HRESHOLD WORDS: CYCLE O SIX NHEMS Y Steha thoy Casurella Sumitted to the graduate degree rogram i Church Music (orga emhasis) ad the Graduate aculty o the Uiversity o Kasas i artial ulillmet o the requiremets or the degree o Doctor o Musical rts Chairerso Date deeded: 9 ue 009
he D.M.. Documet Committee or Steha thoy Casurella certiies that this is the aroved versio o the olloig D.M.. documet: HRESHOLD WORDS: CYCLE O SIX NHEMS Committee: Chairerso Date aroved: 9 ue 009 ii
HRESHOLD WORDS: CYCLE O SIX NHEMS Steha thoy Casurella SRC hreshold Words: Cycle o Six thems is a settig o texts y oet oh D. horurg, each o hich relects o a arrative rom the Gosel o oh. he ork is iteded either or cocert erormace as a comlete cycle or as a set o idividual athems or use i coectio ith seciic Scriture readigs durig orshi services. Scorig is or S choir (ith some aritoe ad sorao solo assages), strig quartet, ad orga. o rovide variety o timre, hoever, the ull istrumetal resources are used oly i the outer movemets; the secod ad ith athems eature orga ad a solo istrumet (cello ad violi, resectively), the third orga oly, ad the ourth strig quartet oly. he choral ritig i hreshold Words alaces a quest or resh, creative exressio ith sesitivity to the caailities o a ie, ut mostly amateur, arish music rogram. he istrumetal ritig resumes roessioal-level erormers. iii
LE O CONENS CCENCE GE... ii SRC... iii CKNOWLEDGMENS... v OREWORD... 1 ERORMNCE NOES... 1 HRESHOLD WORDS I. he Miracle at Caa... 0 II. he Woma at aco s Well... 5 III. he Ma or lid... 7 I. he Raisig o Lazarus... 106. he oitig at ethay... 11 I. he Miraculous Catch o ish... 151 ILIOGRHY... 19 ENDIX. exts... 196. Letter o ermissio... 01 iv
CKNOWLEDGMENS I am ideted to a great may eole ho have cotriuted to the success o this roect. I ish to exress sicere thaks to the memers o my graduate advisory committee or their ivaluale time ad suort: roessors Michael auer, rya Ki Haaheim, homas Heilke, ames Higdo, ad aul Laird. roessor Haaheim, i articular, has set coutless hours givig costructive eedack throughout the comositioal rocess. Without oet oh D. horurg this roect ould ot, o course, e hat it is. I am deely grateul to the Rev. horurg or accetig a commissio to rite the texts or hreshold Words. Not oly has he rovided suer oems o theological deth, ut he has ee a gracious ad suortive resece at every ste. I caot egi to exress adequately my gratitude to Mark all, Director o Music at illage resyteria Church. He has ee a ethusiastic suorter o this roect rom the start, eve agreeig to rogram a erormace o hreshold Words o the church s 009 010 seaso eore the music as ritte. Other colleagues o sta at the church have also oered cosistet ecouragemet, ragig rom the Rev. Meg eery McLaughli s isightul relectios o the oetry to Matthe C. Sheard s itty commetary o the redilectio o tety-irst-cetury comosers or costat meter chages! v
Last, ut certaily ot least, I ish to thak my ie Rae ad our oys Rya ad ida. Rae has take o ith grace a udue share o resosiility or amily lie to make this roect ossile. he oys, i their o ay, have adated to lie ith Dad alays doig homeork ad, ever orgivig, still greet me at the door ith ethusiasm. I look orard to sedig more time ith them i the ear uture. vi
or Mark all ad the eole o illage resyteria Church vii
OREWORD rom its origis as a eculiarity o the Church o Eglad i the sixteeth cetury, the Eglish athem has ecome a ixture i the orshi lie o may deomiatios i a ide variety o styles. he Reaissace olyhoy ith syllaic text declamatio suggested y homas Cramer (19 1556) ad reiorced i the Elizaetha Iuctios o 1559 to relace ara-liturgical Maria atihos at the daily oices iitiated a traditio o choral ritig that cotiues to this day, although Cramer ould shudder at ho ar the traditio has strayed rom his strict limitatios. Withi the Church o Eglad, comosers have cultivated umerous athem geres at various times, rom the verse athems o William yrd (c. 150 16) to the ost-restoratio strig athems o Hery urcell (1659 1695) ad others. Util the eighteeth cetury, such music as rimarily limited to royal ad cathedral istitutios, ut ith the rise o West Gallery esemles a more modest athem traditio emerged i local arishes ad ocoormist cogregatios. I the Uited States, the cultivatio o choral music i sigig schools led to a rough-he athem style, as i the ugig tues o William illigs (176 100), hich oud its ay ito orshi services toard the ed o the eighteeth cetury. 1 1 his overvie o the Eglish athem s irst several ceturies is, o course, greatly oversimliied. or a sustatial survey o athem history rom the Eglish Reormatio through the mid- 1
Commetators ted to sigle out the ext hudred years as a lo oit i the develomet o the Eglish athem, reactig to a ervasive saccharie air eve amog the etter comosers. he tetieth cetury, hoever, yielded a exlosio o e ossiilities (i ot alays higher quality) i sacred music. Such ossiilities icluded the reectio o commo-ractice-era toality (though geerally some orm o eo-toality is retaied i liturgical music), the iluece o commercial music, ad the maistream accetace o rica merica traditios. oday, deedig o the deomiatio ad articular cogregatio, orshiers might hear athems as diverget i style as: lessed ssurace arraged y Mark Hayes (. 195), ith its distict gosel idioms; Lo, i the ime oited y Healey Willa (10 196), hich dras o early Eglish oit-o-imitatio style; 5 the rica merica siritual Wade i the Water arraged y Moses Hoga (1957 00); 6 or scedig ito Heave y udith Weir (. 195), a asciatig ork uctuated y requet risig iguratio i the orga ad glissados i the vocal lies. 7 tetieth cetury, see Ely. Wieadt ad Roert H. Youg, he them i Eglad ad merica (Ne York: he ree ress, 1970). or a articularly scathig assessmet, see Keeth R. Log, he Music o the Eglish Church (Lodo: Hodder ad Stoughto, 197), 7 67. Chater 19, titled ictoriaa, eds ith the terse statemet, So much the or the ricial igures o this sterile eriod (67). or a overvie o the stylistic readth i sacred literature o the tetieth cetury, see dre Wilso-Dickso, he Story o Christia Music: rom Gregoria Chat to lack Gosel (Mieaolis: ortress ress, 199), 00. Mark Hayes, arr., lessed ssurace (Columus, OH: eckehorst ress, 001). 5 Healey Willa, Lo, i the ime oited (Ne York: Oxord Uiversity ress, 199). Willa actually calls this iece a motet. 6 Moses Hoga, arr., Wade i the Water (Milaukee, WI: Hal Leoard, 1997). 7 udith Weir, scedig ito Heave (Lodo: Novello, 19). he text ad traslatio is laid out i the score so as to create visual ascedig lies, addig aother layer to this ork s symolic laguage.
mid the great diversity ithi the church athem traditio, hreshold Words: Cycle o Six thems is iteded to cotriute to that traditio i some seciic ays: i. o rovide athems or use i Christia orshi that relect o seciic ilical arratives, as might e articularly useul i aith commuities that ollo a lectioary. ii. iii. o serve a additioal uctio as a multi-movemet ork that could e erormed i the cotext o a sacred cocert. o ulill oth uroses usig a musical style that is accessile to a ie, ut mostly amateur, arish music rogram, hile also oerig resh ad creative exressio. 9 he irst ste i this udertakig as, ecessarily, to id aroriate athem texts. O 17 ril 00 I cotacted oet oh D. horurg (. 195), askig i he might accet a commissio to rite a e collectio o oems or me to set. 10 He graciously ad ethusiastically agreed. horurg, a ordaied miister i the Uited Methodist Church ith tety-to years o exeriece i arish miistry, o serves as a exas-ased o that ed, each athem lists o its title age the Gosel arrative ith hich it is associated alog ith the liturgical dates or hich those readigs are aoited i the Revised Commo Lectioary. he Revised Commo Lectioary (RCL) as released i 199 y he Cosultatio o Commo exts i he Revised Commo Lectioary (Nashville: igdo ress, 199) ad is curretly used y may maistream rotestat deomiatios. 9 hroughout the comositio o hreshold Words, I have had a seciic arish i mid. illage resyteria Church i rairie illage, Kasas, here I curretly serve as ricial Orgaist ad ssociate Director o Music, has a memershi o early 5,000. he music deartmet, headed y Mark all, cosists o three ull-time ad to art-time musicias. he illage Chamer Choir, a aroximately orty-voice esemle, regularly erorms sacred cocerts. hese cocerts eature orks ragig rom G.. Hadel s Messiah to Ralh augha Williams Doa Nois acem. 10 I had ee aare o oh horurg s ork or some time through his hym ad athem texts, oe o hich I had set or S ad iao. I as also egaged i rearatios to coduct a erormace o Craig hillis Dies Gratiae: Requiem Relectios, a choral-orchestral ork or hich horurg had rovided the oetry.
reelace cosultat o cogregatioal sog. He is a sigiicat voice i the ogoig deates aout the role o music i Christia orshi ad, amog other edeavors, leads orkshos to acilitate thoughtul discussio aout the relevat issues. His esite, he Miistry o Cogregatioal Sigig, is sutitled uildig commuity through the oer ad grace o sigig ad uttig a ed to orshi ars. He challeges cogregatios to ask What MUS e sig i order to ecome the church God is callig us to e rather tha What do the eole at 11 s a oet, oh horurg has made a sustatial cotriutio to the hym ad athem text literature. I additio to rovidig idividual texts or a umer o hymals (such as the icreasigly ell-ko God the Scultor o the Moutais ), 1 he has ulished several collectios o cogregatioal sog. 1 Imortat sacred music comosers such as oh erguso (. 191), ae Marshall (. 19), oel Martiso (. 1960), ad ruce Nesick (. 1956) have used his texts or athem settigs, ad the large-scale Dies Gratiae: Requiem Relectios y Craig hillis (. 1961) alterates ortios o the Dies irae sequece ith horurg s oetry. 1 11 oh D. horurg, he Miistry o Cogregatioal Sigig, <.cogregatioalsigig. com (accessed 19 May 009). 1 his text aears as No. 060 i the Uited Methodist sulemet he aith We Sig, ed. Hoyt L. Hickma (Nashville: igdo ress, 000) to a rousig tue y mada Huserg. 1 hese iclude Ca God e See i Other Ways: Hyms ad ues or oday (Nashville: igdo ress, 00) ith tues y ae Marshall, he Oe Who aught eside the Sea: Hym, them, ad Worshi Resose exts (Colax, NC: Waye Leuold Editios, 00), ad amily o God: Ne Hyms y oh horurg ad rieds (Nashville: igdo ress, 00) ith tues y Da Damo, mada Huserg, ae Marshall, ad homas avlechko. 1 Dies Gratiae: Requiem Relectios (Kigsto, NY: Selah ulishig Co., 000) is scored or S choir, soloists, ad orchestra. he ork as commissioed y Christ Eiscoal Church i
I his ritig, horurg reuses to avoid diicult suects o commual ad ersoal tragedy, corotig the huma coditio ith directess ad hoesty. he Christmas oems osted o his esite are challegig ad a ar cry rom the light-heartedess o tyical iter seaso greetigs. Christmas 00, or examle, comares Wester culture s echat or ar ad cosumerist greed ith the atrocities o aciet Rome ad the massacrig Herod o Matthe s Gosel. 15 Hel Us Sig gai, a athem text ritte i the immediate atermath o the terrorist attacks o 11 Setemer 001 ad set y ae Marshall or S ad keyoard, is a itese cry o aguish amid horrors that tear the aric o our orld ad ai that turs momets ito days. horurg cocludes ot y ushig aside the devastatio ut y askig God to e reset i the midst o it ad to give ocus to our eyes, that e ca see the miracles that lie eeath the ash. 16 Oe o horurg s most oigat oems, I Caot id the Words o rayer, is a lamet over the death o a arishioer s child i utero. he irst staza coveys vividly the ai o a mother aced ith such tragedy: No more the kicks that stretch my ski; No more the movemet i my om. My recious child is cold ithi; My ody, a uillig tom. 17 yler, exas, as a couterart to the chamer versio o Gariel auré s Requiem, O., ad thus uses uusual istrumetal resources (such as the omissio o a violi sectio). 15 Matthe :1. 16 ae Marshall, Hel Us Sig gai (Nashville: igdo ress, 006). 17 horurg, I Caot id the Words o rayer i he Oe Who aught eside the Sea, 9. 5
he ext to stazas exress a itter ager: Ho dare you say that you are God, / he all that you seem it to do / results i leak, utimely death! he oem s ial verses are a gas or release so that healig ca egi. While oh horurg agreed to rite the texts or this roect, he isisted that I e a collaorative arter i deiig the arameters: I do t usually id mysel very motivated y a comoser ho rites to me ad says, ust rite aythig you at. I do t at to rite hat I at; I eed to rite hat you eed. 1 His request iitiated a lively dialog over the ext our moths, durig the course o hich e eighed various otios. y late Setemer o 00, horurg had idetiied six arratives rom the Gosel o oh, each o hich ould serve as the asis or a relectio o the miistry o esus. 19 He set me a drat o the irst relectio, he Miracle at Caa, askig or ider collaorative iut: No oem touches to eole the same ay, ut i it does t touch ayody, it s ot good eough or your roect. So I d like you to have a e eole read it. I there are reactios that tell you that the text is t doe, let me ko. 0 his ivitatio as more tha mere li service, ad throughout the ritig rocess horurg made revisios i resose to commets rom readers. or examle, the iitial drat o he Raisig o Lazarus read as ollos, egiig at verse : Whe sorro is a thuderstorm that loods the ath e hoed to alk, ho ote e delect our ai y ixig our comlait o someoe dear. 1 horurg, email message to author, 1 ril 00. 19 oh :1 1; : ; 9:1 1; 11:1 5; 1:1 11; 1:1 1. 0 horurg, email message to author, 7 Setemer 00. 6
I light o reactios rom a ried ho argued or a dieret iterretatio o the Gosel arrative, horurg ameded the assage or the oem s ial versio (see age 19): my ried heled me see that Martha is ot shrill; she s ouded (as is ote the case he e cry out our comlaits), ad so I hoe the vocaulary chage sigals that. 1 Similarly, he sustituted the ord hoesty or roity i he Woma at aco s Well ater learig that a coule o readers had reached or dictioaries! he texts o hreshold Words are otale or their sese o directess. his eect is due, i art, to the author s ecoomy o laguage. Moosyllaic ords redomiate, ad ords ith three or more syllales are extremely rare. urthermore, the oems lad the reader immediately i the relevat stories ithout uecessary veriage, as i the oeig verse o he Miraculous Catch o ish : He stood eside the sea (age 199). t times, the directess is itesiied through shorteig idividual verses rom the usual six or eight syllales to our or eer, as i he Woma at aco s Well (age 197): It must ot e It is ot doe he truth is lai he ay is clear horurg s use o laguage also demostrates a articular resoace that allos it to read easily ad reders it ideal or sigig. he author s reerece or 1 horurg, email message to author, Decemer 00. he texts are rited i their origial ormat i edix. his edix allos or ease o reerece i the olloig discussio ut also serves as ackoledgmet that the oems are orks o art i their o right, quite aart rom ay musical settig. 7
iamic eet ad six- or eight-syllale lies give the texts a certai coectedess to traditioal oetic orms such as the allad. t the same time, his avoidace o orgaizig verses ito tyical hym meters leaves room or exressive luidity, a eect that is reiorced y the almost comlete asece o ed rhyme. horurg achieves liguistic resoace through iteral relatioshis ithi ad etee oetic verses. lliteratio is a requet device, as i the cross-related hoemes [] ad [θ] i verses ad o he Woma at aco s Well (age 197): It as oridde, such a thig. he air as thick; a stilig og. I the same text, the [] o eildered y the oldess o the rai s ords is aother o several otale examles. More diicult to idetiy recisely is the ervadig sese o assoat voel relatioshis. Ovious istaces occur i the oeig staza o he Miracle at Caa (age 196) here [ei] ad, to a lesser extet, [i] are romiet: I Caa, o a eddig day, his mother came, ad so did he, this ma hose ollo me had caused a e to alk his ay. erhas the most aealig eature o hreshold Words is its covicig use o imagery. he oressio o sexism is a stilig og i he Woma at aco s Well (age 197), ut the heavy air ecomes resh ad e he esus reaks through the arrier o reudice. reudice o a dieret kid i he Ma or lid (ages 197 19) is ictured as questios lug rom the alls o a ortress. his staza also haes to e oe o the e laces here horurg uses ed rhyme, i this case a aa scheme.
articularly hautig image occurs at the ed o the same text. I the ohaie arrative, esus has cured the ma s lidess y sreadig mud o his eyes ad istructig him to ash it o i the ool o Siloam. horurg cocludes his oetic relectio o the assage y ortrayig a God ho is still diggig i the mud, / rearig to aoit the eyes / o all ho log or sight. he layuless o this image is comellig, as is its itriguig allusio to oe o the creatio arratives i hich humakid is ormed rom the dust o the groud. 5 erhas horurg iteds to iterret esus healig act as a re-creatio, restorig huma lie to its iitial ulemished state. Such a vie o huma hysicality as eleshmet rather tha atithesis o sirit shos u agai i he Miraculous Catch o ish (ages 199 00). eter, ho is aked, ums ito the ater he he recogizes esus o the shore: he lea as hat his ody did / to demostrate his oy. 6 Oce I had received ad egu to asor the ial versio o horurg s hreshold Words, I eeded to determie hat vocal ad istrumetal resources ould e aroriate (ad ractical) or settig the texts as athems. hat S choir ad orga should e ivolved I as already certai, oth i light o my o secialties ad the kid o arish music rogram or hich the settigs ere iteded. t the strog urgig o oe o my advisory committee memers, hoever, I ega to cosider the ossiility o icludig a additioal timral resource. I the oh 9:6 7. 5 Geesis :7. 6 his setece arallels a assage rom horurg s text or hillis Dies Gratiae: Requiem Relectios: d o, sice ords ill ot suice, my tears are hat my ody does to traslate hat I ko (Relectio II). 9
ed, I settled o addig strig quartet, a medium that seemed caale o suortig my o emotioal resoses to the oems. 7 o rovide cotrasts o istrumetatio rom movemet to movemet i the evet that all the athems should e erormed i cocert settig, I laed a scheme that relects thematic symmetries ithi the hole collectio o texts. Seciically, I determied that athems 1 ad 6, oth o hich exlore cocets o eastig, should e scored or the ull comlemet o choir, strigs, ad orga; that umers ad 5, oth o hich relect o arratives i hich esus shos resect to ome i the midst o a misogyistic society, should eature a sigle strig istrumet alog ith orga; ad that ad, oth o hich ocus o restoratio o hysical holeess, should each emloy oly oe o the istrumetal orces (orga aloe ad strig quartet aloe, resectively). ctually uttig ecil to aer as I egi comosig alays eels risky to me, so I am grateul or the host o musical voices that, cosciously or ucosciously, shae ho I rite. eami ritte (191 1976) has alays ee a imortat iluece or me. rom his excetioal aility to set Eglish texts ith exressive luidity I have leared to e sesitive to the atural accets, syllale legths, ad overall toal shaes o the laguage. Studyig such orks as the estival e Deum, 9 War Requiem, 0 ad he ur o the Scre 1 has ee 7 s metioed aove, the music rogram at illage resyteria Church i rairie illage, Kasas, served as aradigmatic i my decisio makig. Hirig a strig quartet o a occasioal asis or use i liturgies is ell ithi the church s iacial meas ad orshi ractice. his scheme also has the ractical eeit o requirig sigiicatly eer istrumetalists or athems,, ad 5, ad thus icreasig the chace o their useuless to cogregatios ith udgets less amle tha illage Church s. 9 eami ritte, estival e Deum, O. (Lodo: oosey Hakes, 195). 10
articularly helul. ritte s iluece i this regard is evidet, or examle, i the sorao lie at ars 0 6 o he Woma at aco s Well (see Examle 1). Duratio, metric lacemet, ad relative itch level relect atural Eglish seech atters. Examle 1. he Woma at aco s Well, ars 0 6, sorao lie. other sigiicat iluece has ee the lush ritig o Herert Hoells (19 19). Certai turs o hrase ad harmoic structures rom Like as the Hart Desireth the Waterrooks are reset i the same movemet, such as the latteed ith degree o a mior mode (e.g., the G-lat o thick i ar 7) ad various domiat-seveth-related chords that resolve i otraditioal ays (e.g., the D-lat eleveth structure i ar 1). I have also uashamedly emloyed certai sardoic elemets rom the ork o racis oulec (199 196), ith hose dry it my o ritig shares a certai aiity. While my settigs are iteded to e quite sicere, ayoe ho kos ell oulec s Cocerto or Orga, Strigs, ad imai ill recogize i he Miraculous Catch o ish the orga art s sare cotrautal textures ad eve seciic motivic gestures, ot to metio the itig 0 ritte, War Requiem, O. 66 (Lodo: oosey Hakes, 196). 1 ritte, he ur o the Scre, O. 5 (Lodo: oosey Hakes, 1966). Herert Hoells, Like as the Hart Desireth the Waterrooks (Oxord: Oxord Uiversity ress, 19). 11
domiat-seveth structures ith added alse relatios so revalet i he Ma or lid. More seciically relevat to the athem traditio, I have gleaed ideas rom other comosers settigs o horurg texts, such as oel Martiso s hree Days Had assed (or choir, rass quitet, timai, ad orga) ad Craig hillis Dies Gratiae: Requiem Relectios. oth Martiso ad hillis have, i their o ays, oud musical techiques suitale or horurg s comact ad theologically dese oetic style. I articular, they have modeled or me musical idioms that are suicietly accessile to avoid outright reectio i the Church s liturgical lie hile still egagig the oetry s ucomromisig ad sometimes startlig comlexities. rom a urely musical stadoit, oe o the chie challeges i ritig music or hreshold Words as to esure that each athem could stad aloe hile also ormig art o a satisyig hole. he cycle, thereore, eeded clear cotrasts o mood ad key ceter ut also uiyig elemets. 5 I tackled the latter y idetiyig motivic gestures ad harmoic vocaularies that could recur throughout the set o ieces. he oeig ages o he Miracle at Caa, or examle, cotai materials that aear i various guises i all the other athems. ar 1 eatures a racis oulec, Cocerto e Sol mieur our Orgue, Orchestre à Cordes et imales (aris: Salaert, 1999). he oulec iluece as articularly strog i hreshold Words, sice I as rearig the cocerto or erormace hile comosig the athems. oel Martiso, hree Days Had assed (Orleas, M: araclete ress, 00). 5 he texts themselves suggested cotrastig moods, ragig rom the lamet o he Raisig o Lazarus to the scherzo iale o he Miraculous Catch o ish. Key ceters or the six movemets (E, C,, D, G, E) ollo a comellig traectory that suorts the oeig ad cocludig E-maor movemets. I selectig key areas, I gave articular cosideratio to the relatioshis ormed etee the ed o oe athem ad the egiig o the ext. he Raisig o Lazarus, or examle, eds o the toic ith a D-maor triad. hat triad, i tur, serves as a domiat to the G toal ceter o he oitig at ethay. 1
descedig tetrachord rom the toic ith loered sixth ad seveth scale degrees, settig the stage or requet modal reereces. Likeise, the ascedig tetrachord leadig ito ar emhasizes a raised ourth scale degree, a elemet that eatures romietly throughout the cycle oth melodically ad harmoically. he irst violi art i ars 16 1 uses a octatoic scale segmet, rearig or requet iteractios etee octatoic ad diatoic collectios. Some o the motivic coectios etee movemets are ovious, such as the oeig orga gestures o he Ma or lid, ormed y trasositio ad rhythmic alteratio o the violi assage ust metioed. Likeise, the descedig motive D C that ervades much o he Raisig o Lazarus as a ier voice o the strig accomaimet derives directly rom the oeig tetrachord o movemet 1. May o the uiyig actors are more sutle, hoever. Cosider, or istace, the sorao lie i ars 5 9 o he Miracle at Caa. s Examle shos, this melody is iverted ad trasosed to orm the skeleto o the ass solo i ars 6 o he Woma at aco s Well. a.. c. 1
d. Examle. a. he Miracle at Caa, ars 5 9, sorao lie.. Melodic iversio o the assage. c. rasositio o the iverted assage do a maor 6 th. d. he Woma at aco s Well, ars 6, ass solo, derived rom the iversio (ith e rhythmic roile ad a e melodic adustmets). t other times, I have derived e material rom ier voice leadig. he germial idea or the melody cited i Examle 1 is illustrative sice it is ased o the viola art at ars 0 o the irst athem. eyod such urely musical devices, my cocers have ee rimarily ith the relatioshi etee text ad musical exressio, ad I have sought to illumiate rather tha cloud the various levels o meaig evidet i horurg s oetry. O a airly ovious level, the music relects geeral moods ad themes. he rhasodic iddlig o he Miracle at Caa (e.g., the irst violi art i ars 7 1) seeks to coure the estivities o a rustic eddig, though clearly ot i ay historically authetic ashio. he ervasive mior mode tedecies o he Woma at aco s Well give ay to maor mode ilectios i the last eight ars as the air ecomes resh ad e. Martha s cry o I oly i he Raisig o Lazarus is set to a descedig three-ote motive that reverses directio egiig at ar 75 (ad chages itervallic cotet to suggest maor mode) ater the miracle occurs. d the sloer harmoic rhythm couled ith loger choral ote values rom ar 115 o he Miraculous Catch o ish suggests the mystery o a east that stretches to the reset day. 1
More iterestig to me are the less latat relatioshis etee text ad music. I he oitig at ethay, horurg sets u the listeer to resod viscerally to to dieret characters: the sel-righteous etrayer ad the teder aoiter. he characters seem quitessetially oosed o the moral sectrum, ad so the music eatures uxtaosed assages o solo violi ritig marked itig (reiorced ith acceted doule stos) ad teder. s it turs out, horurg s dichotomous treatmet o the characters has ideed ee a setu, or the oem s ial to verses read: d he he died, the Christ o God, / his death as or them oth (age 199). I musical terms, this levelig o the moral layig ield uder the mercy o God s grace has ee reset throughout the athem, sice oth the itig ad teder assages are costructed rom the same motivic materials. he ersoality cotrasts are musically susumed i the agitato deictio o Christ s death (ars 65 7) ad ially resolved i the coda (ars 79 5) as the violi comes to rest o a ethereal doule sto o atural harmoics. he Ma or lid aorded a articularly uusual oortuity to lay ith musical materials or the sake o iteractio ith the text. s i the Gosel arrative o hich the oem relects, 6 horurg s character exlais i a simle seech, I oce as lid, ut o I see (age 197). or may listeers this statemet is ermaetly liked to the hym mazig Grace, Ho Seet the 6 oh 9:5. 15
oud y oh Neto (175 107), tyically sug to the tue Ne ritai. 7 Staza 1 reads: mazig grace, ho seet the soud, hat saved a retch like me! I oce as lost, ut o am oud, Was lid, ut o I see. I oud the idea o quotig the ell-ko tue usavory ut could ot igore the chace to lay ith orshiers associative exectatios. s a comromise, I decided to reork melodic materials rom the tue to create somethig vaguely amiliar. o egi ith, I isolated to igures that seemed articularly useul as material or a orga iterlude immediately ater the textual quotatio i questio (see Examle ). a.. Examle. a. o motives rom the closig ars o Ne ritai marked x ad y.. he use o x ad y to costruct material i the orga art o he Ma or lid (ars 0, right had). Next I iverted the etire tue ragmet cited i Examle a, alied a e rhythmic roile, altered a e itervals, ad exteded it to create a melody aroriate or the ormerly lid ma s simle seech. he result is a assage that evokes somethig o merica Souther hymody ithout actual quotatio (see Examle ). 7 he comoser o Ne ritai is uko. he tue as irst rited i he irgiia Harmoy o 11. See Richard Craord, merica s Musical Lie: History (Ne York: W. W. Norto, 001), 167. his text aears to the customary tue as No. 0 i he resyteria Hymal, ed. Lidao McKim (Louisville, Ketucky: Westmister/oh Kox ress, 1990). 16
a.. Examle. a. iversio o Examle a (the last ars o Ne ritai). Note that uder iversio the hym tue s etatoicism is retaied.. he Ma or lid, ars, sorao lie. he itervallic structure o this melody is ased o the iversio o Ne ritai. Havig voed ot to quote Ne ritai ad set a great deal o eergy idig idirect ays to evoke it, I ially releted! seve-ote ragmet o the tue aears i the orga art o a solo sto at the very ed o the athem (ars 11 1). Sice the ragmet s itervallic roerties have already ee exloited at some legth, the ragmet does ot, to my ears, seem out o lace. Darig to set texts y a oet as iluetial as oh horurg is a dautig task. I hoe that hreshold Words: Cycle o Six thems illumiates the oetry ad, i tur, the ilical arratives o hich they relect. I it succeeds i doig so, I trust that the ork ill e o value to the Church hether i liturgical or cocert settigs. 17
ERORMNCE NOES hreshold Words is iteded either or cocert erormace as a comlete cycle or as a set o idividual athems or use i coectio ith seciic Scriture readigs durig orshi services. I order to acilitate the latter use, the Gosel arrative o hich each athem relects is cited, alog ith the liturgical dates or hich those readigs are aoited i the Revised Commo Lectioary. I the case o cocert erormace as a cycle, the relevat Scriture assages may e read rior to each movemet to give a cotext or the oetic relectios. ll oligatory reaths i the choral arts are idicated recisely ith rests, as i ar 9 o he Miracle at Caa. Ideally, lies should e carried through ithout a reath i o rest is reset, eve he uctuatio might seem to suggest otherise (see ar 7 o the same movemet). y the same toke, uctuatio may eectively e sho through shaig he choral reaths are ot idicated. he coductor should eel ree, hoever, to add occasioal lits as eeded or clear text declamatio ad eauty o toe, esecially i the vocal esemle is small. I ay evet, heever a syllale edig i a cosoat is olloed y a rest, the cocludig cosoat should e laced o the rest itsel, as i the teor lie at ar 5 o he Miracle at Caa. 1
Orga registratios idicated i the score are iteded merely as a geeral guide. Deedig o the istrumet, room, ad choir, the rage o sto comiatios may eed to e arroed, as, or istace, i situatios here the additio o a mixture ould e overoerig. Excet here otherise oted, the edal lie is iteded to iclude at least oe sixtee-oot sto ad match the dyamic level o the mauals. emo markigs are likeise geeral guidelies. So log as the seciic character o each movemet or sectio is retaied, the coductor should eel ree to resod to iterretive isticts ad the acoustical eviromet. 19
oh :1 11 (RCL Year C, Eihay) I. he Miracle at Caa (or S, strig quartet, ad orga) ext: oh D. horurg* Music: Steha Casurella Sorao q = ca. 10 (estive) lto eor ass ioli I ioli II iola iolocello q = ca. 10 (estive)........ q = ca. 10 (estive) Orga Duratio = ca. ' 00" *ext 00 y oh D. horurg. Used y ermissio. 0
5 iù. 5 I Ca - a, o a ed-dig day, his moth -er came, iù. ad 5 I I I Ca - a, o a ed-dig day, his moth -er came, Ca a, o a - ed dig day, moth -er came, iù his iù.. ad ad 5 5 Ca - a, o a ed dig day, his moth -er came, ad l. I 5 ä 5 l. II la. lc... â â â 5 5 5 5 light ricials ', ' legato. 5 5 5 1
9 5 - -.. 5 so did he, this - -. ma hose ol-lo me had caused a e to 5 so did he, this - -. ma hose ol - lo me caused a e to 5 so did he, this - -. ma hose ol-lo me had caused a e to so did he, this ma hose ol - lo me had caused a e to l. I 9 5 l. II 5 la. 5 lc. 5 9 5. 5. 5 light ricials 16', '.
1 alk alk alk his his his ay. ay. ay. alk his ay. l. I l. II la. lc. 1... 1
16 l. I l. II la. lc. 16.. - -.... 16
0. ut oce the east -ig had e - gu,. ut oce the east -ig had e - gu,. ut oce the east -ig had e - gu,. ut oce the east -ig had e - gu, l. I l. II la. lc. 0 ä â ä â.. 0 add. 5
the the ie gave out, ie gave out, e e ko ot ko ot the ie gave out, e ko ot the ie gave out, e ko ot l. I. l. II la. ḟ. lc. reduce 6
5. hy. hy. 5 5 His moth-er soke,. His moth-er soke,. hey hey hy. 5 His moth-er soke,. hey hy. His moth-er soke, hey l. I 5. l. II la. lc.. Ṗ + light reed ' (ox closed) 5 5 5 5 5... 5 7
1 5 5 have have o o 5 5 ie. ie. hey have o ie. o our sur- 5 5 have o 5 ie. o our sur- 5 have o ie. hey have o ie. l. I 1 5. 5 l. II la. 5 5... 5 5 lc. 5.. 5 1 5 5 light ricial ' (or lutes ', ') legato 5 5 5 5
5. rise, he did ot sum -mo heav-e right a -. ay. 5 5. rise, he did ot sum -mo heav-e right a -. ay. 5 l. I 5 l. II 5 la. 5 lc. 5. 5 5..... 5 9
7 l. I 7 esr. -. l. II.. esr. -. la. esr. - - lc... 7 0
He seemed to say, It is ot He seemed to say, He seemed to say, l. I - l. II -. la. - - lc. (orga may doule voices i asolutely ecessary) oudatio ' legato. 1
5. yours to tell me hat to It is ot yours to. do.. tell me hat to do. It is ot yours to tell me hat to do. It is ot yours to tell me hat to do. l. I 5 l. II la. lc. 5...
We We at a d sice e at a Lord, l. I - l. II. -. la. - - lc..
5. at a Lord ho makes our Lord ho makes our ish -es his com -. ish -es his com - mad, mad, a Lord ho makes our - - ish es his com mad,. Lord ho makes our ish-es his com- l. I 5 l. II la. lc. 5..
55... e e. e ṗ mad, e l. I 55 -. - iù. l. II la. lc.. -. -. - - -. iù - iù -. - ṗ ṗ 55.... 5
60 ause. ause. ause. ause. l. I 60 l. II la. lc. 60 ricial ' legato (add).. 6
65 5 His moth -er sesed hat he - could do... 5 His moth -er sesed hat he - could do... 5 His moth -er sesed hat he - could do... 5 - His moth -er sesed hat he could do... l. I 65 5 < l. II 5 < < la. lc. 5 5 < < 65. (add). 5 5 < < 5 heavier 16', '. - < 7
69 iù - - - could do... iù - ould - do... - could do... iù - ould - do... - could do... iù - ould - do... - could do... ould do... l. I 69 iù. l. II < < Ṗ iù la. lc. iù iù <.. 69 < iù < + mixture - - - < + light reed 16'
7 l. I l. II 7. la. Ṗ lc. 7 9
77 l. I l. II la. lc. 77... - - 77 0
0 It as his It as his It as his. ord a - loe that chaged the. ord a - loe that chaged the. ord a - loe that chaged the. It as his ord a - loe that chaged the l. I l. II la. lc. 0.. ä â ä â 0 light ricial chorus ith mixture legato.. 1
iù. iù. ed-dig s course, that tured the a - ter i - to iù. ed-dig s course, that tured the a - ter i - to iù.... ed -dig s course, that tured the a - ter i - to. ed -dig s course, that tured the a - ter i - to. 5 5 5 5 l. I 5 l. II 5 la. 5 lc. 5... 5 5 reed 16' 5
7 ie. ie. ie. 5 5 5 d still d still his his. d 5 ie. l. I l. II la. lc. 7... Ḟ 5 5 5 5.... 7 5 (orga may doule voices i asolutely ecessary) oudatios ' 5. legato 5
90. ord, the alm that. ord, the alm that still his ord, the. oco. oco heals our eve - ry heals our eve - ry oco alm that heals our oud, oud, oco eve - ry oud.. d still his ord that heals our eve - ry l. I 90 l. II la. lc.. 90...
S l. I l. II la. lc. 9 oud, 9.... 9 (add) the ood that the ood that the ood that sat is - - 5
95. sat - is - ies our hu - gry oco hearts, oco sat - is - ies our hu - gry, hu - gry hearts,. oco ies our hu - gry hearts, oco that sat - is - ies our hearts, l. I 95. l. II la. lc... 95.. 6
97... the ar -ro ierc -ig all de - ceit, ierc -ig all de- the ar ro - ierc - ig, ar - ro ierc-ig all de - ceit,... the ar - ro ierc - ig all, ierc -ig. ierc -ig all de - ceit, l. I 97 l. II la. lc. 97 (add)..... 7
100 ceit, all de - ceit, l. I 100. iù l. II la. lc........ iù iù.. iù 100 ricial chorus ith mixture legato
10 is chag-ig a - ter i -to is chag-ig a - ter i -to is chag-ig a - ter i -to is chag-ig a - ter i -to l. I 10... l. II.... la..... lc... 10. 9
106 ie so e ca ie so e ca ie so e ca ie so e ca l. I l. II la. lc. 106 ä ƒ ä ƒ ä ƒ ä ƒ 106. + reed '. 50
109 ƒ oco rit. - - - a temo east, ƒ east i - to the - - - ight. east, ƒ east i - to the - - - ight. east, ƒ east i - to the - - - ight. east, east i - to the ight. l. I l. II la. lc. 109. â. â oco rit.. â. â a temo.. 109 iù oco rit. a temo 51
11 l. I l. II la. lc. 11.. Ṗ...... 11 5
115 seza rit. l. I l. II la. lc. 115 115.. ƒ. â ƒ â ƒ â ƒ + high mixture seza rit. seza rit. â â â (gliss.) ƒ ç ç ç ç â ä â 5
oh : (RCL Year, Let) II. he Woma at aco s Well (or S, cello, ad orga) ext: oh D. horurg* Music: Steha Casurella Sorao q = ca. 5 (sultry) 5 lto 5 eor 5 ass Solo He oco oco 5 iolocello q = ca. 5 (sultry) - - soke to her at a -co s ell. It as or - id -de, such a - 5 Orga q = ca. 5 (sultry) lute(s) ' legato 5 5 lutes 16', ' 5 Duratio = ca. ' 0" *ext 00 y oh D. horurg. Used y ermissio. 5
6 5 (utti) oco oco 5 (utti) It must ot It must ot e... oco e... It is ot It is ot oco 5 5 - thig. he air as thick; a sti -lig og. lc. 5 -. - 6 5 5.. - - + celeste oco oco 5 55
10 oco - doe... doe... he truth is he truth is lai... he ay is oco lai.... - he ay is clear... clear... lc. - - 10.. 56
1 5 ochiss.. 5 Give me a ochiss. drik.... 5 Give me a ochiss. drik.... semre 5 Give me a utti ochiss. drik.... d e - ve so, he soke. Give me a drik... lc. 5-1. 5...... 5 celeste... 5 57
17 - - 5 hese ere the thresh -old ords; the 5 5 5 lc. - oco. izz. 5 17 Solo (', /', 1 /5') ' oly.. 5 5 5 5
5 5. ords that o-eed i - dos so the reath o lie could e - ter 5 5 5 5 5 5 lc. 5 5 5 5. 5 5 5 5... Solo (', /', 1 /5') take loest otes i edal as eeded (couled rom accomayig maual, ithout 16') 59
6. i. oco iù aimato She could have led, e - - il-dered, e- - She could have led, e - il-dered, e- She could have led, e - - il-dered, e- - She could have led, e - il-dered, e- lc. oco iù aimato 6.... oco iù aimato add (+ ')..... 60
0 - - - il -dered y the old - ess o the Ra - - - - i s ords. il -dered y the old - ess o the Ra - - - - i s ords. il -dered y the old - ess o the Ra - - - - i s ords. il -dered y the old - ess o the Ra - i s ords. lc. 0..... 61
rit. al ut some -thig i his ho -es-ty oco said, lc. rit. al.... rit. ' + celeste legato al. 6
9 emo I 5 Stay. 5. Stay. he las o 5 a - ture ere u- Stay. 5 Stay. lc. emo I (izz.) 5 9 emo I. Solo (', /') lute '.. 5 5 5 6
5 6 5 5 6 o sight re- 5 chaged. No a - ter i - to ie, o sight re- 5 6 5 5 6 5 lc. 5. 6. 5 5 5 6 6.. 5 5 5 6 5 6
7 5. 6 5 stored.. d yet a mir - a -cle, a 6 5 stored. d yet a mir - a -cle, a 6 5 d yet a mir - a -cle, 6 d yet a mir - a -cle, a lc. 5. 6 7 5 5 5 Solo (', /', 1 /5').. take loest otes i edal as eeded (couled rom accomayig maual, ithout 16'). (add)... < <.. 6 6 6 65
50 6 6 mir - a -cle, mir -a -cle oc - curred. 6 mir - a -cle, mir -a -cle oc - curred. 6 mir - a -cle oc - curred. mir - a -cle, mir -a -cle oc - curred. lc. 50 6. (add). 6 6 + mixture.. arco. -. mixture. 6 - - <. - -. - 66
5 6 6 6 6 lc. iteso - - - 6 -. 5... 6 6 Ṗ (reduce). - -. 6 -. ṗ - 67
57 oco rit. a temo Solo he thirst-y lc... oco rit. a temo - - 57 π ' + celeste oco rit. a temo lute(s) ' - 6
6 5 5 5 5 - - ra - i re - de - ied the scoe o love. d lc. - 5-6.. 5.. legato 5. 5 69
65 lc.. - oud - a-ries oce see as irm gave ay to a -o-ram - ic. vies. 65...... add oudatio(s) '. 70
69 oco 5 - he og dis he og dis - - oco 5 5 ersed, the air as resh ad. - ersed, the air as resh ad 5 lc. - 5 69. reduce to lute ' (o celeste) 5 5 oco 5 71
7 raquillo e. e. Solo ochiss.. resh ad lc. - raquillo - - 7. raquillo...... ochiss. 7
76 rit.. lc. e. - rit. - oco π ȯ. sul G 76...... rit. π.. 7
oh 9:1 1 (RCL Year, Let) III. he Ma or lid (or S ad orga) ext: oh D. horurg* Music: Steha Casurella Sorao q = ca. 11 (militat) lto eor ass Orga q = ca. 11 (militat) ricial chorus to mixture ƒ + reed ' (eclosed divisio) ricials 16', ' (mauals couled) Duratio = ca. ' 0" *ext 00 y oh D. horurg. Used y ermissio. 7
5 5 5 5 5 5.......... 5 5...... 5.. 75
9 hey said that hey said that hey said that lid - ess as a lid - ess as a lid - ess as a si. si. si. hey said that lid - ess as a si. 9.. - -... -. 76
1 hey uilt a hey uilt a hey uilt a or - tress or their or - tress or their or - tress or their truth, truth, truth, the, the, the, hey uilt 1... a or - tress or their truth,.. the,...... 77
17 ƒ stad-ig o the mas-sive alls, stad ig o the - - mas sive alls, ƒ they lug the ƒ they stad-ig o the - mas sive alls, they lug the ƒ 17 stad-ig o the mas-sive alls,.... ƒ. they.. 7
1 ques -tios o their trou -led mids. lug the ques-tios o their trou -led mids. ques -tios o their trou -led mids. he oe they he oe they he oe they lug the ques -tios o their trou -led mids. he oe they 1........ 79
5 scored ke o - ly this: I oce as scored ke o - ly this: scored ke o - ly this: I scored ke o - ly this: 5...... 0
rit. al q = ca. (simle) 5 lid, ut o I see. 5 as lid, ut o I see. 5 oce as lid, ut o I see. 5 as lid, ut o I see. reduce rit. al... legato quiet oudatio(s) ' q = ca. (simle) 5 5. lutes 16', '. 5 1
1 5 Solo he 5 5 5 1 5. 5. 5..
5. oe called e - sus took some mud ad sread it o my eyes, the 5....
9. 5 set me o my ay to seek Si -lo - am s ool. 5 5 5 9.. 5 5. 5
5 utti.. 5 d he I ashed. 5 d he. I d he I 5 5... 5 Solo (reed '). 5.. 5
Ḟ I. ashed. ashed I I I sa sa i real sa i real the thigs time ad sace time ad sace my the the mid thigs my mid thigs my mid had had had sa i real time ad sace the thigs my mid had..... 6
5 5 dra. 5 dra. 5 dra. 5 dra. 5 5 5.. 5. 7
56 oco rit. q = ca. 11 (militat) 56 oco rit... q = ca. 11 (militat) ricial chorus to mixture + reed ' (ox closed) Solo (reed '). ricials 16', ' (mauals couled)
61 61 9
S 6 6...... 90
66 5 5 5 5 66...... 5 5.. 5 91
69 5 5 5 5 o those e -cased i ear this sim-le seech as o those e -cased i ear this sim-le seech as o those e -cased i ear this sim-le seech as 5 5 5 5 o those e -cased i ear this sim-le seech as 69 5 5 Ṗ... 5 5... 5.. 5. 9
7 ar - rat or a ig-ger all. heir ques -tios ar - rat or a ig-ger all. heir ques -tios ar - rat or a ig-ger all. heir ques -tios 7 ar - rat or a ig-ger all. heir ques -tios....... 9
76 ƒ thu -dered o: thu -dered o: Ho ƒ dare you, ho ƒ Ho dare you, dare you, ho ho thu -dered o: Ho dare you, ho ƒ dare you, ho 76 thu -dered o:.... ƒ. Ho.. dare you, ho...... 9
1. dare dare. dare you try to you try to you try to lec-ture us lec-ture us lec-ture us dare you try to lec-ture us 1......... Ḟ....... 95
5 5 5 5 5 his his his 5 5 5 5 dra -ma still u -olds to- dra -ma still u -olds to- dra -ma still u -olds to- his dra -ma still u -olds to- 5... 5 5.... ṗ. 5 5. 5... 5 96
9 day, day, day, ad ad ad 5 5 5 5 or - tress uild - ers o all or - tress uild - ers o all or - tress uild - ers o all day, ad or - tress uild - ers o all 9..... 5 5.. 5 97
9 aiths aiths aiths aiths re re cer tai cer tai - treat i - to their cer -tai -ty. re -treat i - to their - -ty. - treat i - to their - -ty. re -treat i - to their cer-tai -ty. 9....... 9
96 rit. al 96...... reduce rit. legato al.. 99
99 q = ca. (simle) 5 5 5 5 99 q = ca. (simle) quiet oudatio(s) ' 5 5.. lutes 16', '. 5.. 100
10 Solo ut. God,.. ho ev-er slees, ho kos the hairs u - o our heads, ho 10.... 101
10... ses - es all our hoe ad ai, is dig - gig i the mud, (utti) (utti). i the is dig - gig i the (utti) i the 10... 10
11 utti ( ). oco mud, re ( ) re ( ) - ar -ig to a - - ar -ig to a - oit the eyes o oit the eyes o all oco all oco ho ho mud, re ( ) - ar -ig to a - oit the eyes o all oco ho mud, re - ar-ig to a - oit the eyes o all ho 11 add.... 10
116 5 log or log or sight. sight. 5 5 log or sight. 5 log or sight. 116 5 5. reduce Solo (reed '). 5.. 10
10 rit. 10 rit.... π.. 105
oh 11:1 5 (RCL Year, 5 Let) I. he Raisig o Lazarus (or S ad strig quartet) ext: oh D. horurg* Music: Steha Casurella Sorao q k = ca. 50 (mourul) 9 lto 9 eor 9 ass 9 ioli I ioli II iola iolocello q k = ca. 50 (mourul) 9.... molto sost. 9 9 9..... molto sost.. molto sost.. molto sost... Duratio = ca. 5' 15"....................................... *ext 00 y oh D. horurg. Used y ermissio. 106
6.. I - o - ly, i o - ly, i -.. - - I o - ly, i o - ly, i l. I 6 izz......... l. II la....... lc............. 107
10 -. o - ly you had ee. here...... O.. -.... O o - ly you had ee here... O.. O l. I 10........ l. II...... la.. izz... lc............. 10
1 -.. Mar - tha, O Mar - tha, O Mar - tha, ho you seak or -.. Mar - tha, O Mar - tha, O Mar - tha, ho you seak or -.. Mar - tha, O Mar - tha, O - -.. -. - Mar - tha, O Mar - tha, O Mar - tha, ho you seak or. -. -. - - - Mar tha, ho you seak or - l. I 1...... l. II... la....... lc.......... 109
17.... us!.. us! us!.. us! l. I l. II la. 17. arco............ lc.......... 110
0.. I - o - ly, i o - ly i -.. - - I o - ly, i o - ly i l. I 0........ l. II la. izz... arco. -. izz... arco -. izz........ lc............. 111
π -.. o - ly...... π -..... o - ly... l. I l. II la. arco.. arco.............................. lc............. 11
9... 6 9.... Whe. Whe 6 6 sor - ro is a thu - der-storm that. sor 9 - ro, sor - - - - -.. 9.. ro. Whe sor - ro, sor - ro 6 9 l. I 9 6 9 l. II la.. π. 6 6 9 9 lc.. π.. 6 9 11
loods the ath e hoed to.. loods the ath e.. alk,. alk,....... ho... ho... loods the ath e.. alk,.. ho e hoed to alk, l. I.. l. II la. lc........... 11
5. o -te e ex - ress our ai ad sig -al the em - race e...... oco o - te e ex - ress our ai ad sig - al the em-...... 1 1 1 o - te, our ai ad sig - al, em-........ 1 our ai e l. I l. II 5........ 1 1 la. lc............. 1 1 115
1.. 9 -.. -.. 1 1 1 eed,. y. race e eed, y... race e eed, y.. eed, y 9 9 9 cry - ig, y cry - ig our com- -.. cry - ig, y cry - ig our com- -.. cry - ig, y cry - ig our com- -.. -.. -. cry - ig, y cry - ig our com- -.. l. I 1.. 9 -.. -.. l. II la. lc. 1 1 1........ 9 9 9 -. -...... -. -.... 116
1 ḟ.. ƒ.. lait..... I ƒ lait. ḟ.. I ƒ.. lait... I ƒ.. lait. I l. I 1. ƒ.... l. II la. lc.............. ƒ. ƒ. ƒ......... 117
5 - -. 6-9 o - ly, i o - ly you had ee - - 6 here, had ee - 9 o ly, i - - - o ly you had ee -. 6 here, had ee - 9 - o - ly you had ee o ly, i - - 6 here, had ee - 9 o - ly, i o - ly you had ee here, had ee l. I 5... 6 9 l. II.. 6. 9 la.... 6. 9 lc....... 6.. 9 11
9.. here... 9.. here... 9.. here... 9.. here... l. I 9... izz..... π. l. II la. 9 9..... - - -.. π lc. 9.. izz.......... 119
5..... Col Col - lect -ig eve - ry ouce o. - lect - ig eve - ry... Col.. 1 1 1 1.. hoe she had, she.. ouce o hoe she. - - - lect - ig hoe she... Col - lect - ig hoe she l. I 5 1 l. II 1 la..... 1 lc.. π. 1 10
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57 9.. 1 ask. 9.. 1 ask. 9.. 1 ask. 9.. 1 ask. l. I 57 9... 1 l. II 9...... 1 la. lc. 9 9............. 1 1 1
60 1 1 9 9... d... -.. Christ, ot -.. 6 6 1 9 d... d Christ, ot. Christ, ot 6 1 9 6 l. I 60 1. 9. 6 l. II la. lc. 1 1 1....... 9 9 9... 6 6 6 1
6 6 6 6 6 dea to her com. dea to. dea to 1 1 1 1... - lait, ad ot im-mue to sor-ro ad... her com -lait, ad ot im -mue to... her com -lait, ad ot im - mue to............. to ad ot im - mue to l. I l. II la. lc. 6 6 6 6 6 1 1 1 1................ 1
66..... 9... tears,.... u. - locked, u- 9... tears,.. u... - locked, u- 9... tears,.... u. - locked, u- 9... tears, u - locked, u- l. I l. II la. lc. 66.............. 9 9 9 9.. -.... -. 15
69.. Warm.. locked the door o.. death... locked the door o.. death... locked the door o.. death. ḟ.. locked the door o death. l. I l. II 69.. Warm............... la............ lc.. -.......... 16
7.. -.. I Christ, i.. -.. I Christ, i l. I l. II la. lc. 7............ izz..................... 17
77 Christ the door is o - e. still.... He.... Christ the door is o - e still. He l. I 77...... l. II...... la.. lc.......... 1
0 is the res - ur - rec - tio ad the.. the is the res - ur - rec -.... ochiss. rit.. res - ur - rec -tio ad the. tio ad the. a temo. lie... lie. lie...... He is the lie. l. I l. II la. lc. 0... izz....... ochiss. rit.......... a temo... arco.... -....... 19
rit. l. I l. II la. lc.. -...... π π -.. -... izz.. π π... rit........... arco...... 10
oh 1:1 (RCL Year C, 5 Let) oh 1:1 11 (RCL Years,, ad C, Moday o Holy Week). he oitig at ethay (or S, violi, ad orga) ext: oh D. horurg* Music: Steha Casurella Sorao q = ca. 69 5 5 lto 5 5 eor ass 5 5 He as so He as so 5 5 et et o seem-ig o seem-ig ioli Orga 5 q = ca. 69 5 5 itig.... -.... -.... light oudatios ', '.... o legato 5 5 5.. 5 5 Duratio = ca. ' 0" *ext 00 y oh D. horurg. Used y ermissio. 11
6 5 5 ust, ust, so kee to so kee to 5 5 oco shame, so oised to oco shame, so oised to lame, lame, that he the that he the l. 5 6 5 5 5 1
9 5 5 5 5 ce - sure crossed his lis, the 5 5 Lord as quick to. seak.. 5 5 ce - sure crossed his lis, the Lord as quick to seak. l. 5 5 9 5 5.. 5 5 5 5 1
1 5. 5 5 Leave her a Leave her a - loe, the Sav-ior - - loe, the Sav ior said,. said,. 5 Leave her a - loe, the Sav -ior said,. Leave her a - loe, the Sav -ior said, l. 1 5 -.... 5 5.. -.... Ḟ...... o legato 5 oudatios 16', '.. 1
1 re -er -rig to the re-cious oe. hose oco hair as moist ith oco the re -er -rig to the re-cious oe re - cious oe oco moist ith moist ith hose hair ith l. - 1 oudatio(s) ' or lutes ', ' legato. 15
1 oco scet -ed oil, hose heart as ure ad u - a - scet - ed oil, ho as ure ad u - a - oco oil,. hose oco heart as ure ad u - a - oco raid. raid. raid. l. scet - ed oil, ure ad u - a - raid. teder 1 lute ' legato. 16
l.... iù iù 17
9 5 5 5 5 l. itig -.... 5 -.... -........... 9 Ḟ ricials ', ', '. 5 5...... '. 5... 1
5 7 5 7 5. 7 e -tray -ers live to lie, ad so he did. a- 5. 7 e -tray -ers live to lie, ad so he did. a- l.... o legato light oudatios ', '.. 5 5 5.... 7 7 7. 5 7 19
7 7 7 7 thet - ic to the ver - y a - y - thig he core, he graed at thet - ic to the ver - y core, he graed at a - y - thig he l. 7 7 7... 7 10
1. His deeds dis- His deeds dis- could.. His deeds dis - could. His deeds dis- l.. ḟ 1...... + mixture.. 11
. 5 tort - ed all his ords.. 5 tort - ed all his ords.. 5 tort - ed all his ords.. 5 tort - ed all his ords. l...... 5 -.... -..... l.. mixture o legato 5 5. -. - (reducig) 5. -. 1
9 -oit-ers live to less, to oit the ay to to -oit-ers live to less, to oit to ṗ to l.. l.... - 9. -.. -. legato oudatio(s) ' -.. 1
5. ur - ose ad to grace, ad i her te-der act she ur - ose ad to grace, i her te - der ur - ose ad grace, ad i her ted-er act she oit - ed.. ur - ose ad to grace, she l. 5... 1
57 oit -ed to hat lay e-yod the clam - act to hat lay e - yod the clam - or or o that o that hour. hour. to hat lay e - yod the clam - or o that hour. l. oit - ed e - yod the clam - or calmato o that hour.. - 57 15
6 l... agitato 5 6 16
67 l.. -... 67 + '.. (addig).... 17
71 oco meo mosso U U U hushed d he hushed he d he U he l. 71. + mixture -. ƒ æ ß. oco meo mosso oco meo mosso U U. - ḟ. U -.. U 1