JAMES WHITBOURN
THE SEVEN HEAVENS The Life of C. S. Lewis in the Planets of the Middle Ages
(2014)
Chamber Version for SATB chorus, flute, clarinet in Bb, bassoon, horn, piano, violin and violoncello
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
Chamber ensemble version: Commissioned by Cor Cantiamo, Eric A. Johnson, Founding Artistic Director With generous funding support from Lynne M. Waldeland Foundation for Choral Music (Northern Illinois University) Douglas C. & Lynn M. Roberts Family Foundation Chamber ensemble version first performed on 3rd November 2016
Instrumentation SATB Chorus Flute Clarinet in Bb Bassoon Horn in F Piano Violin Violoncello
Duration: c. 31 minutes
CONTENTS I. II. III. IV. V. VI. VII.
The Moon Mars Mercury Jupiter Venus Saturn The Sun
1 7 15 20 28 32 37
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.
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 Chamber version JAMES WHITBOURN
I – THE MOON Tranquillo q = 88
Flute
mp legato
Clarinet in Bb
non vibrato
pp
pp
Bassoon
Horn in F
Piano
Bass
Tenor
p legato
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pp
mp
pp
ah
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ppp
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con sord.
ppp
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ppp
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senza sord (nat).
ppp
p
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Violin
pp
A
con sord. non vibrato
Violoncello
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Soprano
p
Alto
p Glockenspiel (from within choir) Triangle (from within choir)
mp legato
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Cl.
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Tri.
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pp
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pp
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© 2016 Chester Music Limited
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II – MARS
Vigoroso q = 100
Flute
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Percussion rhythms to be played by choir
Violin
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q=q
mp Cl.
3
p
mp
fp
Bsn. Hn.
3
mp
fp
ff
3
3 3
3
Stay,
3
fur - ious con - tests,
A.
T.
3
B.
Vc.
3 3 3 3
3
3
3
p
p
Whose works with
woe,
em - bit - ter
woe,
hu
em - bit - ter
woe,
em - bit - ter
woe,
em - bit - ter
-
-
man
hu
man
hu
man
hu
-
-
man
ff 3
p
and a - veng - ing strife,
p
Whose works with
3
mp
Whose works with
and a - veng - ing strife,
3
3
3 3
fur - ious con - tests,
Whose works with
and a - veng - ing strife,
3
Stay,
Vln.
3
fur - ious con - tests,
ff
3
ff
Stay,
fur - ious con - tests,
Stay,
3
and a - veng - ing strife,
ff
p
ff
S.
3
3
12
Fl.
Cl.
J
46
Bsn.
mp
S.
life;
A.
life;
T.
B.
mf
peace,
to
gen
peace,
to
gen
mf
life;
Vln.
to
gen
mf
mf
-
mf
En - cour - age
life;
En - cour - age
Pno.
mp
mf Hn.
to
gen
-
in
tle works
in
-
in
tle works
-
in
clined,
-
clined,
tle works
tle works
-
-
and
give
and
give
and
a - bund
give
clined,
and
give
a
-
ance,
-
a - bund
a - bund
clined,
-
ance,
-
ance,
-
bund - ance,
arco
mp
Vc.
mf
54
Fl.
p
Cl.
Bsn.
p
with be p
B. with
be
-
-
- nig
nig
Vc.
-
with be - nig
Vln.
K
p
with be - nig
T.
p
S.
A.
G.P.
-
-
nant
nant
mind,
mind,
nant
mp
with be - nig
-
nant
mind.
with be - nig
-
nant
pp
Com - pel - le
mp
mind.
pp
in
Com - pel - le
-
in
-
tra - re,
com -
p
tra - re,
mind,
nant
mind,
pizz.
pp
com -
p
arco
p
13
65
Fl.
f legato Cl.
Bsn.
Hn.
f legato
pp
S.
- pel - le,
A.
in
- pel - le,
T.
B.
-
in
-
f
tra - re,
com - pel - le,
tra - re,
com - pel - le
com - pel - le,
com - pel - le
com - pel - le,
Vln.
f
f
in
-
in
-
com - pel - le
in
in - tra - re,
-
in
tra - re,
com -
com -
com - pel - le,
-
com - pel - le,
tra - re,
com - pel - le
f
com - pel - le,
tra - re,
in - tra - re,
f
tra - re,
com - pel - le
com - pel - le
com - pel - le
in - tra - re,
in - tra - re,
com - pel - le
pp
com - pel - le, pp
f
pp
com -
com - pel - le,
com -
f Vc.
pp
f
75 Fl.
Cl.
ff
Bsn.
Hn.
Pno.
- pel - le,
A.
B.
ff
- pel - le,
ff
ff
in
-
in
in
3
3 3 3 3 3 3 3 3 ff 3 3 3 3 3
3
3
3
3
3
3 3 3
3
3
3
3
3
3 3 3
3
tra - re.
-
tra - re.
-
tra - re.
com - pel - le
Vln.
-
com - pel - le
ff
in
com - pel - le
- pel - le,
Vc.
com - pel - le
- pel - le,
T.
ff
3
S.
3
ff
ff
3
tra - re.
14
80
Fl.
ff Cl.
Bsn.
Hn.
Pno.
S.
A.
T.
B.
ff
The
hand
that
made
them
is
di
The
hand
that
made
them
is
di
The
hand
that
made
them
is
di
ff
The
hand
that
made
them
is
di
ff
ff
ff
3
3
85
Cl.
-
3
3
3
3
3
3
3
3
3
3
3
vine,
-
vine,
-
vine,
-
vine,
3 3
3
3
3
3
3
The
hand
that
The
hand
that
The
hand
that
hand
that
The
3
3
3
3
Bsn.
Hn.
ff
Pno.
S. made
A.
made
T.
made
B. made
Vln.
3
3
3
3
is
di
them
is
di
them
is
di
them
is
di
3
3
3
-
-
-
-
-
-
-
-
-
-
-
-
-
vine.
vine.
-
vine.
-
-
vine.
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3
them
3
3
3
Vc.
3
3
3
Fl.
3 3 3 3 3 3 3 3
3 3 3 3 3 3
3
3
3
3
3
3
3
3
Vln. Vc.
3
15
90
Fl.
Cl.
fp
Bsn.
Hn.
3
Pno.
3
Vln.
3 3 3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
fp
Vc.
ff
3
fp 3
ff
ff
fp
ff
fp
ff
III – MERCURY Pastorale q. = 60
Flute
3
mf
Clarinet in Bb
ppp
Bassoon
Horn in F
Violin
3
3
2
mf
3
mf
ppp
Violoncello
ppp
16
L q. = q (q = 72) 9
Fl.
mp
Cl.
Bsn.
Pno.
T.
B.
A.
pp
mp
S.
3
3
p
mp
p
3
mf
2
mf
3
Stu mp
-
Stu
-
mp
Stu mp
-
Stu
di - ous
of
con - tests,
di - ous
of
di - ous
con - tests,
ru - ler
of
-
ru - ler
-
con - tests,
of
ru
di - ous
con - tests,
ru - ler
Vln.
Vc.
22
Fl.
- ler
of
man
of
of
-
kind,
Vc.
mp
mf
mf
With
With
With
mf
man - kind,
Vln.
With
kind,
mf
mp
man - kind,
of man
-
B.
3
S.
T.
A.
mp
mf
Bsn.
Pno.
3
Cl.
mf
heart
al - might
-
mf
heart
al - might
heart
al - might
heart
al
-
-
mf
-
might
y,
-
-
-
and
a
pru
and
a
pru
and
a
pru
and
a
pru
y,
-
-
mp
dent
mind.
mp
y,
y,
-
-
-
-
-
-
-
dent
mind.
dent
mind.
mp
dent
mp
mind.
17
M 31
Fl.
fp
Cl.
f
Bsn.
Pno.
f 3
S.
f
-
f
B.
-
f
Ce
-
f
-
3
3
3
3
3
3
3
3
3
les
-
-
-
-
-
-
-
-
-
-
tial
-
-
-
-
-
les
-
-
-
-
-
-
-
-
3
3
3
sen
-
-
sen
mes
-
sen
ger,
of
of
ger,
of
-
ger,
-
sen
mes
tial
3
3
mes
tial
3
les
3
mes
les
3
tial
fp Vc.
3
Ce
Vln.
3
f
3
Ce
T.
3
Ce
A.
3
3
3
3
f
f
fp
3
fp
Hn.
ger,
of
f
f
Fl. 35
3
Cl.
Bsn.
Hn.
Pno.
3
3
3
3
3
3
3
3
3
3
3
3
3
var
var
-
-
-
-
-
var
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ious
mp
skill,
mp
skill,
5
5
-
5
ful
-
-
p
p
-
arts
mf
ful
ful
could watch - ful
could watch - ful
arts
mf
arts
ful
Whose power
mf
mf
Whose power
ious
Whose power
mp
mp
skill,
ious
Whose power
mf
p
5
Vc.
3
-
3
mf
skill,
-
ious
mp
3
mf
mp
3
3
T.
3
A.
3
mp 3 3
var
Vln.
3
S.
B.
3
could watch - ful
arts
mp
could
watch - ful
18
Fl. 40
N
Più mosso q = 100
f
Cl.
Bsn.
Hn.
mp
mp
p
mp
p
p
S.
Arg
-
A.
-
-
-
-
-
Arg
-
-
Vln.
us
kill:
Arg -
T.
-
Arg
B.
-
p
p
us
kill:
us
kill:
p
us
kill:
With
power
en
all
power
p
Vc.
dued
-
f
With
f
p
fp
mp
p
mp
O
46
Fl.
Cl.
S. lan
T.
Vln.
guage
to
ex
-
plain,
mp
A.
B.
-
mp
Of
care
Of
care
the
the
care
the
loos
mp
mf
Of
Meno mosso q = 72
-
’ner, and the source
loos - ’ner, and the source
loos - ’ner, and the source
of
gain.
of
of
gain.
p
As - sist
gain.
p
As - sist
my
works,
my
works,
my
works,
my
works,
con -
p
As - sist
p
As - sist
con -
con -
con -
mf
Vc.
19
Fl. 54
Cl.
- clude my
life
with
peace,
- clude my
life
with
peace,
- clude my B.
life
with
peace,
- clude my
life
Vln.
with
Give
grace
Give
grace
3
3 3
3
3
3
3
3
Give
peace,
-
-
-
-
-
-
-
-
-
grace
-
-
-
p
pp
p
ful
speech,
and
ful
speech,
ful
speech,
-
-
o
-
ry’s
mem
-
-
-
-
and
and
-
-
and
speech,
-
ful
mem
Give
grace
p
T.
p
S.
Vc.
mf
A.
p
Bsn. Hn.
Fl. 60
3
3
3
3
3
mf
p
3
p
p
Hn.
3
Cl.
Bsn.
p
Pno.
S. mem
-
-
mem
T.
B.
mem
Vc.
-
Vln.
pp
A.
-
o - ry’s
in
o - ry’s
in
o - ry’s
in
o - ry’s
in
-
-
-
-
-
crease.
crease.
p
crease.
mp
mf
mp
Word
was
made
And the
Word
was
made
flesh,
mp
And the
Word
was
made
flesh,
mp
And the
Word
was
made
flesh,
p
p
p
-
And the
-
crease.
-
flesh,
mp
and the Word
mp
and the Word
mp
and the Word
mp
mp
and the Word
was
made
was
made
was
made
was
made
p
p
20
Fl.
66
3
mf
Cl.
Bsn.
Hn.
Pno.
A.
flesh
and
mf
mf
dwelt
and
dwelt
flesh
and
dwelt
mp
a - mong us,
the
mp
a - mong us,
the
word
mp
a - mong us,
was
mp
the
word
mf
mp
p
pp
mf
mp
p
pp
mf
mp
p
mp
p
pp
pp
p
made
was
p
made
pp
flesh.
p
pp
flesh.
made
was
flesh.
was
pp
pp
made
flesh.
mf
mp
p
pp
p
Vc.
p
word
the
word
a - mong us,
mf
B.
mp
pp
dwelt
mf
mf
flesh
and
mf
Vln.
flesh
T.
mf
mf S.
mp
p
pp
IV – JUPITER Vivace q = 132
3 3 3 3 3 Flute
mf
f
mf
f
3
3
3
mf
3 3 3 3 3 3
Clarinet in Bb
mf
f
mf
3
3
f
Bassoon 3
mf
f
con sord.
3
3
mf
f
3
3
mf
Horn in F
mf
f
f
3
3
3
Violin
pizz.
f
Violoncello
f
3
mf
3
3
3
f
mf
f
mf
mf
f
3
3
mf
f
3
3
mf
ff
3
3
3
mf
arco
3
3
f
mf
arco pizz.
3
f
Piano
3
3
3
mf
f 3
3
3
3 3 3 3 3 3 3 3 mf f mf f f
3 3 3 3
f 3
mf
f 3
21 7 3 Fl. 3
3
3
3 3
Cl.
3
3
Bsn.
mf
3
3
f 3
3
3
3
3
3
3
3
3
f
Pno.
3
3
3
mf
f
mf
f
mf
mf
f
f
mf
f
3
3 3 3 3
3
3
3
f
3
senza sord.
3
mf
3
3
3
3 3
3
3
3
ff
f
3
3 Vln. 3
3
3
3
mf
3
Vc.
f 3
mf
3
Hn.
13 Fl.
5
5
f
Cl.
Hn.
3
P
18
Fl.
pp
Cl.
Bsn.
3
3
3
3
3
sfz
3
3
Pno.
3
3
S.
mf
5
3
O
3
pp
3
mp
3
3
3
3
3
3
3
3
5
pp
5
3
3
3
3
3
3
3
3
3
mf
3
3
3
3
5
3
3
3
3
3
3
3
3
Jove, much hon - oured Jove,
5
3
3
3
Jove, much hon - oured Jove,
5
3
3
3
Vln. 5
3
mf
3
3
3
p
3
3
3
3
pp 3 3
3
pp
3
3
3
3
3
3
3
3
una corda
3
3
3
3
3
pp
p
3
mf
3
pizz.
3
3
p
mf
f
3
Vln. Vc.
Pno.
3
3
3
mf
3
3
Bsn.
Jove
su
-
preme
-
ly
great,
5
5
5
5
5
22
23 Fl. 7
Cl.
sfz
Bsn.
7
7
7
3
3
3
3
3
3
3
3
3
3
3
3
su - preme - ly great,
To
thee
3
3
our ho
-
3
3
ly rites
3
3
3
3
3
3
3
3
Jove
Vln.
3
3
7
3
3
S.
7
7
3
pp
3
Pno.
7
we
con
-
-
-
sec
-
5
5
5
5
5
5
5
5
5
5
legato Fl. 28
mf
Cl.
Bsn.
3
3
3
3
3
3
3
3
3 3 3 3 3
3
3
3
mf
legato
3 3 3 3
3
mf
Pno.
3
3
legato
Hn.
3
Q
3
3
f
f
S.
mf
- rate.
B.
T.
p
Vc.
5
5
5
5
5
ff
3
earth
is
thine,
ff
earth
is
thine,
and moun
-
f
tains
and moun
-
5
(pizz.)
and moun - tains swell - ing,
The
ff
The
Vln.
3
and moun - tains swell - ing,
A.
ff
tains
23
34
Fl.
Cl.
Bsn.
ff
ff 3
3
3
3
3
3
3
3
ff
Hn.
ff
ff
Pno.
3 S.
3
moun - tains swell - ing, moun - tains swell - ing 3
A.
3
swell
B.
-
swell
Vln.
-
ing,
swell
ing,
swell
-
ff
The
ing
sea
ff
The
pro - found,
sea
ff
3
3
3
3
3
3
all
with - in, 3
3
and
all
with - in
and
all
with - in,
all
pro - found,
with - in
high,
ff
and
all
high,
3
3
and
high,
ff
high,
ing
-
moun - tains swell - ing, moun - tains swell - ing
T.
all
3
3
arco Vc.
ff
R 3 3 3 3 3 3 3 3
39
Fl.
Cl.
Bsn.
Hn.
3
Pno.
S.
3 3 with - in, and all 3
A.
T.
3
the
with - in
the
with - in
the
Vc.
with - in
the
3
3
3
3
3
3
sky.
with - in, and all
Vln.
with - in
all
3
all
B.
sky.
sky.
sky.
3
3
3
3
3
3
3
3
24
44
Fl.
Cl.
Bsn.
3
5
3
3
3
3
3
S.
3
3 3 3 3 3
3
3
3
Pno.
3
3
3
3
3
3
3
3
Hn.
5
3
ff
Ev
A.
ff
T.
B.
3
3
Ev - en Nat - ure
ff
3
Vc.
3
ff 3
Hn.
3
3
ff
3
pizz.
3
3
3
en Na - ture trem - bles 3
en Na - ture trem - bles
3
-
Ev
-
en Na - ture trem - bles
ff
f 3
3
f
3
3
f
3
3
3
ff
3
thy
might
-
y
thy
might
-
y
might
-
y
3
3
3
ff
ff
nod,
f
sound - ing, 3
-
sound - ing, 3
3
-
sound - ing,
armed with light - ning,
Loud
armed with light - ning,
3
sound - ing,
-
-
armed with light - ning,
Loud
-
f
sound - ing,
sound - ing, 3
3
sound - ing, 3
Loud
3
Loud
armed with light - ning,
-
3
3
3
ff
f arco
sound - ing,
-
3
Loud
nod,
arco
ff
3
3
Loud
-
Loud
ff
3
3
Loud
nod,
B. thy
f
at
3
nod,
at thy might - y
Vln.
f
at
Vc.
-
pizz.
at
T.
rod,
3
3
S.
A.
at thy might - y
3
f
Pno.
3
Ev
en Na - ture trem - bles
rod,
3
ff
at thy might - y
ff
Bsn.
trem - bles
49
Fl. Cl.
trem - bles
Ev - en Nat - ure
Vln.
-
Ev
ff
3
3
25
S
55
Fl.
mf
Bsn.
Pno.
thun B.
God.
- der - ing
God.
God.
3
p
pp leggiero
mp
Vc.
3
God.
thun - der - ing
Vln.
3
mf
thun - der - ing
T.
3
f 3
mf
pp
3
3
thun - der - ing
A.
p
3
f
S.
3
3
3
Hn.
3
ff
3
ff
3
3
3
3
3
3
3
3
3
3
3
mf
fp
61 Fl. 3
3
p 3
Cl.
3
3
3
3
3
3
Hn.
pp
Pno.
3
S.
3
3
3
f
3
3
3
3
of
a -bun
3
3
-
dance,
pu
-
ri - fy - ing king,
mf
3
Source
Vc.
3
f
Vln.
pp
3
fp
Bsn.
O
var - ious - formed from whom
3
all na - tures spring,
O
f
26
66
Fl.
Cl.
3 3 3 3 f
3
Bsn.
3
3
S.
3
3
mf
Pno.
3
3
3
3
3
3
3
3
3
f
3
3
3
3
va - rious - formed from whom all na - tures spring,
A.
3
3
3
3
3
3
3
Va - rious - formed from whom all na - tures spring,
f
3
Va - rious - formed from whom all na - tures
Vln. Vc.
f
sim.
71 Fl.
T
f
Cl.
p
Bsn.
Hn.
f
3
3
3
Pno.
S.
va - rious - formed from whom
A.
3
spring;
Va - rious - formed from whom
mf
B.
Vln.
Vc.
mf
Joy and ju - bi - lee,
ah
all na - tures spring,
Joy and ju - bi - lee,
Joy and ju - bi - lee,
Joy and ju - bi - lee,
Joy and ju - bi - lee,
f
f
mf
3
3
f
3
3
ah
ah
ah
ah
3
3
ah
f
Joy and ju - bi - lee,
3
3
3
mf
f
3
f
3
3
f
all na - tures
f
5
3
3
3
spring;
T.
3
3
3
f
f
27
ff 3
Pno.
3
joy
and ju
A.
-
and ju
T. joy B.
3
and ju
joy
and ju
3
3
Vc.
joy
and ju
3
3
3
-
-
bi - lee,
3
3
3
3
3
joy
and ju
joy
and ju
-
-
3
bi - lee,
-
ff
Joy and ju - bi - lee.
-
3
bi - lee,
Joy and ju - bi - lee.
ff
ff
3
3
3
3
ff
3
3
3
3
3
3
3
3
3 3 3 3 3
3
3
3
3
3
3
3
3
3
ju
3
-
-
ju
3
-
3
3
3
bi - lee,
ju
bi - lee,
ju
bi - lee,
ju
ju
-
-
-
bi - lee,
ju
bi - lee,
ju
bi - lee,
joy
-
-
-
bi - lee,
joy
bi - lee,
joy
bi - lee,
joy
and ju
-
and ju
3
3
3
-
and ju
and ju
-
bi - lee.
-
bi - lee.
bi - lee.
3
bi - lee.
3
3
3
ju
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
bi - lee,
3
ah
3
ah
Vln.
3
ah
B.
ah
T.
-
3
joy and ju - bi - lee,
joy and ju - bi - lee,
-
S. A.
and ju
ff
3
Pno.
joy
3
bi - lee,
3
3
ff
ff
Hn.
3
3
Bsn.
3
3
3
3
ff 3
Fl.
3
3
-
3
bi - lee,
81
-
3
ff
bi - lee,
Cl.
bi - lee,
Vln. Vc.
-
3
3
3
3
joy
3
3
3
3
3
3
3
f
S.
3
3 3
3
3
Hn.
3
ff
Bsn.
7
3
Cl.
f
7
76
5 Fl.
28
V – VENUS Dolce q = 100
Flute
Bassoon
pp
p
pp
Violin
p
Clarinet in Bb
pizz.
pp
Violoncello
pp
ppp
pp
arco
pizz.
p
pp
pp
arco
pizz.
ppp
pp
15
Cl.
3
mp espress.
Bsn.
ppp
pp
arco
Vc.
26
Fl.
Cl.
Hn.
Pno.
mf
3
p
p
mp
‘Tis
thine
p
3
the
p
pp
‘Tis
thine
the
mp
p
with
har
p
-
har
-
mon
mp
mon - y
to
join,
to
join,
for all
to
join,
for
y
har - mon - y
For
For
join,
-
to
mp
har - mon - y
with
with
world
mp
world
mp
3
with
mp
Vln.
mp
T.
Vc.
A.
B.
U
p
S.
mp cantabile con rubato (quasi chant)
Bsn.
pp
pp
p
pp
Vln.
3
mf
Hn.
Fl.
mf
29 34
Fl.
Cl.
Bsn.
S.
B.
Vc.
things
spring
things
things,
spring
from thee,
mf
things,
all things spring from
thee, mf
O
f
mf
power
di
di
power
di
-
vine.
-
f
The
-
The
The
mor - tals,
thy
3
of
cir - cling choirs
of
mor - tals,
thy
mor - tals,
of
mor
thy
de -
-
tals,
3
thy
de -
3
de -
de-
3
cir - cling choirs
3
of
3
cir - cling choirs f
vine.
3
f
vine.
f
40
Fl.
Cl.
mp
Hn.
Pno.
f
A.
Or
cresc.
B.
- light,
Vln.
Or
Or
beaut - eous
nymphs,
with
p
eyes
mp
ce - ru - lean
bright,
And
p
eyes ce - ru - lean
eyes ce - ru - lean
-
beaut - eous
daugh - ters
in
the
cho
-
p
bright.
lean
mf
3
bright.
ce - ru
eyes
with
p
with
with
beaut - eous nymphs,
Or
beaut - eous nymphs,
mp
3
cresc.
T.
beaut - eous nymphs,
- light,
- light,
p
mp
mf
cresc. S. cresc.
- light,
p
mp
Vc.
cir - cling choirs
Bsn.
The
O
f
f
f
vine.
power
O
f
power
O
di -
thee,
power
O
power
for all things spring from
O
mf
thee,
from
f
mf
mf
3
mp
mf
all
Vln.
all
T.
mf
all
A.
Pno.
mp
Hn.
V
p
bright.
p
p
rus
30 47
Fl.
3
Cl.
Bsn.
pp
Hn.
mf
3
join,
A.
A
do - nis pure to
-
sing
and
thee
Vc.
3
3
3
3
Come, all - at - tract
-
ive
to
-
in - clined,
my prayer
ive
to
my
prayer
p
For
thee,
I
call,
3
3
with
in - clined,
mp
pp
mf
Come, all - at - tract
Vln.
pp
mf
mp
di - vine;
mp
pp
S.
3
3
pp
W
56
Fl.
Cl.
p
pp
-
ly,
ho
A.
Ho
-
p
T.
Ho
-
ly,
Ho
-
rev - ’rent
ly,
-
ho
-
ho
ho
ly,
-
ly,
p
p
-
pp
pp
ly,
ho
ly,
ho
ly,
ho
mind.
mp
-
p
con sord.
p
my morn - ing
star,
wert
my
morn
p
Thou
wert
my
morn
Thou
wert
my
morn
p
mp
pp
ly.
con sord.
Thou
wert
ly.
-
ly.
-
Thou
p
Vc.
p
ho
Vln.
pp
Pno.
B.
S.
p
Hn.
pp
p
Bsn.
thou
-
ing star,
-
ing
mp
star,
thou
ing star,
thou
mp
-
mp
thou
31 66
Fl.
mp
mp
Bsn.
A.
T.
Vln.
Vc.
my morn - ing
wert
my morn
my
morn
wert
my
morn
-
ing
star,
ing
-
thou
star
wert
thou
wert
thou
ing
-
ing
star,
thou
wert my mor - ning
mp
star,
my
mf
thou wert my mor - ning
wert,
morn
-
my
wert,
morn
thou
my
star,
ing
-
star,
mf
mf
mf
wert
mf
wert
B.
mp
Pno.
mf
mp
S.
mp
Hn.
mf
Cl.
morn
-
star,
my
my
-
-
ing
-
my
morn - ing
star,
morn - ing star,
mf
-
ing
morn
-
my
mf
morn
-
-
-
ing
mf
mf
pizz.
Cl.
mp
Bsn.
mp
Pno.
S.
star
A.
a - mong the
star
T.
B.
Vc.
-
ing,
liv
a - mong the
liv
a - mong the
liv
-
-
mp
mp
a - mong the
liv
-
-
-
the
liv
ing,
-
-
mp
ing,
the
p
ing,
the
star
liv
mp
a - mong the
star
Vln.
liv pp
liv
-
p
pp
ing,
thou
wert
my
morn
pp
ing,
thou
wert
my
morn
pp
ing,
thou
wert
my
morn
thou
wert
my
morn
ing,
pp
-
-
-
-
ing
star.
ing
star.
ing
star.
ing
star.
pp
pp
pp
pp
p
Hn.
71
Fl.
ppp
arco
pp
32
VI – SATURN Adagio q = 80
Clarinet in Bb
Bassoon
p
Horn in F
pp
p
p
ppp Soprano
mp
their
go
their
go
their
go
their
go
Bass
Violoncello
mp
Violin
Tenor
Alto
mp
una corda pp
Piano
sim.
p
Men
must
en - dure
their
go
-
ing
hence,
Men
must
en - dure
their
go
-
ing
hence,
Men
must
Men p
must
Men
must
p
Men
must
en - dure
mp
en - dure mp
en - dure
mp
en - dure
p
pp
mp
-
ing
-
ing
-
ing
-
ing
senza sord.
senza sord.
p
p
p
mp
p
mp
mf
X Cl.
ff Bsn.
Hn.
Più mosso q = 92
Passionato q = 88
10
ff
ff
ff
ff
ff
S.
A.
hence.
B. hence.
Vln. Vc.
ff
Con - sumed
hence.
T.
ppp
hence.
p
f
Pno.
ff
by
Con - sumed
ff
Con - sumed
thee
ff
all
by
thee
all
mp
by
thee
all
mp
by
thee
all
mp
Con - sumed
ff
mp
forms
forms
that hour - ly
forms
that hour - ly
forms
that hour - ly
that hour - ly
p
die,
p
mp
ff
By
thee
ff
re - stored,
thee
die,
By
thee
re - stored,
p
ff
By
thee
re - stored,
die,
p
ff
their
mp
their
ff
their
mp
By
re - stored,
p
mp
die,
mp
their
for - mer place sup - ply;
p
mp
p
p
f
f
The
f
The
for - mer place sup - ply;
The
p
for - mer place sup - ply;
f
The
for - mer place sup - ply;
p
33
20
Fl.
ff
Bsn.
Cl.
ff
ff
Hn.
3
Pno.
S.
f
mf
im
im
Vc.
-
-
mense
in
ev
-
-
mense
in
ev
ff
mense
in
ev
ff
mense
in
ev
im
-
-
world
Vln.
world
ff
world
B.
im
-
-
3
3
3 3
3
-
er
-
er
-
last
-
er
-
last
-
er
last
23
Bsn.
Hn.
Pno.
3
3
3
3
3
3
3
chains,
chains,
-
ing
-
ing
-
ing
f marcato
f marcato
3
f
Strong
Strong
chains,
and in - ef - fa - ble
thy
and in - ef - fa - ble
thy
and in - ef - fa - ble
thy
and in - ef - fa - ble
thy
Vln.
Vc.
Strong
chains,
B.
ing
Strong
-
3 3 3 3 3 3 S.
T.
A.
3
f marcato
Cl.
ff
Fl.
3
-
3
3
-
last
3
3
ff
3
ff
world
T.
A.
ff
3
ff
f marcato f marcato
power,
power,
power,
thy power,
power,
thy
thy power,
thy power,
thy power,
power
thy
power
power
thy
thy
power
con -
con -
con -
con -
34
Fl. 29
Cl. Bsn.
Pno.
S.
Fa f
f
-
-
-
-
-
-
Fa f
-
Fa
-
-
-
-
-
-
-
-
-
-
-
f
B.
- tains
Fa
Vc.
Vln.
ff
- tains
- tains
ff
f
T.
- tains
A.
mf
ff
3
f
ff
Hn.
Y
-
-
-
-
-
-
vast ff
e
ther
of
ther
of
ther
of
ther
of
vast
e
vast ff
e
vast ff
e
-
-
-
-
-
-
-
-
-
-
-
-
ff
32
Fl.
ff
Bsn.
Cl.
Hn.
ff
Pno.
3
3
3 S. - ter
A.
- ter
-
- ter B.
-
- ter
-
ff
Vc.
-
ni
-
T.
Vln.
ni
ni
ni
3
-
ty,
3
-
di
ty,
di
ty,
di
ty,
p
mp
p
di
3
3
3
3
3
3
3
3
3
3
-
-
-
-
-
-
3
vine,
-
3
vine,
-
3
might
O
3
O
O
vine,
3
O
vine,
3
might
-
-
might
-
might
-
y
Sa - turn,
y
Sa - turn,
mf
var - ious speech
is
thine:
is
thine:
mf
var - ious speech
mf
y
Sa - turn,
var - ious speech is
thine:
mf
y
Sa - turn,
var - ious speech is
thine:
mp
mp
f
3
3 3
-
3
3
3
mp
35
38
Fl.
Lento q = 60
Bsn. Hn.
p S.
p
mp
mp
The
B.
The
T.
p legato e dolce
Z
p
sa - cred rites be - ne - vo - lent
And
And
grant
a blame - less
at - tend,
at - tend,
sa - cred rites be - ne - vo - lent
grant
a blame - less
life,
a
bles - sed
end.
life,
a
bles - sed
Men
end.
p
p
Men
p
p
their
must en - dure
their
p
Men
must en -
their
pp
must en - dure
p
must en - dure
Men
Vln. Vc.
Tempo Iº q = 80
p legato e dolce
A.
pp
49
Fl.
pp Cl.
Pno.
f
ff
ff
-
go
-
-
ing
hence,
ing
hence,
ing
hence,
- dure
their go - ing
pp
Men
pp
Men
must en - dure
their
go
-
ing
pp
must en - dure
must en - dure
their
go
their
go
their
go
-
ing
-
ing
hence.
hence.
My
God,
ff
My
hence.
ff
My
God,
God,
ff
My
God,
Men
must en - dure
pp
ing
ff
hence,
-
hence.
pp
Men
pp
pp
ff
f
f
Vln. Vc.
go
B.
go
T.
S.
A.
ff
pp
pp
Hn.
ff
pp
Bsn.
my
God,
my
God,
my
God,
my
God,
mf
why have you for - sak - en me?
why have you for - sak - en me?
why have you for - sak - en me?
why have you for - sak - en me?
ff
ff
pp
pp
36
60
Fl.
pp
Cl.
pp
Bsn.
Hn.
A.
p
why
have
you
for
have
you
for
have
you
for
p
B.
why
Vln. Vc.
pp
p
T.
p
why
-
sak
-
-
sak
-
-
sak
-
me?
en
me?
en
en
me?
68
Fl.
Hn.
p
pp
p
mf
p
mf
p
Vln.
p
mf
pp
pp
p
p
Vc.
Cl.
Bsn.
p
pp
pp
pizz.
p
arco
pp
37
VII – THE SUN Tranquillo q = 88
Flute
Piano
Triangle (from within choir)
Glockenspiel (from within choir)
Violin
loco loco
p loco
pp
p
p
AA
mp
Soprano
p legato e dolce
p
pp Horn in F
pp
Clarinet in Bb
Bassoon
p
Do
-
mi -
pp
Violoncello
pp
sul D
11
Fl.
mf
Cl.
Bsn.
Pno.
S.
Vln.
il
-
lu - mi - na - tio
me
-
mp
a.
-
-
-
mi
-
nus
il
-
lu
-
mi
-
3
mf Vc.
3
f
Do
mf
- nus
mf
3
Tri.
3
mf
Hn.
3
3
na - tio
38
18
Fl.
3
3 3
Cl.
Bsn.
3
3
3
3
3
3
me
Vln. Vc.
-
-
-
-
mf
3 3
3 3
3
3
3
a.
3
3
3
3
3
3
S.
3
3
Pno.
Hn.
3
3
3
mf
BB
Fl. 3 3 3 Cl. 3 Bsn. 22
3
Hn.
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3
S.
mf
T.
B.
3
3
3
3
3
of
the
sea
-
-
mf
of
the
mf
3
-
-
-
-
sea
of
the
-
-
-
-
-
-
of
the
3
sons,
3
sons,
Lord
3
3
3
3
Lord
mf
3
Lord
Vln. Vc.
3
Lord
A.
3
Pno.
3
3
3
39
27
Fl.
Cl.
Bsn.
Hn.
3
3
3
-
-
-
-
-
-
Vln.
-
3
3
3
3
ry
f
-
-
-
-
leap
ry
leap
ing cour - sers,
-
ing
-
mp
light
beam
-
ing
ing
from
a
light
f
-
far:
f
light
from
a
from
a
from
a
light
-
ing
mp
-
beam
f
3
3
3
3
mp
beam
car
And
ing cour - sers,
sons,
-
3
beam
f
3
car
fie
3
mp
And
3
3
3
3
with thy
sea
-
f
sons,
fie
3
3
3
3
3
sea
f
f
with thy
T.
S.
A.
f
3
Vc.
Pno.
B.
-
far:
f
-
far:
f
-
far:
Cl.
33
Bsn.
Hn.
Pno.
3
T.
B.
Vln.
3
3
3 3
3
3
3
3
3
mp 3
ff
ff
ff
ff
3
3
3 3
3
S.
A.
f
3
mp
3
3
3
3
3
3
3
3
3
3
3
3
3
mp
mp
mp
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
p
Vc.
3
3
mp
3
3
3
3
3
3
3
40
39
Fl.
Cl.
Bsn.
mf
mf
3
3
3
3
3
-
-
ile
and
Ag
-
-
mf
Ag
B.
-
Vc.
-
ile
and
ile
and
-
-
ile
and
3 3
3
3 3
3
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Fl.
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41
Fl. 50
ff
Cl.
q = 96
ff Bsn.
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53 Fl. 3 3 Cl.
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42
56
Fl.
Cl.
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60
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43
64
Fl.
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44 80
Fl.
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45
91
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96
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Pno.
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Vivace q = 140
FF
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46
101
Fl.
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GG
106
Fl.
Cl.
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47
112
Fl.
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119 Fl.
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48
HH
128 Fl.
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136 Fl.
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