R. Vaughan Williams - Job: A Masque for Dancing

. VAUGHAN WILLIAMS
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Job
A masque for dancing
e d i t e d b y
julian rushton
full score
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A

3
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Contents
Preface page v
Sources
Textual Notes
Appendix 1
viii
x
xii
for online perusal only
Appendix 2
xviii
Job: A Masque for Dancing
I. Introduction 1
II. Satan’s Dance of Triumph 25
III. Minuet of the Sons of Job and their Wives 45
IV. Job’s Dream 55
V. Dance of the Three Messengers 69
VI. Dance of Job’s Comforters 75
VII. Elihu’s Dance of Youth and Beauty 90
VIII. Galliard of the Sons of the Morning 99
IX. Epilogue 117

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preface
The conception of Job was a family affair. The idea came from
Geoffrey Keynes, surgeon and Blake scholar, in 1927 (the
centenary of William Blake’s death). Keynes consulted his
sister-in-law, the recently widowed artist Gwendolen Raverat
(née Darwin). 1 The composer they approached, Ralph Vaughan
Williams, was her second cousin.
Raverat drew up an extended scenario, derived from
Blake’s series of illustrations inspired by the Old Testament
Book of Job. 2 She translated the scenario into French and
showed it to Boris Kochno at Diaghilev’s Ballets Russes. It is
not clear whether Diaghilev himself saw it, but the scenario
was rejected as ‘too English’ and ‘old-fashioned’. 3 Vaughan
Williams expressed some relief (‘not sour grapes’) at this
rejection. He insisted—reasonably enough in relation to this
subject, and to Blake’s conception—that the work be subtitled
‘A Masque for Dancing’; he felt uneasy about the word ‘ballet’
which, he remarked to the author and critic Edwin Evans,
had ‘acquired unfortunate connotations of late years to me’
(December 1930). 4 The choice of ‘masque’ (a genre that
usually involves vocal music as well as dancing and mime)
may have been intended in the composer’s mind to locate
the work within a tradition he considered English, rather
than the cosmopolitanism represented by the Ballets Russes.
The Elizabethan/Jacobean masque is evoked not only in the
work’s tableau-like construction (which also derives from
Blake) but by the use of dances such as Saraband, Minuet,
Pavane, and Galliard. 5 The visual element was of the highest
importance, and Vaughan Williams’s autograph score includes
small reproductions of Blake’s illustrations, which are referred
to throughout in the stage directions. 6
Vaughan Williams quickly became absorbed in the project;
indeed in his enthusiasm, according to Keynes, ‘he became rather
difficult to control’. 7 But he had more theatrical experience
than his collaborators and was fully justified in taking his own
decisions about the scenario. Comparison of surviving versions
by Alison Sanders McFarland shows that the composer adjusted
the order of scenes implied by Blake’s sequence, avoiding the
tautology of having Job twice awakened from sleep. 8 Job’s sin
of material satisfaction (explicit in Raverat’s version) licenses
Satan’s intervention; she and Keynes were influenced by the
interpretation of Blake’s Illustrations of the Book of Job (itself
already a departure from the biblical narrative) by the Blake
scholar Joseph Wicksteed, by which God and Satan are, in
effect, de-mythologized to become aspects of Job himself. 9
However intellectually cogent, this interpretation does not lend
itself to theatrical presentation, where supernatural characters
and action are perceived as ‘real’. Vaughan Williams adopted
the Blake–Keynes designation of Job’s ‘comforters’ as ‘wily
hypocrites’; rather than the irritating friends of the Bible, they
become agents of Satan, as is marked by the stage direction and
the music. Nevertheless, the masque requires some extra-textual
knowledge to be fully understood. Elihu’s dance is an effective
musical contrast at this point, but does not express the sense
of his intervention; his ‘wrath was kindled’ against Job and his
comforters (Job 32:2), and his arguments induce Job to repent
his worldliness. The conception of Satan derives from Blake.
He appears to win the wager with God, only to be rebuffed;
so evocative of evil is his music that this seems inevitable, if
unfair. Instead of the full restoration of Job’s fortunes implied
in the Bible, the masque ends on a pastoral, even nostalgic,
note, with Job’s daughters comforting his old age. Compared
to the extended arguments of the original, and even Blake’s and
Raverat’s thinking, Vaughan Williams’s scenario is theologically
less complex, aiming to heighten emotion and contrast to
better theatrical effect, the music embracing a wider stylistic
range than is normally found in his orchestral works.
for online perusal only
1 Full documentation of Job was assembled in the Journal of the RVW
Society, 19 (October 2000): Deborah Heckert, ‘“A Typically English
Institution”: A Context for Vaughan Williams’s Masques’, pp. 4–6;
Sir Geoffrey Keynes, ‘The Origins of Job’, pp. 16–17; Frank W. D.
Ries, ‘Sir Geoffrey Keynes and the Ballet Job’, pp. 18–22 (based
on interviews and including correspondence of Raverat, Vaughan
Williams, Ninette de Valois, and Lydia Lopokova); Stephen
Connock, ‘Gwen Raverat: Her Role in Job’, p. 22. This issue of
the journal also contains a comprehensive review of recordings by
William Hedley, and illustrations from stage productions.
2 William Blake, Illustrations of the Book of Job (London as the Act
directs March 8: 1825 by William Blake Fountain Court Strand).
The watercolours can be viewed at www.themorgan.org/
collection/William-Blakes-World/18, and at www.blakearchive.
org/work/but550. The engravings published in 1826 can be found
at www.blakearchive.org/work/bb421. The engravings may also
be seen in the Blake Room at Tate Britain, Millbank, London.
3 Frances Spalding, Gwen Raverat: Friends, Family & Affections (London:
Harvill, 2001), pp. 332–7.
4 Letters of Ralph Vaughan Williams 1895–1958, ed. Hugh Cobbe
(Oxford: Oxford University Press, 2008), pp. 183–4.
5 Heckert (see note 1).
6 In the autograph, however, the illustrations are not numbered
according to the system used in the score.
7 Keynes (see note 1), p. 16.
8 Alison Sanders McFarland, ‘A Deconstruction of William Blake’s
Vision: Vaughan Williams and Job’, in Vaughan Williams Essays, ed.
Byron Adams and Robin Wells (Aldershot: Ashgate, 2003), pp. 29–
53; the appendix contains all surviving scenarios, two of which, by
Keynes and Vaughan Williams, are presented by Michael Kennedy,
A Catalogue of the Works of Ralph Vaughan Williams (2nd edn, Oxford:
Oxford University Press, 1996), pp. 132–5.
9 Joseph N. Wicksteed, Blake’s Vision of the Book of Job (London: J. M.
Dent, 1910); McFarland (see note 8), p. 31.
v

Composition and Performance
The music was begun in 1927. Vaughan Williams admitted
that he was in danger of composing it before the scenario was
finalized. In August he told Raverat that he would not take too
much account of Wicksteed’s interpretation. 10 The music was
drafted in a score, now largely missing, for two pianos. As
usual, he discussed his work in progress with Gustav Holst: ‘I
should be alarmed to say how many “Field Days” we spent over
it’. 11 Rejection by the Ballets Russes may have convinced him
that Job had a more promising future in the concert hall, and
accordingly he scored it for too large an orchestra for a normal
theatre pit. The first performances were not staged. The
premiere, as a programmatic concert work, was given during
the Norfolk and Norwich Festival on 23 October 1930, in St
Andrew’s Hall, Norwich, with the Queen’s Hall Orchestra
conducted by the composer. The first London performance
was a studio broadcast, accessible only in the London region,
by the BBC Symphony Orchestra on 13 February 1931,
again conducted by the composer. The first public concert
performance in London followed on 3 December 1931, after
the first stage performances; it was given by the orchestra of
the Royal Philharmonic Society, conducted by Basil Cameron,
in the Queen’s Hall.
Meanwhile the first staged performances had taken place on
5 and 6 July 1931 in the Cambridge Theatre, London, which
had opened the previous September. Job was one of the new
works performed under the auspices of the Camargo Society,
active from 1930 to 1933. The society’s aim was to develop a
national ballet company, with strong influence from the Ballets
Russes (Diaghilev having died in 1929). Among those involved
were Philip J. S. Richardson, Arnold Haskell, the economist
John Maynard Keynes (brother of Geoffrey), and his wife, the
ballerina Lydia Lopokova. Vaughan Williams attributed their
acceptance of his work to Holst. 12 Writing to Edwin Evans, he
insisted on full acknowledgement of Keynes’s and Raverat’s
involvement, with the stipulation that he himself must be
allowed to veto anything that ‘to my mind does not agree
with my music’. 13 In March 1931 he wrote to Adrian Boult,
to whom the work was eventually dedicated, hoping that he
might conduct it, and mentioning that the piano reduction by
Vally Lasker was under way, adding with characteristic (and
unnecessary) self-deprecation that ‘the score is illegible’. 14
It was, however, the composer and conductor Constant
Lambert who directed the stage premiere of Job. Among
the cast, God is not listed as a character, being replaced by
‘Job’s Spiritual Self’, an interpretation closer to Blake and to
Raverat’s scenario. Making a fortuitous link with the Ballets
Russes, Anton Dolin danced Satan. 15 Raverat designed the sets
and costumes after Blake, with some necessary compromise. 16
The choreography was by Ninette de Valois. The production
transferred to the Sadler’s Wells company and their first performance
was at the Old Vic theatre on 22 September 1931. In
1933 the Camargo Society’s repertoire was merged with that
of the Vic-Wells Ballet (which subsequently became the Royal
Ballet), and Job was performed several times during the next
few years. Following the company’s move to the Royal Opera
House, Covent Garden, the work was revived in 1948 with
new sets and costumes (which Keynes disliked), designed by
John Piper. A revival in 2006 restored Raverat’s designs.
To accommodate a pit orchestra, Lambert had made a reduction
for ‘theatre orchestra’ prior to the Cambridge Theatre
performance (see Sources). When Lambert died in August
1951, Vaughan Williams wrote a reminiscence for Hubert
Foss, including a specific tribute to Lambert’s conducting of
Job and his orchestral reduction, ‘to the then dimensions of
Sadler’s Wells [sic]’. He praised the use of harp in the bass
register, and added: ‘These rehearsals were the only occasions
on which I knew him really worried and nervous. Rehearsal
time was short, the orchestra was difficult, the clarinet said he
could not, according to his trade union rules, double clarinet
and saxophone, & so on, but he [Lambert] triumphed over it
all’. 17 Opera houses capable of mounting Wagner, however,
can accommodate the full orchestral version.
That Lambert’s arrangement has the same number of bars
as the printed full score suggests that Vaughan Williams had
already made the cuts that are visible in the autograph. Yet after
the first stage performance he wrote to Raverat, congratulating
her on a Spectator review, and suggesting that he was reluctantly
prepared to make a further cut in Scene IV: ‘If we cannot have
the procession I am cutting a good deal of the music there’. 18
He expressed reservations about the choreography, and was
‘unrepentant’ about his decision to order the scenes differently
from the Bible and from Blake. He suggested that they might
experiment with reversing the order of Scenes IV and V, to
accord with Blake’s sequence; this is given as an alternative
within the printed score and piano reduction, but Vaughan
Williams’s ordering, with the dream foretelling news of
disaster, seems preferable from a dramatic point of view.
for online perusal only
The Orchestra
Wind Instruments When scoring for a large orchestra, Vaughan
Williams characteristically offered reductions that might help
obtain performances, 19 providing cues in other parts for
instruments that might not be available: flute in G, saxophone,
10 Letters, p. 158.
11 Ralph Vaughan Williams, National Music and Other Essays, 2nd ed.
(Oxford: Clarendon Press, 1996), p. 194.
12 Ibid.
13 Letters, pp. 183–4.
14 Letters, p. 189.
15 Michael Kennedy lists the full cast in Catalogue, p. 131.
16 Spalding, Gwen Raverat, p. 335.
17 Letters, pp. 491–2.
18 Letters, pp. 192, 194. It seems this procession was indeed cut; Ries,
‘Sir Geoffrey Keynes and the Ballet Job’, p. 21.
19 Letters, p. 183.
vi

ass clarinet, contrabassoon, 3rd trumpet. Lambert’s reduction
greatly reduces the wind contingent (see Sources). Vaughan
Williams named the flute in G ‘Bass flute’; this edition adopts
the normal nomenclature, alto flute, and specifies the Eb
saxophone as ‘alto’, as is clearly the composer’s intention. In
Scene VI, the saxophone solo is cued on flute and clarinet staves.
Lambert’s reduction has the following note (addressed to
the copyist):
The saxophone part may be played in three ways: (1) By an
extra player. (2) By the 2nd clt. player. (3) By the 1st flute
/ 1st clt. / bassoon in unison.
Vaughan Williams’s full score cues passages too low for the
flute into clarinet and bassoon, and those too high for the
bassoon into flute and clarinet. The preferred substitution
when a saxophone is not available seems to be two instruments
in unison, but the sources do not make this clear, merely
suggesting that the saxophone ‘may be played by the bass
clarinet player’; in that case its earlier entrance (Scene IV, fig.
29) is omitted, as the bass clarinet is also active at that point.
For the contrabassoon Vaughan Williams suggests several
higher alternatives, presumably for instruments not extending a
whole octave below the bassoon. The lower pitches are clearly
what the composer wanted. For the horns, Vaughan Williams
distinguished between mutes and stopped notes, the latter of
which, when loud, imply the harsh bouché effect, cancelled by
‘open’ or ‘naturale’. Scene I, bar 80 presents a puzzle: although
he cancelled the notes given to trumpets 1 and 2 (see Sources),
he marked trumpet 3 ‘solo’. Trumpet 3 is cued for flute,
despite the other trumpets becoming available.
Percussion Accustomed to kettle drums, Vaughan Williams
notated timpani pitches on prefatory staves for each scene, and
indicated retuning within scenes. These markings, redundant
for pedal timpani, are omitted in this edition. He sometimes
requires the timpanist to use wooden sticks, cancelled by
‘naturale’.The autograph contains several deletions in the percussion,
in response to Holst, at the first orchestral rehearsal,
‘almost going on his knees to beg me to cut out some of the
percussion with which my inferiority complex had led me to
overload the score’ 20 (see Appendix 2).
Organ
Scene VI, from fig. 37, where Satan is revealed seated
on God’s throne, Vaughan Williams noted in the score: ‘Where
there is an Organ with very powerful reeds the bars marked
Ø may be played by Organ and Timpani only’. The passages
marked are midway through bar 72 (the tam-tam stroke on
the first beat should remain), and bars 73 and 76. Prior to the
performance at the Three Choirs Festival in 1931, Vaughan
Williams asked Herbert Sumsion:
Is there an organ in the Town Hall at Gloucester? And if so
has it got some very loud and raucous reeds? There are 4
bars of ‘Job’ which ought to be organ solo, but I have not
yet found an organ loud enough or unpleasant enough to do
them justice. 16
Harps Vaughan Williams did not note pedal changes, but took
care to make them possible, hence his occasional enharmonic
notation (e.g. B# for C).
for online perusal only
Strings For Scene I, a footnote in the printed score directs the
contrabasses to ‘Divide in the proportion of 1 player on upper
part to 3 on lower part’. In Scene II, the solo viola is marked
‘poco vibrato’. Given that Vaughan Williams had recently
worked with Lionel Tertis (who played the solo part in the
premiere of Flos Campi), it is possible that this is intended to
reduce the amount of vibrato, rather than increase it.
Metronome marks On the first bar, the printed score had a footnote:
‘The metronome marks are approximate’. In Scene VIII,
at bar 97, autograph markings (in pencil) read q = 76 (as in the
printed score), and q = 80 and ‘= Pavane’. In the printed score,
the ‘Altar Dance’ is at fig. 76, whereas the ‘Pavane’ (Scene VII,
bar 62) is q. = 80. The Pavane returns at the combination of
themes (bar 127), which could justify a slight increase of speed
at this point.
Acknowledgements
I am grateful to Hugh Cobbe for suggesting I undertake this
revision of Job. I would also like to thank the staff at OUP; the
British Library, which kindly made the autograph score available;
and Adrian Brown, who supplied some annotations made
by Boult, with whom he studied.
Julian Rushton
Golcar, May 2018
20 National Music, p. 194. 21 Unpublished letter, kindly communicated by Hugh Cobbe.
vii

sources
Manuscript
Autograph Score
Holograph full score
Add. MS 54326 British Library, London
Bound by the library. On the spine: ‘Presented by Sir A. Boult’.
Ink, with conductor’s marks in blue crayon (not corrections,
but reminders for cueing instruments, or changes of tempo).
Various foliations and paginations. The score was used to prepare
the printed full score (P). Outer wrapping: ‘Job / Full score
/ R. Vaughan Williams / The White Gates / Dorking’. On the
verso is a list of the orchestral instruments in pencil. The next
leaf has a printed title page pasted on, evidently a proof for the
title of the printed score; ‘Illustrations to of the Book of Job’ is
corrected by hand. The page is signed ‘R. Vaughan Williams /
The White Gates / Trescott Road / Dorking’. Verso blank. The
MS is interspersed with reproductions of the Blake engravings,
pasted onto pages containing one to four images, many marked
‘NO’, with ‘not to be engraved’ on each page.
The music is written on 28-stave paper. Stave lines have
faded, in places to near-invisibility, but the music is clearly
written. The MS does not contain the synopsis that was included
in the printed full score, but the scenes are marked at the
same points. Most of the stage-directions are printed, no doubt
cut out of the proof copy of the printed score. Some shorter
directions were entered by the composer in ink, as was one
supplement to a printed direction, perhaps following an accident
with the scissors. The only longer handwritten direction is
in Scene VI, beginning ‘Job stands and curses God’.
The MS shows many signs of revision. Several changes were
substantial enough for the composer to recopy the music on
leaves pasted over the original readings. Only one such leaf
has become detached (covering Scene IV, bars 79–81; see
Appendix 2). Most pasted-on leaves cover whole pages, but
for some (e.g. Scene 1, bars 13–19) only a section is revised
(in this case woodwind). Others are strips of manuscript paper
pasted over a single bar. A few passages are crossed through in
blue crayon with the word ‘OUT’. These cuts, possibly made
after the first performance(s), preceded the first stage performance;
these passages are not in the reduced score prepared
by Constant Lambert (see Appendix 1). Some revisions are in
pencil; in Scene IV, the metronome mark was added later and
some of the bowing is in pencil. Cues to replace instruments
that may not be available are in red ink, and (with a few minor
exceptions) appear in small notes in the printed score, and in
this edition. Red ink was also used for minor corrections and
deletions.
Some revisions lighten the orchestration, e.g. Scene I, bar
80, where originally Trumpets 1 and 2 doubled solo Viola
and Trumpet 3. The percussion (especially cymbals, triangle,
and side drum) was lightened in several places, presumably
after hearing the work (and on Holst’s advice; see Preface
and Appendix 2). Verbal comments on the score include the
instruction, in Scene II, bars 21–8, to notate the bassoons
enharmonically, in flats, although they are doubling strings
notated in sharps.
Editions
for online perusal only
Printed Full Score
London: Oxford University Press, 1934
Dedicated to Adrian Boult. Title page: ‘JOB / A Masque for
Dancing / [ornamental *] / Founded on / Blake’s / “Illustrations
of the Book of Job” / By Geoffrey Keynes and / Gwendolen
Raverat / Music by R. Vaughan Williams / Full Score / Oxford
University Press / 36 Soho Square Oxford Street London W.1
/ New York—Carl Fischer Inc. / Paris—Le Magasin Musical
Pierre Schneider / Amsterdam—Broekmans & Van Poppel /
Lausanne—Foetisch Frères S.A.’
Overleaf:
NOTE / The Music of Job was first performed in concert form
at the Norwich Festival, 1930. The first stage performance
was given by the Camargo Society at the Cambridge
Theatre, London 1931. Choreography by Ninette de Valois.
Scenery and dresses designed by Gwendolen Raverat.
Musical Director, Constant Lambert.
The music is scored for full symphony orchestra, but
a version for small theatre orchestra has been made by
Constant Lambert.
Information as to scenery and dresses for Job can be
obtained from Mrs Raverat, c/o Oxford University Press.
Orchestral material may be hired from the Publishers, to
whom also all applications for performances should be made.
The next leaf contains the orchestration and on the verso is the
synopsis, preceded by this note:
The following synopsis and the more detailed scenario
printed with the music differ in some particulars from the
original scheme of the authors. For these alterations the
composer alone is responsible.
Piano Arrangement
London: Oxford University Press, 1931
Piano reduction by Vally Lasker, made for rehearsal purposes,
and the first version of Job to be published. Price 5s, raised
in 1956 to 7s 6d. Frontispiece: Blake engraving ‘Hast thou
viii

considered my servant Job?’. Title as printed full score, but
below the composer’s name, ‘Pianoforte arrangement by Vally
Lasker / Price 5/− / Oxford University Press / Aeolian Hall
New Bond Street London W.1 / New York—Carl Fischer Inc.
/ Leipzig—Friedrich Hofmeister / Amsterdam—Broekmans
& Van Poppel’. Otherwise the same as printed full score with
synopsis and directions printed within the score.
Theatre Orchestra Reduction
Title: ‘Job / (A Masque for Dancing) / Ralph Vaughan Williams
/ Scored for Theatre Orchestra by Constant Lambert.’ In
MS (copyist’s hand). The reduction was made prior to the
publication of the full score and presumably derives from the
autograph, but has the same number of bars as the published
score, suggesting that cuts in the autograph were made prior to
the first staged performances (see Preface). The only exception
is that the repeated bars in Scene VI are rewritten in full.
The small orchestra consists of two flutes (2nd also piccolo),
one oboe, two clarinets, optional alto saxophone, one bassoon,
two horns, two trumpets, one trombone, percussion (timpani,
glockenspiel, triangle, cymbals, side drum, bass drum, and
tam-tam); and strings. The reduction lacks all stage directions,
merely numbering the scenes. At the end of Scene II: ‘to p.103’,
i.e., cut to Scene VII; it is not known for what occasion this cut
was made. In Scene VII, bar 20, Lambert’s score includes a harp
chord; otherwise the music is exactly the same as the published
score. Assuming this was included in performances, it may have
had the composer’s sanction, so it is entered in this edition in
small notes.
for online perusal only
ix

textual notes
Abbreviations
aut
CL
ps
b., bb.
n., nn.
autograph full score (holograph)
score for reduced orchestra by Constant Lambert
printed full score
bar(s)
note(s)
Pitches are referred to as follows:
?
w
w
#w
&
bw
nw
C2 C3 B#3 Cb4 C4 C5 C6
w
w
57/35–6 Tba.: no stacc. dots in ps
57/36 Cbsn.: no stacc. dot on n. 1 in ps
58/40, 42 Vla.: ps has redundant p
59/51, 56 Hrn.: ‘naturale’ in aut; conductor added ‘open’
in 56
62/66 Timp.: aut has redundant ff
68/89–90 Fl. 1: in ps, the slur continues to b. 90, n. 1,
without a tie; Fl. 1 then has rests for the
remainder of b. 90
68/89–90 Fl. 2: one slur to the end of b. 90 in ps
68/90 Fl.: in ps, the last two beats appear in Fl.
2 only, but there are double stems in aut,
implying unison
for online perusal only
Scene I
1/4–5 Hp.: slurs onto b.5, beat 1 in ps
2/7–8 Bsn 2: aut has a separate slur
3/12 Cl. 2: aut lacks slur
3/13 Hrn. 1: aut lacks slur
4/16 Hrn.: ‘4th horn obbligato’ in left margin in aut
9/74 Vln. I:
&b b ∑ Œ
˙ œ
10/75 Fl.: aut slurs from n. 8; ps corresponds to other
wind instruments
10/77–8 the stage direction is one bar later in ps than in
aut, as the result of a page turn
11/79 Cb.: pp marking in ps
12/82 A.Fl.: lower slur does not appear in aut
12/83 Tempo: in aut, originally L’istesso tempo, altered
to Doppio più lento
14/109–10 Ww., Hrn., Tbn.: no cresc. hairpin (109) or p
sub. (110) in aut
20/156 Picc.: n. 2 is F5 in ps; E5 is clear in aut
Scene II
29/48 Vln. I, II: no pp marking in aut
32/65–6 Hrn., Tpt. 1, 2: aut lacks stacc. wedges
34/87–9 Bsn. 2: B. Cl. cue does not appear in ps
35/97 Hrn., Tpt.: pesante in aut and CL
36/106 Vla., Vcl., Cb.: no slurs in aut
Scene III
45/21 Ob. 1: no p marking in aut
Scene IV
56/30 Tam-tam: aut has ‘or Gong’, crossed out in
pencil
Scene V
70/17 Hrn. 1, 3: no pp in aut
71/20–2 Cb.: aut originally continues as previous bars,
then notes deleted and replaced by rests
71/27–31 Vln. II: ‘col I’ crossed out in red in aut
73/37–9 Tempo: ‘Rit.’ in blue crayon, crossed out in
pencil
73/40 Tempo: ‘L’istesso’ in CL
Scene VI
76/11 Vln. II, Vla., Vcl.: marked tenuto in aut and
ps, though still pizz.
77/21 Vla.: upper n. 4 Bb not Cb in ps
78/22–4 Vln. I: there is no ‘pizz.’ marking in aut or ps,
but it does appear in CL (and in Boult’s score)
83/49–50 Cl. 1: in ps, slur from b. 50, n. 2 (F5); adjusted
to correspond with Fl.
84/54 B.D.: no pp marking in aut
84/56–7 Fl., Ob., Cl.: ps has fp in b. 56 and a short dim.
hairpin in b. 57; aut reading preferred
85/60–61 Tpt. 1: the long slur is missing in aut; adjusted
to correspond with Hrn.
85/65 Cbsn: no slurs in aut
86/69 Fl. 2: n. 1 is missing in ps
88/79 Vln. I: upper n. 2 is B§ in ps
88/81–5 Picc., Fl., Cbsn., Tbn., Tba.: slurs extend to n. 1
of subsequent bars in ps
88/82–3 C.A.: no slurs in aut
Scene VII
90/3 Vln. Solo: ps lacks longer slur
94/65–7 Hrn.: no slurs in ps
Scene VIII
103/49 Vln. I, II: no slurs in ps
x

106/75–7 Cl.: no tenutos in aut
106/77 C.A., Bsn.: no tenutos in aut
106/80 Fl.: no tenutos in aut
106–7/80–2 Vln. I: no tenutos in aut
110/114–15 Ob. 1: the slur ends on b. 114, n. 1, not b.
115, n. 1; aut reading preferred
111/123–4 Bsn: no slur in aut
112/128–30 Picc., Fl. Ob.: one long slur in ps
114/139 Hrn. 4: n. 3 is D4 rather than C4 in ps
Scene IX
120/18 Vcl.: the b is missing on the last note in aut
121/24–5 Ob.: nn. 5–6, slur is missing in aut
for online perusal only
xi

Appendix 1
Structural alterations in the autograph.
Scene I
Between bars 133 and 134 eight bars were removed that are identical to bars 149–56.
The following two bars originally appeared between bars 147 and 148:
°
Vln. I & bb c œ œ
œ œ œ œ œ œ ˙ œ œ
Vln. II
& bb c
œ j nœ
œ j œ œ J œ j œ œ nœ
œ œ œ
Vla.
Vcl.
Cb.
Bb b c
[div.]
n˙
œ bœ j
? b bcn˙
? c
¢ b b ˙
unis.
œ œ j œ œ œ œ j
œ
œ œ j œ œ œ œ œ œ œ œ
œ œ J
œ œ œ œ œ œ œ œ
for online perusal only
Scene VI
Between bars 10 and 15 there were originally ten bars. The fifth bar of the following corresponds to bar 11 of the final version;
the following three bars correspond to bars 12–14. Cues in the autograph for flute and clarinet, substituting for saxophone, are
omitted here.
B.Cl.
A.Sax.
Bsn.
Vln. I
Vla.
Vcl.
Between
°
& # bars 10 and 11
# Œ bœ -
Œ bœ Œ bœ - Œ œ -
-
Œ bœ - Œ œ -
Œ œ Œ - œ Œ Œ - œ-
œ -
& # # # bœ
nœ
nœbœ
œ# œ nœ
nœ
# œ bœ œ
3
J œ œ J
bœ
œ nœ
œ nœ
œ bœ
nœ
bœ
J J œ œ J bœ
bœ
nœ
œbœ
œ J œ nœ
J
3 3
Œ # œ - Œ
¢
œ - Œ # œ - Œ nbœ - Œ # œ - Œ nbœ - Œ bbœ Œ œ Œ
- - œ Œ œ
# - -
°
[pizz.]
& Œ Œ Œ Œ Œ Œ
∑ Œ Œ
#œ œ #œ nœ #œ nœ
œ œ
B
[pizz.]
Œ œ Œ œ Œ Œ Œ Œ Œ
œ bœ œ bœ œ
Œ Œ Œ
nœ #œ œ
? [pizz.]
Œ # œ Œ œ Œ
¢
# œ Œ nœ
Œ # œ Œ nœ
Œ bbœ
Œ œ Œ Œ œ
#œ
B ? B
xii

Vln. I
Vla.
Vcl.
B.Cl.
A.Sax.
Bsn.
Vln. I
Vla.
Vcl.
¢
&
B
? [pizz.]
°
& # #
& # # #
B ?
¢
°
&
B
?
¢
# œ œ # œ nœ
# œ nœ
[pizz.]
Œ œ Œ œ Œ
œ
Œ
bœ
Œ
œ
Œ
bœ
Œ
œ
Œ
nœ
Œ
Œ # œ Œ œ Œ # œ Œ nœ
Œ # œ Œ nœ
Œ bbœ
Œ œ Œ
Œ bœ - Œ nœ - Œ bœ - Œ nœ - Œ bœ - Œ œ -
Œ bœ -
Œ bœ-
Œ bœ - Œ bœ -
œ nœ
J
nœ
bœ
J œ nœ
J
nœ
bœ
J œ nœ
J bœ
bœ
J œ nœ
J œ œ J bœ œ œ nœ
J J
Œ
Œ
Œ
Œ
bb-
œ
bœ
Œ
Œ
nn-
œ
nœ
Œ
Œ
bb-
œ
bœ
Œ
Œ
nn-
œ
nœ
Œ
Œ
bb-
œ Œ bœ - Œ # œ - Œ # œ - Œ œ - Œ # œ -
bœ
Œ nœ
Œ bœ
Œ nœ
Œ bœ
Œ bœ
Œ œ Œ
bœ
Œ
nœ
Œ
bœ
Œ
nœ
Œ
bœ
bœ
Œ
œ
Œ
#œ
Œ
œ
#œ
Œ
œ
#œ
#œ
œ
Œ
Œ œ Œ
Œ œ Œ # œ Œ œ Œ œ Œ # œ
Œ
Œ
#œ
œ
œ
œ
œ
[to bar 15]
One bar was cut between bars 41 and 42, requiring alterations to 41 and 42:
A.Sax.
41 42
& # # #
nœ
nœ
J
nœ
[omitted bar]
bœ
J œ nœ
J
œ bœ
J œ nœ
J
bœ
œ J
Vla.
°
B
Œ
b b b œ
œœ
Œ
n n n œ
œœ
Œ
b b b œ
œœ
Œ œ œ bœ
œ # œ œ # œ œ nœ
Œ
n n n œ
œœ
Œ
b b b œ
œœ
bœ
œ œ - # œ - œ œ # œ # œ # ˙
Œ
b
œ
œœ
Vcl.
B (Solo) 3 3
? (Tutti)
Œ
b
b
b
œ
Œ
n
n
n
œ
Œ
b
b
b
œ
Œ
n
n
n
œ
Œ
b
b
b
œ
Œ
b
œ
Cb.
?
¢
Œ
for online perusal only
bœ
Œ nœ
Œ bœ
Œ nœ
Œ bœ
Œ
œ
Scene VIII
Between bars 67 and 69 there were originally fifteen bars (following page). Some of the original bar 68 remains in the final
version. In bars 3–7 and 11–15 of the cut material, parts for flute, clarinet, bass clarinet, bassoon, and contrabassoon are crossed
out in red ink, evidently before the decision to delete the entire passage.
xiii

Flutes
Oboes
Cor Anglais
Clarinets
(Bb)
Bass Clarinet
(Bb)
Bassoons
Contrabassoon
Horns
(F)
Trumpets
(Bb)
Trombones
Tuba
Harp 1
Harp 2
Violin I
Violin II
Viola
Violoncello
Contrabass
1
2
1
2
1
2
1
2
1
2
68
°
&
&
& #
°
&
?
¢
3
4
3
4
3
4
3
4
a 2
3
&
3
4 œ œ
œ œ
∑ ∑ ∑ ∑ ∑
4
œ ˙˙
œ œ
œ j
f
& # œ œ œ -
a 2
1 # 3
4 ∑ ∑ ∑ ˙- b˙-
2
˙- n˙-
f
˙-
œ j‰
1 B 3
2
4 ∑ ∑ ∑ b˙
- b˙-
bb˙-
b˙-
bb˙
œ j ‰
-
f
? 3
b˙-
b˙-
3 4 ∑ ∑ ∑
˙- b˙-
œ ˙-
j ‰
f
? 3
¢ 4
∑ ∑ ∑ ∑ ∑
œ œ j œ œ œ œ œ œ œ j œ -
f
b“
&
3
4 ∑ ∑ ∑ Œ Œ b
{
bœ Œ Œ bb bœ Œ Œ bb
œ Œ Œ bbœ
b
Œ Œ
b bœ
b
b
? 3
4 ∑ ∑ ∑ Œ Œ b œ Œ Œ
b b œ Œ Œ
b b
œ
b b ΠΠb
œ Œ & Œ
bbœ
b
b
&
3
4 ∑ ∑ ∑ Œ Œ b
{
bœ Œ Œ bb bœ Œ Œ bb
œ Œ Œ bbœ
b
Œ Œ
b bœ
? 3
4 ∑ ∑ ∑ Œ Œ bœ Œ Œ bœ
œ b Œ Œ b
b b
œ Œ Œ bb œ Œ Œ bb
bœ
bœ
bœ
œ- œ -
°
œ-
pizz.
&
3 ˙- œ - œ
œ
4
J œ- Œ Œ b bœ
œ
∑
b
b
Œ Œ bœ
œ Œ Œ
b
b
bb
b
Œ Œ bœ
œ œ
b
&
B
?
3
4
3
4
3
4
3
4
œ
a 2
f
a 2
œ
f
œ
f
3
& # # 4 œ
f
f
a 2
f
f
f
f
œ
nœ
œ J
œ
# œ
j œ
œ ˙ œ œ
∑ ∑ ∑ ∑ ∑ ∑ ∑
∑
œ
J œ-
œ ˙ œ œ œ J
œ -
∑
bœ
pizz.
b˙
b˙-
b˙-
∑ ∑ ∑ ∑ ∑
ff
ff
ff
b˙-
˙ b˙˙-
œ œJ ‰
∑ ∑ ∑ ∑ ∑
-
b˙ ˙-
bb˙-
n˙-
nb˙
œ j ‰
-
3
& # # 4
∑ ∑
œ œ j Œ Œ Œ Œ Œ Œ Œ Œ
œ
nœ œ bœ nœ
Œ Œ
bœ
f
? 3 œ
œ j œ œ œ œ œ œ
4
∑ ∑
œ œ œ œ œ œ œ œ œ œ-
œJ œ Œ Œ bœ
Œ Œ bb œ Œ Œ
b œ
f
? 3
¢ 4 œ œ j œ œ œ œ œ œ œ j œ - Œ Œ bœ
Œ Œ œ Œ Œ bœ
Œ Œ bœ
Œ Œ bœ
for online perusal only
œ œ j œ œ œ œ # œ œ œ j œ -
œ- œ -
pizz.
œ- ˙-
œ œ
- œ j Œ Œ
œ b bœ
œ
f
- b
b
Œ Œ bœ
œ Œ Œ
b
b
ff
pizz.
œ œ j nœ
˙-
œ-
œ
œ j Œ Œ œ
œ
b
f
- Œ Œ
b
b
b
Œ Œ
œ
ff
pizz.
œ œ j nœ
œ œ œ œ œ œ j œ - b
œ
Œ Œ b Œ Œ
œ b
b
Œ Œ
œ
œ
bb
b
œ
Œ Œ
b
b
b
œ
Œ Œ
bœ
œ
b
b
Œ Œ
œ j nœ
œ œ œ œ œ œ j œ - Œ Œ bœ
Œ Œ œ Œ Œ bœ
Œ Œ bœ
Œ Œ bœ
bœ
œ
b
b
b
b
œ
b
b
b œ
Œ
Œ
Œ
Œ
∑
b
b
œ
b
b
œ
xiv

Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Hp. 1
Hp. 2
Vln. I
Vln. II
Vla.
Vcl.
Cb.
1
2
1
2
1
2
1
2
1
2
76
°
&
&
? ∑ ∑ ∑
¢
°
&
ff marc.
∑ ∑ ∑
& # # œ œ j œ # ˙ œ ˙ # œ
ff marc.
& # # ∑ ∑ ∑
& # # ∑ ∑ ∑
?
# œ œ j œ # ˙ œ ˙ # œ
ff marc.
∑ ∑ ∑
# œ œ j œ # ˙ œ ˙ # œ
a 2
f
∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑
b-
˙ ˙-
bb˙-
b˙-
nn˙
œ j ‰
-
f
f
f
f
∑ ∑ ∑ ∑ ∑
3
4
& # œ œ j œ # ˙ œ ˙ # œ ∑ ∑ ∑ ∑ ∑
ff marc.
& # 1 # ∑ ∑ ∑ b˙-
b˙-
˙-
2
˙- ˙
f
-
œ j‰
b
1 B
˙
- ∑ ∑ ∑
˙-
bb˙-
bb˙-
2
bn˙
œ j ‰
-
f
b˙-
?
3
∑ ∑ ∑
b˙-
b˙-
˙-
˙ œ j ‰
-
f
? Œ
∑ ∑ ∑ ∑ ∑
¢
œ- # œ # œ
“
f - - œ - # œ- # œ - œ - # œ-
b b
& ∑ ∑ ∑ Œ Œ bœ
b
Œ Œ
{
b œ Œ Œb b b bœ Œ Œ bb
œ Œ Œ b œ
& ∑ ∑ ∑ Œ Œ bb
Œ Œ
?
bœ
bœ
Œ Œ bœ
b
œ
b
bb
b
ΠΠb
b
œ Œ Œ
œ
bœ
b b b
& ∑ ∑ ∑ Œ Œ bœ Œ Œ
{
b œ Œ Œb b b bœ Œ Œ bb
œ Œ Œ œ
b
? ∑ ∑ ∑
b
Œ Œ
b œ b b
bœ Œ Œ
Œ Œbb
Œ Œ
œ bœ
bœ
b b Œ Œ bœ
bœ
œ
°
arco
pizz.
&
∑
# œ œ j b
b
œ # ˙
Œ Œ bœ
œ ˙ # œ œ Œ Œ
œ Œ Œ b
b
œ Œ Œ bœ
b
b
œ
ff marc.
arco
pizz.
&
∑
# œ œ j œ # ˙ œ
Œ Œ bœ
b
b
˙ # œ œ Œ Œ
œ Œ Œ b
b
œ Œ Œ bœ
b
œ
b
ff marc.
sempre pizz.
B Œ œ - # œ- # œ - œ - # œ- œ -
b
b
# œ - # œ- Œ Œ
b
Œ Œ œ
b Œ Œ
bœ
œ
b œ Œ Œ b œ Œ Œ b b œ œ b
n
œ
f
sempre pizz.
bœ
? Œ œ - # œ # œ
f - - œ - # œ # œ - - œ - # œ
Œ Œ œ
-
b
Œ Œ
bœ b
b
b
œ Œ Œ b Œ Œ
œ
bœ
bœ
ΠΠb
nœ
œ-
Œ # œ- # œ- œ-
# œ- # œ- œ-
# œ-
Œ Œ bœ
Œ Œ Œ Œ
¢
œ bœ
Œ Œ bœ
Œ Œ œ
? pizz. ff
b˙-
b˙-
b˙-
Œ
Œ
Œ
Œ
bœ
b œ
Œ Œ bœ
Œ Œ
Œ Œ Œ Œ Œ Œ Œ Œ
œ bœ nœ œ
Œ Œ œ Œ Œ b b œ Œ Œ bœ
Œ Œ b n œ
for online perusal only
œ
Œ
Œ
bœ
˙-
-
˙
Œ Œ bœ
Œ Œ œ
œ
J ‰
arco
arco
xv

Between bars 124 and 125 eight bars that do not appear in the printed score remain in the autograph (on p. 184). It is clear,
however, that they should have been removed. The first bar of the cut corresponds to bar 124, but the end of the cut does not
connect to the final version; p. 185 is pasted over and the original connection cannot be seen. In the canonic cantabile, the parts
for oboes, clarinets, and horns 2 and 4 are crossed out in red ink, evidently before the whole passage was reconsidered.
Flutes
Oboes
Cor Anglais
Clarinets
(Bb)
Bass Clarinet
(Bb)
Bassoons
Contrabassoon
Horns
(F)
Percussion
Harp 1
Harp 2
Violin I
Violin II
1 2
3
1
2
1
2
1
2
1
2
3
4
°
& bb
?
¢ b b ∑
°
&
¢ &
{
{
& bb
& b
&
&
Bb b
°
&b b
a 3 1,2
2
œ 4
œ œ œ œ œ œ œ œ
œ œ œ œj œ œ œ œ œ œ œ
3
∑
a 3
mp cantabile
œ 2
œ 4 œ j ‰ œ œ œ œ œ
mp cantabile
p cantabile
p
p
a 2
p cantabile
2
4 ∑ ∑
˙ œ œ j ‰ ‰
∑
mp cantabile
Triangle
/ ∑ ∑
˙
∑
& bb
œ
œ
œ
Œ
œ œ
œ œ œ œ œ œ
œ
? b b œ œ œ &
œ œ œ
Œ
œ œ œ
& bb
œ
œ œ
œ œ
œ œ œ œ
œ œ
œ œ œ œ œ œ
? b b
&
œ
œ œ œ j œ
œ œ œ
&b b
a 2
œ œ œ œ
œ œ œ œ
œ
J
œ j
œ
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œj œ œj ‰ ‰ œ œ œ œ œ
for online perusal only
œ œ œ œ
œ
J
Œ
œ
p
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
Œ œ œ œ œ œ œ œ œ œ
Œ
œ
œ
œ
œ
œ œ œ œ œ j œ œ j œ j ‰ œ œ œ œ œ
œ œ œ œ œ j œ œ j œ j ‰ œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Viola
Violoncello
Contrabass
Bb b œ œ œ œ œ j œ œ j 6 8 œ œ œ œ œ œ œ œ
? b b 2 ˙ 4
˙
œ j ‰ œ
œ œ œ œ œ œ œ œ œ
J
p cantabile
œ
arco
?
¢ b b
œ œ œ œ œ œ œ œ œ œ œ
p cantabile
p
xvi

Fl.
Ob.
1 2
3
1
2
5
°
& bb
& bb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
C.A.
& b
œ œ œ œ
œ j
œ
œ œ œ œ œ œ œ œ œ
Cl.
(Bb)
1
2
&
œ œ œ œ
œ j œ œ œ œ œ œ œ œ œ œ
B.Cl.
&
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
3
4
Bb b
°
&
¢ &
œ œ œ œ
∑
œ
J
œ
œ œ œ œ œ œ œ œ œ
?
¢ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
Œ
œ
œ
bœ
bœ
œ œ œ œ œ œ Œ
œ
œ
œ
œ
∑
œ
œ
œ
œ
œ
œ
œ
œ
∑
œ
œ
for online perusal only
Perc.
Hp. 1
Hp. 2
Vln. I
/ ˙ Œ œ ˙
∑
& bb
œ
œ œ
œ œ
œ
œ
œ œ
œ œ
œ œ œ œ œ & bb œ
? œ œ
œ
& œ œ œ
œ
& bb
œ
œ œ
œ œ
œ œ œ œ
œ œ
œ œ œ œ œ {
{
& bb œ
?
œ
œ
œ
œ
&
œ œ œ
°
& bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. II
Vla.
Vcl.
Cb.
& bb
Bb b
? b b
?
¢ b b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
œ j œ
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Scene IX
One bar is cut between bars 22 and 23. The original bar 23 was identical to bar 22 except for the entry on the fourth beat (flutes and
violins); had Vaughan Williams cut bar 22 instead, the result would have been the same.
xvii

Appendix 2
Minor alterations in the autograph, including percussion deleted after advice from Holst (see Preface); pasted-over pages are not
accessible, so this list is not necessarily complete.
Scene III
52/77 Cymbal clash deleted on first beat
Scene IV
59/51–2 Cymbal roll deleted from the fourth beat of b. 51 to the end of b. 52
60/56–8 Cymbal roll deleted from the fourth beat of b. 56 beat 4 to end of b. 58
61/61–5,
68–72 Triangle deleted, the rhythm doubling trumpets and (68–72) xylophone
Pages 114–15 in the autograph were pasted over, but the leaf covering p. 114 (bars 79–81) has become detached, and it can be
seen that the orchestration was lightened by excising from the second half of bar 80 and the first half of bar 81 low woodwind
(bass clarinet and bassoon), brass (trumpet, trombone, tuba), and contrabass. Presumably further changes were made to the
following bars on the original p. 115.
for online perusal only
Scene VI
80/30–2 Side-drum deleted in places where it doubles the rhythm of the trumpets
Cymbal rolls deleted from bars 56, 60–2, 65, 69–71, 74–5, 77–8.
Scene VII
96/74–6 Timpani deleted:
? c bœ
œ bœ
œ œ bœ
Œ ˙ bœ
97/85, 87 Timpani roll on Ab flat deleted.
œ œ bœ
œ œ
Scene VIII
Cymbals deleted from bars 22, 31, 40, 49, and 87; then after the reprise of the Pavane, from bars 128, 130, 134, 136, 138, 146,
148, and 153.
Timpani deleted in bars 55–6, 65–6, and 68.
xviii

Job
a masque for dancing
for online perusal only

orchestration
3 Flutes (third doubling Alto Flute and Piccolo)
2 Oboes
Cor Anglais
2 Clarinets (and third ad lib., doubling Bass Clarinet)
Bass Clarinet
Alto Saxophone (May be doubled by Bass Clarinet, the Bass Clarinet notes being cued to the
second Clarinet. When the Saxophone is doubled by the Bass Clarinet, the part should be
omitted until Scene VI.)
2 Bassoons
Contrabassoon
4 Horns
3 Trumpets
3 Trombones
Tuba
Timpani
Percussion (3 players: Triangle, Cymbals, Side Drum, Bass Drum, Xylophone, Glockenspiel,
Tam-tam)
2 Harps
Organ
Strings
for online perusal only
The following instruments are ad lib., and where necessary are cued into another part
3rd Flute (second Flute must then double Piccolo)
Alto Flute
2nd Oboe
3rd Clarinet
Bass Clarinet
Alto Saxophone
Contrabassoon
3rd Trumpet
2nd Harp
Organ
Most of the percussion
Duration: c.45 minutes
Job was first performed as a programmatic concert work on 23 October 1930 in St Andrew’s
Hall, Norwich, with the Queen’s Hall Orchestra, conducted by the composer.
The first staged performance was given on 5 July 1931 in the Cambridge Theatre, London,
under the auspices of the Camargo Society, in a reduced orchestration, conducted by Constant
Lambert.

Flutes
Alto Flute
Oboes
Cor Anglais
1
2
1
2
Clarinets 1
(Bb) 2
Bass Clarinet
(Bb)
Largo sostenuto q = 48
4
4
4
4
4
4
2 Solo 3
pp molto sost.
To Adrian Boult
Job
Scene I
Introduction
p sost.
R. VAUGHAN WILLIAMS
3
Bassoons
1
2
4
Contrabassoon
4
pp sost.
Horns
(F)
Trumpets
(Bb)
Trombones
Tuba
Timpani
Percussion
1
2
3
4
1
2
3
1
2
3
4
4
4
4
4
4
4
4
4
4
for online perusal only
mutes on
mutes on
1 mute on
Solo
Harp 1
4
p molto sost.
Violin I
Violin II
Viola
Largo sostenuto q = 48
4
4
4
4
p sost.
3
p sost.
p sost.
3
3
Violoncello
4
4
p sost.
p sost.
Contrabass*
div.
4
p sost.
pp molto sost.
* Divide in the proportion of 1 player on upper part to 3 on lower part
© Oxford University Press 1934. New edition © Oxford University Press 2018.
Printed in Great Britain
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
Photocopying this copyright material is ILLEGAL.

2
Fl.
A.Fl.
1
2
5
’
p molto sost.
p
BLANKED OUT SECTION
Curtain rises. Scene (back cloth) as in Blake Illustration I.
Job with his wife and a few servants sitting. Shepherds and
husbandsmen cross the stage, and salute him.
ppp
3
3
Ob.
1
2
ppp
C.A.
Solo
p
3 3 3
Cl.
(Bb)
1
2
1 Solo 3 3 3
p
Bsn.
Hrn.
(F)
1
2
1
2
3
4
ppp
1 con sord.
pp
Tpt.
(Bb)
Tbn.
1
2
3
1
2
3
Tba.
Timp.
3
Hp. 1
ppp
pp
Vln. I
’
3
for online perusal only
ppp
Vln. II
’
3
ppp
ppp
Vla.
ppp
ppp
Vcl.
ppp
Cb.
ppp
ppp
pizz.
ppp

3
Here the distant landscape lights up suggesting
the far-off sound of flocks and herds.
Fl.
A.Fl.
1
2
10
pp
pp
3 3
3
3
a 2 3
1
p
3 3
p
3
3
3
Ob.
1
2
2 Solo 3 3
p
p
3 3
3
3
3
p
3
3
3 3
C.A.
Alto Flute
p
3 3
Alto Flute
3
3
p
Cl.
(Bb)
1
2
a 2 3 3 3
p
p
3
3 3
3
p
3
3
B.Cl.
pp
Bsn.
1
2
pp
pp
Hrn.
(F)
1
2
3
4
con sord.
pp
for online perusal only
3 3
con sord. mutes off senza sord.
1 con sord.
mutes off
pp
3
senza sord.
mp cantabile
p
Tpt.
(Bb)
1
2
3
3
pp molto sost.
3 3
Hp. 1
p
3
3
3
3
Hp. 2
p
3
3
3 3
Vln. I
Vln. II
ppp
ppp
ppp
Vla.
ppp
mp cantabile
ppp
mp cantabile
Vcl.
ppp
ppp
mp cantabile
Cb.
ppp ppp mp cantabile
unis. arco
ppp
ppp

4
Fl.
1
2
14
p
3 3
3
3
1
Here Job’s children enter and group themselves round him.
3
f 3
3
3 3
3 3 3
3
3
a 2
3
3
3
3
3
3
3
3
3
3
3
3
A.Fl.
p
3 3 3 3 3
f
3 3
3
3
3
3
3
Ob.
1
2
p
3 3
3
3
3 3
3
3
3 3
f
3
3
3
3
a 2
3
3
3
3
3
3
3
3
3
3
3
3
C.A.
Cl.
(Bb)
1
2
3 3 3 3 3 3 3 3
3
3
3
3
3
f 3
3
3
3 p
3
3
3
3 a 2
3
3
3 3
3 3
3
3
p 3
3 3 3 3 3
f p
3
B.Cl.
p
3 3 3 3 3 3
f 3 3 3 3 3 3 3
p
Bsn.
1
2
p
Hrn.
(F)
1
2
3
4
for online perusal only
mp cantabile
p
p
p cantabile
pp
3
p
Tpt.
(Bb)
1
2
3
1 senza sord.
pp
Timp.
p
Hp. 1
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
3
3
Hp. 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
1
Vln. I
mp cantabile
3 3
Vln. II
3 3
mp cantabile
Vla.
div.
unis.
Vcl.
div.
unis.
Cb.

5
Fl.
A.Fl.
1
2
19
p
a 2 3 3
take Fl. 3
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
9 8
Ob.
1
2
3 3
pp
C.A.
p
pp
3
3
pp
Cl.
(Bb)
1
2
3
3
3
B.Cl.
3 3
3
pp
3
3
3
3
Bsn.
1
2
Hrn.
(F)
1
2
3
4
pp
3
3
for online perusal only
3 3
3
pp
pp
pp
Tpt.
(Bb)
1
2
3
pp
Timp.
Hp. 1
pp
ppp
3 3 3 3
Hp. 2
pp
ppp
Vln. I
Vln. II
Vla.
3 3
3 3
pp
pp
Vcl.
Cb.
pp
div.
pp
div., pizz.
pp
Play only when no Harp 2
ppp

6
25
Dance of Job’s sons and daughters. First the women dance alone.
Allegro piacevole (q. = e)
Solo
Fl.
Vln. I
1
2
9 8
9 8
9 8
9 8
9 8
9 8
9 8
p
Allegro piacevole (q. = e)
mutes on
Solo
p
Vln. II
mutes on
Vla.
mutes on
Vcl.
mutes on
Cb.
31
Fl.
1
2
Vln. I
Vln. II
Vla.
Vcl.
Cb.
37
2
for online perusal only
Here the men dance.
1
Fl.
p
2
2
Solo
p
2
1
Bsn.
poco f
Solo
2
2
poco f
Vln. I
Vln. II
Vla.
Vcl.
Cb.
div., con sord.
ppp
div., con sord.
ppp
1 desk div. (pizz.)
34
ppp
con sord.
pp

7
Fl.
C.A.
Cl.
(Bb)
B.Cl.
43
’ 3
1 4
2
2
’
1
2
2
2
’
’
’
3
4
3
4
3
4
3
4
Bsn.
’ 3
1 4
’ 3
2 4
for online perusal only
Vln. I
Vln. II
Vla.
Vcl.
Cb.
con sord. mutes off
’ 3 4
pp
pp
pp
mutes off
’
’
’
’
3 4
3 4
3 4
3
4
Ob.
C.A.
1
2
49
L’istesso tempo (q = q.)
Solo
3
4
3
4
p
p
Here the women group themselves in the middle and the men move slowly round them. Then vice versa.
Cl.
(Bb)
B.Cl.
1
2
3
4
3
4
Bsn.
1
2
1
3
4
p Oboe 2
9 8
Vln. I
L’istesso tempo (q = q.)
3
4
Vln. II
3
4
Vla.
3
4
mutes off
Vcl.
3
4
mutes off
Cb.
3
4

8
Fl.
1
2
63
3
Here the dance becomes general.
p
9 8
ppp
p
Ob.
1
2
C.A.
Bsn.
1
2
9 8
p
Hrn.
(F)
1
2
3
4
Tbn.
1
2
3
for online perusal only
3
Vln. I
Vln. II
unis., senza sord.
Vla.
Vcl.
Cb.
pp cantabile
div., senza sord.
pp
1 desk, div. (pizz.)
Fl.
1
2
68
24 8
p
Bsn.
1
2
4 2
Hrn.
(F)
1
2
3
4
Tbn.
1
2
3
Vln. I
Vln. II
4 2
4 2
4 2
Vla.
Vcl.
Cb.

9
Fl.
Ob.
C.A.
1
2
3
1
2
72
Job stands up and blesses his children, saying ‘It may be that my sons have sinned’. The dance continues.
q. = q. (q = q)
Solo
a 2
24 8
f
24 8
f
24 8
a 2
f
4 2
f 3 p cantabile
Cl.
(Bb)
B.Cl.
1
2
24 8
a 2
f
4 2
f p
p
Bsn.
1
2
4 2
f p
Cbsn.
4 2
f p
Hrn.
(F)
1
2
3
4
4 2
fp
fp
4 2
p
p
3
Tpt.
(Bb)
Tbn.
1
2
1
2
3
4 2
2
f cantabile
mf
4 2
mf
4 2
mf pp
for online perusal only
pp
p
1
pp
2
p
4 2
4 2
f
Timp.
mf
p
Hp. 1
4 2
4 2
f
Hp. 2
4 2
q. = q. (q = q)
senza sord.
4 2
Vln. I
Vln. II
Vla.
Vcl.
Cb.
f 3
p mp cantabile
4 2
senza sord.
3
p cantabile
f
3
4 2
f cantabile
4 2
3
p
f cantabile
4 2
Tutti, unis., pizz. arco
ff
p
p

10
Everyone kneels. Tableau as in Blake I. Angels
appear at the side of the stage as in Blake II and V.
Fl.
Ob.
1
2
3
1
2
75
(a 2)
(a 2)
cresc.
cresc.
cresc.
ff sost.
a 2
ff sost.
3 take A.Fl.
4 2
4 2
C.A.
Cl.
(Bb)
1
2
3
cresc.
ff
(a 2) a 2
cresc.
ff sost.
4 2
B.Cl.
3
3
cresc.
ff
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
3
4
1
2
3
1
2
3
24 8
(1)
(2)
p
p cresc.
p cresc.
p cresc.
p cresc.
2. Solo pp
3
cresc.
p
f
3
ff
f
a 2
ff
a 2
ff
f sost.
f ma non troppo legato
f ma non troppo legato
p
f
Timp.
f
Hp. 1
for online perusal only
ff
Hp. 2
ff
Vln. I
cresc.
3
ff sost.
Vln. II
Vla.
3
3
cresc.
cresc.
3
3
ff sost.
ff sost.
Vcl.
Cb.
cresc.
cresc.
ff sost.
ff

Fl.
A.Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
1
2
78
dim. pp pp
dim.
f
pp
pp
4
pp
’ ’
pp
pp
’ ’
pp
A.Fl. 1
1
’ 24
2 8
1
2
3
4
1
2
3
1
2
3
4 2
3 3 3
4 2
3 3
4 2
3
3
3
p
mf
pp
mf
mutes on
mutes on
3
pp
con sord.
con sord.
pp
mf p pp
p
’
11
The group breaks up into two on each side of the stage. All go off except Job and
his wife who are left in meditation down stage (the Angels however remain).
Tpt. 3
1 Solo
24 8
pp
’ 24 8
Solo
’
’ ’
’
pp
pp
3
pp
pp
’ ’
’ ’
’
3
’ ’
’
con sord.
’ Solo
4 2
3
pp
’ ’
’ ’
’ ’
’
’
’
’
pp
3
3
mute off
3
3
Timp.
mf
p
for online perusal only
’ ’
mf
pp
’ ’
Hp. 1
p
pp
Hp. 2
p
’ ’
Vln. I
Vln. II
Vla.
Vcl.
Cb.
3 3
dim.
3
pp
3 3
dim.
3
pp
dim.
pp
4
dim. pp pp ppp ppp
dim.
pp
’ ’
’ ’
’
’
1 Solo
pp
2 Solo
ppp
B.Cl. 1 desk
’ ’
’ Solo
’
ppp

12
Fl.
1
2
82
BLANKED OUT SECTION
Doppio più
lento (q = h)
4
Enter Satan
stringendo
a tempo
A.Fl.
4
take Fl. 3
Ob.
1
2
pp
4
C.A.
4
Cl.
(Bb)
1
2
change to Cl. (A)
4
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
3
4
pp cresc.
a 2
pp pp cresc. f
mutes off
mutes off
4
4
4
4
4
pp cresc.
f
f
Tpt.
(Bb)
1
2
3
for online perusal only
4
4
Tbn.
1
2
3
4
4
Tba.
4
Timp.
4
Hp. 1
4
4
Hp. 2
Vln. I
4
4
Doppio più
lento (q = h)
4
stringendo
a tempo
Vln. II
4
Vla.
Vcl.
Cb.
Soli 1 and 2
ppp
1 desk div. Tutti pizz.
ppp pp mf ff
pizz.
4
4
4
pp mf ff

13
Fl.
1
2
88
stringendo
5
Satan appeals to heaven.
a tempo
3
2
Ob.
1
2
3
2
C.A.
3
2
B.Cl.
Bsn.
Cbsn.
1
2
pp cresc.
f cresc. fff
a 2
pp cresc. f cresc. ff
pp cresc. f cresc. ff
3
2
3
2
3
2
Hrn.
(F)
1
2
3
4
[senza sord.]
Tpt. 3
ff
3
2
3
2
Tpt.
(Bb)
1
2
3
ff
3
2
3
2
Tbn.
Tba.
1
2
3
ff
ff
ff
3
2
3
2
3
2
Timp.
3
2
Perc.
Hp. 1
Cym. roll
pp
ff
3
2
3
2
3
2
Hp. 2
for online perusal only
3
2
3
2
Vln. I
3
stringendo
5
a tempo
3
2
Vln. II
3
pp
ff
3
2
Vla.
Vcl.
Tutti
pp
pp
ff
ff
3
2
3
2
Cb.
pp cresc.
f cresc. ff
3
2
pp cresc.
f cresc. ff

14
Fl.
1
2
3
94
Heaven gradually opens and displays God sitting in majesty, surrounded by the sons of God (as in Blake II).
The line of Angels stretches from Earth to Heaven.
Andante con moto (h = 80)
3
2
3
2
pp pp pp
pp pp pp
Ob.
1
2
3
2
pp pp pp
C.A.
Cl.
(A)
B.Cl.
1
2
3
2
3
2
3
2
pp pp pp
pp pp pp
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
3
4
3
2
3
2
3
2
3
2
3
2
pp
pp pp pp
senza sord. pp pp pp
Tpt. 3
Tpt. 3, senza sord.
fpp
senza sord.
pp
pp
pp pp pp
pp pp pp
pp
pp
pp
pp
pp
pp
pp
pp
for online perusal only
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Hp. 1
Hp. 2
Vln. I
1
2
3
1
2
3
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
fpp
fpp
fpp pp pp ppp
pp
pp
pp pp pp
pp pp pp
Andante con moto (h = 80)
3
2
mutes on
mute on
fpp pp pp
pp
pp
con sord.
con sord.
pp
pp
pp
ppp
Vln. II
3
2
pp pp pp pp
Vla.
Vcl.
Cb.
3
2
arco
3
2
pp pp pp pp
pp pp pp
pp pp pp pp
arco
3
2
pp pp pp pp pp
pp

15
Fl.
1
2
110
6
p
Saraband of the Sons of God
3
Ob.
1
2
p
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
1
2
3
4
1
2
3
1
2
3
p sub.
Fl. 3
p
p sub.
p sub.
p sub.
p sub.
p sub.
p sub.
p sub.
p sub.
p sub.
pp
pp
p
p
p
p
Tpt. 3 con sord.
p
Timp.
Perc.
pp
for online perusal only
Cym. clashed
pp
Hp. 1
p
Hp. 2
p
6
Vln. I
mf cantabile
Vln. II
Vla.
mf cantabile
div.
mf cantabile
Vcl.
Cb.
mf cantabile
pizz.
p p

16
Fl.
1
2
119
7
All bow down in adoration.
p
3
p
Ob.
1
2
p
C.A.
Cl.
(A)
1
2
p
p
B.Cl.
Bsn.
Cbsn.
1
2
2
p
p
p
Hrn.
(F)
1
2
3
4
for online perusal only
p
p
Tpt.
(Bb)
1
2
3
Tbn.
Tba.
1
2
3
(mute off)
pp
pp
Timp.
Perc.
Cym.
pp
Hp. 1
Hp. 2
7
Vln. I
p
Vln. II
Vla.
Vcl.
Cb.
arco
p
unis.
p
p
p

17
Fl.
1
2
3
128
pp
8
God arises in His majesty
and beckons to Satan.
pp
change to Picc.
pp
Ob.
1
2
pp
C.A.
Cl.
(A)
1
2
Fl. 3
pp
pp
pp
B.Cl.
Bsn.
1
2
pp
pp
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
con sord.
con sord.
p
Tpt. 3
pp
pp
pp
pp
pp
Tbn.
Tba.
1
2
3
p
pp
pp
pp
pp
Timp.
Perc.
for online perusal only
Cym.
pp
pp
B.D. Solo
ppp
Hp. 1
p
Hp. 2
p
Vln. I
Vln. II
mf
pp
8
mutes on
mutes on
Vla.
Vcl.
Cb.
mf
pp
div.
mutes on
mf
pp
mutes on
mf
pp
pizz. arco mutes on Cbsn.
pp
p
pp

Picc.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Vln. I
Vln. II
Vla.
Vcl.
Cb.
136
cresc.
cresc.
cresc.
cresc.
cresc.
ff
cresc.
ff
cresc.
ff
ff
ffp
ff
ffp
ff
ff
ff
f
cresc.
ff
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
ff
Satan steps forward at God’s command.
1
2
ff
1
2
ff
ff
1
2
ff
1
2
1
2
3
4
1
2
3
1
2
3
18
for online perusal only

19
Picc.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Hp. 1, 2
144
Largo sostenuto (q = 48) Andante con moto (h = 80)
3
4
’ 2
1
2 4
’
1
2 4
’
4
1
2 4
’
4
1
2 4
’
4
1
2 4
’
pp
3
4 4
’
pp
1
2 4
’
4
3 ’
4
1
2 4
’
4
4
4
4
4
4
A light falls on Job. God regards him with
affection and says to Satan ‘Hast thou
considered my servant Job?’
for online perusal only
3 ’
’
’
’
’
’
’
’
Satan says ‘Put forth thine hand now,
and touch all that he hath, and he will
curse thee to thy face’.
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
ff
ff
ff
ff
ff
ff
ff
a 2
senza sord.
senza sord.
ff
ff
ff
Tpt. 3
ff
ff
ff
ff
ff
Vln. I
Vln. II
Largo sostenuto (q = 48) Andante con moto (h = 80)
con sord.
3
4
’ 2
4
con sord.
pp
’
3
2
ff
Vla.
Vcl.
4
4
con sord.
pp
con sord.
pp
div.
unis.
’
’
3
2
3
2
ff
ff
div.
Cb.
4
pp
con sord.
pp
’
3
2
ff
ff

20
151
Picc.
ff
3 3
Fl.
Ob.
1
2
1
2
ff
ff
3 3
3 3
C.A.
Cl.
(A)
B.Cl.
1
2
ff
ff
3 3
3
3
3
3
Bsn.
1
2
Cbsn.
3
3
1
2
Hrn.
(F)
ff
3
3
3
3
3
4
ff
3
3
Tpt.
(Bb)
1
2
3
ff
for online perusal only
3 3
Tbn.
1
2
ff
3 3
3
Tba.
Timp.
Perc.
Hp. 1
Hp. 2
Vln. I
mutes off
Vln. II
mutes off
Vla.
senza sord.
ff
3 3
Vcl.
mutes off
Cb.
mutes off

21
Picc.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Hp. 1
157
9
God says ‘All that he hath is in thy power’. Satan departs (see Blake V).
Largamente
a 2
3
1
2
3 3
ff
1
’
2
1
2
1
2
a 2
a 2
ff
ff
1
’
2
f f f
3 ’
f f f
f f f
ff
3
3
3
3
3
’
ff f f
1
’
2
3
’
4
1
’
2
3 ’
3
’
’
’
’
’
’
’
’
’
’
for online perusal only
Hp. 2
ff
’
Vln. I
Vln. II
Vla.
Vcl.
Cb.
9 Largamente
senza sord.
3
3 3
ff
senza sord.
3 3
’
3
ff
3 3
’
3
ff
senza sord.
3
’
3
ff
3
senza sord.
pizz.
ff Cbsn. (arco)
’
’

22 BLANKED OUT SECTION
162
a tempo
The dance of homage begins again. God leaves his throne.
Picc.
ff sost.
Fl.
Ob.
C.A.
1
2
1
2
a 2
p
ff sost.
ff sost.
Cl.
(A)
B.Cl.
1
2
p
ff sost.
ff sost.
p
ff sost.
Bsn.
Cbsn.
1
2
ff sost.
ff sost.
Hrn.
(F)
a 2
p
a 2
p
ff sost.
ff sost.
Tpt.
(Bb)
Tbn.
Tba.
ff sost.
ff sost.
ff sost.
ff sost.
Timp.
Perc.
p molto
for online perusal only
1
2
3
4
1
2
3
1
2
3
ff sost.
ff sost.
Cym. clashed
f
B.D. roll
mf
Hp. 1
ff
Hp. 2
ff
a tempo
Vln. I
p
ff sost.
Vln. II
p
ff sost.
Vla.
p
ff sost.
Vcl.
Cb.
p
arco
p
ff sost.
ff sost.

Picc.
171
10
23
Fl.
Ob.
1
2
1
2
C.A.
Cl.
(A)
1
2
B.Cl.
Bsn.
1
2
for online perusal only
Cbsn.
Hrn.
(F)
1
2
3
4
Tpt.
(Bb)
1
2
3
a 2
Tbn.
Tba.
1
2
3
Timp.
Perc.
mf
Hp. 1
Hp. 2
10
Vln. I
Vln. II
Vla.
Vcl.
Cb.

24
Picc.
178
11
ff
The stage darkens.
pp ff pp
Black out.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
1
2
1
2
1
2
1
2
3
4
1
2
3
a 2
a 2
a 2
ff pp ff pp
ff pp ff pp
ff
pp
ff pp ff pp
Ob. 2
ff pp pp ff pp
ff pp ff pp
ff
pp
pp ff pp
ff pp ff
pp
mf
a 2 pp ff pp
ff pp f pp mf
pp ff pp
ff pp f pp p pp ff pp
ff
pp
ff
pp
pp p pp ff pp
pp
p
ff
pp
ff
pp
p pp ff pp
a 2
ff pp ff pp
pp ff pp
for online perusal only
Tbn.
Tba.
1
2
3
ff pp ff pp pp ff pp
a 2
ff
ff
pp
pp
ff
ff pp
f
f
pp
pp
ff
ff
pp
pp
ff pp ff pp p pp ff pp
mutes on
mute on
Timp.
Perc.
B.D. roll
ff pp f pp mf pp ff pp
Cym. clashed
ff
ff ff pp f pp mf pp ff pp
Hp. 1
ff pp ff pp pp
Hp. 2
ff pp ff pp pp
Vln. I
Vln. II
Vla.
Vcl.
Cb.
11
ff pp ff pp pp ff pp
ff pp ff pp pp ff pp
ff pp ff pp
pp ff pp
mf
ff pp ff pp mf pp ff pp
ff pp ff pp mf pp ff pp

Scene II
Satan’s Dance of Triumph
25
Piccolo
Flutes
Oboes
Cor Anglais
Clarinets
(A)
Bass Clarinet
(Bb)
1
2
1
2
1
2
Presto (1 in the bar) (h. = 96)
3
4
3
4
3
4
3
4
3
4
3
4
Stage gradually lightens. Heaven is empty and God’s throne vacant. Satan alone on the stage.
a 2 2
a 2
ff
ff
ff
pp cresc. ff pp ff
2
2
Bassoons
1
2
3
4
Contrabassoon
3
4
pp cresc. ff pp ff
Horns
(F)
1
2
3
4
3
4
3
4
pp cresc. ff pp ff
ff
2
ff
ff
2
2
Trumpets
(Bb)
1
2
3
3
4
3
4
ff
2
Trombones
1
2
3
3
4
3
4
a 2 con sord. 2
pp
f
Tuba
3
4
Timpani
3
4
Percussion
Harps 1, 2
3
4
3
4
3
4
for online perusal only
S.D.
pp
f
Violin I
Violin II
Viola
Violoncello
Contrabass
Presto (1 in the bar) (h. = 96)
3
4
3
4
3
4
3
4
3
4
ff
ff
ff
pp cresc. ff pp ff
pp cresc. ff pp ff
2
2
2

26
Picc.
12
12
A light falls on Satan, standing at
the bottom of the steps of Heaven
(Tableau till figure 13).
ff
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
1
2
1
2
1
2
ff
(a 2) 2 2
ff
ff
2 2
ff
2
ff
2
a 2
ff
2
pp cresc. ff
pp
fpp
cresc.
ff
ff
ff
Bsn.
1
2
pp
fpp
cresc.
ff
ff
Cbsn.
Hrn.
(F)
1
2
3
4
pp ff fpp
2
2
ff
2
2
2
2
for online perusal only
pp cresc. ff ff
ff
Tpt.
(Bb)
1
2
3
ff
2
2
ff
ff
Tbn.
1
2
3
pp
a 2
ff
con sord.
ff
ff
mutes off
mute off
Tba.
Timp.
wooden sticks
ff
pp molto cresc. ff
Cym.
Perc.
S.D.
ff
2
2
pp molto cresc. ff
12
Vln. I
ff
2
2
pp cresc.
ff
ff
Vln. II
Vla.
ff
ff
2 2
pp cresc.
pp cresc.
ff
ff
ff
ff
Vcl.
pp fpp pp cresc. ff ff
Cb.
pp fpp pp cresc. ff ff

27
Picc.
23
p
Fl.
Ob.
1
2
1
2
p
p
C.A.
Cl.
(A)
1
2
p
B.Cl.
p
Bsn.
1
2
p
dim.
dim.
p
p
p
p
Cbsn.
p
p
Hrn.
(F)
1
2
3
4
p
p
Tpt.
(Bb)
1
2
3
p
p
Tbn.
1
2
3
senza sord.
senza sord.
ff
pp
ff
pp
Tba.
p
Timp.
mf
for online perusal only
p
Perc.
(Cym.)
mf
p
Vln. I
p
Vln. II
p
Vla.
p
dim.
p
Vcl.
p
dim.
p
Cb.
p dim. p

28
Picc.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
1
2
1
2
1
2
1
2
31
13
Here the dance begins.
p f p
a 2
p f p
a 2
f
p
p
pp
p
p
p
p
p p f
Cbsn.
mf
p
Hrn.
(F)
1
2
3
4
Solo
p
Tpt.
(Bb)
1
2
3
Solo
p
for online perusal only
Solo
p
p
Tbn.
1
2
3
Solo
p
p
Tba.
Timp.
Perc.
Vln. I
Vln. II
13
Xylophone
f ff f
pizz.
f ff f
pizz.
f ff f
Vla.
Vcl.
Cb.
p
p
p
* If the dance is too long for one performer, other dancers may be introduced; or, all the repeats may be omitted.
p
p
p

29
Picc.
40
ff ff dim. pp
Fl.
Ob.
C.A.
1
2
1
2
ff ff dim. pp
a 2
f p f p
p f p f p
Cl.
(A)
B.Cl.
1
2
ff ff dim.
pp
f
for online perusal only
f p pp
p f p
Bsn.
1
2
p
f
p
pp
Cbsn.
p f p f
Hrn.
(F)
1
2
3
4
Tpt.
(Bb)
1
2
3
pp
Tbn.
1
2
3
pp
Tba.
Timp.
Perc.
pp
Vln. I
Vln. II
ff ff pp
ff ff pp
Vla.
Vcl.
ff ff pp
ff ff pp
Cb.
ff ff pp

30
Picc.
49
14
Fl.
1
2
Ob.
1
2
p mf ff
C.A.
Cl.
(A)
1
2
p mf ff
a 2
ff
dim.
B.Cl.
Bsn.
1
2
pp cresc. ff dim.
a 2
pp cresc.
ff
dim.
for online perusal only
Cbsn.
pp cresc. f dim.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
p mf f
p mf f
Tbn.
1
2
3
f
f
Tba.
p cresc.
f
Timp.
Perc.
Vln. I
Vln. II
14
non div., arco
p mf f
non div., arco
p mf f
Vla.
cresc.
ff
dim.
Vcl.
cresc.
ff
dim.
Cb.
cresc. ff dim.

31
Picc.
57
ff
Fl.
1
2
a 2
ff
Ob.
1
2
a 2
ff
C.A.
ff
Cl.
(A)
1
2
ff
B.Cl.
for online perusal only
ff
Bsn.
Cbsn.
1
2
ff
ff
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
ff
ff
ff
ff
Tbn.
1
2
3
Tba.
Timp.
Perc.
wooden sticks
ff
Cymbals clashed
ff
Vln. I
Vln. II
ff
ff
Vla.
ff
Vcl.
ff
Cb.
ff

32
65
15
Con fuoco
BLANKED OUT SECTION
Picc.
(a 2)
Fl.
1
2
ff
Ob.
1
2
(a 2) a 2
ff
C.A.
Cl.
(A)
1
2
a 2
ff
B.Cl.
for online perusal only
Bsn.
1
2
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
1
2
3
4
1
2
3
1
2
3
2
1 Tpt. 3
mp
mp
mf
mf
Tba.
mf
Timp.
Perc.
(Cym.)
15
Con fuoco
Vln. I
Vln. II
ff
ff
Vla.
Vcl.
Cb.
f
f
f

Picc.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Vln. I
Vln. II
Vla.
Vcl.
Cb.
f
16
74
p
f
p
f
f
p
p
f
p
f
p
pp
pp
pp
mf
pp
p
p
16
p
p
p
p
1
2
1
2
1
2
1
2
1
1
2
3
4
1
2
1
3
1
2
3
S.D.
33
for online perusal only

34
Picc.
83
Fl.
1
2
Ob.
C.A.
Cl.
(A)
1
2
1
2
p
p
p
B.Cl.
p
pp cresc.
Bsn.
1
2
for online perusal only
2 B.Cl.
p
p
pp cresc.
Cbsn.
pp cresc.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
(1)
p
p
Tbn.
1
2
3
Tba.
Timp.
Cymbal roll
Perc.
(S.D.)
pp
Vln. I
p
Vln. II
p
Vla.
p cresc.
Vcl.
p cresc.
Cb.
p cresc.

35
Picc.
92
f
Moderato alla marcia (q = h.)
4
Fl.
1
2
f
4
Ob.
1
2
mf
f
4
C.A.
mf
f
4
Cl.
(A)
B.Cl.
1
2
mf
f
f
4
4
Bsn.
Cbsn.
1
2
f
f
4
4
f pesante
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
mf
mf
f
f
4
4
4
4
a 2
a 2
a 2
3
f con bravura 3
3
f con bravura 3
f con bravura 3 3
3
f con bravura 3
Tbn.
Tba.
1
2
3
4
4
4
a 2
f pesante
f pesante
f pesante
Timp.
4
naturale
for online perusal only
f
Perc.
Vln. I
mf
f
f
4
Moderato alla marcia (q = h.)
4
Vln. II
4
Vla.
mf
f
f
4
Vcl.
4
Cbsn.
Cb.
f
f
4
f pesante
Cbsn.
f pesante

36
17
Picc.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
1
2
1
2
1
2
3
4
1
2
3
1
2
3
101
3
f
ff
a 2
f pesante
3 ff
f
a 2
3
f pesante
ff
f
ff
f pesante
a 2
p pesante 3 ff
f
ff
(a 2) 3 a 2
ff
ff
f pesante
f pesante
f pesante
f pesante ff f pesante
(a 2) 3
a 2
f pesante
(a 2)
f pesante
ff
3 ff
f pesante 3 ff
(a 2)
ff
ff
a 2
f pesante
f
a 2
f
f pesante
ff
f pesante
Timp.
Perc.
for online perusal only
ff Cym. clashed
ff f p
f
Hp. 1
ff
Hp. 2
ff
17
Vln. I
f
3
ff f
Vln. II
f
3
ff
f
Vla.
ff
f pesante
Vcl.
Cb.
ff
ff
f pesante
f pesante

37
Picc.
Fl.
Ob.
1
2
1
2
107
a 2
a 2
f 3 ff
3 3 ff
3
3
ff
C.A.
3
ff
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
1
2
3
4
1
2
3
1
2
3
3 3
3
ff
3
ff
f
f
f 3
3
3
ff
ff
ff
3 3
ff
f
3 3 ff
3 3 ff
f f 3
ff
3
f
f
ff
Timp.
Perc.
ff
for online perusal only
Cym.
ff
mf
Hp. 1
ff
Hp. 2
ff
Vln. I
3 3
ff
Vln. II
3 3
ff
Vla.
f
3 3 3
ff
Vcl.
3
ff
Cb.
3
ff

38
Picc.
111
ff
3 3
Presto
3
4
p
Fl.
Ob.
1
2
1
2
ff
ff
3 3
3
3
3
3
3
3
3
3
3
4
3
4
a 2
a 2
p
p
C.A.
ff 3
3
3 3 3
3
4
Cl.
(A)
1
2
ff
3 3 3
3
3 3
3
4
a 2
p
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Hp. 1
Hp. 2
1
2
1
2
3
4
1
2
3
1
2
3
ff
3 3
(a 2) 3
2
f
(Cym.)
p
mutes on
mutes on
a 2 (pedal notes)
f
f
for online perusal only
f
f
3
3
3
3 3
p
3
3
Xylophone
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
p
3
4
3
4
3
4
3
4
3
4
3
4
3
4
p
p
p
p
f
f
f
con sord.
con sord.
fp
fp
f
f
ff
ff
ff
ff
Vln. I
Vln. II
Vla.
div.
ff
3
ff 3
unis.
3 3
3
3
3
3
3 3
3 3 3
3
3 3
Presto
3
4
3
4
3
4
Vcl.
Cb.
ff 3
ff
3
3
3
3
3
div.
3
3
4
3
4
unis.
f
f
pizz.
pizz.

39
117
18
Satan climbs up
to God’s throne.
Picc.
p
p
ff
Fl.
Ob.
1
2
1
2
p
p
p
p
ff
ff
p
C.A.
Cl.
(A)
1
2
p
f
p
p
ff
p
B.Cl.
Bsn.
1
2
p
a 2
p
p
p
ff
ff
ff
p
p
p
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
1
2
3
4
1
2
3
1
2
3
p
p fp ff p fp f
p fp ff p fp f
a 2
p
a 2
p
p
p
p
p
p
ff
mutes on
mute on
mutes on
mute on
ff
p
Perc.
Hp. 1
f
for online perusal only
f
ff
ff
Hp. 2
f
ff
Vln. I
Vln. II
Vla.
Vcl.
pizz.
f
pizz.
f
arco
pizz.
f
ff
ff f ff
ff
18
non div.
arco
ff
non div.
arco
ff
arco
ff
p
Cb.
p
arco
p
ff
ff
p
p

40
Picc.
Fl.
Ob.
1
2
1
2
126
(a 2)
ff 2
ff 2
pp ff p
a 2
C.A.
p
ff
pp
ff
Cl.
(A)
B.Cl.
1
2
pp
ff
ff
p
p
p
ff
a 2
pp
ff
p
ff
Bsn.
1
2
pp
ff
p
for online perusal only
p
ff
pp
ff
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
pp
ff p pp ff
pp ff pp pp ff pp
pp ff pp pp ff pp
Tbn.
1
2
3
Tba.
Timp.
ff
2
Perc.
S.D.
pp ff pp pp ff pp
Hp. 1, 2
Vln. I
p ff 2 p
5
Vln. II
Vla.
Vcl.
p ff 2 p
pp ff p ff pp ff
5
pp ff p ff pp ff
Cb.
pp ff p ff pp ff

41
Picc.
137
19
2 2 2 fff
Satan kneels in mock adoration before God’s throne.
Fl.
1
2
2 2 2 fff
Ob.
C.A.
1
2
pp
fff
p cresc.
f
Cl.
(A)
1
2
p
fff
B.Cl.
p cresc.
f
for online perusal only
Bsn.
1
2
p cresc.
f
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
4
1
2
3
1
2
3
p p f
a 2 senza sord.
2 2 2
ff
a 2 senza sord.
2 2 2
ff
8va ad lib.
2
con sord. a 2
con sord.
con sord. a 2
con sord.
‘Glor
ffff
ffff
ffff
ffff
i a in ex cel sis De o!’
2 2
2 2
2 2
2 2
2 2
Timp.
Perc.
Cym. struck
fff
Hp. 1, 2
19
Vln. I
ff
2 2 2
fff
Vln. II
ff
2 2 2
fff
Vla.
Vcl.
Cb.
p cresc.
p cresc.
p cresc.
f
f
f

42
BLANKED OUT SECTION
Picc.
149
Fl.
1
2
Ob.
1
2
C.A.
ff
Cl.
(A)
1
2
a 2
B.Cl.
ff
ff
for online perusal only
Bsn.
1
2
Cbsn.
ff
ff
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
(a 2)
ffff
ffff
mutes off
mute off
Tbn.
1
2
3
(a 2)
mutes off
mute off
Tba.
fff
Timp.
Perc.
Cym. struck
S.D.
ff
ff
ff dim.
Hp. 1, 2
Vln. I
Vln. II
Vla.
ff
Vcl.
ff
Cb.
ff

43
157
The hosts of Hell enter running, and kneel before Satan, who
has risen and stands before God’s throne facing the audience.
Picc.
mf
f
f
f
Fl.
1
2
f
f
Ob.
1
2
mf
f
C.A.
Cl.
(A)
1
2
dim.
dim.
p
p
p
mp
mp
mf
mf
f
B.Cl.
dim.
p
mf
Bsn.
Cbsn.
1
2
dim.
p
a 2
p
mf
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
for online perusal only
dim.
dim.
dim.
p
p
p
Tbn.
1
2
3
Tba.
dim.
pp
Timp.
Perc.
(S.D.)
mf dim. p dim. pp
dim. pp ppp
Hp. 1, 2
Vln. I
p
mp
mf
f
Vln. II
p mf f
Vla.
dim.
p
p mf f
Vcl.
dim.
p
mp mf f
Cb.
dim.
p

44
Picc.
165
ff
G.P.
20
fff
Satan with a big gesture sits in God’s throne.
2
Black-out; a black curtain falls leaving
the front quarter of the stage visible.
take Fl. 3
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
1
2
1
2
1
2
1
2
ff
ff
ff
a 2
a 2
a 2
fff p fff
fff p fff
2
fff
fff p fff
fff
a 2 a 2 2
fff
2
2
2
2
2
p
p
p
fff
fff
fff
fff fff p fff
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
4
1
2
3
1
2
3
G.P. a 2 2
fff
a 2 2
fff
2
senza sord. a 2 a 2
p
fff
p
fff
fff p fff
senza sord. 2
fff p fff
2
senza sord. a 2 a 2
fff p fff
senza sord. 2
fff
p
fff
2
fff
Timp.
for online perusal only
G.P.
p
fff
Perc.
Vln. I
Vln. II
Vla.
Vcl.
Cb.
G.P.
G.P.
20
ff fff
p fff
2
ff fff
p fff
2
ff fff
p fff
2
ff fff
p fff
2
fff
p
fff
2

Scene III
Minuet of the Sons of Job and their Wives
45
Stage gradually lights up.
Enter Job’s sons and their wives and dance in front of the
curtain. They hold golden wine cups in their left hands
which they clash at (each time). The Dance should be
formal, statuesque, and slightly voluptuous; it should not
be a minuet as far as choreography is concerned.
Flutes
1
2
Andante con moto (q = 100)
3
4
p
a 2 Soli
Oboes
1
2
3
4
1 Solo
pp
Percussion
3
4
Cymbals clashed
ppp
3
4
Harp 1
3
4
pp
pp
Viola
Andante con moto (q = 100)
3
4
Violoncello
3
4
Solo
pp
Fl.
1
2
11
for online perusal only
p
21
Ob.
1
2
1 Solo
p ppp p
Perc.
ppp ppp ppp
Hp. 1
Vla.
21
Vcl.
(Solo)

46
Fl.
1
2
22
a 2
Here the black curtain draws back and shows an interior as in Blake III.
p
2
pp
Ob.
1
2
p
Perc.
ppp
ppp
Hp. 1
Vla.
(Solo)
1 Solo
poco vibrato
p
Vcl.
Tutti
pizz.
pp
Fl.
Ob.
B.Cl.
1
2
3
1
2
31
p
f p pp
22
a 2
mf
mf
Hrn.
(F)
1
2
pp
for online perusal only
pp
pp
Timp.
Perc.
Cym.
ppp
ppp
Hp. 1
22
Vln. I
pp
Vln. II
Vla.
(Solo)
pp
Tutti
mp cantabile
Vcl.
arco
* pp
Cb.
* Solo Vcl. play when no B.Cl.; otherwise play col tutti.
pp
pizz.
pp

Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Hp. 1
Vln. I
Vln. II
Vla.
Vcl.
Cb.
p
40
p
p
pp
ppp
pp
pp
p
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
1
2
1 Solo
3
take Picc.
1
2
1
1
2
1
2
1
1
2
3
4
1
2
3
1
2
3
(Cym.)
B.Cl.
(Solo col Tutti)
47
for online perusal only

48
Picc.
49
q = q
4
pp
Fl.
1
2
4
pp
Ob.
C.A.
1
2
4
4
B.Cl.
pp
Cl.
(A)
B.Cl.
1
2
4
4
pp
pp
pp
pp
pp
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Hp. 1, 2
Vln. I
Vln. II
1
2
1
2
3
4
1
2
3
1
2
3
4
4
4
4
4
4
4
4
4
4
4
4
4
pp
q = q
4
4
Triangle
pp
pp
for online perusal only
pp
pp
pp
Vla.
Vcl.
Cb.
div.
4
4
4
Solo Vla. cue for B.Cl.
pp
pp
pp
div.

Picc.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Hp. 1
Vln. I
Vln. II
Vla.
Vcl.
Cb.
pp
53
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
ppp
ppp
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
1
2
1
2
1
2
1
2
1
2
2 mute on
3
4
1
2
3
1
2
3
(Tri.)
div.
arco
49
for online perusal only

50
Picc.
57
23
3
q = q
4
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
1
2
1
2
1
2
3
4
1
2
3
1
2
3
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
mp
1
mp
pp
B.Cl.
pp
2 con sord.
p
con sord.
p
1
pp sostenuto
2
pp
a 2
p
p
2
p
pp
1 (senza sord.)
p
mutes off
Timp.
Perc.
3
4
3
4
3
4
B.D.
ppp
for online perusal only
Cyms.
ppp
ppp
3
4
Hp. 1
3
4
pp
23
q = q
Vln. I
Vln. II
Vla.
3
4
3
4
3
4
pp
pp
Vcl.
3
4
pp
Cb.
3
4
pp
pp
pizz.
pp

51
65
Picc.
pp
fff
Fl.
1
2
pp
a 2
fff
Ob.
C.A.
1
2
pp
Cl.
(A)
1
2
pp
B.Cl.
pp
Bsn.
1
2
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
ppp
pp senza sord.
pp
fff
senza sord.
p pp pp fff
2 ppp 1
2
fff
a 2
ppp
fff
ppp
fff
Tba.
Timp.
ppp
Perc.
for online perusal only
1
2
3
4
1
2
3
1
2
3
1
ppp 1
Cym. roll
(B.D.)
pp
fff
ppp
gliss.
Hp. 1
ppp
gliss.
Hp. 2
ppp
div.
Vln. I
Vln. II
Vla.
Vcl.
pp
pp
unis.
pp
div.
Cb.
arco
pp
pp

52
Enter Satan above. The dance stops suddenly.
The dancers fall dead. Tableau as in Blake III.
24
BLANKED OUT SECTION
73
Picc.
ff sostenuto
2 2
2
2
(a 2)
Fl.
1
2
ff sostenuto
Ob.
1
2
a 2
ff sostenuto
C.A.
ff sostenuto
2
2
Cl.
(A)
1
2
ff sostenuto
B.Cl.
ff sostenuto
Bsn.
1
2
ff sostenuto
Cbsn.
ff sostenuto
Hrn.
(F)
1
2
3
4
a 2
a 2
for online perusal only
ff sostenuto
ff sostenuto
2
2
Tpt.
(Bb)
1
2
3
ff sostenuto
ff sostenuto
Tbn.
1
2
ff sostenuto
Tba.
3
ff sostenuto
ff sostenuto
Timp.
Perc.
ff
B.D.
ff
24
ppp
Vln. I
Vln. II
ff sostenuto 2 2
ff sostenuto
Vla.
Vcl.
non div.
ff sostenuto
ff sostenuto
cresc.
Cb.
ff sostenuto

53
Picc.
83
dim.
2
pp
take Fl. 3
2
Fl.
1
2
dim. p pp
Ob.
1
2
dim.
p
pp
C.A.
p
p
Cl.
(A)
1
2
dim.
2
p
p
for online perusal only
B.Cl.
Bsn.
Cbsn.
1
2
dim.
dim.
dim.
pp
pp
pp
mp
p
p
p
Hrn.
(F)
1
2
3
4
f
mp
p
Tpt.
(Bb)
Tbn.
1
2
3
1
2
f
p
con sord.
mf
pp
pp
p
3
pp
Tba.
pp
Timp.
mf dim. pp
Perc.
Cyms.
pp
pp
Vln. I
2
p
pp
Vln. II
p
pp
Vla.
Vcl.
dim. p p
dim. p p
Cb.

54
1
2
91
Gradual black out. The black curtain descends.
Fl.
3
p f pp
take Picc.
p
f
Ob.
1
2
p f pp
C.A.
Cl.
(A)
1
2
p pp pp
change to Cl. (Bb)
B.Cl.
Bsn.
1
2
p pp pp
2
p p pp pp
Cbsn.
Hrn.
(F)
1
2
3
4
1 stopped
fp
3 stopped
fp
pp
pp
pp
pp
Tpt.
(Bb)
1
2
3
Tbn.
1
2
3
Tba.
Timp.
Perc.
for online perusal only
p
pp
B.D.
pp
ppp
Vln. I
p f pp
Vln. II
Vla.
p f pp
pizz.
Vcl.
Cb.
p
pp
pp
pizz.
pp
pp
pizz.
pp
pp

Scene IV
Job’s Dream
55
Violin I
Lento moderato (q = 54)
4
Violin II
4
Viola
4
arco
Violoncello
Contrabass
4
4
arco
ppp
arco
ppp
pp
pp
pp
Vln. I
7
Vln. II
Vla.
pp
3
pp
Vcl.
pp
Cb.
pp
13
25
for online perusal only
The black curtain rises. Stage gradually lights up.
Job discovered lying asleep as in Blake VI.
Vln. I
pp
Vln. II
Vla.
Vcl.
Cb.
pp
non div.
mf espressivo
pp
pp
Vln. I
19
*
ppp
Vln. II
ppp
Vla.
ppp
Vcl.
Cb.
* In the Blake illustrations, Scene V (Dance of the Three Messengers) follows here. Producers who wish to follow
Blake’s order exactly can do so by making a pause (U) at the double bar here and going straight on to Scene V.
ppp
ppp

56
Picc.
26
Job moves uneasily in his sleep.
Allegro (q = 180)
Fl.
Ob.
1
2
1
2
a 2
p p p f p p f p
C.A.
Cl.
(Bb)
B.Cl.
1
2
pp
p
p p f p p f p
a 2
p p p f p p f p
A.Sax.
Bsn.
1
2
p p f p p f
pp
Cbsn.
Cbsn.
pp
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
mutes on
for online perusal only
p
con sord.
p
Tbn.
Tba.
1
2
3
pp
pp
pp
Timp.
Perc.
Tam-tam
pp
Hp. 1, 2
Allegro (q = 180)
Vln. I
Vln. II
Vla.
Vcl.
Cb.
div.
pp
pizz.
pp
pizz.
pp
unis.
unis.
p
p
p f p p f p
p f p p f p

Picc.
33
26
57
Enter Satan. Tableau as in Blake VI. Satan stands over Job and calls up terrifying
Visions of Plague, Pestilence, Famine, Battle, Murder, and Sudden Death who posture
before Job (see Blake XI). Each of these should be represented by a group of dancers.
The dance should be wild and full of movement, and the stage should finally be full.
ff
3
p
Fl.
Ob.
1
2
1
2
cresc.
a 2
ff
ff
3
p
C.A.
Cl.
(Bb)
B.Cl.
1
2
cresc.
cresc.
ff
ff
cresc.
ff
1
Bsn.
2
Cbsn.
p cresc.
p cresc.
p cresc.
ff
ff
ff
Hrn.
(F)
1
2
3
4
ff 3
3
ff
3
dim.
dim.
p
p
Tpt.
(Bb)
Tbn.
1
2
3
1
2
3
p cresc.
con sord.
a 2
for online perusal only
ff
p
pp
ff p pp
ff
Tba.
ff
p
Timp.
Tam-tam
wooden sticks
ff
ff p pp
Perc.
pp
S.D.
26
p
pp
Vln. I
p cresc.
ff
3
dim.
p
Vln. II
Vla.
Vcl.
Cb.
ff
3
dim.
p
p cresc.
ff 3 dim. p
p cresc.
arco
p cresc. ff
3
dim. p
arco
p cresc. ff dim. p

58
39
Enter Plague and Pestilence.
Picc.
ff 3
Fl.
Ob.
1
2
1
2
a 2
p
f
p 3
a 2
ff 3
C.A.
Cl.
(Bb)
B.Cl.
1
2
p
p
f
f
p 3
p
3
pp
f
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
3
4
Cbsn.
pp
p f p 3
f
pp
p
f
f
ff
ff
Tpt.
(Bb)
1
2
3
con sord.
p cresc.
3
con sord.
ff
ff
3
3
3
Tbn.
1
2
pp
3
f
3
pp
f
Tba.
pp
f
Timp.
for online perusal only
Tam-tam
ff
Perc.
pp
S.D.
p
Vln. I
p
p cresc.
6
ff
3
Vln. II
p
p cresc.
6
ff
3
Vla.
Vcl.
Cb.
pizz.
pp
pizz.
pp
p
p
cresc.
6
arco
arco
ff
ff
ff
3

59
45
27
Enter Famine.
Picc.
p
pp
Fl.
Ob.
1
2
1
2
p
pp
a 2
mf
f p f p ff
C.A.
mf f p f p ff
Cl.
(Bb)
1
2
a 2
mf
f p f p ff
B.Cl.
mf
f p f p ff
Bsn.
Cbsn.
1
2
a 2
pp
mf f p f p ff
ff
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
ff
3
3
3
for online perusal only
f p ff
ff
f p ff
ff
p
stopped
stopped
open a 2
open a 2
ff
ff
Tbn.
1
2
p
ff
p
pp
3
p
pp
Tba.
Timp.
Perc.
Vln. I
Vln. II
Vla.
(S.D.)
ff
p
pp
p
pp
27
p fp fp
3
p pp pp pp pp ff
sul G
p pp pp pp pp ff
sul G
p
pp
pp pp pp ff
Vcl.
Cb.
3
p pp pp pp pp ff
pizz.
arco
pp pp ff

60
52
Picc.
f
ff
Fl.
1
2
(a 2)
a 2
f
a 2
ff
Ob.
1
2
p
ff
C.A.
Cl.
(Bb)
1
2
(a 2)
p
ff
p
ff
B.Cl.
(a 2)
p
ff
Bsn.
1
2
p
ff
Cbsn.
p
ff
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
for online perusal only
Solo con sord.
f
f
Tpt. 3 con sord.
1 stopped
3 stopped
ff
ff
ff
ff
open
ff
open
ff
ff
ff
Tbn.
1
2
3
Tba.
Timp.
Perc.
f
f
Vln. I
mp
f p mp f p mp
ff
Vln. II
mp
f p mp f p mp ff
Vla.
Vcl.
Cb.
mp f p mp f p mp ff
mp f p mp f p mp ff
pizz.
arco
p
ff

61
58
28
Enter Battle, etc.
Picc.
3
3
p
ff
Fl.
Ob.
1
2
1
2
3
3
3
p
ff
3
p
ff
C.A.
Cl.
(Bb)
1
2
3
p
3
p
ff
ff
B.Cl.
p
f
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
3
4
p
p
p
ff
f
Tpt.
(Bb)
Tbn.
Tba.
Timp.
1
2
3
1
2
3
p
senza sord. Soli a 2
ff
3
3 con sord.
p
ff
ff
ff
naturale
ff
ff
Xylophone
Perc.
S.D.
ff
ff
Hp. 1
for online perusal only
ff sec
Hp. 2
ff sec
Vln. I
Vln. II
28
3 3 ff
3 3 ff
pizz.
pizz.
pizz.
f
f
Vla.
Vcl.
Cb.
3 3
3 3
ff
pizz.
ff
pizz.
ff
f
f
f

62
Picc.
63
(a 2)
BLANKED OUT SECTION
Fl.
Ob.
1
2
1
2
C.A.
Cl.
(Bb)
B.Cl.
1
2
Bsn.
Cbsn.
1
2
for online perusal only
Hrn.
(F)
1
2
3
4
mf
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
1
2
3
mf
ff
ff
senza sord.
ff
Timp.
Perc.
(Xyl.)
(S.D.)
ff
Hp. 1
ff sec
Hp. 2
ff sec
Vln. I
Vln. II
Vla.
Vcl.
Cb.
ff
ff sempre pizz.
ff
ff
ff

63
Picc.
68
ff
Fl.
Ob.
1
2
1
2
ff
ff
a 2
C.A.
Cl.
(Bb)
B.Cl.
1
2
ff
ff
ff
Tpt. 3
ff
Bsn.
1
2
f
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
f
1
3
mf
mf
f
f
ff
ff
Tbn.
1
2
ff
3
ff
Tba.
Timp.
for online perusal only
p cresc.
f
ff
Perc.
ff
Hp. 1
Hp. 2
Vln. I
Vln. II
Vla.
f
pizz.
f
pizz.
f
arco
f
arco, non div.
f
arco
f
Vcl.
f
Cb.
f

64
Picc.
73
The dancers headed by Satan make a ring round Job and raise their hands three times.
ff
Fl.
Ob.
C.A.
1
2
1
2
ff
ff
ff
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
1
2
3
4
ff
ff
a 2
a 2
a 2
ff
ff
ff
ff
Tpt. 3
ff
for online perusal only
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
1
2
3
1
2
3
p
f
Cymbals clashed
ff
p
p
p
ff
ff
ff
ff
ff
Hp. 1, 2
div.
Vln. I
ff
Vln. II
ff
Vla.
Vcl.
arco
ff
div.
Cb.
arco
ff
ff

65
77
29
Picc.
Fl.
Ob.
1
2
1
2
a 2
f
f
ff
a 2
ff
ff
ff
C.A.
Cl.
(Bb)
1
2
ff
a 2
ff
ff
ff
B.Cl.
ff
ff
A.Sax.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
1
2
3
4
1
2
3
for online perusal only
a 2
a 2
ff
ff
ff
ff
ff
ff
Solo
mp
ff
ff
ff
ff
ff
ff
ff
Tbn.
Tba.
Timp.
Perc.
1
2
3
Cyms.
clashed
ff
S.D.
f
poco f
poco f
mp
ff
ff
Tri.
ff
f
p
Hp. 1
ff
Hp. 2
ff
ff
Vln. I
Vln. II
Vla.
Vcl.
29
sul G
ff
sul G
ff
sul G
ff
ff
ff
ff
ff
ff
Cb.
ff
ff

66
Picc.
81
(a 2)
Fl.
1
2
Ob.
1
2
C.A.
Cl.
(Bb)
B.Cl.
1
2
for online perusal only
A.Sax.
Bsn.
Cbsn.
1
2
ff
ff
Hrn.
(F)
1
2
3
4
Tpt.
(Bb)
1
2
3
ff
Tbn.
Tba.
1
2
3
a 2
ff
ff
ff
Timp.
(Tri.)
Perc.
(S.D.)
ff ff ff
ff p f p f p f
Vln. I
Vln. II
Vla.
Vcl.
Cb.
ff

67
84
30
The vision gradually disappears.
Picc.
ff
dim.
p
Fl.
1
2
3
ff dim. 3 dim.
Ob.
1
2
ff
Cl.
(Bb)
B.Cl.
1
2
ff
ff
ff
A.Sax.
Bsn.
Cbsn.
1
2
ff 3 dim.
3
ff ff dim.
ff
ff dim. p
p
Hrn.
(F)
ff
dim.
Tpt.
(Bb)
Tbn.
Tba.
Timp.
ff
dim.
ff dim. p pp
ff
ff
Cymbals clashed
dim.
ff dim. p
p
ff
for online perusal only
1
2
3
4
3 3
1
2
3
1
2
3
ff
ff ff dim. p
wooden sticks
ff
3
dim.
dim.
3
ff
Perc.
p f p f p f p
B.D. roll
30
ff
mf
Vln. I
ff sostenuto
dim.
Vln. II
ff
3 3
dim.
Vla.
ff
dim.
Vcl.
ff
dim.
Cb.
ff
dim.

68
Picc.
89
take Fl. 3
Fl.
1
2
Ob.
1
2
p 3
pp
Cl.
(Bb)
1
2
B.Cl.
A.Sax.
Bsn.
1
2
p
pp
2
p p pp
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
con sord.
p pp p
p
con sord.
pp p pp
Tbn.
1
2
pp
for online perusal only
con sord.
pp
3
pp
Tba.
pp
Timp.
p pp dim. ppp ppp
Tam-tam
Perc.
ppp
pp
niente
Vln. I
Vln. II
Vla.
p
p
pp
3
pp
3
Vcl.
pp pp pp pp
p pp dim. ppp
ppp
Cb.
pizz.
p pp dim. ppp ppp
arco
* When Scene V is taken before the dance in Scene IV, make a pause (U) at this double bar, and go straight to Scene VI (Dance of Job’s Comforters).

Scene V
Dance of the Three Messengers
69
Flutes
Oboes
Cor Anglais
Clarinets
(Bb)
1
2
1
2
1
2
Job awakes from his sleep and perceives three messengers, who arrive one after the other, telling him that all his wealth is destroyed (see Blake IV).
Lento q = 50
Ob. 2
4
4
4
4
senza misura—not too fast
1 Solo
p
p
p
p
3 3
3 3
3 3
p
Bass Clarinet
(Bb)
Bassoons
Violin I
Violin II
Viola
Violoncello
Contrabass
1
2
4
4
Lento q = 50
4
4
4
4
4
Solo
p
1 B.Cl.
p
Fl.
1
2
4
3
pp
ppp
Ob.
1
2
3
pp
ppp
C.A.
Cl.
(Bb)
1
2
for online perusal only
3
3 3 3 3
pp
ppp
B.Cl.
Bsn.
1
2
3 3 3 3
3 3 3 3
a 2 Soli
mp cantabile
Vln. I
Vln. II
Vla.
Vcl.
con sord.
p
Cb.

70
* 31
A sad procession passes across the back of the stage, culminating
in the funeral cortège of Job’s sons and their wives.
Andante con moto (q = 64)
Fl.
1
2
3
8
2
4
2
4
4
4
p
p
Ob.
1
2
2
4
4
C.A.
Cl.
(Bb)
Bsn.
Timp.
Vln. I
Vln. II
Vla.
Vcl.
1
2
1
2
1 Solo
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
p
pp
31 Andante con moto (q = 64)
4
4
4
4
Fl. 3
3 pp
naturale
p
mutes on
Cb.
2
4
pizz.
4
pp
Fl.
1
2
15
3
3
pp
3
Cl.
(Bb)
Bsn.
1
2
1
2
3 3
3 3
pp
pp
Hrn.
(F)
1
2
3
4
pp senza sord.
for online perusal only
pp
senza sord.
3
mp cantabile
pp
Timp.
con sord.
Vln. I
Vln. II
pp cantabile
3 3 3
ppp
Vla.
3 3 3
Vcl.
Cb.
con sord.
pp cantabile
ppp
3 3 3
ppp
* If required by the stage a cut may be made from 34 to 37.

71
Fl.
1
2
20
p
3 3
3
p
3 3
Ob.
1
2
C.A.
Fl. 3
Cl.
(Bb)
1
2
p
3 3
pp
B.Cl.
Bsn.
1
2
1 Solo
3
Cbsn.
Hrn.
(F)
1
2
3
4
2
for online perusal only
pp
pp
pp
pp
Tpt.
(Bb)
1
2
3
1
2
Tbn.
3
Tba.
Timp.
Vln. I
pp cantabile
3 3
Vln. II
Vla.
3 3
pp
Vcl.
Cb.
mutes on
con sord.
pizz. sempre
pp
pp cantabile
3 3

72
BLANKED OUT SECTION
32
Fl.
1
2
29
p
3
take Picc.
Ob.
3
1
2
1 Solo
mp cantabile
p
3
pp
C.A.
pp
Cl.
(Bb)
1
2
p
3
pp
B.Cl.
pp
1
Bsn.
mp cantabile
pp
2
pp
Cbsn.
1
2
Tpt. 3 cue for Horn 2
pp pp
Hrn.
(F)
3
4
pp
4 (play when Horn
2 plays Tpt. 3 part)
Tpt.
(Bb)
1
2
3
for online perusal only
pp molto legato
pp
mutes off
Tbn.
1
2
pp molto legato
3
Tba.
Timp.
2
Vln. I
Vln. II
3
ppp
pp
3 3
con sord.
pp
3 3
Vla.
3
ppp
pp
3
3
Vcl.
Cb.
3
ppp
pp
3 3
arco
pp

73
Ob.
1
2
36
Lento
C.A.
Cl.
(Bb)
1
2
p
3
1 Solo
pp
3 3
B.Cl.
Bsn.
Hrn.
(F)
1
2
1
2
3
4
p
p
3
3
1 Solo
p
pp
Tpt.
(Bb)
1
2
3
Timp.
Lento
Vln. I
3
pp
3
Vln. II
Vla.
Vcl.
3
3
3
pp
pp
pp
3
3
3
p
cantabile
p
cantabile
3
3
pp
Cb.
Ob.
1
2
42
Cadenza senza misura quasi lontano
1
for online perusal only
(q = 54)
3 3 3
pppp
Cl.
(Bb)
1
2
Vln. I
(q = 54)
Vln. II
Vla.
pp
Vcl.
Cb.

74
Ob.
Vln. I
1
2
44
Job still blesses God. ‘The Lord gave, and the Lord hath taken away; blessed be the name of the Lord.’
(1)
niente
33
33
pp
*
Vln. II
Vla.
div.
pp
div.
Vcl.
div.
pp sostenuto
Cb.
pp sostenuto
Hrn.
(F)
1
2
3
4
49
3
pp
pp
Vln. I
pp
Vln. II
pp
Vla.
pp
Vcl.
pp
Cb.
pp
Hrn.
(F)
1
2
3
4
53
ppp
for online perusal only
Play small notes when cut is made
and quaver rest in upper String parts.
††
ppp
Vln. I
ppp
mutes off
Vln. II
Vla.
unis.
ppp
mutes off
ppp
Vcl.
Cb.
ppp
* A cut of 4 bars may be made here if required by the stage.
†† When Scene V is taken before the Dance in Scene IV, turn back here to Allegro (Scene IV, bar 26) and play on to end of the Allegro.
ppp
mutes off
mutes off

Scene VI
Dance of Job’s Comforters
75
Piccolo
Flutes
Oboes
Cor Anglais
Clarinets
(Bb)
Bass Clarinet
(Bb)
Alto Saxophone
1
2
1
2
1
2
Satan introduces in turn Job’s three Comforters (three wily hypocrites). Their dance is at first
one of pretended sympathy, but develops into anger and reproach (see Blake VII and X).
Allegro doloroso (q = 76)
4
4
4
4
4
4
4
1 Solo (when no Saxophone)
p
1 Solo (when no Saxophone)
Solo*
Enter 1st Comforter
p
f
a 2
f
a 2
Enter 2nd Comforter
f
f
f
f
pp ff
pp ff
pp ff
pp ff
pp ff
pp ff
p f pp ff pp
1 Solo (when no Saxophone)
pp
Bassoons
Contrabassoon
1
2
4
4
1 Solo (when no Saxophone)
pp
f
Horns
(F)
Trumpets
(Bb)
Trombones
Tuba
1
2
3
4
1
2
3
1
2
3
4
4
4
4
4
4
4
for online perusal only
stopped
ff
stopped
ff
f
Allegro doloroso (q = 76)
Violin I
senza sord.
pizz.
4
Violin II
Viola
Violoncello
Contrabass
p f p f ff p f
senza sord.
pizz.
4
p f p f ff p f
senza sord.
pizz.
4
p f p f ff p f
senza sord.
pizz.
4
p f p f ff p f
senza sord.
pizz.
4
Cbsn.
p f p f p f ff
* The Saxophone part may be played by the Bass Clarinet player; the Bass Clarinet part is cued into the 2nd Clarinet.

76
Fl.
1
2
6
Enter 3rd Comforter.
1 Solo (when no Saxophone)
p
molto espress.
3 3
Cl.
(Bb)
1
2
1 Solo
p
molto espress.
3 3
B.Cl.
pp
A.Sax.
p
molto espress.
3 3
Bsn.
Cbsn.
1
2
p p pp pp
for online perusal only
Vln. I
Vln. II
Vla.
Vcl.
Cb.
p p pp
pizz.
p
pizz.
p
pizz.
p
p p pp
Picc.
12
Fl.
Ob.
1
2
1
2
C.A.
Cl.
(Bb)
B.Cl.
1
2
A.Sax.
Bsn.
1
2
Vln. I
Vln. II
Vla.
Vcl.
Cb.

77
Picc.
18
34 Poco più mosso
f p ff p f p ff p pp ff f p ff p
a 2
Fl.
Ob.
1
2
1
2
f p ff p f p ff p pp ff f p ff p
a 2
f p ff p f p ff p pp ff f p ff p
C.A.
Cl.
(Bb)
1
2
a 2
f p ff p pp ff
f p ff p f p ff p pp ff f p ff p
B.Cl.
for online perusal only
f p ff p pp ff
A.Sax.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
3
4
1
2
3
1
2
3
f p ff f p ff f p ff f p ff
a 2
f p ff p pp ff
1
p pp f
3
con sord.
p pp f
pp ff f p ff p
pp ff f p ff p
pp f pp pp f pp pp f pp pp f p
pp f pp pp f pp pp f pp pp f p
Tpt. 3
Timp.
Perc.
Vln. I
Vln. II
Vla.
Vcl.
Cb.
34 Poco più mosso
(pizz.)
f f f f
f
p ff p
pp f
(pizz.)
arco
f f f f
f
p ff p
pp f
(pizz.)
f f p f f p f f p f f p
(pizz.)
f f p f f p f f p f f p
(pizz.)
f f p f f p f f p f f p
arco

78
Picc.
22
p p f
Ancora più mosso
Fl.
Ob.
1
2
1
2
(a 2)
(a 2)
p p f
p p f
C.A.
Cl.
(Bb)
B.Cl.
1
2
p p f
(a 2)
p p f
p p f
A.Sax.
Bsn.
Cbsn.
1
2
(a 2)
p p f
2nd time only
f
f
Hrn.
(F)
Tpt.
(Bb)
Tbn.
1
2
3
4
1
2
3
1
2
for online perusal only
a 2
f
a 2
f
senza sord.
2nd time only
a 2
p p f
a 2
pp p pp p f
f
f
mute off
3
Tba.
pp p pp p f
2nd time only
f
f
Timp.
Perc.
S.D.
p
Vln. I
pizz.
Ancora più mosso
p p f
Vln. II
p p f
Vla.
p p f
Vcl.
Cb.
p p f
p p f

79
26
Picc.
Fl.
Ob.
1
2
1
2
a 2
f
f
a 2
p f p f p f
f
f
C.A.
p f p f p f
Cl.
(Bb)
1
2
f
B.Cl.
f
A.Sax.
Bsn.
1
2
for online perusal only
a 2
f
f
Cbsn.
f
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
a 2
a 2
p f p f p f
p f p f p
f
Tbn.
1
2
3
Tba.
Timp.
Perc.
f p f
Vln. I
Vln. II
arco
arco
p f p f p f
f
non div.
p f p f p f
f
Vla.
arco
p f p f p f
non div.
f
Vcl.
Cb.
arco
sempre pizz.
ff
p f p f p f
non div.
f
arco
f

80
Picc.
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
1
2
1
2
1
2
30
35
(a 2)
a 2 a 2
a 2 a 2
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
for online perusal only
A.Sax.
Bsn.
1
2
(a 2)
cresc.
Cbsn.
cresc.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
4
1
2
3
1
2
3
ff f ff f cresc.
ff
f
f
f
f
ff
f
f
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
a 2
a 2
a 2
a 2
Timp.
Perc.
35
f f f
Vln. I
Vln. II
Vla.
Vcl.
cresc.
cresc.
cresc.
Cb.
cresc.

34
Here the comforters return to their
gestures of pretended sympathy.
rit.
81
Picc.
ff
Fl.
1
2
ff
p
Ob.
1
2
ff
C.A.
ff
p
Cl.
(Bb)
B.Cl.
1
2
ff
ff
Solo
for online perusal only
A.Sax.
f
p
Bsn.
Cbsn.
1
2
ff
ff
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
4
1
2
3
1
2
3
ff
ff
ff
ff
ff
ff
ff
Timp.
(S.D.)
Perc.
pp
ff
rit.
Vln. I
ff
Vln. II
ff
Vla.
ff
Vcl.
ff
Cb.
ff

82
Fl.
Ob.
37
Tempo I
1 Solo (when no Saxophone)
p molto espress.
3
BLANKED OUT SECTION
C.A.
Cl.
(Bb)
p molto espress.
3
A.Sax.
Vln. I
p molto espress.
Tempo I
3
for online perusal only
Vln. II
Vla.
Solo
pizz.
pp
Vcl.
Tutti
p molto espress.
pizz.
Cb.
pizz., 1 desk
pp
pp
Fl.
41
Ob.
C.A.
Cl.
(Bb)
A.Sax.
Vln. I
Vln. II
Vla.
(Solo)
Vcl.
(Tutti)
3 3
Cb.

Picc.
46
36 Andante maestoso (h = 64)
2
ff
Job stands and curses God, ‘Let the day perish wherein I was born’ (see Blake VIII).
3
take Fl. 3
83
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Vln. I
Vln. II
Vla.
Vcl.
Cb.
1
2
1
2
1
2
1
2
1
2
3
4
1
2
3
1
2
3
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
36 Andante maestoso (h = 64)
2
2
2
2
2
ff 3
3
ff
ff
ff
ff
ff
ff
a 2
ff
ff
a 2
ff
ff 3
ff
ff
ff
ff
Cym.
B.D.
ff
ff
ff 3
ff
non div., arco
ff
non div., arco
ff
Tutti, arco
ff
3
for online perusal only
3 3
3
3
3
3
a 2
a 2
ff
ff
mp
mp
3
3
3
3
3
dim.
dim.
dim.
dim.
3 3
3
3
3
non div. 3 3
non div.
3
3
3
ff
ff
mf
mf
3
mf
mp
non div.
non div.
3
3
3
3
3
3
mf
mf
p
p
3
3

84
Fl.
1
2
53
(a 2)
p
Heaven gradually becomes visible, showing mysterious veiled sinister
figures, moving in a sort of parody of the Sons of God in Scene I.
*
f
p
3
Ob.
1
2
(a 2) 3
f
p
3
mf
p
f p p
C.A.
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
1
2
1
2
3
mf p f p p fp
a 2
mf p f p p fp
3 3 3
mf p p p p
3 3 3 3 3
p
p
mp
3
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
3
p
a 2
p pp p 3
fp
a 2
p
pp
p
fp
(1) 1, 2 a 2
p pp p
p
a 2 a 2
Tbn.
p
pp
for online perusal only
p fp f
3
p fp f
Tba.
3
p
p
f
Timp.
Perc.
B.D.
pp p pp
pp
Vln. I
Vln. II
Vla.
Vcl.
Cb.
3 3 3 3 3
mf
p
p
p cresc.
3 3 3 3 3 3
mf p p p cresc.
3
3 3 3 3 3
mf p p p cresc.
3 3 3 3 3
3
mf
p
p
p cresc.
3 3 3 3 3
mf p p p cresc.
* If required by the Stage, a cut of 9 bars (bb. 55–63) may be made here.
3
3
3
3
3

85
Fl.
Ob.
C.A.
1
2
3
1
2
60
a 2
[a 2]
3
f
fp
ad lib.
take Picc.
3
f
3 3
fp
fp
3
f dim. dim. p
3 3 3
f
dim. dim. p fp p
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
1
2
1
2
f
f
f
3
a 2
dim. p fp p
3
dim.
p
3
3 p
3
dim.
p
3
3
Hrn.
(F)
1
2
3
4
dim.
f
f dim.
3
mf p pp
3
p
3 a 2
p
p
3 a 2
p
3 p
Tpt.
(Bb)
Tbn.
1
2
3
1
2
f dim.
f dim.
p
for online perusal only
pp
a 2
p
fp
3
Tba.
p
fp
3 3
p
p
p
Timp.
Perc.
f dim.
(B.D.)
pp
pp
pp
Vln. I
Vln. II
Vla.
Vcl.
3 3 3 3 3
3 3
f dim. p
3 3 3 3 3
3 3
f dim. p
3 3 3 3 3
3
f dim. 3
p
3 3 3
3 3 3
f dim. p
3
Cb.
f
3 3 3
dim.
p
3 3 3 3

86
67
37
Heaven is now lit up. The figures throw off
their veils and display themselves as Satan
enthroned, surrounded by the hosts of Hell.
Picc.
ff
3 3 3
ff
Fl.
Ob.
C.A.
Cl.
(Bb)
1
2
1
2
1
2
(a 2)
p
p
p
3
ff
3 3 3 ff
ff 3 3 3 ff
ff
3 3 3 ff
ff
3 3 3 ff
B.Cl.
Bsn.
1
2
a 2
ff
ff
3 3 3
3 3 3
ff
ff
Cbsn.
Hrn.
(F)
1
2
3
4
p cresc.
3 3 f
ff
3 3 3 3 ff
fp
ff
fp
ff
3 3 3 ff
Tpt.
(Bb)
Tbn.
1
2
3
1
2
a 2
p
a 2
p
p
ff
ff
3
3
3
3
3
3
ff
ff
3 3 ff
3
Tba.
p
3 3
3
ff
p
ff
Timp.
f
Tam-tam Solo
ff
Perc.
(B.D.)
fff
Org.
ad lib.
for online perusal only
Full Organ with Solo Reeds coupled
ff
Ped.
Vln. I
3
3 ff
3 3 3
37
ff
ff
Vln. II
3
3 ff
3 3 3
ff
Vla.
Vcl.
3
3
3 ff 3 3 3
3 ff 3 3 3
ff
ff
Cb.
3
3
ff
Note: where there is an Organ with very powerful reeds the bars marked Ø may be played by Organ and Timpani only.
ff

87
74
Picc.
ff
3
Fl.
1
2
p
p
ff 3
p
p
Ob.
1
2
p
ff 3
p
C.A.
ff 3
Cl.
(Bb)
1
2
p
ff 3
p
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
3
4
ff 3
3
ff
ff
ff
ff
3
3
3
3
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
1
2
3
ffpp
ffpp
ffpp
ff 3
3
ff
ff 3
ff 3
3
ff
ffpp
ffpp
ffpp
Timp.
Perc.
B.D.
roll
ffpp
fpp
ff
ff
3
3
for online perusal only
ffpp
fpp
Org.
ff
Ped.
3
3
Vln. I
Vln. II
div.
div.
p cresc. ff f
3
p cresc.
p cresc. ff f
3
p cresc.
Vla.
Vcl.
Cb.
ffpp ff f 3 ffpp
ffpp ff f
3
ffpp
ffpp ff f 3 ffpp

88
Picc.
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
1
2
1
2
1
2
1
2
1
2
3
4
1
2
3
1
2
3
79
a 2
a 2
B.D.
ff
ff
Satan stands. Job and his friends cower in terror.
fff
ff fff 3
3
ff
fff
3 3 p
3
ff fff dim.
3 f
3 3
3
3
3 ff
ff fff 3
ff
3
ff
fff
3 ff
ff fff ff
dim.
3
p
p
p
f
p
take Fl. 3
ff fff f
ff
ff
ff
fff
fff
fff
ff ff 3
3
ff fff p
a 2
a 2
ff
ff
ff
for online perusal only
Cym.
Tam-tam
fff
fff
fff
fff
fff
fff
3
3
3
3
dim.
ff
ff
ff
mutes on
mutes on
mutes on
mute on
3 f
3
niente
p
p
p
mutes on
mute on
pp
f
f
f
3
3
Org.
Ped.
Vln. I
Vln. II
Vla.
Vcl.
Cb.
unis.
ff f
fff 3 3
dim. 3
ff f fff 3
3 dim. 3
ff f
fff 3
3
3 dim. 3
ff f
fff
3 dim. 3
ff f fff
3
dim.
3
3
3
3
3
3

89
1
85
3
The vision gradually disappears.
3
4
Fl.
2
p
3
3
4
Ob.
1
2
pp
3
4
C.A.
3
4
Cl.
(Bb)
B.Cl.
1
2
change to Cl. (A)
3 3 3
3
4
3
4
p
pp
Bsn.
Cbsn.
1
2
B.Cl.
p
3 3 3
pp
3
4
3
4
Hrn.
(F)
1
2
3
4
con sord. a 2 mutes off
f
pp
con sord. a 2 mutes off
f
pp
3
4
3
4
Tpt.
(Bb)
1
2
3
con sord. a 2
con sord. f
pp
3
4
3
4
Tbn.
1
2
3
f
pp
con sord. a 2
con sord.
f
pp
mutes off
mute off
3
4
3
4
Tba.
f
pp
3
4
Timp.
Perc.
Org.
(B.D.)
niente
for online perusal only
pp p ppp pppp
3
4
3
4
3
4
3
4
Ped.
3
4
Vln. I
Vln. II
Vla.
Vcl.
Cb.
3 3 3 3
p
pp
3 3 3
p
3 3 3 3 3 3 mutes on
p pp pp
3 3 3 3 3 3
p pp pp ppp
p
3 3 3 3
pp
3 3
pp ppp
3
4
3
4
3
4
3
4
3
4

90
Scene VII
Elihu’s Dance of Youth and Beauty
Violin I
Andante tranquillo (Tempo rubato) (q = 72)
3
4
3
4
Enter Elihu, a beautiful young man. ‘I am young and ye are very old’ (see Blake XII).
Cadenza
Solo
pp
3
Violin II
3
4
Viola
3
4
for online perusal only
Violoncello
3
4
mutes on
Contrabass
3
4
ppp
4
(Solo)
3 3
Vln. I
Vln. II
Vla.
Vcl.
Cb.
12
6
Vln. I
3
Vln. II
Vla.
Vcl.
con sord.
div.
ppp
div., con sord.
ppp
Cb.

91
19
38
*
Hp. 1
pp
6 6
38
Vln. I
3
3
Vln. II
Vla.
for online perusal only
pp
Vcl.
pp
Cb.
25
Hp. 1
(Solo)
3 3
5 5
Vln. I
5 5
Vln. II
Vla.
Vcl.
Cb.
31
Poco allarg. a tempo
Hp. 1
ppp
Poco allarg. a tempo
3 3 3
5
Vln. I
3
ppp
3
pp
Vln. II
Vla.
Vcl.
Cb.
ppp
ppp
1 desk pizz.
ppp
* If required by the stage, a cut of 8 bars (to s) may be made here.
pp
pp

92
BLANKED OUT SECTION
Cl.
(A)
Bsn.
1
2
1
2
37
Poco allarg. a tempo Allegretto (q = 112)
pp
pp
Solo p
Hp. 1
ppp
pp
Poco allarg. a tempo Allegretto (q = 112)
for online perusal only
Vln. I
3
ppp
Vln. II
Vla.
Vcl.
Cb.
ppp
ppp
1 desk pizz.
ppp
mutes off
mutes off
Cl.
(A)
1
2
44
3
Bsn.
1
2
Hp. 1
p
(Solo)
Vln. I
Tutti
p cantabile
p cantabile
Vln. II
p cantabile
Vla.
Vcl.
Cb.
senza sord.
senza sord.
Tutti
pizz.
pp
pizz.
pp
pizz.
pp

93
Cl.
(A)
1
2
50
2
Rit. in tempo I 39
Poco allarg. a tempo
pp
Bsn.
1
2
pp
Hp. 1
ppp
Rit. in tempo I 39
Poco allarg. a tempo
3 3
3
Vln. I
f
3
3
ppp
Vln. II
Vla.
Vcl.
div., arco
div., arco
pp
ppp
Cb.
pp
ppp
1 desk pizz.
ppp
Cl.
(A)
1
2
57
for online perusal only
Rit. in tempo I Poco allarg. a tempo
4
Bsn.
1
2
4
4
Hp. 1
ppp
4
Rit. in tempo I Poco allarg. a tempo
Vln. I
3
4
Vln. II
5 3 7
pp ppp
4
Vla.
4
ppp
Vcl.
4
ppp
Cb.
arco
ppp
4

94
Pavane of the Sons of the Morning
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Hrn.
(F)
1
2
3
1
2
1
2
1
2
1
2
3
4
62
Heaven gradually shines behind the stars. Dim figures are seen dancing a solemn dance. As Heaven
grows lighter, they are seen to be the Sons of the Morning dancing before God’s Throne (see Blake XIV).
Andante con moto (q = 80)
4
4
4
4
4
4
4
4
4
a 2
pp
pp
pp
pp
pp
pp
pp
for online perusal only
Timp.
Perc.
Hp. 1
Hp. 2
4
4
4
4
4
4
ppp
pp
pp
Cymbals clashed
pp
ppp
Vln. I
Vln. II
Andante con moto (q = 80)
(Solo col Tutti)
4
4
pp
pp
3 3
3
3
Vla.
1
2
3
a 2
4
unis.
4
pp
pp
Vcl.
Cb.
1
2
3
a 2
4
pp
unis.
4
pp
Tutti, pizz.
4
pp
arco
pp

95
Fl.
1
2
68
pp
40
3
pp
C.A.
pp
Cl.
(A)
1
2
pp
B.Cl.
Bsn.
1
2
pp
pp
Cbsn.
Hrn.
(F)
pp
pp
Timp.
Perc.
ppp
ppp
Hp. 1
pp
Hp. 2
pp
40
Vln. I
pp
Vln. II
pp
for online perusal only
1
2
3
4
Cymbals
3 3 3
3
3
3
Vla.
1
2
pp
3
pp
Vcl.
1
2
3
pp
pp
Cb.
pp
pizz.
arco
pp

96
Fl.
1
2
73
pp
pp
3
Ob.
1
2
pp
pp
pp
C.A.
Cl.
(A)
B.Cl.
Bsn.
1
2
1
2
pp
pp
pp
pp
Cbsn.
a 2
pp
pp
pp
pp
Cbsn.
pp
pp
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
for online perusal only
con sord.
con sord.
pp
pp
pp
pp
mutes off
mute off
Timp.
Perc.
ppp
ppp
Hp. 1
pp
Solo
Hp. 2
pp
pp
Vln. I
3 3 3 3
pp
Vln. II
1
2
3
3 3 3
unis.
div.
pp
Vla.
pp
pp
3
Vcl.
1
2
pp
pp
unis.
div.
pp
pp
3
Cb.
pp
pp
pizz.
arco
pp
pp
pizz.

97
Fl.
Ob.
1
2
3
1
2
80
cresc. f 3
cresc.
a 2
cresc.
f 3
take Picc.
C.A.
Cl.
(A)
B.Cl.
1
2
a 2
cresc.
cresc.
cresc.
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
3
4
cresc.
pp
pp
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
1
2
3
senza sord. 1
pp
pp
senza sord.
pp
pp
pp
Timp.
Perc.
for online perusal only
pp
pp
Cym.
B.D.
ppp
pp
Hp. 1
pp
pp
Hp. 2
p cresc.
Vln. I
Vln. II
Vla.
1
2
3
3
cresc.
3
cresc.
f
f
3
3
cresc.
mf
cresc.
mf
Vcl.
1
2
cresc.
mf
3
Cb.
cresc.
cresc.
mf
mf

98
86
41
Picc.
Fl.
Ob.
C.A.
Cl.
(A)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
1
2
1
2
1
2
3
4
1
2
3
1
2
3
(a 2)
mf
p
mf
mf
a 2
f
f
f
f
f
ff 3 3
3 3 ff 3 3 3 3
3 3 ff 3 3 3 3
mf f ff
a 2
ff
f
f
f
f
f
a 2
a 2
a 2
ff
ff
ff
ff
ff
ff
f
a 2
f
ff
ff
ff
ff
ff
ff
ff
ff
change to
Cl. (Bb)
f
ff
Timp.
Perc.
p
pp
pp
for online perusal only
f
gliss.
ff
ff
ff
Hp. 1
f
ff
gliss.
Hp. 2
p
ff
41
Vln. I
3 3 ff 3 3 3 3
Vln. II
Vla.
1
2
3
unis.
f
f
3 3 ff 3 3 3 3
ff
ff
Vcl.
Cb.
1
2
3
f
unis.
f
arco
f ff ff

Piccolo
Flutes
Oboes
Cor Anglais
Clarinets
(Bb)
Bass Clarinet
(Bb)
Bassoons
Contrabassoon
Horns
(F)
1
2
1
2
1
2
1
2
1
2
3
4
Andante con moto (h = 80)
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
Enter Satan. He claims the victory over Job.
ff
ff
ff
a 2
ff
ff
ff
Tpt. 3
ff
Scene VIII
Galliard of the Sons of the Morning
for online perusal only
ff
ff
ff 3 3
ff 3 3
ff 3 3
ff 3 3
3
3
ff
3
3
3
3
ff 3
3
3
3
99
Trumpets
(Bb)
Trombones
Tuba
Timpani
Percussion
Harps 1, 2
Violin I
Violin II
Viola
Violoncello
Contrabass
1
2
3
1
2
3
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
ff
ff
ff
Andante con moto (h = 80)
3
2
3
2
3
2
3
2
3
2
ff
ff
ff
div.
ff
ff
ff
ff ff 3 3
ff ff 3 3
ff
ff
3
3 3
3

100
Picc.
8
42
God pronounces sentence of banishment on Satan.
take Fl. 3
The Sons of the Morning gradually drive
Satan down (see Blake V and XVI).
Largamente Allegro pesante (q = 160)
’ 3
4
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Hp. 1
Hp. 2
1
2
1
2
1
2
1
2
1
2
3
4
a 2
ff 3 3
a 2
ff 3
f f f
1
2
f f f
’
3
f f f
f f f
ff
ff
3
3
’
’
’
3
’
for online perusal only
a 2
ff 3 3
a 2
1
’ 3
2
4
f marcato
’
3
3
’
’
’
’
’
’
’
’
’
’
’
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
f
f
f
f
f
f
Vln. I
Vln. II
Vla.
Vcl.
Cb.
42
ff
Largamente Allegro pesante (q = 160)
ff 3 3
ff 3
ff 3
3
’
3 3
’
3 3
’
3
’
ff 3 3
f
pizz. arco
’
3
4
3
4
3
4
3
4
3
4
f marcato
f marcato
div.
f
div.
f

101
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
1
2
3
1
2
1
2
17
a 2
p f f p f
p f f p f
Bsn.
1
2
for online perusal only
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
1
2
3
4
1
2
3
1
2
3
2
4
f
f
p f f p f
Tba.
Timp.
Perc.
p p p
Hp. 1
Hp. 2
Vln. I
Vln. II
Vla.
Vcl.
Cb.

102
Fl.
1
2
28
43
BLANKED OUT SECTION
a 2
f marcato
3
Ob.
1
2
(a 2)
f
f marcato
f marcato
C.A.
Cl.
(Bb)
1
2
f
B.Cl.
Bsn.
1
2
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
a 2
a 2
for online perusal only
f marcato
f marcato
p
a 2
f marcato
p
Tbn.
1
2
3
Tba.
Timp.
Perc.
mf
p
Hp. 1
Hp. 2
Vln. I
Vln. II
43
sul G
sul G
Vla.
Vcl.
Cb.

103
Fl.
Ob.
1
2
3
1
2
39
C.A.
Cl.
(Bb)
B.Cl.
1
2
Bsn.
1
2
Cbsn.
Hrn.
(F)
1
2
3
4
a 2
a 2
Tpt.
(Bb)
1
2
3
p
f
mf
f
Tbn.
1
2
3
mf
mf
for online perusal only
mf
f
f
f
Tba.
mf
f
Timp.
Perc.
p
f
Hp. 1
Hp. 2
sul G
Vln. I
sul G
Vln. II
Vla.
unis.
f marcato
sul G
div.
Vcl.
Cb.
unis.
f marcato
div.

104
Fl.
Ob.
C.A.
Cl.
(Bb)
1
2
3
1
2
1
2
50
44
Ob. 2
ff p f p
take Picc.
ff p f p
ff p f p
ff p f p p ff
a 2
ff p f p p ff
B.Cl.
Bsn.
Cbsn.
1
2
f p f
p
p ff
f p f p
f p f p
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
f p f p
a 2
f p f p p f
p
p
p
p
p
p f p
Timp.
Perc.
for online perusal only
1
2
3
4
1
2
3
1
2
3
Tri.
p
p
pp
Hp. 1, 2
Vln. I
44
sul G
Vln. II
Vla.
Vcl.
Cb.
ff p f p p f
sul G
ff p f p p f
pizz. unis., arco pizz.
ff p f p
p f
pizz. unis., arco pizz.
p f
ff p f p
pizz. arco pizz.
ff p f p
p f

105
60
45
Picc.
ff p f p
Fl.
Ob.
C.A.
1
2
1
2
ff p f p
p
Ob. 2
p
a 2
p marcato
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
1
2
3
4
1
2
3
1
2
3
f p f p f
f p f p
f
f p f p
f p f p
a 2
f p f p
3 a 2
f p f p
p p f
p
p
p
p marcato
p marcato
p marcato
p
Timp.
Perc.
for online perusal only
Tri.
p
p
f
Hp. 1, 2
Vln. I
Vln. II
Vla.
Vcl.
Cb.
div.
div.
unis.
unis.
f p f f
p
p marcato
sul G
f p f f
p
p marcato
div.
unis., arco
pizz.
f p f p
f
p
div.
unis., arco
pizz.
f p f p f p
arco
pizz.
f p f p
f
p
45
sul G

106
Picc.
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
Bsn.
1
2
1
2
1
2
1
2
70
mf
a 2
mf
a 2
ff ff p mf cresc.
ff ff mf cresc.
a 2
mf
cresc.
46
pp
a 2
mf
cresc.
cresc.
cresc.
cresc.
for online perusal only
Cbsn.
pp
cresc.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
4
1
2
3
1
2
3
ff ff
p sub.
cresc.
ff
ff
p cresc.
1
pp
pp
pp
f f pp
p
pp
Timp.
pp
pp cresc.
Perc.
S.D.
pp cresc.
Hp. 1, 2
Vln. I
Vln. II
Vla.
Vcl.
Cb.
ff ff mf cresc.
p sub.
ff
ff
ff ff mf p cresc.
arco
ff ff pp
arco
ff ff pp
46
mf
arco
cresc.
cresc.

81
rit.
Here Satan falls out of Heaven (see Blake XVI). Black out and Curtain.
a tempo, animato
107
Picc.
ff
ff marcato
Fl.
Ob.
1
2
1
2
ff
ff
ff marcato
Fl. 2
ff
C.A.
ff
Cl.
(Bb)
B.Cl.
Bsn.
1
2
1
2
cresc.
ff
ff
ff
ff marc.
ff marc.
take Cl. (Bb) 3
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
2
cresc.
p
p
ff
ff
ff
ff
ff
for online perusal only
ff marc.
a 2
ff marc.
ff marc.
ff marc.
ff marc.
ff marc.
Tbn.
1
2
ff
ff marc.
3
ff
ff marc.
Tba.
ff
ff marc.
Timp.
ff
Cym. clashed
ff
Perc.
(S.D.)
ff
ff
ff
Hp. 1, 2
rit.
a tempo, animato
Vln. I
ff
ff marc.
Vln. II
ff
ff marc.
Vla.
ff
ff marc.
Vcl.
cresc.
ff
ff marc.
Cb.
cresc.
ff
ff marc.

108
Picc.
89
47
ff
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
Fl.
Ob.
C.A.
1
2
1
2
ff
ff
Cl.
(Bb)
1
2
3
for online perusal only
Bsn.
Cbsn.
1
2
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
Tbn.
1
2
3
Tba.
Timp.
ff
Cym. clashed
pp
Perc.
S.D.
ff
pp
ff
Hp. 1, 2
47
Vln. I
Vln. II
Vla.
Vcl.
Cb.

109
Picc.
97
Altar Dance
Curtain rises. Enter (on earth) young men and women playing on instruments; others bring stones and build an
altar. Others decorate the altar with flowers (see Blake XXI). But Job must not play on an instrument himself.
Allegretto tranquillo (2 beats) (q. = 76)
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
take Fl. 3
Fl.
1
2
Ob.
1
2
a 2 2
p cantabile
p
C.A.
Cl.
(Bb)
1
2
3
p cantabile
a 2
Cl. (Bb) 3 ad lib.
p cantabile
p cantabile
Bsn.
1
2
for online perusal only
a 2
p
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
Tbn.
1
2
3
Tba.
Timp.
Perc.
Hp. 1
f
pp
Hp. 2
f
p
Vln. I
Vln. II
Vla.
Vcl.
Cb.
div.
Allegretto tranquillo (2 beats) (q. = 76)
fppp
fppp
div.
fppp
div.
fppp

110
Fl.
1
2
106
a 2
p cantabile
48
Job blesses the altar (see Blake XVIII).
cantabile
3
p cantabile
cantabile
Ob.
1
2
(2)
p cantabile
p
C.A.
Cl.
(Bb)
1
2
(a 2)
p
p cantabile p
cantabile
p
cantabile
Bsn.
1
2
Cbsn.
Hrn.
(F)
1
2
3
4
for online perusal only
p
Tbn.
1
2
3
Tba.
Timp.
Perc.
Hp. 1
Hp. 2
Vln. I
p
48
2
4
unis.
sul G
Vln. II
2
4
mp cantabile
sul G
Vla.
mp cantabile
unis.
sul G
mp cantabile
Vcl.
Cb.
2
4
pp
p
pizz.
p

111
Fl.
1
2
3
117
4
4
take Picc.
2
4
4
Ob.
C.A.
Cl.
(Bb)
1
2
3
4
4
take B.Cl.
a 2
4
4
4
4
4
4
4
4
B.Cl.
2
4
4
pp
Bsn.
Cbsn.
Hrn.
(F)
Tbn.
1
2
1
2
3
4
1
2
3
a 2
p cantabile
p
p
pp
a 2 4
pp
2
4
2
4
pp
4
4
4
4
4
4
Tba.
2
4
pp
4
Timp.
pp
4
Perc.
4
Hp. 1
4
4
Hp. 2
4
for online perusal only
4
4
4
Vln. I
4
Vln. II
4
Vla.
4
Vcl.
2
4
4
Cb.
arco
4

112
Picc.
Fl.
Ob.
C.A.
1
2
1
2
127
49
4
(a 2)
4
4
4
The Heavenly dance begins again, while the dance on earth continues.
12 8
12 8
pp
pp
pp
Cl.
(Bb)
B.Cl.
4
4
pp
Tpt. 3
pp
4
12 8
12 8
pp
BLANKED OUT SECTION
1
2
Tpt. 3
12 8
pp
Bsn.
Cbsn.
Hrn.
(F)
1
2
1
2
3
4
4
pp
4
4
4
pp
12 8
12 8
pp
12 8
a 2
pp
Tpt.
(Bb)
Tbn.
Tba.
Timp.
Perc.
Hp. 1
1
2
3
1
2
3
4
4
4
4
4
4
4
4
4
p
pp
pp
p
pp
pp
ppp
Glockenspiel
pp
pp
pp
pp
Hp. 2
4
4
for online perusal only
Vln. I
Vln. II
49
4
4
pp
pp
p canta
p canta
Vla.
4
pp
p canta
Vcl.
Cb.
4
4
pp
pp
pizz.
arco
12 8
p
p canta

113
Picc.
132
pp
Fl.
Ob.
C.A.
1
2
1
2
a 2
pp
pp
4
4
Cl.
(Bb)
B.Cl.
1
2
1
Tpt. 3
4
a 2
12 8
4 4
pp
Bsn.
1
2
4
pp cantabile
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
pp
pp
Timp.
Perc.
pp
for online perusal only
1
2
3
4
4
pp cantabile
pp cantabile
1
2
3
1
2
3
pp cantabile
B.D.
ppp
Hp. 1
Hp. 2
Vln. I
3
3
3 3
pp
12 8
Vln. II
Vla.
3
3
3 3
pp
12 8
div.
Vcl.
pp cantabile
div.
Cb.
4
pp cantabile
pp cantabile

114
Picc.
137
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
1
2
1
2
1
2
4
4
a 2
4
a 2
pp
a 2
pp cantabile
pp cantabile
a 2
12 8
4 4
Bsn.
1
2
a 2
12 8
4 4
Cbsn.
12 8
4 4
Hrn.
(F)
1
2
3
4
for online perusal only
Tpt.
(Bb)
1
2
3
Tbn.
1
2
3
pp
Tba.
12 8
4 4
12 8
Timp.
Perc.
Hp. 1
Hp. 2
Vln. I
2
4
12 8
Vln. II
2
4
Vla.
unis.
12 8
4
4
Vcl.
12 8
unis.
4
Cb.
pizz.
12 8
arco
4
pizz.

115
Picc.
142
pp
50
4
pp cresc. 3 3 3
3
2
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
1
2
1
2
1
2
3 3
3
4
pp cresc. 3 3 3
pp cresc.
pp cresc.
pp cresc.
12 8
cresc.
3
2
3
2
3
2
3
2
3
2
Bsn.
1
2
pp
3
12 8
cresc.
3
2
Cbsn.
pp
3
2
12 8
cresc.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
3
4
1
2
3
1
2
3
3
pp
3
a 2
pp cresc.
a 2
pp cresc.
pp cresc.
pp cresc.
pp cresc.
a 2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
Timp.
pp
12 8
cresc.
pp
3
2
Perc.
12 8
Glock.
pp
B.D.
pp
3
2
3
2
Hp. 1
for online perusal only
pp cresc.
3
2
3
2
Hp. 2
pp cresc.
3
2
3
2
Vln. I
Vln. II
Vla.
Vcl.
Cb.
4
arco
3
50
4
12 8
pp cresc.
pp cresc.
pp cresc.
pp cresc.
pp cresc.
3 3 3
3
2
3
2
3
2
3
2
3
2

116
Picc.
Fl.
Ob.
C.A.
Cl.
(Bb)
B.Cl.
Bsn.
Cbsn.
Hrn.
(F)
Tpt.
(Bb)
Tbn.
Tba.
1
2
1
2
1
2
1
2
1
2
3
4
1
2
3
1
2
3
146
Lento (h = 72)
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
Tableau
f f fff
f f fff
f f fff
f
f
f
f
f
f
pp
pp
f pp f pp
f pp f pp
f
f
Gradual black out.
take A.Fl.
a 2
pp ff p
a 2
pp ff p
f f fff pp ff p
a 2
f f fff
Tpt. 3
pp
a 2
pp ff p
fff pp ff p
a 2
fff
f pp fff
pp
f
f
f
a 2
pp
fff
fff
fff
pp
ff
pp ff p
a 2
pp ff p
a 2
pp ff p
a 2
pp ff p
f pp f pp fff pp ff p
a 2 a 2
a 2
fff
fff
pp ff p
pp ff p
p
for online perusal only
Timp.
Perc.
Hp. 1, 2
Vln. I
Vln. II
Vla.
Vcl.
Cb.
3
2
f pp f pp
f pp ff pp
3
2
3
2
3
2
3
2
3
2
Lento (h = 72)
3
2
(Glock.)
3
2
3
2
3
2
3
2
f
f
f
f
B.D.
f pp f pp
f
f
f
f
Cym.
fff
pp ff p
fff pp ff p
pp fff pp ff p
fff
fff
fff
fff
fff
mutes on
mutes on
mutes on
mutes on
fff pp ff p

Scene IX
Epilogue
117
Flutes
Alto Flute
Oboes
Cor Anglais
Clarinets
(Bb)
1
2
1
2
1
2
Stage lights up again shewing the same scene as the opening. Job an old and humbled man
sits with his wife. His friends come up one by one and give him presents (see Blake XIX).
Largo sostenuto (q = 48)
4
4
4
4
4
ppp
ppp
ppp
pp molto sostenuto
3
Bass Clarinet
(Bb)
Bassoons
Contrabassoon
1
2
4
4
4
ppp
ppp
ppp
1
A.Fl.
pp molto sostenuto
3
ppp
Horns
(F)
Trumpets
(Bb)
Trombones
1
2
3
4
1
2
3
1
2
3
4
4
4
4
4
4
ppp
ppp
ppp
ppp
ppp
1, 2 mutes on
3 mute on
Tuba
4
ppp
Timpani
4
ppp
ppp
Percussion
Violin I
(B.D.)
4
4
for online perusal only
ppp
Largo sostenuto (q = 48)
con sord.
3
Violin II
4
pp sostenuto
con sord.
3
Viola
4
pp sostenuto
con sord.
div.
Violoncello
4
pp sostenuto
con sord.
div.
Contrabass
4
pp sostenuto
ppp
mutes on
con sord. div., pizz.
ppp

118
Fl.
A.Fl.
1
2
6
3
51
Job stands and gazes on the distant cornfields.
3
ppp
3
ppp
Ob.
1
2
C.A.
Cl.
(Bb)
1
2
A.Fl.
ppp
1 Solo
3 3 3 3 3
ppp
B.Cl.
Bsn.
1
2
3
for online perusal only
1 Solo
ppp
Cbsn.
Hn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
1 Solo, con sord.
pp 3 3 3 3 3
3 Solo, con sord.
3 mute off
3 3 3
pp
Tbn.
1
2
3
Tba.
Timp.
Perc.
Hp. 1
sounds 8ve higher
pp
51
Vln. I
3
ppp
ppp
Vln. II
Vla.
ppp
ppp
unis.
ppp
ppp
Vcl.
ppp
ppp
Cb.
ppp
ppp

119
Fl.
1
2
12
3
Enter gradually Job’s three daughters.
pp 3
3
3 3
3
3
3
3
3
3
A.Fl.
Ob.
C.A.
1
2
3
1 Solo
pp
3
3
3 3
pp
3 3 3 3
pp
Tacet al fine
3
3
3
3
3
3
3
3
3
3
Cl.
(Bb)
1
2
B.Cl.
Bsn.
1
2
pp
1 Solo
3
pp 3 3 3 3 3 3
A.Fl.
3
Cbsn.
3 3 3 3 3 3
pp
Hn.
(F)
Tpt.
(Bb)
1
2
3
4
1
2
3
con sord.
pp
4 B.Cl.
pp
senza sord.
pp
Tbn.
1
2
3
Tba.
for online perusal only
Timp.
Perc.
Hp. 1
3
ppp
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3
3
3
Vln. I
pp
Vln. II
pp
div.
Vla.
pp
unis.
div.
Vcl.
pp
Cb.
unis., arco
pp

120
Fl.
A.Fl.
1
2
17
3
3
3
1
3
They sit at his feet. He stands and blesses them (see Blake XX).
2 Solo
ppp
p
3 3
3
52
Solo
3
ppp
Ob.
C.A.
1
2
3
3
3
3
Cl.
(Bb)
1
2
B.Cl.
Bsn.
1
2
for online perusal only
3 3 p
3 3 3
ppp
1 A.Fl.
ppp
3 3
Cbsn.
Hn.
(F)
Tpt.
(Bb)
Tbn.
1
2
3
4
1
2
3
1
2
3
p pp ppp
Tba.
Timp.
Perc.
ppp p pp ppp
Hp. 1
3
3
3
3
3
3 3 3 3 3
ppp
ppp
52
Vln. I
3 3 3 3
ppp
Vln. II
3
Vla.
3 3 3
ppp
unis.
ppp
Vcl.
ppp
Cb.
ppp

121
Fl.
1
2
22
BLANKED OUT SECTION
ppp
(1)
rit.
ppp
Very slow curtain, and black out.
a tempo
A.Fl.
ppp
Ob.
C.A.
1
2
ppp
Cl.
(Bb)
1
2
2
ppp
B.Cl.
Bsn.
1
2
pp
(1)
pp
ppp
ppp
Cbsn.
B.Cl.
pp
ppp
Hn.
(F)
1
2
3
4
senza sord.
pp
ppp
pp
ppp
Timp.
pp p ppp niente
Hp. 1
p
Hp. 2
p
Vln. I
ppp
rit.
div.
for online perusal only
a tempo
pp
niente
Vln. II
div.
pp
niente
div.
Vla.
pp
niente
niente
Vcl.
Cb.
(arco)
pp
pp
niente
niente

for online perusal only

for online perusal only