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VOCAL SCORE A Littl Night | fusic Wusic and fries. by Stephon Sondheim Book by Hugh Wheeler Suggested by a Film by Ingmar Bergman Editor: Peter E. Jones ‘Music administrator for Mr. Sondheim: Sean Patrick Flahaven, Warner/Chappell Music This edition has been prepared, following the wishes of Stephen Sondheim, from the final, revised composer's score. It differs in many ways from the original edition of the vocal score. Small discrepancies may be found between it and orchestral parts. Insofar as discrepancies in the lyrics, this vocal score is to be considered correct. Uv dramatic performance rights for" Litle Night Music" are represented exclusively by Music Theatre International (MT) 421 West 54th Stost, New York, NY 10019, ‘wore: MTIshows.com. For further information, please call (212) 541-4684 ‘or email Licensing @MTIshows.com. ISBN 978-1-4294-7268-8, (©1973 (Renewed) RILTING MUSIC, INC. ‘Al Rights Administered by WB MUSIC CORP. ‘All Rights Feserved Used by Permission RILTING MUSIC, INC. HAL*LEONARD*® ORPORATION For al wore contained hen: Unauthorized coping, erranging, ada, recording, set posting, publ perfomance, ‘rather ribo ofthe pried ras is potion san wtingomentcopyigh Intingars roots undo he ew. ‘Viet Hal Leonard Onine at ‘arenes an Premiere Performance at the Shubert Theatre, New York February 25, 1973 CAST OF CHARACTERS (in Order of Appearance) MR. LINDQUIST. . Benjamin Rayson MRS. NORDSTROM. Teri Ralston Barbara Lang ‘Gene Varrone MRS. SEGSTROM.... - Beth Fowler FREDERIKA ARMFELDT «Judy Kahan MADAME ARMFELDT, : Hermione Gingold FRID, Her Butler... George Lee Andrews HENRIK EGERMAN sess sMark Lambert ANNE EGERMAN *. Victoria Mallory FREDRIK EGERMAN . Len Cariou PETRA. . . Jamin-Bartlett DESIREE ARMFELDT . Glynis Johns MALLA, Her Maid ... Despo BERTRAND, A Page... : Will Sharpe Marshall COUNT CARL-MAGNUS MALCOLM . . Laurence Guittard COUNTESS CHARLOTTE MALCOLM ... . Patricia Elliott OSA.. : : Sherry Mathis Note: Mr. Lindquist, Mrs. Nordstrom, Mrs. Anderssen, Mr. Erlanson and Mrs. Segstrom. are often referred to in the score as “Liebeslieders.” SCENES TIME: Tur of the Century PLACE: Sweden ACT ONE Overture . . . .Mr. Lindquist, Mrs. Nordstrom, Mrs. Anderssen, Mr. Erlanson, Mrs. Segstrom : Company Fredril -Henrik nne, Henri :, Fredrik “Fredrika, Désirée, Malla, Madame Armfeldt, Mrs. Nordstrom, Mrs. Segstrom, Mrs. Anderssen, Mr. Lindquist, Mr. Erlanson “Night Waltz” “Now” “Later” “Soon”, “The Glamorous Life’ “Remember?” Mr. Lindquist, Mrs. Nordstrom, Mrs. Segstrom, Mi Erlanson, Mrs. Anderssen “You Must Meet My Wife” . .Désirée, Fredrik “Liaisons”. : Madame Armfeldt “in Praise of Women” S++. Carl-Magnus “Every Day a Little Death” ‘Charlotte, Anne “A Weekend in the Country” .. Company ACT TWO “The Sun Won't Set”. .. Mrs, Anderssen, Mrs. Segstrom, Mrs. Nordstrom, Mr. Lindquist, Mr. Erlanson “It Would Have Been Wonderful” . +. Fredrik, Carl-Magnus “Perpetual Anticipation” .......Mrs. Nordstrom, Mrs. Segstrom, Mrs. Anderssen “Send in the Clowns” : Désirée “The Miller’s Son” Finale INSTRUMENTATION Reed 1: Flute, Piccolo (Alto Flute optional); Reed 2: Clarinet, Flute; Reed 3: Clarinet, Bass Clarinet; Reed 4: Oboe, English Horn; Reed 5: Bassoon (Clarinet optional); 3 Horns (Third optional); 2 Trumpets; 1 Trombone; 1 Percussion; 1 Harp; 1 Piano, Celeste; 6 Violins; 2 Violas; 2 Cellos; 1 Bass CONTENTS MUSICAL NUMBERS ACT ONE Page oe a1 Night Waltz iG Piano Practice. . 3 Now. Later Soon... The Glamorous Life Salon Music . Remember? . : You Must Meet My Wife ... Liaisons. . cou : In Praise of Women.......... 110 Every Day a Little Death ...... sed Piano Practice. .. 128 ‘A Weekend in the Country 129 ACT TWO Enectee ica Night Waltz I (The Sun Won't Set) ..... 169 Night Waltz Il ..... ie It Would Have Been Wonderful . 184 Perpetual Anticipation............... Dinner Table Scene ........... 205 Perpetual Anticipation — Piano Solo. ... 209 Underscoring...... = 210 Send in the Clowns. 212 The Miller’s Son... 217 Underscore. 29 Reprises . Last Waltz Bows... STEPHEN SONDHEIM wrote the music and lyrics for Road Show (2008), Passion (1994), Assassins (1991), Into the Woods (1987), Sunday in the Park with George (1984), Merrily We Roll Along (1981), Sweeney Todd (1979), Pacific Overtures (1976), The Frogs (1974), A Little Night Music (1973), Follies (1971, revised in London, 1987), Company (1970), Anyone Can Whistle (1964), andl A Funny Thing Happened on the Way fo the Forum (1962), as well as lyrics for West Side Story (1957), Gypsy (1959), Do I Hear A Waltz? (1965), and additional lyrics for Candide (1973). Side by Side by Sondheim (1976), Marry Me A Little (1981), You're Gonna Love Tomorrow (1983), and Putting It Together (1992) are anthologies of this work as a com- poser and lyricist. For films, he composed the scores of Stavisky (1974) and Reds (1981) and songs for Dick Tracy (1990), for which he won an Academy Award. He also wrote songs for the television production "Evening Primrose” (1966), co-authored the film The Last of Sheila (1973) and the play Getting Away With Murder (1996), and provided incidental mu- sic for the plays The Girls of Summer (1956), Invitation to a March (1961), and Twigs (1971). He won Tony Awards for Best Score for a Musical for Passion, Into the Woods, Sweeney Todd, A Little Night Music, Follies, and Company. All of these shows won the New York Drama Critics Circle Award, as did Pacific Overtures and Sunday in the Park with George, the latter also receiving the Pulitzer Prize for Drama (1985). He received a special 2008 Tony Award for Lifetime Achievement in the Theatre. Mr. Sondheim was born in 1930 and raised in New York City. He graduated from Williams College, winning the Hutchinson Prize for Music Composition, after which he studied theory and composition with Milton Babbitt. He is on the Council of the Dramatists Guild, the national association of playwrights, composers, and lyricists, having served as its president from 1973 to 1981, and in 1983, was elected to the American Academy of Arts and Letters. In 1990 he was appointed the first Visiting Professor of Contemporary Theatre at Oxford University and in 1993 was a recipient of the Kennedy Center Honors. For Burt Shevelove No. 1 A LITTLE NIGHT MUSIC Overture (Liebeslieders) Music and Lyrics by STEPHEN SONDHEIM (ad lib, vocal 1 (A cappelta - ad lib.} based on these notes) a MR. LINDQUIST 7 (ad lib. vocal based Lala(ete) ~~ la—_ on these notes) MRS. NORDSTROM MRS. ANDERSSEN MR. ERLANSON & MRS. SEGSTROM (aad tb. just enough to keep tonality) Piano MRS. A: (ad lib. vocal based on these notes) | MRED TS oe (ad lib, vocal based on these notes) {© 1973 (Renewed) RILTING MUSIC INC All Rights Administered by WB MUSIC CORP, AIL Rights Reserved Une by Permission 1 “REMEMBER” WOMEN: Tr MRS. NORDSTROM: The old de-sert-ed beach that we walked, _re-mem- ber? MRS. A. & MRS. S.: en la ee MR. E, & MR. Li: 2 MR. ERLANSON: ‘MRS, ANDERSEN: Re-mem-ber? The ca-fe in the parkwherewetalked, __re-mem-ber? MRS. N. & MRS. la, (MR. E. & MR. la v7 (MRS. A The ten-or on the (MRS. N. & MRS.S.) boat that we char-tered, belch - ing “The Bar-tered Bride.” la (MR-E. & MRL.) 21 MRS.N,, MRS. S., MRS. A. Ah, how (MR. E. & MR.L2) MR. LINDQUIST: Ah, how you prom ised, and MRS.N, MRS. S, MRS. As MRS. SEGSTROM: ‘MR. ERLANSON: That di - lap -i-dat-ed inn, dar - ling? The pro- MRS. N. & MRS. As MR. E. & MR. L: MRS, NORDSTROM: pti -e-tress-’s grin, al = so her glare. Yel-low MRS. N,, MRS.S, MRS. Az MRS, S. & MRS. A: —————— MR. Le MRE. & MRL: (MRS. NORDSTROM) MR. LINDQUIST: ging-hamon the bed, re-member, dar- ling? ‘And the can-o- py in red (MRS. S, & MRS. A.) 3GIRLS: unis.) ————— Lie, Lie, (MRE. & MR.L) => MR.E: 6 Valse lento 49 “SOON” WOMEN: 1 prom-ise, (WOMEN:) poco accel. 1 ane Soon, poco accel. == _ | poco accel. 2 4a tempo - (poco a poco accel. e cresc.) —> Now When we're close and we touch, a tempo - (poco a poco accel. e cresc.) Now when we touch, Touch - ing my ae P atempo - (poco a poco accel. e cresc.) ee ae (WOMEN: Pid mosso —— And you're kiss - ing my _—_——— (MEN) Pom brow, a] ‘And you'll have to ad - Keep things 85 (WOMEN) 105 Allegro 10 109 “THE GLAMOROUS LIFE” ALL 3 7 a 1a glam - or - 29 2 133 la a la la 137 aa M5 ‘MRS. N, MRS. S, MRS. A, MR. Un - pack — the lug - gage, i la Ia, MR. LINDQUIST: Ah 9 MRS. NORDSTROM: (Solo) Ah ALL OTHERS: > Un - pack — the lug - gage, la “ (MRS.N2, a —(Ah) (OTHERS: Hi - ho, the 161 cur - tain, Bring down the Bring down the 167 cur tain, la m4 (WOMEN: For the glam-or- ous life! ee For the glam-or- ous life! No.2 Night Waltz (Liebeslieders) 57 Tempo di Valse Cs, a 62 (Curtain rises) 8 » a 191 _LIEBESLIEDERS: (unis) 211 Pesante 226 LOn Madame Armfeldt’s entrancel Che: Che No.3 Piano Practice Cue: MADAME ARMFELDT: Who was, to put it mildly, peculiar. 6 6 6 6 i; a No. 4 Now (Fredrik) Cue: ANNE: I know you think I'm too silly to worry, but I do. (= 120) ‘ANNE: Oh no! For heaven's sakes, can that be a pimple coming? 1 8 1 2 as the sweet im-be - cil - i-tiestum-ble so lav-ish-ly on-to her ANNE: (spoken) Oh, Fredrik, what a day it’s been! Unending drama! While Petra was brushing my hair, lap. u the doorbell... Now, there are two pos-si - bil-i- ties: A, I could rav-ish her, B, I could 3 15 ANNE: (spoken) ..that grumpy old Mrs. Nordstrom from next door. __Her sister's coming for a it's the rav-ish-ment,then we see the _op-tion that fol-lows, of 23 ANNE: (spoken) do hope I'm imperious enough with the servants. I try to be, but half the time I think they're laughing at me. the de-ploy-ment of charm, or B, the a - dop-tion of phys-i - cal 26 31 ANNE: (Mimes speaking) Now B might a-rouseher, but if I as-sume ANNE: (Mimes speaking) trip on my trou-ser leg cross-ing the room. hair get - ting tan-gled, her stays get - ting snapped, My nerves will be jan- gled, my 2 ANNE: (Mimes speaking) en - er - gy sapped... Re - mov-ing her cloth-ing would take me all day And her sub - se-quentloath-ing would tum me a - way,Which e - ba ———S or ANNE: (spoken) Could you ever be jealous lim - i-nates B andwhich leavesus with in so far as ap- 57 ANNE: (spoken) Shall [earn Italian? Proach-ing it, Whatwould But have its ef - fect? think it would be amusing, if the verbs aren‘t too irregular. — there are two ways of broach-ing it A, the sug - ges-tive and B, the di - o ANNE: (spoken) But then French is a much chic-er language. Everyone says s0. Parlez vous Francais? that I set-tle on B, to wit, A. charm-ing-ly lech-er-ous 9 ANNE: (Mimes speaking) T could put on my night-shirt or sit dis - arm-ing-ly, B, in the ‘That mightbe ef-fec-tive—My bod-y’s all right, But 7 ANNE: (Mimes speaking) per-spec-tive and not in the light. bound to be chil-ly and feel a But night-shirts are sil - ly in ANNE: (Mimes speaking) mid -af - ter-noon... Which leaves the sug-ges-tive, But bb 98 ANNE: (Mimes speaking) Al - though she gets res - tive, per - haps I could read... bab 101 view of her pen-chant for 31 some-thing ro -man- tic, De Sade is too trench-ant and Dick-ens too fran tic, And 107 Sten-dahl would ru - in the plan of at tack, As there is - n't much blue in “The lerdal | eter leader) 0 ANNE: (Mimes speaking) Red And The Black.” De Mau-pas-sant’s can-dor would i] na cause her dis - may. The Bron-tes are grand-er but [il Z Zi f7] eee 32 "7 taste is muchbland-er, I'm sor - ry to say. But is 120 18 ANNE: And he said: “You're such a pretty lady!” Which e - lim i-nates A. 18 Wasn't that silly? with my men-tal fa 3 132 ANNE: ...I'm sure + ties par-tial - ly mud-died and read-y to snap. 135 about the bracelet. But earrings, earrings! _ Which earrings? —— though there are pos - si - bil - i- ties still to be stud-ied, I might as well 2 ANNE: Mother's rubies?. Ohythe diamonds are— Agony! __Tknow. as I must to ad - just my 0 - rig 150 ANNE: Désirée Armfeldt—_Ijust know she'll wear the most glamorous gowns! 154 shall I sleep half as deep as I ee ee eee 158, ANNE: Dear, distinguished old Fredrik! o_o ws No. 5 Later (Henrik) Cue: PETRA: Poor little Henrik! (Affectionately pats his cheek) Later! You'll soon get the knack of it! (She exits) Lento (Henrik gets cello and sits) When is lat-er?.. Allyou ev-er hear is Yes, we know, Hen-rik..Oh, Hen-tik.. Ev-‘ry-one a-grees, Hen-rik... Please, Hen. ‘You have a thought you're fair-ly burst-ing with, a per-son al dis-cov-er - y or prob-lem,and i's “What's your rush, Hen-rik? Shush, Hen-rik.. Good-ness, how you gush, Hen-rik... Hush, Hen-rik!” You mur-mur, It’s just that... Voice solo - after cello solo - ee _e (in the clean) ten. rit. 6 (molto rubato) Who is “Hen-rik" Oh, that law-yer’s son, the ‘onewhomum-bles... Short and bor-ing...Yes,he’s hard-ly worth ig - nor-ing, And who cares if he's all (looks up) dammed—I begyour par-don—up in-side? of-ten stat-ed, i : be-ing tol-er-at-ed. sO 4 “Re - as-sure Hen-rik, poor Hen-rik.. Hen-rik, you'll en-dure be -ing pure, Hen-rik.” afi} 0 31 ten. (molto rubato) Though I've been bom, I've nev -er been! How can I wait a-round for lat- er, Ill be a (accel) - vit rnine-ty on my death-bedand the late, or rath-er lat er, Hen-rik Eg-er-man! Does-n’t an - y-thing be - TT teceet) rit. a tempo a tempo