FATIMA SECRETS by Michael-Thomas Foumai

FOR PERUSAL ONLY

MICHAEL-THOMAS FOUMAI

FÁTIMA SECRETS For Flute & Three Narrators (2014)

Text Adapted from The True Story of Fatima: A Complete Account of the Fatima Apparitions JOHN DE MARCHI

Score

MICHAEL-THOMAS FOUMAI

FĂ TIMA SECRETS For Flute & Three Narrators (2014)

Text Adapted from The True Story of Fatima: A Complete Account of the Fatima Apparitions JOHN DE MARCHI

Date of Printing: September 26, 2014

Published by the Foumai Foundation: foumaifoundation@gmail.com ÂŠ 2014 by Michael-Thomas Foumai & Foumai Foundation Ann Arbor, MI, Printed in the U.S.A. All rights of performance and broadcast are strictly reserverd

COMPOSER NOTES The secrets of Fátima were a series of apocalyptic and prophetic visions given to three young Portuguese shepherds, Lúcia Santos and her cousins Jacinta and Francisco Marto, by an apparition of the Blessed Virgin Mary, beginning on May 13, 1917. On July 13, 1917 in Fátima, Portugal. The apparition is said to have entrusted the children with three secrets involving images of hell & the coming second world war, the assassination of Pope John Paul II, and the Satanic infiltration of the Vatican. Fátima Secrets adapts the story as told by John de Marchi as a mini-drama for solo flute and three narrators. The narrators both represent narrators, the shepherds themselves as well as the mysterious Lady when they all speak in unison. The work retells their story of transformation and struggle from youthful children into messengers of a Lady in white who would come to be known as the mother of Christ. - MICHAEL-THOMAS FOUMAI The first performance was given by Erika Boysen, Ann Arbor, Michigan, December 7, 2014.

PERFORMANCE NOTES - All performance indication found in the score. - Suggested multiphonics at the discretion of performer. Choose a multiphonic that most closely retains selected pitch and dynamic if notated multiphonic is difficult. - Narrators should be amplified if balance is problematic.

SUGGESTED PERFORMANCE SETUP

Narrators

Flute

INSTRUMENTATION Solo Flute 3 Narrators (Optional percussion, Three Tuned Crystal Glasses)

1. PROLOGUE 2. SHORTCUT ROSARY 3. CHASE AT THE COVA DA IRIA 4. LADY IN WHITE (THE FIRST APPARITION) 5. INTERLUDE 6. THE SECOND APPARITION 7. LÚCIA 8. THE THIRD APPARITION 9. VISION OF HELL 10. RUMINATIONS ON SIN 11. KIDNAPPING & HOAXES 12. THE FINAL APPARITION 13. MIRACLE OF THE SUN 14. EPILOGUE

DURATION: Approximately 20 minutes To perform version as solo flute without narration, perform following movements only with narration omitted: (I, 3, 7, 9, 11, 12, 13, 14)

For Erika Boysen

FÁTIMA SECRETS for Flute & Three Narrators (with Opt. Percussion)

1. PROLOGUE

TEXT ADAPTED FROM JOHN DI MARCHI



Adagio misterioso q=66

   

     

Flute

p sotto voce



   

sing



                             distant echo...

  

MICHAEL-THOMAS FOUMAI (2014)

  

  



   



echo... 13 A tempo                                                 

W.T.



    

             

  



   

    

sing

     mf



  

  

 

                           



poco rit.

poco accel.

ord.

  

   

  p

   



  

           pp

31                                        25

      

   

   

             poco accel.

 

cresc. cresc.



A tempo



   



  

   



   











poco rit.

                    mf

f f

 

   mf

dim.

 

dim.



Copyright © 2014 Michael-Thomas Foumai & Foumai Foundation (ASCAP) International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

 



  pp



FATIMA SECRETS

2. SHORTCUT ROSARY LUCIA: ON SUNDAY, THE 13TH OF MAY, IN THE YEAR 1917, DURING THE MIDST OF THE 1ST WORLD WAR, MY COUSINS JACINTA, FRANCISCO AND I, WERE HEADED TO CORVA DA IRIA.

 43          q=144





OUR FATHER WHO ART IN HEAVEAN, HALLOWED BE THY NAME, THY KINGDOM COME, THY WILL BE DONE ON EARTH AS IT IS IN HEAVEAN. GIVE US THIS DAY OUR DAILY BREAD, AND FORGIVE US OUR TRESPASSES, AS WE FORGIVE THOSE WHO TRESPASS AGAINST US, AND LEAD US NOT INTO TEMPTATION, BUT DELIVER US FROM EVIL. [HAIL MARY FULL OF GRACE, THE LORD IS WITH THEE. BLESSED ART THOU AMONG WOMEN, AND BLESSED IS THE FRUIT OF THY WOMB, JESUS] (Repeat up to 10 Times until Jacinta's interjection in m. 77)

            

      

          6 3    6                     3 3 p

                             

                              

            

p 3

    



più mf

f espress.

JACINTA: CAN WE DO IT MY WAY?

Scherzando q=144  

   

 

  

 

  

 

  

off 76 subito q=144 cut on LONG             73                       

         On cue from m.76 JACINTA: (Interjecting) THIS IS TAKING TOO LONG!

poco rit.

LUCIA: WE MUST SAY OUR ROSARY FIRST!

q=60

46 Adagio cantabile q=60                        

ALL: (Recite over m.46-77) IN THE NAME OF THE FATHER, THE SON AND THE HOLY SPIRIT.

JACINTA: LUCIA! THE CHURCH BELLS ARE RINGING! I'M HUNGRY! AND I WANT TO PLAY!

Everyone stops praying

sfp

 

* Music entrance begins quickly after underlined text in narration is complete. Unless notated, all musical entrances should enter quickly after or near the completion of underlined text. A smooth fluid transition between text and music is desired.

  

 

  

 

          

FATIMA SECRETS

ALL: (Quickly, hurried) OUR FATHER, HAIL MARY (10x) (REPEAT ALL 4x)

JACINTA: (Elated) DONE! Repeat as needed using any combination of the vamp options to create variety. (Stop when Jacinta yells DONE)

82 poco accel.                           

q=144

(q=200)

soffiata LUCIA: OKAY, OKAY... LETS DO IT YOUR WAY.











          q=144

 

                  



fltz.





fltz.

     

      

       



        

JACINTA: LETS PLAY!

    



         

attaca mvt. 3 when laughter begins.

 

   

 









All erupt into laughter.

   

 

 

FATIMA SECRETS

3. CHASE AT THE COVA DA IRIA Animato q=144



                                                            f

103



110



117



 

                           

   

   

       

                        

sub. p

       

          f

                                                             ff

         

       

                             

                  124                                         dim.

    130                                                      130

       sing

     135

      

     

 



 

  

    

        

    



  

      

    

     

    

 

 

      

   

 

 

 

 

             

   





                                                      141       f

sfp

FATIMA SECRETS

                           147                                     f

sfz

       sfz

 153 5  breathy                                                         6 6      ff fltz.

151

breathy                                                    fp f fltz.

157

165                                                  sing                              p 165

  171



 

       

                                       f cresc. 

   179             





         jet whitsle           ff



  

JACITA: LOOK! WHAT A BEAUTIFUL LADY!

fff

4. LADY IN WHITE (THE FIRST APPARITION) LUCIA: (Narrating) IT WAS A LADY DRESSED IN WHITE, MORE BRILLIANT THAN THE SUN, CLEAR AND STRONGER THAN A CRYSTAL GLASS FILLED WITH THE MOST SPARKLING WATER PIERCED BY THE BURNING RAYS OF THE SUN.

184

h=60

Hollow Tone*

    





p under narraration

187

 

  

 

* Use alt. fingerings to create a bamboo timbre.

  

   







 



FATIMA SECRETS

                

189

Whisper Tone (W.T.)

189

LUC.

JAC.

FR..



 

Crystal Glass pp Crystal Glass

 





Crystal Glass pp

              



LADY (ALL): I WANT YOU TO COME HERE FOR SIX CONSECUTIVE MONTHS, ON THE 13TH DAY, AT THIS SAME HOUR. I WILL TELL YOU LATER WHO I AM AND WHAT I WANT. LUCIA: AND I, AM I, TOO, GOING TO GO TO HEAVEN?

LUC. JAC. FR.

LUCIA: AND JACINTA?

LUC.

JAC. FR.

                     p espress. f     193 begin on Hour



 



   



tone color trill use alt. fingering ( )



 

 198

JAC. FR.





    





  

LUC.

 



LUCIA: YES. WE WANT TO. LADY (ALL): THEN YOU WILL SUFFER A GREAT DEAL, BUT THE GRACE OF GOD WILL BE YOUR COMFORT. SAY THE ROSARY EVERY DAY TO BRING PEACE TO WORLD AND THE END OF THE WAR

193

    6                          

LUCIA: AND FRANCISCO?

DO YOU WANT TO OFFER YOURSELVES TO GOD TO ENDURE ALL THE SUFFERING THAT HE MAY CHOOSE TO SEND YOU, AS AN ACT OF REPARATION FOR THE SINS BY WHICH HE IS OFFENDED AND AS A SUPPLICATION FOR THE CONVERSION OF SINNERS?

LUCIA: WHAT DO YOU WHAT OF ME?

 

196

LADY (ALL): YES.

LADY (ALL): HE TOO SHALL GO, BUT HE MUST SAY MANY ROSARIES.

LADY (ALL): I AM FROM HEAVEN

 



LADY (ALL): YES, YOU SHALL.

LUCIA: WHERE ARE YOU FROM?

 





LADY (ALL): FEAR NOT. I WILL NOT HARM YOU.



          mf

  

       

Cut off after War

       

FATIMA SECRETS

201 LUCIA (As Narrator) SHE BEGAN TO ELEVATE HERSELF SERENELY, GOING IN THE DIRECTION OF THE EAST UNTIL SHE DISAPPEARED IN THE IMMENSITY OF SPACE, STILL SURROUNDED BY A MOST BRILLIANT LIGHT THAT SEEMED TO OPEN A PATH FOR HER THROUGH THE MYRIAD GALAXIES OF STARS.

(AS LUCIA) FRANCISCO, JACITA WE MUST KEEP THIS A SECRET...

 209

   p



accel.

   

   

mf dolce

Meno mosso h=40

sing

 

                       3

JACINTA: I WILL NOT TELL ANYONE

   



sfz half breath/pitch

  

LUCIA: SECRET



    

 

LUCIA: NOT A WORD, EVEN TO YOUR MOTHER?

q=160

        

JACINTA: I WILL NOT TELL ANYONE

FRANCISCO: SECRET

q=180

            

     

207 Vivace q=160      207          mf p

      

rit.

                       204





q=120 (h=60)

201

JACINTA: SECRET!

    



    

ALL: WE WILL KEEP IT A SECRET

FATIMA SECRETS

8 5. INTERLUDE

                                            Animato q=144

211

Slap Tongue

 fltz.                               

 fltz.                      

218



 

fltz.                                       

                                                   228

sub. p

        sing



sub. p

         233







 





       

 

  sub. ff

235

repeat until underlined text.  

 236 236

          f



 

      

 

fltz.

                                           6 6 7 7 7 7                              6 6

                  mf last time

235

  

Slap tongue

begin at m. 240 LUCIA: BUT HOW COULD LITTLE JACINTA KEEP IT A SECRET, WHEN SHE HAD SEEN SUCH A BEAUTIFUL LADY? JACINATA NEVER KEPT ANY SECRETS FROM HER MOTHER, AND TODAY WHEN THE GREATEST THING ON EARTH HAD HAPPENED, HOW COULD SHE KEEP IT FROM HER MOTHER?

not S.T.

          

 NEWS SPREAD AND CAUSED A SENSATION  THE THAT IN NO TIME AT ALL IT SPREAD ALL THROUGH (LUCIA:)

THE VILLAGE FINALLY REACHING MY FAMILY.

                           

repeat until underlined text.    

p under dialogue



FATIMA SECRETS

LUCIA: MOTHER WANTS ME TO SAY I LIED.

    

238

fltz.

 

HOW CAN I SAY THAT? WHAT AM I GOING TO DO?

    

   

LUCIA: JACINTA, LETS JUST PLAY...

243 243                      mf

FRANCISCO: (To Jacinta) IT'S ALL YOUR FAULT WHY DID YOU TELL IT FOR?

  

       

 

JACINTA: NO!

   

JACINTA: IT'S ALL MY FAULT... BUT NEVER AGAIN WILL I TELL ANYONE ELSE.

        

LUCIA: IT' OKAY...

                                  

FRANCISCO: COME ON...

                                                   

247



JACINTA: I DON"T WANT TO PLAY TODAY!

(  )     color trill   253                                   pp



overblow into harmonics

255 255 LUCIA: WHEN NOON CAME, WE GAVE OUR LUNCHES TO THE SHEEP. AS THE DAYS WENT BY, WE THOUGHT IT MORE PLEASING TO THE LADY TO GIVE OUR LUNCHES TO POOR CHILDREN INSTEAD OF SHEEP.



begin at FR: Sheep



              p

                   

260

 

FRANCISCO: WE CAN GIVE OUR LUNCH TO THE SHEEP?



   

258

LUCIA: YES, BUT HOW ARE WE GOING TO MAKE SACRIFICES?

            f

Adagio affettuoso q=50

   

THE LADY TOLD US TO SAY THE ROSARY AND MAKE SACRIFICES FOR THE CONVERSION OF SINNERS. NOW WE HAVE TO SAY EVERY WORD IN THE HAIL MARY AND OUR FATHER.

  

                 mf

(LUCIA) MOTHER SOUGHT AGIAN TO OBTAIN A CONFESSION. SHE TOOK ME TO THE PASTOR. I WAS TO FALL ON MY KNEES AND CONFESS THE LADY WAS A LIE.

FATIMA SECRETS

   261

       fltz.

                   

   

                            sing

6. THE SECOND APPARITION Misteriosoo h=60

    265

FRANCISCO: ON THE 13TH OF JUNE, IN THE YEAR 1917, THE LADY APPEARED. LUC.



    

LUC.

JAC.

FR.

269

 

           

 (C.G.)   

JAC.

FR.

(C.G.)

W.T.



p (C.G.)

  

               

 



(Begin on m.279) LUCIA: YOU TOLD ME TO COME HERE TODAY. WHAT DO YOU WANT ME TO DO!

Stop after narration is complete. (GOD)

   

LADY (ALL): I WANT YOU TO COME HERE ON THE 13TH OF NEXT MONTH. SAY THE ROSARY. I WANT YOU TO LEARN TO READ AND WRITE AND LATER I WILL TELL YOU WHAT ELSE I WANT.

  

LUCIA: WILL YOU TAKE US TO HEAVEN? LADY ALL: I WILL TAKE JACINTA AND FRANCISCO SOON. YOU, HOWEVER, ARE TO STAY A LONGER TIME.

   

LUCIA: AM I GOING TO STAY HERE ALONE? LADY (ALL): NO. I WILL NEVER LEAVE YOU. I WILL BE YOUR REFUGE AND THE WAY THAT WILL LEAD YOU TO GOD.

7. LÚCIA

Adagio malinconico q=60

Begin quickly after narration is complete. 270

          p dolce

                                     3

                                   3

274

p cresc.

FATIMA SECRETS

                   

278

281                                  

                                                           6

f espress.

283

         

286

                                

             

288

     

dim.

          p

8. THE THIRD APPARITION

(recite over m.293-304) JACINTA: ON JULY 13TH, IN THE YEAR 1917, THE LADY APPEARED. LUCIA: WHAT DO YOU WANT OF ME?

      

  

   

     

pp sempre

301

LADY (ALL): CONTINUE TO COME HERE EVERY MONTH. IN OCTOBER, I WILL SAY WHO I AM AND WHAT I DESIRE. A MIRACLE SHALL HAPPEN SO THAT MANY MAY BELIEVE.

  

  

LADY (ALL): I WANT YOU TO RETURN ON THE 13TH OF NEXT MONTH. CONTINIUE TO SAY THE ROSARY EVERY DAY TO 297 OBTAIN PEACE FOR THE WORLD AND THE END OF THE WAR. LUCIA: WILL YOU PLEASE TELL US WHO YOU ARE? AND PERFORM A MIRACLE SO THAT OTHERS MAY BELIEVE?

q=60

    

293

         

       



Repeat if narration not complete.

 

 

 



305   305

Hollow Tone



Begin after narration complete.

   

 

sing p

         3



   3





                       

tone color trill

 





 

FRANCISCO: THE LADY OPENED HER HANDS, THE LIGHT REFLECTING FROM THEM SEEMED TO PENETRATE THE EARTH.

FATIMA SECRETS

9. VISION OF HELL

  (sing)         309       *              Agitato demonico q=152-160

color trill (

309b



)

           

   309d   

   

fff

(h)                 fltz. 7                                 fltz.

    309c       

fff



  



   

                                   

ffp

     6 breathy 5                                                                 (harm.)

(  )                                        309e                                  fp

   

309f

 

                                                                          

  

 9                        3 7 309g

ffp

      sing

ffp

overblow

                                9

* sing fast and wild, downward and zig-zagging gestures.

      

(sing) p

 



  

   

FATIMA SECRETS

   309h 

                7



 

        7

fff

         

fff

309i rapidly ascend with random chromatic pitches.



309j

 





sub. p

  sing



 

grad. wide trill.



  ff



309k

 



  

 

fff



fff



jet whistle

  

 sfz  

begin quickly after flute cut off. JACINTA: WE SAW INTO A SEA OF FIRE. IMMERSED WITH DEVILS AND SOULS WITH HUMAN FORM.

310 q=70



 pp

JACINTA: FALLING UPON EVERY SIDE LIKE FALLEN SPARKS. FRANCISCO: WITHOUT WEIGHT OR EQUILIBRIUM, AMIDST WAILING AND CRIES, PAIN, W.T. DESPAIR..

   

  

  

  

  

  

fff

   

310

LUCIA: THEY WHERE TRANSPARENT BLACK OR BRONZA EMBERS FLOATING AND SWAYED BY FLAMES.



  

  sfz  

 





       

interject pitches lower pitches while continuing high random pitches. Take breaths when needed.

313

 



fast, high, random chromatic pitches

   

sfp







color trill

  

 

  

  

  

  

cont. when text is complete

 



FATIMA SECRETS

322

                     

322 q=60

LADY (ALL) YOU HAVE SEEN HELL. WHERE SOULS OF SINNERS GO. TO SAVE THEM, ESTABLISH MY IMMACULATE HEART. MANY SOULS WILL BE SAVED AND THERE WILL BE PEACE. THE WAR WILL END.

              

326

   

330

THE GOOD WILL BE MARTYRED, NATIONS WILL FALL.

         

 sing    p

340





    

   

(wait for text to end)









  

ALL: PENANACE, PENANCE, PENEANCE!

                               ff

sfp

LUCIA: WE SAW AN IMMENSE LIGHT; A BISHOP IN WHITE.

sfp

 

 

fff

    337

 

FRANCISCO: ASCENDING A STEEP MOUNTAIN HE IS KILLED BY GUNFIRE.

     

LUCIA: TWO ANGELS, EACH WITH A CRYSTAL ASPERSORIUM GATHERED HIS BLOOD AND OF THE THE MARTYRS.

f poss.

                               

FRANCISCO: AND WITH IT SPRIKLED THE SOULS MAKING THEIR WAY TO GOD.

   

JACINTA: POINTING TO THE EARTH WITH HIS RIGHT HAND, THE ANGEL CRIED:

FRANCISCO: WE THEN SAW AN ANGEL WITH A FLAMING SWORD; IT GAVE OUT FLAMES AS THOUGH THEY WOULD SET THE WORLD ON FIRE.

very quickly

p sotto voce

ANOTHER WAR WILL EMERGE. WHEN YOU SEE A NIGHT ILLUMINATED BY UNKNOWN LIGHT, IT IS THE GREAT SIGN FROM GOD. HE WILL PUNISH THE WORLD FOR ITS CRIMES BY MEANS OF WAR, HUNGER AND PERSECUTION.

333  333    

 f poss.

poco rit. 341 q=60    341                                       p

       sing

 

  

           

  



 



 

FATIMA SECRETS

10. RUMINATIONS ON SIN

           sfp 346

  

q=60

               

348               



sing

                p

begin m. 349 LUCIA: WHAT ARE YOU THINKING ABOUT JACINTA? JACINTA: I AM THINKING OF HELL, AND POOR SINNERS HOW SORRY I AM FOR THE SOULS THAT GO THERE...THE PEOPLE THERE, ALIVE, BURNING AS WOOD IN FIRE...LUCIA, WHY IS IT THAT THE LADY DOES NOT SHOW HELL TO SINNERS? IF THEY SAW IT, THEY WOULD NOT COMMIT ANY MORE SINS, SO THEY WOULD NOT

       349



               

GO THERE. WHY DID YOU NOT TELL THE LADY TO SHOW HELL TO ALL THOSE PEOPLE? LUCIA: I FORGOT JACINTA: WHAT HAVE THOSE PEOPLE DONE TO GO TO HELL? LUCIA: I DONT KNOW MAYBE THEY SINNED BY MISSING SUNDAY MASS.

              352



            

                      

MAYBE THEY SAID UGLY WORDS, STOLE, SWORE... JACINTA: AND DO THEY GO TO HELL JUST FOR ONE WORD? LUCIA: IF IT IS A BIG SIN... FRANCISCO: LUCIA, I SAW YOU WITH THE LADY IN THE LIGHT THAT CAME TOWARDS US. BUT JACINTA AND I WERE IN THE LIGHT

                                  355



                

     

RISING UPWARDS. JACINTA: I SAW IT TOO! LUCIA: YOU AND JACINTA WILL GO TO HEAVEN SOON, BUT I HAVE TO STAY IN THE WORLD LONGER. FRANCISCO: FOR HOW MANY YEARS? LUCIA: I DON'T KNOW, BUT FOR MANY.

                     

 

 

 

poco rit.

358













 



FATIMA SECRETS

11. KIDNAPPING & HOAXES

q=160

LUCIA: IN THE DAYS AND MONTHS FOLLOWING, NEWS OF THE LADY SPREAD.

repeat until underlined text. tongue slap breathy

             pp

361



  

MANY BEGGED TO KNOW OUR SECRET. WHAT SHE TOLD US, THE VISIONS AND WHAT COULD COME TO PASS. BUT WE DID NOT SAY IT.

MANY CAME TO COVA DA IRIA, AND NO ONE SAW THE LADY WHEN SHE APPEARED TO US.

    





   





    

breathy

           

FRANCISCO: WE WERE KIDNAPPED BY THE COUNTY MAGISTRATE, SO HE COULD KNOW THE SECRET. repeat until underlined text. breathy

FRANCISCO: RUMORS SPREAD THAT THE DEVIL WOULD APPEAR. 366 soffiata

367                                                                   sub. p

  

ff JACINTA: THEY THREATEND TO BOIL US IN OIL.

369

   

  

  

  

 

 

 



sfz

374



         

  ff



FRANCISCO: THEY WOULD BURN US. ord. 378

           









  

                   sub. p  



     

  

 

   







  

 

sfz

     



 

 

    

  

sfz

  

 

sub.pp



 

     

  

   

  



  

                                              sub.p ff

383

 

376 fltz.                      

THEY DEMANDED THE SECRET!

LUCIA: WE COULD ONLY PRAY PRAY TO SEE OUR PARENTS AND PRAY TO SEE EACH OTHER repeat until underlined text. ord. breathy

383

 

sfz

WE REMIANED SILENT repeat until underlined text. breathy ord.

  







  

 



FATIMA SECRETS recite over bars 388-419 ALL: [HAIL MARY FULL OF GRACE, THE LORD IS WITH THEE. BLESSED ART THOU AMONGST WOMEN, AND BLESSED IS THE FRUIT OF THY WOMB, JESUS] Repeat 10 Times fltz.  400  

 



 

      p



  

 



394

  

    

388

     

    cresc.

  

  

                   

408







  

  







           3

417

 

 

 

 

  

 





  



                           p cresc. 

  



  406   5             

   



  

 fltz.    3       413                                              3  

 

  

 

 

 



  

  ff



 

             sffp

  

      fltz.

LUCIA: SOON WE WERE RELEASED FROM OUR CAPTORS AND RETURNED TO OUR FAMILY.

420 Allegro giocoso q=144 poco rit.                                                      f

               423                    Andante grazioso q=90

mf espress.

427



  mf

poco rit.

         

                                

Dolcissimo q=50



poco rit.

 

 

FATIMA SECRETS

12. THE FINAL APPARITION

      

433 Misterioso q=60

ALL: ON OCTOBER 13, IN THE YEAR 1917 THE LADY APPEARED. LUCIA: WHAT DO YOU WANT OF ME?



LADY (ALL): BUILD A CHAPEL IN MY HONOR. I AM THE LADY OF THE ROASARY. CONTINUE TO SAY THE ROSARY EVERY DAY. THE WAR WILL END SOON.

LADY (ALL): SOME YES, OTHERS NO. LUCIA: DO YOU WANT ANYTHING MORE?

  



LUCIA: THEN NEITHER WILL I ASK ANYTHING MORE OF YOU.





 



 

   

   

    

         

 

    



  



443     

LADY (ALL): NOTHING MORE

445

   

438

LUCIA: I HAVE MANY THINGS TO ASK OF YOU: TO HEAL SOME SICK PEOPLE AND TO CONVERT SOME SINNERS.

   

C.G.

       

  

 

 

       

 

Adagio malinconico q=50

                                               

445

ord.

449



453



mf espress.

   3



             3

cresc.

      

    

più f

     3

                  3

               

         dim.

3 3                                              3        3 cresc.

poco accel.

458

                                                3 3

463

      

A tempo

466





                ff

LUCIA: THE LADY ASCENDED INTO THE CLOUDS. AS SHE DISSAPEARED, THE MIRACLE SHE PROMISED APPEARED TO THE THOUSANDS OF PEOPLE WHO HAD COME TO SEE THE LADY. THE SUN DROPPED FROM THE SKY.

FATIMA SECRETS

THIS PAGE HAS BEEN LEFT BLANK TO FACILITATE A PAGE TURN. V.S.

FATIMA SECRETS

20 e. =192 (q=144)

         

468

 



13. MIRACLE OF THE SUN                                       

 

 

                        p       481                                                       474

     

                           

492           

488

           494                            6 6   sub.f sub.f p                               500                       fltz.                  p fp p

             

fltz.        505                                                    p ff 6 ff 6                 511  511                                          3 3 3 mf 3

                        515               fltz.                          f 3 3  ff              520                                                  mf

FATIMA SECRETS

                          526                            cresc. poco a poco

 fltz.                532     542



 

                   

      ff

    

539                                             p

  

                              

                                                          p 557                      553                                     548

cresc.

558



563



569



                        

574 574

  

        

             fp

                                                                      

         p

               





                                         sf

   

 

    

  

   

                 

               580                                               ff

FATIMA SECRETS

585                585                                    mf

 

sing



    



                        593



600 600

  



 

  

 

  



              ff



  



      





      

 



  

             

 

  

   

                                         cresc.  p

         606                                             ff p

                         611                                          ff ff p 618



625



     

 

    

                                                   sfp

         ff

       accel.                    fff

FATIMA SECRETS FRANCISCO: AFTER OCTOBER 13TH, JACINTA, LUCIA & I, RETURNED TO OUR ORDINARY ROUTINE LIFE

LUCIA: IN APRIL, IN THE YEAR 1919, SUFFERING FROM INFLUENZA, THE LADY CAME TO CLAIM FRANCISCO MARTO.

I SAW THE LADY. HER RADIANT BEAUTY WAS BLINDING TO THE EYES, BUT I NEVER HEARD HER SPEAK.

JACINTA (As Narrator) JACINTA SOMETIMES HAD NOT HEARD THE LADY VERY WELL AND HAD FORGOTTEN MANY THINGS

LUCIA: IN FEBRUARY, IN THE YEAR 1920, SUFFERING FROM INFLUENZA, THE LADY CAME TO CLAIM JACINTA MARTO. ALL (As Narrator) ON FEBRUARY 13TH. IN THE YEAR 2005 LUCIA DE JESUS DOS SANTOS JOINED HER COUSINS JACINTA AND FRANCESCO.

14. EPILOGUE Adagio misterioso q=66 Hollow Tone

   

p sotto voce



 

  

 

     p

distant echo...

   pp

       

       

639                                           ord.

634

echo... 641      



   pp

     

  



  





  

  

   p

   

 sing    

 

  

 

              pp

  pp

   



  

649                                   

               

657

        657





663



 

 



 

 



   

   

 

   













 





           



 

rit.

ppp











dim.

   



  

  

              

cresc.



ppp