Tavener SOLLEMNITAS IN CONCEPTIONE IMMACULATA BEATAE MARIAE VIRGINIS

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Tavener, John Sollemnitas in Conceptione Immaculata Beatae Mariae Virginis

Score for sale (North America): http://www.halleonard.com/product/viewproduct.do?itemid=14037582&lid=0 Score for sale (UK, Europe and other territories): http://www.musicroom.com/se/ID_No/0705356/details.html Information about work and materials for hire: http://www.musicsalesclassical.com/composer/work/35924

Chester Music Limited Part of the Music Sales Group

Full Score

John Tavener

SOLLEMNITAS IN CONCEPTIONE IMMACULATA BEATAE MARIAE VIRGINIS Feast of the Immaculate Conception of the Blessed Virgin Mary

CHESTER MUSIC (part of the Music Sales Group) 14/15 Berners Street, London W1T 3LJ tel: +44 (0)20 7612 7400 fax: +44 (0)20 7612 7549 Exclusive distributor: Music Sales Ltd, Newmarket Road, Bury St Edmunds, Suffolk, IP33 3YB tel: +44 (0)1284 702600 fax: +44 (0)1284 702592 web: www.chesternovello.com e-mail: music@musicsales.co.uk

COMPOSER’S NO TE NOTE When I was asked by Herr Moosmann to write a “universalist” setting of the Mass for the Feast of the Immaculate Conception of the Blessed Virgin Mary, it seemed to be a commission sent from heaven. My life and work have been shaped by the Orthodox Church, by Advaita Vedanta (the Hindu doctrine of non-duality) as revealed to me in a vision of Frithjof Schuon, and a life-long veneration and love of Mary the Mother of God, so the music seemed to explode onto the page. The commission also gave me the opportunity to set the entire mass, including all parts for the celebrant, using choir, soloists and instruments. I was ever-aware that it should be music for a sacred rite, with all the solemnity and dignity that this implies. I have used a number of languages – Latin, Sanskrit, Arabic, Aramaic, Greek, American Indian, German and Italian – to express something of the Divine Effulgence of the Feminine that the Mother of God reveals to us. She aids as “Mother” and attracts as “Virgin”: her aid descends from Heaven, whereas her attraction raises us towards Heaven. As Mother of Christ, she has a double significance: her own nature and her Child. The first is inexhaustible and perpetual; the second, unique and historical. Many Christians, Hindus, American Indians and Muslims believe that we live in “the time of Mary”, hence her numerous miraculous apparitions before Christians and non-Christians alike, proclaiming her as Mother of the Universe. It is indeed timely to contemplate the true meaning of her Immaculate Conception, which confers on Mary the Feminine aspect of the logos. It also connects her with the Hindu goddesses whom I invoke while celebrating her as “Mother of the Universe”, just before the Credo which establishes the One and Only True God. There is nothing in the Hindu doctrine of non-duality that is incompatible with our complete and full faith in the Christian Revelation. As Dom Henri le Saux puts it: “The Advaita is not beyond the Church of Christianity, it is right in the centre of it”. The old Latin plainsong mass is probably the most sublime musical and liturgical setting that exists. In fact, the great French writer Réné Guenon has said that after Plainsong, western music goes in a downhill direction from which it has not recovered. I understand fully what he means, but I am also aware of “La crise du monde moderne”, which is in part fuelled by the fact that we live at a time when Christianity can no longer remain exclusive. Therefore there has never been a greater need for a setting of the mass that is not only timeless, but also includes divine echoes of other great traditions, thus placing Christianity in a universal context. Since the doctrine of the Immaculate Conception is a relatively recent dogma of the Catholic Church, it seemed to me an ideal Feast for such a universalist approach. I am deeply conscious of the present Pope’s concern for a creative approach to liturgy and music, and thus I humbly dedicate this work to him, as well as to the beloved memory of Sheikh Abu Bakr, a dear Sufi friend who loved the Blessed Virgin more deeply than I can say. Musical and Metaph ysical Note Metaphysical The entire mass is sung, there are no spoken parts, and the musical structure mirrors the liturgical structure. The work is scored for two choirs (or one choir divided into two parts), brass, strings, organ, percussion and a separate string quartet, taken from the string orchestra and placed with a bandir drum and a “pure-toned” soprano in a high gallery at the West End of the church. The singers of the Old Testament readings and the Epistle should be taken from the choir. So also should the four basses who sound from the four corners of the building in “cross” formation. They intone the sacred syllable “OM” at the beginning and the end of the Mass (when they may be pre-recorded), and also invoke the Hindu goddesses before the Credo. The music has a mosaic-like structure, with different harmonies and melodic ideas symbolising different metaphysical concepts. For instance, the music which invokes the Eternal Feminine in the forms of the Mother of God, Hindu goddesses, and Pté San Win of the American Indians, is all taken from different parts of the Mass, thus connecting these invocations with all the different musical and liturgical aspects of the Mass. The names of IESU and MARIA are invoked throughout the Mass. This onomastic and primordial prayer again produces a supplementary place of convergence of the East with the West, for to invoke IESU MARIA is to constantly invoke and remember God. During the Eucharistic Prayer, the Aramaic word Maranatha is also added to the sacred names – “Come Lord”. As the Mass progresses, there are commentaries from the solo soprano and string quartet, sometimes in the form of ecstatic Marian verses by Schuon, and at other times reflective “divine echoes” in Sanskrit or Arabic. The musical motifs are quoted and requoted throughout the singing of the mass in different forms and different guises, thus helping to make the liturgy and metaphysics clearer. For instance, after the Eucharistic Prayer, and before the rite of Communion, the soprano sings Dante-Alligieri’s words “Tutti I miei pensier parlan d’amore” (All my thoughts speak of love”) – both terrestrial and celestial at this supreme moment before the great banquet of Love, and of union with God. The brass choir (four trumpets and four trombones) represents “Royalty”, as the strings represent “Femininity”. One could say that the brass symbolise Christ, as the strings symbolise Mary, for if Christ is The Way, the Truth and The Life, the Blessed Virgin, who is made of the same substance, holds graces which facilitate access to these mysteries. The Pow-wow drum of the American Indians symbolises primordiality, and sounds at the most elemental moments of the Mass. The tam-tam and Tibetan temple bowls open Christianity to all the Eastern traditions, which confirm its Absolute authenticity, as well as making it Universal. The opening for muted strings alone at the beginning of The Celebration of the Universal Feminine becomes the Meditation on The Immaculate Conception at the end of Communion, but this time played at half speed by the muted string quartet. This confirms, as it were, the meaning of The Immaculate Conception, whether one understands this exoterically and literally, or esoterically and mystically. Either way, it is a mystery; which the music implies, as does the Gospel when it says of the Virgin that she is “full of grace”, and that “the Lord is with thee”, and that “henceforth all generations shall call me blessed”.

Christ inherited from the Virgin his entire human nature, from both the physical and the psychic point of view. Hence the poetic and mystical line of Schuon, “Verily thine Immaculate body is the Veil of the Ever-Forgiving.” Now a person with such prerogatives is indeed Mother of God, expressed theologically by the doctrine of the Immaculate Conception. Musically I show this by piercing the Magnificat six times with a quote from my earlier work The Protecting Veil (of the Mother of God), for solo cello and orchestra. This Mass is my longest meditation on the Blessed Virgin so far, and I humbly pray that it will “bear fruit” and be used by the church for which it was written. J.T.

Names of Goddesses from the Hindu (S anskrit) and American Indian traditions (Sanskrit) Hindu: Prakrti

The original course of creative matter

Vikrti

She who is change

VidyƗ

Wisdom

Sarva-bhnjta-hita-pradƗ,

She who wants good to All Beings

ShraddhƗ

Faith

Vibhnjti

Abundance

SurabhƯ

Fragrant

ParamƗtmikƗ

The Greatest

VƗcƗ

Speech

PadmƗlayƗ

She who rests on a Lotus

PƗrvatƯ

The Lady of the Mountains

BhƗshkarƯ

–

TƗrƗ

The star

SarƗsvatƯ

The Lady of the Waters

SvƗhƗ

Hail!

ĝucƯ

Purity

SuddhƗ

Nectar

Hiran-mayƯ

Golden

Aditi

Infinity

KamƗksƯ

The Eye of Love

Buddhi

Intelligence

KƗlƯ

The Dark One

AnaghƗ

Immaculate

AmrtƗ

Deathless

Anugraha-pradƗ

Gracious

DipƗ

Light

VasudhƗ

Earth

Loka-Ğoka-vinƗsinƯ

She who removes the sorrow of the World

Dharma-nilayƗ

The Abode of Righteousness

KarunƗ

Compassion

Loka-mƗtrƯ

Mother of the World

Padma-priyƗ

She who is fond of the lotus

Padma-hastƗ

She who has a lotus in her Hand

PrabhƗ

Radiance

IndirƗ

Beauty

SatyƗ

Truth

ĝivƗ

Gentle Lady

Tri-pura-sundarƯ

The Beauty of Three Cities

Samudra-tanayƗ

The Daughter of the Ocean

LaksmƯ

Goddess of Wealth

Hiranya-prakƗüa

Golden Light

. DƗridrya-dhvamĞinƯ .

She who destroys poverty

Ɩhlada-jananƯ

She who creates joy

DevƯ

The Goddess

Punya gandhƗ

Perfumes of Godesses

ViĞva jananƯ

Mother of the Universe

AnaghƗ

The Immaculate One

American Indian: Pté San Win

White Cow Buffalo Woman of the American Indians. Pté San Win is her earthly manifestation.

P ronunciation Guide Performers should consult Sanskrit and Arabic experts, but the following notes may be helpful: S anskrit a

as in son

Ɨ

as in car

e

as in May

i

as in if

Ư

as in sleep

o

as in hold

u

as in full

nj

as in scoop

c

as in church

d

as in hid

m.

nasalised preceding vowel

n

as in endure

r

“ri”, as in hurry

s

as in sip

Ğ

as in sheet

t

as in topic

American Indian: Pté San Win: long i, as in weep Arabic YƗ sayyidƗtna Maryam ‘alaykis salƗm!

O, our Lady Mary, may peace be upon you!

YƗ sayyidƗtna: ‘YƗ’ as in yarn, ‘say’ as in sigh, ‘dƗt’ as in Dutch

Maryam: ‘Mary’ as in Murray

‘alaykis salƗm: ‘lay’ as in ladle, ‘kisbsa’ (elide the syllables), ‘lƗm’ as in alarm.

This work was commissioned by festival religio musica nova, the Zürcher Kammerorchester and Saint Thomas’ Church, Fifth Avenue, New York. First performance on 8th December 2007 at Großmünster, Zürich, by the Rundfunkchor Berlin and Zürcher Kammerorchester conducted by Simon Halsey. USA premiere on 7th March 2008 at Saint Thomas’ Church, by The Saint Thomas Choir of Men and Boys and The Orchestra of St. Luke’s, conducted by John Scott.

SCORING Gallery: Solo soprano String quartet Bandir drum Main platform: 4 trumpets in C 3 tenor trombones Bass trombone Timpani Percussion (2 players): handbells pow-wow drum 3 Tibetan temple bowls very large tam-tam

(plus bandir drum in the gallery)

Organ Priest (tenor or baritone) Solo tenor 2 solo baritones may be taken from the choirs 4 solo basses Double choir: SATB SATB Strings

Duration: c.100 minutes Conductor’s score, vocal score and instrumental parts on hire.

Note:

, and denote microtones, the characteristic ‘breaks in the voice’ of Eastern chant.

dedicated to His Holiness Pope Benedict XVI eternal memory – Sheikh Abu Bakr

SOLLEMNITAS IN CONCEPTIONE IMMACULATA BEATAE MARIAE VIRGINIS

John Tavener

In the empty church, as the congregation arrives and before the Mass begins, four Basses* intone the sacred syllable ’OM‘ from the four corners of the building. The sound should come from on high. lunga

Solo Soprano

Violin I

1 G

0 0

Violin II

G

0

Viola

0

2 1 Trumpets 1-4 G in C

0 0

0

0 0 0

0 0

0 0

N

STRING QUARTET

Percussion

Cello

Trombones 1-3

2 1 Timpani 2 1 Handbells G

Bass Trombone

PERCUSSION

0

G

Pow-wow Drum 3 Tibetan Temple Bowls Very large Tam-tam

2N G

Organ

-

G i 1 Sopranos G CHOIRS I & II

Priest

Tenors

Basses

lunga

G

Altos

2

G i

0

0

0

0

eternal

WEST

1 Ă‘Ă‘Ă‘_ '

Ă‘Ă‘Ă‘_ '

Ă‘Ă‘Ă‘_ '

' 2 Ă‘Ă‘Ă‘_

SOLO BASSES

OM. (Mm.) eternal

EAST

OM. (Mm.) eternal

NORTH

OM. (Mm.) eternal

SOUTH

OM. (Mm.)

lunga

1 Violin I G

0

Violin II

G

0

Viola

0

0

0

Cello

Double Bass

2

* The Basses may be pre-recorded Š Copyright 2007 Chester Music Ltd

CH72039

RITUS INITIALES

2

INTROITUS The Priest and the Ministers go to the altar

A

Joyful and majestic (e = c.136)

molto f marcato, dance-like 1 5 ! 5 5 5 5 !5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 S. G 4 5 5 5 2

CHOIR I

A.

T.

Gau - dens gau - de - bo in molto f marcato, dance-like

Do - mi - no

Gau - dens gau - de - bo in molto f marcato, dance-like

Do - mi - no

et ex - sul -

ta - bit a - ni - ma

me-a in De - o

me - o:

qui - a in - du - it

ves - ti

-

men - tis sa-

G 4 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 : 5 5 5 5 5 5 5 5 5 5 5: 5 5

et ex - sul -

ta - bit a - ni - ma

me-a in De - o

me - o:

qui - a in - du - it

me

ves - ti

5 55

-

men - tis sa-

5 5 5 5 5 5: 5 5 5 55 !55 55 55 55 55 55 55 55 5 5 5 5 5 : 5 5 5 5 55!55 55 55 55 55 55 :: 55 55 5 5 5 5 G 4 ! 5 5 i Gau - dens gau - de - bo in Do - mi - no et ex - sul - ta - bit a - ni - ma me-a in De - o me - o: qui - a in - du - it me ves - ti - men - tis samolto f marcato, dance-like

B.

me

4 5 5 5 55 5 5 5 55 5 : 5 5 55 5 5 5 5 5 5 5 5 5 5 5 : 5 5 2 Gau - dens gau - de - bo in

1 5 = Ă‘Ă‘Ă‘_ (Mm.) = 5 Ă‘Ă‘Ă‘_ (Mm.) Solo B. = 5 Ă‘Ă‘Ă‘_ (Mm.) = 5 2 Ă‘Ă‘Ă‘_

Do - mi - no

et ex - sul -

ta - bit a - ni - ma

me-a in De - o

me - o:

5 5 5 5 5 : 5 5 55 55 55

qui - a in - du - it

me

ves - ti

-

men - tis sa-

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

(Mm.)

A

Vln. I

Joyful and majestic (e = c.136)

1 5 ! 5 5 5 5 !5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 G 4 f

Vln. II

G 4 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 : 5 5 5 5 5 5 5 5 5 5 5: 5 5

5 55

f

Vla.

:

4 5 ! 5 5 55 5 !5 5 55 5 :: 5 5 55 55 !55 55 55 55 55 55 55 55 5 5 5 5 5 : 5 5 5 5 55!55 55 55 55 55 55 : 55 55 55 55 55 f

Vlc.

4 5 B :

B:

5:

5 B:

B:

5: 5 B:

5: 5

5:

f

D.B.

2

0

0

0

0

0

0

0

0

0

0

rit.

PiĂš

12

1 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 !5 5 5 5 !5 5 !5 5 5 5 5 5 5 !5 5 5 5: S. G 5 - lu

A.

-

tis

et in - du - men - to ius - ti - ti - ae

cir - cum - de - dit me,

qua

G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

- lu

-

tis

et in - du - men - to ius - ti - ti - ae

cir - cum - de - dit me,

qua

-

si spon- sam or - na - tam mo - ni - li - bus

su

-

is.

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: -

si spon- sam or - na - tam mo - ni - li - bus

su

-

-

tis

et in - du - men - to ius - ti - ti - ae

cir - cum - de - dit me,

qua

-

si spon- sam or - na - tam mo - ni - li - bus

su

-

5:RRRRRRRRRK : 5RRRRRRRRRK

is.

rit.

PiĂš

RRRRRRRRRK 5:

is.

5 5 5 5 5 5 5 5 5 5 5 5 ! 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: T. G i - lu - tis et in - du - men - to ius - ti - ti - ae cir - cum - de - dit me, qua si spon- sam or - na - tam mo - ni - li - bus su is. 5 : 5 5 5 5 5 5 5 5 5 5 5 5 55 55 5 5 5 5 55 5 5 5 : 5 5 5 5 55 :5 5 55 5 : B. 2 - lu

RRRRRRRRRK 5:

1 5 5 B: Vln. I G 5

5:

5 5 5 5 5 5 5 !5 5 5 5 !5 5 !5 5 5 5 5 5 5 !5 5 5 5:

RRRRRRRRRK 5:

G 5 5 5 B:

5:

5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5:

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5 5 5 B :

5:

5 ! 5 5 55 55 5 5 !5 5 55 55 !5 5 5 5 5 5 5 55 5 !5 5 5 5 :

RRRRRRRRRK 5:

5 :

B:

Vln. II

Vla.

Vlc.

D.B.

2

5 B: 0

0

B: 0

B: 0

B: 0

B: 0

: 5RRRRRRRRRK

B: 0

0

3

B

Pi첫 mosso q = c.80

E BB 1 1 B Tbn. 2

BB :: B:

E' ' E '

! BB :: ! B :

B 2

B:

'

B:

20

3

B.Tbn.

mp

mp

poco f marc.

CHOIR II

T.

1 E55 G i Ex

I55

55

55

55

- al - ta - bo

te,

poco f marc.

B.

!55 2

I5 5

5 5

5 5

5 5

Ex - al - ta - bo

te,

E55

55

!5 5

BB

Do - mi - ne,

E55

5 5

BB B

B 55

55

55

quo - ni - am

! 55

B B

Do - mi - ne,

5 5

5 5

5 5

quo - ni - am

-

: ! BBB ::

' E' '

B:

B

B:

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! 55

sti

me:

55

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me:

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5 5

su - sce

BB B

BB

55

su - sce

B : EBB ::

-

pi

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nec

55 nec

55

E55

55

de - lec

55

-

55

tas - ti

5 5

55

de - lec

-

55

55

i - ni -

5 5

tas - ti

5 5

5 5

i - ni -

:: 26 !' ! ' : ' 1 1 Tbn. 2 3

E' ' '

:: E' ' ' :

E' ' E '

: !' 2

'

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me.

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B

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B: B:

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et

Fi - li - o,

et

to.

Si - cut

5 5 5 5 5 5 5 5 5 5 5 5

E5 5 B 5 5 B

! 55

EBB

55 55

Fi - li - o,

et

to.

Si - cut

! ! BBB

E BB ::: B

BB B

BB :: B:

BB B

B

: B

B

B:

B

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55

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A -

men.

55

BB

A -

men.

Glo - ri - a

Pa - tri,

Glo - ri - a

Pa - tri,

et

Spi - ri - tu - i

Sanc

5 5 5 5 5 5 5 5 Spi - ri - tu - i

-

EB : B: Sanc

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1 Tbn. 2 3

33 1 ' ' '

B.Tbn.

2 '

T.

1 5 G 5 i e

B.

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55

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in

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55

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prin

5 2 5

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55 55

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nunc,

et

55

55

nunc,

et

55

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sem - per,

55

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sem - per,

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55

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55

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55

sae - cu

lo - rum.

5 5 -

55 55

lo - rum.

4

C

Joyful and majestic (e = c.136)

E 5RRRRRRRRRK 1 55 =

0

0

0

0

0

0

0

0

0

RRRRRRRRRK 5 = B.Tbn. 2

0

0

0

0

0

0

0

0

0

38

1 Tbn. 2 3

molto f marcato, dance-like 1 5 ! 5 5 5 5 !5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 4 S. G

CHOIR I

A.

T.

B.

Gau - dens gau - de - bo in Do - mi - no molto f marcato, dance-like

et ex - sul - ta - bit a - ni - ma

Gau - dens gau - de - bo in Do - mi - no molto f marcato, dance-like

et ex - sul - ta - bit a - ni - ma

Do - mi - no

et ex - sul - ta - bit a - ni - ma

CHOIR II

B.

5 5 5 5 G 4 ! 5 5 i Gau - dens gau - de - bo in molto f marcato, dance-like

4 5 5 5 55 5 5 2 1 E 55RRRRRRRRRK= G i RRRRRRRRRK 55 = 2 C

Vln. I

me - o:

qui - a in - du - it

me ves - ti

-

G 4 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 : 5 5 5 5 5 5 5 5 5 5 5: 5 5

Gau - dens gau - de - bo in

T.

me-a in De - o

me-a in De - o

me - o:

qui - a in - du - it

me ves - ti

-

men - tis sa-

5 55 men - tis sa-

5 5 5 5 5 5 5 5: 5 5 5: 5 5 5 55 !5 55 5 55 5 55 5 55 5 5 5 5 5 : 5 5 5 5 55!5 55 5 55 5 5 : 55 55 5 5 5 me-a in De - o

me - o:

qui - a in - du - it

5 55 5 : 5 5 55 5 5 5 5 5 5 5 5 5 5 5 : 5 5 Do - mi - no

et ex - sul - ta - bit a - ni - ma

me-a in De - o

me - o:

me ves - ti

-

men - tis sa-

5 5 5 5 5 : 5 5 55 55 55

qui - a in - du - it

me ves - ti

-

men - tis sa-

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

Joyful and majestic (e = c.136)

1 ! 5 5 5 5 !5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 G 4 5 f

Vln. II

G 4 5 5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 : 5 5 5 5 5 5 5 5 5 5 5: 5 5

5 55

f

Vla.

:

4 5 ! 5 5 55 5 !5 5 55 5 :: 5 5 55 55 !55 55 55 55 55 55 55 55 5 5 5 5 5 : 5 5 5 5 55!55 55 55 55 55 55 : 55 55 55 55 55 f

Vlc.

4 5 B :

B:

5:

5 B:

B:

5: 5 B:

5: 5

5:

f

D.B.

2

0

0

0

0

0

0

0

0

0

0

rit.

PiĂš

48

1 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 !5 5 5 5 !5 5 !5 5 5 5 5 5 5 !5 5 5 5: S. G 5 - lu

-

tis

et in - du- men - to ius - ti - ti - ae

cir - cum - de - dit me, qua

-

si spon- sam or - na - tam mo - ni - li - bus

su

-

molto

RRRRRRRRRK 5:

is. molto

A.

G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

- lu

-

tis

et in - du- men - to ius - ti - ti - ae

cir - cum - de - dit me, qua

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: -

si spon- sam or - na - tam mo - ni - li - bus

su

-

RRRRRRRRRK 5:

is. molto

T.

B.

RRRRRRRRRK 5 5 5 5 5 5 5 5 5 5 5 5 ! 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: 5: G i - lu - tis et in - du- men - to ius - ti - ti - ae cir - cum - de - dit me, qua si spon- sam or - na - tam mo - ni - li - bus su is. molto RRRRRRRRRK

: : : 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 :5 5 5 5 5 : 5 2 - lu

-

tis

et in - du- men - to ius - ti - ti - ae

-

si spon- sam or - na - tam mo - ni - li - bus

G 5 5 5 B:

su

-

is.

rit.

PiĂš

1 5 5 B: Vln. I G 5 Vln. II

cir - cum - de - dit me, qua

5:

5 5 5 5 5 5 5 !5 5 5 5 !5 5 !5 5 5 5 5 5 5 !5 5 5 5:

5:

5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5:

RRRRRRRRRK 5: RRRRRRRRRK 5:

molto

molto

Vla.

5 5 5 B :

5:

5 :

B:

5 ! 5 5 55 55 5 5 !5 5 55 55 !5 5 5 5 5 5 5 55 5 !5 5 5 5 :

RRRRRRRRRK 5: molto

Vlc.

5 B:

B:

B:

B:

B:

5 :RRRRRRRRRK

B:

molto

D.B.

2

0

0

0

0

0

0

0

0

5

56

H.Bells

P.W.D. T.Bowls Ttam

Priest

S.

D

1 G

Radiant – con molto intensità q = c.60

0

0

5 Ă‘Ă‘Ă‘^ Ă‘Ă‘Ă‘_

p marc.

Ă‘Ă‘Ă‘^ 5Ă‘Ă‘Ă‘_ N 2

0

p marc.

G i

0

1 G

0

0

enter ad lib. after bell has sounded

5 5

5

5 5

In nomine Patris, et Filii, et Spiritus

Sanc - ti.

5

0

0

0

0

5 5 5 5 5 5 5 Do - mi - nus vo - bis - cum.

5 B

0

CHOIRS I, II & PEOPLE

A - men.

A.

G

0

0

0

0

5 B

0

B.

G i

0

2

0

D

1 Vln. I 2G

0

0

0

5 B A - men.

0

0

Radiant – con molto intensità q = c.60

B

B

B

B

0

5 B A - men.

o.

-

o.

5 5 5 5 5 5 5 5 Et cum spi- ri - tu tu

0

-

5 5 5 5 5 5 5 5 Et cum spi- ri - tu tu

0

5 5 5 5 5 5 5 5 Et cum spi- ri - tu tu

A - men.

T.

0

-

o.

5 5 5 5 5 5 5 5 Et cum spi- ri - tu tu

-

still 'Ă‘Ă‘Ă‘^

o.

Ă‘Ă‘Ă‘^

pp con molto intensitĂ

ACTUS PÆNITENTIALIS

59

H.Bells

P.W.D. T.Bowls Ttam

Priest

1 G

0

^ 1 B Vln. I 2G

5 Ă‘Ă‘Ă‘^ Ă‘Ă‘Ă‘_ p marc.

Ă‘Ă‘Ă‘^ 2 N 5Ă‘Ă‘Ă‘_ 4 p marc. G i

0 ?

0

0

0

5 Fratres, agnoscamus peccata nostra, ut apti simus ad sacra mysteria

B

pp con molto intensitĂ

B

B

'Ă‘Ă‘Ă‘^

5

5

5

5

ce - le - bran - da.

Ă‘Ă‘Ă‘^

6

E

q = c.56

62

1 G

0

0

0

0

P.W.D. T.Bowls Ttam

2N

0

0

0

0

CHOIR I & PEOPLE

H.Bells

S. A.

f 1 poco G = 5 5 5 5 5 5 5 5 5 5 Con - fi - te - or

T. B.

De - o

5 5 5 5 5 5

om - ni - po - ten - ti,

5 5 5 5 5 5 5 5 5 5 = 2

et

vo - bis,

5

5 5 5 5 5 5 5 5

fra - tres,

qui - a pec - ca

-

vi

5

5 5 5 5 5 5 5

ni - mis

5

co - gi - ta - ti - o - ne, ver - bo,

5 5 5 5 5 5

5

5 5 5 5 5 5 5 5

5

5 5 5 5 5 5 5

5

5

5

5

5

5

5

5

5

5

a.

Ie

a.

Ie

a.

Ie

5

5

5

5

5

5

a.

Ie

a.

Ie

a.

Ie

5

5

5

5

5

5

a.

Ie

a.

Ie

a.

Ie

5 5

5 5

5 5

5 5

5 5

5 5

a.

Ie

a.

Ie

a.

Ie

poco f

hushed, invocatory

1 5p molto legato 5 S. G

5

5

Ie - su Ma hushed, invocatory p molto legato

CHOIR II

A.

T.

B.

G 5

5

-

- su Ma hushed, invocatory p molto legato

-

Ie

-

5

5 2 5

5 5

5 5

su

Ma

-

-

5

Ie - su Ma hushed, invocatory p molto legato

-

ri

5

G 5 i Ie

E

-

ri

5

-

-

5 ri

-

-

5 5 ri

-

-

q = c.56

^ 1 ' Vln. I 2G

5 -

5

su

Ma - ri

5 -

5

su

-

5

su

5 5

su

-

5 5

Ma - ri

B:

-

5

Ma - ri

5 5 -

5

Ma - ri

5

-

-

5 -

5

su

Ma - ri

5 -

5

su

-

5

su

5 5

su

-

5 5

Ma - ri

B:

B

-

5

Ma - ri

5 5 -

5

Ma - ri

5

-

-

5 -

5

su

Ma - ri -

5 -

5

su

Ma - ri -

5 -

5

su

5 5

su

5 5

Ma - ri -

B:

B

5

Ma - ri -

5 5 -

5

B

66

1 H.Bells G

0

0

0

0

2N

0

0

0

0

P.W.D. T.Bowls Ttam

S. A.

1 5 5 5 G o - pe - re

et

5 5 5

5 5 5 5 5 5 5 5 5 5 5

T. B.

2

S.

1 5 G - a.

A.

G 5 - a.

T.

B.

5 5 5 5 5 5 5 5 5 5 5

G 5 i - a. 5 2 5 - a.

: 1 B Vln. I 2G

o

-

mis - si

5

5

Ie - su

Ma

5

5

5

Ie - su

Ma

5

5

5

Ie - su

Ma

5 5 5

5 5

55

Ie - su

Ma

'

-

o

-

5 -

ri

-

5 -

ri

-

5 -

ri

-

5 5 -

ri

-

-

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

ne:

5

5

a.

Ie

5

5

a.

Ie

5

5

a.

Ie

5 5

5 5

a.

Ie

me - a

cul - pa, me - a

cul

-

pa,

me - a

5 5 5 5 5 5

ma - xi - ma cul

-

-

-

-

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5

5

5

5

5

5

su

Ma

ri -

a.

Ie

5

5

5

5

5

su

Ma

ri -

a.

Ie

5

5

5

5

5

su

Ma

ri -

a.

Ie

5 5

5 5

5 5

5 5

5 5

su

Ma

ri -

a.

Ie

-

-

-

-

B:

5 -

ri

-

5 -

ri

-

5 -

ri

-

5 5 -

ri

-

5

5

a.

Ie

5

5

a.

Ie

5

5

a.

Ie

5 5

5 5

a.

Ie

B

5

5

su

Ma

5

5

su

Ma

5

5

su

Ma

5 5

5 5

su

Ma

-

-

-

-

':

-

-

-

-

5 -

su

5 -

su

5 -

su

5 5 -

su

7 70

1 H.Bells G P.W.D. T.Bowls Ttam

S. A.

2N 1 5 G

5

2

S.

1 5 G

I - de - o

B.

pre

5

G 5

-

5

Ma - ri

T.

0

0

0

0

0

-

cor be - a

-

tam

Ma

-

ri

-

-

am

G 5 i Ma

- ri

5 2 5

5 5

-

5

Ma - ri

-

-

5

5

a.

Ie

5

5

a.

Ie

5

5

a.

Ie

5 5

5 5

a.

Ie

-

-

-

-

5

5

su

Ma

5

5

su

Ma

5

5

su

Ma

5 5

5 5

su

Ma

-

sem - per

-

-

-

: 1 ' Vln. I 2G

Vir

et

Sanc

-

tos,

5

a.

Ie

5

5

a.

Ie

5

5

a.

Ie

5 5

5 5

a.

Ie

5

-

a.

Ie - su

Ma

5

5

5

5

5

-

a.

Ie - su

Ma

5

5

5

5

5

-

a.

Ie - su

Ma

5 5

5 5

5 5

5 5

5 5

-

a.

Ie - su

Ma

om - nes An - ge - los

5

5

ri -

nem,

5

ri -

gi -

5 5 5 5 5 5 5 5 5 5 5 5

5

ri -

-

5 -

ri

-

5 -

ri

-

5 -

ri

-

5 5 -

ri

-

B:

'

-

-

-

-

5

5

5

su

Ma

5

5

su

Ma

5

5

su

Ma

5 5

5 5

su

Ma

-

ri

-

5 -

ri

-

5 -

ri

-

5 5 -

ri

-

5

5

a.

Ie -

5

5

a.

Ie -

5

5

a.

Ie -

5 5

5 5

a.

Ie -

':

73

1 H.Bells G

0

0

0

0

2N

0

0

0

0

1 5 5 5 5 G

5

S. A.

et

vos,

fra

5 5 5 -

tres,

5

5 o

5

5

5

re

pro

me

ad

5

5

5

5

5

5

5

su

Ma

5

5

su

Ma

5

5

su

Ma

5 5

5 5

su

Ma

-

ra

T. B.

5 5 5 5 2

5

5 5 5

S.

1 5 G

5

5

5

5

- su

Ma

a.

Ie

G 5

5

5

5

- su

Ma

a.

Ie

G 5 i - su

5

5

5

Ma

a.

Ie

5 2 5

5 5

5 5

5 5

- su

Ma

a.

Ie

A.

T.

B.

1 ' Vln. I 2G

-

ri

-

5 -

ri

-

5 -

ri

-

5 5 -

ri

-

5

5

B:

-

-

-

-

-

5 5 5 5 Do - mi - num De

5 5 5 5

5 -

ri

-

5 -

ri

-

5 -

ri

-

5 5 -

ri

':

-

5 5 5 -

5

um

nos

5 5 5

5

5

5

a.

Ie

5

5

a.

Ie

5

5

a.

Ie

5 5

5 5

a.

Ie

-

-

-

-

P.W.D. T.Bowls Ttam

5 5 5 5 5 5 5

5 ri -

5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

Ma - ri

A.

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

- pa.

T. B.

0

5

5

-

B

5 -

-

-

-

5

5

B

5

5

5

5

su

Ma

5

5

su

Ma

5

5

su

Ma

5 5

5 5

su

Ma

5

-

ri

-

-

ri

-

ri

-

5 5 -

ri

a.

5

5 -

a.

5

5

a.

55 -

a.

B

'

-

trum.

B

5

B

Ie -

su . . .

5

B

Ie -

su . . .

5

B

Ie -

su . . .

5 5

B B

Ie -

su . . .

8 77

1 H.Bells G P.W.D. T.Bowls Ttam

2N

G 5 5 5 i Mi - se - re Ă‘Ă‘Ă‘^ ' 1 Vln. I 2G

5

5

- a

- tur

Priest

5

5

5

nos - tri

5

5

5

5

5

om - ni - po - tens

De

5 -

5

5

us,

et,

5

5

di - mis - sis

5

5

5

5

-

tis

pec - ca

5

5

nos

5 -

tris,

Ă‘Ă‘Ă‘^

H.Bells

P.W.D. T.Bowls Ttam

1 G

0

2N

G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 B i per - du - cat nos ad vi - tam ae - ter nam.

Priest

S.

0

1 G

0

0

0

Ă‘Ă‘Ă‘^ 5Ă‘Ă‘Ă‘_

p marc.

0

5

B

0

Ă‘Ă‘Ă‘^ 5Ă‘Ă‘Ă‘_

0

p marc.

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

CHOIRS I, II & PEOPLE

A - men.

5

0

G

A.

B

A - men.

T.

B.

2

G i

0

0

5

B

A - men.

5

B

A - men. radiant – con molto intensitĂ

Ă‘Ă‘Ă‘^ 'Ă‘Ă‘Ă‘^ 1 Vln. I 2G

Ă‘Ă‘Ă‘^B :

B

B

B

'

B

RRRRRRRRRK

pp

F 82

Solo S.

Radiant, ecstatic q = c.56 f

G 5 Ur

-

1 : Vln. I G B

molto

5

5

E 5

weib

und

All

EB

-

5

E5

5

weib

ist

die

B

STRING QUARTET

Vln. II

B

Vla.

mf

P.W.D. T.Bowls Ttam

1 Ă‘Ă‘Ă‘^ 5Ă‘Ă‘Ă‘_ N 2 poco f

-

-

-

5

!B :

’ge

Jung

EB

-

-

-

-

RRRRRRRRRK

frau;

B

RRRRRRRRRK RRRRRRRRRK

B :

molto

B:

B

RRRRRRRRRK

molto

B :

B

B

B:

B :

B

molto

molto

B

B

!B :

molto

mf

B: Vlc. 2

Heil

B:

B

mf

B:

! B

molto

mf

G B:

molto

B:

molto

B

RRRRRRRRRK

molto

0

0

9

KYRIE G With great intensity q = c.60 P.W.D. T.Bowls Ttam

p

1 S. G

0

!B

molto

p

G

CHOIR I

0

T.

0

B.

2 E'

CHOIR II

Ky

-

p

-

molto

p

p

-

molto

molto

molto

!B

molto

-

-

molto

p

-

molto

B ri

molto

B

-

p

ri

-

p

molto

B

B -

p

ri

-

p

0

!B

EB

molto

molto

-

p

molto

EB -

0

ri

-

0

f

p

'

B

e

e

f

p

!'

B

e

e

f

p

E'

EB

e

e

f

p

E'

E'

e

e

0

0

molto

0

p

molto

-

molto

p

molto

-

molto

p

molto

B -

p

p

-

i

molto

le

p

molto

le

p

-

-

le

0

p

i

molto

p

-

i

molto

p

-

molto

-

molto

molto

i

son,

Ky

f

0

-

-

-

-

-

-

p

5 5 E 5 5 !5 5 5 !5 E 5 5

son,

Ky

f

-

-

-

p

E'

E5 B :

son,

Ky

f

p

-

-

Ky

0

-

-

-

-

-

-

-

-

-

0

-

5 5 !5

!5 EB

-

-

5 5 5 5

B

5 5 B E5

son,

0

0

5 5 5 E5 ! 5 5 5 5 5 ! 5

E' -

p

!'

B -

f

'

B

B -

molto

B

B -

molto

le

p

EB

EB

B -

molto

B

B -

p

0

-

0

OM.

With great intensity q = c.60

1 G

0

!B p

G

0

0

0

EB p

p

molto

molto

p

molto

B molto

p

p

molto

p

molto

p

B molto

p

p

molto

B molto

B

!B molto

p

!B

EB

B

EB p

molto

Moving forwards

!B

EB

B p

Vla.

p

p

!B

B

Ky

1 2 E'

G

Vln. II

molto

EB

molto sonore molto f:p

Vln. I

p

B

EB

OM.

B.

molto

Ky

molto sonore molto f:p

molto

-

B

p

G i

p

0

EB

Ky

A.

Moving forwards

85

5 1 Ă‘Ă‘Ă‘^ Ă‘Ă‘Ă‘_ N Ă‘Ă‘Ă‘^ 2 5 Ă‘Ă‘Ă‘_ mp marc. mp molto sonore

p

molto

B molto

p

molto

EB molto

p

molto

'

B

f

p

!'

B

f

p

E'

EB

f

p

E'

E'

f

p

B

B molto

p

molto

p

molto

B molto

p

molto

EB

B molto

p

p

p

molto

p

molto

p

molto

p

molto

molto

p

B molto

p

5 5 E 5 5 !5 5 5 !5 E 5 5 p

E5 B:

f

E' molto

p

f

E' molto

5 5 5 E5 ! 5 5 5 5 5 ! 5

f

!'

B

B molto

p

B

B molto

'

EB

B

5 5 5 5

p

5 5 B E5

f

!5 EB

p

Vlc.

molto sonore E'

'

'

fp

molto sonore D.B. 2 E'

fp

'

'

'

'

f

p

'

'

f

p

'

'

f

'

' f

':

'

p

': p

'

5 5 !5

10 94

Org.

Flutes, fifteenths, twelfths

G

0

0

0

0

0

0

0

0

molto f

poco f

1 5 5 5 5 S. G -

-

ri

-

e

e

G B :

CHOIR I

A.

5 -

-

molto f

G i

T.

B:

2

-

BB ::

ri

-

ri

-

ri

1 5 5 5 5 G

e

-

-

e

-

-

-

-

-

-

-

-

-

-

i

-

-

-

-

i

molto f

!'

'

5

5 5 5 5 5 5 5 E5 ' :

'

-

-

-

-

-

5 EB -

-

-

-

i

-

i

'

molto f

son, molto f

-

son,

: 5 E 5 !5 5 5 5 ! 5 E5 5 ! '

'

5 5 ! 5 E5 B

5 E' :

'

5 5 E' :

'

B

molto f

5 55 EB

! 5 EB

molto f

E'

poco f

!'

-

molto f

'

molto f

son,

'

-

B

poco f

-

'

5 5 E' :

-

-

' '

'

son,

molto f

poco f

' '

-

'

molto f

'

'

B

0

'

5 55 EB

le

!B

5 E' :

-

B B

-

-

5 5 ! 5 E5 B

poco f

'

2

-

'

'

5

: 5 E 5 !5 5 5 5 ! 5 E5 5 ! '

5 5 5 5

'

molto f

D.B.

le

e

molto f

Vlc.

e poco f

e

-

poco f

G '

Vla.

le

B

B B

molto f

Vln. II

-

B

' !'

mf

5

5 5 5 5 5 5 5 E5 ' :

-

B

e

molto f

poco f

'

5 5

-

Vln. I

le

B

'

5

molto f

B.

-

poco f

molto f

0

5 4 E 5 !5 5 !5 : ! 5 4 E5 ?

molto f

5 5 5 5

'

0

5

!5 5

'

E'

B:

B

':

molto f

B:

B

poco f

':

' '

molto f

101 (q = c.60)

1 S. G

0

p

B Ky

0

G

A.

p

p

G i

T.

p

B.

2

0 (q = c.60)

0

Vln. II

0

G

Vla.

0

0

E ' D.B.

2 E '

'

p

molto

p

p

-

-

molto

p

-

molto

p

-

p

molto

p

p

p

-

p

molto

p

molto

p

p

-

molto

p

' '

p

molto

ri p

molto

ri p

-

molto

EB -

ri

-

!B molto

p

molto

B molto

p

molto

B molto

B molto

ri

B

B

p

'

molto

EB

B molto

-

molto

B

B

B molto

p

molto

B

B molto

-

p

!B

B

EB molto

molto

EB

B

EB p

Vlc.

-

molto

EB p

-

p

B

B

B p

molto

B p

molto

B

EB Ky

1 Vln. I G

molto

EB Ky

p

EB

B Ky

0

molto

p

p

p

'

B

e

e

f

p

!'

B

e

e

f

molto

molto

p

E'

EB

e

e

f

p

E'

E'

e

e

'

B

f

p

!'

B

f

p

E'

EB molto

f

f

molto

E'

E'

f

p

'

'

f

p

'

'

f

p

molto

molto

p

molto

-

p

molto

B -

molto

p

molto

le p

le p

molto

-

le p

molto

-

-

-

molto

p

molto

p

molto

B molto

p

-

p

molto

p

molto

p

molto

p

'

i p

-

molto

i

p

p

molto

p

p

f

molto

RRRRRRRRRK

f

RRRRRRRRRK

f

RRRRRRRRRK RRRRRRRRRK

f

RRRRRRRRRK

E' molto

f

RRRRRRRRRK

E' molto

son.

!' molto

son.

f

RRRRRRRRRK

' f

'

RRRRRRRRRK

son.

'

B molto

f

E' -

son.

E'

B

B molto

p

molto

B

B molto

i

RRRRRRRRRK

!'

EB

EB

B molto

p

p

molto

B

B

B molto

le

i

f

'

B

B -

molto

B

B molto

p

EB

EB

B molto

p

B

B

EB p

p

' f

RRRRRRRRRK

11

H

Solemn, radiant q = c.96

108

E'

'

5 5 B

EB :

E'

'

5 E5 B

B:

'

E'

5

'

'

5 E5 B

B:

'

'

5 5 EB

B:

E'

'

5

'

E'

5 5 EB

B:

'

!'

5 5 B

B:

'

'

5

': 2

'

'

5 ':

'

'

5 !' :

'

'

5

1 Ă‘Ă‘Ă‘^ 2 N 5Ă‘Ă‘Ă‘_

1 5 EB G Tpt.

B:

f

G ': f

EB :

E5 B Tbn.

f 2. 3. (alternate ad lib.)

f

P.W.D. T.Bowls Ttam

molto f

CHOIR II

T.

B.

0

0

0

0

0

0

0

f

1 5 EB S. G A.

0

Chri molto f

-

Chri molto f

-

G ' :

B G E5 i Chri molto f

': 2 Chri

E'

B: -

-

' -

-

' -

-

EB : -

-

-

-

-

-

-

ste

-

e - le

ste

-

-

e - le

-

e - le

B:

-

-

-

B -

B -

-

B: -

Chri

-

-

Chri

-

-

' -

-

-

-

5

ste

' -

5

ste

' -

5

ste

' -

-

5 !' :

son,

-

'

B: -

-

E'

-

5 5 B Chri

-

B: -

E'

'

-

5 5 EB

son,

'

i

Chri

son,

!'

i

5 E5 B

son,

'

i

B -

-

B -

-

'

i

B -

-

-

-

B: -

B

B -

5 5 B

ste

-

B:

5 5 EB

' -

-

5 E5 B

E'

' -

e - le

'

'

-

ste

EB

EB :

5 5 B

5

ste

117 1 5 EB G

EB :

!'

'

5 5 EB

G 5 B

!B :

'

E'

5 ':

5 B

B:

E'

'

5 E5 B

5 !B 2

B:

'

'

5 ':

1 5 EB G

EB :

!B

'

5 5 EB

B:

E'

'

5 5 EB

B:

E'

'

5

'

'

5 5 B

B:

'

'

5

'

E'

5 E5 B

EB :

'

E'

5

'

'

5 ':

'

'

5

E'

'

5 5 EB

'

5

Tpt.

Tbn.

S.

e - le

A.

G 5 B e - le

T.

B.

-

-

B:

5 !B 2

B:

-

-

-

B

!B :

B G 5 i e - le

e - le

-

-

-

EB -

-

B -

-

B i

-

E'

B i

-

-

B i

son,

'

B i

son,

son,

' -

son,

Chri

EB :

B: -

-

5 ': Chri

-

-

EB : -

-

5 ': Chri

-

-

'

5 E5 B Chri

-

-

' -

-

' -

-

-

ste

E' -

-

' -

ste

ste

' -

-

ste

e - le

5 5 B e - le

5 E5 B e - le

5 5 B e - le

EB

B: -

-

B

B: -

-

EB : -

-

B -

B: -

-

-

B -

-

B i

-

'

B i

-

-

B i

5

son.

' -

5

son.

E'

B i

son.

son.

5

12

I

With great intensity q = c.60

Moving forwards

126

P.W.D. T.Bowls Ttam

1 Ă‘Ă‘Ă‘^ 2 N Ă‘Ă‘Ă‘^ 5 Ă‘Ă‘Ă‘_

5Ă‘Ă‘Ă‘_ mp molto sonore mp marc.

p

1 S. G

0

!B

molto

0

CHOIR I

A.

G

T.

G i

0

2 E'

CHOIR II

Ky

-

p

1 2 E'

p

ri

molto

EB molto

ri

molto

B molto

!B -

molto

p

molto

EB -

0

p

ri

molto

B

-

molto

B -

p

p

-

B -

p

molto

!B -

p

p

ri

-

0

f

p

'

B

e

e

f

p

!'

B

e

e

f

p

E'

EB

e

e

f

p

E'

E'

e

e

0

0

molto

0

p

molto

-

molto

p

molto

-

molto

p

molto

B -

p

p

-

i

molto

le

p

molto

le

p

-

-

le

0

p

i

molto

p

-

i

molto

p

-

molto

molto

molto

i

son,

Ky

f

0

-

-

-

-

-

-

p

5 5 E 5 5 !5 5 5 !5 E 5 5

son,

Ky

f

-

-

-

p

E'

E5 B :

son,

Ky

f

p

-

-

Ky

0

-

-

-

-

-

-

-

-

-

0

-

5 5 !5

!5 EB

-

-

5 5 5 5

B

5 5 B E5

son,

0

0

5 5 5 5 E5 ! 5 5 5 5 5

E' -

p

!'

B -

f

'

B

B -

molto

B

B -

molto

le

p

EB

EB

B -

molto

B

B -

p

0

With great intensity q = c.60

1 Vln. I G

0

!B p

G

0

0

0

molto

EB p

p

molto

molto

p

molto

B molto

p

p

molto

p

molto

p

B molto

p

p

molto

B molto

B

!B molto

p

!B

EB

B

EB p

!B

EB

B p

Vla.

molto

molto

molto

0

-

0

OM.

I

Vln. II

p

-

B

Ky

molto sonore molto f:p

B.

molto

EB

EB

OM.

p

B

Ky

molto sonore molto f:p

B.

molto

p

!B

-

B

p

molto

EB

Ky

p

p

0

p

molto

B molto

p

molto

EB molto

p

molto

'

B

f

p

!'

B

f

p

E'

EB

f

p

E'

E'

f

p

B

B molto

p

molto

p

molto

B molto

p

p

molto

p

molto

p

molto

p

molto

p

molto

molto

p

B molto

p

5 5 E 5 5 !5 5 5 !5 E 5 5 p

E5 B:

f

E' molto

p

f

E' molto

5 5 5 5 E5 ! 5 5 5 5 5

f

!'

B

B molto

p

B

B molto

'

EB

EB

B molto

p

Moving forwards

B

5 5 5 5

p

5 5 B E5

f

!5 EB

p

Vlc.

molto sonore E'

'

'

fp

molto sonore D.B. 2 E'

fp

'

'

'

'

f

p

'

'

f

p

'

'

f

'

' f

':

'

p

': p

'

5 5 !5

13

135

0

!5 5 5 5

0

Flutes, fifteenths, twelfths

0

G

0

0

0

0

Org.

mf

0

0

molto f

poco f

1 5 5 5 5 S. G -

-

ri

' -

e

G B :

5 -

-

molto f

G i

T.

B:

-

2

-

BB ::

-

Vln. I

ri

' -

5

molto f

B.

ri

-

ri

e

' -

5 5

1 5 5 5 5 G

G '

'

-

e

le

-

B

B B

e

e

'

-

-

poco f

-

5 -

5

5 5 5 5 5 -

-

-

-

-

5 -

le

-

B le

-

-

-

-

-

-

-

-

5 5 5 5

' poco f

'

'

B -

-

-

molto f

' '

-

i

son,

-

'

son,

5 E' :

i

'

-

'

son,

molto f

'

5

5 5 5 5 5 5 5 E5 ' :

'

-

-

! 5 EB -

-

-

-

-

i

-

son,

molto f

: 5 E 5 !5 5 5 5 ! 5 E5 5 ! '

'

5 5 ! 5 E5 B

5 E' :

'

5 5 E' :

'

molto f

B

poco f

'

i

molto f

5 55 EB

! 5 EB

poco f

molto f

Vlc.

'

!'

molto f

D.B.

2

'

molto f

'

E'

B:

B

poco f

!'

' poco f

':

'

molto f

E'

B:

B

':

molto f

B

0

5 5 E' :

5 5 5 EB -

-

-

poco f

'

' E5 :

molto f

5 5 ! 5 E5 B

B B le

-

molto f

: 5 E 5 !5 5 5 5 ! 5 E5 5 ! '

-

!B

5

: ! 5 4 E5 ?

molto f

B

poco f

' !'

molto f

' '

-

B

e

molto f

Vla.

e

e

molto f

Vln. II

5 5 5 5

poco f

molto f

A.

0

!5

5 4 E 5 !5

'

14 142

1 S. G

p

(q = c.60)

molto

B

0

0

G

molto

B

CHOIR I

A.

0

G i

T.

B.

2

molto

Ky

0

molto

B

0

p

Vln. II

0

G

Vla.

0

0

molto

p

-

p

p

molto

p

p

p

-

ri

molto

p

p

-

ri

molto

-

p

p

-

ri

p

EB molto

p

molto

p

B molto

p

molto

B molto

p

p

p

e

e

e

e

f

p

E'

EB

e

e

f

p

molto

E'

E'

e

e

-

'

B

f

p

!'

B

f

p

molto

molto

E' molto

EB molto

B

B

-

B

'

!' -

B

p

p

!B molto

f

f

molto

EB

B molto

molto

B

-

-

B molto

ri

B

B

EB

Vlc.

molto

B

EB p

molto

p

molto

B

-

-

EB

B p

-

molto

B

p

p

p

!B

-

molto

B

EB

(q = c.60)

p

molto

EB

-

-

Ky

1 Vln. I G

molto

B

EB p

p

p

B

B

Ky p

molto

EB

Ky p

p

p

E'

E'

f

p

p

molto

p

-

-

molto

p

-

-

p

-

le

molto

p

B molto

p

molto

-

le

molto

p

molto

-

-

le

molto

molto

p

molto

p

molto

p

B molto

p

-

molto

B molto

p

molto

p

molto

p

i

-

p

RRRRRRRRRK

f

E'

i

-

f

RRRRRRRRRK

E'

i

-

molto

RRRRRRRRRK

f

RRRRRRRRRK

!' molto

p

f

RRRRRRRRRK

E' molto

p

E' molto

f

RRRRRRRRRK

E '

'

'

p

D.B.

'

'

f

p

'

' f

RRRRRRRRRK

2 E '

'

'

p

'

'

f

p

f

RRRRRRRRRK

p

son.

'

p

son.

molto

p

son.

molto

B molto

RRRRRRRRRK

f

!'

B

B molto

p

B molto

RRRRRRRRRK

son.

EB

EB

B molto

p

molto

B

B

B

i

B

B -

f

'

B

B

-

molto

p

EB

EB

p

le

molto

B molto

molto

B

B

EB

f

molto

molto

'

'

f

J 149

Solo S.

Radiant, ecstatic (q = c.56) f

G 5

molto

5

E 5 5

Ur - weib und

1 : Vln. I G B

All - weib

EB

QUARTET

Vln. II

Vla.

mf

P.W.D. T.Bowls Ttam

5 1 Ă‘Ă‘Ă‘^ Ă‘Ă‘Ă‘_ N 2

poco f marc.

B

ist

die

Heil

B:

-

5

B:

’ge

Jung

B -

frau;

B

B:

B

EB

5

So

ist

5 ! 5 sie

B :

! B

B :

B

B:

B :

B

B:

molto

B :

B

B:

molto

B :

!B

0

5

5

5

kos - mi - sche

B

B :

B

bar

-

RRRRRRRRRK 5 men.

B

RRRRRRRRRK RRRRRRRRRK

'

EB

B

molto

'

B

B

B

B

RRRRRRRRRK

molto

'

-

EB

molto

pp sub.

0

Er

E B

5

molto

pp sub.

B :

5

'

pp sub.

p

0

5

pp sub.

p

B

molto

p sub.

auch das

p

B

B

5

p

molto

mf

B: Vlc. 2

5

B

B

mf

B:

E5

molto

mf

G B :

5

0

0

RRRRRRRRRK

15

K GLORIA 155

Massive, with awesome grandeur (q = 60-66)

1 1 G 2

55

0

sffp

molto

Tpt.

0

G

3 4

5 E5 sffp

molto

1 Tbn. 2 3

5 E55

3.

E'

molto f

B.Tbn.

2

molto

E5

E'

sffp

molto f

Timp.

1 2

molto

0

molto

1 4 2 N Ă‘Ă‘Ă‘_ 5

molto f

sffp

sffp

molto

sffp

B

B:

sffp

sffp

molto

sffp

molto

sffp

E'

molto

sffp

molto

55

5 5 5

molto

' ' E' sffp

molto

' sffp

sffp

molto

molto

E !' '

' ' ' molto

sffp

molto

' '

: BBB ::

sffp

ff

5 E5 E5

0

molto

sffp

0

555

Org.

molto

sffp

molto

B : B:

sffp

? 0

G

sffp

55

molto

5 molto

8))))))))) 8))))))))))))))))))) 8))))))))))))))))))))))))))))))) 8 ))))))))))))))))))))))))))))))))))))))))))) 8 ))))))))))))))))))))))))))))))))))))))))))))))))))))))) B E5 ' E' 5 B: sffp

P.W.D. T.Bowls Ttam

BB

molto

E BBB

sffp

sffp

' '

' '

! BB ::

E BB

sffp

molto

0

sffp

molto

0

molto

0

E BBB B

: ! BB : B :

' ' '

' ' '

5 55

B B B

B : B: B:

' ' '

' E' E'

5 5 5

+ 32' Bombarde

S.

1 G

0

0

0

0

0

A.

G

0

0

0

0

0

G i

0

0

0

0

0

0

0

0

0

T.

B.

ff poss.

RRRRRRRRRK

2 E'

OM.

S.

1 G

0

0

0

0

0

A.

G

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

' '

T.

B.

G i ff poss. 2 E'

RRRRRRRRRK

OM.

K

1 Vln. I G

Massive, with awesome grandeur (q = 60-66)

0

0

55

'

5

E' '

5 5

E'

5

E'

5

ff

G

Vln. II

0

0

0

0

ff

Vla.

0

0

0

0

ff

Vlc.

0

0

0

0

ff

D.B.

2

0

0

0

0

ff

16

L

1 Tpt. 2

With ecstatic joy! (q = c.72)

160

5 : 5 : 5 : 5 5 5 5 5 5 E 5E 5 5 5 5 5 5 ! 5 1 marcatiss. $ 5 E5 5 5 E 5 5 55 5 5 5 5 5 55 5 ! 5 : : : G =: 55 5 55 5 55 5 55 5 5 5

5 : E 5 5 : 5

5 :E 5 5 : 55 5 5 55 55 5 5 5 5 E5 55 55!E 55!55 55 ' ' 5

E 5 5 5 5E 5

RRRRRRRRRK

5 : 5E 5 : 5 5 : 5

E5 5 5 5 5 5 E5 5 5 5E 5 5 5E5 '

RRRRRRRRRK

5 : E 5 5: 5

molto f legg.

1

E 5 5E 5E 5 5 5 5 5 5 5 5 5 marcatiss.

=: E5$ E5 : 5 5 : 5 5 : 5 5 5 E5 55

molto f legg.

Tbn. 2 3

a2 E5

4

4

?:

0

0

0

2 E5

4

4

?:

0

0

0

sff

B.Tbn.

sff

1 = Timp. 2 E5

sff

RRRRRRRRRK 8)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) B: ': B: B B B: B poco f

ff

5 : 5 : 5 : 5 5 5 5 5 5 E5E5 5 5 5 5 5 5 5 !5 1 molto $ 5 : 5 5 5 S. G = 5

5: E5 5 : E5 5 : 5 5 5 5 5 5 5 B: E5 5 5 5 E5 5 5 E5

A.

molto ff 5 : 5 : 5 : 5 5 5 5 5 5 E5 5 5 5 5 5 5 5 5 !5 G =: 5$ 5

5 5 5

5: 5 5 : E5 5 : 5 5 5 5 5 !5 5 B : E5 5 5 5 E5 5 5 ! 5

T.

$ E5 : 5 : 5 : 5 5 E5 E5E5 5 5 5E5 5 5 5 5 5 5 5 5 : = G E 5 5 5 5 i Glo ri - a in ex - cel sis

Glo

-

Glo

-

-

ri - a

-

ri - a

in ex - cel

in ex - cel

-

-

-

-

-

-

-

-

-

sis

-

sis

molto ff

molto ff

B.

EB : 2 EB :

Glo

-

-

-

5 : 5 5 5 5 EB : 5 : 5 5 5 5 EB :

ri - a

in ex - cel

-

-

-

-

-

De

De

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

De

De

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

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19

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1 Tpt. 2

With ecstatic joy! (q = c.72) 3

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1 Tpt. 2

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1 Tpt. 2

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D.B.

2 E ' :

':

'

B:

22

q = 60-66 (Divine echo) molto f

191

Solo S.

G

0

5: 5 E5

0

Æ–T

1 Vln. I G

0

-

-

-

-

5

5

5 E5 -

-

RRRRRRRRRK

' -

MÆ–.

5

5 E5

5

5

5

5

5

5

5

'

5 5 5 E5

5

5 E5

E'

5: 5 E5

0

5

'

RRRRRRRRRK

f

Vln. II

G

0

0

5: 5 E5

RRRRRRRRRK

f

Vla.

0

0

E5 :

RRRRRRRRRK

f

Vlc. 2

0

0

1 5 G 55 :: 55 EE55 5

: 5 5 5 E 5 Tbn. 1 2 E5

1 Tpt. 2

5

E'

5 5

' '

RRRRRRRRRK

5 E 5

E'

RRRRRRRRRK

5 E 5 5 5 ! 5 !5

S.

1 2N

0

1 G 5: 5 E5

B.

-

ni

G 5: 5 E5 om

T.

G E5 : i om

-

ni

5

5 E5

5

5

'

-

-

-

po

-

tens.

5

5

5

5

5

'

-

-

-

po

-

tens.

5

5 E5

E'

-

po

tens.

5 5 5 E5 -

E5 2 E5 om

ni

-

-

B B -

1 5 E5 S. G 5:

5

om

B.

-

ni

ni

G 5: 5 E5 om

T.

-

G E5 : i om

-

-

ni

-

tens.

5 E5

5

5

'

-

-

-

po

-

tens.

5

5

5

5

5

'

-

-

-

po

-

tens.

5

5 E5

E'

-

po

tens.

-

-

-

B B -

ni

E' E'

po

5 5 5 E5

E5 2 E5 om

ni

-

5 5 -

A.

-

5 5 -

-

-

po

E' E' -

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

ÑÑÑ^

5ÑÑÑ_

' '

G '

'

Vla.

E ' '

' '

Vlc.

E '

D.B. 2 E '

RRRRRRRRRK RRRRRRRRRK RRRRRRRRRK RRRRRRRRRK

RRRRRRRRRK RRRRRRRRRK RRRRRRRRRK RRRRRRRRRK

tens.

1 ' ' Vln. I G Vln. II

mf marc.

om

A.

0

'

f

RRRRRRRRRK 1 8 )))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) Timp. 2 E ' ' P.W.D. T.Bowls Ttam

RRRRRRRRRK

RRRRRRRRRK RRRRRRRRRK RRRRRRRRRK RRRRRRRRRK

' RRRRRRRRRK

'

q = 60-66

O

1 2

23 Massive, with awesome grandeur

195 1 55 G

sffp

Tpt. 3 4

B.Tbn.

molto

5 5 E5 sffp

molto

sffp

molto

molto

sffp

sffp

molto

sffp

sffp

B

B:

sffp

molto

sffp

E!' '

sffp

molto

' ' ' sffp

molto

E'

' sffp

molto

sffp

sffp molto

sffp

molto

molto

molto

sffp

sffp molto

molto

molto

B : B :: B molto

sffp

!B

B:

sffp

BB ::

! BBB

!5

5

sffp

molto

molto

sffp

molto

sffp

B B

! 55 E5

5 5 5

sffp

molto

sffp

molto

' ' E'

molto

E5 5

55

sffp

molto

sffp

molto

BB ::

BB

E55

55

sffp

molto

' '

: !BBB :: molto

sffp

molto

B :: B

E BBB

2 E5 sffp

sffp

BB

G E55 sffp

1 Tbn. 2 3

molto

' '

' '

BB ::

E BB

molto

sffp

molto

molto

8))))))))))) 8)))))))))))))))))))) 8)))))))))))))))))))))))) 8 )))))))))))))))))))))))))))))) 8 )))))))))))))))))))))))))))))))))))))))))))) 8 ))))))))))) 8)))))))))))))))))))) 8 ))))))))))))))))))))))))) 1 Timp. 2 B E5 ' E' !5 : B 5 B: B sffp

molto

5 G 55

sffp

molto

sffp

sffp

molto

sffp

molto

sffp

sffp

molto

molto

molto

sffp

molto

E BBB B

: ! BBB ::

' ' '

' ' '

5 55

E5 E55

! BBB

B: BB ::

B B B

B : B: B:

' ' '

' E' E'

5 5 5

5 !5 !5

B B B

B: B: B:

ff

Org.

5 E5 E5

' E'

201 1 1 G !' ' 2

sffp

Tpt. 3 4

G ' ' sffp

1 Tbn. 2 3

molto

molto

molto

sffp

' ' ' sffp

molto

sffp

5 5

molto

sffp

55

E BB

sffp

sffp

5 55

EBB EB

sffp

sffp

5

B

EB:

sffp

sffp

molto

55 5

molto

molto

5

BB ::

!EBB

sffp

molto

55

'

B.Tbn. 2 ' sffp

molto

' E'

' ' ' sffp

sffp

55

molto

molto

molto

sffp

molto

B EB :: molto

molto

molto

sffp

!B :: !B EB : sffp

sffp

sffp

molto

sffp

molto

sffp

molto

!' molto

sffp

molto

RRRRRRRRRK

sffp

55

sffp

55 RRRRRRRRRK 5 molto

RRRRRRRRRK

' molto

sffp

molto

' ' '

E' ' E' molto

sffp

!' '

E' ' molto

55 RRRRRRRRRK

!' '

E' '

5

molto

))))))))))))))))))))))))))) 8 ))))))))))))))))))))))))))))))))))))))))) 8 )))))))))) 8)))))))))))))))))) 8)))))))))))))))))))))) 8 ))))))))))))))))))))))))))) 8 )))))))))))))))))))))))))))))))))))))) RRRRRRRRRK 1 8 Timp. 2 ' ' 5 ' 5 B EB : !' 5 sffp

molto

sffp

sffp

molto

molto

sffp

molto

sffp

molto

sffp

molto

sffp

molto

' G ' '

' E' ' !E'

55 55

5 55

EB !EBB

B :: BB :

E' E' '

' ' '

5 RRRRRRRRRK 5

' ' '

!' ' '

55 5

5 55

B EB !B

!B: E B: EB :

E' ! ' '

' ! ' '

55 5

Org.

24 (Divine echo) ecstatic p

P

207 (q = 60-66)

Solo S.

G

0

0

Ć–T

Vln. I

1 G

0

0

5:

5: B

0

-

-

-

5:

5

0

0

0

MĆ–.

5:

5

5:

5

0

0

0

B

5 :

5 5 :

5

0

0

0

B

5:

5 5 :

5

0

0

0

B

5: E5

5

0

0

0

0

0

0

5: B

0

-

5

STRING QUARTET

p

Vln. II

G

0

0

5 :

0

p

Vla.

0

0

5 :

0

p

Vlc.

P.W.D. T.Bowls Ttam

2

0

1 2N

0

0

Do - mi -ne Fi - li

0

5 5

5 5

P

Vln. I

Vln. II

Vla.

Vlc.

(q = 60-66)

5

5:

B

5 :

! 5

5 :

5 :

B

5:

5

5 :

5:

B

5:

E5

B

G 5 :

0

0

0

Ag - nus De -

0

0

5 5 5 5 5 ! 5 5 5: Do - mi - ne De- us,

0

0

0

Ag - nus De -

p

5 5 5 5 5 E5 5 55 ::

0

Ag - nus De -

p

0

0

5 5 5 5 5 5 : 5 5

0

Ag - nus De -

p

0

0

5 5 5 5 5 ! 5 5 E5 : Do - mi - ne De- us,

5

5:

5 5 5 5 5 ! 5 5 E5 : p

0

Ag - nus De -

p

0

0

5 5 5 5 5 ! 5 5 5: Do - mi - ne De- us,

0

0

0

u - ni - ge - ni - te Ie - su Chris - te;

5:

1 5: G

p

u - ni - ge - ni - te Ie - su Chris - te;

p 5 5 5 5 5 5 5 5 5 5 E5 5 5 : 2

Ag - nus De -

Do - mi - ne De- us,

: G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 i Do-mi -ne Fi - li u - ni - ge - ni - te Ie - su Chris - te;

Do - mi -ne Fi - li

0

u - ni - ge - ni - te Ie - su Chris - te;

G 5 5 5 5 5 5 5 5 5 5 ! 5 5 5 :

5 5 5 5 5 :

Do - mi - ne De- us,

p

B.

0

u - ni - ge - ni - te Ie - su Chris - te;

p

T.

0

5 5 5

Do - mi - ne De- us,

5

1 5p 5 5 5 5 5 5 5 5 5 S. G 5 5 5:

Do - mi -ne Fi - li

p

u - ni - ge - ni - te Ie - su Chris - te;

p 5 5 5 5 5 5 5 5 5 5 E5 5 5 : B. 2

A.

0

Do - mi - ne De- us,

: G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 i Do-mi -ne Fi - li u - ni - ge - ni - te Ie - su Chris - te;

Do - mi -ne Fi - li

0

0

u - ni - ge - ni - te Ie - su Chris - te;

p

Do - mi -ne Fi - li

p

G 5 5 5 5 5 5 5 5 5 5 ! 5 5 5 : Do - mi -ne Fi - li

Ă‘Ă‘Ă‘^ 5Ă‘Ă‘Ă‘_

0

p

T.

5:

p

1 5p 5 5 5 5 5 5 5 5 5 S. G 5 5 5:

A.

5:

0

Ag - nus De -

p

5 5 5 5 5 E5 5 55 :: Do - mi - ne De- us,

5

0

5

0

5

0

5

0

0

0

0

0

0

5:

5: 5:

5:

5 E5 5 5 5: i,

5

Fi - li - us Pa - tris,

5 5 5 5 ! 5 : i,

5

Fi - li - us Pa - tris,

5 5 5 5 : 5 5 5 5 5 i,

5

Fi - li - us Pa - tris,

5 5 5 5 5 : i,

5

Fi - li - us Pa - tris,

5 E5 5 5 5: i,

5

Fi - li - us Pa - tris,

5 5 5 5 ! 5 : i,

5

Fi - li - us Pa - tris,

5 5 5 5 5 5 5 5 5 : i,

5

Fi - li - us Pa - tris,

5 :

5 5:

5:

5

5

! 5

E5 :

5 5:

E5 :

5

5

! 5

5:

5 5 :

! 5 :

5

5

E5

5: 5 :

5 5: 5 5:

5 :

5

0

p

0

Fi - li - us Pa - tris,

5

p

0

i,

5

5

p

0

Ag - nus De -

5 5 5 5 5 :

p

D.B.

2

0

0

0

0

0

0

0

0

25

216

Solo S.

(Divine echo) ecstatic, tender p

5: G

5

Ć–T

Vln. I

-

1 5: G

5

Q

5 5 : -

-

5 -

5 5 :

5 5: -

5

5

0

0

0

(Divine echo) p

5: = 5

0

MĆ–.

5 5:

MĆ–

5

0

0

0

5: = 5

0

G 5 :

5

5 E5 :

5

5 E5 :

5

0

0

0

5:

5

5 5: 5:

55

55 5:

5

E5 5 :

5

5 5 :

5

0

0

0

0

: 2 5

5

0

0

0

0

0

0

0

0

0

p = 5 5 5 5 5 5 5: 5 5 5 5 5 5:

0

0

qui tol - lis pec - ca - ta mun - di,

A.

G

0

0

0

T.

B. 2

0

0

0

0

0

0

0

0

0

A.

p = 5 !5 5 5 5 5 5 :

5

0

G i

0

B. 2

0

0

0

0

0

0

0

G

0

0

0

0

mi - se - re - re

0

0

0

5

55 5

= 5 5 :

5 5 5: 5

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

no - bis.

mi - se - re - re

5

no - bis.

p

p = 5 !5 5 5 5 5 5 :

5

mi - se - re - re

5

no - bis.

5 5 5 5 5 : mi - se - re - re

5

no - bis.

p = 5 5 5 5 5 5 55 :: 5 5 5 5 5 5 : 5 5 5 5 5 5 mi - se - re - re

5

no - bis.

= 5 5:

5

5: 5

B

5:

5

0

0

= 5: E5

5

5 : E5

EB

5 :

5

0

0

= 5 !5 :

5

5:

5

B

5 :

5

0

0

= 5 5: 5

5

5: 5 5 : 5

B B

5:

5

0

0

0

0

0

p

5 5:

no - bis.

= 5 5 5 5 5 ! 5 : E5 E 5 E5 5 5 5 5 :

p

0

5

p = 5 5 5 5 5 5 5: 5 5 5 5 5 5:

Q

0

5

p = 5 5 5 5 5 5 55 :: 5 5 5 5 5 5 : 5 5 5 5 5 5

qui tol - lis pec - ca - ta mun - di,

1 Vln. I G

Vla.

= 55 5:

no - bis.

mi - se - re - re

qui tol - lis pec - ca - ta mun - di,

Vln. II

Ă‘Ă‘Ă‘^

5Ă‘Ă‘Ă‘_ p 5

5 5 5 5 5 :

qui tol - lis pec - ca - ta mun - di,

T.

5 5 : E5 5

no - bis.

mi - se - re - re

qui tol - lis pec - ca - ta mun - di,

G

0

p

qui tol - lis pec - ca - ta mun - di,

1 S. G

= 5 5 5 5 5 ! 5 : E5 E 5 E5 5 5 5 5 :

qui tol - lis pec - ca - ta mun - di,

0

mi - se - re - re

qui tol - lis pec - ca - ta mun - di,

G i

p

1 Ă‘Ă‘Ă‘^ 2 N 5Ă‘Ă‘Ă‘_ p

1 S. G

MĆ–.

p

p

P.W.D. T.Bowls Ttam

Ć–T -

p

p

Vlc.

YĆ–

5 5: 5 5

= E5 5 :

0

p

Vla.

-

p

p

Vln. II

5 5: 5 5

p

Vlc.

0

0

0

p

D.B.

2

0

0

0

0

0

0

26 (Divine echo) p

225

Solo S.

G

0

0

0

0

5:

0

MĆ–

Vln. I

1 G

0

0

0

0

5

-

5

5:

-

-

Ć–T

YĆ–

5 -

MĆ–.

5

5

5

5:

5

5

E5

5

5 :

5

5

5 5

5

5 :

5

5

5 E5

5:

5

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0