Howells HYMNUS PARADISI

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Howells, Herbert Hymnus Paradisi

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HYMNUS PARADISI

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Herbert Howells

Hymnus Paradisi for soprano and tenor soli, SATB and orchestra (1950)

Novello

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Publication of the full score and parts of this new edition of Howells’ Hymnus Paradisi has been made possible with generous support from the Herbert Howells Society.

NOV951011 ISBN No. 978-1-84772-115-0 Music-setting by Robin Hagues Edited by Tina Jones Cover design: Fresh Lemon, UK Cover image: The Resurrection, Cookham by Sir Stanley Spencer (1891–1959) © Tate, London 2007 © Copyright 2007 Novello Publishing Limited Published in Great Britain by Novello Publishing Limited Head office: 14–15, Berners Street, London W1T 3LJ England Tel +44 (0)20 7612 7400 Fax +44 (0)20 7612 7549 Sales and hire: Music Sales Distribution Centre, Newmarket Road, Bury St. Edmunds, Suffolk IP33 3YB England Tel +44 (0)1284 702600 Fax +44 (0)1284 768301 www.chesternovello.com All Rights Reserved Printed in Great Britain No part of this publication may be copied or reproduced in any form or by any means without the prior permission of Novello and Company Limited.

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Contents Instrumentation Composer’s note Preface Paul Spicer Foreword Sir David Willcocks Hymnus Paradisi –Text I Preludio II Requiem aeternam III The Lord is my shepherd IV Sanctus – I will lift up mine eyes V I heard a voice from heaven VI Holy is the true light Sources & Critical Commentary

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Instrumentation 2 Flutes (2. doubling Piccolo*) 2 Oboes Cor Anglais* 2 Clarinets in A Bass Clarinet in B-* 2 Bassoons Contrabassoon* 4 Horns in F 3 Trumpets in C 2 Tenor Trombones Bass Trombone Tuba Timpani Percussion (Bass Drum, Cymbals, Side Drum) Harp Piano (doubling Celesta)* Organ* Soprano solo Tenor solo Chorus Strings

Instruments marked * can be omitted

Duration: c.46 minutes

Hymnus Paradisi recordings Chandos CHAN9744 BBCSO/Bach Choir, Richard Hickox, Joan Rogers, Anthony Rolfe Johnson EMI ASD 2600 (LP) New Philharmonia/Bach Choir, David Willcocks, Heather Harper, Robert Tear Hyperion CDA66488 RLPO & Choir, Vernon Handley, John Mark Ainsley, Julie Kennard Naxos 8.570352 Bournemouth SO/Bach Choir, David Hill, Claire Rutter, James Gilchrist

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Hymnus Paradisi is a setting of Latin and English texts, most of them well known, and all appropriate to the mood of a Requiem. It began in a setting of a Medieval Latin poem by Prudentius (348–c.405) – the ‘Hymnus circa exesquies defuncti’. In the present work that poem has no place, except that its first two lines form the dedication to one whose early death was the origin of the composition. The Prudentius setting was the first part of a five-movements Sequence for unaccompanied voices: a Requiem by nature, but not ritualistic. Out of that Sequence has grown the present choral-orchestral version. The actual lines of Prudentius are excluded. Much of the music, and their temper and mood are retained. A setting of Psalm 23 (Movement III) is also here. To its accompaniment is added one of the three or four themes that have place in all but the fifth movement. Movements IV and V are also derived directly and extensively from the earlier Sequence. Movement VI was from the first essentially choraland-orchestral. Its scope and style required a similar medium for the work as a whole. There were added essential parts for two soloists (Soprano and Tenor). But the chorus itself is the predominant factor. Hymnus Paradisi comprises two parts. Part one (Movements I, II, and III) is unbroken, and is mainly contemplative. Part two (Movements IV, V and VI) is built of three separate movements. It ends with a briefly restored initial mood (“Requiem aeternam”) and is at a more active level, despite the tranquillity of Movement V and the ultimate quietude in the last pages. H.H.

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Preface Paul Spicer The genesis of Hymnus Paradisi is complex and, being wrapped up in a tragic young death, it is also fertile ground for the imagination. In October 1932 Howells wrote that he had just completed a Requiem for King’s College, Cambridge. He described it as ‘all simple Double-Choir stuff: all unaccompanied … at the moment I like it – and I didn’t write it on my technique’. This interesting comment shows how sensitive Howells was to the taunts to which many talented young composers, including Benjamin Britten, were subjected because they had such a natural flair for composition. A more interesting point is that the Requiem, which was only published in 1981 after the manuscript was unearthed at the Royal College of Music, predated the composition of Hymnus Paradisi and, indeed, had a note contributed to the score by his son, Michael Howells which his father highlighted after the boy’s death. The reason for the speculation is easy to understand when it is realised that much of Hymnus is based on the music of the earlier Requiem. Many people assumed that the shorter work was written in response to Michael’s death and used as a kind of sketchbook of ideas. In fact the Requiem was written within a four day period between the 9th and the 12th October 1932, a speed of composition typical of Howells when in a concentrated frame of mind. It is perhaps interesting that he decided neither to send it to Boris Ord at King’s, nor to publish it, given the role which the music was so soon to fulfil. Herbert Howells, his wife Dorothy and their two children, Ursula and Michael spent their August family holiday in 1935 at a farmhouse in Bream, in the Forest of Dean, close to where Howells was born in Lydney, Gloucestershire. In the first days of September Michael complained of feeling unwell, which at first was taken as being a chill. In the early hours of the 4th, however, Michael went into his parents’ room to tell them of back pains and the doctor was called. The next day the boy was worse and was ordered to London by ambulance and the Cheltenham Flier, but there was no hope: in the process of his parents having to make the difficult decision as to whether or not to put the boy into an iron lung, Michael died on the evening of the 6th from the most virulent form of polio. Howells had always said that he would never forget the ‘luridly spectacular’ sunset over Gloucestershire as they drove away from Bream to Gloucester Station. It may be that it is this image, as much as the idea of ‘everlasting light’ – lux perpetua – which pervades the score of Hymnus. Despite the tragic circumstances of its conception, there is light evident in many shades throughout this extraordinary work. It was Ursula, then aged thirteen, who suggested to her inconsolable father that he might try to write about Michael in music, and so it was that the seeds of Hymnus Paradisi were sown. About half the work is a development of the music of the Requiem. The Preludio (orchestral prelude), the Sanctus/I will lift up mine eyes and Holy is the true light are completely new compositions. Psalm 23 from the Requiem becomes naturally The Lord is my shepherd; Requiem aeternam

1&2 form the basis of Requiem aeternam; and I heard a voice from heaven has the same title in its Hymnus context. Howells searched long and hard for the right text for his final movement which he so much wanted to reflect his theme of ‘light’. It was Sir Thomas Armstrong, then organist at Christ Church, Oxford, who suggested to Howells the wonderful Latin poem in George Herbert Palmer’s translation Holy is the true light, and passing wonderful, lending radiance to them that endured in the heat of the conflict. Gratefully, Howells seized on the suggestion which gave him all the impetus he needed to complete the work. In his monograph, Herbert Howells: A Celebration (Thames: 1992) the late Christopher Palmer asserted that ‘The RCM collection [of Howells manuscripts] includes … an (apparently) independent work entitled Kyrie Eleison for two soloists (soprano and tenor), chorus and orchestra. No date. This turns out to be virtually identical with the first movement … of the Missa Sabrinensis of 1954.’ In discussion with Sir David Willcocks about Missa Sabrinensis (commissioned in his time as organist at Worcester Cathedral), Willcocks said that Howells had shown him this Kyrie as a possible starting point for the new work, and that it had obviously been written some time before. Palmer’s interesting assertion suggests it was therefore likely, partly because of the scoring of the work for the same soloists as Hymnus, that the Kyrie was originally destined for that work. Work actually began on Hymnus Paradisi very soon after Michael’s death, and Armstrong’s suggestion for the final movement was already being worked on around the first anniversary of Michael’s death. Howells actually describes Hymnus at this stage as the ‘revised Requiem’; however it is difficult to ascertain when the work was completed in short score (piano and voices). It is possible that it remained essentially incomplete until 1949 when the work surfaced for the first time after Herbert Sumsion, organist at Gloucester Cathedral, asked Howells if he had anything which could be performed at the following year’s Three Choir’s Festival. Howells showed the score to Sumsion, leaving it with him. Gerald Finzi, having seen the score then wrote to Howells, saying: ‘John Sumsion was here last week for a few days and he brought with him your Hymnus. I can’t tell you how much I admired it and how lovely, in every way, it seems to be. Elgar knew a good thing when he quoted ‘Rarely, rarely comest thou’ & the same spirit seems to have taken charge of this work. It’s exciting to know that we shall be hearing it at Gloucester next September.’

Completing and scoring the work occupied Howells through the first four months of 1950. He was up against serious deadlines with the publisher, Novello and Company, who needed to get vocal scores out in time for the choral rehearsals, and the orchestral parts in their turn. Howells was asked to conduct the work himself, and so it was he who directed the final rehearsals with the soloists (William Herbert and Isobel Baillie), the chorus, and then the tutti forces between 11am and 12pm on 4th September. In his diary he then noted ‘September 6th: 16th anniversary of

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Michael’s death. St Matthew Passion … RVW’s new work Fantasia on the ‘Old 104th’ in the evening. Gale and rain! September 7th: Early service (Cathedral) with Ursula – conducted Hymnus Paradisi at 11.25-12.12 … Dorothy, Ursula and Davy [Ursula’s first husband] there’. Hymnus Paradisi was an outstanding success. Of all the many column inches devoted to critical reaction to it, The Times’ Music Critic, Frank Howes, writing after its first London performance under Sir Malcolm Sargent, gave the most telling description:

‘Nunc suscipe, terra, fovendum, gremioque hunc concipe molli’’ (‘Take him, earth, for cherishing, To thy tender breast receive him’). This translation of Prudentius’poem by Helen Waddell which Howells knew from her influential book Mediaeval Latin Lyrics was certainly considered as a text for inclusion in Hymnus Paradisi. Howells had worked on a setting some years previously which remained incomplete. The poem’s use in the original Latin as a dedicatory inscription in this fundamentally personal context made its use, much later in 1963 to the memory of President Kennedy, the most personal ‘gift’ Howells could offer to the President whose violent death affected him greatly. Howells’s music is gradually emerging from a long period of neglect. Hugh Ottaway described perfectly the essence of his magic in an article he wrote about Hymnus Paradisi in the Musical Opinion in 1951. It is a fitting conclusion to this Preface: ‘The strength of the music derives from its impeccable style, from the mode and quality of thought within the idiom. That’s what tells in any work of art. Idioms come and go and history finds little to choose between them; the enduring factor is the quality of thought, which alone makes the idiom a living and vital thing’.

‘If Vaughan Williams projects his vision by means of diatonic progressions and simple counterpoint, Howells in his Hymnus Paradisi goes the other way to work with long lines, complex textures, and fluid harmony; yet he too attains a vision, not so much of peace as of light. He starts from the text lux perpetua, and the quality of light changes with the text drawn from half-adozen sources. It is nowhere the soft light of the Elysian fields that Fauré caught from Gluck and put into his Requiem. It is the blaze of a thousand suns in the Sanctus; it is a golden radiance in the penultimate chorus; and at last to the words requiem sempiternam it is the light of the dawn’.

The work is headed by the dedication ‘To my son MICHAEL KENDRICK HOWELLS in remembrance.

Foreword Sir David Willcocks relinquish owing to Grave’s disease. We became firm friends, and adjudicated together at many competitive music festivals. I was appointed Organist of Worcester Cathedral in 1950, following Ivor Atkins. In that year John (Herbert) Sumsion, being Organist of Gloucester Cathedral, was responsible for the direction of the Three Choirs Festival. He had two assistant conductors (Meredith Davies of Hereford and myself). During the summer months of 1950 we all three worked very hard to ensure that Herbert Howells as conductor would be really pleased with the singing of the Festival Chorus in the première performance of Hymnus Paradisi, which was largely written in 1938 to overcome three years of grieving for his nine year-old son, Michael. Howells spent many anxious moments preparing the elaborate orchestral material. The performance went very well, helped by imaginative organ continuo playing by John Sumsion.

I first met Herbert Howells when I was a chorister at Westminster Abbey in the early 1930s. At that time Howells was in his forties, writing music for the Church which would add to the beauty of the daily services. As a boy I was always deeply moved by the final page of his carol anthem A Spotless Rose, with its rich harmony, but it was not until 1945, at the Advent Carol Service in King’s College Chapel, Cambridge that I again met Howells. Herbert had been a close friend of Boris Ord, Organist of King’s College for many years and during the war years Herbert had been a deputy for Robin Orr (Organist of St John’s College). It was my duty as Organ Scholar to play for that Advent Carol Service although I had no knowledge that I should be accompanying the choir in front of Herbert. In 1947 I was appointed organist of Salisbury Cathedral and soon heard from Herbert of his short appointment as the sub-organist of that beautiful cathedral which he had to

Hymnus Paradisi received its first performance at 11:15am on September 7th 1950 in Gloucester Cathedral with the London Symphony Orchestra and the Three Choirs Festival Chorus conducted by the composer. Soloists: Isobel Baillie – Soprano and William Herbert – Tenor

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HYMNUS PARADISI I PRELUDIO II REQUIEM AETERNAM REQUIEM aeternam dona eis, Et lux perpetua luceat eis.

III THE LORD IS MY SHEPHERD THE Lord is my shepherd: therefore can I lack nothing. He shall feed me in a green pasture: and lead me forth beside the waters of comfort. He shall convert my soul: and bring me forth in the paths of righteousness. Yea, though I walk through the valley of the shadow of death, I will fear no evil: thy rod and thy staff comfort me. Thou shalt prepare a table before me against them that trouble me: thou hast anointed my head with oil, and my cup shall be full. But thy loving kindness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever. Psalm 23

IV SANCTUS I WILL LIFT UP MINE EYES SANCTUS, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra Gloria tua. I WILL lift up mine eyes unto the hills: from whence cometh my help. My help cometh even from the Lord: who hath made heaven and earth. He will not suffer thy foot to be moved: and he that keepeth thee will not sleep. Behold, he that keepeth Israel: shall neither slumber nor sleep. The Lord himself is thy keeper: the Lord is thy defence upon thy right hand; So that the sun shall not burn thee by day: neither the moon by night. The Lord shall preserve thee from all evil: yea, it is even he that shall keep thy soul. The Lord shall preserve thy going out and thy coming in: from this time forth for evermore. Psalm 121

V I HEARD A VOICE FROM HEAVEN I HEARD a voice from heaven, saying unto me, Write, From henceforth blessed are the dead which die in the Lord: even so saith the Spirit; for they rest from their labours. From the Burial Service

VI HOLY IS THE TRUE LIGHT HOLY is the true light, and passing wonderful, lending radiance to them that endured in the heat of the conflict: from Christ they inherit a home of unfading splendour, wherein they rejoice with gladness evermore. Alleluia. From the Salisbury Diurnal, Translated by Dr. G. H. Palmer REQUIEM aeternam, Requiem dona eis sempiternam.

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To my son MICHAEL KENDRICK HOWELLS in remembrance ‘Nunc suscipe, terra, fovendum, gremioque hunc concipe molli.’

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Hymnus Paradisi Herbert Howells

I Preludio

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© 1950 Novello & Company Ltd. This edition © 2007 Novello & Company Ltd.

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

       f



Hymnus Paradisi.qxp

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11

1

  

1 







 



   

   

  





f Fl.

 

2









 





      

  

f

 

Ob. 1.2





1. espr.        







mf

               

C. A.

mf

Cl. 1.2

B. Cl.

f

1.2



Tbn. 1.2

B. Tbn. Tba.

Timp.

Perc.

















  









    

mp

pp



















 























    



1.



           

 



a2









f





   

mp







  

f



 





     

Hn.

Tpt. 1.2



   

p



p

3.4

    





mf

Cbsn.

 

  



 

Bsn. 1.2



 

p



   

pp



 

 









3.











f





  

  

sf

   



 

   

sf

f











 





 

  

sonore

 

 

sf

  























  























 























 























 























 























 























  























 























 

























Hp.

Org.



Vln. I

  

1

 

 



f

    

Vln. II

 



f

                 

               

Vla.

f

 

Vc.



 



      

 



 

   



 





   

        

      

 









sf appassionato

 

















 

 

        



 

 

     

sf appassionato

sf

 

    

sf appassionato

mf espr.

 

  

f



        





 

f

Db.

   

   

 

 

  



div.   sf

sonore



















Hymnus Paradisi.qxp

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2

20

1

  

        

meno mosso q = 48

rit.













allarg.           rf

f

        

Fl.

 

2















 

Ob. 1.2







3 1. Solo           

mp

 

C. A.







rf

2. sf p cresc.

mp 3





  



  

rf



Cl. 1.2











sf p cresc.

 

B. Cl.



 

Bsn. 1.2







1.2



 









     

 







       sf p cresc.







    sf p cresc.       rf p cresc.        

 













Hn. (3.) 3.4



    



pp



 



 



rf p cresc.

1.2

  

Tpt. 3





  

B. Tbn. Tba.

 



    



                   

































   rf p cresc.        

 

Perc.





         







cresc. molto

     

  

       

rf







cresc. molto





cresc. molto

            rf cresc. molto

























 























 























 























  























 























 























Org.



   



2

meno mosso q = 48

rit.

 

 

Vln. II

      

Vla.

 

dim. sub.









      



 











              

div.

f

   







     

f

ppp





      allarg.         

f

ppp

ppp

pp

dim. sub.







        

ppp



unis.



  

 pp

pp

dim. sub.

Vc.



pp

  

    

  



  

dim. sub.

Db.

   

cresc. molto





 

 

Hp.

Vln. I

        

      

 

 

   



                 rf

rf

B. Tbn



                 rf

rf

rf p cresc. Timp.

cresc. molto

 

     

rf p cresc.



rf

rf



rf p cresc.



Tbn. 1.2



          sonore          sonore    





           rf cresc. molto       

  



cresc. molto

ff sonore

  

 

cresc. molto

rf

      

         

sf p cresc.

   

 sub.

Cbsn.





      

  

   

cresc. molto

          

f

     



      

  



cresc. molto

        

f

                

   



sf p cresc.



   

sf p cresc.

  

   



f

              f                       

   

     



           



    

          f assai sonore

 

 

rf



        





 



Hymnus Paradisi.qxp

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4 a tempo 28

1

    



    

2



    

ff

       

Ob. 1.2



   

ff Fl.

   











 dim. sub.



1



2



  



Cbsn.

1.2







Tpt. 3

 

f sonore



 

 

 

  

f sonore

                 3  ff sempre 3                

   ff sempre    rf     

Perc.

 

 



 Sw.

 

   

    



         

div.                ff

 

      ff

mf

 mp



  





 dim. sub.

 

 

 

              dim. sub.   div.            

       

 

 

dim. sub.

rf dim. sub. mf

3



 

sonore

  

  

dim. sub.

 

     pp   

mf

    p 

   





3

   





 

           p 

   





3

pp



 









 

   





 

   





loco    

   











 





   

















   



pp

mf

 



   

unis.

 

a tempo (un pochissimo più lento)





     





  

     







 

3



                   

 

pp

 3      

 3       3

mf

  

rall.

3

  3         

       

      



ppp

f dolente



 

16' 32'   

 

pp





      







unis.

a 2 con sord.

 



   

3

 

 



f dolente

 

pp

mf





 3                     

3       

   







unis.  







mf

    



   

 

 

 

       

 

     



3             

3 div.      

 



mp dim.

pp



mp

   

         pp    



     

 

pp

 

          





pp



 



      

mp











  

  

        



   



mp



   



      mp pp        pp



                unis. div.              

 

dim.

 

mf

mf





  

          

 

 

f dim.

3

mf dolente

(3.)



 

   p

     

             

  



 



f dim.

f dolente



mf

ff



               ff



 





  

poco



       





 

ff

Db.

C# Db E F# Gb A B

16' + 32'

ff

Vc.







a tempo

Vla.

 

mp

mf

  

Vln. II

       dim. sub.         p   

 



f dim.



p

 

        

 

p

 



   



f dim.



 mp



     sff   



Org.

Vln. I

Bass Drum





p

f





     

mp

     



   

p

p

         ff        

Hp.

p

dim. sub.

 



  



    

 

3

   



p

  



 



    

mf

a tempo (un pochissimo più lento) 1.

p

3

mf dolente



           

p

p

 

p

ff



       3

f

3

     

p



                pp f

 



3

  

      p pp f pp    sonore                  f pp mf      

      

rf

Timp.

mf

ff

f sonore





 

mf 3

  

a2

 

     dim. sub. mf

  

3

  



f dolente

  

  

 



   

f dolente

 

ff

 

  

mf

ff





rf

B. Tbn. Tba.



   

 

 

     



 



rf

Tbn. 1.2

 

ff dim. sub.

3

1.2



rall. dolente

f dolente



ff

             





f sonore

Hn. 3.4







ff

Bsn. 2



  

 

    

1



3

f

p

dim. sub.

 

 

        

B. Cl.

mf

dim. sub.

ff

Cl.

    

 



ff

        ff     

C. A.



pp

   

pp

    pp

 div.  pp

unis.





   

mp espr. molto





 

 

Hymnus Paradisi.qxp

21/06/2007

11:44

Page 5

5 34

Fl.

    (1.)

   



























pp Ob. 1.2

C. A.

 



 



 



 p



Cl. 1.2

 

B. Cl.

 p







 

mp poco cresc.



 













Perc.

   



 

         

  



 

mf

pp











 p

  















 



 



 p

  











pp

 



con sord.





a2





   









     

 

  





 



  

  

 



B.D.   





mf

 

 





   f

mf

     





            











 

  







   









  



 



3

        pp

ppp

  

     



  

    

 

 

 

 



  





 

 

  



























 

 



pp

ppp

 

    

mp

pp

pp

Hp.

    

pp

        

  

  

pp 3

pp

pp

 

pp

ppp

    

 



mf

pp

pp

    

 

1.



            

pp

p

 

 

   

       pp 



f





p

3

pp



  





p

 

  

    

 

 

Sw.

ppp

Org.

  

 

Vln. I

  

Vln. II

 

 



ppp



 





 



 

 



pp



pp

 

Vla.



  pp

 

  

Vc.



 







 



 

  

   







 





  







 

  



p

 



  p

sost.











 poco

mp



mp

  pp



ppp

   

pp

Db.

pp

 

pp

Timp.

     





pp B. Tbn. Tba.

      

f

   

mp poco cresc.

Tbn. 1.2



 

  

 

Hn.

Tpt. 1.2

  

mf



           



 pp

3.4



mp poco cresc.

2

1.2



   



 

Bsn.

Cbsn.



a2

pp

pp

1



f

    

 







  p







 





  

 

  

mp

pp

   

  

f

pp



  

                          

f

poco

 



mp

pp





  p

   

pp







 



mp

pp

pp

 

 p

mf



 

p

mf

   

pp

Hymnus Paradisi.qxp

21/06/2007

11:44

Page 6

6

40

4

rall.

a tempo

Fl.

  

Ob. 1.2

 















 























C. A.



Cl. 1.2



















 

 





Bsn. 1.2

Cbsn.

1.2





 















 















 















 

(1.)







  



dim.

a2

 

 

pp

ppp cresc. molto



a2

Hn. 3.4



pp

dim.

B. Cl.

  











Tbn. 1.2

B. Tbn. Tba.

Timp.

Perc.

  









     sff

a2









  



dim.











sff

ppp cresc. molto

Tpt. 1.2

    



ppp cresc. molto

     sff







dim. pp

 



  







pp

  















 















 















 















 















 















  















 















 





















Hp.

Org.



Vln. I

  

Vln. II

 

4

rall.





a tempo



  









  

  

Vla.

  

Vc.

 



 





 

pp



 





  pp

Db.



 











ppp cresc. molto







ppp cresc. molto



pp

 

 



 









pp



 

sff dim. molto





pp

sff dim. molto

 

  





sff dim. molto

ppp cresc. molto





sff dim. molto

ppp cresc. molto















pp



Hymnus Paradisi.qxp

21/06/2007

46

11:44

Page 7

II Requiem aeternam 5

Lento, teneramente q = 72

7

Flute 1.2

    























Oboe 1.2

   























Cor Anglais

   























Clarinet in A 1.2



























Bass Clarinet in Bb

    























Bassoon 1.2

  























  





























Contrabassoon

1.2



 

 1.   



 





(con sord.)

 



 





pp

pp

 





pp

Horn in F



3.4













3. (con sord.)







 

 









Trumpet in C 1–3

   























Trombone 1.2

   























  





















































Bass Trombone Tuba

Percussion

S.



 

mp

pp

    

  Re

  

qui - em

ae - ter

  

 

 

Re - qui - em

Chorus 1

pp

     

T.

B.

    -

pp

   

A.



ae

   



ae pp







-

S.

     

  Re

-



Chorus 2

    

T.

B.

pp

 



ae

  

 



ae pp





ppp

    

Violin II



  -

   

-

 -

-

na

e

 



 



do

-

na

 

  -





e



na





 

do

-

na



 

do

-

na

 

e





  



-



na

is,

-



  -



is,





na

-

ppp

do





is,



 

-

-

 

 

is,

do



mp

-

na

-

  



 

Re

-

qui

do

-





-

-

mp





is,

do

-

 -

 

em

    

ae - ter

-

 

-

nam do -

mf

mp



  -



 

-

qui

    

  

is,

-

Re

Re

dolce

mf

Re

is,

e

 -

   



mp

-

   -

-

   

-

mp



e



-

mp



e

-

 

do mp



   

  

is,

is,

-

ppp

do

  



e



 

 

-

e

 -

-









  



* con sord.



  

pp



  



 



con sord.





  



con sord.

 



 









pp

qui

 -

-









* Parts enclosed between the signs [ ] are not to be played, unless needed.





-

   



em

ter

 -



  



p





 

con sord.

 









p

    p

pp

Double Bass

-

 e



is,

  

-

do







 

qui- em

-

na

   do

nam

  

-

-





do

nam

  

 

ppp

   

do

pp

    

Violoncello

 

nam

ppp

Viola







e





em



qui - em

ae

-

  ae

-



-





ter

-



ae - ter

 

 -

-



nam

do -

mf

dolce

   

-

nam mf





nam

do

 -

na

5

Lento, teneramente q = 72

Violin I

ter



Re

    

ter

-

na

nam

 -

 

Re - qui - em

-

-

nam

 

  

do

qui- em

  

   



-

   

nam



-

ae - ter

Re - qui - em

-

 

qui - em

  

 

ter

    -

pp

   

A.

ter



Re pp





 

Re - qui - em

   

 p

pp

  

 

div.



 

   



   



unis.



     

    

 





 







con sord.



 pp







unis.





 



mf



    mf







mf

p



 

mf





 mf



Hymnus Paradisi.qxp

21/06/2007

11:44

Page 8

8

6

ppp

57

Fl. 1.2

  















 ppp

 

Ob. 1.2







  

     







  







ppp























 









ppp

 

B. Cl.

Bsn. 1.2

1.2





 



















1.

















 

 



(3.)







 

 







 













 

















 





 

 

 

 













poco



 pp

  









poco













 



3     



p







































































  





 



 



 



Chor. 1

   

T.



ppp mezza voce, assai tranquillo

   

A.





na

e

  -

-



e

  

-



na

e



 

is;







   -





per

na

e

 

        -

 

A.

 -

Chor. 2

    do

T.



na





 

na

e



-

e





et

lux

per

ppp mezza voce, assai tranquillo



 





  

Vla.

-

-

     

-





 



is;





 



is;





-

 





  

et

lux

per - pe

div.



div.

 

 

 



 





  

et

lux

per - pe

 pp









-

-

tu-a  

  



lu



-

tu-a



 

-

tu-a

lu



-

tu-a

lu



-

-

tu-a

ce

-

 -

-

ce - at

-

 -

ce

-

ce

-





  

et

lux

per - pe



 

-

 

-



-



lux per - pe

 -

-

-



-

-





 lu





tu-a

lu





tu-a

lu

 -



tu-a  

 -



 



 -

-

   







-

ce

-

 -

 -

 

 

 



pizz.     

    





     pp

arco









at



  

-

ce - at



 

-

ce - at











 

div.











 -



et







-

is,

et



   

 -

e mf

-

-

-

-

-

-

 -





e poco

pp



-



-

 -

mf



-

 

-

-





pp

mf





pp

mf



 





e



   poco



  

mf



poco



ppp



poco

  

 

ppp arco

-

e poco

 et

is,



poco



-

mf poco

at

pp

pp

unis.

    

is,



e

  



 -



poco



ppp

pizz.

pizz.



 -

 poco 

ppp div.

et

mf

 at

pp

  

is,



e

-

  

poco

    

mf

mf

-

-

3



  

e poco

at





mf



e



 -



poco

at



ce

  lu

 



 -

 lu

 -







-



    

-



ppp mezza voce, assai tranquillo

pp

div.

-



pp

unis.

pp

 pp



-

pe

pp

 







pp







pp



pe

dim.



pp

  



pp







 

ppp mezza voce, assai tranquillo

6     

    

-

ppp mezza voce, assai tranquillo







pe



per

et

   

pp



 



-



lux

is;

pp

Vc.



-

et



-



per



 

-



lux

is;



pp

Vln. II

-



pe









ppp mezza voce, assai tranquillo

         



e

na

is;



  

   e

-



-

ppp mezza voce, assai tranquillo

et







lux

et

is;

 -



is;

 

na

-



 

ppp mezza voce, assai tranquillo

Db.









-

Vln. I



     





B.



pp

 

Org.

S.

 



pp



Hp.

B.







pp

pp

S.



mp

 

pp



mp

 



Hn.

Tpt.





(2. con sord.)

(1.)

pp

3.4



pp

 



ppp





  

 

 f

mp espr. Cl. 1.2



f

p 1. Solo

  

 

pp

mf





pp

mf



unis.



-









 pizz.

3   

mp

pizz.

3   

mp

Hymnus Paradisi.qxp

21/06/2007

11:44

Page 9

9

7

68

Fl. 1.2

  



 

pp



(1.)

 

Ob. 1.2





   

 















mp dim.

 

C. A.

 

  

 

 



pp















2.



          

1. mf

pp



Cl. 1.2

 

B. Cl.

1.2



 

 

Hn.





















 





 

pp

 dim.

 









 

  



















   

pp







senza sord.













senza sord.















 



  



 



  



pp

































  



 













 













S.

  

A.

    

T.

B.



 

S.

  

A.

 

  

lux

per - pe



  

lux

per - pe



  

lux

per - pe



  

lux pp

per - pe

 - is, pp



 

- is,

Chor. 2

  

T.

B.





 

pp



pp



 

    

Vln. II

-

   

-

-

-

-

-



 

et

lux

 

-

Db.



-







dim.

ppp

-





per - pe

 



per - pe

 



tu - a

lu

  



tu - a

lu

  



tu - a

lu  



tu-a

-

lu

  



tu - a

lu

  



tu - a

lu

 



-

-

-



-

-

-



 ppp



dim.

ppp

 





        



  

pp







-

ce

 ce

-



-

-

 -

-

-





-

ce



 -

-

-

 -

-



-



-

-



  

-

  



  

-

at



 e







 

 

 





pp

-

 





 



-

at

e

  



ce - at

e

 -



at

 -

 -

 e

  



ce - at

e

  



ce - at

e

 -

 -

 -



  



ce - at

e

 -

 





  

  











     



 



  









div.





         



 Re pp

-

Re pp

-

Re

-



  



  

-

-

-

mf

-

-

mf



Re pp

-

Re

-







arco div.



-

qui

-





-

qui

qui

-

 -

-

qui

 

ae mp

-

em

ae

-



mp

-



 -

-

mf

qui



ae



mp

-

-

qui

ae



mp

em

pp



 







-

qui

-

 







unis.      mf

  ae

-

mp

 

em

ae



em

-

mp

 ae

-

3

mp

      

    

mf

-

      

       

mf

ae mp

em



 -

 





mf

-

-

  

 -

-

 

em

3

pp

    

mp

  

pp

mp

 

 

  

pp

mp

       3

pp



   

em

 -





    

  

  

mf

      



 







Re pp

Re

mf

  





 mp



pp

ppp





 

pp

arco

qui em

mf

pp

div.





  

is!

               pp 



pp

unis.





-



is!

7 unis.                 pp 

  



mf

  



  

Re

 





pp



is!

mp



senza cresc.

  

pp

is!

  

  



  

is!

mp

     

   pp   

 



  

 

  

pp





 

 

is!



                  mf              

  

is!

    

 

mf

pp dim.







mf

mp





mf

pp





 

 



is!

div.







-



 



pp

ppp

    



    



-

div.

dim.



e

  

 





 

 

Sw.



ce - at

   

 lu

    





tu - a

-

lu



  

-

 

  

-



per - pe

tu-a





per - pe



lux

-



lux

et

-

-





-



lux



-

-

-

  





pp

 

-



dim.

Vc.

-

 -

   Vla. div.

-





et

- is,

Vln. I

-

et

- is,





 

  

Org.

 mf





  mf

pp

p





pp

pp





pp

 

pp



Hp.

Chor. 1

   



pp

 



  



pp Tpt. 1

 

pp

   



 

 

 

2.

pp

pp

pp

3.4



pp



(2.)

Cbsn.



pp

 

Bsn. 1.2



 

pp

 

pp

1.





mp





Hymnus Paradisi.qxp

21/06/2007

11:44

Page 10

10

77

Fl. 1.2

  

1

 

Ob.

 

2

 

  

   





 

 





pp



B. Cl.

 





 

 

 

 



Bsn 1.2.

Cbsn.

1



 



3

Tpt. 1





 

Hp.

    

Org.

 S.

mf

p dim.









mf

p dim.

   

B.

     







mp

mf





mf

   



     







p

  





mp

mf





  



  



mf

 















f

















  

 



  



 

  





mf cresc.































 -

 

 

- ter



- ter

 

- ter



-





-

ae





-

ter

-

p

p

   



mp

nam

do

 nam



 



 

 

p

-

-

 



na

e mp

mf

-

-

do

un poco più mosso, e rubato q = 80



   



   

    

    

-

na

e



  

-

-

 -

na



 e

-





   

is!

-

-

Re

na

e

-

-





-

 

senza sord.



senza sord.



-

f

 

-

-



 mf







  

   



  









  

   



   

   





senza sord.

 



senza sord.





mf



senza sord.





do

-



 -

-



mf



   





-

na

e

-

 

      f    





-

-

-









-

-

ter

3

f

 f

3





    3

-

is,



 -

is,

e

-

  

do

-

-

na

nam

f



 -

  -

       

mf

cresc.

na

 

3

 

3        

mf

cresc.



   

unis.   mf

na,



cresc.

  

 

-

   

-

 

  



        



do

mf

mf







is,



f









do

 



-





3

f

 

do



3



f



-

is,

f



e



 -

    

na

mf





mf





is,

   

mf







is,

ae





    



qui - em



-

f

 -

mf



-

 

is,



 -

-

senza sord.

-



-



8

-





-

e



-





na

-



poco

-

e

is, mp

f



 

na





3

do

do

e

mf



  



 

  





do

 



  







 

3

-



  

-

-

qui - em





-



  







-

 

 -



     





-



nam

-



do



-

-

 

 



   

do mf

nam





nam



-









-

-

Re

nam

-

f



    



nam,

  

 







  





- ter



nam,









mf



-







p

 - ter

   

nam

 -ter





mf cresc.



   



mf cresc.

f



  

3

  



 mf cresc.

f

mf



f cresc.









  

a2



f

f



p



  



f cresc.



3











f

  

 

     



 



f

 





p

Db.

mp



   

p dim.

p

Vc. div.



p

 

 



   

  

Vla.



f cresc.



  



  

 

  

Vln. II







a2

   

- ter

Vln. I

 1.

 

f cresc.

        

f



p



f

     



A.



pp

  

 

  



 

B.

    



 





S.

T.



pp

   



   

(

f cresc.



  

Chor. 2



  



        f cresc.     



   



 

   

- ter

T.

  





 



mf

   



  a2        3 f cresc.        

 

   

Chor. 1



  3

mf

pp



mp





    

p







 

  

A.

 





mf





 

    

p dim.





4

    mf   mf  



mf

Hn.

 





pp

mf





2



 



   



pp







pp



Cl. 1.2



mf

pp

  

C. A.

8

un poco più mosso, e rubato q = 80

 

mf cresc.

 mf cresc.



  





 



 

 

mf cresc.

)

Hymnus Paradisi.qxp

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Page 11

11



84

1

  

    

 



ff dim.

Fl. 2

 

1

 

    

  







  

 



ff dim.

2

  

   

ff dim.

ff dim.

 

Cl. 1.2



B. Cl.

   



  

    

  

 

  



    

  



 

 

ff dim.

ff dim.

1









 



pp











 



   











 















 



  









 

 









 

  









  

    



 

f dim. 2



   

   

ff dim.

Bsn. 1.2



p

     

C. A.





p

   

 





p

ff dim.

Ob.

9

rall. e morendo

  

mf

pp





mf

pp

 

  





pp

pp













 













 









 











 











 











 



 





pp

  

 

3



4





 





f dim.









 

  

 

f dim.

  

ff dim.

    -

-

-

na

ff dim.

   

A.

  

T.



 

-

-

ff dim.

do

-

-

e

S.

  

A.

 



-

-





  

Vla.

div.

    

  ff dim.

Vc. div.

   ff dim.

Db.



 





na

e

-

 

ff dim.

-

do







do

-

na

e

-

 -





e div.



-

-

    

-

 

 -

-

  



-

         molto

  

    



 

-

-

-

qui - em

do







na

e





ppp



 -



 -

 -

-



   



 p

 p





 

-

ppp







   

molto

p

pp

 



  



 



  



 



  



 



  



 



  



 



is!

9









 











 













 



p

pp









 





 





 



p



is!



pp





-

pp





e



  

rall. e morendo

  

na

 

is!





 e



ppp

-

-



is!



pp



is!

pp





is!

ppp

-

-



is!

-



e

sul G

 unis.   





 



is,

molto

   

pp

is,

molto

      

  

ppp

 do



 -





is!

pp



  



ppp

e

is,

pp

-

-



is,







 pp



e

Re pp

pp



na



is,





pp sotto voce

is,

-





 -

-



e



-



 -



is,

pp

pp

-



        

ff dim.

 

e



ff dim.

 

na



-

ff dim.

 



-

 

-



ppp

pp



is,

   

Vln. II

-

-

pp

e

Vln. I

-

molto



ff

B.

 

-

 pp

-

-

-

 ()

-

-



  

T.

-

pp



()

-

-

ff

e Chor. 2

-

-

 -

    

-

-

   

-



ff dim.

-

 

f dim.





-



-

ff

molto

e

-





  

  



do

Chor. 1

B.



f dim.

Hn.

S.







p

pp





con sord.



con sord.



pp



pp











 pp



 pp

   ppp

   ppp

Hymnus Paradisi.qxp

21/06/2007

11:44

Page 12

12

Placido, teneramente (ma più mosso) q = 86

92

1

  





 

 pp dolce









 

 



 

    p

dim.

poco

   

pp

Fl.



2

1





      

  



pp







 







Ob. 1



poco





 

2



      



     p



  

 

  









 



 

pp





pp

Cl.

  

dim.

 

    

  







pp

 





pp



1







Hn. 1

      

      

 



pp

Bsn. 2

















pp

 





con sord.







  



pochiss.

  







 



mp

Hp.





Cel.







Sop. solo

  





          pp



senza cresc.

      

 

pp

          

 

Re

-

   



 

           

    



p dolce



-

 



qui

em

-



senza sord.



p

 



  

 -

-

-

           

      

          







 



ae - ter

      

nam

do

 -

 



 

na

e

 -

is,

S.

  

















A.





















































































































Chor. 1 T.

B.



   

S.

  

A.



Chor. 2 T.

B.





   

 

Placido, teneramente (ma più mosso) q = 86 Vln. I

  

(desk 2)

con sord.







 

pp



Vln. II



(desk 2)

     

con sord.





pp Soli

(desk 2)

Vla.

 

Vc.





(desk 2)





p

pp

con sord.













 



       







  

mp

dim.



     

      

  

 



 

 



 

 p





p

pp





con sord.

  

    



mp dim.

 

 

   

pp

Vln. I

  

Vln. II





































Vla.



















Vc.





































Db.





Hymnus Paradisi.qxp

21/06/2007

11:44

Page 13

13



98

1

   

Fl.



2



Ob. Ob.1.2 1





pp



  

















  







     







 

pp dolce

  

     



  

    



   

       









 

 





 Hp.

 



 



 



 



 

  

mf

 p



                          

      



     



             



                                  



   

mp





et

lux



3



per -

F§

Bb

 pe











pp



              

 



pp

 -

-

 -

-

             

  -

 -



 

tu-a

lu

 -





 -

-

  Eb

 

           

ce - at

 

            E§

dim.





   





       



   





 e

 -

-

-

-

-

   -

-

  

















A.





















   

































T.

B.



S.

  

















A.





















































Chor. 2 T.

B.

Vln. I



   

   





mp



Vln. II



mp

poco



Vc.









10  



          



 

mp

poco

   



mp

 











pp

poco

 

Soli Vla.





             



         

pp





     

 





 





 







  





pp

poco



 

p

  

















Vln. II





















Vla.



















Vc.











































Vln. I

Db.

-

      

  dolce      

 -

S.

Chor. 1



ppp

pp

  

Cel.

    pp

mp



mp

Sop. solo





Bsn.

Hn.



pp

  

   

pp

p

2



pp

       

Cl.

1



pp



p

2

 

più p

                   









       pp

        

  

1







10

Hymnus Paradisi.qxp

21/06/2007

11:44

Page 14

14 un pochissimo più mosso q = 96–100

rall.

  

104

1

  













   

p cresc. Fl.



2





 

  

p



Ob. Ob.1.2 1

 







 















mp cresc.

    

1

pp

Cl. 2

   

1

 

Bsn. 2

Hn.



















 





 

  mf





     





 

     

   

 -

 

 

 





 





 







  







 

 

     

 

  



f

 

p



 

 

f



p

 

pp

   

 

 















p

f

 



 

p

f







 





 

 

  

pp



 









molto

    



  





 







  



 



 



 



Soli

 

p con anima



  

  

Vla.





  





 



 





 



cresc.



 

  



  



  



(senza sord.)



(senza sord.)





  

 

Vln. II div.



  



   





p cresc.

(senza sord.)



  



 



  



(senza sord.)



(senza sord.)

 





senza sord.





senza sord.





 









ff

  



mf



  





  

 





 

  

mf

mf



-



-

qui - em

 

 





 





 





 



 







-

   





-

qui - em

 



ter

   -

-

 



  



col tutti Vln. I senza sord.



col tutti Vln. II senza sord.



col tutti Vla. senza sord.



col tutti Vc. senza sord.



  

 

  



 

 

pp





 

pp

















pp

3

3     3     3                                mf pp



  

 



 

  

 



 

mf

mf



 

-

3

 





-

3 3 3                          

mf



 

pp

 

  



mf

   

  



pp

   



 

mf







-

 

 



-













  



-

 -

ter



em ae mp con anima

Re

ff





-











qui



ae -





 



mf





3

pp con anima





(senza sord.)

pp cresc.

Vc. div.



p cresc.



pp cresc.

Vla. div.

Cb

qui - em

em







      

p cresc.

Db.

 

p cresc.

Vln. I div.

-

ff

 



-

 

ff

    

cresc.

-

  -

-



qui



-

-

un pochissimo più mosso q = 96–100

cresc.



-

 -



 



rall.

cresc.

Vc.





  

 -



Re p con anima









 

     



 

 











       

pp con anima

 









   

Vln. II

mp



Re

Vln. I

3

  



  





 









  





p

Re

T.

3

  

is!

  



3



Re





    



    



 











 



3

3 3          

 



mf



  





f







3

3

   

f





     

 





   

 





  

Chor. 2

B.

  







   

A.



  

-

S.

  



 

Hp.

Chor. 1 B.



mp



Sop. solo





cresc.

 

C. A.



 

senza sord.   mp

 















p

 

p

pizz.

 

p



 







 

  



arco

 mf

Hymnus Paradisi.qxp

21/06/2007

11:44

Page 15

15

11



109

Fl. 1.2

  



      

 mp



Ob. 1.2









Cl. 1.2

B. Cl.

 

Bsn. 1.2







 











 

mp

mf

 

  mf

  



    

 





       

 

mf dolce

4



Hp.





   







  

S.



Chor. 1

S.

per





lux mp

per







Chor. 2

 

 



do mf

-

mf

 mf

   

 

  

 

-



Vla. div.





e

e



     

    







-



Ab

-

-

   mp

-

-



-

tu-a

lu

-

-

e

-

-

-

-

-

-

e

mf f          mf













     

lu

qui - em

do

 

 

   

pizz.

-



 is,

pizz.

pizz.    



mf



  

-



mf



arco mf



-

f





p

-



  



  



 

  

        -

  

 -

-

-



-



mf

at

-

-

3

-





pe

-

-

-

-



 

-

-

 





is,

e

-

  





-

na



e

-





ter

-



   -

-

 -



 espr.  espr.

-

 ae

-

 

 

 





     





 



 

p



 



p

 

3



 

 3



3













 

  



          



         

3        

                   



 











  





  



 



p  

  

p

-







p

poco

ae

 

3

p





qui- em



3



-

  

  

p

p

3

-

  



 

-



 



p

 

     



-



 

3

 

-

 

     



qui - em



p arco

pe

mp assai espress.

do

-

  

 -

 per

ce



 -

mf assai espress.



  





na,



p

pizz.   



-

assai espress.



 



-

lux per p assai espress.

e

-





Re







ce - at

-

3



p

 

-

-



f



 

mp

p assai espress.





f

arco



3







Re



f

arco

 

 





3

   

      

-



lux



       



-

is, assai espress. mf

  

3

 

 -

is,

     



 





is,

 -





 -

 

  

          na





     







  

  

 3       mp     

mp

  







-

 







nam,



 

 

pp

     

ce - at,

-

2.



   



3



ce - at

-

1.

  

pp



 espr.                        f mf  espr.                               f mf 3 3                                                3 f 3 3                                                         f

     



 

   



  

lu

-

11 



mp

-



mp Db.

-

mp

mp

Vc. div.



na

  

mp



-

 

mp



 na



 -

-

 

3

-





 -

-

tu - a

do

 

lu

-

-

  







 

nam

-

do mf

-

 

 -





         



 





 

pe

  

pe

-

  

tu - a,

- tu-a

re

-

-

pe

na,

-

per

 

 

2.

mp

f





pp





lux

 -

 A§ 



  