Suffrage Cantata | Full Score | Andrea Ramsey | MusicSpoke by MusicSpoke

Andrea Ramsey

Suffrage Cantata

An extended work in five movements for SSAA chorus, piano, string quartet, narration, soloists, & optional percussion

Full Score www.andrearamsey.com This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Suffrage Cantata Full Score Andrea Ramsey An extended work in five movements for SSAA chorus, piano, narration, string quartet, soloists, and optional percussion

1. It is Coming……………………………………………………..…………………………..1 Early Women’s Rights Perspectives SSAA chorus, piano, string quartet, narration, soloist, timpani, & bass drum

2. Failure is Impossible………………………...……….………...………..……….....…43 Illegal Voting, Arrest, & Trial of Susan B. Anthony SSAA chorus, piano, string quartet, narration, timpani, & bass drum

3. A Woman’s Place………………..………..…….……..………..………………..……..67 Ida B. Wells-Barnett and the 1913 Women’s Suffrage Procession in Washington D.C. SSAA chorus, piano, string quartet, narration, soloist, xylophone, cymbals, temple blocks, & snare drum

4. Shall Not Be Denied………..…………………....………..…………..……….…….114 The Silent Sentinels, Arrest, Imprisonment & Abuse SSAA chorus, piano, string quartet, narration, soloist, timpani, bass drum, & snare drum

5. Forward Into Light……….……...……………………………..……………….……152 Ratification and the Journey Forward SSAA chorus, piano, string quartet, narration, soloist, timpani, & bass drum

“We are all bound up together in one great bundle of humanity, and society cannot trample on the weakest and feeblest of its members without receiving the curse in its own soul.” – Frances Ellen Watkins Harper

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Mrs. J.L. Burn

Susan B. Anthony 1820-1906

Frederick Douglass 1818-1895

Jovita Idár 1885-1946

Harriet Stanton Blatch 1856-1940

Lydia Maria Child 1802-1880

Matilda Joslyn Gage 1826-1898

Harry T. Burn 1895-1977

Carrie Chapman 1859-1947

Sarah Grimké 1792-1873

Catt

Lucy Burns 1879-1966

Frances Ellen W atkins Harper 1825-1911

Daisy Elizabeth Harriet Jacobs Adams Lampkin Inez Millhollan ~18 is not 189licensed 7 d Boissevain This score13for performance. 18 Please visit copies. 965MusicSpoke.com to purchase performance 83-1 1886-1916

ua Lee Mabel Ping-H c. 1897- 1966

Ernestine Rose 1810-1892

Alice Paul 1885-1977

Lucy Stone 1818-1893

Mary Church Terrell 1863-1954

Zitkala-Ša (Gertrude Simmons B onnin) 1876-1938

Eliz Cad abeth yS 181 tanton 5-19 02

Sojourner Truth c. 1797- 1883 Charlo

tte Wo odwar d 1829-1 921

President WoodrowWilson 1856-1924

Mabel Vernon 1883-1975

Ida B. Wells-Barnett 1862-1931

Rose Winslow (Ruza Wenclawska) This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. Dr. Mary Walker 1832-1919 1889-1977

Composer’s Notes This score represents well over a year of research, planning, and composing. The journey took me places I never imagined. I explored multiple suffrage exhibits in Washington, D.C., visited Susan B. Anthony’s home, stood in the parlor where she was arrested for illegal voting, and held the handwritten letters of Susan B. Anthony, Lucy Stone, and Carrie Chapman Catt while at the University of Rochester archives. When I began this, I had no idea the 19th amendment represented seventy-two years of struggle. I didn’t know any of these women’s names, save Susan B. Anthony, who only received passing mention in my history books growing up. Walking through a bookstore, have you ever noticed how little of the history section is comprised of women? In working through this project, I have dwelled with women who were American heroes, but in many cases dismissed or outright silenced by the major authors of history. Even within the women’s suffrage movement, women silenced other women. Leading white suffragists were dismissive of and in some instances intentionally omitted the efforts of suffragists of color from historical records. My personal commitment to include diverse perspectives from the movement intensified the process in ways I hadn’t anticipated. For every scrap of information I could find on Mary Church Terrell or Mabel Ping-Hua Lee, I could find 50 to 100 more documents on Susan B. Anthony or Alice Paul. Instances like this challenge us to critically examine the history we are presented. Who is telling the story? How do their experiences impact the story? And, if we are fortunate enough to write a story ourselves, are we sharing all the voices we can? Some of the most revered figures in the U.S. Women’s Suffrage Movement have been romanticized in ways that omit massive flaws of judgment. In the teaching and learning of American history, there has for too long been a desire for narratives that fit neatly on their specific shelves and generally allow us to observe only one facet of a historical figure. This approach, while tidy on the surface, can cause us to look away from complexities and injustices we deeply need to acknowledge. History is immensely messy. Many of the very suffragists who fought so hard to end slavery were deeply racist and classist (e.g. Elizabeth Cady Stanton). Others (even the Quakers like Susan B. Anthony and Alice Paul) were permissive of racist thinking when they felt it would expedite their efforts (i.e. how Alice Paul handled segregation in the 1913 parade). It is easy for many to dismiss this as simply being “how things were” or an unfortunate condition of the times. However, if women like Elizabeth Cady Stanton could be revolutionary enough in independent thought to see that women should be treated as equal to men, it stands to reason those same women could think radically and independently regarding Americans of color as well. When I began the work, I naïvely thought, “I’ll only include the ‘good suffragists.’” While touring the Belmont-Paul Equality House in Washington, D.C. (former headquarters of the National Woman’s Party), I arrived early and had a moment to talk with the guide before the tour. In our conversation, I told her of my project and said something to the effect of: “I know some of the white suffragists were racially problematic…” She stopped me and said, “Oh, they were all racially problematic.” As I moved through the tour, I saw women who had been arrested, jailed, beaten and tortured for the right to vote— but who were also deeply flawed. Planning for this work began in May of 2019. In less than a year, our own history was shifting dramatically with the arrival of a global pandemic, sustained protest, and racial upheaval. We are influenced by our environments and I know this work is different, and likely stronger, as a result of composing in this season of self-examination. I have tried to craft a work that is honest about the heroism of these figures while also acknowledging their flaws. The music for the work is original, with the exception of a brief portion of movement 3, which quotes “Fall in Line,” a Suffrage March by Zena S. Hawn. Published in 1914, it is quite possible this march was performed at or inspired by the 1913 suffrage parade in Washington, D.C. The entirety of the

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original sheet music to this march is available for free online through the Library of Congress digital collections, which include many other suffrage tunes as well. While movements 1 and 3 include some original lyrics, the bulk of the texts used in the work are historically sourced. The original lyrics of “one day the women got tired” provides a simple message as the women move forward in their various ways (e.g. Charlotte Woodward in her wagon, Sojourner Truth speaking at Broadway Tabernacle, Elizabeth Cady Stanton reading the Declaration of Rights and Sentiments.) The original lyrics in movement 3 were crafted to relay stories from Ida B. Wells’s autobiography “Crusade for Justice” as well as textbook accounts of the events within the Illinois delegation on the day of the 1913 parade in Washington D.C. Apart from these original lyrics, the rest of the texts were pulled from historical content: banner messages, programs, speeches, writings, and letters of suffragists. Using mostly prose for the lyrical content required some additional creativity. In many instances, I would find (and even color code) similarly themed texts so I could parse together whole sets of lyrics. The opening chorus of movement four is a perfect example: a rapid-fire thread of quotes from five different suffragists summoning the women to battle. In some instances (e.g., movement 2) I needed to paraphrase for the sake of rhythmic coherence and lyricism. Susan B. Anthony’s verbosity did not always translate smoothly to melody, so occasionally; I removed/adjusted a few words without altering the overall meaning. In other moments, I would pull together fragments of descriptive text to create a mosaic effect (e.g. the Silent Sentinels banners, and Night of Terror sequences in movement 4). To aid conductors and performers, the sources of historical texts used in this work are documented later in these notes.

Performance Notes “This work is about a distinct moment in history, but it was also composed during a critical moment in history. The music and texts capture the struggle for suffrage among women who were separated by the color line, but united in an understanding of the importance of women having the capacity to participate as full and equal citizens. Just as the women involved in suffrage raised their voices, artists must also make their desires for a better world clear, and that is why we implore you to involve singers who embody the women characterized in this work as authentically as possible, so that audiences can connect to the conflicts and triumphs of the road to suffrage. Careful attention must be given for coherent and respectful representation of the characters, especially the mezzo soprano soloist(s) representing African-American women.” – Drs. Marcia Chatelain & Andrea Ramsey The narration of this work is as central to the work as any of the choral or instrumental parts. Where the narration occurs over multiple pages of the work, measure numbers are provided as a guide for pacing, but are not rigid boundaries. Similarly, some moments of narration will contain instructions for pacing. Depending on your narrator’s natural cadence, these may need to be adjusted slightly, and are only meant as a basic guide. In instances where no measure numbers or pacing guidance is provided, the narrator is to assume (a) the words can be spoken during the musical content of the page on which they appear, or it does not matter if they bleed slightly onto the next page, and (b) a normal pace of speaking is expected. In instances where a small segment of narration appears over one to three specific measure(s) on a page, it is meant to indicate the narration should be spoken in that/those measure(s). Conductors, it is advisable to rehearse as regularly with your narrator as you do your singers in the preparation of this work. Timings need to be rehearsed and are integral to the success of the delivery. Adding a narrator at dress rehearsal is not recommended. Conductors may choose to use a different narrator for each movement, or one narrator for the entire work. The use of a microphone is advisable and may be a necessity in movements four and five. For movements where narration and lyrics happen concurrently, attention was given to avoid confusing the listener. In the prison sequences, the lyrics are short phrases excerpted from prisoner accounts,

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so the listener can tune into the narration, with the occasional shard of imagery slashing into the foreground. In other instances, the narration is happening over repeated melody and countermelody, giving the audience a chance to hear the themes multiple times (i.e. movement 1 “deeply” and movement 5 “lifting as we climb/forward into light”). If desired, the use of visual content may intensify the performance for your audience. (e.g. in movement four, images of the silent sentinels’ banners could be projected to even further emphasize the banner messages sung by the chorus, etc). Choruses may also choose experiment with simple staging, movement, and/or lighting, but none of these are required for the work to be effective. Articulations are marked deliberately, and the use of lightly, parlando appears frequently to encourage singers to avoid putting too much weight into the sound, but to let the consonants dance and the accents feel sharp rather than heavy-footed. ____________ “My dear Miss Paul— I am a seventeen year old high school girl and an ardent suffragist. I am very anxious to take part in the suffrage parade on March 3rd. What part would I be likely to have in the parade? Sincerely yours, Carol H. Maynard” –Letter from Carol Maynard to Alice Paul

“… where a change of ideas is to be wrought, it takes time, and no sudden or bold stroke can accomplish so great a change. It is the slow, sure work of creation, which does not go backward.” -- Lucy Stone

" I will not allow my life's light to be determined by the darkness around me." —Sojourner Truth

“The crowning glory of American citizenship is that it may be shared equally by people of every nationality, complexion, and sex.” --Mary-Ann Shadd Cary

“Disenfranchisement says to all women: ‘Your judgment is not sound; your opinions are not worthy of being counted.’ Man is the superior, woman the subject, under the present condition of political affairs, and until this great wrong is righted, ignorant men and small boys will continue to look with disdain on the opinion of women.” --Susan B. Anthony

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Suffrage Cantata Historical Text Sources Movement 1: It Is Coming “Deeply, deeply do I feel the degradation of being a woman. Not the degradation of being what God made woman, but what man has made her.” – Lydia Maria Child, in a letter to Angelina Grimké, 1838 “But it will be said that the husband provides for the wife, or in other words, he feeds, clothes and shelters her! I wish I had the power to make everyone before me fully realize the degradation contained in that idea. Yes! He keeps her, and so he does a favorite horse; by law they are both considered his property…again, I shall be told that the law presumes the husband to be kind, affectionate and ready to provide for and protect his wife. But what right, I ask, has the law to presume at all on the subject? What right has the law to entrust the interest and happiness of one being into the hands of another?” –Ernestine Rose, 1851 “I ask no favors for my sex. I surrender not our claim to equality. All I ask of our brethren is, that they will take their feet from off our necks and permit us to stand upright on that ground which God designed us to occupy…All history attests that man has subjected woman to his will, used her as a means to promote his selfish gratification, to minister to his sensual pleasures, to be instrumental in promotion his comfort; but never has he desired to elevate her to that rank she was created to fill. He has done all he could to debase and enslave her mind; and now he looks triumphantly on the ruin he has wrought and says, the being he has thus deeply injured is his inferior.” - Sarah Grimké, from her letters on the equality of the sexes, 1837 “It is time we gave man faith in woman—and still more, woman faith in herself.” – Lucy Stone, circa 1856 “We have all been thrown down so low that nobody thought we’d ever get up again; but we have been long enough trodden now; we will come up again, and now I am here. Now women do not ask half a kingdom, but their rights and they don’t get them. When she comes to demand them, don’t you hear our sons hiss their mothers like snakes? But we’ll have our rights…and you can’t stop us from them…you may hiss as much as you like, but it is coming.” - Sojourner Truth, 1853, Broadway Tabernacle, New York City Movement 2: Failure Is Impossible Lyrics and narration for this movement were sourced and adapted from three sources: (a) the account of Susan B. Anthony’s trial; (b) the in depth essay below, provided by Autumn Haag who oversees the Susan B. Anthony archives at the University of Rochester; (c) Susan B. Anthony’s speech “Is it a Crime for a U.S. Citizen to Vote?” which is included in the essay link below; and (d) one of the many letters I reviewed in the archives at Rochester. As there are varying accounts online, the links below are to trusted resources recommended by Autumn Haag who oversees the Susan B. Anthony archives at the University of Rochester: (a) A trusted account of the trial proceedings as there are many variations online, simply copy & paste into browser: babel.hathitrust.org/cgi/pt?id=hvd.rslelb&view=1up&seq=1 (b, c) In-depth essay, including Susan’s lecture. Simply copy & paste into browser: fjc.gov/sites/default/files/trials/susanbanthony.pdf This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

(d) Letter dated July 31, 1869, from Susan B. Anthony to a “Mrs. Meredith”: (University of Rochester special collections) Haven’t you a good word you want to say at the Tuesday pm meeting? If so, do prepare yourself and present it—Each and every young woman has a splendid opportunity to make herself heard in those meetings. She has ought to try her wings if she has them. She and the audience and especially the reporters will see and know. I feel very anxious that each woman shall try and develop all her speaking as well as writing talents. … Affectionately, S.B. Anthony Movement 3: A Woman’s Place The original lyrics telling the story of Ida B. Wells, Susan B. Anthony and the stenographer were based on Ida’s account in her autobiography “Crusade for Justice” (1970, University of Chicago Press) and the full telling of when Ida B. Wells stayed with Susan B. Anthony in Rochester can be found in Chapter 27. A brief excerpt is provided below: One morning she [Susan B. Anthony] had engagements in the city which would prevent her from using the stenographer whom she had engaged. She remarked at the breakfast table that I could use the stenographer to help me with my correspondence, since she had to be away all the morning and that she would tell her…and let me dictate some letters to her. When I went upstairs to my room, I waited for her to come in; when she did not do so, I concluded she didn’t find it convenient, and went on writing my letters in longhand. When Miss Anthony returned she came to my room and found me busily engaged. “You didn’t care to use my secretary, I suppose. I told her to come to your room when you came upstairs. Didn’t she come?” I said no. She said no more, but turned and went into her office. Within ten minutes she walked back again in my room. The door being open, she walked in and said, “Well, she’s gone.” And I said, “Who?” She said, “The stenographer.” I said, “Gone where?” “Why,” she said, “I went into the office and said to her, “You didn’t tell Miss Wells what I said about writing some letters for her?” The girl said, “No, I didn’t…It is alright for you Miss Anthony, to treat Negroes as equals, but I refuse to take dictation from a colored woman.” “Indeed!” said Miss Anthony. “Then,” she said, “You needn’t take any more dictation from me. Miss Wells is my guest and an insult to her is an insult to me. So, if that is the way you feel about it, you needn’t stay any longer.” Miss Anthony said the girl sat there without moving, whereupon she said, “Come, get your bonnet and go,” and the girl got up and went. The original lyrics telling the story of Ida’s removal from her purchased seat aboard the train were based on Ida’s account in her autobiography “Crusade for Justice” (1970, University of Chicago Press) and the full telling can be found in Chapter 2. I did take one lyrical liberty with history in this movement, as “man” is a better rhyme for “hand” than “men.” In reality, it took three men (not two) to move Ida from the ladies’ train car for which she’d purchased a ticket—as you’ll see from the excerpts provided below: When the train started and the conductor came along to collect tickets, he took my ticket, then handed it back to me…I thought that if he didn’t want the ticket I wouldn’t bother about it so I went on reading. In a little while when he finished taking tickets, he came back and told me I would have to go in the other car. I refused, saying that the forward car was a smoker, and as I was in the ladies’ car I proposed to stay. He tried to drag me out of the This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

seat, but at the moment he caught hold of my arm I fastened my teeth in the back of his hand. I had braced my feet against the seat in front and was holding to the back, and as he had already been badly bitten, he didn’t try it again by himself. He went forward and got the baggage man and another man to help him and of course they succeeded in dragging me out. They were encouraged to do this by the attitude of the white ladies and gentlemen in the car; some of them even stood on the seats so they could get a good view and continued applauding the conductor for his brave stand. …When I saw that they were determined to drag me into the smoker, which was already filled with colored people and those who were smoking, I said I would get off the train rather than go in—which I did. …I went back to Memphis and engaged a colored lawyer to bring suit against the railroad for me. After months of delay I…had to get a white one…and the case was finally brought to trial in the circuit court. Judge Pierce, who was an ex-union soldier from Minnesota, awarded me damages of five hundred dollars. Declaration on the “demand” banner of the 1913 NAWSA parade in Washington, D.C.: “We demand an amendment to the United States Constitution enfranchising the women of this country” “We march today to give evidence to the world of our determination that this simple act of justice be done.” -- Alice Paul, from the Official NAWSA Woman Suffrage 1913 processional program Though Ida B. Well-Barnett’s autobiography does not go into detail of her integration of the 1913 Women’s Suffrage parade, there is photographic and journalistic evidence of the event, and an excellent account of the details of this event can be found in the book “One Woman, One Vote” (Ed. Marjorie Spruill Wheeler, 1995, New Sage Press) A few excerpts from the book are below: “As they lined up, Grace Wilbur Trout, president of the Illinois Equal Suffrage Association and chairperson of the Illinois delegation, informed the Illinois group that the NAWSA advised them “to keep our delegation entirely white” because many women, especially those from the South, resented the presence of a black woman in the Illinois ranks.” “When Trout pleaded with Wells-Barnett to march…at the back of the procession, she refused; [saying] “the southern women have tried to evade the question time and again by giving some excuse or other every time it has been brought up. If the Illinois women do not take a stand now in this great democratic parade then the colored women are lost.” …But Wells-Barnett’s pleas fell on deaf ears…angry at the blatant disregard for her right as a woman and Illinois resident…Wells-Barnett told delegates…”I shall not march at all unless I can march under the Illinois banner” because “[w]hen I was asked to come down This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

here I was asked to march with the other women of our state, and I intend to do so or not take part in the parade at all.” One member of the group retorted, “If I were a colored woman, I should be willing to march with the other women of my race.” Wells-Barnett replied, “there is a difference, …which you probably do not see…I shall not march with the colored women. Either I go with you or not at all. I am not taking this stand because I personally wish for recognition. I am doing it for the future benefit of my whole race.” Movement 4: Shall Not Be Denied “We all believe in the idea of democracy. Woman suffrage is the application of democracy to women.” —Mabel Ping-Hua Lee, from her speech circa 1915, “China’s Submerged Half” “Now it is our turn. What are we going to do in answer to the call of duty? —Mabel Ping-Hua Lee from her 1912 speech, “The Meaning of Woman Suffrage” “When men are denied justice, they go to war. This is our war, only we are fighting it with banners instead of guns.” – Alice Paul, 1919 “Liberty must be fought for. And women of the nation, this is the time to fight.” –Inez Milholland Boissevain, 1916 “Appeal to the Women Voters of the West” “You cannot be neutral. You must either join with us who believe in the bright future, or be destroyed by those who would return us to the dark past.” –Daisy Elizabeth Adams Lampkin, circa 1918 National Woman’s Party “Silent Sentinel” Banner Messages (circa 1917-1919): Mr. President, What will you do for woman suffrage? How long must women wait for liberty? To the Russian Envoys, We the women of America tell you that America is not a democracy. Twenty million American women are denied the right to vote. President Wilson is the chief opponent of their national enfranchisement. Help us make this nation really free. Tell our government it must liberate its people before it can claim free Russia as an ally. We shall fight for the things we have always held nearest to our hearts. Democracy should begin at home. We demand justice and self-government at home. Kaiser Wilson, Have you forgotten how you sympathized with the poor Germans because they were not self-governed? Twenty million American women are not self-governed. Take the beam out of your own eye. Mr. President, How long must women be denied a voice in a government which is conscripting their sons?

Texts Regarding Imprisonment, Prison Abuse & Forced Feedings Texts below (unless otherwise indicated) were sourced directly from the book “Jailed for Freedom” by imprisoned suffragist, Doris Stevens. These are primary source accounts of the women’s experiences in the Occoquan Workhouse and the District Jail from 1917-1919. While not all the context for each fragment of text within the movement can be shared in this space, a few especially significant excerpts are provided below:

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Excerpts from Alice Paul: “Our meals consisted of a little almost raw salt pork, some sort of liquid—I am not sure whether it was coffee or soup—bread and occasionally molasses. How we cherished the bread and molasses, as almost every one was unable to eat the raw pork. Lucy Branham, who was more valiant than the rest of us called from her cell one day, ‘Shut your eyes tight, close your mouth over the pork, and swallow it without chewing it. Then you can do it.’ This heroic practice kept Miss Branham in fairly good health, but to the rest it seemed impossible, even with our eyes closed, to crunch our teeth into the raw pork.” “all through the day, once every hour the nurse…came in, turned on an electric light sharp in my face, and observed me. This ordeal was the most terrible torture as it prevented my sleeping for more than a few minutes at a time. And if I did finally get to sleep it was only to be shocked immediately into wide-awakeness with the pitiless light.” “I have never in my life before feared anything or any human being. But I confess, I was afraid of Dr. Gannon [the doctor responsible for Alice’s forced feedings]…I dreaded the hour of his visit.” Excerpt from Elizabeth McShane ( from 1917 court affidavit) “At 4:30 that afternoon he returned, forced a tube down my throat…and swiftly poured down a pint of cold milk and eggs. I vomited in the midst of feeding but he paid no attention.” Excerpt from Rose Winslow: “Alice Paul is in the psychopathic ward. She dreaded forcible feeding frightfully, and I hate to think how she must be feeling. I had a nervous time of it, gasping a long time afterward and my stomach rejecting during the process…the poor soul who fed me got liberally besprinkled in the process. I heard myself making the most hideous sounds…One feels so forsaken when one lies prone and people shove a pipe down one’s stomach. Yesterday was a bad day for me in feeding. I was vomiting continually during the process. The tube has developed an irritation somewhere that is painful…The same doctor feeds both Alice Paul and me. Don’t let them tell you we take this well. Miss Paul vomits much. I do too. It’s the nervous reaction, and I can’t control it much. We think of the coming feeding all day. It is horrible. The doctor thinks I take it well. I hate the thought of Alice Paul and the others if I take it well. All the officers here know we are making this hunger strike so that women fighting for liberty may be considered political prisoners; we have told them. God knows we don’t want other women ever to have to do this over again.” Excerpts from Mrs. Mary Nolan, age 73: “…Suddenly the door literally burst open and Whittaker [Superintendent of Occoquan Workhouse] burst in like a tornado…Mrs. Lewis stood up to speak…she had hardly begun…when Whittaker said, ‘You shut up. I have men here to handle you.’ Then he shouted, ‘Seize her!’ I turned and saw men spring toward her, and then someone screamed…A man sprang at me and caught me by the shoulder. I remember saying, ‘I’ll come with you; don’t drag me; I have a lame foot.’ But I was jerked down the steps and away into the dark. I didn’t have my feet on the ground. I guess that saved me.” “I saw Dorothy Day brought in. She is a frail girl. The two men handling her were twisting her arms above her head. Then suddenly, they lifted her up and banged her down over the arm of an iron bench—twice…they pushed me through a door…We had only lain there a few minutes, trying to get our breath, when Mrs. Lewis was literally thrown in. Her head struck the iron bed. We thought she was dead. She didn’t move…we were so terrified we kept very still…Mrs. Lewis was not unconscious; she was only stunned. But Mrs. Cosu was desperately ill as the night wore on. She had a bad heart attack and was then vomiting. We called and we called. We asked them to send our own doctor because we thought she was dying…The guards paid no attention. A cold wind blew in on us from the outside, and we lay there shivering and only half conscious until morning.” This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Excerpt from a note Lucy Burns smuggled out of jail on a tiny scrap of paper: “Dr. Gannon told me then I must be fed…I was held down by five people at legs, arms, and head. I refused to open mouth. Gannon pushed tube up left nostril. I turned and twisted my head all I could, but he managed to push it up. It hurts nose and throat very much and makes nose bleed freely. Tube drawn out covered with blood. Operation leaves one very sick. Food dumped directly into stomach feels like a ball of lead. Left nostril, throat and muscles of neck very sore all night…This morning Dr. Ladd appeared with the tube…Said he would call in men guards and force us to submit. Went away and we were not fed at all this morning. We hear them outside now cracking eggs.” Excerpt from Mrs. Dora Lewis: “I was seized and laid on my back…Dr. Gannon then forced the tube through my lips and down my throat, I gasping and suffocating with the agony of it. I didn’t know where to breathe from and everything turned black when the fluid began pouring in. I was moaning and making the most awful sounds quite against my own will…”

Lyrics created by suffrage prisoners in the Occoquan prison workhouse, 1917, which they originally sang to the tune of a Scottish folksong: Shout the revolution of women, of women, Shout the revolution for liberty Rise, glorious women of the earth, the voiceless and the free United strength assures the birth of true democracy Invincible our army, forward, forward, Triumphant daughters pressing to victory

Movement 5: Forward Into Light “By a miracle, the Nineteenth Amendment has been ratified. We women now have a weapon of defense which we have never possessed before. It will be a shame and reproach to us if we do not use it.” --Mary Church Terrell, circa 1920 “Working women know their rights and proudly rise to face the struggle. The hour of their degradation is past. Women are no longer servants but rather the equals of men, companions to them. --Jovita Idár (from “La Cronica”, circa 1911-1915, published in Spanish, translation by María R. González) “Through weary, wasting years men have destroyed, dashed in pieces, and overthrown, but to-day we stand on the threshold of woman's era, and woman's work is grandly constructive. In her hand are possibilities whose use or abuse must tell upon the political life of the nation, and send their influence for good or evil across the track of unborn ages. As the saffron tints and crimson flushes of morn herald the coming day, so the social and political advancement which woman has already gained bears the promise of the rising of the full-orbed sun of emancipation. The result will be not to make home less happy, but society more holy; yet I do not think the mere extension of the ballot a panacea for all the ills of our national life. What we need to-day is not simply more voters, but better voters.” –Frances Ellen Watkins Harper, “Woman’s Political Future”, 1854 “Dear Son, … Hurray and vote for Suffrage and don’t keep them in doubt. I noticed Chandlers’ speech, it was very bitter. I’ve been watching to see how you stood but have not seen anything yet…. Don’t forget to be a good boy and help Mrs. Catt with her “Rats.” Is she the one that put rat in ratification, Ha! No more from mama this time. With lots of love, Mama.” –Mrs. J.L Burn, from letter to her son, Harry T. Burn, 1920 This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

“Women be glad today. Let your voices ring out the gladness in your hearts. There will never come another day like this. Let the joy be unconfined and let it speak so clearly that its echo will be heard around the world and find its way into the soul of every woman of any and every race and nationality who is yearning for opportunity and liberty still denied her sex.” –Carrie Chapman Catt, opening speech of the NAWSA convention, 1920 “Though the morning seems to linger O'er the hill-tops far away, Yet the shadows bear the promise Of a brighter coming day.” –Frances Ellen Watkins Harper, from her 1892 novel, Iola Leroy “And so, lifting as we climb, onward and upward we go, struggling and striving and hoping that the buds and blossoms of our desires will burst into glorious fruition ere long. With courage, born of success achieved in the past, with a keen sense of the responsibility which we shall continue to assume, we look forward to a future large with promise and hope. Seeking no favors because of our color, nor patronage because of our needs, we knock at the bar of justice, asking an equal chance.” – Mary Church Terrell, from her speech “The Progress of Colored Women”, 1898; the phrase “lifting as we climb” was later adopted as the motto of the National Association of Colored Women’s Clubs Message on the banner carried by Inez Milholland Boissevain while leading the 1911 New York City suffrage parade, later adopted as the motto of the National Woman’s Party: Forward out of darkness, Leave behind the night; Forward out of error, Forward into light ___________________ “TWENTY-SIX OF AMERICAS FINEST WOMEN ARE ACCOMPANYING ME TO JAIL ITS SPLENDID DONT WORRY LOVE HAZEL” —Hazel Hunkins Hallinan, wiring a message to her parents in Montana after being arrested at a suffrage protest in Lafayette Park, Washington, D.C.

“Let the hearts of the women of the world respond …and humanity will breathe freer and the world will grow brighter.” —Frances Ellen Watkins Harper

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Suffrage Cantata Consortium Members

Immense gratitude to these choirs and their conductors for bringing this work to life

Belle Voci; Craig G. Cannon, Artistic Director Capital Harmonia; Dr. Mary Ann East, Artistic Director E.O. Smith High School Treble Choir; Amanda Sprague Hanzlik, Conductor Eastern Kentucky University EnChor; Dr. Jill Campbell, Conductor FSU Women’s Glee; Dr. Kari Adams, Conductor *In recognition of Dr. Judy Bowers (FSU ’90-'17) Georgia State University Women’s Chorus; Dr. Jennifer Sengin, Conductor Henry M. Gunn Concert and Treble Choirs, William Liberatore & Angelina Fitzhugh, Conductors Louisiana State University Chorale; Dr. Trey Davis, Conductor Michigan State University Women’s Chamber Ensemble; Dr. Sandra Snow, Conductor Mirabai; Dr. Sandra Snow, Artistic Director Mirinesse Women’s Choir; Rebecca Rottsolk, Artistic Director Mississippi State University Schola Cantorum; Dr. Phillip Stockton, Conductor Murray State University Women’s Chorus; Dr. Bradley Almquist, Conductor Radford University Singers; Dr. Meredith Bowen, Conductor St. Olaf College Manitou Singers; Dr. Therees Tkach Hibbard, Conductor Texas A&M University-Commerce Women's Chorus; Randall Hooper and Georgia Kornegay, Conductors Texas Tech University Scarlet Voce; Dr. Carolyn Cruse, Conductor University of Central Florida SoAl Chorus; Dr. Kelly Miller, Conductor University of Mississippi Women’s Glee; Dr. Elizabeth Hearn, Conductor University of North Texas Women’s Choir; Dr. Kristina MacMullen, Conductor University of Pittsburgh Women’s Choral Ensemble; Lorraine Milovac, Director Vassar College Women’s Chorus; Christine Howlett, Conductor Vox Grata Women’s Choir; Jeanette MacCallum, Artistic Director Wellington High School Chorus; Bradford Chase, Conductor West Ranch High School Women’s Choir; Molly Peters, Conductor Westminster Choir College - Williamson Voices Treble Ensemble; Tom Shelton, Conductor Acknowledgements This work would not exist without the assistance of so many people. I am grateful to expert historians Dr. Marcia Chatelain, Professor of History and African American Studies at Georgetown University; and Autumn Haag, archivist and special collections librarian for the University of Rochester who both helped me to ensure the work is as historically accurate and socially aware as possible. I am also appreciative of dear friends and supportive colleagues who have helped and encouraged in a variety of ways: Sarah Tannehill Anderson, April Guthrie, Dr. Kurt Knecht, Dr. Derrick Fox, Dr. Barbara Lamont, Dr. Iris Levine and Vox Femina Los Angeles, Dr. Kelly Miller, Dr. Gary Packwood, and Dr. Sandra Snow. Additional gratitude to Ann Carmody for hosting me in Rochester, James Green for engraving the score, Adrianne Pope for the cover art, and to Matthew Workman of National Concerts for his faith in the concept, and for his help and organization of this consortium.

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Commissioned by Mount Holyoke College; Dr. Stephanie Council, Director of Choral Ensembles National Concerts; Matthew Workman, Executive Director The Women’s Chorus of Dallas; Melinda Imthurn, Artistic Director VOX Femina Los Angeles; Dr. Iris S. Levine, Artistic Director

Full Score

Suffrage Cantata I. It Is Coming SSAA, Solo and Narration with Piano, String Quartet, Timpani and Bass Drum Texts by Lydia Maria Child, Sarah Grimké, Ernestine Rose, Lucy Stone, and Sojourner Truth Adapted by Andrea Ramsey

Soprano 1

Soprano 2

Alto 1

Alto 2

Rubato ( q»ca. 72-78 )

4 &b 4

∑

& b 44

∑

& b 44 & b 44

∑

Violin 1

Violin 2

Viola

Violoncello

& b 44 ? b 44

Bass drum

∑

˙ p ˙ p

Œ œ π ∑

∑

Œ œ #œ œ P

& b 44 w π

? b 44 Ó

∑

œ œ

Œ œ.

#œ

œ j œ œ

> œ Œ Œ œ

∑

œ œœœœ œ Œ œ #œ œ œ. w

> œ Œ Œ

∑

w p

Rubato ( q»ca. 72-78 )

Timpani

∑

Rubato ( q»ca. 72-78 )

& b 44 w π B b 44 w π ? b 44

∑

Rubato ( q»ca. 72-78 )

Piano

Music by

Andrea Ramsey

> œ Œ

∑

˙. œœœœ ˙

œ˙ J

œ œ

˙ œ

∑

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> œ

œ œ Œ

Œ œ ∑

∑

∑ ∑ ∑

∑

&b œ

Vln. 2

& b œ.

Vla.

Bb w

Vlc.

j œ w π

œ.

j œ ˙

? b >œ .

œ œ J ∑

ly,

P Œ œ #œ œ -

ly,

œ ˙

w w œ œ #œ œ p

w π

˙ p

#œ œ

w π

˙ p

œ œ

w π

ly,

P Œ œ #œ œ

Deep

∑

Deep

Vln. 1

B.D.

Deep

Timp.

∑

P Œ œ #œ œ Deep

Pno.

∑

P Œ œ #œ œ

∑

deep

Œ œ

deep

Œ œ

deep

Œ œ

deep

#œ œ -

ly,

#œ œ -

Œ Œ Œ ˙ œ

w w

˙.

œ deep

œ œ œ œ œ Œ œ

œ deep

ly,

œ ˙

œ deep

ly,

#œ œ

œ deep

ly,

#œ œ -

œ œ œ œ

ly have I

œ œ œ œ

ly have I

œ œ œ œ

œ œ

ly have I

œ œ

> œ Œ Œ œ

> œ

∑

œ œ œ œ

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ly have I

˙. ˙

˙ Œ

œ œ œ œ

œ œ #œ œ

w p

> œ Œ Œ œ

Œ œ

Œ ∑

&b œ œ œ œ ˙

felt the de - gra - da

&b œ œ œ œ ˙

felt the de - gra - da

&b œ œ œ œ ˙

felt the de - gra - da

&b œ œ œ œ ˙

felt the de - gra - da

œ b & ˙ 11

Pno.

?b 11

œ œ œ œ ˙

˙.

tion

˙.

œ œ œ œ ˙

#˙

˙ Ó

Vlc.

?b ˙

˙æ. π

˙ ˙

Bb ˙

˙ #˙

Vla.

tion

B.D.

˙.

&b ˙

tion

Vln. 2

˙.

Vln. 1

? b >œ

tion

Timp.

w w

œ >p . œ > p

˙œ œ

œœ

œ a

# œœ

w w

ing

˙œ œ

j œ œ

œœ

œ œ œ œ #w œ

∑ œ

œ > j œ ‰ Œ >

#œ.

>. œ œ >

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œ ˙ J œ œ J œ

œ.

j œ

NARRATOR: m. 16 thru m. 22 1830. Of the twenty-four United States, half were slave states. Of the 2 million enslaved, half were women. For those women not enslaved: voting, speaking in public, preaching in church, and a formal education were not permitted. When a woman married—usually at a young age, her property became her husband’s. Her body was not hers to control. She was expected to bear many children and raise them while tending to the labors of a 19th century household...

&b w

∑

&b w

∑

&b w

∑

&b w

∑

& b www

∑

man,

Pno.

w w

Vln. 1

&b w

.. Ó

Vln. 2

&b w

Vla.

Bb w

.. w P

Vlc.

?b w

? b >œ .

> œ œ œ œ. J

Timp.

B.D.

j œ ‰Œ Ó >

.. w P .. Ó

˙ P

˙.

Œ ..

Œ œ w P

Œ œ w

>. >. >. >1. . . œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. J J J J J π j j j j .. œj ‰ Œ Ó .. œ ‰Œ Ó œ ‰Œ Ó œ ‰Œ Ó œ ‰Œ Ó > > > > >

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∑ ∑

∑

∑ ∑

∑

Vln. 2

& b ˙.

Vla.

B b ˙.

Vlc.

? b ˙.

F Œ œ #œ

F Œ œ #œ Deep

B.D.

∑

Timp.

F Œ œ #œ

Deep

& b ˙.

∑

Vln. 1

Deep

?b 21

∑

F Œ œ

Deep

Pno.

#œ

w p

w P

w p

∑

˙. P > œ p

˙.

have

œ œ

œ #œ P

deep

œ nœ

deep

œ˙ . ˙

w w

œ P

œ œ œ œ w p

w w

ly,

#œ

œ œ

œ #œ

> œ

∑

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œ nœ

˙.

ly,

#œ

ly,

œ œ

œ œ œ œ

Œ ∑

˙ have

&b œ

&b Œ

deep

felt

ly have I

deep - ly have

˙. b & œ ˙. ?b

&b ˙

Vln. 2

&b Œ

Vla.

Bb . ˙

Vlc.

Timp.

B.D.

œ.

felt

the de

gra

œ œ œ œ ˙ œ œ œ œ ˙

tion

˙.

tion of

? b >œ

Œ ∑

> œ

˙æ. π

œ œ œ

˙œ œ

œœ ˙œ œ

j nœ ˙

w œ >.

œ Œ > p

j œ œ œ œ

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˙.

ing

˙˙

˙ #˙

tion of

ing

#œ.

˙ œ

œ œ J

ing

j nœ œ œ

˙.

œ.

#œ.

œ œ œ œ œ œ œ œ ˙ ˙

œ.

œ œ œ

w w œ œ œ œ

tion

j œ #œ œ

j œ œ

œ œ

˙.

felt the de - gra - da

?b œ 26

felt the de - gra - da

w w

Vln. 1

Pno.

the de - gra - da

œ œ œ œ œ œ œ œ ˙

j œ œ

& b œ.

œ œ œ œ

œ œ œ œ œ œ œ œ ˙

deep

œ œ

ing a

œ œ

œ œ œ

œ œ

j œ‰ Œ Œ œ > j œ ‰ Œ Ó >

7 accel. 30

&b ˙

&b &b 30

&b Pno.

?b 30

Vln. 2

&b ˙

Vla.

B b #w

Vlc.

B.D.

˙.

man,

˙.

Œ Œ

˙.

man,

the de - gra

w accel.

œ >

œ œ J œ

œ.

j j œ œ ‰ Œ >

œ œ J Œ

> œ

j œ

tion

œ.

Not

‰ jœ œ œ œ œ œ

tion

Not

‰ jœ œ œ œ œ œ

f œ.

the de - gra

j‰ ‰ j j‰ j‰ j‰ Œ œ œ œ œ œ > fl P >œ ‰ ‰ œJ œJ ‰ œJ ‰ œ̆ ‰ Œ J J P > œ ‰ ‰ œ œ ‰ œ ‰ œ̆ ‰ Œ J J J J J P >. œ

tion

the de - gra

Hastening ( q»108 )

œ.

j‰ ‰ j j‰ j‰ j‰ Œ œ œ œ œ œ > fl P

accel.

- da

j œ

œ.

‰ jœ œ œ œ ˙ œ

Not

man,

? b >œ . ã

œ. Not f

‰ jœ œ œ œ ˙ œ

j ) j j Hastening (jq»108 ‰ œj œ œœ ‰ œœ œœ ‰ œœœœ œœœœ ‰ œœœœ ‰ œ œ œ œ œ #w > >œ > > > ˙ œ ˙ F > > 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 > > > > fl fl fl œ ◊ >

Vln. 1

Timp.

man,

accel.

&b w

˙.

Hastening ( q»108 )

Ó Ó Ó Ó

Hastening ( q»108 )

> œ ‰ Œ J F j j œ ‰ œ ‰ Œ > >

- da

>œ œœ

tion

j ‰ œœœ œj ‰ œ >

j œœ ‰ >

œ œ œ œ œ œ œ œ . . œ . . œ œ. fl fl fl j‰ ‰ j j‰ j‰ œ œ œ œ > > > > F (marcato)

j‰ ‰ œ > F (marcato) >œ ‰ ‰ J F (marcato) > œ ‰ ‰ J F (marcato)

> > > ‰ œ ‰ œ œ ‰ Œ J J J

œ.

j œ ‰ Œ >

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j j‰ j‰ œ œ œ > > > >œ >œ >œ J J ‰ J ‰ > > > œ œ ‰ œ ‰ J J J Œ Ó

> œ ‰ J

& b œ. be

&b &b

#œ. be

œ.

be 34

Pno.

&b ?b

Vln. 2

Vla.

Vlc.

& b œj ‰ f> > B b #œ ‰ J f ? b >œ ‰ J f

Timp.

B.D.

j œ œ

j œ #œ

œ œ

ing what God made

‰

j œœœ ‰ >

j œœ œ

œ œ # œ. œ. œ. fl loco

& b œj ‰ > f 34

Vln. 1

# œœœ >

j œ œ

œ fl

œ.

j œœœ ‰ >

œ. œ.

˙ wo

# œœœ œ >

#˙

œ œ > >

‰ œj j ‰ j ‰ œ > # >œ > > > œ ‰ œ œj ‰ œj ‰ J > > >œ >œ > ‰ J J ‰ œJ ‰

j j j œ ‰ ‰ œ ‰ ‰ œ ‰ > > F> j j œ ‰ ‰ œ Œ œ œ > > > > F

œ̆ but

˙ # ˙˙˙ > ƒ ˙ ˙ >

man,

œ >

œ̆ but

man,

j j j œœœœ ‰ œœœœ œœœ ‰ œœœ ‰ œ > # >œ > >

F >œ >œ

man,

#œ œ œ œ fl . . œ. fl œ. œ. # œ.

œ > F > #œ

man,

j œ œ ‰ œ œj ‰ œj ‰ > > > > > F

∑

j j œ ‰ ‰ œ Œ > >

#˙

j‰ Œ #œ > f j‰ Œ œ > f

œ fl but œ > œ œ

œ̆

j œ ‰ ‰ ‰ Œ > f >œ ‰ Œ Œ J f

œ fl œ̆

j œ œœœ œ œ ‰ Œ > > > j j œ ‰ Œ œ ‰ Œ > >

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Tempo primo ( q»ca. 72-78 )

&b ˙ >

what

>œ >œ

wä

man has

made

wä

her.

made

&b ˙ >

what

&b ˙ >

what

˙ >

what 37

Pno.

Vln. 1

Vln. 2

Vla.

Vlc.

&b ˙ > Bb ˙ > ? b >˙

Timp.

∑

w >

∑

œ >

wä

her.

made

her.

œ >

w â

w >

œœœ >

œœ œ >

>œœ œ J

œ œ >

œ. œ. >

man has

made

œ œ >

>œœ œ

>œ œ > >œ > œ

>œ œ >

>˙

>œ

> œ‰ Œ J

œœ œ J

>œœ œ

j œ œ œ œ >>

her.

>œœ œ

˘ . . ˙ # œœœ ‰ œ n œ œ̆ œ. œ œ ˙œ . . J

œ œ >

œ. œ. w œ œ œ . # œ œ n œ . . fl fl .

>œ œ >œ œ œ œ œœ

Tempo primo ( q»ca. 72-78 )

? b Œ j‰ œ > ã Œ œj ‰ f> 37

∑

# w>

œ >

Tempo primo ( q»ca. 72-78 )

&b ˙ >

∑

œ >

Tempo primo ( q»ca. 72-78 )

& b œ œœ œ œ > > ?b œ œ œ > œ >

∑

> ˙ æ

˙ >

> œ

j j œœ œ ‰œ ‰ œœœœ >> > > > P

∑ ∑

> œ

œ ˙˙œ œ

∑

j œ ‰ f> j œ ‰ >

j œ ‰ Œ >

∑

j j œ ‰ œ œ œ œ œ ‰Œ Ó > > > > f This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. B.D.

# ww w

œ œ œ œ w

legato

˙ p

#˙

legato

#˙ p

w p legato œ œ œ œ p legato

∑

NARRATOR: If a woman wanted to work, there were few options. She could be a teacher, seamstress, housekeeper or mill worker, but she would be paid one-third what men in the same positions were paid, yet expected to pay taxes in full. Even what she earned was not her own, as her husband could collect her wages from her employer at any time.

∑

Pno.

π ?b w w 42

Vln. 1

Vln. 2

Vla.

Vlc.

w π

w w

w π

˙ ˙

?b w π

Timp.

?b Ó

B.D.

œ œœœ œ œ œ œ œ œ œ œ #œ œ Œ œ #œ œ Œ œ œ . œj w j œ œ . Œ œ œ œ œ œ œ #œ

Bb w π

w w

˙ w

˙ œ œ . Jœ w

> > > Œ œ œ Œ Œ œ œ Œ Œ œ œ Œ Œ œ π ∑ ∑ ∑ ∑

˙.

œ œ . œj ˙

œœœœ

œ œ w

> > œ Œ Œ œ œ. œ œ œ J ∑

∑

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> œ Œ Œ œ ∑

11 NARRATOR: (pace slowly) Legally, she was her husband’s property. If he beat her, she had no recourse. If he abused her, she could not divorce him.

π & b Œ œ #œ œ 49

Œ œ #œ œ

deep - ly,

Œ œ œœ œ œ œ œ œ œ ˙

Œ œ #œ œ

deep - ly,

Œ œ œœ œ œ œ œ œ œ ˙

Deep - ly,

Œ œ #œ œ

deep - ly,

Œ œ œœ œ œ œ œ œ œ ˙

Deep - ly,

Œ œ #œ œ

Œ œ œœ œ œ œ œ œ œ ˙

π &b Œ œ #œ œ

Deep - ly,

π &b Œ œ #œ œ

Deep - ly,

π &b Œ œ #œ œ 49

Pno.

&b Œ ?b 49

Vln. 1

Vln. 2

Vla.

Vlc.

B.D.

w w π

&b œ œ #œ œ π

&b ˙

π Bb w π ?b ˙

#œ œ

œ œ

? b >œ Œ Œ œ π ∑ ã 49

Timp.

œ ˙

deep - ly,

deep - ly have I

felt the de - gra - da

œ œ œ Œ œ œ œ

˙ ˙ œ ˙.

œ ˙

w w

œ ˙

w w

œ >.

˙æ. π

˙ ˙

∑

˙ #˙

∑

tion

> œ

tion

œ œ #œ œ

> œ Œ Œ

tion

#˙

> œ Œ Œ œ

œ œ

tion

Œ œ œœ œ œ ˙ œ

œ œ œ œ ˙

˙.

œ œ œ œ ˙

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œ œ œ j œœ œ

œ Œ œ œ p>

Conductor: hold fermata until narrator says "destitute"

NARRATOR: (spoken on the fermata) If he wanted a divorce, he could take her children and leave her destitute.

&b Ó &b Ó &b Ó &b Ó 54

Pno.

&b ?b

˙. ˙.

UP of

œ œ œ œ œ of be - ing a UP Œ œ œ œ œ œ of

∑

Vln. 2

&b Ó

Vla.

Bb Ó

Vlc.

?b Ó

B.D.

&b Ó

Timp.

be - ing a

Vln. 1

œ œ œ œ œ

be - ing a

Œ Œ

Œ œ p

man,

be - ing a

˙œ œ ˙ œ œ œ œ

œ # œœ œœ œœ œ

œœœœ

∑

œ œ œ œ

œ Œ Œ œ œ Œ Œ œ > > > U

œ œ œ Œ Œ œ p

œ œ œ œ

œ œ œ œ œ

Œ Œ

œ Œ Œ œ œ Œ Ó > > >

w w

∑

12 8

∑

12 8

∑

12 8

∑

12 8

∑

man,

ww w

w w

œ ˙

˙. ˙.

œ œ œ œ p

Steady gallop ( q.»ca. 70 )

∑

Steady gallop ( q.»ca. 70 )

12 8 œ ‰œ œ œ œœ > .> 12 8 œ. Œ œ >.

‰œ œ ‰œ œ‰œ œ. œ œ. œ œ. > > j j œ œ. Œ œ œ. œ . œ. >

Steady gallop ( q.»ca. 70 )

>œ . >œ . 12 œ œ ‰ ‰ Œ ‰ ‰ Œ œ œ œ œ 8 J J J J F j j j j 12 8 œœ ‰ ‰ Œ œœ œœ ‰ ‰ Œ œœ . > . F>

j j j j 12 8 œ ‰ ‰ œ ‰ œ. œ ‰ ‰ œ ‰ œ. > > F> > > > > > ˙ 12 w ˙ Ó # œ . Jœ 8 œJ ‰ ‰ œJ ‰ ‰ œJ ‰ ‰ œJ ‰ ‰ F Steady gallop ( q.»ca. 70 ) > > >. >. >. ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ 12 œ œ ‰œ œ‰œ œ 8 J J J > >œ p 12 j j j 8 œj ‰ ‰ Œ . Œ . Œ . œ œ œ. œ œ ‰ Œ Ó œ ‰Œ Ó > > > P> w

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&b &b &b

P œ.

œ.

the

œ.

wife

feeds,

œ >œ œ œj œ n œ œ > clothes,

and shel - ters

œ.

the

œ.

wife

feeds,

clothes,

and shel - ters

œ.

wife

œ.

wife

œ.

will be said that the hus - band pro - vides for

œ.

P œ. œ. It

will be said that the hus - band pro - vides for

P &b œ œ . . It

will be said that the hus - band pro - vides for

Pno.

& b œj ‰ œ fl ? b œj ‰ œ fl & b œœ̆ ‰ J P j & b œœ ‰ fl P B b œj ‰ Pfl 60

Vln. 1

Vln. 2

Vla.

Vlc.

Timp.

B.D.

‰ ‰

Œ.

œ.

‰

œ.

Œ.

‰

Œ.

‰

Œ.

? b œ̆ ‰ J P

‰

Œ.

j œ ‰ fl

‰

Œ.

‰

Œ.

œ.

j‰ ‰ œ.

˘œ œ ‰ ‰ J

œœ̆ ‰ J F j œ ‰ œ fl F j œ ‰ fl F

Œ.

‰

the

j‰ ‰ œ.

Œ.

? b œ̆ J

the

Fr j‰ ≈œ œ œ. >

Œ.

‰

F r j‰ ≈œ œ œ. >

j œ

Œ.

œœ .. œœ ..

œœ .. œ.

œœœœ ....

r ≈œ œ >

œ̆ ‰ ‰ J F

œ. œ.

œœ ..

r ≈œ œ >

‰

œ >œ œ œj œ n œ œ >

œ >œ œ œj œ n œ œ > œ >œ œ œj œ n œ œ > œ

œ J

œ œ œ J

œ J

Œ.

j œ

˙. œ

œ.

œ J

œ̆ ‰ œj œj ‰ ‰ J > j œ ‰ ‰ Œ. fl

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j &b œ ‰ ‰

Œ.

j &b œ ‰ ‰

Œ.

her,

&b Œ

j‰ ‰ œ > œ j‰ ‰ œ œ >

he keeps

her...

&b Œ

he keeps

her...

œ. & b œœ .. 62

Pno.

F ≈ r œ œ > feeds, F ≈ r œ œ > feeds,

Vln. 2

j &b œ ‰ ‰

Vlc.

œ.

? b œ.

Timp.

B.D.

œ ‰ >

œœ .. œ. œœ ..

j œ ‰ ‰

F œ B b J ‰ ≈ œr œ >

œ œ œ > clothes,

j j œ œ ‰ ‰

&b œ

Vla.

œ œ œ > clothes,

œ.

Vln. 1

‰ œ œ > >

Œ.

œ >

Yes,

œœ .. œ.

œ.

Yes,

Œ.

and shel - ters

her,

Yes,

j œ >œ n œ œ

and shel - ters

her,

Yes,

œ. œ.

j ‰ ‰ œœ .. œ. œœ œ

> j œ ‰ ‰ œœ

j j œ ‰ ‰ œ ‰ ‰

j œ ‰ ‰ >œ

œ.

j œ œ nœ œ > œ.

œ ‰ œ œ ‰ œ > > ‰ œ œ œj ‰ ‰ > > >

he keeps

her...

f j j‰ ‰ j‰ ‰ œ >œ œ Œ.

>œ œ J

>œ œœ œœ ‰ ‰ œ œ œ œ& œ œ œ œ J >

j j œ ‰ ‰ œ ‰ ‰

œ œ œ >

œ ‰ œ > j œ ‰ ‰ >

j œ >œ n œ œ

œœ .. œ.

f œ >œ ‰ ‰ œj ‰ ‰ J J

f j j‰ ‰ j œ œ œ ‰ ‰ > he keeps her... f j j œ œ ‰ ‰ œj ‰ ‰ >

her,

>œ

j ‰ ‰ >œ œ j ‰ ‰ >œ œ

œœ. J

gliss with fast vibrato on D string, imitative of horse neigh

>œ œ ‰ ‰ Œ J

j j œ. œ ‰ ‰ Œ . >

j œ ~~~~

œ. >œJ ‰ ‰ Œ . J > œ. œJ ‰ ‰ Œ . J

j Œ œ ‰ ‰ Œ. > ‰ œ œ œj ‰ ‰ Œ . > > >

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j œ >œ ‰ œ j Œ œ >

Pno.

& b Œ. & b Œ. & b Œ. & b Œ.

>œ >œ 64 &b œ ‰ œ

F j j œ œ œ. œ œ œj œ . .

F j j œ œ œ. œ œ œj # œ . . as

he keeps a fav - orite horse

j j j œ œ. œ œ œ.

F j j œ œ œ. œ œ œj . as

œœ ..

& b Œ.

œœœ .. .

he keeps a fav - orite

. ggg œœœ .. g

œœ .. œ.

ggg œœ ‰ gg œ

œœ .. œ.

œ.

Œ.

. & ~b~~ œ ~~~~~~~~ œ .

Vln. 2

& b Œ.

œ.

œ J

Vla.

B b Œ.

œ œ J

œœ J

œ J

Vlc.

? b Œ.

B.D.

œ.

? b >œ ‰ ‰ >œ ‰ ‰ j ‰ ‰ Œ œ œ J J J > Œ. Œ. ã œj ‰ ‰ Œ . > 64

Timp.

Œ.

œ. œ.

horse

# >˙˙˙ ...

Œ.

j œ œ œ.

and by law

Œ.

j œ œ œ.

and by law

Œ.

œ >œ œœ œœ J

œœ ... œ

. > . > . ‰ ‰ œœ œœ ‰ œœ œœ ‰ œœ J P >œ Œ. œ ‰ ‰ œ. J P

œ. P #œ.

j œ œ œ.

and by law

horse

Vln. 1

Œ.

he keeps a fav - orite horse

Œ.

>œ

œ. J œ. J

œ #œ

Œ. œ œœ J

j œ œ œ.

>œ œœ J ‰ ‰ Œ.

and by law

j ‰ ‰ Œ. œ œ >

>œ œ. >œ œ ‰ œ œ ‰ ‰ Œ. J ƒ >œ œ. >œ œ ‰ œ œ ‰ ‰ Œ. J ƒ >œ œ. >œ œ. œ. >œ ‰ J ‰ ‰ Œ. ƒ >œ œ. œ. >œ œ. œ. >w . Í

j j œ œ œ œ ‰ ‰ œ œ œ ‰ œ œ œ ‰ ‰ Œ. >>>> >>> >> > j j j j œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œæ. œ ‰ ‰ Œ. > > > >

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j œ

they are

œœœœœœ &

œ œœ œ œœ Œ.

Œ.

j j & b œ ‰ ‰ œ ‰ ‰ œ. fl fl

no rit.

both

pro

j j & b œ ‰ ‰ œ ‰ ‰ œ. fl fl both

his

pro

j & b œ ‰ ‰ j ‰ ‰ œ. fl œ fl both his pro j b ‰ ‰ j‰ ‰ œ & œ. fl œ fl both his pro

œ œ œ no rit. œ ˙. & b œJ ‰ ‰ ˙.

j U œ œ ˙.

Œ.

j U œ œ ˙.

Œ.

per - ty,

Pno.

œ ? b & J ‰ ‰ 67

Vln. 1

Vln. 2

Vla.

Vlc.

& b Œ.

>˙ . b & ˙. Í B b Œ.

œœ .. œ.

˙. ˙.

Œ.

no rit.

j œ œ ˙.

Œ. Œ.

j œ œ ˙. ˙˙ ..

Œ.

per - ty,

Timp.

B.D.

U̇.

p ˙.

Œ.

? b ˙. ?b

˙.

Œ.

∑ ∑

no rit.

œ.

Oh,

U̇.

œ.

œ. œ. œ.

œ œ œ

Oh,

˙.

Oh,

œ œœ

œ.

Oh,

per - ty.

U œ.

U̇.

Œ.

œœ .. œ.

Œ.

the de

œ œ. J

the de

œ œ. J

the de

œ.

j œ œ.

the de

œœ .. œ.

œœ .. œ jœ œ

Œ.

œ œ. J

œœ œ œ. œ. ◊

œœ œœ œ œ J

Œ.

j œ ‰ ‰ Œ. f> ∑

gra

œ. gra

œ. -

gra

œ.

gra

j œœ œœ œ œ

detached

j œœ œ

œ œ œ œœ œ œ œ œ œ œ œ

>œ œ œ œ œ œ œ œ œ œ œ œ f >œ œ œ œ œ œ œ œ œ œ œ œ f ∑

∑ Œ.

œ.

∑ œ ‰ œ œ ‰ œ œ ‰ œ > > > P ‰ œ œ ‰ œ œ ‰ œ œ > > P>

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œ ‰ œ >

œ œ œ >> >

& b œ.

œ. -

tion,

& b œ.

œ.

˙.

& b œ. da

Pno.

& b œœœ ... ?

b œ.

Petitioning ( q»80-86 )

P 2 4 . 4 Œ œ 4 œ

˙.

P 2 4 œ. 4 Œ œ 4 I

tion,

œ.

˙.

P 2 Œ 4 4 œ 4 œ. I

Vln. 2

tion

œ. -

˙.

tion,

P 24 Œ 4 œ 4 œ.

œœœ ... œ .

˙˙ . ˙ ..

œ. œ.

Vla.

Vlc.

œ & b œ œ œJ œ

? ?

Timp.

B.D.

b Œ.

Œ. Œ.

U U

U̇.

∑

p œ

U̇

no fa - vors

j œ œ œ

Œ.

42 42

∑

for my

œ œ ˙

œ˙˙ œ ˙˙

legato

44 ˙

œ œ p

Œ œ œ

œœ ˙ œœ ˙˙

œ œœ˙ œ œ ˙

just take your

Œ œ œ

just take your

for my sex,

œœ œ

just take your

sex,

no fa - vors

œ œ

just take your

Œ ˙˙ ˙˙ ˙ ˙ ˙.

œœœ ˙ ˙ œ

44 ˙

œ œ ˙

Œ œ ˙

‰ œjœ œ ˙

j j œ ‰ ‰ œ >

Petitioning ( q»80-86 )

œ œ

œ œ ˙

j œ œ œ

Œ œ œ

for my sex,

44 œ œ œ 44

œ œ ˙

no fa - vors

Petitioning ( q»80-86 )

œ 42 Œ p œ 24 Œ p

˙.

œ œ œ J

44 œœ œ œœ

loco

42 Œ œ p

ask

no fa - vors

Petitioning ( q»80-86 )

42 Œ

˙. ˙.

b œ ‰ œ œ ‰ œ ˙æ. > > > U j ‰ ã œœœ œœœ Œ >> >>> F

ask

U̇. œ œ &b œ œ œ œ

B b Œ.

ask

Vln. 1

ask

œ œ œ J

44 44

œ ˙

∑

Œ ˙

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∑

& b œ. œ œ. œ &b

12 8

feet from off our

Tempo primo ( q. »ca. 70 )

12 8 ˙.

&b &b

œ. œ œ. œ

feet from off our

œ. œ œ. œ feet from off our œ. œ œ. œ

necks,

12 8 12 8

feet from off our 75

Pno.

& b œ˙ œ œ˙ œ ˙ ˙ ?b

œ œ œ œ

˙ ˙

#˙.

necks,

#˙.

necks,

˙.

necks,

Œ.

F œ. >

F Œ. œ. > Per F Œ. œ. >

Per -

F Œ. œ. >

Per -

12 8 ˙.

˙. ˙.

œ. > mit œ. > mit œ >.

Per - mit

Tempo primo ( q. »ca. 70 )

12 8 ˙ .. # ˙˙ .

œ. > mit

F # œœœ ... Œ.

Tempo primo ( q. »ca. 70 )

œœ .. œ.

j œ >œ >œ . >

to stand

j œ >œ >œ . >

œ. >

to stand

œ >.

j œ >œ >œ . >

to stand

j œ >œ >œ . >

œ. >

to stand

œœœ .. œ ..

œ ‰ ‰ œœ J

detached

>. ˙ -

Œ.

right,

Oh,

Œ.

˙. >

right,

˙. >

Œ.

œ œj ˙ . >

Œ.

right,

œœ .. œœ ..

œ j‰ ‰ œ œ œ j‰ ‰ œ œ >œœœ > œ >

>œ . œœœ ...

Œ.

>œ œ œ œ Œ.

œœœœœœ

œ.

Vln. 1

&b œ ˙

12 8 ˙.

Œ.

∑

Vln. 2

&b œ ˙

12 œ œ 8 #˙.

Œ.

∑

Œ.

∑

F œ. œ œ œ œ œœ

Œ.

∑

œ œœœ

Vla.

Vlc.

Bb ˙

œ œ

12 8 ˙. 12 8 ˙.

?b w

Timp.

? b >œ ‰ ‰ >œ >œ ‰ ‰ œ 12 JJ J 8 J

B.D.

∑

12 8

œ.

ƒ œ.

Oh,

up - right,

œœ .. œ.

ƒ œ.

F œ. œœœœœœ

œ œ œ.

œ.

Oh,

>œœ .. œ. œ >

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œ. œ. œ. œ.

F > > > > > > > > j ‰ ‰ ‰ ‰ œ œ œ œ œ œ œ œ œJ ‰ ‰ œ ‰ œ œJ ‰ ‰ œ ‰ œ œJ ‰ ‰ œ ‰ œ œ ‰ ‰ Œ . > > > > > f ∑ ∑ ∑

Tempo primo ( q. »ca. 70 )

œ.

œ. &b

œ œ œ. J

œ. &b

œ œ œ. J

& b œ.

œ œj œ .

>œœ .. b & œ.

œœ œ

? b >œœ .. 79

Vln. 1

Vln. 2

Vla.

Vlc.

&b &b Bb Bb

Timp.

B.D.

œ.

the de - gra

Pno.

œ œ œ. J

œ. œ. œ. œ. œ. œ.

the de

˙. -

œ. -

gra

œ. -

gra

œ.

the de - gra

˙.

œ.

˙.

j œœ œœ œœ œ œj œ . œ œ œ œ. J œ œ œ œ œ.

œ. œ œ œ œœ œ œ œ œ. œ œœ œœ . œ œ œ. œ. œ œ œ. œ. œ. J œ œ œ œ œœ .. J œ œ œ. J œ œ œ. J

œ.

œ. œ.

œ. ?

œ.

˙. -

˙.

Œ.

tion,

Œ.

˙.

Œ.

˙.

Œ.

œœœ ... ˙˙ .. œ . ˙.

˙˙ . ˙ ..

Œ.

œ. -

œ. œ. œ.

tion,

˙.

tion,

˙. ˙. ˙.

j j œ œ >œ . œ œ >œ . >

j œ œ

It is time we gave man faith in

˙.

˙. ˙. ˙.

œ.

˙.

œ.

˙.

œ.

˙.

œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ˙æ. > > > > > > >> > > P f ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ˙æ. > > > >>>> >>>> P> f

j œ . œ œj œ . œ œj œ œ > > >It is time we gave man faith in

j j j œ œ >œ . œ œ >œ . œ œ >It is time we gave man faith in

F j j j . œ œ œ . œ œ œ œ œ > > >It is time we gave man faith in

œ. œ. F> >œ . œ. Œ.

>œœ . œ ..

>˙˙ ..

>˙˙ .. ˙˙ ..

>œœ . œ ..

>œ œ

œœ >œœ

F (marcato) > . > . . Œ . œ œJ œ . œ œJ

>œ .

œ. œ. J

>œ .

œ. œ. J

j œ. œ . >

œ. œ. J

F (marcato) > . > Œ . œ œJ œ . F (marcato) > > Œ . œ œ. œ . J

F (marcato) > Œ . œ œ. œ . œ. J >

j œ ‰ ‰ Œ. >

>œ .

œ. œ. J

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∑

œ. œ. J œ. œ. J

rit.

& b ˙. > wo

Vln. 1

Vln. 2

Vla.

Vlc.

>˙ . ˙. &b 83

Pno.

a tempo

rit.

˙.

And

still

more,

time we gave

Œ. Œ. œ.

œ.

˙.

And

still

more,

œ œ œ

man,

˙.

Œ. Œ.

˙.

Œ. Œ.

man,

# >˙˙˙ ...

œ.

And

œ.

And

>œ . œ. Œ . Œ . œœ .. a tempo

œ.

still

œ.

still

j j œ œ œ œ ˙. œ œ œ œ ˙. > > > ˙.

>œ .

>˙ .

Œ. Œ.

>œ .

˙.

> Œ. Œ. œ.

>. œ

>˙ .

˙.

? b >˙ .

˙.

Œ. Œ. œ. >

Timp.

? b Ó.

Œ.

B.D.

∑

rit.

a tempo

Œ. Œ.

a tempo

j œ ‰ ‰ ˙æ. > F f

œ. œ.

>œ .

time we gave

œ œ œ

time we gave

˙.

œ œ œ

˙.

time we gave

>œ . >œ .

j œ ‰ ‰ Œ. > f ∑

œ œ Jœ œœ œ œ J ˙.

œ œ œ

œ œ j œ Jœ œœ œ œ.

œ œ œ

œ.

Œ. ˙.

œ.

Œ.

œœ .. œ >.

œ. œ >. ƒ

man

œ >

Œ.

man

>˙˙ .. ˙˙ ..

Œ.

man

Œ.

man

œ.

˙.

more,

œ.

more,

œœ >œ œ œœ œœ J > œ œ ˙˙ .. > œ . Œ . Œ . ˙˙ .. > œ. œœ œœ

? b œ. œ. œ. œ. > rit. 83 >˙ . &b

˙.

œ.

man,

˙.

œ œ œ

Œ. Œ. œ.

˙ œœ

œ œ œj œ œ

˙.

œ œj œ œ œ

˙.

œ.

œ œ.

Œ.

œ.

œœ

œ‰œœ‰œ œ‰ œœ‰œ œ‰œœ‰œœ‰œ œ‰œ >p > > > > > > > ∑

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∑

˙. &b

#œ.

œ.

. &b ˙

her

#œ.

œ.

her

& b ˙.

œ.

her

faith

œ.

Œ.

4 4

œ.

Œ.

4 4

∑

˙.

œ.

Œ.

4 4

∑

˙.

œ.

Œ.

∑

self!

˙. -

self!

her

self!

Vln. 1

Vln. 2

œ.

. &b ˙

Vla.

œ.

Vlc.

?b . œ

œ.

B.D.

œ.

>œ œ

œ.

>œ

œ.

> œ

> ? b >œ ‰ œ >œ ‰ œ ‰ ‰ œ œ œ œ œ > > j ã œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œæ. œ ‰ > > > > 87

Timp.

∑

Slower ( q»60 )

>œ >œ >˙ . >œ œ > 44 œ ‰ Œ Ó œ œ œ ‰ ‰ Œ. œ œ ‰ ‰ & b ˙. J J œ œ œ J œ #œ > > f > ?b 44 ‰ Œ Ó 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 87 Slower ( q»60 ) ˙. œ. > > > > > >œ 4 œ œ œ œ œ œ œ œ . b ‰ ‰ Œ œ œ œ œ œ œ œ œ & 4 œ ‰ Œ Ó J J J J faith

Pno.

Slower ( q»60 )

œ.

˙.

>œ œ >œ œ œ œ J J >œ œ >œ J J > > œ œ œ J J > > œ œ œ J J

> >œ > œ ‰ ‰ œœ œœ œœ 44 œœ ‰ Œ J J >œ œ œ 4 >œ >œ ‰ ‰ 4 J ‰ Œ J

Ó Ó

> > > œ ‰ ‰ œ œ œ 44 œ ‰ Œ J J

> œ ‰ ‰ œæ. J

‰ œj ‰ ‰ œj ‰ ‰ œæ. > >

Slower ( q»60 )

44 >œ ‰ Œ J f 44 j ‰ Œ œ > f

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œ œ p

NARRATOR: m. 90 thru m.92 (pace slowly) The United States women’s rights movement of the 1800s came to life in the ancestral home of the Haudenosaunee (dubbed Iroquois by French and English settlers). This land-- called the state of New York after colonization, was home to a variety of women’s lived experiences.

∑

.. ..

∑

.. ..

∑

.. ..

∑

.. ..

∑

#œ œ

∑

P wwww ..

Vln. 1

∑

.. ..

∑

Vln. 2

∑

.. ..

Vla.

∑

.. ..

Vlc.

∑

.. w P

? b œ‰Œ œ‰Œ J J π ∑ ã 90

Timp.

B.D.

.. œ ‰ ‰ œ Œ œ œ J J ..

∑

www

∑

.. .. Œ Pw ww .. .. w

˙ #˙

Pno.

∑

NARRATOR: m. 93 thru m. 95 (normal pace) Middle class white women aired the frustration of their constrained realities to one another. Elizabeth Cady Stanton, who would go on to be a leader in the women's rights movement, described attending a small tea party of disgruntled women, where in addition to serving tea, she also “poured out the torrent" of her "long accumulating discontent."

˙˙˙

www

.. w www ..

∑

Œ œ # œ œ n œ .. .. w

œ ‰ ‰ œ Œ œ œ .. .. œ ‰ ‰ œ Œ œ œ J J J J

œ ‰ ‰ œ Œ œ œ .. œ ‰ ‰ œ Œ œ œ J J J J

∑

.. ..

∑

.. Œ n œ œ œ p

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑

NARRATOR: m. 96 thru 100 (relaxed pace) Meanwhile, Black women were living in a state that had just ended slavery. Full emancipation arrived in 1827 for New Yorkers. Women like Harriet Jacobs and Sojourner Truth had both endured the torture of slavery, and were now sharing their personal stories as activists for abolition and supporters of women's rights.

∑

& b œ nœ œ #œ ˙ 96

Pno.

? b #œ

Vln. 1

Vln. 2

&b Œ

Vla.

Bb Ó

Vlc.

?b w ?b œ ‰ Œ J 96

Timp.

B.D.

œ F

∑ #œ

˙ p

Ó Œ

#œ

œ #œ

œ œ

Œ nœ ∑

∑

www w

˙˙ # ˙

.. Œ

œ p

#œ

.. Œ

j j œ ‰ Œ œ ‰ .. Œ > >

j œ ‰ Œ >

œ nœ

œ #œ

Œ nœ ∑

∑

.. w ..

#œ

.. # ˙

j œ ‰ π>

∑

∑ pizz.

.. œ n œ œ # œ ˙

www w

˙˙ # ˙

∑

j œ ‰ >

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ ∑

.. ..

j j œ ‰ Œ œ ‰ .. > >

NARRATOR: (slow pace) And the women of the six Indigenous nations of the Haudenosaunee were living in communities that modeled women’s equality to men. They owned property, had a voice in religious life, nominated leaders, and removed them if necessary.

Some early women’s rights leaders had interactions with the Haudenosaunee. including Matilda Joslyn Gage, who was adopted into the Wolf clan of the Mohawk nation and given a name meaning “she who holds the sky.”

100

∑

œ.

œ. w J.

100

Pno.

?b 100

Vln. 1

.. w

&b w P

Vln. 2

∑

.. Œ

Vla.

∑

.. Ó

Vlc.

∑

Timp.

.. w P

∑

B.D.

.. œ ‰ Œ Ó J π .. ∑

100

∑

arco

œ ˙ P

Œ œ

œ.

œ J w

œ ˙.

˙ œ ˙ Œ œ

œ ˙.

.. ˙

Œ œ

Œ œ‰ œ‰Œ Ó J J

Œ œ ‰ .. œ ‰ Œ Ó J J

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑

106

∑

&b 106

Pno.

Tempo primo ( q»ca. 72-78 )

∑

Vla.

Vlc.

?b w

B.D.

One

day,

œ œ

One

day,

œ œ

gg ˙ww. Œ. w

Tempo primo ( q»ca. 72-78 )

Vln. 2

Timp.

˙˙˙ ˙

œ œ œ œ œ œ

Vln. 1

106

day,

œ œ

the

day,

the

Tempo primo ( q»ca. 72-78 )

&b w

One

&b ˙ ˙˙ ?b 106

j œ ˙

œ œ œ œ œ

wo - men got tired,

œœ ..

œœ œ

˙˙

œ œ

the

œ œ

day,

œ ˙ # ˙˙˙

œ œ

day,

the

One

œœ œ

the

One

wo - men got tired,

œ œ

day,

One

wo - men got tired,

j œœ œ j œœ

One

wo - men got tired,

œœœ ...

œ œ

day,

the

œœœ

#œ ˙ œ œ

∑

Tempo primo ( q»ca. 72-78 )

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œœ œ

œ œ œ &b œ œ

&b œ œ œ œ œ

110

wo - men got tired,

. & b œœœ ..

Pno.

œ œ œ œ œ

œ œ

œ œ œ œ œ

œ œ

day

One

j œœ ˙˙ œ ˙

?b œ œ œ œ œ

œ œ

One

wo - men got tired,

110

œ œ œ œ œ

day

One

wo - men got tired,

œ œ

One

wo - men got tired,

œ œ œ œ œ

œœ œ œ

day

œœœ

œœ

œ œ œ œ

the

œœ œ œ

wo - men got tired,

œœ .. œ. j œ œ œ œ

j œœ œœ

Vln. 1

∑

Vln. 2

∑

Vla.

∑

Vlc.

∑

Timp.

?b Ó

B.D.

110

Œ ∑

œ p

œ.

œ œ J ∑

∑ ∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

got

œ œ œ

got

œœ œœ

j œ œ œ œ

110

œœœ œ

27 NARRATOR: Charlotte Woodward, 19 years old: “At first, we travelled quite alone, but before we had gone many miles...

113

&b œ œ œ œ œ tired

e - nough

&b œ œ œ œ œ tired

e - nough

&b œ œ œ œ œ tired

e - nough

113

Pno.

& b ˙˙ .. ˙. ?b

œ œ œ œ

∑

move.

œœ œ

ggg www

œ œ

ggg ww

113

Vln. 1

∑

Vln. 2

∑

Vla.

∑

œ œ œ œ œ p

Vlc.

∑

Timp.

∑

B.D.

113

∑

w P

œ. p

œ œ J ∑

œ œ œ œ œ

˙.

œ.

pizz.

œ.

œ œ J

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ P œ

œ œ J

∑

28 NARRATOR: (increasing pace) ...we came on other wagon loads of women, bound in the same direction. At different crossroads, we saw wagons coming from every part of the country, and before we reached Seneca Falls, we were a procession.”

117

∑

117

∑

117

œœœœ œ œ

Vln. 1

Vln. 2

&b ˙

Vla.

Bb œœœœ œ œ

Vlc.

? b ˙.

Timp.

? b œ.

B.D.

œ œ œ J

117

F j ‰ œ œ œ One

Ó F

∑

∑ œ

œ œ

œœœœ w

˙˙ ˙. œ

œ <

∑

œœœœ œ œ

œœœœ œ

œ.

œ œ J ∑

pizz.

œ œ fl P

∑

˙. œ ggg ww F Œ. ˙ œ w œœ # ˙˙

œ œ œ J ∑

pizz.

Ó Ó

œ œ fl P

(pizz.)

œ œ fl P Ó

Ó ∑

One

œ ˙ < day, One F One

Pno.

F j ‰ œ œ œ

œ œ

the

œ œ

day,

the

j œ ˙

‰ j j‰ j‰ œ œ œ fl ‰ j j‰ j‰ œ œ œ fl ‰ j j‰ j‰ œ œ œ fl œ œ F

∑

œ. p.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

j œ. œ

œ.

122

&b ˙

œ œ œ œ œ

day,

&b &b

wo - men got tired,

Pno.

j œœ œ j œœ

œœœ ...

? b œ .. œ

œœ œ

˙˙

122

Vln. 1

Vln. 2

& b œ œ ‰ œj œj ‰ œj ‰ fl fl & b œ œ ‰ œj œj ‰ œj ‰ fl fl

Vla.

Vlc.

Timp.

B.D.

œ œ fl œ.

122

‰

j j ‰ j ‰ œ œ œ fl œ ˙ J ∑

œ. .

j œ. œ

day,

œ<

One

œ <

#œ <

One

œœ œ

One

wo - men got tired, 122

œ<

nœ

the

nœ

day,

#œ the

day,

the

day,

˙. # ˙˙˙ ...

œ #œ ˙ œ œ

the

œ œœœ œœ

˘ j˘ œ œ ‰ œ n œJ ‰ # œJ ‰ fl #œ œ fl œ œ fl Œ

‰ ‰

#˙

j j ‰ œj ‰ œ œ fl fl j j ‰ œj ‰ œ œ fl fl œ

∑

œ.

#œ

j j j œ œ. ‰ œ. œ ‰ œ ‰ fl fl fl

œ nœ œ œ œ

œ œ œ œ œ

‰ ‰

wo - men got tired,

œœ .. œ.

j œœ ˙˙ œ ˙

œ œ œ œ œ œ̆ J ‰ Œ

j œ ‰ Œ fl

j œ ‰ Œ fl œ.

Œ œ œ J

j œ ‰ Œ fl

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Œ Œ

œ J ‰ F j œ ‰ F

œ J ‰ F œ œ 3

œ P j œ. ‰ P

œ œ œ &b œ œ day

œ œ

&b œ œ œ œ œ day

œ œ

&b œ œ œ œ œ

œ œ

&b œ œ œ œ œ

œ œ

125

One

day

One

& b œœœ 125

Pno.

day

œœœ

œ œ œ œ œ

& b œJ ‰ Œ 125

Vln. 1

œœ

Vln. 2

j b ‰ Œ œ &

Vla.

Bb œ ‰ Œ J

Vlc.

Timp.

? b œ.

B.D.

125

j œ. ‰ Œ

the

œœ œ œ œ̆ ‰ J

œ œ œ œ œ

wo - men got tired,

œ œ œ

wo - men got tired,

œ œ œ œ œ

wo - men got tired,

œ œ œ œ œ

wo - men got tired,

œ̆ ‰ J

j œ ‰ fl

œ.

œ œ J

j œ. ‰

j œœ œœ

œœ .. œ. j œ œ œ œ

j œ ‰ fl œ̆ ‰ J

œ œ

œ̆ ‰ J

j œ. ‰

œœ œœ

j œ œ œ œ Œ

Œ j œ ˙ ∑

got

œ œ œ œ œ

tired

e - nough

œ œ œ œ œ

got

tired

e - nough

got

tired

œ œ œ

e - nough

got

tired

œ œ œ

œœœ

˙˙ .. ˙.

œ œ̆ ‰ J

j œ ‰ fl œ̆ ‰ J

œ œ œ œ

œœœ œ

œ̆ J ‰ Œ

j œ ‰ œj ‰ fl fl

œ̆ ‰ Œ J

j œ ‰ Œ fl

j œ. ‰

e - nough

j œ ‰ œj ‰ fl fl

œ œ œ

j œ. ‰ Œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑ Ó

31 NARRATOR: m. 128 thru 133 (brisk pace) When Charlotte’s wagon reached the first women's rights convention in Seneca Falls, over 300 people were there including forty men who were permitted inside, but not allowed to speak for the first day. When Elizabeth Cady Stanton presented the Declaration of Rights and Sentiments, her voice was so quiet that many struggled to hear her. The document, modeled after the Declaration of Independence, contained eleven resolutions to be voted upon the following day.

128

&b w

∑

&b w

∑

move.

128

Pno.

& b gw ggg ww ?b ggg ww

œœœœ œ œ ˙

& b œJ ‰ Œ

∑

.. Ó

& b œj ‰ Œ

∑

Vla.

Bb œ ‰Œ J

œœœœœ œ

.. œ œ œ œ œ œ ˙ p

Vlc.

?b w

Timp.

? b œ. p

128

Vln. 1

Vln. 2

arco

128

B.D.

˙. P

œ œ œ œ. J π ∑

Œ œ P

arco

pizz.

arco

.. œ Œ

œ Œ

˙.

œœ œ J

.. œ .

œ œ œ œ. J

∑

œœœœ œ œ œ Œ

.. w

∑

œœœœ

œ Œ

œœœœ œ œ œ œ œ œ œ. J ∑

œ œ œ J ∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ.

œ œ œ .. J

œ œ œ œ œ œ ..

∑

32 NARRATOR: m. 134 thru 138 All resolutions passed easily, except the one Stanton had authored alone, which called for the enfranchisement of women. One man stood to defend the resolution. His name was Frederick Douglass, and after he spoke, it passed by two votes.

134

∑

134

∑

Pno.

134

Vln. 1

&b w

Vln. 2

∑

Vla.

Bb œ Œ œ Œ

Vlc.

∑

Timp.

?b œ Œ Ó

B.D.

134

∑

œ œ œ œ œ œ

œ. œ œ

œ Œ

Œ Œ

œ œ

j œ w

w w

nœ œ œ œ

œ œ œ œ ˙ P œ œœœ œœ œ œ œ œ œ

œ ˙

œ œ œ œ

œ œ ˙.

œ Œ

œ Œ Œ œ

Ó ∑

arco

œ œ J

œ œ Œ J ∑

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ ∑

139

Rubato ( q»84 )

NARRATOR: 1853. Broadway Tabernacle, New York.

∑

139

∑

139

Pno.

∑

ggg ˙˙˙ ... g

Solo

∑

F ‰ j œ œ œ

(Sojourner Truth)*:

∑

ggg œœ gœ

ggg ˙˙ ..

ggg œœ

ggg ˙˙˙ g

ggg œœœ g

ggg ˙˙

ggg œœ

139

Vln. 1

Vln. 2

Vla.

Vlc.

&b œ œ œ œ

Bb ˙

? ?

œ œ

b w

139

Timp.

B.D.

∑

&b w

b œ Œ π

Ó ∑

∑ ∑

We have

œ all

been thrown down

∑

Rubato ( q»84 )

ggg œœœ œ

˙ #˙

œœ

˙˙

Rubato ( q»84 )

∑

Rubato ( q»84 )

œœ œ

œ œ

# œœ

∑

* See composer's performance notes

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

34 143

Solo

& b ˙.

low,

143

&b Ó

143

Pno.

& b ˙. ˙.

low

œ ~~~ ˙

low

œ ~~~ ˙

P So

low

œ ~~~ ˙

nœ

low

œ ~~~ ˙

œœ

‰

j œ nœ œ

We have been

œœ

? b ˙˙ ..

∑

&b Ó

NARRATOR: Sojourner Truth had endured much in her life...

nœ

n ˙˙

œœ

˙˙

œœœ œœ

∑

n wwww

˙˙

œ ˙. ˙.

œ ˙

œœ

œœœœ n œ

143

Vln. 1

∑

w ~~~~~~~~~~~~~~~~~~~~ ˙

Vln. 2

∑

n w ~~~~~~~~~~~~~~~~~~~~ ˙

w ~~~~~~~~~~~~~~~~~~~~ ˙

∑

œ œ ‰ œ œ ‰ Œ J J

œ œ

‰

Vla.

∑

Vlc.

∑

?b œ œ ‰ œ œ ‰ Œ J J p Œ œ ã Ó π 143

Timp.

Sul D, gliss. from beat 3 to 1

gliss. from beat 3 to 1

œ œ ‰ œ œ ‰ Œ J J F Œ œ Œ œ

œ > F This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. B.D.

gliss. from beat 3 to 1

œ p

œ J p

147

Solo

& b œ œ œ bœ 3

long e - nough trod - den

147

&b Ó

& b ˙˙˙ ?b œ

j &b œ œ 147

Vln. 1

˙ b ˙˙˙ U

now,

Œ œ long

j U œ b˙

Ó # œœœ ... œ.

Œ j œœœ œœœ œ œ

œ ˙. ˙.

∑

œ œ ˙.

∑

œ œ ˙.

∑

trod - den

nœ #œ ˙.

trod - den,

nœ #œ ˙.

trod - den,

œœœ œ

# www w

long

˙ nœ #œ œ Œ

Vln. 2

& b œj œ

j U œ ˙

Œ œ

œ œ ˙

Vla.

Bb œ œ J

œ J

Œ œ

nœ #œ ˙.

Vlc.

?b œ œ J

?b œ ‰ Œ J 147

œ J

U̇ U̇

˙.

˙ nœ #œ œ

∑

˙ nœ #œ œ

œ œ œ Œ œ

œ F

nœ #œ œ Œ œ œ

j œ œ œ

˙.

Œ œ Œ F> U ∑ Œ Œ œ B.D. ã œ œ Œ œ Œ > F This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. Timp.

˙æ.

trod - den

long

147

Pno.

NARRATOR: ...but she refused to let her life's light be determined by the darkness that surrounded her.

œ. p wæ

œ P

œ n˙

œ œ ˙. nœ #œ ˙. w Ó

Œ ∑ ∑

f Œ œ

152

Solo

&b Ó 152

∑

152

Pno.

But

&b &b

˙ #˙

152

will

have

our

∑ ∑

Œ Ó

˙˙˙ ˙ ?

œ œ

& b ˙.

Vln. 2

∑

œ œ

œœœœ œ

∑

rights,

Œ Œ

œœœœ œ œ

∑ >œ œ

∑

Vln. 1

˙.

˙˙˙ ... ˙. œ

œœ

But

will

have

our

But

will

have

our

But

will

have

our

But

œ œ œ œ œœœ œ œ

have

our

œ œ

œœ

œœ œ œ œ

œœ œ

œœœ

∑

will

œœ œ

œœœ œ

Vla.

B b ˙.

∑

Vlc.

?b œ œ ˙

∑

> > ‰ œ ‰ œ œ ‰ œ ‰ ‰ œj ‰ œj œj ‰ œj ‰ œ œ œ œ œ œ Œ œ Œ J J J J > > > > > > > P P F F Ó ∑ ∑ B.D. ã œ Œ ˙æ œ Œ > F>performance. Please visit MusicSpoke.com P to purchase performance This score is not licensed for copies. ?b Ó 152

Timp.

œ & b ‰ J œ œ œJ œ . 156

Solo

see if we don't!

156

&b ˙

Œ œ

&b ˙

Œ œ

rights,

?b 156

Vln. 1

Vln. 2

Vla.

œ œ

œœ œ œ œ œ

œ œ

&b ˙

Œ œ

Bb ˙

Œ œ

Vlc.

œ Œ œ œ œ œ

Timp.

∑

156

œ œ œ 3

œ œ œ

œœœ œ œ

œœœ œ

œ œ

œœœ

˙˙˙ ˙ œœ œ œ œ œ œ œ œ œœœ

œ œ œ

> > ‰ œ‰ œ œ ‰ œ ‰ J J J J P j ∑ œ œ œ œ. > > >

Œ œ œ œ fl fl fl

see if you

And you can't keep us from them,

œœœ œ

See if you can,

And you can't keep us from them,

œœœœ œœœ

rights,

156

Pno.

‰ Jœ œ œ œ œ . J

And you can't keep us from them

˙˙ & b ˙˙

And you can't keep us from them

rights,

∑

ß w

can!

œ œ œ #w fl fl fl can! see if you ß Œ œ œ fl fl flœ w see if you can! ß Œ œ flœ flœ w fl see if you can! Œ œœ œ œ œ œ œ fl flœ flœœ w w Œ

˙. p ˙. p

˙. p

# www w Œ Œ

∑

∑ Œ

>œ œ > j Œ ‰ œJ ‰ # œ > F

œ œœœ œœœ œ œ œ > > >

j œ. œ œ œ œ Œ Ó > > > > This score is notP licensed for performance. Please visit MusicSpoke.com to purchase performance copies. B.D.

œ œ ‰ œj‰ j > # >œ F> ∑

œ Œ Ó >

j j œ ‰ œ œ œ ‰ #œ œ > #œ >œ ◊ >

∑

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j œ œ

161

Solo

see

161

∑

if you

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Vln. 2

Vla.

Vlc.

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w >

ggg ˙ww. F Œ. w

∑

day,

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Fj ‰ œ œ œ ˙ One

day,

j œ ˙

œœœ ... œœ ..

j œœ œ j œœ

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˙˙

‰ œj œ œ œ œ œ

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You

may

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One

day,

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One

∑

day,

the

day,

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the

œ œœœ œœ

#˙

nœ #œ

# œ¯

œ̄

œ œ

wæ

j œ. œ œ œ p This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. B.D.

the

#œ <

nœ #œ

day,

œ <

˙. # ˙˙˙ ...

the

One

œœ œ

nœ #œ

One

the wo - men got tired,

wæ P

the wo - men got tired,

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day,

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One

loco

Vln. 1

161

∑

F j ‰ œ œ œ ˙

can!

One 161

∑

ƒ #˙

œ œ

∑

39 165

Solo

œ.

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hiss

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as much

165

&b œ

wo - men got tired, A2

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but

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com

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the

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ing,

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day

One

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165

Vln. 1

like,

wo - men got tired,

. & b œœœ .. 165

Pno.

you

wo - men got tired,

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day

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œœ

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the

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wo - men got tired,

the wo - men got tired,

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j œ œ œ œ

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got

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got

œœœ œ

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j œ œ

j œ. œ œ P This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

& b œ nœ

Bb œ

œ œ œ

Vlc.

?b œ

Timp.

?b Ó

Vln. 2

Vla.

165

B.D.

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168

Solo

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com

ing,

168

tired

e - nough

&b œ œ œ œ œ

tired

&b œ

tired

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œ œ œ e - nough

œ œ œ

e - nough

168

Pno.

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move.

∑

move.

∑

move.

∑

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? b ‰ >œ ‰ >œ >œ ‰ >œ ‰ J J J J 168

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Vln. 2

com

move.

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Vln. 1

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ggg ww œœ

ggg ww œœœœœœœ œ œ œ.

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>. œ p Œ

œ p

œ œ

j œœ œ œœœœœœœ œ œ œ F

œ œ

>. œ

œ J

˙.

œ f

pizz.

ggg ww

‰ Jœ Jœ ‰ œ ‰ J

œ œ J

œ œ Œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ œ

41 171

Solo

&b Œ

œ. œ. œ-

it is com - ing

171

∑

w Œ

∑ ∑

P œ. œ. œ-

∑

P œ. œ. œ-

it is com - ing,

& b gg ˙˙˙ ggg ˙ ? b gg ˙ ggg ˙˙ &b ˙

Vln. 2

Vla.

Bb œ

Vlc.

?b ˙

? b >œ . 171

it is com - ing,

Vln. 1

B.D.

it is com - ing,

˙˙

www

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˙˙

171

Timp.

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171

Pno.

P œ. œ. œ-

∑

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w w

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pizz.

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www w

ggg www gg w

>. œ

œ œ Œ

œ œ J

>. œ

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œ œ J

œ œ Œ

œ œ

42 175

Solo

&b Œ

F U œ. œ. ˙ ~~~~~~~~~ ˙ it

175

Pno.

∑

Vln. 2

Vlc.

œ.

B b œ.

œ œ

˙˙ P ˙ ˙

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∑

day.

F œ

day.

one

day.

one

day.

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∑

∑ ∑

ww w

w w ∑

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∑

œ.

∑

œ J ‰ Œ

œ.

∑

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pizz.

Ó Ó

œ J ‰ Œ

pizz.

U U

œ π

œ Œ Ó π This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. B.D.

∑

?b œ

pizz.

?b 175

Timp.

& b gg www gg w

&b œ

F œ

one

∑

Vln. 1

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one

ing,

f œ

one

∑

175

Vla.

∑

175

is com

œ. œ. P œ. œ ◊ .

pizz.

œ. F

œ.

pizz.

œ.

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pizz.

œ. œ.

pizz.

œ. F

∑ ∑

Œ Œ Œ Œ Œ Œ

Suffrage Cantata

Full Score

II. Failure Is Impossible

SSAA Chorus and Narration with Piano, String Quartet, and Percussion

Texts by

Music by

Susan B. Anthony

Andrea Ramsey

NARRATOR: (to be read alone with no music) Three years after Seneca Falls, Elizabeth Cady Stanton became friends with a woman whose name would one day be synonymous with women’s suffrage. (pause) Susan B. Anthony. Susan was unmarried and able to travel and lecture while Elizabeth was busy tending to many children at home. A partnership was formed--or as Elizabeth put it,“I forged the thunderbolts and Susan fired them.” On November 5th, 1872, Anthony voted--illegally--setting into motion a plan she hoped would eventually gain the women’s vote. The Fourteenth Amendment contained ambiguous language. Stanton and Anthony hoped it could be exploited for the cause of women’s suffrage. If all persons born in the United States were citizens, didn’t that include women? Weren’t women citizens? Seeing an ad in a Rochester paper that encouraged registration for the upcoming election, Susan took her three sisters and eleven other women down to the local barbershop. At first they were ignored, and then asked to leave, but when Susan read the Fourteenth Amendment to the registrars and threatened to sue, the men surprisingly agreed. They were convinced by Susan’s promise that she would pay their fines if the government ever came after them. Her act of voting became a national story, yet thirteen days later, a federal marshal knocked at her door. Seeming embarrassed, he indicated Susan was to be arrested and should come downtown, but no rush. Susan insisted that if he believed her to be a criminal, he should arrest her just as he would any man. She went to change, and upon returning, presented her wrists to the officer for handcuffing. He would not cuff her but did accompany her. As they boarded the trolley, the driver asked for her fare, and she announced-- loudly enough for every passenger to hear, that she was traveling at the expense of the federal government. Pointing at the marshal, she said...

Fervent ( q »ca. 72 )

CONDUCTOR CUE: "...Pointing at the marshal, she said:"

∑ ∑

∑

Fervent ( q »ca. 72 )

Pno.

&b Œ

f ? w b w ◊

ggg ˙˙˙˙ ‡g

>œœ œœ

œ fl Ask f œ fl Ask f œ fl Ask f œ fl Ask

>œ

him

for

>œ

fare!

for

>œ

w >

fare!

for

>œ

w >

fare!

for

w >

œ̆

him

œ̆

him

œ̆

him

˘œ œœœ

œœœ œ

œ œ fl

œ̆

œ œ fl

>œ œœœ

œ œ fl

œ œ œ >œ > loco

w >

fare!

œœ œœ œ œ >

œ œ œ œ >

> ggg # ˙˙˙˙ g

œ œ œ. œ œ œ. >

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˙˙˙ ˙ >

U nœ #œ nœ #œ J

Picking up ( q »108 )

NARRATOR: m. 6 thru m. 13 (brisk pace) After her lawyer bailed her out of jail, Susan B. Anthony spent the months before her trial delivering a lecture titled: "Is it a crime for a citizen of the United States to vote?" She gave this lecture in all 29 towns of Monroe county and convinced so many people of her reasoning that the prosecution had to move the case to a neighboring county.

∑

4 Picking up ( q »108 )

Pno.

∑

Picking up ( q »108 )

œ œœœœ .œœ œœœœ œœ œœœœ œ b . & 3 3 3 3 3 3 F pizz. .. œ œ œ œ œ œ œ œ ∑ &b F

œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ # œ œ œ œ

Vla.

∑

Vlc.

∑

Timp.

∑

.. œ Œ Œ œ F

∑

B. Dr.

∑

Vln. 1

Vln. 2

pizz.

4 Picking up ( q »108 )

.. œ œ œ œ

œ œ œ œ

.. œ Œ Œ œ F

œ Œ Œ œ

∑

pizz.

.. ..

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Pno.

∑

œ œœœœ œœœœ Œ œ b & 3

&b œ œ œ œ

œ Œ

œ ˙

œ Œ Ó

œ Œ œ Œ

œ Œ Ó

œ Œ œ Œ

Œ œ œ

œ ˙˙

ggg www

œ œ œ œ

œ Œ Œ œ

Timp.

∑

B. Dr.

∑

œ œ œ œ œ œ

Œ Œ œ

œ œ œ œ

œ Œ Œ œ

˙˙ œ ww ggg ww Œ̇

Vlc.

formed this

Œ Œ œ

formed this

Vla.

formed this

œœ œœœœ œ œœœ œœ 3

the peo - ple,

ggg ˙˙ g P œ & ggg œœ

formed this

the peo - ple,

ggg wwww g F ggg www

Œ Œ œ œ œœœ œ œ 3

œ ˙

the peo - ple,

∑

œ ˙

the peo - ple,

Vln. 2

Vln. 1

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&b ˙

&b &b

ion.

œ œ

ion.

Vln. 1

Vla.

well

men.

well

men.

œ ˙

Wo - men

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>œ œ

œœ œ >

well

ggg ˙˙˙˙ g ggg ˙˙˙˙

ggg ˙˙

œ œ œ œ œ œ 3

œ œ

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œ Œ

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œ œ œ œ

Œ œ œ #œ œ œ #œ

˙. ˙. > œ œ œ œ œ œ œ Œ 3

œ œ œ #œ œ œ œ #œ

œ Œ œ Œ

Timp.

∑

B. Dr.

∑

>œ > œ 3

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Vlc.

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men.

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men.

well

> œ˙˙ .. ˙ > > 16 œ œ œ œ œ œ œ œ &b œ œ

Bb œ Œ Œ œ

& b gw gg w

&b œ œ œ œ

Wo - men

>œ >˙ œ ˙

ww & b gggg ww

Vln. 2

Wo - men

Pno.

Wo - men

œ œ

Œ ‰ œ œ œj ‰ Œ P>

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∑

f j &b œ œ œ ‰ Œ > > > 21

mock - e - ry

& b œ œ œj ‰ Œ > > > mock - e - ry

&b &b

j‰ Œ œ œ œ > > > mock - e - ry j‰ Œ œ œ œ > > >

mock - e - ry

>œ œ &b œ 21

Pno.

œ œ

>œ œœ

œ œ œ œ œ œ

&b œ f

Bb œ f ?b œ

Timp.

?b Œ

B. Dr.

‰ œ œ œj ‰ Œ >

Vln. 1

Vln. 2

Vla.

Vlc.

&b œ f

œ P>

>œ œ œ J ‰

‰ œJ

œ œ œ

j œ ‰ œ. œ œ > >

j œ œ œ ‰ >

‰ œJ

œ œ œ

œ >

‰

talk

the bles - sings

j œ ‰ œ. œ œ > >

talk

œ œ œ of

œ œ œ

the bles - sings

j œ ‰ œ. œ bœ nœ œ œ > >

talk

the bles - sings

>œ > >œ > >œ > > œœ ‰ œœ ‰ œ œ œœ ‰ œœ ‰ >œ œ œ œœ J J J J J

? b >œœ >œœ ‰ œ œ œ J œ œ œ œ 21

>œ œ . œ >œ œ œ œ ‰ J

li - ber - ty

while we are de -

j œ œ ‰

j œ œ œ œ 3

while we are de -

li - ber - ty

j ‰ bœ œ œ >

‰ œj œ œ œ 3

li - ber - ty

while we are de -

3 œ œ œ œ œ œ # œ œ œ ‰ œœ ‰ ‰ j œ #œ œ œ œ J 3 œ 3 # > œœœœ >œ b >œ n œ > œ œœJ œ ‰ J ‰ J ‰ J ‰ œœ œ Œ œ œ > >œ # >œ œ >œ >œ >œ arco œ J ‰ ‰ J J ‰ Ó Œ F >œ >œ >œ arco >œ # >œ ‰ ∑ J ‰ ‰ J J F >œ >œ arco # > œ > > J ‰ ‰ J J ‰ œ œ ∑ F

∑

while we are de -

∑

‰ œj ‰ œj œj ‰ œj ‰ > > >

œ >

‰ œ œ œj ‰ > Œ

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‰ œ

j œ >

&b &b

˙.

nied

the

˙.

nied

the

. &b ˙

nied

the

& b ˙.

nied

>œ . œ. œ & b œ .. 24

Pno.

Vln. 2

Vla.

Vlc.

œ>œœ œœœ J

>œ œ

‰ Œ .. ~~~ œj

∑

˙* ~~~~

‰ Œ .. ~~~ œj

˙ ~~~~

‰ Œ .. ~~~ œj

bal

B. Dr.

∑

.. ..

∑

.. ..

∑

‰ Œ .. ~~~ œj

∑

.. ..

∑

j ‰ Œ .. œ

∑

lot!

œœ Œ

> œ >œ œ j j ‰ ‰ j œ œ ‰ J J ‰ œ ‰ Œ .. œ œ œ œœ > > >

œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ # œ œ œ œ 3

> ∑ & b ‰ Jœ œj ‰ j j ‰ ‰ > >œ >œ > B b ‰ Jœ œj ‰ ‰ ‰ œj ‰ œj ‰ Œ Ó > > > arco >œ >œ ?b Ó Œ J ‰ J ‰Œ Ó F ? b ‰ j‰ œ œ œ œ œ œ œ ˙æ > > > ã

œ Œ >

* fast gliss on & of 2

˙æ >

œ œ œ œ œ œ œ œ .. Œ œ œ œ Œ œ p legato .. ∑ ∑

pizz.

∑

Timp.

.. ..

˙ ~~~~ *

∑

>œ > j j œ &b ‰J J ‰ œ œ ‰ ‰ >> 24

Vln. 1

the

˙* ~~~~

NARRATOR: m. 28 thru m.31 (1x) United States vs. Susan B. Anthony took place in June of 1873, and lasted two days. With an all-white, all-male jury and a judge who had written his decision before any of the evidence was presented, it was hardly a fair trial.

.. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ pizz.

∑

.. .. œ Œ Œ œ œ Œ Œ œ

∑

.. .. œ Œ Œ œ œ Œ Œ œ

j œ ‰ Œ ..

∑

.. ..

∑

j œ ‰ Œ ..

pizz.

.. ..

∑

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49 NARRATOR: m. 31 (1x) thru m. 32 (2x) Susan had not been allowed to speak until the final day when the judge ordered her to stand and asked: "Has the prisoner anything to say why sentence shall not be pronounced?"

∑

Pno.

Vln. 2

Vla.

∑ ∑

∑

œ œ œ œ œ œ

∑ œ ˙ ˙ Œ œ

∑

œ œ œ œ œ .. Œ œ 2.

P Œ œ œ P

w w

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 Œ Œ œ ∑

Timp.

?b ã

∑

∑ ∑

or,

∑

œ œ

œœœ œ

˙. ˙.

œœœ œ œ œ

œ œ œ œ p

∑

Faster, but measured ( q »124 )

your hon -

˙˙ ˙˙

∑

your hon -

P Œ œ œ

∑

œ œ œ œ .. œ œ œ œ

Faster, but measured ( q »124 )

&b œ œ œ œ

your hon -

Yes,

œ2. œ œ 3 œ œ œ œ œ œ œ œ œ œ œœ #œ œ .. &b œ œ Œ œ Œ 3 3 3 3 3

P Œ œ œ

Yes,

Vlc.

B. Dr.

Yes,

Vln. 1

∑

musical equivalent of a low scolding teacher voice: deliberately intense, with overt enunciation

Yes,

&b Œ ?b

Faster, but measured ( q »124 )

arco

˙ p

arco

Œ œ p

arco

˙ p

œ œ ˙

Faster, but measured ( q »124 )

∑

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∑

&b Œ œ œ œ

œ.

&b Œ

F œ œ œ

œ.

&b Œ

œ œ œ

œ.

&b Œ 36

Pno.

&b ?b

Vln. 2

Vla.

j œ œ

have ma - ny things to

F œ œ œ I

œ.

have ma - ny things to

œ Œ œ œœ œ œ P ˙. œ ˙. œ

œ ˙ &b 36

Vln. 1

j œ œ

˙˙ ˙˙

œœœœ œœœœ

œ œ œ œ œ J

œ œ

œ.

&b œ œ œ œ

œ œ

Bb œ œ œ œ

Vlc.

Timp.

∑

B. Dr.

∑

˙.

say,

œ œ

say,

œ œ

say,

˙˙˙ ˙ ˙˙ ˙

7 ‰ j œ œ œ 8 >œ œ for in your

Ó Ó

of guil - ty

ver - dict

œ >œ œ

of guil - ty

ver - dict

œ >œ œ

of guil - ty

ver - dict

œ >œ œ

7 ‰ j œ œ œ 8 >œ œ for in your

78 ‰ j œ œ œ œ > œ for in your

Œ Ó

>œ J ‰ S œ œ >œ ‰ J S j ˙ œ ‰ S> > ˙ œ ‰ J S ˙

ver - dict

7 ‰ j œ œ œ 8 >œ œ for in your

œ >œ œ

of guil - ty

you have

>œ J ‰

j ‰ œ > j œ ‰ > > ‰ œ ‰ J

j ‰ œ > j œ ‰ > > œ ‰ J

68 6 8

‰ œ ‰ J

œ J

>œ ‰ œ ‰ J

78 œ ‰ J

78 >œ ‰ œ J

œ ‰ Œ J P j œ ‰ Œ P

6 8

you have

œ.

&œ

œ œ. > F 78 Œ

œ.

6 8

you have

œ.

78 j Œ œ > 7 j Œ 8 œ > 78 >œ ‰ J

œ.

>œ œ.

j œœ ‰ œœ > S

6 8

>œ œ. ‰

78 j j j œ œ œ œ œ ‰

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‰

j œ ‰

f 6 &b 8 œ > 40

f 6 &b 8 œ >

‰ œ œ >

tram - pled,

f 6 &b 8 œ >

‰ œ œ >

tram - pled,

Pno.

&b &b

>œ 6 &b 8 J F 6 j & b 8 œœ > F >œ B b 68 œ J F ? b 68 >œ F 40

Vln. 1

Vln. 2

Vla.

Vlc.

B. Dr.

>œœ œ ‰ ‰ œJ

j œ j‰ > >œ

œ œ >Jœ J J

j j j œœ œœ œœ > œœ œœ >œ œ J J J œ œ >œ

? b 68 j ‰ ‰ œ œ J 40

Timp.

>œ 68 œœœ J F 68 ‰

tram - pled,

j œ œ >

j 44 œj ‰ œ œœœ œ > > >œ œ œ J J 44 J ‰ j j j œ œ 44 œ ‰ œ œ œ > œ œ 4 >œ œ œ 4 œ ‰ J J J

prin - ci -ple of gov - ern - ment!

œ. œ œ œ œ j ‰ > > œ œ

tal

prin - ci -ple of gov - ern - ment!

œ. j ‰ > œ œ œ >œ œ œ

tal

prin - ci -ple of gov - ern - ment!

> œ œ œ œ ‰ œj ‰ J >

tram - pled ev - ery vi

>œœ >œœ œ 4 œ ‰ J 4 œœJ ‰

tal

> œ œ œ œ ‰ œj ‰ J >

tram - pled ev - ery vi

> ‰ 44 œ . œ

œ. œ œ œ œ j ‰ > > œ œ

> œ œ œ œ ‰ œj ‰ J >

tram - pled ev - ery vi

> ‰ 44 œ . œ

tram - pled,

> œ œ œ œ ‰ œj ‰ J >

tram - pled ev - ery vi

> ‰ 44 œ . œ

tram - pled,

‰ œ œ >

tram - pled,

‰ œ œ >

tram - pled,

> ‰ 44 œ . œ

Œ Œ Œ Œ Œ

œ. j ‰ > œ œ œ >œ œ œ

tal

prin - ci -ple of gov - ern - ment!

> œœœœ ‰ >œœœ ‰ J J j œœ ‰ œj ‰ œ œœ > >

œ œ J ‰ J ‰ j j œ ‰ œ ‰ œ œ œ œ œ ‰ œ ‰ J J

j ‰ >œ ‰ œ J >

œ œ 44 œj ‰ >

‰ ‰ 44 œj ‰

‰ œj ‰ œj ‰ œj

68 j j j j 4 œ œœœ œ œœœ 4 œ œœ œœœ œœœ œ œ œ

j >œ œœ ‰ œœ ‰ œœj ‰ œ œ J > > > œœœ ‰ œ>œœ ‰ >œœ ‰ J œ J J

j œœ ‰ œ > >œ > œ

>œ . œ œ œ >œ ‰ J

j œ ‰

j œœ ‰

œœ ‰ J

j œ ‰ >

‰ œj œj ‰ >

œ ‰ J

j œ ‰

‰ œ œ œj ‰

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‰ ‰

j œ ‰ > ‰ œœ ‰ œœ

F &b Œ ˙ 43

F ˙

Robbed

&b Œ &b Œ &b Œ

Robbed

Pno.

Robbed

?b ˙ ˙ >

Vln. 2

Vla.

Vlc.

œœ œ

Timp.

B. Dr.

j œ ‰ Œ

œ œ œ . > ci - ti - zen

œ.

œ I

œ œ œ . > ci - ti - zen

œ.

œ I

gra

œ œ œ . >

œ.

œœœ œ

- ship,

ci - ti - zen - ship,

>œ œ œ œ œ Œ œ œ > œ œ j j œ ‰ j ‰ œj ‰ œ ‰ # w œ #w œ œ œ > > œ > œ œ œ œ

œ œ ˙ œ

Ó Ó

œ j J ‰ œ ‰ ∑

# ˙˙˙˙

œ.

‰ œ œ œj ‰ Œ

œœœ œ

gra

Œ ˙˙ ˙

œ œ J #œ

œ œ #˙ œ œ œ œ #œ œ

B b ˙. P ? b ˙. 43

&b w P

? b j‰ Œ œ

˙ ˙

& b ˙. P

Vln. 1

ci - ti - zen - ship,

F ˙

& b ˙˙˙˙ >

œ.

F ˙

œ œ œ . >

˙ œ

to the

ded

to the

ded

to the

œ œ

ded

œ œ œ œ œ œ

to the

œ œ œ œ œ

œœ œ œ

œ œ œ œ Œ

ded

˙. œ

∑

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&b &b &b &b

sta

Pno.

sta

˙ Œ

tus of a sub

œ œ œ ˙

tus of a sub

œ œ œ ˙

tus of a sub

ject

un-der this

œ œ

œ œ œ

ject

un-der this

so - called

tus of a sub

˙ww. ˙ .

?b œ œ œ

w˙

œœ

˙. &b

un-der this

ject

un-der this so - called

ject

œœ œœ œœœ œœ œœœ 3

˙ œ œœœ œ œ œ œœ

œ ˙.

Vln. 2

œ œ œ œ

Vla.

Bb œœœœœ œ

œœœœœ œ

? b ˙.

so - called

œ œ œ œ œ

form

œ œ œ ˙

œ œ œ

&b œ œ œ œ

Vlc.

so - called

œ œ œ ˙

Vln. 1

œ œ œ

sta 47

œ œ œ ˙

œ œ

œ œ œ œ œ

œ ˙.

form

œ œ œ œ œ ˙.

gov - ern-ment!

#œ.

j œ ˙

œ.

j œ ˙

gov - ern - ment!

œ # œœœ ‰ J

˙ ˙

˙. ˙.

œ. œ œœ œœœ œœœ ... œœœ œ J

œ œ œ œ œ œ œ œ ˙

œ œ œ œ

Timp.

∑

B. Dr.

∑

j œ ˙

form

œ œ œ œ œ œ œ 3

gov - ern-ment!

œ.

œ œ œ œ

j œ ˙

œ.

gov - ern - ment!

j ‰ œœœ œœœ ‰ ‰ œœ œ J J œ œ œ œ

œ. œ #˙

j œ

œ œ. J œ

#œ œ

œœ œ #œ

j œ # œ œ œ œ. 3

œ.

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j œ œ. ∑

j œ

54 NARRATOR (slow pace) The judge ordered Susan B. Anthony to sit down (something he would have to do six separate times before she was finished) and he sentenced her to pay a fine of one hundred dollars plus the costs of prosecution, but Susan had thoughts on that...

∑

play r.h. 2x only

# œœ œ

∑

w w

∑

Vln. 1

&b w

∑

Vln. 2

&b w

∑

Vla.

Bb w

∑

Pno.

& b ww # ww ?b 52

Vlc.

?b w

Timp.

B. Dr.

œ.

œœœ œ

œ.

œœœ œ

j .. œ . œ œ. π .. œ Œ Ó π 1x & 2x

j œ œ.

œ Œ

ggg # ˙˙˙˙ .... g

œœ œ ..

# ˙˙˙ ...

j œœ œ Ó

œ.

Œ œ

j œ œ.

Œ œ

˙ ˙

#˙ #˙

˙ ˙

j œ

œ.

œ Œ

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j œ œ œ .. œ œ ..

&b Ó

>˙ ˙ # &b ˙

>œ œ œ œ >

∑

Vln. 2

∑

Vla.

∑

Vlc.

∑

Timp.

B. Dr.

œ œ

re - bel

œ. œ œ #œ œ. œ œ #œ j œœ ‰ #œ > j œ # œj ‰ œ > # >œ

re - bel

j ‰ j ‰ œ œ > œ

j ‰ j ‰ œ œ œœ œœœ

a - gainst your man - made,

œ #œ j œ ‰ œ

j œ ‰ œ

œ œ œ œ œ œ œ œ

∑

œ #œ

F Ó

j œ ‰ -

just

forms of law that

j œ ‰

just

forms of law that

just

forms of law that

just

forms of law that

j œ ‰

˘ ‰ # œœœœ J j œ ‰ œ >

œ ‰ œ ‰ J J F

j ‰ >œ œ # œ œ œ

j ∑ œ ‰ F> > œ œJ ‰ œ ‰ œJ ‰ J

∑

œ œ

j ‰ j ‰ œ >œ œ

a - gainst your man - made,

marcato

j ‰ j ‰ œ œ > œ

a - gainst your man - made,

marcato

re - bel

j ‰ j ‰ œ œ > œ

a - gainst your man - made,

œ. œ œ #œ

? b >œ œ œ œ J

re - bel

marcato

Vln. 1

œ. œ œ #œ I

Pno.

marcato

>œ J ‰

j ‰ >œ œ # œ œ œ j ‰ >œ œ # œ œ œ j ‰ >œ œ # œ œ œ œœ ˘œ # œœœ œ œ œ ‰ œœ ‰ J ‰ J J

j œ ‰ œ œ # >œ >œ > > œ œ #œ œ

F j ‰ >œ œ # œ œ œ > >œ œ # œ œ >œ J ‰ >œ J ‰ œ œ #œ œ

j œ œ œ œ œ œ ‰ Œ

‰ œj œ

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>œ

tax,

> & b #œ

> œ

&b &b 60

Pno.

&b ?b 60

Vln. 1

Vln. 2

‰ œ J

>œ œ Œ

œ >

#œ œ Œ >

fine,

‰ œ J

œ >

‰ œ J

#œ œ Œ >

œ œ

œœ œœ

>œ

fine,

tax,

> œ

>œ œ Œ

fine,

tax,

‰ Jœ

>œ

tax,

fine,

im - pri - son,

>œ >œ >œ

œ œ Œ Œ

>œ >œ >œ

‰ # œJ œ ‰ J

Vlc.

>œ

Timp.

B. Dr.

‰ œ œ œj ‰ œ œ œ ‰ œ œ

>œ

‰ œJ

‰ œj ‰ œj œ œ ‰ œj

w ~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~ ˙

œ. œ.

w ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ ˙

wom

w ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ ˙

and hang

œ.

œ œ #œ œ œ #œ œ œ œœ

w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙

˙ ˙ ˙.

>œ œ >œ œ œ. ‰ J J‰

˙.

# >œ œ ‰ >œ Jœ ‰ œ. J

˙ ˙

˙.

œ fl ‰ œj ‰ œj œ œ Œ

w œ

˙ ˙

˙ œœ œ P œœ œ P œœ ˙

˙.

œ.

>œ œ > #œ œ œ

wom

√ loco œ œœ # œ œ œ œ œ œ œœ œ œœ œœ œ œ œœ œœ œ œ œ œœ œ œ #œ

œ œ. œ.

>œ œ >œ œ ‰ J J‰

wom

and hang

œ # œœ J ‰ Œ # œœœ ‰ œœœ. J

œ œ ˙æ

wom

and hang

im - pri - son,

Vla.

im - pri - son,

‰ œJ

œ.

and hang

im - pri - son,

# œœœœ œœœœ œœœœ œœœœ œ œ

œœ

˙. ˙

w P œ œœœ œ œ œœœ œ

œ.

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j œ œ.

j œ

& b ‰ œj œ œ œ

while they de - ny

& b ‰ œj œ œ œ

while they de - ny

& b ‰ œj œ œ œ

while they de - ny

& b ‰ œj œ œ œ

while they de - ny

Pno.

& b ˙˙˙

Vln. 1

Vln. 2

Vla.

Vlc.

& b œj ‰ Í> & b œj ‰ Í> B b œj ‰ Í> ? b >œ ‰ J Í

them

œ œ œ œ

re - pre - sen - ta - tion

#œ

them

œ œ œ œ

re - pre - sen - ta - tion

#œ

œ œ œ œ

them

#œ

them

˙ ˙

B. Dr.

œ.

j œ. #œ ˙

œ.

j œ ˙

œ.

j œ ˙

#œ

œœœ

œ œ # œ œœ œ œ #œ 3

gov - ern - ment,

˙˙˙

œ œ œ œ

# œœ .. œ.

œ œ œ œ

shall

˙ >

shall

˙ >

shall

˙ >

j œ ˙ .. œ ˙

shall

œ œ

∑

?b œ œ œ œ œ œ ‰ Œ J ã

œ œ

˙ >

∑

Timp.

˙ # ˙˙˙

gov - ern - ment,

re - pre - sen - ta - tion

œœ œ

j œ. #œ ˙

re - pre - sen - ta - tion 3

˙ # ˙˙˙

?b ˙ ˙ 64

#œ

j j œ œ ‰ Œ

∑

j œ œœœ ‰ > > Œ œj ‰ >

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‰ œj œ œ > j j œ ‰ œ ‰ > >

&b ˙

urge

&b ˙

urge

urge A2

all

œ #œ

˙˙ &b ˙

˙˙ ˙

œœ # ˙˙ œ ˙

b œ œ œ œ œ œœ œ

∑

Œ Œ

œ. œ. Œ

∑

Vla.

∑

Timp.

B. Dr.

> b œ Œ Ó œ Œ Ó >

Ó Ó

j œ ‰ > j œ ‰ >

œ œ

œ œ. œ œ . >

sis - tance to

˘œ œœ œ

Œ 3

œ œ œ

sis - tance to

œ œ. œ œ . >

sis - tance to

œ œ

j œ œ ˙

"Re

Vln. 2

Vlc.

"Re

wom - en:

œ #œ

"Re

wom - en:

Vln. 1

wom - en:

all

urge

Pno.

œ œ

œ œ œ

ty - ran - ny

œ >œ . œ œ J ‰

ty - ran - ny

œ œ œ œ

ty - ran - ny

j œ œ ‰ œ œ

ty - ran - ny

˘œ # œœœ

œ o

# ˙˙˙˙

œ j œ j œ ‰ œ œœ # œ ‰ œ ‰ J #œ œ

>œ . >œ . œ œ œœ J ‰ J ‰

> > œ œ œ . œ œJ ‰ œ . œ œJ ‰ # >œ . œ œ ‰ J 3 > # >œ . œ œ œ œ œ . œ œJ J ‰ œ. œ œ ‰ ‰ J 3 >œ . #œ œ œ œ œ >œ . œ œ J ‰ . œ œJ ‰ ‰ J 3

œ œ œ œJ ‰ Œ

j œ ‰ >

œ.

j j œ œ ‰

j œ ‰ >

∑

j j j j œ ‰ ‰ œ œ ‰ ‰ œ > > > >

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&b &b &b &b

œ #œ œ

ww # w w b &

œ #œ œ -

Pno.

Vln. 1

Vln. 2

Vla.

Vlc.

&b &b Bb ? ?

Timp.

B. Dr.

b b

w œ

w œ #œ œ

œ wæ

dience

œ #œ œ

#˙

dience

# ˙˙˙˙

˙˙˙˙

#˙

j œ ‰ Œ Ó >

j œ œ wæ

God!"

∑

God!"

ww ww

j‰ # œ œ œ œ œ œ œ œ œ #œ œ œ flœ flœ fl fl fl fl fl œœ œœ Œ œ œ fl œ̆ œœ Œ œœ œ fl œ̆ œ̆ œ̆ Œ

˙ œ

∑

God!"

dience

∑

God!"

#˙

#œ

˙ ˙ >

∑ œ̆

œ̆ œ̆ œ̆ œ̆ œ œ # œj ‰ œ̆ fl fl fl

j j œ œ ‰ œ œ œ œ.

j œ œ

œ œ ‰ œ ‰ J J J j j j œ œ ‰ œ ‰

œœ œj œ̆ œ ‰ Œ > j‰ Œ œ œ >

Œ œj ‰ Œ > ∑

> Œ œ ‰ Œ J

> œ ‰ Œ œ ‰ Œ J J j j œ ‰ Œ œ ‰ Œ >

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NARRATOR: Susan B. Anthony kept her word to the judge. She never paid the $100 fine for as long as she lived. Traveling in frozen railcars, bone-jarring carriages, and often being refused hotel rooms because she was alone, she tirelessly lectured, lobbied and petitioned-devoting her entire life to the cause of women's rights.

76 Slower ( q»92 )

∑

Pno.

Slower ( q»92 )

w w &b 76

w w

∑

˙. ˙. ∑

76 Slower ( q»92 )

w π

œ w œ w ∑ ˙

˙. ˙. ∑

œ w œ w ∑

∑

Vln. 2

∑

Vla.

∑

Vlc.

œ œœ ˙ ˙ P ∑

∑

76 Slower ( q»92 )

Timp.

B. Dr.

? ã

˙. ˙.

Œ œ œœ w P w ˙ p

˙ w

œ œ ˙ œ Œ P

˙ . √œ ˙. œ ∑

∑

œœ ˙

˙ π

∑

œ w œœ œ p

Vln. 1

œ œ #w #w

Œ ˙

œ #œ œ

∑

˙ #˙ #œ p w

œœœ ∑

∑

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61 NARRATOR: She encouraged younger women to "try their wings," as she put it, by cultivating their writing and speaking abilities, and though she did not live to see the day women could vote, she knew that day would come. In the year of her passing, at age 86, she was still inspiring those who would carry her banner forward:

∑

Pno.

(√) w b w

Vln. 2

Vla.

Vlc.

B. Dr.

˙ ˙

π &b ˙

œ œ ˙

∑

? ?

Timp.

œ w œ w

˙ & b Œ ˙˙˙ .. œ ˙˙˙ ˙ 85

Vln. 1

˙. ˙.

∑

∑ ∑

˙. ˙.

˙ œ ˙˙ ˙ ˙

Œ ˙˙ . ˙. ˙

œ œ w π

œ w œ w

œœ

Œ ˙˙ ..

œ ˙ ˙

œ ˙.

˙. ˙. ˙˙ .. ˙. ˙ 3

˙ œœœ w p

œ ˙ ˙. Œ œ œ œ w P π œ œ ˙ ˙ ˙ œ œ ˙ œ œ #˙ Ó π P ∑

œ˙

œ œ #œ

œ œ

w w

Œ # ˙˙˙ ..

loco

œ œ

œ # ˙˙˙ ...

Œ œ #œ œ P œ ˙

œœœ

œ œ #˙ ˙

˙. ˙.

w w #w w

∑

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62 A bit more movement ( q »96 )

accel. 93

∑

Pno.

Vln. 1

Vln. 2

&b w

Vlc.

Bb ? ?

Timp.

B. Dr.

b b

œ œ ˙.

w accel.

for a

œ œ ˙. I am here p

for a

I am here

for a

I am here

for a

P œ œ œ

œ œ ˙.

œ œ œ #œ ˙

∑

œ œ œ #œ ˙

‰ j w œ œ œ ˙

A bit more movement ( q »96 )

∑

∑ ∑

time

lit - tle

time

lit - tle

time

œ œ œ #œ

‰ j w œ œ œ ˙

∑

w ∑

œ œ œ #œ

time

lit - tle

P œ œ œ

œ œ ˙.

lit - tle

P œ œ œ

A bit more movement ( q »96 )

accel.

‰ & b w œj œ œ ˙ 93

Vla.

∑ accel.

I am here

&b 93

P œ œ œ

A bit more movement ( q »96 )

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&b œ

&b ˙ 97

Pno.

- ly,

‰ j œ œ œ

F ˙

and then my place

F ‰ j œ œ ˙ œ

and then my place

F ‰ j œ œ ˙ œ

and then my place

œ œ œ #œ

ggg ˙˙˙˙ gg

œ œ

will be

filled

œ œ

will be

filled

œ œ

filled

œ œ

will be

filled

œ œ

‰ jœ œ œ wœ

‰ & b w œj œ œ ˙

˙ œ œ œ #œ

œ œ œ œ

‰ j œ ˙ w œ œ

‰ j œ ˙ wœ œ

∑

Vln. 2

∑

Vla.

∑

Timp.

B. Dr.

b œ. p

œ œ J ∑

Œ Œ ‰ œ œ œ. ∑

˙æ π

œ œ J œ.

œ The

Vln. 1

œ The

Vlc.

œ The

will be

‰ œ œ œ. j œ œ

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œ œ J ˙

‰ œœ œ

101

&b &b

fight

must

not

fight

must

not

&b ˙

fight

&b œ

fight

Pno.

must

not

must

ggg ˙˙˙˙ & b gg

˙˙ ˙

101

‰ & b ˙ œœj œœ

œ œ

not

˙ cease,

cease,

œ-

œ̄

you

must

see

œ̄

you

must

see

you

œ <

œ-

must

see

œ-

œ <

cease,

œ˙ ˙ ?œ œ

œ-

you

œœ œ

˙˙ ˙

˙ ˙

must

œ œœ œ

see

œ œ œ

œ œ œ œ

that it

does

œ œ œ

that it does

not

œ œ œ œ œ # œœœ

œ œœœ

#œ #œ

∑

Vln. 2

∑

Vla.

∑

Timp.

B. Dr.

b œ

‰

œœ œ

Œ j œ œ.

œ.

‰ œœ œ

‰ œ œœ œ œ

‰

œ œ

˙ ˙

∑

101

not

œ #œ œ œ

not

that it does

Vln. 1

not

œ œ #œ œ

101

Vlc.

œ œœ œ

œœ œ œ ‰ œ œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

104

&b w

&b ˙

stop.

Vln. 1

∑

Vln. 2

∑

Vla.

∑

b ˙

b œ.

104

Timp.

B. Dr.

> Œ œœœ

˙˙ ˙

>œœ >œ œ œ

-̇

œ<

-̇

œœœ œ œ œ ◊

w œ

men

œ. œ œ. œ œ

œ #˙

œ. œ œ. œ œ

œ #˙

œ. œ œ. œ #œ

j # œœœ ‰ œj ‰ œ # œœœ

˙˙ ˙˙

con - se - cra - ting their lives,

men con - se - cra - ting their lives,

œœ .. œ . # œœœœ œœœœ ‰ œœœ ‰ J J Jœ j œ œ œ œ ‰ œj ‰ œ œ œ œœ

œ œ œœœ œ œ . J

‰ œ œ œ œ œj‰ Œ

œ œ œ ‰J J ‰ J ‰ loco

œœ œ œ œ ‰J J ‰ J ‰

-̇

œ<

With such

> œ œ ˙. œ œ œ œ b œ œ œ œ œ œ ˙.

F œ-

With such

stop.

104

Vlc.

˙ & b ˙˙ ?

F œ-

-̇

œ<

With such

104

Pno.

F œ-

œ<

With such

stop.

F œ-

j œ œ ∑

œ œ

#œ #œ

œ. œ.

œ J ‰ œ

œ #˙

œ J ‰ #œ

j œ #œ

˙ Œ

œ #œ

∑

œ œ œ #œ œ

˙æ p

‰ œj ‰ œj œj ‰

‰ œj ‰ œj ‰ œj œj ‰

j œ ‰ Œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

˙æ p

108

&b Ó

˙ fail

&b Ó &b Ó

fail

#˙

fail

&b Ó

rit.

fail

œ -

Pno.

& b œœ œœ ?b 108

Vln. 1

Vln. 2

Vla.

Vlc.

˙ ˙

&b Œ

ure

œ œ

Timp.

B. Dr.

>œ œ

œœ œ ˙ ˙

* Optional attaca into movement 3

pos

˙.

pos

#˙

pos

œ œ

∑

si - ble.

∑

si - ble.

ble.

& œ œ # œœ œ œ

#œ œ œ œ œ

∑

˙ ˙

#œ œ œ œ #œ œ

∑

ble.

œw œ œ œ ˙˙

˙ w

ww w

w w

∑

rit.

œ. œ œ Ó œ. œ œ Œ

˙.

œ √ œ œ # œ œ œ ˙ww œ #œ

œ œ >

˙ ˙

108

œ œ œrit.œ œ œ œ œ œœœ œ œ #œ œ œ œ

œ œ œ # œ œœ œœœ œ œ œ #œ

˙ # œ b ˙ œ &

?b ˙

ure

rit.

108

∑ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Suffrage Cantata

Full Score

III. A Woman's Place SSAA, Solo and Narration with Piano, String Quartet, and Percussion Music by

Texts by Ida B. Wells-Barnett, with adapted usage of historic slogans and banners

Andrea Ramsey with adaptation of "Fall in Line" a Suffrage March for piano by Zena S. Hawn

from the 1913 Official Woman Suffrage Procession, and additional lyrics by Andrea Ramsey

Jovial ( q. »ca. 60-64 )

# 6 . Pœ . & 8 Œ

F œ

(Ida B. Wells[-Barnett])*:

Solo

Soprano 1

Soprano 2

Alto 1

Alto 2

Violin 1

Violin 2

Viola

Violoncello

Percussion 2 players

Temple Blocks Snare Drum

œ œ

∑

# 6 & 8

∑

# 6 & 8 # 6 & 8

stayed in Su - san B.

∑

# 6 . œ . ˙˙˙˙ .... & 8 Œ F P # 6 . & 8 œœŒ ˙˙˙ ... ˙ . œ # 6Jovial ( q. »ca. 60-64 ) ∑ & 8

∑

B # 68

An - tho - ny's house, had a

∑

˙. ˙˙˙ ... ˙˙ . ˙˙ ...

speak - ing

˙˙˙˙ ... . ˙˙ . ˙˙ ...

∑ ∑

∑

? # 68

∑

œ.

# 6 & 8 ã

∑

xylophone

∑

œ œ œ œ ‰ ‰ J P ∑ Œ.

* See composer's performance notes

œ. œ œ œ.

œ œ œJ ‰ π

temple blocks

œ.

œ œ

∑ ‰ Œ

∑ ‰

‰

∑

∑ œ.

∑

œ.

en - gage - ment in

# 6 & 8

Jovial ( q. »ca. 60-64 )

Xylophone Cymbals

œ. œ œ j ‰ œ œ œ

# 6 & 8

Jovial ( q. »ca. 60-64 )

Piano

œ œ. œ œ J

Œ.

œ. œ J

œ œ

68 5

Solo

& 5

Pno.

& & 5

Vln. 1

Vln. 2

Vla.

Vlc.

# œ #

Cym.

T. Bl. Snare

j œ œ œ œ ‰ œ œ

∑

# ˙. ˙˙˙ ...

˙. ˙˙˙ ...

˙˙ . ˙˙ ...

# #

er - rands in

œ œ œ

∑

town, so she said I could use her ste -

˙. ˙˙˙ ...

˙˙˙˙ ... . ˙˙˙ .. ˙ ..

˙˙˙ ...

˙˙˙ ... ˙ .

∑

? # œ.

œ J

# . . & œ œœ œ

∑

Xyl.

next mor - ning she had some

Ro - ches - ter. The

j j œ œ œ ‰ J

œ. œ

œ ∑

∑

œ ‰ ‰ Œ J

‰

Œ.

œ.

œ J

‰

œ œ œ œ ‰ ‰ J

œ J

j œ œ ‰ œJ ‰ J ‰

œ ‰ ‰ J

‰

œ.

œ. œ J

∑

œ œ

œ J œ J

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

‰

NARRATOR: Ida B. Wells-Barnett was born in Mississippi, six months before the Emancipation Proclamation.

Solo

# #

j j œ œ ‰ ‰

∑

b ˙˙ . .. n ˙ ..

∑

no - graph - er,

# # #

# œœœœ .... &

œœ .. œ.

Pno.

& 9

Vln. 1

Vln. 2

Vla.

Vlc.

Cym.

T. Bl. Snare

œœœ ... œ .

# #

œœ .. œ .

# œ J ‰ ‰

˙˙˙ ...

˙˙ .. ˙ .

∑

? # œ. 9

Xyl.

˙˙˙ ...

Œ.

œ œ œ

∑

∑ œ. œ œ œ. œ œ

œ. π

œ.

œ. π ˙.

œ.

˙. π

˙.

˙. ˙.

œ. œ œ œ. œ œ œ œ œ œ

∑

b ˙˙ ..

˙.

∑ ∑

˙.

∑

œ. œ œ œ. œ œ

∑

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70 14

Solo

Vln. 2

T. Bl. Snare

# œ. #

∑

nœ.

? # ˙. &

nœ.

˙.

B # œ.

Cym.

∑

Xyl.

∑

# . & ˙˙ .

Vln. 1

Vlc.

∑

Vla.

∑

# ˙˙˙ ...

Pno.

NARRATOR: After losing both parents and a sibling to yellow fever, she convinced the school board in Memphis that she was eighteen years old so she could be hired as a teacher and provide for her younger siblings. Eight years later, Ida was fired from teaching for writing about school corruption in a newspaper column. A talented writer, Ida decided to start her own newspaper.

#œ.

∑

˙. ˙˙ ..

˙˙ ..

˙.

∑

˙.

∑

˙.

∑

˙.

# œ. œ œ œ. œ œ œ œ œ œ

b ˙˙˙ ...

∑

j ‰ œ ‰ œJ ‰ œ J

œ. œ œ œ. œ œ

œ.

œ. œ œ œ. œ œ

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ.

œ œ œ œ 2

∑ ∑

.. .. ..

NARRATOR: m. 19 thru 26 (pace slowly) Ida's paper grew to be a successful endeavor. She boldly called out white supremacy and shined the light of truth on the horrors of lynching in the South. But when her friends who owned a grocery business were lynched, and she published that their lynchings were because they were economically successsful black men, an angry white mob destroyed her newspaper building while she was away was on a trip. Armed men waited outside her home to kill her, and friends warned her that she could not return to Memphis...

# . .

∑

# & ..

.. ..

∑

.. ..

∑

.. ..

∑

# . .

∑ ∑

∑

.. ..

∑

# . .

∑

.. ..

Solo

# . .

# & .. 19

Pno.

# & ..

∑

.. ..

∑

.. ..

# ˙. & ..

˙.

Vln. 1

Vln. 2

Vla.

Vlc.

# . .

˙.

∑

1, 2.

∑

1, 2.

∑

˙.

.. ..

∑

.. ..

∑

.. ..

∑

B # ..

∑

? # ..

∑

.. .. n ˙ . p

1, 2.

œ. p

1, 2.

˙.

œ.

#œ.

˙.

∑

Œ. #œ. p

˙.

∑

Xyl.

∑

# 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 . . & ..

T. Bl. Snare

∑

∑ ∑

.. ..

∑

.. ..

∑

Œ.

œ.

1, 2.

Cym.

∑

∑ œ1, 2.œ œ œ œ œ 1, 2.

∑

.. .. ..

Œ œ œ œ ‰ ‰ Œ ‰ .. J

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72 NARRATOR: So Ida fled to Chicago.

Solo

& 26

Pno.

& &

Vln. 1

Vln. 2

Vla.

Vlc.

# #

∑

Xyl.

T. Bl. Snare

œ œj ‰ œj

∑

‰

∑

Œ.

œ.

Œ.

œ.

Œ.

œœ œ Œ.

œœ ‰ œ

Œ.

œœœœ ... .

œœ .. œ.

œ. p

Relaxing slightly ( q.»58 )

3. # œ œ œ œ œ œ œ . œ œ œ . œ œ œ . œ œ œ . œ œ œJ ‰ ‰ Œ . & 3.

∑

œ‰œ‰œ‰ J J J

∑

œ‰ ‰ Œ J

‰

œœœ œœœ ‰

Relaxing slightly ( q.»58 )

Œ.

œ.

Relaxing slightly ( q.»58 )

œ œ œ ˙. P œ œ œ ˙. Œ. P œœ œ ˙ Œ. . P œœ œ œœ œ ˙. P

Œ.

œ n œj n œ . œ.

˙.

œ.

# nœ œ j J œ nœ œ. # œ.

˙˙˙˙ ....

œœœ .. œ œ œ .. P

? # œ. p

∑

B # œ.

j œ œ

∑

Cym.

Œ.

F j œ œ œ. œ œ œ

The ste - no - graph - er ne - ver ven - tured up - stairs, I

∑

Relaxing slightly ( q.»58 )

∑

œ œ œ P

‰

œœœœ ... .

œ œ œ œœ œœœ ‰ œ. œ.

œ. œ.

∑

∑ œ J

˙.

œ œj ‰ ‰ œ œ

œœ

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

‰ œœ œ ‰

∑

œ Jœ ‰ ‰ J

73 32

Solo

œ œ œ

Su-san B. An - tho - ny

œ œ

œ.

got back from town,

∑

œœœ ...

œ ‰ œœœ

œœ œœœ ‰ œ œ œ ‰ œJ ‰

œœœ ...

œ. œ.

>œ . œœœ ...

œœ>œœ ... .

‰

>œ . œ.

œœœœ ... >.

œœ J

œœ

‰ gg œœœœ .... gg

j œ g œœ .. œ gg œ . g ∑

∑

? # œ.

œ.

# œ & œ

œ ‰

œ J

T. Bl. Snare

but when

œ œ œ œ œ œ

∑

Vln. 2

Cym.

oc - cu - pied,

∑

Xyl.

j j‰ œ œ œ

∑

Vln. 1

Vlc.

Vla.

# œœœ œœœ & ‰ œ œ &

sim - ply as - sumed she was

Pno.

ã ã

˙.

œ œ

œ ‰

œ œ œ œ J ‰ ‰

œ J

‰

Œ.

∑

‰

œ œ œ

œ œ œ œœ œ œœ œ œ

œ œ

œ ‰ ‰ Œ J

Œ.

œ.

∑

‰ œ œ

∑

‰

œ.

œ œ

œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑

œœ

# œ & ‰ J

œ œ

Solo

œ œ œ.

the mood in - ten - si - fied,

& 36

Pno.

& &

to ask the ste -

∑

# œ. # œ. #

œœ .. œ.

œ œ œ œ œ œ œœœ .. . œ œ œ œ 2

œ œœ œœ œ œ œ

œ # œœ ‰ ‰ œ J œ œ œ. œ. ‰ œ. œ.

œœœ J ‰ ‰

œœ œ J ‰ ‰

‰ œ. œ .

‰ œ œ. .

œ ‰ ‰ ‰ J œœœ œœœ p rK #œ œ J ‰ ‰ j ‰ ‰ œ œ rK #œ

∑

? # œ. 36

T. Bl. Snare

went swift - ly,

∑

Vln. 2

Xyl.

she

P j œ œ œ œ

∑

Cym.

and down - stairs

j œ œ ‰ œ

∑

Vln. 1

Vlc.

j œ Nœ

Vla.

j œ #œ

& ã ã

œ œ 2

. œ œ œ 2

j . œ. œ œ œ ‰ ‰ Œ ∑

œ œ

œ.

œ œœœ J ‰ ‰

∑

œ‰‰Œ J

œœ œ ‰ ‰ J

#œ.

Nœ.

Œ.

∑

œ.

∑

Œ.

œ œ œ p

œ œ #œ

N œ œ ‰ œœ ‰ ‰ J ∑

‰ œœœœ

j œ ‰ ‰ ‰ œœœ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Solo

& & 41

Pno.

Vln. 2

Vla.

Vlc.

& &

Xyl.

# # # #

‰

> œ

œ >

she

∑

œ œ

# œ ‰ œ J

no rit.

œœ œ

œœœ

œ œ

œœœ œœœ .. œ œ .. >

œ œ œ œœ œ œ >œ > >

∑

œ œ ‰ J

œ 2

‰

œ œ.

œ œ ‰ ‰ œ œ œ J no rit.

∑

Hold fermata until end of narration

F nb œ œ b œ œ œ œ Su - san

∑

nb b

∑

nb b

∑

nb b

∑

nb b

∑

nbb

œ œ ‰ œ œœ ‰ œ œœ

∑

nbb

∑

nb b

∑

nb b

∑

nbb

∑

U œ œ œ œ. "

∑

nbb

∑

nbb

∑

˙˙˙ .. ˙ ..

˙. ˙. >

U̇

∑

Moving ahead

‰ œ œ œ

œ œ J

Moving ahead

2 >œ U " U œ œ œ . œ ‰ œ ‰ œ ∑ Œ Œ J ã œ œ œœ > > This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

T. Bl. Snare

B. An - tho - ny

∑

‰

no rit.

U̇.

did not show...

∑

>œ . ∑

‰

>œ

∑

œ œ œœœ œœ œœœ

?# œ &

œ >

no - gra - pher why

Cym.

œ œ

?# j ‰ œ œ 41

Vln. 1

no rit.

NARRATOR: (speaking only during the rest) The stenographer told Susan B. Anthony that she would not take dictation from a woman of color. Moving ahead

∑ ∑ ∑

œ J

b &b œ 46

Solo

her gaze,

‰ œ œ

and she spoke

j œ œ.

calm and low:

∑

b &b

∑

b &b

∑

j j b & b ‰ œœJ ‰ œœœ ‰ œ ‰ œ œ œœ œ ? b b J ‰ œJ œ œ œ œ . œ.

ggg œœœ ... gg œ .

œœ .. œ.

œ œ œ œ œœ

∑

Vla.

B bb

∑

Vlc.

? b b

∑

Vln. 2

Xyl. Cym.

T. Bl. Snare

∑

œ.

∑

rit.

œ. ∑

∑

2 4

∑

4 4

U œ

œ ‰ ‰ 42 œj ‰ œœ J fl

j œœ ‰ œ.

2 œ̆ œ. 4

∑ ∑

U U̇

4 4

∑

œ.

2 4

to my

4 4

∑

in - sult

4 4

∑

˙. ˙.

"An

œ œ

2 4

With fire ( q»ca. 120-124 )

∑ ∑

œœ .. œ.

j‰ j 2 œ œ 4 œ œ

j œ. œ œ. √

∑

Vln. 1

rit.

∑

œ. # œœ ..

œ.

rit.

Pno.

‰

∑

steeled

j œ œ.

rit.

∑

. U

∑

œ. œ .

4 4 4 4

With fire ( q»ca. 120-124 )

2 4

∑

4 4

2 4

∑

4 4

œ̆ œ. 42 œ œ 42

∑

. ‰ œJ

44 44

œ œ

42 ‰ œ œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑

j œ b & b 44 œ ‰ œ œ œ œ œ 51

Solo

b & b 44

guest

is an in - sult to

me,

Come

Vln. 2

Vla.

Vlc.

Xyl.

T. Bl. Snare

get your bon - net,

œ >

and

˙. >

go!"

∑

b & b 44

∑

b & b 44

∑

b & b 44

∑

b & b 44 œœœ. œœ. œ.œ œœ. œ œ. œ ˙ fl . œ. # ˙˙ F ? b 4 j ‰. ‰ œ̆ œœ̆J ‰ Œ Œ b 4 œ J ˙ . ˙ b & b 44

˙ ˙

b & b 44 B b b 44

∑

? b 4 œ̆ œ. ‰ œ. œ̆ œ. ‰ œ. b 4 J J b j & b 44 œ ‰ Œ

œœ

Cym.

∑

Vln. 1

∑

Pno.

>œ œ œ

œ œ

44 ‰ œ œ œ ‰ œ œ œ œ œ

∑

œ œ

œ # œœ œœœœ œ œ

˙ ˙

˙˙ ˙

∑

Ó #œ #œ

œ ‰œ ‰ œ œ œ flœ J J fl

œ n œ # œ œ ˙˙ œ n œ # flœ flœ > fl fl

∑

œ Œ

œ œ œ # œ n œ œ

j œ ‰ ‰ œ œ œj ‰ Œ

j œœœ̆ j‰ œ ‰ Œ ‰ J & œ #œ œ

∑

>œ # Œ œœ

∑

œ œ

∑

‰ œ œ œ œ œ œ œj ‰

˙.

œ #œ œ œ œ œ ∑

œœ œ œ œj ‰ Jœ ‰ ∑

œœ œ j œ œ œ J‰J‰ œ ‰Œ Ó

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

NARRATOR: m. 57 thru 64 (brisk pace) An activist on multiple fronts, Ida fought to help women gain the right to vote in Illinois, and confronted white women who ignored women of color in the movement. A founding member of the NAACP, she established the Alpha Suffrage Club, and lectured internationally. Taking on injustice was a lifelong pursuit for Ida. Even as a 1. teacher in the South, she sued the railroad when they forcibly removed her from her car...

78 56

Solo

∑

b œ & b œJ ‰ Œ 56

Pno.

? bb j ‰ Œ œ fl

j‰ Œ œ.

∑

B bb

∑

Vln. 1

Vln. 2

Vlc.

∑

Vla.

? b b œ̆ ‰ Œ J pizz.

b œ œ œ j œ œ ‰ Œ &b 56

Xyl. Cym.

T. Bl. Snare

∑

ã ã

‰ œ œ œj ‰ Œ

∑

w p

.. ww w > P .. ∑ .. w p

˙ ˙

∑

√ Ó

∑ ˙

.. w

arco

˙ ˙

œ œ

p ∑

∑

œ œ œ œ ..

w p

˙.

w p

∑

w 1.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

.. ∑

∑

b &b 62

Solo

Quickening ( q »132 )

∑

b &b ˙

? bb

∑

Pno.

2. b U b & w

Vln. 2

Vla.

Vlc.

U B bb w U ? bb w

Xyl. Cym.

T. Bl. Snare

& ã ã

Quickening ( q »132 )

∑ ∑

j‰ ‰ jŒ œœœ œœœ œœœ œœœ

‰ œj ‰ j œ ‰ Œ J œ

œ ‰ Œ J

‰ œj ‰ j œ ‰ Œ J œ

∑

nb w

∑

Quickening ( q »132 )

∑

œ œ œ œ Ó ∑ ∑

œ œ œ

œ ∑ ∑

j‰ œœœ

‰œ‰

∑

nb œ œ œ Ó œ F ∑

j‰ ‰ jŒ œœœ œœœ œœœ œœœ

∑

nb w ∑

‰ jŒ œœœ œœœ œœœ

b &b w

j‰ ‰ jŒ œœœ œœœ œœœ œœœ P nb œ ‰ Œ ‰ j ‰ j œ J œ nb

Vln. 1

Quickening ( q »132 )

P ‰ j œ

lightly, parlando

œ œ œ œ Ó ∑

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œœ ‰ œ œ œ

80 67

Solo

&b œ

‰

wo - man's

‰ ‰ ‰ j‰ j‰ j j ‰ j ‰ ‰ Œ œ œ œ œ œ œ œ œj œ œ œj œj œj œ- œ

place is

clean train

car, I paid

thir - ty

cents

for

‰

my tick - et,

j œ œ œ

when the con -

∑

Pno.

&b ?

> > ‰ n œœœ ‰ œœœ Œ œœœ œœœ J J

b j ‰ Œ œ

‰ œ œœ

>œ >œ œœœ œœœ ‰ n œœœ ‰ œœœ Œ J J

‰ œj ‰ n œœ >

˙˙ ˙˙

j ‰ œ œ œ œ.

j œ ‰ Œ

j œ œ

j œœœ ˙˙˙ > ˙

‰ œj ‰ œj n œœ œœ > >

Œ œ œ œœ

œ œ

Vln. 1

∑

Vln. 2

∑

Vla.

∑

Vlc.

œ &b 67

Xyl. Cym.

T. Bl. Snare

œ Ó œ œ

∑

œ œ œ

œ ∑ ∑

œ ‰ Œ J

œ œ œ

œ ∑

œ œ Œ

œ œœ

œ œ ‰ œ œ œ

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œœ œ ∑ ∑

œ œ

81 71

Solo

&b œ œ œ œ œ œ œ œ

duc - tor tried to put me in the

œ œ œ œ ‰ œj œ œ >

smo - king

car, I told him "Sir,

∑

Vln. 2

pizz.

œ F

pizz.

œ F

Bb œ F pizz. ?b œ pizz.

Vla.

Vlc.

Cym.

∑

T. Bl. Snare

‰ œ œ œ J

> > œœœ œœœ ‰ n œœœœ ‰ œœœœ Œ J J j œ ‰ Œ

œ œ

‰ œœœ œ

j ‰ œ œ œ

∑

And when he

∑

œ œ œ œ œ œ b œ œ & 71

Xyl.

in it

∑

?b œ ‰ Œ J

Vln. 1

∑

>œ >œ & b œ œ ‰ n œœJ ‰ œœJ Œ œœ œœ

I won't

∑

Pno.

F j j ‰ j‰ Œ ‰ j j‰ ‰ œ œ œ œ œ œ œ œ- œ >

œ.

j œ œ

œœ œœ

œ Œ

œ œ œ œ Ó ∑

‰ œj ‰ œj ˙ n œœ œœ ˙˙˙ > >

˙˙˙ ˙

‰ œœœ œ

œ œ œ

œ œ œœ œ œ Œ ∑

∑

œ œ œ

> ‰ n œœœ J P Œ

j ‰ œœœ > œ

Œ Ó Œ Ó Œ Ó Œ Ó

œ œ œœÓ

∑

‰ œœœ œ ‰ œ œ œ œ

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82 75

Solo

&b œ tried

f * >œ > œ œ œ œ œ œ J ‰ œj ‰ œj ‰ œ œ œ

to move me,

bit

his

hand,

bit it

hard

œ œ œ œ œ œ

>œ >œ >œ >œ >˙

e - nough he had to

get a - no - ther man,

∑

œ ‰ Jœ œ œœ œ ‰ œ œ ‰ œœ ‰ J œœ œ œ œ œœ œ œ > > > F œ ?b œ œ œ œ œ j œ œ j ‰ œ ‰ Jœ ‰ J ‰ œ œ œ > > & b œœœ > 75

Pno.

Vln. 1

&b œ

Vln. 2

&b œ

Vla.

Bb œ

Vlc.

?b œ

Xyl. Cym.

T. Bl. Snare

&b Ó ã ã

∑

œ œ

œ œ œ œ œ œ œ œ œ œ Œ ∑

œœœœ

œ œ ‰ œJœ ‰ œJœ

œ Œ œ œ œ

>œ œ > >œ >œ

j j œ œ ‰ œ œ ‰ Œ œ œ œ œ

œ œJ ‰ ‰ Jœ ‰ œ ‰ œ ‰ œj j ‰ Œ œ œ J œ œ J

∑

>œ n œœœ

>œ

œ œ œ œ œ

> œ œ œ œ Ó >

œ > >œ >œ

j œœ œœ ‰ œœ œ œ œ œ ∑

œ œ

œ œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.one octave lower if necessary * this note thru m. 78 may be performed

83 79

Solo

&b Œ

œ œ nœ

And af - ter the

œ œ œ

two of them took me

œ œ œ

to the smoke

and

squa - lor

‰ j œ œ

I sued the rail -

∑

& b œœ œœ > > ? œ b > œ >

œœœ œ

Pno.

n œœœ œœ œœœ ‰ œœœj ‰ œœj Œ œ œœ œ œ œœ

‰ œ œ œ Jœ ‰ Œ J

œ œ œ

‰ œœ œœœ œœœœ œœœœ œ œ œ Œ œœœœ œ

œ Œ

Vln. 1

&b Ó

Vln. 2

&b Ó

Vla.

Bb Ó

Vlc.

b Ó

>œ œ œ œ œ Œ ‰ J ‰J &b 79

Xyl. Cym.

T. Bl. Snare

‰Œ

∑

œ‰ œœ ‰ Œ œ JJ

‰ ˙˙ ˙˙

œ œ ‰J ‰J œ Œ

∑

‰ j œ œ œJ ‰ Œ œ

œ Œ œ Œ

∑

œ œ

Œ Œ

Œ œ Œ Œ œ Œ

j jŒ œœœ ‰ œœœ œ œ

Œ Œ

œ œ ‰ J ‰ J œ Œ ‰ œJ ‰ Jœ œ ‰ Œ J Ó

˙˙ ˙˙

œœ œœ œ œ œ œ

œ œ

œ œ œ œ Ó

∑

‰ j œ œ œJ ‰ Œ œ

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Œ Œ Œ Œ

& b œj . œ

œ œ œ

∑

Solo

road,

j & b œœœ œœ .. œ œœ .. 84

Pno.

Vln. 1

Vln. 2

Vla.

Vlc.

Cym.

T. Bl. Snare

˙˙˙ ˙

five

arco

œ. œ œ

∑

&b Ó ã ã

œ œ œ

∑

œœ œ œ Œ œ

dol - lars.

arco

j œ œ

œœ œ œ œœ

œœœ œ œ œ

œ œ

arco

œ œ œ œ œ œ œ œ œ arco œ œ p

œ œ œœ ‰ ‰ œ ‰ Œ Ó œ J œ œ

œ œœ œ œ œ œ ‰ J

∑

œ<

œ œ

Yes, white wo-men need the

j j ‰ œœœ ‰ œœœ ˙˙ ˙

˙˙˙ ˙

œ œ œœ œ

hun - dred

Xyl.

and won

∑

‰ œ œ œj ‰ ‰ œœ œj ‰ œ œ œ œ œj ‰ Œ

j œœ ‰ œ ‰

j œœœœ ‰

œ œ œ

œ œ

bal - lot,

but

œ œ œJ ‰ Ó

˙ œ

œ œ

œ œ œ

œ ∑

j j Œ j‰ œœ ‰ œœœ ‰ œ œ œœ œ œ œœ œ

w œ

œ œ

∑

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Ó Ó

œ œ

œ œ ‰ œ œj ‰ Œ œœ œ œ ∑

Œ ‰ œœœ ‰ Œ J

85 89

Solo

&b œ

œ œ œ

wom - en ev - en

more,

rit.

I'd

œ œ œ œ œ

like to buy a rail - road

œ œ ˙

tick - et

œ œ

and choose my own

∑

> j & b œœ œœ ‰ œœj œ ‰ œj ‰ œœj ‰ Jœ ‰ œ œ œ œ œ œ > ? b œœ œœ ‰ œœ œœ ‰ œœ ‰ >œ œ œj ‰ Ó J J J > 89

Pno.

& b œ.

j œ œ

& b œ.

j œ œ

Vln. 1

Vln. 2

Vla.

Vlc.

B b œ. ? b œ.

j œ œ œ œ J

œ œ œ œ Ó &b 89

Xyl. Cym.

T. Bl. Snare

>˙ ˙

∑

œ-

œœ-

˙ ˙

ggg ˙˙˙ g ggg ˙˙˙ g

œ œœ œ œ‰Œ J ∑

rit.

‰ œœœ ‰ Œ J

˙˙˙

n ˙˙˙

˙˙˙ rit.

n ˙˙

˙˙

nœ.

j œ œ

œ n˙

œ œ œ œ œ ∑

∑

rit.

˙˙˙

˙˙˙ ˙

˙˙œ œ œ

˙ ˙

n˙

œ œ ˙ ˙

‰ œœœ ‰ Œ J

∑

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˙ ˙

œ œ

œ œ œ Œ œ œ œ ∑

Œ œ Ó

Determined ( q»86 )

Solo

car.

poco a poco accel.

œ.

When the men

œ œ œ œ

try

to put you where you

œ. œ œ œ œ

don't be - long,

∑

Pno.

Determined ( q»86 )

√ ˙ Œ œrK

# ww

?b œ œ œ œ œ œ #œ w œ

Vln. 1

Vln. 2

Vla.

Vlc.

w #w w w

T. Bl. Snare

˙˙ ˙

w &b w ã

∑

œœ œœ œ œ

poco a poco accel.

˙˙˙

œœœ ...

poco a poco accel.

j œœ ˙˙ œœ œœ œ œ J

∑

poco a poco accel.

œ œ œ œ œ

Determined ( q»86 )

Xyl.

œœœ ...

Determined ( q»86 )

Cym.

∑ ∑ ∑

˙˙ ˙

∑

‰

∑

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∑

j œ

You

œ œ

œ P Œ

Solo

& b œ.

œ œœ œ œ œ œ

square your jaw

˙.

and fix your gaze,

Steady ( q»104 )

œ œ

œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ

'Cause a wo - man's seat

is the seat she

bought, when a

∑

. & b œœœ .. 98

Pno.

œœ .. b œ.

j œœœ ˙˙˙

œ œ œ œ œ œœ œœ œ œ œ ‰ œj œ

Vln. 1

&b Œ

Vln. 2

&b Œ

‰ œj œ

Vla.

Bb Ó

Vlc.

b œ.

˙ & b ˙˙

œ œœ œ

Xyl. Cym.

T. Bl. Snare

∑

œ œ œ œ P œ

œœœ œœœ œœœ œœœ œœœ œœ > œ > > ˙ œ ˙ œ œ > œ j œ œ > > P j œ œ > > P ˙

j œ œ œ > j œ œ œ > œ- œ-

œ ˙

œ œ œ œ œ œ ∑

∑

Steady ( q»104 )

œœœ .. œ ..

j œœœœ ˙˙˙˙

œœ .. œœœ œœ .. œ

œœœ œœœœ œœœœ œœ 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.

Steady ( q»104 )

œ.

œ œ œ J

œ. œ œ œ œ œ

œ.

∑

œ œ œ J

œ. œ œ œ œ

Steady ( q»104 )

˙˙

j œ œ œ

∑

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∑

∑ ∑

88 102

Solo

& b œ. œ œ œ œ wo

man

March ( q »120 )

∑

# n#

∑

(solo tacet to measure 198)

knows her place.

∑

# n#

∑

# n#

∑

# n#

∑

n##

∑

# n # œ. œ. ƒ œ. # n # œ.

102

Pno.

& b œœ .. œ. ?

b œ. œ.

102

Vln. 1

Vln. 2

Vla.

Vlc.

& b œ. > & b œ. > B b œ. > ?

b œ. >

102

Xyl. Cym.

j œœœ œœœ œœ œ œ œ œ œ œ J j œ œ > j œ œ > j œ œ > j œ œ > ∑

∑

œ â œ â œ â œ â

March ( q »120 )

ww w w w

∑

j œ œœ œ œ

œœ œ

n## œ . ƒ n## œ.

œ œ J

n## œ .

j œ nœ

Quoting "Fall in Line"--Suffrage March by Zena S. Hawn (public domain)

March ( q »120 )

j j œ œ œ œ > > fl F fl

j œ œ F> fl j œ œ > F fl > œ œ̆ J F

j œ œ > fl j œ œ > fl > œ œ̆ J

March ( q »120 )

∑

œ fl œ fl œ fl œ̆

j j œ œ œ œ > fl > fl j œ œ > fl j œ œ > fl > œ œ̆ J

j œ œ > fl j œ œ > fl > œ œ̆ J ∑

∑

œ̆ œ fl œ̆ œ̆

n## œ .

n##

œ œ

j œ œ œ œ. . œ œ nœ J

‰ j œ œ œ F œ >œ œ æ

cymbals

œ >œ œ >œ œ œ >œ œ œ >œ œ >œ œ >œ œ œ >œ œ œ >œ æ æ F This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. T. Bl. Snare

snare

œ nœ œ nœ J

∑

j ‰ j ‰ œ œ

>œ œ œ >œ œ œ >œ

# & # 106

Solo

∑

Pno.

Vln. 2

Vla.

Vlc.

Xyl.

T. Bl. Snare

∑

# & #

∑

# & #

∑

# & #

∑

# # œœœ & œ

œœ n œœ œœ n œœ

# œœœ # œ

œœ .. œœ ..

œ œ

œ. œ.

? ## œ œ

œ œ

## œ

nœ

#œ

## œ

nœ

& &

B ## ? ## # & #

œ œ

106

Cym.

∑

106

Vln. 1

∑

# & #

106

œ œ

œ ∑

‰ j ‰ j œ œ œ œ

œ æ

NARRATOR: m. 107 thru 114 March 1913, the staging grounds near the Capitol filled with women finding their places. Washington, D.C. was about to experience a parade like no other. Horses neighed, wagons creaked, and musicians warmed up...

œ œ

œ.

œ œ œ œ J j œ œ œ œ

œ œ J

œ.

œ œ J œ œ J

œ.

j œ œ

œœœ œ

#œ #œ œ œ œ #œ

˙ ˙ ˙

œ nœ œ nœ J F œ œ

# >˙˙ #˙

œœ œ

n œœ œ

∑

œ œ

œ. œ.

˙˙ ˙˙

‰ j j ‰ j ‰ 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 J ‰ Œ

∑

Ó Ó

∑

œœ œ

j ‰ j ‰ Œ œ œ P > > > ‰ œœœ œ ‰ œ ‰ œ P

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# & # 110

Solo

∑

# & #

∑

# & #

∑

# & #

∑

# & #

∑

# # œœ ... & œ 110

Pno.

? ## # & # 110

Vln. 1

Vln. 2

Vla.

Vlc.

œ œ

Xyl.

T. Bl. Snare

œ œœ œœ œ

œ n œœ œ œ

>˙ ˙˙

œœ œ

œœ .. œ. œ œ

œœ œ

œ œœ œœ œ J œ

œ œœ œœ œ

n œœœ

>˙ ˙˙

œœ œ

n œœ œ œ œ

œœ œ

œœ .. œ.

n œœ œ œ œ

œ n œœœ œœ J œ

∑

B ##

∑

? ##

∑

# & #

∑

# & #

110

Cym.

n œœ œ

œœ n œœ œœ J

ã ã

j‰Œ œ

j‰ Œ œ

j‰Œ œ

j‰ Œ œ

j‰Œ œ

> > > > > > > > ‰ œœ œ œ ‰ œ ‰ œ ‰ œœ œ œ ‰ œ ‰ œ ‰ œœœ œ ‰ œ J J J J J

j‰ Œ œ

j‰Œ œ

œœ œ œœ œ

j‰ j‰ ‰ j j‰ j ‰ œ œ œœ œ

> > > > > > > ‰ Jœ ‰ œœ œ œ ‰ œ ‰ Jœ ‰ œœ œ œ ‰ œ ‰ œJ J J

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# & # 115

Solo

∑

# & #

∑

# & #

∑

# & #

∑

# & #

∑

115

Pno.

NARRATOR: m 115-124 Women marching was a radical idea. Men marched--not women; but parade organizers, Alice Paul & Lucy Burns wanted to show how power did not rest only with men. They also knew this was the perfect day, given Woodrow Wilson's inauguration was the next day and there would be lots of press in town.

# www

? ## Œ

# w & # P

œ œ

Vln. 2

Vla.

Vlc.

# & # B ##

115

Xyl. Cym.

T. Bl. Snare

˙ ˙

∑

? ## Œ # & #

˙˙ ˙

˙.

115

Vln. 1

œ. œ nœ > œ . œ n œ # ˙˙ #˙ J

œ œ P ∑

n œœ œ œ œ

œ œ nœ #˙

Ó ∑

‰ j ‰ j j ‰ j ‰ j‰ Œ Ó œ œœ œ œ

œ æ

>œ œ >œ œ œ >œ œ œ >œ >œ J‰Œ Ó

œœ œ

œ. œœ .. œ œ

n œœ œ

œœ n œœ œœ J œ j œœ

œ.

Œ nœ Œ P œ Œ œ œ œ

nœ

œ œ

œ. œ nœ J P

∑ œ

œœ œ

∑

j‰Œ œ

j‰ Œ œ

∑

j‰Œ œ

œ œœ œœ œ

œ n œœ

œ œ

>˙ ˙˙

œœ œ

œ œ

œ Œ

œ Œ œ

j‰ Œ œ

∑

j‰Œ œ

j‰ œ

> > > > > > > > > ‰ œœœ œ ‰ œ ‰ œ ‰ œœ œ œ ‰ œ ‰ œ ‰ œœœ œ ‰ œ ‰ œ J J J J J J

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# & # 120

Solo

∑

# & #

∑

# & #

∑

# & #

∑

# & #

∑

# # œœ .. & œ. 120

Pno.

? ##

# & # œ. 120

Vln. 1

Vln. 2

Vla.

Vlc.

œ œ

# & # Œ B ## Œ

? ## œ œ # & # 120

Xyl. Cym.

T. Bl. Snare

œœ œ

ã ã

œ œœ œœ œ J œ

œ œœ œœ œ

j œ œ

œ œ

∑

j‰Œ œ

œœ .. œ. œ œ

˙˙ ˙

œ œ œ œ J

œ œ œœ œ

˙ ˙˙ œ œ

˙ ˙˙ # œœ

œ œ

œ ˙ œ œ œ œ œ œ œ

œ œ œ œ œ Œ

œ œ

j‰ Œ œ

˙ Œ

Ó ∑

j‰Œ œ

œ œ

Œ œ œ

#œ

œœœ

œœ .. œœ ..

#œ œ #œ œ J

œ œ

j #œ œ

#œ œ #œ œ J

œ.

j #œ œ

œ.

j #œ œ

Œ œ œ

œ. œœ ..

œ Œ

œ.

#œ œ J

œ œ

œ œ œ

∑

j‰ j‰ ‰ j j‰ j‰ ‰ j ‰ j j ‰ j ‰ œ œ œ œ œ œ œ œ œ

> > > > > > > > > ‰ œœ œ œ ‰ œ ‰ œ ‰ œœœ œ ‰ œ ‰ œ ‰ œœ œ œ ‰ œ ‰ œ œ J J J J J J æ

>œ œ >œ œ œ >œ œ œ >œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

93 NARRATOR: m. 125 thru 131 Inez Milholland led the charge. Riding a white horse, wearing a gold tiara--she would forever be known as the Joan of Arc of suffrage. Behind her, the first wagon of the parade bore a massive banner stating the women's demands.

∑

# & #

124

Solo

∑

# & #

∑

# & #

∑

# & #

∑

## ˙ & ˙

Lilting

œ #œ œ #œ Ó

œ. œ.

j œ œ nœ nœ œ œœ. ˙˙

œ #œ

Lilting

œ.

œ œ nœ J

aœ.

# & # ˙

œ #œ

œ.

˙ B ##

œ #œ

j œ œ nœ

n˙

œ œ

aœ nœ œ

? ##

Lilting

124

Pno.

? ## ˙ ˙ ##

124

Vln. 1

Vln. 2

Vla.

Vlc.

124

Xyl. Cym.

T. Bl. Snare

& ã ã

˙ ∑

œ œ

Lilting

j‰ Œ Ó œ >œ J‰Œ Ó

Œ KKK r œ

n œœ .. œ œ

Ó ∑

j‰ Œ j‰ œ œ

>œ œ œ >œ œ ˙ æ

œ. j

œ œ

œ œ œJ

˙˙ ˙

j œ˙

œœ. œ

Œ œ

œ Œ œ

nœ

Œ œ

œ œ

∑

j‰Œ j‰ œ œ

>œ œœ >œ œ ˙ æ

Œ KKK r œ

œ œ œ

œ- œ œœ J

œ.

Œ KKK r œ

n ˙˙ .. ˙.

jœ œ œ œœ

Œ œ

œ œ œ œ

Ó ∑

j‰Œ j‰ œ œ

>œ œœ >œ œ ˙ æ

Œ KKK r œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ œ

œœ. œ

˙˙ ˙

Œ œ

Ó ∑

j‰Œ j‰ œ œ

>œ œœœ> œ ˙ æ

# & #

∑

129

Solo

# & # ? ##

Vln. 2

Vla.

Vlc.

∑

Xyl.

T. Bl. Snare

∑

œ #œ œ

n œ.

∑

f œ. # œ.

œ.

œ #œ œ

n œ.

∑

f œ. # œ.

œ.

j‰ Œ nœ œ œ

œ.

j‰ Œ nœ œ œ

We de - mand We de - mand!

∑ n œœ .. œ œ

# & # B ##

∑

j # œœ n ˙˙

˙˙

nœ œ œ œ

# & #

KKK r œ

œœ.

œœ n œœ œœ œœ ˙˙ œœ. œ

#œ nœ œ œ œ œ J

œ œ œ

Œ œ

œ Œ œ

Œ œ

œ.

? ##

œ.

We de - mand an a - mend - ment

129

Cym.

f œ. # œ.

We de - mand an a - mend - ment

129

Vln. 1

∑

œ. # œ.

We de - mand We de - mand!

129

Pno.

∑

Ó ∑

nœ

œ nœ Œ œ œ œ

Œ Ó ∑

œœ .. œ œ

œ. œ œ œ œ

j # œœ n ˙˙

˙˙

œœ.

œœ œ œ Œ œ œ

#œ nœ œ œ œ ˙ J œ

Œ œœ ˙

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

n œ.

œ.

œ bœ nœ

n œ.

œ. N œ. Nœ

∑

>œ œœ >œ >œ >œ œ >œ œ >œ œœ >œ >œ >œ œ >œ œ >œ J ‰Œ Ó

KKK r œ

n œœ . œœ.

œ.

j ‰ Œ j ‰ j‰ ‰ j j ‰ j ‰ ‰ j ‰ j j ‰ j ‰ j ‰ Œ j ‰ j ‰ Œ œ œ œ œœ œ œ œ œ œ œ œ œ

>œ œœ >œ œ ˙ æ

˙˙

j œ œ nœ

nœ

Ó ∑

j ‰ Œ œ

>œ œœ >œ œ ˙ æ

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œ.

j‰ œ

# & # 134

Solo

# & #

# & # &

# & # 134

Pno.

∑

? ##

Vln. 2

Vla.

Vlc.

œ nœ #œ

œ . œ œ.

œ.

œ . œ œ.

œ.

j œ œ œ

œœ

the U - ni - ted

n œœ .. œ œ

n ˙˙ .. ˙.

# & #

œJ

œ nœ #œ

œ œ

? ## # & # 134

Xyl. Cym.

T. Bl. Snare

ã ã

KKK r œ

œ.

œ #œ œ

œ nœ

Œ Œ

a - mend ment!

œ.

B ##

œ #œ œ

States Con - sti - tu

a - mend ment!

œ.

States Con - sti - tu

the U - ni - ted

134

Vln. 1

œ nœ #œ

j ‰ œ

>œ œ œ >œ œ

Œ ˙ æ

œ. j

œ œ

the

j œ œ #œ

the

. # œœœ

œ.

œ #œ œ

œ nœ

Œ KKK r œ

œ #˙ ‰ J

œ œ.

j‰ œ

N ˙˙˙

œ.

Ó ∑

∑

Nœ

j ‰ Œ œ

>œ œ œ >œ œ ˙ æ

œ œ

œ nœ fl .

œ. œ .

œ nœ fl .

œ. œ .

tion

Nœ

tion

en - fran

œ.

chi

œ.

chi

j #œ n˙

sing

Con - sti - tu - tion

Nœ œ œ. Œ N œ. œ. œ. œ

Ó ∑

∑

j ‰ œ

Œ KKK r œ

N ˙˙˙

n œœ ..

N œ.

œ. œ.

œ.

œ. œ.

œ œ

œ. œ .

œ œ œ

Ó ∑

j‰Œ j‰ œ œ

>œ œœ >œ œ ˙ æ

for

œ œ. œœ. œ

n œ.

nœ

Œ KKK r œ

j # œœ n œœ œœœ ˙˙ œœ. #œ nœ œ œ œ J Œ

Ó ∑

j‰ Œ œ

>œ œ œ >œ œ ˙ æ

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nœ

j‰ œ

# & # 138

Solo

∑

# & # œ # & # œ # & # # & # # & #

n˙

∑

the wom - en

œ.

j #œ œ

this coun

œ œ œ

œ.

j #œ œ

œ œ œ nœ Nœ

œ œ œ

the wom - en

men

n œœœ œœœœ œœœ œœœ ? ## œ. ˙ œ # & # œ 138

Vln. 1

Vln. 2

Vla.

Vlc.

# & #

? ## œ œ

Xyl.

T. Bl. Snare

nœ

B ## œ n œ Œ œ

# & # 138

Cym.

œ œ œ œ

ã ã

Ó ∑

138

Pno.

∑

this coun

this

coun

this

coun

Nœ

œ #œ

try

œ #œ

try

œ #œ

try

œ œ j œœ .. n # œœ n œœœ # œœ N œœ œ œ # œœ ˙˙ œœ. Ó œ #œ œ œ #œ œ œ. œ

#œ nœ œ nœ J

œ #œ

Nœ œ œ œ nœ

œ œ

Ó ∑

œ #œ œ #œ

‰ j nœ #œ œ

œ.

‰ j nœ #œ œ

œ.

n œ.

œ.

n œ.

œ.

march

to give

march, we march

œ.

j n œ # œ.

œ.

vi dence of

de - ter- mined

n œœ ..

j œ nœ #œ

œœ

œ.

œ nœ ‰ J œ

œ.

nœ J

œ.

‰ j œ nœ #œ

œ.

j nœ #œ

nœ

Œ œ

œ nœ

œ.

œ Œ œ

œ œ.

œ. N œ. Nœ

j‰ ‰ j j ‰ j ‰ ‰ j ‰ j j‰ j‰ j ‰ Œ j ‰ j ‰ Œ œ œœ œ œ œ œ œ œ œ œ KKK r œ

j n œ # œ.

j œ œ nœ œ œ

n œœ ..

∑

>œ œœ >œ >œ >œ œ >œ œ >œ œœ >œ >œ >œ œ >œ œ >œ J ‰Œ Ó

to give

march, we march

œ #œ

œ Œ Ó

œ.

march

œ Œ œ #œ

Nœ

∑

˙˙

œœ

n˙ œ ˙˙ œ

∑

j‰ Œ j‰ Œ œ œ

>œ œœ >œ œ ˙ æ

KKK r œ

∑

j‰ Œ œ

>œ œœ >œ œ ˙ æ

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œœ. œ

œ.

j‰ œ

# & # 143

Solo

# & # # & # # & #

∑

de - ter - mi

œ.

our

Vln. 2

Vla.

Vlc.

? ##

j œ

œ. œ œ

# & # B ##

# & #

Xyl.

T. Bl. Snare

œ.

KKK r œ

œ. œ

œœ. œ

j œ œ .

œ.

œ œ.

œ.

∑

j ‰ Œ œ

>œ œ œ >œ œ ˙ æ

sim

œ.

that this

œ œ

sim

œ.

sim

œ œ

œœ .. œ.

œ œ

œ.

Œ KKK r œ

œ.

œ œ.

j ‰ œ

that this

˙˙ ˙

sim

that this

œ. œ

œ.

that this

na - tion

œ œ

œ.

œ œ œ J œ

œ.

œ œ

œ.

. œ œ œ œ

œ.

? ##

˙˙ ˙

œ.

na - tion

∑

143

Cym.

de - ter - mi

∑

143

Vln. 1

j œ œ .

# & # ##

œ.

our

143

Pno.

j œ œ .

œ.

∑

j ‰ Œ œ

>œ œ œ >œ œ ˙ æ

œ œ

œ œ J

j ‰ Œ œ

>œ

jus - tice

#œ

ple act

œ œ J

ple act

jus - tice

j œ œ

ple act

œ >

jus - tice

#œ

j œ œ

œ >

#œ

ple act

˙˙

œ.

œ œ

∑

œ œ œ J

œ œ J

œ œ J Œ

Ó ∑

j ‰ Œ œ

œ œœ

œœ œ œ

>œ

œ œ # œœ

#œ be

jus - tice

œ œ

˙ ˙˙

#œ #œ

# œœ

œ œ

œ #œ

j ‰ œ

>œ œ œ >œ >œ >œ œ >œ œ

œ œ

œœœ œ

#œ

œ œ œ

Œ ∑

Œ Œ

j‰ ‰ j j‰ j‰ œ œ œ œ wæ

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# & # 147

Solo

# & # # & # # & # # & #

∑ w

Pno.

w w

Vln. 2

Vla.

Vlc.

? ##

Œ w w

‰ n œJ # œ

## ##

Xyl.

T. Bl. Snare

? ##

‰ n œJ # œ

# & #

˙ fl

∑

Œ œ nœ

œ- n œ-

˙ ∑

‰ j ‰ j j ‰ j ‰ j‰ Œ Ó œ œ œ œ œ KKK r œ

n ˙˙˙ ˙ P

œœœ œ.

>œ œœ >œ œ >œ œ œ œ œ œ œœ >œ J‰Œ Ó

œ. Œ œ. œ. œ œ. fl œ. Œ n œ. œ. œ̆ œ. ˙

∑

œœœ # œœ œœœ. Œ ˙.

Œ œœœ . . P fl Œ n œ. œ. œ̆

∑ œ

Œ n ˙˙˙ ˙ œœ œœ .

Œ œ. œ. œ œ. Œ œ. œ. œ œ. fl P fl

∑ ∑

∑

ã ã

∑

B ##

147

Cym.

∑

done.

w ww

∑

done.

∑

done.

147

Vln. 1

∑

done.

147

NARRATOR: m. 148-154 There were eight thousand women on Pennsylvania Avenue in academic gowns and work uniforms. There were banners from almost every state--including a delegation from Illinois, the state that Ida B. Wells had traveled from Chicago to join.

œ #œ œ œ œ

œœ. œ œ

œœ # œœ n œœ œ œ œ n œ œœ œ

œ #œ nœ œ

- œ œ œ œ œ œ . œJ œ œ . œJ œ œ n œ œ

œ œ

∑

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∑

# & # 153

Solo

∑

# & #

∑

# & #

∑

œ. œ œ œ œ. J

œ . œj œ œ œ. œ œ œ

∑

# & #

∑

# & #

? ##

Vln. 2

Vla.

Vlc.

& &

Xyl.

T. Bl. Snare

w Œ

œœœ Œ n ˙˙˙ œ. ˙

œ. œ. œ̆ œ. œ. œ. œ̆ œ.

w Œ Œ

œœœ œ.

œ. œ. œ̆ œ. œ. œ. œ̆ œ.

n œ. œ. œ̆ œ. n œ. œ. œ̆ œ. # B # Œ Œ ? ##

# & #

∑

153

Cym.

Œ n ˙˙˙˙

153

Vln. 1

∑

153

Pno.

NARRATOR: Unfortunately, Illinois, like many states, wanted only white women in their delegation. These states worried that Southern voters would not support suffrage if Black women were seen marching alongside.

˙˙˙ ... ˙.

œœœ œ

œ œ œ œ œ œœ œ œ

œ œ. œ. ‰J

œ ‰ œ œ. œ. J œ

œ œ. œ. J ‰

. . œ ‰ Jœ œ œ

œ œ Œ Ó

œ . œj œ. œ œ œ œ œ œ.

Œ Ó

œ. Œ Ó œ.

Œ Ó

œ. œ J œ œ

œ œ œ œ

˙ ˙

œ œ œ œ

Œ œ ˙ π Œ

œ ˙ π

Œ œ ˙ π jœ œ œ . œ p

œ œ œ œœ œ œ œ ˙ ˙ ˙

œ ˙ œ ˙

#œ #œ

∑

œ œ œ œ

œ. œ œ J œ

∑

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100

NARRATOR: m. 161 thru 165 Ida was asked to march at the back of the parade with the rest of the Black women. At 52 years old, and having done more for suffrage than most of white Illinois delegates, she was incensed.

# & # 160

Solo

∑

# & #

∑

# & #

∑

# & #

∑

# & #

∑

160

Pno.

œ œ

? ## . œ œ. # & # 160

Vln. 1

Vln. 2

Vla.

Vlc.

# & # B ## ? ## . œ

Xyl.

T. Bl. Snare

Ó j #œ œ # œ œ. ∑

Œ œ œ.

j œ

w w

Œ j #œ œ # œ œ.

Nœ. Nœ. ∑

∑

œ œ.

œ œ ‰ œ œj ‰ œ

˙. ˙.

œ œ ∑

∑

j #œ œ

œ.

Œ #œ

Nœ

‰

j # œ œ.

œ.

# & #

∑

160

Cym.

√ ˙. ˙.

∑

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∑

œ.

# & #

∑

# & #

∑

nnb

# & #

∑

nnb

∑

# & #

∑

# & #

# w & # w 164

Pno.

? ## # & # 164

Vln. 1

Vln. 2

Vla.

Vlc.

Cym.

T. Bl. Snare

w w

# & #

∑ ∑

B ## ? ##

# & #

164

Xyl.

101

∑

164

Solo

NARRATOR: m. 166 thru 173 Wounded, but determined to take her rightful place, she did not go to the back, but instead waited on the sidelines. And when Illinois marched by, Ida stepped out of the crowd, linked arms with two allies near the front and marched the entire rest of the parade.

∑ w P

∑

œ ˙ œœ˙

w w

Œ œ ˙ œœ ˙

w w

Œ ˙ œ.

œ. Œ ˙

œ.

œœ ˙ œ ˙

w w

Œ ˙ p

œ.

Œ p ˙

œ.

Œ ˙ p ( ≤) w

œ.

∑

Œ Œ

œ.

Œ ˙

Œ œœ Œ œœ œ œ œ œ > œ œ œœ > œ œ œœ fl fl fl fl œ w ˙ œ œ nn œœ w ˙ 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 ˙

nnb nnb nnb nnb nnb

œ œ j j j j j j j j œ n œ nnb œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ. . ∑

∑

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∑

nnb

102 slight rit.

171

Solo

∑

œœ œœœ &b œ œœ œœœ œœ œ œ j ? . b œ œ œ œ œ. œ œ œ

œœ .. œœ ..

171

Pno.

&b Œ œ

œ œ

&b Œ œ

œ œ

171

Vln. 1

Vln. 2

Vla.

Vlc.

Bb Œ œ ?

b œ œ

171

Xyl. Cym.

T. Bl. Snare

œœœ

œ œ œ œ œ

∑

œ œ

œ. œœ

œ œ œ

œœ

œ œœœ

œœ œœœ œœ œ J

œ œ

œ œ J œ

# œœœ ... œ. f œ œ

œœœœ

œœ

œ œ

œ œ. J

œ œ œ œœ œ #œ

œ œ œ œ œ œ œ œ œ œ 3

œœ œ . œ œ. J #œ.

#œ #œ

œ.

œœ

œ #œ

#œ œ œ 3

∑

œ œ

Œ Œ

U U

Œ Œ

U U

Œ Œ

U U

Œ Œ

U U

Œ Œ

slight rit.

U U

œœœ œœœœ œœœ œœœ œ

U U

œ œ œ œ œ œœ œ œ

œ J œ

slight rit.

œ œ œ #œ

∑

j œœœ

U U

œ œ

slight rit.

Ó Ó Ó

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U̇ U

U U

Œ Œ

U U

Œ Œ

U U

Œ Œ

nb nb nb nb nb nb nb nb nb nb nb nb

175

Solo

&b &b &b &b &b 175

Pno.

Quickening ( q »132 )

∑

Vln. 1

Vln. 2

∑

Quickening ( q »132 )

∑

œœœ œœœ

‰ jŒ œœœ

j‰ œœœ

œœœ œœœ

‰ jŒ œœœ

‰ œj ‰ j œ ‰ Œ J œ

œ ‰ Œ J

j‰ œœœ

œœœ œœœ

‰ jŒ œœœ

‰ œj ‰ j œ ‰ Œ J œ

∑

Vla.

∑

Vlc.

∑

Xyl.

T. Bl. Snare

∑

xylophone

œ œ œ œ Ó F ∑ ∑

œ œ œ

œ ∑ ∑

j‰ œœœ

‰ œj ‰ j œ

∑

Quickening ( q »132 )

P ‰ j œ

lightly, parlando

∑

Cym.

P ‰ j œ

lightly, parlando

∑

P ‰ j œ

lightly, parlando

∑

175

P ‰ j œ

lightly, parlando

j‰ & b œ œ ‰ œj Œ œœ œœ œœ œœœ P ?b œ Œ ‰ œj ‰ j œ œ 175

103

œ œ œ œ Ó ∑

œ œ ‰ œ œ œ p

temple blocks

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104 179

Solo

∑

&b œ

‰

wo - man's

&b œ

‰

wo - man's

‰

wo - man's

‰

wo - man's

179

Pno.

‰ j ‰ j‰ j Œ œ œ œ œ œ- œ

‰ ‰ j‰ j‰ j ‰ œ œ œ œ œ œj œj œj œ

‰ j ‰ j‰ j Œ œ œ œ œ œ- œ

j ‰ œ œ

‰ ‰ j‰ j‰ j ‰ œ œ œ œ œ œj œj œj œ

‰ j ‰ j‰ j Œ œ œ œ œ- œ

‰ j œ œ

‰ ‰ j‰ j‰ j ‰ œ œ œ œ œ œj œj œj œ

‰ j ‰ j‰ j Œ œ œ œ œ- œ

‰ j œ œ

‰ j ‰ n œœœ >

j œœœ >

place is

‰ Œ

&b Œ

Vln. 2

&b Œ Bb

Vlc.

Xyl.

œ &b œ œ œ Ó P ∑ ã ã

the

bal - lot

box, and we're

mar - ching stea - dy

∑

œ œœ

œ ∑ ∑

œ ‰ J

j œ œ

˙ œ ˙.

œœ

œ ∑

win it,

And when the

œ œ Œ œœ œ œŒ

œ œ œœ œ œ

œ œ‰ œœ œ

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And when the

œ œ Œ

And when the

win it,

j œœœ ˙˙˙˙ >

œ œ œ Œ

‰ j‰ n œœœ >

˙˙˙ ˙

mar - ching stea - dy

œ œ œ œ p œ œ œ œ

mar - ching stea - dy

j ‰ œ œ œ œ.

mar - ching stea - dy

j œ ‰Œ

∑

box, and we're

>œ >œ œœœ œœœ ‰ n œœœ ‰ œœœ J J

∑

179

T. Bl. Snare

the

œœ œ œ

Vla.

Cym.

the

œœ œ œ

œ p

the

‰ œ œœ J

179

Vln. 1

j ‰ œ œ

‰ ‰ j‰ j‰ j ‰ œ œ œ œ œ œj œj œj œ

> > ‰ n œœœ ‰ œœœ Œ œœœ œœœ J J

?b œ J

∑

∑ ∑

105 183

Solo

∑

&b œ œ œ œ œ œ peo - ple try

peo - ple try

&b ?

b Jœ ‰ Œ

Vln. 1

&b Œ

Vln. 2

&b Œ

Vla.

Vlc.

T. Bl. Snare

ã ã

tell us

> œœœ J

‰ œ J

œ œ

&b œ œ œ 183

Cym.

tell us

> ‰ n œœœ ‰ J œœœ œœœ

183

Xyl.

tell us

&b œ œ œ œ œ œ 183

Pno.

tell us

&b œ œ œ œ œ œ peo - ple try

∑

œ œ

be - long in the house, we

Œ œ œ œ œ

œ œ

∑

Œ œ

∑

‰ œ œ œ œ

say

>œ >œ œœœ œœœ ‰ n œœœ ‰ œœœ Œ J J F j j ‰ œ œ œ œ ‰ Œ

∑

œ œ

say

F œ œ œ œ ‰ œj œj ‰ >

be - long in the house, we

œ œ

say

F œ œ œ œ ‰ œj œj ‰ >

be - long in the house, we

œ œ

F ‰ œj œj ‰ œ > œ œ œ

be - long in the house, we

œ œ

F œ œ œ œ ‰ œj œj ‰ >

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

œ ∑

∑ 3 j j ‰ ‰ œ œ œ œ > > "Yes, the House and

j j ‰ ‰ œ œ œ > >

"Yes,

the

the House and

j ‰ ‰ j œ œ >œ >

"Yes,

the

the House and

‰

˙˙˙ ˙ œ.

j œ œ

the House and

"Yes,

the

j ‰ ‰ j œ œ >œ >

œ œ

œ œ œ

‰ œœœ œ

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j ‰ œ œ nœ >

œ œ

∑ ∑

the

œ Œ

j œœœ >

106 186

Solo

&b &b &b

∑ œ- œ

‰

Sen - ate!"

œ- œ

‰

j œ œ

‰

Sen - ate!"

> > j j œ œ œ œ œ œ œJ ‰ œ ‰ œ ‰ œ œ œ

j œ œ

> ‰ n œœœ J

& b ˙˙ ˙˙

‰

stand for the right to vote af - for - ded

stand for the

take

stand

>œ j j j œ œ œ œ œ œ œœœ œ œœ œ ‰ ‰ œœ œ œ J ‰ œ ‰ œ J > >œ >œ œœ >œ >œ j ‰ œ ‰ >œJ ‰ ‰ œœ œ œ œ œ œ œ œj œ J œ > > œ œ œ œ œ œ œ œ J J Œ Œ ‰ ‰ a

stand

for the right to vote

Vln. 1

. &b ˙

Vln. 2

& b ˙.

Vla.

B b ˙.

œ œ œ œ Ó

œ œ œ œ Œ œ œ œ œ œ œ

Vlc.

&b œ œ œ 186

Xyl. Cym.

T. Bl. Snare

ã ã

‰ œJ œ œ œ Œ œ

∑

œ ‰ œ œ œ ‰ œ œ œ

œ œ œ œ œ œ

j‰ j ‰ j ‰ œ œ œ œ œ œ >œ œ œ œ œ >œ œ œ œ œ œ œ

? b ˙.

right to vote af - for-ded

for the right to vote af - for-ded

?b œ œ œœ Œ 186

œ œ œ œ œ œ œ >

j‰ j œ œ œ œ œ œ >œ œ ‰ œj ‰ œ œ >œ

Eight thou - sand wom - en mar - ching to

œ œ œ œ œ œ

j j œ œ œ œ œ œ œ ‰ œ ‰ œj ‰ œ œ >

Eight thou - sand wom - en mar - ching to take

186

Pno.

Eight thou - sand wom - en mar - ching to take

Sen - ate!"

œ- œ

j œ œ

∑

Eight thou - sand wom - en mar - ching to take

Sen - ate!"

œ- œ

∑

‰ œJ œ œ œ Œ œ

œ œ œ œ Ó

∑ ∑

œ œ œ œ

œ Œ œœœ

‰ œœœœ ‰ œœœœ J J

œ œ œœ Œ

œ œ œ œ œ

∑

af - for-ded

j j œ œ‰ œ œ ‰ Œ œ œ œ œ

œ ‰ J ‰ Jœ ‰ œ ‰ œj œj ‰ Œ J

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∑

107 190

Solo

∑

>œ œ œ œ >˙ b &

> > &b œ œ œ œ ˙

&b œ œ œ œ ˙ > >

ev - ery o - ther man,

190

Pno.

190

Vln. 1

Vln. 2

Vla.

Vlc.

Xyl.

T. Bl. Snare

6 4 œ

46 œ

œ nœ

A wo - man

œ nœ

A wo - man

>œ œœœ

>œ œ œ J‰Œ Ó œ œ

4 4

∑ Œ

4 4 œ

œ œ œ

4 4 œ

œ œ œ

4 4 œ

œ œ œ

44 œ

œ œ œ

6 4 œœœ œœ œœ œ œ œ

œœ

œ œœœ

needs a

œ 46

œœ

bal - lot

far

bal - lot

far

bal - lot

far

bal - lot

œœ

far

∑

more than a pet - ti

œ 46 œ œ œ œ ‰ œj j ‰ >œ > œ > 46 Œ Œ œ œ ‰ œJ Jœ ‰ > 64 œ œ >œ œ ‰ >œ œ ‰ JJ

œ œ ‰ J‰ JŒ ∑

∑

44 œ œ ‰ Jœ œœ ‰ œœ ‰ J J j œ ‰ Œ >

44 j ‰ Œ œ > 44 >œ ‰ Œ J >œ 4 >œ J‰ 4 J ‰ Œ j œ‰ > >œ ‰ J

j 4 4 œœ œœ ‰ œœj œ ‰ œj ‰ œ œ œ œ œ

>> j > œ j 46 œ œ œ œ œ ‰ œJ œ ‰ œJ ‰ 44 œ ‰ Œ > >

>œ œ‰œ j œ œ œ œ œ œ b Œ ‰ ‰ & œ œ 46 œ œ œ œ ∑ ∑ ã 46 190

Cym.

6 4 œ

œœ œ œ œ œ œ œœ n œœ œ œ œ œœ œœ > > > œ œ œ œ œ Ó œ ‰œœ > œ > > œ œ œ nœ œ œ J œ ˙ ‰ F œ œ œ œ ‰ J œ œ œ œ œ F œ œ œœ . ˙ Ó nœ F œ œ œœ ˙ Ó œœœœ

&b Œ ?b

œ nœ

A wo - man

ev - ery o - ther man,

6 4

A wo - man

ev - ery o - ther man,

∑

j‰ Œ œ > j œ ‰ Œ > > œ ‰ Œ J

44 œ œ œ œ Ó 44

∑

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108 194

Solo

∑

&b ˙

coat,

Stan - ding tall,

coat,

Stan - ding tall,

coat,

>œ œ

Stan - ding tall,

Pno.

> & b œœj ‰ Jœ ‰ œ > ? b >œ œ œj ‰ Ó >

Vln. 1

& b ‰ œj ‰ œj œj ‰ Œ >

194

Vla.

Vlc.

& b ‰ œj ‰ œj œj ‰ Œ > > Bb ‰ œ ‰ œ œ ‰ Œ J J J

? b ‰ œ ‰ œ œj ‰ œ J J > œ œ ‰ Œ &b œ œ œ J 194

Xyl. Cym.

T. Bl. Snare

∑

ã ã

‰ œœœ ‰ Œ J

∑

œ œ œ

we are mar - ching

stea - dy

œ œ ˙

œ œ

stea - dy

∑

œ n˙

œ œ œ œ œ ∑

∑

œ œ

rit.

∑ ∑

j œ œ

nœ.

for the right

∑ ˙

œ œ

for the right

œ œ ˙

for the right

œ œ ˙

∑

for the right

∑

œ œ

œ œ ˙

∑

194

Vln. 2

∑

rit.

n˙

˙ ˙

‰ œœœ ‰ Œ J

∑

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œ œ

œ œ œ Œ œ œ œ

rit.

∑

198

Solo

Determined ( q»86 )

&b Ó

&b ˙

&b 198

#˙

Vln. 1

Vln. 2

Vla.

Vlc.

F œ œ

When the

vote.

F œ œ

When the

Determined ( q»86 )

&b Œ Pno.

F œ œ

When the

vote.

F œ œ

When the

vote.

F œ œ

When the

vote.

109

œ œ œ œ ‰ J ∑

198 Determined ( q»86 )

& b #˙ Bb ˙ ?

b ˙

Ó Ó Ó Ó

198 Determined ( q»86 )

Xyl. Cym.

T. Bl. Snare

˙ &b ˙ ã ã

∑ ∑

œ œ

œ.

œ œ

world

tries

put

œ.

œ œ

world

tries

put

œ.

œ œ

world

tries

put

œ.

œ œ

world

tries

put

œ.

œ œ

world

tries

put

˙˙ ˙˙

P ˙˙ ˙

you where you

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

‰

don't be - long,

˙˙˙

don't be - long,

˙˙˙ ˙

˙ π

∑ ∑

œ.

œ œ

j œ ˙

œ.

j œ ˙

œ.

œ œ J

˙˙ ˙

˙˙˙

poco a poco accel.

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∑ ∑

j œ

You

poco a poco accel.

˙ ˙

˙ π ˙

œœ œœ œ œ J

j œ

You

don't be - long,

œœœ ...

j œ

You

don't be - long,

j œœ ˙˙

j œ

You

don't be - long,

œœœ ...

j œ

You

poco a poco accel.

˙ π

˙˙ ˙ P

œP

110

& b œ.

œ œ œ œ œ œ œ

& b œ.

œ œ œ œ œ œ œ

˙.

& b œ.

œ œ œ œ œ œ œ

˙.

& b œ.

œ œ œ œ œ œ œ

˙.

& b œ.

œ œ œ œ œ œ œ

201

Solo

square your

. & b œœœ ..

œ. ? b œœ ..

and fix your gaze,

jaw

œ œ œ œ œœ œœ œœ œ œ ‰

j œ œ

Vln. 2

&b Œ

‰

j œ œ

Vla.

Bb Ó

Vlc.

? b œ.

œ œ œ œ

˙˙ b & ˙

201

Cym.

T. Bl. Snare

œ œ

'Cause a

∑

œ œ œ œ P œ

œœœ > ˙ ˙

#œ œœœ œœœ œœœ # œœœ > > œ œ

j œ œ > > P j œ œ > > P j œ œ > > œ

œ œ

œ œ œ

place

œ œ œ

j œ œ

is where -

j œ œ

j œœœ œ >

œœœ œ

wo - man's

œ.

œ œ

wo - man's

œ.

œ œ

wo - man's

‰

and fix your gaze

&b Œ

Xyl.

'Cause a

œ.

and fix your gaze,

Vln. 1

201

œ œ

and fix your gaze,

jaw

œ œ 'Cause a

and fix your gaze,

j œœœ ˙˙˙

201

Pno.

jaw

#œ

nœ

œ œ

j œ œ > j œ #œ > j œ œ > œ

#œ œ œ œ œ ∑

∑

‰

œœ œ

œ œ œ œ > œ > >œ œ > œ

œœœ .. œ .. > F

œ place

place

is where -

wo - man's place

œ. œ >.

œ œ œ >

œ œ >

j œ ‰ > >œ J ‰

j œ ‰ >

>œ J ‰ ˙˙

∑ ∑

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is where -

œœ œ

j œ œ >

111 204

Solo

&b œ œ œ fl fl fl 3

> œ

no rit.

ev - er she walks

&b œ œ œ fl fl fl 3

> ˙

ƒ 3 &b œ œ œ ˙ fl fl fl > ev - er she walks ƒ 3 &b œ œ œ ˙ fl fl fl > ev - er she walks ƒ 3 &b œ œ œ fl fl fl >˙ ev - er she walks

Pno.

& b ˙˙ ˙˙ > ? ˙ b ˙ >

Vln. 2

Vla.

Vlc.

T. Bl. Snare

j œœœ œœœœ œ > >

œœœ œ >

j œœœ œ >

œ œ œ œ œ > œ >œ œ

&b ã ã

>œ

>œ œœœ

man

P œ œ œ. œ œ œ œ

When a

man

P Œ œ œ œ. œ œ œ œ

˙ no rit.

P œ œ œ œ œ. œ œ

When a

Steady ( q»104 )

b ˙ >

204

Xyl. Cym.

œœ œœ

When a

œ œ

œœœ ... œ. œ. œ.

˙ œ œ ˙ œ œ œ œ œ œ

man

œœœœ J

œ > œ >œ œ

Steady ( q»104 )

∑ ∑ ∑

œ œ œ œ œ > >

no rit.

∑

∑ ∑

œ >

œ >. p

∑ œ œ œ œ

∑

äœ œ > œ â œ â

F œ œ

When a

F œ œ

When a

knows her place.

œ œ

∑

F œ œ

When a

knows her place.

œ œ œ œ J

∑

knows her place.

œœ œœ

j œ œ >

knows her place.

œœœœ

no rit. >œ œ œ >œ œ > œ̆ œ̆ œ̆ >œ œ œ œ >œ . œœ œœ œœ œœ &b J œœ œœ 3 p >œ œ̆ œ̆ œ̆ >œ >œ œ œ œœ œ œ œ œ œ b & œœ œœ œ œ œ >œ œ > >p . 3 3 3 3 3 >œ >œ >œ œ > œ̆ œ̆ œ̆ >œ >œ œ j J œ Bb J œ. œ œ > 3 p> 204

Vln. 1

Steady ( q»104 )

P œ œ œ. œ œ œ œ

When a

ev - er she walks

204

∑

F œ œ

When a

‰ j j‰ œœ œœ œœ œ œ œ fl j j œ‰œ œ ‰ œ œ œ fl

j ‰ œœ œ fl j œ ‰ œ fl

‰ j j‰ œœ œ œ > fl P ‰ j j‰ œœ œ œ > fl P ‰ j j‰ œœ œ œ > fl P > œ̆ œ ‰ œ œ ‰ J J P ∑

j ‰ œ >

œœ œ fl œ œ fl

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∑ ∑

j ‰ œ > j œ ‰ > > œ ‰ J

112 208

Solo

∑

& b œ. œ œ œ œ wo

208

& b œœ .. œ.

Vln. 2

Vla.

Vlc.

Cym.

T. Bl. Snare

man

& b œ. >

j œ œ >

& b œ. > B b œ.

j œ œ > j œ œ

b œ. >

j œ œ >

∑

knows her

j œœœ œœœ œœœ œ œ œ œ J

208

Xyl.

œ. œ.

?b 208

Vln. 1

man

& b œ. œ œ œ œ wo

Pno.

& b œ. œ œ œ œ wo

man

& b œ. œ œ œ œ wo

∑ œ

œ œ â œ â œ â œ â

place.

œœ œ fl F œ œ fl

œ œ œ. œ œ œ ˙

When a

‰ j j‰ œœ œœ œ œ fl j j œ ‰ œ œ ‰ œ œ œ fl œœœ

∑ ∑

man

rit.

‰ Ó ‰ Ó ‰ Ó ‰ Ó

rit.

∑

knows her

, ,

knows her

œ >œœœ œ>œœœ œ œ œ œ œ

knows her

>œ œ

˙˙˙˙

∑ ∑

knows her

œ œ œ̆ œ œ P F œ œ œ̆ œ œ F P œ œ œ̆ œ œ F P œ œ œ œ œ̆

rit.

man

j ‰ œ . œ œœ œœ ˙˙ œœœ .. œœœ œœ œœ ˙˙ œœ œ >.> > fl > j œ ‰ œ .. œœ œœ œœœ ˙˙˙ œ œ > > fl

‰ j j‰ j œ œ œ œ œ > > fl F ‰ j j‰ j œ œ œ œ œ > > Ffl ‰ j j‰ j œ œ œ œ œ > > Ffl > > œ̆ œ ‰ œ œ ‰ œ J J J F ∑

, ,

wo - man knows her

œ œ œ. œ œ œ ˙

When a

f œ œ œ. œ œ œ ˙

When a

place.

When

œ œ œ. œ œ œ ˙

f œ

rit.

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>œ

œ.

œ > >œ

œ. œ.

>œ

œ. ∑

∑ ∑

>œ œœ œ > œ > > œ >œ

113

ß &b w 212

Solo

ß w &b

place.

∑

place.

ß b & w

ß &b w

place.

&b w place. √

. œ. . œ . œ œ œ œ. fl

212 a tempo

&b Œ Pno.

&b Œ > &b œ 212

Vln. 1

Vln. 2

Vla.

Vlc.

. œ. œ. œ . œ œ œ . fl

a tempo

Xyl.

T. Bl. Snare

œœ œœ

‰

F √ œœœ œœœ ‰ œ œ >

>œ œœœ J

œœ œœ J

∑

&b œ > > Bb œ ? >œ b

‰

j j œœœ œœœ ‰ œ œ >

212 a tempo

Cym.

>œ œœœ

>œ œœœ J

‰

j œœœ ‰ œ >

>œ œœœ J ‰ Œ ƒ j œœœ ‰ Œ œ >

Ó Ó

>œ J ‰ Œ f j œ ‰ Œ f> j œ ‰ Œ f> > œ ‰ Œ J f

∑

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Ó Ó Ó Ó ∑ ∑ ∑

Suffrage Cantata

114

Full Score

IV. Shall Not Be Denied SSAA, Solo and Narration with Piano, String Quartet, and Percussion Texts by Mabel Ping-Hua Lee, Alice Paul, Inez Milholland,

Music by

Daisy Elizabeth Adams Lampkin, National Woman's Party banner messages, and firsthand accounts from imprisoned suffragists (1917-1919) NARRATOR: (speaking only in the rests) "We all believe in the idea of democracy..."

"...woman suffrage is the application of democracy to women."

With ferocity ( q»86 )

Soprano 1

Soprano 2

Alto 1

Alto 2

# 4 & 4

∑

Violin 2

Viola

Violoncello

Timpani

Percussion

∑

# 4 & 4

∑

# 4 & 4

∑ ∑

∑

B# ?# ?# ã

√˘ œœ œ ‰ J ƒj œœ ‰ œ fl

∑

Œ Œ

‰

--Mabel Ping-Hua Lee, suffragist, and the first Chinese woman to earn a doctorate in the United States.

∑

œ œ̆ ∑ J Ï U œ 44 ∑ œ̆ J Ï ˘œ U 4 ∑ œ 4 J Ï j U 4 œ ∑ 4 œ fl With ferocity ( q»86 ) Ï U 4 œ̆ ∑ 4 J f U bass drum j 4 ∑ 4 œ fl f

# 4 & 4 #

∑

With ferocity ( q»86 )

Violin 1

# 4 & 4

With ferocity ( q»86 )

Piano

Andrea Ramsey

∑

˘œ œœ

œœ œ fl

œ œ̆

˘œ œ

œ œ fl

œ̆ J

‰

j œ ‰ fl

‰ ‰ ‰ ‰ ‰ ‰ œ̆

ƒ œ fl ƒ

˘œ œœ J j œœ œ fl œ œ̆ J

œ œ̆ J

˘œ U œ Ó J j œ UÓ œ fl

115

& & & &

# # # #

ƒ œ flIt ƒ œ fl It ƒ œ fl It ƒ œ fl It

Pno.

Vln. 1

Vln. 2

Vla.

Vlc.

Perc

>œ

our

œ >

our

turn.

œ >

˙ >

w >

>œ œœœ

>œ

our

>œ œœœ

> w

85 Œ

U >

turn.

85 Œ

turn.

85 Œ

w >

>œœ œœ

85 Œ

turn.

# œ̆

œ̆ B# ? # œ̆

>œ

>œ œ œ

U w

ww w

>œ

> œ

? # œ̆ ‰ Œ J P j ã œ ‰ Œ fl P

Ó Ó

>œ œ

P lightly, parlando œ >

œ >

œ̆ ‰ Œ J

j œ ‰ Œ fl

go - ing

œ œ œ œ > >

go - ing

œ >

‰

5 8 Œ

j Œ œ > j œ Œ > >œ J ‰

> œ >œ œ œ œ >

‰

Faster ( q. »90 )

> > 85 Jœ ‰ œJ Œ F p 85 œj ‰ œj Œ fl pfl F

j œ ‰ fl

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‰

42 42 42 42

∑

œ J

85 Œ U

∑

5 8 Œ

85 Œ

>œ >œ U̇.

œ œ œ œ œ œ œ œ > > > What are we go - ing to do in P lightly, parlando

Faster ( q. »90 )

>œ œœœ ˙.

œ œ > œ œ > œ

Faster ( q. »90 )

P 85 j ‰ œ œ >

œ œU ˙.

P lightly, parlando œ œ œ >œ œ œ >œ œ > What are we go - ing to do in P lightly, parlando What are

What are

f >œ U ? # œ >œ >œ œ > œ >œ œ w w > >œ >œ œ >œ œ 4 # œ̆ œœU & ˙.

Timp.

> # œœœ loco

>œ

Faster ( q. »90 )

42 42

∑

2 4

∑

2 4

∑

j œ ‰ fl

116

# 2 & 4 #œ. > 8

44 >˙ . œ . œ œ

an - swer to

# 2 & 4 #œ. >

# 2 & 4 œ. > # 2 & 4 œ. >

Pno.

# 2 & 4

∑

# 2 & 4

? # 42 œ # >œ #œ 8

Vln. 1

Vln. 2

Vla.

# 2 & 4 B # 42

call

the

call

4 œ œ. œ 4 ˙. >

an - swer to

the

4 œ œ. œ 4 ˙. >

an - swer to

call

44 >˙ . œ . œ œ

an - swer to

the

call

j œ ‰ œ

78 œ # œ œ œ

j œ ‰ œ

78 œ # œ œ œ

j œ ‰ œ

78 œ œ œ œ

j œ ‰ œ

78 œ œ œ œ

ty? When

men are de - nied

j 3 j 78 œœœ ‰ ‰ # œœ œœœ œ œ œ œ œœ ‰ œ œ # œ œ > > 3 œ > > 44 œ œ œ 78 #œ œ œœœ . ˙ œ œ œ œ >œ #œ œ > œœ > ˙. œ > > >œ œ

∑

4 4

∑

7 8

∑

4 4

∑

7 8

∑

>œ >œ œ

Vlc.

? # 42

∑

4 4

∑

7 8

∑

Timp.

? # 42

∑

Perc

42 œj ‰ fl

j œ ‰ fl

44 œ. > π

j j œœ œ œœ œ ‰ Œ > P

78 ‰ j ‰ j ‰ j ‰ œ œ œ > > >

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117

rit.

# . & œ 12

œ.

ju - stice

# . & œ & &

# #

œ.

œ œ œ 44 ˙ . >

œ. œ.

# j œ œ & œœ ‰ œœ ‰ œœ ‰ ‰ J œ J

Vln. 1

Vln. 2

Vla.

Vlc.

Perc

# #

B# ?#

∑

4 Ó 4

∑

44 Ó

∑

4 4 4 4

∑

?# ã

Œ œœœœ J

œœœœ ‰ œœœœ ‰ J J

œ 44 ‰ œj œ œ œ j œ œ œ œ œ œ œ œ œ

Timp.

war,

44 œœœœ œœœœ ‰

j œ Œ >

∑

j œ Œ >

‰

f œ œ œ

our

f œ œ ˙

This is

44 œ ˙. œ œ > they go to war,

ju - stice

war,

they go to

f œ œ œ

This is

44 ˙. œ œ œ >

Pno.

war,

they go to

ju - stice

œ.

they go to

ju - stice

œ.

> œ œ œ 44 ˙ .

our

œ œ

U war.

war.

#˙

This is

our

war.

This is

our

war.

f œ œ ˙ rit.

œœ œœ œœ œœ œ œ œœœ œœ œ œ œ

œœœ œ œœ œ

U w

w˙

#˙

U w

œ U w œ œ œ œ œ œ œ œœ

5 8

rit.

œ F

œ œ œ œ F

∑ ∑

44 œ œ œ œ >œ œ œ œ >œ ‰ J P 44 j ‰ Œ j Œ œ œ ‰ > >

œ œ œ œ œ œ ˙

œ œ œ F

œ œ ˙ F rit.

∑ ∑

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#U˙

U w

œ.

œ J

U̇

∑

85 5 8 5 8 85 85

118

a tempo ( q. »90 )

# 5 & 8 Œ 16

# 5 & 8 Œ # 5 & 8 Œ # 5 & 8 Œ > # 5 œ & 8 œJ ‰ S ? # 85 j ‰ œ œ > # 5 & 8 16

Vln. 1

Vln. 2

Vla.

Vlc.

œ œ

# 5 & 8

œ œ

? # 85

Perc

We fight with

œ œ

We fight with

> œœœœ .... œ. œ >.

a tempo ( q. »90 )

78 œ 78 œ 78 œ

œ œ œ

in - stead of

œ œ œ

in - stead of

44 ˙ .

guns.

68 œ œ œ œ

guns.

78 78

j 2 œ 4 j 2 œ 4

Li - ber - ty must

œœ .. œ.

j 2 œ 4

œœ 2 J ‰ ‰ 4

p j # >œ œ 6 œ œ œ œ 2 œ 8 4 œ œ

œ œ œ œ œ # œ œ 68 œ œ 42 p œ œ œ œ 4 œ 6 œ œ œ Œ ‰ ‰ œ œ 42 8 œ 4 œ #œ œ œ p œ œ œ 68 œ œ œ œ œ œ 42 œ œ œ œ œ 44 œ # œ œ p œ œ œ j j 2 j 4 # œ 68 œ œ œœ œ‰ œ ‰ 4 Ó œ œ œ 4 p

œ œ œ œJ

loco

P 68 œ œ œ œ

78 ˙ ˙ ◊

jœ œ > œ #œ >

68 œ œ œ œ

# >œ œœ œ >œ œœ >œ œœ œ œ œ J ‰ 6 44 œ 8

œ. œ.

Li - ber - ty must

guns.

j 2 œ 4

68 œ œ œ œ

œ œ. 78 œœ œœœ œœ ..

œ œ œ

in - stead of

ban - ners

7 8

∑

œ œ œ

in - stead of

ban - ners

a tempo ( q. »90 )

ban - ners

œ œ œ œ

85 œj ‰ œ > F subito p

78 œ

7 Œ 8

œ œ œ œ

? # 85 . œ >

Timp.

We fight with

B # 85 œ . >

We fight with

a tempo ( q. »90 )

Pno.

∑

78 j ‰ j ‰ j Œ œ œ œ > P

4 4

44 œ œ œ œ œ œ œ œj ‰ P 44 ∑

∑

68 j ‰ ‰ ‰ ‰ ‰ 42 œ > p

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119

# 2 j & 4 œ ‰

j œ ‰

68 œ

j œ ‰

68 œ

j œ ‰

68 œ

j œ ‰

68 œ

# 2 œœ œœ & 4 œJ ‰ œJ ‰

68 œœœ ...

fought

# 2 & 4 œj ‰ fought

for,

Pno.

? # 42 œœ ‰ J

œ œ

You

j œ œ

can - not

j œ œ

can - not

j œ œ

can - not

j œ œ

can - not

j j œ 42 œ ‰ œj ‰

j 2 j j œ 4 œ ‰ œ ‰

neu

tral,

œœ ‰ ‰ 2 j ‰ j ‰ 4 œœœ œ œœœ J œ 2 œ œ œœ ‰ 68 œ œ œ œ 4 œ œ œ J

Vln. 2

Vla.

Vlc.

Timp.

Perc

42 œj ‰ >

œ œj ‰ Œ

∑

42 œ .

68 j ‰ ‰ j ‰ ‰ 42 œ œ > >

œœ œ ∑

œ ‰ œJœ

‰

œ œ

You must join with us who be -

F œ

You must join with us who be -

œœœ œœœ 7 > œ œ # 2 œœœœœœœœ 6 œ œ 2 œ œ 8 œ œ œ & 4 8 4 J F œ œ # 2 œJ œ œ 6 2 j ‰ œ ‰ 78 >œ œ ‰ ‰ œ & 4 8 4 œ œ J J J F B # 42 œ œ 68 œ œ œ œ œ œ 42 œj ‰ œ ‰ 78 œj œ œ J > F j œ j 2 œ œ œ œ 7 >œJ ? # 42 œ ‰ œJ ‰ 68 œ 8 œ œ 4 J F ? # 42 œ .

You must join with us who be -

78 œj ‰ œœœ œœ J F 78 œ œ œ

Vln. 1

44 44 44

4 4

78 j ‰ œ F

j œ ‰

44 44 ∑

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j œ Œ

44 44

120

# 4 & 4 œ 24

lieve

# 4 & 4 œ

lieve

# 4 & 4 œ

lieve

# 4 & 4 œ

lieve

# 4 ˙˙˙ & 4 ˙ 24

Pno.

? # 44 w

œ œ

in the

bright

œ œ

in the

bright

œ œ

in the

bright

œ œ in the

Vln. 2

Vla.

f ˙

bright

ture,

˙ ture,

‰ œ œ œ J

œœœ

œœ œ

or be de - stroyed by

>œœ œœ œœ œ œ œ œ œ œœ œœ ‰ œœ œœœ ‰ œœœœ ‰ ˙ œœœœ J J J ˙˙ f jœ œ œ œ œ œ ‰ œ œ ‰ œJ ‰ œ œ œ œ J œ w >

# 4 & 4 24

Vln. 1

f ˙

# 4 & 4 B # 44

œ œ œ œ

#˙

those

œ œ

those

#˙

œ œ

#˙

those

œ œ

#˙

those

œ œ

# ˙˙˙ ˙

˙˙˙ ˙

who would re -

˙. ˙.

œ œ

∑

Vlc.

? # 44

∑

Timp.

? # 44

∑

Perc

∑

4 j‰ Œ Ó 4 œ

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Solo

& & & & &

Pno.

Vln. 1

Vln. 2

Vlc.

Perc

∑

œ œ œ œ

# #

turn us to the dark

œ œ œ œ œ œ œ œ

œ œ

turn us to the dark

# #

turn us to the dark

f œ.

∑

f œ.

# ˙˙˙˙

˙ ˙

Œ Œ

∑

past.

œœœœ ... . w

∑ Ó

˙ ˙ ˙

∑

wæ

œ J

the

œ J

Wo - men of

the

Wo - men of

œ J

œ œ. J

the

˙˙˙

œ œ œ œ œ œ 3

œœ

œ œ œ.

œ œœœ œ œ œ 3

œ œœœ

∑

œ œ. J

˙˙˙

œœœœ

Œ ˙

œœœœ œœœœ J

œ œ. J

f œ.

past.

the

Wo - men of

∑

f œ.

past.

∑

œ œ. J

Wo - men of

∑

f œ.

past.

∑

˙˙˙ ˙

∑

œ œ. J

Wo - men of

Timp.

?# 28

Vla.

121

œ œ œ J

tion,

˙˙˙˙

œœœœ

œ œ œ œ œ

œœ

œ Œ

Œ œ

∑

œ Œ

œœ œ œ œ

œ œ œ œœ œœœ œœœ œœœ œ œ œ œ

∑

j j j œ œ ‰ œ œ ‰ œ ‰

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122 33

Solo

& & & & &

Pno.

# # # # #

˙.

tion,

this

Vln. 2

œ ˙ œ œ

>œ œ œ œœ œœ œ œœ œ œ 3

Vla.

Vlc.

œ the

time

this is the time 3

this is the time

˙˙˙ ˙

œ œ œ œ œ œ œ

œ œ # œ & œ #

œ ˙ œ œ œ ˙ œ œ 3

Timp.

?# æ w

Perc

∑

˙ ˙

fight!

ƒ w

∑

ƒ w

∑

ƒ w

∑

fight!

>œ œ œ œœœ œœœ œœœ œ œ # œ œœ œœ œœ œ œ >œœ 3 ƒ œ œœ œ #œ œ œœ œ > œœœ >

j œ œœœ œ ‰ Œ > œ

j‰ Œ œ

>œ œœ œœ œœ œœ œ œ œ > J ‰ Œ #œ œ œœ œœ œœ >œ œ œ œ œ ˙

B # ˙.

∑

(tacet solo until measure 59)

ƒ w

this is the time

ƒ w

œ J

this is the time

?# ‰

œ ˙ œ œ 3

Vln. 1

#œ

œ.

#œ

˙æ

œ œ œ œ > >

j ‰ # >œ ‰ >œ ‰ >Jœ ‰ œ J J >

∑

œ > œ œ œ œ Jœ ‰ Œ œ œ œ > > >œ w J ‰ Œ >œ œ œ œ >œ œ œ œ >œ œ Œ Ó

Œ ∑

j œœ œ ‰ Œ > > j œ‰ Œ >

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j œ ‰ Œ œ > j‰ Œ œ œ > >œ œ ‰ Œ J j œ ‰ Œ œ > >œ J ‰ Œ >œ ‰ Œ J j œ ‰ Œ > j œ‰ Œ >

123 NARRATOR: m. 37 thru 44 (brisk pace) When the doorkeeper got up to let Mabel Vernon sit down, her friend joked it was because she looked pregnant. Indeed, Mabel had secretly pinned a large banner under her skirts. President Woodrow Wilson was giving his December address to Congress, and at the opportune moment, Mabel unfurled the yellow sateen, dropping it over the balcony with the help of her friends.

Measured ( q»108 )

# # # #

Vln. 2

Vla.

Vlc.

Perc

∑

Measured ( q»108 )

∑

& &

?# 37

Timp.

∑

√ ˙. # œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ . ˙. . . & 3 3 3 3 3 3 p P œ œ œ œ œ œ œ œ ?# .. ∑ & .. ∑ 37

Vln. 1

Measured ( q»108 )

Pno.

∑

Measured ( q»108 )

∑ ∑

œ œ

œ œ œ œ œ œ œ œ ∑

œ œœœœ œœ œœœœ .. œ 3 3 3 3 P pizz. .. œ œ œ œ œ œ œ œ P pizz. .. œ Œ Œ œ œ Œ Œ œ F pizz. .. œ Œ Œ œ œ Œ Œ œ F pizz.

.. ..

˙ ˙

loco

˙.

#œ ˙.

œ ˙

œ œ #œ œ œ œ œ œ œ œ œ œ 3

œ œ œ œ œ œ œ œ œ Œ Œ œ œ Œ Œ œ œ Œ Œ œ œ Œ Œ œ

∑

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124 NARRATOR: A murmur rustled through the floor, but in this moment, and in subsequent meetings, Woodrow Wilson remained unmoved.

& & & &

Pno.

& &

∑

Vln. 2

∑

Vla.

Vlc.

∑

Perc

j œ œ.

j œ ˙

P œ.

j œ œ. j œ œ.

Mis - ter

∑

P œ.

Mis - ter

# #

œ ggg œœœœ g 3

? gg ˙˙

∑

?# œ Œ Ó

œ œ

j œ ˙

Œ œ

œ œ

j œ ˙

œ œ

Pre - si - dent,

What will you

Pre - si - dent,

What will you

œ œ œ œ

œ œ œ œ œ œ œ œ œ œ ggg œœ gg œœ gg œœ Œ œœ g g 3 3 3 P ˙ ˙ ˙ ˙ ˙ gg ˙ œ œ ˙. g ˙.

œ Œ Ó

œ œ œœœ œ Œ Ó

B# œ Œ Ó

œ Œ Ó œ Œ Ó

∑ ∑ ∑ ∑

œ ˙ p

molto legato arco

for wo - man

suf - frage?

œ. œ œ œ J

for wo - man

œ. œ œ œ J

for wo - man

˙˙ ˙˙

œœœœ œœœœ œ œ œ œ

œ . œJ œ œ

œ. œ œ œ J

œ œ œ œ

œ œ œ œ p molto legato arco œ œ œ œ p ˙. p

œ œ

molto legato arco

œ. œ œ œ J

suf - frage?

www w w ww w

œ œ

∑

Timp.

j œ ˙

Mis - ter

# œœœœ Œ & &

P œ.

j œ œ.

Mis - ter

Vln. 1

P œ.

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125 NARRATOR: (brisk pace) Harriet Stanton Blatch floated a new idea: the silent sentinels--an unceasing presence of women at the White House gates with messaged banners in the suffrage colors of purple, yellow, and white. This would be radical. Labor pickets were one thing, but to take up a grievance with the President? ...

& 50

Pno.

Vln. 2

Vla.

Vlc.

& &

Perc

# # #

# #

∑

∑ ∑ ∑

?# w

œ Œ Ó P pizz.

œ Œ Ó P pizz. œ Œ Ó P ( ≤) w pizz.

œ œ œ œ œ œ œ œ ˙˙ œ œ œ œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ p legato ∑ ∑ ∑ ∑

œ œ œ œ ˙ ˙ ∑

œœœ 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 3 3 3 3 3 3 3 3 F3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ Œ œ Œ 3 F œ Œ œ Œ œ Œ Œ œ œ Œ Œ œ œ Œ Œ œ œ Œ Ó œ Œ Œ œ F ∑

∑

Timp.

?# 50

Vln. 1

œ Œ Œ œ œ Œ Œ œ œ Œ Œ œ œ Œ Œ œ F pizz.

œ Œ Ó

∑

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126

NARRATOR: ...No one had ever picketed the White House like this before. The first line of sentinels arrived in January of 1917.

Solo

& & & & &

∑

Vln. 1

Vln. 2

Vla.

Vlc.

Perc

j œ ˙

j œ œ.

j œ ˙

j œ œ.

j œ ˙

j œ œ.

j œ ˙

Œ œ

œ œ

j œ œ.

j œ ˙

Œ œ

œ œ

Mis - ter

P œ.

∑

P œ.

Mis - ter

∑

P œ.

Mis - ter

∑

Mis - ter

∑

# œ Œ œ Œ

œ Œ œ Œ

B# œ Œ œ Œ ?# œ Œ œ Œ

gg ggg

œ œ

Œ œ

œ œ

Pre - si - dent,

What will you

œ œ œ œ œ œ œ œ œ œ œ œ œ gg œœ g gg œœ œ Œ œ ggg œ gg g œ œ 3 3 3 P ˙ ˙˙ ggg ˙˙˙ œ œ ˙. œ ˙. œ

œœœ œ œ 3

gg ˙˙˙ g

œ Œ œ

Pre - si - dent,

∑ ∑

œ Œ

∑

œ Œ

∑

œ ˙

molto legato arco

œ œ œ œ

molto legato arco

œ œ œ œ

œ œ

œ. œ œ œ J

for wo - man

œ. œ œ œ J

for wo - man

suf - frage?

œ. œ œ œ J

suf - frage?

j œ. œ œ œ

suf - frage?

j œ. œ œ œ

suf - frage?

˙˙˙ ˙

˙˙ ˙

˙˙ ˙˙

for wo - man

œœœœ œœœœ

j œ . œ œ œœ œ. œ œ œ . Jœ œ œ ˙

œ œ

œ. œ œ œ J

˙˙ . ˙ ..

œ œ

w ˙

w w

∑

Timp.

j œ œ.

Mis - ter

# w & w

∑

Pno.

P œ.

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, , , ,

Solo

F # œ

127

How long

F # œ & #F & œ

How long

& & 64

Pno.

Vln. 2

Vla.

Vlc.

Perc

must

How long

must

œ # œœ

œœ .. œ.

How long

˙. ˙. Œ

must

œ œœœ

œœ .. œ.

œ œ

˙. ˙.

œ œ œœ

B# Ó

?# ã

œœ œœ œ œ J

‰.

r œ œ p >

men

Œ Œ

œ J

œ.

men

wait

for

wait

for

œ œ œ œ

wait

for

œœœœ .... œ œ

œ œ œ œ œ

œ œ

œ œ œ œ œ

‰.

œ.

œ œ œ œ

r œ œ œ >

œ œ œ œœ œœ J œ. œ.

œ œ

#œ J

œ.

j œ œ.

‰ œj œ œ œ > P> Œ ‰ . œr œ P>

f #˙

f ˙

ber - ty?

# œœœ ... œ.

œœ œ

ber - ty?

œ œ œ œ

f ˙

ber - ty?

(tacet solo until measure 84)

ber - ty?

œ œ œ œ 3

f ˙

ber - ty?

œœ ˙˙ œ ˙ J ˙

œ œ œ œ

men

∑ œ

for

men

wait

œ œ

men

œ J

∑

Timp.

?# 64

Vln. 1

œ.

j œ œ

œ œ œ

Œ œ J

œœ œœ

w w

œœ œ œ œ J # œœ

œ ˙ #˙

˙ #œ œ

œ œ œ #œ ˙

˙æ

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Œ Œ

128 NARRATOR: m. 68 thru m. 73 The sentinels kept watch through all of winter and apart from the occasional insult, things had been fairly calm. But when the U.S. entered World War I in April, picketing a wartime president was seen as unpatriotic.

& & & &

Pno.

∑

œ. œ. œ.

∏

π sterile, numb, void of emotion Œ œ œ. œ. œ. œ. œ. œ. œ.

sterile, numb, void of emotion

œ. œ. œ.

œ.

œ. œ. œ.

should be - gin

π sterile, numb, void of emotion Œ œ œ œ. œ. œ. . œ. œ. œ.

∑ Œ

should be - gin

De - mo - cra - cy

œ. œ. œ.

∑

De - mo - cra - cy

œ.

De - mo - cra - cy

∑

œœ. œœ Œ œ. œ.

œ.

should be - gin

œœ.

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.

œœ. œ œ.

home.

# œœœ. Œ Œ œœœœ œ. # œ. œ. .œ

de - mand jus - tice

œœœ # œœœ. œ œ œ. œ.

∑

?# . œ >

j œœ œ

∑

Vln. 2

Perc

œ. œ. œ.

∑

Timp.

sterile, numb, void of emotion

De - mo - cra - cy

∑

Vln. 1

Vlc.

∑

?# 68

Vla.

∑

œ ∏

w ∏

˙.

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œ.

129 NARRATOR: m. 74 thru m. 79 (pace this briskly, speeding up toward the end) The banners were sharply worded--calling out the President and envoys from other countries. Angry mobs threw rocks and eggs. Banners were torn, and women were shoved, kicked, and dragged across the pavement.

& & & &

# # # #

œ. # œ œ. . œj œ Œ Ó . j œ. # œ œ. . œ œ Œ Ó .

p j j Œ œ. # œ œ. . œ œ . œ œ. œ. œ .

and self - gov - ern - ment,

the Rus - sian

. .œ . œ œ. œ Œ œ. œ. œ. œ. Œ

j œ œ. œ.

œ fl œ.

the Rus - sian

œ fl œ.

P œ.

. b œ. œ

œ. œ.

Help

. b œœœ. œœœ

˙ b ˙˙

P œ.

en - voys,

˙˙ ˙˙ π

. b œ. œ

œœ

j œ

bœ œ

œ.

make this

˙ b ˙˙˙ p b œ.

œ.

∑

˙ ∏

œ Œ

˙.

∑

bœ

˙.

∑

bœ

˙.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ fl

œ.

œœ

bœ œ

b œœœ.

∑

na - tion

∑

j œ

Help

∑

œ.

Help us make this

∑

Perc

en - voys,

∑

Vln. 2

Timp.

P Œ œ œ b œ.

en - voys,

∑

Vlc.

p œ.

˘ bœ œ .

∑

Vln. 1

Vla.

p œ œ œ. œ.

œ̆ b œ.

To the Rus - sian

œ. # œ œ. . œj œ Œ Ó .

# œ. œ. & # œœ Œ œœ Œ œ. # œ. œ. œ. ?# 73

and self - gov - ern - ment.

Pno.

∑

and self - gov - ern - ment,

and self - gov - ern - ment.

p Œ œ œ b œ. œ.

∑

œœœ.

bœ

130

& & & &

Pno.

# #

Œ œ œ b œ. œ.

Help us make this na - tion free...

>˙

œ̆ b œ.

na - tion

free...

œ fl œ.

œ. œ.

make this

> b˙

real - ly

free...

œœ. œ

œ.

. œœœœ

∑

. œ. ˙ b œ œœ œbœ

∑

Vln. 2

?# 78

Perc

œ œ

˙.

> b˙

na - tion real - ly free...

œ œ

# b ˙˙˙˙

∑

Timp.

œ̆ b œ. >˙

∑

Vln. 1

Vlc.

. ? # bœ 78

Vla.

NARRATOR: For the next two years, almost 500 women would be arrested on ludicrous charges such as "obstructing traffic" or "meeting on public grounds"...

∑

bœ

˙.

∑

>˙ œ bbbb Œ F bb b b Œ >˙ œ

Kai - ser

F bb b b Œ ˙ œ >

Kai - ser

F bb b Œ b ˙ œ >

Wil-son! Twen-ty mil-lion Am-er - i-can wo-men are de -

>œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ

Wil-son! Twen-ty mil-lion Am-er - i-can wo-men are de -

> œ œŒ œ œ œ œ œ œœ œ œ œ œ œ

Kai - ser

Wil-son! Twen-ty mil-lion Am-er - i-can wo-men are de -

Kai - ser

nœ œ Œ œ œ œ œ œ nœ œ œ œ œ œ œ >

˘œ œœ bbbb œ Œ Ó œœ

Wil-son! Twen-ty mil-lion Am-er - i-can wo-men are de -

>œ œ >œ œœœ œ œ œ nœœœ ‰ œœ ‰ J J j j ˙ œ nœœ œ‰Œ œ œ‰ Œ ˙ œ > œ œ .œ > œ œ œ > >> > > ◊ loco

bbbb

pizz. bb b b œ Œ œ Œ f pizz. bbbb œ Œ œ Œ f pizz. œ œ Œ Œ bbbb f

bbbb œ Œ œ Œ f pizz.

b œ bbbb

>œ œ œ œ >œ œ œ œ œ œ œ œ œ œ Œ

> > n œœœœ Œ >œœ .. œ œœœ œ

œ œœ œ

œ œœ œ œ œœ œ nœ œ Ó ∑

∑

j œ ‰Œ Ó F>

œœ œ œ œœ J œ œœ j j j œ ‰ œ ‰ œ ‰ œj‰ œ œ œ œ œœœ .. .

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 œ œ œ ‰Œ > p

∑

œ Œ Ó ∑

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j œ ‰ Œ œ . œœ œ >

b & b bb Œ 84

Solo

b & b bb œ

œ œ. œ ˙ œ J

œ . œj ˙

Mis - ter Pre - si - dent,

nied self

b & b bb œ

gov - ern - ment.

œ . œj ˙

nied self

b & b bb

gov - ern - ment.

j œ. œ ˙

nied self

gov - ern - ment.

œ . œj ˙

gov - ern - ment.

nied self

b & b b b œœ œ 84

Pno.

? bb œ bb œ b & b bb œ 84

Vln. 1

Vln. 2

Vla.

Vlc.

Perc

œ . œœ ˙ J ˙ ◊

œ œ

œ Œ

? bb b œ Œ b

œ Œ

B bbbb œ

? bb bb 84

Timp.

œœ .. œj

œœ œ

b & b bb œ

NARRATOR: ...And as the women persisted, the prison sentences grew even longer.

j œ ‰Œ >

∑

œ œ œ œ œ œ ˙ n˙ fl fl fl fl > Take the beam out of your own eye. F Œ œ œ œ œ œ œ ˙ n˙ fl fl fl fl > Take the beam out of your own eye. F Œ œ œ œ œ œ œ ˙ ˙ fl fl fl fl > Take the beam out of your own eye. F Œ œ œ œ œ œ œ ˙ ˙ fl fl fl fl > Take the beam out of your own eye. √ œ̆ œ̆ ∑ Œ œ̆ ∑ j œ ‰Œ œ

‰ j j‰ Œ œœ œ œ œ œ‰œ œ ‰Œ J J j j œ œ‰œ œ ‰Œ

nœ nœ œ œ œ

How long must wo - men be de -

œ̆

Œ Ó

gg n ˙˙˙ ggg n ˙ P gg ˙˙ ggg n ˙˙ loco

∑

loco

œ œ nœ œ

nœ œ œ œ

∑

œ œ nœ œ F

∑

œ œ nœ œ F

œ nœ œ œ F œ nœ œ œ F

∑ Ó

F Œ œ

‰ j j‰ Œ œœ œ œ

∑

131

œ œ nœ œ

Œ ˙

nœ

œœœ 3

œ œ

nœ

œ œ

∑ œ

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132

bb &bb ˙ 89

Solo

bb &bb

voice?

∑

bb &bb

∑

bb &bb

∑

bb &bb

∑

˙˙ bb b ˙˙ & b

gg n ˙˙˙ ggg n ˙

bb & b b ˙˙˙ ggg n ˙˙˙ ˙ gg ˙

ww ww

bbb œ œ n œ œ œ œ b & 3

Vln. 2

Vla.

Vlc.

bb &bb œ œ œ œ B bbbb œ œ œ œ ? bb b n œ Œ œ Œ b ? bb b b 89

Timp.

Perc

∑ ˙

∑

œ œ nœ œ œ œ nœ U Œ Ó F 3 3

U œ œ œ œ nœ Œ Ó F œ œ œ œ œ UŒ Ó F nœ U œ Œ Ó nœ Œ Œ F

∑ ˙

√˘ n œœ U œ Œ Ó F n ˘œœ U? Œ ˙ ˙

www w

Vln. 1

∑

Pno.

nied

NARRATOR: When the leader of the National Woman's Party, Alice Paul, was sentenced to seven months in the district jail, she wrote her mother not to worry-reassuring her it would merely be a "delightful rest"...

∑

loco

n ww ww P w w

˙˙˙ ˙ Ó

n wwww

˙ ˙

w w

(tacet solo until measure 163)

˙˙˙ Ó ˙ Ó

˙ ˙

w n www w w

∑

˙ ˙

œ œ ˙

˙ ˙

œ œ ˙

˙ ˙

∑

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∑

133

Conductor: Vamp until narration is complete (measures 100-101)

NARRATOR: Before her sentence was over, Alice would be subjected to a foul-smelling cell, meals of worm-ridden pork, placed in solitary confinement, deprived of sleep, and ultimately moved to the psychopathic ward, having her mental fitness questioned... sterile, numb, void of emotion

NARRATOR: ...but Alice's reality in prison would be far from delightful.

∑

P .. ˙

fresh

sterile, numb, void of emotion

∑

n n n n ..

∑

bb &bb

∑

n n n n ..

∑

n wwww

n ww w

? bb b Ó b b & b bb

˙ ˙

w w rit.

∑

Vla.

B bbbb

∑ ∑

? bb œ œ ˙ bb 97

∑

n˙

nU˙

n n n n .. n n n n ..

∑

n n n n .. ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J P n n n n .. œ œ œ œ œ œ œ œ

∑

rit.

arco

w w

∑

a tempo

ww w

∑

? bb bb

∑

rit.

∑

Perc

P .. ˙

∑

bbbb

n n n n ..

∑

bb &bb

b & b bb

Timp.

a tempo

∑

Vln. 2

Vlc.

n n n n ..

∑

Vln. 1

rit.

bb &bb

Pno.

bbbb

Ó ∑

fresh

.. œ œ œ œ œ œ œ œ

tie only on repeat

a tempo

p .. œ œ œ œ

∑

n n n n ..

∑

n n n n ..

∑

a tempo

n n n n ..

.. Ó

> ‰œ œ œJ ‰ Œ P

snare drum

‰œ œ .. œ œ ‰ œ ‰ Jœ ‰œ œ J

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134

103

& w

air,

P sterile, numb, void of emotion & Œ ˙ ˙ œ salt

Raw

103

Pno.

One

salt

œ œ œ 3

103

feels so for - sa

œ œ œ 3

œ fl

pork,

œ ˙

un - re - mit

ken,

. œ œ œ

ken,

‰ œ.j œ. œ.

œ >

œ. œ. œ. œ.

raw

œ fl

salt

‰ œj œ . . œ.

˙ >

œ >

œ. œ. œ. œ .

pork,

œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

∑

Vln. 2

∑

Vla.

∑

ã œJ ‰ Œ

‰ œ œŒ

Timp.

Perc

> ‰ œ œ œJ ‰ Œ

E - lec - tric light sharp in my face,

103

œ.

un - re - mit - ting

Vln. 1

Vlc.

ting

E - lec - tric light sharp in my face,

pork,

œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ

& œ

feels so for - sa

P sterile, numb, void of emotion & Œ ˙ ˙ œ Raw

F œ

One

air,

F œ

‰ œ œ œ œ ‰ œ ‰ œJ ‰ œ œ œ J J

‰

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> ‰ œ œœ ‰ J

135 NARRATOR m. 108 thru m. 112 (pace quickly) Alice went on hunger strike to protest the horrible conditions. Three times a day, she was strapped down, a tube shoved up her nose, and milk and raw eggs funneled down her throat...

œ œ >œ œ . œ &

œ.

j & ‰ œ œ œ œ. >

œ.

107

in - ti - mi - da - tion,

‰ œj œ œ œ

in - ve - sti - ga - tion

‰ œj œ œ œ

F ‰ jœ œ œ œ

in - ti - mi - da - tion,

& Ó

F ‰ j œ œ œ œ

in - ves - ti - ga - tion

& Ó

in - ve - sti - ga - tion

œ.

œ J

107

j œ œ

ni - ty,

j œ œ

Forced

-̇

gas

ni - ty,

∑

-̇

gas

ping,

the

ping,

œ œ.

the

œœ œœ œœ œœ #œ

œ œ.

#œ

∑

Vln. 2

∑

Vla.

∑

107

Timp.

Perc

ã œ œ ‰ œJ ‰ œJ ‰ œ œ œ œ ‰ œJ ‰ œJ ‰ œ œ œJ ‰ Œ

‰œ œ Œ

> ‰ œ œ œJ ‰ Œ

j œ

go -

j œ

go -

œœ œœ œœ œœ

Vln. 1

Vlc.

ni - ty,

œ œœ œ œ œœ œ œ œœ œœ œœ œœ œœ œœ & œœ œ & œ

sa - ni - ty,

107

Pno.

œ J

F > Œ ˙

‰œ œ

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œ œ ‰ œ ‰ œ ‰œ œ J J

136 NARRATOR: Fellow suffragist, Rose Winslow endured the same treatment, smuggling out details of their conditions on scraps of paper...

> & œ 112

F> & Œ ˙

tube down

Forced

& ˙

ny,

& ˙

ny,

112

Pno.

112

throat,

>œ

tube

œ.

P ‰ œj œ œ fl fl fl We hear them P ‰ œj œ œ fl fl fl We hear them

œ œ œœ œœ œ

& œ

> œ

P ‰ j œ œ œ œ. œ. flœ œ. fl fl fl We hear them out - side crack - ing œ

> ˙

nose,

œ fl

œ.

œ fl

œ.

out - side crack - ing

P œ œ œ.

œ œ œ.

Œ.

œ œ œ.

Œ.

ev - ery - thing

∑

Vln. 2

∑

Vla.

∑

ã œ œ ‰ œJ ‰ œJ ‰

œ œ œ‰ Œ J

> ‰œ œœ J

‰

œ.

∑

Perc

œœ œœ œœ œ œ œ œ œ œ œ œ œœ

∑

Timp.

œ.

turned

112

œ.

turned

Vln. 1

Vlc.

œ.

ev - ery-thing turned

ev - ery - thing

eggs,

œ œ œ.

ev - ery-thing turned

eggs,

out - side crack - ing

œœ œœ œœ œ

œ.

> > ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ Œ

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‰œ œ

137 NARRATOR: m. 119 thru m. 123 If the Wilson administration thought they would weaken the suffragists by torturing their leader, they were undoubtedly surprised on November 10th when the longest picket line yet appeared outside the White House.

molto rit.

116

& œ Œ Œ .

ev -ery - thing

& œ Œ Œ .

œ œ œ. Œ

black,

ev -ery - thing

& œ Œ œ œ . . .

œ.

& œ Œ œ œ . . .

œ.

black,

œ œ œ. Œ

black,

œ. Œ

turned

œ. Œ

turned

ev - ery - thing

œ.

turned

ev - ery - thing

œ.

p œ. Œ

a tempo

∑

p œ. Œ

∑

black,

œ. p

black,

turned

œ.

black, molto rit.

w w

a tempo

ww œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ gg w œ œ œ & 116

Pno.

& œ œ œ œ

œ œ

œ œ œ œ ggg www molto rit.

116

Vln. 1

∑

arco

Vln. 2

∑

Vla.

∑

molto rit.

∑

Vlc.

116

Timp.

Perc

∑

ã œJ ‰ Œ ‰ œ œ Œ

Œ œ œ‰ Ó

˙. ˙.

∑

a tempo

œ w œ w

Œ œ œ œ ˙ ˙ P

˙ arco

∑

a tempo

Œ œ œ œ P arco w p arco

∑

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138 NARRATOR: Over thirty women were arrested, including Lucy Burns, who helped form the National Woman's Party with Alice Paul. All of them were sent to the Occoquan* workhouse, away from Alice in the District Jail.

123

∑

123

Pno.

˙. ˙.

œ œ

œ œ œ œ & p 123

Vln. 2

& w

Vla.

B w

Vlc.

? ?

∑

123

Timp.

Perc

˙. ˙. ∑

∑

Vln. 1

w w

œ œ ∑

Œ œ œ œ P

˙. ˙.

#œ œ Œ œ P ˙ ˙ œ œ

∑

œ œ

˙ ˙

∑

œ œ ˙

w ˙ π

#w #w

#˙

#œ œ œ œ p

∑

˙˙ ˙

U w

∑ ˙ π

∑

w π

U̇

U U

∑

* pronounced AH-kuh-KWAHN

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∑

Conductor: Vamp until narration is complete (measures 130-131)

139

NARRATOR: (pace quickly) The women were greeted upon arrival by the workhouse superintendent and up to forty angry men wielding clubs. Women were beaten, choked, and violently thrown into cells--some knocked unconscious. Lucy Burns's hands were tied over her head. Her clothes stripped off, she was left only with a blanket. Calling out to the others, she was threatened with a gag and straightjacket...

130

& ..

Faster ( q»116 - 120 )

∑

& ..

∑

& ..

∑

& ..

130

Vln. 1

& .. w

Vln. 2

& ..

Vla.

P ‰ j .. œ œ The

∑

Faster ( q»116 - 120 )

œ œœ & .. ‰ œJ œ œ œ P & .. œ œ œ œ P 130

Pno.

Instrumental vamp until narration is complete Choir should wait for conductor’s cue

P ‰ j œ œ

war - den

.. Œ

œ-

j œ ‰

threat - ened,

The war - den

œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ tie only on repeat

Faster ( q»116 - 120 )

.. œ

F œ

> œ

œ-

j œ ‰ Œ

threa - tened,

œœ œ œ œœ œ

∑

B ..

∑

Vlc.

? ..

∑

Timp.

? ..

∑

Perc

ã .. Ó

Faster ( q»116 - 120 )

∑

> ‰ œ œ œJ ‰ Œ P

F œ

Men picked me up

∑

130

œ œ

‰ œ œ .. œ œ ‰ œ ‰ œ ‰ œ œ œ ‰ Œ J J J

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œ œ œ

‰ œ œŒ

140

134

& Œ

F ‰ œj œ

‰ j œ œ

They lif - ted her

& Œ

They lif - ted her

j & œ œ œ ‰ Ó

bo - di - ly,

j œ œ >

& œ. heard

œ̆ up

œ̆

œ >

˙ >

> œ

and banged,

> œ

œ œ

the cries and the blows,

œ >

She

œ œ œ œ œ œ œ œ œ œ œ œœ & œ œœ & œ 134

her down

œ œ

œ̆

>œ .

twice, banged

œ œ œ ˙ fl thought she was dead,

œ œ œ #˙ did - n't

move,

œœ œ œ

œ œ œ œ

#œ œ

j œ flœ

#œ. > banged

œ œ œ œ

#œ

œ œ œœ

∑

Vln. 2

∑

Vla.

∑

134

Timp.

Perc

œ. œœ ˙ p >œ œ œ ‰ ‰ Œ ã J

‰ œj ‰ œj Œ

‰ œ œ œ.

‰ œœ œ œ ‰ œ ‰ œ ‰œ œ œ ‰ Œ J J J

œ J

œ œ œ œ.

> ‰ œœ œ ‰ J

œ J

œœ ‰ œ J

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œ fl

her down twice,

her down

Vln. 1

Vlc.

œ œ̆ J

we thought she was dead,

134

Pno.

down,

˙ >

j œ œ fl

#œ. >

the cries and the blows, 3

œ œ̆ J

banged

and banged her 3

>œ .

œ œœ ‰œ ‰ œ œ J

141

138

& œ fl

twice,

& Œ & Œ

P ‰ œj œ

lightly, parlando

œ œ œ œ œ

the brace and the bit in our

P ‰ œj œ

lightly, parlando

œ œ œ œ œ

the brace and the bit in our

∑

F œ -

˙.

ver

œ ‰ J

mouths,

‰ œ J

œ ‰ J

‰ œ J

mouths,

œ œ œ œ

the straight - jack-et on our

œ œ œ œ F œ

the straight - jack-et on our

138

Pno.

œ œ

& œ

œœ

138

œ œ œ

œ œœ œœ œœ # œœ

œœ

œœ œœ

œœ

>œ œ Œ

œœ

ron

>œ œ Œ

bo - dies,

cold

œœ œœ

bo - dies,

wind

œœ œœ œœ œœ œœ œœ œœ œ œ

œ # œœ

Vln. 1

∑

Vln. 2

∑

Vla.

∑

Vlc.

? Ó 138

Timp.

Perc

œ >

œ œ œ

> > > ã œ œ œ œ œ œ œ œ œ œ œJ ‰ π P

œ.

œ J

œ œ œ œ.

>œ œ >œ œ œ œ œ œ œ œ >œ œ

w æ

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œ œ J

œ œœ

142 NARRATOR: One woman had a heart attack. When the others cried for help, the guards ignored their pleas. This evening would be known as "The Night of Terror."

141

˙.

& Œ

P œ œ

& Ó

bench,

We were

p œ

ter

P œ

˙ -

œ œ œ .

were so

˙ -

molto rit.

∑

fied,

j œ ˙

ter - ri - fied,

œ. œ.

We kept

senza vibrato

still.

141

molto rit.

rit.

molto rit.

∑

Vln. 2

∑

Vla.

∑

Vln. 1

Vlc.

141

Timp.

Perc

∑

w 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 gg ww œ & p U w g g œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ g ww & œ rit.

141

Pno.

blew

rit.

∑

rit.

˙.

˙. œ ˙. p π >œ œ >œ œœ œ œ œ œ œœ> >œ >œ >œ >œ œ œ >œ ã J‰ ‰J ‰J ‰ J‰ Œ P p p

˙. ∏ > ‰ œ œ œJ ‰ Œ π

molto rit.

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑

143 NARRATOR: As many as thirty women would go on hunger strikes in protest of their horrible treatment in prison--many enduring forced feedings just as Alice Paul had. The administration--faced with negative press, and women who could not be broken, released all the suffrage prisoners by the end of November.

∑

###

∑

###

∑

###

∑

###

∑

###

∑

###

∑

###

∑

147

Pno.

& &

147

Vln. 1

Slower ( q»62 - 66 )

∑

147

Slower ( q»62 - 66 )

Vln. 2

∑

Vla.

∑

w π

j œ ˙

œ.

Vlc.

147

Timp.

Perc

œ. π

Slower ( q»62 - 66 )

j œ ˙ ∑

œ.

j œ ˙ ∑

œ.

j œ ˙ ∑

œ.

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

˙ π

˙. π

### ### ###

j œ ˙ ∑

###

144 NARRATOR: Upon their release, Alice Paul proclaimed: "We are put out of jail as we were put in--at the whim of government. They tried to terrorize us... they could not, so they freed us." The Susan B. Anthony amendment passed the House in 1918, but failed to clear the Senate.

## & #

∑

## & #

∑

## & #

∑

###

∑

## & #

∑

152

Pno.

###

152

Vln. 1

Vln. 2

Vla.

Vlc.

Perc

œ. œ œ. œ ˙.

### œ œ œ œ œ œ & # B ## ˙ ? ### œ ? ### 152

Timp.

œ.

œ œ œ œ

j œ ˙ ∑

œ ˙ œ œ œ œ œ.

˙.

j œ ˙

∑

˙ œ. œ œ

œ œ œ œ œ œ Ó œ œ.

œ.

œ œ. ˙ œ œ

j œ ˙ ∑

œ. œ œ. œ ˙ œ œ œ J ˙ ∑

œ ˙

˙. œ. œ

∑

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145 NARRATOR: So the suffragists continued their protests. The "watchfires" involved burning copies of Woodrow Wilson's speeches as the empty words that they were, and in February of 1919 a trainload of former suffrage prisoners went on a cross-country speaking tour telling of their experiences. By May, a newly elected, pro-suffrage majority of Congress would ensure the Susan B. Anthony amendment passed both the House and the Senate with relative ease...

## & #

∑

###

157

∑

## & #

∑

## & #

∑

###

Vln. 2

Vla.

Vlc.

## & #

∑

### œ œ ˙ & ## & # w # B ## ˙ ? ### ? ###

Perc

∑ Ó

vamp until narration is complete

∑

vamp until narration is complete

œ- . œ. œ- . œ. œ œ- . œ. œ œ- . œ. œ œ ..

.. œ .. œ ..

accel.

œ œ w ∑

157

Timp.

accel.

∑

157

Vln. 1

vamp until narration is complete

∑

157

Pno.

accel.

.. œ ..

œ . œj .. œœ .. ..

accel.

j œœ œœ ‰ œœ ‰ ˙˙

œ‰œ‰ œ œ œ .. J J œ ..

j œ œ ‰ œ ‰ ˙˙

j œœ œœ ‰ œœ ‰ œ ..

. œ- . œ. œ- . œ. œ œ- . œ œ

œœ ‰ œœ ‰ œ .. J J

œ œ ‰ œJ ‰ œœ ....

r j j œœ œœ ‰ œœ ‰ œœ .. œœ œœ .. œœ ˙˙ - .- .

r j j œ œ ‰ œ ‰ œ- . œ. œ- . j œœ œœ ‰ œœ ‰ œ- . œ. œ- .

œ. ˙

> Œ œ œœœœœ œ˙ æ æ P

∑

.. >œ œ œ œœ> œ œ œ æ

∑

>œ œ œ œœ> œ œ œ æ

∑

>œ œ œ œœ> œ œ œ æ

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∑

.. ..

> œ. œ .. œœ

vamp until narration is complete

∑

>œ œ œ œ œ >œ ˙ æ

.. ..

146

Solo

Faster ( q»96 )

F ### œ. & 163

# # # pj & œ ‰

œ œ.

œ œ

Shout the re - vo - lu

# # # pj ‰ & œ Shout

Shout

### p & j ‰ œ ### p & j ‰ œ Shout

Pno.

‰ ‰

Vln. 1

Vln. 2

Vla.

Vlc.

Timp.

Perc

œ.

œ œ

of wo - men,

re - vo - lu - tion, Shout

the

re - vo-lu - tion, Shout

the

re - vo - lu - tion, Shout

j j œ ‰ ‰ œ œ. œ œ œ >

j œ ‰

j‰ ‰ j j j ‰ œ œ œ œ œ œ . . œ œ œœ œ œ > the re - vo-lu - tion, Shout the re - vo - lu - tion, Shout j‰ ‰ j j j ‰ œ œ œ œ œ œ . œ œ. œ œ œ œ > the re - vo-lu - tion, Shout the re - vo - lu - tion, Shout

Faster ( q»96 )

œ. œ- .

# B ## ˙ ? ### ˙ ˙

Faster ( q»96 )

? ### æ ˙ π >œ œ ã

j œ ‰

the

˙ ˙

œ œ

œ œ >œ

œ. œ

œ- .

œ. œ

œ- .

˙ ˙

˙˙

œ. œ.

œ œ

∑

œ. œ

˙ ˙

œ œ

œ œ.

Shout the re - vo - lu

j j œ ‰ ‰ œ œ. œ œ œ >

∑

## & # ˙˙

œ.

re - vo-lu - tion, Shout

Faster ( q»96 )

### œ- . &

163

œ œ

the

###

163

tion

‰ œj œ . œœ œ >

## w & # w &

‰ œj œ . œœ œ >

Shout

163

œ.

œ. œ. œ- .

the

re - vo-lu - tion,

‰ œj œ . œœ œ >

‰ ‰ œ œ. œ.

j œ œ. œ œ œ > the re - vo-lu - tion, j œ œ. œ œ œ > the re - vo-lu - tion, œ œ œ œ

j œ œ œ œ

œ. œ- .

œ. œ

˙˙

∑

˙æ

>œ œ œ œ >œ

œ œ œ æ

>œ œ

re - vo-lu - tion,

˙˙

œ œ œ æ

tion

the

˙˙

‰ œj œ . œœ œ >

œ.

œ œ >œ

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œ. œ. œ œ

œ- .

œ œ œ æ

œ œ

œ.

## & # œ

166

Solo

# # # Fœ

### F œ &

li - ber - ty,

### F & œ

li ### F & œ

- ber - ty

# # # œœœ œœœ œ &

Pno.

? # # # ‰ œj œ œ œ

Œ Œ

Vln. 2

˙˙ ˙˙

Vla.

Vlc.

Timp.

Perc

j œœ .. œœ œœ .. œœ œœ ‰ - .- .

j œœ ‰ >

B # # # œ . œ œ . œ œj ‰ œj ‰ - .- . > ? # # # œ- . œ. œ- . œ. j ‰ >œ ‰ œ œ J ? ### ˙ æ 166

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ œ

œœ .... œœ ....

r œœ œœ

œ œ œ >œ œ œ æ

the

œ œ the

œ œ

Rise, glo - rious wo - men of the earth,

˙˙ ˙˙

œ. œ œ. œ œ ‰ ≈ r j ‰ j‰ œ. œ œ. œ > œ œ œ œ > œ œ œ

# # # œ . œ- . œ. œJ >œœ ‰ J ‰ - œ & . ###

j œ ‰ œ.

the

Rise, glo - rious wo - men of the earth,

166

Vln. 1

˙.

Rise, glo - rious wo - men of the earth,

li - ber - ty,

166

œ œ œ œ œ

Rise, glo - rious wo - men of the earth,

li - ber - ty

j œ ‰ œ.

Rise, glo - rious wo - men of the earth,

li - ber - ty,

147

NARRATOR: m. 167 thru m. 170 The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.

œ .. ˙ œ ..

>œ ..

j œœ œ œœ œ

œ œ

œœ œœ

œ œ œ œ .. œ ..

œ œ

œ J

>œ .

œœ œ œ œ œ œ œ œ œ. > œ œ œ >œ œ œ œ >œ œ œ œ æ

œœ œ J

œ >œ Œ J >œ œ œ œœ> œ œ œ æ œ.

œœ œ

and

the

and

the

and

the

and

the

and

the

œœ œ

œœœ

œ >œ . R

voice - less

œ œ œ œ

voice - less

œ œ

r œ œ

voice - less

œ œ

voice - less

œ œ R

voice - less

œ œœ œ the

j œœ œœ

œ œ- . œ. œ- . œ. R

œ ..

œœ œœ ‰ œœ ‰ RJ J œ j j Rœ ‰ œ ‰

œ ..

- - . œ- . # œ. œ- . œ. œ . œ. œ . œ Œ

œ.

œ œ J

>œ œ œ œ >œ œ œ œ æ

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148

###

free.

###

free.

###

free.

170

Solo

NARRATOR: m. 171 thru m. 174 From here, the amendment would need to be ratified by 36 states. Though public sentiment on suffrage was shifting, there was much work left to be done.

∑

F œ.

F œ. F

## & # œ ###

Pno.

? ###

œœœ œœœœ .... œœœœ œ œ

Vln. 2

Vla.

Vlc.

170

Timp.

Perc

œœœœ

> œœœœ

œ. œ œ œ. œ œ

>œ Œ

œ œœ œœ œ ˙ æ

of wo men, of wo - men,

Shout

‰ j œ œ. œ œ œ >

j‰ ‰ j œ œ œ. œ œ œ >

˙˙ ˙˙

j œ œœ . œ .

# # # œ- . œ. œ . œ̆ ‰ >œ ‰ œj ‰ œ & œ > # # œ- . . œ œ . œ œj‰ j‰ œj ‰ & # - . fl >œ >œ # j B # # œj‰ œ œ ˙ œ ‰ > > > . > - œ . œ œ œ >œ >œ >œ ? # # # œ . œ. J ‰ ? ### ˙ æ

œ. œ œ œ. œ œ

Shout

170

Vln. 1

œ œ œ. œ

of wo-men, of wo - men,

j j œ ‰ ‰ œ œ. œ œ œ >

F j‰ œ

œ œ ˙ >. >

free, and the free. 170

‰ œj œ . œ œ œ >

j œ ‰

free, and the free.

œ. œ œ œ. œ œ

Shout the re - vo-lu - tion

œ. œ ˙ > >

∑

œ œ œ. œ

Shout the re - vo-lu - tion

w œ

∑

˙æ

>œ œ

the re - vo-lu-tion, Shout the

œœ œœ

j œ œ œ œ

œœœ œ œ

˙˙ ˙

œœ œ

œœœ

‰ œj œj‰ œj ‰ > j j j ‰ œœ œœ ‰ œœ ‰ >

j j œ ‰‰œ > > œ ‰‰œ J J

j œ ‰ > >œ J ‰

œ œœ> œ œ œ æ

œ œ œ. œ

œ. œ

Shout the re - vo-lu - tion

œ.

j‰ ‰ j j ‰ j ‰ œ œ >œ œ > j œ ‰ œ ‰ J

∑ œ œ œ œ œœ œ œ æ æ

Shout the re - vo-lu - tion of

j œ ‰

‰ œj œ . œ œ œ >

j‰ œ

‰ j œ œ. œ œ œ >

˙˙ ˙˙

œ œ. œ œ œ œ . œ œ œ œœ .. œ œ . œ œ œ. œ œ >œ œ œ ‰ œ ‰ J J

œ. œ

re - vo-lu-tion, Shout

j j œ ‰‰œ œ œ >

j œœ ‰

œ œ œ. œ

re - vo-lu-tion, Shout

j œ ‰ œ

j j ‰ œœ œœ ‰ > ‰ œœj œœj‰ >

œ.

j œ ‰ œ > j œœ ‰ > j œ ‰ > >œ J ‰ ˙æ

>œ œ

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the re - vo-lu-tion,

œœ œœ

j œ œ œ œ j j ‰ œœ œœ ‰ > ‰ œœj œœj‰ >

œœœ œ œ

j œ ‰ œ j œœ ‰

‰ œj œj‰ œj ‰ > j j j ‰ œœ œœ ‰ œœ ‰ > œ

œ œœ> œ œ œ æ

149

###

174

Solo

∑

## & # œ

###

## & # œ

li - ber - ty

# # # œœœ œœœ œ & 174

Vln. 2

? # # # ‰ œj œ œ œ

Vla.

Vlc.

˙˙ ˙˙

Timp.

Perc

j œœ .. œœ œœ .. œœ œœ ‰ - .- .

? ### ˙ æ ã

j œ ‰ œ.

œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ œ

j œ ‰ œ.

œ œ œ œ œ œ

œœ .... œœ ....

r œœ œœ

˙˙ ˙˙

œ. œ œ. œ œ œ . œ œ . œ > œ ‰ ≈ œr œj ‰ œj ‰ > œ œ œ

j œœ ‰ >

# B # # œ . œ œ . œ œj ‰ œj ‰ - .- . > ? # # # œ- . œ. œ- . œ. j ‰ >œ ‰ œ œ J 174

œ œ œ >œ œ œ æ

œ œ the

œ .. ˙ œ .. >œ ..

j œœ œ œœ œ w

œ œ

œœ œœ

œ œ œ .. œ œ ..

œ œ

œ J

>œ .

œœ œ œ œ œ œ œ œ œ. > œ œ œ >œ œ œ œ >œ œ œ œ æ

œœ œ J

œ >œ Œ J >œ œ œ œœ> œ œ œ æ œ.

œœ œ

and

the

and

the

and

the

and

the

and

the

œœ œ

œœœ

œ >œ . R

voice - less

œ œ œ œ

voice - less

œ œ

r œ œ

voice - less

œ œ

voice - less

œ œ R

voice - less

œ œœ œ the

j œœ œœ w

œ œ

the

Rise, glo - rious wo - men of the earth,

# # # œ . œ- . œ. œJ >œœ ‰ J ‰ - œ & . ###

œ œ œ œ œ

the

Rise, glo - rious wo - men of the earth,

174

Vln. 1

j œ ‰ œ.

Rise, glo - rious wo - men of the earth,

li - ber - ty,

Pno.

˙.

Rise, glo - rious wo - men of the earth,

li - ber - ty

œ œ œ œ œ

Rise, glo - rious wo - men of the earth,

li - ber - ty,

œ ‰ œ. J

œ œ- . œ. œ- . œ. R

œ ..

œœ œœ ‰ œœ ‰ RJ J œ j j Rœ ‰ œ ‰

œ ..

- - . œ- . # œ. œ- . œ. œ . œ. œ . œ Œ

œ.

œ œ J

>œ œ œ œ >œ œ œ œ æ

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150

###

178

Solo

free,

## & # w

f œ

all

shout!

œ. f œ.

Shout the re

f œ.

free.

f j œ ‰

free.

## & # œ

free,

## & # œœœ 178

Pno.

? ###

œ œ

Shout

œ œ ˙ Œ

˘œ œ

Œ œ œ œ œ

œ œ fl

and the free.

œ œ

. # # # œ- . œ. œ

178

Vln. 1

Vln. 2

Vla.

Vlc.

# # œ- . . œ- . œ & #

Timp.

Perc

j ‰ œ œœœ œ

Shout

? ### ˙ æ

œ̆ >œ j J ‰ J ‰ œ ‰ œ > >œ œ. œ̆J œ j ‰ J ‰ œ ‰ œ >

>œ

œ œœœœœ ˙ æ

‰ ‰ œœ œœ

œ. œ.

# j B # # œj ‰ œ œ ˙ œ ‰ > > > j ? # # # œ . œ. œ . œ. œ œ œ œ œœ ‰ > 178

œ œ.

Shout the re

free.

œ œ.

Shout the re

## & # w ###

œ œ.

˙æ

>œ œ

‰ ‰ ‰ ‰

œ œ -

vo-lu

œ. -

œ œ -

vo-lu

œ. -

œ œ -

vo-lu

œ œ

œ.

œ œ

œ.

œœ œœ

of wo

œ œ œ œ œ œ

j j œ œ ‰ œ œ > j j œœ œœ ‰ > j j œ œ ‰ > j j œœ œœ ‰ >

œœœ

of wo

of wo - men,

re - vo-lu - tion,

j œ œ œ œ

œ œ >œ

tion

œ œ

œ.

of wo - men

re - vo-lu - tion,

j œ œ. >

the

tion

œ.

j œ œ. >

the

tion

œ œ

men,

œ œ

of wo

œ œ

of wo

j j œ ‰ ‰ œ œ. >

Shout

œ -

j‰ ‰ j œ œ œ. > the

˙˙ ˙

men,

œ œ œ

re - vo - lu - tion,

the

Shout

men,

œ œ œ

re - vo - lu - tion,

œœ œ

œœœ

œ œ œ œ. œ œ œ œ.

œ œ

œ œ œ. œ œ œ.

j œ ‰ œ

j j œ ‰ ‰ œ œ œ >

>œ œ ‰ J

œ ‰ œ J

j œ ‰

j‰ ‰ j œ œ > > œ ‰ ‰ œ J J

j œ ‰ > >œ J ‰

j œ ‰

j œœ ‰ j œœ ‰

œ œ

œ æ

j‰ ‰ j j ‰ œ œ >œ >

j œ ‰

œ ‰ J

∑ œ æ

œ œ œ œœœ œ æ

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œ œ

151

### œ . &

Solo

###

Shout the re - vo - lu

###

Shout the re - vo - lu

œ. œ.

###

Shout

j ‰ œ

# # # œj & œ > ## j & # œœ > # B # # œj > ? # # # œj œ > 181

Vln. 2

Vla.

Vlc.

? ### æ ˙ 181

Timp.

Perc

œ æ

‰ ‰ ‰ ‰

tion

œ. -

tion

œ. -

tion

œœ œ

‰ j . œ >œ

œœ œ

the

j ‰ œœ ‰ œj œ

‰ œj j ‰ œœ

œ œ of

Œ >œœ .. œœ ..

œ. œ.

œ œ œ œ >

œ œ œ œœœ œ æ

f ˙ f Œ

f ˙ f

œœœ œ J

li - ber

>. œœœœ ...

œ œ >

œ œ

œœœœ J

∑

ty.

œ œ œœ œ œ > > >

∑

ber

∑

ty.

œ œ

ty.

∑

ty.

ber

œ œ

˙.

œ. œ.

j j œ ‰ œ ‰ > j j œœ ‰ œœ ‰ > œ

œ ˙

re - vo-lu - tion,

j j œ ‰ œ ‰ œ œ > j j œœ ‰ œœ ‰ >

œ ˙

re - vo-lu - tion,

j œ œ œ œ

? ### œ . œ.

‰ œj œ . >

œ œ œ œœ . œ œ .

### œ . œ. & 181

Vln. 1

œ œ œ œ.

Shout the re - vo - lu

### j & œ ‰

œ.

œ œ

œ œ.

Shout

Pno.

œ œ

œ œ.

181

∑

ty.

>œœ œ œœ œœ œœ œ >œ >œ >œ œ œœ œ œ ‰ œ J w

œœ̆

˘œ œ

œ fl œœ fl

>œ >œ ‰ Œ œ œ‰Œ J J j j œ‰Œ œ‰Œ œ œ > >

>œ œœ œœ .. œœ œœ œœ >œœ œ ‰ J J‰Œ J‰Œ >œ œ œ . œ œ œ >œ ‰ œ œ. œ œ œ œ ‰ Œ œ ‰ Œ J J J ‰ œj œ . œ œ œ œj ‰ Œ œj ‰ Œ > > j j j ‰ œœ œœ .. œœ œœ œœ œœ ‰ Œ œœ ‰ Œ > >

j ˙ œ œ œ œ œ ‰ œ œ . œ œ œ ˙æ æ > fl f >œ œ œ œœ œ œ >œ œ œ œ œ œ œ w ˙ æ æ f

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j œ‰Œ > >œ J‰Œ

Suffrage Cantata

152

Full Score

V. Forward Into Light SSAA, Solo, and Narration with Piano, String Quartet, and Percussion Music by

Texts by Mary Church Terrell, Jovita Idár,

Andrea Ramsey

Frances Ellen Watkins Harper, Mrs. J. L. Burn, Carrie Chapman Catt and messages of National Woman's Party banners Adapted by Andrea Ramsey

Rubato ( q»ca. 90-94 ) (Mary Church Terrell)*:

Solo

Soprano 1

Soprano 2

Alto 1

Alto 2

Piano

4 &b 4

∑

F Œ œ œ œ

4 &b 4

∑

4 &b 4

∑

4 &b 4 4 &b 4 4 &b 4 ? b 44

∑

Violin 1

Violin 2

Viola

Violoncello

œ œ ˙

Rubato ( q»ca. 90-94 )

Timpani

Bass drum

? b 44 Ó ã

Œ œ π ∑

> œ Œ Œ œ

* See composer's performance notes

Œ œ œ ˙

œ.

∑

> œ Œ

Œ œ

> œ

∑

Œ œ œ ˙. œ #œ

∑

w p

the nine - teenth a - mend - ment has been

∑

Œ œ #œ œ P

∑

˙ p ˙ p

œ œ ‰ œj œ J

mi - ra - cle,

∑

Rubato ( q»ca. 90-94 )

4 &b 4 w π 4 &b 4 w π B b 44 w π ? b 44

œ.

œ œ

œ J

w Œ

Œ ∑

Solo

& b ˙. ra

ti - fied.

P œ

153

wo - men

‰ œj œ œ now have a

œ œ

wea - pon

we have

∑

Pno.

Vln. 1

&b œ

Vln. 2

& b ˙.

Vla.

Vlc.

B.D.

Bb œœœœœ œ ?b ˙

? b >œ 5

Timp.

œ œ

Œ ∑

œ ˙ ˙

œ. >p

#˙

œ >.

Œ œ

œ >.

œ. > p

j œ œ. > p j œ œ. ∑

œ p

œ j œ œ. > j œ œ.

j œ œ. >

œ j œ œ. > œ œ J

j œ œ. >

j j j œ œ ‰ ‰ œœœ ‰ ∑

j œ œ. >

œ.

j œ œ. > œ œ J

j œ œ. >

j j œ ‰ ‰ œœœ ‰ Œ

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∑

j œ

154 9

Solo

&b œ

˙.

ver poss - essed

ƒ œ.

fore.

œ œ œ œ œ œ œ

will be

shame and re -

∑

Pno.

Vln. 1

Vln. 2

Vla.

Vlc.

B.D.

œ œ

P3 &b œ œ œ P œ Bb œ P ?b ˙ > P ?b j ‰ ‰ œ 9

Timp.

œ œ

œ œ 3

cresc.

œ œ œ œ

cresc.

˙ >

cresc.

œ œ œ œ œ. p cresc. ∑

œœ

œ œ œ > F

œœ œœ œœ œœ œ œ œ œ œœ > 3 3 3 3 F >œ . œœ- >œœ .. œœ- >œ œ. œ J J F >˙ j ˙ œ œ. œ- œ . J > > F

œ ˙æ.

∑

œœ œœ

j œæ œ œ ‰ >

j j ‰ œj œ ‰ œ ‰ > > j j ‰ j ‰ œœ œœ œœ > > > > ‰ œœ œœ ‰ œœ ‰ J J J ‰

˙ Œ

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∑

˙æ

155 12

Solo

&b ˙

œ œ œ œ

proach

∑

Pno.

˙. ˙.

∑

F œ œ œ œ œ œ œ œ

it.

∑ ∑

F œ œ œ œ œ œ œ œ

∑

F œ œ œ œ œ œ œ œ

∑

∑ œ œ

˙ ˙

∑

& b ˙˙ &b ˙

Vla.

Bb ˙ ˙

Vlc.

Timp.

?b j œ œ ã

∑

F œ

Wo - man is no lon - ger a

Vln. 2

B.D.

∑

Wo - man is no lon - ger a

Vln. 1

if we do not use

œ œ œ œ ˙ ˙ œ

˙ j j j œ œ ‰ œ ‰ > > ∑

∑ œ œ

œ œ

∑ œ œ œ œ > P œ œ œ œ > P œœ œœ > P >œ œ œ œ P j œ œ

‰ œj œj ‰ œ œ > ‰ j j‰ œœ œœ > ‰ œj œj ‰ œ œ > œ >œ ‰ œ œ ‰ J J

Œ Œ Œ Œ

j j œ œ ‰ Œ > ∑

>œ œ œj j ‰ œ œ œ œ œ ‰ > Œ

œ œ œ œ > œ œ > >œ œ

œœ

‰ ‰

œœ ‰

>œ œ œ œ ‰ œæ.

j œ ‰ œ >

œ œ ◊ j j ‰ œj ‰ œ œ > œ œ > j j‰ j ‰ œœ œœ œ > > œœ >œœ ‰ >œ ‰ J J J œ >œ ‰ >œ ‰ œ œ œ J J J

œ œ œ œ œ œ œ

Wo - man is no lon - ger a

ggg ˙˙ gg ˙ ˙ ˙ œ œ œ ˙

ggg ˙˙˙˙ g

œ œ œ œœ œ œ œ œ œ œ œ

œ œ œ ˙ ˙

œ œ œ œ œ œ œ. > > ∑

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˙ œœœ ∑

156 16

Solo

∑

&b &b ˙

ser

&b ˙

ser

&b ˙

ser

&b ˙

ser

∑ Œ

vant,

but

vant,

œ &b œ œ œ œ œ ˙ 3 # ˙˙ ? b ˙. ˙. 16

Vln. 1

Vln. 2

&b œ

Vla.

Bb ˙

Vlc.

?b ˙

Timp.

?b æ ˙

B.D.

∑

Ó œ œ

œ e

œ̇œ

˙ ˙

loco

œœ œ

∑ ˙

qual

œœ œ

œœ # œœœ œœ œ œ œœ

˙ ˙

man.

j j œj ‰ œ ‰ ‰ œ œ œ œ œœ œ œ œ. œ.

j œ ˙ œ ˙

∑

œ.

j œ œ > Ó

œ. œ >

˙ œœ œ

˙ Œ

∑

Ó ∑

P œ œ

In her

#˙

P œ œ

In her

∑

P œ œ

In her

∑

P œ œ

In her

but

Pno.

but

∑

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∑ ∑

157 20

Solo

&b Œ &b &b

œ œ

In her hands

hands

œ œ œ œ œ

pos - si - bi - li - ties,

œœœ œ

are pos - si - bi - li - ties,

œ œ œ œ

œœœ œ

&b ˙

œ œ œ œ

œœœ œ

&b ˙

œ œ œ œ

œœœ œ

j œ œœ ‰ œœ œ P ?b j œ. œ œ. œ

j œ ‰ œœj ‰ œ œœ

œœ œœœ ‰ œ

hands

are pos - si - bi - li - ties,

Vln. 1

&b Œ

Vln. 2

& b œ.

˙ ˙ œ

j œ œ

œ œ

œ. œ.

F œ œ F œ œ F œ œ

in her

œ œ œ œ

hands

œ œœœœ œœ

j œ ˙ œ ˙

œ œ œ œ œœœœ œ œ

œ œ

are pos - si -

hands

j œj ‰ œœ ‰ œ œœœ œœ J

in her

are pos - si -

hands

are pos - si -

œ ‰ œœ J

œœ œ œ ‰ Jœœ ‰ J

œ œ

œ. œ.

j j j œ œ ‰ œ ‰ œ œ œ

œ œ œ œ

Vla.

∑

Vlc.

∑

Timp.

∑

B.D.

∑

are

hands

in her

œ œ

in her hands

F œ œ

are pos - si - bi - li - ties,

in her

hands

Pno.

are

œ œ œ œ

hands

‰ œœœ P

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158

œ œ œ &b œ œ 23

Solo

pos - si - bi - li - ties,

&b œœœ œ

bi - li - ties,

&b œœœ œ

bi - li - ties,

Vln. 1

Vln. 2

Vla.

Vlc.

In her

hands

œ œ œ œ œ œ

œœ œ œœ œœ œ b & œ œœ

œ J œ

˙.

œ.

are pos - si

hands

œ J œ

are pos - si

œ J œ

j œ œ

œ.

hands

œ.

In her

hands

œ œ

œ.

In her

hands

are pos - si

Timp.

B.D.

∑ ∑

ties,

F ‰ j œ

˙.

The

ties,

˙ ˙

˙ ?

j œœ œœœ œ

œœœ

˙ ˙

ties,

˙ ˙

œ J œ

# œœœ ...

The

F ‰ j œ

The

œœ œœ œ œ J

>œ œ

˙ ˙

w ◊ œ œ

˙˙

#œ œ œ

The

˙.

F ‰ j œ

ties,

œ œ œ œ œ œ

œ J œ

œ œ œ œœ œ J œ œ œ J œ

F ‰ j œ

˙.

˙ ˙ œ. 23 œ œ œ œ œ. œ &b œ œœ œ œ œœ œ F œ œœ .. œ œ œ œ &b œœœ Œ œœ œ F œ œ œ œ œ. œ Bb ˙ œœ œ F œ œ. ?b ˙ B œ œ F

œ œ

ties,

œœ .. œ.

j œ œ œ œ

œœ œ

? b œ. œ.

˙.

#˙.

œœ œœ œ J œ

œœ œœ

œœ .. œœ ..

Pno.

œ.

In her

bi - li - ties,

œ œ

In her

bi - li - ties,

œ #œ œ ˙. ˙.

œ . œ œ . œ œ . œ œ . œ œ . œ œ . œ œ . œ œ . œ ˙æ p ∑ ∑

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Œ Œ

j œ ‰ œ œ

∑

159 27

Solo

∑

&b &b &b &b &b

hour

œ œ

hour

j œ œ

hour

j œ œ

Vln. 2

loco

˙. ˙.

j œ œ

of de - gra-da - tion

past,

j œ œ

˙.

j œ œ

œ œ œ œ J

œ œ œœ J

œ œ œ œ

3 3

?b œ

?b œ ‰ J

œ. œ. >

> œœœ ‰ œ œ œ œ œ œœ J >

j œ Œ œ

˙.

no lon

œœ œ

no lon

ger

œ œ œ œ ˙ œ œ

œæ.

j œ æœ

œæ.

ger

j œ œ œ œ œ œ œ

˙˙ ˙˙

œ. œ.

∑

no lon

œ œ >

œ œ œ œ œ œ œ œ

Wo - man is

> œœœ œœœ ‰ œœœ J

ger

œ œ œ œ œ œ œ œ

Wo - man is

past,

∑

œ œ œ œ œ œ œ œ

Wo - man is

˙.

Vlc.

no lon

œ œ œ œ œ œ œ œ

Wo - man is

˙.

&b ˙

past,

of de - gra - da - tion

j œ œ

Bb ˙

B.D.

˙.

past,

Vla.

Timp.

&b ˙

of de - gra - da - tion

Vln. 1

of de - gra - da - tion

hour

œ &b œ ?b

œ œ œ œ œ œ œ œ

Wo - man is

Pno.

∑

œ œ œ œ

œ œ œ j œ œæ.

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∑

j œ

160 30

Solo

&b ˙

ser

&b ˙

ser

&b ˙

ser

&b ˙

ser

&b ˙

ser

Pno.

& b ˙˙ ˙ ?b Œ

œ œ >

vant,

f œ f

but

vant,

but

vant,

>˙ ˙

# ˙˙˙ ˙ ˙ ˙

but

Vln. 2

Vla.

&b œ œ œ Bb œ

Vlc.

?b ˙

Timp.

? b œ. æ 30

œ.

œ J ˙æ

>œ œ ‰ ˙ J

j #œ œ. œ

œ e

qual

man.

qual

man.

qual

j œ œ œ

œ. œ.

j œ œ. œ œ.

˙˙

œ œ œ

œ Œ

˙ ˙

‰ œ œ œ œ

w æ

man.

œ œ œ œ

j œ œ w

(tacet solo until measure 104)

man.

>œœ œ œ œœ œ œ œ œœœ œœœ œœ œ œ > œ œ >œ œ œ

œ œ œ # œ ˙˙ ..

>œ œ >œ œ œ ‰ œ J

˙ œ

Vln. 1

man.

œ ˙. œ œ # œ b œ œ & œ

qual

˙ ˙

qual

but

œ œ ‰ œJ œ ‰ œ œ œ œ J

>œ œ œ >œ œ œ ‰ œ œ ‰ J J j j œ œ ‰ œ œ ‰ œ œ œ œ > > >œ œ œ >œ œ œ ‰ œ œ ‰ J J

∑

>œ œ ‰ J j œ ‰ œ > >œ œ ‰ J

> > > œ œ ‰ Jœ œJ ‰ œ ‰ J

j œ ‰ Œ This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. p> B.D.

> œ œœœ œ Ó

161 NARRATOR: Alice Paul raised a toast and unfurled a celebratory banner outside headquarters. She'd been quietly sewing a new star on the banner for each state that ratified the 19th amendment, and now it was finished...

With Ease ( q»74-78 )

&b Œ

Vln. 2

Vla.

∑

With Ease ( q»74-78 )

>œ &b œ ‰ J j œ b & œ ‰ > >œ Bb œ ‰ J

œ œ J

‰ j ˙ .. œ w ˙

∑

U U

Timp.

? b >œ ‰ UŒ J ã

˙˙ .. ˙.

œ œ œ œ.

Vlc.

Œ œ ‰ œj œ œ . ˙

? b >œ ‰ UŒ J

B.D.

√ œ œ œ œ œ œ # # œ .. # œ J ‰ J P # # ‰ œj œ˙ œ œ œ ? b ‰ UŒ Œ œ w j & œ œ > 34

Vln. 1

j U œ &b œ ‰ Œ > 34

Pno.

With Ease ( q»74-78 )

j ‰ UŒ œ >

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œ œ

162 NARRATOR: 36 stars. 36 states. In August of 1920, all eyes were on Tennessee, the final state to ratify.

# & #

∑

# & #

∑

# & #

∑

# & #

∑

√ ## œ . & œ.

œœ œ J ‰ œj ## Œ & œ œ ˙

œœ œ

Pno.

# & # 38

œ œ œ 3

œ œ

œ œ œ œ œ

œ œ

œœ œ . œ. œ.

œ ‰

œœ œ J

j œ ˙ œ ˙

∑

B ##

∑

Vlc.

? ##

∑

Timp.

? ##

∑

B.D.

∑

Vln. 1

Vln. 2

Vla.

# & #

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˙˙ ˙

163 NARRATOR: In Nashville, freshman legislator Harry Burn had an anti-suffrage red rose on his lapel, but the letter in his pocket weighed more heavily on his mind...

∑ ∑

Vln. 2

Vla.

∑

F œ

∑

F œ

Dear

# & #

˙. B ##

œœ Œ

˙˙˙ ... ˙ .

# & #

œ œ . œ œœ œœ

w œ œ. ˙. ?

œ.

j œ œ

˙˙˙˙ ....

œœ

r œ

˙˙ .. ˙. œ

œœ œ œ

œ œ œ œ œ

∑

˙.

œ.

j œ œ

r œ

Vlc.

? ##

∑

Timp.

? ##

∑

B.D.

∑

Dear

Vln. 1

Dear

# œ œ . & # œœ œ œ œ &

∑

Dear

Pno.

∑

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164

accel.

˙.

# & # ˙.

Hur - rah and vote

‰ œj œ

for

œ œ œ

>œ œ œ

# & # ˙.

‰ œj œ

for

suf - frage!

œ œ œ

# & # ˙.

‰ œj œ

œ > œ œ

œ œ œ œ

œ > œ œ

Son,

Hur - rah and vote

Son,

Pno.

Vln. 2

Hur - rah and vote

accel.

& ‰ j œ œ œ œ œ œ œ œ ? ## œ œ œ 45

Vln. 1

>œ œ œ

œ œ œ

Son,

Forward ( q»86 )

‰ œj œ

accel.

# & #

œ œœ .. œ œ P 3

∑

œœ J

œœœ ...

œœ . . œ. œ.

œœ J œœ œ J

for

œœ œœœ œœ œœ œ

œ œ œœ œ J ∑

suf - frage!

Forward ( q»86 )

œœ œ œ œ œ œ œœ œœ œ œ œœ œœ œœ œœ œ œ

Forward ( q»86 )

œœ œ œœœ

œ.

Don't

œ.

keep

Don't

keep

œ.

keep

œ.

œ œœ œ œ

them

j œ œ œ

keep

œœ œœœ œœœ ... œ œœ

them

œ.

Don't

j œ œ œ

˙ œ œ

œ.

j œ œ œ

them

j œœœ œœœ œœ œ

œ œ

j œ œ œ

∑

B ##

∑

Vlc.

? ##

∑

Timp.

? ##

B.D.

Vla.

accel.

∑

Forward ( q»86 )

∑

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165

# & # œ œ. 49

doubt...

œ œ. œ œ.

doubt...

œ œ.

doubt...

# & # ˙˙ ˙ 49

Pno.

? ##

‰ œj œ I

œ œ œ

‰ œ œ

œœ .. œ œ œ œ

# & # œ.

œ 3

have been watch - ing

j œ œ I

have been watch - ing

‰ œj œ I

have been watch - ing

‰ œj œ I

have been watch - ing

œœ œ

˙˙˙ œ J

see

how you 3

see

œœ œ

˙˙˙

how you

see how

you

˙ stood,

how you

œœ œ œ

I have not

‰

stood,

‰ ‰

stood,

have not

œœ œ œ œ œœ œœ œ œ œ œ

œ œ œœ œœœ

∑

B ##

∑

Vlc.

? ##

∑

Timp.

? ##

∑

B.D.

∑

Vln. 2

Vla.

# & #

j œ œ œ I

∑

Vln. 1

j œ œ œ

I have not

j œ ˙

j œ œ œ

I have not

stood,

‰ œj œ œ

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œ œ

166

no - ticed

# & # œ

no - ticed

Pno.

? ##

œœœ œ

œ œ œ

an - y - thing

yet

œ œ œ

an - y - thing

yet

œ ~~~~ ˙

œ œ

œ ~~~~ ˙

œœ œ œ œœœ œœ œ œ œ

an - y - thing

œœ œ

an - y - thing yet

˙˙ ˙ > ∑

œœ œ

œ œ

∑

B ##

∑

Vlc.

? ##

∑

Timp.

? ##

∑

B.D.

∑

Vln. 1

Vln. 2

Vla.

& &

∑

œ ~~~ ˙

F œ œ

Don't for -

Œ F

∑

œ œ œ

∑

œ ~ ~ ~˙

Don't

∑

no - ticed

Don't

˙˙˙

œœ œ œœ

œ œ œ œ œ œ œ œ œ œ œ

p ˙ p œ p œ p

œ ~ ~ ~ ˙˙ œ ~~~ ˙ ˙

œ ~~~ ˙ œ ~~~

œœ .. œ

Don't for -

j œ œ.

œ œ

for - get,

j œ œ.

don't for -

for - get,

don't for -

œ œ

j œœ œœ œ œ

œ œœ œ œ

‰ j œ œ œ

œ œ œ œ ˙ Œ

˙ Œ

œ œ. J

∑

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œ œ œ

167

Pno.

Vln. 2

Vla.

get

œ.

to be

a good boy...

j œ œ œ œ 3

œ.

get

to be

œ.

# & # œ.

B ## œ .

Vlc.

? ##

Timp.

? ##

B.D.

to be

good boy...

˙˙˙

œœ œ

jœ 3 œ œ œ

œ œ œ œ œ

œ.

Your

j œœœ œœœ œ œ j œ œ

œœœ œ œ

Your

˙ ˙

œ œ ˙ Œ w ˙.

œ œ J œ œ J

j œ- œ

œ- ˙ J œ- ˙ J

œ ˙

ther.

, , ,

ther.

œ œ

∑

œ ˙ œ œ œ œ œ œ œ

j œ œ

j œ ˙

œ ˙ J

j œœœ œœœ œ œ

Your

a good boy...

j œ œ œ

œ.

a good boy... 3

get

œœœ

j œ œ œ œ

to be

get

3 ? ## œ œ œ œ œ œ œ

Vln. 1

œ.

j œ œ œ œ

œ œ

œ œ œ œ

œ œ

∑

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168 NARRATOR: Mrs. J. L. Burn was a widowed, tax-paying landowner and when her son, Harry, cast his vote of "aye", the room gave way to confused gasps. Had it really happened?

## p & ˙ 60

nn,

## p & ˙

nn,

## p

nn,

œ œ

-̇

nn,

-̇

nn,

-̇

w w œ œœ œœœ œœ œœœ ˙ ˙ ˙ œ ˙ ˙ ˙ œ ## Œ œ Œ Œ Œ & p j Œ ‰ œj œ # # Œ ‰ œj œ ‰ œ œ ‰ œj ˙ . œ œ . œ ˙ œ œ œ œ œ œ œ œ œ œ & ‰ œ ˙. Œ ‰ J Œ ‰ J œ œ ‰ œJ ˙ . J 60

Pno.

# & # ˙ π # & # ˙ π B ## ˙ π ? ## ˙ 60

Vln. 1

Vln. 2

Vla.

Vlc.

Timp.

? ##

B.D.

Œ Œ Œ Œ

œ œ œ

˙ œ œ

œ œ

Œ Œ Œ

˙ ˙

œ œ

∑

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œ œ

169 NARRATOR: Had women actually won the vote? The room exploded. There was weeping, screaming, and singing.

nn,

# & # ˙

# & #

nn,

# & #

nn,

Pno.

Vln. 2

Vla.

œœ œœœ

# & # ˙

B ## ˙

Vlc.

? ## ˙

Timp.

? ##

∑

˙.

-̇

-̇ -̇ -̇

˙ œ œœ œœ œ ˙ œ œ œ ‰ J ‰ J œ œœ œœœ

?œ

rit.

œ œ œ œ

˙ œ œ rit.

œ œ

subito

˙˙˙ ... ˙. ˙.

˙.

to -

œ >

œ. œ œ >

œ >

to -

œ >

œ. œ œ >

œ >

œ. œ œ >

Wo - men, be glad

œ œ ˙Œ˙ œ œ œ

subito

œ. œ œ >

Wo - men, be glad

˙.

rit.

subito

œ >

Wo - men, be glad

˙.

subito

Wo - men, be glad

˙.

Œ # # Œ ‰ œj œ œ œ œ ˙˙ & ‰ œ ˙. ˙ J 64

Vln. 1

nn, 64

a tempo

rit.

œ œ Œ

>œ n n œœœ

a tempo

nœ nœ œ œ n . nœ œ nœ. œ > >

subito

a tempo

∑

˙.

∑

˙.

∑

a tempo

œ > P

to -

œ >

to -

œ>œœœ œ

œ. œ œ. œ œ > >œ

œ œ ˙æ >.

œ œ P This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. B.D.

>œ œœœ

n >œœœ œ

œ >

170

˙. >

day!

˙. >

& &

day!

>˙ ˙˙˙

# # >œœœ ... œœœ >œœœ & œ. œ œ

Vln. 1

œ. œ. >

# & #

buoyant, vibrant

j œ œ œ œ œ > > >œ ∑

Let your voi - ces ring out!

œ. œ

œ œ œ 3

F buoyant, vibrant3

Œ œ

Let your voi - ces ring out!

œ. œ œ œ œ œ œ

Œ œ

Let your voi - ces ring out,

œ. œ œ œ œ ˙

Let your voi - ces ring out!

œœœœ

œ. œ.

˙˙˙˙

œœœ

∑

j œ œ

æ˙

œ. œ.

∑

B ##

∑

Vlc.

? ##

∑

Timp.

? ##

B.D.

œ >

œ.

‰ œœœ œ > > j œ œ Œ

œ œœ ∑

œ œœœ J

œœ>œœ œœœ

œœ .. œœ œ. œ J

œ œ œ > ◊œ

œ œ œ œ

æ˙

loco

Œ œ F œ œ F

∑ œ.

j œ

j œ. œ

Though mor - ning

œœ>œœ œœœœ J j œ œ

j œ. œ

Though mor - ning

∑

Though mor - ning

œ. œ œ œ œ ˙

œœœœ

œ. œ J

Œ œ

∑

Vla.

Let your voi-ces ring out!

∑

Vln. 2

Though mor - ning

œ. œ œ œ œ œ œ 3

Let your voi - ces ring out,

day!

? ##

œ. œ œ œ œ ˙

Let your voi - ces ring out,

Pno.

F buoyant, vibrant3

œ. œ J

Œ œ

˙ œ. œ œ œ œ

œ. œ œ œ œ ˙ 3

Let your voi - ces ring out,

# & # ˙. > ##

F buoyant, vibrant

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∑

œ. œ J

∑ œ œ ∑ ∑

171

## œ

seems to

lin

# & # œ

˙ lin

seems to

œ œ

seems to

Pno.

? ## 72

Vln. 1

Vln. 2

Vla.

Vlc.

œœ # # œœ

& &

œœ œœ

œ œ

## œ

lin

œœ œœ œ. œ.

œ-

ger,

O'er

hill

ger,

O'er

ger,

O'er

œœœ .. œ ..

ger,

œœœ œ

j œ œ œ œ

j œ

tops

œœ œ ˙ œ œ ˙œ .

œ œ

œ J

j œ ˙

far

a - way,

œ œ

œœ œœ

œœœ œ

œ œ œ œ

œ.

œ J

f œ The

f œ œ f œ œ

The

sha - dow

j œ

œ.

sha - dow

œ.

j œ

œ.

j œ

sha - dow

The

sha - dow

˙˙˙

œœ œ œ œœ œ œœ œ œœœ œ

œ.

j œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ. œ œ

œ.

˙. j œ ˙

œ.

? ##

∑

B.D.

∑

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j œ j œ

œ œ

Timp.

j œ

œ.

œ œ

œ ˙ J

œ.

far a - way,

j œ . œj œ . œ œ œ. œ œ. œ œ œ œ œ œ J

œ. œ.

œ œ

a - way,

far

hill - tops

hill

œ.

œ œ œ œ œ.

tops far

hill - tops

œ O'er

œ J

œ œ œ. œ œ

∑

B ## œ œ œ ? # # œ-

œ.

œ œ œ œ

lin

œJ

172

# . & # œ 76

bears

the pro

bears

œ œ J

# & # œ. # & # œ.

bears

# & # œ.

bears

# & # œœœ ... 76

Pno.

? ##

Vln. 1

Vln. 2

Vla.

Vlc.

the pro

j œ œ

the pro

j œ œ

the pro

œœ œœ œ œ J

œ œ

mise

brigh

mise

œœ œœ

œœœ œ

mise

œ œ œ œ œ J

# & # œ œ œ œ œ B ## œ . ? ## œ .

œ œ J

œ- ˙ J

œ.

œ œ œ œ ˙ œ œ œ œ ˙

# . & # œ 76

œ œ J

˙ ˙

brigh

œ.

œ J

ter

com

œ J

˙.

ter

œœœ J

˙ ˙

œ.

com

œ J

˙. œ J

ing

b 12 8

ing

œœ œ

b 12 8

12 b 8

b 12 8

˙ œ

b 12 8

12 b 8 12 b 8

Timp.

∑

B.D.

∑

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b 12 8 b 12 8

? ## 76

b 12 8

˙.

œ.

˙˙ . ˙ ..

ing

œœ .. œ.

com

brigh - ter

˙.

12 8

173

Steady gallop ( q. »ca. 70 )

w. & b 12 8

∑

& b 12 8 w.

∑

& b 12 8 w.

∑

& b 12 8 w.

∑

NARRATOR: Dr. Mary Walker was the first woman to win the Congressional Medal of Honor. A surgeon and a spy in the Civil War, she wrote...

day.

day. Steady gallop ( q. »ca. 70 )

& b 12 8 œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œj ‰ ‰ Œ . œ œ œ œ œ œ œ œ œ > . > . > . > . fl j j j ? 12 œ . . œ œ œ œ ‰‰Œ ‰ Œ Œ b 8 œ. œ. œ . œ. œ > > fl 79

Pno.

Vln. 1

Vln. 2

Vla.

Vlc.

? ?

Timp.

B.D.

b b

Steady gallop ( q. »ca. 70 )

>œ œ. >œ œ. œ 12 8 œJ ‰ ‰ Œ œJ Jœ ‰ ‰ Œ œJ œ̆J ‰ ‰ F 12 œj ‰ ‰ Œ œj œj ‰ ‰ Œ œj 8 œ œ. œ œ. œ œ. œ. > > fl F 12 œj ‰ ‰ œj ‰ œj œj ‰ ‰ œ ‰ œ œj‰ ‰ 8 > . fl > . > F> > > > > 12 8 œJ ‰ ‰ œJ ‰ ‰ œJ ‰ ‰ œJ ‰ ‰ Jœ̆ ‰ ‰ F Steady gallop ( q. »ca. 70 ) > > 12 8 œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ Jœ̆ ‰ ‰ > > p j 12 8 œ ‰ ‰ Ó. P>

Œ.

j œ ‰‰ fl

Ó.

Œ.

. ˘œ œ . œ. œ œJ ‰ ‰

œ. .œ œ. Œ .

Œ.

œœ .. œœ ..

œœ .. œ. œ. œ.

œœ ..

œœ̆ ‰ ≈ œr œ J >

œœœœ .... œ.

œ >œ œ œj œ n œ œ >

> r j j œ œ. œ œ œ œ œ œ œœ ‰ ≈ œ œ œ œ œ œ œ n œ > > fl . fl . . fl . œ. fl j Œ. Ó. œ œ ‰ ‰ ˙. fl œ œ œ œ Œ. Ó. œ̆ ‰ ‰ J J œ J Ó.

Ó.

Œ.

j j œ œ ‰ œ œ ‰ ‰ Œ. > fl j œ ‰ ‰ Œ. fl

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Œ.

Œ Œ.

œ J œ J j œ

174 NARRATOR: ..."Nothing but the ballot in woman's hand will right these wrongs." But for women of color, the struggle was more complex than this. Having picketed with the Silent Sentinels...

∑

œ. & b œœ .. 82

Pno.

?b 82

Vln. 1

Vln. 2

Vla.

Vlc.

œ.

&b œ

œœ .. œ.

j ‰ ‰ œœ .. œ. œœ œ

Timp.

B.D.

>œ >œ œ‰œ

œœ .. g œœ .. ggg œ .

œœ .. œ.

>œ œœ œœ ‰ ‰ œ œ & Œ. œœœ .. ggg œœ ‰ œœ . ? œ œ . gg œ œ . œ œ œ œ J . > >œ œ œ . >œ j j ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ >œ œ. >œ ‰ ‰ Œ . . œ œ œ œ œ œ œ œ œ œ œ œ J J J J œ.

œœ ..

œ. œ.

j & b œ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œ > > B b œJ ‰ ≈ œr œ œ œ œ œj œ n œ œ œj ‰ ‰ œ > > > œ. j ‰ ‰ >œ œ. ? b œ. œ. œ 82

Œ.

>œ œ J

j œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ Œ. > > > > >

j j œ. œ ‰ ‰ Œ . >

Œ.

>œ œ. J ‰ ‰ Œ . J

Œ.

œ. >œJ ‰ ‰ Œ . J

‰ œ œ œj ‰ ‰ ‰ œ œ œj ‰ ‰ ‰ œ œ œj ‰ ‰ Œ . >> > >> > >>>

j œ >œ ‰ œ Œ

œ.

œ œ. œ J

œ œ J œ œJ œ J œ.

œ.

> > œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ Œ œ J J J >

j j œ œ ‰ ‰ Œ. > >

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Œ.

175 NARRATOR: ...Mary Church Terrell wrote: "A white woman has only one handicap to overcome-that of sex. I have two, both sex and race."

∑

Pno.

&b Œ # >˙˙˙ ... ? b

Vln. 1

Vln. 2

Vla.

Vlc.

? ?

Timp.

B.D.

>œ œœ

œœ œ J

œœ. >œœ ‰ œ. œ J P Œ. œ. P . œ. Œ œJ P >œ #œ. œ. J P

>œ &b 85

œœ œ J

>œ œœ

œœ ... œ

œœ œ J

>œ œœ

œœ œ J

>œ œœ J ‰ ‰ Œ.

œ #œ

j ‰ ‰ Œ. œ œ >

√ loco œ œ œ œ œ œ œœ ‰ ‰ œ œ œ ˙˙ . J .

œ œJ ‰ ‰ ? œœ .. œ & œ œ œ œ. œ

>œ œ. >œ œ. >œ œ. œ ‰ œ œ ‰ œ œ ‰ ‰ œ œJ J F >œ >œ œ. >œ œ ‰ ‰ œ ‰ œ œ ‰ ‰ Ó. J J F >œ œ. >œ œ. œ. >œ ‰ J ‰ ‰ Ó. F >œ œ. œ. >œ œ. œ. >w . F

j j b œ œ œ œ ‰ ‰ œ œ œ ‰ œ œ œ ‰ ‰ Œ. > > > > > > > > > > j j j œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œæ. > > >

j œ ‰ ‰ Œ. >

˙. ˙.

>œ . œ œ œ̆J ‰ ‰ J ‰ ‰ J

Œ.

>˙ . ˙.

Œ.

˙.

˙. p ˙.

Œ.

∑

Œ.

∑

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œ œ J

Œ.

176 NARRATOR: Black suffragists worked hard in their churches and communities, often being ignored by white suffragists and written out of historical records.

∑

6 8

∑

6 8

∑

6 8

∑

Œ.

Pno.

& b ˙˙ ..

œ œ. œ b œ

Vln. 2

Vla.

Vlc.

Œ.

. &b ˙

Œ.

œ.

Œ.

B.D.

˙.

Œ.

œ. œ. ◊ œ œ œ œ

œœ œœ œ J œ

j œœ œ œ œœ

j œœ œœ .. œ œ.

œ œ œ œœ œ œ . œ œ œ œ œ œ

œ œ .. œ œ J œ . œ œ. J œ

œ. œ.

œ.

œœœ ... œ .

˙˙ . ˙ ..

œ. œ.

˙. ˙.

œ.

˙.

œ.

>œ œ œ œ œ œ œ œ œ œ œj œ œ œ œ œ œ

b Ó.

Œ.

b Ó.

j œ ‰ ‰ Œ. > f ∑

œ. œ.

œœ œ

œ.

? 88

Timp.

œœ .. œ.

œœ .. œ jœ œ œ. œ. œ.

Vln. 1

œœ .. œ.

œ . J œ

œ.

68 68 œ.

˙. ˙.

œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ˙. > > > > > > > P ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ œj ‰ ‰ Œ . > > > > > > > > >F P>

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68 68 6 8 68 68 68

177 NARRATOR: Frances Ellen Watkins Harper remarked: "I do not believe that giving woman the ballot is going to cure all the ills of life. I do not believe that white women are dewdrops just exhaled from the skies..."

& b 68

∑

4 4

& b 68

∑

& b 68 & b 68

& b 68 91

Pno.

˙.

Vln. 1

& b 68

Vln. 2

& b 68 Œ .

Vla.

Vlc.

∑

12 8

4 4

∑

12 8

∑

4 4

∑

12 8

∑

12 8

Petitioning ( q»80-86 )

∑

? 6 Œ. b 8

œ.

loco

œ. P B b 68 Œ . œ . P ? 6 Œ. œ. b 8 P

Timp.

? 6 b 8

∑

B.D.

∑

Petitioning ( q»80-86 )

44 Œ œœ ˙˙ œ œ œœ P 44 œ œ ˙˙ œ

œœ œ œ

œ œ ˙

44 ˙

œ œ

œ ˙

‰ œj œ œ ˙

j ‰ ‰ j >œ ‰ ‰ >œ >œ ‰ ‰ œ 12 œ œ J J J J 8 >

Petitioning ( q»80-86 )

44 ˙

44 ˙ 4 ˙ 4 44 44

Petitioning ( q»80-86 )

œœ œœ

˙˙˙

∑

˙˙˙ ˙

˙ ˙

œœœ ˙ ˙

˙.

œ œ

œ˙ ˙ ˙ ˙

œ˙ ˙ œ œ

˙ œ

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œ œ

12 8 12 8

12 8

12 œ œ 8

∑

12 8

178 NARRATOR: "...I think that like men, they may be divided into the good, the bad and the indifferent. The good would vote according to their convictions and principles; the bad as dictated by prejudice or malice;...

& b 12 8 96

∑

& b 12 8

∑

& b 12 8

∑

& b 12 8

∑

Steady gallop ( q. »ca. 70 )

& b 12 8 # ˙˙ .. ˙. 96

Pno.

? 12 b 8 ˙.

Vln. 2

Vla.

˙. ˙. F Œ.

Steady gallop ( q. »ca. 70 )

& b 12 8 ˙. 96

Vln. 1

Steady gallop ( q. »ca. 70 )

& b 12 8 #˙.

B b 12 8 ˙.

Vlc.

Timp.

? 12 b 8

B.D.

12 8

Œ. Œ.

œ. F

œ. F œ. F

œ ‰ ‰ œœ J

œœœ .. œ ..

œœ .. œ.

œœ .. œœ ..

>œ . œœœ ...

>œœ œ œ j‰ ‰ œ œ j‰ ‰ œ œ œ œ Œ. œ œ > > œ œ > œ.

œ.

j œ œ. j œ œ.

œ œ. J

œ. œ. œ

œ. œœœœœœ œ. œœœœœœ

œ œ œ œ œ œ œ. œ J

>œœ .. œ. œ >

Œ.

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œ. œ. œ.

œ œ œ. œ. œ ∑ œ œœ F Steady gallop ( q. »ca. 70 ) > >> > > > > > ‰ œ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ ‰ œ œj ‰ ‰ Œ . ‰ ‰ ‰ ‰ œ œ œ œ œ œ œ œ J J J > > > > > f ∑ ∑ ∑

? 12 b 8 ˙. 96

Œ.

# œœœ ...

œœ .. œ.

179 NARRATOR: "...and the indifferent will vote on the strongest side of the question with the winning party."

∑

4 4

∑

>œœ .. b & œ. 99

Pno.

? b >œœ .. 99

Vln. 1

Vln. 2

Vla.

Vlc.

œ. œ.

œ. œ. &b Bb Bb

Timp.

B.D.

œ. œ.

œœ œ

œœ œœ œ Jœ

j œœ œœ œœ

j œœ œ

œœ .. œ.

œ . œ œ œ œœ œ œ œ œ. œ œ œ œ œ . œ œ œ. œ. œ œ œ. œ. œ. J œ œ œ œ œœ .. J œ œ œ. J œ œ œ. J

œ.

œ. œ.

œ. ?

œ.

Slower, rubato ( q»ca. 72-78 )

∑

4 4

∑

4 4

∑

œœœ ... œ .

˙˙ . ˙ ..

œ. ˙. œ. ˙. œ. ˙. œ. ˙. œ. ˙. œ. ˙.

44 44

∑

44 Ó 44 4 4

j j 4 œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ Œ. œ ‰ ‰ Œ. 4 > > > > > > P ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œj ‰ ‰ Œ . œj ‰ ‰ Œ . 44 > > > > > P>

∑

# nœ

˙ P

∑

Slower, rubato ( q»ca. 72-78 )

44 w p

∑

Slower, rubato ( q»ca. 72-78 )

∑

∑ w

j# œ œ # w œ œ nœ œ. P # ∑ ∑ ∑

∑

Slower, rubato ( q»ca. 72-78 )

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

∑

# œ. œ œ œ J ∏ ∑

180

P & ˙. #

104

Solo

Lif

ting as

Vln. 2

Vla.

Vlc.

B.D.

œ œ œ œ œ. œ

strug - gling and stri

∑

# & gw gg ww p ?# ˙ ˙ ˙ ˙ # w π # & w π B# w π

www ˙ ˙

?# ˙ P

?# œ Œ Ó ã

and up-ward we go,

∑

104

Timp.

on - ward

∑

104

Vln. 1

we climb,

œ œ œ œ œ œœ Œ

104

Pno.

F Œ œ ˙ œœœ œ œ

∑

˙ ˙

˙ ˙˙ ˙ ˙

˙˙ ˙ ˙ ˙

œœ # œœœ œœœ ... œ

˙˙ ˙˙ ˙ ˙

œ œ w œ w

j œœœ œœœ œ œ

∑

œ w

∑

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ving and

œœœ

181

j œ œ œ

# œ.

109

Solo

Vla.

Vlc.

B.D.

jus - tice,

∑

j œœœ œœœ œœœ

œ œ œ œœ ˙˙ œ œ œ

# Ó

∑

?# œ œ œ œ ˙

# œœ .. œ.

˙ # ˙˙

j œ ˙ œ ˙

œ. œ. œ P

œ.

#œ

∑

ask - ing an eq - ual chance.

∑

œœœ J

# œœœ ...

œœ œœ .. œ œ. J œ .

j œœœ

j œ œ œ œ

#œ #œ

#œ œ œ œ œ œ œ œ œ

œ. œ.

∑

œ J ˙

∑

109

Timp.

109

Vln. 2

knock at the bar

œ œ œ

∑

?# &

#œ

∑

# & œœœ ...

Vln. 1

ping,

œ œ œ œ #œ œ œ

∑

109

Pno.

(tacet solo until measure 128)

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182 NARRATOR: (brisk pace) The 19th amendment was a seventy-two year struggle, but for women of color, the struggle would continue. Zitkala-Ša, of Yankton Sioux heritage, fought for Indigenous Americans to gain citizenship in 1924.

#π & w 112

# π & w #P & ˙. #P & ˙. Lif

Lif

112

Pno.

Vln. 2

Vla.

Vlc.

B.D.

we climb,

œ œ

œ.

climb,

and

œ œ œ œ œ

j œ ˙.

j œ œ.

ward

j œ œ.

ward

go,

j œ ˙.

#œ

j #œ #œ.

go,

∑

œ œ œ œ œ.

œ.

j œ œ #œ

j œ

˙.

#œ

#œ. œ.

œ œ. J

œ œ #œ J

up - ward we go,

œ œ œ œ œ

œ œ œ œ œ #œ

j œ ˙

∑

112

Timp.

#œ.

œ œ œ œ œ #œ

?# w w

?# ˙ π

œ œ œ œ ˙

ww w

# ˙. & π # & ˙. π B # ˙. π

œ.

ting

on - ward

ting

112

Vln. 1

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œ œ

183 NARRATOR: m. 116 thru m. 119 (brisk pace) Their right to vote, however, was decided state by state with New Mexico and Arizona being the last in 1948. Chinese immigrants would vote in 1943, and for Black women repeatedly suppressed at the polls...

# œ

116

Pno.

& & & &

# œ. # #

stri

j œ œ

œ.

stri

ving

j œ œ

œ.

stri

ving

j œ œ

ving

and

j œ œ œ

œ. ho

œ.

and

ping,

knock at the bar of jus - tice,

j œ œ œ

ping,

and

œ Nœ

œ.

and

ping,

œ œ œ œ œ œ œ

#œ

œ œ œ œ œ œ œ

œ œ œ œ #œ œ œ

knock at the bar of jus - tice,

j œ œ œ

ping,

knock at the bar of jus - tice,

œ œ œ œ œ œ

œ œ œ œ #œ œ œ

knock at the bar of jus - tice,

∑

Vln. 2

# œ

# j œ

B # œj ?# w

œ œ œ.

j œ œ j œ œ

œ.

œ œ œ J

j œ œ œ-

#œ.

œ œ œ J

œ œ œ œ œ œ

œ. œ

#œ œ

œ œ œ œ

j œ ˙ j œ ˙ #œ

∑

116

B.D.

œ œ œ.

Timp.

116

Vln. 1

Vlc.

strug - gling and stri

116

Vla.

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184 NARRATOR: m. 120 thru m. 122 (brisk pace) ...the poll tax was ended in 1964 and the Voting Rights Act created in 1965. Voters with disabilities were given special protections in 1982.

# #œ œ œ œ œ

119

# & œ œ œ œ œ #œ & & &

# #

Vln. 2

Vlc.

# #

B.D.

ask - ing an eq - ual chance.

œ œ œ œ œ Ó

œ œ #œ. œ.

? # #œ œ

P œ

œ ˙ # ˙˙˙ p Œ

light, but explosive energy in the consonants

œ œœœ œ œ

For - ward out of dark - ness,

œ œœœ œ œ

For - ward out of dark - ness,

j œ œ

œ œ

œ.

œ œœœ œ œ

For - ward out of dark - ness,

˙˙ .. ˙. ˙ ˙

˙ ˙

œœ œ

œ œ œ

œ œ

œ œ œ

Leave be - hind the night,

œ œ

Leave be - hind the night,

light, but explosive energy in the consonants

œ œ

Leave be - hind the night,

P light, but explosive energy in the consonants œ. œ œ œ œ œœœ œ œ For - ward out of dark - ness,

œ œ #œ #œ œ œ œ œ œ œ ˙ j œ œ

œ.

light, but explosive energy in the consonants

œ.

œ œ

Leave be - hind the night,

˙. ˙˙ .. ˙ ˙

∑

˙.

∑

˙.

∑

˙.

∑

œ œ

‰. œ œ œ œ

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

œ # œœœ >

œ œ

?# 119

Timp.

œ œ œ œ œ

ask - ing an eq - ual chance.

119

Vla.

ask - ing an eq - ual chance.

?# Ó

Vln. 1

P œ

ask - ing an eq - ual chance.

119

Pno.

∑

185 NARRATOR: m. 122 thru 126 (if needed) As Carrie Chapman Catt said: "Women have suffered agony of soul which you can never comprehend, that you and your daughters might inherit political freedom. That vote has been costly. Prize it."

# œ œ #œ œ œ œ œ

122

& &

for - ward out of er - ror

# #

for - ward out of er - ror

Œ Œ

#œ œ œ œ œ œ œ

for - ward out of er - ror

Pno.

?# #

122

for-ward in - to light,

For - ward

œ ˙ œ œ œ œ

j #œ œ œ œ #œ œ œ œ

for - ward in - to light,

œœœ

˙ ˙

œ œ

‰ j œ œ œ

j œ ‰ œ œ œ

For - ward

# œœ œ œ

out

For - ward

œ œ œ œ œ ˙

˙˙ ˙˙

œ ‰ œ œ J

œœ .. œ. ‰

out

j œ œ œ œ

j œœ œœ œ œ

∑

Vln. 2

Vlc.

œ œ œ œ œ ˙

out

∑

Vln. 1

Vla.

œ. œ.

j œœ ˙˙ #œ ˙

œ ‰ œ œ J

For - ward

for - ward in - to light,

for - ward out of er - ror

# & # œœœ ... œ.

for-ward in - to light,

#œ œ œ œ œ œ œ

122

œ œ œ œ œ ˙

Timp.

? # œ.

B.D.

122

j œ ‰. œ œ œ œ ∑

œ.

œ J

‰. œ œ œ œ œ. ∑

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œ. œ.

œ of

œœœ

j œ œ

œ . J ‰ œœœ œ ∑

186

# & œ. 125

& & &

# # #

dark

œ. dark

dark

Pno.

?# #

125

Vln. 1

Vln. 2

Vla.

Vlc.

B.D.

œœ ... œœ .

#œ

j œ ˙

For - ward

#œ

ness,

j œ ˙

For - ward

ness,

For - ward

ness,

j œœœ œœœ

∑

œœ œœ

j œ œ

œ ‰. œ œ œ œ J ∑

œ œ

#œ

# œœ œ

œ. œ.

œœ œ

For - ward

∑ ∑

ness,

œ œ œ œœ œœ .. œ œ œ

? # œ.

j œ ˙

125

Timp.

œ.

125

œ.

dark

œ ˙ J

œœ œ

˙.

light.

#˙.

light.

˙.

light.

˙.

light.

œœ œ

jœ # œ œ œœ œœ œ œ #œ œ

˙ P

#œ

˙ P

œ #œ P ˙. P

œ.

j œ œ. ∑

Œ Œ Œ Œ

# œœœ ... #œ #œ

œ œ

j œ

œ œ

œœœ ...

>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

#œ

j œ- œ

˙æ

œ ∑

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>œ œœ J

œ œ

#œ

œ œ

œœœ J

‰ œj

187

# œ

128

Solo

#P & w

For - ward

œ out

œ œ œ

of dark - ness,

# P & w #F & ˙. Lif

#F & ˙. Lif

128

Pno.

Vln. 2

Vla.

Vlc.

# œ & J

œ. B# ? # œ. ? # œ.

B.D.

be - hind

œœ .. œ.

j œ œ

œœ œœœ œ

ting

œœ œ

˙˙˙˙ ....

œ. œ.

j œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

128

Timp.

? # œ. œ. 128

Vln. 1

>œœ œœ

Leave

œ œ œ

the night,

œ œ

œ.

œ J

œ. Œ

climb,

œ p

>œ # œœœ

j œ œ

œ.

˙ œœœ

#œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ. œ.

œJ

œ J

œ.

œ j œ

œ. ∑

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#œ

œ œœœ

j œ

188

130

Solo

& & & & &

for - ward out of er - ror

# œ # # #

œ.

#œ. on

œ.

> # # œœœœ & 130

Pno.

Vln. 1

Vln. 2

Vla.

Vlc.

œ. œ. 130 # œ &

˙ -

ward

j œ

ward

B.D.

#œ

go,

>œ > > œ œ œ œ œ œ œœœ œœœ # >œœœ œœ œ œ

œ œ #œ œ œ #œ #œ œ œ œ œ œ

œ. œ.

œ J

j œ

œ. œœ œ œ

#œ

œ œ œ œ

œ #œ œ œ

˙ œ.

œ J

∑

out

œ œ œ œ œ. œ

strug - gling and stri

j œ œ

œ. -

stri

j œ œ

œ.

stri

œ œ

œ. Ó

ving

j œ œ œ œ J

ving and

œ and

œ œ

and

œœœ œ œ œ œœ ... J j j j œ œ œ œ œ œ œ œ œ œ J

œ œ. œ J

j œ œ

œœ .. œœ ..

œ.

œ œ

ving

œœ œœ

ving

œ.

j œ œ

j œ ˙

j œ j œ œ. œ œ. œœœœœœ #œ œ. œœ œœœ

œ œ œ œ ‰ J

stri

j œ ˙.

j œ œ

œ œ

œ >œ >œ . œ œ œœ ..

œ.

œ Œ

go,

we go,

>œ >œœ œœœ # œœ

go,

For - ward

j œ ˙.

j #œ #œ.

œ J

Timp.

œ.

B # #œ.

130

j œ ˙.

œ.

? # œ.

œ œ œ œ

and up - ward we

œ œ

? # œ.

forward in - to light,

œ œ

# #œ

œ œ œ œœ œ Œ

œ œ #œ œ œ œ œ Œ

œ œ J J œ

œ- œ œ J J

œJ

œ œ. œ œ œ œ J

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# œ.

133

Solo

dark

# & œ. & & &

# # #

Vln. 1

Vln. 2

Vla.

Vlc.

œ.

œ. # œœœ ...

B.D.

j œ œ

ness,

ping,

j œ œ

ping,

j œ œ

ping,

œœœ œœœ J

œ œ œ œ ˙ œ œ œ œ ˙ 133 œ œ # œœœ œœœœ & &

# œœ œœ œ œœ œœ

B # œ.

œ œ J

?# œ œ œ œ œ ? # œ. 133

Timp.

œ œ œ œ œ

133

Pno.

œ.

œ œ J

For

œ.

ward

knock at the bar of jus - tice,

#œ

œ œ œ œ œ œ œ

œ œ œ œ #œ œ œ

œ œœœ

œ # œœ œ. œ. œ

œ.

#œ

œ.

œ œ.

œ.

∑

œ œ œ œ œ

# œ>œœ .. .

œ J œ J

œ œ œ J j œ œ.

ask - ing an eq - ual chance. rit.

œ œ œ œ- # œ œ œ œ

#œ œ œ œ œ

œ œ œ

ask - ing an eq - ual chance.

j œ œ # œ œ œ œœ œ œ #œ

#œ

light.

ask - ing an eq - ual chance.

œ œ œ œœ J

# œœ .. œ.

œ œ œ œ œ #œ

knock at the bar of jus - tice,

œ œ

˙.

ask - ing an eq - ual chance.

knock at the bar of jus - tice,

œ œ œ œ œ œ œ

œ J

œ œ œ œ #œ œ œ

œ œ . œœœ œ J ∑

#œ

189

rit.

j œ

#œ œ #œ œ

œœœ J

œ œ œ œ

rit. # œ œ œ œ œ-

˙ œ.

œ J œ J

#œ. rit.

˙æ

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∑

>œœ œ >œ œ

œ >œ œ œ œ >

>œ

> œ

œ > >œ œ

œ œ

œ. œ œ œ

190

# œ œ

136

Solo

a tempo

For

# & Ó

ward,

136

# Ó # Ó

For - ward,

œ œ

œ œ # œ œ

? # œ. œ.

Vla.

Vlc.

B.D.

˙ ?# ˙

a tempo

? # œ. ã

œœœ

œ œ œ œ ˙ ˙ œ œ.

For

œ œ œ

For - ward,

œ œ œ œ œ œ œ œ œ œ œ œ j j œ œ. œ œ œ. œ

œ œ B#

136

Timp.

a tempo

œ œ

For - ward,

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ rit.

œ. œ.

j 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

ward,

for

œ œ œ œ

ward

œ œ

For

ward,

for - ward

For

ward,

for - ward

œ œ œ œ œ œ œ œ œ œ œ œ -

ward,

for - ward

œ œ œ œ œ œ

For

ward,

for - ward

œœ œœ œ œ œ œ œ œ œœ œœ œœ œœ

˙ ˙

œ œ

œœœ œœœ œœœ œœœ œ œ œ œ

rit.

œ œ œ œ

˙ ˙

œ . œœœ

rit.

œ.

œ œ œ

For

For - ward,

# œœœœ œœœœœœœœœœœœ œ & 136

Vln. 2

For - ward,

136

Vln. 1

œ œ œ

a tempo

Pno.

For - ward,

œ œ œ

# Ó

œ œ ˙

rit.

œ. j œ Ó

œ œ œ œ œ œ œ œ œ œ œ œ

œœœ

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œ œ

œ.

j œ

191

139

Solo

∑

# & ˙ 139

& & &

# # #

# œœœ & 139

Pno.

Vln. 1

Vln. 2

Vla.

∑ œ

light.

#œ

#˙

# œœœ

œ # œœœ

light.

œ œ œ œ

# œœ œ

Timp.

?# œ œœœ œ

139

˙æ

˙.

œ ∑

∑

climb

p œ

œ œ

œ œ œ œ œ

∑

œ œ œ œ

ww w ˙

˙ ˙

∑

œ œ

∑

let ring

∑

w π

∑

#U ww *

∑

B # œ œ œ œ #œ œ œ œ

Vlc.

w w

light.

œ œ œ #œ

j œ œ œ œ

˙.

˙ ˙ 139 # œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ & &

#œ œ œ œ #œ œ œ œ

light.

˙.

Lif - ting

? # œ. œ.

B.D.

#œ

˙.

Ad lib.

w w

w π

∑

* "I do not demand equal pay for any women save those who do equal work in value." -Susan B. Anthony, 1872

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