ee eel hei ere Gf 2 SME A Bena ele hS TSVSB 161 LEONARD BERNSTEIN CANDIDE A COMIC OPERETTA IN TWO ACTS SCOTTISH OPERA EDITION OF THE OPERA-HOUSE VERSION (1989) BOOK BY HUGH WHEELER BASED ON THE SATIRE BY VOLTAIRE LYRICS BY RICHARD WILBUR WITH ADDITIONAL LYRICS BY STEPHEN SONDHEIM, JOHN LATOUCHE, DOROTHY PARKER, LILLIAN HELLMAN AND LEONARD BERNSTEIN ORCHESTRATIONS BY LEONARD BERNSTEIN AND HERSHY KAY MUSICAL CONTINUITY AND ADDITIONAL ORCHESTRATIONS. BY JOHN MAUCER! 1 A BOOSEY (cy HAWKES“The Best of All Possible Worlds: Oh, Happy Wer Make Our Garden Grow; My Love; Bon Voyage Copyright © 1955, 1958, 1974, 1962, 1990, 1994, by the Estate of Leonard Bernstein, ‘You Were Dead, You Know Copyright © 1955, 1958, 1982, 1990, 1994, by the Estate of Leonard Bernstein fe Must Be So; | Am Easily Assimilated Copyright © 1955, 1957, 1974, 1982, 1990, 1994, by the Estate of Leonard Bernstein Glitter and Be Gay Copyright © 1957, 1982, 1990, 1994, bythe Estate of Leonard Bernstein ‘Auto-da-le (What a Day) Copyright © 1955, 1976, 1982, 1990, 1994, by the Estate of Leonard Bernstein, Life Is Happiness Indeed: Candide's Lament Copyright © 1974, 1982, 1990, 1994, by the Estate of Leonard Bernstein and Amberson Productions, Ine, Beautiful Music, Inc, and Revelation Corporation; “The Leonard Bernstein Music Publishing Company LLC, Publisher All other music and iyrics Copyright © 1955, 1957, 1958, 1976, 1982, 1990, 1994, by the Estate of Leonard Bernstein, ‘The Leonard Bernstein Musi Publishing Company LLC, Publisher. Boosey & Hawkes Inc, Sole Agent. ‘All Rights Reserved. International Copyright Secured, First publication for sale 1994, United States of America [Al hts of theatre, ado and television performance, mechanical reproduction a any form whatsoever Cclading fi) and translation ofthe Horeca ofthe complete oper, oF parts there, are sec reserved. Cover ArtiDesig: Design Ps, KoehieBrun Courtesy of Deutsche Grammophon, from the complete recording of CANDIDE, conducted by Leonard Bernstein (CDiCossete: 429 734-214; Laser dscVHS: 072 523-1/3) ‘Manufactured & marketed by PolyGram Classics & Jazz, a Division of PolyGram Record, Inc, New York NY LEONARD BERNSTIEN® isa regstered trademark of The Leonard Bernstein Music Publishing Company LLC. {© Tre paper use n this pubeation moss the mimimu requirements of American Nationa Standard {ot llomnaion Sceness-Pemanance f Paper for Pied Library Maral, ANS! Z30 48-1084,This score incorporates the composer's final intentions regarding Candide. The engraving of this score is based on Leonard Bernstein's conducting score for his 1989 Deutsche Grammophon recording of Candide, as well as the orchestra material used in that recording, and the manuscripts of Leonard Bernstein at the Library of Congress. Charles Harmon, With grateful acknowledgment for assistance in preparation of this score: Paul Sadowski, Anthony Cornicello of Music Publishing Services; Robert Wharton of Boosey & Hawkes, Inc.; Elizabeth Auman, Raymond White of the Library of Congress. Special thanks for the contributions of Justin Brown, and his inspiring perceptions in this work.Ite 1 A Lotgp Yer Tote, lana tosey 1 Trersnctherns | Ba wos Big tS 1 Te pre oe hla Te ara ft Po | Pte came hn Rornrjlngf-- Pihead, lode Feb os sia lelel Tomy Fel ataguint GY THe | 4% Fascimile of composer's manuscript to | Am Easily AssimilatedCharacters and Vocal Ranges Singing Roles Voltaire / Pangloss / Martin / Cacambo (Baritone or Tenor) Candide Cunegonde (Tenor) (Soprano) Maximilian The Old Lady ato) inezzeseprond Captain — Paquette Cae) ‘oes Vanderdendur Governor (enor) (Tenor) Cosmetic eS Inquisitor | / Judge = Merchane == eo Ingres =p Inquisitor I / Judge 5 —=—F SS Sultan Achmet —= Seftor | == Sefior i Se Chorus: SATB fram the Chorus: Cosmetic Merchant, Doctor, Bear-keeper, Alchemist, unkman, Ser I, Ser Il, Westphalion Peasants People of Lisbon, Penitents,Pigrms, Natives of Edorado, People of Surinam, Servants and Odalisques posible doubling: xiilan/ Captain Governor Vanderdendur/ Rags CCoumeie Merchant! Inguslor 1) Charles Edward (Doctor Ings Il! Croupier Bearkeeper / Inquisitor I Tear han ‘Aeherit/ Suan Achmet! Crook Jknkiman/ Hermann August [Non-sngng roles: First Oficer in the Bulgarian Army Free Warress Second Offeer Sacond Waitress James, an Anabapsse, Waiter Sallor ide to Governor Ubon Man ‘hve Dever Lisbon Woman Father Bernard First Informer First ese Second informer Fes Mump nan Grand Inquisitor Second Mump nan ‘Sean, former King of Poland Bulgarian Solder, Executioner, People of Buenos Aires, Saves, Two Girls, Monkeys, MumpIndan, Wise Man of dorado, VenetiansCONTENTS Page Preface by Richard Wilbur . - Facsimile of ltr from Richard Wibur to Leonard Bernstein Sey Scottish Opera credits and cast list : . ~ Bernstein recording cost ist a Concert performance running order ni Instrumentation anil 1 Overture ' Act I Scene I Westphalia: Schloss Thunder-ten-Tronck Ja. Westphalia Chorale (Chorus) : Sa ee o . 8B 2. Life Is Happiness Indeed (Underscore) Goo 6 55.6 4 2a, Life Is Happiness Indeed (Candide) toe Bao on so : 8 2b. Life Is Happiness Indeed (Underscore) - aoe 16 2c. Life Is Happiness indeed (Underscore) oe 7 2d, Life ls Absolute Perfection (Quartet: Maximilian, Cnegonde, Candide, Paquette) | : 7 3. The Best of All Possible Worlds (Quintet: Pangloss, Cunegonde, Paquete, Candide, Maximion) : 3a. Univeral Good (Quartet: Canegende, Paquet, Conde Maxton) : 40 36. Happy Instrumental oe : Soe a 4. Oh, Happy We (Duet: Candide and Cunegonde) ; rn) Scene 2 Westphalia: a desolate heath 5. Ie Must Be So (Candide's First Meditation: Candle) 48 Sa, Westphalian Fanfare : 49 56. Drumroll 49 Sc. Fanfare 49 Sd. Fanfare (Underscore) 9 Scene 3 ‘Westphalia: The Baronial Chapel at Schloss Thunder-ten-Tronck, and the battlefield Se. Westphalia Chorale (Chorus)... coe a) Sf Battle Scene (Instrumental). oe oe fo. St 6 Candide's Lament (Candide). Sol : ) Scene 4 Elsewhere in Westphalia 7. Dear Boy (Pangloss and Chorus) , : cone 58 Scene 5 Asship at sea Ta. Storm Music (Underscore) a : ; . a Scene 6 Lisbon: the central square 7b. Earthquake Music (Instrumental). a 8. Auto-da-fe (Candide, Pongos,Inquistors, Judges and Chorus) 3 22, Candide Continues His Travels / Ie Must Be Me (Candide's Second Meditation: Cand) 9 Scene 7 Paris: Cunegonde’s room 9, Paris Waltz Scene (Instrumental and Underscore) ; nn I 10. Gliteer and Be Gay (Aria: Cunegonde) 106 11. You Were Dead, You Know (Duet: Candide and ingot te FD Ila, Entrance of the Jew (Underscore) ; a 15 IIb. Entrance of the Archbishop (Underscore) =. ss : 125Scene 8 Cadiz: an inn Ie. Travel to the Stables (Instrumental Change of Scene). a 5 - + 6 ld. Universal Good (Underscore) 127 12. 1Am Easily Assimilated (The Old Lady, Cunegonde and Chorus) 5 rn) 13, Quartet Finale (Conde, Cunegonde, the Old Lady, Captain and Chorus) : lr Act 14 Eneace toe . ; a7 Scene! Buenos Aires: the Governor's palace {4a Assimilated Utly (Underseore) . . ; 151 |4b. Governor's Fanfare (Instrumental)... 5 3 a 6 153 15. My Love (Governor's Serenade: Governor and Cunegonde) ; 5 0 154 15a, Maximilan's Reprise (Moximiian ond Governor) ot Bo 138 1Sb. Governor's Exit Music (Instrumental). a 3 a 0 160 16 Quiet (Trio: The Old Lady, Cunegonde, Governor) ; 5 0 tel Scene 2 _In the South American jungle, near a Jesuit encampment 17, Alleluia (Ensemble and Underscore, for staged performance: Moximiian ond Chorus) Lo 168 Scene 3 Another part of the jungle 17a, Monkey Music (Underscore) 5 5 0 ; . oo. Scene4 Eldorado 18 Introduction to Eldorado (Underscore) 6. 5 oo -. 18 183, Ballad of Eldorado (Candide and Chorus)... po 5 +l 80 SceneS Surinam: the waterfront 19. Words, Words, Words (Martin's Laughing Song: Morin) : 186 20. Bon Voyage (Hornpipe: Vanderdendur and Chorus) ; 194 Scene _In the Atlantic 20a. Drowning Music (Underscore) 208 21, The Kings’ Barcarolle (Chorles Edword, Candide, Hermann Augustus, Panglos, Sulton Achmet, Tar Wan, Stanislaus) 209 Scene7 Venice: the Casino, then at a house 22. Money, Money, Money (Venice Gambling Scene: Croupir and Chorus). mm Scene8 Venice: near the Grand Canal 22a. Grand Canal Instrumental Change of Seene) foe . 24 Scene9 Venice: the Casino 23. We Are Women (Polka: Cunegonde and the Old Lady). ; ns 24. What's the Use (Ensemble: The Od Lady, Roget Maximilan, Crook and Chorus) 235 25, The Vai Gave (Quart: Te Oi Lady, Conde, areunde Forges 5 3 245 26. Nothing More Than This (Condide) a 6 259 Scene 10 A small farm near Venice 26a, Candide’s Lament (Return to Westphalia: Underscore) 263 260. Universal Good (Chorus) a 0 264 27. Make Our Garden Grow (Finale: Entire re cman) a 6 266 28 Bows. oo : 276Appendices 1 The Plime Pression Esemble, replaces 17, Alda concer parfoomance: Manon, Paquette, Candide and Chorus) 7 5 , 5 Original Broadway Production (1956) : Running Order ofthe Original Broadway Production ter Majer Podcons of Cn (fer 1956) ‘Chelsea Version (1973) 5 Running Order ofthe Chelsea Version. [New York City Opera House Version (1982). Running Order ofthe New York City Opero House Version 281 290 291 292 296 297 298Apropos Candide Working with Lenny on Candide, | sometimes felt a certain territorial anxiety. | couldn't read or write music, but he could read books, played a mean game of anagrams, and was exceedingly quick and clever with words. | feared that | couldn't afford a writer's block, lest this very literate composer grow impatient and write my lyrics for me. Once, over luncheon with him and Lillian Hellman, | paraded my literacy by quoting some little-known lines from Lewis Carroll's Syivie and Bruno; whereupon Lenny, to my distress, completed the quotation. But there was, on the whole, no need to be protective of my verbal domain; in our planning and making of numbers, Lenny did his best to rein in his versatility, and we had an agreeable division of labor. Where we most collaborated on language was in the making of dummy lyrics, and that was always great fun, In cases where existing music was to be furnished with words, we often devised nonsensical verses which, embodying the music's rhythms in words of a sort, might bring me a little closer to the pertinent verbalizing of Lenny's sound and movement. On one occasion, for example, it occurred to us that a tune which Lenny had composed for the birthday of his son Alexander might serve for a number about Candide’s departure from Buenos Aires in Act Il. The tune - Lenny called it a species of schottische - was tripping and animated in the extreme, and it was therefore especially necessary for me to grope toward some verbal equivalent by way of a provisional or “dummy” lyric. The reader may be amused to know that the lyric of “Bon Voyage,” in its dummy stage, began with these asinine lines: Oh, what a lovely villager! Oh, what a lovely, lovey villoger bird! People who question me about my work with Lenny are forever saying, “But you must have quarreled sometimes.” Of course we did, though neither of us had an aptitude for stormy wrangling. | recall a day when, having differed about some number or other, we were sitting, mute and unhappy, in his studio at Lambert's Cove. After some minutes of silence, | began, quite unconsciously, to whistle. “Do you know what you're whistling?” Lenny exclaimed. “It's Pace, Pace’ from Forza! Oh,” he went on, “how I envy that man's melodic inventiveness, and the way he could make something powerful out of the simplest jump-rope tune!” He moved to the piano and played Verdi's great aria, and before he was through we had quite forgotten ourselves, and our little differences, and were ready to get to work again. Lenny’s music for Candide seems to me perpetually fresh and exciting, and | am happy to have been part of an enterprise which prompted it. Richard Wilbur 1993We am, Near hen . — 1 sod you the Aria tn lo preamt condition, to thew yon that T hare heom wortiig, Try thin om your pianoforte . A. Glitter amd be ) Thali the a Pomeonar” My vir Facsimile of letter from Richard Wilbur to Leonard Bernstein including lyrics for Gitte and Be Goy, ‘additional notations by Leonard Bernstein,Scottish Opera Credits and Cast List The Scottish Opera (Richard Mantle, managing director) produced Candide in a version for an opera house on May 19, 1988, at the Theatre Royal, Glasgow, Scotland, with the following credits and cast: ‘CANDIDE Music by Leonard Bernsteir Book adapted from Voltaire by Hugh Wheeler Lyrics by Richard Wilbur ‘Additional Lyrics by Stephen Sondheim, John LaTouche, Lilian Hellman, Dorothy Parker and Leonard Bernstein ‘Orchesuations by Lonard Bernstein and Hershy Kay "Adational Orchestration by john Maucer ‘Adapted for Scottish Opera by John Wels and Jon Mauceri Conducted by John Mauceri! Directed by Jonathan Miller and John Wells Designer: Ricard Hudson Choreographer: Anthony an Last Lighing Oegrer David Camngha Asscant Decor: Daf Burnefnes ‘Assart Choreographer Soe Hywel Repetteus Mark Dorrell Conn Supervtor Sue Witington Costome Sprayer Gere Pasting Sage Managonene Pip one, Dana Childs Voltaire / Pangloss / Cacambo / Martin Governor / Captain / Gambler Candide Cunegonde Old Lady 5 4 3 Paquette Maximilian The Baron | First Officer / Grand Inquisitor / First Jesuit / Slave Driver / Ragotski Don sacar, The ew Father Bernard/ The Anabapst Second Oficer/ A Sage Baroness / Waitress oe : Lisbon Woman / Waitress Informer / Announcer / Aide Hunesman / Croupier Waiter Lisbon Man Suan Achmet. Prince Charles Edward Tsar Wan / Sallor ‘King Hermann Augustus King Stanislaus / Archbishop Scottish Opera Chorus Scottish Opera Orchestra | first § performances; thereafter Justin Brown 2 fist 5 performances; thereafter David Hillman 3 first 5 performances; thereafter Andrea Bolton Nickolas Grace Bonaventura Bottone? Mark Beudert ‘Marityn Hill Smith? ‘Ann Howard Gaynor Miles Mark Tinkler Leon Greene Howard Goorney Elaine Mackillop Carol Rowlands John Brackenridge Paul Anwy! Tom McVeigh David Morrison Declan McCusker Grant Richards Graeme Danby Jonathan Hawkins Scote Cooper Peter Stanger, director ‘Angus Anderson, leaderLeonard Bernstein Recording Candide was performed in concert on 12 and 13 December, 1989 at the Barbican, London, England, and recorded for Deutsche Grammophon (Alison Ames, executive producer; Hans Weber, recording producer) on 15, 16, 17 and 18 December, 1989, at the Abbey Road Studio Number One, London, and was released with the following credits and cast: CANDIDE Based on the book by Voltaire Music by Leonard Bernstein Lyrics by Richard Wilbur ‘Additional Lyrics by Stephen Sondheim, John LaTouche, Dorothy Parker, Lillian Hellman and Leonard Bernstein COrchestraons by Leonard Bernstein and Heshy Kay Msc continty and sdtonl orchestrations by Jobo Maucer London Symphony Chorus Mui Director: Ricard Hickox ‘Chorus Master: Seno oy London Symphony Orchestra ‘Asstant Conductor: ustn Brown Conducted by Leonard Bernstein Candide Cunegonde : Doctor Pangloss/ Marin Old Lady Governor / Vanderdendur / Rago Paquette Maximilian / Captain Bear-keeper / Inquisitor / Tsar Wan Cosmetic Merchant / Inquisitor / Prince Charles Edward Doctor / Inquisitor / King Stanislaus 5 Junkman J Inquisitor / King Hermann Augustus ‘Alchemist / Inquisitor / Sultan Achmet / Crook Mc 29 7344 60:29 7342 Video eattewe: 072 523-3, Laserdae 072 523-1 ‘Th ecorig wos awarded the Grammy for best lsc recording 1991, bythe Neon Academy of Recording Ars ond Scenes. Jerry Hadley June Anderson ‘Adolph Green Christa Ludwig Nicolai Gedda Della Jones Kure Ollmann, Clive Bayley Neil Jenkins Lindsay Benson Richard Suart John Treleavenzo BEpeenpr eye yE CONCERT PERFORMANCE RUNNING ORDER, 1993 EDITION (timings are from the Deutsche Grammophon recording; in addition, there are twenty minutes of narration forthe entire work) Act! (60 minutes and 45 seconds of musi) Overture : ‘Westphalia Chorale Life Is Happiness Indeed Life Is Absolute Perfection ‘The Best of All Possible Worlds Universal Good ‘Oh, Happy We IeMustBeSo Westphalia Chorale Bartle Music Candide’s Lament Dear Boy Auto-dafé : Candide Continues His Travels / It Must Be Me ‘The Paris Waltz Glieeer and Be Gay ‘You Were Dead, You Know 1 Am Easily Assimilaced Quartet Finale Act It (49 minutes and 40 seconds of music) My Love We Are Women 7 The Pilgrims’ Procession Quiet aa Introduction to Eldorado ‘The Ballad of Eldorado ‘Words, Words, Words Bon Voyage . The Kings’ Barcarolle Money, Money, Money ‘What's the Use The Venice Gavotte Nothing More Than This Universal Good : Make Our Garden GrowInstrumentation 2 Flutes (2nd doubling Piccolo) ‘Oboe (doubling English Horn) 2 Clarinets in Bb (Ist doubling Clarinet in E> and 2nd doubling Bass Clarinet in Bb) Bassoon 2. Horns in F 2 Trumpets in B> (Ist doubling Cornet in Bb) 2 Trombones Tuba Timpani Percussion (wo players)* Harp Serings sear Drem, enor Or, Bats Dram Sipeded Cyl, Crash Cyt, Hight, Xlophone Trang loko Tambourns, ‘ong Rachet Wp 2 Woods, Cowbel, Parc, Gourd Boge, Steel Drs, and Dron, Canes. Chimes ‘Act 1:81 minutes ‘Act Il: 67 minutes Performance materials are available from the Boosey & Hawkes rental library.CANDIDE 1. Overture Leonard Bernstein Allegro molto con brio d=132 a > st a 2 Saee) z = ¢ (© Copyright 1994 by The Estate of Leonard Bernstein, [Leonard Bernstein Music Publishing Company LLC, Publisher. Boosey & Hawkes, Inc., Sole Agent. Corrected edition 1997 Intemational Copyright Secured, All Rights Reserved, VsB-161 Engraved and Printed in U.S.A.zits _— ol brillante| VSB 161VSB 1618 I~ ao mf cantabile| o 95 mf cantabile — a! al a! al 7 8! VSB 161SB 161e—*) VSB 161 @—*) ELSB 161VSB 161senza rall. 20 — ‘ysB 161P erese. poco a poco Lf sempre crese. VSB I6tPit mosso (d=152) 231 brillante vsB 161VSB 161B ACT ONE Lyrics by la. Westphalia Chorale Leonard Bemstein ‘Andante pomposo(d =66) POMS SOPRANOS f pesante ~ AN mp sub. Fa Re Fa welcome in West-pha-li- al A fesante A mp sub.. Fa Re Fa TENORS _fpesante La Sol Fa Fa, Be ~ Fa Re Fa BASSES —_fpesante La Sol Fa Fa, Be welcome in West-pha- li - hu me AN mp sub. Fa Re Fa Andante pomposo (4 = 66) Sol Fa Fa, Be a welcome in West- pha - li Piano (Gor rehearsal only) s scene of sweet sim - pli- ci- ty, Te - ton-i- cal. rus - ti-ci-ty: All hail, West-pha-li - crese. SL crese. af A scene of sweet sim - pli- ci- ty, Teu- ton-i- cal. rus - ti- ci-ty: All hail, West-pha-li - ff crese Lf T ‘Teu - ton-i- cal. rus - ti-ci-ty: All hail, West-pha-li - a! =f cresc. r a _ @ A B scene of sweet sim - pli-ci- ty, Teu- ton-i- cal. rus - ti-ci-ty: All hail, West-pha-li - al mn reall, an VSB 161“4 2. Life Is Happiness Indeed Underscore Cue: VOLTAIRE: Ladies and gentlemen, we present “Candide, or Optimism!” PEASANTS: Hurrah! . VOLTAIRE: Our story opens at Schloss. Moderato alla Marcia (J=86) —‘Thunder-ten-Tronck... (Dialogue continues) (sempre pp under dialogue) tr a Piano pp Wiapitmico rall. a tempo Cut-off cue: VOLTAIRE: ...the third best baronial falcon. vsB 16115 Lyrics by 2a. Life Is Happiness Indeed Stephen Sondheim Candide Cue: BARON: Aber bitte, Herr Vetter, bitte! d. =d Allegretto a Ia Gavotte rall. a temy Vivace CANDIDE p las he releases falcon) Life is hap-pi-ness in - d. = Allegretto a la Gavotte eaoee) rall. a tempo Piano 5 — —p Can, . ride and books to read. Though of _no-ble birth 'm not, 10 —_ meno mosso _a tempo Can, light - edwith my lot. ThoughT've no dis-tinc-tive fea-tures And I've no of - fi-cial rall, meno mosso a tempo as a (presto) 15 accel. ——= £ Can, mo-ther, I love all my fel-low creatures And the creatures love each 0 - ther! accel. (presto) —_— |r VSB 1612b. Life Is Happiness Indeed Underscore Cue: BARONESS: ....little illegitimate fellow. Moderato alla Marcia (J=86) VOLTAIRE: The Baroness, who weighs... (Dialogue continues) 2— Piano Bp Tafitmico (aemipre yp under dialogue) — | rall. a tempo mareato VSB 161a 2c. Life Is Happiness Indeed Underscore Cue: VOLTAIRE: Her obliging manner made her almost universally popular. Allegretto VOLTAIRE: If there was any cloud... (Dialogue continues) 2d. Life Is Absolute Perfection Lyrics by Quartet Stephen Sondheim Maximilian, Cunegonde, Candide, Paquette ‘Tempo primo (Gavotte) MAXIMILIAN ™p ‘Tempo primo (Gavotte) Life. is ab - solute per - fec-tion, Piano Max. As is true of my com- ple-xion. Ev - ‘ry time I look and see me, VSB 16118 Max. Tm re-mind-ed life is dream-y. Al-though I do get Max, Being end-less - ly ad - mired_ Peo- ple will go on 9 a Max. How could they go. on without me? (If the talk at timesis vi - cious, the Max. price you pay when you're de - li - cious.) Life is pleas-ant, life is sim-ple - 4 pp stace. VSB 1619 Max. 7 ; of Max. Lifeand I are still per-fec-tion! I am ev-'ry-thing I need! ae F rall. a tempo 20 CUNEGONDE p (holding a rose, which she plucks clean) —== Life is hap - pi - ness in - deed: =e Life is hap-pi-ness in - deed! oe vsB20 Cun, ‘rything need. 3 rall. meno mosso —_a tempo can beau - ty is unmatched. With the rose my on-ly —ri-val, I ad - mit to some frus - meno mosso a tempo an a 33 accel. poco a poco — -£ Cun. tra-tion; Whata —pi-ty its sur - vi-val Is of li - mi-ted du - ration! . PAQUETTE PP_staccatissimo Life is CANDIDE PP staccatissimo sB 161a 38 CUNEGONDE #7 staccatissimo Can, hap = pi MAXIMILIAN pp staccatissimo Life is ab - so~ lute per - fec-tion, As is true of my com - ple-xion, pp staccatissimo Cun, andbooks to read. Pag, — Though Can Though Tm re-mind-ed life - is - drea- my. VSB 1612 Can, Max. Al-though I do get tired Be - ing endless - ly CUNEGONDE Pan Can. Max. Peo- ple will go on a - bout me- How could they go on with-out me? VSB 16146 mf legato Cun, mf legato no-centand un-am- bi - - — tious, Pag, 2B That's why life is 50 That's why life is so Can, no-cent and un-am mf legato (If the talk attimesis vi - cious, That's Cun, = cious! We ——— pp stace. Pag = cious! We ‘ry - thing —— pp stace can - cious! We have ev - ‘ry - thing pp stace. Max. ~ cious!) ‘Though it SB 161 = = SS -—jo = ——— That's why life is so de - —— the price you pay when you're de - we need, Life here is is a heavy du-ty To pro-tect my awe-some beau-ty,Cun. Can, Max. Cun, Max. deed! ¢ al - most no Tam ev’-ry-thing ob pi-ness pi-ness pi-ness - jee - tion - vsB 16 Life and T are still per - fec - tion! Life is hap-pi-nessCun, Pag. Cun. Can, = Sheer hap SB 161 In - deed! In3. The Best Of All Possible Worlds Lyrics by Quintet John LaTouche Pangloss, Cunegonde, Paquette, Candide, Maximilian ‘Cue: CUNEGONDE/ PAQUETTE/ CANDIDE/ MAXIMILIAN: And Doctor Pangloss is the greatest philosopher on earth! Allegretto (bright and fast) d=132 PANGLoss © zo Piano CUNEGONDE mp “8 Par PAQUETTE mp Par-a CANDIDE _ mp Par - a MAXIMILIAN mp Par-a an. VSB 16127 Cun, Pag. Can. Max. Pan, Onceone _— dis - miss-es ‘The rest of all pos 15 (he gestures at the globe) Pan. = si-ble worlds, Onefinds that this is The best of all pos - si - ble worlds. > _ gist: VSB 161Pan, Max. 28 20 CUNEGONDE Once one PAQUETTE Once one dis - miss-es CANDIDE Once one _ dis - miss-es MAXIMILIAN f, Once one dis - miss-es si - ble worlds, si - ble worlds, si - ble worlds, mp One finds ble worlds. si - ble worlds, si - ble worlds. VSB 16130 PANGLOSS mp Pray,clas - si - fy Pigeons and cam - ols. Rf Pan, Pan, ev - ’ry-thing un - der the sun, ‘VSB 16130 (Cunegonde recoils in 46 fear and disgust) der thesun. MAXIMILIAN ff. 43—~p 3 ke 5 i ¥ = = + Ob.jec - tion! What a - bout snakes? > eo 52 PANGLOSS . SSS SS “Twas Snake that tempted Moth-er Eve. Be - cause of Snake we 1. ® oe et a rn Pan, now believe That though de-praved We can be savedFrom hellfire and dam - VSB 16131 61 cungconpE f Be - cause of Snake's temp - ta - tion. paquerre Be - cause of Snake's temp - ta - tion. ft Be of Snake's temp - ta - tion. f of Snake's temp - ta - tion. Pan, If Snake had not duced our lot, And primed us for sal - va - tion, Je - ho -vah could not don all The sins that we call car - di- nal, In - volv-ing bed and VSB 16173 cuneconpet, Now paquerre vse 161 CUNEGONDECun, Pag Can. thers, PANGLOSS 4e Its un - der-stood in This MAXIMILIAN > > All's for the good in ‘This best of alll pos - best of all pos - si- ble worlds: Max. tion! What a - bout war? (Maxmillian, furious at losing center stage, starts after Candide) si-ble worlds. . © 7 a Pp fou ‘VSB 16134 98 PANGLOSS (separating Maximilian and Candide) ‘Though war may seem a bloody curse, It is bless-ing in re-verse. When can-non roar Both rich and poor By Max, ev-'ry wrongis righted. Pan. Phi - lo - so-phersmake e - vi-dentThe pointthat I have "Tis warmakes e-qual, as it were, The no-ble and the _com-mon-er; Thus SB 1618 cunsconpe £ % Pan. war im-proves re - la-tions, 123 (Candide and Cunegonde wave surreptitiously at each other) Cun, Can, Max. WN ‘VSB 161129 Cun. Max. Pan. of alll pos - 134 Cun. si - ble worlds! Pag. si - ble worlds! Can, si ble worlds! Max. With love and kiss-es, The best of all pos - si - ble worlds! £ Pan, as = fsub. ‘vse 161139 Can, £ Quod - rat de - mon- strand-um! e - rat de - mon - strand-um! PAQUETTE f° Quod e- rat de-mon-strand-um! Can, de-mon-strand.um! Max. Pan, VSB 161 erat de-mon -Cun. Can, Max. Cun. Pan, Can Max. 148 153 Quod e- rat de-mon-strand.um! © £ ge a Soe NE ble, pos - si - ble si-ble, ble, pos - si - ble ble, pos - si - ble si-ble, ble, pos - si - ble si-ble, ble, pos ~'si - ble ae vsB 161 eo erat de-mon-strand-um de-mon-strand-um de-mon-strand-um de-mon-strand-umCun. Can, Cun, Pag. Can, Max. de-mon-strand de-mon-strand de-mon.strand de-mon-strand VSB 16140 . 3a. Universal Good Lyrics by Quartet Leonard Bernstein ‘Cunegonde, Paquette, Candide, Maximilian Cue: PANGLOSS: All partial evil, universal good. Andante con moto CONEGONDE We have learned, and _un - der-stood, Ev - ‘ry-thing that is, is good; PAQUETTE P, We have learned, and un - der-stood, Ev - ‘ry-thing that is, is good; CANDIDE P We have learned, and MAXIMILIAN P ‘ry- thing that We have learned, and ‘ry-thing that Andante con moto Piano (for rehearsal only) crese. of =P Cun. Ev - ‘ry- thing that planned, Is of =P Pag. Ev - ‘ry- thing that crese. planned, Is planned, is =p Can. Ev - ‘ry- thing that planned, Is planned, is erese. ——P Max. Ev - ’ry- thing that planned, Is VB 161a 3b. Happy Instrumental Cue: PAQUETTE: I wore out the scrubbing brush. (Pangloss and Pe tte exit excitedl; Wie ein Lindler me “ae cd (Meh zu schnetd (a 3 i (| rit. CUNEGONDE (gazing after them with intense interest): (Gandide comes over and B So that’s what he meant by sufficient reason! increasing amazement) rit. 9 CUNEGONDE: Master Candide! CANDIDE: Miss Cunegonde! VSB 161* 4. Oh, Happy We Lyrics by Duet Richard Wilbur Candide and Cunegonde Cue: CUNEGONDE: My Candide! Allegretto con anima ¢ = 132 at t Piano CANDIDE P lyrically 1. Soon, when we feel we can afford it, 2. Soon, there'll be lit-tle onesbeside us; CUNEGONDE mp 1, Weill buy _a__ yacht and live a-board it, 2. Some - how we'll grow as rich as Mi - das; Can. Well —_builda mod-est lit- tle farm. Well haveasweetWestphatianhome, _—, ”»—=, ?-—__—_—": —_— fF VSB 161ing inlux-u-ry and styl-ish charm, live in Par-is when we're not in Rome. Cows and chick - ens. Smi-ling ba - bies. poco rall, a temy Cun| So - cial whirls. Ropes of pearls. Mar-ble halls. Cos-tume balls. Can,| or Play 2nd time a, won't my robes of silk and sa - tin Be chic! —I'llhave all that T desire. ——— vse 8 —CANDIDE 1 4 mf me Pan - gloss willtu-tor us in La - tin AndGreek, — while we sit be - fore the fire. ———— of rooF tU [J 16 CUNEGONDE ral, accel. Glow-ing ru - bies. Can. Glow-ing logs. Faith-ful dogs. accel, i" a tempo 2 BP Cun! We'll round the world en -joy-ing high life; All bubbly pink cham-pagne and gold. A tempo a See ae fe Le VSB 16122 CANDIDE "Well lead a rustic anda shy life, Feed-ing the pigs and sweetly grow-ing old. — ter KT Cf rall. a, 24 CUNEGONDE ee Breast of pea - cock. I lovemar - riage. PP. Can] Ap-ple pie. So F Nt d =d. Allegro vivo 28 Cun,| Oh, hap-py pair! Oh, hap-py we! We ver-y rare Howwe a-gree! Can, =d. Allegro vivo (ay vse 161Cun| Oh, hap - py pair! Oh, hap - py we! Is ver - y rare crese. Can,| Oh, hap- py pair! Oh, hap-py we! It’s ver - y Cun, = Ob, hap - py pair! Oh, hap- py wel Can. Oh, hap - py pair! Oh, hap - py vsB 1614 It’s ver -y rare VSB 1615. It Must Be So (Candide’s First Meditation) Lyries by Candide Richard Wilbur Cue: PANGLOSS/ VOLTAIRE: ...all was consternation in the most beautiful of all possible houses. Slow and free, like a folk song CANDIDE p am 1.Myworldis dust now, And.all I loved is dead. Qh, let me Slow and free, find me A-lone in some strange land. But men are like a folk song like a lute 2nd time R.H. 8a a Can,| trust now, In what my mas-ter said; “There isa sweet-ness in. ev-'ry woe.” It must be kind-ly; Theylgive a help-inghand. So saidmy mas- ter, and he must kn Tt must be 1 poco ral. atempo | [2. rall lunga lunga " ma P am Can It must be = so,—________ 2. The dawn will It must be 80. poco rall, atempo” rail, lunga c a ‘VSB 1610 5a. Westphalian Fanfare (Cue: CANDIDE: By all means. To the King of the Bulgars! Andante festoso ¢ = 66 > 3 3 = . an Piano Sb. Drumroll ‘Cue: VOLTAIRE: The regiment consisted of two thousand men, Tenor Drum 5c. Fanfare (Cue: FIRST OFFICER: Our chosen battlefield, Westphalia. Andante festoso ¢ = 66 go O”™~SS 32 Piano Underscore: Cue: VOLTAIRE: There can be nothing lovelier, more elegant, ‘more brilliant or better disciplined than two armies going into battle. ‘Tempo di Marcia ~~ vamp (under dialogue) Piano SEGUE . crese. on Cue: VOLTAIRE: Soon the Bulgar Army was poised f to liberate Schloss Thunder-ten-Tronck. SB 161Piano (for rebearaal only 50 . Lyries by Se. Westphalia Chorale Leonard Bernstein Chorus. ‘Andante pomposo (@ = 66) P SOPRANOS ppesante WN Ff mp sub. Fa Re Fa Sol Fa Fa, Sieg, lunge @ FA mp sub. our West-pha-li - a! ppesante Fa Re Fa TENORS _ppesante Sol Fa Fa, Sieg, lunga af ourWest-pha -li - a! Fa Re Fa Si La Sol Fa, Fa, Sieg, ourWest-pha-li - al BASSES —_ppesante "A f FY mp sub. Fa Re Fa Sol Fa Fa, Sieg, ourWest-pha -li - a! Andante pompaso (J = 6) m n rall. poveer's ou-r8 to com-mand! The migh-tiest in cee ere this might-y land! Sieg,Heil, West-pha-li - a ff ma power’s ou-rs to com-mand!The migh-tiest in this might-y land! Sieg,Heil, West-pha-li - FF crese. a a ‘The migh-tiest in_ this mighty land! Sieg Heil, West-pha-li- = crese. =x crese. nif >, pow-er's ou-rs__ to com-mand!The migh-tiest in_ this might-y land! Sieg,Heil, West-pha-li - ral. nm mn an SEGUE SB 161SI Sf. Battle Scene Ae Instrumental s A T B a Allegro furioso (explosion 5 off stage) Piano VSB 16132 2 ceplaion 5 5s Pa z VSB 16133 y y PP 5 v — * poi attacca “LAMENT” VSB 16154 6. Candide’s Lament Lyrics by Candide Richard Wilbur VOLTAIRE: When Candide arrived in the Andante Piano 5 CANDIDE calling) _ ®, Cu-ne-gon - de! village... (Dialogue continues) (he finds her lifeless body) 10 op mfcrese Can,| Cu-ne-gon - de! Cu-ne-gon - de! VOLTAIRE: ...their lives brought to an end. Gay vse 16155 (he flings himself upon her and holds her as he sings) > oe severe mf, dim. molto p 18 rall, Adagio Cu-ne - gon-de, is it true? Adagio 2 dim. Can. 7 you so. still and cold, love? Could our young joys, just be - gun, Notout - last the dy-ing — Can. When such bright - ness find strength to VSB 161a1 _—— f—= fF — Can. be con-soled, love? No, I swear it By the ee ee — | ——- $s | » ——— “ ai ae 35 ral. a tempo Can. light of this lov - er’s moon. Though I must see to-mor-row’s dawn, rall. a tempo Fy Sy P ‘My heart is gone where you are gone. 43 —f rall. Can. ShallI ev - er be con-soled, love? No, I. swear it by the light of this lov - ers m= = it i rall. vse ier37 4g atempo Good-bye, my love, my love, good - bye. Good-bye, my love, my love, good- r 0 accel. Andante oe the kisses her) 56 rall. Can,| Cu-ne-gon - de! a4 | 7 PP —= cog ew elde xz x BIE E meno mosso rit. Adagio VSB 16138 Lyrics by 7. Dear Boy Richard Wilbur Pangloss and Chorus Cue: CANDIDE: Paquette? Subito Allegro con spirito, ‘Andantino (d = 60+) all’Ungarese (J = 80) —— 7 = Piano 5 a - pancLoss F erersico . 1.Dear boy, you will not hear me speak With sor-row or with ran-cor 2.Co- lum - bus and his men,they say, Con veyed the vi - rus hith-er, 3.Each na - tion guards its na-tive land ‘With can-non and with sen-try. has shriv-eled up my cheek my fea-tures rot a - way - tors look for con - tra - band sostenuto 12 > > mf pit legato Pan, blast-ed it withcank - er; ‘Twas Love, great Love, that vi- tal pow-ers with - er; Yet had they not tra - ev-'ry point of en - try. Yet no. - thing can pre - sostenuto vsB 1617G 9 Pan, did the deed, Through Na-ture’s gen-tle laws, And how shouldill ef - versed the seas And come in - fect-ed back, Why, think of all the vent the spread Of —_Love's di- vine dis-ease; It" rounds the world from ae rall. @ piacere Pan, fects proceed From so di-vine_a_cause? Tux-u-ries ‘That mo-dernlife would lack! Dear boy: bed to bed As pret-ty as you please, __Dear boy: rall. i m a nf ge Andantino (Tempo tranquill) ——— ts — 7 Pan. BEB zZ z ‘Sweet hon-ey comes from bees that sting, © As you are well a - ware; To All bit-terthings con - duce to sweet, As this ex - ample shows; With - ‘Men worship Ve - nus ev - ‘ry-where, As may be plain-ly seen; Her Andantino (Tempo I tranquillo) = = = = ++ + —a= js —— oe eee gf is? s we Wo ed ———— Pan. What ev - er__ pains dis - We'd have no choc - 0 - Are no - bler— than the vse 16129 mp (ma mezza voce) cat . re 2 a o—_* : x = wits: Pan. SE z— | 7S ease may bring Are but the tang-y sea-son- ing To Love's de - li - cious late to eat, Nor would to - bac-co’s fra-grance greet the Eu-ro-pe - an croix de guerre,And gained in ser - vice of our fair And u-ni-ver - sal Tt ot pf = 9S SS z oe ee Herr ae SS i $f ————_| re 2 | te 2 o—ft_« Be ———" = — + >—>———— f ¥ T = T a tempo Py - = Pan. [9 cs mos fare. nose. 1.2.3, Dear boy, dear Queen. TENORS oP = — SSS = 1. Sweet hon-ey comes from bees that sting, ‘Sweet hon-ey comes from bees that sting, 2. All bit -ter things con - duce to sweet, All bit-terthings con - duce to sweet, 3.Men wor-ship Ve - nus ev - 'ry-where, Men wor-ship Ve - nus ev - ‘ry-where, BASSES PP ew ee ee 1. Sweet hon-ey comes from bees that sting, Sweet hon-ey comes fror bees that sting, 2. All bit-terthings con - duce to sweet, All bit-terthings con - duce to sweet, 3.Men wor-ship Ve - nus ev - ‘ry-where,___ Men wor-ship Ve - nus _ ev - 'ry-where, a tempo ie 6 SE + + 2s PP = 2 265 z Z + + vsB 1616 Subito Tempo II ral (Allegro) (falsetto permissible) ied go > wv "3 ‘© ey Pan. T B rall. = 13, Sub. Tempo II 33 —_———_4_ Allegro Pan. T B Sub. Tempo II Allegro vspisl >a 7a. Storm Music Cue: CANDIDE: the most terrible storm, Underscore Tempo di Barcarolle JAMES: Help him! Man overboard! CANDIDE: The SAILOR: Out of the way, lubber! (dames reaches for the sailor Anabaptist ran (the sailor falls overboard) ‘nd fails overboard) tohelp the crew, - fg iS a KY (dim. on repeat) CANDIDE: Doctor PANGLOSS: No, no. Do not (Cut-off cue: CANDIDE: I saw him for Pangloss! It's the interfere. Think only that this ‘a moment struggling in the Anabaptist! He's stretch of water here off Lisbon was sea, then he was swallowed drowning! formed from eternity for the up forever, (he Sailor climbs Anabaptist to be drowned in it. — ——, v > (dim. on repeat) —= 7b. Earthquake Music Cue: PANGLOSS/VOLTAIRE: ...fulfilled its natural function and erupted. Allegro moderato Instrumental Piano vsB 161 58. Auto-da-fé Lyrics by Candide, Pangloss, Inquisitors, Judges and Chorus Richard Wilbur and John LaTouche Cue: CANDIDE and PANGLOSS: ...or Act of Faith. Presto (ine chorus enters, preventing Candide and Pangloss from escaping) Piano fF f SOPRANOS f what a day what a day vsB isun-ny sum-mer sky! sun-ny sum-mer sky! sun-ny sum-mer sky! sun-ny sum-mer sky! what a day what a day VSB 161Hurry, hurry, hur - ry, hurry, hur - ry, Hurry, hurry, hur - ry, hur - ry, Watch em Hur-ry, hur-ry, hur - ry, Hur-ry, hur-ry, hur - ry, Hur-ry, hur-ry, hur - ry, Hurry, hur-ry, hur - ry, Hur-ry, hur -ry, hur - ry, Hur- ry, bur- ry, hur - ry, VSB 161 Hurry, hurry, Hursy, hurry, Hur-y, hur-ry,18 hur - ry, Hursy,hurry,hur - ry, Hurry,hurry, hur - ry, . Hang ‘em high! Hang ‘em high! Hurry, hurry, hur - Hur-ry, hurry, hur - ry, Hurry,hurry,hur- ry, Hurzy,hurry,hur - ry, Hurry, hurry,Hang ’em high! b solo: BEAR-KEEPER Hurry, hurry,hur - ry, See the Hurry, hurry, hur - Hurzy, hurry, Hang ‘em high! solo: COSMETIC MERCHANT BEAR-KEEPER B BE great Rus - sian bear! VSB 16167 8 A is much too high! solo: DOCTOR B tions and pills For oa tutti But we have-n't an - y mon-ey So there's and chills! SB 16126 is(the crowd becomes distracted by the merchants) s buy! A B (Candide tries to take advantage and escape, but Pangloss is too interested in the merchandise) 9g JUNKMAN B BE met - al, An-y kindof met - al, An-y kindof met - al Boughtand sold! i solo: ALCHEMIST T An-y kindof met - al, An-y kind of met - al, An-y kind of vsB 16132 ALCHEMIST T met - al Turned to gold! Pots and pans, Met - al cans, solo: JUNKMAN B Pots and pans, Met - al cans, Bought or th ALCHEMIST ff T B 36 ALCHEMIST T B And what-nots! VSB 1610 38 ALCHEMIST 4o ALCHEMIST gold! SOPRANOS ff mare. Hurcy,hur-ry, hur - ry, ff mare. Hurey,hur-ry,hur - ry, Hurry, hur-ry, Hurcy,hur-ry,hur ry, Hurry, hur-ry, ‘TENORS (tutti) LOAD UTS TB ar Hur-ry, bur-ry, hur-ry, hur - BASSES (tutti) a Hur-ry,hur-ry,hur - ry, Hur-ry hur-ry hur - ry, Hur-ry,hur-ry,hur - ry, Hur-ry hur-ryhur - ry, VSB 161Come and buy! — Hur-ry, hur-ry Come and buy! Hur-ry, hur-ry, Come and buy! 5 hur-ry, hur ry, by Hur-ry, hur-ry, Come and buy! hur-ry, hur - ry, hur - ry, Hurry, hur-ry,hur - ry, Hurry, hur-ry, hur - ry, Comeand try! hur - ry, Hurry, hur-ry,hur - ry, Hurry, hur-ry, hur - ry, Comeand try! Hurry,hurry,hur - ry, Hurry,hurry,hur - ry, Hurry,hur-ry,Come and try! by Hurry,hur-ry,hur - ry, Hurry,hur-ry,hur - ry, Hurry, hur-ry,Come and try! VSB 161n 46 Gust as Candide succeeds in dragging Pangloss away, the crowd turns upon them and prevents their escape) ‘ry - where, VSB 161B oy cerese. molto s have-n't an - y mon cerese. molto A have-n't an - y mon erese, molto T have-n't an - y mon So there's erese. molto B erese. molto ‘meno mosso vamp till ready ee PANGLOSS: a But you can't execute me, I'm too sick to diel Infected! Ohmy 8 : no-thing we buy! (spoken:) Sick? A (spoken:) Sick? v (spoken:) Sick? no-thing we (spoken:) Sick? no-thing we can buy! 2 vamp till ready meno mosso ES vsB 1614 Pan, dar-ling Pa-quette,Sheishaunt-ing me yet With a dear sou-ve-nir Ishallne-ver for-get. Twas a Pan. gift that she got From a sea-far - ing Scot, He re-ceived he be-lieved in Sha-lott! Pan. lott from his dame Whowascer-tain it camewith a kiss froma Swiss(Shed for-got-ten his name), But he Pan. told her that he Hadbeen giv-en it free By a sweet lit-tle cheat in Pa-ree. vsB 1616 rall. man from Ja-pan, Then a Moor from. T-ran,Thooghthe Mor is-nit sure Howthe whole thing be-gan; But the rall. 65 atempo accel. Pan. gift youcan see Had a long ped-i-gree When at last it was passed on to me! CHORUS accel. Then a 67 —_atempo, Vivo man from Ja-pan, Then a Moor from I-ran,Thoughthe Moor is-n't sure Howthe whole thing be-gan; But the a tempo, Vivo WF vsB 16116 sweet, love issweet, Andthe cus-tom issound, For it makes the worldgo ‘round. I re - Can, Peat, love is sweet, And the custom is sound, For as youhave shown it’s love a-lone That af Pan. peat, love issweet, Andthe cus-tom is sound, For as I have shownit’s love a-lone That 7 meno mosso Can. makes the world go Pan. makes the world go ‘round. meno mosso SB 161n Pan. Moor in the end Spenta night with a friend And the dear sou-ve-nir Justcon-tin-ued the trend To a young Eng-lish lord Whowas stung, they re-cord, By a wasp in a hos-pi-tal ward! Well, the Pan. ‘wasp on the wing Had oc-ca-sion to sting A Mi-la-no so-pra-noWho brought home the thing Toher 85 . fF Pan. young par-a-mour, Who was ren-dered im-pure, And for-sookher to lookfor the cure. Thushe vse 161rall. ad hap-pened topass Through West-pha-lia,a-las, Where he met with Pa-quette, And she drank from his glass. I was m__ Tall-ad lib. a tempo accel. pleased as could be Whenit came back to me; Makes us small fa-mi-ly! CHORUS (eutti) Oh,he a tempo, Vivo Gi p PANGLOSS hap-pened topass Through West-pha-lia,a-las, Where he met with Pa-quette, And she drank from his glass. He is a tempo, Vivo ca VSB 161pleased as can be For it shows himthat we For it shows himthat we 95 (the Chorus still hems them in) day, whataday Foran au-to - da-fé! Foran au-to - da-fé! day, what a day VSB 161 What a What a fa-mi-ly! fa-mi-ly! fa-mi-ly! fa-mi-ly! accel. love- ly day for drink-ing And for love- ly day for drink-ing And for love- ly day for drink-ing And for love- ly day for drink-ing And for accel.5 stentato a tempo 8 watch-ing peo- ple A = >> watch-ing peo- ple : > sys watch-ing peo - ple fry! B watch.ing peo- ple 102 vsB 161u9 > # = ys ts st tutta forza VSB 161132 i What a day, what a —___ Oh, what a day, what a Sf. Oh, what a day, what a tf What a day, what a ff Oh, what a day, what a tf What a day, what a to ‘Oh, what a day, what a ‘Oh, what a day, What a hang - ing! Oh, what a day, What a Oh, what a day, What a ‘Oh, what a day, What a ‘Tenor Drum eS vse 161d= 4 (doppia pid lento) a, Grand Inquisitor enters, followed by the other Inquisitors) Andante e rubato accel. ——_ (the executioner drags a penitent forward) Cue: GRAND INQUISITOR: Silence! Moderato INQUISITORS 154 mp a : — —— AA 1.Solo a a a Shall we let the sinners go or try them? Are the cul-prits in - no - mp =~ f=— »_— —— rm Solo igo H . Shall we let the sin-ners go or try them? Are the cul-prits in -no - SS > 3.8010 Shall we let the sin-ners go or try them? Are the cul-prits in - no - BASSES "f__ Moderato ‘Try them. a VSB 16184 1600 f —— -— ——f 1 cent or guil-ty? Shall we par-donthemor hangthem? — ~— ———— : f —s o2 — 5 g cont or guil-ty? Shall we par-don them or hang them? Z f= ~~» ———— f 3 cent or guil-ty? Shall we par-donthem or hang them? B Allegro giocoso, ma leggiero (4 = 120) 166, SOPRANOS 2P Whata love - ly day, what a PP Whata love-ly day, whata jol - ly day, Whata TENORS PP What a love-ly day, whata jol - ly a ; u B What a love -ly day, what jol - ly Allegro giocoso, ma leggiero (J = 120) VSB 161170 day! What a love-ly day,whata jol - ly day, Whata day for a hol -i - crese. day! What a love-ly day, whata jol - ly crese. day, Whata What a love - ly day, what a jol - ly =~ What a love - ly day, what a jol - ly day for a hol -i - 4a) — 174 don't mix meatand — dai-ry, He don'teat__hum-ble meat and dai-ry, He — don'teat__hum-ble day! He £ meat and — dai-ry, He don'teat_hum-ble He don't mix meat and He dai -ry, don't eat hum-ble Se Se I a a ea a i fo y ropy brpr tr gr try > sp 161 = nf178 And hangthe —_bas-tard ——— And hangthe —bas-tard SS And hangthe __bas-tard prop? oT op (the executioner drags forward a second penitent) VSB 161Moderato INQUISITORS 1? 186 —— ——— Are our me-thods le - gal mp == ———{ ‘Are our me-thods le - gal —— ans” _——— Are our me-thods le - gal 192 f ——— law, or lay-men? f=— 2 ——, g 2 8 law, or lay-men? zg f= 3 law, or lay-men? B a mp or illegal? Are we jud-ges of the f= === ae x > or il-le- gal? ‘Are we jud-ges of the :~_— ——— —— — —— or il-le- gal? Are we jud-ges of the passes "f_ Legal! Shall we hang them or for - get them? ~:~ —————— = Shall we hangthem or for - get them? =p ——————— fF SSS te Shall we hang them or for - get them? VSB 16188 Allegro giocoso, ma leggiero (# = 120) 738g SOPRANOS PP Whata perfect -day, whata jol - ly day, Whata ALTOS 2P Whata per-fect day, whata jol - ly day, Whata TENORS 2P What a per-fect day, whata jol - ly PP ‘ , 2 — What a per - fect day, what a jol - ly Allegro giocoso, ma leggiero (¢ = 120) 202 What a per-fect day, whata jol - ly day, Whata day for a hol - i - crese. day! What a per-fect day,whata jol - ly day,Whata day for a hol - i - crese. day! What a per-fect day, whata jol - ly day for a hol-i - What a per-fect day, what a jol - ly vsB 161for-eign - ers like this come for-eign - ers like this come 210 = We chant a par vo - bis-cum, spy, We chant a pax vo - bis-cum, And hang the SO Le ee y tT’ 7 i Y rd a 214 ff BS VSB 161oo Cue: GRAND INQUISITOR: Flog him! Allegro moderato (as Candide is flogged) 218 SOPRANOS PP Oh Basses PP vsB 161Oh, — pray a me Oh,_ pray for us, Fons pi-e-ta-tis, Da - vi-dis turris, VSB 161235 Jud. "ma-jes-ta-tis, Da — vi-dis turris, “Fe for us! A T B Ae pp sub. s ; Fons pi-e - ta-tis, pray for ust Da - vidi pp sub. A Fons pi-e - tatis, pray for _us! turris, pp sub. T Fons pi-e- ta-tis, pray for us! Da - vidis turris, pp sub. B Fons pi-e- ta-tis, pray for us! Da - vidis tur-ris, VSB 161243. SB 16194 for us! for us! for us! for us! — : = — ‘mareatissimo VSB 16198 PANGLOSS: Ladies and gentlemen, one final word. God in his wisdom made it possible to invent the rope, and for what purpose but to make the noose? And, glory be to the greatest of all philosophers, for what purpose is the noose but... aaargh! (the crowd screams as 259) ze tf — hgis abruptly hung) Pray forus! Pray forus! Pray forust (led in a joyous dance by the Grand Inquisitor) P stace, 263 What a love-ly day,whata jol- ly day, Whata day for a hol- i - VSB 161Whata love - ly day,whata jol- ly day,Whata day for a hol - BASSES P stace. What alove-ly day, Whata jol - ly day for a hol - i - ER ‘rese. poco a poco 272 SOPRANOS __ mp cresc. What a love - ly day for ALTOS day, what a mp crese. Whatalove-ly day, whata jol - ly Whata love-ly day, whata day, What a day for mp crese. jol - ly Whata love -ly day, whata jol - ly day ‘for a hol —— ——_~p,-— rt f tf £ ft € f VSB 161276 f Whata love-ly day,whata jol - ly day, Whata day for a hol - i f What a love-ly day, whata jol - ly day, Whata day for a hol - i f Whata love-ly day, whata jol - ly day for a hol - i f Whatalove-ly day, what a jol - ly day ‘for a hol - i ZO # vo vv 280 — V vw vo on vu vw cheer-y, dan-ger’s passed us dan-ger’s dan-ger's vsB 161hang the hang the hang the 293 Presto tf Vs 161 SEGUE8a. Candide Continues His Travels It Must Be Me Lyrics by (Candide’s Second Meditation) Richard Wilbur Candide Andante. = f 7 rall. CANDIDE P My mas-ter VSB 161100 1g Slow and free, like a folk song (2) 1. told me That men are lov-ing-kind; Yet now be - hold me, _ Iil-usedand 2. told me — The world is warm and good; It deals more cold - ly Than I had 2nd time RH. 8va 13 oP ————_ pp Can, sad of mind. Men musthavekind-ness I can-not see. It must be me. It mustbe dreamt it would. There must be sun-light I can-not see. It mustbe me. It mustbe poco rall. _ iii mosso) all. Can VSB 161