JAMES WHITBOURN
THE SEVEN HEAVENS The Life of C. S. Lewis in the Planets of the Middle Ages
(2014)
Full Score
CHESTER MUSIC
A. M. I. F. R.
aetheriis musica ingeniis fluit refluit From heavenly inspiration music flows and flows back
Commissioned by the Belfast Philharmonic Society on the occasion of their 140th Anniversary Season 2014-2015, and first performed in the Ulster Hall on 30th May 2015 by Belfast Philharmonic Choir, members of the Phil Kids choirs and the Ulster Orchestra, conductor Stephen Doughty
Instrumentation SATB Chorus Piccolo 2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 4 Horns in F 2 Trumpets in Bb 2 Trombones Bass Trombone (or Bass and Contrabass if preferred) Timpani Percussion (3 players): Snare drum Side drum Bass drum 5 Tom-toms Suspended cymbals Clashed cymbals Tam-tam Glockenspiel Xylophone Tubular bells Wood block (very large) Triangles (small and medium size) Whip
Harp Organ Celesta Strings (with divisi)
CONTENTS I. II. III. IV. V. VI. VII.
The Moon Mars Mercury Jupiter Venus Saturn The Sun
1 12 26 34 50 58 65
General Notes: At the premiere, some sections were sung by a gallery choir of children, these sections were: Mvt I, The Moon: b. 10-24 (soprano), b. 56-65 (soprano), Mvt IV, Jupiter: b. 19-28, b. 62-72 (soprano and alto), Mvt VI, Saturn: b. 39-45 (soprano), Mvt VII, The Sun: b. 10-18 (soprano), upbeat to b. 73 (soprano and alto), b.95-105 (sopranos 1 & 2) G.P. (General Pause) is used to indicate the silence of one bar (or more) for the whole ensemble. This is measured in strict tempo unless marked otherwise.
Duration: c. 31 minutes.
A vocal score is available on sale, Order No: CH83754 Instrumental parts are available on hire from the publisher
Notes on the libretto by Michael Ward C.S. Lewis (1898-1963), though best known for his Narnia Chronicles and works of popular theology, was professionally neither a fiction-writer nor a theologian. He was a medieval literary critic and historian who taught English at Magdalen College, Oxford for nearly thirty years and finished his career as Professor of Medieval and Renaissance English at the University of Cambridge. As a medievalist, Lewis had a deep interest in the old view of the cosmos, the pre-Copernican model, in which Earth was central and surrounded by the seven heavens, each heaven with its own planet, and each planet with its peculiar attributes and influences. Lewis described these seven planets as “spiritual symbols of permanent value”, which were “especially worth while in our own generation”. It is from these seven planets, of course, that we derive the names of the days of the week. Lewis wrote about them from a scholarly point of view in The Discarded Image; from a poetic point of view in his long alliterative poem, “The Planets”; and from a narrative point of view in his Ransom Trilogy. He also based the whole of the Narniad on the imagery of the medieval planets, assigning a planet to each story.1 In this musical portrait of C.S. Lewis, these seven spiritual symbols become a series of lenses through which to view his life. The seven movements follow the order of the days of the week (beginning on a Monday, finishing on a Sunday) and, with a little overlapping in places, correspond to periods of Lewis’s biography. The sung text is taken from the collection of Orphic hymns (The Mystical Hymns of Orpheus), translated by Thomas Taylor (1792) and lines from the Psalms, Saint Luke, Saint John, Shakespeare, Shelley, Joseph Addison, Thomas Lodge, and C. S. Lewis. Lewis refers to the Orphic Hymns in Modern Man and His Categories of Thought and in Neoplatonism in the Poetry of Spenser, and twice in his letters2 he quotes Shelley’s line “language is a 3 perpetual Orphic song”. Further, in another letter he writes: “At nihil eorum quae superscripsi prohibet quin constet inter omnes humanam sermonem esse Orphicum carmen.” [But nothing of what I have written above forbids general agreement amongst everyone that an Orphic poem should be a topic for human conversation.]
1
Michael Ward Planet Narnia, The Seven Heavens in the Imagination of C.S. Lewis (Oxford University Press, 2008) 2 Letters to Owen Barfield (8 February 1939) and Dorothy L. Sayers (14 November 1954) 3 Letter to Owen Barfield (10 September 1927)
THE MOON (1898-1914) Lewis was born in Belfast, second son of Albert and Flora, and baptized by his grandfather, The Revd Thomas Hamilton. Not liking his given names of Clive and Staples, Lewis was known as Jack from an early age. As a youngster and throughout his life, Jack would experience inconsolable longings, which he called “Joy” (hence the title of his autobiography, Surprised by Joy) and eventually understood as intimations of immortality. His mother died when he was nine years old, and within a few weeks of her death he was sent over the Irish Sea to be educated in England. His first school was run by a sadistic headmaster, Robert Capron, who was later certified insane and died in a lunatic asylum. As his teenage years began, Lewis abandoned the Christian faith in which he had been raised. He experienced an increasing tension between his imaginative and his rational faculties. “The two hemispheres of my mind were in the sharpest contrast. On the one side a many-islanded sea of poetry and myth; on the other a glib and shallow rationalism. Nearly all that I loved I believed to be imaginary; nearly all that I believed to be real I thought grim and meaningless.”
HEAR, beauteous queen, diffusing silver light, Light canoe and drifting through the gloom of Night. With stars surrounded, and with circuit wide Night’s torch extending, through the heavens you ride: Fair lamp of Night, its ornament and friend, Who givest to Nature’s works their destined end. Orphic hymns VIII To the Moon
Daughter of Jove and sister to the Sun. Thomas Lodge
MARS (1914-1930) In 1914 Jack was withdrawn from public school by his father and sent to be tutored privately by a retired headmaster, William Kirkpatrick. Kirkpatrick, an ultra-logical rationalist, strengthened Jack’s philosophical and argumentative side, training him for study at the University of Oxford, where Jack obtained a Triple First in Classics and English. His time as an undergraduate was interrupted by service in the First World War and marred by a growing estrangement from his father, Albert. Jack served as a Second Lieutenant in the Somerset Light Infantry, arriving in the French trenches on his nineteenth birthday. He was badly wounded in the spring offensive of 1918 and was invalided back to England. He resumed his studies, graduated and began to teach at Oxford. After he was no longer dependent on his father, their relationship improved. Albert died in 1929. The following year, Lewis abandoned his unbelief and became a theist: “I gave in, and admitted that God was God, and knelt and prayed: perhaps, that night, the most dejected and reluctant convert in all England . . . The words compelle intrare, compel them to come in, have been so abused by wicked men that we shudder at them; but, properly understood, they plumb the depth of the Divine mercy. The hardness of God is kinder than the softness of men, and His compulsion is our 1iberation.”
Compelling, unconquered, boistrous Mars, In darts rejoicing, and in bloody wars Fierce and untamed, whose mighty power can make The strongest walls from their foundations shake: Stay, furious contests, and avenging strife, Whose works with woe, embitter human life; Encourage peace, to gentle works inclined, And give abundance, with benignant mind. Orphic hymns LXIV To Mars
Compelle intrare. Luke 14:23, quoted by Lewis in Surprised by Joy
The hand that made [them] is divine. Joseph Addison
MERCURY (1926-1945) In 1926 Jack made the acquaintance of a colleague in the Oxford English faculty whose name was J.R.R. Tolkien. Their friendship would prove to be one of the most momentous of the 20th century; it formed the kernel of that group of writers known as the Inklings. Tolkien, a devout Catholic, was instrumental in guiding Jack from theism to Christianity, and Jack, in turn, would be instrumental in encouraging Tolkien to write The Lord of the Rings. In 1931, Tolkien and Lewis, along with a third friend, Hugo Dyson, had a long conversation in Addison’s Walk in the grounds of Magdalen College, where Jack was now a Fellow and Tutor. This conversation led, a few weeks later, to Lewis’s Christian conversion, which happened in the sidecar of his brother’s motorcycle on the way to Whipsnade Zoo. “They have spoiled Whipsnade since then,” Lewis wrote. “Wallaby Wood, with the birds singing overhead, and the bluebells underfoot, and the wallabies hopping all round one, was almost Eden come again.” After his conversion, Jack gave up his ambition to be known as a poet (he had already published two volumes of verse and is now memorialized in Poets’ Corner, Westminster Abbey), and began instead to focus on writing prose works in many different genres, including philosophy (The Abolition of Man), satire (The Screwtape Letters), and science fiction (The Ransom Trilogy). This period also saw his emergence as a distinguished literary scholar, with works such as The Allegory of Love and A Preface to Paradise Lost. He became famous as a broadcaster on the BBC (delivering talks that would later be published as Mere Christianity) and as a fearsome debater at the Socratic Club in Oxford.
Studious of contests, ruler of mankind, With heart almighty, and a prudent mind. Celestial messenger, of various skill, Whose powerful arts could watchful Argus kill: With power endued all language to explain, Of care the loosener, and the source of gain. Assist my works, conclude my life with peace, Give graceful speech, and memory’s increase. Orphic hymns XXVII To Mercury
And the Word was made flesh and dwelt among us. John 1
JUPITER (1939-1956) Depressed in 1939 at the outbreak of another war, Jack wrote to a friend, “What state of affairs in this world can we view with satisfaction? If we are unhappy, then we are unhappy. If we are happy, then we remember that the crown is not promised without the cross . . . But ‘would it were evening, Hal, and all well.’ I have even, I’m afraid, caught myself wishing that I had never been born.” The quotation from Shakespeare’s Falstaff is characteristic, for Lewis generally had a Falstaffian joie de vivre and enjoyed a sanguine, rather than a melancholic, humour. When teaching about medieval cosmology in his university lectures, he would say, “Those born under Jupiter are apt to be loudvoiced and red-faced.” He would then pause and add, “It is obvious under which planet I was born”, which always produced a laugh. In the face of so much Saturnine disaster in the 20th century, Lewis wrote: “Of Saturn we know more than enough, but who does not need to be reminded of Jove?” Jove (Jupiter) was “the best planet”, symbolically speaking, who brought about “winter passed and guilt forgiven”, and was held to be responsible for all things kingly, festive, and truly noble. Lewis’s greatest fictional character – Aslan, the lion king of the Narnia Chronicles – illustrates the continuing fruitfulness of his naturally Jovial personality, even in the face of unrelenting Saturnine circumstances.
O Jove much-honoured, Jove supremely great, To thee our holy rites we consecrate, The earth is thine, and mountains swelling high, The sea profound, and all within the sky. Even Nature trembles at thy mighty nod, Loud-sounding, armed with lightning, thundering God. Source of abundance, purifying king, O various-formed from whom all natures spring; Orphic hymns XIV To Jupiter
Joy and jubilee. C S Lewis from ‘The Planets’
VENUS (1956-1960) In 1956, Jack married Joy Davidman, a New York writer. Their marriage was initially only a legal convenience, designed to enable her to go on living in England after her visa expired, and they did not live together as man and wife. Shortly after their secret, civil wedding, Joy fell seriously ill with bone cancer and was expected to die. Faced with this prospect, they regularized their relationship and were married a second time, in a Christian ceremony at Joy’s hospital bedside. The priest who married them also prayed for Joy’s healing. Miraculously, so they believed, her cancer went into remission and she and Jack had a brief but very happy marriage, during which time they had a belated honeymoon in his native Ireland and fulfilled a life-long wish by visiting Greece. Joy’s disease returned after three years and she died in 1960 at the age of 45. This poignant period in Lewis’s life is dramatized in the film Shadowlands.
’Tis thine the world with harmony to join, For all things spring from thee, O power divine. The circling choirs of mortals, thy delight, Or beauteous nymphs, with eyes cerulean bright, And beauteous daughters in the chorus join, Adonis pure to sing and thee divine; Come, all-attractive to my prayer inclined, For thee, I call, with holy, reverent mind. Orphic hymns LIV To Venus
Thou wert my morning star among the living. Shelley
SATURN (1960-1963) Jack wrote about the loss of his wife in A Grief Observed. It is a short but devastating journal of bereavement, asking unflinchingly all the hardest and darkest questions. Twice in the book, Lewis refers to Christ’s cry of dereliction on the cross, “My God, my God, why have you forsaken me?” Lewis did not lose his faith, but neither did he shrink from acknowledging the pains and struggles inherent in mortal life. A Grief Observed contains many of the same thoughts and reflections that we find in his earlier “Five Sonnets”, with their memorable image of a bee bumping against a window and having to submit to the terror of being wrapped inside a handkerchief in order to be released into the garden. Within a few years of his wife’s death, Lewis himself became ill and resigned from his professorial chair. He died at his Oxford home, The Kilns, on Friday 22nd November 1963, the same day (indeed, the same hour) that President John F. Kennedy was assassinated in Dallas, Texas. He is buried in the churchyard of Holy Trinity, Headington Quarry. On his gravestone is a line from King Lear, “Men must endure their going hence.” This text was chosen by Lewis’s brother because it had appeared on the family’s Shakespeare calendar the day their mother died.
Consumed by thee all forms that hourly die, By thee restored, their former place supply; The world immense in everlasting chains, Strong and ineffable thy power contains Father of vast eternity, divine, O mighty Saturn, various speech is thine: The sacred rites benevolent attend, And grant a blameless life, a blessed end. Orphic hymns XII To Saturn
Men must endure their going hence. Shakespeare
My God, my God, why have you forsaken me? Psalm 22:1, quoted by Lewis in A Grief Observed
THE SUN At the time of his death, Lewis was readying for publication two works, which both appeared posthumously in 1964. One was The Discarded Image, his scholarly treatment of the medieval and renaissance view of the cosmos, whose structure and traditional associations we have relied upon so extensively in this musical portrait. The other was Letters to Malcolm, a book about prayer, in which Lewis wrote of his hope for resurrection: “My hope is that we shall return and re-assume the wealth we laid down. Then the new earth and sky, the same yet not the same as these, will rise in us as we have risen in Christ. And once again, after who knows what aeons of the silence and the dark, the birds will sing out and the waters flow, and lights and shadows move across the hills and the faces of our friends laugh upon us with amazed recognition. Guesses, of course, only guesses. If they are not true, something better will be. For we know that we shall be made like Him, for we shall see Him as He is.” This final movement begins and concludes with the motto of the University of Oxford, which is taken from Psalm 27: “Dominus illuminatio mea” (The Lord is my light).
Dominus illuminatio mea Psalm 27
Lord of the seasons, with thy fiery car And leaping coursers, beaming light from far: Agile and vigorous, venerable Sun, Fiery and bright around the heavens you run. With various founding, golden lyre, ’tis mine To fill the world with harmony divine. Orphic hymns VII To the Sun
Dominus illuminatio mea Psalm 27
Amen.
THE SEVEN HEAVENS JAMES WHITBOURN
I – THE MOON Tranquillo q = 88
Piccolo
Flute 1 & 2
Oboe 1 & 2
Clarinet 1 & 2 in Bb
Bassoon 1 & 2 Horn 1 & 2 in F
Bass Trombone Timpani
Horn 3 & 4 in F Trumpet 1 & 2 in Bb
Percussion (3 players) Glockenspiel
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© 2015 Chester Music Limited
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II – MARS
Vigoroso q = 100
Piccolo
mf
Flute 1 & 2
a2
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Oboe 1 & 2
Clarinet 1 & 2 in Bb
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Trumpet 1 & 2 in Bb
mf
Trombone 1 & 2
a2
mf
Bass Trombone
mp
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Wood Block
Wood Block Bass Drum
Snare Drum / Tom-Tom
f
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pizz.
pizz.
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pizz.
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mf
Double Bass mf
mf
3
3
3
3
3
f
Viola
Bass Drum
Vigoroso q = 100
Violin II
3
f
f
3
3
3
simile
f
3
3
3
13
6
Picc.
f
Fl. 1&2
f
Ob. 1&2
Cl. 1&2
Bsn. 1&2
f
a2
ff
Hn. 1&2
f
ff
Hn. 3&4
ff Tpt. 1&2
f
f Tbn. 1&2 ff B. Tbn.
f
ff
Timp.
W.B.
B. D.
S.D./ T-Tom
p
f
ff
A.
ff
ff T.
ff
Vln. II
Vla.
ff
un - con - quered,
Com - pel - ling,
Vln. I
un - con - quered,
Com - pel - ling,
B.
un - con - quered,
Com - pel - ling,
Com - pel - ling,
mf
S.
un - con - quered,
3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
Vc.
Db.
14
10
Picc.
ff
(a 2)
Fl. 1&2
Ob. 1&2
ff
a2
Cl. 1&2
ff
(a 2)
Bsn. 1&2
Hn. 1&2
ffp Hn. 3&4
ffp Tpt. 1&2
ffp
Tbn. 1&2
Hp.
S.
ff
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
B. boist
-
-
-
-
-
-
-
-
3
3
3
rous
rous
Vla.
arco
ff
ff
Vc. div.
pizz.
3
3
3
pizz.
f
3
f pizz.
f 3
3
3
3
3
3
3
3
f
ff
f
ff
div. Db.
Mars,
ff
Mars,
3 3 3 3 3 3 3 3 3 3
arco
Vln. II
Mars,
rous
3
arco
3
Vln. I ff 3
mf
-
Mars,
-
rous
mf
-
f
-
a2
boist
a2
ff
boist
T.
boist
A.
D§ F# G§
ff
ffp Timp.
mf
f
ff
ffp
B. Tbn.
ff
ff
fltr.
ff (a 2)
fltr.
f
15
13
Picc.
G
f
Fl. 1&2
Cl. 1&2
Bsn. 1&2
f Ob. 1&2
ff
a2
ff
f
sfz
ff
ff
Hn. 1&2
Hn. 3&4
a2
f a2
Tbn. 1&2
f
f Tpt. 1&2
f
f
a2
f
ff
B. Tbn.
ff
Timp.
B. D.
S.D./ T-Tom
mf
f
A.
B.
re - joi
-
re - joi
ff
In
darts
In
ff
In
T.
darts
ff
In
ff
S.
darts
-
darts
cing,
re - joi
cing,
-
re - joi
cing,
-
cing,
and
in
and
in
and
in
and
in
G
Vln. I
Vln. II
Vla.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vc.
Db.
16
18
Picc.
ff
Fl. 1&2
(a 2) ff
Ob. 1&2
a2
ff
Cl. 1&2
a2 ff
Bsn. 1&2
a 2
ff
S.
mp
mp
mp
ff
mf
mf
ff
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
y
wars.
y
wars.
y
wars.
-
-
-
-
-
-
-
-
-
-
B. blood
blood
blood
T.
blood
A.
Hp.
ff
ffp
Timp.
ff
ffp
B. Tbn.
ffp Tbn. 1&2
ff
ffp
Tpt. 1&2
mf
ffp Hn. 3&4
ff
Hn. 1&2
y
wars.
arco
Vln. I ff 3
3
3
3
3
3
3
3
3
3
arco
Vln. II
3 3 3 3 3 3 3 3 3 3
ff
arco
Vla.
ff
unis.
Vc.
ff
Db.
ff
mf
mf
mf
17
Picc.
fltr.
H
21
ff
Fl. 1&2
mf
Ob. 1&2
mf
Cl. 1&2
mp
Bsn. 1&2
p
Hn. 1&2
Hn. 3&4
Tpt. 1&2
a2
B. Tbn.
Timp.
mp
f
mf
f
1
mp
mp
a2
mf
ff
mf
f
f
mf
mp
mf
mf
f
mf
p
Tbn. 1&2
f
f
ff
ff
p
ff
f
S.
A.
T.
ff
Fierce
and
and
Fierce
un - tamed,
ff B.
un - tamed,
whose
might
whose
might
-
-
-
-
y
power
y
power
H
Vln. I
ff
Vln. II
ff
Vla.
Vc.
mf
mf
Db.
mf
f
18
26
Picc.
f
ff
a2
Fl. 1&2
f
Ob. 1&2
ff
f
a 2 fltr.
Cl. 1&2
ff
Bsn. 1&2
f
a2
f
Hn. 1&2
(1)
a2
ff
ff
ff
f
Hn. 3&4
Tpt. 1&2
a2
3
ff
f
ff
make
the
ff
can
make
can
Db.
3
3
make
strong - est walls,
strong - est walls,
the
strong - est walls,
ff
f
ff
ff
strong - est walls,
f
Vc.
f
Vla.
ff
Tam-Tam
the
ff
the
B.
make
ff
ff
can
Vln. II
can
ff
f
Vln. I
3
T-Tam
T.
f
A.
3
Timp.
S.
f
ff
B. Tbn.
ff
f
Tbn. 1&2
the
strong - est walls,
the
the
strong - est walls,
the
the
strong - est walls,
the
the
strong - est walls,
the
f
strong - est walls
shake.
strong - est walls
shake.
strong - est walls
shake.
strong - est walls
shake.
ff
ff
ff
ff
ff
ff
19
32 Picc.
Fl. 1&2
mp
Ob. 1&2
Cl. 1&2
mp
mp Bsn. 1&2
Hn. 1&2
mp
mp Hn. 3&4
Tpt. 1&2
Tbn. 1&2
a2
B. Tbn.
Timp.
T-Tam
mp
a2
mp
f
mp
S.
A.
T.
B.
mp
mf
mf
a2
Vln. I
mp subito
Vln. II
mp subito
Vla.
mp subito
Vc. div.
Db.
mf
mp
mf
mf
mp
3
3
3
f
mp
3
f
f
20
37
Picc.
Fl. 1&2
f
a2
I
f
mp
a2
Ob. 1&2
Cl. 1&2
f
a2
mp
a2
mp Bsn. 1&2
mp
a2
mp
mf
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
mp
B. Tbn.
mp
Timp.
Whip
B. D.
S.
mf
f
A.
ff
T.
3
3
pizz.
f
pizz.
Vln. II
f
pizz. Vla.
Db.
f
3
Vc. div.
3
3
3
3
3
3
3
3
3
3
3
p
strife,
p
strife,
3
3
and a - veng - ing
and a - veng - ing
p
strife,
Whose works with
p
3 3
Whose works with
3
Whose works with
3
fur - ious con - tests,
strife,
Whose works with
I
3
and a - veng - ing
3
Stay,
fur - ious con - tests,
and a - veng - ing
3
ff
fur - ious con - tests,
3
3
Vln. I
3
fur - ious con - tests,
Stay,
B.
3
Stay,
ff
ff
Stay,
ff
Whip
3
3
3
3 3 3 3 3 3 3
3
3
3
3
3
3
3
21
J Fl. 1&2
Ob. 1&2
43
Cl. 1&2
Bsn. 1&2
Hp.
C§ F§
q=q
1
mp
mp
mf
l.v.
S.
woe,
em - bit - ter
hu
woe,
em - bit - ter
hu
A.
T.
B.
-
em - bit - ter
hu
woe,
em - bit - ter
hu
man
woe,
-
-
-
life;
man
life;
man
mf
En - cour - age
peace,
to
gen
En - cour - age
peace,
to
gen
life;
man
mf
to
gen
mf
-
mf
life;
to
gen
-
-
tle works in - clined,
-
and
tle works in - clined,
and
tle works in
- clined,
and
tle works in - clined,
and
J Vln. I
q=q
arco
arco
arco
mp
Vln. II
mp
Vla.
mp
Vc.
Db.
mf
unis.
mf
22
52
Ob. 1&2
(1)
Cl. 1&2 Bsn. 1&2
Timp.
S.
a - bund
-
-
give a - bund a
-
1
-
-
with be - nig
ance,
p
-
with be - nig
-
p
bund
be
nig
-
ance,
with
-
-
mind,
with be - nig
nant
-
nant
with be - nig
nant
pp
mind.
in
Com - pel - le
-
tra -
in
-
tra -
mind,
nant
mind,
pp
Com - pel - le
-
mind.
mp
nant
p
mind,
mp
nant
mf
with be - nig
ance,
ance,
a - bund
Vln. I Vln. II
Db.
pp
give
Vc.
B.
Vla.
K
p
give
T.
give
A.
G.P.
p
1
p
G.P.
p
p
63
Ob. 1&2
f legato
Cl. 1&2
Bsn. 1&2
Timp.
S.
B.
com - pel - le,
in
-
in
-
tra - re,
com - pel - le,
tra - re,
com - pel - le
com - pel - le,
pp
com - pel - le
com - pel - le,
pp
com - pel - le
com - pel - le
com - pel - le
com - pel - le
com -
in - tra - re,
com -
in - tra - re,
com -
f
in - tra - re,
f
com - pel - le
in - tra - re,
f
in - tra - re,
in - tra - re,
f
in - tra - re,
f legato
a2
com - pel - le,
Vln. I
f
com - pel - le,
- re,
T.
f
- re,
A.
com - pel - le
in - tra - re,
com -
f
Vln. II
f Vla.
Vc.
Db.
pp
pp
f
f
23
74
Fl. 1&2
f legato Ob. 1&2
Cl. 1&2
Bsn. 1&2
Hn. 1&2
f legato Hn. 3&4
ff
f legato Tpt. 1&2
a2
ff Tbn. 1&2
ff B. Tbn.
Timp.
Tub. B.
Hp.
com - pel - le,
com - pel - le
- pel - le,
com - pel - le,
- pel - le, com - pel - le, com
in
in
-
-
in
-
- pel - le,
com - pel - le,
com - pel - le
in
-
Vln. II
Vla.
ff
3
3
ff Vc.
ff
tra - re.
Full organ
Vln. I
f
tra - re.
Org.
Ped.
tra - re.
ff
Tubular Bells
tra - re.
- pel - le
com - pel - le
ff
B.
ff
T.
ff
- pel - le,
A.
ff
ff
S.
ff
3
3
3
3
3
3
ff
ff Db.
ff
3
24
80
Picc.
Fl. 1&2
ff
a2
ff
Ob. 1&2
Hn. 1&2
(a 2) Tpt. 1&2
ff
Tbn. 1&2
B. Tbn.
ff
ff
ff
f
ff
ff
ff
ff
ff
Timp. Cl. Cym.
ff
ff Hn. 3&4
ff
ff a2
ff
(a 2)
ff Bsn. 1&2
ff
ff
Cl. 1&2
ff Clashed Cymbals
f
Tom-Toms
T-Toms
ff
made
The hand that
The hand that
ff
T.
The hand that
them
is
di
made
them
is
di
made
them
is
di
B.
Vc.
The
-
vine,
The
-
vine,
The
made
them
is
di
-
The
3
3
3
3
3
hand
that
made
them
hand
that
made
them
is
hand
that
made
them
is
is
ff
3
3
hand
that
made
them
3
3
ff
3
3
3
3
3
ff
Db.
3
3
3
3
3
3
3
3
3
is
3
3
ff
vine,
ff
Vla.
vine,
Vln. I Vln. II
-
Ped.
The hand that
Org.
ff
ff
A.
ff
Tub. B. S.
3
3
25
87
Picc.
ff Fl. 1&2
ff Ob. 1&2
ff Cl. 1&2 Bsn. 1&2
Hn. 1&2
Tpt. 1&2
Tbn. 1&2
B. Tbn.
Cl. Cym.
B. D.
T-Toms
S.
a2
di
Vc.
Db.
f
ff
ff
a2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
ff
vine.
vine.
3
3
3
3
3
3 3 3 3 3 3
ff
vine.
3
vine.
3
Org.
Vla.
Vln. II
di
Vln. I
Tam-Tam
B.
Ped.
di
T.
a2
di
A.
Timp.
ff
ff
ff Hn. 3&4
div.
ff
ff
3
ff
ff
ff
26
III – MERCURY
Pastorale q. = 60
Piccolo
mf
1
Flute 1 & 2
Oboe 1 & 2
p
p
ppp
ppp
ppp
ppp
pp
2
a2
div.
Double Bass
1
pp
3
div.
Violoncello
3
mp
Violin I
Viola
3
Small Triangle Tubular Bells
Violin II
3
mf
ppp
L 10
Picc.
q. = q (q = 72)
Fl. 1&2
Ob. 1&2
Cl. 1&2 Small Trgl. Tub. B.
S.
A.
T.
B.
Cel.
2
1
3
mf
p
pp
p
pp
p
pp
mf
p
mf
p
mf
p
3
3
mf
mp
Stu mp
-
Stu
-
mp
Stu mp
-
di - ous of
di - ous of
di - ous of
Stu
-
di - ous of
mp
con - tests,
con - tests,
con - tests,
ler
of
-
of
man - kind,
of man - kind,
ru - ler
of
man - kind,
Vla.
Vc.
Vln. II
Db.
man - kind,
Vln. I
ru - ler
3
ru - ler
ru
mf
con - tests,
3
1
mf
p
ppp
27
25
Picc.
Fl. 1&2
a2
mf
Ob. 1&2
Bsn. 1&2
Hn. 1&2
Cl. 1&2
3
a2
mp
mf
a2
mp
a2
a2
f
fp
mp
Hn. 3&4
mf
fp
1
mf
f
a2
f
Tpt. 1&2
a2
f
Tbn. 1&2
B. Tbn.
Tub. B.
Hp.
S.
With
A.
With
T.
B.
With
mf
With
Cel.
mf
heart
al - might
mf
-
y,
-
y,
heart
al - might
heart
al - might
-
y,
heart
al
mf
-
might
-
and
a
pru
and
a
pru
and
a
pru
and
a
pru
y,
-
-
mp
dent
mind.
-
- dent
-
-
-
-
f
E§ A§ C# B§
f
Ce -
mp
f
mind.
Ce -
mp
f
dent
mind.
Ce -
mp
f
dent
mind.
Ce -
Vln. I
Vln. II
Vla.
Vc.
Db.
28
M
33
Picc.
ff 3
3
f 3 a2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Fl. 1&2
Ob. 1&2
Cl. 1&2
3
3
3
f a2
3
3
3
3
3
3
3
3
3
(a 2)
f
f
f
f
f
mf
3
(a 2)
Small Trgl.
3
B. Tbn.
3
(a 2) f
Tbn. 1&2
3
Bsn. 1&2
Tpt. 1&2
3
f
Hn. 3&4
3
a2
Hn. 1&2
3
a2
mf
3
Hp.
S.
3
3
3
- les
T.
- les
-
-
-
-
-
-
-
-
-
-
tial
-
-
-
-
-
-
-
-
-
-
sen
-
sen
-
-
3
3
3
3
-
mes
-
ger,
ger,
ger,
sen
-
ger, 3
3
3
3
3
3
3
3
B§ E§
Bb Eb
D§ A§
Db Ab
of
var
of
var
3
C§ F§
sen
3
3
mes
tial
-
3
mes
tial
3
C# F#
tial
3
mes
-
3
Db Ab
- les
3
A.
3
Bb Eb
C§ F§
- les
B.
3
F#
var
of
var 3
-
-
-
-
-
-
- ious
-
-
-
-
-
-
-
-
-
-
-
-
- ious
-
-
-
-
-
-
- ious
-
of
3
-
3
-
3
-
- ious
3
3
3 3 3 3
Cel.
Org.
Ped.
f 3
3
3
3
3
+32'
3
3
3
f
M unis.
Vln. I unis.
Vln. II
f 3
3
3
3
3
f
Vla.
Vc.
f
Db.
ff
3
5
3
3
3
3
3
5
5
5
5
3
5
f div.
3
5
5
5
3
3
3
3
3
3
5
5
3
5
5
3
5
29
36 Picc. 3
3
Ob. 1&2
Cl. 1&2
mp
3
3
1
f
mf
Bsn. 1&2 Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
mp
3
3
3
con sord. a 2
con sord.
con sord.
a2
p
-
mp
-
Whose power
mp
mf
-
arts
mf
Whose power
-
3
3 3 3 3
ful
ful
ful
arts
arts
could watch - ful
arts
mp
could
Arg
-
-
us
kill:
p
p
could watch - ful
mf
could watch - ful
mf
Whose power
skill,
ful
mp
watch - ful
Arg
-
-
Arg
-
Arg
-
-
us
kill:
us
kill:
us
kill:
p
p
3
5
3
5
5
Vc.
mp
pp
Whose power
3
Vla.
Vln. I
Vln. II
pp
pp
mp
3
Ped.
skill,
Org.
skill,
Cel.
1
a2
skill,
T.
3
S.
A.
mf
3 3 D§
p
B.
Hp.
mf
mp
mf
B. Tbn.
3
3
Fl. 1&2
p
5
p
p Db.
p
30
N 43
Picc.
Più mosso q = 100
mp
(1)
Fl. 1&2
Ob. 1&2
Cl. 1&2
a2
p
(1)
mp
fp
(1)
2
mp
mp
a2
Bsn. 1&2
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
B. Tbn.
S.
A.
B.
senza sord.
a2
p
With
power
en
-
dued
f
3
f
senza sord.
With
T.
mf
2
p
p
all
lan
-
guage
to
ex
-
plain,
mp
power
mp
Of
care
Of
care
the
the
Of
the
care
loos - ’ner, and the source
mp
of
loos - ’ner, and the source
of
loos - ’ner, and the source
of
N Più mosso q = 100
Vln. I
p
Vln. II
p
Vla.
p
Vc.
Db.
31
O 51
Picc.
Meno mosso q = 72
1
Fl. 1&2
mf
Ob. 1&2
1
mf
espress.
mf Cl. 1&2
Bsn. 1&2
Hn. 1&2
1
pp
Hn. 3&4
Tpt. 1&2
1 senza sord.
p
Tbn. 1&2
B. Tbn.
S.
p
gain.
A.
As - sist
my
works,
my
works,
my
works,
my
works,
con - clude my
life
with
peace,
con - clude my
life
with
peace,
con - clude my
life
with
peace,
con - clude my
life
with
peace,
p
gain.
T.
gain.
B.
As - sist
p
As - sist
p
As - sist
Give
grace
Give
grace
Give
grace
Vln. I
p
Vln. II
p
Vla.
Give
grace
div.
Vc.
Db.
ful
-
-
-
-
-
-
-
-
ful
speech,
ful
speech,
-
speech,
ful
speech,
div.
pp
p
-
pp
p
-
O Meno mosso q = 72
-
mp
and
32
59
Picc.
Fl. 1
3
Ob. 1&2
Cl. 1&2
3
3
3
3
3
3
3
mf
3
3
3
mf
p
mp
3
Bsn. 1&2
(1) mf
Fl. 2
3
3
3
a2
p
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
p
B. Tbn.
p
T-Tam
Tam-Tam
p
B. D.
Hp.
S.
-
-
-
-
-
o - ry’s
mem
mem
B.
-
-
o - ry’s
in
-
o - ry’s
in
and
mem
o - ry’s
in
and
mem
o - ry’s
in
Vln. I
p
and
T.
p
mem
A.
B.D.
-
-
-
-
-
-
p
p
crease.
And the Word
p
And the Word
crease.
p
-
And the Word
-
crease.
-
And the Word
crease.
was made
was made
was made
was made
mp
mp
flesh,
and the
mp
mp
flesh,
and the
mp
mp
flesh,
and the
mp
mp
flesh,
unis.
mp
mf
mp
p
and the
Vln. II
Vla.
Vc.
div.
p
Db.
mp
33
65 Picc.
p
Fl. 1
mf
p
Fl. 2
Ob. 1&2
Cl. 1&2
Bsn. 1&2
p
3
mf
mp
p
pp
mp
p
pp
mp
p
pp
mf
mp
p
pp
mf
mp
p
pp
mf
mp
p
3
mf
mp
mp Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
mp
B. Tbn.
T-Tam
B. D.
Tub. B.
S. Word
A.
Word
T.
Word
B. Word
Vln. I
mp
mp
p
mp
mp
mf
mf
was made flesh
and
mf
and
mf
and
mf
was made flesh
and
dwelt
was
made
mp
a - mong us,
was
mp
the word
was
mp
p
the word
was
p
made
made
ppp
pp
pp
flesh.
pp
flesh.
p
pp
flesh.
div.
flesh.
made
p
p
the word
a - mong us,
mf
dwelt
the word
a - mong us,
mf
was made flesh
dwelt
mp
a - mong us,
mf
was made flesh
dwelt
ppp
Vln. II
ppp
Vla.
unis.
ppp
Vc.
Db.
unis.
ppp
34
IV – JUPITER Vivace q = 132
Piccolo
Flute 1 & 2
Oboe 1 & 2
Clarinet 1 & 2 in Bb
Horn 1 & 2 in F
Horn 3 & 4 in F
f 3
f
a2
mf
3
3
3
Xylophone
f 3
3
3
mf
f
f
mf
f
f
a2
mf
f
mf
f
mf
f
mf
mf 3
f 3
3
mf
f
senza sord.
a2
mf
f
mf
3 3 3 f 3
mf
a2
f 3
f
mf
f
f
f
3
3
3
mf
mf
f
mf
a2
mf
f
f
mf
f
Xylophone
f 3
5
5
mf
3
ff
f
3
mf
3
a2
Celesta
3
mf 3
3
1
mf
Bass Trombone
3
mf
3
f
3
3
senza sord.
Trombone 1 & 2
3
mf
Trumpet 1 & 2 in Bb
3
3 3 3 3 3 1 3 3
3
f 3
mf
Bassoon 1 & 2
3
3
3
3
3
3
5
f
Organ
Pedals
Vivace q = 132
Violin I
pizz.
f
Violin II
pizz.
f
mp
Viola
Violoncello
ff
Double Bass
ff
35
6
Fl. 1&2
f
3
3
3
3
mf
f
mf
Ob. 1&2
Cl. 1&2
3 3 3 3 3 3 3
mf
f
f
mf
f
f
f
f 3
mf
Bsn. 1&2
f
mf
3
f
mf
3
3
mf
mf
3
f
3
mf
a2
f
3
f
Hn. 1&2
Hn. 3&4
Tpt. 1&2
3 3 3
mf
Tbn. 1&2
B. Tbn.
Timp.
mf
f 3
f 3
3
3
3
mf
f
Org.
Ped.
3 3 3 Vln. I
arco
f 3
mf
3
3
mf
f
Db.
3
mf
3
3
3
f 3
mf
3
f 3
3
3
3
3
3
3
3
3
3
3
ff
3
3
3
3
3
3
3 3
3
ff
3
3
ff
3
ff
ff
3
f
mf
Vc.
3
3
3
Vla.
3
3
3 arco
Vln. II
f 3
mf
3
3
3
36
(a 2)
12 Fl. 1&2
Ob. 1&2
3
3
3
f a2
3
3
f a2
Cl. 1&2
3
f
Bsn. 1&2
Hn. 1&2
(a 2)
f
3
mf
3
f
Hp.
A§ D# C# B§
gliss.
6
Cel.
Org.
3
3
3
3 3
3 3
Db.
5
3 3 3
3
3
3
3
5
3
3
Vc.
E§ G# C§ Db
3
Vla.
3 3 Vln. I
Vln. II
6
mp
Ped.
f
3
mf
3
1
f 3
3
3
f
f
Timp.
f
B. Tbn.
mf
f
Tbn. 1&2
f
Tpt. 1&2
f
Hn. 3&4
3
3
3 3 3 3
3
3
3
p
p
3
3
pizz.
3
3
p
3
37
P
16 Fl. 1&2 3
Ob. 1&2
3
p
3
3
pp
3
3
3
p
3
3
3
pp 3
a2
f
3
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Cl. 1&2
Bsn. 1&2
con sord.
1
mf
Tbn. 1&2
B. Tbn.
Hp.
S.
sfz
pp
3
Cel.
mf
3
3
3
O
pp
Jove, much hon - oured Jove,
3
3
3
3
3 3 3 3 3
Org.
3
3
3
Jove, much hon - oured Jove,
3
3
3
3
pp
5
5
5
5
5
5
5
5
5
5
P
3
mp Vln. I div.
3
3
3
3
mp
3
3
3
5
pp
5
5
5
5
pp 3
3
3
3
3
3
3
3
3
3
3
mp Vln. II div.
3
3
Db.
3
3
3
3
3
3
3
3
3
p
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
5
3
3
pp pizz.
3
3
3
3
pp
p
mp
Vc.
3
3
pizz.
mp
Vla.
3
5
5
pp
38
21
Fl. 1&2
(a 2)
Ob. 1&2
f
Hn. 1&2
Hn. 3&4
Cl. 1&2
Bsn. 1&2
Tpt. 1&2
(1)
mf
Tbn. 1&2
B. Tbn.
sfz
Hp.
S.
Jove
Cel.
Org.
su
- preme -
ly
great,
3
3
3
3
3
3
3
3
3
3
5
su - preme - ly great,
To
thee
our ho
-
ly rites
3
3
3 3 3
5
5
7
7
7
7
7
7
5
5
5
5
5
5
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vla.
Vc.
5
3
5
5
3
Db.
3
3
3
3
3
Vln. II div.
Jove
5
Vln. I div.
5
3
3
3
3
3
3
3
3
3
39
a2
26
Fl. 1&2
mf
Ob. 1&2
3
3
3
3
3
3 3
mf
Cl. 1&2
3
3
3
3
3
a2
mf
mf
3
3
3
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
B. Tbn.
we
con
3
3
-
-
sec
-
3
3
rate.
3
3
3
3
7
7
7
5
5
p
5
5
5
5
5
5
5
3
3
3
Vla.
-
3
Vln. II div.
5
Vln. I div.
-
3
7
3 3 3
Org.
Cel.
3
3
3
3
3
3
3
3
p
5
5
5
5
5
5
mp
mp
pizz.
mp
Vc.
Db.
3
Eb
Hp.
S.
3
a2 Bsn. 1&2
3
40
Q
31
Picc.
ff (a 2) Fl. 1&2
ff Ob. 1&2
ff (a 2)
Cl. 1&2
3 3
Bsn. 1&2
Hn. 1&2
3
3
3
3
(a 2)
3
Tpt. 1&2
3
a2
a2
mf
senza sord.
f
Tbn. 1&2
a2
f
B. Tbn.
ff
ff
f Susp. Cym.
ff
f
mf
Hn. 3&4
3
ff
ff
Suspended Cymbal
p
Xylophone
Xyl.
ff
Hp.
S.
D§ E§
ff
3
3
3
and moun - tains swell - ing, moun - tains swell - ing, moun - tains swell - ing
A.
ff
3
3
3
and moun - tains swell - ing, moun - tains swell - ing, moun - tains swell - ing
T.
B.
ff
The
earth
ff
The
earth
is
is
thine,
thine,
and moun
-
tains
and moun
-
tains
swell
-
swell
-
ing,
swell
ing,
swell
Q
Vln. I
f
-
ing
-
ing
high,
high,
high,
high,
ff 3
3
3
3
arco unis. Vln. II
ff 3 arco
Vla.
Vc.
arco
f
Db.
f
ff
3
3
3
41
36
Picc. Fl. 1&2
ff
ff Ob. 1&2
Cl. 1&2
Bsn. 1&2
Hn. 1&2
Tpt. 1&2
Tbn. 1&2
Susp. Cym.
Xyl.
Hp.
ff
sea
ff
sea
3
3
ff
pro - found,
pro - found,
3
3
all
ff
with - in
all
with - in, 3
3
all
and
all
with - in,
3 3
all
3
with - in the 3
sky.
all
with - in, and all
with - in
the
with - in
the
all
with - in, and all
all
and
with - in
3
with - in the
sky.
sky.
sky.
f
3
3
3
ff
ff
pizz.
f
3
3
3
3
Db.
3
Vc.
3
The
Vla.
The
Vln. II
3
B.
Vln. I
3
3
ff
and
Cel.
and
T.
mf
ff
S.
A.
ff 3
ff
ff
f
f
B. Tbn.
ff
f Hn. 3&4
ff
ff
42
R
41
Picc.
(a 2)
Cl. 1&2 a2 Bsn. 1&2
ff
Ob. 1&2
a2 3
3
3
3
3
3
Tpt. 1&2
Tbn. 1&2
(a 2)
3
(a 2)
f
a2
f
f
f
mf
F# G§
Hp.
G#
G§
f
3
3
3
f
3
p
Xyl.
3
f
Susp. Cym.
3
B. Tbn.
3
3
Hn. 3&4
f
3
3
f 3
(a 2)
Hn. 1&2
a2
3
f
3
Fl. 1&2
D#
G# C#
gliss.
S.
A.
T.
B.
ff 3
3
Ev - en Nat - ure trem - bles at thy might - y
ff 3
3
Ev - en Nat - ure trem - bles at thy might - y
Cel.
Org.
Ped.
f
Vln. I
Vln. II
f
R
div.
arco Vla.
f 3 Vc.
Db.
3
3
3
3
3
3
3
43
46
Picc.
Fl. 1&2
Ob. 1&2
3
3
3
3
3
3
3
3
3
ff 3
3
3
3
3
3
3
3
ff 3
f
Cl. 1&2
(a 2) 3
f
3
3
3
3
3
3
3
Bsn. 1&2
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
f 3
3
ff 3
3
3
3
3
3
3
3
a2
f
B. Tbn.
f
Cl. Cyms.
Clashed Cymbals
f
Tom-Toms
S.
ff
3
3
might - y
thy
might - y
at
thy
might - y
ff
3 3
rod,
Ev - en Na - ture trem - bles
Vln. I ff 3
3
3
3
3
3
3
3
3
3
3
3
might - y
pizz.
f
pizz.
f
unis. pizz.
f
ff
Db.
nod,
ff
ff
nod,
3
3
thy
nod,
3
ff 3
at
nod,
3
at
3
Ev - en Na - ture trem - bles
B.
thy
mf
ff
at
3
Ev - en Na - ture trem - bles
rod,
3
ff
Ev - en Na - ture trem - bles
Eb F§ G§ D§ C§ Bb
Vc.
Vla.
Vln. II
3
T.
3
A.
3
f
Hp.
3
T-Toms
ff
44
S
52
Fl. 1&2
Ob. 1&2
Cl. 1&2
Bsn. 1&2
(a 2)
ff
Hn. 1&2
Hn. 3&4
Tpt. 1&2
f
Tbn. 1&2
B. Tbn.
3
3
f
3
3
fp a2
3
ff
ff
Timp. T-Tam
fp
ff
Loud
ff
-
-
-
3
3
Loud
-
-
B. Loud
Cel.
-
sound - ing,
3
3
sound - ing,
ff
armed with
3
3
Loud
sound - ing,
ff
T.
3
3
f
ff
-
sound - ing,
armed with
armed with
armed with
3
3
light - ning,
Loud
light - ning,
-
-
gliss.
light - ning,
-
3
-
-
light - ning,
Loud
-
sound - ing,
3
3
sound - ing,
Loud
sound - ing,
3
thun
-
-
-
sound - ing,
thun
-
thun
der
-
-
thun
der
-
-
der
-
-
-
der
God.
ing
God.
ing
God.
-
ing
God. 3
S
ff arco
Vln. II
div.
div.
ff
Vla.
mp
mp
arco
mp
Vc.
f
Db.
ff
ff
ff
3
3
3
pp
arco
ing
Vln. I
-
pp
E§ G# A§ C§
3
3
Loud
Db Cb B§ Eb F§ Gb Ab
sound of thunder
A.
p mp
Hp.
S.
Tam-Tam
3
3
3
fp
fp
45
57
Picc.
mf
Fl. 1&2
mf Ob. 1&2
Cl. 1&2
(a 2)
f
3
3
3 3
3
3
a2
mf Bsn. 1&2
Hn. 1&2
Hn. 3&4
Tpt. 1&2
f
1
fp Tbn. 1&2
B. Tbn.
Xyl.
p
p
Xylophone
3
3
mf
3 3 3
Hp.
3
D§ G§
S.
f
Source
of
a bun - dance,
A.
T.
B.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Cel.
Vln. I
unis.
Vln. II
p
Vla.
Vc.
Db.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
p
pp
3
pp leggiero
3
pp leggiero unis.
3
p
46
63
Ob. 1&2
(a 2) 3
f (a 2)
Cl. 1&2
Xyl.
S.
Vln. II
Vla.
3
O
3
3
3
3
3
3
3
3
3
3
3
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
f
f
sim.
sim.
f
3
3
3
3
va - rious - formed from whom all na - tures spring,
3
3
mf
Vc.
3
3
3
3
3
O
3
all na - tures spring,
3
3
3
3
3
3
3
3
var - ious - formed from whom
3
3
3
3
3
Vln. I
pu - ri - fy - ing king,
Cel.
3
Hp.
f
Ob. 1&2
68 3 3
Xyl.
3 3
Hp.
S.
3
3
f
mf
3
3
3
3
3
Cel.
3
3
3
f
Vla.
Vc.
3
3
3
div.
div.
3
3
3
3
3
3
3
3
3
3
3
unis.
3
unis.
3
3
Va - rious - formed from whom all na - tures
3
3
va - rious - formed from whom all na - tures spring;
3
Vln. I
Vln. II
3
3
3
Va - rious - formed from whom all na - tures spring;
3
Va - rious - formed from whom all na - tures spring,
A.
47
73
Picc.
T
5
p
Cl. 1&2
1
3
Hn. 1&2
a2
f
3
3
3
3
mf
f
3
3
mf 3
f
f
a2
f
Tbn. 1&2
3
1
Bsn. 1&2
Tpt. 1&2
5
5
mf
Hn. 3&4
5
p a2 Fl. 1&2
f 3
mf 3
f 3
3
3
3 3
mf
f 3
mf
3
f 3
3
3
3
f B. Tbn.
f
Xyl.
Hp.
Joy and ju - bi - lee,
Joy and ju - bi - lee,
ah
Joy and ju - bi - lee,
f Joy and ju - bi- lee,
ah
Cel.
Ped.
f
Vln. I
5
and ju 5
bi - lee,
bi - lee,
-
joy
bi - lee,
-
bi - lee,
-
f
f Vla.
Vc.
Db.
f
5
and ju
ah
mf
T
Vln. II
Org.
5
-
joy
ah
ah
and ju
joy
Joy and ju - bi - lee,
and ju
joy
Joy and ju - bi - lee,
ah
f
B.
f
spring,
T.
E§ F§ G§ A§ C§
S. A.
gliss.
48
77
Picc.
f
Fl. 1&2
f Cl. 1&2
f
Bsn. 1&2
Hn. 1&2
f
Ob. 1&2
ff
a2
3
ff
ff
3
3
3
3
3
3
ff Tpt. 1&2
3
a2
3
ff
3
3
3
ff
Hn. 3&4
3
a2
3
ff
3
a2
3
ff Tbn. 1&2
ff B. Tbn.
S.
A.
T.
B.
joy
and ju
joy
and ju
-
-
-
-
bi - lee,
bi - lee,
joy
and ju
joy
and ju
-
-
Joy
-
bi - lee,
-
Vln. I
ff 3
Vln. II
Vla.
3
3
3
3
3
3
3
ff 3
3
3
3
3
3
3
ah
and ju - bi - lee.
and ju - bi - lee,
ff
Org.
and ju - bi - lee,
ah
and ju - bi - lee.
Joy
bi - lee,
joy
joy
Ped.
ff
Hp.
3
3
3
3
3
3
3
3 3 3
3 3
3
3
3
3
3
3
3
3
3
3 3
ff
Vc.
ff Db.
ff
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
49 82 Picc.
3
Fl. 1&2
Ob. 1&2
Cl. 1&2
3
3
a2
a2
3
3
3
3
3
3
ff Bsn. 1&2
Hn. 1&2
3
Hn. 3&4
3
3
Tpt. 1&2
3
3
3
B. Tbn.
Timp.
3
3
f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
a2
3
3
3
3
3
Tbn. 1&2
3
3
Medium Triangle
Med. Trgl.
mf Xyl.
f
S.
3
3
ju
A.
3
3
T.
B.
3
3
3
ju
3
-
-
3
Ped.
Vln. I
Vln. II
Vla.
Db.
3
-
3
3
bi - lee,
ju
bi - lee,
ju
bi - lee,
ju
-
-
ju
-
bi - lee,
ju
bi - lee,
ju
bi - lee,
joy
3
-
-
3
-
bi - lee,
joy
bi - lee,
joy
bi - lee,
joy
3
and ju - bi -
and ju - bi -
and ju - bi -
and ju - bi -
3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
lee.
lee.
lee.
lee.
3
Vc.
ah
Org.
ju
ah
3
f
3
50
V – VENUS Dolce q = 100 Flute 1 & 2
1
1
p Clarinet 1 & 2 in Bb
Bassoon 1 & 2
Horn 1 & 2 in F
Harp
1
3
mp espress.
pp
1
pp
p
Violin I
pp
Violin II
pp
p
unis.
pp
Viola
div.
pp
17
Fl. 1&2
p
Cl. 1&2
Hn. 1&2
Vln. I
3
mf Bsn. 1&2
pp
Vln. II
Vla.
solo
3
others
pp
3
mf espress.
3
pp
p
pp
Db.
p
Vc. div.
pp
51
28
Fl. 1&2
Ob. 1&2
U
1
mf espress.
Cl. 1&2
Hn. 1&2
1
a2
S.
T.
B.
A.
mp
p
mp
‘Tis
thine
the
p
‘Tis
thine
world
with
mp
the
world
with
p
har
-
har
p
Vln. II
Vla.
Vc.
Db.
div.
tutti div.
p
p
unis.
div.
unis.
unis.
mon - y
to
join,
For
For
all
all
mon -
y
to
join,
for all
things,
mp
mp
join,
har - mon - y to
join,
for
p
p
to
-
har - mon - y
U
mp
with
Vln. I
with
mf
Hp.
a2
p
mp
p
Hn. 3&4
f
mf
Bsn. 1&2
things spring
from
things spring
from
for all things spring from
all things,
all things spring from
div.
52
V
35
Fl. 1&2
(1)
Ob. 1&2
Cl. 1&2
Bsn. 1&2
(a 2)
Tpt. 1&2
B. Tbn.
mf
f
3
mp
a2
mp
Tbn. 1&2
mp
(a 2)
Hn. 3&4
a2
mp
Hn. 1&2
mf
mp
mf
mf
mf
mp
mf
Hp.
f
mf
mf
C#
l.v.
S.
mf
thee,
O
mf
A.
mf
O
mf B.
thee,
O
unis.
vine.
O
power
f
di -
power
thee,
power
O
thee,
T.
power
O
power
power
di
-
The
di
di
The
-
The
f The
Vln. I
of
mor
Vln. II
Vla.
Vc.
Db.
f
Or
de
-
Or
3
cresc.
thy
de
-
cresc.
div.
light,
tals, thy
light,
-
Or
de - light,
Or beaut - eous
unis.
3
f
3
thy
mor - tals,
div.
f
de - light,
mor - tals,
of
V
thy
cresc.
cir - cling choirs
cir - cling choirs
mor - tals,
of
cresc.
3
3
cir - cling choirs
vine.
vine.
of
f
vine.
3
cir - cling choirs
f
-
f
f
53
41
Fl. 1&2
Ob. 1&2
1
mp
Cl. 1&2
Hn. 1&2
Hn. 3&4
Tbn. 1&2
B. Tbn.
with
with
ce - ru - lean
bright,
eyes ce - ru - lean
p
eyes ce - ru - lean
ce - ru
-
Db.
beaut - eous
daugh - ters in
the
cho
-
rus
3
join,
A
-
do - nis pure to sing
and
p
p
bright.
p
p
unis.
mp
bright.
lean
mf
3
bright.
And
with eyes
mp
eyes
with
- eous nymphs,
p
Vc.
nymphs,
div.
B.
a2
pp
beaut - eous nymphs,
Vla.
mf
Vln. II
p
Vln. I
beaut - eous nymphs,
T.
beaut
S.
A.
mp
C§
3
espress.
Hp.
mp
Tpt. 1&2
Bsn. 1&2
unis.
p
54
1
49
Fl. 1&2
3
3
mf
Ob. 1&2
3
(1)
mp
Cl. 1&2
1
Bsn. 1&2
mp
Hn. 1&2
(a 2)
Hn. 3&4
3
3
3
pp
pp
pp
Tpt. 1&2
Tbn. 1&2
B. Tbn.
S.
thee
A.
mp
mf
di - vine;
3
Come, all - at - tract - ive
mf
3
3
3
Come, all - at - tract - ive
B.
T.
p
3
to my
prayer
in - clined,
3
to my
prayer
For
thee,
I
call,
mp
with
in - clined,
ho
ly,
ho
-
ly,
-
ly,
rev - ’rent
ly,
ho
ho -
ly,
ho
ho -
ly,
ho
con sord.
pp
Vln. II
pp
Vla.
Vc.
p
con sord.
con sord.
-
ly.
-
ly.
-
ly.
pp div.
pp
Db.
mind.
-
ho
ly,
-
ly,
p
Ho
Vln. I
-
p
Ho
-
p
Ho
pp
con sord.
unis.
con sord.
55
W
61
Fl. 1&2
a2
1
p
Ob. 1&2
1
mf
Cl. 1&2
1
Bsn. 1&2
Hn. 1&2
p
a2
pp
Hn. 3&4
Tpt. 1&2
mp
Tbn. 1&2
B. Tbn.
p
Hp.
mp
S.
Thou
A.
p
Thou
T.
B.
wert
my morn - ing
star,
wert
my
morn
p
Thou
wert
my
Thou
wert
my
morn
p
mf
thou
-
ing star,
morn - ing
mp
my morn - ing star,
thou wert
my morn
my
morn
wert
my
morn
thou wert
mp
ing star,
thou
-
ing
-
-
ing
wert
star
thou wert
ing star,
thou
thou
mp
-
wert
star,
thou
wert,
my
morn - ing
my
morn
-
ing
wert,
star,
thou wert my mor - ning
thou
wert my mor - ning
W
Vln. I
p
p
Vln. II
Vla.
p
Db.
p
Vc.
pp
div.
unis.
mp
mp
mp
mp
div.
56
69
Fl. 1&2
a2
mp (1)
Ob. 1&2
Cl. 1&2
Bsn. 1&2
(1)
mp
mp
Hn. 1&2
Hn. 3&4
Tpt. 1&2
(a 2)
pp
Tbn. 1&2
B. Tbn.
Hp.
S.
star,
star,
B.
star,
-
-
morn
unis.
morn
-
-
-
-
-
-
-
-
-
-
ing
my
morn - ing
star
ing
star
-
mf
Db.
mf
a - mong
a - mong
a - mong
a - mong
mp
mf
Vc.
the
liv
-
ing,
liv
the
liv
the
liv
-
-
-
-
-
mp
mp
mp
p
pizz.
p
p
mp
the
mp
p
ing,
the
the
the
ing,
-
ing,
-
a - mong
the
mp
mp
mf
Vla.
star
mf
Vln. II
star
ing star,
-
ing
morn
my
my
-
mf
morn
star,
Vln. I
my
mf T.
my
mf A.
57
73
Fl. 1&2
Ob. 1&2
Cl. 1&2
Bsn. 1&2
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Glock.
B. Tbn.
S.
liv
A.
-
liv
T.
-
liv
-
pp
-
pp
ing,
thou
wert
my
morn
pp
ing,
thou
pp
ing,
ing,
wert
my
morn
thou
wert
my
morn
thou
wert
my
morn
-
-
-
-
-
-
-
-
liv
p
Vln. I
pp
Hp.
B.
Glockenspiel
Tbn. 1&2
ing
star.
ing
star.
ing
star.
ing
star.
pp
pp
Vln. II
ppp
ppp
Vla.
ppp
Vc.
ppp
Db.
p
arco
ppp
58
VI – SATURN X Adagio q = 80
Passionato q = 88
Flute 1 & 2
Oboe 1 & 2
Clarinet 1 & 2 in Bb
1
p legato Bassoon 1 & 2
1
p legato
Horn 1 & 2 in F
Horn 3 & 4 in F
Trumpet 1 & 2 in Bb
Trombone 1 & 2
a2
pp
Bass Trombone
p
Soprano
Alto
p
p
Men
Bass
Tenor
p
Men
must en - dure
their
go
-
ing
hence,
Men
must en - dure
their
go
-
ing
hence,
p
Men
p
ff
Men
ff
pp
Timpani
p
Men
mp
must en - dure
their
go
- ing
their
go
- ing
mp
must en - dure
their
go
- ing
their
go
- ing
ff
hence.
hence.
by
Con - sumed
by
Con - sumed
by
ff
ff
hence.
by
Con - sumed
hence.
f
Con - sumed
ff
mp
must en - dure
mp
must en - dure
X Adagio q = 80
Violin I
Passionato q = 88
senza sord.
p
Violin II
senza sord. div.
p
Viola
mp
senza sord.
mp
Violoncello
senza sord.
Double Bass
div.
pp
p
mp
p senza sord.
mp
p
mp
f
ff
unis.
ff
59
Più mosso q = 92
12
Picc.
ff Fl. 1&2
ff
Ob. 1&2
ff Cl. 1&2
a2
ff
Bsn. 1&2
a2
ff
Hn. 1&2
Hn. 3&4
f
ff
a2
ff
3
f
Tbn. 1&2
Timp.
mp
S.
thee
A.
all
mp
thee
T.
all
thee
mp
all
mp
B.
thee
Org.
Ped.
all
forms
that hour - ly
forms
that hour - ly
forms
that hour - ly
forms
that hour - ly
p
f
p
ff
die,
p
By
ff
die,
p
thee
By
thee
re - stored,
ff
re - stored,
p
ff
thee
re - stored,
their
thee
By
By
die,
their
mp
re - stored,
mp
die,
mp
their
mp
their
3
f
p
ff
f
f
for - mer place sup - ply;
p
f
p
p
f
im
im
f
-
The world
-
mense
in
ev - er - last - ing
mense
in
ev - er - last - ing
ff
mense
in
ev - er - last - ing
ff
mense
in
ev - er - last - ing
ff
The world
for - mer place sup - ply;
im
The world
for - mer place sup - ply;
The world
for - mer place sup - ply;
ff
im
-
-
f
ff
ff Vc.
Db.
p
mp
ff
ff
mp
ff
p
ff
unis.
ff
Vla.
Più mosso q = 92
Vln. I Vln. II
ff
p
ff
ff
ff B. Tbn.
ff
f Tpt. 1&2
60
23
Picc.
a2
Fl. 1&2
Ob. 1&2
f a2
f
(a 2) Cl. 1&2
(a 2)
f
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
(a 2)
B. Tbn.
B. D.
Cl. Cyms.
B.D.
ff
Clashed Cymbals
chains, B.
chains,
Vln. II
Vla.
Vc.
Db.
and in - eff - ab - le
thy
Strong
and in - eff - ab - le
thy
and in - eff - ab - le
thy
thy
Strong
and in - eff - ab - le
power,
mf
thy power,
power,
thy
power,
thy power,
power,
thy power,
con
-
con
con
-
tains
-
tains
power
tains
power
thy
con
power
thy
power
thy
thy power,
-
tains
p
Strong
T.
Strong
f
chains,
Vln. I
f
chains,
Ped.
a2
Tam-Tam
T-Tam
Org.
f
ff
A.
f
Timp.
S.
f
Bsn. 1&2
f f
f
f
61
30
Y
Picc.
Lento q = 60
ff
Fl. 1&2
ff
1
Bsn. 1&2
f
ff
Hn. 3&4
f
ff
3
Tpt. 1&2
f
3
ff
Tbn. 1&2
ff B. Tbn.
p legato e dolce
ff Hn. 1&2
p legato e dolce
ff Cl. 1&2
1
ff Ob. 1&2
ff
Timp.
ffp f
Cl. Cyms.
ff
f
vast
f
ff
B.
Ped.
- ther of
vast
e - ter - ni - ty, di
Fa - ther of
vast
e - ter - ni - ty, di
ff
f
e - ter - ni - ty, di
ff
-
f
Org.
e - ter - ni - ty, di
vast
f
Fa - ther of
Fa
T.
Fa - ther of
A.
-
-
-
might
-
O
might
-
vine,
f
O
vine,
vine,
ff
O
vine,
O
might
-
might
-
y
Sa - turn,
y
Sa - turn,
y
Sa - turn,
y
Sa - turn,
mf
var - ious speech
mf
p
is
thine:
is
thine:
mf
Vln. II
ff
ff
Vla.
ff
Vc.
mf
ff
p
thine:
var - ious speech is
var - ious speech is
mp
The
sa -cred rites be -
mp
The
sa -cred rites be -
thine:
p
mp
mp
f
mp
p
p
p
mp
mp
ff
Db.
var - ious speech
Lento q = 60
Y
Vln. I
pp
ff
B. D.
S.
p
62
(1) 41
Fl. 1&2
Z Tempo Iº q = 80
Ob. 1&2
Cl. 1&2
(1) Bsn. 1&2
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
B. Tbn.
Timp.
S.
- ne - vo - lent
- ne - vo - lent
T.
B.
at - tend,
A.
And
at - tend,
And
grant
a blame - less
grant
a blame - less
life,
a
bles - sed
life,
a
bles - sed
end.
Men
end.
p
p
Men
must en - dure
p
Men
must en - dure
must en - dure
p
Men
Cel.
their
go
their
go
their
go
ing
hence,
ing
hence,
ing
hence,
must en - dure
their go - ing
-
-
-
hence,
Z Tempo Iº q = 80
Vln. I
pp
Vln. II
pp
Vla.
Vc.
Db.
pp
63
51
Fl. 1&2
a2
pp
Ob. 1&2
Cl. 1&2
pp
pp
Bsn. 1&2
a2
pp
Hn. 1&2
a2
pp
Hn. 3&4
a2
pp
Tpt. 1&2
pp
B. Tbn.
Tam-Tam
pp
pp S. Men
must en - dure
A.
Men
pp
T.
Men pp
B.
Men
Org.
Ped.
f
ff
must en - dure
must en - dure
must en - dure
their
go
-
ing
their
go
their
go
their
go
-
ing
-
ing
-
ing
God,
My
God,
ff
My
God,
ff
My
God,
hence.
My
hence.
ff
hence.
ff
hence.
a2
f
ff
a2
my
God,
my
God,
my
God,
my
God,
why have you for - sak - en me?
why have you for - sak - en me?
Vla.
Vc.
p
div.
div.
pp Db.
pp
p
pp
why have you for - sak - en me?
why have you for - sak - en me?
why have you for - sak - en me?
p
why have you for - sak - en me?
why have you for - sak - en me?
f
f
Vln. I Vln. II
ff
ff
pp
f
ff
pp
T-Tam
a2
Tbn. 1&2
pp
64
Fl. 1&2
Ob. 1&2
Cl. 1&2
62
Bsn. 1&2
Hn. 1&2
1
p
1
pp
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
p
B. Tbn.
S.
A.
pp
p
Timp.
mf
mf
pp
p
pp
T.
B.
Vln. I
div.
pp
unis.
Vla.
pp
unis.
Vc.
pp
Db.
pp
div.
Vln. II
unis.
unis.
pp
pp
pp
p
pp
p
p
p
pizz.
p
arco
pp
65
VII – THE SUN Tranquillo q = 88
Flute 1 & 2
1
p
Oboe 1 & 2
1
Clarinet 1 & 2 in Bb
mp
1
p legato e dolce
Bassoon 1 & 2
Horn 1 & 2 in F
Horn 3 & 4 in F
Trumpet 1 & 2 in Bb
Trombone 1 & 2
Bass Trombone
Small Triangle
Glockenspiel
Small Triangle
Bb Gb
pp
p
Celesta
p
Glockenspiel
Harp
p
Tranquillo q = 88
pp
Violin I div.
Violin II div.
pp
pp
pp
sul G
Viola
[ ]
pp
Violoncello
[ ]
sul D
pp
Double Bass
pp
66
10
Picc.
AA
mf
Fl. 1&2
3
(1)
3
mf (1)
Ob. 1&2
Cl. 1&2
3
mf
3
Hn. 1&2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
B. Tbn.
Small Trgl.
Glock.
mf
mp
Hp.
Cb
S.
mf
mf
1
mf
(1)
p Bsn. 1&2
p
Do
-
mi - nus
il
-
lu - mi - na - tio
me
-
-
B§ F#
f
a.
Do
-
-
-
-
mi
-
nus
il
Cel.
AA
p
Vln. I div.
p
p
Vln. II div.
Vla.
Db.
p
-
67
3
Fl. 1&2
17
Picc.
3
3 3
Cl. 1&2
Bsn. 1&2
3
3
f
3
3
3
3
3
f
3
3
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
Small Trgl.
Glock.
Hp.
S.
- lu
mf
-
mi - na - tio
me
3
-
-
-
3
3
3
3
3
3
3
3
3
3
Vla.
Vc.
3
mf
Db.
3
3
3
mf Vln. II div.
a.
mf Vln. I div.
3
3
3
mf
Hn. 1&2
B. Tbn.
mf
f 3
f
mf
Ob. 1&2
3
3
68
22
Picc.
(1)
Fl. 1&2
Ob. 1&2
3 3
3
3
3
3
3
Hn. 1&2
mf
f
f
3
3 3 3 3 3 3 3 3 3
3
f
(1)
Bsn. 1&2
p
3
(1)
Cl. 1&2
f
3
(1)
BB
mf
a2
mf
a2
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
B. Tbn.
Small Trgl.
S.
mf
3
3
3
Hp.
3
3
3
3
3
3
3
3
3
A.
3
3
3
3
mf
Lord
of
the
mf
Lord
T.
B.
mf
Lord
of
the
mf
Lord
Cel.
unis. Vln. I
unis.
3
3
mf
Vc.
BB
3
Db.
mf
p
p
mf
f
Vla.
p
Vln. II
69
26
Picc.
Fl. 1&2
p
Ob. 1&2
Cl. 1&2
a2
f
mp
Bsn. 1&2
Hn. 1&2
mp
Hn. 3&4
mp
Tpt. 1&2
Tbn. 1&2
B. Tbn.
Hp.
3
3
3
3
sea
B.
-
-
sea
T.
-
-
Vla.
-
the
sea
-
-
of
the
3
3
fie
-
-
sea
-
-
ry
-
ry
leap
3
3
-
ing cour - sers,
mp
beam - ing
light
beam - ing
f
leap
-
ing cour - sers,
mp
light
beam - ing
light
light
mp
car
And
f
- sons,
3
beam - ing
3
3
f
-
mp
-
And
3
3
3
car
3
- sons,
3
3
3
f
-
3
with thy fie
3
3
3
3
3
sons,
3
with thy
of
-
3
sons,
Vln. I
-
Vln. II
3
-
Cel.
3
S.
A.
3
3
mf
Vc.
Db.
70 (a 2)
32
Fl. 1&2
3 mp a2
mp
a2
3
mp
mp
3
3
mp
3
sim.
3
3
mp
mp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mp
mp
sim.
mp
mp
f
Hn. 1&2
mp
f Bsn. 1&2
a2
Cl. 1&2
mp
Ob. 1&2
mp
mp
mp
mp
(a 2)
f
Hn. 3&4
Tbn. 1&2
f
Tpt. 1&2
B. Tbn.
Suspended Cymbal
Susp. Cym.
3
3
3
3
Hp.
mf
f
C# G§
p
3
S.
from
A.
T.
B.
Cel.
a
-
a
from
a
a
3
3
3
3
3 3
3
ff
-
ff
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
-
ff
f
ff
-
far:
Vc.
3
p
3
3
mp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3 3 3 3 mp 3 3
3
mp
mp
3
far:
Vla.
3
far:
Db.
3
mp 3
3
far:
Vln. I
Vln. II
3
3
f
from
from
f
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3
3
mp
3
3
3
71
CC 38
Fl. 1&2
mp
mp
mf
3
3
3
Cl. 1&2
Hn. 1&2
Ob. 1&2
Bsn. 1&2
3
3
3
mp
3
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mf a2
3
3
3
3
3
3
3 3
mf
mp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
mf a2
Hn. 3&4
mf
Tpt. 1&2
Tbn. 1&2
3
Timp.
Susp. Cym.
3
3 3
3
a2
3
f 3
f
mp
p
3
3
3
3
3
3
mf
3
3
3
3
3
3
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
mf
A.
ile
and
-
-
Ag
-
-
ile
and
ile
and
-
-
ile
and
CC
Vln. I 3
Vln. II
3
3
3
vig
-
vig
-
vig
-
f
Ag
f
mf
f
f
mf
-
Ag
T.
-
mf
D# G#
3
Ag
vig
-
or - ous,
ven
or - ous,
ven
or - ous,
ven
or - ous,
ven
-
er - ab
-
-
-
er - ab
-
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le
Sun,
er - ab
-
er - ab
-
le
Sun,
le
Sun,
le
Sun,
3
3
3
3
3
Vla.
Vc.
3
3
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3 mf 3
3
mf
3
Db.
3
Eb 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Hp.
B.
mf
S.
mf
B. Tbn.
3
mf
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
72 (a 2)
Fl. 1&2 44
f (a 2)
Ob. 1&2
3
3 3 3 3 3 3 3 3
3 3 3
(a 2)
Cl. 1&2
3
Bsn. 1&2
(a 2)
(a 2)
Hn. 1&2
3
3
3
3
3
3
3
f
3
3
3
f
Hn. 3&4
Tpt. 1&2
B. Tbn.
Timp.
Susp. Cym.
3
3
3
Bb Gb
3
3
-
-
-
Ag
T.
-
-
-
Ag
-
-
3
ile
and
vig
ile
and
vig
ile
and
vig
ile
and
vig
3
3
3
3
3
Db.
p
3
3
3
mf
3
3
3
3
3
-
-
ven
or - ous,
ven
or - ous,
3
3
or - ous,
3
3
3
3
3
3 3
3 3
3 3
3
3
3
3
er - ab
-
-
er - ab
-
-
er - ab
-
-
er - ab
-
le
Sun,
le
Sun,
le
Sun,
le
Sun,
3
3
3
3
3
3
3
3
3 D§ ff
-
er - ab
-
-
le,
er - ab
-
le,
-
-
-
ven
-
3
ven
3
3
3
3
3
f
3
3
3
3
3 3 3 3 3 3 3 3
-
-
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er - ab
-
’ra -
-
le
ff
3
3
3
3
3
f
3 3 3 3 3 3 f 3
-
ven
3
3
3
3
ven
3
3
3
f
3
3
3 3
-
ven
f
3
ven
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or - ous,
-
3
Vc.
Vla.
Vln. I
Vln. II
mf
C§ E§ G§ Ab
Ag
B.D.
3 3 3 3
A.
Db F§
Ag
B.
3
S.
mf
B. D.
Hp.
f
f
(a 2)
Tbn. 1&2
f
3
3
3
3 3
3
3
73
Fl. 1&2 49
q = 96
ff
Ob. 1&2
Cl. 1&2
a2
ff
1
ff Bsn. 1&2
Hn. 1&2
Hn. 3&4
ff
ff
ff
Tpt. 1&2
a2
ff
Tbn. 1&2
B. Tbn.
ff
ff
Cl. Cym.
B. D.
Susp. Cym.
a2
Clashed Cymbals
f
f
p
3
3
3
3
3
3
S. -
-
er - ab
-
ven
-
-
er - ab
-
ven
B.
ven
-
Vln. I
-
le,
-
-
3
-
-
-
-
-
-
er - ab
-
ff
le
Vla.
ff
le
Sun,
Vc.
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3
Db.
3
3
3
3
3
3
3
Sun,
3
Sun,
3
q = 96
ff
Vln. II
Sun,
er ab - le
le
-
-
-
ven
er - ab
ff
ff
er - ab
3
ven
3
3
’ra - ble,
le
3
3
ven
-
3
er - ab
ven
-
3
le,
ble,
T.
3
ven
A.
3
p
Hp.
f
3
3
3
3
div.
ff
3
3
3
3
3
3
ff
3
3
3
3
3
3
3
3
3
3
3
3
div.
3
3
ff
3
3
ff 3
3
74
53
Fl. 1&2
3
3
3
a2
(a 2)
3
3
Cl. 1&2
Bsn. 1&2
(a 2)
Hn. 1&2
(a 2)
3
(1)
3
Ob. 1&2
3
3
a2
f
Hn. 3&4
a2
f (a 2)
Tbn. 1&2
B. Tbn.
Susp. Cym.
mf
ven
A.
T.
-
ven
-
ven
B.
Hp.
S.
-
-
er - ab
-
er - ab
-
-
le
Sun,
-
le
Sun,
-
-
-
-
Vln. II
3
3
3
-
Vla.
-
-
-
er - ab
-
le
ven
-
-
-
-
er - ab
-
le
Sun,
-
ven
-
3
3
unis.
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3
3
Db.
Sun,
3
3
Vc.
le
3
ven
ven
Vln. I
er - ab
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
75
56
Fl. 1&2
DD
Ob. 1&2
a2
f
Cl. 1&2
3
3
3
3
3
3
3
3
3
3
3
f Bsn. 1&2
Hn. 1&2
3
3
3
3
3
3
3
3
3
f
3
a2
mf
Hn. 3&4
Tbn. 1&2
B. Tbn.
Hp.
3
3
3
3
3
3
3
3
mf
f
f
3
3
3
3
3
3
3
3
f
S.
ff
Fie
A.
T.
B.
-
er - ab
-
-
er - ab
-
le
Sun,
le
Sun,
Vln. I
Vla.
3
3 3
3
and
-
-
-
ry
and
-
-
-
ry
and
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
3
3
f
3
3
3
ry
3
3
DD
3
3
3 3
Vc.
Db.
3
3
-
3
3
-
ff
Vln. II
and
3
ry
f
Fie
-
ff
Org.
-
Fie
-
Fie
-
Ped.
-
ff
Sun,
-
3
f
f 3
3
3
3
3
3
3
3
3
3
3
3
76
60
Picc.
f (a 2)
Fl. 1&2
f (a 2)
Ob. 1&2
Cl. 1&2
Bsn. 1&2
Hn. 1&2
Hn. 3&4
Tbn. 1&2
B. Tbn.
Hp.
S.
3
3
3
3
3
3
B.
Vln. I
3
3
3
3
3
3
3
Vla.
Vc.
Db.
3
3
3
3
3
3
(a 2)
3
3
3
3
3
3
round
the
heavens
you
run.
round
the
heavens
you
run.
round
the
heavens
you
run.
round
the
heavens
you
run.
-
a
-
a
3
3 3
-
3 3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
With
var
With
var
With
var
With
var
-
-
-
-
-
-
-
-
- ious
-
-
-
-
- ious
-
-
-
ious
3 3
-
- ious
3 3
3 3
3 3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
-
bright
3
a
3
a
3
3
3
Vln. II
3
3
Ped.
3
(a 2)
Org.
3
bright
3
bright
T.
3
bright
A.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
77
64
Picc.
ff
Fl. 1&2
mf
Ob. 1&2
3
3
3
ff
mf
Cl. 1&2
3
EE
mf
ff ff
Bsn. 1&2
Hn. 1&2
mf
ff
a2
mf
mf
Hn. 3&4
a2
ff
a2
ff
Tpt. 1&2
Tbn. 1&2
B. Tbn.
Xyl.
Xylophone
Hp.
ff
Gb F§
A.
T.
B.
-
-
found
ing,
ing,
-
found
found
ing,
-
ing,
gold - en
Vln. I
lyre, ’tis
gold - en
lyre, ’tis
gold - en
lyre, ’tis
gold - en
lyre, ’tis
F#
mine
mine
mine
To
fill
the
world,
fill
the
world,
world,
To
fill
the
To
fill
the
3
3 3 3
3
3
3
3
3
to
fill
the
world
with
to
fill
the
world
with
to
fill
the
world
with
to
fill
the
world,
world
with
EE
mf
3
3
To
ff
Vla.
3
mine
ff
Vln. II
Ab
Bb
C§
f
3
G§
Cel.
3
found
3
Eb
S.
3 3 3 f 3
div.
mf
3
ff
Vc.
mf
unis.
ff
Db.
ff
78
1 72
Fl. 1&2
a2
f
Ob. 1&2
mf
1
mf
Cl. 1&2
a2
Bsn. 1&2
Hn. 1&2
a2
mf
a2
mf
Tpt. 1&2
mf
mf
Hn. 3&4
a2
f
mf
(a 2)
a2
a2
mf
mp
mp
mf
mf Tbn. 1&2
B. Tbn.
Timp.
S.
har - mon - y, with
B.
har - mon - y,
har - mon - y,
har - mon - y,
Vln. I
to
har - mon - y,
fill
the world with
to
fill
the world with
to
fill
to
fill
the world with
the world with
har - mon - y,
to
har - mon - y,
to
har - mon - y,
to
har - mon - y,
to
div.
fill
the world with
fill
the world with
fill
the world with
fill
the world with
Vla.
Vc.
pizz.
unis.
mf
to
fill
har - mon - y,
mf
har - mon - y,
to
fill
to
fill
mf
har - mon - y,
unis.
mf
mf
har - mon - y,
mf
Vln. II
3
mp
har - mon - y, with
T.
mp
A.
Db.
pizz.
mf
the world with
the world with
3
arco
mf
the world with
arco
mf
79
81
Fl. 1&2
3
3
Cl. 1&2
f Bsn. 1&2
Tbn. 1&2
B. Tbn.
Timp.
3
f
3
f
3
f
B.D.
a2
har
mf
cresc.
to
fill
- mon - y, to
to
fill
f
the world with har
to
fill cresc.
to
the world,
fill
fill
fill
the world,
to
fill
-
-
f
the world with har
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-
f
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f
the world with har
mon -
the world with har
mon -
mon -
-
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mon -
ff
y,
Glock.
y,
with
with
ff
f
3
with
- mon y
3
3
3
3
3
3
di - vine.
di - vine.
di - vine.
har - mon - y
di - vine.
div.
ff
3
div. 3 f
ff
div.
har - mon - y
y,
y,
3 3
har
ff
f
D major
har - mon - y
ff
with
Vc.
f
fill
the world,
Vln. I
Vla.
f
Vln. II
the world,
cresc.
mf p
cresc.
har - mon - y, to
Ped.
ff
p
Susp. Cym.
Org.
mp
har - mon - y, to
Db.
f
3
S.
B.
ff
mf
T.
a2
a2
A.
f
f
ff
mf
Hp.
mf
Glock.
ff
Susp. Cym.
3
Tpt. 1&2
B. D.
mf
f
Hn. 1&2 Hn. 3&4
ff
f
ff
f
Ob. 1&2
f
f
f
ff
unis.
div.
unis.
p
ff
ff
80
89
Picc.
Fl. 1&2
mp
(a 2)
Cl. 1&2
a2
mp
mf
Ob. 1&2
1
mf
a2
f
mf
mf Bsn. 1&2
a2
mf Hn. 1&2
(a 2)
Hn. 3&4
Tpt. 1&2
(a 2)
Small Trgl.
Glock.
mp
3
3
3
3
3
mf
3
3
3
3
3
3
3
3
3
3
S.
p
3
3
3
3
3
3
3
3
mp
3
3 3
3
3
3
3
3
f
A.
p
har
T.
B.
Cel.
Org.
Ped.
mp
p
p
Vla.
Vc.
har
-
mon
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mon
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y
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y
di
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-
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vine,
div.
mf
3
mon - y
di
mon - y
di
di
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har
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mon - y
di
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div.
f
f div.
f
unis.
f sonore
f
-
mon - y
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har
mf Db.
3
unis.
3
unis. mf
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vine,
mf
-
mf
p
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mf
har f
Vln. I Vln. II
f
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f
3
3
3
3
f
har
mf
l.v.
a2
p
3
Hp.
a2
p
3
mp
mp
81
FF 94
Picc.
Fl. 1&2
Vivace q = 140
f
3
3
3
Cl. 1&2
f
3
3
3
3
3
3
1
3
3
3
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
Hp.
f
3 ord. 3 3 3
- vine.
3 3 3 3
Do - mi - nus
il - lu - mi - na - ti - o
me
-
-
- vine.
A.
a,
3
3
Do - mi - nus
3 3 3 3
Do - mi - nus
-
il - lu - mi - na - ti - o
T.
me legato
3
Do - mi - nus
- vine.
3 3
il - lu - mi - na - ti - o
-
3
me
-
a,
Do - mi - nus
3
3
il - lu - mi - na - ti - o
-
3
a,
3
il - lu - mi - na - ti - o me legato
3 3
3
-
a
3 3
3
Do - mi - nus
3
- vine.
3
legato
legato
S.
f
f
Hn. 1&2
B.
f
1
3
f
Glock.
3
Bsn. 1&2
B. Tbn.
1
3
f
Ob. 1&2
il - lu - mi - na - ti - o
- vine.
Cel.
f
FF Vln. I Vln. II
Vla.
Vc.
Db.
Vivace q = 140
div.
unis.
mp
unis.
mp
82
99
Picc.
3
3
3
(1)
Fl. 1&2
3
Ob. 1&2
(1)
Cl. 1&2
Bsn. 1&2
3
f
3
3
(a 2)
3
3
3
3
3
3 3 3
f
3
3
3
Hn. 3&4
Tpt. 1&2
Tbn. 1&2
f
3
3
3
3
a2
3 3 3
f
Tub. B.
B. Tbn.
Glock.
me
-
3
me
-
me
-
-
3
-
me
-
-
3
il - lu - mi - na - ti - o
me
3
me
-
-
Vla.
Vc.
Db.
3
-
a,
-
me
-
-
me 3
3
3 3
3
Do - mi - nus
3
a,
-
il - lu - mi - na - ti - o 3 3
3
Do - mi - nus
il - lu - mi - na - ti - o
a,
3 3
3
il - lu - mi - na - ti - o
3 3
Do - mi - nus
3
a,
3
-
Do - mi - nus
a,
3
me
-
-
me
-
-
a,
a,
3
il - lu - mi - na - ti - o
3 3 3
mp
me
il - lu - mi - na - ti - o
3
il - lu - mi - na - ti - o 3
il - lu - mi - na - ti - o
Do - mi - nus
3
3 3
a,
3
3
il - lu - mi - na - ti - o
3 3
3
Do - mi - nus 3
p
Vln. II
3
3
3
unis.
Do - mi - nus
3
Vln. I
3 3
3
a,
3
a,
Do - mi - nus
legato
il - lu - mi - na - ti - o
a,
-
3
3
Do - mi - nus
Cel.
il - lu - mi - na - ti - o
Do - mi - nus
B.
3 3
3
Do - mi - nus
T.
3
A.
S.
Tub. Bells
f
Hp.
3
3
Hn. 1&2
a2
3
3
mp
3
(1)
3
3
f
3 3 3 f
3
3
83
104
Picc.
Fl. 1&2
f
a2
3
f
mf
3 3 3 3
mf
mp
a2
3
3
f
Cl. 1&2
mp
a2
3
f
f Ob. 1&2
GG
3 3 3 3 3 3 3 3
mf
fp
Bsn. 1&2
3
3
3
3
mp
mf
Hn. 1&2
Hn. 3&4
Tpt. 1&2
3
Tbn. 1&2
B. Tbn.
Tub. B.
Glock.
S.
Do
-
-
a,
-
mi
-
-
Vla.
Vc.
Db.
3
3
3
men,
A -
GG
3
3
3
3
3
3
div.
3
div.
3
3
mp
mf
mp
unis.
3
mf unis.
mf
mf
mf
mp
3
div.
mp
3
3
-
3 3
-
f
3
-
mp
A -
f
men,
3
-
f Vln. II
-
3
-
A
-
mf
Vln. I
-
nus.
A
mi
mf
nus.
-
Dom - ni - nus.
Do
Cel.
T.
3
me
B.
3
A.
Hp.
3
f
3
1
con sord.
mf
3
84
112
Picc.
f (a 2)
Fl. 1&2
3
3
mf
3
3
3
3
f
3
(a 2)
Ob. 1&2
3
3
3
3
3
3
3
3
3
3
3
3
3
f
(a 2)
Cl. 1&2
f (a 2) Bsn. 1&2
Hn. 1&2
f
f
S.D.
Snare Drum
3 3
mp
S.
3 3
3 3
B.
3 3
3 3
3 3
3
-
-
-
-
-
-
-
-
-
mf
-
-
-
-
-
-
-
-
-
men,
A
3
-
3
3 3
3
3
3 3
-
-
-
-
-
-
3
-
-
3
-
-
-
-
men,
-
-
A
3
men,
-
-
-
-
-
-
-
men,
men,
div.
3
f
3
3
unis.
3
3
3
3
3
3
unis.
3
3
3
3
3
3
3
f
ff
3
3
f
ff
3
3
3
3
3
3
3
3
3
3
3
3
3
3
ff
div.
f
Db.
men,
-
3
Vc.
f
f
Vla.
3 3
3
div.
Vln. II
f
-
Vln. I
f
mf
A
T.
3
mf
A
A.
f
f
3
Xylophone
Xyl.
3
a2
f
B. Tbn.
3
a2
senza sord.
f Tbn. 1&2
3
a2
a2
mf
Tpt. 1&2
3
mf
Hn. 3&4
3
f
3
ff
ff
85
HH 122
Picc.
ff 3 Fl. 1&2
Ob. 1&2
Bsn. 1&2
3 3 3
ff
3
3
3
ff
B. Tbn.
Timp.
Cl. Cym. S.D.
ff
3
ff legato
S.
ff legato
ff legato
ff legato
B.
Ped.
3
3
3
3
3
3
3
3
3
3
3 3
a 2 3
a2
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
-
-
-
gliss.
ff
3
3
-
-
-
-
-
-
-
-
-
-
-
-
men,
A
-
-
-
-
-
-
-
-
-
-
-
3
3
-
-
-
-
3 3 3 3 A
3
3
-
-
-
-
3 3 3
A
A
-
3
-
-
-
3
3 3 3 3 3 3 3
men,
-
A
men,
-
men,
3
3
A
-
3
3
A
3
3
A
men,
-
men,
-
men,
3
-
3
3
3
3
-
-
3
3
3
3
A
A
A
-
-
3 3 3 3 3 3 3 3
men,
A
A
A
-
-
Vln. I
3 3 3
Vln. II
Vla.
unis.
Vc.
3
3 3
ff
3
3 3 3
3
unis.
-
3
3
3
3
3
3
E§ F# G§ A§ D§ C# B§
-
A
ff
Db.
f
A
Org.
Clashed Cymbals
3
3
ff legato
3
ff
A
T.
ff
3
3
A
f
3 3 3
3
Hp.
3
ff
3
A.
3 3 3
3
3
Xyl.
3
3
3
3 ff
Tbn. 1&2
ff
Tpt. 1&2
ff
Hn. 1&2 Hn. 3&4
ff 3
Cl. 1&2
3 3 3 ff
3
3
3
3
3
HH
3
3
3
3
3
3 3 3 3 3 3 3
3 3 3 3 3 3
3
3
86 132
Picc.
Fl. 1&2
(a 2)
a2
Ob. 1&2
ff
3 3 3 3 3 3 a2 3 3 3 Bsn. 1&2 3 3 3 3 ff (a 2) Hn. 1&2 3
Cl. 1&2
Tpt. 1&2
(a 2)
3
3
3
3
fff
3
B. Tbn.
Timp. Cl. Cym.
Susp. Cym.
3
3
3
Suspended Cymbal
ff 3 3 3 3 3 3 3 3 3
Vln. I
div.
Vln. II
ff
3
3
3
3
3
ff 3
3
f
-
-
-
-
-
-
A
-
-
-
-
-
-
unis.
-
-
-
-
div.
3 3
men.
3
men.
unis.
men.
A
-
men,
-
A
men.
men,
-
-
A
men,
men,
3 3 3 Vla. 3 3 3 3 3 3 3 Vc. 3 3 3 3 Db.
a2
3
ff
p
A
div.
f
A
Ped.
a2
- men,
Org.
f
A
- men,
A
- men,
B.
a2
3
- men,
T.
fff
A.
3
ff
3
3 3 3 3 3 3 3
Hp.
3
3
ffp
S.
3
3 3
3 3
ff
3
a2
Tbn. 1&2
3
3
fff Hn. 3&4
ff
a2
a2
3
3
3