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If you would like to see this work in its entirety, please order online or call us at 800-647-2117. No. 6280|Kyr|Alleluia for Peace|SATB (divisi) Alleluia for Peace for SATB Chorus (divisi) unaccompanied

Alleluia! Robert Kyr Dona nobis pacem!

Andante q = 60-63 pp distant pp Soprano 1        Soprano 2                 Al - le - lu - ia,  Al -

pp distant pp Alto 1  Alto 2                        Al - le - lu - ia,  Al - pp distant pp p Tenor 1   Tenor 2                     Al - le - lu - ia, al - le - lu - ia, pp distant pp p Baritone    Bass                   Al - le - lu - ia,  al - le - lu - ia,

Andante q = 60-63      Keyboard                 (for          rehearsal only)                                  * The sounding women’s voices and the sounding men’s voices appear in the treble and bass staves respectively throughout.

Robert Kyr Robert Kyr (b. 1952) has composed ten symphonies, three chamber symphonies, three violin concerti, and numerous works for vocal ensembles of all types. Several compact discs of his music are available: Violin Concerto Trilogy (New Albion NA126), Unseen Rain (New Albion NA075), vocal music for Ensemble Project Ars Nova; The Passion According to Four Evangelists (New Albion NA098) for soloists, chorus and orchestra (Back Bay Chorale; Beverly Taylor, conductor); and two discs recorded by Tapestry--Celestial Light: Music by Hildegard von Bingen and Robert Kyr (Telarc 80456), and The Fourth River: The Millennium Revealed (Telarc 80534). He has received commissions through Meet the , National Endowment for the Arts, Paul G. Allen Foundation, Chamber Music America, Chase Foundation, Telarc International, Oregon Humanities Center, Scottish Arts Council, the Canada Council, San Francisco Symphony, New England Philharmonic, and Hopkins Arts Center (Dartmouth),Copying among others. Kyr holds degrees from Yaleis University illegal (B.A., 1974), University of Pennsylvania (M.A., 1978), and (Ph.D., 1989). Currently, he teaches at the School of Music, where he is chair of the composition department. In addition, he is the director of the Oregon Bach Festival Composers Symposium, Music Today Festival, and the Vanguard Concert and Workshop Series. Robert Kyr can be contacted at . The music of Robert Kyr is publishedReview exclusively by Ione Press, a division ofcopy ECS Publishing, Boston, Massachusetts.only © Copyright 2008 by Ione Press. A division of ECS Publishing, Boston, Massachusetts. All rights reserved. Made in U.S.A. 2 6 p pp pp mp n                                  - le - lu - ia,  al - le - lu ia,  p pp pp mp n                                  - le - lu - ia, al - le - lu - ia,  pp pp p n pp                           al - le - lu - ia, al - le - pp pp p n pp                              al - le - lu - ia,  al - le -                                                                                       

11 pp mf n mp                            al - le - lu - ia,  al - le - lu - mp pp mf n                           al - le - lu - ia, al - le - lu - mp n pp mf n                              lu - ia, al - le - lu - ia, mp n pp mf n                            lu -Copyingia, isal - illegalle - lu - ia,                             *      *                           Review    copy   only                       * The parenthetical notes and voice leading lines that custimarily appear in rehearsal keyboard parts to indicate unison notes and voice crossing do not appear in this edition. The use of divisi writing and voice crossing is too extensive and the notation would become too cluttered. 3 16 f pp p mp p mp mf p S 1                        ia, al - le- lu - ia, al - - le - lu - ia,

f pp p mp p mp mf n S 2                      ia, al - le- lu - ia, al - - le - lu - ia,

f n p mp p A 1                     ia, al - le- lu - ia, al -

p f n p mp A 2                 ia, al - le- lu - ia, al - p mp mf p p mp T 1                        al - le- lu -ia, al - - le - lu - ia, p mp mf n p mp T 2                    al - le- lu -ia, al - - le - lu - ia, p mp p B 1                al - le- lu - ia, al-

p mp p B 2                 al - le- lu - ia, al-

                                                                                            Copying is illegal  Review copy only 4 20 f S 1  S 2                    molto al - le - lu - mp mf n, mp mf f n A 1    A 2                               - le - lu - ia, al - le - lu - ia, mp mf f n T 1  T 2                       al - le - lu - ia, mp mf n f  B 1               B 2                         - - - le - lu - ia, al - le - lu -                                                                                             

p mf mp 24 p                  ia, p mp p mf mp al - le - lu - ia, p                             al - le - lu-ia, al - le - lu - ia, al - le - lu - p mp p mf mp p

                              al - le - lu-ia, al - le - lu - ia, p mp mf mp al - le - lu - p           Copying    is  illegal          ia, al - - le - lu - ia,          Review     copy     only                                                                               molto rit. 5 pp p mp mf f più f 28 3                                               3 al - - - - le - lu - - ia, al - le - lu - mp p mp n                               ia, al - le - lu - ia, mp p mp n                            ia, al - le - lu - ia, pp p mp mf f più f

3                                                    3 al - - - - le - lu - - ia, al - le - lu -                                                molto rit. 3                                                        a tempo 3 32 ff pp tenderly n mp                               ia, al - le - lu - ia,  al - pp tenderly n p mp p                                 al - le - lu - ia, al - le - lu - ia, pp tenderly n p mp p                              al - le - lu - ia, al - le - lu - ia, ff pp tenderly n mp                      Copying  is illegal    ia, al - le - lu - ia, al - a tempo                                        Review     copy   only                                                     