Comparison of editions of Trial by Jury

This document lists, in sometimes excruciating detail, many of the discrepancies I found between my sources as I prepared the Note8 edition of the Trial orchestra materials.  Every such discrepancy, of course, represents an editorial problem to be resolved.  When the solution seems obvious I might not even list it, unless I'm feeling particularly snippy about it (Kalmus parts have that effect).  It's the not-so-obvious decisions which make the editorial process interesting, and which I hope I have documented here, clearly enough to allow conductors and other researchers to understand my reasoning. 

A production could certainly make different decisions from the ones I have made for this edition, and those decisions would be equally valid, provided they were made in an informed and consistent manner, rather than an arbitrary one -- or at least less arbitrary than some of mine!  And by clearing away generations of historical markings, I hope my edition provides a clean canvas upon which conductors can clearly notate their own interpretations.


This Note8 edition ("N") is based on the following sources:

B "reflects Trial by Jury as it was performed in the 1884 revival".  N has the broader goal of compatibility with commercially-available performing editions, necessarily considering sensible adjustments which have made their way into the performance tradition. 

Roster of instruments

Sullivan's 1975 orchestration called for one Flute doubling Piccolo, one Oboe, two Clarinets, one Bassoon; two Horns, one Cornet, one Trombone; percussion; and strings.  His revisions for the 1884 revival included an additional Cornet and Trombone, bringing the pit to the same complement he used for every Savoy opera up until Yeomen -- except in the Flute section.

A, as revised for the 1884 revival, still calls for just one flutist, so B does the same.  But KP includes two Flute parts, and as in the other Savoy operas, in KP only Fl2 doubles on Piccolo.  These two parts consistently play in unison or octaves, never in the harmonies at the third or sixth which are so characteristic (and charming) in the later operas -- not even when the two Clarinet parts, or the two Violin parts, do play harmonies of that description.  Whoever constructed the Fl2 part treated it mostly as a reinforcement to Fl1 rather than as a separate part.

Partly because Trial is so often presented as a curtain-raiser for another work (so a qualified Fl2 player is likely to be on the premises anyway), N does include a Fl2 part.  A modern production, especially one striving for authenticity, would certainly be justified in performing with only one flutist, switching to Piccolo as directed by A (and by comments in N).


Like other Note8 editions, this one is intended to be a performing edition compatible with other widely-distributed editions.

Because I want my parts to be usable by companies which already own popular editions of the score, and my score to be usable with other popular editions of the parts, I have included variants and their associated explanatory notes in both score and parts. Presenting this information in the parts in particular, without interfering with performing musicians' needs for legibility and clarity, is an aspect of editorial artistry at which I hope I have been successful.


Unlike its one-act predecessor Cox and Box, Trial does not have an Overture.  We start right out with Nº 1, 24-bar intro and then the singing starts.

In A Sullivan numbers the entire passage from "I love him" to the end as Nº 13.  Other sources, including B and N, begin Nº 14 at "Oh, joy unbounded".

Rehearsal letters and measure numbering

The Note8 edition uses the same rehearsal letters found in A, B, and KP, which are continuous throughout the opera.  When the 26 letters of the alphabet have all been used, the other sources simply start again with A, but N uses double letters AA, BB etc. for the second alphabet.

B and KP differ slightly in their placement of a few rehearsal letters.  In these cases N shows both, in the interests of compatibility.  KP also misplaces some rehearsal letters in specific instrumental parts; these errors are listed below.

N numbers every measure continuously throughout the opera.  Pickup measures are not counted.  B restarts its measure-numbering with each piece.


The Kalmus parts are riddled with dynamic markings, phrasing markings, and especially articulation markings, which are not found in A, not characteristic of Sullivan in general, and thus inauthentic.  These markings appear to be the result of conductors' desire to micromanage the orchestra, or perhaps to adjust for specific acoustical challenges or for specific singers' shortcomings.  In this editor's opinion, they should never have made their way into the published materials.

The Kalmus string parts are heavily marked with inauthentic bowing indications.

Frustratingly, some of the offending articulation markings seem to have found their way into A itself.  Sullivan's autograph scores, besides serving as the primary source for copyists extracting parts, apparently were pressed into service as conductor's scores for performances, both in original productions and in revivals.  So markings "in a later hand" are not unusual, and when they are clearly distinguishable from the composer's original intention, they can provide clues to the evolution of the work.  But articulation markings in particular (such as staccato dots, accent wedges, and tenuto lines) do not lend themselves to handwriting analysis, making all such markings in A suspect.

A related issue is inconsistent cutoffs.  KP contains several examples of ensemble cutoff notes with as many as three different durations.  There is no surer way to make an ensemble sound sloppy, nor to undermine players' confidence in their parts.

Nº 1. Hark the hour

For this miniature opera, the instrumental introduction to this opening chorus serves as a miniature Overture, setting the mood and building anticipation.  But it does not serve to introduce key melodies:  these 24 bars are not obviously related to anything later in the opera.  It's an early example of Sullivan's antipathy toward medley Overtures.
Should the first three notes be slurred, or not?  The rising sixteenth-sixteenth-eighth motif appears in the first half of mm. 1 and 9, and also three times each in the woodwind passages, mm. 5-6 and 13-14.  In A, with a single exception to each, these motifs are UNslurred in the tutti passages, slurred in the woodwind answers -- another artful contrast between the two.  N chooses to ignore the exceptions, and to treat this pattern as a rule.  Based on the same sources, B made the opposite decision.

m. 2:  In A the last two eighth-notes (in this tuttipassage) are D#-E.  KP and S P/V (and N) have E-C#, same as A has in m. 10.  Based on the same sources, B made the opposite decision.  L mentions this discrepancy but stops short of recommending the A/B version.

m. 14:  Hn1, second quarter-note:  KP has concert F#, A has D#.  Both work harmonically, but F# is better counterpoint:  D# forms a parallel octave with the Flute melody.  F# it is!  B made the opposite decision without comment.

m. 25 unequal dynamics:  Sullivan, following his customary practice, marks the Cornets, Trombones, and Percussion f  against the ensemble ff.  N follows the modern practice of trusting the players of these powerful instruments to blend tastefully with the ensemble at any dynamic level, and thus marks all instruments ff  here.

m. 51:  A slurs the first two eighth-notes for (just) Oboe, Bassoon, and Cornet 1.  B extends the Bassoon slur to Trombone 2, Cello, and Bass.  N follows A exactly, noting that a true B-down-to-D# slur is impossible on a slide trombone.

m. 85:  In A, here we have the first explicit dynamic since ff  in m. 25.  N reinforces that dynamic by re-stating it at m. 53, and again at m. 83 to help prevent the strings from playing timidly.

mm. 85-92:  Sullivan masterfully achieves sparse 3-part harmony for his full string section by writing unison double-stops for the high strings.  (In A Viola is missing one of the double-stopped notes in m. 86, simply an error in this editor's opinion.)  When Violin 1 splits off to double the vocal melody, Violin 2 and Viola continue mostly in unison. 

m. 91 KP V2 D should be C#.

m. 103 KP V1 slurs the two notes, but per A this slur is bogus.  mm. 121 and 138 same.

mm. 104-108 KP has Flute and Piccolo doubling the Violins/vocal melody.  Tacet in A and B (and N).  mm. 122-126 and 139-147 same.

m. 105 on the second beat KP has a slur in V2 and both a grace note and a slur in V1, all absent from A and B.  mm. 124 and 140 same.

m. 111 In A, all upper strings play the same rhythm here.  In KP, Violin 2 is different.  Same in m. 113.

m. 115 uneven cutoff:  KP has quarter-note, quarter-rest in both Violin parts; dotted quarter, eighth-rest in the other strings.  A has dotted quarter for all.

m. 116 this Rall. is authentic, but in A it starts on the last eighth, the syllable "dis-(tress)".  In an example of "pause inflation", modern practice starts the Rall. earlier, on "condole".  N bows to that modern practice, partly because tempo variations that begin on barlines are easier for musicians counting rests.

mm. 127-132 After 126 bars of zero articulation markings in strings, and only the broadest dynamic markings, suddenly Sullivan is uncharacteristically explicit about swelling dynamics and portato strings.  This entire sequence is another example of his mastery.  Gilbert provided three simple, similar verses which summarize the entire drama.  Sullivan used a different melodic and textural approach to each verse, each appropriate for its dramatic message, each masking the simplicity of the underlying scansion, and each culminating in the wonderful Bassoon-and-double-stopped-strings hook.  Jolly well done, young Arthur!

m. 131 KP V2 Bs should be Ds per A.

m. 133 A has colla voce.  KP and SP/V have Rall. in m. 134.  A rare example of Sullivan's own pause affecting more beats than ones in later materials.

m. 146 KP has more inauthentic grace notes in Cl1, V1, and V2.

Nº 1A. Is this the court

mm. 150-158 The vocal lines to this Recit. passage are cued in woodwinds, Horns, and strings.

m. 159 A has melismas in the vocal lines, matching the alternating notes in woodwinds and strings.  N follows the modern practice of straight quarter-notes.  B offers three theories for the source of this change from A, and makes the opposite decision.

m. 169 KP has arco, A and B do not.  Continuing pizzicato seems like a better blend with the woodwind backbeats.

m. 176 A and B have different voicing for the mock guitar-tuning from that found in KP, and also specify pizz.  B also urges omitting these four bars unless the Defendent tunes a guitar here.

Nº 2. When first my old

m. 191 KP Violin 2 D-sharps should be E-naturals.  Same m. 220 second time.

mm. 194-197 KP has a mixture of slurs and staccato dots here which is so inconsistent as to be of no use.  A has no slurs at all, staccato dots on sixteenth-notes pretty consistently, on eighth-notes more sporadically.  B has dots almost everywhere.  My editorial opinion is that Sullivan wanted a clipped tone, even by sixteenth-note standards, for the syllables "tink-a-", and then a fuller tone for "tank", so N dots the sixteenth-notes and leaves the eighth-notes unmarked.

m. 198 In Violin 2 and Viola, A and B have the same waltz-accompaniment backbeats as those instruments have been playing since the intro.  KP and SP/V have a different rhythm:  eighth-notes on two, three, and four (out of six) and rests elsewhere.  This rhythm provides an effective end to the waltz-accompaniment, and sets up the Rall. to follow -- or would do so, except that Violin 1, doubling the vocal melody, is left exposed and sounds odd.  This discrepancy may be related to the Cello/Bass rhythm in mm. 197-198:  eighth-notes on the beat in A, dotted quarters in KP and SP/V.  This editor sees merit in both versions, but the exposed Violin 1 dotted quarter is a deal-breaker; if it were an eighth, cutting off with the other strings, then the revision would be quite attractive, but there is no evidence of that cutoff.  So N reverts to the version in A.  Same mm. 226-227 second time.

m. 200 A and B indicate that Sullivan changed the arrival note here from an eighth to a dotted quarter.  Only some of the Kalmus string parts got the memo.  Same m. 229 second time.

m. 201 rehearsal letter discrepancy:  KP has "H" here, A and B have it two bars earlier.  In the interests of keeping everyone happy, N has "Broude H" and "Kalmus H".  Same m. 230 second time.

m. 204 A has cresc. "in a later hand".  KP and SP/V have it too, so N has it in editorial brackets.  Same m. 233 second time.

mm. 206-207 A has some instruments slurred across the barline, others not.  Closer analysis reveals that only those parts which move stepwise are slurred, while others, including the vocal melody doubled by Flute 1 and Violin 1, do not.  B adds the slur to Fl1 but not to V1.  Same mm. 235-236 second time.

mm. 206-207 B has sf  markings taken from an early vocal score, not found in A (or N).  In m. 211, B also extended accent marks (found in just two string parts, in what may be a spurious hand) to all instruments.  These details raise the question of how emphatically dramatic, or how tastefully gentle, Sullivan intended this passage to be.  This editor believes that, for a song intended to mimic guitar accompaniment ("tink-a-tank", not "tan-tan-tara-tzing-boom"), the kinder, gentler reading is appropriate.  Same mm. 235-236 and 240 second time.

m. 207 A has both colla voce and Rall, and both redundant markings are in Sullivan's hand.  I like colla voce for the first verse and the grander Rall. for the second (m. 236).  KP has a second-time fermata, but A does not; the Rall. makes it superfluous anyway.

mm. 212-213 Upper string voicing is different here from the equivalent bars of the intro, mm. 183-184, but the difference is authentic per A.

m. 241 KP has Clarinets in unison, but per A Cl2 has a harmony note, same as mm. 208 and 237.

m. 242 KP and SP/V have L'istesso tempo.  A has nothing, which of course implies the same thing.  Following the principle that it doesn't hurt to be explicit, N puts in in editorial brackets.  Same situation at m. 261 with a redundant Allegretto marking.

m. 244 KP Violin 2 C-sharps should be C-naturals per A.

m. 255 A has suspensions in Cl2 and V2, not found in KP or SP/V.  These are similar to the suspensions in m. 253 found in all sources.  But they don't work very well with the melody, so N follows KP.

mm. 261-267 The staccato dots in A appear to be authentic.

m. 267 KP has the wrong rhythm doubling the vocal melody in Cl1 and Fg:  per A and B should be eighth, sixteenth, sixteenth.

m. 268 same instruments, the slurs in KP are bogus per A and B.

m. 269 KP Clarinet 2 Ds (concert Bs) should be B-flats (concert Gs) per A.

m. 274 B notes that A has only one note for the two Trombones here, "probably by oversight", and assigns harmless As to Tbn1.  But KP has D for both instruments, and I find it appealing thus to reinforce the first change in bass note for six bars.

m. 281 In Oboe, Horn 2, Cello, and Bass, the first beat is two eighth-notes per A.  Quarter-note per KP (and SP/V).

m. 285 Sullivan often uses beaming to indicate or reinforce phrasing.  His beaming in A here is a bit unusual, indicating -- in the melody and bass instruments only -- that the first eighth-note ends the previous phrase, and the other two are a comment or tag.  KP missed this detail in some parts, and got it backwards in others.

mm. 290-292 The Bassoon notes in KP here are not found in A or B.

Nº 3. All hail, great judge

m. 293 KP adds a Fl2 part, to be played on Piccolo, during just the intro and playout.  In this editor's opinon, the dignity and excruciating Britishness of this song call for violins-reinforced-by-flutes, not violins-dominated-by-piccolo.  So N has two flutes in unison during these instrumental passages.

mm. 293-295 In A and B, Trombones double the bass line.  Not found in KP.

m. 296 wrong note:  KP V2 first quarter-note should be G (same as every other instrument), not B.

mm. 296-297 B adds slurs to the melody-doubling instruments, "by analogy with [mm. 293-294]".  But what about the harmony parts, which are also slurred in the intro but not during the singing?  No slurs in A, so none in N either.  Same mm. 295-296, 303-304, 305-306.

m. 299 The Horn entrance is marked f, challenging my earlier decision to keep the prevailing dynamic at ff  three bars earlier.  But especially on the high note (followed by an awkward 2-octave jump for Hn2), reminding brass players to blend, not blast, seems like a sensible precaution.

m. 301 wrong note:  KP V2 second quarter-note should be A, not G.

m. 311 The slurs in A (and B) are more-or-less faithfully presented in KP.  Sullivan consistently breaks the slurs between the two halves of the bar, as clearly shown in the piano reduction of SP/V -- except in Bassoon.  I decided that there's no good reason to make the Bassoon different, it's just a mistake.

m. 312 Violin 2 plays eighth-notes:  rest, 5 Gs, 2 F-sharps.  But unless Sullivan intended to write a suspension into this otherwise straightforward harmonic context, the last two Gs should be F-sharps.  They are Gs in A and KP.  SP/V (and N) changed them to F-sharps.

m. 314-315 V1 in KP is different from A for the last two eighths in m. 314 and the first of m. 315, duplicating V2 and avoiding the vocal melody.  The piano reduction in SP/V agrees with KP.  N restores the version in A.

m. 315 Cello and Bass end with a quarter-note in A and KP.  SP/V (and N) changes it to an eighth-note to match the other strings here.

m. 317 sloppy cutoff in KP:  upper strings have eighth-note, Cello and Bass have quarter-note.  A is all quarter-notes.

m. 318 A colla voce seems more appropriate than KP Rall.

m. 321 In A, Clarinet 2 and Viola have the unusual rhythm quarter, dotted-quarter, eighth, eighth, eighth -- unusual because it violates the convention of using a tie, not a dot, to notate a pitch which is sustained across the middle of the bar.  These instruments are doubling the chorus tenors, for whom Sullivan does use a tie.  Violin 2 doubles the same line, but switches to the chorus alto line at the middle of the bar, so Sullivan used an eighth-rest to break the phrase there.  KP complicates the analysis by using an eighth-rest instead of a dot.  The notationally correct (and clearer) solution is to keep the eighth-rest in V2, and to change the dots into ties in Cl2 and Vla.  m. 325 has a similar situation which caused me to change the Clarinet 2 rhythm found in A, in the interests of encouraging the chorus tenors here.

m. 322 KP First note in Viola should be E, not F-sharp, per A.

m. 323 Cello and Bass (in both A and KP) are marked fp, and for once this marking is not yet another variant for assorted accents, sf, sfz, etc.:  the rest of the ensemble is on the downbeat, p thereafter, and fp on this sustained note matches that profile.  N adds [p] later in the bar to reinforce this interpretation.  mm. 326-327 in Bass same.

mm. 334-336 KP shows Cornet 2 as tacet throughout Nº 3, but A has two Cornet notes here.  These are the only measures which Cornets and Trombones play in this piece, while Horns, which have played throughout the piece, are tacet here at the end.

Nº 4. Judge's song

The Kalmus wind and percussion parts show six verses:  one ending is marked "1 to 5", and the other "6.".  Cl1 also starts the bracket for the "1 to 5" ending one bar too late, thereby erroneously including an extra measure in the last verse.  The string parts (correctly) have four verses, then the fifth verse is written out separately, its primary difference being the fermata in m. 449.

In a multi-verse song, slight rhythmic variations verse-to-verse in the vocal melody are common, to suit the scansion of the lyrics in each verse.  When instruments double that vocal melody, and their parts are notated as repeated verses, the mismatch between the instrument's exact repeat and a verse's variation can be sloppy and distracting.  In the present song, in m. 360 and its equivalents in later verses, the doubling matches the vocal melody perfectly as written, but if your Judge insists on taking liberties with the rhythm, you may wish to adjust the rhythm in the Clarinet parts accordingly:
Many instruments have staccato dots sprinkled throughout this piece.  None of these appear in other sources.  I have chosen to treat them all as bogus.

mm. 357-360 A has sloppy and inconsistent staccato dots, in Clarinets and upper strings, which I chose to treat as bogus.  B made the opposite decision, extending them to the low strings.  Same mm. 380-383, 403-406, 426-429, and 450-453 in subsequent verses.

mm. 362-363 A and B have four-part harmony for this portion of the choral response.  SP/V, an early vocal score cited in B, and N have all unison (octaves, strictly speaking).  Same mm. 385-386, 408-409, 431-432, and 454-455 in subsequent verses.

mm. 364 and 366 KP V2 should play double-stops, matching Vla, per A and B.  Same mm. 377 & 379, 400 & 402, 423 & 425, and 446 & 448 in subsequent verses.

m. 448 B has [rall.] here, and [a tempo] at m. 450, taken from an early vocal score and also found in SP/V but not in A or KP.  In this editor's opinion, the fermata in m. 449 accomplishes most of the customary last-verse slowdown here, and any additional rubato is implied by the genre, so these markings are not necessary.

m. 449 KP V1 and V2 play on beat 1, rest on beat 2, play with fermata on beat 3, rest on beat 4.  KP Vla has rest, note, rest with fermata, note, same as mm. 357, 380, 403, and 426 in the previous verses.  A is little help since it notates all verses as repeats, with a fermata marked "5th verse" in a later hand.  Clever analysis in B suggests that the same later hand crossed out the pickup following the fermata in all instruments, "a practical the problem of ensemble after the pause."  SP/V is similar to KP Vla, and also has the low strings resting on the beat 3 fermata.  For N I chose a hybrid of the the Schirmer and Broude models, also omitting the Oboe note on beat 3, so both the fermata and the pickup are un-accompanied.

mm. 457-465 KP has an elaborate system of dynamic markings, apparently intended to avoid covering the Judge's comments while supporting the ensemble responses.  Sullivan already solves that problem by varying the density of his orchestration, so in A he just has f  throughout, sempre f  for the strings.

mm. 458-473 SP/V uses repeats to notate this passage, obscuring the substantial variations in orchestral accompaniment (not to mention dynamics) between the two phrases.

m. 461 It isn't clear why Sullivan used sempre f  for most of the strings at m. 457, since they're all down to mf  here.  Everyone is back up to f  at m. 464.

m. 462 A has a smudge on the Clarinet line which B interprets as a p dynamic marking.  N uses [mf] to match the strings.

mm. 459-465 Multiple small errors in KP Viola, just sloppy copying from A:  m. 459 should be four quarters, same as m. 461, not on-beats; m. 463 should be back-beats, not on-beats; and m. 465 should be three quarters, not just on-beats.

mm. 466-469 For reasons explained in detail in B, parts for the additional Cornet and Trombone were never added to A for this passage.  B adds harmony notes for those instruments, taken from 8 bars earlier.  But, noting that the earlier passage is marked f, while this one is pp, I prefer KP's solution, which is Ct1 and Tbn2 only here.

mm. 466-469 More inconsistent staccato dots in A which N omits as bogus and superfluous (at dynamic pp), but which B extends to the entire orchestra.

mm. 467 and 469 KP Cl2 has G, F, E (concert key).  The G works harmonically, but A and B (and N) have F, F, E to match the chorus tenors.

m. 477 KP V2 plays an octave below V1.  Unison in A and B (and N).

Nº 5. Swear thou the jury!

mm. 479-482 The vocal lines to this a capella recit. passage are cued in strings.

m. 495 KP Violin 1 first note is ambiguous:  should be double-stop F over A, not F over G. 

m. 507 in A Sullivan does not have a Rall. or a fermata.  He achieves all the slowdown he wants by writing longer note-values.  Just sayin'.

m. 510 in A and B (and N) the only instrumental part playing here is Cello.  The Bassoon and Bass notes in KP here are inauthentic.

Nº 6. Where is the Plaintiff? / Comes the broken flower

m. 513 B has cresc/dim hairpins, not from A but from an early vocal score and "by analogy with m. [529]".  Also found in KP and SP/V.  To this editor, the two passages appear in quite different dramatic contexts, and have quite different orchestration, so I just don't see the need here.  OUT.

mm. 513-514 KP has a part for Flute 1 here, but A does not.  OUT.

m. 514 A has smudges in Violin 1 and 2 that might be double-stops F over A, might be crossed-out double-stops leaving just F, or might just be smudges.  But no other instrument is playing the third of the chord here.  KP has just F in V1, double-stop in V2, but that seems silly when the rest of the passage is in unison.  So double-stops in both it is.  B concurs.

mm. 515-527 The vocal lines for this Recit. passage are cued in strings.  The vocal line for mm. 523-527 is cued in all instruments.

mm. 530-531 KP has notes for Flute 1 and Piccolo here, but A does not.  OUT.

mm. 534-535 B extended the accent-marks found in A to all instruments.  SP/V does the same, as does KP, inconsistently.  My interpretation is that the accents apply to just the eighth-quarter-eighth rhythm, not to the melody, so N matches A without extension.

m. 538 A does not specify whether Clarinet 2 doubles the vocal melody along with Flute (1) and Clarinet 1.  The lack of direction implies that these secondary instruments do continue in unison with their section principals, and B shows the two Clarinets in unison, but in similar spots in other operas Sullivan would use just the principals.  In KP, Clarinet 2 is tacet until m. 556, when it has notes of its own.  This arrangement makes sense to me, so N follows it.  Same m. 584 second time.

m. 538 In the upper strings, after an explicit dim two bars earlier, instead of the expected p, A has a scrawl which B interprets as meno f.  The only dynamic marking in the other instruments is p in Bassoon, but that appears to be "in a later hand".  KP's dynamics here are so various as to be of no help.  So instead of the unsatisfying meno f  here, N uses [mf].  And unlike B, N extends that marking to the winds.  B marks them p, but accompanying the full women's chorus, mf  seems more appropriate.

mm. 538-554 Upper string phrasing in A is inconsistent, sometimes by bar, sometimes 2-bar phrases, frequently one part different from the others.  Many of these slur markings appear to be in a "later hand", and so could be misguided bowings.  KP and SP/V consistently slur by bar, so N does too.  B concurs.  Same mm. 584-600 second time.

mm. 538-539 KP V2 doubles V1, but A has different notes for V2 here.  Kalmus got it right in the second verse, mm. 584-585.

m. 540 V1 in A the first two eighth-notes are E-natural, G.  KP and SP/V have D-flat, E-natural.  N uses A's pitches.  Same m. 586 second time.

m. 546 B has [cresc.], [f] at m. 550, and [dim.] at m. 553, all taken from an early vocal score, not found in A.  This same Tremendous Swell is found in SP/V and inconsistently in KP.  I don't see the need for it; I prefer to let the inner dynamics rise and fall with the melodic line.  OUT.  Same mm. 592, 596, and 599 second time.

m. 549 KP V1 Eb corrected to E-natural.  Same m. 595 second time.

m. 555 This sloppy cutoff is on Sullivan:  Flute has a quarter-note, Clarinet 1 an eighth-note, and the women's chorus sings a half-note.  Getting the winds out of the way of the string fill is a good idea, but let's do so together!  N changes the Flute note to an eighth.  Same m. 601 second time.

mm. 555-556 Unlike all the gratuitous dynamic fiddliness in the preceding passage in KP, the swell here is authentic -- in the upper strings only.  (Tasteful conductors please note:  no Rall. here in any source.)  Then the ensemble drops down to p, preparing for the cresc. at m. 565 to f  at m. 569.  Same mm. 601-602 second time.

m. 561 KP Violin 1 last note should be double-stop E-flat over B-flat, not E-flat over A.  Same m. 607 second time.

mm. 569-572 Sullivan wrote ascending chromatic half-notes for Cello here.  But the other accompaniment instruments don't play complete half-notes, leaving the Cello exposed.  So in mm. 570 and 572 I changed the Cello notes to dotted quarters, matching the Clarinets and Horn 1.  This change seems consistent with the repeated lyric here.  Same mm. 615-618 second time.  Note that Bass plays a quarter-note against Cello's half-note in m. 564, and continues this pattern here.

mm. 570-572 Violin 1 takes over the noodling from Flute here.  In KP Piccolo doubles this material, the only example in the opera of the KP Piccolo playing independently from the Flute, but I like it.  Same mm. 616-618 second time.

mm. 569-574 Some of the slurs in KP Clarinets are not found in A.  Same mm. 615-620 second time.

m. 574 KP Viola should be (undivided) dotted quarter, eighth per A.  Same m. 620 second time.

mm. 575-576 B has slurs for selected instruments, starting at the held note and extending across the barline, on the evidence of some unmatched slur-ends (after a page-turn) in A.  Sullivan sometimes includes such obvious end-of-phrase arrival-notes in his slurs, but more often he does not, and the fermata clearly does not get cut off, so I don't see the need.  OUT.  Same mm. 621-622 second time.

mm. 577-622 The Kalmus Viola part treats this second verse as a repeat of mm. 531-576 (and thus has no rehearsal letter "T").  Other instruments have it written out separately.

m. 578 KP Horn 1 second note should be A, not C, per A and per m. 532 first time.

m. 584 The same analysis of the dynamic marking as for m. 538 in the first verse applies here, the vocal entrance for the second verse.  [mf].

m. 589 KP Violin 2 ambiguous first note should be B-flat, not C.

In all sources the Plaintiff sings with the women's chorus, but has her own words, at m. 619.  In A (and B) this situation begins at m. 611.

m. 625 KP Vla has an extra half-beat in this bar.

mm. 628-629 KP has Piccolo tacet for the last two notes of the piece, and Flute 1 playing an octave lower than in A.  In the interests of making the Flute book work for either one or two players, I chose to have the piccolo continue to double the flute at pitch (written an octave down).  If your two players cannot consistently hit this exposed note in tune, by all means make adjustments!

Nº 7.  Oh, never, never, never

m. 630 Sullivan obviously intended the string portato here to apply to the eight following measures.  B makes this intention explicit with [simile], as does N.  M. 646 same.

m. 633 The third eighth-note for Viola is C in KP, B-flat in A.  Although harmonic analysis suggests that C is a better choice, the B-flat sounds fine too, perhaps an early example of a Sullivan pedal.  SP/V omits B-flat from that one chord.  B has B-flat without comment.

m. 652 KP Violin 2 B-flats should be B-naturals per A.

m. 663 A has a dotted quarter-note in all active instruments.  But KP has dotted quarter in winds and Bass, quarter-note in Viola and Cello, and dotted quarter subdivided into three eighths in Violins 1 and 2.  Yikes.

m. 663 KP and SP/V have Rall., A does not.  B has one, taken from an early vocal score.  I don't see the need.

mm. 665-666 Following an overall p marking throughout the preceding passage, A takes the woodwinds down to pp, no marking at all for strings, implying still p.  These dynamics and the authentic Rall. constitute a gentle ending to a tender, rapturous passage, and makes the fist-shaking, ff Presto furioso at m. 667 quite abrupt.  Gilbert does not specify any stage business for the Defendant at this transition, but in some productions he drops something noisily, or otherwise breaks the mood and motivates the Jury's reaction.

Acting students are taught, when a script calls for a line of dialogue to be interrupted, to prepare the missing part of that line – partly as a practical failsafe in case the interruption is late, but mostly as one detail of the character's elaborate "backstory".  Without the Presto e furioso interruption, I envision the jurymen's lovefest ending with a high, sustained pp chord in strings, reinforced by the sparse woodwind chord which Sullivan provides in m. 667.  The idea is to make the Presto e furioso a dramatic and shocking contrast.

m. 667 In A the strings are marked ff  but the winds are unmarked, implying that they continue the gentle ending while the strings launch the new mood and tempo.  KP adds Piccolo here, utterly inappropriate for the gentle ending, but quite appropriate two bars later.

Nº 8.  May it please you / With a sense

mm. 688-692 The vocal line to this a capella recit. passage is cued in strings.

m. 698 KP Violin 2's quarter-notes should be E-flat, rest, D-flat, C, per A.

m. 699 KP Viola's double-stop on the first beat should be A-flat over C, not A-flat octaves, per A.

m. 700 Unequal dynamics:  p Clarinet 1 (and later other woodwinds) vs. mf  strings.

m. 700 KP Violin 1 last quarter-note should be on the fourth beat, not the third, per A.

mm. 700, 718, 733, and 746 have identical Cello/Bass lines in the four verses.  But in A the first two are un-slurred, the last two slurred.  SP/V agrees with A, as does N.  KP slurs them all.  So why did Sullivan make them different?  This passage is the transition from each verse's varied texture into the refrain --  first sung by the Counsel, then repeated by the chorus.  In verse 3, the slurred bass line contrasts with the staccato accompaniment texture; in verse 4, with the tremolo texture.  Apparently Sullivan did not feel the same need in verses 1 or 2.

m. 702 Bassoon is marked sf  in A, not found in KP or SP/V.  B amends it to p sf.  Then in m. 704, the melodic entrance in A is marked sf  for Flute and Oboe, and sf f  for Violin 1; accompaniment notes in Bassoon and Horns are also (just) sf; other accompaniment instruments are just f.  Consistently just f  in KP and SP/V.   B amends them to f sf  in the melody instruments, just f  in all other instruments.  And in m. 706, A has sf  on beat 3 for Violin 1, with Flute and Oboe marked col, and sf  for Bassoon, but not Clarinets which play the same accompanying rhythm.  KP Violin 1 and Oboe (but not Flute) do have sf  here, the only such markings in this passage in KP, and SP/V again has nothing.  B transcribes these markings from A faithfully.  This editor's opinion is that sensible pit musicians will emphasize these notes appropriately anyway, perhaps with more subtlety than sforzando implies to 21st-century musicians, so these sf  markings add nothing but confusion.  Even though they appear to be in Sullivan's own hand, N omits them entirely.  Same mm. 720, 722, 724; 735, 737, 739; and 748, 750, 752 in subsequent verses.

m. 702 KP Viola last quarter-note should be double-stop E-natural over D-flat, not E-natural over C.  Per A, same when the phrase recurs in mm. 720, 735, and 748.

m. 708 KP and SP/V knock the dynamic down to p here.  A and B accomplish a lighter texture by dropping instruments, and postpone the p marking to m. 710.  m. 726 same second time.

m. 716 KP Cello and Bass have notes on the fourth beat which are not found in A or B.  This bar is not a literal repeat of m. 699 in the first verse, a fact which seems to have been lost on SP/V and on selected Kalmus parts.

m. 729 Some Kalmus parts are marked un poco agitato.  Inauthentic.  B is marked "with increased energy" here, taken from an early vocal score.

mm. 729-731 in A these three bars for Oboe are slurred together.  But the long slur appears to be in a different hand from the shorter slur connecting the two notes in m. 731, so this Editor deemed the long slur to be spurious.  B includes the two nested slurs.

m. 731 The string harmonies in A and B are different from those in KP and SP/V. 

m. 733 The double-stop in KP V2 is bogus per A and B.  Should be just F as in mm. 700 and 718.  Same m. 746 fourth verse.

m. 741-742 Sullivan is not explicit in A about where this cresc. is going.  I followed the model of mm. 732-733.  B made a similar choice.

mm. 741-745 A has all double-slashed stems in all string parts, with the indication trem. in Cello only.  B interprets this notation as "modern tremolo", and so indicates with triple-slashed stems.  I concur.

m. 754 Are the staccato dots for strings in A intended to follow the "implied simile" principle?  I think so, and have made it explicit in N, but the staccato dots in Violin 1 only at m. 762 undercut that principle.

m. 758 In A (and faithfully in B and KP) Bassoon and Cello cut off on a quarter-note, but Horns end the phrase with a half-note.  It seems cleaner and more delicate to cut the Horns off with the others, and N does so.

m. 758 KP and SP/V indicate a louder dynamic level not found in A here, as does B, citing an early vocal score.  B also has dim. two bars later.  In this editor's opinion, the purpose of this dynamic innovation is to provide a piano reduction which supports the Plaintiff's high melody; with orchestral accompaniment, the prevailing p dynamic works just fine.  Give Sullivan his understated ending here.

mm. 758-760 At first glance the phrasing here appears inconsistent, until we realize that the ascending line is a single four-note phrase in all instruments which play it, while the descending line is two two-note phrases.

m. 765 rall. in a later hand in A and B has migrated to m. 766, or sometimes m. 767, in SP/V and KP.  But the fermata in m. 765, also in a later hand in A, seems to accomplish the composer's intention more clearly, so only the fermata appears in N.

mm. 766-767 Violin 2 and Viola are not explicitly marked staccato here in any source, but it's so strongly implied by the context that I made it explicit in N.  B concurs.

m. 768 sloppy cutoff in KP:  everyone has an eighth-note on the downbeat except Horns and Violin 1, which have a quarter-note.  Sullivan is not blameless here:  Horns have a quarter-note in A and B, fortunately marked pp.  No one is hung out to dry by N:  eighth-notes all around.

Nº 9. That she is reeling

m. 775 B adds a slur for Bassoon here, and also at m. 789, on the evidence of a crudely drawn slur, which may be in a later hand, in A at m. 789 (only).  OUT.

m. 780 B marks the Oboe entrance p, "by analogy with [Plaintiff]", whose entrance is also marked p in A.  But surely, with the strings still sawing away at mf, the Plaintiff's p marking is a vestige of Sullivan's original dynamic for this entire section of the song, also documented in B.

m. 783 KP Violins (1 and 2 play the same notes) have different rhythms from A and B.

m. 795 KP Fg has an extra measure of rest.

mm. 795-797 B makes the case that the Cornet and Trombone parts here should be played by one instrument each, with the second joining in unison at m. 798.  I concur.  KP comes close:  one Cornet, but both Trombones. 

m. 804 The fermata in the Percussion part is not particularly good modern notation, but it is clear and simple in ways that alternatives would not be.

Nº 10. Oh, gentlemen, listen

m. 805 Unequal dynamics:  winds f, strings ff.

mm. 816-818 Staccato dots in A for Clarinet 1 and Bassoon are sufficiently sloppy and inconsistent as to call their authenticity into question, and they do not appear in KP.  OUT.  Same comment for Violin 1, mm. 826 and 830.  Same second time, mm. 849-851, 859, and 863.  B made the opposite decision.

m. 824 A and B have rehearsal letter "C" here, two bars earlier than KP has it.  In the interests of universal compatibility, N has both a "Broude CC" and a "Kalmus CC".  Same second time ("CC2"), m. 857.

mm. 825-826 Unlike KP and SP/V, A does not have Rall. /  a tempo here.  A does have a fermata, in a "later hand", perhaps added by a defenseless conductor:  Sullivan did not provide any notes of accompaniment to goad the soloist along.  N recognizes this reality with a parenthesized fermata.  Same second time, mm. 858-859.

m. 833 KP Viola part is just wrong.  Per A, it should match m. 834.  Same second time, m. 866 should match m. 867.

m. 834 In A, Bassoon and Horns are marked p against the ensemble f.  But those "p"s are neater than Sullivan's usual handwriting, and Horn has bogus staccato dots too.  So I used the prevailing f.  Same second time, m. 867.

m. 864 Another "later hand" fermata in A, and random adjustments to dynamics in KP, are evidence of pausing for the big plot payoff here.  After pointing out that Sullivan never contemplated such a thing, I reluctantly provide another parenthesized fermata.

m. 877 KP Hb and V1 have a version of the playout melody which differs from the other instruments:  repetition of the introduction.  But even these two instruments differ in the next-to-last eighth note.  N uses the version found in A and B in all instruments.

Nº 11. That seems

mm. 888-889, 892-894 The staccato dots and p dynamic markings in A are deemed bogus for the same reasons as mm. 816-818 above.  B made the opposite decision, extending the dots "to most eighth notes not specifically exempted by slurring."

m. 900 f  seems a little loud here, and indeed KP has a variety of softer dynamic markings here, but it's just strings, playing sparse rhythm, and most of the notes are in the Counsel's strong range.

m. 907 Unequal dynamics:  p in Horns against the prevailing f  in the rest of the orchestra.  But then m. 909 p in Bassoon and m. 910 p for Jury and Usher don't fit the other woodwind dynamics.  B's solution is to drop everyone to p at m. 907, which would seem to undercut the enthusiasm of the Bridesmaids' lyric.  SP/V has dim. at m. 909 to p at m. 911, and that works for me.

m. 911 wrong rhythm in KP Violin 2 part:  should be quarter, eighth to match Violin 1, not dotted-quarter, eighth.  Clarinet 2 and Viola should be dotted-quarter, not quarter.

mm. 913-914 unlike KP and SP/V, A does not have a fermata, implying that Sullivan wanted the tempo to continue straight into Nº 12.  A marginal notation in A says "attacca il sextette", not definite proof of an in-tempo segue, but more evidence of the composer's desire not to pause here.  Note that Nº 12 begins with an a capella pickup which Sullivan did not bother to dovetail into m. 914, as he did with other obvious segues such as mm. 146-147.

m. 923 SP/V has the final note for the Defendant as C-flat, but per A it's C-natural.  Good catch by L.

Nº 12. A nice dilemma

m. 917 KP Violin 2 has an indecipherable blob on the third beat.  It should be an E-flat per A.

m. 921 [Colla voce] does not appear in A, but the need for it is obvious from context.

m. 921 KP Viola double-stop should be F over D per A.  In the same measure the first note for Cello and Bass should be low F per A.  And the final note for Bass should be slurred into the next measure col Cello.

m. 932 again the need for an inauthentic [colla voce] is obvious.

m. 935 If your Plaintiff can execute this triplet passage without any pauses, it will help to set the tempo for the ensemble entrance a bar later. 

mm. 937-938 KP Vla is missing two bars here.

m. 943 KP Trombone 1 second quarter-note should be E-natural again, not C, per A and B.  Same m. 953 second time.

m. 943 KP Cornet 2 and Viola, last note of the third-beat triplet should be C-flat concert, not C-natural.  As I note below, A is extremely cluttered and difficult to decipher in this passage, so I relied on SP/V and the vocal harmonies to determine the correct harmony.  Also KP Bass, last note should be C, not G, per A and B.  Same m. 953 second time.

m. 944 A and B have ff  here, apparently for reinforcement since we already reached that dynamic level in m. 941.  To prevent confusion, N omits the redundant marking here.  Same m. 954 second time.

mm. 944-945 Apparently Sullivan ruled in his barlines in A before considering how complex the music is here, leading to some very cluttered score pages.  What few phrasing clues he provides are contradictory, but the consensus seems to be slurring by half-bars.  That approach seems more like bowing than phrasing, and if interpreted too literally, leaves the arrival-note of each phrase disconnected.  But in this complex material, there's a practical advantage to phrasing which emphasizes each major beat, sacrificing melodic flow for clarity of meter.  Same mm. 954-955 second time.

m. 955 A in a "later hand" has fermata 2nd time.  Fortunately, this misguided gilding-of-the-lily did not make its way into the other sources.

m. 957 KP Perc has (the second) rehearsal letter "G" ("GG" in N) one bar early.  KP Cornet 1 same.

mm. 957, 959 Inconsistent cutoffs in the vocal lines in A carry into the instrumental parts, and selectively into the other sources.  Longer note-values for the Foreman/chorus bass melody are consistent with mm. 956 and 958, but then in m. 959 the entire chorus cuts off with an eighth-note, but the Foreman hangs over with a quarter-note again.  N's solution is to keep m. 957 as it is, but to make it a consistent eighth-note in m. 959, thus setting up "that calls for all" and the socko finish.

mm. 959-960 The accent marks for Clarinets here are authentic per A, B, and KP.  Apparently Sullivan felt the need to hustle the singers along here.

Nº 13. I love him

mm. 963-964 cresc. and sf  markings in B are from an early vocal score, not from A.  OUT.

mm. 963-965 Piccolo is tacet in KP, so the decision to add Piccolo here is all mine.

mm. 963-964 KP Vla wrong notes:  in m. 963 double-stop F# over C# should be G over C#; in . 964 double-stop G over D should be G over B, per A.

mm. 970-973 and 977-981 A's phrasing for the woodwind half-notes is inconsistent in these similar phrases.  For N I made informed guesses.  mm. 988-991 and 995-999 second time don't give any more clues.  B found similar solutions.

m. 978 KP V2's last two double-stops should be G# over B, not A over B.  Same m. 996 second time, when the error is especially jarring because Violin 1 has it right.

m. 980 B has [cresc.] taken from an early vocal score, also found in KP, but not found in A.  This cresc. makes the f  at m. 982 less abrupt, so it's in N.  This
[cresc.] is not in the second verse (m. 998) in any source, and in A the is postponed until a bar later than the first-verse pattern.  Certainly the transitions out of these passages are different:  the first verse goes right into the vamp for the second, but the second verse leads into a long, complex, loud passage for the two soloists, full chorus, and full orchestra.  But ending the second verse quietly is at odds with the violence of some of Edwin's lyrics, and indeed Angelina's reply is explicitly f.  Faced with this mixed message from Sullivan, B kept things simple by not changing the string section's dynamic until m. 1001, and N does the same.

m. 996 Violins 1 and 2 play the same part here --  double-stopped backbeats -- but in this bar in KP the parts differ in a way which can't both be right.  Another in m. 999.

m. 1000 KP V1 part is missing half a beat.  It needs another eighth-rest before the final pickup note per A.

m. 1000 KP V2 and Vla should be in unison, but Vla moves from D# to E on beat 2, V2 not until beat 3.  Per A Vla has it right.

mm. 1001-1002 A V1 has staccato dots, also applicable to Piccolo, which to this editor's eye may not be in Sullivan's hand.  B uses simile to extend these markings through m. 1008.  KP V1 has inconsistent dots and slurs, some of which might be interpreted as portato, not staccato; KP Flute and Piccolo parts are unmarked.  N leaves all instruments unmarked.

mm. 1001-1009 B makes a case for the Cornet and Trombone lines to be played p by one player each.  KP has one p Cornet but two mf  Trombones, not much help.  One the principle that these low notes won't make any difference if they can't be heard, N has both players marked f  (matching the ensemble) on each part.

m. 1002 Some Kalmus parts are marked stringendo here, as does SP/V.  KP again at m. 1006.  Not in A or B, so inauthentic.

mm. 1003-1004 V2 and Vla play the same part here -- double-stopped backbeats -- but in these bars in KP the parts clash, m'lord, they clash.  The same harmonies recur in mm. 1007-1008, correctly.

m. 1009 Rehearsal letter "K" ("KK" in N) appears in KP but not in A or B.

m. 1009 KP Cl2 has two eighth-notes C, Eb.  Per A both should be Eb.

m. 1009 A V2 and Vla have (possibly bogus) staccato dots, explicitly extended by B through m. 1012.  Not in KP.  OUT.

mm. 1009-1010 A Cls and Hns have (possibly bogus) staccato dots on the last two eighth-notes, extended by B through m. 1012 with simile.  Not in KP.  OUT.

m. 1010 A has cresc. in strings which B extends to the full orchestra.  Also in SP/V and inconsistently in KP.  N includes it.

m. 1014 The fermata here is authentic.

m. 1022 The fermata here, although not found in SP/V and only in selected Kalmus parts, is in Sullivan's own hand in A and in B, and thus is authentic. 

m. 1025 A Vc and Cb have (possibly bogus) staccato dots, extended by B through at least m. 1028 with simile.  Not in KP.  OUT.

m. 1025 Another SP/V error caught by L:  Counsel's first note should be D, not G, per A.

m. 1029 KP Oboe is marked f  against the prevailing p.  No other source has this marking, nor any justification for it.  So in N it's [p].

mm. 1030 A Clarinet 1 and Bassoon have (possibly bogus) staccato dots which B extends to Oboe in m. 1029Not in KP.  OUT.

mm. 1033-1034 A does not specify Flute, implying that the player should continue on Piccolo here.  But B clearly calls for Flute (without explanation) and KP calls for just Flute, no Piccolo.  I concur with this tasteful decision, made independently by musicians several generations apart.

m. 1035 A has "Meno Mosso" in a later hand.  Not found in other sources; mentioned by B in their Critical Apparatus, but not incorporated into their score.  For N I ignored it, but if your Judge prefers to deliver these lines more slowly, here's some justification.  To this editor's taste, there's no need to dwell on these rather forgettable lyrics, which just serve to set up the payoff at m. 1045-1048, already marked Recit.

m. 1035 A V1 has (possibly bogus) staccato dots, explicitly extended by B through m. 1041.  Not in KP.  OUT.

m. 1035-1048 SP/V has an explicit key change,  notating this passage in B-flat concert.  A, B, and KP keep the G-major key signature and use extensive accidentals.   The explicit key change seems clearer, so N uses it too.

mm. 1035-1045 KP V1 has the melody doubled an octave higher than A and B do.  Down in the original octave it's still an octave higher than the Judge, so it won't drown him out, and it blends better with the other strings.

m. 1041 KP V1 has two quarter-notes in the first half of the bar; A and B have two eighth-note, eighth-rest pairs.

m. 1042 KP V1 has quarter-note, quarter-rest in the first half of the bar; A and B have two eighth-note, eighth-rest pairs.

m. 1043 A and B have (possibly bogus) staccato dots in strings.  Not in KP.  OUT.

m. 1043 KP V1 has quarter-note, eight-rest, eighth-note in the last half of the bar.  A and B have dotted-quarter-note, eighth-note.

mm. 1045-1047 Marked Recit. in A "in a later hand" and in SP/V.  This marking seems both clearer and more flexible than the extensive and inconsistent fermatas in A and KP.  In N the vocal line to this 3-bar passage is cued in all parts.  And unlike the other sources, N cancels the Recit. at m. 1048 with a tempo.

m. 1047 In changing the key signature as described above, SP/V introduced an error:  Viola explicitly has B-natural in A and KP, but  Schirmer implies B-flat.

Nº 14. Oh, joy unbounded

m. 1052 A does not indicate an instrument change for the Flute player, implying Piccolo, confirmed by B.  Thus the Plaintiff's melody here is doubled by Clarinet 1 at pitch, and by Piccolo two octaves higher.  Sullivan usually reserves this sort of thing for comic effect, hornpipes and such; for this first statement of the musical theme of the Finale, Flute would be more appropriate.  And, indeed, KP uses Flute here.  With very little hesitation, N does too.

mm. 1052-1060 In A, staccato dots are sprinkled over selected eighth-note pairs in the Flute 1, Clarinet 1, and Bassoon melody-doubling lines, seemingly at random.  A closer look suggests that these dots may be related to the lyrics.  B extends the dots to m. 1058, which has at best very faint dots in A, and to m. 1055, where A does not have them at all.  KP does not have any dots at all.  N follows A faithfully.  When the full ensemble takes up the melody starting at m. 1069, Sullivan has no more need for staccato.

m. 1060 Although Bassoon has quarter-notes in A, B, and KP, N makes them eighth note-eighth rest pairs to match m. 1068.  At mm. 1076 and 1084 it's back to quarter-notes, befitting the full-ensemble sound there.

mm. 1064-1065 A has sloppily-drawn cresc. hairpins, in upper strings only, against the Bassoon's entrance, which is sloppily marked p.  B incorporates these markings, and further marks the strings down to p, immediately following the crescendo from the prevailing mf.  N, like KP and SP/V, ignores these markings and lets the prevailing mf  continue.

mm. 1069 and 1070 KP Vla first two notes should both be B-sharp, not B-natural, A-natural, per A.  Same mm. 1077-1078 second time.

m. 1072 Sloppy cutoff in A, B, and KP:  Clarinets, Bassoon, and Cornets have dotted quarter, everyone else has just a quarter.  SP/V has a consistent quarter, and N does the same.  Same m. 1080 second time.

m. 1072 V2 first note is double-stop A over B, in both A and KP.  But the A clashes with the G# in other instruments, so N (and SP/V) corrects it to G#.  Same m. 1080 second time.

m. 1075 KP Cornet 1 and Viola parts have rehearsal letter "O" one bar early.

m. 1075 After three bars of p, A returns the dynamic to in Cello, Bass, and vocal lines only.  B, and SP/V, and some Kalmus parts extend this dynamic to the full ensemble.  Perhaps Sullivan was conflicted about how hard to nail the "And a good judge, too!" tag line:  unlike its appearance earlier in the opera, here the vocal lines lie quite low, and over half the wind instruments are tacet.  So for dramatic contrast with the unambiguously loud passages to come, N ignores the markings, and leaves the end of the phrase p.  Same m. 1083 second time.  N does apply the markings from A to the string parts at m. 1085.

m. 1084 A has an eighth-note pickup for the Judge against a quarter-note pickup for Cornet 1.  KP and SP/V, between them, have the opposite.  It seems like they should just be the same, and a quarter-note is consistent with similar phrases here and elsewhere in the opera.  B made the same decision.

m. 1085 B moved rehearsal letter "O" one bar later.  They mention in the notes that they did so, mixed in with their good reasons for splitting the previous bar into first and second endings.  But rehearsal letters are solemn things, and editors who choose to move them introduce incompatibilities with earlier editions.  So N does not contain any accommodation for this move, other than the present note.

m. 1085 KP Horn part has rehearsal letter "O" one bar late. 

m. 1085 A Cornet 1 has staccato dots which appear bogus.  B extends them to all instruments playing the same rhythm, here and in m. 1087.  Not in KP.  OUT.

m. 1086 All instruments except V2 and Vla have rests on beat 4, during the Judge's pickup note.  It's that way in A, B, and KP, but the string notes just seem sloppy, so OUT.  Same m. 1094 for just V2. 

mm. 1093-1096 A clearly calls for the orchestration from mm. 1085-1088 to be repeated here, and B does so faithfully.  But KP only has Clarinets, Horns, and strings here:  the copyist either misread Sullivan's shorthand, or decided that fewer instruments were needed here.  N restores Sullivan's full orchestral forces.

m. 1095 KP rehearsal letter "P" is not found in A or B, included in N (as "PP") for compatibility.

m. 1097 KP Ct1, Ct2, and Tbn1 part have rehearsal letter "Q" which does not appear in other parts, nor in any other source.

m. 1099 KP Tbn1 part has rehearsal letter "R" in the wrong place.  It should be at m. 1101.

m. 1101 KP rehearsal letter "R" is not found in A or B, included in N (as "RR") for compatibility.

m. 1104 KP Tbn1 has quarter-notes E and D.  Both should be D per A.

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