Adamo GOSPEL OF MARY MAGDALENE vol 3

Mark Adamo

THE GOSPEL OF MARY MAGDALENE

FULL SCORE ACT II

From the G. Schirmer Rental Library Date of Printing_________

G. Schirmer, Inc. New York, NY

Mark Adamo

THE GOSPEL OF MARY MAGDALENE commissioned by San Francisco Opera David Gockley, General and Artistic Director

Adapted from the texts of, and research on, the Canonical and Gnostic Gospels

CONTENTS

ACT II Scene 1.........................................................................521 Scene 2.........................................................................570 First Interlude...............................................................607 Scene 3.........................................................................620 Scene 4.........................................................................641 Scene 5.........................................................................679 Second Interlude..........................................................704 Scene 6.........................................................................725 Scene 7.........................................................................738

G. Schirmer, Inc. New York, NY

When religion becomes artificial, it remains for art to salvage the true essence of religion by perceiving its mythical symbols—which religion would have us believe to be the literal truth—only according to their figurative value, in order to make us see their profound, hidden truth through idealised representation. Richard Wagner

Why is there still a continuing sense, ranging from unease to revulsion, that arises in us when we hear the suggestion that Jesus might have been married? I suggest that far more than any of us realize, we are subconsciously victimized by the historic negativity toward women that has been a major gift of the Christian church to the world. J. S. Spong, Born of a Woman

If the Savior considered her to be worthy, who are you to disregard her? The Gospel of Mary, 10:9

SYNOPSIS ACT ONE One Midnight. Mary’s apartment. Mary Magdalene—wealthy, needy, searching—is rejected by yet another married man in whom she wants to “lose herself to find herself:” whom she wants to “hold and never let go.” His vengeful wife Tamar storms Mary’s bedroom and drives her into the street, terrifying Mary into near-madness: she’s about to have Mary stoned when the driven, haunted preacher Yeshua (Jesus) interrupts. When Tamar accuses Mary of adultery, Yeshua asks Tamar if she, herself, isn’t living with another man? Caught out, Tamar stalks out: gently, but also somewhat patronizingly, Yeshua talks Mary down from her trauma. She defends her affair as part of her search for meaning: Yeshua, oddly vehement, tells her she’s mistaken to look for it in erotic love alone. Mary asks how she can reward him for rescuing her: he tells her to find him at the synagogue at Capernaum. Two The next day. The synagogue at Capernaum. Mary finds two other itinerant rabbis, as well as Yeshua, preaching. But he disgusts her—he’s all fire-and-brimstone, wanting to bring not peace, but a sword—except at the end of his lecture, when he utters a brief, inchoate message of renunciation so beautiful, and so reminiscent of what she wanted in the scene before, that she halts, transfixed. But a smooth Pharisee questions Yeshua’s credibility, hints he’s illegitimate. Yeshua’s mother Miriam, and his brothers, appearing, try to avert an impending fracas: but Yeshua eludes his family and flees, rejecting them with such fury it shocks Mary. Miriam, recognizing Mary from Yeshua’s description of her, warns her to stay away from her son before he ruins her life, claiming that while Yeshua preaches love, he doesn’t practice it. Mary counters that maybe the true Yeshua is the man who saved her, not the angry preacher she’s just seen: and maybe she can teach him something. Miriam, impressed, blesses her and leaves: Mary decides to try to join the group. Three Days later: a café. Peter, Yeshua’s principal disciple, tries to repel Mary as Miriam did: he affirms that Yeshua’s going to be a political leader and free the Jews from the Romans, not merely preach of personal salvation. Mary, determined, dangles before him an offer of the kind of financial support she knows the group needs. Peter demurs: but Yeshua entering, recognizes Mary, and offers her an audition of sorts—if Mary can hold her own in the fractious, all-male group of his followers, they’ll accept her. Unseen by them all, the two Police from the first scene, suspicious that Yeshua’s group may be plotting political rebellion, have recorded their every word. Continuous: the group’s safe room. Yeshua leads Mary into the group: over time—though she disagrees often with Yeshua on matters like divorce, and often dominates the discussion—she earns their welcome. Peter worries that Yeshua is falling in love with Mary, and that the more Yeshua listens to her, the less he’ll want to take on the Romans. He plots to banish her. Mary struggles not to fall in love with Yeshua. The Police disrupt a meeting of the followers with their report of John the Baptist’s murder. By subtly quoting Peter, they hint they know of the group’s subversive plans, and that Yeshua could be murdered next if they continue. Yeshua flees: Mary pursues him. Yeshua confides the anguish of his abandonment of John the Baptist, his mentor, whom he did not defend. Mary consoles him with the same gentleness he showed her when they first met. They kiss: and walk to Yeshua’s apartment. Four Dawn. Yeshua’s apartment. Waking after lovemaking, Mary finds Yeshua withdrawn. She claims her desire for him makes her neither wrong nor insincere about striving for something higher. He doesn’t respond. Feeling she’s ruined things, Mary makes to go: Yeshua asks her to stay. Five Cana. The night of their wedding. Miriam dresses Mary’s hair. It’s against tradition, but Mary, trailed by Miriam, impulsively goes to Yeshua’s quarters to see him. Yeshua is being toasted by his followers when a haggard Peter bursts in. Yeshua dismisses the other men. Outside, Mary overhears Peter telling Yeshua to reject Mary, quoting Yeshua’s own words to remind him that women aren’t worthy of a life like theirs. Yeshua placates Peter by claiming he’ll “make Mary male”—that she’ll become less female as she evolves spiritually. Mary wants to burst in: Miriam drags her away, claiming Yeshua’s cruelty is her (Miriam’s) fault. Mary demands to know why Miriam constantly takes the blame for her son’s actions. Miriam confesses that Yeshua was illegitimate: she’d gotten pregnant by someone else while engaged to Joseph, and Yeshua blames Miriam for their resulting life of shame. As Mary comforts Miriam, Yeshua’s followers bear him across the courtyard to begin the wedding. Mary and Miriam withdraw. The followers cue Mary, who doesn’t appear; after repeating their summons, Mary appears, dressed not as a bride but as a groom. Yeshua dismisses the party. Mary excoriates Yeshua for his treatment of Miriam and herself, claims she’s had enough. Yeshua protests that he needs her. Mary retorts that Yeshua needs Peter, who doesn’t accept her; she threatens that, unless Peter makes peace with her, she’s gone. Yeshua summons Peter, forces him to kneel to Mary. Yeshua and Mary marry.

ACT TWO One Day: A hillside. Yeshua, Mary, Miriam, Peter, The Two Police: a crowd. Yeshua, transformed by joy, teaches on a hillside. Now Yeshua dismisses the need for fasting or circumcision, claims God is for all nations, agrees that his forbears were right when they claimed “The only rule is to love your neighbor as yourself.” The crowd, energized, claims Yeshua as their political, as well as spiritual, Messiah: the Police attempt to quell them by leading the people in a hymn to the Emperor, but the people won’t be cowed, at which point the Police break up the rally by force. Peter spirits Yeshua, Mary, and Miriam to safety, and attempts to persuade Yeshua to accept the people’s coronation. Yeshua refuses: his movement is to remain spiritual, not political. Peter insists that saving souls can’t matter if people’s bodies are still enslaved: contends that if Yeshua wants to do what’s best for women, as well as for men, he’ll make sure that innocent girls like his mother will never be shamed by their oppressors again. Cornered, Mary reminds Yeshua of his promise never to abandon her, but Peter argues that if Mary truly loved Yeshua, wouldn’t she let him fulfill his mission? Mary threatens Yeshua that if he storms the Temple, she’ll not be here when he returns. Yeshua tells them both to leave him alone. Interlude The dark before dawn. A grove of olive trees. Yeshua prays. Peter has gathered the followers further down the hill: they wait for Yeshua to make a decision. Night falls. Yeshua decides; descends to them from his place in the grove; follows them back to the safe room. They are dressing and arming themselves for the Temple raid when Mary appears. She is dressed almost as a bride on her wedding night, and carries a tall alabaster jar. Two Dawn. The safe room. Yeshua dismisses the followers. Mary accepts that she must lose Yeshua, anoints him as a blessing. Three Months later: the morning of Yeshua’s execution outside of Jerusalem. As the Chorus intones passages from Zephaniah, Peter denies he knows Yeshua so as to elude suspicious questioners. Yeshua, trailed by Mary and Miriam, drags his cross to the Hill of Skulls. The two police render to an unseen superior their report of Yeshua’s ride into his arrest, torture under Herod, and crucifixion. Yeshua dies: Mary cradles his body.

Four Before sunrise, the next morning. The ruined safe room. Peter relives the guilt of denying Yeshua. Mary enters, consoling him the way she consoled Yeshua for abandoning John the Baptist. Peter warns her to flee: Mary reminds him she must anoint Yeshua for burial. Before she goes, Mary offers to make peace. Peter salutes her wisdom, but still withholds total reconciliation. Miriam, newly frail, her hair gone white, joins Mary: she scorns Peter for rejecting Mary. Mary restrains her. The women set out for Yeshua’s tomb. Interlude. On the way to the garden. The Chorus wonders what Mary will learn at the tomb. On their walk there, Miriam falls twice: Mary helps her to her feet. Five. Dawn. A green garden: in it, an elegant stone tomb, the stone blocking its opening rolled away. Mary warns Miriam that she may be too weak to manage the staircase to the crypt: Miriam tries, but falls a third time. Mary asks Miriam what she would tell the body of her son: Miriam says a final farewell, admits she still believes all this happened for a reason. Mary leaves Miriam at the top of the staircase leading to the crypt. Six. Inside the crypt: a pale stone bier bearing a shrouded corpse. Mary, distraught almost to madness, unwraps the head of the body on the bier, but doesn’t recognize it as Yeshua’s. Yeshua’s ghost appears behind Mary: she doesn’t see him. “Why are you weeping?” he asks. As in the Gospel of John (and The Song of Songs,) Mary, not turning, asks three times of the ghost, “Where have you taken him?” before he says her name, and she recognizes him. She moves to touch him: gently he tells her, “Let me go.” Mary cries that she did let him go, and look what’s happened: what was it for? Yeshua’s ghost tells her that she still has what she was looking for with him—that “something high, pure, strong.” Mary claims everything died with him: Yeshua reminds her that there’s still the story to tell, and Peter will only tell his version. Mary demurs, doubting her own strength; but Yeshua crowns her with his crown of thorns, charges her with telling their story, and reminds her that he will always be with her. Yeshua vanishes. Mary, crowned, makes her way to the stairs, atop which the waiting Miriam stands amazed; she climbs out of the tomb and into the morning light.

Leading Roles MIRIAM, soprano

Mother of YESHUA. Forty-five years of age. steely: haunted; possessed of a private grief.

MARY MAGDALENE, mezzo-soprano

Companion of YESHUA. Not yet thirty. joyous: worldly; yearning to transcend herself.

PETER, tenor

Follower of YESHUA, and younger than he. single-minded, visionary, but suspicious of women.

YESHUA, high baritone

Son of MIRIAM. Thirty. haunted, severe, yet longing for joy.

Supporting Roles PHARISEE, bass

Elder of the synagogue of Capernaum. attentive, witty, detached.

TWO POLICE, tenor, baritone

Agents of Herod Antipas. smooth, dry, watchful.

Solo Ensemble (combination roles) SOPRANO 1: SOPRANO 2: MEZZO-SOPRANO: TENOR 1: TENOR 2: BARITONE: BASS-BARITONE:

Seeker 1 and Girl 1 Seeker 2, Girl 2, and Tamar (vulgar, vengeful) Seeker 3 and Girl 3 Follower 1, Seeker 4, Preacher 1 (mystical), and Levi Follower 2 and Preacher 2 (wrathful) Follower 3, Simon (sympathetic but firm), and Onlooker (gleeful, jeering) Follower 4, Seeker 5, and Fishmonger (blunt, casual)

Chorus: SATB The audience

Supernumeraries JAMES and JOSES SQUAD OF POLICEMEN TWO EXECUTIONERS

Sons of Miriam. Young, strong, severe. ...who disperse the crowd at Yeshua’s second sermon. At Yeshua’s execution. Suspicious and shrewd.

The time is now. The place is Galilee, the first century C.E.

ROLES BY SCENE ACT ONE PROLEGOMENON.

SEEKERS, CHORUS.

SCENE 1.

TAMAR, MARY, PETER, TWO POLICE, YESHUA.

SCENE 2.

MIRIAM, THREE GIRLS, MARY, PREACHERS 1 & 2, TWO POLICE, PHARISEE, ONLOOKER, YESHUA, FISHMONGER, *JAMES, *JOSES.

SCENE 3.

MARY, PETER, TWO POLICE, YESHUA, FOLLOWERS, CHORUS.

SCENE 4.

MARY, YESHUA.

SCENE 5.

MIRIAM, MARY, PETER, YESHUA, FOLLOWERS, CHORUS.

ACT TWO SCENE 1.

MIRIAM, THREE GIRLS, MARY, PETER, PREACHERS 1 & 2, TWO POLICE, ONLOOKER, YESHUA, FISHMONGER, *A SQUAD OF POLICE, CHORUS.

SCENE 2.

*MIRIAM, MARY, PETER, YESHUA.

FIRST INTERLUDE.

*MARY, *PETER, *YESHUA, *FOLLOWERS.

SCENE 3.

MARY, *YESHUA.

SCENE 4.

*MIRIAM, *MARY, *SLAVE WOMAN, PETER, TWO POLICE, YESHUA, *ONLOOKERS, *TWO EXECUTIONERS, CHORUS.

SCENE 5.

MIRIAM, MARY, PETER.

SECOND INTERLUDE.

*MIRIAM, *MARY, CHORUS.

SCENE 6.

MIRIAM, MARY.

SCENE 7.

MARY, YESHUA.

* non-singing, either throughout or the given scene.

INSTRUMENTATION 3 Flutes (3rd doubling Piccolo) 3 Oboes (3rd doubling English Horn) 3 Clarinets in B-flat (3rd doubling Bass Clarinet) 3 Bassoons (3rd doubling Contrabassoon) 4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Percussion (3 players) Piano Harp Strings

ACT TWO SCENE 1

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(A crystalline autumn morning: a mountainside outside of Capernaum. Two peaks are visible in the distance; but we are on a plateau enclosed by a natural basalt amphitheatre. The CHORUS--invisible, as always, to the principals of the ancient story--are already in place on the perimeter as a CROWD files in. It includes, as well as YESHUA's FOLLOWERS, the audience of YESHUA's first sermon: the FISHMONGER, the THREE GIRLS, (as in Act One, not as Yeshua's FEMALE FOLLOWERS;) the TWO PREACHERS, and several ONLOOKERS. They sit, stand, sprawl, maybe picnic, as if awaiting the downbeat of an outdoor concert.)

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ff

Vibraphone Mar.

ff B. D.

pp

Harp

gl

. iss

is gl

ff

s.

Piano

S.

A.

T.

B.

Vn. I

Vn. II

Va.

ff

3

3

Vc.

ff 3

Cb.

ff

The Gospel of Mary Magdalene—Act II

526 20

Slower, but still ebullient: q = 112 (a2)

Fl. 1 2

Picc.

Ob. 1 2

E. H.

p 1. 1 Cl. in Bb 2

p

Bs. Cl.

1. Bn. 1 2

p

Cbn.

Hn. in F 1 3

Hn. in F 2 4

to harmon mute Tpt. in C 1 2

to harmon mute Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

l. v. Timp.

ff

Cym.

Vib.

B. D.

non arp.

Harp

Piano

(YESHUA signals for silence.)

p

Y. Two

Slower, but still ebullient: q = 112 Vn. I

pp Vn. II

pp Va.

pp

Vc.

pp

Cb.

pp

hun

dred

years

a

go,

there

lived

To

The Gospel of Mary Magdalene—Act II

24

527

1.

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Fl. 1 2

p

(1.)

(1.)

p

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

B. D.

Harp

Piano

Y. bi

as;

A

son

of

4

Is

ra

el.

"My

3

fa

Vn. I

3 4

4 4

Vn. II

3 4

4 4

Va.

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

ther!'

he'd

ask:

How

shall

I

The Gospel of Mary Magdalene—Act II

528 28

(1.)

Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

(1.)

(1.)

(1.)

p

4 4

p

Vib.

B. D.

Harp

Piano

Y. live

my

life?"

He'd

beg

the

4

man

to

tell.

And

what

Vn. I

3 4

4 4

Vn. II

3 4

4 4

3 4

4 4

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

Va.

his

fa

ther

told

him

was

so

The Gospel of Mary Magdalene—Act II

32

529

Slower: q = 104

(1.)

Fl. 1 2

Picc.

Ob. 1 2

E. H.

(1.) 1 Cl. in Bb 2

Bs. Cl.

(1.) Bn. 1 2

Cbn.

Hn. in F 1 3

pp 2. Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tba. B. Tbn./ Tuba

pp

Timp.

Cym.

soft mallets

p

Vib.

B. D.

Harp

Piano

sub. pp Y. 4

beau

ti

ful,

the

son

was

3

filled

with

awe.

"Do

Slower: q = 104 Vn. I

Vn. II

Va.

Vc.

Cb.

to

o

thers

as

you'd

want

them

to

The Gospel of Mary Magdalene—Act II

530

Moving: q = 112

36 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

1 Hn. in F 1 3

f (2.) Hn. in F 2 4

f Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

(Tba.) B. Tbn./ Tuba

Timp.

Cym.

Vib.

B. D.

Harp

pp

Piano

f Y. do

to

you,

For

that's

the

4

on

ly

law:

A

law

of

love;

love,

Moving: q = 112 Vn. I

pp

f

pp

f

Vn. II

Va.

pp

f f

div. Vc.

pp

f pizz, l. v..

Cb.

pp

f

The Gospel of Mary Magdalene—Act II

531

40 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4 mp

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4 1

Hn. in F 1 3

pp

p sub.

3 4

pp

f

a2

3 4

Hn. in F 2 4

pp

f

pp

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4 3 4

Vib.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4

Y.

3

and

on

ly

love!

All

the

law

love!

3 4

Vn. II

3 4

Va.

ossia tutti

Cb.

is

3 4

Vn. I

Vc.

3 4

3

p sub.

p sub.

mp sub.

unis.

3 4 3 4

p sub.

The Gospel of Mary Magdalene—Act II

532 44 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1.

p

f a2

4 4

1 Cl. in Bb 2

f

p

mp

4 4

Bs. Cl.

mp (a2)

f

4 4

Bn. 1 2

f

p

mp

f

mp

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Cym.

4 4 4 4

Vib.

4 4 4 4

B. D.

4 4 Harp

4 4 4 4 Piano

4 4 mp

4 4

Mir. And

mp And

Y.

4 4

Vn. I

4 4 p sub.

f

p sub.

f

mp sub.

f

44 mp

4 4

Vc.

f

a

go,

there

lived

a

fif

ty

years

a

go,

there

lived

a

pizz.

4 4

Va.

f

years

p

Vn. II

f

ty

4 4

M. M.

f

fif

p sub.

f

mp

arco Cb.

f

mp

4 4

p

pizz.

pizz.

p

The Gospel of Mary Magdalene—Act II

48

(1.)

533

Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4 p

3 4

E. H.

4 4 p

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

4 4 4 4

p

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

p

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

B. D.

mp Harp

Piano

Mir. rab

bi;

And

he

was 4 named

Hil

lel.

4

3 4

M. M. rab

bi;

And

he

was

He

named

Hil

seemed

know

the

se

cret

to

know

the

se

cret

3

of

a

4 4

lel.

He

seemed

Vn. I

3 4

4 4

Vn. II

3 4

4 4

Va.

3 4

4 4

3 4

pizz.

Vc.

3 4

pizz.

Cb.

to

p

p

4 4 4 4

3

of

a

The Gospel of Mary Magdalene—Act II

534 52 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

1.

p

p Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

B. D.

Harp

Piano

4

Mir. god

ly

life:

You'd

ask

him,

he

would

tell.

3 4

4

M. M. god

ly

life:

You'd

ask

him,

His

he

would

tell.

His

3 4

4 4

non div.

3 4

4 4

non div.

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

Vn. II

Va.

swer,

when

he'd

an

swer,

was

so

an

swer,

when

he'd

an

swer,

was

so

4 4

non div. Vn. I

an

p

The Gospel of Mary Magdalene—Act II

56

535

Slower: q = 104 (1.)

Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

pp 2.

Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tba. B. Tbn./ Tuba

pp

Timp.

Cym.

soft mallets

p

Vib.

B. D.

mp

Harp

Piano

sub. p Mir. beau

ti

ful,

Your

heart

would

4

o

ver

flow.

"Do

3

to

o

thers

as

you'd

want

them

"Do

to

o

thers

as

you'd

want

them

"Do

to

o

thers

as

you'd

want

them

to

sub. p

4

M. M. beau

ti

ful,

Your

heart

would

o

ver

flow.

3

to

sub. p Y.

Slower: q = 104 Vn. I

Vn. II

Va.

Vc.

Cb.

3

to

The Gospel of Mary Magdalene—Act II

536

Moving: q = 112

60 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

pp

f

Cbn.

1 Hn. in F 1 3

f (2.) Hn. in F 2 4

f Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

(Tba.) B. Tbn./ Tuba

Timp.

Cym.

To Mar.

Vib.

B. D.

Harp

Piano

f

4

Mir. do

to

you:

That's

all

you

need

to

know

Of

law,

and

love;

need

to

know

Of

law,

and

love;

4

M. M. do

to

you:

That's

all

you

f Y. do

to

you:

That's

all

you

4

need

to

know

Of

law,

and

love;

Moving: q = 112

arco Vn. I

pp

f

arco Vn. II

pp

f

arco Va.

pp

f f

arco, div. Vc.

arco

pp

f pizz, l. v..

Cb.

pp

love,

f

The Gospel of Mary Magdalene—Act II

537

64 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

mp

1.

f

p sub.

3 4

Cbn.

1 Hn. in F 1 3

pp

Hn. in F 2 4

3 4

pp

f

3 4

pp

f

pp

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4 3 4

Vib.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 p

3 4

Mir. and

on

ly

love!

Love!

p

3 4

M. M. and

on

ly

love!

Love,

f

3 4

Pr. 1

He

fp Y.

3

and

on

ly

love!

All

the

law

love!

3 4

Vn. II

3 4

Va.

ossia tutti

Cb.

is

3 4

Vn. I

Vc.

3 4

3

unis.

3 4 3 4

p sub.

p sub.

mp sub.

p sub.

did

n't

The Gospel of Mary Magdalene—Act II

538 68 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4 f a2

4 4

1 Cl. in Bb 2

f

p

mp

4 4

Bs. Cl.

mp

f

a2 Bn. 1 2

f

mp

4 4

f

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Cym.

4 4

p

brassy

brassy

sfz

sfz

4 4 Vib.

4 4 4 4

B. D.

non arp.

4 4

sfz

Harp

4 4 4 4 Piano

4 4 Mir.

4 4

M. M.

4 4 love...

sub. p

4 4

Pr. 1 say

that.

I'm

tel

ling

you,

he

did

n't

say

that.

He

f

said,

"Do

not

4 4

Pr. 2. Yes

he

did.

Wrong!

Y.

4 4

Vn. I

44

f p sub.

f

p sub.

f

mp sub.

f

Vn. II

f Va.

f Vc.

f

mp

f

arco Cb.

f

p sub.

f

44 4 4 4 4 4 4

do

to

o

thers

what

you

The Gospel of Mary Magdalene—Act II

72 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

539

mf 1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4 a2: harmon mute

Tpt. in C 1 2

f harmon mute

Tpt. 3 in C

f

mf

3 4

mutes off

3 4

mute off

harmon mute Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4

mutes off

f

3 4 Vib.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 3 4

Pr. 1 don't

want

done

to

you."

It

p

is

not.

3 4

Pr. 2. It's

the

same

(f)

3 4

Y.

Shh!

thing.

3

Now,

sul pont. Vn. I

3 4

div.

3 4

sul pont.

Vn. II

43

sul pont.

(f) Va.

(f) Vc.

3 4 3 4

mf ord.

p

mf ord.

p

sul pont.

(f) Cb.

unis., ord.

p

(f)

ask

mf ord.

p

mf

us

a

ny

thing!

The Gospel of Mary Magdalene—Act II

540 76 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4 a2

1 Cl. in Bb 2

f Bs. Cl.

4 4 4 4

mf Bn. 1 2

4 4

Cbn.

4 4

mf Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Cym.

4 4

2.

f

f

Marimba

4 4

f

Vib.

4 4 4 4

B. D.

4 4 Harp

4 4 4 4 Piano

4 4 4 4

M. M.

Ev'

4 4

Y. we

will

tell!

4 4

Onl.

f

Whom

Vn. I

4 4

Vn. II

4 4

Va.

44 mf

f

Vc.

4 4

Cb.

4 4

mf

does

God

love

best?

3

ry

per

The Gospel of Mary Magdalene—Act II

541

80 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

(1.) Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

open Tpt. in C 1 2

fp open Tpt. 3 in C

fp

open Tbn. 1 2

fp

B. Tbn./ Tuba

Timp.

Cym.

Mar.

B. D.

f

Harp

Piano

f G. 1 Does

God

want

us

to

fast?

Does

God

want

us

to

fast?

Does

God

want

us

to

fast?

f G. 2

f G. 3

Mir. It's

M. M. son:

ev'

3

ry

na

tion!

f Pr. 1

3

And

what

of

fa

And

what

of

fa

mi

ly?

f Pr. 2.

Y. No

good

can

come from

de

3

pri va

tion.

div.

unis.

Vn. I

(f) Vn. II

(f) Va.

(f) Vc.

(f) Cb.

div.

3

mi

ly?

a

The Gospel of Mary Magdalene—Act II

542 84 Fl. 1 2

2 4

4 4

Picc.

2 4

4 4

Ob. 1 2

2 4

4 4

E. H.

2 4

4 4

1 Cl. in Bb 2

2 4

4 4

Bs. Cl.

2 4

4 4

Bn. 1 2

2 4

4 4

Cbn.

2 4

4 4

Hn. in F 1 3

2 4

4 4

Hn. in F 2 4

2 4

4 4

p

p

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

Timp.

2 4

4 4

Cym.

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

Tpt. in C 1 2

fp

fp

f

fp

fp

f

Tpt. 3 in C

Tbn. 1 2

fp

fp

f

3. B. Tbn./ Tuba

fp

fp

f

Mar.

B. D.

Harp

Piano

Mir. gift

from

God:

re

vere

it!

mp

2 4

M. M.

4 4 It

mat

ters

3

to

all

of

us.

f

4 4

2 4

Y.

3

There's

f

Somw of the WOMEN in the crowd look appalled.) MARY takes it in stride.) 3

Fshm. What

div. Vn. I

3a

bout

cir

cum

ci

2 4

4 4

2 4

4 4

unis.

4 4

unis.

sion?

f div. Vn. II

p

2 4

f

p

2 4

Va.

f unis. Vc.

f Cb.

4 4 p

2 4 2 4

p

4 4 4 4

The Gospel of Mary Magdalene—Act II

88

543

Fl. 1 2

3 4

Picc.

43

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

f

f

f

3 4

Bn. 1 2

p

f

3 4

Cbn.

f

p

3 4

Hn. in F 1 3

mf

3 4

Hn. in F 2 4

mf Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4 3 4 f

Mar.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 f

3 4

C. How?

Mir.

3 4

M. M.

3 4

Y.

3 4

3

no

need

to

cor

rect

your flesh:

Per

fect

your

spi

rit!

You

p

p

pizz.

f pizz.

3 4 p

f pizz.

3 4

Cb.

p

You

f

p Vc.

gry,

pizz.

3 4

Va.

hun

f

3 4

Vn. II

the

pizz.

43

Vn. I

feed

f

clothe

the

na

ked,

The Gospel of Mary Magdalene—Act II

544

q = 120

92 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

E. H.

12 8

1 Cl. in Bb 2

12 8

Bs. Cl.

12 8

Bn. 1 2

12 8

Cbn.

12 8 a2

12 8

Hn. in F 1 3

f a2 Hn. in F 2 4

12 8

f

Tpt. in C 1 2

12 8

Tpt. 3 in C

12 8

Tbn. 1 2

12 8

f

B. Tbn./ Tuba

12 8

f

Timp.

12 8

Cym.

12 8 To Xyl.

12 8

Mar.

12 8 12 8

B. D.

12 8 Harp

12 8 12 8 Piano

12 8 f

12 8

Mir. Take

3

in

the

home

less,

Bless

3

those

who

curse

you,

3

E

v'ry

day,

long

3

as

you

live,

f

12 8

M. M. Take

3

in

the

home

less,

Bless

3

those

who

curse

you,

3

E

v'ry

day,

long

3

as

you

live,

f Y.

3

Take

in

3

the

home

less,

Bless

those

who

curse

you,

E

12 8

3

3

v'ry

day,

long

q = 120

arco

as

3

Vn. I

you

live,

div.

12 8

3

arco

3

12 8

3

12 8

3

12 8

Vn. II

arco

3

Va.

arco Vc.

arco Cb. 3

12 8

The Gospel of Mary Magdalene—Act II

96 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

E. H.

12 8

1 Cl. in Bb 2

12 8

Bs. Cl.

12 8

Bn. 1 2

12 8

Cbn.

12 8

Hn. in F 1 3

12 8

Hn. in F 2 4

12 8

Tpt. in C 1 2

12 8

Tpt. 3 in C

12 8

Tbn. 1 2

12 8

B. Tbn./ Tuba

12 8

Timp.

12 8

545

e=e

4 4

f

4 4

f

4 4

f

4 4

f

4 4

f

4 4 a2

ff

ff

4 4 f

a2

4 4

f

4 4

f

4 4

f

4 4 3.

4 4

f

4 4 f

Mar.

B. D.

4 4

12 8

4 4

12 8

4 4

Harp

non arp.

4 4

f

12 8

4 4

12 8

4 4

ff

12 8

C.

12 8

Mir.

12 8

Give!

Give!

12 8

f

12 8

f

12 8

f

Give!

Give!

Give!

Give!

Give!

Give!

12 8

f

12 8

f

12 8

f

12 8

f

12 8

f

e=e

Vn. I

12 8

Vn. II

12 8

Va.

12 8

Vc.

12 8

Cb.

12 8

Give!

Give!

Give!

Give!

Give!

unis.

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

B.

Give!

Give!

4 4

4 4

Give!

T.

Give!

4 4

Give!

A.

4 4

4 4

Give!

S.

Give!

Give!

Give!

Skr. 5.

Give!

Give!

f

Give!

Skr. 4.

Eb F# Gb A# D§ C§ Bb

4 4

Give!

Skr. 3.

Give!

Give!

12 8 12 8

f

4 4

Give!

Skr. 2.

Give!

12 8

Give!

Skr. 1.

Give!

Give!

Give!

Y.

ff

4 4

Give!

M. M.

Xylophone

12 8

12 8

Piano

4 4 4 4

a2

f

e=e

Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

div.

Give!

Give!

Give!

4 4 div.

div.

e=e

4 4 4 4

div.

4 4 4 4

div.

ss. gli

The Gospel of Mary Magdalene—Act II

546 Slowing

Exalted: q = 100

100 Fl. 1 2

ff

Picc.

ff

5

1.

5

5

mf

5

Ob. 1 2

ff

mf

E. H.

1 Cl. in Bb 2

ff

5

5

Bs. Cl.

(a2) Bn. 1 2

mf

Cbn.

mf Hn. in F 1 3

mf Hn. in F 2 4

mf

3

Tpt. in C 1 2

p

3

3

3

Tpt. 3 in C

p

3

3

Tbn. 1 2

3

3

3

3

B. Tbn./ Tuba

mf Timp.

to Vib.

mf

Vibraphone

Xyl.

B. D.

Harp

ff

Piano

ff`

C.

Mir.

ff M. M.

ff

And

years from now,

the world won't need

to

won

der,

Long

af

ter 4 we

And

years from now,

the world won't need

to

won

der,

Long

af

ter

are

gone,

are

gone,

Y. 4

we

Skr. 1.

Skr. 2.

Skr. 3.

Skr. 4.

Skr. 5.

S.

A.

T.

B.

Slowing

Exalted: q = 100

unis.

div

5

Vn. I

unis. ff

5

unis. ff

5

div 5

Vn. II

Va.

ff

3

3

unis.

Vc.

unis. Cb.

(Cb w/out C extensions, 8va)

div

unis.

div.

The Gospel of Mary Magdalene—Act II

104

547

Moving: q = 108

Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

p Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4 3 4

Mar.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 sub. p

3 4

4

M. M. How

close

we

came

to

liv

ing

out

a

god

ly

life:

Our

ac

tions

will

live

on.

sub. p

3 4

Y. How

close

we

came

to

liv

ing

out

a

god

ly

life:

Our

ac

4

tions

will

live

on.

Moving: q = 108

unis. Vn. I

p unis.

div.

unis.

Vn. II

p unis. Va.

p

3 4 3 4 3 4

Vc.

div. Cb.

3 4

p sub. unis.

3 4

The Gospel of Mary Magdalene—Act II

548 108 Fl. 1 2

3 4

4 4

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

Picc.

1.

f

3

f

3

4 4 p

f

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

1.

4 4

mf

3

f

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

1.

4 4

mf

f

Mar.

B. D.

Harp

Piano

M. M.

3 4

f

4 4 Yes,

Y.

3 4

f

e

ven

if

each

one

e

ven

if

each

one

of

us

were

si

lenced,

The

ve

were

si

lenced,

The

ve

4 4 Yes,

Vn. I

f

us

f Vn. II

3 4

4 4 f

Va.

3 4

4 4 f

Vc.

Cb.

3 4

4 4

3 4

4 4

4 stones

would

sing:

4

of

4 4

3 4

ry

f

ry

stones

would

sing:

The Gospel of Mary Magdalene—Act II

112 Fl. 1 2

549

Slower: q = 100

Picc.

1. Ob. 1 2

p

E. H.

p 1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

p

Cbn.

Hn. in F 1 3

p 2. Hn. in F 2 4

p

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tba. B. Tbn./ Tuba

p

Timp.

Cym.

soft mallets

p Mar.

to Mar.

B. D.

Harp

Piano

sub. p

4

M. M. 3

"Do

to

o

thers

as

you'd

want

them

"Do

to

o

thers

as

you'd

want

them

to

do

to

you,"

For

that

is

to

do

to

you,"

For

that

is

ev'

ry

thing

ev'

ry

thing

sub. p Y. 3

4

Slower: q = 100 Vn. I

sub. p

p

sub. p

p

sub. p

p

Vn. II

Va.

Vc.

sub. p

p

Cb.

p

The Gospel of Mary Magdalene—Act II

550

Surging: q = 108

116

a2. a2

Fl. 1 2

f

Picc.

1.

f

Ob. 1 2

f

E. H.

1 Cl. in Bb 2

mf

f

Bs. Cl.

mf

f

Bn. 1 2

p

f

Cbn.

mf

f

f

a2. Hn. in F 1 3

f a2. Hn. in F 2 4

f 1.

f

Tpt. in C 1 2

f Tpt. 3 in C

Tbn. 1 2

f

(Tba.) B. Tbn./ Tuba

f Timp.

mf

f

Cym.

pp

hard mallets Mar.

ff B. D.

pp

Bb

f

Harp

f

Piano

(f) G. 1 ...Love,

...Love,

...Love,

...Love,

...Love, T: Preachers, Followers 1 & 2 B: Fishmonger, Onlooker, Followers 3 & 4

...Love,

(f) G. 2

(f) G. 3

(f) C.

f

...Love,

...Love,

M. M. of

law,

and

of

law,

and

love;

f

love,

and

on

love!

and

on

3

ly

love!

All

Y. love,

(f)

+ Skrs. 1.

(f)

+ Skrs. 2 & 3.

ly

love,

love,

S. ...Love,

...Love,

A.

+ Skr. 4

...Love,

...Love,

...Love,

...love,

...Love,

...love,

(f) T.

+ Skr. 5

(f) B.

Surging: q = 108 Vn. I

f Vn. II

f Va.

f

div. Vc.

div.

f

mf

f

Cb.

ossia tutti

All

The Gospel of Mary Magdalene—Act II

551

120

Surging: q = 116

3 4

Fl. 1 2

3 4

Picc.

(1.) Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

f

a2

f f

a2

Bn. 1 2

3 4

Cbn.

3 4

a2.

(f)

(a2)

f

3 4

Hn. in F 1 3

(a2) Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4 choke

to T. Bl. Temple Blocks

3 4

Cym.

f Mar.

3 4

B. D.

3 4 f

3 4 Harp

3 4 3 4

Piano

3 4 3 4

G. 1

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

3 4

G. 2

3 4

G. 3

3 4

C.

3 4

M. M. the

law

Y.

3

is

law

love!

love!

love!

3 4

3

the

love!

is

3 4

S.

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

3 4

A.

3 4

T.

3 4

B.

Vn. I

3 4

Vn. II

3 4

Va.

3 4 unis.

Vc.

3 4

Cb.

3 4

Surging: q = 116 div.

unis.

f

The Gospel of Mary Magdalene—Act II

552 124 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

a2

a2

5 4

ff

3 4

5 4

3 4

5 4

3 4

4 4

5 4

3 4

1 Cl. in Bb 2

4 4

5 4

3 4

Bs. Cl.

4 4

5 4

Bn. 1 2

4 4

Cbn.

4 4 4 4

(a2)

Hn. in F 1 3

4 4

(a2)

ff

Hn. in F 2 4

4 4

a2

ff

Tpt. in C 1 2

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

ff

a2

ff ff

5 4

ff

3 4

ff

a2

5 4

3 4

5 4

3 4

5 4

3 4 a2

5 4

ff

3 4

5 4

ff

5 4 Tba.

3 4

3 4 3 4

ff

Tba.

5 4

3 4

ff Timp.

4 4

T. Bl.

4 4

Mar.

B. D.

5 4

3 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

ff

ff

4 4 Harp

4 4 4 4

Piano

ff

4 4 4 4

G. 1 Ho

san

na!

4 4

C. Ho

san

Mes

si

si

ah!

si

ah!

ff

5 4

na!

ah!

3 4 Mes

Followers tacet

si

3 4 Mes

4 4 san

5 4

ff

na!

G. 3 Ho

5 4

ff

3 4 Mes

4 4 san

ff

na!

G. 2 Ho

5 4

ah!

3 4 Mes

si

ah!

M. M.

4 4

5 4

3 4

Y.

4 4

5 4

3 4

S.

4 4

5 4

3 4

Ho

san

na!

Ho

san

na!,

ho

san

Ho

san

na!

Ho

san

na,

ho

Ho

san

na!

Ho

san

na,

san

ho

Ho

san

na!

Ho

san

na,

Ho

unis.

Ho

Vn. II

Va.

4 4 4 4 4 4

san

na!

5 4 san

4 4

na!

3 4

na!

na!

3 4 Ho

div.

4 4

Vn. I

san

5 4 san

ho

na!

3 4

na!

4 4

B.

san

5 4

4 4

T.

Cb.

Ho

4 4

A.

Vc.

na!

ff div.

ff ff

ff

san

na!

5 4

3 4

5 4

3 4

5 4

div.

unis.

5 4

div.

unis.

5 4

3 4 3 4 3 4

The Gospel of Mary Magdalene—Act II

128

553

a2

Fl. 1 2

3 4

4 4

5 4

Picc.

3 4

4 4

5 4

Ob. 1 2

3 4

4 4

5 4

E. H.

3 4

4 4

5 4

1 Cl. in Bb 2

3 4

4 4

5 4

Bs. Cl.

3 4

4 4

5 4

Bn. 1 2

3 4

4 4

5 4

Cbn.

3 4

4 4

5 4

Hn. in F 1 3

3 4

4 4

5 4

Hn. in F 2 4

3 4

4 4

5 4

Tpt. in C 1 2

3 4

4 4

5 4

Tpt. 3 in C

3 4

4 4

5 4

Tbn. 1 2

3 4

4 4

5 4

B. Tbn./ Tuba

3 4

4 4

5 4

Timp.

3 4

4 4

5 4

T. Bl.

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

Mar.

B. D.

Harp

Piano

G. 1

a2

a2

Mes

G. 2

Mes

ff

3 4

E

Fshm.

si

ah!

3 4 ONLOOKER:

Onl.

ah!

3 4 Mes

C.

si

nough

of

Cae

si

ah!

sar!

3 4

4 4

ff

5 4 Ju

S.

3 4 Ho

A.

san

Vn. I

3 4

Vn. II

3 4

Va.

3 4

Vc.

3 4

Cb.

3 4

san

div.

Ju

de

ans!

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

na!

ff

div.

for

na!

3 4 Ho

a

na!

3 4 Ho

B.

san

de

na!

3 4 Ho

T.

san

5 4

ah!

3 4 Mes

G. 3

si

to Tom-toms

ff

unis.

unis.

0

div.

4 4

5 4 unis.

4 4 4 4

0

5 4 5 4

The Gospel of Mary Magdalene—Act II

554 132 Fl. 1 2

5 4

3 4

Picc.

5 4

3 4

Ob. 1 2

5 4

3 4

E. H.

5 4

3 4

1 Cl. in Bb 2

5 4

3 4

Bs. Cl.

5 4

3 4

Bn. 1 2

5 4

3 4

Cbn.

5 4

3 4

Hn. in F 1 3

5 4

Hn. in F 2 4

5 4

Tpt. in C 1 2

5 4

3 4

Tpt. 3 in C

5 4

3 4

Tbn. 1 2

5 4

3 4

B. Tbn./ Tuba

5 4

3 4

Timp.

5 4

T. Bl.

Mar.

(a2)

Harp

Piano

(a2)

3 4

(a2)

(a2)

3 4

mf mf mf

mf

mf

3 4

pp

5 4

3 4

5 4

3 4

5 4

3 4

Tom-toms

Tom-toms.

q = 144

Faster yet

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

mf

(The mood has changed, from exultant to militant: fists are thrust in the air. As YESHUA and MARY try to cool the CROWD, the TWO POLICE suddenly appear behind them onstage. The CROWD falls silent.)

G. 1

5 4

(ff)

5 4

(ff)

5 4

(ff)

5 4

(ff)

3 4 Mes

G. 2

si

ah!

si

ah!

si

ah!

5 4

(f)

5 4

(f)

5 4

(f)

5 4

(f)

3 4 Ho

A.

Ho

T.

Ho

B.

Ho

Vn. I

45

Vn. II

5 4 5 4

Vc.

5 4

san

san

san

san

na!

3 4

ff

3 4

ff

3 4

ff

na!

na!

na!

43 unis.

Cb.

5 4

div.

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

ff

3 4

unis.

mf

mf Va.

si

3 4 Mes

S.

Mes

3 4 Mes

C.

ah!

3 4 Mes

G. 3

si

div.

3 4

unis.

3 4

unis.

mf

3 4

mf mf

Faster yet

q = 144

The Gospel of Mary Magdalene—Act II

136

555

Brilliant, icy, half as fast: 4 q = 72 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

E. H.

4 4

2 4

3 4

1 Cl. in Bb 2

4 4

2 4

3 4

Bs. Cl.

4 4

2 4

3 4

Bn. 1 2

4 4

2 4

3 4

Cbn.

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

B. Tbn./ Tuba

4 4

2 4

3 4

Timp.

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

2 4

3 4

Fl. 1 2

f

ff

f

ff

Picc.

1. Ob. 1 2

f

ff

(a2) Hn. in F 1 3

ff

(a2) Hn. in F 2 4

ff

Tpt. in C 1 2

ff

to harmon mute 3

to harmon mute

Tpt. 3 in C

f

ff

Tbn. 1 2

3

ff

ff T. Bl.

Mar.

ff

Tom-toms.

non arp

ff

Harp

ff

Piano

G. 1 si

ah!

G. 2 si

ah!

G. 3 si

ah!

C. si

ah!

4 4

Pol. 2

ff

(a Roman hymn as loyalty oath)

"Now

S. si

time

sung

by

the

Si

byls,

when

the

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

2 4

3 4

ah!

B. si

the

ah!

T. si

is

ah!

A. si

3

3

ah!

Vn. I

f

4 4

Brilliant, icy, half as fast: q = 72 div.

div.

3 4

4 4

2 4

Va.

44

42

43

Vc.

4 4

2 4

3 4

Cb.

4 4

2 4

3 4

Vn. II

f

The Gospel of Mary Magdalene—Act II

556 140 Fl. 1 2

surging 3 4

4 4

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

Picc.

As before: q = 72

More motion: q = 80 3

f

3

f

1.

f

f 1 Cl. in Bb 2

3 4

4 4 f

Bs. Cl.

Bn. 1 2

3 4

4 4

3 4

4 4

f

f

f Cbn.

Hn. in F 1 3

Hn. in F 2 4

3 4

4 4

3 4

4 4

a2

4 4

a2

3 4

f

f

f Tpt. in C 1 2

3 4

with Harmon mute

4 4

p

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

T. Bl.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Tpt. 3 in C

with Harmon mute

p

6

ff

ff

Mar.

Tom-toms.

ff

ff

G§

Harp

3 4

4 4

3 4

4 4

3 4

4 4

non arp

ff

Piano

Pol. 1

Pol. 2

3 4

4 4

3 4

Vn. II

Va.

Vc.

Cb.

3 4 3 4

Hail,

Cae sar!

Hail,

Cae sar!

"Now

is

Vir

4 4 wheel

Vn. I

(The CROWD remains mute. YESHUA and MARY exchange glances.)

ff

of

the

surging

a

ges

starts

a

fresh!"

4 4 4 4

43

44

3 4

4 4

3 4

4 4

More motion: q = 80

As before: q = 72

unis., pizz.

arco

p

f arco

unis., pizz.

p

f arco

pizz.

p

f

f

gin

Jus

tice

The Gospel of Mary Magdalene—Act II

144

surging

3 4

557

q = 80

Fl. 1 2

2 4

4 4

Picc.

2 4

3 4

4 4

Ob. 1 2

2 4

3 4

4 4 f

E. H.

2 4

3 4

1 Cl. in Bb 2

2 4

3 4

4 4 1.

f

4 4

f

2 4

3 4

Bn. 1 2

2 4

3 4

Cbn.

2 4

3 4

Bs. Cl.

4 4

f

4 4 f

4 4

f Hn. in F 1 3

2 4

3 4

4 4

Hn. in F 2 4

2 4

3 4

4 4

Tpt. in C 1 2

2 4

3 4

4 4

Tpt. 3 in C

2 4

3 4

4 4

Tbn. 1 2

2 4

3 4

4 4

B. Tbn./ Tuba

2 4

3 4

4 4

Timp.

2 4

3 4

4 4

T. Bl.

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

Mar.

Tom-toms.

C§

Harp

Piano

C.

2 4

3 4

4 4

Pol. 1

2 4

3 4

4 4

her

self

made known,

and

the

reign

of

2 4

Pol. 2

Sa

3

turn

on

earth..."

Hail,

3 4

q = 80

Vn. I

2 4

Vn. II

2 4

3 4

4 4

Va.

2 4

3 4

4 4

Vc.

2 4

3 4

4 4

Cb.

2 4

3 4

4 4

div.

3 4

Cae

sar!

Hail,

Cae

sar!

Hail,

4 4 Hail,

surging

S: Girls 1 & 2 A.: Girl 3 T: Preachers B: Onlooker, Fishmonger

4 4

The Gospel of Mary Magdalene—Act II

558

Surging: q = 88

148

2 4

3 4

Picc.

2 4

3 4

Ob. 1 2

2 4

3 4

E. H.

2 4

3 4

1 Cl. in Bb 2

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

Hn. in F 1 3

2 4

3 4

Hn. in F 2 4

2 4

3 4

remove mutes

2 4

3 4

remove mute

2 4

3 4

Tbn. 1 2

2 4

3 4

B. Tbn./ Tuba

2 4

3 4

Timp.

2 4

3 4

T. Bl.

2 4

3 4

2 4

3 4

2 4

3 4

Fl. 1 2

Bs. Cl.

f

mf

3

a2

3

div.

Bn. 1 2

f Cbn.

f

(sord.) Tpt. in C 1 2

p

mp

mf

3

mf

p

(sord.) Tpt. 3 in C

p

mp

p

Mar.

to B. D.

Bass Drum

Tom-toms.

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

f

Harp

Piano

CROWD: (mumbling)

p

C. Hail,

Cae

sar...

Pol. 1 Cae

sar!

mf

2 4

Pol. 2 Cae

sar!

"Smile,

Surging: q = 88

pizz. Vn. I

p pizz. Vn. II

p arco

pizz.

3

Va.

p

f

unis.

Cb.

f

Lu

ci (see)

na,

at

the

birth

of

this

boy,"

2 4

3 4

2 4

3 4

24

43

2 4

3 4

2 4

3 4

mf 3

div.

Vc.

f

chaste

3 4

3

mf

3

mf

The Gospel of Mary Magdalene—Act II

152

559

holding back

3 4

2 4

4 4

Picc.

3 4

2 4

4 4

3 4

4 4

Ob. 1 2

3 4

2 4

4 4

3 4

4 4

E. H.

3 4

2 4

4 4

3 4

4 4

1 Cl. in Bb 2

3 4

2 4

4 4

3 4

4 4

Bs. Cl.

3 4

2 4

4 4

3 4

4 4

Bn. 1 2

3 4

2 4

4 4

3 4

4 4

Cbn.

3 4

2 4

4 4

3 4

4 4

Hn. in F 1 3

3 4

2 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

open

Tpt. in C 1 2

2 4

4 4

3 4

open

Tpt. 3 in C

3 4 3 4

2 4

4 4

Tbn. 1 2

3 4

q = 80

Fl. 1 2

3

mf

ff

4 4

4 4 ff

4 4

ff

3 4

4 4

3 4

4 4

3

B. Tbn./ Tuba

3 4

2 4

4 4

ff

mf Timp.

3 4

2 4

4 4

3 4

4 4

T. Bl.

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

Mar.

B. D.

ff

4 4

Harp

Piano

Pol. 1

3 4

mf

ff

3

"...Who

puts

an

end

to

our

wre tched

age,

3

From

whom

a

gol

den

peo

ple

shall

4 4

spring..."

Hail,

ff Pol. 2

3 4

2 4

4 4

3

From

Vn. I

3 4

2 4

4 4

whom

holding back

a

gol

den

peo

arco

ple

3 4

2 4

4 4

ff

3 4

unmeasured

2 4

3 4

3

ff 3

4 4

3 4 ff

unmeasured Vc.

3 4

2 4

4 4

unis.

3

3 4

3 4

unmeasured

2 4

4 4

3

q = 80

Hail,

div.

mf

ff

div.

mf

mf

ff

ff

div.

mf

ff Cb.

4 4

spring..."

3 4

arco

mf

Va.

shall

3

mf Vn. II

3 4

4 4

4 4 4 4

ff

3 4 ff

4 4

4 4 mf

ff

The Gospel of Mary Magdalene—Act II

560 156 Fl. 1 2

4 4

2 4

4 4

3 4

4 4

Picc.

4 4

2 4

4 4

3 4

4 4

Ob. 1 2

4 4

2 4

4 4

3 4

4 4

E. H.

4 4

2 4

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

2 4

4 4

3 4

4 4

Bs. Cl.

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

Bn. 1 2

4 4

Cbn.

4 4

p

p

p p

Hn. in F 1 3

4 4

2 4

4 4

3 4

4 4

Hn. in F 2 4

4 4

2 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

2 4

4 4

3 4

4 4

Tpt. 3 in C

4 4

2 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

(ff)

(ff) Tbn. 1 2

4 4

2 4 (ff)

B. Tbn./ Tuba

4 4

2 4 (ff)

Timp.

4 4

2 4

4 4

3 4

4 4

T. Bl.

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

Mar.

B. D.

(ff)

Harp

Piano

C.

(p)

4 4

Hail,

Pol. 1

4 4

Cae

sar...

Hail,

2 4 Cae

sar!

4 4 Hail,

Cae

sar...

f

3 4 Cae

sar!

4 4

Hail,

f Pol. 2

4 4

2 4 Cae

Vn. I

Vn. II

4 4 4 4

sar!

4 4 Hail,

unis., snap pizz.

unis., snap pizz.

2 4

mf

Va.

Vc.

4 4

snap pizz.

snap pizz.

2 4 2 4

mf

Cb.

4 4

2 4

ff

4 4

sar!

Hail,

unis., snap pizz.

snap pizz.

arco

3 4

mf arco, div.

snap pizz.

3 4

4 4

unis.

4 4 mf

4 4

ff

3 4

ff

arco, div.

ff

arco

mf

ff

4 4

4 4

3 4

4 4

4 4

3 4

4 4

ff

arco

mf

4 4 4 4

arco

mf snap pizz.

ff

arco

mf

4 4

Cae

arco, div.

2 4

3 4

ff

The Gospel of Mary Magdalene—Act II

160 Fl. 1 2

4 4

Picc.

Ob. 1 2

561 Brisker: q = 88

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

p E. H.

4 4

p

1 Cl. in Bb 2

4 4

2 4

4 4

Bs. Cl.

4 4

2 4

4 4

Bn. 1 2

4 4

2 4

4 4

Cbn.

4 4

2 4

4 4

Hn. in F 1 3

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

a2.

ff Hn. in F 2 4

a2.

4 4

ff Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

ff

ff Tbn. 1 2

4 4 ff

B. Tbn./ Tuba

4 4 ff

Timp.

4 4

2 4

4 4

T. Bl.

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

ff

Mar.

4 4

B. D.

Harp

Piano

Pol. 1

mf

4 4 Cae

Onl.

sar!

2 4

Hail...

Ju

Pol. 2

Cae

Vn. I

Vn. II

4 4 44

Vc.

4 4

sar!

Ju

de

snap pizz.

mf

unis., snap pizz.

ff unis., snap pizz.

mf

4 4

2 4

4 4

does

the

Brisker: q = 88

Na

za

rene

say?

arco., molto sul pont., senza vib.

arco., molto sul pont., senza vib.

Yes,

2 4 42

ff snap pizz.

mf

3

ff

div.

2 4 ans!

What

4 4 4 4

for

Hail...

mf Cb.

a

p

mf Va.

de

mf

4 4

4 4

Yes,

(ff)

4 4

p

arco., molto sul pont., senza vib.

2 4

p

p

p

4 4 44 4 4

2 4

4 4

2 4

4 4

ff

ff

The Gospel of Mary Magdalene—Act II

562 164 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Deliberate, but faster: q = 96

Accelerating from q = 80

p Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

p

p

p Timp.

4 4

T. Bl.

4 4 4 4

Mar.

4 4

B. D.

4 4 4 4

Harp

4 4 4 4 Piano

4 4

Pol. 1

4 4 What

Y.

Pol. 2

3

does

the

Na

za

rene

say?

4 4

p

to

Cae

sar

what

is

Cae

sar's.

4 4 what

3 does

the

Na

za

rene

say?

Deliberate, but faster: q = 96

Vn. I

4 4

Vn. II

4 4 4 4

ord.

Va.

4 4

arco

Vc.

Cb.

Give

4 4

p

p

Accelerating from q = 80

div.

The Gospel of Mary Magdalene—Act II

168 Fl. 1 2

3 4

Picc.

3 4

q = 88 ff

ff

4 4

6

3 4

3 4

4 4

3 4

4 4

3 4

4 4

6

6

6

4 4

6

3 4

4 4

6

4 4

6

3 4

4 4

3 4

4 4

ff

3 4

1 Cl. in Bb 2

6

4 4 ff

E. H.

6

4 4

6

3 4

Ob. 1 2

563

ff

3 4

Bs. Cl.

ff

4 4

6

6

Bn. 1 2

3 4

4 4

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

Hn. in F 1 3

3 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

a2

ff a2

4 4

ff

3 4

Tpt. in C 1 2

ff

3 4

Tpt. 3 in C

Tbn. 1 2

3

ff

ff

3

B. Tbn./ Tuba

ff

Timp.

pp

mf

ff

3 4

T. Bl.

4 4

Whip

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

ff

6

3 4 Mar.

(ff)

3 4

B. D.

f

to Whip

ff

Harp

Eb

E§

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

ff

Piano

3 4 ff

3 4

Pol. 1 "Now

does

your own

A

pol lo

reign!"

Hail,

Cae sar!

Hail,

f

Cae sar!

3 4 "Now

does

your own

A

pol lo

ord.

3

3 4

Vn. I

mf ord. Vn. II

q = 88

3

43

Va.

mf

ff div.

unis.3

3 4

Vc.

ff

ff

ff

div.

ff

unis.

4 4

unis.

Hail,

div.

3 4

mf unis.

ff

ff

div.

mf

4 4 ff

ff

div.

mf

4 4

ff

43 3 4

ff

4 4 mf

unis.

Hail,

3 4 mf

44

4 4 Cae sar!

mf

ff

3 4

Cb.

4 4

4 4 mf

ff

3

div.

mf

ff

3 4 Cae sar!

div.

3 4

3

Hail,

mf

ff

mf unis.

4 4 reign!"

Hail,

f

ff Pol. 2

4 4

unis.

mf

ff

mf

ff

div.

mf

3 4 mf

ff

mf

44 4 4

ff

ff

4 4

564

Driven: q = 116 172

Fl. 1 2

4 4 ff

Picc.

4 4 ff

Ob. 1 2

4 4 ff

E. H.

6

3 4 3 4

6

3 4

6

6

4 4

The Gospel of Mary Magdalene—Act II

3 4

ff 1 Cl. in Bb 2

6

4 4

3 4

ff

Bs. Cl.

Bn. 1 2

Cbn.

4 4 a2

4 4

ff

6

3 4

ff

Hn. in F 1 3

4 4

3 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

Whip

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Mar.

B. D.

Harp

E§ G§ A§

4 4

pp

p

pp

3 4

ff

4 4

3 4

p

pp

p p

non arp.

p

3 4

4 4

3 4

4 4

3 4

4 4

3 4

p

3 4

p

Piano

G. 1

G. 2

G. 3

4 4

T: Preachers, Followers 1 & 2 B: Fishmonger, Onlooker, Followers 3 & 4 C.

Pol. 1

4 4

3 4

4 4 Cae

Pol. 2

3 4

Hail...

mf

4 4 Cae

4 4

unis

Vn. II

44

unis.

Va.

4 4

Vc.

4 4

Vn. I

sar!

sar!

Hail...

3 4

Driven: q = 116

3 4 p sub.

Cb.

4 4

43 3 4

unis.

3 4 3 4

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

p

Mes

mf

si

p

3 4

4 4

Mes

p sub.

p sub. p sub.

p sub.

si

ah!

Mes

si

ah!

The Gospel of Mary Magdalene—Act II

565

Faster: q = 126

176 Fl. 1 2

mp

Picc.

mp Ob. 1 2

pp

E. H.

pp 1 Cl. in Bb 2

mp

Bs. Cl.

(a2) Bn. 1 2

Cbn.

mp a2 Hn. in F 1 3

pp

a2

Hn. in F 2 4

pp Tpt. in C 1 2

mp Tpt. 3 in C

mp Tbn. 1 2

mp

B. Tbn./ Tuba

mp

Timp.

pp

p

mp

mf

f

Whip

Mar.

pp

B. D.

pp

mp

Harp

mp

Piano

mp

G. 1 Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

G. 2

G. 3

C.

p

S.

p A.

p T.

p B.

div. Vn. I

div. Vn. II

div. Va.

div. Vc.

Cb.

Faster: q = 126

The Gospel of Mary Magdalene—Act II

566 q = 132

180 Fl. 1 2

ff

Picc.

ff Ob. 1 2

ff

p

mf

p

mf

E. H.

ff 1 Cl. in Bb 2

ff

Bs. Cl.

ff Bn. 1 2

ff Cbn.

(a2) ff Hn. in F 1 3

(a2) ff

mf

ff

ff

mf

ff

ff

mf

ff

ff

mf

ff

ff

mf

ff

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

ff Timp.

ff

(Whip)

Whip

ff

Mar.

ff

B. D.

ff

Harp

ff

Piano

ff

B#

ff

(At a signal from the TWO POLICE, an entire SQUAD of POLICEMEN appears, their spears pointed at the CROWD.)

G. 1 The

law

is

love!

(gasp)

The

law

is

love!

(gasp)

ff

G. 2

ff G. 3 The

law

is

love!

(gasp)

love!

(gasp)

ff C. The

law

is

ff S. The

law

is

love!

(gasp)

ff A. The

law

is

love!

(gasp)

ff T. The

law

is

love!

(gasp)

ff B. The

q = 132

law

is

love!

(gasp)

Vn. I

ff

ffp

ff

ff

ffp

ff

ff

ffp

ff

ff

ffp

ff

Vn. II

Va.

Vc.

Cb.

ff

The Gospel of Mary Magdalene—Act II

Heavier: q = 126

184 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

ff

ff

567

5

5

a2

ff

5

ff

5

a2

a2

4 4

a2

a2

4 4

a2

Hn. in F 1 3

ff Hn. in F 2 4

ff 3

4 4

Tpt. in C 1 2

3

3

ff 3

3

4 4

Tpt. 3 in C

ff

4 4

Tbn. 1 2

B. Tbn./ Tuba

4 4

Timp.

4 4

ff

mf

ff

ff

4 4

Whip

4 4 ff

Mar.

4 4 4 4

B. D.

4 4 Harp

4 4

ossia with guitar pick (E§ F§ G§ A§ Db C# B#)

ff

ss. gli

4 4 ff

Piano

4 4 p

(Panicked, bellowing, the CROWD flees. As the TWO POLICE, coordinate with their reinforcements, PETER ushers YESHUA, MARY, and MIRIAM to safety.)

4 4

Pol. 1 The

law

is

Cae

sar.

p

4 4

Pol. 2 The

law

is

Cae

sar.

Heavier: q = 126 unis.

Vn. I

ff

4 4 4 4

Vn. II

unis. Va.

unis.

ff

4 4

ff

Vc.

Cb.

4 4

unis.

ff

4 4 ff

3

The Gospel of Mary Magdalene—Act II

568 188 Fl. 1 2

5

ff

Picc.

5

3

5 3

3

3

3

ff

5

5

3

5

ff

5

5

3

5

3

3

5

5

3

5

3

3

a2 Ob. 1 2

E. H.

a2 1 Cl. in Bb 2

ff

Bs. Cl.

Bn. 1 2

Cbn.

(a2) Hn. in F 1 3

(a2) Hn. in F 2 4

Tpt. in C 1 2 3

3

5

3

3

3

3

3 5

3

Tpt. 3 in C 3

Tbn. 1 2

5

3

3

3

ff B. Tbn./ Tuba

Timp.

Whip

(damp all)

Mar.

to Tri. B. D.

pp

Harp

Piano

Pol. 1

Pol. 2

Vn. I

Vn. II

Va.

Vc.

Cb.

s gli

s.

is gl

ff

s. non arp.

The Gospel of Mary Magdalene—Act II

192

569

Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Whip

3 4 3 4

Mar.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 3 4

Pol. 2

Vn. I

pp

3 4 3 4

Vn. II

pp

Va.

pp

Vc.

pp

Cb.

pp

3 4 3 4 3 4

The Gospel of Mary Magdalene—Act II

570

SCENE 2 193 Relentless: q = 126

Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

Bn. 1 2

3 4

f

p

f

p

3 4

p

f Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

a2

f

f

f Timp.

3 4

Whip

3 4 3 4

f

Mar.

3 4 f

Triangle

Tri.

3 4 3 4

Eb Ab D§ C§

Harp

3 4 3 4 Piano

3 4 (Dusk. The steps of a building in Jerusalem: the Temple visible in the distance. MIRIAM, MARY, YESHUA, PETER, and some of thetraumatized FOLLOWERS.)

Ptr.

3 4

f 3

You

heard

Relentless: q = 126

Vn. I

Vn. II

Va.

Vc.

Cb.

3 4

pizz.

3 4

pizz.

3 4

pizz.

3 4

pizz.

3 4

pizz.

f

f

f

f

f

them!

"Mes

si

ah,"

they

called

you.

They

need

us!

They

need

you

to

The Gospel of Mary Magdalene—Act II

197

571

Fl. 1 2

4 4

2 4

4 4

Picc.

4 4

2 4

4 4

Ob. 1 2

4 4

2 4

4 4

E. H.

4 4

2 4

4 4

1 Cl. in Bb 2

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

Hn. in F 2 4

4 4

2 4

4 4

Tpt. in C 1 2

4 4

2 4

4 4

Tpt. 3 in C

4 4

2 4

4 4

Tbn. 1 2

4 4

2 4

4 4

B. Tbn./ Tuba

4 4

2 4

4 4

Timp.

4 4

2 4

4 4

Whip

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

f Bs. Cl.

f Bn. 1 2

f

Cbn.

1. Hn. in F 1 3

p

Mar.

Tri.

Harp

p

Piano

Ptr. lead

us!

4 4

Y.

p I

arco, div. Vn. I

p arco Vn. II

4 4

unis.

will

not

ride

in

to

Je

ru

sa

lem,

will

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

p arco Va.

p arco Vc.

p Cb.

not

con

front

the

tem

ple,

The Gospel of Mary Magdalene—Act II

572

Fl. 1 2

2 4

Almost half as fast: q = 66 4 4

Picc.

2 4

4 4

3 4

Ob. 1 2

2 4

4 4

3 4

E. H.

2 4

4 4

3 4

2 4

4 4

201

5

p

4 4

2 4

4 4

2 4

4 4

p

p

f

5

3 4

3

4 4

2 4

5

5

f

pp

1

f

3

p

Bs. Cl.

5

3 4

1 Cl. in Bb 2

2 4

3 4

6

p

p

f

pp

3

f

5

f

6

3 4

f

f

p

3 4

3

Bsn. 2

p

3 4

3

3

f

p

pp

f

2 4

4 4

Hn. in F 1 3

2 4

4 4

3 4

Hn. in F 2 4

2 4

4 4

3 4

Tpt. in C 1 2

2 4

4 4

3 4

Cbn.

3 4 pp

1.

pp

f Tpt. 3 in C

2 4

4 4

3 4

Tbn. 1 2

2 4

4 4

B. Tbn./ Tuba

2 4

4 4

3 4

Timp.

2 4

4 4

3 4

Whip

2 4

4 4

3 4

2 4

4 4

3 4

2 4

4 4

3 4

2 4

4 4

1.

3 4

f

Mar.

Tri.

pp

mf p

w/ guitar pick

f

ppp p

mf

3 4

mf

2 4

4 4

2 4

4 D§ C§ B#) 4

3 4

2 4

4 4

3 4

2 4

4 4

3 4

2 4

4 4

3 4

( Eb F§ G§ Ab

Harp

Piano

Ptr.

p

3 4

Part of a de sign,

Y.

2 4

4 4

2 4

Almost half as fast: 4q = 66 4

I will not chal lenge Rome.

Vn. I

f Vn. II

2 4

3

4 4

Vc.

42

f

2 4

44

f Cb.

2 4

4 4

no?

No!

mf

p sub.

mf

p sub.

mf

div. a3 flaut.

4 4

Part of a de sign,

3 4

p sub.

f Va.

you claimed?

pp

mf

3 4 p sub.

f

3 4

p sub.

f

43

f

p sub.

n

pp

mf

f

div. flaut.

pp

3 4 3 4

mf

n

pp

mf

f

The Gospel of Mary Magdalene—Act II

Relentless again:

A bit slower: q = 100

205 q = 126 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

573

p Bs. Cl.

3 4

Bn. 1 2

3 4 p

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4 f

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Whip

3 4

f

3 4 Mar.

3 4

Tri.

3 4 3 4

Harp

3 4 3 4 Piano

3 4

M. M.

Y.

p

3 4

Vn. II

Va.

3

by

Relentless again: 3q = 126 4

sword,

die

by

the

sword.

Cb.

f

p

f

p

3 4

3 4

ly

real

pow

er

The

on

ly

real

pow

er

A bit slower: q = 100

3 4

3 4

on

is

with

in.

with

in.

3

the

f Vc.

The

p

3 4 live

Vn. I

3

div. a2

unis.

f

p

unis.

f

p

3

is

The Gospel of Mary Magdalene—Act II

574 209 q = 112 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

f

p

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

f

p

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4

More motion: q = 120

p

f

p

f

3.

p

f

4 4 Mar.

4 4 4 4

Tri.

4 4 Harp

4 4 4 4 Piano

4 4 4 4

M. M.

(f) Ah,

yes,

with

in

the

4

soul!

The

q = 112

Cb.

less

3

soul.

But

what

of

the

bo

dy?

Do

4 4 4 4

f

pizz.

p

f

p pizz.

44 f

Vc.

state

3

pizz.

4 4 f

Va.

less,

More motion: q = 120

4 4 f

Vn. II

weight

3

3

4 4

Y.

Vn. I

p

4 4

Ptr.

f

p pizz.

f

f

p pizz.

f

f

p

we

The Gospel of Mary Magdalene—Act II

575 Easier: q = 104

213 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

E. H.

12 8 12 8

3

1 Cl. in Bb 2

p

mf

3

12 8

Bs. Cl.

p

mf

1. 3

12 8

Bn. 1 2

p

mf

3

12 8

Cbn.

p

mf

Hn. in F 1 3

12 8

Hn. in F 2 4

12 8

Tpt. in C 1 2

12 8

Tpt. 3 in C

12 8

Tbn. 1 2

12 8

B. Tbn./ Tuba

12 8

Timp.

12 8

Whip

12 8 12 8

Mar.

12 8 to S. D. Tri.

pp

12 8 12 8

Harp

12 8 12 8 Piano

12 8 3

pp

3

3

12 8

Ptr. leave

it

to

rot?

For

the

bo

dy

mat

ters

ra

ther

much

to

you

of late,

does

it

not?

"For

now you've

Easier: q = 104 3

arco

Vn. I

p Vn. II

3

pp

arco

p 3

mf

arco

mf

pp

Va.

p 3

mf

pp

arco

Vc.

p

mf

arco

p

12 8 12 8 12 8 12 8

Cb. 3

pp

12 8

mf

The Gospel of Mary Magdalene—Act II

576 217 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

E. H.

12 8

1 Cl. in Bb 2

12 8

Bs. Cl.

12 8

q. = 104 pp

pp

1.

pp 2

mp Bn. 1 2

12 8

Cbn.

12 8

Hn. in F 1 3

12 8

Hn. in F 2 4

12 8

Tpt. in C 1 2

12 8

Tpt. 3 in C

12 8

Tbn. 1 2

12 8

B. Tbn./ Tuba

12 8

Timp.

12 8

Whip

12 8

1.

pp

mp 2

pp

mp

(mp)

Tba.

pp

mp

p

mp

mp

12 8 Mar.

12 8 Snare Drum

S. D.

12 8 12 8

Harp

12 8 12 8 Piano

pp

mp

12 8

2

2

Ptr.

mp

12 8 found

Vn. I

Vn. II

12 8

her.

q. = 104

You

have kissed

the one

you love;

kissed

Vc.

Cb.

eyes,

div.

unis.

pp

mp

her

throat,

pp

her

And what2 those

wrists...

12 8 12 8 12 8

pp

mp

mp

pp

2

2

2

2

2

2

mp

12 8 pp

Va.

her

2

mp

mp 2

pp

mp

pp

mp

2

The Gospel of Mary Magdalene—Act II

577 more motion: q. = 112

221 Fl. 1 2

2

pp

4 4 4 4

Picc.

1. Ob. 1 2

4 4

pp

4 4

E. H.

pp 1.

4 4

1 Cl. in Bb 2

mp

sub. pp

2

mp

sub. pp

2

4 4

Bs. Cl.

a2

4 4

Bn. 1 2

(mp)

4 4

Cbn.

(mp)

4 4

Hn. in F 1 3

p

4 4

Hn. in F 2 4

p Tpt. in C 1 2

4 4

p

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

p

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4 4 4

Mar.

4 4 snares off

4 4

S. D.

pp

mf

4 4

sub. pp

2

non arp.

mp

Harp

4 4 2

4 4 Piano

4 4 sub. f

sub. pp

4 4

Ptr. kiss

es

tell

you,

what

your

bo

dy

tells

you

is

that

God

ex

2

ists."

2

And

sul D

Vn. I

it brings you

to

more motion: q. = 112

4 4

sub. pp

44

Vn. II

sub. pp sul G .

4 4

Va.

sub. pp

2

4 4

Vc.

sub. pp sul D (Ossia: basses w/C extensions, natural harmonic) Cb.

sub. pp

2

4 4

The Gospel of Mary Magdalene—Act II

578 (q = 112) 225 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

f

f

p 1.

Bn. 1 2

4 4

Cbn.

4 4 4 4

a2, stopped, brassy

Hn. in F 1 3

4 4

a2, stopped, brassy

p

f Hn. in F 2 4

f Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

brassy

f brassy

f brassy Tbn. 1 2

4 4 f

B. Tbn./ Tuba

4 4

Bs. Tbn., brassy

3

f Timp.

4 4

Whip

4 4

Tba.

3

p

mf

p

4 4 Mar.

4 4

S. D.

4 4 4 4

Harp

4 4 4 4 Piano

4 4

Ptr.

life!

Vn. I

sub. p

3

4 4

To

(q = 112) div. 4 4

a

free

3

dom

yond

com

pare.

f

p

4 4

p

4 4 fp

Vc.

Cb.

4 4

4 4

f

p

f

p

3

fp div.

fp

a

free

div.

fp Va.

But

unis.

fp Vn. II

be

3

3

unis.

f

p

dom,

it

seems,

you

The Gospel of Mary Magdalene—Act II

579

229 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

p

q. = 112 (= previous q)

12 8

E. H.

p 1 Cl. in Bb 2

12 8

Bs. Cl.

12 8

p

p

12 8

Bn. 1 2

p

3

Cbn.

12 8

Hn. in F 1 3

12 8

Hn. in F 2 4

12 8 a2

12 8