰ ‰ œ ‰ ‰ n œœ ‰ ‰ œœ ‰ ‰
œ œ œ œ J J
œ œ œ œ
#### j œj œj œ œ œ j j j
œ ‰ ∑
78
Rudolph V œ J J J œ œ œ œ œ œ œ
#### f j œ j j
Kind of a lib - er - ty Scarce - ly seems to mat - ter, O!
& ∑ ∑ Œ ‰ Œ œ œ œ œ œœ
J œ œ
S
A
f œj œœ
But when compar’d with
Chorus
? #### œœ œœ œœ
T
B
∑ ∑ Œ ‰ Œ J J J
œ œœ œ œ
œ ‰ œ œ ‰ œœ
But when compar’d with
#### j
& œœ œ œ œœ œ œ œœ œ œ œœ œ œœ ‰ œ œ œ
J
f j œ
? # # # # œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œ ‰ œœ œœ
‰ œ ‰ ‰ œœ ‰ ‰
œ œ J
J J J J
#### j j
œœ # œœ
j
œœ œœ j j j j œj œj œj œj œj
82
& œœ œœ ‹ œœ œœ œ œ œ n œœ œœ œ œ œ œ œ
J
S
J
A
? # # # # œœ œœ œœ œœ œ œ œ œ
Chorus o - ther crimes, for which our heads he’ll bat - ter, O! This flib-ber - ty gib-ber - ty
# œœ œœ œœ œœ n œ œ œ œ œ œ
J J œ œ œ œ J J œJ œJ œJ œJ Jœ œJ
J J
T
B
œ j j
# # # # œ ‰ œ ‹ œ ‰ œ # œœ ‰ œœ œ ‰ œ n œœ
o - ther crimes, for which our heads he’ll bat - ter, O! This flib-ber - ty gib-ber - ty
œ œœ ‰ j
& œ œ ‹œ œ œ œ #œ œ œœ œ œ œœ œœ œœ œœ
‰ J œ œ
œ œœ
? # # # # œœJ ‰ ‰ œ
J ‰ ‰
j œ
œ ‰ ‰ # œœ ‰ ‰ œ. œ ‰ # œœ n œœ œœ œœ œœ œœ œœ
J œ. J J
œ
10/’09
396 The Grand Duke
#### j
j œj œj œj œ œj j j j
œœ œ œ œ œ œ œœ œ œœ œœ ‰ ∑
86
S
& œœ œœ œ œ
J
A
? #### œ œ œ œ œ œ œ œ œ œ œ
Chorus
œœ œœ
Kind of a lib - er - ty Scarce - ly seems to mat - ter, O!
œ œ œ œ œ œ œ œ œ œ œ J ‰ ∑
J J J J J J J J
T
B
# ##
Kind of a lib - er - ty Scarce - ly seems to mat - ter, O!
j j
& # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œœ œœ ‰ œ œj ‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰
p
? #### œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œœ œœ ‰ ‰ œj ‰ ‰ œj ‰ ‰
œ œ œ œ œ œ œ œ œ œ œ œ J œ œ
#### Πj j j j
‰ Œ œ œ œ œ j j œ œj
90
Rudolph V œ œ œ œ œ œ œ œ
#### j ‰ ‰ j ‰ ‰ j ‰ ‰ œj ‰ ‰
2. My dain - ty bride— my bride e - lect— you whee - dle and you
& œœ œœ œœ j ‰ ‰ œj ‰ ‰ j
œ œ œœ œœ œœ œœ œ œœ œ œ
j j j j j j j j
? #### œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ œ œ œ œ œ œ œ
#### j j j j j j œ œ œj
œ œ œ
94
Rudolph V œ œ œ œ œ J œ œ œ œ œ œ
#### j j ‰ ‰ œj ‰ ‰
flat - ter, O! With coarse and clum - sy com - pli-ment her sen - ses you be -
j j‰ ‰ j jœ œ œ
& # œ
n œœ œœ œœœ
œ œ œœ ‰ ‰ # œœ ‰ ‰ œœ œœ œ
œ œ œ œœ œœ
j j j j j j j
? #### œ . œ ‰ ‰ œ ‰ ‰ Nœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ. œ œ Nœ œ œ œ œ
#### j j B2 j j j j j j
œ œ œ œ
98
Rudolph V œ œ œ œ œ œ ‹œ œ œ œ ‹œ œ
####
spat - ter, O! You fas - ci - nate her tough old heart with vain and vul - gar
j j j j
& œœ œ œœ ‰ ‰ œj ‰ ‰ ‹ œœj ‰ ‰ œœ ‰ œ‰ œœ œ‰ ‰ j j
œ ‰ ‰ ‹ œœ ‰ ‰
œ œ œ œ œ œ œ œ œ
j j j
? # # # # œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œ ‰ ‰ œj ‰ ‰ j
œ ‰ ‰ œj ‰ ‰
œ œ œ œ œ œ œ œ
10/’09
Act II 397
#### j j j j j j œ # œ œj œ œ
œ œ œ œ œ œ
102
Rudolph V œ œ œ œ œ œ J
# # # # j ‰ ‰ j ‰ ‰ œj ‰ ‰ Œ
pat - ter, O! Al - tho’— the deuce con - found you—you’re un - wor - thy to look
j j
& œœ œ œ œœ œ œ n œœ
œ
œ
œ œœ ‰ ‰ œ n œ œ œœ
# œ œ œœ œ œ
œ
? # # # # œj ‰ ‰ j ‰ ‰ œ nœ #œ œ #œ œ œ # œœ œœ ‰œ ‰ œœ ‰ ‰
œ œ # œ œ # œ‰ œŒ œ œ ‰ ‰ Œ J J J
J J
# # #
V # œ œ œ ‰ ∑ ∑ ∑
106
Rudolph
J
#### f
at her, O!
& Œ ‰ Œ œ œ œ
J œ œ œ œ œ
J œ œ œ œJ œ œ
S
J J J J
#### f
Look at her, O! Look at her, O! Un - wor - thy to look
& Œ ‰ Œ j j j
Chor. A
œ œ. œ œ œ. œ œ œ. œ.
f œœ œœ .. œœ œœ œœ .. œœ œœ # œœ .. œœ ..
Look at her, O! Un - wor - thy
? #### Œ ‰ Œ
T
B J J J
j j j j j
Look at her, O! Un - wor - thy
# ## j œ œ œ œ œœ # œœ . œ œ œœ .
& # œœ œ œ œœ
œ
œœ
œ .. œœ œœ œœ
œ œ .. œœ œ œ. œ.
œ
œ
f
? #### œ ‰ Œ 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 œJ œ œ
& # œ œ œ œ œ œ œ œ
110
S
J J J J J J J
####
at her, O! Look at her, O! Look at her, O! Un - wor - thy to look
& j j j j j j
Chor. A
œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ
œœ . œœ œœ œœ ‹ œœ œœ œœ œœ ‹ œœ œœ œœ # # œœ
to look at her, O! Look at her, O! Un - wor - thy to look
? # # # # œ .. . œœ
T
B J J J J J J
#### œ j
to look at her, O! Look at her, O! Un - wor - thy to look
& œ œœ ‰ œœ œœ ‰ œœ œœ ‰ œ œœ ‰ œœ œœ ‰ œ œœ œ œœœ # œœ ‰ œœ
œœ .. œ œ œ œ œ ‹ œœ œ œ œ ‹ 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 œ œ
10/’09
398 The Grand Duke
#### Œ œ œ œ œ j j j j j
œ œ
C2
‰ Œ œ œ œ œ
114
Rudolph V J J J œ ‹œ J œ œ œ œ œ
#### œ
But e - ven this, com - par’d with deeds that drive me mad as hat - ter, O! This
& œ œ ‰ ∑ ∑ ∑ ∑
S
J
####
Chorus at her, O!
& j ‰ ∑ ∑ ∑ ∑
A
œ œ œ
#### œ j C2 j
at her, O!
& œœ ‰ œœœ œœœ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ # œj ‰ ‰ œj ‰ ‰ n œœj ‰ ‰ œœj ‰ ‰
œ œ œ œ œœ œœ #œ œ
p j j
#
? ## # ‰ j j j œ œ
œ œ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰‰ ‰‰
œ œ œ œ
œ œ œ œ œ œ œ
#### j j j œ j j j œ j j j
œ œ œ œJ J œJ œ œ œ œJ J œJ œ œ œ œ ‰
119
Rudolph V œ œ œ œ
#### f j
flib-ber - ty gib - ber - ty Kind of a lib - er - ty Scarce - ly seems to mat - ter, O!
& ∑ ∑ ∑ Œ ‰ Œ œ
J
S
A
j
fœ
Chorus But
T ? #### ∑ ∑ ∑ Œ ‰ Œ J
B
#### œ
But
j
& œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œœ ‰ œ œ œ
J
f
? #### n œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ œœ œœ ‰
œ œ œ œ œ œ œ
J J J J J J
#### œ j j j j j j
œ œ j j
œ œœ # œœ œœ œœ
123
& œ œ œ œ œœ œœ ‹ œœ œœ œ œ œ n œœ
J
S
J
A
? # # # # œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ # œœ œœ œœ œœ
Chorus e - ven this, com - par’d with deeds that drive him mad as hat - ter, O! This
J J J J œ œ œ œ J J
J J
T
B
œœe - ven
œ œ œ œ œ j j
# # # # œ ‰ œ œ ‰ œ œ ‰ œ ‹ œ ‰ œ # œœ ‰ œ œ ‰ œ n œœ
this, com - par’d with deeds that drive him mad as hat - ter, O! This
œ œœ ‰ j
& œ œ ‹œ œ œ œ #œ œ œœ
‰ J
j œ œ œ
? # # # # œ ‰ ‰ œœJ ‰ ‰ œœJ ‰ ‰ Jœœ ‰ ‰ œj ‰ ‰ # œœœ ‰ ‰ œ . œ ‰ # œœ
œ J œ. J J
œ
10/’09
Act II 399
# # # # j j j œj œj œj j j j œj œj œj j j j
œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ œœ œ œœ œœ ‰
127
S
& œœ œœ œ œ
J
A
Chorus
? # # # # n œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ
flib-ber - ty gib - ber - ty Kind of a lib - er - ty Scarce - ly seems to mat - ter, O!
œœ œœ ‰
œ œ œ œ œ œ œ œ œ œ œ J
J J J J J J J J J J J J J J
T
B
flib-ber - ty gib - ber - ty Kind of a lib - er - ty Scarce - ly seems to mat - ter, O!
####
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œœ œœ ‰ œ œj ‰ ‰
? #### n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œœ œœ ‰ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J
#### j j j j j
∑ Œ ‰ Œ œ œ œ œ
131
Rudolph V œ œ œ œ œ
#### j ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ œj ‰ ‰
3. For O, you vul - gar va - ga - bond, you
& œœ œœ œœ œœ œœ j ‰ ‰ œj ‰ ‰
œ œ œ œ œœ œœ œœ
p
j j j j j j j j
? #### œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ œ œ œ œ œ œ œ
#### j œ œ œj j j j j j
œ œ œ
135
Rudolph V œ œ œ œ œ œ œ J œ œ œ œ
#### j j ‰ ‰ œj ‰ ‰
œœ ‰ ‰ # œœj ‰ ‰
fount of i - dle chat - ter, O! You’ve done a deed on which I vow you
& j œ œ œ # œœ œj œj ‰ ‰ œœ
œœ œ n œœ œœ œœ œ œ œ œœ
œ
j j j j j j j
? #### œ ‰ ‰ œ ‰ ‰ œ . œ ‰ ‰ œ ‰ ‰ Nœ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ œ œ. œ œ Nœ œ œ
#### j
j œ œ œj œ j j B3 j j j
œ œ œ
139
Rudolph V œ œ œ œ œ œ œ ‹œ œ œ
##
won’t get a - ny fat - ter, O! You fan - cy you’ve re - viv’d the Law— mere
j j‰ ‰ j‰ ‰ j‰ ‰ j j
& ## œ jœ œ œ œ
œ œœ œœ œ œœ œœ ‹ œœœ œœ œ‰ œ‰ œœ œ‰ œ‰
œ œ œ
j j j j j
? # # # # œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œ ‰ ‰ œj ‰ ‰
œ œ œ œ œ œ œ œ
10/’09
400 The Grand Duke
#### j j j j j j j j
œ œ œ œ œ œ
143
Rudolph V œ œ ‹œ œ œ œ œ œ œ œ
#### j ‰ ‰ j ‰ ‰ j ‰ ‰ œj ‰ ‰
emp - ty brag and chat - ter, O! You can’t— you shan’t— you don’t— you won’t— you
j j j
& œœ ‹ œœœ ‰ ‰ œœ œ œ œœ œ œ n œœ
œ
Œ œ
œ œœ ‰ ‰ œ n œ œ
? # # # # œj ‰ ‰ j #œ
j
œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œ œ n œœ # œ œ # œ œ œ Jœ
œ œ œ # œ œ # œ‰ Œ œ ‰ ‰ Œ
J J
# ## j œ
V # œ #œ œ œ œ œ œ ‰ ∑ ∑
147
Rudolph J J
#### f
thing of rag and tat - ter, O!
& ∑ Œ ‰ Œ œ œ œ œ œ œ œ œ œ
S
J J J J J
#### f
Of tat - ter, O! Of tat - ter, O! You
& ∑ Œ ‰ Œ j j j
Chor. A
œ œ. œ œ œ. œ œ
f œœ œœ .. œœ œœ œœ .. œœ œœ
Of tat - - - ter, O! You
? #### ∑ Œ ‰ Œ
T
B J J J
j j j j
Of tat - - - ter, O! You
#### j œœ œ œ œœ œœ œ œ œœ
& œœ # œ œ œœ œ œ œ œ
œ œ œ
œœ
œ œ .. œœ œ œ .. œœ œ
f
? # # # # œœ œ œ œœ œ j j j
J ‰ ‰ J ‰ ‰ œ ‰ Œ œ œ. œ œ œ. œ œ
œ œ. œ œ œ. œ œ
151
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
S & J J J J J J J J
####
thing of rag and tat - ter, O! Of tat - ter, O! Of tat - ter, O! You
& j j j j
Chor. A
œ. œ. œ. œ. œ œ œ œ œ œ œ œ
? # # # # # œœ .. œœ .. œœ . œœ œœ œœ ‹ œœ œœ œœ œœ ‹ œœ
thing of rag and tat - ter, O! Of tat - ter, O! You
œ .. .
T
B J J J J
j
thing of rag and tat - ter, O! Of tat - ter, O! You
# ## œ œ œœ . j
œœ ‰ œœ œœ ‰ œ œœ ‰ œœ œœ ‰ œ
& # # œœœ .. œ.
œ œ
œœ .. œ œœ ‰ œœ
œ œ œ œ œ ‹ œœ œ œ œ ‹ 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
10/’09
Act II 401
#### œ œ
J œ
C3
∑ Œ ‰ Œ œ œ
155
Rudolph V J J
For this you’ll suf - fer
#### œ œ œ œ œ œ
& J J œ œ ‰ ∑
S
J
thing of rag and tat - ter, O!
# ##
Chor. A & # œ j
œ œ œ
j
œ
j
œ œ
‰ ∑
thing of rag and tat - ter, O!
? # # # # œœ œœ # # œœ œœ œ œ œ
‰ ∑
J J œ œ
J
T
B
#### œ œœ ‰ œ œj ‰ ‰
thing of rag and tat - ter, O!
œ œœ # œœ ‰ œœ
C3
j ‰ ‰ j ‰ ‰
& œœ œ œ œ œ œœ œœ œœ œœ
p
? #### ‰ ‰ j j ‰ ‰ j ‰ ‰
œ œ œ œ œ ‰ œ œ ‰ ‰ œ œ
œ œ œ œ œ œ œ œ œ
#### j j œ j j j
œ
158
Rudolph V œ œ ‹œ œ J œ œ œ œ œ œ
a - go - nies like rat in clutch of rat - ter, O! This
#### j j
& j
œœ ‰ ‰ œœ ‰ ‰
j
# œœœ ‰ ‰ j
œœœ ‰ ‰ n œœ ‰ ‰ œœj ‰ ‰
#œ œ
j j j j
? #### j ‰ ‰ j ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ œ œ œ
œ œ œ œ
#### j j j œ j j œj œ œ œ j j
œ œ œ œJ J œJ œ
161
Rudolph V œ œ J J J œ œ œ œ
flib - ber - ty gib - ber - ty Kind of a lib - er - ty ’s quite an - o - ther
#### œ œ œ œ j
& œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œ
? #### n œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰
œ œ œ œ œ œ
J J J J J J
10/’09
402 The Grand Duke
164
#### j ‰ ∑ ∑ ∑
Rudolph V œ œ œ
#### Πf j j j j
mat - ter, O!
& ‰ Œ œ œ œ œ œ œ j
œœ ‹ œœ
j
œœ # œœ œ œ œœ
j
J œ œ œ œ œ œ œ
S
A
j
For this we’ll suf - fer a - go - nies like rat in clutch of
f œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ
Chorus
? #### Œ ‰ Œ J œ œ œ œ
T
B J J J J J J
œœ œ œ
œ œ œ # œœ œ œ
For this we’ll suf - fer a - go - nies like rat in clutch of
#### œ ‰ œ œ ‰ œ œ œ ‹œ œ
& œ œ ‰ œ ‹œ ‰ œ œ ‰ œ œ ‰ œ
œœ ‰ œ œ J
f j œ œœ œ
? # # # # œœ ‰ œœ œœ ‰ œ ‰ ‰ œœ ‰ ‰ œ ‰ ‰ œœ ‰ ‰ j œ
‰ ‰ # œœ ‰ ‰
œ J J J œ
œ J
#### j j j j œj œj œj œj j j j œj œj œ
j
168
& œ œ œ n œœ œœ œœ œ œ œ œ œœ œœ œœ œ œ œ
J
S
J
A
? # # # # # œœ œœ œœ œœ nœ œ œ œ œ œ
Chorus rat - ter, O! This flib - ber - ty gib - ber - ty Kind of a li - ber - ty
œ œ œ œ œ œ
J J œ œ œ œ œ œ œ œ œ œ œ œ
J J J J J J J J J J J J
T
B
j j
rat - ter, O! This flib - ber - ty gib - ber - ty Kind of a li - ber - ty
# # # # n œœ œ œœ ‰ j œ œ œ œ œ œ
& #œ œ œœ œœ œœ œ œ œ œ œœ œœ œ œ œ œ
‰ J œ œ
? #### œ. œ
J ‰ # œœJ nœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ.
####
œ œj œ j j ‰ ∑ ∑
171
& œœ
(Rudolph sinks exhausted into Notary’s arms.)
S
œœ œ œ œœ œ œ
J
A
? #### œ œ œ œ œ
Chorus ’s quite an - o - ther mat - ter, O!
œœ œœ ‰ ∑ ∑
œ œ œ œ œ J
J J
T
B
œœ œœ j
#### œœ œœ
’s quite an - o - ther mat - ter, O!
œ œ œ ‰ œ j œ œ œ
& œœ œ œ œ œ œœ ‰ œ œ ‰ ‰ J ‰ ‰ Jœ ‰ ‰ J ‰ ‰ œ ‰ ‰
? # # # # œœ œ œ œ œ œ œœ œœ ‰ ‰ œœ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰
œ œ œ ‰ œ œ ‰
J œ
J J œ œ
10/’09
Act II 403
Ludwig. Not a bit of it! I’ve revived the Law for another century!*
Rudolph. You didn’t revive it! You couldn’t revive it! You—you are an
impostor, sir—a tuppenny rogue, sir! You—you never were, and in all human
probability never will be—Grand Duke of Pfennig Anything!
All. What!!!
Rudolph. Never—never, never! (Aside.) Oh, my internal economy!
Ludwig. That’s absurd, you know. I fought the Grand Duke. He drew a
King, and I drew an Ace. He perished in inconceivable agonies on the spot. Now,
as that’s settled, we’ll go on with the wedding.
Rudolph. It—it isn’t settled. You—you can’t. I—I—(To Notary.) Oh, tell
him—tell him! I can’t!
Notary. Well, the fact is, there’s been a little mistake here. On reference to
the Act that regulates Statutory Duels, I find it is expressly laid down that the Ace
shall count invariably as lowest!
All. As lowest!
Rudolph (breathlessly). As—lowest—lowest—lowest! So you’re the ghoest—
ghoest—ghoest! (Aside.) Oh, what is the matter with me inside here!
Ernest. Well, Julia, as it seems that the law hasn’t been revived—and as,
consequently, I shall come to life in about three minutes—(consulting his
watch)—
Julia. My objection falls to the ground. (Resignedly.) Very well!‡
* Productions that include Rudolph’s song, No. 28a, might consider restoring the
first-night version of Ludwig’s line: “My good sir, it’s no use your saying that I
can’t revive the Law, in face of the fact that I have revived it.”
‡ Gilbert seems to have nodded off here. As Ernest drew a King, he actually won
the first statutory duel, never “died,” and therefore cannot “come to life.” Julia’s
change-of-heart seems to be nonsense, but lines from the first-night text at least
make it a bit funnier:
Julia. My objection falls to the ground. (Resignedly.) Very well. But will you
promise to give me some strong scenes of justifiable jealousy?
Ernest. Justifiable jealousy? My love, I couldn’t do it?
Julia. Then I won’t play.
Ernest. Well, well, I’ll do my best! (They retire up together.)
10/’09
404 The Grand Duke
Princess. And am I to understand that I was on the point of marrying a dead
man without knowing it? (To Rudolph, who revives.) Oh, my love, what a
narrow escape I’ve had!
Rudolph. Oh—you are the Princess of Monte Carlo, and you’ve turned up
just in time! Well, you’re an attractive little girl, you know, but you’re as poor as
a rat!* (They retire up together.)
Lisa. That’s all very well, but what is to become of me? (To Ludwig.) If
you’re a dead man— (Clock strikes three.)
Ludwig. But I’m not. Time’s up—the Act has expired—I’ve come to life—
the parson is still in attendance, and we’ll all be married directly.
All. Hurrah!
* Productions that include the Roulette Song, No. 27, might consider restoring
these lines from the first-night libretto:
Prince. Pardon me—there you mistake. Accept her dowry—with a father’s
blessing! (Gives him a small Roulette board, then flirts with Baroness.)
Rudolph. Why, what do you call this?
Princess. It’s my little Wheel of Fortune. I’ll tell you all about it. (They
retire up, conversing.)
10/’09
Act II 405
No. 29. Finale.
#### ∑ ∑ ∑
c
Allegro giojoso.
Soprano &
#### ∑ ∑ ∑
Alto & c
####
Chorus
Tenor V c ∑ ∑ ∑
Bass
? #### c ∑ ∑ ∑
œœ œœœ œœ œœ œœœ n # œœ n œœ œœ # œ œœ œ œ œ œ œ
####
& c ‰ œœ
# œ œœ n œœ œ œœ œœ œ œ œ œœ œœ œ œ œ
J J J J 3
f
3
? #### c œ . j j j j
Piano
œ œ œœœœ œœœœ œ œ œ
3 3
œ œ œ œ œ œ œ
œ. œ œ œ œ œ œ œ œ œ
#### œ œ œ œ j j j
œ œj œj œ œ œj œj œ œ
J œJ Jœ œJ Ó
4
S & J J J œ
####
Hap- py cou - ples, light - ly treading, Cas-tle cha-pel will be quite full!
j j j j j j j j j j j
A & œ œ œ œ œ œ œ œ œ œ œ œj œj œj œj œj œj œj œj œj œj œj œj œj
#### œ œ œ œ œ œ œ œ
Hap- py cou-ples, light-ly, light - ly treading, Cas-tle cha-pel will be quite full, cha-pel will be quite full!
œ œ œ œj œj œj œj œj œj œj œj œj œj œj œj œj
Chorus
T V J J J J J J J J J J J
Hap- py cou-ples, light-ly tread-ing, Hap-py couples, light-ly treading, Cas - tle cha-pel will be quite full!
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B
J J J J J J J J J J J J J J J J J J J J J J J J
####
Hap- py cou-ples, light-ly tread-ing, Hap-py couples, light-ly treading, Cas - tle cha-pel will be quite full!
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœ œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ
? # # # œœ œœ œœ
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
10/’09
406 The Grand Duke
7
#### œ œ œ œ œ œ œ j j
œ œj œj œ œ # œj œj Jœ œ Œ j j
S & J J J J J J J œ œ #œ
#### j j j j j j j j j j j j j j j j j # œj
Each shall have a pret - ty wed-ding, As, of course, is on - ly right - ful, Tho’ the
A & œ œ œ œ œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ Œ œ
Each shall have a pretty,
- pret - ty wed-ding, As, of course, is on - ly right - ful, Tho’ the
#### œ
Chorus
V œ œ œ œ œ œ œ œ œ œ œ Jœ œ œ œ œ œ œ œ œ œ œ œ
T
J J J J J J J J J J J J J J J JJ J JJJ J J
Each shall have a pret-ty wedding,
- Each shall have a pret - ty wed-ding, As, of course, is on-ly right - ful,
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ Jœ œJ Jœ œJ Jœ Jœ œJ
B
J J J J J J J J J J J J J J J J
Each shall have a pret-ty wedding,
- Each shall have a pret - ty wed-ding, As, of course, is on-ly right - ful,
#### œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
& œ
œœœ œœœ œœœ œœœ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œ . j
? # # # # œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‹ œœ œ œ œ œ
œ. œ
#### j j
œ œj œj # œj œ œj œ Jœ œJ œ œ œJ Jœ œ œ œJ œ œ œ œ œ œ
10
S & J J J J J J J J J
# # # # œj j j j œ j œ œ œ œ œ œ œ œ œ œ œ
brides be fair or fright-ful. Con - tra - dic-tion lit - tledreading,
- This will be a day de -
j œ
A & œ œ #œ J œ J J J J J J J J J J œ œ Jœ Jœ 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
Chorus brides be fair or fright-ful. Con - tra - dic-tion lit - tledreading,
- This will be a day de -
T V J J J J J J J J J J J J J J J J J J JJ J J J J
Tho’ the brides be fair or fright-ful. Con-tra-dic-tion lit - tle dread-ing, This will be a day de-light-ful—
? # # # # œœJ Jœœ œœJ Jœœ œœJ Jœœ Jœœ Jœœ n œœJ Jœœ Jœœ œœJ Jœœ œœJ œœJ œœJ œœ œœ œœ œœ # œœ œœ œœ œœ
B J J JJ J J J J
Tho’ the brides be fair or fright-ful. Con-tra-dic-tion lit - tle dread-ing, This will be a day de-light-ful—
####
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ
œœ
œœ
œœ
œœ
œœ # œœœ œœœ œœœ
œœ œ œ œ œœœ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? #### œ Œ ˙ nœ Œ ˙ œ Œ ˙
œ ˙ nœ ˙ œ ˙
10/’09
Act II 407
#### œ œ œ œ œ j j
œ œj œj œ œ œj œj œ
j
œ Ó J œJ œJ œJ
13
S & J J J
#### œ
light - ful— Such a pret - ty wed-ding, Such a pret-ty, pret-ty wed-ding,
œ Ó j j j j j j j j j j j j
A & œ œ œ œ œ œ œ œ œ œ œ œ œj œj œj œj
#### œ œ œ œ œ œ œ œ
Chorus light - ful— Such a pret-ty, pret-ty wed-ding, Such a pret-ty, pret-ty wed-ding,
V J J JJ J J J J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
J J J J J J J J J J J J J J J J
? # # # # œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
This will be a day de-light-ful— Such a pret-ty, pret-ty wed-ding, Such a pret-ty, pret-ty wed-ding,
œœ œœ œœ œœ œœ œœ œœ œœ
B
J J JJ J J J J J J J J J J J J J J J J J J J J
œ œ œ œ œ œ œ
This will be a day de-light-ful— Such a pret-ty, pret-ty wed-ding, Such a pret-ty, pret-ty wed-ding,
#### œ œ œ œ œ œ œ œ
& œœ œœ œœ œœ n œœœœœ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œ
œœœœ œœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? #### œ Œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ
œ
#### j j j j œ j j
œ œ œ œ œ J œ Jœ œ œj œ . œ œ
J œJ J œ œj # œJ œJ # œ œ œ œ
16
S & J J
#### j j j j j j j j j j j
Such a pret-ty, pret - ty wed-ding, Such a pret - ty, pret-ty wedding, such a charm -
j j j
A & œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œj œ # œJ œJ # œ œ œ œ
#### œ œ œ œ n œ œ œ œ n œ œ œ .
Such a pret-ty, pret - ty wed-ding, Such a pret - ty, pret-ty wedding, such a charm -
œ œ œ. œ
Chorus
œ œ œ nœ
T V J J J J J J J J J J J J J J Jœ J J J
œ œ œœ œœ œœ ..
Such a pret-ty, pret - ty wed-ding, Such a pret - ty, pret-ty wedding, such a charm - ing,
? # # # # œœ œœ unis.
œ œ œ œ œ œ œ œ œ. œ œ œ œœ
B
J J J J J J J J J J J J J J J J J J
Such a pret-ty, pret - ty wed-ding, Such a pret - ty, pret-ty wedding, such a charm - ing,
#### œ œ
& œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ # œœ œœ # œœ œœ œœ œœ
nœ œ œ œ œ œ nœ œ
œ œ nœ œ œ œ n œœ œœ
? # # # # œœœ œœœ œœ œœ œ œ œ œ ˙ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ
˙ œ œ œ
10/’09
408 The Grand Duke
#### œ œ #œ œ ˙
œ œ nœ œ #œ œ œ œ œ œ œ
19
S &
####
- - - - ing, charm - - - - - - - - ing
A & œ œ nœ œ #œ œ œ œ ˙. œ ˙. œ
#### ˙ .
- - - - ing, charm - - - ing, charm - - - ing
œ ˙. œ
Chorus
˙. œ
T V
charm - - - ing, charm - - - ing, charm - - - ing
? # # # # ˙˙ .. œœ ˙. œ
˙. œ
unis.
B
charm - - - ing, charm - - - ing, charm - - - ing
#### œ œ #œ œ ˙
& œœ œœ n œœ œœ # œ œ n œœ œœ œœ œ œ ˙ œ
œ œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
? # # # # œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ
#### œ œ Œ
A
œ œ œ œ œ œ
22
S & J J œ œ œ œ œ
####
wed-ding! Hap - py cou - ples, light - ly tread - ing, Cas - tle
j j œ œ œ œ œ
A & œ œ Œ œ œ œ œ œ œ
wed-ding! Hap - py cou - ples, light - ly tread - ing, Cas - tle
#### œ œ Œ œ œ
Chorus
œ œ œ œ
T V J J œ œ œ œ œ
œ œ œ œ
wed-ding! Hap - py cou - ples, light - ly tread - ing, Cas - tle
œ œ œ
? #### œ œ Œ œ œ œ œ
B
J J
wed-ding! Hap - py cou - ples, light - ly tread - ing, Cas - tle
œ œ œ œ œ œ
#### œ œ
A
Œ œ œ œ œ œ œ œ œ œ œ
& œœ œ œ œ œ œ
f
? # # # # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ>œœ œœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
œ
10/’09
Act II 409
#### œ œ œ œ œ j
œ œ œ œ œ œ œ
25
S & œ œ œ œ œ.
#### œ
cha - pel will be quite full! Each shall have a pret - ty
& œ œ œ œ œ œ j
A
œ œ œ. œ œ œ œ
cha - pel will be quite full! Each shall have a pret - ty
#### œ œ œ
Chorus
œ œ œ œ œ œ. œ
T V œ œ œ J
œ
cha - pel will be quite full! Each shall have a pret - ty
? #### œ œ œ œ œ œ œ œ œ. œ œ
B J œ
cha - pel will be quite full! Each shall have a pret - ty
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
œœ œœ œœ œœ
? #### œœ>œœ œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ
#### œ ˙ œ œ œ œ œ
œ œ œ
28
S & œ œ
####
wed - ding, As, of course, is on - ly right - ful,
A & œ œ œ œ œ ˙ œ œ œ ‹œ œ nœ
####
wed - ding, As, of course, is on - ly right - ful,
˙. œ
Chorus
#œ œ œ œ n˙ œ œ
T V
wed - ding, As, of course, is right - - - ful,
? #### ˙ œ œ œ #œ œ œ
B œ œ œ œ
˙
wed - ding, As, of course, is on - ly right - ful,
œ œ œ œ œ œœœ ‹ œœœ œœœ œœœ
#### ˙ œ ˙ œ œ
&
n œœ œœ œœ œœ œœ œœ œœ œœ œœ # œ
? # # # # # œœœœ œœœœ œœœœ œœœœ n œœœ œœœ œœœ œœœ œ œ œ œ œ œ
#œ
œ
œ
œ
œ
10/’09
410 The Grand Duke
31
#### œ œ ˙ ˙ œ. œ œ. œ œ. œ
S & J J J
####
right - - - - ful! Hap - - - py cou - ples, each shall
& #w j j j
A
˙ œ. œ œ. œ œ. œ
#### œ
right - - - - ful! Hap - - - py cou - ples, each shall
nœ.
Chorus
V œ ˙ ˙ œ œ. œ #œ. œ
T J J J
œ. œ œ.
right - - - - ful! Hap - - - py cou - ples, each shall
B
? #### n ˙ ˙ ˙ J œ œ.
J œ
J
œœ ˙˙˙ œ
right - - - - ful! Hap - - - py cou - ples, each shall
# # # # œœœ œœ œ œ n œœ œœ œœ œœ ˙˙˙
& œ ˙ œœœœ œ œœ œœ œœ œ ˙ # ˙˙ ˙
? #### œ œ ˙ œ œ œ œ œ œ œ œ
œ œ ˙ œ œ œ œ œ œ œ œ
34
#### œ œ œ œ œ œ œ œ w
S &
have, shall have, shall have
#### œ nœ œ œ œ œ w
A & œ œ
#### ˙
have, shall have, shall have
œ w
Chorus
T V nœ œ œ œ œ
œ œ w
have, shall have, shall have
B
? #### ˙ œ œ œ œ
have, shall have, shall have
# # # # œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œœ œœ ˙˙ ˙˙
& œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙
? #### œ œ œ œ ˙. œ œ. œ œ œ. œœ
œ œ œ œ ˙. œ œ. œ œ œ. œœ
10/’09
Act II 411
#### œ w U
w
Œ ˙
37
S &
#### œ U
a wed - - - - - - - - -
A & Œ ˙ w w
a wed - - - - - - - - -
#### œ ˙ w U
Chorus
T V Πw
U
a wed - - - - - - - - -
B
? #### œ Œ
˙ w w
U
a wed - - - - - - - - -
# # # # ˙˙ ˙˙ ˙˙˙ ˙˙˙ w
& ˙ ˙ ˙ ˙ ˙ ˙ www
? #### œ œ œ œ U
œ œ œ œ w w
w w
#### w ˙. Œ
U
∑ ∑ ∑ ∑
40
&
(All dance off to get married as the curtain falls.)
S
ding!
#### Œ ∑ ∑ ∑
U
A & w ˙. ∑
ding!
#### w ˙. U
Chorus
T V Œ ∑ ∑ ∑ ∑
ding!
? #### w ˙. U
B Œ ∑ ∑ ∑ ∑
U
ding!
œœ œœ œœ ww
#### ˙ œœ Œ œœ Œ œœ œœ w
˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙
˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ Œ Œ w
Più lento.
& œ
ƒœ
œ œ œ œ œ œ U
? #### œ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ œ Œ œ Œ w
œ œ œ œ œ œ œ œ w
End of Opera.
10/’09
AppendiCES
415
Textual Discussion
A Survey of the Source Material
The Gilbert & Sullivan operas come to us through two textual traditions: the literary sources,
under the librettist’s supervision; and the musical sources, under the composer’s. These sources
do not always agree, and in the creators’ lifetimes they were never reconciled. Naturally, printed
libretti did not include the music, and printed scores did not include the dialogue or stage di-
rections. But even within musical passages, the libretti sometimes had different words than the
scores did.
Part of the problem was that libretti and scores were habitually rushed into print. Libretti
were on sale starting with the first night,1 and vocal scores were available as soon thereafter as
Sullivan and his publishers could manage. In their haste to get a new opera on its feet, Gilbert
and Sullivan were not especially concerned with ensuring these products were word and note-
perfect. Minor changes made late in the rehearsal period or early in the production run might
make it into the libretto, the vocal score, both, or neither. Once each opera was in a settled state,
Gilbert and Sullivan moved onto their next projects, or took long holidays. Revising the printed
text of the work they had just finished was the last thing on their minds. A revival would have
provided the opportunity to take a fresh look, but The Grand Duke was never revived.
John Bush Jones traced the early printing history of the libretto of The Grand Duke in detail.2
In the Gilbert and Sullivan literature, one finds the term “edition” used very loosely, but as the
term is defined in modern bibliographic practice, there was just one edition of the Chappell
Grand Duke libretto during the first run of performances, and well into the twentieth century.3
The first-night version of the libretto (what Jones calls the “first impression”) exists in three
states. Between the first and third of these there are nine minor variants—such things as chang-
ing “QUINTETTE” to “QUINTET,” “byegone” to “bygone,” and “Tannhauser” to
“Tannhäuser.”4
The elapsed time between the first and second impressions has not been determined. Wolfson
believes it took a week; Jones says only that it was “a matter of weeks.”5 In any event, the second
impression reduced the libretto to twenty-eight leaves from thirty, in consequence of the numer-
ous cuts that have already been described.6 Jones has identified just two states of this second im-
pression, with twenty-two variants between them—all minor matters of punctuation or capitali-
1Except for The Pirates of Penzance, which was not published until about six months after the London
opening, for fear that rival American producers would copy it.
2 John Bush Jones, “The Printing of The Grand Duke,” in John Bush Jones, ed., W. S. Gilbert: A Century
of Scholarship and Commentary (New York: New York University Press, 1970), pp. 273–284.
3Any number of copies derived from the same setting of type are considered a single edition. Gilbert’s
publisher, Chappell, routinely made very substantial alterations without fully resetting the type. This is
what was done for The Grand Duke.
4 Jones notes that the third state is particularly rare, as no doubt it was quickly superseded by the second
impression incorporating Gilbert’s post-première cuts.
5 Jones, p. 278.
6 Allen calls this the second edition (Allen, p. 452).
10/’09
416 The Grand Duke
zation. It is the second state of the second impression, which Chappell continued to print unal-
tered through at least the 1950s, that forms the basis for the present edition.
There were no further substantial changes to the libretto during Gilbert’s lifetime. Chatto &
Windus included The Grand Duke in the Fourth Series of Gilbert’s Original Plays.1 There are
some very minor differences between the Chatto & Windus text and settled state of the second
impression of the Chappell edition. There is no reason to believe that these differences are any-
thing other than typographical errors.
There are only two other notable editions of the libretto. In January 1926, Macmillan pub-
lished the Savoy Operas in one volume. Since then, the Macmillan Edition, with its many re-
prints, has been the most commonly available collected edition of the canon.2 This edition, au-
thorized by Lady Gilbert, reinstated some of the material that had been cut in the original pro-
duction. Oddly, the Baroness’s Act II song was restored, but with the two verses in the opposite
order. This has never been explained, but conceivably Macmillan had access to source material
that revealed (or which they interpreted to reveal) intentions Gilbert had never disclosed any-
where else.
In 1962–63, Oxford University Press published The Savoy Operas in two volumes.3 The Ox-
ford editors consulted prompt books and other early documentation in the D’Oyly Carte ar-
chives, incorporating textual variants derived from the original productions that in many cases
had not been reflected in the standard texts that Chappell and Macmillan continued to publish
throughout the twentieth century.
The reliability of prompt book evidence is open to debate, but there is no question that the
prompt books—which everyone agrees were prepared under Gilbert’s close supervision—can
help to resolve textual questions for which there would otherwise be no clear answer. For those
Savoy Operas whose early prompt books I have been able to examine, it is obvious that changes
Gilbert approved and considered permanent often entered the text for the first time in the
prompt books, and yet were not immediately seen into print. I have no reason to think that The
Grand Duke was any different. Indeed, given two aging, sick, tired collaborators who were clearly
frustrated with the opera and with each other, The Grand Duke probably came off worse in this
respect than many of the other operas. It is virtually certain, therefore, that the settled state of the
libretto as Chappell printed it did not incorporate all of the changes Gilbert approved in per-
formance. Had there been any reason to revise the libretto of The Grand Duke for a revival, un-
doubtedly many of Gilbert’s additional changes would have made it into print—just as they did
for the other operas.
Unfortunately, the early prompt books for The Grand Duke were no longer in the D’Oyly
Carte archives when they transferred to the Theatre Museum after Dame Bridget D’Oyly Carte’s
death. Until they are located, it will remain impossible to assess the validity of the changes the
Oxford editors put into their edition. Oxford’s text differs from the Chappell edition primarily
in a number of additional dialogue cuts, which I suspect (but cannot verify) are authoritative.
1W. S. Gilbert, Original Plays by W. S. Gilbert, Fourth Series (London: Chatto & Windus, 1911), pp. 43–
90.
2 W. S. Gilbert, The Savoy Operas (London: Macmillan and Co., 1926), pp. 629–698.
3 W. S. Gilbert, The Savoy Operas II (London: Oxford University Press, 1963), pp. 351–423. Volume I was
published a year earlier. The text in Ian Bradley ed., The Compete Annotated Gilbert and Sullivan, (Ox-
ford: Oxford University Press, 1996), pp. 1087–1197, is substantially what Oxford printed in 1963.
10/’09
Textual Discussion 417
The Oxford text also cuts the second verse of “Big bombs, small bombs” in the Act I finale (a cut
that the 1976 D’Oyly Carte recording likewise observed).
The situation with the musical sources is much simpler. Atypically, Chappell published the
vocal score during the first week of production. Hence, it was already in print before the post-
première cuts could be incorporated.1 Writing in 1986, David Russell Hulme was unable to date
the publication of the vocal score any earlier than three months after the première.2 A decade
later, David Eden of the Sir Arthur Sullivan society noted that the Illustrated London News of
March 14, 1896,3 included a facsimile of the Herald’s song from Act II (No. 23), confirming that
the score was available at that early date.4
Eden’s findings are bolstered by early reviews of Ludwig’s first solo, “At the outset I may men-
tion.” Two critics saw fit to mention the movement’s tempo marking, Allegro marziale e misteri-
oso. The Pall Mall Gazette did so within days of the première,5 and the Musical Times did so on
April 1, 1896, just over three weeks after the opening.6 There are perhaps other ways the reviewers
could have been aware of the tempo marking, but the most likely is that they referred to a vocal
score.
Owing to its hasty publication, the vocal score of The Grand Duke differed from the settled
state of the opera to an unusual degree. Besides the larger cuts already mentioned, there are other
less obvious differences between the vocal score and the orchestration. For instance, the coda of
the overture was shortened by two bars (see the Overture, mm. 214–223), as was the coda of the
Act I finale (see No. 12, mm. 645 et seq).
Chappell put out a second state of the vocal score (we don’t know precisely when), incorpo-
rating dozens of corrections—mostly the addition of courtesy accidentals, but also a handful of
substantive changes. It was by no means a thorough-going revision, and I only discovered that
there were two states quite by accident during the preparation of this edition. This second state
of the score is the principal source for the piano and vocal parts in the present edition.
Chappell also published a piano solo score in 1896.7 As this score lacks the vocal lines, it is not
of great interest, except insofar as it confirms some of the production cuts. One significant cut
made it into the piano solo score that didn’t make it into the vocal score: the roulette song.8
1 Hulme reports that “most of the operettas appeared in vocal score during their second month of per-
formances. Some took longer than this to reach the public, whilst the three weeks or so taken to produce
H.M.S. Pinafore was unusually speedy” (Hulme, p. 28).
2 Hulme, p. 293.
3 See facsimile on p. xxv of this edition.
4 David Eden, “A Note on the Vocal Score,” in The Grand Duke: 1896–1996, op. cit., p. 24.
5 The review is quoted in full on p. 468.
6 The review is quoted in full on p. 473.
7 It has the next consecutive plate number, and hence, is the next musical score Chappell published after
the vocal score.
8Allen quotes a letter from the composer to critic Vernon Blackburn: “I purposely tried to hit the French
Café Chantant style (tout ce qu’il y a de plus canaille) and I fear I have succeeded but too well!!” Allen, p.
418. It is unclear what Sullivan thought he had to fear, except perhaps the accusation of being derivative.
Surely it was far too late in the day for Sullivan to have let that stand in his way.
10/’09
418 The Grand Duke
Like most of Sullivan’s operas, The Grand Duke was not published in full score during his life-
time,1 and it was not widely available at all until the Seattle Gilbert & Sullivan Society prepared
a well regarded full score in 1999.2 The Seattle edition was derived from band parts3 believed to
be near descendants of the original ones, but it has no independent authority. Seattle also pub-
lished their own vocal score, which is a marked-up version of the Chappell score. I have not re-
garded the Seattle vocal score as authoritative, but I have taken it as confirming the readings of
the band parts from which their edition is derived.
Most sets of available band parts for The Grand Duke are close descendants of the parts the
Savoy orchestra played from in 1896. Hulme observes that “the orchestral parts available from
the D’Oyly Carte hire library are dyeline copies of what appear to be very early manuscript parts.
Since the D’Oyly Carte Opera Company never played The Grand Duke after Sullivan’s death it
seems likely, in fact, that these copies represent the text finally performed with his approval.”4
In lieu of consulting the band parts themselves, I have surveyed a broad cross-section of re-
cordings made between 1965 and 1999. Any particular recording is not authoritative in itself: per-
formers may make mistakes, and conductors may change the orchestration for any number of
reasons. But given that the orchestration of The Grand Duke remained for so many decades in
the state the 1896 production had left behind, any point on which a majority of the recordings
agree is likely authoritative.
1 Sullivan’s autograph score, which I have not consulted during the preparation of this edition, is in the
collection of John Wolfson. Only H.M.S. Pinafore and The Mikado were published in full score during
the composer’s lifetime.
2 It is available for purchase at http://www.pattersong.org/grand_duke_orchestration.htm.
3 I use the English term “band parts,” which for the benefit of American readers should be taken as iden-
tical with “orchestral parts.”
4 Hulme, p. 295.
10/’09
Textual Discussion 419
Production Repeats
Hulme identifies a body of material that he classifies as “production repeats”:
The earliest editions of the vocal scores do not always include the full extent of
the musical material being used in performance at the time they were issued.
Where a section of music was used more than once in an operetta for what might
broadly be termed production requirements, these scores tended to omit it.
There are many places where a portion of a number appears to have been used
exactly, or with some small modification, to provide for such things as entrances
and exits. Instances in point would be the re-use of part of “Twenty love-sick
maidens we” to take the chorus off the stage at two points in Act I of Patience.1 It
is clear from the autograph score, the official copy and the first night libretto text
that the material was re-introduced for this purpose in the original production,
yet it was not included in the first edition of the vocal score. Although the situa-
tions in which music was re-used varied, there is no difficulty in devising a cate-
gory of pieces which can, for convenience, be called “production repeats.” The
omission of a piece falling within such a category from the vocal scores should
not be taken as reflection of performance practice. Some of the vocal scores re-
vised in this century [i.e., the twentieth] have incorporated “production repeats.”
A number, however, remain unpublished in that form….2
Hulme identifies three production repeats in the original production of The Grand Duke. In
the dialogue scene after Act I, No. 2 (“By the mystic regulation”), Ludwig says:
It is confidently predicted that my appearance as King Agamemnon, in a Louis
Quatorze wig, will mark an epoch in the theatrical annals of Pfennig Halbpfen-
nig. I endeavoured to persuade Ernest Dummkopf, our manager, to lend us the
classical dresses for our marriage. Think of the effect of a real Athenian wedding
procession cavorting through the streets of Speisesaal! Torches burning—cymbals
banging—flutes tootling—citharæ twanging —and a throng of fifty lovely Spar-
tan virgins capering before us, all down the High Street, singing “Eloia! Eloia!
Opoponax, Eloia!” It would have been tremendous!
In the original production, Ludwig burst into song (No. 2a in this edition), singing an eight-
measure preview of the full statement of the theme in Act II, No. 13. There is no indication of
1 There are, in fact, three such “production repeats” in Patience—the other being the brief offstage cho-
rus, “On such eyes as maidens cherish,” that begins Act II, which was not included in the first edition of
the vocal score. Other examples in Sullivan’s operas would include the repeats of “And thus to Empyrean
height” and “Please you, do not hurt us” in Princess Ida. Hulme suspects that the overture to Utopia Li-
mited was omitted from the vocal score of that opera because it was largely a repetition of the Drawing
Room music from later in the opera. As these examples illustrate, some “production repeats” are more
accurately classified as “previews,” since the main statement of the theme has not yet occurred in the op-
era.
2 Hulme, pp. 34–35.
10/’09
420 The Grand Duke
this in the libretto, and in most productions the actor playing Ludwig simply declaims “Eloia!
Eloia! Opoponax, Eloia!” as dialogue.
The second production repeat occurs later in Act I. After Rudolph has given his lengthy in-
structions to the Chamberlains, there is a stage direction for them to “bow and exeunt.” In the
original production, Sullivan provided a ten-measure restatement of the Chamberlains’ entrance
music to get them offstage (No. 9b in this edition).
Lastly, in the dialogue following the Baroness’s Act II entrance, the Chorus originally was
given a twenty-measure repeat (No. 17a in this edition), “For any disappointment we are sorry
unaffectedly. . . .” Here, the first-night libretto was clear that chorus music was called for.
According to Hulme, all of these “production repeats” are in Sullivan’s autograph score:
The production repeats in The Grand Duke . . . are neatly laid out in ink. Sulli-
van provided all the independent material and then left George Baird [the co-
pyist] with the task of completing the work by transferring parallel material from
elsewhere in the score.1
How long these three short movements remained in the opera—if they remained at all—is
unclear. No. 17a was certainly an early casualty: it was introduced by dialogue that appears in the
first-night libretto, but not in the final version. But there was no change to the libretto in the
places where Nos. 2a and 9b were used, so the published text is unhelpful insofar as these num-
bers are concerned.
The three movements are apparently not included in the standard band parts from the
D’Oyly Carte hire library, as I have never encountered them in a production, and only two of
the seven recordings surveyed include them. A participant in the 1965 Lyric Theater recording
told me in an e-mail that the conductor of the recording, John Landis, reconstructed the three
movements from written instructions in a cued vocal score that D’Oyly Carte had provided.
My own instinct is that No. 2a was a misjudgment, and if it was not an early cut it certainly
should have been. The Grand Duke has too much exposition as it is, and it is not helpful to in-
terrupt the momentum of the dialogue for an undistinguished musical preview of the opening of
Act II, which probably makes a better impression later on if it comes as a surprise.
On the other hand, No. 9b solves an obvious production problem: how to get the Chamber-
lains offstage. In my experience, there is often an awkward pause here. The next section of dialo-
gue is clearly meant to be private, so Rudolph cannot continue until the Chamberlains are out of
earshot, but there is nothing interesting in seeing a chorus shuffle offstage in silence. Chorus ex-
its in the Gilbert and Sullivan operas are nearly always accompanied by music, and should be
here.2
1 Hulme, p. 156.
2 In productions with orchestra, if No. 9b is not included in the available band parts, the musical director
will need to orchestrate the movement’s short two-measure coda; the rest of the movement can be copied
from No. 9.
10/’09
Textual Discussion 421
Versions of the Text
From the foregoing discussion, we can identify four significant states of the libretto of The
Grand Duke, and two of the music.1
The four libretto states are:
The pre-production libretto, represented by the Library of Congress deposit copy
The first-night libretto
The settled Chappell text, reflecting the post-première cuts
The 1963 Oxford University Press edition
All four libretto states contain material that an audience might find compelling. Taken to-
gether, they contain altogether too much material. As Gilbert does not seem to have arrived at a
version that pleased him, modern directors usually consider themselves at liberty to finish the job
the librettist left undone.
This edition adopts the settled Chappell text as the principal source for the dialogue and stage
directions. As discussed above, there are good reasons to believe that the additional cuts reflected
in the Oxford Edition might be authoritative. But as Gilbert had no role in that edition, and the
sources Oxford relied upon are unavailable, I have elected to depend on the last version that can
be said to carry Gilbert’s imprimatur.2
To keep the scope of this edition within a reasonable compass, I have generally included ma-
terial from the first-night text only where necessary to provide the context for musical content.
Thus, I have provided the dialogue that introduces the roulette song (No. 27) and the brief di-
alogue that introduces the “production repeat” after the Baroness’s Act II entrance (No. 17a).
For the most part, I have not footnoted any other dialogue variants, except for a few that seem to
me particularly compelling.3
Turning to the music, the two versions of consequence are the published Chappell vocal score
and the settled state of the work, which is represented by no single source that we can identify.4
It is tempting to presume that the Chappell vocal score represents a first-night text, but this is
1 In reducing the number of libretto versions to four, I am disregarding states that may differ from each
other due to typographical errors or inconsequential variants. To wit, the 1911 Chatto & Windus Original
Plays and the 1926 Macmillan edition are both substantially similar to the standard Chappell text, not-
withstanding Macmillan’s restoration of some deleted passages.
Needless to say, there may well have been additional or intermediate versions of the libretto that have not
come down to us. The pre-production libretto probably evolved into the first-night text in a series of
steps that have not been documented. The cuts after opening night may have been effected at once, or in
stages. Lastly, the Oxford edition represents merely an editor’s judgment of which prompt book variants
to accept into the text.
2 I am not suggesting, however, that Gilbert necessarily edited the published text carefully; in all probabil-
ity, he did not. It was, nevertheless, the text that he either authorized, or at least tacitly accepted, for pub-
lication.
3The Library of Congress deposit copy also includes several extra songs that are not available for perfor-
mance since the music does not survive.
4 Although I have not been able to consult the composer’s autograph score, my experience with other Sul-
livan scores suggests that the Grand Duke autograph is unlikely to reflect all of the changes Sullivan au-
thorized in the last few rehearsals.
10/’09
422 The Grand Duke
not certain. For instance, the codas to both the overture and the Act I finale as printed in the
vocal score do not agree with the available band parts. Given Sullivan’s eagerness to get out of
town after the première, it is difficult to imagine him making these changes after he had de-
scribed the opera as “finished and out” in his diary. More likely, these changes occurred in the
late stages of rehearsals, after the vocal score had already been sent out for engraving.
In respect of the major post-première cuts, the published vocal is certainly a first-night text. It
contains the three songs from Act II that surely were cut later.1 In other passages, we cannot be
positive. For instance, the cuts in No. 12c, “Oh, listen to me, dear,” could have been made short-
ly before the première. The presence of these passages in the first-night libretto is not necessarily
dispositive, as the pruning of unneeded lyrics in extended musical passages wasn’t always
promptly conveyed to the printer.
Hulme describes the changes to the surrounding musical context that were entered in Sulli-
van’s autograph to allow for the deletion of No. 21 (“Come, bumpers”) and No. 28a (“Well,
you’re a pretty kind of fellow”), but these changes have never been published.
Hulme is also the only published source for the “production repeats” (Nos. 2a, 9b, and 17a),
but as we have discussed, it is not clear which of these short movements—if any—survived the
post-première cuts.
In any event, no production in my experience presents the final version of the opera as it was
performed at the Savoy Theatre in 1896. Whatever else they may do, productions virtually always
restore the Baroness’s drinking song (No. 21) and the Prince’s roulette song (No. 27). One may
regard the surviving musical material as offering a series of independent alternatives, from which
a production may choose those found to be the most compelling.
In this edition, I have endeavored to present the musical alternatives in a manner that will fa-
cilitate the performance of all the available material that has any reasonable claim to authenticity.
In so doing, I have diverged from the approach taken in a number of recent critical editions,
wherein the editor chooses one version as a principal text, and alternatives are relegated to ap-
pendices. This approach puts the alternative material in a disadvantaged position, forcing the
performer to flip back-and-forth repeatedly between the main text and the appendices. It also de-
feats one of the main purposes of such an edition, which is presumably to facilitate performance
alternatives that were not previously available.
In the case of The Grand Duke, the “main text plus appendices” approach is particularly un-
suitable, given the very real doubt as to what version of the musical text the composer actually
preferred.2 Accordingly, this edition presents all of the performance alternatives in their correct
musical sequence. This means the edition presents, at times, two mutually exclusive options in a
row, and the performer must decide which one to skip. In a performance setting, it may be con-
venient to put paper-clips around passages that are unused.
1 Each of the three “lost” Act II songs was mentioned by at least one critic—confirming that they were
sung on the first night.
2 Two recent editions that have taken the “main text plus appendices” approach are Ruddigore (Oxford
University Press, 2000), David Russell Hulme, ed.; and, Cox and Box (R. Clyde, 1999 and 2003) (full
score and vocal score respectively), Roger Harris, ed. In the case of Ruddigore, there is no doubt that the
appendix material was superseded; its positioning in appendices is mostly a matter of inconvenience. In
Cox and Box, the situation is more analogous to The Grand Duke, where there are a number of alterna-
tives, and it is not clear what Sullivan preferred.
10/’09
Textual Discussion 423
This approach has led me to print two musical numbers in their entirety, twice. The duet for
Rudolph and the Baroness, No. 10, is included in both its original version (two verses) and its
abridged version (one verse). Although it would have been relatively straightforward to print the
duet once and mark the cut, including it twice extended the edition by only seven pages, with a
significant gain of convenience.
The Act I finale gave me pause, as printing it twice extended the edition by fifty-six pages.
There are, however, five separate cuts, as well as a different coda, in the abridged version, and it
would have been difficult to present these alternatives clearly had the finale been printed just
once.
Other musical alternatives are either a few measures within a movement, or an entire move-
ment that may be included or omitted according to preference. Where the omission of a move-
ment affects the surrounding dialogue, both versions of the dialogue are offered. Smaller musical
variants (i.e., within a measure, as opposed to multiple measures or entire movements) are de-
scribed in the critical apparatus.
Disagreements between Score and Libretto
All of the Gilbert and Sullivan operas contain examples where the libretto and vocal score dis-
agree, and moreover, either reading is plausibly correct. In H.M.S. Pinafore, for instance, the
musical sources have Cousin Hebe singing “good bye to your sisters, and your cousins and your
aunts,” but the libretti have “his sisters, and his cousins and his aunts” (emphasis mine). From the
available evidence, one cannot tell if Sullivan set an early version of the lyric, which Gilbert later
revised; or, if Gilbert changed his mind early on, but failed to convey his intentions to the prin-
ter of the libretto.1
The Grand Duke has an exceptionally high number of such examples. For instance, in the
third sung measure of the opening chorus, the vocal score has “Will not Lisa look delightful,”
whereas the libretto has “Doesn’t Lisa look delightful?” Perhaps Gilbert found “Will not” lin-
guistically awkward, and changed it to “Doesn’t.” Or perhaps Sullivan objected to the sibilant in
“Doesn’t,” and changed it to “Will not.” From the available evidence, we simply cannot tell.
The verbal underlay in the vocal scores of Sullivan’s operas seems to have been assembled
from a number of sources. All of Sullivan’s autograph manuscripts contain lengthy passages
where the words are not present, or were entered by someone else.2 In strophic movements, Sul-
livan hardly ever entered more than one verse. He would also omit the words in other places
where he was running out of time, or he considered the underlay to be obvious (e.g., a repeat).
One must infer, therefore, that when the vocal score was prepared, the arranger referred to a
copy of the libretto, as it then stood, to fill in the underlay wherever the autograph manuscript
was silent. This procedure could not have resolved every ambiguity, especially in passages where
1 The Broude Brothers’ critical edition of H.M.S. Pinafore prefers “her cousins…,” because it is “in the
textual critic’s sense the more ‘difficult’…reading.” Percy M. Young, ed., H.M.S. Pinafore (New York and
Williamstown: Broude Brothers Limited, 2003), Part B: Commentary, p. 91.
2“Most of the autograph scores contain some portions of underlay which are not in Sullivan’s hand. The
manuscript of The Grand Duke contains an exceptionally large amount, the words to nearly all the num-
bers in Act II as well as some parts of Act I, being in the hand of Sullivan’s secretary and musical assistant,
Wilfred Bendall” (Hulme, p. 76).
10/’09
424 The Grand Duke
the composer has more than one character singing at once. The arranger may have had other
sources at his disposal, or in some cases may have made a best guess.
Given the frantic pace of rehearsals and the rush to get a vocal score promptly into print, it is
doubtful that anyone took the time to effect a minor wording change in a movement that had
already been engraved. Likewise, if Sullivan had already entered the underlay in his autograph, it
is doubtful that the arranger bothered to check if there had been any minor changes to the words
in the intervening days or weeks between the creation of the autograph and the piano reduction.
For these reasons, I am inclined to think that where the words of the libretto and the vocal
score disagree, and either reading is plausible, the libretto reading is the correct one more often
than not. Others may disagree, and indeed, my experience is that performers generally sing the
words in the vocal score, except where they are obviously corrupt. I have therefore retained the
words in the original vocal score, save for a limited number of passages where they appear to be
clearly wrong. All such cases are noted in the critical apparatus.
All Gilbert libretti contain surplus lyrics that Sullivan never set. I have not noted every lyric
that has no home in the vocal score, but any libretto variant that could plausibly be sung is men-
tioned in the critical apparatus.
Editorial Procedure
The principal source for the musical text and the sung words is the second state of the Chap-
pell vocal score (VS); for the dialogue and stage directions, it is the settled state of the Chappell
libretto (Lib). The critical apparatus lists all variants between the first and second states of VS—
including a number of points that might ordinarily be considered too trivial to mention (e.g.,
courtesy accidentals). As the existence of a second state had not, as far as I know, been noted by
any other commentator, I considered it worthwhile to put the differences on record.
Errors. Even though Chappell published a corrected vocal score, the original edition still con-
tains a significant number of errors. I have found many of these on my own initiative, during the
preparation of this edition. However, I am also indebted to the extensive Grand Duke errata list
prepared by Steven Lichtenstein and posted to the Gilbert and Sullivan Archive (“Errata”),1 the
corrected vocal score published by the Seattle Gilbert & Sullivan Society (“Seattle”), and the in-
sights of other correspondents. Florrie Marks, Steven Lichtenstein, and Clive Woods provided a
particularly large number of suggestions.2 All changes to the text as printed in VS and/or Lib are
noted in the critical apparatus. A name in parentheses after a comment indicates the source or
the name of the person who suggested the change.
There is, needless to say, considerable room for judgment about what precisely is an error. In
some cases there is no doubt at all (misspelling; missing rest). In others, one may feel strongly a
reading is alien to Sullivan’s known style, though nevertheless performable as written. I have
generally leaned toward emending where the stylistic evidence is persuasive, given the high inci-
dence of indubitable errors, the chaos surrounding the original production, and the fact that VS
was apparently engraved while the opera was still in rehearsal. Where I was less sure, the possibil-
1 http://diamond.boisestate.edu/gas/grand_duke/html/chappell_score_errata.html
2 Many of the errors in the original vocal score have no doubt been independently discovered by many
people. I have given credit in the Critical Apparatus where someone else pointed out the error to me. The
lack of a credit is not meant to suggest that I am the first person to have discovered the error.
10/’09
Textual Discussion 425
ity is noted in the critical apparatus. It is not an exact science, and another editor may very well
have made different decisions.
Repeats. In VS, many of the movements are printed strophically, with repeats. In every such
case, these movements have been “flattened,” so that the performer never has a backward page
turn. Verse numbers have been editorially supplied for strophic movements.
Courtesy Accidentals. VS has a considerable number of courtesy accidentals, and generally these
have been retained. However, I have not hesitated to (silently) drop courtesy accidentals that ap-
peared unnecessary, or to add them where I believed they would be helpful.
Staccato Dots. VS is extremely inconsistent in its use of staccato dots. One frequently finds
staccato dots in a particular passage, and in an apparently analogous passage a few measures later
the dots are not there. In lengthy staccato passages, VS frequently prints the dots only in the first
few measures, and it is assumed the pianist will continue the pattern. It is not always clear where
the “pattern” is supposed to end.
I have explicitly added staccato dots everywhere that the context appears to require them.
There is a separate section of the Critical Apparatus that covers staccato dots exclusively. This
was done to avoid burdening the main section of the apparatus with notes about staccato dots
that many readers may find highly pedantic.
In recent reprints of VS, some of the staccato dots have either worn away completely, or are
now very faint. I have relied on the earliest printing available to me. Staccato dots and other no-
tation worn away in later printings are not noted.
Accompaniment. The accompaniment has in general been retained unchanged, regardless of
difficulty. In a few cases, I have re-arranged it slightly where I felt the same effect could be
achieved much more easily. I also have emended the accompaniment where it is in obvious con-
flict with the orchestration, or where I felt that effects heard in the orchestra could be added
without increasing the level of difficulty; such instances are noted in the critical apparatus. Occa-
sionally, chords have been silently redistributed between the hands.
Analogous Passages. One often finds slight differences in the piano reduction between the
original statement of a theme and its repeat a few measures (or pages) later. Where there does not
appear to be a musical reason for this, I have brought the passages into agreement.
Pedal Markings. I have omitted the pedal markings in VS. Sullivan did not seem to have a
consistent policy on the inclusion of pedal markings in his vocal scores; they are present for some
operas, and lacking for others. None of the modern Gilbert and Sullivan vocal scores that I have
consulted (i.e., published in the last fifteen years or so) includes pedal markings, and the Oxford
Ruddigore is explicit in saying that the original pedal markings often obscure the harmonic con-
text.
Beaming. Beaming has been updated silently to contemporary notational standards, except
where it was felt that Sullivan had chosen non-standard beaming to indicate phrasing.
Vocal Staves. Principal characters have generally been given their own staves, regardless of how
they were laid out in VS. In most movements, VS prints the chorus on two staves, even where
there are differences in words or rhythm between the voices, making many of these passages ex-
tremely difficult to read—especially at sight. These passages have been printed on four staves
where I believed it would be particularly helpful to do so.
Clefs. Sullivan’s clefs for the singers have been retained, except that where Sullivan used the
treble clef for male voices, I have used the transposing treble (V). Where VS has the men on one
staff and this edition puts them on two staves, the tenor staff always uses the transposing treble,
even if VS used bass clef.
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426 The Grand Duke
Dynamics and Articulations. I have added sparingly dynamics, articulations, and other perfor-
mance markings that I considered to be necessary. I have not attempted to create a thorough sys-
tem of dynamics wherein every passage is necessarily assigned a level, but merely to correct obvi-
ous mistakes. Dynamics and other performance markings not in VS are enclosed in [square
brackets]. If a marking is in [square brackets], then it is not noted in the critical apparatus unless
it requires a further explanation.
Slurs. Slurs are taken from VS. I have not endeavoured to add slurs where my own musical
sense suggests they are necessary; but I have supplied missing slurs where VS slurs a passage and
its analogue elsewhere in the same movement is not slurred. Slurs added editorially are printed
with a dashed line.
Captions. Character captions are repeated in every system on the left margin. VS captions the
title character as Grand Duke or G.D. throughout. This edition refers to him as Rudolph,
which is the convention in Lib. The captions at the head of each number are as in VS (minor
corrections aside), except that Rudolph is substituted for Grand Duke.
Entrances, Exits, and Other Stage Directions. Entrances, exits, and other stage directions in the
libretto have been placed at the point in the music where they appear to belong. Their placement
can only be regarded as approximate, as VS itself generally does not include any stage directions.
Punctuation. Punctuation has been taken from Lib, which is generally more consistent than
VS and more likely to reflect Gilbert’s intentions.
Rehearsal letters. I had originally intended to omit rehearsal letters, as I had no access to a con-
ductor’s score or band parts, and those in VS do not inspire confidence. VS omits rehearsal let-
ters entirely in the Overture and Nos. 9/9a, 13–16, and 21–29. There are also letters skipped,
and some movements start with an apparently random letter not connected to any earlier se-
quence. PS has no rehearsal letters at all.
Nevertheless, several reviewers of early drafts requested that I include them, so I have done my
best. Rehearsal letters are taken from Seattle, which has them in most of the movements where
VS does not—all except Nos. 9/9a and 21. In a few places, VS and Seattle have the same letter
in different positions. I have relied on Seattle in most of these cases (all differences are noted in
the critical apparatus). Where a rehearsal letter appears in a strophic passage that VS prints with a
repeat, this edition prints the rehearsal letter twice with the verse number in subscript, e.g.,
A1/A2.
Conductors are advised to double-check any parts they are using, as they may disagree with
this edition, and even the parts coming from the same set may not all agree.
10/’09
427
Critical Apparatus
Sources
The following sources were consulted in the preparation of this edition, and are referred to in
the critical apparatus below. Each source is assigned a siglum (i.e., abbreviation), by which it is
identified in the text that follows. (All sources are in the editor’s personal collection.)
Musical Sources
VS1 Vocal score. First edition, first state.
THE GRAND DUKE; | OR, | THE STATUTORY DUEL. | [in black letter] A
Comic Opera, | IN TWO ACTS, | WRITTEN BY | W. S. GILBERT [rule un-
der “ILBERT.”] | COMPOSED BY | ARTHUR SULLIVAN [rules under
“RTHUR” and “ULLIVAN”] | ARRANGED FROM THE FULL SCORE BY |
WILFRED BENDALL. | [rule] | Vocal Score, complete … net 5s. 0d. [vertical
rule] Pianoforte Solo … … net 3s. 0d. | Ditto (bound) … ” 7s. 6d. [vertical rule
continued] Libretto … … … ” 1s. 0d. | [rule] | CHAPPELL & CO., 50, NEW
BOND ST., LONDON, W. | Agents—NEW YORK: T. B. HARMS & CO. |
[rule] | All rights reserved under the International Copyright Act. Public performance
forbidden, and Right of Representation | reserved. Single detached numbers may be
sung at Concerts, not more than two in all from the various Operas by | Mr. W. S.
Gilbert and Sir Arthur Sullivan at any one Concert, but these must be given without
Stage Costume or Action. | In no case must such performance be announced as a “Se-
lection” from the Opera. Applications for the right of performing | the above Opera
must be made to “Mr. R. D’Oyly Carte, Savoy Theatre, London.” | [rule] |
20079. [centered, sans-serif] COPYRIGHT, MDCCCXCVI., BY CHAPPELL
& CO.
Contents: [i], title; [ii], printer’s ornament; [iii] “Dramatis Personæ”; [iv], contents; [i]–viii,
Overture; [1]–166, music; at bottom of 166, printing notice below horizontal rule: London:
Henderson & spalding, type-music & general printers, i, 3, & 5, Marylebone lane,
oxford st., w.; [167], advertisement for The Mikado; [168], advertisement for “Chappell &
Co.’s | New & Popular Songs and Ballads. | Season 1896.”
VS1 was most likely superseded by VS2 very early. The representative copy of VS2 described
below happens to be a recent Chappell reprint, but I have no reason to think that Chappell
modified the score of The Grand Duke at any time after 1896, aside from changing the front
matter, advertisements, etc.
VS2 Vocal score. First edition, second state.
VOCAL SCORE | OF | THE GRAND DUKE; [rules under “HE”, “RAND”,
and “UKE”] | OR, | THE STATUTORY DUEL. | BY | W. S. GILBERT [rule
under “ILBERT.”] | AND | ARTHUR SULLIVAN [rules under “RTHUR” and
“ULLIVAN”] | [decorative rule] | All rights reserved. This publication may not
be resold, or let on hire, and no part of it may | be reproduced or transmitted by
any means (including photocopying) without the written | permission of the
copyright holder. | ©1896 Chappell Music Ltd | International Music Publica-
tions Limited | Griffin House 161 Hammersmith Road | London W6 8BS Eng-
10/’09
428 The Grand Duke
land | Reproducing this music in any form is illegal and forbidden | by the Copy-
right, Designs and Patent Act 1988.
Contents: [i], title; [ii], blank; [iii] “Dramatis Personæ”; [iv], contents; [i]–viii, Overture;
[1]–166, music; [167], blank; [168], blank, aside from printing notice right justified at bot-
tom of page: Printed in England | The Panda Group . Haverhill . Suffolk. 12/99
VS Wherever VS1 and VS2 do not differ, the siglum “VS” is used to represent them
both.
PS Piano solo score. Photocopy purchased from
http://www.gilbertandsullivanonline.com/.
THE GRAND DUKE; | OR, | THE STATUTORY DUEL. | [in black letter] A
Comic Opera, | IN TWO ACTS, | WRITTEN BY | W. S. GILBERT [rule un-
der “ILBERT.”] | COMPOSED BY | ARTHUR SULLIVAN [rules under
“RTHUR” and “ULLIVAN”] | [in black letter] Arranged for the Pianoforte | BY
| WILFRED BENDALL. | [rule] | Vocal Score, complete, 5s. 0d. net [vertical
rule] Pianoforte … … 3s. 0d. net | Ditto (bound) 7s. 6d. ” [vertical rule contin-
ued] Libretto … … 1s. 0d. ” | [rule] | CHAPPELL & CO., 50, NEW BOND
STREET, LONDON, W. | [rule] | All rights reserved under the International
Copyright Act. Public performance forbidden, and Right of Representation | reserved.
Single detached numbers may be sung at Concerts, not more than two in all from the
various Operas by | Mr. W. S. Gilbert and Sir Arthur Sullivan at any one Concert,
but these must be given without Stage Costume or Action. | In no case must such per-
formance be announced as a “Selection” from the Opera. Applications for the right of
performing | the above Opera must be made to “Mr. R. D’Oyly Carte, Savoy
Theatre, London.” | [rule] | 20,080. [centered, sans-serif] COPYRIGHT,
MDCCCXCVI., BY CHAPPELL & CO.
Contents: [i], title; [ii], printer’s ornament; [iii] “Dramatis Personæ”; [iv], contents; [i]–viii,
Overture; [1]–93, music; at bottom of 93, printing notice below horizontal rule: London:
Henderson & spalding, type-music & general printers, i, 3, & 5, Marylebone lane,
oxford st., w.; [94], advertisement for “Chappell & Co.’s New Albums”; [95], advertise-
ment for “Chappell & Co.’s Westminster Albums.”; [96], advertisement for “Chappell &
Co.’s | New & Popular Songs and Ballads. | Season 1896.”
PS has the next consecutive plate number after VS (20,080 vs. 20,079), suggesting it was
Chappell’s next publication to market. The two may indeed have come to market the same
day; it was almost surely the same month. PS also shares other similarities with VS: the dra-
matis personæ pages are identical, as are the copyright notices at the bottom of the respective
title pages, and the advertisements on the verso of the last leaf of each volume. The common
advertisement is particularly telling, as these were ephemeral and changed frequently.
Seattle Vocal score prepared by the Seattle Gilbert & Sullivan Society for their 1999 pro-
duction.
THE GRAND DUKE | OR | THE STATUTORY DUEL | Written by William
S. Gilbert | Composed by Arthur Sullivan | Piano/Vocal Score with Dialog | Es-
pecially Adapted for | The Seattle Gilbert & Sullivan Society | by | Hal Ryder, Alan
Lund, & Mike Storie | Copyright © 1999 The Seattle Gilbert & Sullivan Society
10/’09
Critical Apparatus 429
This score is derived from a photocopy of VS2, with handwritten corrections to the music,
new front matter, and added pages that include the dialogue. I have not noted changes that
are clearly inauthentic (e.g., their division of the opera into three acts), but I have referred to
the company’s amendments to confirm problematic readings in musical passages.
Literary Sources
Lib Printed libretto, first edition, second impression, second state.
[fancy] THE GRAND DUKE; | OR, | THE STATUTORY DUEL. | [script] A
Comic Opera in Two Acts. | [rule] WRITTEN BY [space] COMPOSED BY |
W. S. GILBERT [space] ARTHUR SULLIVAN. | [between two short rules]
PRICE ONE SHILLING. | CHAPPELL & CO., 50, New Bond Street, Lon-
don, W. | Agents: | New York: T. B. HARMS & CO. | [rule] | All Rights re-
served under the International Copyright Act. Public Perform- | ance forbidden, and
Right of Representation reserved. Single detached numbers may be sung at Concerts,
not more than two in all from the various Operas by Mr. W. S. Gilbert and Sir Ar-
thur Sullivan at any one Concert, but these must be given without Stage Costume or
Action. In no case must such performances be announced as a “Selection” from the
Opera. Applications for the right of performing the above Opera must be made to
“Mr. R. D’Oyly Carte, Savoy Theatre, London.” | [sans-serif] COPYRIGHT,
MDCCCXCVI., BY R. D’OYLY CARTE.
Contents: [1], title: [2], “Dramatis Personæ”; [3], titling and libretto; 4-54, libretto; [55],
advertisement for “CHAPPELL & CO.’S | WESTMINSTER ALBUMS”; [56], advertise-
ment for “CHAPPELL & CO.’S | NEW & POPULAR SONGS & BALLADS. | (SEASON
1896.)”
This libretto in the editor’s personal collection exactly matches the full bibliographic descrip-
tion of the first edition, second impression, second state, described in Jones, op. cit., in all re-
spects—including its advertisements.
Another libretto in the editor’s collection, in Chappell’s later “coverless” style, and with
“Rupert D’Oyly Carte, Savoy Hotel” as the designated representative, presents the identical
text.
Allen Twentieth-century edition of the first-night text.
Reginald Allen, The First Night Gilbert and Sullivan, Centennial Edition, (Lon-
don: Chappell & Co., Ltd., 1975), pp. 421–451.
LOC Library of Congress deposit copy. Reproduced in photo-facsimile in John Wolf-
son, Final Curtain (London: Chappell & Company Limited, 1976), pp. 211–279.
Macmillan Macmillan edition.
Sir W. S. Gilbert, The Savoy Operas, (London: Macmillan and Co., Limited,
1926), pp. 629–698.
Oxford Oxford World Classics edition.
W. S. Gilbert, The Savoy Operas II, (London: Oxford University Press, 1963), pp.
351–423.
10/’09
430 The Grand Duke
Recordings1
R1 Studio recording by the Lyric Theater Company, Inc., Washington D.C.
Recorded August 23–September 14, 1965. Conductor, John Landis. Dramatic Di-
rector, Peter Kline. Three twelve-inch 33⅓ LP mono records. Album No.
LOA103, discs LOD 5008, 5009, 5010.
R2 BBC Broadcast of 10 July 1966.
Recording date unknown. Conductor, Stanford Robinson. Producer, Michael
Moores. The John McCarthy Singers. The BBC Concert Orchestra. Two CDs,
privately copied.
R3 Studio recording by the University of Michigan Gilbert and Sullivan Society.
Recorded 8 and 15 December 1973. Conductor, Eric Stern. Director, Jim Drew.
The UMGASS Orchestra and Chorus. Two CDs. Sounds on CD VGS230.
R4 Studio recording by the Cheam Operatic Society.
Recorded 8–9 June 1974. Conductor, David Harding. Cheam Operatic Society
Chorus. Southern Festival Orchestra. Two 33⅓ LP stereo records. Pearl SHE
516/7.
R5 Studio recording by the D’Oyly Carte Opera Company.
Recorded 14–16 March 1976. Conductor, Royston Nash. The D’Oyly Carte Op-
era Chorus. The Royal Philharmonic Orchestra. Recorded under the direction of
Dame Bridget D’Oyly Carte D.B.E. Two CDs. London 436 813-2.
R6 BBC Broadcast of 17 December 1989.
Recording date unknown. Conductor, Barry Wordsworth. The Ambrosian Sing-
ers. The BBC Concert Orchestra. Two CDs, privately copied.
R7 Live recording by the Seattle Gilbert & Sullivan Society.
Recorded live on 24 July 1999 at the Bagley Wright Theatre in Seattle. Conduc-
tor, Alan Lund. Director, Hal Ryder. Producer, Mike Storie. Two CDs. No cata-
log number.
1 There are two other Grand Duke recordings of note: 1970 Mt. Oread G&S Company and 2003 Ohio
Light Opera. The first of these is historically important, and I hope to be able to include it in a future
revision of the critical apparatus.
10/’09
Critical Apparatus 431
How to Read the Critical Apparatus
The tables below present the critical apparatus for The Grand Duke. The apparatus is in three
sections: General Commentary, Staccato Dots, and Courtesy Accidentals. All three sections are
organized identically.
In each section, the comments are organized by movement. For each movement, there are
three columns. The first column shows the measure number(s) to which the comment applies.
The second column shows the character, choral part, and/or instrument to which the comment
applies. The third column contains the comment itself.
Where a measure number (or a range of measure numbers) is followed by “[r]”, it means that
the corresponding measures in VS are a repeat. This notation is used because in the present edi-
tion there are no repeats, so a reading that occurs once in VS might be emended two or three
times in the edition.
Where a comment applies only to part of a measure, the measure number is followed by a
decimal point and the beat number. For instance, 25.4 would refer to the fourth beat of measure
25. (A 6/8 measure has six beats in this notation, even if it would normally be conducted in
two.) Sub-divisions of beats are shown after an additional decimal point. For instance, 25.4.2
would refer to the second half of the fourth beat of measure 25.
The comments describe every instance where the editor has substantively emended a principal
source (VS for the music and sung words, Lib for the dialogue and stage directions), aside from
editorial points emended silently as described in the section on Editorial Procedure. The com-
ments also note points of interest in other sources.
The following abbreviations are used:
Edn this edition
l.h., r.h. left hand, right hand
m., mm. measure, measures
v., vv. verse, verses
ff. and following
10/’09
432 The Grand Duke
General Commentary
Overture
14 Piano, l.h. VS has:
VS is actually missing the dots on the first G, but they were clearly intended to
be there, as the sixteenth note at the end of the measure is unmistakable. Edn
emends based on analogous m. 6, and per the orchestration. (Marks)
14.3 Piano, r.h. VS has quarter note. Edn emends to eighth note, eighth rest by analogy with
No. 9, mm. 16 and 51, and No. 9b, m. 5.
18.4 Piano VS has the p dynamic at the start of m. 19.
22.1 Piano, l.h. VS has C–A. Edn emends to F–A by analogy with No. 22, m. 19.1, and No. 24,
m. 19.1. (Lichtenstein)
35 Piano This measure was evidently deleted by Sullivan, although it is in VS. Seattle says
that the measure is cancelled or omitted in the early band parts. Among re-
cordings surveyed, only R1 includes it.
According to Hulme, “[Wilfred] Bendall…prepared the piano reduction for the
Chappell vocal score, in which an extra bar of the accompaniment figure is add-
ed to the beginning of the andante non troppo lento as Sullivan wrote it in the
autograph full score. Presumably the additional bar is authoritative, although, in
my view, it is redundant.” (Hulme, p. 252)
45.6, 47.6 Piano, r.h. The C grace notes are not in VS, but they are in the orchestration. All re-
cordings surveyed include them. (Errata)
52.4 Piano, l.h. VS has C . Edn emends to C by analogy with No. 12, m. 181. (Errata)
56 Piano, r.h. VS has:
The orchestration has a quarter note D in the upper voice in the first two beats
of the measure. Edn emends accordingly. (Marks)
57–58 Piano, l.h. VS has a dotted half-note in m. 57, tied over to a dotted half-note in m. 58. In
the orchestration, it is clear the horns re-sound the note at the beginning and in
the middle of each measure. (Marks)
59 Piano, r.h. VS has:
Edn emends per the orchestration. (Marks)
87.4 Piano, r.h. VS has lower G beamed below, B and upper G beamed above. Edn emends to
agree with analogous m. 89.4. (Woods)
10/’09
Critical Apparatus 433
127.1–127.2 Piano VS has eighth note, eighth rest. Edn corrects to quarter note by analogy with
mm. 97, 197. Lichtenstein confirmed that this agrees with the orchestration.
149.1–149.5 Piano, r.h. VS has a quarter note tied to an eighth note, followed by a quarter rest. Edn
emends by analogy with m. 153.
158–159 and Piano The ossia passages are not in VS, but they are played that way on all recordings
166–167 surveyed except R6, and probably reflect Sullivan’s final thoughts. The ossia ver-
sion also agrees with the analogous motif at mm. 228ff. However, the version
printed in VS agrees with Sullivan’s setting of Act II, No. 28a; see mm. 77–78ff
of that movement.
174–175 Piano VS has:
Edn emends to agree with mm. 170–171. (Errata)
214a–223a and Piano VS prints the original version (mm. 214a–223a). The revised version (mm. 214b–
214b–221b 221b) is in the early band parts (per Seattle), and it is played thus on all re-
cordings surveyed except R1.
VS has f. Edn emends to F to distinguish repeated passage starting at m. 231.6.
Per Lichtenstein, the orchestration has f in both places, but as the restatement is
223a, 221b Piano
scored more heavily, the impression on the listener is that the dynamic level in-
creases.
231.6 Piano VS has f at m. 232.1. Edn moves it to the beginning of the phrase, by analogy
with m. 223a. (Lichtenstein)
Act I
No. 1
1.1.2, 25.1.2 Piano, r.h. VS has only the upper B. Edn expands to octaves by analogy with m. 50, and to
more faithfully reflect the orchestration. (Lichtenstein)
16–17 Chorus Lib has “Doesn’t Lisa look delightful?”
16.2–17 A VS has “Will not Lisa look de– | Will not Lisa look delightful?” Edn adopts
Lichtenstein’s suggestion to let the Altos finish the word “delightful,” so their
text in m. 17 becomes “–lightful, Lisa look delightful.” He observes that his solu-
tion makes the Alto part here analogous to the Act II Finale, No. 29, m. 6,
where the Altos sing “quite full, chapel will be quite full.” In VS, m. 16 comes at
a page break, and Lichetenstein suggests the abrupt amputation of the word “de-
lightful” was a continuity error.
20–21 Chorus Lib has “One might say…”
25–27 Chorus Lib has “Still, it is a pretty wedding! Oh, it is a pretty wedding!”
10/’09
434 The Grand Duke
26 A VS has:
Edn emends the last three eighth notes to D by analogy with m. 51. Sullivan is
highly unlikely to have wanted such a subtle change in two otherwise identical
passages. The reading in m. 51 is musically superior, as the Altos remain in har-
mony. Edn emends similarly in No. 29, m. 15. (Marks)
38 All VS places rehearsal letter “B” a measure earlier.
39.2–40.2 Elsa Lib has “Theirs the fault who made her trousseau.”
43.4–47.3 Olga, Lib has:
Gretchen Olga. If her wreath is all lop-sided,
That’s a thing one’s always dreading.
Gret. If her hair is all untidied,
Still, it is a pretty wedding!
56–57 A VS has “charming” extended across both measures, in common with Soprano,
but the notes are analogous to the Tenor/Bass part. Edn emends accordingly.
60, 61 Piano, l.h. The marcato accents on the first beat of these two measures are in VS, but it
might be a mistake that no other measures have them.
62–64 Chorus Lib has: “Soon to be for aye united.”
68.3 Piano, r.h. VS has only the high F. Edn doubles an octave lower to strengthen the phrase
(also likely present in the orchestration). (Lichetenstein)
70.1–70.3 T VS does not explicitly show the underlay, but given that Tenors sing “di–” at the
end of m. 69, “–vorce” is the only real option here.
No. 1a
104.1 Ludwig VS and Lib both have “Perhaps”. The Ludwigs on all recordings surveyed sing
“P’r’aps,” which was clearly the intention, as Sullivan wrote only one note here,
and each line in the verse is eight syllables. “Perhaps you think me only so-so”
follows the pattern only if “Perhaps” is a one-syllable word.
105 Ludwig Lib has “think I’m only”
126 Piano In l.h., lower voice, VS has quarter note, quarter rest, quarter rest. Edn emends
to half note, quarter rest, by analogy with m. 118.
In r.h. third beat, VS has middle C in upper voice. Edn moves to lower voice,
also by analogy with m. 118.
153–155 Piano VS has p at m. 153. Per orchestration, Edn emends to dim. at m. 153 and p at
m. 155. (Lichtenstein)
10/’09
Critical Apparatus 435
No. 2
5.4.2 Piano, r.h. VS has F–A chord. Edn emends to A by analogy with m. 12, and rhythmic pat-
tern throughout movement (all sixteenth notes in mm. 1–6 are single notes).
(Lichtenstein)
28 All VS does not have rehearsal letter “T”, but it does have “S” and “U”.
32, 87[r] Piano, r.h. VS1 lacks the natural above the trill. It is in VS2.
44.3–44.4 Piano VS has dotted quarter note, eighth note. The orchestration has two quarter
notes. It is performed thus on all recordings surveyed except R4. (Errata)
No. 2a The source for the text is Hulme, p. 493, who in turn derived it from Sullivan’s
autograph. R1 and R6 are the only surveyed recordings to include it, but with
the entire chorus singing.
A participant in R1 told the editor that the conductor reconstructed the number
based on written instructions in a cued vocal score that D’Oyly Carte had pro-
vided. The BBC (R6) would not have attached any weight to what the Lyric
Theater Company (R1) had done, so presumably they relied on a common
source, most likely the same cued vocal score.
Sullivan’s original idea is problematic, as the vocal line goes up to a G, which is
higher than anything else in Ludwig’s music, and higher than Sullivan usually
expected Rutland Barrington to sing. The solo was probably written for Ludwig
originally, and later re-assigned to the chorus after the problem became apparent.
Productions that include No. 2a can find the corresponding chorus music in No.
13, mm. 68–74.
For further discussion, see the section on Production Repeats, p. 417.
No. 3
4.3, 59.3[r], Piano, r.h. VS has:
114.3
Edn emends per the orchestration. (Lichtenstein)
41 Ernest Lib has “little and great”
42.4, 97.4[r] Piano, l.h. VS has A . Edn emends to B , consistent with prevailing G minor harmony.
(Lichtenstein)
43, 98[r] All Rehearsal letters H1/H2 are not in VS or Seattle, but they are in Seattle’s band
parts.
45.4, 100.4[r] Piano, l.h. VS has a quarter note. Edn emends to an eighth note by analogy with r.h. and
other occurrences of the similar rhythmic figure (e.g., m. 48).
10/’09
436 The Grand Duke
No. 4
15 Julia Lib has “And ’whelm you…”
55–56 All The rall. and colla voce markings should line up, but they are mis-aligned in VS,
and the editor has elected not to resolve the discrepancy. The editor is inclined
to begin the colla voce sooner, rather than the rall. later.
56.2.2 Piano, l.h. The eight-note E and the slur carried into m. 57 are not in VS, but they are in
the orchestration, played by the bassoon. (Lichtenstein)
66 All Edn adds rit. by analogy with m. 32 and presence of a tempo in m. 66. (Lichten-
stein)
93–97 Piano, l.h. VS has:
Edn revises per the orchestration. (Lichtenstein)
96.1 Piano, l.h. VS has fifth-line A. Edn emends per the orchestration. Middle C would be a
more faithful rendering, but Lichtenstein suggested an octave lower for pianistic
reasons.
117–124 Piano VS has a play-out only half as long (i.e., just mm. 117–120). The full-length
play-out as printed in Edn is heard on all recordings surveyed except R4. Seattle
also makes the correction.
No. 5
6.3.1 Piano, r.h. VS1 lacks C accidental. It is in VS2.
11.4.2 SA Lib has “we,” but later in the verse, “it’s put me into such a tetter” and “this, at
all events I know.” R5 uniformly corrects all of the pronouns to we/us. VS cor-
rects the initial “we” to “I”, and this is heard on R1 and R7. Most curiously,
R2–R4 assign the Soprano/Alto part to Ludwig, and the Tenor/Bass part to the
entire chorus. This works quite well, and one wonders if the BBC (R2) found
some historical basis for the change, which R3 and R4 then emulated. The
change could have been a BBC producer’s idea, but R2 is otherwise faithful to
the source material, so it is an odd anomaly. The later BBC recording (R6) does
not make this change. (Errata)
17.2.2 TB VS has “him,” which is clearly incorrect, as the men are meant to be echoing the
women. (Errata)
32.2.2, Piano, l.h. VS1 has F–B –D chord. VS2 corrects the lowest note to G.
58.2.2[r]
39, 65[r] All VS lacks rehearsal letter “J”, which is supplied from Seattle. This is an odd place
for a rehearsal letter, and it may be inaccurate.
10/’09
Critical Apparatus 437
52, 78[r], 106, Piano, l.h. VS has:
140
The extra B in the middle of the measure is not in the orchestration, as all re-
cordings surveyed agree (Errata). Seattle makes the same correction, except in m.
106—probably an inadvertent miss.
55.1, 81[r] Piano, l.h. VS has quarter-note G –C–E chord, slurred to the second half of the measure.
Edn emends to two eighth notes by analogy with m. 109, and adds A to chord
per orchestration. (Lichtenstein)
56.2.2 Ludwig Lib has “Quite”.
89.2.1 Ludwig Lib has “devilish”; VS has “devlish” (no apostrophe).
97–98 Piano, l.h. No tie in VS; supplied by analogy with mm. 95–96.
106.2.2 Bass VS has the basses singing on D (middle of the bass clef). This is not only wrong
on theoretical grounds (it doubles the third of a B major chord), but it conflicts
with the analogous mm. 52 and 78[r], which have B (Marks). Lichtenstein sup-
ports the change, but believes that either version is theoretically acceptable.
109.1 Piano, l.h. VS lacks A in chord, but it is in the orchestration. (Lichtenstein)
123.1, 123.3 Piano, r.h. VS has an extra E in the middle of the chord, but it is not in the analogous m.
119, nor is it in the orchestration. (Lichtenstein)
136.2 Piano, r.h. VS has eighth notes D, F. Edn emends to B , D per the orchestration. (Marks)
139.1, 143.1 Piano, l.h. VS has G –B –E chord. Edn emends B to C by analogy with mm. 55, 81[r],
109, and adds A to chord, per orchestration. (Lichtenstein)
140.2.2 Piano, l.h. VS lacks the bottom B of the chord. Edn supplies it by analogy with mm. 52,
78[r], 106, and per orchestration. (Lichtenstein)
No. 6
20–1, 49–50[r] Piano VS has:
Edn revises slightly per the orchestration. (Lichtenstein)
21.2 Piano, r.h. The quarter-note D is two eighth notes in VS.
27.2.2–33.1 All Lib has:
We know the complicated laws,
Such as a legal draughtsman draws,
Cannot be briefly stated.
10/’09
438 The Grand Duke
28.2.1, Piano, l.h. VS has E . Edn emends to B by analogy with m. 23. (Marks)
57.2.1[r],
92.2.1
47.1 Notary Lib has “thenceforth”
27.2.2–33.1 Julia, Oddly, Lisa has the higher vocal line, although hers is the second staff listed, and
56.1.2–62.1[r] Lisa Julia has the higher line in all the other ensembles. It is not uncommon to switch
91.2.2–97.1 them in performance.
58 Notary VS has “he dwells”
67 Notary Lib has “little legal fiction”
No. 7
13.1–14.1, Piano, r.h. VS has staccato dots, which are inconsistent with the slur (indicating legato).
52.1–53.1[r] Lichtenstein and all recordings surveyed confirm legato.
14.2 Julia VS has “their,” but this seems to be an error, as every other occurrence in the
movement has “Strange the views.” (Lichtenstein argues that “their” is defensible
here.)
16.1, 55.1[r] Piano, r.h. VS lacks natural sign. Edn supplies by analogy with Notary.
18.2, 57.2 Piano, r.h. VS has B –F chord. Edn adds D by analogy with mm. 20.2, 59.2[r]. (Woods)
21.1, 60.1[r] Notary VS omits dot on quarter note, clearly an error.
41, 80[r] All Woods points out that only Julia is ad lib.; the other singers are “colla Julia.”
43, 82 All VS lacks a tempo; Edn supplies it to cancel ad lib two mm. earlier. (Woods)
44 All In R1 and R4, the orchestra replays the entire play-in (mm. 1–4) before the sec-
ond verse. There was more than likely some basis for this (e.g., a D’Oyly Carte-
supplied cued vocal score), as it seems unlikely the two groups would have made
such a change on their own initiative.
53 Voices Edn adds a grave accent to “refinèd” for clarity; it is not in VS.
72–73 All Lib has “Some prefer the churchyard mould!”
82.2–82.4 Ernest VS has “Ding dong, ding.” Edn emends to “Ding, ding dong,” to agree with all
other occurrences of the pattern.
No. 8
5.2, 51.2[r] Piano VS has p at mm. 7, 53. Edn moves it to the start of the accompaniment pattern.
(Lichtenstein)
9.2, 55.2[r] Notary VS notates “little” and “ever” on a single eighth note. Edn prints two sixteenth
notes by analogy with “never,” m. 101. (Lichtenstein)
13, 61[r] Voices The direction “dancing” is in Lib, but it is ambiguous as to whether it applies to
all five singers, or if it excludes the character that has just drawn a card. Edn as-
sumes the latter.
18.2, 64.2[r] Lisa VS omits the B accidental.
29–30, Piano, l.h. The tie is not in VS. It has been supplied by analogy with m. 128.
75–76[r]
10/’09
Critical Apparatus 439
38, 84[r], 137 All VS has:
In Errata, Lichtenstein observes, “The forte F’s in the l.h. should come squarely
on the second beat, not the last eighth note of the bar. The vocal parts on
‘Spades’ should be notated as quarter notes, not tied over to the second beat,
since holding them over would result in a dissonance with the F’s in the orches-
tra.” He also notes that the singers would take a breath here anyway.
All recordings surveyed have the forte F’s entering on the second beat, so Edn
adopts Lichtenstein’s reading.
114.2.2 Ludwig VS omits the word “and.”
116–120 All Lib and VS are inconsistent in their use of pronouns, and neither carries out the
idea fully.
Lib has: “As our/your trustee | This Notary we/you will now instal— | In cus-
tody let him [sic] keep their/our hearts…”
VS has: “As our/their trustee | This Notary we/they will now install. | In custody
let him/me keep their [sic] hearts…”
118.2 Lisa VS has dotted eighth, eighth. Edn corrects to dotted eighth, sixteenth, by anal-
ogy with other voices.
126 Piano VS has f at the end of the mesasure. Edn moves to the middle of the measure to
be consistent with Ernest and Ludwig.
128 Piano, l.h. VS1 lacks the E accidental. It is in VS2.
10/’09
440 The Grand Duke
143.2 Piano VS has an f indication that appears to be extraneous. Edn omits this, given the f
one measure later.
144.2 Piano In VS1, the ‘>’ accents are at m. 145.1. In VS2, they are at m. 144.2. The origi-
nal reading is obviously not performable at the piano, though there could be a
basis for it in the orchestration.
154–159 Piano, l.h. VS has:
Marks and Lichtenstein both point out that this misrepresents the cornet solo in
the orchestration. While it is not possible on the piano to keep the repeated C’s
in the correct octave, the revision in Edn is a closer realization of what is heard in
the orchestra. The revision was largely suggested by Lichtenstein, with modifica-
tions by the editor.
No. 9
16.2 Piano, r.h. VS has no D in chord. Edn supplies it by analogy with Overture, m. 15.
16, 51 Piano, l.h. VS has:
Edn emends by analogy with m. 8, and per the orchestration. (Marks)
28.3 Chorus VS has “pig.” This clearly was the original reading, as it is given that way in
LOC (Final Curtain, p. 232). Later libretti have “prig.” All recordings surveyed
have “prig” except R2.
48–55 Piano The piano reduction in VS has a number of minor variations from the identical
passage in the play-in, of which it is obviously intended to be a repeat. The edi-
tor has brought the passage into agreement with mm. 13–20.
No. 9a
56.1 Piano, l.h. VS has no ‘>’ dynamic. Edn supplies it by analogy with m. 55.4. The f dynamic
at m. 56.2 may have been intended for this note, but in VS it is clearly to the
right of the beat. (Lichtenstein)
56.2 Piano VS has f dynamic.
56.4–59, 61– Piano VS arranges these measures with multiple voices in the accompaniment, which is
62, 84–86[r], needlessly confusing for the pianist. (VS, in any event, doesn’t maintain this
88–89[r] layout consistently throughout the movement.) The layout in Edn produces the
identical sound, but is easier to read. (Woods)
64.4, 91.4[r] Piano VS has an eighth note followed by an eighth rest, and does not have the slur to
m. 65. Edn emends per the orchestration. (Marks)
10/’09
Critical Apparatus 441
72–73, 99–100 Rudolph In Lib, but not VS, Rudolph’s “Observe” is preceded by the direction, “(Speak-
ing.)” Sullivan doesn’t seem to have heeded Gilbert’s advice, although the per-
former may do so.
73.4, 100.4[r] Piano, r.h. VS lacks the D accidental.
74.4, 101.4[r] Piano, r.h. VS puts “dolce” one beat later. Edn moves it to the start of the phrase.
81.4.1, Piano, r.h. VS has D . The orchestration has C (Errata; Seattle). R1 and R3 have D . This
108.4.1[r] could suggest that there is more than one version of the orchestration, or that
some conductors have “corrected” their parts based on VS.
82–83 Lib has a chorus repeat of Rudolph’s line, which Sullivan didn’t set.
84 Piano VS has no dynamic.
109–110 Rudolph Lib has: “It’s sometimes inconvenient, but it’s always very cheap.” This seems
superior to the VS version and was possibly a later thought of Gilbert’s. Oddly,
the chorus repeat in Lib (not set by Sullivan) is, “It’s stately and impressive, &c.”
No. 9b The source for the text is Hulme, p. 494, who in turn derived it from Sullivan’s
autograph. R1 and R6 are the only surveyed recordings to include it. For further
discussion, see the section on Production Repeats, p. 417.
Of the three “production repeats” (No. 2a, No. 9b, and No. 17a), this one is
perhaps the most compelling to include in modern productions. In the editor’s
experience, the Chamberlains’ exit is usually a “dead spot.” The music of No. 9b
at least gives the audience something to listen to while the Chamberlains depart.
In lieu of restoring No. 9b, another option is to have the Chamberlains exit one
at a time as each receives his “assignment” from Rudolph.
4 Piano, l.h. Edn emends per explanation at No. 9, m. 16.
10.2.1 Piano R6 lacks the concluding chord (the chord at 10.1 is a satisfactory cadence).
No. 10 Edn prints this movement twice. The original version (pp. 122–134), with two
verses, was performed on the first-night in 1896. The abridged version (pp. 135–
141), adopted at some point after the first-night, incorporates a cut from the
middle of the original first verse, to the same point in the second verse. VS prints
the original version; Lib prints the abridged version. Macmillan prints the original
version, although the missing lines have obviously been restored from a vocal
score, as there are no stage directions in the middle section of the duet. Among
recordings surveyed, R1–R4 and R6 include the original version; R5 includes the
abridged version, and R7 includes Seattle’s own abridgement.
In PS and the original band parts, the movement is printed strophically, with a
five-measure first-ending and a repeat back to m. 3. VS writes out the movement
in full—it would be quite confusing otherwise, since the allocation of words to
the singers changes in the second verse. Seattle reports that in the set of band
parts that formed the basis of their edition, some had the first ending scribbled
out, and others had no first ending at all.
VS and Seattle have rehearsal letters (A through C) in the first verse only. In the
original version, Edn supplies them in both verses, using the A1/A2 notation. In
the abridged version, Edn transfers the rehearsal letters from the first verse to the
equivalent position in the second verse.
10/’09
442 The Grand Duke
The measure numbers in the comments below refer to the original version.
22–24, 45, 70– Piano, l.h. In the first beat of these measures, VS has rhythm dotted eighth, sixteenth. Edn
75, 78–79, emends all occurrences to eight note, sixteenth rest, sixteenth note, which is the
102–104, 125, predominant pattern in the movement.
150–154
37.2.2, 117.2.2 Piano, r.h. VS has E as lower note. Edn corrects to E by analogy with l.h. (Lichtenstein)
45.2.2, 49.2.2, Piano, r.h. VS has B double-sharp as upper note of chord. Edn corrects to B by analogy
125.2.2, with prevailing harmony.
129.2.2
47–48, Piano, r.h. At m. 47, VS has slur from second eighth note to A in m. 48. At the analogous
127–128 m. 127, slur begins on D at beginning of measure. Edn modifies both slurs by
analogy with m. mm. 42–43 and 123–124. (Woods)
83.2 Baroness VS has dotted eighth, sixteenth. Edn emends to two eighth notes by analogy
with m. 3.
110.2.2– Baroness In Lib, “Can purchase all his fancy loves” is captioned for Both.
112.2.1
106.2 Baroness, VS has quarter note. Edn emends to eighth rest, eighth note, by analogy with
Rudolph m. 26.
127.1.2 Baroness VS omits A accidental, clearly required by analogy with piano.
158 All VS lacks rehearsal letter “D”.
158 Piano, l.h. VS has:
The last three notes are not in the orchestration (Errata). The notes are omitted
in all recordings surveyed except R1.
158.4–158.6 Piano, r.h. VS has quarter rest, eighth note, but the rhythm is clearly meant to begin at
this point; see analogous m. 166. (Woods)
175 All VS and Seattle lack rehearsal letter “E”, but it is in Seattle’s band parts.
176.6 Piano, r.h. VS1 lacks the D accidental. It is in VS2.
195 Piano In the orchestration, the chord in m. 195 is identical to the two chords heard in
m. 194. Among recordings surveyed, only R4 seems to have the more emphatic
ending printed in VS. Sullivan may have changed his mind, or VS may have
been altered to present a more satisfying ending for detached performances of
the duet in a concert setting. Woods notes that the ending printed in VS is con-
siderably more effective on the piano than playing the same chord three times.
10/’09
Critical Apparatus 443
No. 11
4 Piano, l.h. VS1 has:
The plates have very clearly been altered, so presumably the later reading reflects
Sullivan’s intentions. Woods notes that, from a performance perspective, there is
practically no substantive difference between the two readings.
9.2 Rudolph Lib has “of”
13.4–13.5 Rudolph Lib has “eaten”
15 Piano, l.h. VS has a dotted half-note G for the entire measure. Edn emends per the orches-
tration. (Marks)
17 Piano, l.h. VS has a dotted half-note C#–A chord for the entire measure. Edn moves the A
to the r.h. and emends the rhythm in the l.h. per the orchestration. (Marks)
22 All VS lacks rehearsal letter “A”.
22–25 Piano, VS has:
Edn emends per the orchestration. (Marks)
25 Piano, l.h. VS has rhythm , with the fermata over the quarter rest. Edn makes the
first note a dotted quarter, so that tied note is held to the end of the scale in r.h.
Also, see analogous m. 69. (Lichtenstein)
29 Rudolph VS has rhythm , i.e., only five beats to the measure. Edn prints a dotted
quarter on the word “ear” by analogy with m. 27.
32 Piano VS1 has:
Although the sound is unaltered, the VS2 version (which Edn adopts) is easier to
read. It is curious that this trivial “error” was considered important to fix, when
so many more substantial mistakes went uncorrected.
36.6 Rudolph Lib has “these”
41.5–42.2 Rudolph Lib has “You had better”
61.3–62.2 Rudolph Lib has “your new Morris papers”
10/’09
444 The Grand Duke
66.4–67.1 Piano, l.h. VS lacks tie. The editor has supplied it by analogy with r.h.
65 Piano, r.h. VS has:
Edn emends per orchestration. (Lichtenstein)
67 Rudolph VS lacks “Almost Spoken” here, but it is present in the first verse.
73 Piano VS has:
Edn emends to put the “door slam” on the fourth beat, and to add additional
orchestral detail in the first half of the measure. (Marks)
79.1 Piano, r.h. VS does not have tie from D grace note to D eighth note. Edn supplies it, as
passage is nearly unplayable as written. (Lichtenstein)
79.5–79.6 Piano, r.h. VS has two eighth-note B ’s (the same notes written for Rudolph). They are not
in the orchestration, nor are they in analogous m. 35. (Marks)
82.4–82.6 Rudolph VS has F on a dotted quarter, and no G. Edn emends by analogy with m. 38 and
accompaniment. (Samuel Silvers)
83.5–83.6 Rudolph VS has F on both eighth notes. Edn emends to B by analogy with m. 39. Also
note the accompaniment, which doubles the vocal line throughout the passage.
(Lichtenstein)
No. 12 Edn prints this movement twice. The original version (pp. 151–210) is based on
VS, and is evidently a first-night text, or something close to it. The abridged ver-
sion (pp. 211–266), adopted at some point after the first night, has a number of
cuts, amounting to fifty measures, or four pages of music.
The cuts are discussed in detail in the notes below, but in summary they are as
follows (measure numbers refer to the original version):
mm. 38–39 are compressed to one measure
mm. 71–94 are deleted, reducing the “Big bombs, small bombs” sec-
tion to one verse
There are three small cuts in No. 12b: roughly, mm. 360.3–368.2,
mm. 372.3–376.2, and mm. 385–391.
10/’09
Critical Apparatus 445
mm. 510–511 are cut (the musical text is repeated in mm. 512–513)
The coda (mm. 645–651) is four bars shorter, and there is also a small
change in m. 642.4.
R5 includes the abridged version as printed in Edn. All other recordings sur-
veyed present a hybrid between the two versions. The measure numbers in the
comments below refer to the original version. See also the discussion in the In-
troduction, pp. xxv–xxvi.
4.2 Piano VS has a space between f and p. The orchestration has Í. (Lichtenstein;
Woods)
4–16 Rudolph, Lib has the same lyrics as VS, but it allocates them between Rudolph and
Ludwig Ludwig differently:
Rud. Come hither, all you people—
When you hear the fearful news,
All the pretty women weep’ll,
Men will shiver in their shoes.
Lud. And they’ll all cry “Lord, defend us!”
When they learn the fact tremendous
That to give this man his gruel
In a Statutory Duel—
Both. This plebeian man of shoddy—
This contemptible nobody—
Your Grand Duke does not refuse!
11–14 Piano VS has:
Edn emends to agree with the orchestration (i.e., the pattern of rhythmically
analogous mm. 9–10). (Marks)
12.4 Piano, r.h. VS1 lacks the courtesy G . It is in VS2.
29 Chorus In VS, crescendo and decrescendo are much smaller, suggesting that they cover
only the first beat of the measure. The editor has assumed that this was a limita-
tion of the typesetting, and that they are meant to last the entire measure. (Lich-
tenstein; Woods)
38–39 Piano In the abridged version, these two measures are compressed to one. The cut is
also made in PS—its only disagreement with VS in the Act I finale—suggesting
that this cut was made earlier than any of the others.
As printed in PS, the passage is as follows:
This is not directly usable in Edn, because PS includes the vocal line and VS
does not, but the editor has adapted it to derive m. 38 in the abridged version.
10/’09
446 The Grand Duke
Among recordings surveyed, R2 and R4–R7 take the cut as described, while R1
and R3 seem to cut only one-half of a bar.
40.1–42.2 Piano, r.h. VS has A (i.e., accidental not present) in lower half of tremolo. It is clearly re-
quired, given A in Ludwig’s part.
44.4.2 Rudolph Lib has “Now”
60.4–66.4 Rudolph, Lib has the same lyrics as VS, but it allocates them between Rudolph and
Ludwig Ludwig differently:
Rud. You muff, sir!
You lout, sir!
Lud. Enough, sir!
Get out, sir! (Pushes him.)
Rud. A hit, sir?
Take that, sir! (Slaps him.)
Lud. (slapping Rudolph).
It’s tit, sir,
For tat, sir!
71–94 All These measures are cut in the abridged version. Among recordings surveyed, R4
and R5 omit the passage; the others do not. The passage is not cut in Lib, but it
is cut in Oxford.
87–88 Rudolph, VS lacks the caption assigning “Grimace, sir!” to Rudolph. As VS prints the “Big
Ludwig bombs…” section strophically, with a repeat, there is a small “L.” before
Ludwig’s “Look here, sir—” to show the change of assignment from the corre-
sponding passage in the first verse, but this was omitted for Rudolph’s “Grimace,
sir!” It is in Lib.
88.3 Ludwig VS has “fact,” instead of “face.” The latter (from Lib) is clearly correct, as it is
the rhyme for “grimace.”
88.4–90 Rudolph, VS has Rudolph and Ludwig singing “It’s tit, sir! For tat, sir!” as they did at the
Ludwig end of the first verse, which is probably an error. It makes more sense for them
to repeat the words they have just been singing. On R1, Rudolph and Ludwig
both sing “A jeer, sir! A face, sir!” (I am grateful to Daniel Kravetz for pointing
this out.)
103.1–103.2 Tenor, VS has E (i.e., no accidental). Edn emends to E , by analogy with mm. 104–
Piano, r.h. 105. All recordings surveyed except R2 confirm a C major cadence, rather than
C minor. (Errata)
103.2.1, Piano, l.h. VS has C written an octave higher. Edn transfers to the lower octave, as the al-
104.2.1 ternating notes an octave apart are easier to play, and the change makes no real
musical difference. (Woods)
119 Chorus Lib, R5 and R6 have “Why, what’s that?”
135 Ludwig The direction “hands pack to Notary” is not in Lib, but it is in Oxford, and is
clearly required by the context. (Lichtenstein)
138 Ludwig VS has “First draw to me!”
138.2 Piano, r.h. VS has a C . Edn emends to B by analogy with m. 139 (Errata), although
Woods suggests that C would be easier for pianists to read.
10/’09
Critical Apparatus 447
141.3 Piano, r.h. VS has:
Edn emends per the orchestration. (Marks)
149.1 Tenor, VS has the tenors and basses singing E. Edn emends to F . Errata observes, “The
Bass harmony is D Major, and the intended progression over the five bars beginning
with [m. 147] is clear if you look at the first note the basses sing in each measure:
D Æ E Æ F [as corrected] Æ G Æ A.”
158.2 Piano, r.h. VS has:
Edn emends per the orchestration. (Lichtenstein; Marks)
160–185 Girls VS assigns the four solos to “1st Girl,” “Lisa,” “2nd Girl,” and “3rd Girl”
respectively. Edn gives the second solo to Elsa and assigns the others per Lib. In
LOC, the solos were divided among five singers: Julia, Elsa, Olga, Bertha,
and Gretchen, with the second solo in the present version divided in half.
However, in the early libretto, Elsa was the character later renamed Lisa. Gil-
bert then confused matters by introducing a minor character called Elsa, who
has the first solo in the Opening Chorus (No. 1). The change from Elsa to Lisa
was probably made while Sullivan was part-way through composing the opera.
Most of the captions for “Elsa” had to be changed to “Lisa.” However, the solo
here was most likely meant for the minor character Elsa, to mirror the arrange-
ment in the Opening Chorus, and the change to “Lisa” was thus a hyper-
correction.
182 All VS has rehearsal letter “B”, rather than “F”.
185.6–189.2 Girls In VS, the notes assigned here to Elsa are on Bertha’s line (labelled “2nd Girl”
in VS), and vice versa. However, when they repeat the phrase with the women’s
chorus joining in, their parts are as given in Edn. The arrangement in VS is
surely an error, as Elsa is a soprano and would not be singing a contralto line.
The mistake may well be an artefact of the re-arrangement of solos mentioned at
m. 160.
197, 200 Chorus Lichtenstein suggests that Sullivan wanted the chorus to sing “Broken-hea—,”
on the verge of laughter, with the first half-syllable of “heart” leading directly
into “ha! ha! ha!” The editor elected not to emend on this basis, but it is a clever
idea, and worth considering.
201 Piano, r.h. The flat sign above the trill is not in VS1. It is in VS2.
10/’09
448 The Grand Duke
203–204 Piano, r.h. VS has:
The arrangement in Edn more closely reflects the orchestration. The violins play
in thirds throughout the passage, but this would be unplayable by most pianists
at the required tempo. In the orchestration, a similar pattern continues through
mm. 205–210, but Edn retains the simpler rendering of VS. The re-arrangement
of mm. 203–204 gives the singer a better indication of what he will hear in the
orchestra before his entrance on “R-r-r-r-apscallions.” (Lichtenstein)
212.4 Piano, r.h. VS has F as the last note played in the measure. The orchestration has an E–G .
chord. Edn simplifies to G . (Lichtenstein).
213.1 Piano, r.h. VS has E as the fourth note of the measure. The orchestration has a C –A chord.
Edn prints C , due to the difficulty of striking A twice in succession at this
tempo. (Lichtenstein)
213.2 Piano VS lacks S. It is in the orchestration. (Lichtenstein)
219 Chorus VS has “wayward duke.” Lib has “wayward fate,” which is clearly correct, as it
rhymes with “helm of state.”
218.1 A VS has D (doubling sopranos). Edn emends by analogy with m. 222. Marks
notes, “Giving the altos the G fills out the scoring of the chord; with the altos on
the 4th-line D, there is more than an octave between tenor and alto, which is
“breaking” a basic rule of harmony, something Sullivan…well…hardly ever (!)
did.”
221.3 Piano, l.h. VS has a quarter rest. Edn emends per the orchestration. (Marks)
243 Piano VS has:
Edn emends to better reflect voicing in the orchestration. (Lichtenstein)
268.5–270.6, Piano, l.h. VS has only the upper notes of the octave, and the passage is marked “8ves. ad
313.5–315.6[r] lib.” The editor has suppressed the direction and entered the octaves.
283, 328[r] All VS places rehearsal letter “J” nine measures earlier, i.e., at m. 274 and 319[r].
287.4, 332.4[r] Piano, l.h. VS has B. Edn emends to G per the orchestration (an octave lower than the
chorus basses), and also by analogy with m. 642, where VS has the correct bass
note. (Marks; Lichtenstein)
312 All The fermatas are not in VS, but they appear to be dramatically required, so that
Ludwig can sign the paper extending the Act. All recordings surveyed incorpo-
rate a pause or a ritard at some point around mm. 310–312.
10/’09
Critical Apparatus 449
345 Piano, r.h. VS has:
The four sixteenth notes at the end of the measure are not in the orchestration
and are omitted on all recordings surveyed except R1. (Errata)
352–391 All The abridged version has three cuts in this passage:
From the end of m. 359 to the beginning of m. 368
From beat 2 of m. 372 to beat 3 of m. 376 (minus Julia’s lyric, “O will
it not?”)
From the end of m. 384 to the beginning of m. 392
Lib makes the first two of these cuts, but not the third.
According to Hulme, the cuts are marked in Sullivan’s autograph score in the
hand of his assistant, Wilfred Bendall. The passage as thus revised appears in
Hulme, pp. 296–297, which is the source for Edn’s abridged version.
Hulme says of the original conception:
In its full length version this setting derives an attractive harmonic
richness and variety by its deft excursion into unrelated tonalities.
These are completely eliminated in the re-working. . . . Musically the
setting suffered by being cut, but one can appreciate why Gilbert might
have been dissatisfied with it. Whatever the merits of the music per se –
and this is certainly a striking passage – it is not a particularly appropri-
ate response to the humour of the situation. If this was sensed as a
problem, it may be that brevity was deemed the easiest solution.
(Hulme, p. 295.)
This is perhaps the most charitable view of it. In the editor’s experience, most
productions use the abridged version. Among recordings surveyed, all but R1
take at least the standard cuts, with R4 cutting even deeper than that.
The piano reduction of the passage in VS is particularly difficult. Several skilled
accompanists told the editor that they considered it practically unplayable. The
revision in Edn is the editor’s, with many helpful suggestions from Lichtenstein
and Woods.
360.1 Piano VS has A on first note of measure in r.h. Edn moves to l.h. by analogy with m.
368. The B in the upper voice of m. 359.3 resolves harmonically to the A .
(Lichtenstein)
362.2 Piano VS lacks the A accidentals in the second beat, the need for which is clearly im-
plied by Julia’s part. VS does have A in the third beat.
364.1 Piano, r.h. On the first chord of the measure, VS has A –E. Edn emends the upper note to
G by analogy with m. 356 (tonality is B major in the earlier measure, D major
here). (Lichtenstein)
366 Piano, l.h. VS lacks D accidental, but it seems to be required by analogy with m. 365 and
r.h. of m. 366. (Lichtenstein)
373.2.2 Julia VS lacks the A accidental. It is clearly required, as otherwise the note is enhar-
monically equivalent to the B that follows. (Errata)
10/’09
450 The Grand Duke
373.3 Piano, l.h. VS1 lacks D accidental. It is in VS2.
374.1 Piano, r.h. The intention in VS is almost unreadable here, as the engraver seems to have
punched both a natural and a flat accidental to the left of the B. Nevertheless, B
seems clearly correct, by analogy with the l.h. and also mm. 373 and 375.
376 Piano VS has:
Edn simplifies r.h., converting B half note in first beat to a quarter note.
384–385 Chorus Seattle indicates that the chorus music in these measures should not be performed
in the abridged version (corresponding mm. 347–348), but Hulme includes
them. Among recordings, the chorus sing on R2, but they are silent on R5–R7.
384.1.1 TB Lib has “Why”
402.1 Piano, l.h. VS lacks the leading quarter rest, but the tremolo is a dotted half, so there is
clearly a beat missing. It would be a legitimate interpretation to play the tremolo
for the entire measure, but all recordings surveyed have the leading rest.
406–407 Piano, r.h. Woods suggests that a tie from D in m. 406 to the enharmonically equivalent
E in m. 407 may have been intended.
411–415 Lisa, Lib has “Can that be so?” for Lisa (m. 411–412), and similarly for Ludwig (mm.
Ludwig, 413–414) and Chorus (mm. 414–415).
Chorus
430.2.2–432.1 Lisa Lib has: “Our love do not forget!”
439–440 Piano, r.h. VS lacks the tie from the final eighth note of m. 439 to the first sixteenth note of
m. 440. The tie is present in analogous mm. 422–423.
445.2 Piano VS lacks cresc., but it appears to be required to balance the dim. at m. 448. The
analogous cresc. in the first verse is at m. 426.2 (the scale leading up to the A 9
chord). (Lichtenstein)
469.2.2 Piano, r.h. VS lacks the D accidental, which is surely intended given the D ’s in the chorus
parts; also, see analogous m. 468.
477 Lisa Lib has “hope has”
484–488 Lisa Lib has “My light has fled, my hope is dead”
496.4 Chorus VS has “night.” Edn emends to “right” by analogy with Lisa.
505–506 Piano In VS, the chord in m. 505 is tied over to m. 506. In the orchestration, the
chord is restruck at the beginning of m. 506, and it is heard thus on all re-
cordings surveyed. (Errata)
510–511 Piano These measures are cut in the abridged version. Among recordings surveyed,
they are included on R1–R3 and R6, cut on R4, R5, and R7.
512.1 Piano, r.h. VS lacks lower A . Edn supplies it by analogy with m. 510.
10/’09
Critical Apparatus 451
530.4, 554.4, Piano, l.h. VS has a quarter rest. Edn emends by analogy with mm. 526, 550 and orchestra-
608.4, 612.4 tion. (Marks; Lichtenstein)
538.4 S VS has G an octave higher than altos. Edn emends to the lower G by analogy
with all other occurrences of the “Sing hey…” pattern. Marks notes, “It seems
out of place, and, well, rather un-Sullivanesque to pop out a high note like that
out of nowhere.”
552.4–554.3 Ludwig VS has rests, which doesn’t seem defensible on musical or dramatic grounds, as
he otherwise doubles the chorus from mm. 548.4–556.3. Edn has him doubling
the chorus for the whole passage. (Lichtenstein)
554.4 Ludwig, VS has p, rather than f — probably an error, given p at m. 552.4, and by anal-
Chorus ogy with m. 550.
556–557 Piano VS lacks the tie connecting these two measures. It is in the orchestration, and
heard thus on all recordings surveyed. (Errata; Seattle)
559.4 Julia Lib has “Your”
563, 587 Piano, l.h. In m. 563, VS has G in first beat, and E –G–D in beats 2–4. In the analogous
m. 587, the middle note in beats 2–4 is B . Lichtenstein confirms that the Seat-
tle band parts are indeed different in the two passages, but it is uncharacteristic
of Sullivan to make such a subtle change in a passage that is otherwise practically
a straight repeat. Lichtenstein, after a discussion too lengthy to reproduce here,
recommends leaving both passages as written.
566.4 Julia VS has “For,” which makes no sense. Ludwig’s court wouldn’t be grovelling for
clothes of common sort; they would be grovelling in them.
569 Piano, l.h. VS starts the measure with a dotted quarter, rather than a quarter note plus an
eighth rest. However, see analogous m. 567, and more generally, the pattern of
mm. 559–570.
570.4–572.3 Julia VS has “Your proud noblesse should wear a dress…” Lib has “Your new noblesse
Must have a dress…” The passage went through more than one revision. LOC
has just one verse, assigned to Ludwig (Final Curtain, p. 248). It reads:
The costumes of our Court
(Which should be new completely),
The dresses gay
Of our new play
Will furnish very neatly.
In clothes of common sort
Let mere mechanics grovel—
For our noblesse
A classic dress
Will be both quaint and novel!
This could be sung to the existing tune. Although either the VS or the Lib read-
ing makes reasonable sense, the former is probably an intermediate state, with
Lib being the version Gilbert finally settled upon.
582 All VS lacks rehearsal letter “V”.
583.3 Ludwig Lib has “we’ll”.
591, 593 Piano, l.h. VS lacks grace note slurs.
605.3 Piano, r.h. VS has no accidental on G, but it does have a natural on the next beat, which on
its own would be unnecessary. Based on recordings surveyed, it appears that a
flat was intended here. (Woods).
10/’09
452 The Grand Duke
614.4 Piano VS has ƒ at the start of the next measure.
631 All VS and Seattle lack rehearsal letter “X”, but it is in Seattle’s band parts.
637 All VS and Seattle lack rehearsal letter “Z”, but it is in Seattle’s band parts.
637 Tempo VS equates a quarter note to the previous half note. As the new passage is in 12/8
time, it is surely a dotted quarter that is equivalent to the previous half note.
(Lichtenstein)
640.10–640.12 Piano, l.h. VS has quarter rest, eighth rest. Edn emends per the orchestration. (Marks)
642.10–642.12 Piano, r.h. VS has:
Edn emends per the orchestration, confirmed in all recordings surveyed.
643–644 Piano, r.h. In m. 643, VS lacks the lower half of the octave on the 2nd, 8th, and 11th notes of
the measure. In m. 644, VS lacks the lower half of the octave on the 2nd, 5th, and
8th notes of the measure.
645–651 Piano The abridged version is four bars shorter. All but two recordings surveyed follow
the abridged version. R1 follows the original version up to m. 648, then con-
cludes with mm. 599–601 of the abridged version. R6 follows the abridged ver-
sion up to and including m. 598, then has three measures not found in any other
known source, and concludes with mm. 599–601 of the abridged version.
648.11 Piano, r.h. VS lacks the A accidentals.
Act II
No. 13
14.3.2–15.2 Piano, r.h. VS has a slur over the first two notes of m. 15. The slur in Edn has been length-
ened by analogy with the slurs in mm. 11–13.
15.3 Piano, l.h. VS1 lacks the E accidental. It is in VS2.
23.2.1.2 Piano, r.h. VS has only the top D, lacking the two bottom notes of the chord (possibly a
simplification for the pianist). (Marks)
24 All VS puts “Andante” at m. 25. This probably was done for visual reasons, as in VS
m. 24 is at the end of a system. Sullivan surely would have wanted the tempo
marking to take effect where the rhythmic pattern changes, as he did at the
analogous No. 14., m. 129.
In any event, given “Andante maestoso” at the beginning of this movement and
at No. 14, m. 129, the meaning of “Andante” at this point is unclear.
29.2 T, B VS has quarter note tied to eighth note. Edn emends to dotted quarter by anal-
ogy with other occurrences of the pattern, e.g., m. 28. (Woods)
10/’09
Critical Apparatus 453
36 Piano, r.h. VS has the r.h. playing an octave higher. Edn emends per the orchestration
(Lichtenstein)
37 Piano, r.h. VS has chord of B–C –E, clearly impossible as B and C are enharmonically
identical. Edn emends to B –C–E, to agree with B in the vocal line.
52.2 Chorus VS has half note. Edn emends to dotted quarter and eighth rest by analogy with
m. 29. (Marks; Woods)
58–59 Piano, l.h. VS has C in octaves. Edn adds A per the orchestration. (Lichtenstein)
59 Piano, r.h. VS has:
This seems clearly to be the analogue of m. 36; nevertheless, the rising figure in
the r.h. is not in the orchestration. (Marks)
61 Piano, r.h. VS has:
Much like the situation in m. 59, this appears to the analogue of m. 38, but the
rising figure in the r.h. is not in the orchestration. (Marks)
No. 14
17.3, 56.3[r], Ludwig VS1 lacks the E , cancelling the E earlier in the measure. The natural is in VS2.
95.3[r]
22–23, Ludwig VS prints the preferred line and the ossia line on the same staff, with the ossia
61–62[r], version in cue-size notes. As the two lines cross each other, Edn puts them on
100–101[r] separate staves for clarity.
23.3 Ludwig Both VS and Lib have a comma after “criticaster,” which makes nonsense out of
the line’s apparent meaning, which Lichtenstein paraphrases as: “Anyone but a
captious criticaster would accept our clever chorusmaster as the choregus of the
early Attic stage.”
36.1 Ludwig VS has “junction”; Edn takes “juncture” from Lib. As Lichtenstein notes, “junc-
ture” implies a moment in time, whereas “junction” implies a position in space,
as at a meeting of two roads.
10/’09
454 The Grand Duke
45.4, 85.1, Chorus VS has inconsistent pronouns; it prints “I admit” in the first verse, “I’m only
121.4 mocking” in the second verse, but “Yet, his classic lore…” in the third verse. Lib
is unhelpful in the first two verses, as it does not write out the full refrain. In the
third verse, Lib agrees with VS.
Such inconsistencies are common in Gilbert & Sullivan vocal scores. With the
full repeat lacking in Lib, the preparer of VS probably just copied Ludwig’s
words in the first two verses. G&S choruses usually refer to the principal singer
in the third person (e.g., “He polished up the handle of the big front door”).
Since Gilbert specified the third person in the one verse where he wrote it out,
Edn adopts the same in the other two verses.
Marks prefers the first-person plural (“We admit…”), while Lichtenstein argues
for the first-person singular:
It seems to me that in the refrains (where the stage directions say “Con-
fidentially to audience”), Gilbert is having both Ludwig and the chorus
step deliberately out of character and address the audience directly in
the character of W.S. Gilbert himself, who is openly confessing the
amount of research he had to do in constructing the lyrics. That the
singers are stepping out of character and “breaking down the fourth
wall” is amply indicated, not only by the general tenor of the lyrics, but
also by the specific reference to “this audience discerning,” which can
only mean the Savoy Theatre audience, since the troupe is not perform-
ing Troilus and Cressida at the moment. Also, assuming I understand
the lyrics correctly, “if you’ll pardon the possessive” can only logically
refer to the possessive pronoun “my” — “my classic lore aggressive.”
Ludwig/Gilbert appears to me to be apologizing for his supposed arro-
gance in claiming personal ownership of the lore of which he has
gained some knowledge in the course of his studies. To me, the lyrics
cannot make sense if represented as being spoken by anyone else as the
librettist to the audience, and constructions such as “he admits this
show of learning” seem absurdly parrot-like to me, even by Gilbert-
and-Sullivan-chorus standards. Possibly “we admit” could work, but I
think the words are Gilbert-specific enough to warrant an entire chorus
repetition of “I” — which is not unprecedented in this opera (No. 5 in
Act I: “My goodness me, what shall I do?” etc.).
Lichtenstein’s idea is bolstered by Gayden Wren, who notes the abundance of
fourth-wall-breaking references in the opera (see Introduction, p. xxxvi).
In any event, as Errata notes, the three verses should employ either the first per-
son (singular or plural) or third person consistently throughout. Clearly there are
good arguments to be made for each choice.
53.3 Ludwig VS and Lib have “thirst on.” This was probably a typographical error that Gil-
bert overlooked. Edn adopts the reading in Songs of a Savoyard, “twist on.” As
used here, “twist” means “a hearty appetite,” which was probably as obscure in
1896 as it is today. Bradley notes that “ariston” means “a morning meal or break-
fast,” which is “a little difficult to satisfy one’s thirst on” (Bradley, p. 1152).
Moreover, the song goes on to say that “as they gradually got on they’d trepesthai
pros ton poton (that is, turn to drink), which doesn’t make much sense if they’d
already been drinking for breakfast (Arthur Robinson, Savoynet post, 2007).
54, 57–58 Ludwig The Greek transliterations are given as footnotes in VS.
10/’09
Critical Apparatus 455
69 Ludwig VS has:
This is clearly not what Gilbert intended: the italicized ‘ac’ in “maniac” signals
where the emphasis must go. Of the three recordings surveyed that include the
verse, R1 and R2 make the correction. On R5 and R6, the artist attempts to sing
it as written, and the result is awkward indeed. (Errata)
(The editor has never yet seen a stage production that included the second verse;
it is surely the most common cut in The Grand Duke. The editor has seen pro-
ductions that cut two, or even all three verses, but never one that included all
three.)
71 Ludwig VS and Lib have “Dithryambic.” The OED confirms the correct spelling is
“Dithyrambic.” (Benford has the correct spelling in The Gilbert & Sullivan Lexi-
con. In The First Night Gilbert and Sullivan, Reginald Allen splits the difference:
he has “Dithryambic” here, but “Dithyramb” later in the verse.)
78 Ludwig VS and Lib have “Dithryamb.” See the preceding note.
87 Ludwig In a previous revision, Edn emended “Yes” to “Yet,” as it could be argued that
only in the third verse does Ludwig present his corrections to “the customs of
that nation.” However, all sources have “Yes,” and Laurie Marks persuaded the
editor that Ludwig is already expressing reservations about Athenian customs in
the preceding verse. Among the five recordings surveyed that include the verse
(R1, R2, R3, R5, R6), only R3 has “Yet.”
94.1 Ludwig VS has “Mrs.,” centered under the two notes above it. Edn emends to “Mis-sus”
for clarity.
122.4 Chorus VS has “you”; Edn emends to “you’ll” by analogy with Ludwig’s verse.
127.1 Piano, r.h. VS1 prints the lower A with its stem pointing down, and without the slur to the
lower G at 128.3. VS2 is corrected.
134.2 Chorus VS has quarter note tied to eighth note. See No. 13, m. 29.2. (Woods)
145.1 All VS has no fermata. Edn supplies it by analogy with No. 13, m. 74 and the or-
chestration. (Lichtenstein)
No. 15
6.2 Ludwig VS1 lacks the D accidental. It is in VS2.
16.3.1, Piano, r.h. VS has E –G–C (C minor). Edn emends the middle note to A (A major) per
49.3.1[r] the orchestration. (Lichtenstein)
45.3.1 Piano, r.h. VS repeats the E major chord from the second beat. Sullivan may have intended
a B major chord here, by analogy with m. 12. Nevertheless, VS has an E major
chord, which Lichtenstein confirms is in the orchestration.
45–46 Piano, l.h. In VS, m. 45 is the end of v.1, and there is a repeat back to m.13. The tie at the
end of m. 45 is not in VS, but m.13 does begin with a tie, which is continued
from m. 12.
77.2 Piano, l.h. The fermata is not in VS1. It is in VS2.
10/’09
456 The Grand Duke
80 Piano VS has half note. Edn emends to dotted half, as time signature is .
No. 16
12.2.2 Julia Lib has “her”. The “deuce” is a euphemism for the devil, so the libretto reading
is distinctly more provocative. It may well have been changed to avoid suggesting
the idea of a female devil.
13, 17 Ludwig, In m. 13, VS has:
Julia
This would seem to require the performer to perform the syllable “iny” on two
sixteenth notes, which is extremely awkward. The correct rhythm is suggested by
the setting of the word “innocent” in m. 14. Edn emends accordingly, as do all
recordings surveyed. The situation in m. 17 is similar. (Errata says that the miss-
ing sixteenth notes are “obvious,” although in fact the problem is a bit more
subtle than that.)
18.4 Piano, r.h. The quintuplet figure is absent on R5, R6 and R7. According to Seattle it is not
in the orchestration, although R1–R3 include it, which suggests that the avail-
able band parts may disagree. (R4 omits the movement.)
Hulme says that m. 19 wasn’t in Sullivan’s original conception: Julia would have
proceeded from m. 17 directly into “You forget my special magic…,” without a
pause (Hulme, p. 132). After Sullivan wrote the movement, he entered “Bis” (i.e.,
“repeat”) above m. 18. The quintuplet figure was likely an afterthought as well,
perhaps added only after the first set of parts had already been copied.
31 All This measure is not in VS, nor is Julia’s line, “I have a rival . . . both together.”
Julia’s line, which is in Lib, is clearly necessary to establish the motivation for
what follows. Among the six recordings surveyed that include the movement,
R1–R3 and R6 include the line; R5 and R7 exclude it.
32 Julia VS has “chill’d”. Edn emends per Lib and by analogy with “thrilled” in m. 31.
35.2.2 Piano, r.h. VS lacks the F accidental, which is clearly implied by the first beat of the meas-
ure (in the l.h.) and the first half of the second beat, both of which have F ’s.
37.4 Piano VS1 lacks fermatas. They are in VS2.
60 Piano, l.h. VS has:
Edn emends per the orchestration. (Marks)
61.3–61.4 Piano, l.h. VS has a half note, with D’s in octaves. Edn emends to two quarter notes per the
orchestration. (Marks)
64 Julia Edn supplies “Exit Julia” from Lib, but there is no explicit re-entry for her after
No. 18, even though she has dialogue in the ensuing scene. LOC lacks the exit,
so the likely explanation is that when Gilbert added it he forgot to specify her
entrance. Edn does not attempt to “correct” this error, as each production will
no doubt handle it differently. (Philip Sternenberg)
10/’09
Critical Apparatus 457
No. 17
10 All Seattle has rehearsal letter “A” here, but does not cancel letter “A” at m. 28.
28 All VS has rehearsal letter “A” here.
28.3.2, 29.3.2, Piano, r.h. VS1 lacks the D accidental. It is in VS2.
30.3.2, 31.3.2
41.3.2 Piano, l.h. VS lacks ‘>’ accent, although it is in r.h.
42a Piano VS lacks the eighth-note pick-up measure to the Allegro Vivace section. It is in
the orchestration (Errata). Among recordings surveyed, only R4 lacks the pick-
up measure.
44 Piano VS has:
Edn emends to retain the lower G’s in the l.h., as this is closer to what is heard
in the orchestration. (Lichtenstein; Marks; Woods)
65–66 SA VS has sopranos and altos in unison. Edn puts them in harmony by analogy
with otherwise identical mm. 70–71. (Lichtenstein)
82.4 Piano VS has eight note, eighth rest. Edn emends by analogy with m. 53.
89 All VS and Seattle have rehearsal letter “F” here; hence, there is no “E”.
99 Chorus VS has “Tol the rol riddle lol,” but m. 104 has “Tol the rol liddle lol.” Edn
adopts the latter, as suggested by the repeated “liddles” in m. 105.
105.6 Piano, r.h. VS lacks D at bottom of chord. Edn supplies it by analogy with D in tenor part
and earlier beats in measure. (Seattle)
No. 17a The source for the text is Hulme, pp. 495–6, who in turn derived it from Sulli-
van’s autograph. R1 and R6 are the only surveyed recordings to include it. No.
17a and the dialogue preceding it are in the first-night libretto, but they are not
in Lib. For further discussion, see the section on Production Repeats, p. 417.
In the dialogue, the Baroness says that Rudolph was “well enough at a quarter to
twelve yesterday,” and Ludwig retorts that “He died at half-past eleven.” Lich-
tenstein thinks that this is an error and that the two times should be reversed.
Perhaps it is appropriately topsy-turvy. We leave it to the reader to decide.
Philip Sternenberg pointed out to the editor that in LOC, the two times are
reversed as Lichtenstein suggests they should be. As the modern libretto was a
successor to LOC, it is likely that the swap was deliberate.
9.4 Piano Hulme has eighth note, eighth rest. Edn emends to quarter note by analogy with
No. 17, mm. 52, 82. (Lichtenstein)
10/’09
458 The Grand Duke
11 Measure not in Hulme. Edn supplies it by analogy with No. 17, m. 95 et seq. To
omit it leaves a hole in the phrase that Sullivan is not likely to have wanted.
(Lichtenstein)
No. 18
2–22 Baroness, Lib allots the entire lyric to the Chorus, with a number of wording differences:
Chorus Now away to the wedding we go,
So summon the charioteers—
No kind of reluctance they show
To embark on their married careers.
Though Julia’s emotion may flow
For the rest of her maidenly years,
To the wedding we eagerly go,
So summon the charioteers!
This version would fit the existing music, except for the second line of the lyric:
“So then summon…” vs. “So summon…” However, it’s interesting to note that
the reprise in No. 28 does not have the extra word “then.” Lichtenstein suggests
that the Baroness might sensibly omit it in this movement too, as the lyric is
wordy enough as it is.
16.1 Piano, r.h. VS lacks ‘>’ accent, although it is in l.h.
18 All VS lacks rehearsal letter “H”.
37.4–38.1 Piano, r.h. VS lacks tie. In the orchestration, the A in m. 37 is tied to m. 38. (Lichtenstein)
44–45 Piano, l.h. VS has a tie connecting these two measures. According to Seattle, the tie is not
in the orchestration. On both R5 and R7, the E is re-struck. However, on R1–
R3 the measures are tied. (R6 is ambiguous.) The editor has deleted the tie on
the strength of R5 and R7, particularly as the resulting effect is more consistent
with Sullivan’s woodwind obligato writing; there are comparable examples in
many of his overtures. (The editor is grateful to Zachary Schwartzman, music
director of the Blue Hill Troupe, for pointing out this issue. Marks and Errata
also make the observation.)
No. 19
11.2 Julia VS and Lib have “dreams,” but it is corrected to “dream” in Macmillan and Ox-
ford. The original is clearly erroneous, as Julia has only one dream, and it is
meant to rhyme with “supreme.” (Lichtenstein)
31 Piano, r.h. VS lacks the C accidental. (Errata; Seattle)
60.1 Piano, l.h. VS lacks the G accidental, which is clearly required by the harmonic context
established in m. 59.
71 Piano, r.h. VS ties the two B-flats together (as well as the G-flats). It is more consistent with
the orchestration to omit the tie, as there a woodwind solo doubling the voice.
(Lichtenstein)
79–80 Julia VS prints the two alternatives on the same staff, and neither one is in cue-size
notes. It is likely that Sullivan preferred the higher option, which Edn prints on
the main staff, with the ossia being the less desirable alternative.
10/’09
Critical Apparatus 459
107 Piano, r.h. VS has:
Edn emends to a D -major chord in root position, based on A in the orchestra-
tion. (Marks)
117–118 Piano VS has:
The reading in the Edn is a more pianistic rendering of the orchestration. See
also analogous mm. 125–126. (Lichtenstein)
126 Piano, l.h. VS has G –B –D chord. Edn omits the top D for ease of performance, and to
give more prominence to the arpeggio in the r.h. (Lichtenstein)
133 Julia Lib has: “I curtsey to thee!”
144–145.1 Piano, r.h. VS lacks tie. Edn emends by analogy with Julia’s line. (Lichtenstein)
146–147.1 Piano, r.h. VS1 lacks tie. It is in VS2. See also the preceding entry.
151.1–154.1 Piano, r.h. VS has quarter note. Edn emends to eighth note, eighth rest, by analogy with
l.h. and confirmed in orchestration. See also analogous rhythmic pattern in mm.
111–127.
155.1 Piano VS has quarter note in both hands. Edn emends to eighth note, eighth rest, by
analogy with surrounding mm. 152–157. (Lichtenstein)
158 Piano, r.h. VS lacks D in chord, but it is in the orchestration and easily playable on the
piano. (Lichtenstein)
158 Piano, l.h. Seattle emends D to D by analogy with mm. 160, 162, 164. Errata makes the
same suggestion. Lichtenstein confirms that in the early band parts, a D was
entered in pencil in the viola part, apparently covering over something else origi-
nally written. If it was a flat, then it was a courtesy (D is already in the key sig-
nature), possibly to confirm that this D is different from those in mm. 160, 162
and 164. D is confirmed in the bassoon part, and also in VS.
159.1.1, Piano, r.h. VS lacks C in chord, but it is in the orchestration and easily playable on the
161.1.1, piano. (Lichtenstein)
163.1.1,
165.1.1
162 Piano, r.h. VS has the same reading as m. 158. Edn emends by analogy with m. 160 and m.
164, as confirmed in the orchestration. (Lichtenstein)
162 Piano, l.h. VS and Seattle have D , but D is confirmed in the orchestration. (Lichtenstein)
163.1.1, Piano, r.h. VS has top G . At 163.1.1, top E at 165.1. According to Lichtenstein, these are
165.1.1 reversed in the orchestration. Edn retains the reading of VS, based on the analo-
gous mm. 159 and 161.
10/’09
460 The Grand Duke
No. 20
4.1 Ernest VS has two eighth notes. Edn emends to dotted eighth, sixteenth, by analogy
with mm. 2, 12, and 14. Other rhythmic differences between Ernest and
Julia’s solos appear to be dictated by the text, and so have been left alone. (See
mm. 6 vs. 16 and 8 vs. 18.)
8.9, 18.9 Ernest, VS lacks A accidental. Edn supplies it by analogy with piano.
Julia
24 All VS lacks rehearsal letter “B”.
12.7 Piano, l.h. The C’s are not in VS, but they are in analogous m. 2.
71.3 Julia The word “Well” is not supported in Lib, which merely states “Repeat Ensemble,”
in which Julia earlier said “So.”
86 Julia VS1 has the rhythm dotted quarter, eighth, quarter. VS2 has three quarter notes.
108.1–108.3 Piano, r.h. VS has dotted eighth. Edn corrects to quarter note, eighth rest, by analogy with
mm. 106–107. (Lichtenstein)
141 Piano If No. 21, the Baroness’s song, is not performed, then the triplet at the end of
this measure leads directly into the opening bar of No. 22. Conveniently, both
No. 21 and No. 22 begin on a B , making the cut a straightforward one.
No. 21 This is the first of three songs that were cut in the early days or weeks after the
first-night. The song is in VS and PS, but it is omitted in Lib and all subsequent
libretti, with the curious exception of Macmillan, which prints the song’s two
verses in the reverse order. Macmillan does not restore either of the other two
deleted songs in Act II, and there is no known justification for switching the
verses—although they do seem to make sense in either sequence. Among re-
cordings surveyed, only R1 follows Macmillan’s verse order.
37.4–37.5, Chorus VS has eighth notes. Edn emends to dotted eighth, sixteenth, by analogy with
79.4–79.5[r] Piano in m. 37 and both Baroness and Piano in m. 29. (Lichtenstein)
80.6 Chorus VS writes “For the” on a single eighth note.
84.6 Piano VS has an eighth rest, but the F pick-up to the next measure is in the orchestra-
tion (Errata; Seattle). The pick-up note is heard on all recordings surveyed ex-
cept R1 and R2. R2 may have been orchestrated from the vocal score, as it has a
number of orchestral effects not heard on the other recordings.
Lichtenstein notes that Sullivan has every instrument on F at 84.6 except for
cello and contrabass, to which he gives B . It would be most uncharacteristic of
Sullivan (or just about any composer) to write an open fifth, with only the lower
strings sounding the tonic. In particular, the third trombone doubles the cellos
and basses for the entire coda except at this point, where it plays F. Sullivan’s B
is no doubt a slip (also present in some orchestra parts).
88 Baroness “Exit Baroness” is not in Lib, but the first-night libretto had an exit for her
after the song. The stage direction before the chorus enters in No. 20 states, “Re-
enter the Wedding Procession,” which presumably should include the Baroness,
even if her song is cut.
10/’09
Critical Apparatus 461
No. 22
8 Piano, r.h. VS lacks D on beats 1–3. Edn adds it by analogy with m. 10 and also Overture,
m. 19.
12.4 Piano, r.h. VS1 lacks the B accidental on the final note of the triplet. It is in VS2.
14.3–14.4 Ludwig Trill possibly intended, by analogy with orchestra. (Lichtenstein; Woods)
14.4 Piano, r.h. The grace notes at the end of the trill are not in VS. They are in the orchestra-
tion.
No. 23
4.12–5.2 Herald Lib has the normal spelling here, “beautiful,” but it has “be-eutiful” for the rest
of the song.
8–9, Piano In mm. 8–9, VS has:
16–17,
34–35
There are slight differences in mm. 16–17 and 34–35. Edn emends all three
passages to more closely agree with the orchestration. (Lichtenstein; Marks)
One must presume that the crescendo at the end of m. 8 and the corresponding
decrescendo at the start of m. 9 (see above) are artefacts of the composer’s auto-
graph, as the effect is impossible to achieve on the piano.
9.7 Piano, r.h. VS1 lacks the G accidental. It is in VS2.
17.7, 35.7 Tenor, VS1 lacks the G accidental. It is in VS2. (The accidental is necessary in the pi-
Piano, r.h. ano part to cancel the natural at the beginning of the measure; it is a courtesy in
the tenor part.)
29.10 Piano In r.h., VS has B–D –F –B. In the l.h., VS has just B (one step below middle C).
Edn adopts the reading of analogous mm. 3, 11. (Lichtenstein)
35.10 Piano, l.h. VS has a quarter rest. See also analogous mm. 9, 17. (Marks)
37–38 Herald Edn adds grouping brackets below “duplet” slurs, for clarity. These are not in
VS. (Lichtenstein)
39.1 Piano, r.h. VS lacks accent. Edn emends by analogy with l.h.
10/’09
462 The Grand Duke
No. 24
23–41 R5 and R7 omit the Più vivace section. R1–R3 include it, while R4 cuts the en-
tire movement. R6 has five extra measures in Più vivace section, comprising four
additional measures of tremolos after m. 27 (apparently new material), and m.
28 played twice. It is not clear which of these versions have any claim to authen-
ticity. Gilbert and Sullivan clearly needed to shorten their second act, and this
passage would have been an obvious casualty. Seattle suggests repeating mm.
15–22 as under-scoring for Ludwig’s dialogue. (Seattle also suggests an extra
cadence at the end of m. 23 that is not on R5.)
No. 25 There are two related textual problems in this movement. First, VS clearly calls
for “Three Bass Nobles” in the body of the music. Counting the four tenors,
that would make seven nobles. However, as the text refers to “six supernumerar-
ies,” there seems to be no choice but to drop one of the bass nobles.
A related problem is that the Herald is given a line in the ensemble passages,
while the Costumier is not. Gilbert did not write a stage direction for the Herald
to enter at this point; the character is not mentioned again in the libretto after
his solo, and indeed Gilbert gives him an explicit exit (p. 355 of Edn) with no re-
entry. The Costumier clearly is present, but as written he would be conspicu-
ously silent during the ensemble passages.
Edn reduces the number of chorus bass nobles to two and adds the Costumier to
the ensemble passages, doubling the bass part. This restores the vocal balance to
the proportions Sullivan intended. Another option is to retain the third bass
noble, and the Costumier can take one of the tenor lines. Alternatively, if the
Herald does not enter for this number, the Costumier could sing the Herald’s
line.
Sullivan’s vocal writing for the four tenor nobles is unusual. The third and
fourth tenors have the highest parts, the second tenor has the lowest, and the
first is in between. Only the third and fourth tenors sing above the typical bass–
baritone range. (Normally, the first tenor part is highest, second tenor next-
highest, and so forth.)
In VS, the movement is captioned “Song—(Prince of Monte Carlo).” Edn
adopts Lib’s description of it as a Duet, as both the Prince and Princess have an
equal amount to sing.
3.10, 4.4 Piano, l.h. VS has G–C–E chords (no B ). Edn emends based on orchestration. See also
analogous mm. 3–4 in No. 23. (Marks)
8–9 Piano, l.h. VS has:
Edn emends the last chord of m. 8 and the first chord of m. 9 to agree with the
orchestration, which reflects the same harmony as in the Herald’s song (No. 23,
mm. 8–9). (Errata)
10/’09
Critical Apparatus 463
20–28 Princess The phrasing in VS (shown as “original” in Edn) is extremely awkward in several
places. As Lichtenstein explained to the editor:
The words “we’ve” and "from" receive stress out of proportion to their im-
portance, owing to their position on the [first and third] beats of the bar in
which they occur (m. 25), while in m. 27 the all-important third syllable of
“Monaco,” which provides the rhyme for “show” in m. 22, is virtually lost,
being relegated to the second beat of the bar. Making matters worse, the
first syllable of “Monaco” is sung on a long melisma, during which the au-
dience has no idea what word is being sung. By the time the second and
third syllables are (very quickly) sung in the next bar, the audience is likely
to have lost the thread of the lyric; the graceless and overly lengthy setting of
the prepositional phrase “from the Theater Mo-o-onaco” gives one hardly
any time to make the necessary mental connection between “we’ve engaged”
and “six supernumeraries.”
The editor does not presume to replace what Sullivan wrote with what he should
have written, but Lichtenstein’s solution (shown as “alternative” in Edn) is al-
most exactly the phrasing Sullivan did write in the second verse (compare the
alternative in mm. 23–25 to mm. 53–55).
29, 59[r] T2 The musical balance might be improved by having the second tenors sing an
octave lower (doubling the basses), as Sullivan clearly wanted three voices on the
lower note. See commentary at the beginning of the movement. (Lichtenstein)
30.4, 60.4[r] T3, T4 Sullivan may have intended to have the tenors sing an octave higher, as they do
in analogous mm. 31.4, 61.4. As written, there is an awkward leap of one and a
half octaves over less than one bar, and the initial C is likely to be at the low end
of the tenors’ range. By singing an octave higher, they would support the Prin-
cess’s middle C, which is at the lower end of her range. (Lichtenstein)
32.4–33.1, Piano, r.h. VS has:
62.4–63.1[r]
Edn emends to more closely agree with the orchestration. (Lichtenstein)
33, 63[r] Piano In VS, the chord on the first beat of the measure is repeated on the third beat.
The orchestration is silent. (Marks)
36.2–37 Princess VS has separate slurs in m. 36 and 37 (66 and 67). Edn prints a single slur, given
that there is only one “Ah!” in the underlay.
54.3–54.4 Princess Lib has: “They are wealthy”
No. 26
51.1 Piano, l.h. VS1 lacks the D accidental. It is in VS2.
53.1 Piano, l.h. VS1 lacks the C accidental. It is in VS2.
56.2 Piano VS1 lacks the 3’s marking triplets, although from the context triplets clearly are
intended. The 3’s are in VS2.
88.2 Piano VS has ƒ at start of m. 89. Edn moves it by analogy with m. 24.
10/’09
464 The Grand Duke
105.2, 107.2, Piano Dynamics in VS are ambiguous, but as they align with the eighth-note figures in
109.2, 111.2 the l.h., Edn places them lower than usual, to indicate that they apply to the l.h.
only. Dynamic in m. 105 is inferred by analogy with the other three measures.
118.2 Piano, r.h. VS has a top note of E. The orchestration has C, and it is confirmed on all re-
cordings surveyed. (Errata)
No. 27 This is the second song in Act II that was cut shortly after the première. It is in
VS, but it not in Lib or any later text. It is the only one of the three cut songs
that was also omitted from PS.
3, 51[r], 99[r], Piano, l.h. VS has:
147
The version printed in Edn is closer to the orchestration and easier on the pian-
ist. The staccato dot in VS at 3.1 seems to be just a stray mark. (Lichtenstein)
22–24, Prince Errata suggests that the underlay is incorrect, and that it should be altered to
70–72[r], “Vos louis d’or— Vos roues de charrette.” However, both Gilbert and Sullivan
118–120 spoke French well. Gilbert clearly wrote “Vos roues d’charrette,” so that the line
would rhyme with its companion, “Garçons, fillettes.” (The te of charrette and the
tes of fillettes are voiced, making both lines five syllables.) Similarly, “Vos louis
d’or” must rhyme with “Allons, encore.” LOC has “d’or-e” in the first verse, al-
though curiously not in the second or third verses.
John Ayldon of the D’Oyly Carte made this his signature song. On R5 he per-
forms it as Errata suggests, and no doubt many an amateur Prince of Monte
Carlo has followed his lead. However, on three of the four surveyed recordings
made before Ayldon’s (R1, R2, R3), as well as on R6 and R7, the performer ren-
dered the text as written without apparent difficulty.
23.6, 71.6[r], Prince VS has “d’charette,” as does LOC, but the correct spelling is “d’charrette.” The
119.6 error was more likely the printer’s than Gilbert’s. The word means “cartwheel,”
but it is slang for “a large coin.” (Lichtenstein)
44–46 All The first-night libretto has the Princess and the Costumier raking in the stakes
for this verse, but the Prince doing it in the other two verses. LOC has the Prince
doing it in all three verses. Edn follows the first-night text, but it is probably not
practical to have the Prince raking in the stakes for vv. 2 and 3.
44.6, 92.6[r], B VS has the basses singing F, a third lower. Edn adopts the reading in Sullivan’s
140.6 autograph, A , which is also confirmed in the cello and contrabass. It also makes
more sense harmonically, as the altos already sing the F an octave higher, but no
other voice part has the A . (Lichtenstein)
46.1 T, B VS has “broad”
46.6–50.1, Prince VS has the Prince doubling the chorus on the words, “The bank is bound to
94.6–98.1[r] win.” Sullivan’s autograph clearly notes, in what appears to be the composer’s
handwriting, “Last verse only.” (Lichtenstein)
10/’09
Critical Apparatus 465
52 Prince The word-setting here is awkward, in that the stress falls on an unimportant
word: “A” in “A cosmic game.” The third verse has a similar problem at m. 100,
with a stress on “The” in “The little ball’s a flirt inbred.”
This may not have been Sullivan’s intention. In his autograph scores, he gener-
ally wrote out only the first verse of a strophic movement, so minor differences
in word stresses might not have occurred to him until the song was put into re-
hearsal. He may very well have made a correction as follows:
This is exactly how he dealt with the same rhythmic figure at m. 12 (“The bird
will”) and m. 14 (“In wild attempt”). At m. 8 (“Set up a”) and m. 16 (“But you
may”), he left the melody on three eighth notes, as the word stresses there fell in
the right places. We cannot be certain he would have altered it, but the option
well worth considering.
85 Prince VS has “inpair”
116 All The direction “All stake again” is not in the first-night libretto, but it is clearly
implied by the context.
143–145 All None of the recordings surveyed perform this passage as written in VS. All have
a pause on both the word “bound” and the word “to,” and all seem to omit some
portion of the eighth-note run in the r.h. from mm. 143.5–144. A consensus
reading appears to be something resembling the example below:
The run of eighth notes in VS is actually doubled sixteenth notes in the orches-
tration. Lichtenstein points out that it would be awkward to cleanly execute a
rallentando in the middle of such a passage. VS agrees with Sullivan’s autograph,
but the passage was probably altered in rehearsal.
Lichtenstein also points out that the word “bound” is a much more satisfying
place for a fermata, not only because it is a more significant word than “to,” but
also because the Prince and the sopranos are on higher pitches, with a more
“open” sound. Given the unanimity of the surveyed recordings, I suspect that
this interpretation is supported in the early band parts.
The recordings aren’t exactly alike. This could be because the available band
parts don’t agree, or because conductors have devised ad hoc solutions to the
problem.
147.4 Piano, r.h. VS has the lower note as E (an eleventh below the upper G ,).
10/’09
466 The Grand Duke
No. 28
2–14 Chorus Lib doesn’t have the “Hurrah’s,” and there are some wording differences in the
verse:
Away to the wedding we’ll go
To summon the charioteers,
Though her rival’s emotion may flow
In the form of impetuous tears—
(The verse ends there.) The VS wording (which Edn follows) is a bit odd. It
refers to “our married careers,” but nothing in the story has suggested that the
chorus is getting married.
38a–44a All VS does not offer the alternative ending; it offers only mm. 38b–42b, leading
into Rudolph’s song. When that song was cut shortly after the première, Sulli-
van’s assistant, Wilfred Bendall, entered the revised ending into the composer’s
autograph. Hulme describes the ending as follows:
At the end of the chorus section prior to ‘Well, you’re a pretty kind of
fellow’ the chorus were given a crotchet E on “banns!” whilst the or-
chestra sustained E minor harmony through the bar. A tutti quaver
chord ended the number at the beginning of the next bar (Hulme,
p. 323, n. 138).
Measures 38a–44a in the main text are derived from these instructions. The ƒ
indication and ‘>’ accents on the final note of m. 44a are suggested by the inter-
pretation on R5.
R5 performs mm. 38a–44a, which brings No. 28a to a full stop and allows for
applause. It then continues to No. 28a without the chord at m. 43.1. In the edi-
tor’s opinion, this is the best option for the transition from No. 28 to No. 28a.
Seattle prints No. 28a, but revises the first note of m. 43 to an E in both the
chorus and the accompaniment, which is less satisfactory. It is performed thus
on R7. Among other recordings surveyed, R1–R3 and R6 perform mm. 38b–
42b, while R4 omits the passage altogether.
No. 28a This is the third of the three songs that were deleted within the first few days or
weeks after the first-night. It is in VS and PS, but it is not in Lib and later texts.
43.1 Piano VS has just D in octaves. The full diminished chord in Edn is derived from Sul-
livan’s autograph. (Lichtenstein)
48.6 Rudolph VS has E, but it has G in the second and third verses. Sullivan’s autograph has
G each time. (Lichtenstein)
68.4, 110.4[r], Piano VS has quarter note, eighth note. Edn prints eighth notes separated by an eighth
152.4[r] rest, as in Sullivan’s autograph. (Lichtenstein)
72.4, 114.4[r], Piano, r.h. VS has quarter note, eighth note. Edn prints eighth notes separated by an eighth
158.4[r] rest, as in Sullivan’s autograph, and by analogy with l.h. (Lichtenstein)
83.6 Chorus VS has “will”
125.3 Chorus VS has “me,” which is surely incorrect, as it is Rudolph, not the Chorus, who
has been driven mad.
165.3 Chorus VS has “will”
10/’09
Critical Apparatus 467
No. 29
Tempo All VS has “Andante giojoso.” Edn brings into agreement with No. 1. (Marks)
1.1.1 Piano, l.h. VS starts the movement with an eighth rest. The orchestration clearly has the
winds entering squarely on the first beat of the measure. (Errata; Marks; Lich-
tenstein).
8.1 Alto VS has the altos singing B on the first note of the measure, with the sopranos.
However, in No. 1, m. 19, which is otherwise identical, the altos remain on the
G they had just sung. It is unlikely that Sullivan changed just one note for the
altos, while leaving the surrounding text the same as No. 1. (Errata)
10 Chorus Lib has “bride”
14.1.2 Piano, r.h. VS has only the upper B. Edn expands to octaves by analogy with No. 1, m. 50.
See comment at No. 1, m. 1.1.2.
15 A Edn emends; see explanation for No. 1, m. 26.
24 Piano, l.h. VS has ‘>’ accents at 24.1 and 24.3. Edn transfers the second accent to m. 25.1,
by analogy with No. 1, mm. 60–61. (Lichtenstein)
28.3 Piano, r.h. VS has only the high F. Edn doubles an octave lower to strengthen the phrase;
see No. 1, m. 68.
31.3 Piano, r.h. VS lacks the top B. Edn supplies it by analogy with No. 1, m. 71.
36.3–36.4 Piano, l.h. VS has:
In the orchestration, the second half of the measure matches the first half, and it
is heard thus on all recordings surveyed except R1. (Errata, Seattle).
39 Piano, l.h. VS has two half-note tremolos. Edn emends for clarity. (Woods)
10/’09
468 The Grand Duke
Staccato Dots
Overture
20.4, 22.4 Piano, l.h. VS lacks staccato dots. See also No. 22, mm. 17 & 19, and No. 24, mm. 17 &
19.
78–85 Piano VS has staccato dots in m. 78, r.h. only.
114–123 Piano VS has “staccato” instruction at start of m. 114, but no actual dots are given.
214–223 Piano VS lacks staccato dots. These have been supplied by analogy with mm. 114–123.
Act I
No. 1a
98 Piano, l.h. VS lacks staccato dots.
136, 137, 140 Piano, l.h. VS lacks staccato dots.
193.1.1 Piano, r.h. VS lacks staccato dot.
No. 4
16–17 Piano, l.h. VS lacks staccato dots.
31.1.1 Piano, l.h. VS lacks staccato dot.
32 Piano VS lacks staccato dots in l.h., and in the last half of the measure in r.h.
34–35, 66, 70, Piano, l.h. VS lacks staccato dots.
72, 75, 79
54.2.2–55.1.2 Piano VS lacks staccato dots. The rhythmic pattern in the orchestra continues to the
end of Julia’s “I’d make you wish you’d never been created.” (Lichtenstein)
94, 97–100 Piano, r.h. VS lacks staccato dots. (Lichtenstein)
No. 6
2.2–3.1.1 Piano VS lacks staccato dots. I have relied on recordings—particularly R5, but con-
firmed by other recordings surveyed—to supply the missing staccati.
8–11, 37–40[r] Piano VS lacks staccato dots.
13–16, Piano VS lacks staccato dots.
42–45[r]
22, 51[r] Piano, l.h. VS lacks staccato dots.
23.2–24, Piano VS lacks staccato dots.
52.2–53[r]
25.2, 54.2[r] Piano VS lacks staccato dots.
68–69, 73–76 Piano, r.h. VS lacks staccato dots.
10/’09
Critical Apparatus 469
67–75, 76.2 Piano, l.h. VS lacks staccato dots.
77.2–78, 79.2, Piano VS lacks staccato dots.
86, 87.2–88,
89.2
105 Piano, l.h. VS lacks staccato dots.
No. 7
36, 75[r] Piano, l.h. VS lacks staccato dots.
No. 8
126.1.1 Piano, r.h. VS lacks staccato dot.
159–161 Piano, l.h. VS lacks staccato dots.
162–165 Piano VS lacks staccato dots.
No. 9
31.4–33 Piano A few of these notes lack staccato dots in VS. I have proceeded on the assump-
tion that they are all meant to be staccato, aside from the two slurred notes in m.
33. The voicing of m. 33 has been adjusted to make this clear.
No. 9a
110.2 Piano VS lacks staccato dot (both hands).
No. 10 Edn prints this movement twice. The measure numbers in the comments below
refer to the original version.
36,38 Piano, r.h. VS has staccato dots only on the first and second notes in the r.h in m. 36, and
only on the second and third notes in m. 38.
56, 58 Piano VS has staccato dots only on second and third notes of the r.h. in m. 56.
116, 118 Piano, r.h. VS has staccato dots only on the 1st and 2nd notes in the r.h in m. 116, and
only on the 2nd and 3rd notes in m. 118.
136, 138 Piano VS has staccato dots only on second and third notes of the r.h. in m. 136.
163–164, 167– Piano, r.h. VS lacks staccato dots.
168, 176, 179–
180, 183–184
No. 12 Edn prints this movement twice. The measure numbers in the comments below
refer to the original version.
22 Piano, l.h. VS lacks staccato dots.
24.1 Piano, l.h. VS lacks staccato dot on first note of the bar.
51–52 Piano VS lacks staccato dots. (Lichtenstein)
10/’09
470 The Grand Duke
54, 78[r] Piano, r.h. VS lacks staccato dots.
57–58, Piano VS lacks staccato dots.
81–82[r]
63.4–64, Piano, l.h. VS lacks staccato dots.
87.4–88[r]
248.1–250.1 Piano, l.h. VS lacks staccato dots.
293.1–295.1[r]
249.6, 250.1, Piano, r.h. VS lacks staccato dots.
294.6[r]
295.1[r]
260, 305[r] Piano, l.h. VS lacks staccato dots.
291.6, 336.6[r] Piano, r.h. VS lacks staccato dot.
337.1–340.1 Piano VS lacks staccato dots (both hands).
346.2–346.3, Piano, l.h. VS lacks staccato dots.
347.2–347.3,
348.3–348.4
417.1.1 Piano, r.h. VS lacks staccato dot. It is in analogous mm. 421, 434, and 451.
527, 551, 555, Piano, r.h. VS lacks staccato dots, but they are in analogous m. 531.
609, 613
569–570 Piano, l.h. VS lacks staccato dots.
578.4–582.1 Piano VS lacks staccato dots in l.h. for the entire passage; it lacks the final staccato dot
in the r.h.
607–608, Piano, r.h. VS lacks staccato dots, but they are in analogous mm. 525–526 and 529–530.
611–612
625.4, 626.2, Piano, r.h. VS lacks staccato dots.
626.4
625.2, 625.4, Piano, l.h. VS lacks staccato dots.
626.1–626.4
646.4 Piano VS lacks staccato dots, which are suggested by analogy with m. 648, l.h.
648.4 Piano, r.h. VS lacks staccato dots, although they are in l.h.
Act II
No. 14
15.3–17, Piano, r.h. VS lacks staccato dots.
54.3–56[r],
93.3–95[r]
15–17, Piano, l.h. VS lacks staccato dots.
54–56[r],
93–95[r]
10/’09
Critical Apparatus 471
26–29, Piano VS lacks staccato dots (both hands).
65–68[r],
104–107[r]
36–39, Piano VS lacks staccato dots (both hands).
75–78[r],
114–117[r]
No. 16
1.2.2–2.1.1 Piano, l.h. VS lacks staccato dots.
2.1.1 Piano, r.h. VS lacks staccato dot.
13 Piano The rhythmic/melodic pattern of m. 13 recurs several times in the movement.
No two of them are articulated identically in VS. Edn models all subsequent
occurrences on m.13, although some of the other options are not without merit.
No occurrence of this pattern has staccato dots in the l.h., and none have been
added, although they are arguably necessary.
17.1 Piano, r.h. VS lacks staccato dots.
32 Piano, l.h. VS lacks the ‘>’ accent in the second beat and the staccato dot in the fourth beat,
but they are in the r.h.
58.1 Piano, r.h. VS lacks staccato dots.
58.3 Piano, r.h. VS has a staccato dot on the first note of the beat, rather than on the second.
Also, in VS the slur over the quintuplet in the second beat does not carry over to
the third beat, as it does in mm. 13–14 and mm. 17–18.
59.1 Piano, r.h. VS has a staccato dot, and the slur over the quintuplet in the fourth beat of m.
58 does not carry over to m. 59.
60.1 Piano, r.h. VS lacks staccato dots.
60.3.2 Piano, r.h. VS lacks staccato dot.
No. 17
10 Piano, l.h. VS lacks staccato dots, but they are in m. 9.
68–73.1, Piano, r.h. VS lacks staccato dots.
74–75.1
72–73.1, Piano, l.h. VS lacks staccato dots.
74–75.1
No. 18
29.1 Piano, r.h. VS lacks staccato dot.
10/’09
472 The Grand Duke
No. 19
25.3–26.1, Piano, l.h. VS lacks staccato dots.
27.3–28.1,
29.3–30.1,
31.3–32.1
112–117.2, Piano, r.h. VS lacks staccato dots.
119.2–125.1
118.2–119.1, Piano, l.h. VS lacks staccato dots. (Lichtenstein)
125.2–127.1
157–173 Piano VS lacks all staccato dots except m. 158 and m. 166.2. The orchestration sus-
tains the same rhythmic pattern throughout the entire passage, which is also
similar to mm. 111–127. (Lichtenstein)
159–166.1, Piano, r.h. VS lacks staccato dots.
167–173.1.1
161.2, 163.2, Piano, l.h. VS lacks staccato dots.
165.2, 167.2
189–194 Piano VS lacks staccato dots; supplied by analogy with m. 151 et seq., and confirmed in
orchestration. (Lichtenstein)
No. 23
1.10 Piano, r.h. VS lacks staccato dot.
3.10, 4.4 Piano VS lacks staccato dots (both hands).
6.4, 6.10, Piano, l.h. VS lacks staccato dots.
7.4, 7.10
11.10, 12.4 Piano VS lacks staccato dots (both hands).
14.4 Piano, l.h. VS lacks staccato dot.
14.10, 15.4, Piano VS lacks staccato dots (both hands).
15.10
19.10 Piano, l.h. VS lacks staccato dot.
29.10 Piano, l.h. VS lacks staccato dot.
30.4 Piano VS lacks staccato dots (both hands).
32.4, 32.10, Piano VS lacks staccato dots (both hands).
33.4, 33.10
39.1 Piano, l.h. VS lacks staccato dot.
No. 24
17.4 Piano VS lacks staccato dots (both hands).
18.4 Piano, r.h. VS lacks staccato dot on the final note of the triplet.
19.4 Piano, l.h. VS lacks staccato dots.
10/’09
Critical Apparatus 473
39.1 Piano, l.h. VS lacks staccato dot.
No. 25
69.3, 70.1 Piano VS lacks staccato dots, except for m. 69.3 in the r.h. only. In the orchestration,
the final two chords are played by pizzicato strings, so staccato in the piano part
is appropriate. (Lichtenstein)
No. 26
41.1.2 Piano, r.h. VS lacks staccato dot.
41, 45, 49, 57 Piano, l.h. VS lacks staccato dots.
42.1.1, 46.1.1, Piano VS lacks staccato dots (both hands).
50.1.1, 58.1.1
61–62.1.1 Piano VS lacks staccato dots (both hands).
65 Piano In the r.h., VS lacks the first and third dot. In the l.h., VS lacks all dots.
66.1.1 Piano VS lacks staccato dots (both hands).
No. 27
3.4, 51.4[r], Piano, l.h. VS lacks staccato dots.
147.1, 147.4
No. 28
25 Piano, l.h. VS lacks staccato dots.
29 Piano VS lacks staccato dots (both hands).
10/’09
474 The Grand Duke
Courtesy Accidentals
Overture
143.3 Piano, l.h. VS1 lacks the C courtesy accidentals. They are in VS2.
Act I
No. 1
24.2.1 Bass VS1 lacks the A courtesy accidental. It is in VS2.
No. 2
43.3 Piano, r.h. VS1 lacks the B courtesy accidental. It is in VS2.
No. 3
26.3, 81.3[r] Piano, l.h. VS1 lacks the C courtesy accidental. It is in VS2.
47.3, 102.3[r] Piano, r.h. VS1 lacks the C courtesy accidental. It is in VS2.
No. 4
54.1.2 Piano, l.h. VS1 lacks the courtesy F accidental. It is in VS2.
119.3, 123.3[r] Piano, r.h. VS1 lacks the G courtesy accidental. It is in VS2.
No. 8
29, 75[r] Piano, l.h. VS1 lacks the B courtesy accidental. It is in VS2.
No. 9
35.3 Piano, l.h. VS1 lacks the G courtesy accidentals. They are in VS2.
54.1 Piano, r.h. VS1 lacks the F courtesy accidental. It is in VS2.
No. 9a
64.4 Piano, l.h. VS1 lacks the G courtesy accidental. It is in VS2.
No. 12
12.4.2 Piano, r.h. VS1 lacks the G courtesy accidental. It is in VS2.
71.4 Piano, r.h. VS1 lacks the A courtesy accidental. It is in VS2.
120.2 Notary, VS1 lacks the B courtesy accidentals. They are in VS2.
Piano, r.h.
10/’09
Critical Apparatus 475
383.2.2 Piano, r.h. VS1 lacks the G courtesy accidental. It is in VS2.
617.1 Piano, l.h. VS1 lacks the B courtesy accidentals. They are in VS2.
No. 15
32.2, 65.2[r] Piano, r.h. VS1 lacks the D courtesy accidental. It is in VS2.
No. 17
31.4.2 Baroness VS1 lacks the A courtesy accidental. It is in VS2.
32.2.1 Baroness VS1 lacks the A courtesy accidental. It is in VS2.
47.4, 51.4, Piano, r.h. VS1 lacks the G courtesy accidental. It is in VS2.
77.4, 81.4
78.4, 82.4 Piano, r.h. VS1 lacks the B courtesy accidentals. They are in VS2.
95.1 S VS1 lacks the E courtesy accidental. It is in VS2.
96 S VS1 lacks the E courtesy accidental. It is in VS2.
96.1 Piano, r.h. VS1 has an extraneous E courtesy accidental (as in m. 96). It is not in VS2.
No. 18
34.5 Piano, r.h. VS1 lacks the E courtesy accidental. It is in VS2.
No. 19
28.5 Piano, r.h. VS1 lacks the A courtesy accidental. It is in VS2.
69.4 Piano, r.h. VS1 lacks the A courtesy accidental. It is in VS2.
75.1 Piano, r.h. VS1 lacks the G courtesy accidental. It is in VS2.
83.1 Piano, r.h. VS1 lacks the C courtesy accidental. It is in VS2. (Edn adds courtesy A .)
144.2 Piano, l.h. VS1 lacks the B courtesy accidental. It is in VS2.
187.2 Piano, l.h. VS1 lacks the C courtesy accidental. It is in VS2.
No. 20
10.4, 10.7, Piano, r.h. VS1 lacks the F and G courtesy accidentals. They are in VS2.
20.4, 20.7
83.2 Ernest VS1 lacks the D courtesy accidental. It is in VS2.
92.3 Ernest VS1 lacks the B courtesy accidental. It is in VS2.
No. 21
25.4, 67.4[r] Piano, r.h. VS1 lacks the G courtesy accidental. It is in VS2.
10/’09
476 The Grand Duke
No. 22
23.2 Piano, l.h. VS1 lacks the A courtesy accidental. It is in VS2.
No. 26
24.1.1 Piano, r.h. VS1 lacks the G courtesy accidental. It is in VS2.
99.2.2 Piano, r.h. VS1 lacks the G courtesy accidental. It is in VS2.
No. 27
17.3, 65.3[r] Piano, r.h. VS1 lacks the B courtesy accidental. It is in VS2.
41.1, 89.1[r] Piano, r.h. VS1 lacks the C courtesy accidental. It is in VS2. The editor of VS2 did not
add the courtesy accidental at the analogous m. 137.1 (Edn supplies it).
No. 28a
62.5, 104.5[r], Piano, r.h. VS1 lacks the E courtesy accidental. It is in VS2.
146.5[r]
76.1, 118.1[r], Piano, r.h. VS1 lacks the E courtesy accidental. It is in VS2.
160.1[r]
84.1, 126.1[r], Piano, r.h. VS1 lacks the E courtesy accidental. It is in VS2.
168.1[r]
84.6, 126.6[r], A VS1 lacks the E courtesy accidental. It is in VS2.
168.6[r]
No. 29
13.3 Bass VS1 lacks the A courtesy accidental. It is in VS2.
19.2 S, A, VS1 lacks the B courtesy accidentals. VS2 adds courtesy B ’s for Soprano and
Piano, r.h. Alto, but also a clearly erroneous B for the piano. VS2 does not have courtesy
naturals in analogous No. 1, mm. 30 and 55 (Edn supplies them).
31.1 Alto VS1 lacks the F courtesy accidental. It is in VS2. VS2 does not have a courtesy
accidental in analogous No. 1, m. 71 (Edn supplies it).
10/’09
477
10/’09
478 The Grand Duke
Early Press Reviews
The reviews from the Times, The Athenæum, the Musical Times, and The Year’s Music 1897 are
available on the Savoy Opera Reviews website,1 maintained by Helga J. Perry. These transcrip-
tions are by Ms. Perry, with corrections by Marc Shepherd.
The reviews from the Pall Mall Gazette and the Musical Standard are transcribed from the Sir
Arthur Sullivan Society’s centenary booklet, The Grand Duke: 1896–1996 (pp. 1–2 and 19–21 re-
spectively).
The review from The Illustrated London News is from a copy in the editor’s collection.
The Times
SAVOY THEATRE. The Times 1896 March 9 34833:7, col. 5 [unsigned review]
The welcome accorded to a new Gilbert-and-Sullivan opera increases, perhaps not unnatu-
rally, with each member of the famous series, and its warmth is all the greater on account of the
regrettable intermissions in the partnership. But the former works themselves are, as usual, the
severest critics of the newer; and, in the case of the opera produced on Saturday night, the recent
revival of the best of the whole set inevitably provokes awkward comparisons. The Grand Duke is
not by any means another Mikado, and, though it is far from being the least attractive of the se-
ries, signs are not wanting that the rich vein which the collaborators and their various followers
have worked for so many years is at last dangerously near exhaustion. This time the libretto is
very conspicuously inferior to the music. There are still a number of excellent songs, but the dia-
logue seems to have lost much of its crispness, the turning-point of what plot there is requires
considerable intellectual application before it can be thoroughly grasped, and some of the jests
are beaten out terribly thin. There is doubtless much still to be made out of the time-honoured
jokes on the parsimonious disposition of the smaller German Courts; but to occupy the greater
half of an exceedingly long act with virtually nothing else is surely a mistake on Mr. Gilbert’s
part.
The less intricate conditions of the “statutory duel” which provides the sub-title for the piece
are that the combatants settle their differences by means of drawing cards; the holder of the
lower card forthwith becomes civilly dead, and the survivor takes over his responsibilities, includ-
ing his poor relations, and generally steps into his shoes. After two such encounters, the leading
actor in the theatrical company of Speisesaal succeeds to the position, first of his own manager,
and shortly afterwards to that of the Grand Duke, who, hearing of a conspiracy to blow him up,
is only too ready to arrange that, while he draws a king, the comedian shall draw an ace and en-
ter into his dignities. As the actor is on the eve of marriage with the soubrette of the troupe, and
as a rule has been passed that stations about the Court shall be distributed to the company ac-
cording to professional position, the leading lady, with feigned reluctance, feels bound to under-
take the part of the Grand Duchess; the elderly fiancée of the real Grand Duke insists on being
transferred to the new ruler, and finally the Princess of Monte Carlo, to whom the Duke was
betrothed in infancy, turns up unexpectedly and establishes her prior rights. The resuscitation of
the manager and the Grand Duke is contrived by the discovery of a rule that the ace shall rank as
1 http://www.savoyoperas.org.uk/duke/
10/’09
Early Press Reviews 479
lowest card of the pack, and of course the various ladies, some of whom appear to have been ac-
tually married to the actor, find suitable partners before the fall of the curtain.
Though there are next to no topical allusions, the dialogue has a considerable number of
whimsical ideas, and when these have been brought nearer to each other by the compression of
much that makes the first act and the latter part of the second seem a little tedious, their effect
will, no doubt, be increased. “Drains that date back to the reign of Charlemagne” is a phrase that
deserves to pass into the language; the ceremonial observed by the seven chamberlains, and their
costumes, carefully graduated in the matter of ornament according to their official rank; the
adoption of Greek costume by the actor-duke and his Court, he himself appearing in a splendid
Louis XIV wig; and the “job lot” of noblemen, hired from a Jew costumier by the Prince of
Monte Carlo – these are among the best things in the piece.
It is a good many years since the composer has given us anything so fine as the opening cho-
rus of the second act, with a sham-Greek refrain, a melody so spontaneous, dignified, and origi-
nal that it seems hardly suited to its surroundings, or to the taste of most of the audience. From
this point, up to and including the tuneful song in which the herald introduces the Prince of
Monte Carlo, is, musically speaking, the best part of the work; the actor-duke’s exceedingly
funny song about the manners and customs of ancient Greece, the clever duet in which the
“leading lady” gives her “notion of a first-rate part,” her scena “So ends my dream,” written in
evident imitation and derision of the conventional operatic aria of the last generation, and the
elderly baroness’s drinking song, which sets out with a reminiscence of the Irish tune “Kate
Kearney,” are all certain to be popular. The first act contains a number of pretty choruses, some
concerted vocal numbers as effective as usual, and a capital march of the chamberlains, all neatly
finished and in strict conformity with the pattern established for such things a good many years
ago. That form of instrumental humour, in which Sir Arthur Sullivan has delighted ever since
the famous “bassoon joke” in The Sorcerer,1 finds excellent opportunity in a song in which the
grand duke describes his ailments, to the accompaniment of some orchestral symptoms so realis-
tic as to be almost painful. After the entry of the Monte Carlo family in the second act the music
is of slighter importance, and the prince’s song, in the course of which a roulette table is pro-
duced, makes remarkably little effect. The overture consists of a string of tunes that are likely to
be most popular.
The “topsy-turvy” element that is looked for in Mr. Gilbert’s work is provided by the curious
expedient of giving the part of the leading lady of the theatrical company, an English comedi-
enne, to a foreign singer, whose broken English is to be taken as representing the broken Ger-
man of the English performer in a German company. The thing is a little hard to realize, but as
the pretty broken English of the singer was greeted with roars of laughter the curious device must
be considered successful. The distinguished Hungarian soubrette Mme. Ilka von Palmay, who
made her first appearance in London last summer with the Saxe-Coburg Company, has consid-
erably improved and toned down her method, or possibly she is fortunately hampered by her
incomplete command of English. Her voice, though far from pleasing, is used with much art,
and her delivery of the song in the second act, with its cantabile beginning and brilliant close,
fully deserved the encore it received on Saturday. Her resources were fully equal to the scene in
which she gives a burlesque specimen of tragic acting, and throughout the second act at least she
was entirely successful.
1 Presumably a reference to the use of the bassoon in Mr. Wells’s patter song, though it is surprising to
learn that this was ever considered “famous.”
10/’09
480 The Grand Duke
Miss Florence Perry, who must be warned against a growing tendency both to force her small
voice and to overact, wins much approval in the part of Lisa; Miss Emmie Owen makes the most
of the small part of the princess; and Miss Rosina Brandram is as artistic as ever in the part of the
baroness, adding yet another to her series of careful portraits of elderly and amorous ladies. Mr.
Rutland Barrington, on whom, as now usual, falls the chief burden of the piece, is intensely
funny as Ludwig, more especially in the absurd costume of the second act, of which the most is
made. Mr. Charles Kenningham sings the part of the manager with much care, but spoils it by
exaggeration of gesture. Mr. Walter Passmore, in the character of the stingy and dyspeptic grand
duke, comes nearer to Mr. Grossmith’s level than he has done yet, and his delivery of the songs is
in some respects very good. The capital song in which he is obliged to keep back a sneeze until
his handkerchief is pompously handed from the “Acting-Temporary-Sub-Deputy-Assistant Vice-
Chamberlain” to his superior, and so with much state from one of the seven officials to another,
was received with much enthusiasm.
Mr. Scott Fishe is an excellent Prince of Monte Carlo; but the effect of his roulette song is
thrown into the shade by the herald’s song with chorus, one of the most taking things in the op-
era, in which Mr. J. Hewson was deservedly encored. Mr. Scott Russell was successful as a notary
with the engaging name of Dr. Tannhäuser, and the quintet in which he took part in the first act
was encored. The same compliment was bestowed on Mr. Barrington’s two songs, the first of
which relates the awkward effects of carrying out too faithfully the rule of the secret society
which orders the consumption of a sausage-roll as the sign of confederacy; on Lisa’s pretty song,
in which she commends the faithless Ludwig to her rival's care; on the soprano scena already
mentioned; and on the herald’s song.
The chorus and orchestra are excellent as usual. On Saturday night the opera was conducted
by the composer, and went without a hitch of any kind; and the famous Savoy triumvirate were
called and warmly applauded at the end. The scenery, dresses, and mounting are as usual irre-
proachable, and the street perspective in the first scene is one of the most successful things of the
kind ever seen on the stage.
Pall Mall Gazette
The Grand Duke at the Savoy: The New Gilbert–Sullivan Opera. Pall Mall Gazette, 9 March
1896
When the last of the Gilbert–Sullivan operas, Utopia, Limited, was produced, it became more
or less the fashion to say that the humour of the famous series was practically worked out. Gil-
bert, it was murmured, had no new jest, Sullivan had no new melodies. The public, in a word,
was satiated with the goodness of the fare provided for it; it asked for something more rank,
more common, and would have welcomed in place of Utopia, the more flashy attractions of La
Fille de Madame Angot or Olivette with rapture and joy. We are, therefore, curious to note what
the public reception of yet another work from these two eminent pens, The Grand Duke; or, The
Statutory Duel, will be, after the long interval of silly burlesques and aimless musical excursions
of a lighter kind.
For the fact is that The Grand Duke may claim to stand in the first rank of comic operas. It
has the best qualities of the best of them. Never was Mr. Gilbert more humorously or more au-
daciously inspired; never has Sir Arthur Sullivan better proved the fineness of his sense of mel-
ody, his instinct of musical humour, his sentiment for the orchestra. Yet because, poor men! they
have written thirteen operas, they are made, by a certain critical section of the public, to endure
the penalties of their endless inspiration, and at the hands of this body work is indulgently
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praised which, written sixteen years ago, would have been received with probably the same rap-
ture as greeted the advent of Pinafore. We make these remarks in self-defence; for we have no
intention of confounding the past with the present, or of judging the new opera out of a kind of
cumulative experience, deducible from our knowledge of its thirteen predecessors.
There is no necessity for describing Mr. Gilbert’s admirably ingenious plot in great de-
tail…from end to end, the writing is strong and witty: the prose is rhythmical and full of natural
swing; and the lyrics and patter verses could not be bettered for their purposes.
To turn to Sir Arthur Sullivan’s music, it would be easy to take number by number, and to
label each with appropriate epithets. That would, however, scarcely convey any general impres-
sion of a work which possesses a very strong character that pervades it throughout as a kind of
quality. We prefer to state our general impression, illustrating it at intervals by particular in-
stances. The first act is a miniature masterpiece of musical merriment. It is like Shakespeare’s
Fenton; it “smells of April and May, it talks of holiday, it has eyes of youth.” The level is singu-
larly smooth; from chorus to madrigal, from madrigal to mad eccentricity, from sad solo to pae-
ans of joy, there is the same element of vital delight and of movement, as it were, of particle
within particle, like the movement of the atmosphere on a summer’s day. The musically de-
scribed secret sign of the “Sausage Roll” – the sign of brotherhood in conspiracy – an “Allegro
marziale e misterioso,” has the broad elements of the most laughable burlesque combined with so
rare a refinement, that one’s laughter is ever upon the edge of gravity, yet ever rebutting and de-
feating gravity so victoriously that laughter here attains a responsibility which belongs to it rarely
in the range of humour. The dancing duet between the Baroness von Krakenfeldt and the Grand
duke has a broader sentiment, and the melody is rightly more obvious; but it is none the less
charming, humorous, and melodious music. The sudden solo – as in that exquisite passage, “My
Lord Grand Duke, farewell,” a brief page of mock pathos written with the artfulest simplicity –
now broadening into triumphant concert (as in the humorous “Sing hey the jolly jinks of Pfen-
nig-Halbpfennig,”) that one is bewildered by their ever-complex yet ever-simple aim. We spe-
cially note the madrigal of the first act, which is a noble example of part writing.
Of the second act we may speak more briefly, but, we think, more concisely. With one mo-
mentary swing out of its high achievement – we mean the episode of the roulette table – it rises
musically to a level of rare musical humour that must always be artistically memorable. This is
the pure champagne of music. We are sure that no sensible person will misunderstand our mean-
ing; nor are we attempting to place Sullivan in any list of musicians; but we deliberately say, after
careful consideration, remembering our Audran, our Planquette, yes, our Auber and our idolized
Offenbach, that since the death of Mozart, Sullivan alone could have written an act so full of the
very essence of musical humour as this act contains. Humour is vital; it springs, it flies, but it
must also be technically excellent, and, for music, musically informed. Every one of these quali-
ties is fulfilled in four-fifths of this act, from its noble, austere, yet most laughably humorous
opening chorus, past that exquisite song, “Take care of him,” with its variety of lovely half-closes;
the song “All is darkness,” with its refined double sentiment; the melody, “The Prince of Monte
Carlo” – a height in the more farcical side of musical humour, which marks the summit of Sulli-
van’s work in this province – to the final gay chorus, thronging with harmonies, with happy bells
and with reckless enthusiasm. Let so much suffice.
The singing, playing, and acting were alike admirable. One word, the best we can give her,
will suffice for Mdme. von Palmay, the leading soprano, who took the part of Julia – she has ge-
nius. Her humour is delightful; her action and movement are enthralling; her voice is singularly
melodious; and her acting is superb. Her soliloquy in the second act is quite masterly. Mr. Rut-
land Barrington as Ludwig, the leading comedian of the theatrical troop [sic] in the opera, bears
the brunt of the work on his broad shoulders; and he has never before shown so solid and so de-
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lightful a humour; his mere appearance in Greek costume and a Louis Quatorze wig should
make the fortune of the piece. Miss Rosina Brandram was more charming than ever; Miss Flo-
rence Perry was exceedingly attractive; Miss Emmie Owen was most pleasant; Mr. Hewson, as
the Herald, made a decided hit; and Messrs. Scott Russell and Charles Kenningham were not a
shade below their well known and admirable standard. The chorus and orchestra could not have
been improved. Great is the glory of the Savoy, and great the honour and glory of the delightful
artists of The Grand Duke.
Musical Standard
The New Savoy Opera. A Gilbert and Sullivan ‘Ghoest’? Musical Standard, [date?]1
It is absurd, of course, to expect a mine to be workable for ever, and it is equally absurd to
pretend that one can observe no falling off in the quality of the precious stones brought to the
surface. They may be beautiful compared to glass but they are not what they were, nor are they
found in such large quantities. We did not attend The Grand Duke, produced at the Savoy Thea-
tre last Saturday, with any hope that a new vein had been found in the Gilbert–Sullivan mine,
but all the same there was a sense of disappointment in the evident fact that the mine is giving
out.
In Mr. Gilbert’s libretto one of the characters, for the sake of rhyme, pronounces ghost as
ghoest, and we may be pardoned if we call the Grand Duke a ‘ghoest’ of Gilbert and Sullivan; it
is a robust and convincing ‘ghost’ but still a ghost for all that. We are not sure whose is the fault.
Mr. Gilbert is more Gilbertian than ever, and Sir Arthur Sullivan is more Sullivanesque than
ever. They have studied their former selves, as if in a looking glass whose surface is not true – and
the result is something of a distortion. Can it be, however, one asks oneself in all sincerity, that
the taste for the peculiar bitter-sweet of Gilbert and Sullivan opera has died from a want of sus-
tenance, never to be brought to life again? One thinks of The Mikado as an answer, and many
fresh, original melodies spring to mind and many witticisms still tickle one’s sense of humour.
One thinks of The Grand Duke and one is only dimly conscious of melodious music (a quite dif-
ferent thing to melody) and of a witticism which, like some of the silver work of the East, is
beaten out to a marvellous thinness.
Almost, too, the present work is an essay in the methods by which Gilbert and Sullivan pro-
duce their effects; it is, as it were, the theory of Savoy opera, founded on the more spontaneous
success of the past. The librettist becomes tiresome in his dialogue: the funny effect of incongru-
ously pompous language grows wearisome to the ear and mind; and the ‘topsy-turveyness’ of the
whole something of an infliction. The range of satire is small; and we thought we detected a note
of commonness and vulgarity, which was not to be heard in Gilbert’s former work. For instance,
the song in which the Grand Duke describes the symptoms of the disease as ‘jim-jams’ contains
several very nasty lines, and in other places in the libretto, notably in the ‘sausage roll’ episode,
the jokes are decidedly common. Sir Arthur Sullivan, too, has coarsened his methods, mainly by
drawing himself on a larger scale than life; his orchestral humour, which used to be so delicate, is
now of the kind that the gallery and pit can readily understand: of a kind that even a music hall
audience could grasp.
1 Neither of the sources that mention the review (Allen or the Sir Arthur Sullivan Society pamphlet) pro-
vide a date. The title of the review is given in Allen (p. 415).
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Early Press Reviews 483
The full title of the opera is The Grand Duke; or, The Statutory Duel. It is the second title that
has spoilt the opera in many ways. The idea of deciding the duel by the combatants drawing
cards, the lowest of which shall be accounted legal death, is happy enough:
The winner shall adopt
The loser’s poor relations—
Discharge his debts,
Pay all his bets,
And take his obligations.
It may be imagined that this leads to much Gilbertian fun, but the machinery of the duel, and
the situations arising from it, are so complex that we doubt if half the audience really under-
stands the plot. Besides, though it is laid down that the winners have to take all the obligations
of [the] losers on themselves, this is not made much of except with regard to the elderly woman
whom the ultimate winner of the duels, Ludwig, is obliged to wed because she was the affianced
bride of the loser, the Grand Duke Rudolph. It seems to us that Mr. Gilbert has missed such fun
as lay in the main idea by making Ludwig start quite a new régime, without attempting to take
the obligation of the Grand Duke upon his shoulders; the same situation is worked out very
much better in Mr. Anthony Hope’s The Prisoner of Zenda, or, rather, in the dramatic version of
the story, in which real humour is extracted from the hero’s attempt to play the king and observe
the rigid etiquette of the court. Then, again, the subsidiary humour of the libretto is thin, very
thin. We have all heard of the parsimonious sordid comedy of small German courts (Thackeray
had much to say on the subject) and we grow a-weary of too vigorous beating out of an atte-
nuated joke (in Germany no doubt this part of The Grand Duke will be very popular, and per-
haps the author had an eye on the audiences in the Fatherland).…
Mr. Gilbert is decidedly at his best in the first half of the second act, when we have left the
tiresome statutory duels and sausage rolls far behind us. Ludwig’s song, descriptive of his at-
tempts to inaugurate his reign by introducing Greek dress, and the obvious (rather too obvious!)
disadvantage of that scanty attire; the arrival of the Prince of Monte Carlo with his retinue of a
‘job-lot of second hand nobles’; and before that, the scene between Ludwig and the English ac-
tress in which she tells us how she would act the part of the wife to the Grand Duke, are Gilbert
almost at his best.
Sir Arthur Sullivan’s work is perhaps on a higher level than his collaborator; that is to say it
never falls to as low a level. The patter songs are of the pattern to which we are accustomed from
Sir Arthur, and the same may be said of the choruses. There is much absolute beauty in the
work, but – and so big a but! – the invention of themes is poor, comparatively speaking. We
have a sentimental Sullivan, a dexterous weaver of patter songs, an orchestral buffoon and a clev-
er musician, but we do not get Sullivan of the Savoy, except as we have already pointed out,
when he gives a distorted reflection of himself. In The Mikado, for instance, there were songs
which could not have been written by anyone but Sullivan – they were original, individualistic
and quaint. There are attempts at the same thing in The Grand Duke, but they are not much
more than attempts. On the other hand the composer has introduced a new form of humour
(taken from Die Meistersinger) in the manner in which he ridiculed the old-fashioned aria of the
old-fashioned opera. The effect is really intensely funny, but the audience, as a whole, were quite
incapable of grasping this kind of musical fun, and they applauded it from a real appreciation of
the ritournelles and did not laugh at all. The quintet ‘Strange the views some people hold’ in
which the duel by cards is extolled, is a wonderful bit of musical humour – an exact copy, in all
seriousness, of the regulation operatic quintet. And then the character of the music is so entirely
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484 The Grand Duke
at variance with the words sung that we really get musical humour of an ironic sort – the au-
dience swallowed it as pure music and insisted on an encore. Then the opening chorus of the
second act is actually beautiful as music, almost too good for comic opera. In fact in the second
act we get the best work of Gilbert and the best work of Sullivan. Song after song is good here,
and we must call attention to Lisa’s ‘Take care of him – he’s much too good to live’, in old aria
form – with a delightful ritournelle at the end of each verse.
On the whole Sir Arthur Sullivan has done better than his librettist, and perhaps would have
done better still if he had not been dullened by that sausage roll; for in spite of the fact that there
is nothing like the same originality as is to be found in his earlier scores, the music of The Grand
Duke is melodious, bright and interesting and at times quite beautiful. If the opera could only be
compressed, for it becomes very wearisome in places, we should have little but praise to give it;
for indeed one does not criticise The Grand Duke from the standard of ordinary comic opera, to
which it is immensely superior, but from the past achievements of Gilbert and Sullivan.
The performance, of course, was characterised by all that care for detail which we expect at
the Savoy, where the prince of stage managers, Mr. W. S. Gilbert, reigns supreme. The acting of
the chorus gives wonderful life and go to the production, and nowhere, not even at Bayreuth, is
the like to be seen. The histrionic success of the piece is the English actress, Julia Jellicoe, of
Mme. Ilka von Palmay, the talented lady who made her first appearance here with the Coburg
Troupe last year. It was a whimsical idea to make the Germans in the opera speak pure English,
and to give the part of the Englishwoman to a German singer. Besides its ‘topsy-turveyness’ there
is a practical ingeniousness in the idea, because if Julia Jellicoe had spoken English the only
course would have been to make the rest of the theatrical company sing either in German or
broken English, for a good deal of fun is centred round the fact that the actress is foreign. Mme.
von Palmay has a pleasing voice of rare freshness, and her acting quite lifted the piece when she
was on the stage. There is a great charm in all she does, a good deal because she enters heart and
soul into her work, without exhibiting any of that self-consciousness which so often detracts
from the convincing power of a performance. Her scene with Ludwig, in which she shows him
her idea of ‘a first rate part’ was acted so well that the audience burst into genuine and hearty
applause (we use the well known adjectives because most of the applause during the evening was
somewhat lukewarm). The strange thing is that in this scene Mme. von Palmay reproduces the
conventional tone of voice and gesture of the ordinary tragedy actress.
Miss Florence Perry is satisfactory as Lisa, and Miss Rosina Brandram does all she can with
the regulation Savoy elderly lady, of whom we are not a little tired. Mr. Charles Kenningham has
not much of a part as the theatrical manager and he did fairly well with it. But the weight of the
whole piece a good deal rests on the massive shoulders of Mr. Rutland Barrington, who acts
throughout with a curious appreciation of Gilbertian humour, one of the characteristics of which
is a frank avowal of unreality as far as the actors on the stage are concerned. Mr. Barrington un-
ctuously takes the audience into his confidence, and we are quite conscious he is only making a
fool of himself for our benefit. Of the rest Mr. Walter Passmore is excellent as the Grand Duke,
but his methods are a trifle unrefined for the Savoy. Mr. Scott Fishe makes the small part of the
Prince of Monte Carlo delightfully comic.
Although we have described The Grand Duke as a kind of ‘ghoest’ of Gilbert and Sullivan op-
eras, it must be confessed that it is one of the most entertaining pieces now running in London;
for two such clever men as the composer and the librettist could not possibly produce a work
which should be wanting in amusing qualities. All we miss is the spontaneity which used to in-
form the whole of Savoy opera; in The Grand Duke we only get purple patches of inspiration,
and the rest of the colour seems pale by comparison.
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Early Press Reviews 485
Figure 2. The Illustrated London News of 14 March 1896.
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486 The Grand Duke
The Athenæum
Musical Gossip. The Athenæum: Journal of English and foreign literature, science, the fine
arts, music and the drama 1896 March 14 3568:353 [unsigned review]
Mr. W. S. Gilbert and Sir Arthur Sullivan are in partnership once more, and their latest fan-
tastic opera ‘The Grand Duke,’ produced at the Savoy Theatre last Saturday evening, may be
fairly pronounced of average merit. Neither in libretto or in music is it equal to ‘H.M.S. Pina-
fore,’ ‘Patience,’ ‘The Mikado,’ or ‘The Yeomen of the Guard,’ but it is not in the least degree
unworthy either of the dramatist or the composer, there being a fairly large number of humorous
lines in the book, and in the score certainly a sufficient measure of Sullivanesque music, bright
and piquantly orchestrated. Among those who take part in this latest example of what is gener-
ally known as Gilbertian topsy-turvydom the most commendable are Messrs. Walter Passmore,
Charles Kenningham, Rutland Barrington, and R. Scott Fishe, Mesdames Ilka von Palmay and
Florence Perry, and Miss Rosina Brandram. The scenes and costumes are excellent in a pictorial
sense.
The Illustrated London News
“THE GRAND DUKE,” AT THE SAVOY. 1896 March 14: p. 327 [unsigned review]
On Saturday night, March 7, the new Gilbert–Sullivan opera was produced, after too long
and interval, before an audience literally bursting with fervour and enthusiasm at the Savoy
Theatre. Nor was that enthusiasm by any means undeserved. Never was mr. Gilbert finer in the
acrimony, the subtlety, the literary incisiveness of his wit; never so complexly simple in his plot,
so ready with endless dramatically humorous situations. Never either, was Sir Arthur Sullivan
more attuned to the wit of his colleague, more inspired by the comic Muse herself, more inex-
haustible in his novel combinations or in the refinement of his orchestration than upon the occa-
sion of his latest opportunity. Therefore was the enthusiasm justified, as we shall further attempt
to show.
In some quarters there has been a certain complaint that the plot of the new piece is not direct
enough—is not, in fact, easy enough to understand. The gentlemen who make such a complaint
find themselves, in Mr. Gilbert’s own phrase, “unequal to the pressure of the conversation,” a
disability which they also find “extremely annoying.” From this complaining crowd we beg leave
entirely to dissent. All Mr. Gilbert’s plots require some attention; and we fear that the present
grumble has arisen from the sad but customary baldness of incident to which London has been
made used during the past two years of blank musical comedy. The new plot is direct enough. It
depends upon the existence of a law which runs from century to century, but, if allowed to lapse
at the end of any hundred years, lapses altogether. This is the law of the “statutory duel,” by
which bloodshed in duelling may always be avoided. The combatants in this event draw cards
from a pack; the drawer of the highest card wins, and, as a consequence, has to accept all the
natural and other responsibilities of his opponent, who becomes civilly dead until the law should
lapse, if it ever should lapse. The opera opens when the century in which the law is valid has but
a day to run. At Speisesaal, the capital of the Grand Duchy of Pfennig-Halbpfennig, a theatrical
troupe has arranged a plot to dethrone the Grand Duke and place the manager of the troupe in
his place. By inadvertence the leading comedian lets the Grand Duke’s detective into the secret.
Only one course is open: the manager and the leading comedian must fight a “statutory duel”;
the survivor must obtain pardon by turning King’s evidence; the other is already civilly dead for
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Early Press Reviews 487
twenty-four hours. They fight; the leading comedian wins. He flies to the Grand Duke to
“peach,” and finds that potentate not aggressive, but afraid of being blown up. He at once sug-
gests that they should fight a duel, whereby the Grand Duke should become civilly dead, and he
himself take the burden of explosion on his own shoulders. This is done; and, by pre-
arrangement, the leading comedian wins, and at once meanly renews the statute for another cen-
tury. Here the fun begins—if we may say so—in earnest. The comedian is already married; but,
inasmuch as his manager has a leading lady who is engaged to play all the leading parts of their
performances, the comedian, in his undertaking his victim’s responsibilities, has to marry her
also. The Grand Duke, again, is engaged to two ladies: one of these the comedian has already
married, and is about to marry the other when his game is suddenly concluded by the an-
nouncement that he has really lost all the duels, as in drawing the ace on each occasion he drew,
not the highest, but the lowest card. But the twenty-four hours are over; the statute is extinct,
and every Jack marries his Jill. How the leading comedian dresses his whole court in Athenian
robes and leads them through endless varieties of fantastic fandangos we have not the space here
to describe. Let it suffice to say that, throughout, Mr. Gilbert’s wit runs riot, and is always keenly
tempered by a strong literary quality.
Sir Arthur Sullivan’s music is, from beginning to end, full of that instinctive sense of humour,
combined with that consummate knowledge of technical effects, which we have long learned to
associate with his name. The first act contains charming numbers, finely various and appropriate.
The burlesque conspiracy song, “By the mystic regulation of our dark Association,” is a really
wonderful mingling of the serious and the comic; the duet between the Baroness von Kra-
kenfeldt and the Grand Duke is merriment in essence; and all the musical incidents attending
the entrance of the Grand Duke are examples of boundless humour and resourceful skill. The
madrigal, too, is extremely beautiful. But it is in the second act that Sir Arthur’s genius is pecu-
liarly manifested. Here one drinks in the music as one drinks effervescent wine. The great open-
ing chorus is scarcely over when passage after passage of delicious melody, of sprightly humour,
of original thought pours forth. Lisa’s lovely song “Take care of him” is followed by Julia’s exqui-
site “Broken every promise,” and that by melodious dance and song till the act closes in a whirl-
ing world of gaiety. Take it all in all, we are of the opinion that, among the stupendous list of
fourteen operas written in collaboration with Mr. Gilbert alone, the new score may rank as the
highest point of Sullivan’s achievement. The orchestration of the second act is of a masterly
kind; and Sir Arthur Sullivan has here surpassed himself.
The performers, it is not too much to say, are worthy of their task. Madame von Palmay, as
the “leading lady of the theatrical troupe,” acted and sang superbly; she at one bound achieved a
great London reputation. Miss Florence Perry as Lisa and Miss Emmie Owen as the Princess of
Monte Carlo were both charming. Mr. Rutland Barrington, as the “leading comedian” Ludwig,
surpassed himself both in his humour and in his appearance; while Messrs. Scott Fishe, Scott
Russell, W. Passmore, and C. Kenningham were each, in his way, admirable. Miss Brandram
could not have been bettered; and chorus and orchestra worked with an energy which was per-
fectly justified by their complete success.
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488 The Grand Duke
Musical Times
SAVOY THEATRE. The Musical Times 1896 April 1 37 (638): pp. 239–240 [unsigned review]
Mr. W. S. Gilbert must be conscious that his enforced bondage to a method has at least one
advantage. We say enforced bondage because the public have shown ere now that they resent any
effort on his part to abandon topsy-turveydom – to deal with events and circumstances as with
pyramids standing on their base and not their apex. The structure of a Gilbert libretto must al-
ways rest upon its apex, and the advantage to which we have referred lies in an opportunity of
showing that the dramatist’s skill and resourcefulness are equal to any demands. Mr. Gilbert has
applied his topsy-turvey method in a dozen different directions, with nearly uniform success; in
“The Grand Duke” (produced on the 7th ult.) we see him exercising a familiar art upon still
fresh matter amid peals of approving laughter. In most of his works it is easy to detect a deeper
purpose than that of exciting mirth by verbal dexterity and quaint conceits. Mr. Gilbert is a sati-
rist, and in his latest piece he proclaims that real Courts and sham Courts – the histrionic appli-
ances of the palace and of the theatre – are pretty much alike and even interchangeable. All
things, in fact, are reduced to mere “play-acting,” and the exalted personage with most opportu-
nities is merely the “star” of a company. Mr. Gilbert delights to poke fun at the supers and walk-
ing gentlemen on the boards of the Royal Court Theatre he sees so clearly, and here gives his le-
gitimate Grand Duke a train of seven chamberlains.
The Grand Duke communicates only with the Lord Chamberlain, and a request for snuff-box
or handkerchief descends through all the seven grades of flunkeydom, the thing asked for, sup-
plied by the lowest official, passing upward with like ceremony. Again, when the Prince of Monte
Carlo comes on a visit to the Grand Duke he brings a “job lot of second-hand nobles” hired of an
agent, costumes and all, at eighteenpence a day each. These personages, who strongly suggest
Richardson’s Show, are inspected by the Prince, and also harangued: “Now, once for all, you
Peers – when His Highness arrives, don’t stand like sticks, but appear to take an intelligent and
sympathetic interest in what is going on. You needn’t say anything, but let your gestures be in
accordance with the spirit of the conversation.” The gestures are then practised. All this is fair
fun, but, of course, the same weapon might be directed against anything that in life is pictur-
esque and otherwise useful. Mr. Gilbert gets the true Prince off the throne and substitutes a
player by a process quite characteristic of his humour. He invents an amazing statutory duel and
then contrives that the reigning Duke should encounter a son of Thespis, lose the fight, and be
superseded.
Upon the groundwork thus laid down the author runs amok of imagination. Wild extrava-
gances, odd conceits, strange characters, stranger circumstances are mixed up in the most fantas-
tic way, and one must laugh with the rest, however disposed to be critical. We cannot here tell
the story or discuss the incidents and situations, but it should be said that the last act, as often
the case in Mr. Gilbert’s pieces, is dramatically weak and unduly spun out. We understand,
however, that the book has undergone revision since the first performance, and it would now be
unsafe to point out specific faults.
The position of Sir Arthur Sullivan in relation to these Savoy operas is even more difficult
than that of his colleague. Mr. Gilbert has a boundless field in which to gather materials for
treatment of a nature not unlimited, but the composer is restricted all round. He has to write for
singers who cannot “go anywhere and do anything”; his orchestration must be chiefly in the na-
ture of simple accompaniment, and the contour of his pieces, their rhythms, &c., are all re-
stricted. The wonder, therefore, is that the music of any one opera does not more closely resem-
ble that of any other than is actually the case. Happily, Sir Arthur Sullivan has a keen sense of
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Early Press Reviews 489
humour and a deft way of expressing it withal. This is an important advantage, humour being a
salt of powerful savour, able to make appetising that which, without it, might be somewhat in-
sipid. The gain from humour in the present case is very considerable, and appears at a score of
points in the work. For example, in the solo with chorus, “By the mystic regulation,” the music,
for all its lilting rhythm, is as droll as the direction, Allegro marziale e misterioso. Of a different
character is a quintet, “Strange the views some people hold.” A light accompaniment attends
this, and there are other modifications of the regulation madrigal. But it is none the less a charm-
ing piece on that account – one which the composer, showing signs of haste elsewhere, has
treated quite carefully. The two numbers mentioned above may stand each for a numerous class,
regarding the other bulk of which particulars are scarcely needed. It would be easy, of course, to
write at length upon the musicianship which knows how to be simple and amusing without a
touch of vulgarity, but that is a merit long since recognised in the Savoy operas. The great point
for a public wishing to be entertained by comic opera is that here they have the best thing going
of the kind, and, especially, music so adapted to text and situation that its fitness seems to be in-
tuitive; so light and pretty, yet so varied, that the ear cannot weary, and bearing on every page
the impress – which many feel who cannot intellectually perceive – of high artistic gifts so used
to a modest end as not to be degraded. The work, splendidly mounted and carefully performed,
owes much to the leading artists – Mesdames Ilka von Palmay, Emmie Owen, Rosina Brandram,
and Florence Perry; Messrs. Walter Passmore, C. Kenningham, Rutland Barrington, Scott Rus-
sell, and Scott Fishe.
The Musical Times 1896 July 1 37 (641): 463, col. 1, paragraph 3 [unsigned news report]
Messrs. Gilbert and Sullivan’s opera “The Grand Duke” is proving a source of attraction
at the Theater Unter Den Linden, in Berlin. The libretto, it is true, partly on account of its weak
German translation, and partly, no doubt, owing to its subject, is meeting with but qualified ap-
preciation, but there can be no question as to the latter being accorded with a full measure to the
music, both by the general public and by the critical voices in the press. “The music,” says the
Allgemeine Musik Zeitung, “is of an exceeding gracefulness, full of finesse in its invention and at-
tractive in its instrumentation.” Again, in the Neue Musikalische Presse, we read “After the ever-
recurring valse and polka measure of our own recent operetta productions, it was a refreshing
experience to listen to this music. Sullivan’s couplets at once attract attention by the originality of
their rhythm, his choruses by their harmonic beauty. The work once more contains a finely
wrought quintet, which, however, demands better interpreters than are to be found amongst the
general run of operetta companies.”
10/’09
490 The Grand Duke
The Year’s Music 1897
Two unsigned reviews from The Year’s Music 1897, being a concise record of British and for-
eign musical events, productions, appearances, criticisms, memoranda, etc. London: J. S. Vir-
tue, 1897. pp. 127 and 129–136.
OPERA IN 1896: COMIC OPERA. (p. 127)
Another work has been added to the long list of Messrs. Gilbert and Sullivan in the “Grand
Duke, or the Statutory Duel,” which was produced at the Savoy on the 7th March. Mr. Walter
Passmore was good in the title rôle, while Mr. Rutland Barrington was at his best as Ludwig. The
part of the English actress, Julia Jellicoe, was most excellently interpreted by Madame Ilka von
Palmay. She is seen at her best, both in the second act, in which she describes how she would
treat a rival, and later, when her vocal powers are brought out in a clever song beginning “Bro-
ken every promise plighted.” Miss Florence Perry was charming as Lisa, and sang “The die is
cast” and “Take care of him” most effectively. The other rôles were well sustained by Miss Rosina
Brandram and Miss Emmie Owen, and Messrs. Scott Russell, Scott Fische and Jones Hewson,
the latter singing an excellent song, “The Prince of Monte Carlo,” when he enters as the Herald.
The orchestra, under the composer's bâton for the first night, did full justice to the accompani-
ments. The rest of the week it was led by M. François Cellier. The most important numbers,
musically speaking, are a beautiful quintet in the first act, and the Greek chorus in the second
act.
OPERA IN 1896: “THE GRAND DUKE, OR THE STATUTORY DUEL.” (pp. 129–136)
On March 7th, the above opera by Messrs. Gilbert and Sullivan was produced at the Savoy
Theatre. A rough line of the plot will enable the work to be understood. The scene of the first act
is laid in the market-place of a little German town, and there is a conspiracy on foot to depose
the Grand Duke and elect in his place Ernest Dummkopf, the manager of a theatrical company.
The Duke is a parsimonious contemptible little beggar, and on the suggestion of Ludwig, the
leading comedian, consents to efface himself for twenty-four hours by fighting a statutory duel,
which is accomplished by means of cards, he who draws the lowest being considered legally and
technically dead, while “the winner must adopt the loser’s poor relations, discharge his debts, pay
all his bets, and take his obligations.” To make the combat a certainty, each puts a selected card
up his sleeve, and the quarrel and duel take place as arranged, Ludwig finds himself installed as
Grand Duke, whereupon he renews the duelling act for another century, by which means he will
retain his newly acquired position. His most embarrassing obligations are caused by the aspirants
for his hand and heart. Ludwig had that morning married Lisa the soubrette, and when named
Grand Duke, he announces to the company that the Court appointments will be given out ac-
cording to professional position, and Julia, the “haughty Londoner,” and prima donna of the
troupe, claims the part of the Grand Duke’s wife; because, though marriage contracts are very
solemn, dramatic contracts are even more so. Ludwig and Julia being married, the Baroness Kra-
kenfeldt, previously betrothed to Duke Rudolph, claims to be his consort, as in taking over Ru-
dolph’s responsibilities she is the most overwhelming of them all. So Ludwig has wife No. 3, and
No. 4 comes on the scene in the person of the Princess of Monte Carlo, to whom Rudolph was
betrothed in infancy, and who, therefore, has a prior claim. At this juncture, the notary an-
nounces that the law forbids the banns, as on reference to the Act he finds it expressly laid down
that the ace shall count as lowest, so that it is Ludwig who should be dead and not Duke Ru-
10/’09
Early Press Reviews 491
dolph. As the Act expires that day at noon, Ludwig comes technically to life again, and every
Jack pairs off with his Jill, each to have a pretty wedding.
PRESS OPINIONS.1
“The Grand Duke” is not by any means another “Mikado,” and, though it is far from being
the least attractive of the series, signs are not wanting that the rich vein which the collaborators
and their various followers have worked for so many years is at last dangerously near exhaustion.
This time the libretto is very conspicuously inferior to the music. There are still a number of ex-
cellent songs, but the dialogue seems to have lost much of its crispness, the turning-point of what
plot there is requires considerable intellectual application before it can be thoroughly grasped,
and some of the jests are beaten out terribly thin. . . . Though there are next to no topical allu-
sions, the dialogue has a considerable number of whimsical ideas, and when these have been
brought nearer to each other by the compression of much that makes the first act and the latter
part of the second seem a little tedious, their effect will, no doubt, be increased. . . .
It is a good many years since the composer has given us anything so fine as the opening chorus
of the second act, with a sham-Greek refrain, a melody so spontaneous, dignified, and original
that it seems hardly suited to its surroundings, or to the taste of most of the audience. From this
point, up to and including the tuneful song in which a herald announces the Prince of Monte
Carlo is, musically speaking, the best part of the work; the actor-duke’s exceedingly funny song
about the manners and customs of ancient Greece, the clever duet in which the “leading lady”
gives her “notion of a first-rate part,” her scena “So ends my Dream,” written in evident imita-
tion and derision of the conventional operatic aria of the last generation, and the elderly baron-
ess's drinking song, which sets out with a reminiscence of the Irish tune “Kate Kearney,” are all
certain to be popular. The first act contains a number of pretty choruses, some concerted vocal
numbers as effective as usual, and a capital march of the chamberlains, all neatly finished and in
strict conformity with the pattern established for such things a good many years ago. That form
of instrumental humour, in which Sir Arthur Sullivan has delighted ever since the famous “bas-
soon joke” in “The Sorcerer,” finds excellent opportunity in a song in which the Grand Duke
describes his ailments to the accompaniment of some orchestral symptoms so realistic as to be
almost painful. After the entry of the Monte Carlo family in the second act, the music is of
slighter importance, and the Prince's song, in the course of which a roulette table is produced,
makes remarkably little effect. The overture consists of a string of tunes that are likely to be most
popular. . . . – The Times
Once more Sir Arthur Sullivan has demonstrated that refinement and genuine fun may be
successfully blended. For the foundation of his amusing book, Mr. Gilbert seems to have taken
three ideas – the foolishness of the duello as a means of settling differences, the proverbial vanity
of actors and singers, and the frequently laughable court ceremonial prevailing in petty German
states. No preceding Savoy opera has received better interpretation than “The Grand Duke.”
From Mr. Rutland Barrington, upon whom the most arduous duty devolved, to the representa-
tives of the eccentric chamberlains and Monte Carlo nobles, Mr. Gilbert and Sir A. Sullivan
could not have been better served than on Saturday. Mdme. von Palmay, by her vigorous acting,
evoked exceedingly warm approval, and set the stamp of success on an impersonation that had
been previously marked by captivating archness and gaiety. Miss Florence Perry sang charmingly
1 The eight reviews that follow were evidently part of a year-end survey of commentary that appeared as
part of The Year’s Music 1897.The Times review is the same one quoted in full starting on p. 459.
10/’09
492 The Grand Duke
and acted pleasingly. Mr. Walter Passmore illustrated the terror of Grand Duke Rudolph with
an intensity that savoured of the tragic, and again fully warranted the favour he has so rapidly
won at the Savoy. Mr. Scott Fishe and Miss Emmie Owen, the Prince and Princess of Monte
Carlo respectively, though not seen until nearly the end, contrived to give individuality to the
characters. Miss Rosina Brandram as the Baroness, Mr. C. Kenningham as Ernest, Mr. Scott
Russell as the Notary, and Mr. Hewson as the Herald completed the highly satisfactory cast. The
chorus and band exhibited their wonted efficiency. The dresses throughout were very much ad-
mired. – The Daily Chronicle.
If the libretto of “The Grand Duke” may be described as characteristically Gilbertian, so also
is the score truly and typically Sullivanesque. The overture calls for no special comment, being
little more than an agreeable stringing together of the leading tunes of the opera, but there is an
engaging charm about the opening chorus of wedding guests, and Ludwig's “Song of the Sausage
Roll” is a capital specimen of the mock melodramatic. If Sir Arthur’s score cannot be said – in
freshness and spontaneity of melody – to rank along with the best of his comic operas, in grace,
refinement, and ingenious handling of the orchestra, it will stand the test of comparison with his
happiest efforts. Undoubtedly the crowning Gilbertianism of the whole production was the se-
lection of Mdme. Ilka von Palmay, a Hungarian actress who had never previously appeared on
the English stage, to fill the rôle of the English actress. Mdme. von Palmay scored one of the
chief successes of the evening, and adapted herself to the traditions and conventions of the Savoy
with remarkable skill and readiness. Miss Rosina Brandram sang and acted with her wonted ge-
niality and finish in the rather thankless part of the Baroness, while Miss Florence Perry, as the
ingenuous Lisa, particularly excelled in her rendering of the sentimental passages which fell to
her share. Miss Emmie Owen made a sprightly Princess of Monte Carlo, delivered her dialogue
with point, sang prettily and danced with her usual dexterity, while the five ladies of
Dummkopf's company found vivacious representatives in Misses Mildred Baker, Ruth Vincent,
Jessie Rose, Ethel Wilson, and Beatrice Perry. Of the gentlemen, Mr. Rutland Barrington and
Mr. Walter Passmore were each provided with parts which suited them to perfection. Mr. Ken-
ningham played the part of Ernest Dummkopf vigorously and brightly. Mr. Scott Russell as an
excellent Notary, both vocally and histrionically; and Mr. Scott Fishe bore himself with confi-
dence and sang with no little charm. Mr. James Hewson gained an encore for his effective ren-
dering of the Herald’s song, and the minor parts of the Viscount Mentone and Ben Hashbaz the
costumier, were efficiently filled by Mr. Carlton and Mr. Workman. The scenery, for which Mr.
Harford was responsible, was remarkably effective and picturesque. The dresses, designed by Mr.
Percy Anderson, were both gay and becoming, while the evolutions of the chorus were per-
formed with that inexorable precision which Mr. Gilbert alone knows how to secure, and the
band acquitted themselves with distinction under the composer’s direction. On the stage every-
thing went practically without a hitch. It only remains to be added that the reception of the
piece was unequivocally and enthusiastically favourable, and all were cheered to the echo. – The
Daily Graphic.
If an amusing “book” abounding in witticisms, bright and tuneful music, exquisite dresses,
and a well-nigh perfect interpretation be sufficient to ensure success, Mr. D’Oyly Carte may
congratulate himself on having attained this object of managerial desires. “The Grand Duke” is
certainly entitled to rank among the best of the many similar works produced upon the Savoy
stage. Those who go to the Savoy doubtless prefer laughter to logic, and of the former commod-
ity there is no lack. After a probably vain attempt to understand what it is all about, the wise
spectator will give it up, and concentrate his attention on the many humorous situations that
follow in quick succession, the essentially Gilbertian witticisms scattered hither and thither, the
10/’09
Early Press Reviews 493
music, and the acting, without troubling himself about the development of the plot. Doubtless,
an attentive study of he libretto may serve to elucidate some points, but many might consider
that a play should explain itself, without needing recourse to a book. The music is as bright and
tuneful as anything he (Sir Arthur Sullivan) has done, and bears the unmistakable imprint of the
hand that has written it. The clever and refined orchestration will prove a delight to musicians,
and the treatment of the melodies that abound throughout, shows a practical hand. It is music
that does not demand analysis, but procures enjoyment. Perfection in the matter of ensemble and
excellence in mounting, are generally expected at the Savoy, and these are surely realised in the
present instance.
Where every part is not only adequately but super-excellently filled, it becomes difficult to
know where to begin praising. Madame Ilka von Palmay made her first appearance in an English
rôle, and her success was emphatic and complete. That this lady is a born actress there can be no
doubt whatever, in addition to which she is gifted with a rich, mellow voice, which she knows
how to employ to the best possible advantage. Madame von Palmay was most successful in a
humorously dramatic recitation, and in a pretty ballad, the latter portion of which she was com-
pelled to repeat. Mr. Rutland Barrington has never been seen or heard to better advantage than
in his present part. Miss Rosina Brandram, who seems fated to represent ladies of mature age and
juvenile inclinations, was artistic as usual. Miss Florence Perry sang and acted with pleasing na-
ïveté and expression. Mr. Walter Passmore’s part is not as important as it might be; but he made
the most of it and was irresistibly droll. Mr. Charles Kenningham and Mr. Scott Russell success-
fully impersonated the parts of Ernest Dummkopf and the Notary. The quaint ditty allotted to
the Herald of the Prince of Monte Carlo, which promises to become popular, was declaimed by
Mr. Jones Hewson, and Miss Emmie Owen bore herself well as the Princess of Monte Carlo.
The general mounting confers the utmost credit upon Mr. Charles Harris and Mr. W. Harford,
the scenic artist. The performance was conducted by Sir Arthur Sullivan, who was loudly cheered
and called on the stage at the close, together with Mr. Gilbert and Mr. D’Oyly Carte. – The
Morning Post.
All the features of a Gilbert–Sullivan first night at the Savoy were in evidence at the produc-
tion of “The Grand Duke” on Saturday evening, except perhaps the measure of curiosity which
used to give these premières a special zest. “The Grand Duke” is not the only work in the Savoy
series which shows that the composer has few fresh materials left. A comic opera, we should re-
member, belongs to entertainment simply. It is not symphony or oratorio, and if it entertains, its
mission is fulfilled. If the music in “The Grand Duke” does not open to us wide realms of the
unfamiliar and new, what it does show is particularly good. Here we may be reminded that in a
work of this kind the words and the music should be taken as one, not considered apart. Accept-
ing that as the law of the moment, the only verdict is one of approval all round. The opera was
produced in the old Savoy manner, which allows no imperfection that skill and resource can
guard against. The dresses and appointments generally gave delight to the eye, while the group-
ings and combinations were fully worthy of Mr. Charles Harris’s reputation. With regard to the
performance, let note be taken of an orchestra and chorus quite up to the standard of the house,
and of characters which could hardly have been in better hands. Madame von Palmay, whose
début in English opera has long been awaited with curiosity, made a distinct success. Miss Flor-
ence Perry, engaging and efficient as usual, met with favour as the soubrette, Lisa; the Princess of
Monte Carlo had an adequate representative in Miss Emmie Owen; while, as the affianced bride
of the economical Grand Duke, Miss Brandram was the excellent artist we all know her to be.
10/’09
494 The Grand Duke
The audience saw and heard very much of Mr. Rutland Barrington as Rudolph,1 but judging by
their continued laughter, not too much. Mr. Walter Passmore (Grand Duke Rudolph) might
have had more to do with advantage. Mr. C. Kenningham, as a theatrical manager; Mr. Scott
Russell, as a Notary; Mr. Scott Fishe, as the Prince of Monte Carlo; and Mr. James Hewson, as a
Herald, were all more or less strong features in an efficient cast. Sir Arthur Sullivan conducted
and supped full of honours, which were showered also upon the music, the librettist, the artists,
and in fact upon everybody “concerned.” – The Daily Telegraph.
“The Grand Duke, or the Statutory Duel,” by Gilbert and Sullivan, was enthusiastically
greeted by a crowded and brilliant audience at the Savoy on Saturday night. It is characterised by
all those fascinating qualities which have given these two gifted men sovereignty over the world
of comic opera. Perhaps there are fewer ear-haunting melodies in it than in the “Mikado” and a
few of his earlier operas. Certainly one of the best pieces of writing Sir Arthur Sullivan has ever
put into a Savoy opera is Lisa’s appeal to Julia – “Take care of him”; it provides Miss Florence
Perry with her best opportunity, and this charming young vocalist, whose voice seems to be in-
creasing in volume as well as sweetness, availed herself of the chance afforded her and secured an
enthusiastic encore. The bulk of the work rests on the broad shoulders of Mr. Rutland Barring-
ton, and with the exception of his “Pooh Bah,” it is the best part and the best thing he has done
in Savoy opera. Madame Palmay’s rendering was vivid and realistic, and she established her claim
in the air – “All is Darkness, all is Dreary,” which she sung [sic] with admirable effect. Mr. Pass-
more, as “The Grand Duke,” showed what a genuine sense of comedy he possesses. Mr. Ken-
ningham acted with ease and freedom, and sang in his customary agreeable way. Miss Rosina
Brandram sang and acted with that artistic finish which ever makes her acceptable. We need only
mention the admirable manner in which the chorus discharged its by no means insignificant du-
ties. The opera was conducted by Sir Arthur Sullivan, who met with a magnificent reception on
taking his seat in the orchestra. Mr. D’Oyly Carte also appeared in response to the hearty calls,
and there was a disposition to have on Mr. Charles Harris. – The Morning Advertiser.
In the new Savoy opera, “The Grand Duke,” produced with unquestionable success before a
brilliant audience on Saturday night, Mr. Gilbert has for once refrained from making merry with
British customs and institutions, and has gone abroad for subjects for his satire. The performance
was an admirable one, particularly on the part of band and chorus and of the three leading art-
ists. The honours of the representation were fairly carried off by Madame von Palmay, admirable
both as a vocalist, an actress, and a valuable recruit to the troupe. Author, composer (who con-
ducted), and Mr. D’Oyly Carte were called before the curtain, and “The Grand Duke” was thus
auspiciously launched upon a career which ought to last a twelve-month, at any rate. – The Daily
News.
That the music is superior to the libretto is not surprising. The wit of the jester runs slower
with advancing years; while the fancy of the composer is only mellowed. Sir Arthur Sullivan has,
in “The Grand Duke,” given almost more than his usual allowance of brisk ditties of the patter
type, mainly, of course, for Mr. Barrington, Mr. Passmore, and Mr. Scott Russell, his chief co-
medians. Some of his music is a little above the heads of the Savoy audience; for example, the
delicate burlesque of the trivial songs of the Café Chantant in the roulette scene, and the Greek
chorus with its “burden” of “Opoponax! Eloia!” at the opening of the second act. But there are a
couple of waltz duets, any number of galops, a bright hornpipe in the first finale, a quintet of the
1 Error in original; Barrington played Ludwig.
10/’09
Early Press Reviews 495
madrigal type though slightly accompanied, and many of those melodious ballads for which the
composer of “Sweethearts” has so long been celebrated. Madame Palmay’s solo in the first finale
doubtless owes much to its whimsical choral interjections, “Oh, that's what's the matter, is it?”
and to the delicious treatment of the wood wind in the accompaniment; but Miss Perry’s song,
“The Die is Cast,” is of a mock-serious type; her ballad, “Take Care of Him,” in the second act,
is even better; and Madame Palmay’s scena, if such it may be called, “Broken Every Promise
Plighted,” is perhaps best of all. Indeed, throughout not a point is missed; melody often literally
streams from the orchestra, and whenever a chance of humour, whether in voice-parts or accom-
paniment, is afforded, it is noted and accepted. – Truth.
The work was also produced in Germany on Wednesday, May 20th, at the Unter den Linden
Theatre, Berlin, before a full house. The first act was vociferously applauded, several of the num-
bers being repeatedly encored. The audience found the second act somewhat too long, but the
reception at the end was extremely favourable. No musical work had met with such success in
Berlin since the performance of the “Mikado.”
In London, the “run” of “The Grand Duke” continued until July, when the opera was re-
moved to give place to “The Mikado.”
10/’09
496 The Grand Duke
Bibliography
Ainger, Michael. Gilbert and Sullivan: A Dual Biography. Oxford: Oxford University Press,
2002.
Allen, Reginald. The First Night Gilbert and Sullivan, Centennial Edition. London: Chappell
& Co. Ltd., 1975.
Benford, Harry. The Gilbert & Sullivan Lexicon. Third Edition. Houston, Texas: Queensbury
Press, 1999.
Burgess, A. J. The Notary and other Lawyers in Gilbert & Sullivan. Hadleigh, Suffolk: Jardine
Press, 1997.
Dunhill, Thomas F. Sullivan’s Comic Operas. London: Edward Arnold & Co., 1928.
Eden, David, ed. The Grand Duke: 1896–1996. The Sir Arthur Sullivan Society, 1996.
Gänzl, Kurt. The British Musical Theatre: Volume I, 1865–1914. New York: Oxford University
Press, 1986.
Gilbert, W. S. The Bab Ballads, with which are included Songs of a Savoyard. 2nd Edition. Lon-
don: George Routledge and Sons, 1898.
__________. Original Plays by W. S. Gilbert, Fourth Series. London: Chatto & Windus, 1911.
__________. The Savoy Operas. London: Macmillan and Co., Limited, 1926.
__________. The Savoy Operas. Vol. II. (London: Oxford University Press, 1963).
__________. The Compete Annotated Gilbert and Sullivan. Ian Bradley, editor. Oxford: Ox-
ford University Press, 1996.
Goldberg, Isaac. The Story of Gilbert and Sullivan or The ‘Compleat’ Savoyard. London: John
Murray, 1929.
nd
Jacobs, Arthur. Arthur Sullivan: A Victorian Musician, 2 Ed. Portland, Oregon: Amadeus
Press, 1992.
Jones, John Bush. “The Printing of The Grand Duke.” In W. S. Gilbert: A Century of Scholar-
ship and Commentary. Ed. John Bush Jones. New York: New York University Press, 1970.
Joseph, Tony. The D’Oyly Carte Opera Company: 1875–1882. Bristol: Bunthorne Books, 1994.
Hulme, David Russell. “The Operettas of Sir Arthur Sullivan: A Study of Available Auto-
graph Full Scores.” Diss. University of Wales, 1986.
Kline, Peter. Gilbert and Sullivan Production. New York: Richards Rosen Press, Inc., 1972.
Pearson, Hesketh. Gilbert: His Life and Strife. London: Methuen & Co Ltd, 1957
Rees, Terence. Thespis: A Gilbert & Sullivan Enigma. London: Dillon’s University Bookshop,
1964.
Rollins, Cyril, and R. John Witts. The D’Oyly Carte Opera Company in Gilbert and Sullivan
Operas: A Record of Productions 1875–1961. London: Michael Joseph, 1962.
Stedman, Jane W. W. S. Gilbert: A Classic Victorian & His Theatre. Oxford: Oxford Universi-
ty Press, 1996.
Sutton, Max Keith. “The Significance of The Grand Duke,” In Gilbert and Sullivan: Papers
Presented at the International Conference Held at the University of Kansas in May 1970. Ed. James
Helyar. Lawrence, Kansas: University of Kansas Libraries, 1971.
Wren, Gayden. A Most Ingenious Paradox. New York: Oxford University Press, 2001.
Wolfson, John. Final Curtain: The Last Gilbert and Sullivan Operas. London: Chappell &
Company Limited, 1976.
10/’09
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