Key to measure indications:
A/B/C = Page/System/Measure

14/3/1: This is perhaps a variant text rather than an erratum, but I believe the preferable lyric for the chorus is "We're entirely in the dark" rather than "We're at present in the dark." Only the Defendant should say the latter, so that the Jury's response is not merely a doglike imitation of the Defendant's comment but a clever riposte to it, justifying the ironic laughter which follows.

24/1/2: The second note of the tenor line should be a quarter-note, not an eighth-note (on the word "to" of "to be a judge").

29/3/1: "Sessions or Ancient Bailey" (not "of Ancient Bailey")

39/1/4: Angelina's note should be a regular half-note, not a dotted half-note.

60/1/1: The Defendant's note for the word "am" should be C-natural instead of C-flat.

66/1/3: Chorus soprano: The note over "for" should be C-flat.

76/2/1: Counsel's first note should be a D, not a G.

76/2/3: In the top staff, the line "I do object," beginning in this bar, is actually sung by Angelina, although the note at the beginning of the system was sung by the Judge.

76/3/1: Angelina's "-ject!" should be a C, not an E.

77/3/1: Judge's line (and piano part): The sixth eighth-note should be B-natural, not B-flat (on "all" of "I can't sit up here all day"). What tipped me off on this one is the complimentary flat sign appearing on the first B-flat in the following measure. The only reason for printing it that way would be that an alteration had occurred in the previous measure (and sure enough, the B-natural checks out in both Kalmus and Broude).

78/2/3: The last note of the Judge's line should be an E-natural.

83/1/1: Chorus bass (and piano part): The D should be an eighth-note.

1/1/2: This is actually not so much an erratum as a variant. The Broude edition shows a significant change to the very first orchestral phrase of the opera. The third and fourth eighth-notes of this bar are altered from E/C-sharp to D-sharp/E. This is confirmed by a photocopy of the phrase written that way in Sullivan's own handwriting. My listing of this variant does not necessarily indicate my personal agreement with it (I'm used to it the other way, and like it!), only an acknowledgement of its existence.

11/1/4: Oddly enough, this bar was left empty, leaving the Usher to sing his final "must be" a cappella. It should of course be played in the same way as in the other two verses (see 8/4/4 and 9/4/4), with the same two accompanying chords.

15/3/4: The accompaniment under "I was a lovesick boy" is incorrect. The chords on beats 2 and 3 should be E7 chords (the same as those on beats 5 and 6) instead of B7 chords.

17/2/2: The rhythm of the second and third notes in the right hand is altered in the Broude edition. In both the Schirmer and the Kalmus editions, the notes F-sharp/B both appear as 16th-notes, with the F-sharp on the third beat. In the altered version, the F-sharp is a 16th-note PICKUP to the third beat, and the B is an eighth-note resting squarely on the third beat (the eighth-rest on the second beat thereby becomes a 16th-rest). I think the Broude version imparts a much bouncier feeling to the phrase.

20/2/4: The Kalmus full score gives the following notes, in place of the scalar passage in the right hand: A-B-A-G-E-C#-A-C# (the first two notes are ascending, after that the line descends to the penultimate note (A), and the last note ascends to C#. The final two right-hand chords in measure 20/2/5 would then be played as notated, without the 8va.

22/1/2: In the third eighth-note of the right-hand part, the middle note of the chord should be F-natural, not F-sharp.

40/4/2: The first note in the left hand should be B-flat, not C.

46/2/3: Left hand: Beats 1 and 2 should be an "oom-pah", a D-flat octave followed by the second inversion chord now shown at beat 1. The parallel passage at 47/3/1 is correct.

49/3/2: In the right-hand chord on the third beat, the bottom B is specifically marked with a flat, which is already in the key signature, and would not normally need to be written, particularly since the previous chord also contained the same B-flat. The marked note should be a B-DOUBLE-flat, making the harmony on beats three and four G-flat MINOR rather than G-flat Major.

52/1/4: Beat 3 (under "lover") should be two repeated eighth notes (both hands), not one quarter note. Only the trombone and bassoon have the notes as currently written in Schirmer. Everyone else has repeated eighths.

56/4/3-4: The right hand melody should be changed to the following ascending line: G-B-C-D-E-F#-G. What is shown in Schirmer is a repetition of material from the introduction to this song; the ending is different in the postlude.

Page 57: In the right-hand part, many phrases on this page are marked with a legato slur. According to Broude, the only phrases which should be so marked are the ones on 57/2/1-2 and 57/4/1-2, and that the others should all be staccato. As partial confirmation for this, I noticed that in the Kalmus edition the only legato marks to appear are in the measures noted above (though the other phrases are not specifically marked staccato).

58/1/5: The chord on the fourth beat should have a fortissimo mark.

66/1/2: On the third beat, the right hand has been given duplets instead of triplets.

70/1/2: The left-hand chord on the third beat (the first of the two marked sforzando) should have a natural on the top B (G Major instead of G minor).

77/3/1: See Vocal Errata.

78/3/1: The second eighth-note in the right-hand piano part should be an E-natural.

78/3/4: The first chord should be G Major, not G minor (put a natural on the B of the chord underlying "marry" of "I will marry her myself")... unless of course you wish the denouement to be considered an unhappy one, in which case you might as well flat the E on the word "her" as well!

83/1/1: See Vocal Errata.

89/2/2: Beat 3 in the left hand should be an F# octave, not a D octave.

Archive Home  |  Opera Index  |  Trial by Jury