VIRGIL THOMSON

Libretto by

GERTRUDE STEIN

and Thomson’s

The Mother of Us All Suite

MANHATTANSCHOOL OF MUSICOPERA THEATER

Steven Osgoodconductor

Dona D. Vaughnstage director

The Mother of Us All

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The Mother of Us All Opera in Two Acts. Music: Virgil Thomson. Libretto: Gertrude Stein

CAST:Susan B. Anthony, U.S. activist......Noragh DevlinAnne, Susan’s confidante.............Megan SamarinGertrude S., American writer............Megan GillisVirgil T., American composer.............Chad SonkaDaniel Webster, U.S. senator............Scott RussellAndrew Johnson, U.S. president..Thomas Mulder

MANHATTAN SCHOOL OFMUSIC OPERA THEATER

Steven Osgood, ConductorDona D. Vaughn, Artistic Director/Stage DirectorGordon Ostrowski, Opera Producer/Assistant DeanDaniel Benavent, Associate ProducerPeggy Imbrie, Stage ManagerErhard Rom, Scenic DesignerTracy Dorman, Costume DesignerChristopher Akerlind, Lighting DesignerFrancis Patrelle, ChoreographerJorge Parodi, Assistant ConductorMiriam Charney, Chorus MasterBill Tracy, Head Vocal CoachJune Marano-Murray, Vocal CoachKathryn LaBouff, Diction CoachMary Kathryn Blazek, Director of ProductionLankey & Limey Ltd., Production Managers

Thaddeus Stevens, politician..........James LudlumJo the Loiterer, war veteran......Alexander FrankelChris the Citizen, war veteran...Cameron JohnsonIndiana Elliot, young provincial.....Gina PerregrinoAngel More, Daniel’s ghost lover....Kasia BorowiecHenrietta M., 1890s feminist......Kathleen SpencerHenry B., 1870s poet...................Jonathon ThiererAnthony Comstock, postal clerk.....Nicholas SmithJohn Adams, U.S. president................Carlton MoeConstance Fletcher, lady............Addison HamiltonGloster Heming, intellectual.Paull-Anthony KeightleyIsabel Wentworth, intellectual........Kendra BroomAnna Hope, feminist.................Rachael BraunsteinLillian Russell, actress............ .Margaret NewcombJenny Reefer, feminist........................Amelia BerryUlysseys S. Grant, U.S. president......Kim JohansenHerman Atlan, French painter......Juan Daniel MeloDonald Gallup, college professor.......John CallisonA.A., TT., page boys....................Nick Miller, Sol JinNegro Man, Woman....Eliott Paige, Chanae CurtisIndiana Elliot’s Brother..................Nicholas Meyer

CHORUS:Rachel Braustein, Alexandra Clint, Chanae Curtis,Lesley Dolman, Sol Jin, Shi Li, Jeanette Simpson,Christopher Melecio, K’idar Miller, Nick Miller,Alexander Muetzel, Allison Nicholas, Elliott Paige,Kathleen Spencer, Terence Stone, LeelaSubramaniam, Jonathon Thierer

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PROGRAM NOTES..................Jane Viale JaffeIn 1945, Virgil Thomson received a com-

mission from the Alice A. Ditson Fund for anopera to be presented at Columbia University.His first collaboration with Gertrude Stein, FourSaints in Three Acts, had been acclaimed near-ly two decades before. When he sent Stein atelegram proposing they collaborate again, sheenthusiastically responded. The Mother of UsAll tells the story of Susan B. Anthony, leaderof the women’s suffrage movement. Many ofthe opera’s 26 characters are historic figures:John Quincy Adams, Anthony Comstock,Ulysseys S. Grant, Daniel Webster, PresidentAndrew Johnson, Thaddeus Stevens, actressLillian Russell and Constance Fletcher all makeappearances, as well as “Virgil T.” and “Ger-trude S.” who serve as narrators.

The Ditson Fund commission enabledThomson, also working as a music critic for theHerald Tribune, to return to Paris to work withStein. He agreed to her feminist approach andliked her ideas for mixing real and fictionalcharacters from different historical periods. Thedebate in the libretto between Susan B. andDaniel Webster, for instance, never actuallyoccurred, nor did Anthony have relationshipswith the opera’s other characters in real life.

In The Mother of Us All, President JohnQuincy Adams woos Constance Fletcher, aplaywright and 1920s friend of Stein. U. S.

Grant talks about Dwight Eisenhower. Thecharacter Jo the Loiterer, a discharged CivilWar veteran, was inspired by an Americansoldier Stein met during World War II. DonaldGallup was another soldier friend who laterbecame a librarian at Yale and published herposthumous works. The fictional characterIndiana Elliot, who argues with Jo aboutchanging her name when they marry, em-bodies something of Stein herself.

Stein first wrote the political meeting scene,followed by the opening domestic scenewhich, wrote Thomson, “might as well havebeen herself and Alice B. Toklas conversingabout Gertrude’s own career.” Stein sentThomson the completed libretto in March1946; they went over it together, but she diedin July before he even began composing.

Thomson enlisted painter Maurice Grosserto help devise the scenario from Stein’s libret-to, as he had for Four Saints. Together theyreordered some scenes and restored Stein’sdiscarded character Virgil T., also adding Ger-trude S.—both narrate and sing only to theaudience. He began composing that Octoberand completed all but the final scene in twomonths, then waited a month so that he could“back off and view the rest.” He completedthe orchestration in March and the premieretook place May 9, 1947 at Columbia. TheMother of Us All impressed the distinguished

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audience and the press received it favorably,but neither of New York’s major opera com-panies took on the work—nor did it havebacking for a Broadway run as Four Saints hadhad. Even so, the opera has secured its place inthe repertoire. New Yorker critic Andrew Porterwrote in 1984 that he considered it one of thethree best American operas, if not the best.The work receives frequent performances atregional companies and colleges, especially inThomson’s own chamber-ensemble and solopiano reductions.

Both Stein and Thomson considered directcommunication their main concern in TheMother of Us All. For Stein that meant almostcreating a story line, though there is little tradi-tional plot advancement. The characters simplysay what they’re thinking without necessarilyresponding or listening to what another char-acter is saying, which served to paint person-

alities rather than advance the plot. ForThomson it was a continuation of his style ofmaking the text come alive through naturalinflections and sparing instrumental support.He imparts familiarity through his hymns,waltzes and ballads, and he makes this worksuggestive of its American theme with fan-fares and drum rolls, political songs, SalvationArmy-style marches and parlor songs.

There is a coherence and seriousness in TheMother of Us All. For the concluding scene,when the unveiling of the statue reveals SusanB. herself, Thomson wrote some of the opera’smost moving music. Many have suggested thatStein saw herself in her heroine, though Toklasinsisted that she did not. Whatever the case,Susan B.’s final soliloquy does sound like Steinwas writing her own epitaph, and it is trulyregrettable that she did not live to hear VirgilThomson’s poignant setting.

Virgil Thomson Gertrude Stein Steven Osgood Dona D. VaughnComposer Librettist Conductor Stage Director

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SYNOPSISACT IScene 1 (Prologue). Susan B.’s drawing room.Susan B. pastes clippings into a scrapbook while hercompanion Anne knits. They discuss men’s failings,punctuated by Virgil T. and Gertrude S.’s comments.

Scene 2 A political meeting.Virgil T. discusses economic and political injustice.Politicians parade by, led by Daniel Webster, followedby Andrew Johnson, Ulysseys S. Grant, John Adamsand others. Jo the Loiterer and Chris the Citizen,recently discharged from the Civil War, mock thepoliticians’ solemnity. Susan B. introduces herself. Jotells Chris about his former wife. Angel More, a ghost(and old sweetheart of Daniel Webster), Jenny Reefer,Constance Fletcher, Lilllian Russell, Indiana Elliot andothers present themselves. Susan B. and Daniel de-bate political rights for women, quoting from theirown speeches and writings.

Scene 3. A village green.Andrew Johnson and Thaddeus Stevens argue aboutpolitics. John Adams and Constance enjoy a lovescene. Everyone then joins in a waltz.

Scene 4. Susan B. Anthony’s dream.Susan B. daydreams about her mission. She has avision of a black man and woman she has tried tohelp. Neither they nor the political VIPs will supporther own goals. Jo asks Susan the difference betweenrich and poor. If people are rich, she says, they don’tlisten. For me, she says, there is no wealth or poverty,“so long as I can write.”

Scene 5. The marriage of Jo and Indiana.Susan comtemplates the difficulties of marriage. Awedding party enters. John Adams and Constanceresume their love scene, Daniel Webster woos hisAngel More. Indiana’s brother rushes in to try tostop the marriage. Susan B. explains why she hasnever married. After much discussion, Daniel Web-ster pronounces the couple married. Susan predictsthat their children will one day have the vote.

ACT IIScene 1. Susan’s drawing room.Anne and Jenny enter to tell Susan B. that politi-cians want her to make a speech. Jo complains thatIndiana won’t take his name, and he persuadesSusan to speak.

Scene 2. The same place.Anne and Susan return. Susan’s speech has con-vinced the fearful men politicians to enter the word“male” into the Constitution to ensure that womencannot vote. Lillian Russell joins Susan’s cause.Daniel Webster scolds Susan B. for her aspirations.Indiana decides to takes Jo’s last name, but he musttake hers too. All encourage Susan B. for her workon the right to vote for women and blacks.

Scene 3 (Epilogue). Some years later in the halls ofCongress. A Susan B. Anthony statue is unveiled.Anne is alone and rejoices that women finally havethe vote. The others gather: they are the samecharacters with the same life grievances. The statueis unveiled, revealing Susan B. herself. She singspoignantly about her long life.

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The Mother of Us AllACT IScene One CD 1, TRACK 1

(Susan B. Anthony’s drawing room)SUSAN B. ANTHONYYes I was,GERTRUDE STEINsaid Susan.ANNEYou mean you are,VIRGIL T.said Anne.SUSAN B.No!GERTRUDEsaid Susan.SUSAN B.When this you see, remember me,GERTRUDEsaid Susan B.ANNEI do,VIRGIL T.said Anne.GERTRUDE, VIRGIL T.After a while, there was education.ANNEWho is educated?VIRGIL T.said Anne.GERTRUDE, VIRGIL T.Susan began to follow, shebegan to follow herself.

SUSAN B.I am not tired,GERTRUDEsaid Susan.ANNENo, not!VIRGIL T.said Anne.SUSAN B.No, I am not,GERTRUDEsaid Susan.VIRGIL T., then GERTRUDEThis was the beginning. Theybegan to travel, not to travel,you know, but to go from oneplace to another place. In eachplace Susan B. saidSUSAN B.Here I am here.ANNEWell!VIRGIL T.said Anne.SUSAN B.Do not let it trouble you,GERTRUDEsaid Susan, politely.VIRGIL T.By the time she was there, shewas polite.GERTRUDEShe often thought about

politeness.VIRGIL T.She said politeness was soagreeable.ANNEIs it?VIRGIL T.said Anne.SUSAN B.Yes!GERTRUDEsaid Susan.SUSAN B.Yes, I think so. That is to say,politeness is agreeable. That isto say, it could be, if everybodywere polite. But when it is onlyme... Ah me!GERTRUDEsaid Susan B.VIRGIL T.Anne was reproachful.ANNEWhy do you not speak louder?VIRGIL T.she said to Susan B.SUSAN B.I speak as loudly as I can.I speak even louder...ANNEDo you really?VIRGIL T.said Anne.

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SUSAN B.Yes, I really do,GERTRUDEsaid Susan B.VIRGIL T.It was dark, and as it was dark,it was necessary to speak louder,or very softly...SUSAN B.Dear me!GERTRUDEsaid Susan B.SUSAN B.If it was not so early I wouldbe sleepy.ANNEI myself...VIRGIL T.said Anne,ANNEnever liked to look at a newspaper.SUSAN B.You are entirely right,GERTRUDEsaid Susan B.SUSAN B.Only I disagree with you.ANNEYou do?VIRGIL T.said Anne.SUSAN B.You know very well I do,

GERTRUDEsaid Susan B.SUSAN B.Men are so conservative, soselfish, so boresome, and theyare so ugly, and they are sogullible, anyone can convincethem. Listen, they listen to me.ANNEWell, anybody would.SUSAN B.I know anybody would. I knowthat. Everyone and you, eachone and you, they all do. They alllisten to me. Well, let them denyit. All the same, they do. They dolisten to me, all the men do. Theycannot either see or hear unless Itell them so, poor things,GERTRUDEsaid Susan B.SUSAN B.Yes, men are poor things...ANNEYes, they are.SUSAN B., ANNEAnd nobody pities them. Verylikely, more than likely. Yes...!GERTRUDE, VIRGIL T.Susan B. was right. She saidshe was right and she was right.She was right because she wasright... It is easy to be right.

Everybody else is wrong, so it iseasy to be right...SUSAN B.And in a way, in a way, really, itis useful to be right. It does whatit does, if you are right.ANNEIt is very remarkable,VIRGIL T.said Anne.SUSAN B.No, it is not very remarkable,GERTRUDEsaid Susan B.ANNEIt is not very remarkable,really?VIRGIL T.said Anne.SUSAN B.And...GERTRUDEsaid Susan B.,SUSAN B....that is what I mean by notvery remarkable.GERTRUDE, VIRGIL T.In a little while they found every-thing very mixed.SUSAN B.It is not really mixed,GERTRUDEsaid Susan B.

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SUSAN B.How can anything be really mixedwhen men are so conservative,dull, monotonous, deceived,stupid, unchanging bullies? How,when men are men, can they bemixed?ANNEYes, they are men. How can they,when men are men, how canthey be mixed, how can they?SUSAN B.They listen to me, they alwayslisten to me.ANNEYes, yes, they always listento you.SUSAN B.Yes, yes, they always listento me.

Scene Two TRACK 2

(A political meeting.)VIRGIL T.Pity the poor persecutor...ALLWhy?VIRGIL T.If money is money, isn’t moneymoney?ALLWhy pity the poor persecutor?VIRGIL T.Because the poor persecutoralways gets to be poor.ALLWhy...? That is the reason why.VIRGIL T.Because is money money, or isn’tmoney money? That’s why, whenthe poor persecutor is persecuted,he has to cry. Because the perse-cutor always ends by being per-secuted. That is the reason why.(A political parade enters carryingbanners reading “The Vote.”)DANIEL WEBSTER (steps forward)He digged a pit, he digged itdeep, he digged it for his brother.Into the pit he did fall in, the pithe digged for his brother.ALLDaniel was my father’s name...My father’s name was Daniel.

JO THE LOITERERNot Daniel!CHRISNot Daniel in the lion’s den!ALLMy father’s name...GERTRUDEMy father’s name was Daniel...not Daniel in the lion’s den. Yes,Daniel. My father had a beard.My father’s name was Daniel.DANIEL WEBSTERHe digged a pit...(The parade exits.)SUSAN B. (enters)Susan B. Anthony is my name.To choose a name is feeble...A name can only be a name.My name can only be my name.I have a name. Susan B...

Susan B. Anthony (Noragh Devlin) Daniel Webster (Scott Russell)

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INDIANA ELLIOTYes, that’s easy. Susan B. Anthonyis that kind of name. But myname is Indiana Elliot!SOMEBODY ELSEWhat’s in a name?SUSAN B.Everything!GERTRUDEMy father’s name was Daniel.He had a black beard. He wasnot tall at all...ALLMy father...CHRISNot Daniel...SUSAN B.I had a father. Daniel was nothis name.INDIANAI had no father.DANIEL WEBSTERHe digged a pit...JOI want to tell.CHRISVery well.JOI want to tell about my wife.CHRISAnd have you got one?JONo, not one.

CHRISTwo then?JONo, not two.CHRISHow many, then?JOI haven’t got one...CHRISWell? Yes...JOI want to tell about my wife:my wife had a garden and Ibought one.CHRISA wife?JONo, I was poor and I bought a garden.CHRISAnd she?JOShe said, my wife said, one treein my garden was her tree, in hergarden.CHRISAnd was it, Jo?JOWe quarreled about it. And thenwe took a train and we wentwhere we went. And then shegave me a little package.CHRISAnd was it a tree?

JONo, it was money.CHRISAnd was she your wife?JOYes, when she was funny.CHRISHow funny?JOVery funny. To be funny you haveto take everything in the kitchenand put it on the floor. You haveto take all your money and jewelsand put them near the door. Youhave to go to bed then and leavethe door open. That is the wayyou do when you are funny.CHRISWas she funny?JOYes... she was funny.

Jo theLoiterer(AlexanderFrankel)

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ANGEL MORE (a ghost, enters)Not anymore, I am not a martyranymore...CHRISBe a martyr!ANGEL MORESurrounded by sweet smellingflowers, I fell asleep three times.Darn and wash and patch... Any-body can be accused of loitering.JOAny loiterer can be accused ofloitering.HENRIETTA M.Daniel Webster needs an artichoke.ANGEL MORESusan B. is cold in wet weather.HENRY B.She swore an oath she’d quicklycome to anyone.ANTHONY COMSTOCKCaution and curiosity, oil andobligation, wheels and appur-tenances in the way of means.VIRGIL T.What means?JOHN ADAMSI wish to say I also wish to stay.I also wish to go away. I alsowish I endeavor to also wish.ANGEL MOREI wept on a wish.JOHN ADAMSWhenever I hear anyone say, of

course, do I deny it? Yes...THADDEUS STEVENSBe mean!DANIEL WEBSTERBe there!HENRIETTA M.Be where?CONSTANCE FLETCHERI do and I do not declare thatroses and wreathes, around andaround, blind as a bat, curled asa hat and a plume, be mine whenI die. Farewell to a thought heleft all alone. Be firm in despair,dear. Dear, never share, dear... I,Constance Fletcher, dear. I am adear... here, there, everywhere. Ibow myself out.INDIANA E.Anybody else would be a worry.SUSAN B.Hush, I hush, you hush, they, we...ISABEL, GLOSTER (enter)We hush, dear as we are,we are very dear to us.And to you we hush, we hush.You say hush, dear, hush.ANNA HOPEI open any door. That is the waythat any day is today. I open anydoor, every door a door.LILLIAN RUSSELL (takes a seat)Thank you!

ANTHONY C.Quilts are not crazy, they are kind.JENNY REEFER (as all reenter)My goodness gracious me.U. S. GRANTHe knew his name was not Eisen-hower. Yes, he knew it...HERMAN ATLANHe asked me to come, he did...DONALD GALLUPI chose a long time, yes, I took avery long time to choose.T.T / A.AThey missed the boat, yes,they did...JOI came again, but not when Iwas expected. But yes, when Iwas expected, because they didexpect me.CHRISI came to dinner.JOI don’t know what a mouse is...What is a mouse?ANGEL MOREI am a mouse.JOWell...! And she?ANGEL MOREYes, well...SUSAN B.I hear a sound.

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JOYes, well!DANIEL WEBSTERDo not hear a sound, when Iam told...SUSAN B. (stands to debate Daniel)Silence! Youth is young. I amnot old.DANIEL WEBSTERWhen the mariner has beentossed for many days in thickweather and, on an unknownsea, he naturally avails himselfof the first pause in the storm.SUSAN B.For instance, they should alwaysfight. They should be martyrs.Some should... Will they? They will.DANIEL WEBSTER (addresses heras “Sir”) We have thus heard, sir,what a resolution is.SUSAN B.I am resolved.DANIEL WEBSTERWhen this debate, sir, was to beresumed on Thursday, it so hap-pened it would have been con-venient for me to be elsewhere.SUSAN B.I am here, ready to be here. It ismy habit...DANIEL WEBSTERThat honorable member com-

plained that I had slept on hisspeech.SUSAN B.The right to sleep is given tono woman.DANIEL WEBSTERMatches and over-matches.SUSAN B.I understand that you undertaketo overthrow my undertaking.DANIEL WEBSTERI can tell the honorable memberonce for all that he is greatly mis-taken. He is dealing with one ofwhose temper and character hehas yet much to learn.SUSAN B.I have declared that patience isnever more than patient. I toohave declared that I, who am not

patient, am patient.DANIEL WEBSTERWhat interest, asks he, has SouthCarolina in a canal in Ohio?SUSAN B.What interest have they in me,what interest have I in them, whothe head of whom can bite theirlips to avoid a swoon?DANIEL WEBSTERThe harvest of neutrality had beengreat, but we had gathered it all.SUSAN B.Near hours are made not byshade, not by heat, not by joy. Ialways know that not now, rathernot now, yes, and I do not stamp,but I know that now, yes now... Ihave never asked anyone to for-give me.

Daniel Webster and Susan B. debate the political issues.

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DANIEL WEBSTEROn yet another point I was still moreunaccountably misunderstood.SUSAN B.Do we do what we have to do,or do we have to do what wedo? I answer.DANIEL WEBSTERMr. President, I shall enter a noencomium upon Massachusetts;she needs none. There she is. Be-hold her and judge for yourselves.SUSAN B.I enter into a tabernacle. I wasborn a believer in peace. I sayfight for the right. Be a martyrand live. Be a coward and die.And why? Because they sooner orlater go away. They leave us here.They come again. Don’t forget...DANIEL WEBSTERSo, sir, I understand the gentle-man and am happy to find I didnot misunderstand him.SUSAN B.I should believe what they ask,but they know.DANIEL WEBSTERIt has been to us all a copiousfountain of national, social andpersonal happiness.SUSAN B.Shall I protest? Not while I live

and breathe. I shall protest...DANIEL WEBSTERWhen my eyes shall be turned tobehold for the last time the sunin Heaven.SUSAN B.Yes.JOI like a mouse.ANGEL MOREI hate mice.JOI am not talking about mice, I amtalking about a mouse. I like...ANGEL MOREI hate a mouse.JONow do you?

Scene Three TRACK 3

(A village green.)ANDREW JOHNSONIt is cold weather...HENRIETTA M....in winterANDREW JOHNSON...wherever I am.THADDEUS STEVENSI believe in public school educa-tion. I do not believe in freemasons... I do not believe thateveryone can always do whateverhe likes. I have not always done

what I liked, but I would if I couldso I will. I will do what I will, I willhave my will. That is my decision.ANDREW J.Bother your decision. I tell you itis cold weather...HENRIETTA M....in winterANDREW J....wherever I am.CONSTANCE (enters)Antagonizes is a pleasant name.Antagonizes is a pleasant word.Antagonizes has occurred, blessyou all and one.JOHN ADAMSDear Miss Constance Fletcher, itis a great pleasure that I kneel atyour feet. But I am an Adams.I kneel at the feet of none, notanyone... If I had not been anAdams, I would have kneeled atyour feet.CONSTANCEAnd kissed my hand?JOHN ADAMSAnd kissed your hand.CONSTANCEWhat a pity, no, not what a pity,it is better so. But, what a pity.JOHN ADAMSDo not pity me, kind, beautiful,lovely Miss Constance Fletcher...

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I am an Adams and not pitable.CONSTANCEDear, dear me, if he had not beenan Adams, he would have kneeledat my feet and he would havekissed my hand. Do you meanthat you would have kissed myhand or my hands, dear MisterAdams?JOHN ADAMSI mean that I would have firstkneeled at your feet and then Iwould have kissed one of yourhands, and then I would, stillkneeling, have kissed both of yourhands, if I had not been an Adams.CONSTANCEDear me, Mister Adams!ALLIf he had not been an Adams,

he would have kneeled at herfeet, and he would have kissedone of her hands and then, stillkneeling, he would have kissedboth of her hands if he had notbeen an Adams.ANDREW J.it is cold weather...HENRIETTA M....in winterANDREW J....wherever I am.THADDEUS S.When I look at him I fly, I meanwhen he looks at me, he can cry.LILLIAN RUSSELLIt is very naughty for men toquarrel so.HERMAN ATLANThey do quarrel so.LILLIANIt is very naughty of them...(All waltz.)ALLNaughty men, they quarrel so.Quarrel about what? About howlate the moon can rise, abouthow soon the earth can turn,about how naked are the stars,about how black are blackermen, about how pink are pinksin spring, about what corn is bestto pop, about how many feet the

ocean has dropped. Naughty men...JENNY REEFERUlysses S. Grant was not themost earnest or noble of men,but he was not always quarreling.DONALD GALLUPNo, he was not.JOHas everybody forgotten IsabelWentworth?CHRISWhy shouldn’t everybody forgetIsabel Wentworth?JOWell, that is just what I want toknow...

Scene Four TRACK 4

(Susan B. Anthony’s Dream.)SUSAN B. (alone)I do not know whether I amasleep or awake... Do I know? (Sheimagines a snowy landscape.)JOI know you are awake, Susan B.SUSAN B.Negro man, would you vote ifonly you can and not she?NEGRO MANYou bet!SUSAN B.I fought for you, that you couldvote. Would you vote if they

John Adams (Carlton Moe) woos Con-stance Fletcher (Addison Hamilton).

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would not let me?NEGRO MANHoly Gee!SUSAN B.If I believe that I am right and Iam right, if they believe that theyare right and they are not in theright, might there be what might be?NEGRO MAN AND WOMANAll right, Susan B., all right.SUSAN B.How then can we entertain ahope that they will act differ-ently? We may pretend to go ingood faith, but there will be nofaith in us.DONALD G.Let me help you, Susan B.SUSAN B.And if you do and I annoy you,what will you do?DONALD G.I wonder if I can help you, Susan B.

SUSAN B.I wonder.THREE V.I.P.s (Daniel Webster,Thaddeus S. and Andrew J.)We are the Chorus of the V.I.P.,Very Important Persons to every-one who can hear and see...SUSAN B.Yes, so they are. I am important,but not that way.THREE V.I.P.sWe are the Chorus...SUSAN B.My constantly recurring thoughtand prayer now are that no wordor act of mine may lessen themight of this country in the scaleof truth and right.THREE V.I.P.sWhen they all listen to me, it isnot necessary to have any mean-ing. I am he, he is me, I and aV.I.P. We are... We have specialrights. They ask us first and theywait for us last. And wheneverwe are, there we are... (They go.)JO (enters with Chris)I wish I knew the differencebetween rich and poor. I usedto think I was poor, now I think Iam rich. And I am rich, quite rich,not very rich... I wish I knew...CHRISAsk her, ask Susan B. I always ask.

I find they like it and I like it, andif I like it, and if they like it, I amnot rich and I am not poor, justlike that, Jo...JO (speaks to her)Susan B., listen to me. What isthe difference between rich andpoor? No use to ask the V.I.P.They never answer me. But you,Susan B., you answer me.SUSAN B.To be rich is to be so rich, thatwhen they are rich, they have itto be that they do not listen. Andwhen they do, they do not hear.And to be poor is to be so poor,they listen... And what they hear?Well, what do they hear? Theyhear that they listen. They listento hear, that is what it is to bepoor. But I, Susan B... There is nowealth nor poverty. Has a pen ink?JOI had a pen that was to have inkfor a year. It only lasted six weeks.SUSAN B.Yes, I know, Jo. I know.

Scene Five TRACK 5

(The marriage of Jo the Loitererand Indiana Elliot.)SUSAN B.Will they remember that it is true

Negro Man & Woman (Elliott Paige,Chanae Curtis)

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that neither they, that neitheryou, will they marry? Will theycarry aloud the right to know thateven if they love them so, theyare alone to live and die? Theyare alone to sink and swim. Theyare alone to have what they own,to have no idea but that they arehere, to struggle and thirst to doeverything first, because until it isdone, there is no other one.(Jo and Indiana wearing weddingclothes enter. The others follow.)ANNEMarriage!JENNYMarry marriage!SUSAN B.I know I know, and I have toldyou so. But if no one marries,how can there be women to tellmen..?

ANNEWomen should not tell men.SUSAN B.Men cannot count. They do notknow two and two make four ifwomen do not tell them so. Thereis a devil creeps into men whentheir hands are strengthened.Men want to be half slave, halffree. Women want to be all slaveor all free. Therefore, men governand women know, and yet...ANNEYet?JENNYThere is no “yet” in Paradise.SUSAN B.Let them marry.JOI tell her if she marries me, do Imarry her.INDIANAListen to what he says so youcan answer. Have you the ring?JOYou did not like the ring andmine is too large.INDIANAHush...!JOI wish my name was Adams.JOHN ADAMSI never marry. I have been twicedivorced, but I have never mar-

ried. Fair Constance Fletcher, doyou not admire me that I cannever married be?CONSTANCESo beautiful, it is so beautiful tomeet you here, dear, dear JohnAdams, so beautiful...DANIEL WEBSTERWhen I have joined, and not hav-ing joined, have separated, andnot having separated, have led,and not having led have thun-dered. When I, having thundered,have provoked, and having pro-voked, have dominated... May I,dear Angel More, not kneel atyour feet? Because I cannotkneel, my knees are not kneelingknees. But dear Angel More, bemy Angel More forevermore.ANGEL MOREI join the choir that is visible,because the choir that is visibleis as visible.DANIEL WEBSTERAs visible as what, Angel More?ANGEL MOREAs visible as visible. Do you nothear me? As visible.DANIEL WEBSTERYou do not and I do not...ANGEL MOREWhat?

Susan B. considers rich and poor.

DANIEL WEBSTER...separate marriage frommarriage.ANGEL MOREAnd why not?DANIEL WEBSTERAnd...U. S. GRANT (interrupts)As long as I sit, I am sitting.Silence again as you were. Youwere all silent...ALLWe are silent as we were.SUSAN B.We are all here to celebrate thecivil and religious marriage of Jothe Loiterer and Indiana Elliot.JOWho is civil and who is religious?ANNEWho is? Listen to Susan B. She knows.BROTHER OF INDIANA (enters)Nobody knows who I am, but Iforbid the marriage. Do we knowwhether Jo the Loiterer is a biga-mist or a grandfather or an uncleor a refugee? Do we know? No,we do not know and I forbid themarriage... I am Indiana Elliot’sbrother and I forbid it. I amknown as Herman Atlan and Iforbid it. I am known as AnthonyComstock and I forbid it. I am...

JOWell, well, well. I knew that ringof mine was too large. It couldnot fall off on account of myjoints, but I knew it was too large.INDIANAI renounce my brother.JOThat’s all right, my dear...SUSAN B.What is marriage? Is marriageprotection or religion? Is marriagerenunciation or abundance? Ismarriage a stepping stone or anend? What is marriage?ANNEI will never marry.JENNYIf I marry, I will divorce. But I willnot marry because if I did marry,

I would be married.U.S. GRANT (again interrupting)Didn’t I say I do not like noise?I do not like cannon balls, I donot like storms, I do not like talk-ing. I do not like noise. I like every-thing and everybody to be silent...JOI know I was silent. Everybody cantell just by listening to me justhow silent I am. Dear General...Ulysses Simpson Grant, am I not aperfect example of what you like?Am I not silent?SUSAN B.I am not married, and the reasonwhy is that I have had to do whatI have had to do. I have had to bewhat I have had to be. I couldnever be one of two, I couldnever be two in one, as marriedcouples do and can. I am but oneand all one and so I have neverbeen married to anyone.ANNEBut I have been. I have beenmarried to what you have beento that one.SUSAN B.No, no, no. You may be marriedto the past one, the one that isnot the present one. No one canbe married to the present one...

❦ 16 ❦

Jo the Loiterer marries Indiana Elliot(Gina Perregrino)

JENNYI understand you undertake tooverthrow their undertaking.SUSAN B.I love the sound of these: oneover two, two under one, threeunder four, four over more.ANNEDear Susan B. Anthony, thank you.JOHN ADAMSAll this time I have been lost in mythoughts of thee, beautiful thee.Constance Fletcher, do you see...?CONSTANCEI am blind and therefore I dream.DANIEL WEBSTERDear Angel More... there havebeen men who stammered andstuttered, but not, not I.ANGEL MORESpeak louder!DANIEL WEBSTERNot I.ALLWhy don’t you all get married?We want to go home.INDIANA’S BROTHERWhy don’t you? Why don’t you,because I am here. (The crowdremoves him forcibly. Danielpronounces the marriage.)SUSAN B.They are married, all are married.

And their children, women aswell as men, will have the vote,they will have the vote...

END ACT ONE / END CD I

ACT IIScene I CD TWO, TRACK 1

(Susan B.’s drawing room.)ANNESusan B., they want you.SUSAN B.Do they?ANNEYou must go.SUSAN B.No.JENNYOh yes! They want to know ifyou are still here.SUSAN B.Yes, still alive. Painters paint andwriters write and soldiers drinkand fight. And I, I am still alive.ANNEThey want you.JENNYThen they will want you again.SUSAN B.Yes I know, they love me so, theytell me so... But I do not tell themso, because I know they will notdo what they could do. And I willbe left alone to die, but they willnot have done what I need to

have done: to make it right thatI lived my life and fight.JO (enters)Indiana Elliot wants to come in.She will not take my name. Shesays it is not all the same. Shesays that she is Indiana Elliot andthat I am Jo and that she will nottake my name, and that she willalways tell me so. Oh yes, she isright, of course... It is not all thesame. Indiana Elliot is her name.She is only married to me. Thereis no difference that I can see.But all the same, there she isand she will not change hername. Yes, it is all the same.SUSAN B.Let her in.INDIANA (enters)Oh, Susan B., they want you, theyhave to have you. Can I tell themyou are coming? I have notchanged my name. Can I tellthem you are coming and thatyou will do everything?SUSAN B.No. But there is no use tellingthem so. They won’t vote mylaws. There is always a clause.There is always a pause...THADDEUS, ANDREW J. (enter)Will the good lady come right

❦ 17 ❦

along...? We are waiting. Will thegood lady not keep us waiting?SUSAN B.You who know so well that youwill not vote my laws.MENDear lady, remember: humanitycomes first.SUSAN B.You mean men come first. Youwill not vote my laws. How canyou dare when you do not care..?There is no humanity in humans,there is only law. You will not,because you know so well thatthere is no humanity. There areonly laws. You know it so wellthat you will not vote my laws.ALLDo come, Susan B. Anthony.Nobody can make them comethe way you make them come.It is your duty, Susan B. Anthony.You know your duty. Do come...SUSAN B.I suppose I will be coming. Is itbecause you flatter me? Is itbecause if I do not come, youwill forget me and never votemy laws? You will never vote mylaws, even if I do come. Come ornot come, it always comes to thesame thing. It always comes to

their not voting my laws... Tellme, all you men: tell me youknow you will never vote my laws.MENDear kind lady, we count on you.And as we count on you...SUSAN B.Yes, but I work for you. I do. Isay never again... And yet I knowI do say no, but I do not mean no.I know I always hope that if I go...perhaps then you men will votemy laws. But I know, how well Iknow, a little this way, a little thatway, you steal away. You steal apiece away, you steal yourselvesaway. You do not intend to stayand vote my laws. And still whenyou call, I go. I say no and I go.But no! This time you have to domore than promise. You mustwrite it down. But no, you willpay no attention to what iswritten. Well then, swear by myhearth, as you hope to have ahome and hearth. Swear after Iwork for you, swear that you willvote my laws. But no. No oaths,no thoughts, no decisions, nointentions, no gratitude, noconvictions—no, nothing willmake you pass my laws. Tell me,can any of you be honest now

and say you will not vote my laws?JOI can be honest, I can say I willnot pass your laws, because, yousee, I have no vote, no loitererhas a vote. So it is easy, SusanB. Anthony, easy for one manamong all these men to be hon-est and to say I will not pass yourlaws. Anyway, Susan B. Anthony,what are your laws? Would itreally be all right to pass them? Ifyou say so, it is all right with me. Ihave no vote myself, but I’ll makethem. As long as I don’t have tochange my name...THADDEUS S.Thanks, dear Susan B. Anthony.We all know that whatever hap-pens, we all can depend uponyou to do your best for any causewhich is a cause, and any causeis a cause, and because any causeis a cause. Therefore, you will al-ways do your best for this cause,

❦ 18 ❦

l. to r.: Lillian Russell (Margaret Newcomb);Ulysseys S. Grant (Kim Johansen); Anne(Megan Samarin).

our cause, the cause.SUSAN B.Because. Very well. Is it snowing?ALLNot just now.SUSAN B.Is it cold?ALLA little.SUSAN B.I am not well.ALLBut you look so well, and oncestarted, it will be all right.SUSAN B. (as they all go)All right.

Scene Two TRACK 2

(The same place.)ANNE (entering with Susan B.)It was wonderful. They listen tonobody the way they listen to you.SUSAN B.Yes, it is wonderful. As the resultof my work, for the first time theword “male”has been writteninto the constitution of theUnited States concerning suf-frage. Yes, it is wonderful...ANNEBut?SUSAN B.Yes, “but.” What is man, whatare men, what are they? I do not

say that they haven’t kind hearts.If I fall down in a faint, they willrush to pick me up. If my houseis on fire, they will rush in to putthe fire out and help me. Yes,they have kind hearts, but theyare afraid... They fear women.They fear each other. They feartheir neighbor. They fear othercountries. And then they heartenthemselves in their fear by crowd-ing together and following eachother. And when they crowdtogether, they are brutes, likeanimals who stampede. And sothey have written in the name“male” into the United States Con-stitution, because they are afraidof black men, because they areafraid of women. Men are afraid.ANNEAnd women?SUSAN B.Ah! Women often have not anysense of danger. After all, a henscreams frightfully when she seesan eagle, but she is only afraid forher children. Men are afraid forthemselves. That is the real differ-ence between men and women.ANNEBut Susan B., why do you notsay these things out loud?

SUSAN B.Why not? Because if I did theywould not listen. They not alonewould not listen. They wouldrevenge themselves. Men havekind hearts when they are notafraid. But they are afraid... But ifI were to tell them so, their kind-ness would turn to hate. Yes, theQuakers are right: they are notafraid because they do not fight...ANNE, SUSAN B.But Susan B., you fight and youare not afraid. And you will win.Win what? Win the vote for wo-men... Yes, some day the womenwill vote, and by that time...SUSAN B.By that time it will do them nogood. Because having the vote,they will become like men. Theywill be afraid. Having the vote willmake them afraid. Oh, I know it.But I will fight for the right, forthe right to vote for them, eventhough they become like men,become afraid like men...JENNY, ALL (enters with suf-fragettes) I have just convertedLillian Russell to the cause ofwomen’s suffrage... I have con-verted her. She will give all her-self and all she earns. Lillian is

❦ 19 ❦

converted. She will give all her-self and all she earns. Oh, won-derful day! I know what you willsay. Here she comes. Isn’t shebeautiful?LILLIAN RUSSELL (enters)Dear friends, it is so beautifulto meet you all, so beautiful...JOHN ADAMS (enters withConstance Fletcher) Dear friend,beautiful friend, there is nobeauty where you are not.CONSTANCEYes, dear friend, but look at realbeauty. Look at Lillian Russell,look at real beauty.JOHN ADAMSReal beauty is all there is ofbeauty. And why should my eyewander where no eye can look,without having looked before?Dear friend, I kneel to youbecause, dear friend, each timeI see you, I have never lookedbefore. Dear friend, you are anopen door.DANIEL WEBSTER (enters)What is it? What is the false andthe true? And I say to you, SusanB. Anthony, you know the falsefrom the true and yet you will notwait. When my eyes, and I haveeyes... Beyond that, I seek not to

penetrate the veil. Why shouldyou want what you have chosen,when mine eyes? Why do youwant that the curtain may rise?When mine eyes... Why shouldthe vision be opened to what liesbehind? Why, Susan B. Anthony,fight the fight that is the fight,that any fight may be a fight forthe right? I hear that you say thatthe word “male” should not bewritten into the Constitution ofthe United States of America. ButI say that so long that the gorgeousensign of the republic, still fullhigh advanced, its arms and tro-phies streaming in their originallustre, not a stripe erased or pol-luted, not a single star obscured...JO (rushes in with Indiana)She has decided to change her name.INDIANANot because it is his name. But itis such a pretty name. IndianaLoiterer is such a pretty name. Ithink, all the same, he will haveto change his name. He must beJo Elliot... It is what he has to do.He has to be Jo Elliot and I amgoing to be Indiana Loiterer.JOAll right, I never fight. Nobodywill know it’s me, but what can I

do. If I am not she and I am notme? What can I do if a name isnot true? What can I do but doas she tells me?ALLShe is quite right: Indiana Loiterer isso harmonious... What did she say?JOI was talking, not she. But no-body ever wants to listen to me.ALLSusan B. Anthony was very suc-cessful. We are all very gratefulto Susan B. Anthony because shewas so successful. She workedfor the vote for women and sheworked for the vote for coloredmen. And she was so successful,they wrote the word “male” intothe Constitution... Dear Susan B.,whenever she wants to be, she isalways so successful...SUSAN B.So... successful!

Scene Three Epilogue TRACK 3

(Some years later in the halls ofCongress, where the Susan B.Anthony statue is unveiled.)ANNE (in front of the statue)The vote! Women have the vote.They have it each and every one.It is glorious...

❦ 20 ❦

SUSAN B. (her voice only; she isinvisible to the spectators.)Yes, women have the vote. All mylong life of strength and strife...Women have it, they can vote.Every man and woman has thevote. The word “male” is notthere anymore. That is to say...VIRGIL T. (enters, sees Anne)Very well, indeed! You arelooking very well, indeed. Haveyou a chair anywhere? As we sit,we sit. Some day very soon theywill vote, sitting, and that will bea very successful day, every day...HENRY B. (looking at the statue)Does it really mean that womenare as white and cold as marble?Does it really mean that?ANGEL MOREI can always think of dear DanielWebster daily.JOHN ADAMSI think that they might haveadded dear, delicate ConstanceFletcher. I do think they mighthave added her wonderful profile.ANDREW J.I have no hope in black or white...THADDEUS S.Rob the cradle, rob it. Rob therobber, rob him. Rob whateverthere is to be taken...

DANIEL WEBSTERAngel More! Did you hear me?Can you hear? Shall you hear mewhen they come, and they docome, when they go, and theydo go, can you, will you, shall youmay you, might you, would youhear me? When they have lostand won, when words are bitterand snow is white, Angel More,come to me and we will leavetogether.ANGEL MOREDear sir, not leave, stay.HENRIETTA M.I have never been mentionedagain.CONSTANCE FLETCHERHere I am, I am almost blind buthere I am. Dear, dear, here I am.I cannot see what is so white.Here I am.JOHN ADAMSHere you are, blind as a bat andbeautiful as a bird. Here you are,white and cold as marble, beauti-ful as marble. Yes, that is marble,but you are the living marble,dear Constance Fletcher, you are.CONSTANCEThank you. Yes, I am here...INDIANAI am sorry to interrupt... but I

have a great deal to say aboutmarriage. Either one or the othermarried must be economical...then the marriage is successful.If not, not... And dear Susan B.Anthony was never married. Howwonderful it is to be never mar-ried. I have a great deal to say...SUSAN B. (still invisible)It is a puzzle. I am not puzzled...If there are no children, there areno men and women. And if thereare men and women, it is ratherhorrible. And if it is rather horri-ble, then there are children. I amnot puzzled, but it is very puzzling.Women, men, votes and children.I am not puzzled...GLOSTER H.I have only been a man who has

❦ 21 ❦

Theposthumousunveiling ofthe statueof Susan B.Anthony

❦ 22 ❦

a very fine name. And it must besaid I made it up, yes I did. Somany do, why not I? And why nottwo, when anybody might? Andyou can vote and you can dotewith any name. Thank you.ISABEL WENTWORTHThey looked for me and theyfound me. I like to talk about it. Itis very nearly necessary not to benoisy, and hope, hope and hop.No use in enjoying men andwomen. I wonder why we are allhappy. Yes.ANNA HOPEThere is another Anne and shebelieves. I am hopey-hope and Ido not believe. I have been inCalifornia and Kalamazoo and Ido not believe. I burst into tearsand I do not believe.LILLIAN R.I can act so drunk that I neverdrink. I can drink so drunk that Inever act. I have a curl, I was agirl, and I am old and fat, butvery handsome for all that.ANTHONY COMSTOCKI have heard that they havethought that they would wishthat one like you could vote avote and help to let the ones whowant do what they like. I have

heard that even you... and I amthrough. I cannot hope that thereis dope. Oh yes, a horrid word Ihave never heard—short.JENNYI have hope and faith, not charity.U.S. GRANTWomen are women. Soldiers aresoldiers. Men are not men. Liesare not lies. Do, and then a dogbarks. Listen to him. And then adog barks.. Listen to him. Anydog barks.HERMAN ATLANI am not loved anymore. I wasloved, but I am not loved any-more. I am not. Was I not? I knewI would refuse what a womanwould choose and so I am notloved anymore...DONALD GALLUPLast but not least, first and notbest, I am tall as a man, I am firmas a clam. And I never changefrom day to day.JOLet us dance and sing, ChrissyChris, wet and not in debt. I ama married man and I know how Ishow I am a married man. Shevotes. She changes her name...ALLTo vote the vote, the vote we

vote, can vote, do vote, will vote,could vote the vote we vote!JOI am the only one who cannotvote. No loiterer can vote.INDIANAI am a loiterer: Indiana Loiterer,and I can vote.JOYou only have the name,you have not got the game.ALLThe vote... we will have the vote.LILLIAN RUSSELLIt is so beautiful to meet you allhere. So beautiful...U.S. GRANTThe vote... The army does notvote. The general generals, thereis no vote. Bah, the vote!ALL (as the statue is revealed)The vote we vote. We vote...SUSAN B. (her voice)We cannot retrace our steps.Going forward may be the sameas going backwards. All my longlife... we do not retrace our steps...And here we are here, in marbleand gold. Did I say gold? Yes, Isaid gold... And where? Where iswhere? In my long life of effortand strife... life is strife... It willnot come and go. I tell you so. It

will stay, it will pay. But, but dowe want what we have got? Hasit not gone? What made it live?Has it not gone because now it ishad...? Life is strife. I was a martyrall my life. Not to what I won, but

to what was done. Do you knowbecause I tell you so or do youknow...? My long life...

The Mother of Us All SuiteI. Prelude TRACK 4

ORCHESTRAVIOLIN I: Wing Chun Hiu (concertmaster),Elizabeth Wright, Katherine Liccardo, Zi-Wei Yang,Cheong Seon Yang, Kristine Schneider, Jihee Lim, Joy RheeVIOLIN II: Hannah Choi,* Lina Zhao, Susan Hwang, Mariya Polishchuk, Dilyana Zlatinova, Gemma BaehrVIOLA: Thomas Duboski,* David Derrico, Ao Peng, Midori Witkoski, Tia AllenCELLO: Kye-Young Kwon,* Lawrence Dibello, Joseph Isom, Jacob NordlingerDOUBLE BASS: Blake Martin,* Christopher JonesFLUTE/PICCOLO: Eun A ChoiOBOE/ENGLISH HORN: Aleh RemezauCLARINET: Hila Zamir, Samuel SparrowBASSOON: Daniel Goldblum

FRENCH HORN: Corinne Cook, Elizabeth HarramanTRUMPET: Tayla Nebesky, Anthony LimoncelliTROMBONE: Masa OhtakeTIMPANI: Patrik SamuelsonPERCUSSION: Joseph Kelly, Hector Flores, Tomasz ArnoldHARP: Yeon Hwa ChungPIANO/CELESTA: Ronny Michael Greenberg

Heidi Stubner: Assistant Dean for Performance OperationsNolan Robertson: Orchestra Manager

Steven Osgood,conductor

MANHATTANSCHOOLOF MUSIC

James Gandre, president

❦ 23 ❦

Producer’s Note: My personal thanks for this recording to Dona Vaughn and herstaff, to Daniel Benavant, and my longtime MSM collaborators Steve Osgood, DebraKinzler, Kevin Boutote, Christianne Orto and the man responsible for all theseprojects—nearly 20 seasons and counting: Gordon Ostrowski. Thank you all! John Ostendorf

*principal

II. Cold Weather TRACK 5

III. A Political Meeting TRACK 6

IV. Hymns TRACK 7

(Virgil Thomson,1949)

END CD TWO

CD ONETHE MOTHER OF US ALL (1947)

1 ACT ONE, Scene I: “Yes, I was” (6:01)

2 Scene II: “Pity the poor persecutor” (15:21)

3 Scene III: “It is cold weather” (6:11)

4 Scene IV: “I do not know” (9:35)

5 Scene V: “Will they remember?” (13:01)

CD TWO1 ACT TWO, Scene I: “Susan B. , they want you” (11:16)

2 Scene II: “Oh, it was wonderful” (12:31)

3 Scene III: “The vote!” (19:04)

THE MOTHER OF US ALL SUITE (1949)4 Prelude (5:51)

5 Cold Weather (3:12)

6 A Political Meeting (3:14)

7 Hymns (6:02)

The Mother of Us All

Susan B. Anthony (1820-1906)

Albany Records U

.S.915 Broadw

ay, Albany, N

Y 12207 Tel: 518-436-8814

Albany Records U

.K.

Box 137 Kendal, C

umbria LA

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Tel: 01539 824008W

arning: Copyright subsists in all recordings issued under the label

© 2014 A

LBAN

Y REC

ORD

S Made in the U

SA. w

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.alban

yrecord

s.com

CD I: 50

:14 CD

II: 61:17

CD

Producer: John Ostendorf

Engineer: Kevin BoutoteRecording C

onsultant: Christianne O

rtoProduction Photos: C

arol Rosegg

Noragh Devlin Scott Russell

Alexander Frankel SU

SAN

B. AN

THO

NY

DA

NIEL W

EBSTER JO

THE LO

ITERER

Virgil Thom

son’s 1947 opera, libretto by Gertrude Stein (and Thom

son’s 1949Suite)—

recorded live at the acclaimed 2013 M

anhattan School of Music O

peraTheater production: D

ona D. Vaughn, artistic director; Steven O

sgood, conductor;G

ordon Ostrow

ski, producer; John Ostendorf, recording producer.

Steven Osgood Addison Ham

ilton Carlton M

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THOMSON The Mother of Us All TROY 1486 / 87

VirgilThom

son1896-1989CO

MPO

SER

Gertrude Stein 1874-1946LIBRETTIST

The recordingw

as funded, inpart, by theVirgil Thom

sonFoundation,Ltd., w

ithassistance fromG

. Schirmer,

publisher.

THOMSON The Mother of Us All TROY 1486 / 87