R. Vaughan Williams - Sir John in Love

?
bœ
{
q = q
œ
&
œ œ ‰ Ó &
281/546 Fals., nn. 2, 3: in aut and msfs both are G, but
these have been altered to F in vs
?
œbœ
œ œ ˙ œ ‰ Œ
282/551 Tutti: after this bar in aut and msfs there is a
five-bar cut (a repetition of bb. 503–7), which
was made so late that it caused a large blank in
later copies of vs with the note ‘Composer’s
cut’
288/580 Vcl., nn. 3, 4: the rhythm has been altered
from even crotchets to conform
To
with the
reading of Vla. and vs
?
289/584 Tempo: bAnimato œ œadded œ to aut by RVW,
possibly
{
suggesting q = q one in a bar
292/599ff Ford: here œ RVW seems to have made an
unfortunate &
œ œ ‰ Ó
shortening of the text & of MWW.
In F, Ford says, ‘She dwells so securely on the
excellency of her honour that the folly of my
soul dares not present itself. She is too bright,’
?
etc.
295/615 Tempo: Moderato in aut, msfs, and vs; RVW
has altered msfs to Allegro moderato
297/625 Tempo: in msfs, MS has added ‘Meno’ with
‘Tempo’ in b. 626
299/634 Fals.: the quaver rest, present in aut and msfs,
is missing in vs
301/644 Fals., n. 3: F# in vs
301/648 Tempo: ritard. added to msfs by RVW and MS
302/650 Tempo: Andante con moto in aut and vs but
Allegretto added to msfs by RVW, again possibly
suggesting one in a bar
305/687 Ford, n. 2: F in vs
309/712ff Host: in vs, this and later lines were first given
to Bardolph, with ‘bully’ changed to ‘master’.
This was clearly due to the matter of casting in
the original RCM production, for Bardolph, as
already said, now a tapster at the Garter Inn,
should not be playing a role in this concerted
plot to ‘kill de Jack priest’. Restored to the
Host, as in the original pages of aut, with his
characteristic text, until the end of the act.
313/736 Host: in sources ‘thou hast’, but this is a
question, and the ‘hast thou’ of MWW has
been preferred
313/737 Host: ‘Sir John’ pencilled into msfs by RVW
316–20/ Tutti: this section, roughly sketched in aut,
751–78 has been recopied in msfs by RD, who has
introduced certain small revisions
320/776–9 S.D.: in aut, RVW has revised the rhythm of
the S.D. to agree with the singers, w-wind, and
horns. For some reason, this did not get into
RD’s recopying of this page in msfs.
320/793 Vln. I, II, n. 1: fp cresc. in vs
œ œ œ ‰ Ó
Act III
Scene I (Interlude)
˙ œ j ‰ U ˙ œ j ‰ ˙ œ j ‰ Œ Œ
taken from int
b œ œ ˙ œ j ‰ Œ U
œ œ œ ‰ Ó
346/135–6 Vln. I, II:
346/136 Tutti: at the end of this bar, a conductor
(Robert Percival?) has noted in msfs ‘Comma’,
and made a two-stroke break
347/137 Anne: in msfs a conductor (presumably
Percival) has added ‘my father says’ after ‘Ah,
mine Host’, as in mww, though no notation is
suggested. This is a sensible alteration, and is
post int.
382/355 Tempo: the later addition of moderato to
the original Allegro probably invalidates the
metronome mark
383/381 Vla., Vcl.: slur taken from int
387/400–01 Tutti:
388/405 Tempo: in msfs the word pesante, which appears
in int, has been crossed out
389/407–8 Host: in aut and msfs, the words ‘I mun’ (also
given in int), has been crossed out and replaced
with ‘Thou shalt’ by the same conductor who
wrote in b. 137; oup adopts
390/416–17 Host: these bars are empty in aut. In msfs a
conductor (Percival?) has added ‘Farewell’, and
this is printed in int, though the Host continues
to sing three bars later and is then directed to
go off stage. It is suggested that ‘Farewell’ be
ignored.
˙ œ j ‰ U ˙ œ j ‰ ˙ œ j ‰ Œ Œ
taken from int
Scene II
394/10ff Evans: lines taken from the metrical version of
Psalm 137 by Sternhold and Higgins
397–8/24ff Evans: lines taken from Marlowe’s song ‘Come
live with me and be my love’
401/37 Tempo: in msfs, MS has noted ‘Not too fast’
419/108 Ford: in mww, ‘for it is as positive’; the ‘as’ is
surely needed in this position
423/122 Tempo: Allegro from vs; in aut and msfs Allegro
moderato
426–56/ Tutti: this 120-bar orchestral interlude (longer
133–253 in vs), written to allow for the elaborate
scene change at the ill-equipped RCM theatre,
gave RVW some trouble, and the occasion to
experiment with repeats. Bars 150–229 were
an insert that was later cut, though they are
retained in vs.
429/149 Tutti: following this bar in vs, there are five
modulating bars followed by 55 in Allegretto
triple time. There is, however, a note which
Perusal Score
Not for Performance
xii