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5-2019

Reclaiming the Musical Burlesque: A Reconstruction of the 1855 Reclaiming the Musical Burlesque: A Reconstruction of the 1855

Musical Score to John Brougham’s Musical Score to John Brougham’s Po-Ca-Hon-Tas: Or, The Gentle Po-Ca-Hon-Tas: Or, The Gentle

Savage Savage

Christopher Drobny The Graduate Center, City University of New York

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RECLAIMING THE MUSICAL BURLESQUE: A RECONSTRUCTION OF THE 1855 MUSICAL SCORE TO JOHN BROUGHAM’S PO-CA-HON-TAS: OR, THE GENTLE SAVAGE

by

CHRISTOPHER DROBNY

A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of

the requirements for the degree of Master of Arts, The City University of New York

2019

iiii

© 2019

CHRISTOPHER DROBNY

All Rights Reserved

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Reclaiming the Musical Burlesque: A Reconstruction of the 1855 Musical Score to John

Brougham’s Po-Ca-Hon-Tas: Or, The Gentle Savage

by

Christopher Drobny

This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts.

Date Jeffrey Taylor

Thesis Advisor

Date Elizabeth Macaulay-Lewis

Executive Officer

THE CITY UNIVERSITY OF NEW YORK

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ABSTRACT

Reclaiming the Musical Burlesque: A Reconstruction of the 1855 Musical Score to John Brougham’s Po-Ca-Hon-Tas: Or, The Gentle Savage

by

Christopher Drobny

Advisor: Jeffrey Taylor, Ph.D.

Most historians begin their musical theatre chronologies with the 1866 premiere of The Black Crook. However, a few respected scholars cite Po-Ca-Hon-Tas: or, The Gentle Savage, John Brougham’s 1855 musical burlesque, as an important development in the art form’s earlier evolution. The neglect of Brougham’s work is often justified for two reasons. First, his practice of creating lyrics to pre-existing melodies reduces his work to second-tier status. Second, because none of Brougham’s musical scores are extant, it is impossible to recreate a performance of his work and access its qualities. I offer two responses. First, as our contemporary musical theatre has grown so dependent upon reuse of existing musical material, is it not time to rethink our prejudices towards Brougham’s methods? Might we even regard him as a creative artist 150 years ahead of his time? Second, by building upon information Brougham offers in the published libretto and research presented by musicologist William Brooks in a 1984 American Music article, it is indeed possible to reconstruct a reasonable facsimile of the original score to Po-Ca-Hon-Tas. The purpose of this capstone project is to create a piano-vocal score featuring musical settings of all forty sung texts notated in Brougham’s script. Used in conjunction with the published libretto, this score will allow any modern musical theatre historian, student or aficionado to mount a performance or concert presentation of the work, hopefully engendering more meaningful discussion as to the importance of mid-nineteenth century musical theatre genres.

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ACKNOWLEDGMENTS

My thanks to Marvin Carlson who introduced me to Brougham in his “New York Theatre

Before 1900” seminar and generously spent many hours with me discussing nineteenth-century

musical theatre genres; William Brooks, who graciously and enthusiastically encouraged me to

build upon the work in his 1984 American Music article; Jeffrey Taylor, my thesis advisor, who

tirelessly examined many drafts of the piano-vocal score, always offering support and a keen

critical eye; and Douglas Grabowski, my husband, who patiently nodded and smiled through

many a dinner conversation as I excitedly shared the details of my day’s research on Brougham.

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TABLE OF CONTENTS I. Introduction……………………………………………………………………………..1 II. Brougham and the Musical Burlesque…………………………………………………3 III. Musical Methodology………………………………………………………………..10 IV. Transcription Challenges…………………………………………………………….13 V. Presentation to a Contemporary Audience…………………………………………....22 Table of Songs and Sources……………………………………………………………...25 Bibliography……………………………………………………………………………..26 Po-Ca-Hon-Tas: or, The Gentle Savage – Piano/Vocal Score (2019)…………………..31 Appendix: Po-Ca-Hon-Tas: or, The Gentle Savage – Libretto (1855)..……….………105

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I. Introduction

Most musical theatre historians begin their chronology of the art form with the

premiere of The Black Crook in 1866, using the year after the conclusion of the Civil

War as a convenient starting point. Although a few respected scholars, notably Gerald

Bordman, cite Po-Ca-Hon-Tas: or, The Gentle Savage, John Brougham’s 1855 musical

burlesque, as an important development in the early evolution of the American musical

theatre, historians frequently offer two reasons for excluding Brougham’s work from

their surveys.

First, because the musical burlesque followed the tradition of the ballad opera

in which a librettist created new lyrics to existing musical material, Brougham’s abjuring

any active collaboration with a composer denigrates him to second tier status. Second,

because the new songs Brougham created from pre-existing material were never

published, nor the scores assembled by his musical arrangers ever preserved for future

generations, it has been impossible for contemporary scholars to recreate a performance

of a Brougham musical burlesque, depriving historians the opportunity to more fully

appreciate his methodology and accomplishments.

Regarding the first argument, I contend that we have arrived at a point of

evolution in our modern musical theatre which forces us to reconsider both our

conventional notions regarding the hierarchy of components within a collaborative work

and our prejudices against Brougham’s practice of reuse. The traditional form of the book

musical, an organic integration of original music, lyrics and libretto, which began in the

early twentieth century at Jerome Kern’s Princess Theatre and reached maturity in the

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mid-century works of Rodgers and Hammerstein, is no longer the dominant or exclusive

model for musical theatre in our new millennium.

Since the phenomenal success of Mamma Mia!, beginning its fourteen-year

Broadway run in 2001, original music has become a particularly dispensable commodity

in the age of the jukebox musical. The idea of an organic musical sensibility providing

unity to the larger piece is totally discarded in the upcoming Moulin Rouge, which

features a score of chart-toppers drawn from the last fifty years of popular music, each

musical selection written by a different songwriting team. This elasticity of musical

source material reached its most original permutation in last season’s Clueless, in which

pop-rock classics from the soundtrack of the 1995 non-musical film were refitted with

new lyrics to serve as character-driven songs within the libretto.

Addressing the second point, this thesis attempts to remedy the lack of

materials available with which to appreciate Brougham’s work in the musical burlesque

genre. Building upon the research presented in “Pocahontas: Her Life and Times,” a 1984

article in which musicologist William Brooks identifies a partial list of source material to

the forty musical selections comprising the score of Po-Ca-Hon-Tas, I have selected a

group of additional songs from the mid-nineteenth century to serve as musical templates

for the remaining texts. Working from archival copies of the original sheet music, I have

created a piano-vocal score featuring all forty songs which, used in conjunction with

Brougham’s published script (included in Appendix A), will allow any modern musical

theatre historian, student or aficionado to mount a performance or concert presentation

of Brougham’s 1855 work.

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II. Brougham and the Musical Burlesque John Brougham was born in Dublin on May 9, 1810 to a family of considerable

wealth. Enrolled at Trinity College to study medicine, he spent most of his college years

attending the theatre and participating in amateur theatricals. Upon graduating Trinity,

Brougham spent several months in a pre-intern position at the Peter Street Hospital until

a financial mishap robbed his family of most of its assets. Suddenly forced to support

himself, Brougham moved to London where a prominent uncle had arranged a clerkship

in the Treasury. Upon his arrival in the summer of 1830, Brougham discovered the

position was no longer available. A few days later a chance encounter with a previous

acquaintance led him to a position at the Tottenham Street Theatre where he played

several small parts in Moncrieff’s Tom and Jerry; or Life in London.

In late autumn the theatre contracted Madame Lucia Elizabeth Vestris (1797–

1856), the celebrated London-born singer and actress, to perform in three pieces from

her repertory with its resident company. Announcing at the conclusion of her engagement

she would assume management of the Olympic Theatre in the new year, she invited

Brougham to join her acting company. During his eleven seasons with Vestris, eight

at the Olympic and three at Covent Garden, Brougham appeared in several pieces by

Vestris’ favored contemporary playwright and close artistic advisor, James Robinson

Planché (1796–1880) beginning with his Olympic Revels in 1831. Performing works

in which Planché developed and perfected the musical extravaganza form, Brougham

learned the requisite tools of the genre: dialogue in rhymed couplets, an abundance of

puns and comic anachronisms, and scenes punctuated by good-humored travesties of

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popular songs or operatic melodies.1 While on summer hiatus from the Vestris company,

Brougham collaborated with J. H. Tully, Planché’s longtime musical associate, to create

Life in the Clouds; or, Olympus in an Uproar, a musical burlesque of the mythical tale

of Ixion, premiering 23 July 1840 at the London Lyceum. The musical score consisted

of seventeen selections, sources ranging from William Tell and Il barbiere di Siviglia

to Scottish songs, Irish airs and “Home, Sweet Home,” the popular ballad and sheet

music sensation of 1823.

Brougham arrived in New York on 28 September 1842 amidst what Laurence

Hutton terms the Palmy Days of burlesque.2 The movement had begun three years earlier

when English-born actor-manager William Mitchell (1798-1856), regarded as the first

of the three greats of American burlesque, assumed management of the Olympic

Theatre.3 Satirizing the high arts of opera and dance, the popular hits of Mitchell’s first

season included The Roof Scrambler, a parody of Bellini’s La Sonnambula, and The

Musquitoe, featuring a cross-dressed Mitchell recreating Fanny Elssler’s performance

as The Tarantula.4

1 Most Victorians used the terms “extravaganza” and “burlesque” interchangeably. Richards notes that Planché once defined the former as “the whimsical treatment of a poetic subject” and the latter as “a broad caricature of tragedy or serious opera.” As Olympic Revels deals satirically with a mythological subject, it is most often regarded as a “classical burlesque.” 2 Brougham enjoyed a theatrical career lasting fifty years. During his years in London as a member of Vestris’ company, he concentrated primarily on acting work. Upon his arrival to the U.S. and for the next thirty-eight years, he divided his energies between acting, playwriting and theatre management. This brief chapter focuses on the creation of his five musical burlesques: Life in the Clouds, Po-Ca-Hon-Tas, Columbus el Filibustero!!, Neptune’s Defeat, and Much Ado About a Merchant of Venice. I recommend the reader interested in a comprehensive analysis of Brougham’s full career to David Hawes’ dissertation. 3 The theatre was built in 1832 in conscious imitation of Vestris’ London Olympic. 4 Interestingly, Mitchell produced Life in the Clouds, retitled as Jupiter Jealous, in October 1842, shortly after Brougham’s arrival in the U.S., but the author appears to have had no association with the production. Brougham, engaged during most of that month playing in Bernard’s His Last Legs at the Park Theatre,

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Spending the next six years as a journeyman actor, Brougham performed

148 different plays in over twenty-six theatres in at least eight states, settling briefly

in Boston in April 1847 where he co-managed the Adelphi Theatre, a house specializing

in burlesques of Shakespeare and opera. The highlight of the Adelphi’s inaugural season

occurred 29 November 1847 with Brougham’s appearance in the title role of Met-a-

mora; or, The Last of the Pollywogs, his satire of Edwin Forrest’s performance as the

doomed Noble Savage in Metamora; or, The Last of the Wampanoags, John Augustus

Stone’s 1829 tragedy.5

Brougham spent the first half of 1848 touring Met-a-mora to cities along the

Eastern seaboard. Performing in Philadelphia in early June, Brougham attracted the

notice of William Burton (1804-1860), an English-born actor-manager. Preparing to

open a new theatre in New York the following month, Burton hired Brougham to fill

several positions including actor, stage manager and chief writer. With the opening of

Burton’s Chambers Street Theatre on 10 July 1848, Burton was soon regarded as the

second of the three greats of American burlesque. His successful programming formula

consisted of interspersing songs and dances with three or four comic pieces a night.6

Burlesques parodying popular operas such as W. K. Northall’s Lucy Did Sham Amour,

makes no reference in any of his autobiographical writings to Mitchell or the New York production of Jupiter. 5 Brougham’s Met-a-mora featured five brief musical selections, none exceeding two stanzas, situating the piece not as a musical burlesque, but as a burlesque with incidental songs. Brougham’s interest in America’s peculiar mythologizing of the Native American would reach its more mature expression with Po-Ca-Hon-Tas, featuring a quartet of leading characters, a ridiculous but nevertheless cogent narrative, and a fully integrated musical score. 6 Brougham contributed Monto Christy, a literary parody of The Count of Monte Cristo.

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a satire of Donizetti’s Lucia de Lammermoor, and Jonas B. Phillips’ Herr Nanny,

a burlesque of Verdi’s Ernani, were especially successful.7

Leaving Burton’s after two seasons, Brougham opened his own Lyceum

Theatre on 23 Dec 1850. His management lasted only fifteen months, but with the

assistance of George Loder, Burton’s former musical director, Brougham produced

a lengthy and eclectic list of musical theatre productions including Esmeralda, Albert

Smith’s two-act musical burlesque imported from London’s Royal Adelphi Theatre;

The Ambassadress, Brougham and Loder’s English adaptation of Auber and Scribe’s

1836 comic opera; The Spirit of the Air, an adaptation of Coyne and Pilati’s All For Love,

originally seen at London’s Adelphi Theatre; and The Queen of the Frogs, Planché’s

“new imported Geological, Quizzical and Hopperatical Extravaganza,” seen two months

earlier at London’s Lyceum. If Brougham’s hectic schedule as manager and actor did not

allow him the time to create any new musical burlesques with Loder, one senses his

desire to expand his musical theatre taste in importing these European works.8

When falling box office receipts forced Brougham to close his Lyceum in

March 1852, British actor and manager James W. Wallack reopened it in September

as Wallack’s Lyceum, hiring Brougham for the next four seasons as a leading comedian

in his permanent stock company. During this time, Brougham’s creative output consisted

almost entirely of writing comedies and farces expressly for Wallack. The one musical

piece he produced during his residency, written over a period of several weeks in the

7 Phillips (1805–1869), a largely forgotten author, poet, and playwright was one of the first Jews to enjoy literary success in early 19th-century America. 8 Brougham and Loder created What Shall We Do for Something New? for the opening of the Lyceum’s second season. There is no extant script, but descriptions indicate it was a burlesque sketch incorporating elements of meta-theatre centering upon a group of singers rehearsing a production of La Sonnambula.

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middle of his fourth season while bed-ridden and recovering from back pain, emerged

as his most popular work.

Having plundered Greek myth in Life in the Clouds, Brougham shifted his focus

to an American myth, the romanticizing of Pocahontas’ encounter with her English

colonizers, as dramatized by an earlier generation of American playwrights untethered

by historical fact. In contrast to the handful of tunes featured in Met-a-mora, the musical

score to Po-Ca-Hon-Tas, arranged by James G. Maeder, comprised more than a third of

the piece, including melodies from grand opera, sentimental ballads, minstrelsy and folk

songs. From 1856 until 1884 Po-Ca-Hon-Tas remained the most produced burlesque

afterpiece in New York and theatres throughout the country. Brougham reprised the role

of Powhatan, father of the title character, throughout his career, most notably during his

1856 management of the Bowery, as part of his July 1860 American farewell engagement

at Wallack’s, and during his brief time as producer of the Fifth Avenue Theatre in 1869,

placing him in the pantheon of Mitchell and Burton as the third and last of the great

burlesque artists of the era.

Rejoining the acting company at Burton’s New Theatre in late 1857, Brougham

performed the title role in his “new and audaciously original historico-plagiaristic, ante-

national, pre-patriotic, and omni-local confusion of circumstances, running through two

acts and four centuries” entitled Columbus el Filibustero!! In his third best-known work

after Po-Ca-Hon-Tas and Met-a-mora, Brougham continued to employ many devices

from his mythological extravaganzas: anachronisms in speech and action, historical

incongruities, and satirical jabs at contemporary issues.

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But Brougham’s choice of title, equating Columbus’ fifteenth-century expedition

with the nineteenth-century “freebooters” fomenting insurrections in Latin America,

indicates somberness beneath the antic humor. Laurence Hutton writes, “While Po-Ca-

Hon-Tas inspires nothing but laughter, Columbus excites sympathy, and oftentimes has

moved his audiences to the verge of tears…” (Hutton, “Curiosities” 170) Pat M. Ryan

notes the text “comprises psychobarometers of the comedian’s own moods – alternately

detached, perplexed and anguished – as the democratic ideal disintegrated into bloody

sectional conflict and endured a tormented aftermath.” (Ryan, “Mirror” 150) These

unsettling shifts are mirrored in the musical score, early scenes deploying operatic

parodies to ridicule the greed of the Spanish court, while the final tableau climaxes

with an unadulterated rendition of “Hail Columbia,” the curtain descending upon the

ensemble singing: “United be/From sea to sea/The home of Peace and Liberty!”

Brougham returned to Wallack’s for two seasons beginning October 1858,

appearing in the title role of Neptune's Defeat; or, The Seizure of the Seas, his mytho-

logical extravaganza written to capitalize on the public fascination with the recent laying

of the Atlantic cable. The plot concerns the distress of Neptune, an Ancient Fogie, as he

contemplates the plan of Electros, a Modern Innovator, to unite in marriage Columbia

and St. George, the symbolic representatives of America and England. The action is

divided into two acts and seven scenes, its musical score containing eleven selections

utilizing sources as varied as an English air by Charles Didbin, a Scottish folk song,

and melodies from Bellini’s Norma and Auber’s Masaniello.

Residing in England during the Civil War, Brougham returned to New York

in October 1865 to discover an altered theatrical landscape. Spurning American

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audiences’ infatuation with the ballet spectacle of The Black Crook and Lydia

Thompson’s feminization of burlesque, Brougham invented and imported new

theatrical forms including Little Nell and the Marchioness (1867), considered by

many modern critics as the first book musical, and The Dramatic Review of 1868,

a series of sketches and songs satirizing the previous theatrical season, often cited

as the earliest revue staged in the United States.

Brougham revisited the musical burlesque once more with Much Ado About a

Merchant of Venice, premiering 8 March 1869 at his Fifth Avenue Theatre. Transposing

the plot of Merchant to contemporary Wall Street, the author inserted numerous satirical

references to graft, financial speculation, and political chicanery. The score includes

eleven songs, featuring musical sources as varied as Donizetti’s L’elisir d’amore and

Auber’s Gustavas the Third to popular tunes of the day including Charles Glover’s

“Jeanette and Jeannot.” The most unusual pairing of text and musical source occurs

in the second scene as Shylock, played by Brougham, laments the disappearance of

Jessica in a “Cantata Disconsolota,” singing “Oh! Tubal dear, did you not hear/The

news that’s going around” to the traditional Irish melody of “The Wearing of the

Green.” Structuring his narrative in four scenes, Brougham places all musical numbers

in the first two, slowly leaching music and merriment from the text until the final scene

in which Portia, the sole non-singing character of the ensemble, delivers her “quality

of mercy” oration as a spoken aria, refashioned by Brougham as a stinging indictment

of the Gilded Age.

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III. Musical Methodology

The published text of Po-Ca-Hon-Tas identifies the musical sources for six

songs; in his article Brooks cites nineteen additional titles; in my preliminary research

I discovered one. To find appropriate musical settings for the fourteen remaining texts,

I engaged in an extended search through the sheet music collections of the Library of

Congress and several other institutions, perusing vocal material from the twenty years

preceding the 1855 premiere of Po-Ca-Hon-Tas. My search criteria involved two

requirements: songs needed to have originally featured lyrics that strongly resembled the

structure and scansion of Brougham’s texts, as well as melodic and harmonic elements

mirroring the tone of the dramatic moment (romantic, heroic, tragic or mirthful) in which

the song occurs. In many instances I was able to select a group of songs that so nearly

resembled the rhythms and personality of Brougham’s texts, they fulfilled the lyricist’s

intentions with only slight alterations in the melodic line, consisting usually of a few

repeated notes or additional passing tones. In other instances I utilized what I refer to

as “imperfect” sources, usually songs with melodic cells corresponding to key phrases

in Brougham’s parody texts that could be freely adapted and expanded into sixteen or

thirty-two measure song structures.

The vocal lines and piano score were directly transcribed from the published

music sheets, as were phrasing, articulation and tempo markings. Where appropriate

to Brougham’s dramatic employment of the song material, I also preserved dynamic

markings. In extended pieces where the humor is derived from a character abruptly

changing moods with the beginning of each new song (e.g. Pocahontas’ “International

Scena”), I provided the shortest possible transition to accomplish any required shift of

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key. In extended pieces for a number of soloists (e.g. the “Grand Scena Perturbato”),

I provided slightly longer transitions between songs to allow for a shifting of the stage

tableau. I maintained wherever possible the period tradition of appending a four-measure

instrumental coda to the end of a musical piece. This, combined with the instrumental

introduction, provides a frame to the musical selection, heightening its artificial intrusion

into the dramatic scene and contributing to the presentational nature of the larger piece.

Finally, I transposed the entire score to reflect the voice ranges of the original

performers in the 1855 premiere. Georgina Hodson, who created the title role, began

her career as an actress, dancer and singer. Characterized alternately as a mezzo and

contralto, she focused her later career on operatic work, celebrated for her portrayals

of Cherubino in Mozart’s Le nozze di Figaro and Pieroto in Donizetti’s Linda di

Chamounix.9 Although Charles M. Walcot, who originated the role of John Smith at the

age of forty, had gravitated to largely non-singing roles by 1855, he was acclaimed early

in his career for performing the baritone roles of Lord Allcash in Auber’s Fra Diavolo

and Dandini in Rossini’s La Cenerentola.

Brougham, who played the role of Powhatan, is reputed to have had a pleasant

baritone voice, compensating for any lack of technique with his charming and gregarious

stage manner. During the autumn of 1848, during his first season as an actor at Burton’s

Chambers Street Theatre, he sang the role of Count Almaviva in four performances of

Le nozze di Figaro. To differentiate between the two baritones, I have scored Smith,

the romantic lead, as a high lyric baritone; and Powhatan, who is assigned several patter

songs, as a baritone in the middle to lower range. 9 Note that Pocahontas confirms “I’m not a soprano” in the second stanza of “My Love is Like a Raging Hot Volcano,” her love duet with John Smith.

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There is no biographical information available to indicate if Charles Peters, the

actor who originated the role of Rolff, had previous experience in the musical theatre or

what his voice type may have been. I have chosen to score his role as a comic tenor to

both underline his character of the buffoonish suitor and to provide a contrast to the

baritone voices of the two male leads. There is some textual evidence in Act II, Scene I

to support this choice as Pocahontas, trying to resist Rolff’s advances, reprimands the

members of the pit orchestra for failing to protect her: “I cannot call you men, or/You’d

out-shout the treble baseness of his tenor!” (Brougham, Po-Ca-Hon-Tas 24)10

10 Unless otherwise noted, all quotations from the text of Po-Ca-Hon-Tas, utilize the original punctuation and typography from the 1855 published script. Especially important is the use of italics with which Brougham indicated his puns.

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IV. Transcription Challenges

A thorough documentation of my process, the identifying, transcribing and

arranging of forty wildly diverse pieces into a cohesive and coherent piano-vocal score,

would require an article many times the recommended length of this white paper. Each of

the forty songs comprising the score are worthy of several paragraphs, in how they reveal

the variety and richness of American musical and theatrical culture in the mid-nineteenth

century, and how they were refashioned and repurposed by Brougham’s brilliant and

subversive wit. In choosing to focus this central section of the paper on describing six

of the transcription issues that proved to be most unusual or perplexing, I hope this

information will inspire and aid any future scholars wishing to unlock the musical

mysteries of other burlesques.

A. In five of the six instances where Brougham identified his musical sources,

the task of transcription presented few challenges. The three songs that constitute the

opening selections of the score, all assigned to King Powhatan, feature simple melodies

and mildly clever wordplay, allowing Brougham the performer to establish a tone of

lightness and charm for the entertainment to follow. “As we’re going on a train” (15),

a sixteen-measure parody of the simplistic “Pop Goes the Weazle,” is most likely

included at the end of the penultimate scene not to provide textual or musical interest

but to cover a set change.11 In “Although a bird am I” (17), a parody text for vocal trio

set to Louis-Antoine Jullien’s melodically and harmonically sophisticated “Prima Donna

Waltz,” Brougham eschews complexity by separating the three voices, assigning each

to distinct verses. It is only “Hark ‘tis the ingine bell” (16a), a contrapuntal choral piece, 11 Numbers in parentheses following song titles refer to the ordering system Brooks employs in his article and which I have retained in my Table of Songs and Sources.

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that poses a challenge to the transcriber as its visual arrangement in the published script

offers little clue as to Brougham’s intention of word-setting.

“Hark” opens the final scene in which the chorus, assembled in the town square

to await the appearance of Powhatan and Smith, hear the signal of an arriving train. The

music is borrowed from English composer Henry Bishop’s “Hark! tis the Indian Drum,”

his 1845 setting of a four-line text by I. R. Planche:

Hark, ‘tis the Indian drum The woods and rocks around Echo the warlike sound (They come, they come, they come)

Bishop’s setting is a round for three voices consisting of a twelve-measure verse

containing five musical phrases. The round is sung five times, its contrapuntal structure

growing increasingly complex with each repetition of verse and addition of voice.

Brougham may have viewed this accruing of melodic material as an opportunity

to provide additional text as his eight-line stanza reads:

Hark ‘tis the ingine bell, Look out for the locomotive We off the track must go. Though His majesty is rather slow. He must be how come you so, With Smith’s New England rum : The rum, the rum, &c., &c.,

As the published script fails to indicate how to place these eight lines over the five

musical phrases of each verse, I was forced to exercise artistic license. In selecting which

lines should fill the opening verse, I ruled out two problematic lines: “Look out for the

locomotive” as its feminine cadence fit none of Bishop’s musical phrases; and “He must

be how come you so” as its confusing meaning seemed better placed in the cacophony of

a later verse. Thus I was left with a first verse:

15 15

Hark ‘tis the ingine bell We off the track must go Though his majesty is rather slow With Smith’s New England rum The rum, the rum, the rum, etc.

With the entrance of another voice in the second verse, I introduced the remaining lines

into that stanza, sequencing them in relation to the repeated first stanza to suggest if not

quite a linear conversation, at least a playful repartee of internal rhyme (indicated by

syllables in bold font):

Voice 1: Hark ‘tis the ingine bell We off the track must go Though his majesty is rather slow With Smith’s New England rum The rum, etc.

Voice 2: Hark ‘tis the ingine bell Look out for the locomotive He must be how come you so, With Smith’s New England rum The rum, etc.

It is my hope that this arrangement of text in the first two verses allows the lyric to be

understood by the first-time listener and assists in clarifying the opening action of the

scene.12

B. In matching Brougham’s texts to the nineteen pieces of source material

identified by Brooks, the most unusual challenge occurred in responding to one of the

playwright’s stage directions. In the first scene of the second act, Rolff, Pocahontas’

bumbling Dutch suitor, attempts to woo the Indian princess by warbling “Like the

Tyrolese singers, so gallant and gay” (13). The song consists of three stanzas set to

“Tyroler sing lustig,” a popular song by Austrian composer Jakob Haibl (1762-1826).

Brougham indicates that each verse is followed by “an exhibition of tracheotomous

gymnastics, which must be heard to be properly appreciated.” (Brougham, Po-Ca-

12 A similar challenge is posed by the textual layout of “Quartette” (14a-c), a medley of three short texts in which the lyrics of the second and third are separated into distinct lines and alternated with one another.

16

16

Hon-Tas 23) For these three interludes I borrowed notated examples of Swiss and

Tyrolese yodeling from Ignaz Moscheles’ The Tyrolese Melodies, an 1827 anthology

of songs performed by the celebrated Rainer family.

C. To the list of twenty-five musical sources identified by Brougham and Brooks,

I was able to provide one additional title. My method of musicological sleuthing in this

instance consisted of familiarizing myself with Brougham’s technique of replacing a few

letters within a poetic line to create a new phrase, as he demonstrated in transforming

“Tis the last rose of summer” into “Tis a hard blow to suffer.” After considerable toying

with countless permutations of its first line, I discovered that “Oh, some are right,” the

aria sung by Pocahontas in the final scene, was a parody of “Oh, summer night,” the title

of the English adaptation of “Com'è gentil la note,” Ernesto’s aria from Don Pasquale,

published in 1846, three years after the premiere of Donizetti’s opera.

D. “Aurora, no more will I hail thy first dawn” (12a), Pocahontas’ aria from

Act II, Scene I, is the one instance where my research led me to utilize a musical source

different from the one identified by Brooks. As illustrated in the example below (in

which I indicate the stressed beats of the first stanza in bold font), the text is constructed

in a triplet rhythm:

Aurora, no more will I hail thy first dawn, No more hear the soul-stirring cry of “hot corn,” I have nothing to do now, but languish and die, “Crushed out” as I am by my Pa’s cruelty.

Focusing on the reference to “hot corn” in the second line, Brooks identifies the

source material as “Little Katy, or Hot Corn,” an 1853 song by lyricist James Simmonds

17 17

and composer A. Sedgwick which is composed in 4/4 meter.13 Acknowledging the

incompatibility of the triplet rhythm of the “Aurora” text with the duple meter of

Sedgwick’s music, Brooks suggests Brougham’s verses “point up how vapid the tune

is and how unimportant is its relationship to the text.” (Brooks 36) Providing a musical

transcription of the two settings, Brooks illustrates how Sedgwicks’s melody places

stresses on many non-operative words:

Aurora, no more will I hail thy first dawn, No more hear the soul-stirring cry of “hot corn,” I have nothing to do now, but languish and die, “Crushed out” as I am by my Pa’s cruelty.

I argue that Brooks, in his focusing exclusively on the “hot corn” reference,

overlooks several crucial clues in the third and final stanza:

And oh ! if I’m forced like poor DINAH, to die By going, and taking a cup of cold py- -zon, no VILLIKINS will I leave her to deplore, That this child should behold bright Aurora no more.14

Brougham refers here to “Villikins and his Dinah,” a British ballad popularized in 1853

by English comedian Frederick Robson, which tells the story of Villikins, a wealthy

merchant, who attempts to force his daughter Dinah into an unwanted marriage, an

obvious parallel to Powhatan’s insistence Pocahontas wed Rolff.15 Dinah’s story ends

tragically as Villikins discovers the body of the daughter who has poisoned herself:

As Villikins was walking the garden around, He spied his dear Dinah lying dead on the ground;

13 Solon Robinson’s Hot Corn: Life Scenes in New York Illustrated, an 1854 short story collection chronicling the interconnected lives of the poor and downtrodden in the Five Points slum, inspired many plays and songs during its brief frenzy of popularity. 14 Capitalization and italics are copied directly from Brougham’s manuscript. 15 In some published editions the father’s name is spelled as “Vilikins.” American audiences know the song’s melody as “Sweet Betsy from Pike” in which the lyric dramatizes the plight of a pioneer couple.

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18

And a cup of cold pizen it lay by her side, With a billet-doux stating 'twas by pizen she died.

Though he has slightly altered the spelling, one notes Brougham’s quotation of “a cup

of cold pizen,” further establishing a link between the two texts. Most important, the

music to “Villikins” is composed in 3/4 meter, accommodating perfectly the structure

and scansion of the “Aurora” text.

This felicitous wedding of meter, music and subject matter proves problematic

as Brooks identifies (correctly, I believe) “Villikins” as the source material for “It is

of a French actress I’m going to tell,” (6) placed earlier in the piece. One questions

Brougham’s twice employing a piece of musical material in the same burlesque. Noting

that John Smith sings seven verses of “It is of a French actress…” in the first scene leads

one to doubt Brougham forcing his audience to endure another three verses of the same

melody two scenes later.

Determined to find an appropriate musical setting for the “Aurora” text, I was

reminded of Brougham’s fondness for embellishing certain song titles with whimsical

descriptions that spoofed the Italian markings found in opera scores, such as his

designating the first act finale “Affettuoso.– Furioso.-e Conglomeroso.” Returning to the

published text of Pocahontas’ “Aurora” aria, I noticed its “Hibernoso affettuosamente”

subtitle, “Hibernoso” a parody of “Hibernian,” meaning anything relating to, or

characteristic of Ireland or the Irish.

Inspired to research Irish melodies of the early and mid-nineteenth century,

I discovered a wealth of songs employing the same stanza length, rhyme scheme and

scansion of “Aurora.” Particularly effective in capturing its elegiac tone was “The Green

Bushes,” first published in 1827 as “The False Lover.” The song gained enormous

19

19

popularity and a new title in 1845 when British actor Fanny Fitzwilliam performed it in

William Buckstone’s The Green Bushes, or, A Hundred Years Ago at London’s Adelphi

Theatre.

E. Searching for compatible musical sources to pair with the remaining

unidentified texts, I was able in two cases to discover period songs requiring only

minor alterations to accommodate Brougham’s parody lyrics. Upon realizing that “Grab

away, while you may” (6), in which Smith and his soldiers justify their plan to exploit the

spoils of the New World, was actually a hymn to political corruption, I began to research

religious music of the period, discovering a hymn entitled “Speed Away!” which shared

the structure of Brougham’s parody text:

Grab away While you may In this game, luck is all, And the prize Tempting lies In the rich City Hall.

Speed away! Speed away, Over mountain and sea, To the hearts That are waiting And welcome for thee;

Composed in ABC form, I.F Woodbury’s setting of “Speed Away!” required only a

slight expansion to ABAC form to comfortably accommodate Brougham’s text. As part

of my research on the religious music of Brougham’s period, I was fortunate to discover

a four-part male choir (TTBB) arrangement of “Speed Away!” which I have drawn upon

extensively in my transcription of “Grab away.”

As Rolff’s paean to Pocahontas, “Oh peutivool girl” (12b), consists of four

stanzas, each containing four lines of equal length, its traditional poetic structure was

adaptable to a considerable number of musical settings.16 Among this group, I was

especially interested in “There’s a Sigh in the Heart,” an 1853 song featuring text and 16 “Peutivool” is Rolff’s Dutch mispronunciation of “beautiful.”

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20

music by Anne Fricker, a rare example from this period of a published female

composer.17 A comparison of the opening stanzas of the Brougham and Fricker

texts immediately indicated their common meter:

Examining the structures of Brougham’s lyric and Fricker’s music revealed

the possibility of a deeper symbiosis. Brougham constructs “Oh peutivool girl” in

ABAB form: the A stanzas steeped in amorous sentiment, the B stanzas slightly petulant.

Fricker constructs her musical setting in ABACA form: the A sections in E-flat major,

the B section in B-flat major, the C section in C minor. Setting Rolff’s assertive second

B stanza (“But you mustn’t be freezy”) to Fricker’s C section with its severe shift to the

relative minor underscores Rolff’s mercurial and dictatorial nature. Also, in choosing to

maintain Fricker’s five-part structure and require Rolff to conclude the song with a

repetition of his first A stanza, this comic character is allowed to indulge in a da capo

verse, ornamenting such ridiculous lines as “Love runs like a squirrel” with the requisite

bel canto embellishments.

F. Setting “The Characteristic Concerted Piece” (18a-e), the penultimate musical

selection of the score, posed several challenges. Unlike multi-section pieces occurring

earlier in the work which focus on conflicting emotions within one character

(Pocahontas’ “International Scena”) or between characters (the “Grand Scena

17 Little biographical information is available on Fricker, also known by her married name, Anne Mogford. An English poetess and composer born in 1820, she published forty songs during her career. There is no record as to the year of her death.

Oh peutivool girl, Mein prave Indian bearl, Love runs like a squirrel Meine heart up and down.

There’s a sigh in the heart, Tho’ the lip may be gay, When we think of the land, The land far away

21

21

Peturbato”), a good deal of dramatic action occurs in the five short texts which constitute

the piece: Powhatan and Smith engage in a game of cards, the winner to decide if Smith

is allowed to marry Pocahontas; Pocahontas and Chorus pray to Edmond Hoyle for

divine intervention; Smith wins the game and proposes to Pocahontas; Powhatan admits

defeat as the Chorus cheers.

As Brooks had identified only one of the five musical sources (the stanza in

which Smith proposes), it was my task to provide settings for the remaining four texts.

The opening moments of the two men sparring over the card table in a rollicking triple

rhythm (“Now for a jolly encounter”) set comfortably on a 6/8 dance by Meyerbeer.

My research next introduced me to Karl Meister, the pseudonym of Charles Godfrey

Leland (1824 –1903), American humorist, writer, and folklorist, whose mid-century

patter songs anticipate the work of Gilbert and Sullivan. The simple repeated-note

melodies of Meister’s “The Rhinoceros” offered a flexibility accommodating all

three of the remaining texts. I believe this sharing of musical material lends a structural

unity to the larger medley, bringing an ordered sense of closure to the resolution of

Brougham’s narrative.

22

22

V. Presentation to a Contemporary Audience

The revival of a work more than 150 years old is bound to contain dated and

objectionable elements. Four of the forty songs in the score contain lyrics and ideas

inappropriate for modern viewers: two borrowing source material from minstrelsy retain

racially offensive language, two engage period stereotypes of the Native American.

Where possible I offer alternative lyrics or deletions of phrases or verses to remove the

objectionable material without sacrificing cohesion of the narrative or musical fabric.

A. “Tis a hard blow to suffer” (12c) includes a reference to “firewater,” part of

the vocabulary associated with the myth of pervasive Native American drunkenness and

its implication of the inferiority of that race. One might consider removing the image of

liquor from the line with a phrase like “no glass of water nigh.”

B. Because “In our cane breaks of an afternoon” (12d) features repeated use

of “coon,” one could easily delete this short song and conclude the medley with the

Powhatan’s “Tis a hard blow to suffer.” But as the subject matter of the problematic song

bears no connection to the medley or the larger plot, one might consider replacing it with

any spirited minstrel song devoid of offensive language. This would serve Brougham’s

intention of the fourth and final song of the medley functioning as a comic non-sequitir

in which the three principals break from the melancholy of their respective arias and

engage in a presentational moment of light-hearted entertainment.

C. In the first line of the previously discussed “Hark ‘tis the ingine bell” (16a),

Brougham employs the archaic “ingine” instead of the more contemporary “engine” to

create a pun on “injun,” the derogatory term for Native American. Depending upon one’s

interpretation of the unusual accretion of words in the second half of Brougham’s stanza,

23 23

one might believe Powhatan’s delay is due to consumption of rum, echoing the earlier

problematic reference to “firewater.”

It would be unfortunate to delete this musical selection from the score as it

serves three valuable purposes: it imbues the beginning of the final scene with an

exciting martial rhythm; it offers the chorus, largely relegated to unison singing in

most of the score, its sole opportunity to harmonize in contrapuntal textures; it

establishes a striking contrast to the introspective quality of “Oh, some are right,”

Pocahontas’ aria which immediately follows. My hope is that a stage director or

conductor leading a presentation of Po-Ca-Hon-Tas might discover a way to modify

some of the objectionable language in this particular musical selection to allow it to

remain in the score.

D. “Mr. Smith, I must acknowledge” (18e) is the last example of sung text

containing objectionable language, in this case a reference to “coon” in the first of its

four lines. This is coupled with a lesser problem of comprehensibility in the fourth line

with the reference to “say Jack Robinson,” an obscure phrase meaning “to cry uncle.”

Mr. Smith, I must acknowledge, I’m a sure gone coon, I’m dished, and feel exactly like a used-up spoon : Though I thought the game to play to another sort of tune, And beat you too, before you’d say Jack Robinson.

Here I would welcome a modern poet of Brougham’s dexterity and wit to create a

new stanza, replacing the insensitive and archaic language while retaining the virtuosic

quadruple rhyme. This would allow Powhatan to sing the final complete stanza of the

medley, maintaining his presence in the dramatic resolution.

Conversely, if an acceptable alternative is not available and the stanza removed,

no irreparable harm is inflicted upon the continuity of the narrative or score. Smith’s

24 24

words of betrothal to Pocahontas (“Forever if thy hand’s my pay”) at the conclusion

of “I’m bound to play all night” (18c) are immediately followed by the ensemble’s

celebratory “He’s won the game.” Powhatan’s displacement proves only temporary

as moments later he initiates the verse of the final musical selection (“And now we’ve

done our duty here”).

25

Brooks# Scriptp. Songtitle Characterassignment Sourcematerial Sourcecomposer Trans./Adap.ActI,SceneI

1 5 Oh!Howabsurdofpeopletoprate King,MaleChorus KingoftheCannibalIslands* Britishballad Transcription2 6 Oh,widadhudieenIcanblowaway… King WidowMachree* SamuelLover(1843) Transcription3 8 Comeforwardhereeveryrapscallion King,MaleChorus RosintheBow* Wm.C.Peters(1850) Transcription

4a-b GrandScenaComplicato4a 9 Asyouare,o Smith,MaleChorus Ah!nongiunge** Bellini:LaSonnambula(1831) Transcription4b 10 You'reoffthetrack,andyou'dbetter… Smith,MaleChorus CarryMeBacktoOldVirginny** E.P.Christy(arr.1847) Transcription5 13 Grabaway,whileyoumay Smith,MaleChorus SpeedAway! I.F.Woodbury Adaptation6 14 ItisofaFrenchactressI'mgoingtotell Smith VilikinsandHisDinah** Britishballad Transcription

ActI,SceneII7 15 Sing-singaway! FemaleChorus Softly,Lightly,SweetlySing J.P.Webster(1853) Adaptation

8a-f InternationalScena8a 16 SportamIoffortune Pocahontas Sortalanotte** Verdi:Ernani(1844) Transcription8b 16 Wheretheidlersnowareshopping Pocahontas Massa'sindeColdGround** StephenFoster(1852) Transcription8c 16 Alltheworldseemsbrightandcheer* Pocahontas OldFolksatHome** StephenFoster(1851) Transcription8d 16 Scenesthatarebrightest Pocahontas Scenesthatarebrightest** Wm.VincentWallace(1845) Transcription8e 16 Hopebuoys,andcarriesuson Pocahontas Oh!Boys,CarryMe'Long** StephenFoster(1851) Transcription8f 16 Oh!Heigh!ho! Pocahontas,FemaleChorus DeBoatmanDance** DanEmmett(1843) Transcription9 19 Myloveislikearaginghotvolcano Smith,Pocahontas BellBrandon FrancisWoolcott(1854) Adaptation

10a-e ActIGrandFinale10a 20 Come,letusnowlikewatch-dogsbark Chorus OhKissButNeverTell FrederickBuckley(1857) Adaptation10b 20 Iampluckedfromfairybowers Smith DescendtoMeMyDearest JamesG.Maeder(1853) Adaptation10c 20 Oh!Alittleoutsidertoo Pocahontas ALittleMoreCider** AustinHart(circa1852) Transcription10d 20 Mr.Smith,you'reinafix King BillyGrimestheDrover N.C.Morse(1852) Adaptation10e 20 It'sallboshandbraggin Smith,Pocahontas,King,Chorus WaitfortheWagon** GeorgeP.Knauff(1851) Transcription

ActII,SceneI11a-b DuettoImpetuoso11a 21 NowMa'amIhaveanotion King,Pocahontas ALifeontheOceanWave** HenryRussell(1838) Transcription11b 21 Theprospectisinviting King,Pocahontas Lacidaremlamano** Mozart:DonGiovanni(1787) Transcription12a-d GrandScenaPerturbato12a 22 Aurora,nomorewillIhailthyfirstdawn Pocahontas TheGreenBushes Irishmelody(1827) Adaptation12b 22 Ohpeutivoolgirl Rolff There'saSighintheHeart AnneFricker(1853) Adaptation12c 23 Tisahardblowtosuffer King TistheLastRoseofSummer** JohnStevenson(arr.1813) Transcription12d 23 Inourcanebrakesofanafternoon Rolff,King ClaredeKitchen** Minstreltune(1832) Transcription13 23 LiketheTyrolesesingers,sogallant Rolff Tyrolersindlustig** Germanfolksong Adaptation

14a-c Quartette14a 25 Fillnowaflowingglass King,Smith,Rolff,Pocahontas Brindisi(DrinkingSong) Verdi:Macbeth(1847) Adaptation14b 25 We'lllive,neverfear King,Smith,Rolff,Pocahontas OldDogTray StephenFoster(1853) Adaptation14c 25 PoorJohnSmithisverygrateful King OldDogTray** StephenFoster(1853) Transcription

ActII,SceneII15 27 Aswe'regoingonatrain FemaleChorus PopGoestheWeazle* Anonymous(1852) Transcription

ActII,SceneIII16a 27 Hark'tistheingineBell Chorus Hark'tistheIndiandrum* HenryR.Bishop(1845) Transcription16b 27 Oh,someareright Pocahontas Oh,summernight*** Donizetti:DonPasquale(1843) Transcription17 29 AlthoughabirdamI Smith,Pocahontas,King PrimaDonnaWaltz* Louis-AntoineJullien(1853) Transcription

18a-e CharacteristicConcertedPiece18a 30 Nowforajollyencounter Chorus,King,Smith Pantalon(arr.J.Strauss) Meyerbeer:Dinorah(1859) Adaptation18b 30 Oh!Mr.Hoyle,allhistoil,pritheespoil Pocahontas TheRhinoceros KarlMeister(1855) Adaptation18c 30 I'vewonthegame Smith TheRhinoceros KarlMeister(1855) Adaptation18d 30 I'mboundtoplayallnight Smith GwinetoRunAllNight** StephenFoster(1850) Transcription18e 30 Mr.Smith,Imustacknowledge King,Smith,Pocahontas,Chorus TheRhinoceros KarlMeister(1855) Adaptation19 32 Andnowwe'vedoneourdutyhere(Verse) King,Smith KingoftheCannibalIslands Britishballad Transcription

Andnowwe'vedoneourdutyhere(Refrain) King,Smith,Chorus KingoftheCannibalIslands Britishballad Adaptation

*IdentifiedbyBrougham**IdentifiedbyBrooks***IdentifiedbyDrobnyItalics:SuggestedbyDrobny

Table of Songs and Sources

26

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Entertainment Studies, vol. 4, no. 2, pp. 29–41. Stanciu, Cristina. “’The Last Indian’ Syndrome Revisited: Metamora, Take Two.”

Intertexts, vol. 10, no. 1, 2006, pp. 25–49. Sutton, Dana Rahm. John Brougham: The American Performance Career of an Irish

Comedian, 1842-1880. Dissertation, City University of New York, 1999. UMI, 1999. Winter, William, editor. Life, Stories, and Poems of John Brougham. Boston: James R.

Osgood and Company, 1881. Winter, William. “Players: Past and Present; John Brougham – Comedian and Humorist.”

Saturday Evening Post, 6 Apr. 1907, vol. 179, no. 40, pp. 12–26 .

31

Po-Ca-Hon-Tas: or, The Gentle Savage (An Original Aboriginal Erratic Operatic Semi-civilized

and Demi-savage Extravaganza)

Libretto: John Brougham Musical Arranger: James G. Maeder

First performance: 24 December 1855 Wallack’s Lyceum Theatre, New York

Piano-Vocal Score transcribed and adapted by

Christopher Drobny (2019)

32

&

&

?

# # #

# # #

# # #

86

86

86

..

..

..

..

..

..∑Rollicking moderato

œ œ œ œ œ œ

Jœœœœ Œ

jœœœœŒ

f

∑

œ œ œ œ œ œ

Jœœœœ Œ jœœœœ

Œ

∑

œ ‰ œ œ œ œ

jœœœœ‰ ‰ J

œœœ ‰ ‰

∑

...œœœjœœœ

‰ ‰

œ jœ jœ

Œ

∑

Œ jœœœŒ jœœœ

œ ‰œ

‰

Œ . Œ jœOh!

King, Chorus:


œ ‰œ

‰

&

&

?

# # #

# # #

# # #

7

œJœ œ jœ

how ab surd of7


œ ‰œ

‰F

jœ jœ jœ œ jœpeo ple to prate, A


œ ‰œ

‰

œ jœ œ œjœ

bout their might y

Œ jœœœ Œ jœœœ

œ ‰ œ ‰

œjœ œ jœ

Kings so great, They'd


œ ‰ œ ‰

jœ jœ jœ œ jœo pen their eyes to


œ ‰ œ ‰

œ jœjœ jœ jœ

see the state of the


œ ‰ œ ‰

- - - - -

&

&

?

# # #

# # #

# # #

13 jœjœ Jœ œ

jœKing of the Tusc a

13


œ ‰œ

‰

.œ .œro ra's.

...œœœjœœœ

‰ ‰

œJœ

jœ ‰ ‰

∑

œ œ œ œjœ

Jœœœ ‰ ‰ J

œœœ ‰ ‰

Œ . Œ JœAs

...œœœjœœœ

‰ ‰

œJœ

jœ ‰ ‰

Jœ Jœ Jœ œJœ

hap py is he as

Œjœœœ Œ

jœœœ

œ ‰œ

‰

œ Jœ œJœ

King can be, For

Œjœœœ Œ

jœœœ

œ ‰œ

‰

- - - -

&

&

?

# # #

# # #

# # #

19

œ Jœœ

Jœfrom his Pal ace

19

Œjœœœ Œ

jœœœ

œ ‰œ

‰

œ Jœ œ jœhe can see, The


œ‰ œ ‰

jœ jœ jœ œ jœwhole of his sub jects


œœ

‰ œœ

‰

jœ jœ jœ jœ jœjœ

mer ry and free, So he


œœ

‰ œœ ‰

œ jœ œ jœtakes his pipe con

jœœœŒ jœœœ# Œ

jœœ

Œ jœœ

Œ

œ jœ .œtent ed ly,

...˙n

.˙

- - - - - -

1. Oh! How absurd of people to prate

33

&

&

?

# # #

# # #

# # #

25

.œU

.œU

Sing ing,25

∑

∑

œ jœ œ œ jœSmo king, jok ing

œœœ‰ œœœ œœœ

‰ œœœ

jœ Œ Jœ Œf

œjœ œ jœ

Pow ha tan, To


‰

Jœ ‰ ‰ œ ‰

jœ Jœjœ œ œ jœ

bac co it is the


‰ œœœ

jœ Œ Jœ Œ

jœ jœjœ œ Jœ

so lace of man, So


‰

Jœ ‰ ‰ œ ‰

œ Jœ œ Jœlet us puff as

œœœ ‰ œœœ œœœ ‰ œœœ

jœœ

Œ jœœ

Œ

- - - - - - -

&

&

?

# # #

# # #

# # #

31

Jœ Jœ JœœU

Jœ

long as we can, The31

œœœ ‰ œœœœœœœ

U‰

jœœ

‰ ‰ œœ

U‰

Jœ jœ jœ œjœ

King of the Tus cajœœœœœ Œ Œ .

jœœ

Œ Œ .

.œ .œro ra's.

...œœœjœœœ

‰ ‰

œ œ œjœ

œ‰ ‰

∑

œœœœ œ œœœ œ œ

jœ Œ jœŒ

∑

œœœœ œ œœœ œ œ

jœ Œ jœŒ

∑

œ œ œ œ œ œ

Jœœœœ Œ

Jœœœœ Œ

∑

œœ œ œJœœœ Œ

jœœœœŒ jœ

œŒ

- - -

2 1. Oh! How absurd of people to prate

34

&

&

?

b

b

b

86

86

86

∑Sportively, but not too fast

œ œ œ œ œ œ

œ œœ œœ œ œœ œœF

∑

œ œ œ œ>‰

œ œœ œœ œ œœ œœ

∑

.œ .œ


∑

œ œ œ œ œ œ œ œ. œ.


∑

œ. œ œ œ. œ œ

œœœ œœ œ

œœ œœ

&

&

?

b

b

b

6

∑

6 œ. œb œ œ. œn œ

œœœn œœ œ

œœ œœ

∑

œ. œ. ‰ Jœ œ œ œ

œœœ œœ œ œœ œœ

Œ . Œ jœOh,

King:

jœ œ œ œœ ..œœœœœ œœ œ .œ

jœ jœjœ .jœ rœ

jœwid a dhu dieen I can

œ œ œ œ œ œ

jœœ Œ

jœœ Œ

jœjœ jœ œ ‰

blow a way care,

œ œ œ œ œ œ

jœœ Œ

jœœ Œ

- -

&

&

?

b

b

b

11

œ ‰ œ ‰Oh, hone,

11

œ> œ œ œ> œ œ

jœœ Œ

jœœ Œ

jœjœ jœ œ jœ

wid a dhu dieen! Black

œœœœ œœ

jœœ‰ ‰

jœœ Œ

jœœœ Œ

jœ jœjœ

jœ jœjœ

thoughts and blue dev ils all

œ œ œ œ œ œ

jœœ Œ

jœœ Œ

jœjœ jœ œ ‰

melt in to air,

œœœœ œœ

jœœ‰ ‰

jœœ Œ

jœœœ Œ

œ ‰ œ ‰Oh, hone!

jœœœ>

jœœœœ>

œ ‰ œ ‰

- - -

&

&

?

b

b

b

16 jœ jœ jœ jœ ‰ rœ rœwid a dhu dieen! If you're

16

œœœ œœ œœjœœ ‰ ‰

œœ

œœ œœ Jœœ ‰ ‰

Jœjœ Jœ Jœ Jœ Jœ

short an y day, Or a

jœœ Œ jœœ Œ

œ œ œ Jœ ‰ ‰

jœ jœjœ Jœ Jœ

jœnote have to pay, And you

jœœŒ ‰ œœ


jœ jœ#jœ Jœ

jœ jœdon't know the way, To come

jœœ‰ ‰ jœœœ

‰ ‰

œœ œ jœ

œ## ‰ ‰

- -

2. Oh, wid a dhudieen I can blow away care

35

&

&

?

b

b

b

20 jœ jœn jœ jœU jœ jœ

out of it clean, From your20

œœœ œ œ jœœœ

U ‰ ‰

jœœ

‰ ‰ jœœ

‰ ‰

jœ jœjœ

jœ jœjœ

head and your heart You can

œ œ œ œ œ œjœ

œ Œjœ

œ Œ

jœjœ jœ

.œU

make it de part,

œ œ œ œœœœU

‰

Jœ ‰ ‰ œœœu

‰


œœ ‰ œœ ‰

‰ œn œ‰

œ# œ

jœjœ jœ jœ .œ

wid a dhu dieen.

œœ.œœœ.

œœœ....œœœ

œœ œ

œœœ

.

.œœ

- -

&

&

?

b

b

b

25

∑

25 œ. œ œ œ. œ œ

œœœ œœ œ

œœ œœ

∑

œ. œb œ œ. œn œ

œœœn œœ œ

œœ œœ

∑



Œ . Œ jœOh,


jœ jœjœ .jœ rœ

jœwid a dhu dieen you re


œ Œjœ

œ Œ

- -

&

&

?

b

b

b

30 jœjœ jœ œ ‰

cline at your ease,30


œ Œjœ

œ Œ


œ> œ œ œ> œ œ

jœœ Œ

jœœ Œ

jœjœ jœ jœ

jœ jœwid a dhu dieen! Shut your

œœœœ œœ

jœœ‰ ‰

jœœ Œ

jœœœ Œ

jœ jœjœ

jœ jœjœ

eyes and i mag ine what


œ Œjœ

œ Œ

jœjœ jœ œ ‰

plea sures you please,

œœœœ œœ

jœœ‰ ‰

jœœ Œ

jœœœ Œ

-- -

&

&

?

b

b

b

35


35

jœœœ>

jœœœœ>

œ ‰ œ ‰

jœ jœ jœ jœ ‰ jœwid a dhu dieen!In


œœ



dreams with out sleep, All your

jœœ Œ jœœ Œ


jœ jœjœ Jœ Jœ

jœsen ses to steep, While you're

jœœŒ ‰ œœ


jœ jœ#jœ Jœ

jœ jœplay ing bo peep Through each


‰ ‰

œœ œ jœ

œ## ‰ ‰

- - - - -

2 2. Oh, wid a dhudieen I can blow away care

36

&

&

?

b

b

b


fair y like scene, Un dis40


U ‰ ‰

jœœ

‰ ‰ jœœ

‰ ‰

jœ jœjœ

jœ jœjœ

turbed, I de clare, By a

œ œ œ œ œ œ

jœœ Œ

jœœ Œ

jœjœ jœ

.œU

sing le night mare,

œ œ œ œœœœU

‰

Jœ ‰ ‰ œœœu

‰


œœ ‰ œœ ‰

‰ œn œ‰

œ# œ

jœ jœ jœ .œwid a dhu dieen!

œœ.œœœ.

œœœ....œœœ

œœ œ

œœœ

.

.œœ

- -- - - - - -

&

&

?

b

b

b

45

∑

45 œ. œ œ œ. œ œ

œœœ œœ œ

œœ œœ

∑


œœœn œœ œ

œœ œœ

∑



Œ . Œ jœOh,


jœ jœjœ .jœ rœ

jœwid a dhu dieen I'm as

œ œ œ œ œ œ

jœœ Œ

jœœ Œ

-

&

&

?

b

b

b

50 jœjœ jœ œ ‰

tru ly con tent,50

œ œ œ œ œ œ

jœœ Œ

jœœ Œ


œ> œ œ œ> œ œ

jœœ Œ

jœœ Œ

jœjœ jœ jœ

jœ jœwid a dhu dieen! What the

œœœœ œœ

jœœ‰ ‰

jœœ Œ

jœœœ Œ

jœ jœjœ

jœ jœjœ

rest of the world does I

œ œ œ œ œ œ

jœœ Œ

jœœ Œ

jœjœ jœ œ ‰

don't care a cent,

œœœœ œœ

jœœ‰ ‰

jœœ Œ

jœœœ Œ

-- -

&

&

?

b

b

b

55


55

jœœœ>

jœœœœ>

œ ‰ œ ‰

jœ jœ jœ jœ ‰ jœwid a dhu dieen! Let


œœ



some folks de sire, To set

jœœ Œ jœœ Œ


jœ jœjœ Jœ Jœ

jœriv ers on fire, While some

jœœŒ ‰ œœ


jœ jœ#jœ Jœ

jœ jœoth ers ad mire, To run


‰ ‰

œœ œ jœ

œ## ‰ ‰

- - - --

32. Oh, wid a dhudieen I can blow away care

37

&

&

?

b

b

b


"wid de ma chine," I've am60


U ‰ ‰

jœœ

‰ ‰ jœœ

‰ ‰

jœ jœjœ

jœ jœjœ

bi tion e nough, Just to


œ Œjœ

œ Œ

jœjœ jœ

.œU

sit here and puff,

œ œ œ œœœœU

‰

Jœ ‰ ‰ œœœu

‰


œœ ‰ œœ ‰

‰ œn œ‰

œ# œ

jœ jœ jœ .œwid a dhu dieen!

œœ.œœœ.

œœœ....œœœ

œœ œ

œœœ

.

.œœ

- - -- -

&

&

?

b

b

b

65

∑

65 œ. œ œ œ. œ œ

œœœ œœ œ

œœ œœ

∑


œœœn œœ œ

œœ œœ

∑



∑


4 2. Oh, wid a dhudieen I can blow away care

38

&

&

&

?

b

b

b

b

86

86

86

86

‰

‰

jœ

‰

∑Allegretto

∑

.œ œ œ .œ œ œ

œœœ œœœ œœœ œœœ œœœ œœœp

∑

∑

..œœ...œœœ

œœœ œœœ œœœ œœœ œœœ œœœ

∑

∑

œ œ œ .œ œ œ


∑

∑

.œ œ jœœœ œœ œœ œœ œœ œœ

∑

∑

.œ œ œ .œ œ œ

œœœ œœœ œœœ œœœ œœœ œœœf

&

&

&

?

b

b

b

b

..

..

..

..

6

∑6

∑

6

..œœ...œœœ


∑

∑

œ œ œ .œ œ œ

œœœ œœœ œœœ œœœœœœ

œœœ

Œ . Œ jœCome

King:

Verse #1:

Œ . Œ jœWake

King:

Verse #2:

.œ œ ‰

..œœ œœ ‰

.jœrœ jœ .jœ rœ jœ

for ward here ev 'ry rap


up, Mis ter Trom bone and

‰ œœœ œœœ‰ œœœ œœœ

œœ ‰ œ

œ ‰P

.œ œ Jœscal lion, And

.œ œ JœTrum pet, And


œœ ‰ œ

œ ‰

- - - -

- - -

&

&

&

?

b

b

b

b

11

Jœjœ jœ .jœ

rœjœ

spread your selves out in a11

Jœjœ jœ .jœ

rœjœ

give us a jol ly good

11


œœ ‰ œ

œ ‰

œ ‰ Œ rœ rœrow, While I

œ ‰ Œ jœblow, Like

‰ œœœ œœœ‰ œœœœ œœœœ

œœ

‰ œœ

‰


ask that har mo nious I


steam en gines out you must


œœ ‰ œ

œ ‰

.œ Jœ ‰ Jœtal ian La

.œ Jœ ‰ Jœpump it, La


œœ ‰ œ ‰

Jœjœ jœ .jœ rœ

jœMan na to ro sin his

Jœjœ jœ .jœ rœ

jœMan na will ro sin his


œ ‰ œ ‰

- - - - - - -

- - - - -

3. Come forward here every rapscallion

39

&

&

&

?

b

b

b

b

16

.œ jœ ‰ œ œbow. La

Chorus:

16


Chorus:

16

‰ œœœ œœœ œœœ‰

œ œ œ œœ ‰

Jœ Jœ Jœ Jœ Jœ Jœ

Man na, come ro sin your



œœ œœ œœ œœ œœ œœ

œœ

œœ

œœ

œœ

œœ

œœ

F

.œ œ Jœbow, oh, La


.

.œœ œœ Jœœ

œœ

œœ

œœ

œœ ‰

Jœjœ jœ .jœ

rœjœ

Man na, pray ro sin your

Jœjœ jœ .jœ

rœjœ


‰ œœœ œœœ ‰ œœœ œœœ

œœ ‰ œ

œ ‰

œ ‰ Œ jœbow, We



œœ

‰ œœ

‰

- - - -

- - - -

&

&

&

?

b

b

b

b

21


ain't got no for te pi21


ain't got no for te pi

21


œœ ‰ œ

œ ‰

.œ œ Jœa no, Old

.œ œ Jœa no, Old


œœ ‰ œ ‰

Jœjœ jœ .jœ rœ

jœbees wax, come ro sin your

Jœjœ jœ .jœ rœ



œ ‰ œ ‰

.œ œ ‰bow.

.œ œ ‰bow.

‰ œœœ œœœ œœœjœ

œ œ œ œœ ‰

∑

∑

.œ œ œ .œ œ œ


- - - - - -

- - - - - -

&

&

&

?

b

b

b

b

..

..

..

..

..

..

..

..

26

∑26

∑

26

..œœ...œœœ


∑

∑

œ œ œ .œ œ œ


œœœ

Œ . Œ jœYou

King:

Verse #3:

Œ . Œ jœMy

King:

Verse #4:

.œ œ ‰

..œœ œœ ‰


chap with the blaz ing big


friend of the side drum and


œœ ‰ œ

œ ‰P

.œ œ Jœfid dle, And

.œ œ Jœket tle, Be


œœ ‰ œ

œ ‰

- -

- -

2 3. Come forward here every rapscallion

40

&

&

&

?

b

b

b

b

31

Jœjœ jœ .jœ

rœjœ

you with the small one al31

Jœjœ jœ .jœ

rœjœ

sure, and don't spare your el

31


œœ ‰ œ

œ ‰

œ ‰ ‰ jœ jœso, Keep your

œ ‰ Œ jœbow, But


œœ

‰ œœ

‰


eye on the man in the


give us a thun der ing


œœ ‰ œ

œ ‰

.œ Jœ ‰ Jœmid dle, La

.œ Jœ ‰ Jœrat tle, La


œœ ‰ œ ‰

Jœjœ jœ .jœ rœ


Jœjœ jœ .jœ rœ



œ ‰ œ ‰

- -- -

- - - -- -

&

&

&

?

b

b

b

b

36


Chorus:

36


Chorus:

36

‰ œœœ œœœ œœœ‰

œ œ œ œœ ‰






œœ

œœ

œœ

œœ

œœ

œœ

F



.

.œœ œœ Jœœ

œœ

œœ

œœ

œœ ‰

Jœjœ jœ .jœ

rœjœ


Jœjœ jœ .jœ

rœjœ



œœ ‰ œ

œ ‰




œœ

‰ œœ

‰

- - - -

- - - -

&

&

&

?

b

b

b

b

41


ain't got no for te pi41


ain't got no for te pi

41


œœ ‰ œ

œ ‰

.œ œ Jœa no, Old

.œ œ Jœa no, Old


œœ ‰ œ ‰

Jœjœ jœ .jœ rœ


Jœjœ jœ .jœ rœ



œ ‰ œ ‰

.œ œ ‰bow.

.œ œ ‰bow.

‰ œœœ œœœ œœœjœ

œ œ œ œœ ‰

- - - - - -

- - - - - -

33. Come forward here every rapscallion

41

&

&

&

?

b

b

b

b

..

..

..

..

45

∑45

∑

45

.œ œ œ .œ œ œ


∑

∑

..œœ...œœœ


∑

∑

œ œ œ .œ œ œ


œœœ

∑

∑

.œ œ ‰

..œœ œœ ‰

4 3. Come forward here every rapscallion

42

&

&

?

#

#

#

c

c

c

ŒAllegro moderato

.œ œ

Œp

∑

Jœ ‰..

œœ>

≈ œ .œ œ

jœ ‰ Jœœœ ‰ jœ ‰ J

œœœ ‰

∑

Jœ ‰œœ>

Jœœ ‰ .œ œ

jœ ‰ Jœœœ ‰ jœ ‰ J

œœœ ‰

∑

Jœ

‰œœ>

ggœ œ œ œ œ œ3 3

jœ‰ J

œœœ ‰ jœ‰ J

œœœ ‰

Ó ÓU

Jœ ‰œœœœ>

ggg ÓU

Jœ ‰ œœœœ>ggg

ÓU

Ó ..jœ

rœAs you

Smith:

‰ jœœœ‰ jœœœ


jœ ‰ jœ ‰ jœ ‰ jœ ‰leggierissimoπ

&

&

?

#

#

#

6

Jœ ‰ . .œ> rœ .jœrœ

are o, The great ci6



jœ ‰ jœ ‰ jœ ‰ jœ ‰

Jœ ‰ œ> Jœ Jœ Jœœ œ

gar, o And high top




Jœ ‰ .œ>

œ œ œ œ œ œlo co, A mong these

‰ jœœœœ‰ jœœœœ

‰ jœœœœ‰ jœœœ

jœœ

‰ jœœ

‰ jœœ

‰ jœœ

‰

jœ ‰ œ>‰ . rœ .jœ

rœfolk o It is but




- - -

&

&

?

#

#

#

10

Jœ ‰ œ> .Jœ rœ .jœ

rœfair, o I should de10




Jœ ‰ œ> .Jœ

rœ .jœ Rœclare, o What brought me




Jœ ‰ œ> Jœ œ œ œ œ jœ3 3

here o. 'Tis ea sy



jœœ

‰ jœœ

‰ jœœ

‰ jœœ

‰

œ Œ ‰ . rœ .jœ rœtold. You know my




-

4. Grand Scena Complicato 4a. As you are, o

4b. You're off the track, and you'd better go back

43

&

&

&

?

#

#

#

#

14

Jœ ‰œ>

‰ . Rœ Jœœ œ

name o. I hi ther14

Ó ¿ ŒSmith!

Chorus:

14



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off the track, and you'd

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2 4. Grand Scena Complicato

Allegro moderato

44

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∑28

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34. Grand Scena Complicato

45

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43

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way While you

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- - -

5. Grab away, while you may

46

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Jœ Jœ œ œtra ge dies, both

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well." Sing ing

œœœŒ Œ U

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- - - - -

- - - - - - - -

6. It is of a French actress I'm going to tell

47

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Sing ing

Chorus:

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Ó œ"Oh,"Verse #3

Smith:

28

Ó jœ jœ"When theVerse #4

28

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œœœŒ Œ

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n

- - -

- - - - - -

2 6. It is of a French actress I'm going to tell

48

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œ œ œfotch in' a

35

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35

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œœ

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œ œ œcost me some

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five dol lars a

œœœŒ œœœ

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b

œ œ œdol lars a

œ œ œleast they must

œœœŒ œœœ

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Œ œœ

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night, And to

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be. They'll jump

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œœ

Œ Œ

œ œ œsee so much

œ œ œout of their

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œ œ jœ jœgo, will be a

42

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skins when the

42

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42

œ œ œ˙ œœ

˙˙

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sight." Sing ing

œ Œ jœjœ

Three! Sing ing

∑

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Sing ing

Chorus:

Ó Jœœ J

œœ

œœœŒ œœœ

œœ

Œ œœ

-

- - -

- -


49

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œ Œ jœ jœin, Think of

56

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56

œœœŒ œœœ

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œœœŒ Œ

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50

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œ œ œlooked ra ther

63

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63

œœœŒ œœœ

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blue, When in

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œœœ Œ Œ

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Œ Œ

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dol lars he

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see ing Ra

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gage. Sing ing

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70

œ œ œla rol lal

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Sing ing

Chorus:

Ó Jœœ J

œœ

œœœŒ œœœ

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Œ œœ

∑

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œ


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51

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œ œ œall you nice

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bell, But come

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lan guage you

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91

œ œ œun der stand

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œn jœ jœ œjœ jœ

We have no fear in as38

‰œ

œœœ œ‰

œ œœ œ

œœ

Œ œœ

Œ

œ œ œ Œ œ œsert ting. For


.

.˙˙

Œ

œ jœjœ jœ jœ œ œ

chang ing the cur rent of

‰œ œœ œ

‰œ

œœ œ

œœ

Œ œœ

Œ

jœ#jœ ˙U œ œ

his to ry Would

œœœŒ ˙

˙ggg

U

œœ

Œ ˙˙#gggg

Uf

- - - - - -

&

&

?

# #

# #

# #

42

œ jœ jœ œ ‰ jœcer tain ly be di

42

‰œ œœ œ

œœœœŒ

œœ

Œ œœ

ŒP

œ œ Óvert ing.

Ó˙˙>

Ó˙˙˙##>

‰ œ œ œ œ ‰ jœCer tain ly be diœ

œœœ

œœ

œœ

œœ.

Œ

œœœ Œ œœœn . Œ

œ œ Óvert ing!

Ó œœœœ>

Œ

Ó œœ>

Œ

- - - - -- - -

39. My love is like a raging hot volcano

63

&

?

&

?

b

b

b

b

42

42

42

42

∑Sprightly

∑

œ. œ. œ. œ.

œ. œœ. œœ. œœ.F

∑

∑

œ. œ. œ. œ.

œ. œœ. œœ. œœ.

∑

∑

œ.œ. œ. œ.

œœœ. œœœ

.

∑

∑

œœ jœœ.‰

œœ jœ ‰

jœœrœœ

rœœ jœœjœœ

Come, let us now like

Chorus:

Jœœ R

œœ Rœœ J

œœ Jœœ

‰ œœœ œœœ œœœœœ Œ

jœ jœjœ ‰

watch dogs bark,

Jœœ J

œœ Jœœ ‰

‰ œœœ œœœ œœœ

œœ

Œ

-

&

?

&

?

b

b

b

b

43

43

43

43

7

jœœrœ

œrœ

œjœœ

jœœCome, let us now put

7

Jœœ R

œœ Rœœ J

œœ Jœœ

7


jœœjœœ

jœ ‰out this spark,

Jœœ

Jœœ J

œœ ‰


jœœrœœ

rœœ jœœjœœ

Come, let us raise a

Jœœ R

œœ Rœœ J

œœ Jœœ


jœ jœjœ ≈ rœ

jol ly row, And

Jœœ J

œœ Jœœ ≈ R

œœ


œœ

Œ

jœjœ

œjœœ

jœœlike the dogs of

Jœ Jœœ J

œœJœœ

jœœœ‰ jœœœ

‰

jœ ‰ jœ

‰

jœœjœœ>

jœ>‰

war, bow, wow.

Jœœ

Jœœ>

Jœœ> ‰

œœœjœœœ

‰

œ jœ ‰

-

10. Act I Grand Finale10a. Come, let us now like watch-dogs bark

10b. I am plucked from fairy bowers10c. Oh! A little outsider too

10d. Mr. Smith, you're in a fix 10e. It's all bosh and braggin

64

&

&

?

b

b

b

43

43

43

13

∑Moderato con passione

13 œœ

œœ

œœ

œœ

œœ

œœ

œœ


∑

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœœ œœœ œœœ œœœœœœœn

b œœœœ

∑

œœ

œœ

œœ

œœ

œœ œœ œ

œœœn œœœ œœœ œœœ œœœ œœœ

Ó jœjœ

I am

Smith:

‰ œœœ œœœ œœœ œœœ œœœ œœœ

œœ Œ Œ

&

&

?

b

b

b

17

œ ‰ Jœn Jœ Jœ#plucked from fair y

17


œœ Œ Œ

P

œ œ Jœ Jœbbow ers, I am


œ Œ Œ

.œ jœ JœnJœ

in mis for tune's


œ Œ Œ

œ œ jœjœ

show ers. Quite e


œœ Œ Œ

.Jœ Rœ Jœ Jœn Jœ Jœ#nough to wet a fel low

‰ œœœœœœ

œœœœœœ

œœœœœœ

œ Œ Œ

- - - - - - -

&

&

?

b

b

b

22 œ œ œ œthrough, With

22

‰ œœœœœœ

œœœœœœ

œœœœœœ

œ Œ Œ

œ .jœrœ Jœ Jœ

out an um brel la


œ Œ Œ

œ Œ Œtoo.

‰ œœœ œœœ‰ jœœœ

‰ jœœœ

œœ

œœ

œœ

.jœ rœ jœ jœ jœ jœOh! I love this old man's


œ# Œ ŒF

œ œ Œdaugh ter,

‰ œœœ œœœ œœœ œœœ ‰ jœœœ

œ Œ jœn ‰

- - - -

&

&

?

b

b

b

27

.jœ rœ jœ jœjœ jœ

Though in scru ta ble I've

27

‰ œœœ œœœ œœœ œœœ œœœœn œœœœrall.

œn Œ œ

œœ

ŒU

thought her,

˙ ŒU

˙ ŒU

.Jœ Rœ Jœ Jœn Jœ Jœ#As the song of Hi a

‰ œœœœœœ

œœœœœœ

œœœœœœ

rit.

œ œ œ œ œ œ

œ œ Œwa tha,

‰ œœœœœœ

œœœœœœ

œœœœœœ

œ œ œ œ œ œ

œ œ œ JœbUœ œ œ œ œ œ œ œ œ œ œ œ

JœU

Writ by Long fel

ad lib.

...˙U

.u

f

- - - - - - - -

2 Act I - Grand Finale

65

&

&

?

b

b

b

n#

n#

n#

c

c

c

32

˙ Œlow.

32

Jœ œœ> œœn# œ œœ œœ œ

a tempoœœœ œœœ œœœ œœœ œœœ œœœ

∑

Jœ œœ> œœn# œ œœ œœ œ


∑

œœœ œ œœ

œ œ œœœ œ


∑

œœœœœ>

Œ

œœœ œœ>

Œƒ

Ó jœU jœ

U

Oh! A

Pocahontas:

œœ.œœ . ŒU

œœœ# .œ.

ŒUP

&

&

?

#

#

#

c

c

c

37

Jœ Jœ œ œ œlit tle out si der

Andante Grazioso

37

‰œ

œœœ œ‰

œœœœ œ

œœ

Œ œœ

Œ

˙ œ œ œtoo, A

‰œ

œœœ œ‰

œœœœ œ

œœ

Œ œœ

Œ

Jœ Jœ œ œ œlit tle out si der

‰œ

œœœ œ‰

œœœœ œ

œœ

Œ œœ

Œ

˙ œ œ œview, A

‰œ

œœœ œ‰

œœœœ œ

œœ

Œ œœ

Œ

Jœ Jœ œ œ œlit tle out si der,

‰œ

œœœ œ‰

œœœœ œ

œœ

Œ œœ

Œ

- - - - - - -

&

&

?

#

#

#

86

86

86

42

œ œ œ œyour own child Ap

42

‰œ

œœœ œ‰

œœœœ# œ

œœ

Œ œœ

Œ

œ œ œ œpeals dear dad, to

‰œ

œœœ œ‰

œ œœœn œ

œœ

Œ œœ

Œ

.˙ Œyou.

‰œ œ œ œ Œ

œœ

Œ œœ

Œ

∑Alla marcia

œ œ œ œ œ œ œ œ#

.œ .œ

F

∑

œjœ œ

jœ

.œ .œ

-

&

&

?

#

#

#

47

∑

47

...œœœn ...œœœ

.œ .œ

∑

jœ ...œœœ œœœ‰

œ œ œ œ ‰

œ jœ œ jœMis ter Smith, you're

King:


œ ‰œ

‰

œ jœ .œin a fix

Œ jœœœŒ .

œ ‰ œ œ œ

œ jœ œ jœWith your Don Gio


œ ‰ œ ‰

œJœ œ jœ

van ni tricks. But


œ ‰ œ œ œ#

- - -

3Act I - Grand Finale

66

&

&

?

#

#

#

53

œ Jœ œ# Jœthough you think your

53

Œjœœœ Œ

jœœœ#

œœ

‰ œœ

‰

œn Jœ œ jœself so much the

Œjœœœ

n Œ jœœœ

œœ ‰ œ

œ ‰

.œ>

.œ>

dan dy

jœœœ#Œ jœœœ

Œ

Jœœ Œ

Jœœ Œ

f

.œ>Œ .

O,

...œœœjœœœ

‰ ‰

œn œ œ jœ‰ ‰

œ jœ œ jœI will bet you


œ ‰œ

‰F

œ jœ .œtwo to one

Œ jœœœŒ .

œ ‰ œ œ œ

- -

&

&

?

#

#

#

n

n

n

42

42

42

59

œ jœ œ jœYou're al most as

59


œ ‰ œ ‰

œJœ

jœ jœ jœgood as gone, For I'll


œ ‰ œ œ œ#

œ Jœ œ# Jœuse you up just

Œjœœœ Œ

jœœœ#

œœ

‰ œœ

‰

œn Jœ œ jœlike a stick of

Œjœœœ

n Œ jœœœ

œœ ‰ œ

œ ‰

.œ>

.œ>

can dy,

jœœœ#Œ jœœœn

Œ

œœ ‰ œ

œ‰

f

.œ>Œ .

O.

jœœœŒ

Jœœœœn>

Œ

jœœ Œ jœ

œ>

Œ &

- -

&

?

&

&

42

42

42

42

65

∑Moderato religoso

65

∑

65œœ œœ œœ œœ

œœ

?F

∑

∑

œœ œœ œœ œœœ

œ

∑

∑

œœ œ œœœ œ

œœ

Œ . jœIt's

Chorus:

Œ . Jœ

œœœ Œ

œœ

œœ .jœ rœall bosh and

œœ ..Jœœ R

œœ


œœ

Œ

jœœjœœ Œ

brag gin

Jœœ J

œœ Œ


œœ

Œ

œœ ..Jœœ R

œœAll bosh and

œœ

.

.Jœœ R

œœ


œœ

Œ

-

4 Act I - Grand Finale

67

&

?

&

?

72

Jœœ jœœ Œ

brag gin72

Jœœ J

œœ Œ

72


œ Œ

œœ .jœ rœAll bosh and

œœ ..Jœœ R

œœ


œœ

Œ

jœœjœœ

jœœjœ

brag gin That you'll

Jœœ J

œœ J

œœ J

œœ


œœ

Œ

œœ>œœ>

find, old

œœ> œ

œ>

œœœ>œœœœ>

œœ>

œœ>

œœ>Œ

"hoss."

œœ> Œ

œœœ>Œ

œœ>

Œ

œœ .jœ rœWait for the

œœ ..Jœœ R

œœ

œœœœ-œœœœ-

œœ-

œœ-

f

jœœjœœ Œ

wag gon,

Jœœ J

œœ Œ

œœœœ-Œ

œœ-

Œ

- - -

&

?

&

?

79 œœ ..Jœœ R

œœWait for the

79 œœ

.

.Jœœ R

œœ

79

œœœœ-œœœœ-

œœ-

œœ-

Jœœ jœœ Œ

wag gon,

Jœœ J

œœ Œ

œœœœ-Œ

œœ-

Œ

œœ .jœ rœWait for the

œœ ..Jœœ R

œœ

œœœ- œœœ

-

œœ- œ

œ-

jœœjœœ

jœœjœ

wag gon, and you'll

Jœœ J

œœ J

œœ J

œœ

œœœ- œœœ-œœ-

œœ-

œœ>œœ>

soon catch

œœ> œ

œ>

œœœ-œœœœ-

œœ-

œœ-

œœ>Œ

"goss."

œœ> Œ

œœœœ-Œ

œœ.

Œ

∑

∑

....œœœœ

œœœœœœœœ œ

œœ

œœ

jœœ

‰

-

&

?

&

?

√

86

∑

86

∑

86 ....œœœœœœœœ

œœœœ œ

œœ

œœ

jœœ ‰

∑

∑

...œœœ œœœœœœ œœœ

œœ

œœ J

œœ ‰

∑

∑

œœœ ‰ jœ

œ œ œ ‰ &

∑

∑

.œ œ œ œ œ œ

œœ œ œœ œ

∑

∑

œ œ .œ œ

œœ œœœ œ

∑

∑

œ œ œ œ œ œ œ œ

œœ œœœ œ

∑

∑

œ Œ

œœ Œ

5Act I - Grand Finale

68

&

&

#

#

86

86

√jœœ

Vivace

‰F

œœ J

œœ

œœ J

œœ

œ œ œ œ œ œ.œ .œ

.

.œœ

œœ œ

œœœ


œœ J

œœ

œœ

Jœœ


.

.œœ

œœ

œœ œ

œ


&

&

&

#

#

#

(√)

5

∑

5

œœ J

œœ

œœ J

œœ


∑

.

.œœ

œœ J

œœ


?

∑

œœ

Jœœ

œœ

œœ

œœ

....œœœœ

....œœœœ

&

Œ . Œ jœNow

King:

.

.œœ

œœ ‰


?

œjœ œ

jœMa'am I have a

œ.œ. œ. œ.

œ. œ.œœœ ‰ œœœ ‰

&

&

?

#

#

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10

œ Jœ Jœ œ œno tion, You

10

œ.œ. œ. œ.


œ Jœœ

Jœcan no long er

œ.œ. œ. œ.


.œ œ jœrave, This

œ.œ. œ. œ.

œ. œ.

œœ

‰ œœ

‰

jœjœ jœ

jœ jœ Jœson of the o cean, oh

œ.œ. œ. œ.

œ. œ.

œœ

‰ œœ

‰

.œ Jœ ‰ Jœ

shun, A

œ.œ. œ. œ.

œ. œ.

œœ

‰ œœ

‰

- - -

&

&

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#

#

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15

Jœ Jœ Jœ œ jœhome on the salt sea,

15

œ.œ. œ. œ.

œ. œ.

œœ

‰ œœ

‰

œ ‰ Œ jœwaive. Your

Pocahontas:

œ.œ. œ. œ.


œjœ œ

jœchild, you thus may

œ.œ. œ. œ.


œ Jœ Jœ œ œseize sir, But

œ.œ. œ. œ.


Jœ Jœ Jœœ

Jœsure as the seas are

œ.œ. œ. œ.


11. Duetto Impetuoso11a. Now Ma'am I have a notion

11b. The prospect is inviting

69

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&

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#

#

#

42

42

42

20

.œ œ jœblue, I

20

œ.œ. œ. œ.

œ. œ.

œœ

‰ œœ

‰

œjœ œ Jœ

shall soon res cued

œ.œ. œ. œ.

œ. œ.

œœ

‰ œœ

‰

œ Jœ œ Jœ

be, sir, From

œ.œ. œ. œ.

œ. œ.

œœ

‰ œœ

‰

Jœ Jœ Jœ œ jœyou and your cru el

œ.œ. œ. œ.

œ. œ.

œœ

‰ œœ

‰

.œ jœ ‰ ‰crew.

œ œ œ jœ

‰ ‰

œœ ‰ jœ

œŒ

- -

&

&

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#

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42

42

42

25

∑Andante

25


jœ ‰ jœ ‰P

Œ . jœThe

Both:


jœ ‰ jœ ‰

jœ œ œ Jœjœ

pros pect is in


jœ ‰ jœ ‰

jœ œ jœvi ting, Thus


jœ ‰ jœ# ‰

.jœ rœjœ

jœall my love re

‰ jœœœ‰ jœœœ#

Jœ ‰ jœ ‰

jœ jœ ‰ jœqui ting, Of

jœœœœœn œœ œœ

‰ œœ œœ œœ

Jœ.œ

- - - - -

&

&

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#

#

#

31 jœjœ Jœ

jœtem per, you will

31 jœœ jœœœ‰ jœœœ

Jœœ ‰ jœ ‰

jœ .œfind I


jœ ‰ jœ ‰

œ œ œ œ jœ œ œhave a


Jœ ‰ Jœ ‰

œ Œshare.

jœœœœœœ

œœ œœœ

œœ œ œ

jœ œ œ Jœjœ

Since you're bent on

jœœœjœœœ

‰ jœœœ

jœ ‰ jœ ‰

- -

&

&

?

#

#

#

36

jœ œ jœfight ing, Thus

36


jœ ‰ jœ# ‰

.jœ rœjœ

jœall my pros pects

‰ jœœœ‰ jœœœ#

Jœ ‰ jœ ‰

jœ jœ ‰ jœblight ing, I

jœœœœœn œœ œœ

‰ œœ œœ œœ

Jœ.œ

jœjœ Jœ

jœwon't give in an

jœœ jœœœ‰ jœœœ

Jœœ ‰ jœ ‰

jœ .œat om,


jœ ‰ jœ ‰

- - - -

2 11. Duetto Impetuoso

70

&

&

?

#

#

#

41

œ œ œ œ jœ œ œI de

41


Jœ ‰ Jœ ‰

œ œ .œ

clare,

‰ jœœœ‰

jœœœ

jœ ‰ jœ ‰

œ œ œ œ jœ œ œI de

‰ jœœœ ‰ jœœœ

jœ ‰ Jœ ‰

œ Œclare.

œœœ.œœœ.

œœœ.‰

œ.œ. œ

œ.‰

∑

œ œ œ œ œ œ œ

œœœ œ

œœ

∑

œœœ.œœ.

œœ.‰

œ.œ. œ

œ.‰

- -

311. Duetto Impetuoso

71

&

&

?

#

#

#

86

86

86

∑Slowly

œ œ œ œ œ œœ Jœ .œ

œœJœœ ..œœ

P

Œ . Œ œ œAu

Pocahontas:

jœ œ .œœ# Jœn .œœœ J

œœ ..œœ

Jœjœ Jœ

jœ jœ jœro ra, no more will I

.

.œœ ..œœ

..œœ ..œœ

jœjœ jœ œ jœ

hail thy first dawn, No

..œœ ..œœ

.

.œœ ..œœ

- -

&

&

?

#

#

#

5 jœ Jœ Jœ Jœ Jœjœ

more hear the soul stir ring5

œœ Jœœ ..œœ

œœJœœ ..œœ

Jœjœ jœ œ rœ rœ

cry of "hot corn," I have

.

.œœ# ..œœn

.

.œœ

..œœ

jœ Jœ Jœ Jœ Jœjœ

no thing to do now, but

..œœ..œœn

..œœ ..œ

œn

Jœ Jœ Jœ œ œ œlan guish and die, "Crushed

œœjœœ ..œœ#

.œJœ .œ

- - - -

&

&

?

#

#

#

9

Jœjœ Jœ

jœ jœ jœout" as I am by my

9

.

.œœ ..œœ

..œœ ..œœ

jœjœ jœ .œ

Pa's cru el ty.

jœ œ .œœn œ œ .œ

.œ œ œ .œ

∑


œœJœœ ..œœ

Œ . Œ rœrœ

But I'm

jœ œ .œœ# Jœn .œœœ J

œœ ..œœ

- -

12. Grand Scena Perturbato12a. Aurora, no more will I hail thy first dawn

12b. Oh peutivool girl12c. 'Tis a hard blow to suffer

12d. In our cane breaks of an afternoon

72

&

&

?

#

#

#

13

Jœjœ Jœ

jœ jœ jœnot so do mes tic a

13

.

.œœ ..œœ

..œœ ..œœF

jœjœ jœ œ jœ

thing, on my life As

..œœ ..œœ

.

.œœ ..œœ


ev er to be yon brown

œœ Jœœ ..œœ

œœJœœ ..œœ

Jœjœ jœ œ jœ

Hol lan der's wife. No,

.

.œœ# ..œœn

.

.œœ

..œœ

- - - - -

&

&

?

#

#

#

17 jœ Jœ Jœ.

Jœ Rœjœ

ra ther than that, a deep17

..œœ..œœn

..œœ ..œ

œn

Jœ Jœ Jœ œ œ œhole I would bore In my

œœjœœ ..œœ#

.œJœ .œ

œ rœ Rœ œ œ œheart, and be hold bright Au

.

.œœ ..œœ

..œœ ..œœ

jœjœ jœ .œ

ro ra no more.


.œ œ œ .œ

- - - -

&

&

?

#

#

#

89

89

89

21

∑

21


œœJœœ ..œœ

Œ . Œ œ œAnd

jœ œ .œœ# Jœn .œ

œœ J

œœ ..œœP

Jœjœ Jœ

jœ jœ jœoh! if I'm forced like poor

.

.œœ ..œœ

..œœ ..œœ

jœjœ jœ œ jœ

Di nah, to die By

..œœ ..œœ

.

.œœ ..œœ

-

&

&

?

#

#

#

89

89

89

86

86

86

25 jœ Jœ Jœ Jœ Jœjœ Jœ

jœ jœgo ing, and tak ing a cup of cold

25

œœ Jœœ ..œœ .

.œœ#

œœJœœ ..œœ .

.œœ

.œ .œU

Œ jœpy zon, No

..˙nU

Œ .

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2 12. Grand Scena Perturbato

73

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p

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Rolff:


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jœœ

œœ

jœœ

.œ Jœjœ Jœ

peu ti vool


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jœœ

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jœœ

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.œ ‰ œ œbearl. Love

38


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runs like a


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squirrel Meine


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œ jœ jœ ‰ jœfreez y, Un


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312. Grand Scena Perturbato

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our cane breaks of an


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107

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hunt the coon, And

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112

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Clar's his ac tion,

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117

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Rolff:

˙ Œ

˙ Œ

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song in the

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21 œ œ œ œ œ œDia doi doi

21

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13. Like the Tyrolese singers, so gallant and gay

79

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Œ œœœ œœœ

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soul all de

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2 13. Like the Tyrolese singers

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˙˙

˙˙

∑

Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ

So we get our fair share of the

jœœœ‰ jœœœ


‰

jœœ

‰ jœœ

‰ jœœ

‰ jœœ

‰

∑

œ œ Óoy ster.


.

.˙˙

Œ

- - -

2 14. Quartette

84

?

&

?

#

#

#

23 œ œ Jœ Jœ Jœ Jœ

Poor John Smith is ve ry

King:

23

œœ œœœ œ

œœ œœœ œ

˙˙

˙˙

F

˙ œ Œgrate ful.

œœ œ œœ œ œœ œ œœ œ

˙˙

˙˙

œ œ Jœ Jœ Jœ Jœ

Grief he's not now trou bled

œœ œœœ œ

œœ œœœ œ

˙˙

˙˙

˙ Œ œwith. He's

œœ œ œœ œ œœ Œ

˙˙

œœ Œ

Jœ Jœ Jœ Jœœ Jœ Jœ

gen tle and re signed, And re


˙˙ ˙

˙

- - - - -

?

&

?

#

#

#

28

Jœ Jœ Jœ Jœœ œ

solved to go it blind. Oh,

28


˙˙

˙˙

Jœ Jœ Jœ Jœ œ œwhat a fool is poor John

jœœœ‰ jœœœ


‰

jœœ

‰ jœœ

‰ jœœ

‰ jœœ

‰

.˙ ŒSmith!


.

.˙˙

ŒP

Jœ Jœ Jœ Jœ œ œWhat a fool is poor John

jœœœ‰ Œ jœœœ

‰ jœœœ‰

rit.jœ

œ‰ Œ jœ

œ‰ jœ

œ‰

.˙ ŒSmith!

œ œ œ œU

ww

U

314. Quartette

85

&

&

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# #

# #

# #

86

86

86

∑Lively

œœn .jœ œœ.

jœœ

œ.jœ# œ. jœ

p

∑

œœ.jœœ œœ.

‰

œ.jœn œ. ‰

∑

Jœ. ‰ ‰ œ

jœ

jœœœ.‰ ‰ œœ œ œ.

f

∑

.œ œ ‰

œ œ œ. œœ ‰

œ jœ œ jœAs we're go ing

Female Chorus:

œ jœ œ jœ

œ œ œ œ œ œP

œ œ jœ œ ‰on a train

œ œ œ. œ ‰

œ œ œ œ œ œ

-

&

&

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# #

# #

# #

7

œ jœ œ jœWe must see and

7

œ jœ œ jœ

œ œ œ œœ œ œ

.œ œ ‰load a

.œ œ ‰

œ œ œ œ œ œ

œ jœ œ jœHam per with the

œ jœ œ jœ

œ œ œ. œ œ œ.

œ œ jœ œ ‰drink of Maine.

œ œ œ. œ ‰

œ œ œ. œ œ œ.

Jœ. ‰ ‰ œ

jœPop goes the

Jœ. ‰ ‰ œ

jœ

œ œ œ. œœ œ œ.F

.œ œ ‰so da.

.œ œ ‰

œ œ œ. œ œ œ.

- -

&

&

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# #

# #

# #

13

∑

13

Jœ. ‰ ‰ œ

jœ


∑

.œ œ ‰

œ œ œ. œœ ‰

œ Jœ œ Jœ

Ham pered thus, no

..œœ# œ Jœ

œ œ œ. œ# œ œ.f

Jœ Jœ Jœ œ ‰In di an corn

œ œ œ. œ ‰

œ œ œ. œ œ œ.

œ Jœ œ Jœ

Can we now fore

..œœ# œ Jœ

œ œ œ. œ# œ œ.

.œ œ ‰bode, a

.œ œ ‰

œ œ œ. œ œ œ.

- - - -

&

&

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19

œn .jœ œ.

jœBum per fill then

19

œœn.

jœ œœ.jœœ

œ.jœ# œ. jœ

p

œ. Jœœ. ‰

(in a horn),

œœ.jœœ œœ.

‰

œ.jœn œ. ‰

Jœ. ‰U ‰ œ

jœPop goes the

Jœ. ‰U ‰ œ

jœ

jœœœ.‰U ‰ œœ œ œ.

f

.œ œ ‰so da.

.œ œ ‰

œ œ œ. œœ ‰

∑

Jœ. ‰ ‰ œ

jœ


∑

.œ œœ ‰

œ œ œ.œœ

‰

- -

15. As we're going on a train

86

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bb

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c

c

c

Voice 1 ∑œœœ> ...

œœœ# œœœœœœ

œœœ

œœœ# >œœ.

œœn

n.

œœ# .

F

∑

œœœ Œ jœ œ œ œ œ

œœ Œ ˙

∑

˙ œ œ œ# œ œ œ œn œ

˙ œœœœœœ

∑

˙ œ Œ

Jœœ ‰ J

œœ‰ J

œœ ‰ Jœœ

‰

&

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V1

5

œ .jœ rœ œ œHark 'tis the in gine

Voice 1:

5

jœœ ‰ jœœœ ‰ jœœœ‰ jœœœ ‰

œœ

´Œ Ó

p

˙ œ Œbell,

jœœ ‰jœœœ ‰ jœœ ‰

jœœœ ‰

œœ

´Œ Ó

œ .jœ rœ œ œWe off the track must

jœœœ‰

jœœœ ‰ jœœœ‰

jœœœ ‰

œœ

´Œ Ó

˙ œ .œ œgo. Though His

jœœœ‰

jœœœ ‰ jœœœ‰

jœœœ ‰

œœ

´Œ Ó

-

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V1

9

.jœ rœ .jœ rœ œ œma jes ty is ra ther

9

∑

Œ jœœ ‰jœœ ‰

jœœ ‰w

wslow,

Œ œ ≈ œ œ œ


jœœ ‰w

œ .jœ rœ œ œWith Smith's New Eng land

œ Œ Ó


jœœ ‰w#

.˙ ‰ . rœrum: The

Œ œ ≈ œ œ œ


jœœ ‰w#

-- - -

&

&

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V1

13

œ ‰ . rœ œ ‰ . rœrum, the rum, the

13

Œ jœœ ‰ jœœ ‰ jœœ ‰

œ Œ Ó

˙ jœ œ œ œ Jœrum, the

œœŒ œœ Œ

œœ Œ œ

œŒ

˙ œ> œ œ ≈ rœrum, the

œœœ Œ œœœŒ

œœ Œ œ

œ Œ

.˙ Œrum.

www

ww

16a. Hark 'tis the ingine bell

Andantino Marziale

(Sung by Full Chorus, divided into three sections)

87

&

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V1

V2

17

∑

17


Voice 2:

17

jœœœ‰ jœœœ


‰

œœ

´Œ Ó

P

œ .jœ Rœ.œ œ .œ œ

Hark 'tis the in gine

˙ œ Œbell,

jœœ ‰ jœœ ‰ jœœ ‰ jœœ ‰

œœ

´Œ Ó

œ Œ Œ . . rœbell, Look


jœœœ‰ jœœœ


‰

œœ

´Œ Ó

œ .jœ Rœ.

Jœ Rœ .œ œout for the lo co mo


jœœœ‰ jœœœ


‰

œœ

´Œ Ó

-

- - - -

&

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bb

bb

bb

bb

V1

V2

21

œ Œ Ótive!

21


21 jœœœ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰

Jœ ‰ Jœ ‰ Jœ ‰ Jœ ‰

.jœ rœ .jœ rœ œ œHe must be, how come you

wslow,

jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰


wso?


jœœœ ‰jœœœ ‰


Jœ# ‰ Jœ ‰ Jœ ‰ Jœ ‰





Jœ# ‰ Jœ ‰ Jœ ‰ Jœ ‰

- - - -

-

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bb

bb

bb

bb

V1

V2

25


25


25 jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰


˙ œ œ# œjœ

rum, the


œœœ.Œ œœ. Œ

œ. Œ œœ.

Œ

˙ . .œ Rœ

rum, the


œœœ.Œ œœœ.

Œ

œœ.

Œ œœ.

Œ

.˙ Œrum.

.˙ Œrum.

jœœœ ‰ jœœ ‰ jœœ‰ jœœ ‰

œœ.

Œ Ó

2 16a. Hark 'tis the ingine bell

88

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&

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bb

bb

bb

bb

bb

V1

V2

V3

29

œ Œ ÓHark!

29

∑

29


Voice 3:

29

œœ.œœ. œœ.

œœ. œœ.œœ. œœ.

œœ.

œœ

Œ ÓF

œ Œ ÓHark!

œ .jœ Rœ.œ œ .œ œ

Hark 'tis the in gine

˙ œ Œbell,

œœ.œœ. œœ.


œœ.

œœ

Œ Ó

.œ œ .Jœ Rœ .œ œ .œ œHark 'tis the in gine

œ Œ Œ . . rœbell, Look


œœ.œœ. œœ.


œœ.

œœ

Œ Ó

˙ Óbell,

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Jœ Rœ .œ œout for the lo co mo


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Œ Ó

-

-

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V1

V2

V3

33

‰ . rœ .jœnrœ# .œ œ .œ œ

His ma jes ty is33

œ Œ Ótive!

33


33

œœ.œœ. œœ.


œœ.

œœÿ

Œ Ó

˙ ˙ra ther

.jœ rœ .jœ rœ œ œHe must be, how come you

wslow,

œœ.œœ. œœ.


œœ.

œœÿ

Œ Ó

œ Œ œ .Jœ Rœ

slow, With Smith's New

wso?


œ.œœ. œ.

œœ. œ.œœ. œ.

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œœ#

#ÿ

Œ Ó

˙ œ œEng land



œ.œœ. œ.

œœ. œ.œœ. œ.

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#ÿ

Œ Ó

- - - -

- - - -

-

316a. Hark 'tis the ingine bell

89

&

&

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?

bb

bb

bb

bb

bb

V1

V2

V3

37

˙ Órum:

37


37


37

œ.œœ. œ.

œœ. œ.œœ. œ.

œœ.

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Œ . .Rœ

˙

The rum,

˙ œ œ# œjœ

rum, the


jœ ‰ jœœœ ‰ œœ Œ

œœ Œ œ

œŒ

œ œ . .œ rœthe rum, the

˙ . .œ Rœ

rum, the


œœœ Œ œœœŒ

œœ Œ œ

œ Œ

˙ œ Œrum.

˙ œ Œrum.

˙ œ Œrum.

œœœœœœœœ

œœœœŒ

œœ

œœ

œœ

Œ

4 16a. Hark 'tis the ingine bell

90

&

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b

b

86

86

œ^ jœ œ

^ jœ.œ .œ

Andante Mosso

..œœ ..œœP

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.

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œœœ.jœœœ.

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jœœ.

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jœœœ.œœœ.

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jœœ.

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jœœ.

&

&

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b

b

6

‰ ‰ Jœrœ œ

JœOh, some are

Pocahontas:

6

œœœ.jœœœ.

œœœ.jœœœ.

œœ.

jœœ.

œœ.

jœœ.

rœ .˙right

œœœ.jœœœ.

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jœœ.

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jœœ.

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œœœ.jœœœ.

œœœ.jœœœ.

œœ.

jœœ.

œœ.

jœœ.

rœ .˙vite

œœœœ.jœœœœ.

œœœœ.jœœœœ.

œœ.

jœœ.

œœ.

jœœ.

jœ ‰ Jœrœ œ

JœWith in their

œœœœ.jœœœœ.

œœœœ.jœœœœ.

œœ.

jœœ.

œœ.

jœœ.

- -

&

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b

b

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11

Jœ œ œ jœvest So

11

œœœ.jœœœ.

œœœ.jœœœ.

œœ.

jœœ.

œœ.

jœœ.

œ œjœ œn œ

Jœ

dan ger ous a

œœœ.jœœœ.

œœœn .jœœœ.

œœ.

jœœ.

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jœœ.

.˙guest,

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P π

.˙

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As love that

jœœ.

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Jœœ. ‰ ‰ ‰ ‰ ‰

- - -

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16rœ .˙hies

16

œœœ.jœœœ.

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œœœ.jœœœ.

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jœœ.

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jœœ.

rœ .˙bode,

œœœœ.jœœœœ.

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jœœ.

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jœ ‰ Jœrœ œ

JœAnd hea vy

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.˙

lies

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jœœœ.œœœ.

jœœœ.œœ.

jœœ.

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Jœœ.

- - -

16b. Oh, some are right

91

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b

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21 œ œJœ œ .œ

RœDys pep tic

21

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œœœœ.jœœœœ.

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jœœ.

P p

.˙load.

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jœœ.

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It sets one

œœœ.jœœœ.

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And sad ly

œœœœn .jœœœœ.

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jœœ.

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jœœ.

- - - - -

&

&

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b

b

26

œ œ œn .œsigh ing,

26

œœœ.jœœœ.

œœœ.jœœœ.

œœ.

jœœ.

œœ.

jœœ.

‰ ‰ jœ œJœb

You can't lodge

œœœ.jœœœ.

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jœœ.

œœ.

jœœ.

œ œb jœ .œhere, no way,

œœœb .jœœœ.

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jœœ.

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jœœ.

jœ ‰ Jœœ

Jœ

So love good

œœœœnb .jœœœœ.

œœœœ.jœœœœ.

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f

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31

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31

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'Twill nev er

∑

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rœ .˙pay

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‰ œ œ œ œ JœTo let you

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jœœ.

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-

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36rœ .˙

stay,36

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JœSo love good

œœœœ.jœœœœ.

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day,

œœœjœœœ œœ

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b œœ

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b

Jœ œ œ Jœ.œU œ

good day, good

œœœngg‰ œœœœbgg

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œ ‰ Œ jœday, I'm

‰ œœœ.œœœ.

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-

2 16b. Oh, some are right

92

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41

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bet ter off with41

‰ œœœ.œœœ.

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do not care a

‰ œœœ.œœœ.

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- - - - -

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46 .œ .œbout thee,

46

‰ œœœ.œœœ.

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‰ œœœ.œœœ.

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316b. Oh, some are right

93

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43

43

43

∑Con molto Sentimento

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9

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- - - - -

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17

∑

17

œ œ# œfore a

17

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œ œ œ œ# œOh! dear est,

Pocahontas:

∑

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-

17. Although a bird am I

94

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25

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25œ œ œ œ œ

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˙ œ œIs

.

.˙˙

œ œœ œœ

œ œ# œbreak ing in

œ œ œ œ# œ

œœœœ œœœ

˙ œpie ces,˙˙

œœ

œœœœ œœœ

f

œ œ œon ly to˙˙

œœ

œ œœ œœ

˙ œsee How

˙˙ œ

œ

œ œœ œœ

- -

&

&

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P

S

33

œ œ# œfowl ly my33

∑

33 œ œ œœ

œœ#

# œœ

œ œœ œœ

˙b> œ

bird is

∑

˙˙b

b >œ

œœœ œœ

.trussed.

∑

.˙

œœœœ œœœ

œÓ

Ó œA

Smith:

œ Œ œ

œœœœ Óp

∑

˙ œverse to

˙ œœ

œ œœ œœ

∑

˙ œadd, I'm˙

˙œœ

œ œœ œœ

∑

˙ œnot ad˙˙

œœ

œ# œœ œœ

∑

˙ œ#verse to,

˙˙ œ

œ##

œ# œœ œœ

-

-

&

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?

P

S

41

∑41

˙# œThough ad

41 ˙˙#

# œœ

œœœœ# œœœ

∑

˙ œver si

˙˙

œœ

œœœœ# œœœ

∑

˙ œty's a˙˙

œœ

œ œœ œœ

∑

˙ œcurse, so

˙˙ œ

œ œœ œœ

∑

˙ œCome what

˙ œœ

œ œœ œœ

∑

˙ œmay, fate

˙˙

œœ

œ œœ œœ

∑

˙# œcan't dorœ .

.˙˙#

#

œœœœ œœœ

Œ ¿ ¿(Fa ther!)

.˙worse,˙

˙ œœ

œœœœ œœœ

- - -

-

2 17. Although a bird am I

95

&

&

&

&

?

P

S

K

49

œ œ œLoose him and49 .˙

Oh,49

∑

49rœ .

.˙˙

œœœœ# œœœ

˙ œlet him

.˙fare

∑

˙˙ œ

œ

œœœœ# œœœ

˙ œbe my

.˙well.

Ó œNot

King:

jœ ..

˙˙

œ œœ œœ

˙ Œspouse!

˙ Œ.

˙ ŒI,

œœ Œ œ

œ œœ œœp

∑

∑

œ œ œSuch an al

˙ œœ

œ œœ œœ

∑

∑

œ œ œli ance would

˙˙

œœ

œ œœ œœ

∑

∑

œ œ œbe all a

˙˙

œœ

œ# œœ œœ

∑

∑

˙ œ#lie! On

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-

- -

&

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K

57

œ# œ œno ac count

57 ˙˙#

# œœ

œœœœ# œœœ

œ œ œ

can I run

˙˙

œœ

œœœœ# œœœ

˙ œcount er

˙˙

œœ

œ œœ œœ

œ Jœjœ jœ# jœ

to Vir gin ia

˙˙ œ

œ œœ œœ

˙ œrec ords

˙ œœ

œ œœ œœ

˙ œwhich re

˙˙

œœ

œ œœ œœ

˙#( ) œœ( )late to

rœ ..

˙˙#

#

œœœœ œœœ

œœ( ) ‰ Jœ Jœ Jœyou. I'm ve ry

˙˙ œ

œ

œœœœ œœœ

- - - - -- -

&

&

?

K

65 œ œ œ

sor ry, Smith,

65rœ .

.˙˙

œœœœ# œœœ

œ œ œ#but you must

˙˙ œ

œ##

œœœœ œœœ

.˙die!

.

.˙˙

œ œœ œœ

œ Œ Œ

œœ

œ œ œ œ#

œœœ Œ Œ

∑

œœ

œœ

œœ

œœœœ# œœœ

∑

œœ

n œœ œ

œ##

œœœœ œœœ

∑

.

.˙˙

œ œœœœœœœœ

∑

œœ Œ Œ

œœœœ Œ Œ

-

317. Although a bird am I

96

&

&

?

&

?

#

#

#

#

#

86

86

86

86

86

∑

∑

Jauntily

∑

Jœœœœ Œ Œ .

œœœœ ‰ œœœœœœœœ ‰ œœœœ

F

∑

∑

∑

∑


∑

jœ Jœ Jœ Jœjœ jœ

Now for a jol ly en

Chorus:


œœ

œœ

œœ

œœ œ

œ œœ

œœœœ ‰ œœœœœœœœ ‰ œœœ

∑

.œ œ jœcount er at

.œ œ Jœ

œœ œ

œœœ

œœ ‰ œ

œ

œœœ œœœ œœœjœœœ ‰

jœœœ.œ Jœ Jœ

∑

œ ‰ œ ‰High, Low,

œ ‰ œ ‰

œœ

œœ

œœ

œœ

œœ œ

œ

œœœ ‰ œœœ œœœœ# ‰ œœœœ

- - -

&

&

?

&

?

#

#

#

#

#

6

Œ . Œ jœThe

King, Smith:

6 jœ jœ jœ œ ‰Jack, and the Game.6

Jœ Jœ Jœ œ ‰

6 œœ

œœ

œœ J

œœ ‰ jœ

œœ œœœ œœœjœœœ ‰ ‰.œ Jœ

œ Jœ œ jœQueen! A trump! A

∑

∑

œœ

œœ

œœ

œœ œ

œ œœ


jœ jœ jœ œ ‰bet ter! The ten!

∑

∑

œœ œ

œœœ

œœ ‰ œ

œ


jœœœ.œ Jœ Jœ

Œ Jœ Jœ Jœjœ

That's good for my

∑

∑

œœ#

# œœ

œœn

n jœ œœ

œœ

œœ

œœœ ‰ œœœ#n œœœœ ‰

œœœ#

œ ‰ Œ .Jack!

∑

∑

œœ

œœ œ

œjœ

œ‰ ‰

œœœ œœœ œœœjœœœ ‰ ‰.œ Jœ

-

18a. Now for a jolly encounter18b. Oh! Mr. Hoyle

18c. I've won the game18d. I'm bound to play all night

18e. Mr. Smith, I must acknowledge

18. Characteristic Concerted Piece

97

&

&

?

&

?

#

#

#

#

#

11

∑

11

∑

11

∑

11

∑


∑

∑

∑

∑


∑

jœ Jœ Jœ Jœjœ jœ

Oh, what a jol ly en

Chorus:


œœ

œœ

œœ

œœ œ

œ œœ


∑

.œ œ jœcount er at

.œ œ Jœ

œœ œ

œœœ

œœ ‰ œ

œ


jœœœ.œ Jœ Jœ

∑

œ ‰ œ ‰High, Low,

œ ‰ œ ‰

œœ

œœ

œœ

œœ

œœ œ

œ

œœœ ‰ œœœ œœœœ# ‰ œœœœ

- - -

&

&

?

&

?

#

#

#

#

#

# #

# #

# #

# #

# #

c

c

c

c

c

16

Œ . Œ jœA

King, Smith:

16 jœ jœ jœ œ ‰Jack, and the Game.16

Jœ Jœ Jœ œ ‰

16 œœ

œœ

œœ J

œœ ‰ jœ

œœ œœœ œœœjœœœ ‰ ‰.œ Jœ

œ Jœ Jœjœ jœ

trump! An oth er! That's

∑

∑

œœ

œœ

œœ

œœ œ

œ œœ


œ jœ œ Jœlow! That's so. And

∑

∑

œœ œ

œœœ

œœ ‰ œ

œ


jœœœ.œ Jœ Jœ

Jœ# Jœ JœnJœ Jœ

jœthat's the best card in the

∑

∑

œœ#

# œœ

œœn

n jœ œœ

œœ

œœ

œœœ ‰ œœœ#n œœœœ ‰

œœœ#

œ ‰ Œ .pack!

∑

∑

œœ

œœ œ

œjœ

œ‰ ‰

œœœ œœœ œœœjœœœ ‰ ‰.œ Jœ

- -

2

98

&

&

?

&

?

# #

# #

# #

# #

# #

c

c

c

c

c

21

∑Slowly, Hushed

21

∑

21

∑

21

Œ œœœ.œœœ.

œœœ.

œ.Œ Ó

p

Ó .œ.Oh!

Pocahontas:

∑

∑

Œ œœœ.œœœ.

œœœ.

œ.Œ Ó

œ. œ. œ. ŒMis ter Hoyle,

∑

∑

Œ œœœ.œœœ.

œœœ.

œ.Œ Ó

œ. œ. œ. ŒAll his toil

∑

∑

Œ œœœ.œœœ.

œœœ.

œ.Œ Ó

œ. œ. œ. ŒPri thee spoil.

∑

∑

Œ œœœ.œœœ.

œœœ.

œ.Œ Ó

- -

&

&

?

&

?

# #

# #

# #

# #

# #

26

Ó Œ œ.Oh!26

œfl œfl œfl

ŒGive him fits.

Chorus:

26 œ œ œ ŒGive him fits.

26

Œ œœœflœœœfl

Œ

œflŒ Ó

P

œ. œ. œ. ŒMas ter, pray

∑

∑

Œ œœœ.œœœ.

œœœ.

œ.Œ Ó

p

œ. œ. œ œMind the way

∑

∑

Œ œœœ.œœœ.

œœœ.

œ.Œ Ó

œ. œ. œ œThat you play

∑

∑

Œ œœœ.œœœ.

œœœ.

œ.Œ Ó

∑U

œfl œfl œflŒU

Give him fits.

œ œ œ ŒU

Give him fits.

Œ œœœflœœœfl

ŒU

œflŒ Ó

P

- -

&

&

?

# #

# #

# #

31

∑Exuberantly

31

œ œ œ œ œ œœ œ œ œ œ œ

œ œœ œœ œœ œ œœ œœ œœ˙ ˙F

∑

œœ œœ œœ œœ Jœœ .

.œœ

œ œœœ œœœ œœœ œ œœ œœ œœ˙ ˙

∑

œ œ œ œ œ œœ œ œ œ œ œ

œ œœ œœ œœ œ œœ œœ œœ˙ ˙F

Ó Œ ‰ jœI've

Smith:

œ œ œ œ œ œ œ œ .œ ‰

œ˙ œœœ œœœ œœœ œœ jœ‰

3

99

&

&

?

# #

# #

# #

35

œ œ œ œ œ œ œ œwon the game, Up on my life; And

35

‰ œœœ œœœ œœœ‰ œœœ œœœ œœœ

˙˙

˙˙

œ œ œ œ œ œ œ œbet ter still, I've won a wife! At


˙˙

˙˙

œ œ œ œ œ œ œ œHigh, Low, Jack, You can not shine, So

‰ œœœœœœ

œœœ‰ œœœ œœœ œœœ

˙˙

˙˙

œ œ œ œ œ œ œtake the pack, The maid is mine.

‰ œœœœœœ

œœœ‰ jœœœ œœœ

˙˙

˙˙

- - -

&

&

?

# #

# #

# #

42

42

42

39

Ó Œ œI'm

39

œ œ œ œ œ œ Œ

œ˙ œœœ œœœ œœœ œœœ Œ

.jœ rœjœ

jœbound to play all

Slightly slower

œœœ-œœœ-

œœ-

œœ-

f

.œ Jœnight, I'm

...œœœ-‰

.

.œœ-

‰

.Jœ Rœ Jœ Jœ

bound to play all

œœœ-œœœ-

œœ-

œœ-

.œ œ œday; I'll

...œœœ-‰

.

.œœ-

‰

&

&

?

# #

# #

# #

c

c

c

44 jœ jœ rœ rœrœ rœ

bet my mon ey on the44


rit.

œœ

œœ

Jœjœ jœ " jœ

High, Low, Jack, For

Freely

‰ œœœ œœœ" ‰

œœ

jœœ

‰

jœ jœjœ

jœev er, if thy

˙

˙˙

P

œ œhand's my

˙˙

˙˙

˙pay.

œœœœœœ

œ œ

œ ŒU

œœœœ ŒU

œœ

ŒU

- --

&

&

?

# #

# #

# #

c

c

c

50

œ œ œ œ œ œ œ œMis ter Smith, I must ac know ledge,

Slow, poco a poco accel.King:

50


œœ.

Œ œœ.

ŒP

œ œ œ œ œ ‰ jœI'm a sure gone coon, I'm


œœ.

Œ œœ.

Œ

œ œ œ œ œ œ œ œdished, and feel ex act ly like a


œœ.

Œ œœ.

Œ

œ œ œ œ œ Œused up spoon.


œœ.

Œ œœ.

Œ

- - - - - - -

4

100

&

&

?

&

?

# #

# #

# #

# #

# #

54

œ œ œ œ œ œ œ œ œThough I thought the game to play to an

54

∑

54

∑

54


œœ.

Œ œœ.

Œ

œ œ œ œ œ ‰ jœoth er sort of tune, And

∑

∑


œœ.

Œ œœ.

Œ

œ œ œ œ œ œ œbeat you too, be fore you'd say

∑

∑


œœ.

Œ œœ.

Œ

œ œ œ œ Œ"Jack Rob in son."

Ó Œ . jœHe

Chorus:

Ó Œ . Jœ

He

œœœ.Œ œœœ.

Œ

œœ.

Œ œœ.

Œ

- - - - -

&

&

?

&

?

# #

# #

# #

# #

# #

58

wAh!

ExuberantlyPocahontas:

58 jœ jœ jœ jœ jœ jœ jœ jœwon the game, Up on his life; And58


won the game, Up on his life; And

58


˙˙

˙˙

F

w

Jœ Jœ Jœ Jœ Jœjœ jœ jœ

bet ter still, he won a wife! At


bet ter still, he won a wife! At


˙˙

˙˙

˙ ˙

jœ jœ jœ jœ jœ jœ jœ jœHigh, Low, Jack, You can not shine, So

Jœ Jœ Jœ Jœ Jœ Jœ Jœ JœHigh, Low, Jack, You can not shine, So

‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ

˙˙

˙˙

- - -

- - -

5

101

&

&

?

&

?

# #

# #

# #

# #

# #

61 œ ‰ jœ œ œThe maid is

Smith:

61 jœ jœ œ Œ . jœtake the pack, He61

Jœ Jœ œ Œ . Jœ

take the pack,

61

‰Jœœœœ œœœœ Ó

œœ

œœ

Ó

wmine!

œ œ œ œ œ œ œ œwon the game, Up on his life; And


won the game, Up on his life; And

‰ œœœœœœœœ

œœœœ ‰œœœœ

œœœœœœœœ

˙˙

˙˙

f

.˙ œ

œ œ œ œ œœ œ

bet ter still he won a wife!

œ œ œ œ œœ œ

bet ter still he won a wife!

œœœœ> œœœœ

> œœœœ>

œ.

œ> œ>œ> œ

œ.

- -

- -

6

102

&

&

?

# # #

# # #

# # #

86

86

86

∑Boisterous Moderato

œ œ œ œ œ œ

Jœœœœ Œ

jœœœœŒ

F

∑

œ œ œ œ œ œ

Jœœœœ Œ jœœœœ

Œ

∑

œ ‰ œ œ œ œ

jœœœœ‰ ‰ J

œœœ ‰ ‰

Œ . Œ jœAnd

King:

...œœœjœœœ

‰ ‰

œ jœ jœ

Œ

œJœ œ jœ

now we've done our


œ ‰œ

‰

œ jœ œ jœdu ty here, We


œ ‰œ

‰

-

&

&

?

# # #

# # #

# # #

7

œ jœ œjœ

hope and trust that7


œ ‰ œ ‰

œjœ œ jœ

you'll not fume, or


œ ‰ œ ‰

œ jœ œ jœFail to give a


œ ‰ œ ‰

œ jœ œ jœpart ing cheer, But


œ ‰ œ ‰

jœjœ Jœ

jœjœ

jœtake our bad jokes in good


œ ‰œ

‰

.œ .œhu mor.

...œœœjœœœ

‰ ‰

œJœ

jœ ‰ ‰

--

&

&

?

# # #

# # #

# # #

..

..

..13

∑

13

œ œ œ œ œ œ

Jœœœ ‰ ‰ J

œœœ ‰ ‰

∑

...œœœjœœœ

‰ ‰

œJœ

jœ ‰ ‰

.œ .œTow row

2x: Add Chorus

Œjœœœ Œ

jœœœ

œœ

‰œ

‰

.˙row,

Œjœœœ Œ

jœœœ

œœ

‰œ

‰

œ Jœœ

JœPeo ple will you

Œjœœœ Œ

jœœœ

œœ

‰ œœ

‰

.˙now,


œœ

‰ œœ

‰

-

&

&

?

# # #

# # #

# # #

..

..

..19 jœ jœ

jœ Jœjœ jœ

Take our bad jokes in good19 jœœœ Œ jœœœn

Œ

jœœ

Œ jœœ#

# Œ

.œ .œhu mor,

jœœœ#‰ ‰ ...œœœ# >

jœœ

Œ ..

œœ>

.œ .œNow, now,

jœœœ#nŒ jœœœn Œ

jœœ

Œjœ

œŒ

.œ Œ .now.

jœœœ‰ ‰

Jœœœœ ‰ ‰

jœ ‰ ‰ jœ

‰ ‰

∑


œ ‰œ

‰

Œ . Œ jœGood

Smith:


œ ‰œ

‰

-

19. And now we've done our duty here

103

&

&

?

# # #

# # #

# # #

25

œJœ œ jœ

peo ple all, both25


œ ‰œ

‰

œ jœ œ jœgreat and small, Now,


œ ‰œ

‰

jœ jœjœ .œ

you and your kind


œ ‰ œ ‰

œjœ œ jœ

friends we want, as


œ ‰ œ ‰

œ jœ œ jœOf ten as you


œ ‰ œ ‰

œ jœ œ jœplease to call On


œ ‰ œ ‰

- -

&

&

?

# # #

# # #

# # #

31

œ jœ œ jœCap tain Smith and

31 jœœœ# Œ Œ .

Jœœ Œ Œ .

œjœ œ Jœ#

Po ca hon tas.

jœœœŒ Œ .

jœœ

Œ Œ .

.œ .œTow row

Œjœœœ Œ

jœœœ

œœ

‰œ

‰

.˙row,

Œjœœœ Œ

jœœœ

œœ

‰œ

‰

œ Jœœ

JœLe ni ty al

Œjœœœ Œ

jœœœ

œœ

‰ œœ

‰

.˙low.


œœ

‰ œœ

‰

- - - - - - -

&

&

?

# # #

# # #

# # #

37

œ jœ œ jœCap tain Smith and

37 jœœœ Œ jœœœnŒ

jœœ

Œ jœœ#

# Œ

œjœ œ jœ

Po ca hon tas

jœœœ#‰ ‰ ...œœœ# >

jœœ

Œ ..

œœ>

.œ .œNow, now,

jœœœ#nŒ jœœœn Œ

jœœ

Œjœ

œŒ

.œ Œ .now.

jœœœ‰ ‰

Jœœœœ ‰ ‰

jœ ‰ ‰ jœ

‰ ‰

...œœœ ...œœœTow row

Chorus:

œœœJœœœ

œœœJœœœ

œœ

‰œ

‰f

...˙

row,

œœœJœœœ

...œœœ

œœ

‰œ

‰

- - - -

&

&

?

# # #

# # #

# # #

43 œœœ Jœœœ œœœ J

œœœPeo ple will you

43

œœœjœœœ

œœœjœœœ

œœ

‰ œœ

‰

...˙

now,

..˙Œ

Jœœ Œ

Jœœ

œœ

‰ œœ

‰

jœ jœjœ Jœ

jœ jœTake our bad jokes in good

jœœœ Œ jœœœnŒ

jœœ

Œ jœœ#

# Œ

.œ .œhu mor,

jœœœ#‰ ‰ ...œœœ# >

jœœ

Œ ..

œœ>

...˙˙#Now,

Œ . ...œœœ#n >Œ . .

.œœ>

....˙˙˙n

Now,

Œ . ...œœœn>

Œ . ..

œœ>

- -

2 19. And now we've done our duty here

104

&

&

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# # #

# # #

# # #

√

49 ....˙˙Now.

49 œœœJœœœ

œœœJœœœ

œœ

‰œ

‰

....˙˙

œœœJœœœ

...œœœ

œœ

‰œ

‰

....˙˙


Jœœœœ Œ J

œœœœ Œ

Jœœœœ Œ Œ .

Jœœœ Œ

Jœœœœ Œ

Jœœœœ Œ jœ

œŒ

319. And now we've done our duty here

105

Appendix:

Po-Ca-Hon-Tas: or, The Gentle Savage (An Original Aboriginal Erratic Operatic Semi-civilized

and Demi-savage Extravaganza)

Libretto: John Brougham 1855 text published by Samuel French

Note: Musical selections are numbered to correspond to the Table of Songs and Sources included in William Brooks’ “Pocahontas: Her Life and Times” published in American Music, vol. 2, no. 4, 1984.

Chorus. Bravo! Smith! Or all the same o, The subtle flame, o Chorus. Go it, Smith. The brilliant game o, Man’s only aim o. To hunt up gold.

Chorus.

(Abjure the Italian, and give themselves Ethiopian airs.)

You’re off the track, and you’d better go back, The golden dream is o’er ; So order your hack and carry your pack From old Virginny’s shore.

Smith. Oh, nar’ry a toe, will this child go, But open a grocery store, And I’ll never go back, ‘till I’ve filled my sack On old Virginny’s shore.

King. And what the deuce induced this scheme Utopian ? Proceed, we’ll give you rope enough, European ! Though we don’t relish being quite so near As this, my buck, to such a Buccaneer ! Smith. Most potent, grave, and reverent old fellow,- To use the words of that black wight Othello, My very noble and approved good savage, That we are come out here your lands to ravage, It is most true : for this you see us banded. (Indians rush at him - the King restrains them.)

King. I must confess, sweet sir, that you are candid You’ll probably excuse us if we doubt it. Pray how, sir, do you mean to set about it ? Smith. Easy enough : we have full powers to treat. King. If that’s the case, we’ll take some whiskey neat. You cannot dash our spirits, we are proof Against such weakness ! Smith. Well, that’s clear enough! Majestic Savage, I was but in jest Just now, you’ll find, I guess, that I’m a guest It would be quite as well to welcome over. The seas we clove in hopes to live in clover. Befriend us, and we’ll try and be of use, Even to cooking of your royal goose !

10

4B

King. Don’t put yourself into a stew, my friend My Kitchen Cabinet to that attend. They know my constitution just like lawyers. Smith. Soyer himself must yield to such top-sawyer’s ! But say, Great Sachem, don’t refuse this fusion ; To now ill-use us would be base illusion ! Puissant potentate, abridge our sighs, We call on you to let us colonize. If this, most verdant Monarch, you will do, A course of Sprouts we mean to put you through ! King. Sprout me no sprouts, irreverent Suckers all ! You can’t lodge here, my friend, in Short, at all ! I can no reason in such treason see! What! share my realm with you, mon cher ami ! Smith. Why not ? We have the brads to buy your land, Nails are a legal tender, they’re on hand, With beads and bracelets you shall all be crammed. King. If I sell lands for brads, may I be d----ished! Smith. In friendship with you we should like to tarry. In proof of which I’m ready now to marry Any red queen that in my way should fall, I would accept her Sceptre, Crown, and all. My hand is hers! King. Your hand ? You’d better pause ! I’m on our Indian maids look out for Squaws ! If any jokers dare to run their rigs Near our wigwams, we’re sure to warm their wigs ! What shall we do with them, the sons of topers ? Speaker. Hang on the outer wall, the interlopers! All. Hang them ! Hang them ! Smith. What fault have I committed ? Halt ! King. Ha ! Do you falter ? Smith. I fain would halt before I reach the halter. That cord is not my line in any sense, I’d rather not be kept in such suspense ! King. You shan’t be long ! prepare yourself ! But stay ! You’d rather not be hanged, I think you say ? Smith. I’m really fearful it would be a drop Too much for me ! King. Perhaps you’d like a chop- (with axe.) Smith. Ill-mannered butcher, you may bet your Crown I’ll fix your flint for you ! King. You simmer down ! Smith you must die, as well as all audacious Birds of passage that may migrate here ! Smith. My gracious ! Alas ! then, did our Nests at home content us, We would not now have been Non est inventus ! Mercy! All. No mercy !

11

8A.

8B.

8C.

8D.

8E.

8F.

10A.

10B.

10C.

10D.

10E.

11A.

11B.

12B.

12A.

12C.

12D.

13.

14A.

14B.

14C.

15.

16A.

16B.

18B.

18C.

18D.

18E.

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