R. Vaughan Williams - Job: A Masque for Dancing

OxfordMusic

The one-act ballet Job has been described as one of Vaughan Williams's mightiest achievements. It is a work which, in a full production, combines painting, literature, music, and dance. The work was inspired by William Blake's Illustrations of the Book of Job, and includes quotations from the King James Bible. The result is a musical masterpiece, combining the ancient and the modern: Vaughan Williams's earlier style is in evidence, including tranquil pastoral melodies, but the work also anticipates the composer's later style. This new, scholarly edition, edited by Julian Rushton, will replace the existing OUP edition from 1934, and includes detailed preliminary matter, comprising a preface, sources and editorial method, and detailed textual notes.

. 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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Contents

Preface page v

Sources

Textual Notes

Appendix 1

viii

x

xii

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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.]


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


nœbœ

œ# œ nœ


# œ bœ œ

3

J œ œ J


œ nœ

œ nœ

œ bœ



J J œ œ J bœ



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


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


Œ

œ

Œ


Œ

œ

Œ


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



J œ nœ

J



J œ nœ

J bœ


J œ nœ

J œ œ J bœ œ œ nœ

J J

Œ

Œ

Œ

Œ

bb-

œ


Œ

Œ

nn-

œ


Œ

Œ

bb-

œ


Œ

Œ

nn-

œ


Œ

Œ

bb-

œ Œ bœ - Œ # œ - Œ # œ - Œ œ - Œ # œ -


Œ nœ

Œ bœ

Œ nœ

Œ bœ

Œ 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

œ

œ

[to bar 15]

One bar was cut between bars 41 and 42, requiring alterations to 41 and 42:

A.Sax.

41 42

& # # #



J


[omitted bar]


J œ nœ

J

œ bœ

J œ nœ

J


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


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


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




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


œ J

œ

# œ

j œ

œ ˙ œ œ

∑ ∑ ∑ ∑ ∑ ∑ ∑


œ

J œ-

œ ˙ œ œ œ J

œ -



pizz.


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


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


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


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

?



Œ Œ bœ

b

œ

b

bb

b

ΠΠb

b

œ Œ Œ

œ


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


b b Œ Œ 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


œ

b œ Œ Œ b œ Œ Œ b b œ œ b

n

œ

f

sempre pizz.


? 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



ΠΠb


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


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


˙-

-

˙

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



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.