REQUIEM: AN ORIGINAL COMPOSITION FOR CHOIR,

SOLOISTS, AND CHAMBER WIND ENSEMBLE

A DISSERTATION

SUBMITTED TO THE GRADUATE SCHOOL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE

DOCTOR OF ARTS

BY

STEPHANIE R. KISSELBAUGH

DISSERTATION ADVISORS: DRS. ANDREW CROW AND ELEANOR TRAWICK

BALL STATE UNIVERSITY

MUNCIE, INDIANA

DECEMBER 2018

CONTENTS

ACKNOWLEDGEMENTS ii

Chapter 1. Introduction 1

Chapter 2. A Brief History of the Requiem Mass 5

Chapter 3. Text Setting Conventions 15

Chapter 4. Formal Structure 38

Chapter 5. Genesis of the Kisselbaugh Requiem 71

Chapter 6. Analysis of the Kisselbaugh Requiem 83

Chapter 7. Performance Considerations and Conclusion 101

BIBLIOGRAPHY 107

APPENDIX 1: MUSICAL SCORE OF Requiem 109

Introit 111

Kyrie 129

Tract 143

Sequence Dies irae 149 Quid sum miser 162

Pie Jesu 188

Sanctus 195

In Paradisum 213

Agnus Dei 223

Libera me 237

APPENDIX 2: Movements Included in Selected Requiems 255 ACKNOWLEDGEMENTS

This dissertation is the culmination of a lifetime of music. Music has always been an important aspect in my life and all of my earliest memories include music in some way. Music has always been there as a source of joy and comfort. I am truly lucky that I was encouraged along this path that I chose to take.

First, I want to thank my committee co-chairs, Drs. Andrew Crow and Eleanor Trawick.

Both have taught me so much and encouraged me to keep working, even when I wanted to stop.

They have put a tremendous amount of work into assisting me with this project and I could not have finished without their guidance. Dr. Jody Nagel mentored me during the composition process of Requiem and has always made me feel like I was doing amazing work. Drs. Linda

Pohly and Heidi Jensen also provided valuable input and helped keep in on track.

I have been lucky enough to have worked with some amazing mentors since I started composing: Drs. John Steffa, Keith Kothman, Vera Stanojevic, Amy Kaplan, and Elliott

McKinley. Thank you all.

Most important, I must thank my family. First, to those who are not here to see me finish this: my dad, Mark Dettro, and my grandmother, Winifred Dettro. I love you and miss you every day. My mom, Nancy Heller, is the ever-present cheerleader who has supported me from the beginning. You are the strongest, most amazing woman I know. To the rest of my family, especially my grandfathers, Harlan Heller and Roger Dettro, my brother, Kyle Dettro, and my sister, Heather Felton, who encouraged me and reminded me how proud they are of me, thank you so much. My husband, Kinley, has been a part of my life since 2001. Thank you for all of your unwavering love and support, through the good and bad, and especially for pushing me to finish.

I love you more each day. Finally, my daughter Annabelle, for whom I strive to be a better person each day. I cannot wait to watch you grow up. ! "!

Chapter 1

Introduction

Choral music has always been a part of my life. My family often jokes that I could sing before I could talk. Some of my earliest memories are of listening to the choir at my church and wanting to be a part of it. I was one of the youngest people to join my church choir and, after that, I always found a way to sing or experience choral music. As a child I took piano lessons and I played oboe and percussion in high school, but none of those experiences impacted me as much as being in choir did. As a composer, I wrote several choral and vocal works including

“Another Day Goes By” (2010) for eight-part choir and piano; “How Lang and Dreary is the

Night” (2009) for tenor, violin, and piano; and “The Fall Out” (2008) for eight-part choir. I also focused on writing some instrumental works for large and small ensembles such as “Trekking”

(2013) for wind ensemble, “Zephyranthes” (2012) for chamber ensemble, and “Beautiful Chaos”

(2012) for saxophone quartet.

I have had a fascination with and a fear of death as long as I can remember, and I did not want to attend any funerals for this reason. My father’s funeral, in 2008, was the first I attended since I was a child. His death affected my life in many ways, not only from losing someone so suddenly, but also because it put me up against one of my greatest fears. I chose to write a

Requiem because I have come to realize that the music is only partly for the deceased—it is also for the living. The death of a loved one often reminds us that death is the one thing that all living things have in common. As Robert Chase states in his book Dies Irae: A Guide to Requiem

Music : ! "!

Since time immemorial, the response of the living to this natural occurrence is to commemorate the life of the departed through ceremonies and rituals, both formal and informal, as fitting to the circumstances. Throughout history, music has played a significant role in the various rites of passages observed to sanctify this journey from life to death. 1

As a choral singer, I gained inspiration from several of the compositions I performed, and this is especially true of the requiem genre. The first Requiem I performed was the Requiem , K.

626, by Wolfgang Amadeus Mozart. As an undergraduate student the genre immediately intrigued me. When I had the opportunity to study more about the genre, I learned that it offered a greater compositional freedom than the mass with the opportunity to move or omit movements, which I appreciated as a composer.

As a singer, much of the music that I have performed is sacred, but I had never composed a sacred piece, so I wanted to change that with my dissertation. I began thinking about composing a Requiem when a teacher gave me an assignment to research Gabriel Fauré’s

Requiem , Op. 48, and I fell in love with the work. Until that point, I was only aware of the more forceful Requiems, but Fauré’s example showed me that they could be soft and intimate, too.

Fauré also chose to omit movements, such as the Sequence, which epitomizes the requiem, and this gave me an idea for just how original I could make my own Requiem.

I scored Requiem (Appendix 1) for soprano, alto, tenor, bass (SATB) choir with some divisi; mezzo soprano, tenor, and bass soloists; and chamber wind ensemble with a four-person percussion battery. I chose to write for chamber wind ensemble because it is more intimate than a full orchestra and would allow me to take advantage of the timbral colors available within the

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham, MD: Scarecrow Press, 2006), xiii. ! "! wind ensemble. I included percussion in the ensemble because the percussion can provide varied timbres from which to choose. I knew that I wanted to add percussive elements to certain movements, especially the Sequence: Dies irae, and I wanted to be able to increase the emotion within the composition by inserting a tam-tam hit or a cymbal roll. The chamber wind ensemble calls for flute, oboe, clarinet in B-flat, bass clarinet, bassoon, horn in F, trumpet in B-flat, piccolo trumpet, euphonium, tuba, marimba, xylophone, vibraphone, tubular bells, tam-tam, bass drum, snare drum, suspended cymbal, brake drum, and five tom drums. The ensemble has a few peculiarities such as using the piccolo trumpet for one solo section and a euphonium rather than a trombone per my personal timbral preferences.

In order to become more familiar with the requiem genre, I knew that I wanted to look at a several Requiems that cover a variety of styles and time periods. Mozart’s Requiem is a staple of vocal music and the earliest Requiem to reach audiences beyond the liturgical setting. I knew I had to include the Fauré Requiem because it was the catalyst for me to write a Requiem. I then chose Luigi Cherubini’s Requiem in C Minor to bridge the historical gap between Mozart and

Fauré. I chose Benjamin Britten’s War Requiem next because I had studied a few of the movements, and I wanted to incorporate a work that had both traditional and modern elements.

Finally, I picked two more Requiems from the twentieth century: Christopher Rouse’s Requiem and John Tavener’s Requiem . I was not familiar with either work, but I knew of these composers and, after studying their Requiems, decided that each had elements that I could draw from.

The requiem genre is so vast that studying only six scores does not provide a comprehensive survey of the genre. I knew I could not examine the whole history of the requiem in this dissertation, but I also wanted to mention more than just the Requiems of Mozart,

Cherubini, Fauré, Britten, Rouse, and Tavener. Before providing detailed analysis of these six ! "! examples in chapters 3 and 4, chapter 2 provides a brief history of the requiem and mentions some of the most important Requiems throughout history. These works show just how varied and how extensive the genre is and how it evolved over time. ! "!

Chapter 2

A Brief History of the Requiem Mass

The use of music to lament the dead and console the living has an extensive history. “The antecedents of the Medieval and Renaissance Mass for the Dead are to be found as far back as the flourishing Egyptian civilization in the third millennium B.C.” 1 Mass services for the dead can be found in sources from the second century of the current era, such as the Apology of

Aristides and the Acts of John , and scholars agree that “masses for the dead have been celebrated by Christians since the earliest recorded history of the Church.” 2 Originally, a Requiem Mass was a Mass “appointed by the Roman Church to be sung on the day or anniversary of the death or burial of a Christian, and also on the third, seventh, or thirtieth day after the burial” 3 as well as on All Souls’ Day (November 2) to honor all those who have passed away.

A Requiem Mass is often referred to as a Missa pro defunctis or “Mass for the dead.”

“The name requiem is derived from the first words of the opening introit, Requiem aeternam.4

The liturgical form, requiem mass, is recognized under a host of names: Missa pro defunctis

(Latin), Missa de defunti (Italian), Misa di defuntos (Spanish), Messe des morts or Messe funèbre

(French), and Totenmesse or Trauersmesse (German).” 5 The order for the movements typically

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Harold T. Luce, “The Requiem Mass from its Plainsong Beginnings to 1600” (PhD diss., Florida State University, 1958), 1:1. 2 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham, MD: Scarecrow Press, 2006), xv. 3 Ron Jeffers, Translations and Annotations of Choral Repertoire : Vol. 1 Sacred Latin Texts (Corvallis, OR: Earthsongs, 1988), 62. 4 The English translation of Requiem aeternam is “Eternal rest.” 5 Chase, Dies Irae , xv. ! "! follows that of the Mass plus two added movements at the end: Introit, Kyrie, Gradual, Tract,

Sequence, Offertory, Sanctus and Benedictus, Agnus Dei, Communion, Responsory (Libera me), and Antiphon (In paradisum). However, “[the Requiem Mass’s] liturgical order is not always observed by composers in their musical settings; movements are sometimes omitted entirely, or combined in part with other movements, or repeated for musical purposes. These choices always offer insights into the ways a particular composer is thinking musically, theologically, and philosophically and are well worth careful attention.” 6

Because the requiem has close ties to the Ordinary of the Mass, many of the compositional practices associated with the Ordinary bled over to the requiem, especially in the shared movements such as the Kyrie, where composers tend to set the text Christe eleison to be “more intimate than the surrounding Kyrie statements, often by reducing the choral forces.” 7 Often given delicate and sweet settings, composers in the late eighteenth and early nineteenth centuries set the Kyrie and Agnus Dei against the penitential tone of the texts while many composers from the late nineteenth and twentieth centuries responded to the penitential texts by employing more sorrowful musical settings.

In music, the contradiction [between art and religion] is felt at its most acute in the opening and closing sections of the mass: if music is essentially celebrative, these sections should be brilliant and imposing; if expressive, then quiet and pleading in character. The celebrative tradition is the older one, but while it remained a powerful force in practice, it had long ceased to influence aesthetic theory by the 1700s; the eighteenth century is filled with complaints of unnaturally brilliant and inaptly jolly settings of the Kyrie and Agnus Dei .8

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 6 Jeffers, Translations and Annotations , 63. 7 Melvin P. Unger, J.S. Bach's Major Works for Voices and Instruments: A Listener's Guide (Lanham, MD: Scarecrow Press, 2005), 105. 8 Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven, Expanded ed. (NY: W. W. Norton, 1997), 367. ! "!

The Requiem Texts

The texts for the requiem have a fairly long and sometimes complicated history and were not standardized until the Council of Trent (1545-1563). As in any Mass, the movements of a

Requiem Mass belong to either the Proper—texts that change according to the day or season—or the Ordinary—texts that stay the same for every mass. The Kyrie, Sanctus, and Agnus Dei are parts of the Ordinary while the Introit, Gradual, Tract, Sequence, Offertory, Communion, Libera me, and In paradisum are all parts of the Proper. The Introit is a chant that the priests sang during the procession as they walked up to the altar. The chant dates back to the third century. “Its opening lines are based upon a passage from the Apocryphal Fourth Book of Esdras (2:34-35), a book considered canonical until the late fifth century. The verse, Te decet hymnus in Sion , are the words of Psalm 64 (65) [sic ]: 1-2.” 9 The Kyrie text is actually Greek and can be dated back to antiquity:

This acclamatory supplication… is found in pagan antiquity and in the 4th century Jerusalem. In the 5th century Pope Gelasius I (492-6) substituted a litany for the common Prayer of the Church and the Greek form was retained as the people’s response. The litany was then moved to the beginning of the Mass, retaining the Greek form, κυριε ελεησον (kyrie eleison ), as it still does today. The second portion ( Christe eleison ) was added by Pope Gregory I (d.604). 10

Originally meant to be performed by a soloist, the Gradual dates back to the ninth century and had embellished passages meant to allow the singer to demonstrate his technique. The purpose of the Gradual is to comment on the liturgy’s lesson, and it consists of two verses. “The

Tract, Absolve, Domine , was originally sung after the second Epistle. The text of the Tract is usually a portion of a Psalm text, but in the requiem the text is not taken from the Bible. The

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 9 Chase, Dies Irae , 2. 10 Jeffers, Translations and Annotations , 66. ! "! elaborate, melismatic passages of chant indicate that the music of the Tract is an important, early form of solo performance.” 11 The Sequence text was the last to be inserted into the requiem, and evidence suggests that it dates to the thirteenth century, though its origins can possibly be traced back to the twelfth century. In its beginnings, the Sequence could be almost any syllabic text until the reforms of the Council of Trent decreed what texts could be used.

During the Offering, or when congregants bring forward tithes and gifts, the church musicians sing the Offertory. While the text comes from Psalms in other Masses, Ron Jeffers points out that in a Requiem “the text for the Offertory was formerly a prayer that was recited for the sick who were about to die; it was later adopted into the Requiem Mass for the Dead.” 12 The

Sanctus takes a segment of a prayer from Isaiah 6:3. The Benedictus text comes from the Gospel of Matthew 21:9. Like the Kyrie, the Sanctus was originally sung by the congregation, though the church choir commonly sings it now. “The ringing of bells, used during the elevation of the

Host, seems to have been introduced as far back as the thirteenth century. ” 13

The Agnus Dei text in the Mass Ordinary is Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. (Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God who takes away the sins of the world, grant us peace.) In the requiem, the words miserere nobis are replaced by dona eis requiem or

“grant them rest,” while the words dona nobis pacem are replaced by dona eis requiem sempiternam or “grant them eternal rest.” The Agnus Dei text “has been associated with

Christian worship since the earliest days of the Church.” 14 The antiphon Lux aeterna followed by

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 11 Chase, Dies Irae , 3-4. 12 Jeffers, Translations and Annotations , 79. 13 Chase, Dies Irae , 8. 14 Chase, Dies Irae , 8. ! "! a repetition of the verse Requiem aeternam makes up the Communion text. “The Communion of the Requiem Mass holds a special place in the history of the liturgy in that it preserves the custom of having a verse ( Requiem aeternam ) follow the antiphon, a practice retained elsewhere only in the Introit.” 15

There are also two additional movements that are “frequently set by composers as part of the Requiem which liturgically belong to the Exequiarum Ordo or Burial Rite: the first is the

Libera me (“Deliver me, O Lord”), a responsory which is sung after the Mass, before the

“absolution” of the corpse; and the second, the antiphon In paradisum (“May the Angels lead you into Paradise”) which is sung while the coffin is being carried to the grave.” 16 Composers commonly use the Libera me because it can be treated as a reprise of the Sequence and this is especially true, as pointed out by Ron Jeffers, for composers who make it the final movement of the requiem.

The Music of the Requiem

Music for requiem texts dating back as early as the eleventh century consist of monophonic chants for male voices. The plainsong tradition continued from the requiem’s beginning through the fifteenth century, when the first polyphonic Requiem was composed. “Liturgical requirements are fulfilled by plainsong performance, but along with the development of contrapuntal forms, polyphonic settings of the principal sections of the Requiem came into existence.” 17 In the thirteenth and fourteenth centuries, more composers began to set the requiem just as there was increase in masses that were not a part of the liturgical calendar. “This rapid growth was caused by the belief that offering prayers for souls in Purgatory was the most

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 15 Jeffers, Translations and Annotations , 83. 16 Jeffers, Translations and Annotations , 63. 17 Elwyn A. Wienandt, Choral Music of the Church (NY: Free Press, 1965), 105. ! "#! effective way of assisting those departed souls to attain their eternal glory.” 18

Guillaume Dufay most likely wrote the first polyphonic Requiem, though that work is lost.

The earliest existing Requiem is one by Johannes Ockeghem. While there are other examples of

Requiems during the Renaissance, it was not a particularly common genre in this era. In fact,

“there appear to have been less than forty polyphonic Requiem Masses composed in the two centuries between 1400 and 1600.” 19 One reason for this lack of frequency is the official restrictions on the use of a Requiem by the Catholic Church. “Another purely musical reason which may have contributed to the small number of Renaissance Requiems is to be found in the traditionally strict adherence to the liturgical cantus firmus as the only suitable basis for a polyphonic Mass for the Dead.” 20

During the later Renaissance, several of the major composers wrote Requiem Masses.

Orlando di Lasso and Tomás Luis de Victoria each composed two: Lasso in 1578 and 1580, then

Victoria in 1583 and 1603. Giovanni Pierluigi da Palestrina’s Missa pro defunctis is an odd work, because “the only section that sets it off from the daily Ordinary is the Offertory. Not only are the Introit and Communion absent, but Palestrina set none of the optional sections.” 21 The requiem’s popularity continued to grow through the Baroque era, with one setting each by

Heinrich Biber, Johann Joseph Fux, and Giovanni Battista Pergolesi, and three settings by Marc

Antoine Charpentier. The Classical Era brought Requiems by Johann Christian Bach, Johann

Michael Haydn, Antonio Salieri, as well as Wolfgang Amadeus Mozart’s Requiem in D Minor and Luigi Cherubini’s Requiem in C Minor , which I will discuss further in chapter 3.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 18 Chase, Dies Irae , 1. 19 Luce, “The Requiem Mass,” 1:63-64. 20 Luce, “The Requiem Mass,” 1:62. 21 Wienandt, Choral Music of the Church , 110. ! ""!

Until the nineteenth century, almost all composers wrote music for the requiem for liturgical use only. Many Romantic-era composers, however, chose to compose concert requiems, written for the concert hall rather than the church. These concert works often included very large ensembles, daunting lengths, and operatic vocal lines, all of which made the works inappropriate in a church setting. “During the nineteenth century, the traditional liturgical requiem had evolved into a new independent musical form—the concert requiem. The concert requiem was designed for performance in the concert hall and on the operatic stage.” 22

Almost every major composer of the nineteenth century composed a Requiem, making it one of the most important musical genres in Western music. Some composers, such as Anton

Bruckner, Gaetano Donizetti, Charles Gounod, Franz Liszt, and Robert Schumann, wrote fairly straightforward, liturgical Requiems. Hector Berlioz’s Grande Messe des Morts (1837) “is a titanic canvas of the Last Judgement. Its hybrid form employs elements of the requiem mass and grand opera.” 23 The work creates a sense of balance with exceptionally large, thunderous movements immediately followed by subdued ones. Charles Gounod, though listed above as composing liturgical Requiems, also composed the “grand Victorian oratorio, Mors et Vita , one of the most unusual works of the genre… Within this large work is contained a complete setting of the requiem text set in oratorio-opera style.” 24 When Giuseppe Verdi penned his Missa da

Requiem no one could imagine him as anything other than an opera composer, some even saying that it was an opera for the church. And indeed, “the Requiem differed in no fundamental way from his previous subjects; it was the musical representation of a drama, albeit a very special one, that called for a very special spiritual and intellectual perspective so as to evoke a similar

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 22 Chase, Dies Irae , 237. 23 Chase, Dies Irae , 245. 24 Chase, Dies Irae , 268. ! "#! one in the listener.” 25 The work mimics the style of Italian opera, with virtuosic solos, as well as duets and ensemble movements. In 1878, Camille Saint-Saëns completed his Requiem , Op. 54, one of his least-known works. The work has a quiet, more lyrical mood closer to that of Gabriel

Fauré’s, which will be discussed in greater detail in chapter 3. The work does have some unconventional aspects: “A common, operatic vocal style, recitative, is a rarity in the requiem settings of the nineteenth century, yet it was employed by Saint-Saëns.” 26 Antonin Dvo řak wrote his Requiem , Op. 89 for the Birmingham Music Festival of 1890 and conceived it as a concert

Requiem. “When he began to work, the form of the Requiem was of particular interest to him, and the result is one of his most beautiful, most mature and affecting works.” 27

This list, however, only covers Latin-text requiems. Heinrich Schütz composed his

Musikalische Exequien , Op. 7, in 1635, and it is likely the first setting of the Lutheran German

Requiem. Franz Schubert wrote his Deutsche Trauermesse in 1818—a work that musically draws greatly from the Lied with the German texts written by Johann Philipp Neumann who also commissioned the work. However, the most famous German Requiem is Ein Deutsches Requiem by Johannes Brahms. The texts for this Requiem all come from Bible passages, none of which mention Jesus Christ. “At the core of the traditional requiem is the Dies Irae , and its visions of the Divine Judgment, yet it plays no part in the message of Brahms’s music… When questioned about whom the work was written for, he replied that he had all humanity in mind.” 28

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 25 Kurt Pahlen, The World of the Oratorio: Oratorio, Mass, Requiem, Te Deum, Stabat Mater, and Large Cantatas , trans. Judith Schaefer (Portland: Amadeus Press, 1990), 320. 26 Chase, Dies Irae , 289. 27 Pahlen, The World of the Oratorio , 117. 28 Chase, Dies Irae , 539. ! "#!

The requiem mass has remained one of the favorite genres for composers and performers alike through the twentieth and twenty-first centuries. These Requiems have occasionally supplanted the majority of the Latin text and inserted poems in another language. A chart of the movements included in selected Requiems can be found in Appendix 2. The final column of this chart shows where any additional texts appear in additional movements.

Between 1946 and 1948, Paul Hindemith wrote a secular Requiem: When Lilacs Last in the

Dooryard Bloomed: A Requiem “For those we love.” The work, commissioned by Robert Shaw, gets its text from the poetry of Walt Whitman. Maurice Duruflé composed his liturgical

Requiem , Op. 9, in 1947. Another example of a nonliturgical Requiem is Randall Thompson’s

Requiem for Unaccompanied Double Chorus (1957-58). The May T. Morrison Music Festival commissioned the work and it does not use any of the traditional Latin texts. The texts, like those of the Brahms Requiem , come from the Bible. György Ligeti completed his Requiem in 1965, and though it makes use of an entirely Latin text, it is a modern work and meant for a professional choir:

The Requiem uses a super-dense, atonal harmony that borders on unhitched sound and a rhythmic structure so complex that the poly-rhythms create a virtually static sense of rhythm. Technical problems, related to rhythm or the maintenance of accurate choral intonation, are significantly difficult. The range of the jagged, serial melodies for the soprano soloist extends from E flat down to B 4. Perfect pitch is essential for members of any choral ensemble choosing to perform this work. 29

Another liturgical Requiem is the Little Requiem for Father Malachy Lynch (1972) by

John Tavener, which the Southern Cathedrals Festival commissioned and premiered in a church.

He also composed a Russian Requiem, The Panikhida (1986) and his larger Requiem (1978), a work I will discuss in chapter 3. Andrew Lloyd-Webber wrote a Requiem in 1984, which is

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 29 Chase, Dies Irae , 408. ! "#! notable for “the intermingling of texts, such as the Offertory -Sanctus , Hosanna -Dies Irae , and

Agnus Dei -Pie Jesu .” 30 The Polish Requiem (1980-84, 1993) by Krzysztof Penderecki received its name because of “a Polish hymn text, Świ ęty Bo że, Świ ęty mocny , that Penderecki inserted into the Recordare text,” 31 making the work unsuitable for liturgical use.

With so many textual options available and the symbolism within the texts, it is easy to understand why so many composers choose to write a Requiem. The requiem offers a freedom that the Mass does not, and it is a genre that can be written by and for anyone, not just a Catholic.

The appearance of Requiems with additional texts, languages, and purposes, has opened up the possibilities of the genre. Although this chapter mentions many Requiems, six will be discussed in greater detail in chapters 3 and 4: Wolfgang Amadeus Mozart’s Requiem , K. 626; Luigi

Cherubini’s Requiem in C Minor ; Gabriel Fauré’s Requiem , Op. 48; Benjamin Britten’s War

Requiem ; Christopher Rouse’s Requiem ; and John Tavener’s Requiem .

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 30 Chase, Dies Irae , 338. 31 Chase, Dies Irae , 348. ! "#!

Chapter 3

Text Setting Conventions

When I began working on my Requiem I decided to study and analyze historical models.

From a long list of important and relevant Requiems, I narrowed my study to six: Wolfgang

Amadeus Mozart’s Requiem , K. 626; Luigi Cherubini’s Requiem in C Minor ; Gabriel Fauré’s

Requiem , Op. 48; Benjamin Britten’s War Requiem ; Christopher Rouse’s Requiem ; and John

Tavener’s Requiem . I selected these six based on several factors: a historical span from the first major Requiems to the modern day, Requiems that focused on symmetry in some way, and examples that followed traditional text settings. The focus of this chapter will be on the formal structures and text settings of each of these Requiems. I will begin with the text settings of each

Requiem and then will work chronologically through these Requiems, detailing formal elements with a focus on movements that relate to my composition.

Mozart’s Requiem in D Minor

Because Mozart died without completing his Requiem , strict analysis becomes problematic; several other composers over a broad span of time have left us with differing completions to consider.

The most recent research by Christoph Wolff confirms that Mozart completed the entire Introit/Kyrie , much of the Sequence and the Offertory (‘Domine Jesu’ and ‘Hostias’). Other movements of the Sequence were worked out by Mozart with only vocal parts and an instrumental bass line with the last section of the Sequence , the ‘Lacrymosa,’ completed only up through m. 8. Only the Introit/Kyrie was completely orchestrated, but Mozart had written instrumental motives for other movements. The rest was left unfinished. 1 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Robert J. Summer, Choral Masterworks from Bach to Britten: Reflections of a Conductor (Lanham, MD: Scarecrow Press, 2007), 22. ! "#!

For this reason, Mozart’s Requiem will only be discussed through the Lacrimosa, which is the last fragment that Mozart himself composed. The Requiem itself was commissioned by Count von Walsegg zu Stuppach who likely planned to present the work as his own composition.

Beginning with the Introit and Kyrie, Mozart chose to start his Requiem on a somber note by having the voices enter low in their ranges and separated by only two beats. This dark quality is maintained until the text et lux perpetua (translated: and light perpetual) where the tonality switches from D minor to F major and the choral texture shifts from polyphonic to homophonic as if to illustrate light shining through the darkness. The Kyrie is “a double fugue with two fugal subjects of distinctly different character, each having its own text.” 2 The two subjects of the double fugue can be seen in example 3.1.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2 Summer, Choral Masterworks , 23. ! "#!

Example 3.1 Double fugue subjects from Mozart’s Requiem , Kyrie, mm. 1-5

To start the Sequence movements, Mozart left out any kind of instrumental introduction in the Dies irae and began the movement instead with sudden, strong block chords in the choir while the orchestra seems almost panicked, moving quickly underneath the choir. The Sequence also brings listeners some of Mozart’s only uses of word painting in the work: first at the text quantus tremor est futurus (how great the trembling will be) shown in example 3.2 and Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum (the trumpet, spreading its wondrous sound through the tombs of every land, will summon all before the ! "#! throne) in example 3.3. In example 3.2, the strings provide a trembling with short sixteenth note figures when the choir states quantus tremor est futurus . In example 3.3, the trombone introduces the motive for the bass solo before the statement of Tuba mirum spargens sonum .

Example 3.2 Trembling figure in Mozart’s Requiem , Sequence: Dies irae, mm. 10-13

! "#!

Example 3.3 Trombone solo in Mozart’s Requiem , Sequence: Tuba mirum, mm. 1-5

The next Sequence movement, Rex tremendae, “reaches back to the French Overture of the

Baroque Era with its strongly dotted rhythms, an idiom used in eighteenth-century music for conveying kingly power or godliness.” 3 This musical setting makes sense with the translation of

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 3 Summer, Choral Masterworks , 24. ! "#!

Rex tremendae majestatis to “King of terrifying majesty,” but this is not the only gem in the movement. The end of the Rex tremendae also brings us the text Salva me or “Save me,” which

Mozart presents as a solemn, gentle request sung first by the treble voices (example 3.4) and then by the tenor and bass voices with the choir coming together for its final utterance. Another aspect that makes the ending of the movement sublime is that the final instance of the text Salva me enteers on a dotted quarter note, which is the longest duration that the choir sings together in the entire movement.

! "#!

Example 3.4 Dotted rhythms and Salva me in Mozart’s Requiem , Sequence: Rex tremendae majestatis, mm. 17-18

The final two Sequence movements in Mozart’s Requiem also include a few text painting examples. In the Confutatis, Mozart composed a string figure that imitates the lapping of “fierce flames” from the text Flammis acribus , and in the Lacrimosa, whose own title translates to ! ""!

“Tearful,” he once again used the strings, this time arpeggiated, to mimic the sound and gesture of weeping. While there are other examples of connections between the text and the music in the

Requiem, such as the setting the words caeli (heaven) and excelsis (highest) in a high register in the Sanctus, but Mozart himself did not compose this or any of the remaining movements.

Cherubini’s Requiem in C Minor

Cherubini’s Requiem in C Minor is an interesting work for several reasons—it lacks any vocal soloists, instead employing unison choral passages in lieu of soloists, and also manages to sit firmly in the Classical-era repertoire while still having moments of Romanticism. Noted scholar Robert Chase affirms this dual classification in his seminal volume on Requiems when he writes, “The general harmonic language of the work is that of the Viennese classical tradition, but there are other qualities, such as the wide range of emotions, ranging from the seething anger of the Dies irae to the martial rhythm of the Offertory… The absence of violins in the Introit,

Graduale, Sanctus , and Pie Jesu creates a dark, somber timbre… The Requiem in C Minor is a great work because the music, at every turn, works to illuminate the spiritual content of the text.” 4 Example 3.5 shows the Tuba mirum section from the Dies irae movement and illustrates the different approach taken by Cherubini. While Mozart set the Tuba mirum as its own movement, Cherubini placed it within the Dies irae. Furthermore, Mozart wrote for trombone and bass soloists to introduce the motive, but Cherubini wrote for his full ensemble and no soloists. Motivically, the two are set very similarly, but the texture and timbre vary.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham, MD: Scarecrow Press, 2006), 191-192. ! "#!

Example 3.5 Tuba mirum from Cherubini’s Requiem in C Minor , Dies irae, mm. 33-41

! "#!

Fauré’s Requiem in D Minor

Fauré incorporated several compositional traditions into his work. The opening Introit contains the text et lux perpetua luceat eis (and let perpetual light shine upon them), where

“there is the traditional change to the relative major mode which for a brief moment brings brightness into the work.” 5 Kyrie movements traditionally incorporated the number three into the movement. The text itself it tripartite with three sections of two words each: Kyrie eleison ,

Christe eleison , Kyrie eleison . Furthermore, each of these sections would repeat the text three times. Fauré set the Kyrie eleison and Christe eleison texts each into three sections, shown in example 3.6. “It had long been common practice to make the ‘Christe’ more intimate than the surrounding ‘Kyrie’ statements, often by reducing the choral forces,” 6 but Fauré chose to keep the ensemble size consistent throughout all sections of the Kyrie.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5 Summer, Choral Masterworks , 120. 6 Melvin P. Unger, J.S. Bach's Major Works for Voices and Instruments: A Listener's Guide (Lanham, MD: Scarecrow Press, 2005), 105. ! "#!

Example 3.6 Three sections of the text in Fauré’s Requiem , Introït et Kyrie, mm. 63-90 a) First Kyrie eleison , mm. 63-70

b) Christe eleison , mm. 71-79

! "#!

Example 3.6 (continued). Three sections of the text in Fauré’s Requiem , Introït et Kyrie, mm. 63- 90

c) Second Kyrie eleison , mm. 80-90

The Kyrie is followed by the Sanctus, which Fauré sets very simply, with only the harp, organ, and strings accompanying the choir for the majority of the movement. The Sanctus movement is unlike those of other Requiems with its softer tone and slower tempo. Fauré did set two key sections of text using word painting: caeli (heaven) and excelsis (highest), both of which he placed into a high register. He also slowly increases the volume of the movement, finally reaching a forte on the word excelsis .

The Pie Jesu movement is an interesting choice for the Requiem because “it is not essential for it to be included in a Requiem Mass; it serves the same function as a motet or solo offering in any service. It has been set by Cherubini, Duruflé, Rutter and others, but is not found in Verdi’s ! "#! or Mozart’s Requiems.” 7 However, because this movement is fairly common in the genre, I am choosing to include it as part of the tradition. In the Agnus Dei, Fauré once again follows the three-part tradition that is established from the text, setting the first and last lines of text for tenor solo and the middle line for full choir.

Even though Fauré followed many traditions, he also chose to break away from several others. Probably the most interesting break from tradition is the work’s lack of “all passages of the Mass of the Dead that speak of fear, horror, punishment, and tears, of the menacing call of the last trumpet, and of the day of wrath.” 8 The text Dies illa, dies irae, calamitatis et miseriae

(That day, day of wrath, calamity and misery) does appear in the Libera me , but Fauré states the text and then immediately moves on without repeating any of that text or creating a sense of horror and fear that is often associated with it.

Britten’s War Requiem

The War Requiem by Britten is the earliest of my six selected Requiems to use texts outside of the Latin requiem mass texts, as will be also be the case in later Requiems by Rouse and Tavener. Britten selected specific ensembles for the different texts: the Latin text is performed by orchestra, choir, and soprano soloist, the outside poetry is performed by chamber orchestra, tenor soloist, and baritone soloist, and select portions of the Latin text is performed by organ and a boys’ choir. As for specific texts, “ Pleni sunt coeli , Quid sum miser , In paradisum ,

Quando movendi sunt , and Let us sleep on employ canonic writing. His study of baroque music reveals itself in the use of recitative-like melody throughout the work or in the intertwining of soloists and chorus in a modern version of the concertante technique used by Purcell, Handel,

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7 Summer, Choral Masterworks , 122. 8 Kurt Pahlen, The World of the Oratorio: Oratorio, Mass, Requiem, Te Deum, Stabat Mater, and Large Cantatas , trans. Judith Schaefer (Portland, OR: Amadeus Press, 1990), 128. ! "#! and a score of sixteenth- and seventeenth-century composers.” 9

Of all of the Requiems I studied, the War Requiem seemed to have the most unusual text setting. It was the only Requiem in which the opening text Requiem aeternam was not set slowly; even though the tempo for the opening movement is slow, the text is still set in sixteenth and eighth notes (example 3.7). This is only one example of Britten setting a text differently from the other composers mentioned. There are other instances where he did not use the expected word painting or follow text conventions: the text perpetua is not extended or elongated even though it translates to “perpetual,” the word Ingemisco or “I sigh” was not written with a sighing gesture, and excelsis was not set high in the voices even though it translates to “highest.”

Britten also chose not to set the three parts of the Kyrie text three times each, though he did set the Agnus Dei text three times.

Example 3.7 Opening text in Britten’s War Requiem , Requiem aeternam, mm. 2-6

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 9 Chase, Dies Irae , 441-442. ! "#!

Britten showed his genius in some of his subtler text-settings. For example, in the first movement Britten set the text Te decet hymnus in the boys’ choir to a chromatic melody and this

“use of simple propositions… is generally reserved for portions of the Latin text referring to

God’s grandeur and omnipotence.” 10 The second movement contains a similar idea with the text

Quid sum miser tunc dicturus ?, or “What then am I, a poor wretch, going to say?”, where he associates chromaticism with human wretchedness; this can be heard again in the sixth movement, Libera me, where some of the text from the Dies irae is repeated. Britten also chose to alter the traditional Latin text in the Agnus Dei movement, changing the final line of text from the Requiem text dona eis requiem sempiternam or “grant them rest everlasting” to the mass text dona nobis pacem or “grant us peace,” a choice fitting for a war requiem.

Rouse’s Requiem

Christopher Rouse’s Requiem is perhaps the most musically distinctive of all of the

Requiems discussed here because of its occasional aleatoric writing and its use of spoken text in the choir. These aspects also make analyzing the text settings of the work fascinating. Unlike any of the other Requiem composers, Rouse decided to begin his Requiem not with the Latin text, but with an outside text. The Introit text does not appear until the second movement of the work and then it is set very traditionally, with canonic entrances that join together by the end of the first line of text. He uses some word painting in this movement with the word lux set to ascending melodic lines in each voice and the word perpetua being set to longer durations

(example 3.8).

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 10 Mervyn Cooke, Britten: War Requiem (Cambridge: Cambridge University Press, 1996), 61. ! "#!

Example 3.8 Word painting in Rouse’s Requiem , Requiem aeternam, mm. 30-35

The third movement of the Requiem contains the Sequence text Dies irae and this is where the work differs greatly from the others. The choir does not sing at all throughout the movement, instead it chants the text, sometimes with specific rhythms written out and sometimes set to be spoken at random. The text is all about wrath, chaos, fear, and intensity, and this setting seems to intensify these aspects. The choir returns to singing for the rest of the Sequence text starting with ! "#! the Tuba mirum .

There is a noticeable musical shift between the fifth movement, Tuba mirum, and the sixth movement, Quid sum miser, which fits with the text’s shift in tone. The Tuba mirum text is set at

= 60 and with ample rhythmic activity in the choral parts while the Quid sum miser tempo drops to = 48 with more static rhythmic activity. This movement also begins with only the basses singing the opening text in order to make it a personal moment (example 3.9), as if there is one lone voice pondering, “What then am I, a poor wretch, going to say?”

Example 3.9 Quid sum miser in Rouse’s Requiem , No. 6: Quid sum miser, mm. 1-8

! "#!

The fourteenth movement of Rouse’s Requiem is the Sanctus, which uses the soprano, alto, tenor, and bass choir, or SATB choir, and a children’s choir. For this movement, Rouse set the first part of the text, “ Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua ” almost exclusively for the children’s choir, while the text Hosanna in excelsis is set almost exclusively for the SATB choir. There are parts of the texts where the other choir briefly joins in, but each section belongs mostly to the adult choir, or mostly to the children’s choir. It is as if the children are the pure voices mentioning God and the SATB choir is the voices from earth calling out “Hosanna in the highest.”

The final movement sees a return to more aleatoric music, though this time only in one voice with the rest of the choir singing in polyphony above them. One interesting aspect of this movement is that it is the first time in the work that the baritone soloist sings in Latin and, likewise, it is the first time that the choir sings in languages other than Latin. The movement begins with the Agnus Dei text but also recapitulates text from the Introit, beginning with Te decet hymnus , though the music is newly composed (example 3.10). The work ends by also combining text from the Introit with text from the beginning of the Communion: et lux perpetua luceat eis or “and let perpetual light shine upon them” is from the Introit and Domine: Cum

Sanctis tuis in æternum: quia pius es or “O Lord, in the company of thy saints forever and ever; for thou art merciful” from the Communion, thus ending the work on an uplifting note.

! ""!

Example 3.10 Rouse’s Requiem—Te decet hymnus , No. 2, mm. 39-45 and No. 16, mm. 194-199 a) No. 2, mm. 39-45

b) No. 16, mm. 194-199

! "#!

Tavener’s Requiem

John Tavener’s Requiem has several aspects in common with the above works; for example, like the Requiems of Britten and Rouse, it uses texts from both the Latin requiem tradition and outside sources. Also, as Rouse does in his Requiem , Tavener sets the Latin text for the choir and the outside texts for the soloists. Another similarity is the clear distinctions of the

Kyrie text. In setting the Introit text, Tavener does not use word painting for the word lux , which he refrained from setting in a high register, as seen in example 3.11.

Example 3.11 Lux set in a low register in Tavener’s Requiem , I. Primordial White Light, mm. 52-55

Of all of the works discussed in this chapter, Tavener used the least amount of text from the Latin requiem mass; he only set the Introit, Kyrie, and a portion of the Sequence that stops right before the text Quid sum miser . The sections that Tavener left out of his work include any personal statements or questions, such as the Quid sum miser or Salva me . The only Sequence texts that remain mention the judgement, as well as a repetition at the end of the movement of ! "#!

Dies irae, dies illa, Solve saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus !

For each of the Requiems I analyzed, I made a list of words from the requiem text that offer opportunities for specific text settings or follow theological conventions to see how common these settings are (table 3.1). In the Introit, there appear to be several similarities in the text settings, specifically how the words Requiem , aeternam , and luceat are set, while less common are the settings of the words lux and perpetua . I was surprised that just over half of the

Requiems set the three parts of the Kyrie eleison text three times, especially since the text itself is in three parts. However, the texts that I highlighted from the Sequence text appear as described in table 3.1 in almost all of the Requiems, especially the words irae , tuba , and lacrimosa . The

Sanctus words coeli and excelsis , are set in a high register by all of the composers who set the movement and the same can be said of the Agnus Dei text, which was set three times by all except Rouse. Another surprise came with the In paradisum, where I had assumed that many composers would use the full chorus with the word chorus , however only Britten made that choice. The settings of the words morte and movendi in the Libera me did not offer much data because so few composers set this movement; those composers who set the Libera me, all set the word morte in a similar way, but only Britten set the word movendi quickly.

Table 3.1 illustrates the specific text settings or theological conventions in each movement for each of the six Requiems that I analyzed. The x shows which Requiems do have the setting or convention while the dash (-) shows which Requiems do not and n/a is for Requiems that do not include those movements or were not composed by the composer, such as Mozart’s Requiem . A few of the settings or conventions have multiple items, if the Requiem uses only one setting or convention, it is clarified in parenthesis. I used this table as a guide for my own composition, not ! "#! just to see what conventions to follow, but how common it is to break from tradition. Table 3.1 shows that while composers do follow some traditions, none of them follow every tradition— something I kept in mind while composing my Requiem .

Introit Introit Introit Introit Introit Introit Requiem aeternam lux (light): perpetua luceat (shine): Exaudi orationem (Rest): (eternal): high (perpetual): high meam (hear my slow slow register slow register/ascending prayer): polyphony Mozart x x x - x (high) x Cherubini x x - x x (ascending) x Fauré x x x x x (ascending) - Britten - - x - x (high) - Rouse x x x - - - Tavener x x - x x (high) -

Kyrie Kyrie Sequence Sequence Sequence Sequence Kyrie Christe irae (wrath): Tuba (trumpet): “Ingemisco (I Lacrimosa eleison : eleison : short, trumpet/brass sigh): sighing (tearful): three three descending gesture, rest slow/descending times times Mozart - - x x (trombone) x x Cherubini x x x x (brass) - x Fauré - - n/a n/a n/a n/a Britten - - x x (brass) - x Rouse x - - x (brass) x (1 st voice x (slow) only with rest) Tavener x x x x (brass) n/a n/a

Sanctus Sanctus Agnus In paradisum Libera me Libera me coeli excelsis Dei Chorus (chorus): morte (death): movendi (heaven): (highest): Agnus Dei full chorus low register/ (moved): high high text: three descending quick/moving register register times Mozart n/a n/a n/a n/a n/a n/a Cherubini x x x n/a n/a n/a Fauré x x x - x (descending) - Britten x - x x x (descending) x Rouse x x - n/a n/a n/a Tavener n/a n/a n/a n/a n/a n/a

Table 3.1. Text Settings in the Requiems of Mozart, Fauré, Cherubini, Britten, Rouse, and Tavener

! "#!

With the requiem’s vast history, it is only natural that text setting and theological conventions would be created and followed. Like many aspects of the requiem, composers occasionally choose not to follow some of these conventions. The Requiems of Mozart,

Cherubini, Fauré, Britten, Rouse, and Tavener show just how varied these conventions are used.

Now that I have discussed the text setting and theological conventions of these Requiems, I will analyze the formal structures of each Requiem in the next chapter. ! "#!

Chapter 4

Formal Structure

The analysis of requiems for this dissertation focuses on text setting conventions and formal analysis. With the text setting analysis completed, now comes the analysis of the formal structures of each composition. The Requiems that I analyzed are Wolfgang Amadeus Mozart’s

Requiem , K. 626; Luigi Cherubini’s Requiem in C Minor ; Gabriel Fauré’s Requiem , Op. 48;

Benjamin Britten’s War Requiem ; Christopher Rouse’s Requiem ; and John Tavener’s Requiem .

Each of these Requiems has elements of symmetry within the overall structure of the composition, the form, or both. My analysis will move chronologically through the Requiems detailing formal elements with a focus on movements that relate to my composition.

Mozart’s Requiem in D Minor

The Requiem in D Minor by Mozart “is probably the most famous Requiem ever written and is possibly the most-often performed work of the genre.” 1 Among the reasons for its popularity is the macabre aspect of Mozart’s death while writing a mass for the dead, which has inspired the imagination of many. The work is scored for soprano, alto, tenor, and bass (SATB) choir, SATB soloists, and orchestra and “is considered to be a masterpiece; a remarkable fact when we consider that the work was written by three different individuals.” 2

The first movement of Mozart’s Requiem , Introitus: Requiem aeternam, is in ternary form, and while some analyses reflect the instrumental and choral textures, I am basing my analysis on

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham, MD: Scarecrow Press, 2006), 211. 2 Chase, Dies Irae , 212. ! "#! of textual considerations and instrumentation. Section A begins with an instrumental introduction in mm. 1-8 in D minor, which is followed in mm. 8-19 by a section for chorus on the text

Requiem aeternam . The B section that follows starts in mm. 19-26, now in B-flat major, with a soprano solo on the text Te decet hymnus as well as mm. 26-32, where the choir enters on the text Exaudi . The final section, A' , begins with a short instrumental interlude in G minor that borrows material from the opening of B in mm. 32-34. The choir reenters in mm. 34-48, again on the text Requiem aeternam and in D minor to bring the movement to a close.

The Kyrie of Mozart’s Requiem is a double fugue, with a Kyrie eleison (K) subject and a

Christe eleison (C) subject. The exposition, mm. 1-15, retains the D minor key from the Introit and introduces both the K and the C subjects in all four voices with C entering each time only one measure after the K subject. K is first presented in the bass followed by the soprano, alto, and finally tenor, and C is first presented in the alto followed by the tenor, bass, and then soprano. The development spans mm. 16-49 with middle entries and episodes that move through the keys F major, G minor, C minor, B-flat major, F minor, and finally back to D minor in m. 39.

The movement ends with a final homophonic setting of Kyrie eleison in D minor in mm. 50-52.

A more detailed outline of the movement can be seen in figure 4.1.

! "#!

m.1 m. 2 m. 3 m. 4 m. 5 m. 6 m. 7 m. 8 m. 9 m. 10 m. 11 Soprano K eleison counterpoint Alto C K Tenor C K Bass K Kyrie counterpoint C

m. 12 m. 13 m. 14 m. 15 m. 16 m. 17 m. 18 m. 19 m. 20 m. 21 Soprano C eleis. K C Alto eleison counterpoint K Christe Tenor eleison counterpoint K Bass eleison counterpoint C

m. 22 m. 23 m. 24 m. 25 m. 26 m. 27 m. 28 m. 29 m. 30 m. 31 Soprano K eleison Alto counterpoint C eleison counterpoint Tenor eleison counterpoint C C Bass K eleison counterpoint K

m. 32 m. 33 m. 34 m. 35 m. 36 m. 37 m. 38 m. 39 m. 40 m. 41 Soprano eleison counterpoint C counterpoint C Alto K C eleis. Kyrie eleison counterpoint Tenor eleis. C eleis. Kyrie eleison counterpoint Bass eleison C C K

m. 42 m. 43 m. 44 m. 45 m. 46 m. 47 m. 48 m. 49 m. 50 m. 51 m. 52 Soprano eleison counterpoint C eleis. Kyrie Homophonic Alto Kyrie K C Kyrie eleison Kyrie Homophonic Tenor Kyrie eleison counterpoint Kyrie eleison Kyrie Homophonic Bass eleis. C eleis. counterpoint eleis. Kyrie Homophonic

Figure 4.1 Double fugue choral entrances in Mozart’s Requiem , Kyrie

Mozart’s Sequence is broken up into six individual movements, beginning with the Dies irae in three-part modified-strophic form. A begins in D minor with the Dies irae text and contains the material in mm. 1-22, where there are two smaller sections: a in mm. 1-8 and b in ! "#! mm. 9-22 which begins in F major on the text Quantus tremor and ends in A minor. A modified version of A comes next in mm. 22-40 again in two smaller sections: a' (mm. 22-29) is very similar to the opening on Dies irae but b' (mm. 30-40) is the most changed with a shift in keys— moving into C minor—and in mood, suddenly becoming quieter and more reverent. The final section in mm. 40-68, A'' , is back in D minor and is the most drastically different from the others. Rather than beginning the same as a and a' , a'' starts with the tenors and basses boldly singing Quantus tremor est futurus to which the sopranos and altos reply with a much more solemn statement of Dies irae, dies illa . The b'' section, mm. 56-68, now only employs the last line of the Quantus tremor text: Cuncta stricte discussurus .

The next Sequence movement, Tuba mirum, is through-composed based on the text and uses the SATB soloists. The movement begins in B-flat major with an introduction from the trombone and bass soloist in mm. 1-7 and the bass continuing in mm. 8-18 as the soloist but with a new melody, both on the text Tuba mirum . The tenor picks up the solo in F minor in mm. 18-

23 with the text Mors stupebit , again with a new theme, and continues to the next section, mm.

24-34, on the text Liber scriptus with the notable brief change to G minor and then quickly back to D minor. The following section comes in mm. 34-40 with the entrance of the alto, still in minor, on the text Judex ergo . This section is quickly interrupted by the soprano entering with

Quid sum, miser in B-flat major for mm. 40-50. The final section, mm. 51-62, is the only one that uses all of the soloists on the text Cum vix justus and also moves through several key areas:

D minor in m. 51, G minor/C major in m. 56, and ending in B-flat major.

Next comes the Rex Tremendae, which is in three parts: two short, homophonic passages, one at the beginning and one at the end, and a longer, contrapuntal passage in the middle. The first short, homophonic section begins in G minor and extends from mm. 1-7 on the text “Rex ! "#! tremendae.” This is followed by a longer repetition of this text set contrapuntally in mm. 7-17 with a key change to F major in m. 12 and ending in A major/minor. The final section of the movement uses a contrasting text, “Salva me,” but returns to a homophonic texture and D minor for mm. 18-22.

Following the Rex Tremendae is the Recordare, the longest of the Sequence movements, which takes the form of a five-part rondo. The music for the returning A is introduced first in mm. 14-34 after an instrumental introduction. This music is seen again in mm. 54-68 and mm.

93-126, though each time it is slightly altered and uses different texts. The B and C sections are each made up of an instrumental interlude and a choral section and the movement concludes with an instrumental postlude. A detailed list of the formal sections and key areas can be found in table 4.1.

Measures Text or Instrumental Key Areas (measure number) 1-14 Instrumental introduction F major (1) A 14-34 Recordare F major (14), C major (20), G major (26), C major (34) B 34-38 Instrumental interlude C major (34), C minor (38) B 38-54 Quarens me /Sedisti lassus C minor (38), D minor (44), B-flat major (54) A' 54-68 Juste judex B-flat major (54) C 68-72 Instrumental interlude B-flat major (68) C 72-93 Ingemisco B-flat major (72), C minor (76), D minor (80), A/G minor (85), C/F major (92) A'' 93-126 Preces meae C/F major (93), C major (105), F major (118) 126-130 Instrumental postlude F major (126)

Table 4.1 Formal structure and key areas in Mozart’s Requiem , Recordare

! "#!

The next Sequence movement, Confutatis, is another movement in a three-part form, this time A A' B . The opening Confutatis in A minor is sung by tenors and basses in mm. 1-6 and the

Voca me in C major/minor is sung by sopranos and altos in mm. 7-10 make up the first A section. The A' that follows begins much the same with the tenors and basses singing Confutatis in mm. 10-16, ending back in A minor, and the sopranos and altos following with Voca me in mm. 17-25, except each section is extended from its original version. Mm. 26-40 consist of completely contrasting material, hence B, set homophonically with longer note values and not employing any of the material from earlier in the movement. B moves through several key areas, most notably A-flat minor in m. 29, G minor in m. 33, and F major in m. 38.

The final movement of the Sequence, Lacrimosa, is in a three-part modified strophic form, like the first movement of the Sequence, Dies irae. The movement opens with the main theme in

D minor, A, in mm. 1-8 on the text Lacrimosa and is immediately followed by a slightly altered version of this theme, A' , again on the Lacrimosa text in mm. 9-19. The final section of the movement, A'' , in F major in m. 19 and ending in D minor in m. 27, is the most disparate from the others with a short instrumental section before the choir comes in and when they do it is on the text Dona eis requiem rather than Lacrimosa . The rest of the Mozart Requiem will not be analyzed here since we do not know how much of the remaining music was composed by

Mozart.

Cherubini’s Requiem in C Minor

The Requiem in C Minor by Cherubini, completed in 1816, is one of his best works and has been praised by many composers, including Beethoven, Berlioz, Brahms, and Schumann. The work was commissioned by Louis XVIII, who wanted to give recognition to the anniversary of his brother’s execution. Unlike the other major Requiems in this chapter, Cherubini’s is written ! ""! for chorus and orchestra only; without any soloists, the work is a true choral masterpiece that shows how the choir can be used to complete the traditions expected of the requiem text.

The first movement of the Requiem in C Minor , Introitus, is in binary form, with the Introit text making up A, mm. 7-98, and the Kyrie text making up B, mm. 98-141. The movement begins with a short instrumental introduction in C minor that is somber in tone, using only the cellos and bassoon for the first six measures. With the entrance of the choir comes the rest of the orchestra, though many of the upper instruments are still missing—violins, flutes, oboes, and clarinets—and the instruments and voices that are present maintain a low register. A full summary of the analysis can be found in table 4.2 including the subdivision, measure numbers, first lines of text, and major key areas.

Structure Measures Text or Instrumental Key Areas (measure number) A 1-7 Instrumental intro C minor (1) a 7-26 Requiem aeternam C minor (7), E-flat major (12), A-flat major (16), C minor (21) b 27-68 Te decet hymnus C minor/G major (27), B-flat major (48), A-flat major (58), E-flat major (68) a' 68-79 Requiem aeternam C minor (69) b’ 80-98 Et lux perpetua C minor (80) B c 98-106 Kyrie eleison C major (98) c' 106-114 Christe eleison C major (106) d 114-124 Kyrie C minor (114) Coda 124-141 eleison C minor (124), C major (141)

Table 4.2 Formal structure and key areas in Cherubini’s Requiem , Introitus

Skipping the Graduale, because it is not relevant to my Requiem , I examine next the Dies irae, the longest movement in Cherubini’s Requiem and the only one discussed here in a three- part form. However, the form is not the traditional ternary, but rather A B C , with C incorporating some of the material from both A and B, but at a drastically reduced tempo. There ! "#! are some interesting sections of the Dies irae, such as C, which is the shortest section of the movement, however due to the extreme change in tempo from = 88 to = 54 the music lasts about as long as the previous two sections. The opening of C, mm. 263-266, 273-276, and 283-

286 mimic the one-voice-against-three from B in mm. 232-236, as can be seen in example 4.1.

Another interesting section is the Lacrymosa in mm. 292-316 which is similar to the Tuba mirum passage in A, mm. 33-52, with the full choir in homophony and prominent use of dotted half notes, which can be seen in example 4.2. Table 4.3 shows the full analysis of the Dies irae with the divisions, subdivisions, measure numbers, texts, and major key areas.

! "#!

Example 4.1 The opening of C in comparison to B in Cherubini’s Requiem in C Minor , Dies irae a) The opening measures of C, mm. 263-266, 273-276, and 283-286 ! mm. 263-266 mm. 273-276

mm. 283-286

b) The one-voice-against-three from B, mm. 232-236

! "#!

Example 4.2 The “Lacrimosa” in comparison to the “Tuba mirum” in Cherubini’s Requiem in C Minor , Dies irae a) “Lacrimosa” excerpt, mm. 292-298

b) “Tuba mirum” excerpt, mm. 33-44

! "#!

Structure Measures Text or Instrumental Key Areas (measure number) A 1-7 Instrumental introduction C minor/G major a 8-69 Dies irae C minor/G major (8), G major (22), C minor (33), A-flat major (53), E-flat major (61) a' 69-129 Liber scriptus E-flat/G major (69), F major (81), G major (93), C minor (105), C major (120) B b 129-232 Recordare C minor (129), F minor (137), A-flat major (147), F minor (163), E-flat major (179), C minor (195), V/G major (219) a'' 232-261 Confutatis G major (233), C major (252) C c 261-324 Oro supplex C minor (261)

Table 4.3 Formal structure and key areas in Cherubini’s Requiem , Dies irae

Again, skipping a movement that is not relevant to my Requiem , I move from the Dies irae to the Sanctus, one of the simplest and shortest movements of Cherubini’s Requiem in C Minor .

The Sanctus, only thirty-seven measures long, is in rounded binary form and remains in A-flat major for the duration of the movement. Section A can be split into a with the Sanctus text from mm. 1-11 and b with the Pleni sunt coeli text from mm. 11-21. This passage is followed by a contrasting c, marking the beginning of the B section. The c section lasts from mm. 21-29 with the Benedictus text and is followed by a partial return of b on the “Hosanna” text, hence b' , from mm. 29-37.

The Pie Jesu is another short and fairly simple movement, this time in modified strophic form with three utterances of the Pie Jesu text, which can be seen in example 4.3. The movement begins with A in F minor, mm. 1-30, which introduces the main theme for the movement, first sung by the sopranos then followed by the basses and concludes with an instrumental interlude.

The second appearance of the Pie Jesu text, A' , differs noticeably from the original, now in A- flat major with only the original three intervals preserved for the melody and the choral texture ! "#! changes from monophonic to polyphonic. This section also introduces a new passage of text— dona eis requiem sempiternam which modulates back to F minor with cadences on the dominant

C major. Section A' is immediately followed by A'' which brings back the original Pie Jesu melody in the soprano with the polyphony from A' preserved but with the chordal structures underneath still on the dominant of F minor until the tonic appears in m. 60. The movement ends with a repetition of requiem sempiternam punctuated by instrumental breaks between the words, again on the dominant of F minor, and followed by an instrumental postlude which ends in F minor in m. 76.

! "#!

Example 4.3 The three versions of Pie Jesu in Cherubini’s Requiem in C Minor , Pie Jesu, mm. 5- 12, 31-40, and 47-54 a) A - mm. 5-12

b) A’ - mm. 31-40

c) A2 - mm. 47-54

! "#!

The Agnus Dei is an interesting movement because it is in binary form but is not a traditional example of binary due to text considerations. As stated above, the Agnus Dei text is traditionally set three times and Cherubini follows this tradition, altering the binary form to fit the text. Section A, then, can be separated into not two but three smaller sections—each an utterance of Agnus Dei with the first read straight through, the second repeating the dona eis text, and the third with the sempiternam text added and repeated. A transition with the dona eis requiem sempiternam text immediately follows A and while the text is repeated, the music is not repeated but is used to create an end to the traditional Agnus Dei and move into the Communion text. This new section makes up the contrasting B in mm. 51-87 and, as in traditional binary form, is made up of two smaller sections—the Lux aeterna text in mm. 51-67 forms b and the

Requiem text in mm. 68-87 forms b' . The major key areas and full outline of the form can be found in table 4.4.

Structure Measures Text or Instrumental Key Areas (measure number) A a 1-9 Agnus Dei C minor, G minor (9) a' 10-18 Agnus Dei C minor (10), F minor (15) a'' 18-32 Agnus Dei F minor (18), E-flat major (24) Transition 33-50 Dona eis Domine G major (33), C minor (50) B b 51-67 Lux aeterna C minor (51) b' 68-87 Requiem aeternam C minor (68), C major (83)

Table 4.4 Formal structure and key areas in Cherubini’s Requiem , Agnus Dei

Fauré’s Requiem

Fauré’s Requiem is a surprisingly small-scale work with a duration of around thirty-five minutes and was considered by Fauré to be a lullaby of death. 3 For this work, Fauré chose to set

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 3 Donna M. Di Grazia, ed., Nineteenth-Century Choral Music (New York: Routledge, 2013), 70. ! "#! the following movements: Introit and Kyrie, Offertory, Sanctus, Pie Jesu, Agnus Dei and

Communion, Libera me, and In paradisum. One interesting aspect of the work is Fauré’s decision to create symmetry with the movements, which is shown in figure 4.2. The symmetry occurs around the Pie Jesu as a central point, which is for soprano solo. The Introit/Kyrie and

Agnus Dei (with Communion) are the only two movements that use two different texts. The

Offertory and Libera me are both in ABA form and use the baritone solo and chorus. Finally, the

Sanctus and In paradisum movements are through-composed and use just the chorus with no soloists.

Introit and Kyrie Offertory Sanctus Pie Jesu Agnus Dei and Communion Libera me In paradisum

Figure 4.2 Symmetry in Fauré’s Requiem

Fauré’s Requiem begins with a combined Introit and Kyrie movement in ternary form. The first seventeen measures act as an introduction in D minor, setting a solemn and muted tone to the work. Section A, then, consists of mm. 18-38 and takes the text from the Introit: Requiem aeternam which is only sung by the tenors. When the sopranos enter in m. 42 in F major with Te decet hymnus and the full choir following on Exaudi back in D minor in m. 49, the material clearly contrasts with the earlier A, making mm. 38-61 B. A returns in mm. 61-78 still in D minor, but this time using the Kyrie eleison and Christe eleison texts and rather than just tenors, ! "#! it begins with sopranos, altos, and tenors and eventually adds the basses as well. The final section, mm. 78-91, can be heard as a coda on account of its lack of motives from either A or B and the sense of finality it brings with the final D minor cadence.

The Sanctus, as stated above, is through composed with only three sections: mm. 1-26 on the Sanctus text, mm. 27-42 contrast the first section with the text Pleni sunt ceoli , and a further contrasting Hosanna follows in mm. 42-62. The movement mostly remains in the starting key of

E-flat major with only a brief move to G major and its dominant in mm. 19-25. The Sanctus is followed by the Pie Jesu, another short and fairly simple movement, but one that is considered to be the center of the Requiem, made distinct by the soprano soloist. The Pie Jesu is in rounded binary form and begins with A in mm. 1-18 and concludes with B in mm. 18-38. A full analysis of the subdivisions, texts, and key areas can be found in table 4.5.

Structure Measures Text or Instrumental Key Areas (measure number) A a 1-10 Pie Jesu B-flat major a' 11-18 Pie Jesu F major (13) B b 18-28 dona eis Domine D minor (19), A major (25), F major (27) a'' 29-38 Pie Jesu B-flat major (29)

Table 4.5 Formal structure and key areas in Fauré’s Requiem , Pie Jesu

The Agnus Dei, like the Introit and Kyrie, contains the text of two different Requiem movements: the Agnus Dei and the Communion. This movement is through composed and begins with a short instrumental introduction in mm. 1-7 in F major. Section A contains the

Agnus Dei text, repeated three times in mm. 7-45 first in A minor, then F major, then C major.

The Communion text Lux aeterna enters at m. 45 in A-flat major and signals the start of B which

! "#! lasts until m. 74 and modulates to D minor with the help of the dominant A major key area. The

Communion text and the D minor key area continues in C, mm. 75-88, but with the return of the text Requiem aeternam Fauré reiterates the opening of the Requiem, as shown in example 4.4. ! ""!

Example 4.4 “Requiem aeternam” in Introit and Agnus Dei in Fauré’s Requiem a) “Requiem aeternam” in the Introit, mm. 1-6

b) “Requiem aeternam” in the Agnus Dei, mm. 75-78

! "#!

Fauré’s Libera me is paired with the Offertory, as both movements make use of the baritone soloist and choir and appear in ternary form. Section A consists of mm. 1-52 and is entirely in the key of D minor. The baritone soloist begins the movement with the Libera me text; the choir does not enter until m. 37 on the text Tremens factus , and while this material is different from that of the baritone solo, it also does not reappear in the movement but acts as a transition rather than as a separate section. There is a notable move into B with an acceleration in tempo, going fromm = 60 to =72 in mm. 53-84 where the tempo drops back down to = 60 and several significant modulations, moving to F major in m. 52, E-flat major in m. 62, f minor in m.

69, and back to D minor through the dominant in m. 84. Section B begins with the text Dies illa and ends with a return of the Requiem aeternam text, though this time the opening Introit material does not return with it. Mm. 84-92 act as another transition, this time back to the opening Libera me text and material for A' in mm. 92-123 which is still in D minor but is scored differently, with the choir singing the opening rather than the baritone soloist. A coda in mm.

124-136 lets the baritone soloist sing the final entrance of the Libera me melody, which is cut short, and the movement ends with one last utterance of Libera me, Domine by the choir and baritone.

In paradisum closes Fauré’s Requiem with another movement for chorus alone and is, like the Sanctus, through composed. The movement is in D major with only a few chromatic sections, keeping the tone sweet and peaceful. The first section encompasses mm. 1-29 and begins with the opening In paradisum text with only the sopranos singing the melody with the rest of the chorus only appearing in mm. 21-29. The next section, mm. 29-61, also begins with only the sopranos singing, this time with the text Chorus angelorum and on a new melody with only slight connections to the first. The full choir does not enter this time until mm. 47-61. ! "#!

Britten’s War Requiem

Benjamin Britten’s War Requiem stands out in this list as the first example to use text outside of the traditional Latin requiem texts. The work was commissioned for the formal consecration of the rebuilt Coventry Cathedral in England, which had been destroyed on

November 15, 1940, in a German air raid. Britten was asked “to write a work expressing the mood of the time, almost an obsession, which called for the stigmatization of war and the vow to never again allow the inhumanity and cruelty that had led to such unspeakable disaster.” 4 While the use of text in the War Requiem was discussed in Chapter 3, the text is also an important factor when discussing the form.

Britten begins the War Requiem with the Requiem aeternam, which appears to be in D minor, though there is little outside of the key signature to signify that. As Mervyn Cooke points out:

Britten establishes a tonal scheme which will govern substantial parts of the remainder of the Requiem. The two pitches of the omnipresent tritone are first give out individually, F sharp by the sopranos and tenors followed by C from the altos and basses, each pitch reinforced by bell strokes. Then, at the first climax in dynamics, the two pitches are rapidly juxtaposed above the dominant pedal A which underpins this D minor section. Emphasis on the dominant note of prevailing keys is typical of Britten’s tonal handling throughout the work, but here the triple conjunction of A, F sharp and C is especially significant: they not only comprise a diminished triad but, as part of a dominant-seventh chord in G minor, they pull towards the key of the subsequent ‘Dies irae’. 5

The Requiem aeternam is in balanced binary form with the Latin Introit text, Requiem aeternam , comprising A, mm. 1-61, followed by a repeat of the opening Requiem aeternam text

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4 Kurt Pahlen, The World of the Oratorio: Oratorio, Mass, Requiem, Te Deum, Stabat Mater, and Large Cantatas , trans. Judith Schaefer (Portland: Amadeus Press, 1990), 85. 5 Mervyn Cooke, Britten: War Requiem (Cambridge: Cambridge University Press, 1996), 60-61. ! "#! and a section of text in English from a poem by Wilfred Owen comprising B, mm. 61-160. After these major sections comes a very short instrumental transition and a quick statement of the

Kyrie eleison text which acts as a coda. A full analysis of the movement’s form, texts, and key areas can be found in table 4.6.

Structure Measures Text or Instrumental Key Areas (measure number/Tritones) A a 1-29 Requiem aeternam D minor (F-sharp, C) b 29-61 Te decet hymus D minor (F-sharp, C) B a' 61-77 Requiem aeternam D minor (F-sharp, C) c 77-124 What passing bells B-flat minor (77/G-flat, C) c' 125-160 Not in the hands D minor (125/F-sharp, C) 160-166 Instrumental transition D minor (160/F-sharp, C) Coda 166-176 Kyrie eleison F major (176/F-sharp, C)

Table 4.6 Formal structure and key areas in Britten’s War Requiem , Requiem aeternam

The second movement, Dies irae, is the largest of all of the movements numbering 476 measures and about twenty-six minutes. The movement appears to be through composed with only one instance of any repeated material. Each section of the movement alternates between the

Latin text and the Owen poetry until the next-to-last section, which juxtaposes lines of the Owen poetry with lines from the Latin text. Britten occasionally switches from keys to church modes, most notably he uses the Lydian mode to represent innocence. Table 4.7 show the formal structure of the movement in detail.

! "#!

Structure Measures Text or Instrumental Key Areas (measure number/Tritones) A a 1-22 Instrumental introduction/ G minor/B-flat major Dies irae a' 22-46 Instrumental transition/ G minor/B-flat major Quantus tremor a'' 46-72 Instrumental transition/ G minor/B-flat major Tuba mirum a''' 72-104 Instrumental transition/ G minor/B-flat major Mors stupebit B b 104-169 Bugels sang G/B-flat major (104), A major (169) C c 170-187 Liber scriptus A major c' 188-200 Quid sum miser A major c'' 200-219 Rex tremendae A major/A minor (200) D d 220-281 Out there A major (220), C major (244), A major (256) E e 282-338 Recordare C major (282) e' 339-370 Confutatis G/C major (339) F f 371-401 Be slowly lifted up C major (371) A' a'''' 401-424 Dies irae G minor (401) a''''' 425-440 Lacrimosa B-flat minor (425) G g 440-450 Move him/ Lacrimosa A major (440), B-flat minor (447) g' 450-458 Think, think how it A major (450), G minor (455) wakes/ Qua resurget g'' 458-462 Was it for this/ Judicandus A major (458), G minor (460) g''' 462-465 O what, what made A major (462) H h 466-475 Pie Jesu G minor (466/F-sharp, C), F major (475)

Table 4.7 Formal structure and key areas in Britten’s War Requiem , Dies irae

The Sanctus comes in as the fourth movement of the War Requiem and is another movement whose form can be seen in a couple of ways. The portion of the Sanctus that uses the

Latin text only can be heard as being in balanced binary form: the Sanctus text through the

Hosanna text in mm. 1-76 make up A and the contrasting Benedictus text with the return of the

Hosanna in mm. 76-136 make up B. The question lies with the setting of the added Owen poetry, which does not incorporate motives from earlier in the movement. It is either an extended coda to the binary form or contrasting C section, thus shifting the form of the movement from binary to a three-part form. The way Britten uses key areas in the Sanctus is intriguing. The opening ! "#! resolves around the F-sharp and C tritone and “in the space of fourteen bars all twelve pitches have been sounded in a chromatic totality graphically representing the text ‘Pleni sunt coeli et terra gloria tua’.” 6 The Hosanna moves into D major and much of the same chromatic language is used in the following material until m. 170, where tritone tonal centers of D and A-flat occur.

The end reverts back to the chromaticism until the final F-sharp becomes the dominant of the

Agnus Dei’s B minor key.

The Agnus Dei follows the Sanctus and, like the preceding movement, has three distinct parts but this time in a modified strophic form to fit the Agnus Dei text. The movement mostly stays in the key of B minor with a few moments moving into the Phrygian and Lydian modes and with substantial use of the F-sharp and C tritone. The first section comprises a tenor solo on the text “One ever hangs,” which is followed by the choir intoning the first Agnus Dei in mm. 1-23.

While the tenor’s chamber orchestra re-enters in m. 23, the tenor does not sing until m. 24 with the next bit of the Owen poem, “Near Golgotha” This time the choir enters on their second

Agnus Dei before he finishes. In the last section, the tenor solo sings the last line of the poem,

“The scribes,” though again the choir interrupts him with their final Agnus Dei . The tenor finishes the Agnus Dei with Dona eis requiem sempiternam , moving suddenly into C minor. The last overlapping entrance can be seen in example 4.5.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 6 Cooke, Britten: War Requiem , 70. ! ! "#!

Example 4.5 Overlapping text in Britten’s War Requiem , Agnus Dei, mm. 44-53

Britten’s War Requiem ends with the Libera me, a funeral march, in a three-part form based on the instrumentation and voices used. “Britten masterfully builds up the tension towards this apocalyptic recapitulation, increasing the density of the choral counterpoint based on a ! "#! sinuous chromatic motif (related to the ‘Quid sum miser’ of the ‘Dies irae’) which gradually unfolds above the orchestral march.” 7 A, mm. 1-96, uses only the choir on the Latin Libera me text, B, mm. 96-276, uses the soprano soloist and the choir still in Latin, and C, mm. 276-427, uses the full ensemble with the tenor and baritone soloists singing in English while the rest of the voices are in Latin. A full analysis of the movement’s form, texts, and key areas can be found in table 4.8.

Structure Measures Text or Instrumental Key Areas (measure number/Tritones) A a 1-31 Libera me G minor (F-sharp, C) a' 32-47 Quando coeli G minor (F-sharp, C) a'' 47-53 Libera me G minor (F-sharp, C) a''' 53-96 Dum veneris G minor (F-sharp, C) B b 96-168 Tremens factus G minor (F-sharp, C) b' 168-196 Libera me G minor (F-sharp, C) b'' 196-229 Quando coeli G minor (F-sharp, C) b''' 229-262 Dies illa G minor (F-sharp, C) b'''' 262-276 Libera me G minor (F-sharp, C) C c 276-291 It seemed that G minor (F-sharp, C) c' 291-332 None, said the other, G minor (F-sharp, C) c'' 332-361 Let us sleep now/ D Lydian (332) In paradisum c''' 361-410 Let us sleep now/ D Lydian In paradisum c'''' 410-427 Requiem aeternam /Let us D Lydian (F-sharp, C) sleep now/ In paradisum Coda 428-434 Requiscant (428, F-sharp, C), F major (434)

Table 4.8 Formal structure and key areas in Britten’s War Requiem , Libera me

The War Requiem itself can also be seen as having a three-part overall formal structure. If all six movements are grouped into three pairs, a pattern comes forward of a short movement being followed by a longer movement, which can be seen in figure 4.3. Edward Lundergan

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7 Cooke, Britten: War Requiem , 73. ! "#! references similarities in the texts’ theme of war and as common pitch centers within the larger movements to strengthen the ternary structure. 8

Requiem aeternam A Dies irae Offertorium B Sanctus Agnus Dei A’ Libera me Figure 4.3 Symmetry in Britten’s War Requiem

Rouse’s Requiem

Requiem by Christopher Rouse, scored for bass-baritone solo, SATB chorus, children’s chorus, and orchestra, “was commissioned by the Chicago-based organization Solo Dei Gloria in honor of the 2003 bicentenary of Hector Berlioz’ birth.” 9 The work was completed in 2002 and received its first performance in March 2007 by the Los Angeles Master Chorale and Orchestra.

Like the Britten War Requiem , Rouse chose to include outside poetry along with the Latin text.

In his own words, Rouse states, “My goal was to use the chorus, restricted to the Latin liturgical text, to express the enormity of ‘death’ in its deepest context; the role of the bass-baritone soloist would then be to make the experience of death more personal by adopting the classic figure of the ‘Everyman’ whose life is marked by the deaths of loved ones around him.” 10

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 8 Edward Lundergan, “Cyclic-Interval Structures in Britten’s ‘War Requiem’,” Choral Journal 38, no. 7 (February 1998), 13. 9 Christopher Rouse, “Requiem: Program Note by the Composer,” accessed June 1, 2017, http://www.christopherrouse.com/requiempress.html 10 Rouse, “Requiem.” ! "#!

The Requiem is divided into sixteen different movements that are numbered rather than titled. Below each movement is listed by movement number and the first line of text that corresponds to that movement. From this list it is possible to narrow down which movements’ texts correspond to my Requiem : Nos. 2, 3, 5, 6, 7, 9, 10, 14, and 16.

No. 1 - I sat all morning in the college sick bay

No. 2 - Requiem aeternam dona eis, Domine

No. 3 - Dies irae Dies irae, dies illa

No. 4 - I knew a simple soldier boy

No. 5 - Tuba mirum spargens sonum

No. 6 - Quid sum miser

No. 7 - Rex tremendae majestatis

No. 8 - Ancor che ‘l cor già mi premesse tanto

No. 9 - Quaerens me sedisti lassus

No. 10 - Lacrymosa dies illa

No. 11 - Domine, Jesu Christe, Rex gloria,

No. 12 - Hostias et preces tibi laudis

No. 13 - Farewell, thou child of my right hand, and joy;

No. 14 - Sanctus Sanctus, sanctus, sanctus, Deus Sabaoth.

No. 15 - Methought I saw my late espoused saint

No. 16 - Agnus Dei, qui tollis peccata mundi

! "#!

The second movement of Rouse’s Requiem first introduces the Latin text with No. 2 -

Requiem aeternam dona eis, Domine. The movement is in modified strophic form with a coda for the Kyrie eleison text. Mm. 1-20 include the first setting of the Requiem aeternam text, which is immediately followed in mm. 21-38 by a similar setting of the same text. The same music is presented again in mm. 39-61, altered slightly again, and this time with the text Te decet hymnus .

The same process is used in mm. 61-75 with another slightly altered version of the music, now with the text Ad te omnis caro . Mm. 76-103 finally contain different music as well as text—

Kyrie eleison —creating a section that I consider to be a coda, rather than a new, full section due to its shorter length and lack of a clear form in itself.

No. 3 - Dies irae challenges analysis as the chorus does not merely sing, they chant, shout, and glissando throughout the movement, frustrating the identification of musical motives.

Rather than focusing on pitch in this movement, I focus on instrumentation and rhythm to guide my analysis, leading me to believe that the movement is through composed. Table 4.9 outlines the major sections, subdivisions, and key elements of each that aided my analysis.

Structure Measures Text Key Elements Intro 1-19 Dies irae, dies illa aleatoric chanting A 20-53 Dies irae, dies illa rhythmic chanting, glissandi B 53-66 Teste David almost constant triplet figure, less rhythmic chanting, no glissandi C 67-84 Quantus tremor pitched chanting, glissandi D 85-102 Quando judex aleatoric whispering E 102-118 Cuncta stricte triplet figure, whispering Dies irae text A' 119-149 (No. Dies irae, dies illa rhythmic chanting 4, m. 1)

Table 4.9 Formal structure and key elements in Rouse’s Requiem , No. 3 - Dies irae Dies irae, dies illa

! ""!

The Sequence text continues in No. 5 - Tuba mirum spargens sonum, a movement in binary form with a coda. The movement begins with an introduction of the text Tuba mirum in mm. 1-10. Section A, mm. 11-58, begins with the text Tuba mirum again and B begins on the text Judicanti from mm. 58-82. Section B does have some similarities to A, but not enough to call it all one large section. The coda, then, finishes the movement in mm. 83-110 on the text

Judex ergo . The sixth movement of Rouse’s Requiem , which is another Sequence movement, is a set of variations. The theme is presented in mm. 1-12 on the text Quid sum miser . This is followed by four variations on the theme, each with a different text: Var. 1 Quem patronum rogaturus , Var. 2 Recordare, Jesu pie, Var. 3 Oro supplex et acclinis , and Var. 4 Gere curam mei finis .

No. 7 - Rex tremendae majestatis, another of the Sequence movements, can be heard in ternary form with the opening Rex tremendae text returning with A' . Section A consists of mm.

1-121 and can be divided into four sections itself with two statements of Rex tremendae , mm. 1-

37 and mm. 38-64 followed by Qui salvandos in mm. 64-83 and Salva me in mm. 84-121. This passage is followed by a short instrumental transition in mm. 119-130 which leads into the B section in mm. 131-242. Section B can also be divided into four smaller sections: Recordare in mm. 131-155, Ne me perdas in mm. 156-200, Confutatis in mm. 200-211, and Jesu, maledictis in mm. 212-242. There is another instrumental transition from mm. 243-263 leading back to A' for mm. 264-347. Section A' is made up of four statements of the Rex tremendae text in mm. 264-

284, 285-312, 313-331, and 332-347.

The last two Sequence movements are No. 9 - Quaerens me sedisti lassus and No. 10 -

Lacrymosa dies illa, the first of which is in a 3-part strophic form and the latter of which is in ternary form. No. 9’s three parts are divided into the following sections: mm. 1-23 on the texts ! "#!

Quaerens me and Juste judex , mm. 24-45 on the texts Ingemisco and Preces meae , and mm. 46-

73 on the texts Qui Mariam , Inter oves , and Statuens . The structure of No. 10’s ternary form is similar to that of No. 7’s: A in four smaller sections mm. 1-45, B in three sections mm. 46-104, and A' in four sections mm. 104-147. Section A uses only the opening Lacrymosa text repeated four times in mm. 1-10, 10-24, 25-34, and 35-45. Section B changes to the text Pie Jesu in mm.

46-59 and then again in mm. 60-73, then switches to Dies illa for the final section in mm. 74-

104. Section A’ brings back the Lacrymosa text in mm. 104-121, but rather than repeating the text three more times, Rouse wrote an instrumental section in mm. 122-128 before bringing back the final two statements of Lacrymosa in mm. 129-135 and 136-147.

Another movement in binary form is No. 14 - Sanctus Sanctus, sanctus, sanctus, Deus

Sabaoth. The Sanctus text opens the movement in mm. 1-45, repeating the text three times in A.

Section B begins with the change in text to Hosanna in mm. 46-191 with the text repeating four times in B; Hosanna is then repeated four more times in the coda in mm. 191-246.

Rouse’s Requiem ends with No. 16 - Agnus Dei, qui tollis peccata mundi in a three-part form: A B C. It is the only movement to combine the Latin and non-Latin texts as well as splitting the choirs into two separate choruses and add a children’s chorus. It also sees a return of the aleatory from No. 3 - Dies irae Dies irae, dies illa but now it is pitched rather than chanting or whispering. Table 4.10 provides a chart of the movement’s structure.

! "#!

Structure Measures Vocal Performing Forces Text or Instrumental 1-17 Instrumental introduction A a 18-62 Choir Agnus Dei a' 63-77 Baritone Solo Dona eis requiem B b 78-95 Choir 1 Now the laborer’s task b' 98-138 Baritone Solo Qui vuolmie b'' 139-162 Choir 1, Choir 2 Earth to earth, Es ist ein’ Ros’ /Agnus Dei /Father, in Thy gracious keeping b''' 163-189 Baritone Solo, Choruses 1 Qui son morto , Und hat ein & 2 and Children’s Chorus Blümlein bracht Transition 189-200 Choruses 1 & 2 Dona eis requiem sempiternam C c 200-226 Children’s Chorus and Requiem aeternam , Non son Choir, Baritone Solo morto c' 227-265 Choir, Baritone Solo Requiem aeternam , Amen

Table 4.10 Formal structure and key elements in Rouse’s Requiem , No. 16 - Agnus Dei, qui tollis peccata mundi

Tavener’s Requiem

John Tavener’s Requiem can be summed up by the phrase “Our glory lies where we cease to exist,” a statement that Tavener himself called the essence of the work. Like Rouse and

Britten, Tavener did not limit himself to the traditional Latin text, but also included “lines from the Koran and Sufi texts, and Hindu words from the Upanishads and other sources.” 11 Also, like

Rouse, Tavener did not title some of the movements, but numbered them.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 11 John Tavener, Requiem: Study Score (London: Chester Music, 2009), Preface. ! "#!

I. Primordial White Light - Requiem aeternam dona eis, Domine:

II. Kyrie eleison - Our glory lies where we cease to exist/Kyrie eleison

III. Advaita Vedanta - Ēkam ev ādvit īyam.

IV. Kali’s Dance - Dies irae, dies illa,

V. Advaita Vedanta - Ēkam ev ādvit īyam.

VI. Interlude

VII. Ānanda - Ah ām Āsmi

Only three movements in Tavener’s Requiem share texts with movements that I set: I, II, and IV. The first of these, Requiem aeternam dona eis, Domine, is in binary form with a coda and begins with an instrumental introduction in mm. 1-17. Section A contains mm. 18-63, where the choir and soprano soloist sing two statements of the text Requiem aeternam and then et lux perpetua . The B section signals a switch in soloist to a tenor in mm. 64-96 on the texts Te decet hymnus , Et tibi , and Exaudi . The coda does not use any soloists, so the choir makes a final statement of Requiem aeternam in mm. 97-104.

There is no break before the second movement, Kyrie eleison, which is in ternary form as may be expected with the Kyrie text, but it is also supplemented with statements in English sung by the soprano and tenor soloists. Section A, mm. 105-120, begins and ends with the soloists stating, “Our glory lies where we cease to exist,” which is interrupted by the choir singing Kyrie eleison . Section B, mm. 121-126, begins with the choir continuing on with Christe eleison as the soloists sing “O mother, take away my grief, O Thou Essence of Consciousness” underneath them. Section A is then brought back verbatim in mm. 127-142 with the two statements of “Our glory…” being interrupted by the choral Kyrie eleison . The movement ends with an instrumental ! "#! codetta in mm. 143-145.

The final movement I studied from Tavener’s Requiem was IV Kali’s Dance, which uses the Sequence text Dies irae and is also in ternary form. The movement begins with an instrumental introduction in mm. 157-162 and is followed by A in mm. 163-178. Section A consists of the choir making three statements of the Dies irae text in mm. 163-167, 168-172, and

173-178. Section B, mm. 179-215, makes use of alternating between the tenor soloists singing in

English and the choir singing in Latin. There are three sections of this as well: “Who is the woman/ Tuba mirum ” in mm. 179-188, “Disheveled her hair/ Mors stupebit ” in mm. 189-198, and

“How beautiful/ Liber scriptus ” in mm. 199-215. Section B is followed by an instrumental interlude that is used to bring back material from A. The movement ends with A' as a final utterance of the Dies irae text by the choir in mm. 222-234.

From studying movements from all of these different Requiems throughout history, it is clear that while three-part forms are not the only options used, they are a very common choice.

This tendency is especially important to point out for a Requiem, where the religious subject matter naturally invokes the idea of three—the holy trinity, for example—but also the texts themselves, which often have a natural three-part structure. Now that I have completed the discussion of the Requiems of Mozart, Cherubini, Fauré, Britten, Rouse, and Tavener I will next move to a discussion of my Requiem , which draws influence from aspects of all of these compositions. ! "#!

Chapter 5

Genesis of the Kisselbaugh Requiem

When I began thinking about what type of piece to write for my dissertation, I immediately knew that I wanted to write something with voices and instruments because of my experience as a singer, and I wanted to make timbral changes between movements by using different instruments. I considered many different options, from a song cycle to a large choral work, and eventually decided to write a Requiem. I wanted to write a Requiem for several reasons. First of all, I had never composed a sacred piece, which is surprising because sacred music makes up such a large proportion of vocal music repertoire. Looking back at the history of music, sacred music was a primary source of notated early music and, as shown in chapter 2, the requiem has an extremely rich history within choral music.

I also wanted to challenge myself with two textual issues: setting a text in a foreign language and setting a text that had been set to music before. To address the first issue, I relied heavily on diction resources to ensure that I set all of the syllables and that the compositional elements emphasized the correct syllables. When setting a text that other composers have also set, one risks quoting another composer accidentally. For example, one of the most famous examples of the Dies irae text comes from Wolfgang Amadeus Mozart; I could have inadvertently used the same melody or rhythms as Mozart simply because I am familiar with his

Requiem .

Following the decision to compose a Requiem, I next deliberated text, structure, and scoring. I considered inserting outside poetry or other texts into the work, following the models ! "#! ! of Benjamin Britten, Christopher Rouse, and John Tavener. Even though these recent Requiems use outside texts, I chose to set only the Latin texts according to the older tradition of requiem masses. My reasoning aligns with that of Igor Stravinsky (in the words of Georgiades) when he chose to write a Mass:

The stimulus came from the Latin text, and from its fixed form which has outlived the centuries. Both convey the impression of the universally valid, of that which is limited by neither nationality nor time… The character of the authentic which distinguishes this supranational and supratemporal language intrigues him. For his music seeks to free itself of the intimate, the subjective, the individual. 1

I also found that the Latin text offered favorable structural possibilities compositionally.

Movements like the Kyrie and Agnus Dei are intrinsically ternary. The Sequence text also offered many possibilities with the shift between descriptive text and first-person declamations.

Once I familiarized myself with the Latin texts and their translations, I did not feel any need to search for outside poetry to move the text along. To me, relying on the Latin texts offered a glimpse of the eternal. The ancient texts connect my piece to the past and to the future. In Choral

Music of the Church , Elwyn A. Wienandt states that it is unlikely that the Latin texts will ever fall out of favor with composers: “Liturgical texts will probably continue to fascinate composers, and we may look forward to works that fall anywhere between the extremes of complete acceptability to church requirements and utter disregard of them in favor of a more lavish expression for concert.” 2

The next consideration was how much of the liturgical requiem text I would set in this composition. The liturgical texts include: Introit, Kyrie eleison, Gradual, Tract, Sequence,

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Thrasybulos G. Georgiades, Music and Language: The Rise of Western Music as Exemplified in Settings of the Mass (Cambridge: Cambridge University Press, 1982): 121. 2 Elwyn A. Wienandt, Choral Music of the Church (NY: Free Press, 1965): 426. ! ! "#! ! Offertory, Sanctus, Agnus Dei, Communion, Pie Jesu, Libera me, and In paradisum. A few of these I could eliminate easily, such as the Offertory and the Communion. Because I knew that this is a concert Requiem and not intended for liturgical use, I felt that I should not set the movements where the congregation is involved: collecting the offering or taking communion. I also chose not to set the Gradual text because half of the text repeats text from the Introit (see figure 5.1).

Introit Gradual

Requiem aeternam dona eis, Domine, Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. et lux perpetua luceat eis. Te decet hymnus Deus in Zion, et tibi reddetur In memoria aeterna erit iustus, votum in Jerusalem. ab auditione mala non timebit. exaudi orationem meam; ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Figure 5.1 Introit and Gradual Texts

Once I had eliminated the Gradual text, I decided that I did want to set the Tract even though I was unaware of any other Requiem that had set that text to music. As seen in Appendix

2, none of the major composers listed chose to set the Tract text. “The Graduale has been in use since the ninth century and is sung after the reading of the Epistle… The timing is ideal for ornamentation because there is no liturgical action occurring at the moment when this chant is sung. Before the Council of Trent, an alternative Gradual, Si ambulem in medio umbrae mortis ! "#! ! was used; afterward, only one choice remained, Requiem aeternam .” 56 The Tract also had an alternate version before the Council of Trent using the text Sicut cervus desiderat ad fontes acquarum . A few of the composers who have used the Tract did so with the alternate Sicut cervus text, rather than the Absolve, Domine text. Figures 5.2 and 5.3 show the texts and poetic translations for the Gradual and the Tract. One reason I chose the Tract over the Gradual was the meaning of the text. While the Gradual text reiterates the Introit text, the Tract text brings a new plea to God as well as hinting at the final judgment to which the Sequence refers. The text of the

Trace appealed to me because it offers a contextual parallel between the Tract and Sequence movements and reserves the return of the Introit text until the final movement—Libera me.

Gradual Text Gradual Text Translation

Requiem aeternam dona eis, Domine Grant them eternal rest, O Lord et lux perpetua luceat eis. Let perpetual light shine upon them.

In memoria aeterna erit Justus: The just shall be in everlasting memory: ab auditione mala non timebit. He shall not fear evil tidings.

Alternate Text Alternate Text Translation

Si ambulem in medio umbrae mortis Though I walk through the shadow of death, non timebo in mala: I shall fear no evil quoniam tu mecum es, Domine; For Thou art with me, O Lord. virga tua et baculus tuus, Thy rod and staff, ipsa me consolata sunt. they comfort me.

Figure 5.2 Gradual Texts and Translations 57

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 56 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham, MD: S carecrow Press, 2006), 3. 57 Chase, Dies Irae , 3. ! ! "#! ! Tract Text Tract Text Translation

Absolve, Domine, animas omnium Lord, release the souls fidelium defunctorum ab omni of all the faithful departed vinculo delictorum. from every bond of sin.

Et gratia tua illusi succerente, By the help of your grace mereantur evadere judicium ultionis. enable them to escape avenging judgement. Et lucid eternal beatitudine perfrui. And to enjoy bliss in everlasting light.

Alternate Text Alternate Text Translation Sicut serves desiderata ad fontes acquarum, Like as the hart pants after the water brooks, ita desiderat anima mea so pants my soul after Thee, ad te Deus. O God.

Sitivit anima mea ad Deum vivim: My soul thirsts for the living God: quando veniamo at apparebo ante When shall I come and appear faciem Dei mei? before God?

Fuerunt mihi lacrime mei panes My tears have been my meat die ac nocte, dum dicitur mihi per day and night, while they continually singulos dies: say unto me,

Ubi erat Deus tuus? Where is thy God?

Figure 5.3 Tract Texts and Translations 58

The disproportionate length of the Sequence text presented compositional challenges.

The full Sequence text of nineteen stanzas is provided in figure 5.4 along with a poetic translation. In total, the Sequence has 57 lines of text. By comparison, the next largest movements are the Introit and the Libera me, each with eight lines of text. If I made the whole sequence one movement it would be disproportionately large compared to the rest of the movements, so I chose instead to split the Sequence into two movements. The practice of splitting the Sequence into multiple movements is common practice as seen in examples by

Mozart, as well as Antonín Dvo řák and György Ligeti. Upon reading the Sequence text and

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 58 Chase, Dies Irae , 4. ! "#! ! translation, I found it interesting that the first six stanzas all dealt with describing the “Day of wrath” and the words “I” or “me” do not appear until the seventh stanza. Therefore, I decided that I would split the Sequence into two parts: first, a description of the “Day of wrath” and, second, a personal prayer to God.

Sequence Text Sequence Translation

Dies iræ, dies illa, Day of wrath, that day Solvet sæclum in favilla: Shall dissolve the world into embers, Teste David cum Sibylla. As David prophesied with the Sibyl .

Quantus tremor est futurus, How great the trembling will be, Quando judex est venturus, When the Judge shall come, Cuncta stricte discussurus! The rigorous investigator of all things!

Tuba, mirum spargens sonum The trumpet, spreading its wondrous sound Per sepulcra regionum, Through the tombs of every land, Coget omnes ante thronum. Will summon all before the throne.

Mors stupebit, et natura, Death will be stunned, likewise nature, Cum resurget creatura, When all creation shall rise again Judicanti repsonsura. To answer to the One judging.

Liber scriptus proferetur, A written book will be brought forth, In quo totum continetur, In which all shall be contained, Unde mundus iudicetur. And from which the world shall be judged.

Judex ergo cum sedebit, When therefore the Judge is seated, Quiquid latet, apparebit: Whatever lies hidden shall be revealed, Nil inultum remanebit. No wrong shall remain unpunished.

Quid sum miser tunc dicturus? What then am I, a poor wretch going to say? Quem patronum rogaturus, Which protector shall I ask for, Cum vix iustus sit securus? When even the just are scarcely secure?

Figure 5.4 Sequence Text and Translation 59

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 59 Ron Jeffers, Translations and Annotations of Choral Repertoire : Vol. 1 Sacred Latin Texts (Corvallis, OR: Earthsongs, 1988), 67-70. ! ""! ! Sequence cont. Sequence Translation cont.

Rex tremendæ maiestatis, King of terrifying majesty, Qui salvandos salvas gratis, Who freely saves the saved: Salva me, fons pietatis. Save me, fount of pity.

Recordare, Jesu pie, Remember, merciful Jesus, Quod sum causa tuæ viæ: That I am the cause of your sojourn; Ne me perdas illa die. Do not cast me out on that day.

Quærens me, sedisti lassus: Seeking me, you sat down weary; Redemisti Crucem passus: Having suffered the Cross you redeemed Tantus labor non sit cassus. me. May such great labor not be in vain.

Juste judex ultinonis, Just Judge of vengeance, Donum fac remissionis Grant the gift of remission Ante diem rationis. Before the day of reckoning.

Ingemisco, tamquam reus: I groan, like one who is guilty; Culpa rubet vultus meus: My face blushes with guilt. Supplicanti parce, Deus. Spare thy supplicant, O God.

Qui Mariam absolvisti, You who absolved Mary [Magdalene], Et latronem exaudisti, And heeded the theif, Mihi quoque spem dedisti. Have also given hope to me.

Preces meæ non sunt dignæ My prayers are not worthy, Sed tu bonus fac benigne, But Thou, good one, kindly grant Ne perenni cremer igne. That I not burn in the everlasting fires.

Inter oves locum præsta, Grant me a favored place among thy sheep, Et ab hædis me sequestra, And separate me from the goats, Statuens in parte dextra. Placing me at thy right hand.

Confutatis maledictis, When the accursed are confounded, Flammis acribus addictis: Consigned to the fierce flames: Voca me cum benedictis. Call me to be with the blessed.

Oro supplex et acclinis, I pray, suppliant and kneeling, Cor contritum quasi cinis: My heart contrite as if it were ashes: Gere curam mei finis. Protect me in my final hour.

Figure 5.4 Sequence Text and Translation cont.

! "#! ! Sequence cont. Sequence Translation cont.

Lacrimosa dies illa, O how tearful that day, Qua resurget ex favilla On which the guilty shall rise Judicandus homo reus: From the embers to be judged. Hiuc ergo parce, Deus. Spare them then, O God.

Pie Jesu Domine, Merciful Lord Jesus, Dona eis requiem. grant them rest.

Figure 5.4 Sequence Text and Translation cont.

While studying the Sequence text, I noticed that the last two lines of the Sequence text and the full text of Pie Jesu were the same except for the last word of the Pie Jesu —sempiternam .

Rather than having both, I removed the last two lines of the Sequence and moved the Pie Jesu movement to follow the Sequence. Omitting sections of the text and changing the order of movements are also common practices in concert Requiems: Rouse and Tavener omitted large sections of the Sequence text, setting only the Tuba, mirum and Rex tremendæ and the Dies iræ and Liber scriptus , respectively; both Cherubini and Fauré placed the Pie Jesu before the Agnus

Dei rather than after.

With these decisions made, the order of movements in my Requiem is as follows:

I. Introit VI. Pie Jesu II. Kyrie VII. Sanctus III. Tract VIII. In paradisum IV. Sequence: Dies Irae IX. Agnus Dei V. Sequence: Quid sum miser X. Libera me

Traditionally, the Agnus Dei would follow the Sanctus, and the In paradisum would end the

Requiem. Many composers have used parallel or paired movements in order to create a sense of unity throughout the work. Figure 5.5 shows Gabriel Fauré’s and Johannes Brahms’s use of parallel movements. ! "#! ! Fauré’s Requiem Brahms’s Requiem

Introit and Kyrie Selig sind, die da Leid tragen

Offertory Denn alles Fleisch, es ist wie Gras

Sanctus Herr, lehre doch mich

Pie Jesu Wie lieblich sind deine Wohnungen

Agnus Dei and Communion Ihr habt nun Traurigkeit

Libera me Denn wir haben hie keine…

In paradisum Selig sind die Toten

Figure 5.5 Parallel Movements in Fauré’s and Brahms’s Requiems

Figure 5.6 illustrates two different ways that the movements can be paired in my work. The first shows the musical parallels, with the Introit and Libera me creating foundations for the work with both movements ending the same way. The Kyrie and Agnus Dei share material with the

Introit and Libera me respectively. The Tract, Pie Jesu, and In Paradisum also share related motives, while the two Sequence movements share related motives of their own. The Sanctus, however, stands separate from the other movements without any musical parallels. The right- hand portion of figure 5.6 identifies timbral parallels within the Requiem . The Introit, Quid sum miser, and Libera me movements employ the full complement of voices and instruments. The

Kyrie, Dies Irae, and Agnus Dei all use the full choir but reduced instrumental forces. The remaining movements of Tract, Pie Jesu, Sanctus, and In Paradisum each feature lengthy sections for solo voices where the choir is either not present or purely supplemental. I also scored each of these movements, except for the Sanctus, for reduced instrumental forces.

! "#! ! Musical Parallels Timbral Parallels

Introit Introit

Kyrie Kyrie

Tract Tract

Sequence: Dies ire Sequence: Dies ire

Sequence: Quid sum miser Sequence: Quid sum miser

Pie Jesu Pie Jesu

Sanctus Sanctus

In Paradisum In Paradisum

Agnus Dei Agnus Dei

Libera me Libera me

Figure 5.6. Musical and Timbral Parallels in Kisselbaugh’s Requiem

I created the musical parallelism by considering elements of the text —creating foundations for the composition by beginning with the Introit and ending with the Libera me, respectively, because both end with the same text: “ Requiem æternam dona eis, Domine, et lux perpetua luceat eis.” Next, both the Kyrie and the Agnus Dei have a three-part repeated text, and each could borrow musical motives from the Introit and Libera me, so I placed the Kyrie after the

Introit and the Agnus Dei preceding the Libera me. The Tract traditionally follows the Kyrie, so it came next, though I was initially unsure what its parallel movement would be. Next came the two Sequence movements, which served as the central pairing. As mentioned above, the Pie Jesu would follow the Sequence and I decided to pair the Pie Jesu with the Tract because they flank the Sequence movements. I also decided to pair the In paradisum with the Tract because both the

Tract and the In paradisum were the third movement from the beginning or end of the piece. ! "#! ! These pairings left the Sanctus without a parallel movement, but I decided to keep it by itself because of the more uplifting quality of the text, shown in figure 5.7.

Sanctus Sanctus Translation Sanctus, sanctus, sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth! Lord God of Hosts. Pleni sunt caeli et terra Heaven and earth are full gloria tua. Of thy glory. Osanna in excelsis. Hosanna in the highest.

Benedictus qui venit in Blessed is he who comes nomine Domini. in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

Figure 5.7 Sanctus Text and Translation 60

Most Requiems are written for a combination of voices and orchestra; mine is scored for a chamber wind ensemble rather than orchestra. One reason I chose this ensemble was to create a more intimate atmosphere for the piece. I knew that I wanted to play with ensemble size and instrument combinations throughout the work, which I planned out prior to writing the work, as well as an estimation of the time length of each movement (table 5.1). A smaller instrumental ensemble also may allow choirs that do not have access to a full orchestra to still perform the piece. I plan to write an alternate version for four-hand piano, accommodating choirs that cannot program the chamber wind ensemble. The choir is mostly just a four-part soprano, alto, tenor, bass (SATB) choir, but it occasionally splits into eight-part divisi (SSAATTBB). The Requiem also calls for Mezzo-soprano, Tenor, and Baritone soloists, which could either come from the

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 60 Jeffers, Translations and Annotations , 80. ! "#! ! choir itself or as separate solo-only performers. I decided to use three soloists as homage to the importance of three in sacred music, which I will discuss more in the next chapter.

!

Movement Title Voices and Parallel Time Instruments Introit ATB soloists, SATB Libera me 6 min. choir, Full ensemble Kyrie SATB choir, Agnus Dei 6 min. woodwinds + horn + keyboard Tract Alto solo, SATB Pie Jesu and In 2 min. choir, bassoon, horn, paradisum keyboard, percussion; choir supplemental Sequence: Dies irae SATB choir, brass + Sequence 2 4 min. percussion Sequence: Quid sum ATB soloists?, SATB Sequence 1 7 min. miser choir, Full ensemble Pie Jesu Bass solo, SATB Tract and In 3 min. choir, WW, paradisum keyboard, percussion; choir supplemental Sanctus Tenor solo, SATB 6 min. choir, Full ensemble In paradisum ATB soloists, SATB Tract and Pie Jesu 5 min. choir, flute, oboe, keyboard, percussion; choir supplemental Agnus Dei SATB choir, clarinet, Kyrie 5 min. bass clarinet, euphonium, percussion Libera me ATB soloists, SATB Introit 6 min. choir, Full ensemble

Table 5.1 Requiem Pre-Composition Planning ! "#!

Chapter 6

Analysis of the Kisselbaugh Requiem

The focus of this chapter will be the compositional process of my Requiem . I will begin with an overview and a thematic analysis of each movement of the composition, including any problems that arose during writing. The Requiem presented new challenges owing to significant length and substantial performing forces, so advance planning proved key to ensure a cohesive composition. Early planning kept major problems at bay. Issues and uncertainties regarding choral writing and text setting commonly arise while composing and provide the focus of attention here.

At the beginning of this process, I chose to write the first movement of the Requiem, the

Introit, first. I knew that the material in this movement would be important because it would set the tone of the Requiem and also return at the end of the composition in the Libera me. Because the music of the entire composition would be based on the Latin text, I chose to set sections of the vocal parts before composing any of the instrumental music in order to give preference to the nature of the language.

As stated in chapter 5, the Introit follows a three-part form: an instrumental introduction with a brief choral section at its end, then a section with soloists and supplementary choir, and finally a restatement of all of the preceding vocal material. The opening gesture in the voices, seen in example 6.1, is the main theme for the movement and can be found at the beginning and at the end of the Introit. This material first appears in mm. 19-27, then it is transformed in whole or in part in the following subsequent measures: mm. 43-44, 59-62, 97-101, and 113-120. ! "#!

Example 6.1 Main theme for the Introit, mm. 19-28

This theme can be seen as having two parts: the motive with shorter note values (mm. 19-

24) and the motive with longer note values (mm. 25-28). In these motives, the word requiem is set in two very different ways, but both illustrating the idea of rest. The first theme takes half of a measure for each voice to state the word requiem but uses faster note values, while requiem is stated in one measure in the second theme but this time in slower note values. By creating two different themes in the beginning of the Introit, I set up the rest of the movement. The next time the first motive is heard, it continues with the polyphonic texture that I set up in mm. 19-24 and moves through the rest of the Introit text. The second motive is not heard again until the end of the movement, which builds towards a tempestuous conclusion.

One of the issues that arose with the writing of this movement had to do with the instrumental parts. I knew that I did not want to have the instruments simply doubling the voices, but I also knew that without some doubling or assistance, the music could be too difficult to be performed. I decided to have a mix of both ideas, with the instruments doubling the voices, but also playing lines that added to the voices. The instrumental music comes mostly from the vocal music, but also adds in some longer and shorter note values to help give motion and add interest. ! "#!

The Kyrie is divided into three parts but this time by the three parts of the text. Again, I chose to set the text in the voices before I began writing the instrumental parts. In many

Requiems of the past, the Introit and the Kyrie were combined into one movement, so my homage to that tradition was to take the first requiem motive in the Introit and use a shortened version as the motive for the Kyrie (example 6.2). The rest of the Kyrie sections return to this theme and extreme rhythmic elements—exaggerated long and short notes.

Example 6.2 First Introit motive, mm. 19-20, and Kyrie motive, mm. 2-4

I based the Christe motive on a fragment of the Kyrie motive, and then I inverted it to have a descending melody rather than an ascending one (example 6.3). I chose to begin with the same rhythmic motive as the Kyrie motive for the first measure and then deviate from the rhythm by repeating the dotted quarter and eighth note and then ending on a quarter note tied to a half note. By keeping part of the rhythm of the Kyrie , I created a connection between the two motives despite their melodic differences.

! "#!

Example 6.3 Christe eleison motive, mm. 64-66

One of the issues that arose with composing the Kyrie had to do with the repeated text.

Because the Kyrie only consists of three short phrases, each with two words—Kyrie eleison .

Christe eleison . Kyrie eleison .—I knew that I had to maintain musical interest while repeating the same text multiple times. Once I had composed the first Kyrie section, I decided to follow a similar approach to the middle Christe section and then repeat the Kyrie almost verbatim, with a few alterations at the end to make it sound more final.

I distinguished the three sections of the Tract by the use of the mezzo-soprano soloist and the choir. Both the soloist and the choir open and close the movement with the soloist performing almost exclusively by herself in the middle section, with the exception of two short moments. I chose to use call and response throughout this movement because it is such an important aspect of sacred music, with even modern Catholic churches using a cantor to present music that is then repeated by the congregation, and this makes up the main idea for the movement, seen in example 6.4.

! "#!

Example 6.4 Tract call and response theme, mm. 3-6

The main feature of this theme is the ascending major seventh leap in the word Absolve which is followed by a pronounced rhythmic motive. The second time the soloist sings the words

Absolve Domine the major-seventh ascending leap inverts to a minor-second descent on Absolve , and the rhythm on Domine undergoes augmentation. The choir answers this new call with the original response (example 6.5).

! ""!

Example 6.5 Tract second call and response, mm. 6-11

The Tract came easily in the compositional process, thanks to the pre-planning I had completed. The only issue that was brought to my attention was that I had originally set the word

Absolve the way it is read in English—with two syllables, rather than the way it is pronounced in

Latin—with three syllables. I wrote the instrumental parts to complement the voices, but not to overpower them, especially because the mezzo-soprano soloist sings without the help of the choir and often in a lower register where her dynamic power is constricted. For this reason, I limited the number of instruments playing against her solo and placed them in ranges that would not overpower her.

The Sequence: Dies irae was the second movement that I composed, and I decided to define the three sections by the important parts of the text—Dies irae , Tuba, mirum , and a recapitulation of Dies irae . The movement begins with the Dies irae , a sequence of staccato eighth notes in the second half of the measure and is a rhythmic motive more than a melodic ! "#! motive. After this rhythmic motive has been introduced in two voices, the last two voices enter with a compressed version of the motive (example 6.6).

Example 6.6 Sequence: Dies irae rhythmic motive, mm. 4-17

! "#!

The second section of the movement, the Tuba, mirum , has a motive that the brass introduced in m. 1 (example 6.7). The choir first sings this motive on the Dies irae text in mm.

22-25 and then expands it on the text Tuba, mirum in mm. 77-87. The brass introduce this section, rather than the choir, with a fanfare that will become the main theme for the Sequence:

Quid sum miser movement.

Example 6.7 Sequence: Dies irae second motive in brass, mm. 1-4

The final section of the Sequence: Dies irae combines the two motives introduced throughout the movement. The choir returns to singing the Dies irae motive in m. 88, after having sung the Tuba, mirum motive in mm. 75-87. The choir continues with the Dies irae motive through m. 115 and then switches back to the Tuba, mirum motive in m. 116 through the end of the movement. Because the two Sequence movements are the central movements of the

Requiem and the motives are not found anywhere else in the work, I wanted to ensure that the motives would be embedded in the mind of the listener. ! "#!

A few issues did arise while composing this movement, mostly related to the text setting.

The first problem that I had was because I know the Mozart Requiem ’s Dies irae movement very well and my biggest concern was with ensuring that mine did not copy that one. I also had a few issues with setting the text in such a way that the stress would fall correctly. It came down to a choice between perfectly following the text stresses while having to alter my motives or, on the other hand ignoring some of the stresses and keeping the motive intact. I chose to maintain my motive and to let some of the syllables fall on unstressed beats.

The fifth movement of the Requiem, the Sequence: Quid sum miser, has two motives with one beginning and ending the movement and the second one in the middle. I took the first motive, as mentioned above, from the brass fanfare in the Sequence: Dies irae movement

(example 6.8), slowed it down, assigned it to the choir, and reorchestrated it (example 6.9). The purpose behind using the brass fanfare from the first Sequence movement later in Quid sum miser was to create a connection between these two movements. This theme returns in the last section of the movement.

Example 6.8. Sequence: Dies irae brass fanfare, mm. 44-49

! "#!

Example 6.9 Sequence: Quid sum miser first motive, mm. 11-17

I wanted the second motive to differ from the first motive, so I wrote it with longer note values and switched the time signature to 6/5 from 5/8, but I also wanted to have some similarities, so I kept the melismas and the general pacing of the text, as seen in example 6.10.

My hope was that this middle section would sound like a pared-down version of the first theme without being too simple. I realize that setting the second motive as a simplification of the first motive would have been easier for the performers to learn and perform, but I also wanted to keep interest for the listeners.

! "#!

Example 6.10 Sequence: Quid sum miser second motive, mm. 56-66

The problems that occurred while composing the Sequence: Quid sum miser were partly due to text setting and partly due to making the movement feel complete with the instrumental parts. Because I took music that I had written for instruments and decided to put it in the voice and add text, I knew that I would have to be very careful with how I set the text. Like with the first Sequence movement, I had to choose between maintaining the motive throughout or making all of the strong syllables fall on strong beats and again I chose to maintain the motive. The problem with the instrumental parts was that I struggled to come up with a good way to begin the movement so that it did not feel too abrupt. Eventually I decided to take the instrumental part in m. 35 and expand that into an opening gesture.

The Pie Jesu, like the Tract, separates into three sections through the use of the choir and soloist, in this case a bass soloist. The bass soloist and choir sing together through the first section, then the bass sings alone through the middle section with the choir entering with the final section. This movement is connected to the Tract movement, so the main motives are similar with an opening ascending leap of a minor seventh followed by a slowly descending line

(example 6.11). The second section does not have a separate motive, but has the soloist expanding the motive. ! "#!

Example 6.11 Pie Jesu motive, mm. 1-5

The Sanctus text has a much more uplifting tone than any of the others, so I chose to write it so that the music would capture the uplifting, joyous tone. This also means that this movement does not share motives or themes with any other movement in the Requiem. The three sections of this movement are divided by both the text and the performing forces. The opening and closing sections use the full ensemble, as does the text Sanctus, Sanctus, Sanctus Dominus Deus

Sabaoth . Pleni sunt cæli et terra gloria tua . Hosanna in excelsis . In the middle section, only the woodwinds, marimba, bass drum, and tenor soloist perform with the text Benedictus qui venit in nomine Domini . Hosanna in excelsis to add a sense of reverence to the movement and give it a more personal feel.

I introduced the main theme for the Sanctus first in the instrumental introduction for the movement before the soloist and choir sing it (example 6.12), and this theme is therefore easily remembered by listeners when it returns at the end of the movement. The theme, seen in example

6.12, shows an isolated version with just the tenor solo, on which the choral and instrumental ! "#! parts were based. The focus of this theme was to set the text differently from the other movements: bouncy, light, and spirited.

Example 6.12 Sanctus theme, mm. 24-60

The only problem that I had while composing the Sanctus was how to ensure that this movement still sounded like it belonged with the rest of the Requiem because of the lack of parallel movements. I believe that because the movement has the same performing forces as other movements of the composition, and because it was also written with a similar composition technique, it clearly belongs.

The performing forces make the distinction between the three sections of the In Paradisum, much like other movements. In this case, the choir and the three soloists perform throughout the opening and closing sections, while the soloists sing almost exclusively in the middle section.

The only exception being on the text Chorus Angelorum te suscipiat (May a choir of angels ! "#! welcome you) where the soloists state the text first without the choir and then state the text again with the choir. I hope it sounds as if the soloists are stating it as a request and then the choir, acting as the angel choir, join in on the prayer.

I chose to have the In Paradisum be a parallel movement with the Tract and the Pie Jesu, though it is a much less obvious parallelism than that between the Tract and the Pie Jesu. In the

In Paradisum, the motive of the ascending-seventh leap in the Tract and Pie Jesu becomes a descending leap of a minor seventh, as seen in example 6.13. Another element of the motive is the rhythm—three eighth notes, a dotted half note, and a dotted quarter note, elements of which are prevalent throughout the movement.

Example 6.13 In Paradisum motive, mm. 7-8, compared to Tract, mm. 3-4, and Pie Jesu motive, mm. 1-3

The Agnus Dei has the three sections, this time based on the three iterations of the text. My goal for this movement was to state the text only three times in each voice and to compose it in a way that would keep the interest of the listeners but without being simply two identical repetitions of the original. The movement begins with the sopranos and tenors singing the first line of the Agnus Dei text all the way through—Agnus Dei, qui tollis peccata mundi, dona eis requiem . The altos and tenors immediately follow them with the same melody transposed down a perfect fourth. After a measure’s rest, the sopranos enter with the same theme they sang before ! "#! but this time the altos join them two measures later, transposed down a perfect fifth to better complement the soprano line. After the altos finish, the tenors enter on another new interval—up a major second from the original, which is also the pitch on which the altos just ended. The basses follow two measures later down a perfect fifth from the tenors’ original pitch. There is another measure’s rest before the final iteration of the text, which is different: Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam . The sopranos enter first again on the original pitch level, then altos follow just as they did in the second statement of the text. The tenors are next to enter, this time two measures after the altos and this time a perfect fifth below the starting alto pitch, and the basses follow two measures later another perfect fifth down from the tenor opening pitch.

The entire Agnus Dei movement is based on the opening statement of the words Agnus Dei in the sopranos and tenors, seen in example 6.14. This motive is made up of a descending perfect fourth, ascending minor second, and then a descending major second, and is introduced in the first measure by the sopranos, tenors, and marimba. I wanted a motive that would be easily recognized throughout the movement to signify that the text was beginning again, so even a listener unfamiliar with the text was would know that the main theme had begun.

Example 6.14 Agnus Dei motive, mm. 1-2

! "#!

I also composed this movement to have those specific intervals prevail throughout, but not in a way that sounds like the same motive performed over and over again. Major and minor seconds are found all throughout the movement; perfect fourths are present in less obvious ways.

For example, in mm. 3-7 (example 6.15), there are several fourth or fifths, but they are hidden. In m. 3, there is a fourth between the G and the C, in m. 4 there are two fourths between the D-flat and the A-flat and between the E-flat and the B-flat, as well as a fifth between the A-flat and the

E-flat. Mm. 5 and 6 have hidden fourths and m. 7 has leaps of both a fourth and a fifth.

Example 6.15 Agnus Dei, mm. 3-7

The greatest difficulty with writing this movement was finding three different ways to use the same melody. I went through several attempts trying to get the vocal parts to fit together in a way that made sense musically with the rest of the Requiem and also was not too difficult for the performers. The way that I chose to set the text would allow the choir to learn the opening melody sung by the sopranos and tenors, and then, once everyone learned that theme, all they would have to do is transpose their parts to the different pitch levels. The parts are still difficult to put together, but I am very happy with the end result.

The final movement of the Requiem is the Libera me, which has two parallel movements: the Introit and the Agnus Dei. The movement begins with a motive similar to that of the Agnus

Dei (example 6.16), with the same intervallic relationships, though not the same rhythm. The ! ""! idea behind the motivic relationship between the two movements was to mirror the Introit and

Kyrie shared motives at the beginning with the Agnus Dei and Libera me shared motives at the end of the Requiem.

Example 6.16 Agnus Dei, mm. 1-2, and Libera me motives, mm. 15-18

The Libera me also shares motives with the Sequence: Dies irae, though only briefly, and the Introit. In mm. 63-70, there is a brief recap of the Dies irae motive, but I immediately moved through this section to music from the Introit with the return of the text Requiem aeternam . Thus, the three sections of the Libera me are separated by the motives used: the first section uses the

Agnus Dei/Libera me theme, the second section begins with the borrowed Dies irae theme, and the final section makes use of the Introit motive.

The only aspect I struggled with when composing this movement was how to make all of the different themes and motives work in one movement without sounding like they did not belong. I found that by carefully manipulating the transitions, I could make these three themes all ! "##! work together and create a movement that not only completes the entire composition, but also acts as a reminder of all of the music that came before it.

While I definitely struggled with certain aspects of writing a Requiem, much of the success in the compositional process came through pre-planning. While writing, I put great emphasis on composing the music and setting the text for the voices because I feel like they are the most important part of the composition. However, I was aware that the music that I was writing was very difficult. In the next chapter, I will discuss some of the performance issues that come with performing the work. ! ! "#"!

Chapter 7

Performance Considerations and Conclusion

Naturally, each composer hopes that others will choose to perform her or his compositions, and I am no exception to this. In this chapter I will describe challenges and considerations that may arise during rehearsal and performance of Requiem (Appendix 1). These considerations include challenges of instrumentation, possible alternate versions, and possible rehearsal issues.

Performance Considerations

I believe that the instrumentation could pose a challenge for a few reasons. I see Requiem as a work for a medium to small choir, with a maximum forty-eight singers: six voices per part in an 8-part divisi (SSAATTBB). This would mean that each person would need to be very confident with his or her own part, especially with a smaller choir. The ensemble also uses three soloists, mezzo-soprano, tenor, and bass, who can be brought in separately or come from the choir. If they do come from the choir, though, this would mean one less of each of those voices in the choir and risk of imbalance among the remaining members of that section.

The instrumentation required is also a bit untraditional, because it is a chamber wind ensemble, rather than a more traditional orchestra. The ensemble I wrote for has woodwinds

(flute, oboe, B-flat clarinet, bass clarinet, and bassoon), brass (horn in F, B-flat trumpet/piccolo trumpet, euphonium, and tuba), and four percussionists playing the marimba, xylophone, vibraphone, tubular bells, tam-tam, bass drum, snare drum, suspended cymbals, brake drum, and five tom drums. ! "#$!

There are a few reasons I did not write for orchestra. Primarily I chose a small instrumental ensemble in order to balance a small choir. Also, in the past I have found it difficult to find string performers to play some of my pieces, so I chose to write for a chamber wind ensemble rather than a chamber string orchestra. I chose not to use a piccolo because of the strength of that instrument and the fear that it could overwhelm the rest of the ensemble. I also felt that the English horn was not needed because the bass clarinet and bassoon could cover the range and that allowed me to keep the ensemble size smaller. The piccolo trumpet, played by the

B-flat trumpeter, is only used in one movement—the Sequence—but because it performs a solo, it is important that the instrument not just be available, but also that the player is competent on the instrument. I also chose to use a euphonium instead of a trombone. While writing the

Requiem, I had several teachers ask me why I had made this choice and there are a few reasons.

First, I have known several very talented euphonium players, and I tend to prefer the timbre to that of the trombone. Second, I think that the euphonium has a slightly more mellow and less forceful sound than the trombone, which I thought would complement the smaller ensemble better. I know that the trombone is a more traditional choice because it is used in an orchestra rather than a euphonium. Each of the six Requiems I analyzed in chapters 3 and 4 used trombones and, in the Tuba mirum movement of Wolfgang Amadeus Mozart’s Requiem in D

Minor , the trombone has a solo with the word Tuba (The trumpet). Even so, I have chosen not to use it, knowing that this was not a common decision.

Of course, I realize that some choral ensembles may not be able to engage this chamber wind ensemble for a full performance, so I have considered creating an alternate version or versions of the work. I originally intended to write an alternate version for choir and organ, however I am still learning about the organ and how to write for it, so I may instead make a four- ! "#$! hand piano version. A primary concern for any alternate versions would be deciding what elements from the wind ensemble to omit without losing grandiosity, depth, and timbral variety because of smaller forces.

The biggest barrier to getting the work performed is rehearsal issues. At the set tempi, the work lasts about an hour; with no purely instrumental movements, the choir has significant music to learn. I have tried to mitigate this concern by making each movement begin and end fairly similarly. However, I am not going to assume that a choir would need significantly less time on account of these repetitions. For each minute of music, a choir may need thirty to sixty minutes of rehearsal, depending on difficulty. So this Requiem would require 1,800 to 3,600 minutes of rehearsal. By these calculations, it could take between thrity-three and sixty-six hour- long rehearsals to learn the composition. The amount of rehearsal time could be reduced if choir members will practice parts outside of rehearsal time. There are also a few movements where the choir has very little to learn.

Requiem is a very chromatic composition, with a fairly dissonant harmonic language.

While I did strive to write singable lines for each part, those lines are still difficult. Singers are asked to sing passages with many half steps, where intonation can be very difficult, no matter how good the singer. Putting the choral parts together also creates difficulties because the harmonic language is often very dissonant and keeping all the parts in tune will be extremely important when the instrumental ensemble is added to the choir.

The rhythmic complexity of the composition is another difficult factor in putting together a performance. There are several instances throughout Requiem where twos are set against threes, fives, sixes, or sevens. The most rhythmically different movement is the Sequence: Quid sum miser. Example 7.1 shows the opening lines of the movement. Not only does the movement ! "#$! alternate between 4/4 and 5/8 time signatures, but the choir, who sings mostly in 5/8, will have to work hard to figure out all of the text placements. Even with the moderately slow tempo, the movement will require a lot of rehearsal time to get it to perfection.

Example 7.1 Opening choral part in Sequence: Quid sum miser, mm. 11-14

Requiem also makes use of some extremes in the ranges for both the voices and the instruments. The choir is often asked to sing high or low in their respective registers as well as occasionally being required to sing at the extremes for a longer span of time. The instrumentalists also move into the extremes of the ranges, though they are not often required to stay at those extremes for extended periods.

The most difficult aspect of learning the Requiem will be to put the entire ensemble together. The instrumental parts do often double the choir, but those parts are mixed in with other parts that are independent of the choir, which will make it difficult for choir members who are not extremely confident in their parts. However, I believe that once the choir members learn ! "#$! what to listen for, the instrumental parts will assist the choir to find their notes and feel confident about their entrances. Requiem could be performed by a good collegiate choir with a dedicated and equally skilled chamber ensemble, however the amount of time it would take to learn the composition would prevent most to take on the task. I believe that the best performance of the full composition would come from a professional choir with professional instrumentalists making up the chamber ensemble.

Conclusion

Writing a Requiem was one of the hardest things I have ever done, but I am ultimately proud of the piece in its final form. Although I could have composed my Requiem without considering all of the Requiems that precede it, I believe that it is a stronger composition because it connects to works from the past.

The requiem has a long and impressive history with many wonderful works in a vast array of styles. This dissertation only begins to explore the history of the requiem and focuses on only six examples, but in truth, the entire genre influenced my work in some way. The Requiems of Wolfgang Amadeus Mozart, Luigi Cherubini, Gabriel Fauré, Benjamin Britten, Christopher

Rouse, and John Tavener were exceedingly helpful in my journey of completing my Requiem and influencing my decisions along the way, especially when it came to matters of form, symmetry, and text setting.

I composed my Requiem over a course of two years. The idea began after a class assignment where I had to study Fauré’s Requiem , Op. 48 and I found his use of symmetry fascinating. After beginning to compose the Introit movement, I decided which movements I wanted to compose and planned out the rest of the work. With the Requiem completed, I feel as though I have completed a milestone in my composing career. My Requiem is not only important ! "#$! to me for personal reasons, but it also pushed me to think about my composition as it fits into a genre and what sets my Requiem apart from others. With my decision to follow some conventions and to disregard others, I believe that I have created a unique Requiem that makes a distinct contribution to the genre. ! "#$!

BIBLIOGRAPHY

Britten, Benjamin. War Requiem, Op. 66 . London: Boosey & Hawkes, 1962.

Chase, Robert. Dies Irae: A Guide to Requiem Music . Lanham, MD: Scarecrow Press, 2006.

Cherubini, Luigi. Requiem in do minore . Revised by Giulio Confalonieri. Milano: Edizioni Suvini Zerboni, 1946.

Cooke, Mervyn. Britten: War Requiem . Cambridge: Cambridge University Press, 1996.

Di Grazia, Donna M., ed. Nineteenth-Century Choral Music . New York: Routledge, 2013.

Fauré, Gabriel. Messe de Requiem, Op. 48 . Kassel: Bärenreiter, 2011.

Georgiades, Thrasybulos G. Music and Language: The Rise of Western Music as Exemplified in Settings of the Mass . Cambridge: Cambridge University Press, 1982.

Jeffers, Ron. Translations and Annotations of Choral Repertoire . Vol. 1, Sacred Latin Texts . Corvallis, OR: Earthsongs, 1988.

Luce, Harold T. “The Requiem Mass from its Plainsong Beginnings to 1600.” PhD diss., Florida State University, 1958.

Lundergan, Edward. “Cyclic-Interval Structures in Britten’s ‘War Requiem’.” Choral Journal 38, no. 7 (February 1998).

Mozart, Wolfgang Amadeus. Requiem d-Moll, KV 626; ergänzt von Robert D. Levin . Neuhausen-Stuttgart: Hänssler-Verlag, 1994.

Pahlen, Kurt. The World of the Oratorio: Oratorio, Mass, Requiem, Te Deum, Stabat Mater, and Large Cantatas , trans. Judith Schaefer. Portland, OR: Amadeus Press, 1990.

Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven , Expanded ed. NY: W. W. Norton, 1997.

Rouse, Christopher. Requiem . London: Boosey & Hawkes, 2007.

Rouse, Christopher. “Requiem: Program Note by the Composer,” accessed June 1, 2017, http://www.christopherrouse.com/requiempress.html ! "#$!

Summer, Robert J. Choral Masterworks from Bach to Britten: Reflections of a Conductor . Lanham, MD: Scarecrow Press, 2007.

Tavener, John. Requiem: Study Score . London: Chester Music, 2009.

Unger, Melvin P. J.S. Bach's Major Works for Voices and Instruments: A Listener's Guide . Lanham, MD: Scarecrow Press, 2005.

Wienandt, Elwyn A. Choral Music of the Church . NY: Free Press, 1965. Requiem

S.R. Kisselbaugh Requiem

Table of Contents Instrumentation

Chamber Wind Ensemble: Introit 3 Flute Oboe Kyrie 19 Clarinet in B-flat Bass Clarinet Tract 33 Bassoon Horn in F Sequence Trumpet in B-flat / Piccolo Trumpet Dies Irae 41 Euphonium Quid sum miser 58 Tuba

Pie Jesu 79 Percussion (4 performers): Marimba Sanctus 86 Xylophone Vibraphone In paradisum 104 Tubular Bells Tam-Tam Agnus Dei 114 Bass Drum Snare Drum Libera me 126 Suspended Cymbal Brake Drum Appendix 2 144 Tom Drums (5)

Voices: Mezzo Soprano Solo Tenor Solo Bass Solo SSAATTBB Choir

Duration – 1 hour Score in C Requiem Introit S.R. Kisselbaugh

q = 80 w œ. œ. . . œb . ∑ œ œb œb . œb Flute 4 w wb œb . . œ . wn & 4 Ó ‰ œ œb . œ œb Œ J ƒ p P F ∑ ∑ Oboe w j 4 w j ˙. œb œ & 4 w œ. œb œ. œ œ œ. J œb ƒ p 3 P F ∑ Clarinet in B 4 w wn Œ œ œn ˙ Ó Ó Œ œn œb œ œ œ Ó b & 4 œ œb œ œ œœ œ ˙ ƒ p P P ∑ Bass œ œ ˙. ? 4 wb w œ œ ˙b œ w œ. œ Clarinet 4 Ó Œ‰ J 3 Œ Œ œ J ƒ p P p F ∑ Bassoon ? 4 œ œb 4 w ˙ Ó Ó ˙ w ˙b . Œ œ œb œ wb ƒ p p P ∑ ∑ Horn 4 in F & 4 Ó Œ‰ j j wb ˙. . œb w œ œ œn œb . œ œ. ƒ œ ˙ . . œb . . . p P ∑ ∑ Trumpet 4 œ in B & 4 w ˙ Ó ˙b œ œb œ w b ˙ w ˙ 3 ƒ p P ∑ Euphonium ? ˙b ˙ œ œ œ ˙ . 4 w w œ Œ œb ˙ Ó ˙ œ ƒ p p p Tuba ? jœ. 4 w œ. œ œb œ œ ˙ w Œ ˙. œ œ œ œb œn w œ ˙b . J 3 ƒ P Sus. Cymbal p P p L.R. ∑ ∑ ∑ ∑ Xylophone Xylophone 4 w œœ œ œ Œ & 4 Ó ‰ œæ. œb œ œb œ ˙n æ. ƒ P Tamtam L.R. Bass Drum L.R. ∑ fi fi fi fi ∑ Percussion 4 w œ œ œ œ ˙ œ ˙ œ ã 4 ŒŒ Œ Œ Œ Œ Œ Œ Ó ƒ F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Soprano 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Alto & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tenor 4 V 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bass ? 4

© S.R. Kisselbaugh, 2015 112

9 ˙b œb œ œb œn ∑ ∑ Fl œ . œ ˙b . 3 3 2 & œ Œ 4 Œ ˙ 8 œ. 4 F cresc.

∑ ∑ Ob œ ˙b œb œ 3 3 œ 2 & œb œ œ œ œ ˙ Œ 4 ˙. 8 œb œb 4 F cresc.

∑ 3 Bb & Ó ˙ ˙ Œ 43 83 42 Cl ˙ ˙ ˙ ˙ œb ˙ œ œ œ œ. p P cresc.

∑ œb œ œ œ. B ? œb ˙. œ œn œ ˙ Ó Ó ˙ 3 œ œ 3 2 Cl œb œb œ 4 3 8 4 P cresc.

3 ∑ Bsn ? Œ 3 œb 3 . 2 Ó Œ œ ˙. œ w ˙. 4 œ œb ˙ 8 œ 4 p P cresc.

9 ∑ ∑ Hn Œ 3 3 2 & j œ œb œb 4 8 4 œ. œn œb œ œ œ œ œn œ œ œ œ œ œn œb œ ˙. œ. P P ∑ ∑ ∑ B j b Ó Œ œ 3 œ 3 . 2 Tpt & œ œ. œn œ œ œn 4 ˙ 8 œ 4 F > P

∑ ∑ ∑ ∑ Euph ? ˙. w 3 3 2 ˙ ˙b œ 4 8 4

∑ ∑ Tuba ? 3 Ó 3 2 ˙b . œb ˙ ˙ w 4 œ 8 œ. 4 P

9

Xyl œ œb bœ œ. œ œb æ Ó æ. œ œb œ œ œb œn æ Œ œ œ œb œ bœ nœ bœ bœ 3 œn æ æ 3 æ. 2 & æ J ˙ œ J œ œ œb œ œ œ œn œ œ 4 ˙ 8 œ 4 P P

9 Snare Drum ˙ œ œ œ œ ˙ w ∑ ˙ œ œ œ œ œ œ œ œ œ œ œ œ Perc ã Ó 43 83 42 æ 3 3 3 p F cresc. 113

16

Fl œ œb œb 2 œ 1 4 wn w œ ˙n . ˙ Ó w œ ˙. & 4 3 4 4 π

Ob 2 ˙n 1 œ 4 wb Ó wn ˙. Œ & 4 4 4 π˙ ˙n w ˙b

B b 2 1 4 Cl & 4 4 4 Œ w œ ˙. Ó ˙ œ π˙. w ˙ w œb B ˙ œ œb œ œb œn ? 2 1 4 wb œn œb œ œ Œ ˙n ˙b Ó Ó ˙ w Cl 4 4 4 π p w ˙. œ Bsn 2 œ œb ˙. ? 4 ˙ 41 œ 4 œ œn œb œn œ Œ ˙ Ó w P 16 ∑ ∑ ∑ Hn 2 1 4 & 4 4 4 j œ œ Œ œ œb œb j œn œ œ. œn œb œn œ œb œn œ œ œ œb œn œb œ œn œ œ. œ œb œn œ œ œn P

B ∑ ∑ b 2 1 4 œb œ Tpt & 4 ˙ 4 œ 4 Ó Œ œb œ. œ œn œ œn œn ˙. Œ œb œ œ œ œ > J F P ∑ ∑ ∑ Euph ? 2 1 4 wn w w w ˙ Ó 4 4 4 π

Tuba ? 2 1 4 Œ Ó 4 ˙ 4 œ 4 πw wb œ ˙ w ˙ wn

16

Xyl ∑ ∑ 2 1 4 Ó ˙ ˙ Ó Ó ˙b æ ˙æ Ó œb æ ˙æ Ó & 4 4 4 æ æ ˙æ. 16 Bass Drum Í P œ œ œ œ ∑ ∑ ∑ ∑ ∑ Perc 2 1 4 w ã 4 3 4 æ 4 F

16 ∑ ∑ ∑ ∑ ∑ P S 2 1 4 j œb & 4 4 4 œb . œ œ œ œ œ œ ˙ Œ Ó Œ‰ œ Re--- quiJ emJ ae ter - nam, aeJ -

∑ ∑ ∑ P A 2 1 4 j j j j j j j & 4 4 4 œ œb j œ œ œb Œ œb œ œb œb œn Œ Ó Œ‰ œ Reœ. --- qui em aeœ terœ - nam,˙ Reœ --- qui em ae terœb œ - œ nam,˙ ae -

∑ ∑ ∑ ∑ ∑ ∑ ∑ T 2 j j V 4 41 4 Œ œb œ œ œ œ Re--- quiJ emJ ae

∑ ∑ ∑ ∑ ∑ ∑ B ? 2 j œ 4 41 4 Ó œ. œ œb œ œ œ œ œ Re--- quiJ emJ ae ter- nam, 114

24 œ . . œb . . . Fl œ œb œb wb wn œ. œ œ œb œ# œb . œn . œb & Œ œb ˙n . œb wb œ ŒŒ œ œb œb œ œb 6 F p F P ∑ ∑ ∑ Ob ˙ & ˙ w Œ ˙b . w F p

B b Cl & ˙n . Œ Ó Œ œ ˙b w ˙ Ó Œ œ ˙b . œ œn œb œn œ œ œn ˙b F F F ˙. . B ? ˙ w ˙. ˙. œb œb . œ. . Cl Ó Œ Œ w Œ œ œb œ . . œ. œb . F p F

Bsn œ œb œb . ? wb ˙n . Œ œ œ œ# œb œ Ó œb œ. œb œb œn Ó wn ˙ œ. . . . œb . œ. ˙b F F F p

24 ∑ ∑ Hn & w œb œ œ œ wn wn w œ. œb . . . œ. œ. . . p F ∑ B b œb j Tpt Œ œ œb . œb & w w w ˙. œ wb p P ∑ ∑ ∑ ∑ Euph ? w œ œ wb œ œ P ∑ ∑ Tuba ? œ ˙n Œ w w Ó ˙ w p

24 Snare Drum ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ Perc ã Ó Œ 6 P

24 j ∑ ∑ S ˙ œb œb ˙ œbœ. œ ˙˙n ˙ & ˙ œ Œ Ó J Ó ter--- nam, Re qui em! Re-- qui em!

∑ ∑ A j & œ ˙ Œ ˙ œ œb ˙ Ó œ. œ ˙b ˙ Ó ter--- nam, Re qui em! Re-- qui em!

∑ ∑ T œ V œ Œ ˙ œ œ ˙ Ó œ ˙ ˙ Ó ter--- nam,˙b Re qui em! Re-- qui em!

∑ ∑ B ? œ ˙. Œ ˙ œ œ ˙ Ó œ œ ˙ ˙ Ó Re-- qui em! Re-- qui em! 115

31 œb . ˙ ˙b œb ˙b œb Fl œ œb œ œb œb œ œn ˙b . œb œœ & J œ œn Œ œb œœ Œ œœ 5 7 6 P P

. œ œb œ ˙ ∑ Ob . œb œ. . Œ œ œb œb & œ œb . œb œn œb œ œb œn œb œb Œ . . . 6 F P

5

B j b & œb œ œb . œn œb ŒŒ œ œb œn œ œ ˙ Ó Cl œ œb œ œn œb œn œ œ P F P

∑ ∑ B ? œn œœ œb Cl œn ŒÓ œn œ ˙b Œ 6 P

∑ ∑ Bsn ? . œb œ. œb œn œn Ó œn . . . . œb . œ. ˙n F

31 ∑ Hn & ˙ Ó œ œ j œb . œn œ w F ∑ ∑ Bb œ œ ˙. Œ Tpt & œ œn P

∑ œ œb Euph œb . . ˙b ? œ œb œb . œ œn . œ ŒÓ Œ . . . œb . œb F f

∑ ∑ ∑ ∑ Tuba ?

31 ∑ ∑ Xyl & Ó œ œb . œ Œ œ. œb . . . œ. œ. œ œ F .

31 œ œ œ œœ œ œ œ œ œœ œ œœ œœœ œœ œ œ œ œ œ œœœ œ œœœ œ œœ œ œœœœœœœ Perc ã ‰ŒÓ J 5æ 6 æ 7æ 5 æ 6æ 6 æ P 116

35 ˙b œn ∑ Fl œ ˙. œ œb œœ œ & Ó Œ ‰ œb œ œb ŒÓ 5 f P 5 ∑ ∑ Ob Ó œb œ œb ‰ œœ œb œb & œ œ œ ˙b œb œ ˙ F f P

6 ∑ ∑ B œn œ . œb b œb ‰Œ Œ œn œœ œb œb ˙. Cl & œœ˙ œœœœ 7 œ f P P

6 ∑ B œb œb ? œ œb œ ˙. œœœ Ó Ó Œ œœœ ˙ Ó Cl œ œb œn œ P P P

wb œb Bsn ? œ œb œb œn œ. ‰Ó Œ‰ œb . Œ Œ œ œ œb œ P P F

35 ∑ ∑ ∑ Hn & Ó Ó œn œ œ ˙ f ∑ j ∑ Bb Œ œ œb œ. Œ Ó Tpt & œb œ ˙b ˙ F P

∑ ∑ ∑ ∑ ∑ Euph ?

∑ ∑ ∑ ∑ Tuba ? œ œ œ œ. J œ F

35 ∑ ∑ ∑ Xyl œœœ w & Ó œ œ œb œn œ æ 7 F

35 œœ œœ ˙ œ œ œœœœœ œœœœ œ œœ œœœ œœœœ œœ œ œœœ œ œœœœ œ ˙ œœœœ œ œœ œ œ œœ ˙ Perc ã Œ Ó Œ æ 7 6 7 5 6 æ 5 æ P 117

40 œb . . œb œb œ ˙b . Fl œb . œb . œb . œn . œ œ œ œb œ œb œb œ œ œ œn œ œb œb œ œ œb . J ‰ œb œb œ 6 œ œb œ Œ & 6 6

F 5 P P p ∑ Ob œ œb œb œn . j œb œb œ œ œn œœ œb œb ‰ œ œ œb œb . œb & œ œb 7 ˙ P P

B . . b œ œ . Cl Ó ‰ œ. œ œn . œn œ & . . œb . œ. ˙n œ œ œ œb w F 6 P B œ œb œ ? œb œ. œn œ œ w Œ œb œn œ ‰Œ œ. J Cl J œœœœ J F P P ∑ ∑ Bsn ? œb ˙. œb œ œ œ œ . J P

40 ∑ Hn & Ó Œ œb œ. œ. œb œ œ œ œ œ w F ...... ∑ B b Tpt & ˙ œn œ œn œb . œ. œb ˙. ˙n œ. œ. œ. . . . F ∑ Euph . . . œ ˙b . ? . œn . œ. œ œb œb Œ œn œb œb œ. œn . œ P F ∑ ∑ ∑ Tuba ? ˙b Ó

40 œb ∑ Xyl œb œœ œ œb œb œ ‰ J œœœ œb ŒÓ œb œ œb œ & œn œ œb œ 40 F P ∑ œ œ œ œœ œ œœœ œœ œœœ œ œœ œ œœœœ œ œ œ œœœœ œ œ œ œœ œ œœ œ œ Perc Œ Ó ã 5 6 7 6 æ 6 æ 6 æ P P

Solo ∑ ∑ ∑ F A œ œb j & Œ J œb . œb ReJ --- qui em ae

Solo ∑ ∑ ∑ F T V œ. œb œb œ Re--- quiJ em ae

Solo ∑ ∑ ∑ F B ? j j œ Œ œ œ œb . J Re--- qui em ae 118

44 œb wb œb œ œb Fl œb œb œ œœ œb œb œ ‰ œb œ œb œb Œ œb œn 6 ˙. Ó ‰ œn 4 & J 6 4 J 4 p p p

Ob . Œ œb œ œb 6 Œ 4 & œ ˙b œn œ œ ˙b œn 4 œ œ œ œ œ œ œn 4 P P

B b j œb œ œn œ œ œb œn 6 4 Cl & ‰ œb œ œ œb œ œ ˙ Œ œ œb œn œ 4 ˙. ˙. 4 J J œ œ 5 p p

œn ˙b œb . œ B ? œ œ œ. œ ˙ 6 4 Cl Œ J J 4 Œ ˙n œb œ œ œ œ 4 P P

Bsn œ œ œb œ ? œb ˙b . Œ œ œ ˙. 6 ‰ œn ˙n œ œ 4 œb œb œb œ 4 J 4 P P

44 œb œb œ œn œb œb ∑ ∑ Xyl œ œb œb œb œ œ œn œ œn 6 4 & 6 5 ŒÓ 4 4

44 œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ ∑ œ œ œ œ œ œ œ œœ œ œ Perc Œ 6 Ó ŒÓ 4 ã 6 5 6 5 4 æ 4 P p

F F A j 6 j j j 4 & œ ˙b . Œ œb œ œb œ œ j Œ 4 Ó j œ œ 4 ter- nam doJ ---- naJ e is, Do miœ ne,˙b etœ œ luxœ per--- pe tuœn

F F T œ ˙b œb . j 6 j j j 4 V Œ œb œ œ œ. œ ˙ 4 ‰ ˙ œ œ œ œb œ œ 4 ter- nam do---- naJ e is, Do mi ne, etœn lux et luxJ J perJ --- pe tuJ

F F B ? j œ 6 j 4 œb ˙b . Œ j œb œb œ œ J ˙ Œ 4 Œ ˙ œb œ œ œ œ 4 ter- nam doœb ---- na e is, DoJ mi ne, et luxJ perJ --- pe tuJ 119

48 Fl œ œn œb œ œn . 4 œb œ œb œb w ‰ œb œb œ œ œn Œ ˙ œb œ œb œ œb œ Œ & 4 J J 6 œb P F

Ob 4 œb œb ˙ Ó j œb . j Œ & 4 ˙b œ. J œ ˙ œb . œ œ œb œ œb F

B b 4 œn œ œb œ œn œn ˙b ˙b Cl Ó Œ œb œ œ œ Ó œb œ œ & 4 œ œ œ œb œb œ œ ˙ J J p P

∑ B œb œ œ œ ? 4 ˙b . œ œb ˙ œb œ œ Cl 4 œb J Ó Œ F

œ ˙ ∑ Bsn 4 ˙b œ. œb œb œn ? 4 J Œ œ œn œ œ Œ œ F

48 ∑ ∑ Hn 4 & 4 œb œ œ œb ˙ Ó œb ˙ œ œb œ œ œn œb œ P P

48 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ Perc 4 Ó Œ Œ Œ ã 4 æ æ 6 æ p P

48 Tutti ∑ ∑ ∑ P P S 4 œ œb œ œb œ & 4 Œ J J œb œ Œ œb Te de- cetJ hym-- nusJ De us, in

Tutti P P A 4 j j & 4 œ œb œb œ ˙ Ó Œ œ œb . œ œb . œ Œ ˙b a lu. --- ceJ at e is. Te de--- cet hym nus Deœb us,œ inœb

Tutti ∑ P P T 4 j j j V 4 ˙b œ. œb œb œ ˙ Ó œb œ œ œb œ Œ œ a lu--- ce at e is. Te hym-- nus De us, in

Tutti ∑ P P B ? 4 ˙b œ œb œb ˙ œn œ œ 4 œb . J Œ œ œ œ Œ a lu--- ce at e is. Te hym-- nus De us, in 120

53 œb Fl œ œ œb œ . œn ˙b œn Œ Œ‰ œb œ œb œ œn œ œb œb œ ˙n wn ‰ œb œœ œb J & J œn œ J J J 6 F P

Ob j ˙b œn Œ œb œn œb œb ˙n w Œ œ œ œb œ & œ œn œ œ œ œ J œ . œ œ F P

3 3 ∑ B . b œ œb œœ œb œn Cl œ œ œn œœ œn Ó Œ œ œb œ œ œ œ œ œ œ œœœ œœœ & œb œ œn J œb œ œn 3 œ œœ œb œn œ 5 6 P

œ œ ˙. ∑ B ? ˙n œ w œ œ Cl Œ wb Ó Œ 3 P F

∑ Bsn ? œ œ œn ˙. ˙ œ Œ wb w Ó Œ œ 3 P F

53 3 3 Hn Œ‰ Ó Œ Œ & j j œb œ œ œ w ˙ œb œb . œ œ œn œ œn œ œ œ ˙ ˙ P P P

3 53 ∑ ∑ ∑ œ œb Xyl œ œ œ œ Ó Œ œ œ œbœœ œ Ó Œ & œ œ œ œ F P 53 œœ œ œœ œœœ œœ œ œœ ∑ ∑ ∑ œ œœ œœ œ œ œ œœœ œ œ Perc ‰Ó ã æ 6 Jæ æ 6æ 5 P P

53 F ∑ S ˙b œn œ œb œ œn œ œ œ œn œ œb œb œ ˙n wn & Œ Œ‰ J J J J J Si- on, et ti----- biJ red - de tur vo tum inJ Je - ru sa lem.

F ∑ A j j & ˙b œn ‰ œ œb œ j œ œ œn œ œb œb œ ˙n . w Si------on, etJ ti bi redœn deœ tur vo tum in JeJ ru sa lem.

∑ ∑ F ∑ T Œ Ó Œ œ œ œb ˙. V ˙n œ œ J3 Si- on, J J in je -ru-- sa lem.

∑ ∑ F ∑ B ? œ œ œ ˙. ˙ œ Œ Ó Œ œ J J3 J Si- on, in je--- ru sa lem. 121

59 ∑ Fl ˙ œb œb œn œ œb œ. j œ œn œ œb œ ˙ & Ó Œ œb œ ˙. Ó Œ 5 F p

Ob j Œ œ œb œ œb Œ œb j Œ œb œ œ Œ & œb œb œ ˙n . œb œ œb œ œ ˙b . œb œn œ œ ˙b P F P

3 B b œn j œb œn . œ ˙ Cl œ. Ó ‰ œ œœ œn œb Ó Œ‰ œ J Ó Œ œn œœ œb & J 3 œœ ˙ J œ œ p P p

œ œ ˙b œ œn œ œb œ. œ œn œ B ? œ. œ œb œ œb œ œ œ J œ œ œ. œ ˙ Cl J Œ J J Œ J P F P

Bsn ? Œ œb . œ ˙b . Œ j œb œ œb œ ˙b . Œ œ œ œ J œb œ œb œ J œb œb œb œ œn ˙ Œ P F P

59 ∑ 3 ∑ Hn Ó & œ œb ˙. œb Ó Œ‰ j ˙ œ œb œ œb œn œ œ P œ P

59 ∑ œn ∑ ∑ ∑ ∑ Xyl œb œ œ œb œ ˙b . & 6 p 59 ˙ ∑ ∑ ∑ œ œ œ œ œ œœ Perc Ó Ó Œ Ó ã æ æ 5 æ P

59 Tutti ∑ ∑ F ∑ ∑ S œ œb j & Œ J J œ. œb œ ˙ Re--- qui em ae - ter nam .

Solo Tutti Solo Tutti F F P A œ œb œ j j j j j œ j & Œ J œb œb œb œ ˙n . Œ œb œb œ œb œ œ Œ œb œ œb œ œ j Œ ReJ -- qui em ae --ter nam, Re-- quiJ em ae --ter nam˙b . doJ --- naJ e- is, Do miœ ne,˙b

Solo Tutti Solo F F P T œ ˙b j œ œb œb œb œ j V œ. œb œb œ Œ œn œb œb œ œ œ J œ. Œ J œb œ œ œ. œ ˙ Re---- quiJ em ae ter nam Re-- quiJ em ae --ter nam do---- naJ e is, Do mi ne,

Solo Tutti Solo F F P B ? j j œ j j œ œb œ j œ Œ œ œ œb . J œb ˙b . Œ œ œb œ œb J ˙b . Œ j œb œb œ œ J ˙ Œ Re---- qui em ae ter nam Re-- quiJ em ae --ter nam doœb ---- na e is, DoJ mi ne, 122

3 65 œb œ ∑ Fl œ œb œ œb œ j Œ œb œ œb œ œn 6 Œ‰ J J J œn . 4 œ œb œb 6 ŒŒ‰ œb ˙ & œb œ ˙ 4 J 4 3 œn ˙ 4 œb F p F

Ob Œ œb 6 Ó 4 œn œ œb œb œn ˙ 6 Œ‰ j ˙b ˙ & œb œ œ œ œ œ œb œ ˙ 4 œ œ œn œ œ œ 4 ˙b œ 4 œb F P F

3

B b Ó Œ œ œn œ œ 6 œ œb 4 Ó Œ œœ 6 Cl & ˙ J J œ œb 4 œn œ œ ˙. 4 œ œb œb œœ œ 4 w ˙ P p p

œ œ œ ˙b . ˙ B œ œ œ œ œ œ œ œ œ œ œ œb œ œ ˙b œb œ ˙ œb ? œ ˙ 6 ‰œ œ 4 œ œb 6 ‰J Cl J J 4 J 4 4 F P F

Bsn ? œ ˙n 6 4 ˙b œ œb œb ˙ 6 Œ œ œ œb œ œ œn 4 Œ ˙ œb œ œ œ œ 4 œb . J 4 wb ˙ F P F

65 ∑ ∑ Hn j j 6 4 6 & j j j œ 4 ˙. Ó. 4 4 ˙b œ œn œb œb œn œ œ. œn œœ œb œb œb œb œb P

65 ∑ ∑ ∑ ∑ Xyl œb œb 6 4 ‰ œb . œ œb œœœœ 6 ŒŒÓ. & 4 4 6 4 œ P

65 Tutti Tutti P ∑ ∑ ∑ p S œb j œb ˙ & Œ œb œ œ œ œb œ ˙ 46 4 46 ŒŒ‰ œb doJ --- naJ e is, Do- mi ne, et lux

Solo Tutti P p p A j j 6 j j j j 4 6 j & Œ œ œ œb œ œ j j 4 Ó œ œ 4 œ œœ œb œb œ ˙ 4 Œ‰ ˙b ˙ doœb ---- na e is, Doœ œb miœ ne,˙ etœ luxœ œ per------pe tuœn ˙b a luJ ceJ at e is. etœb lux

Tutti Solo Tutti P p p T œb œ j j 6 œ j j 4 6 ˙b . ˙ V œ œb œ œ œ œ œ ˙ 4 ‰ jœ œ œ œ œ œ œb œ œ 4 ˙b œ œb œb œ ˙ 4 ‰ œb do---- naJ e is, Do mi ne, etœ lux et luxJ J perJ ------pe tuJ a lu ce at e is. etJ lux

Tutti Solo Tutti P p p B ? j j œ ˙ 6 j 4 ˙b œ œb œb ˙ 6 Œ œ œ œb œ œ œ J 4 Œ ˙ œb œ œ œ œ 4 œb . J 4 wb ˙ do---- na e is, DoJ mi ne, et luxJ perJ ------pe tuJ a lu ce at e is. lux 123

71 Fl œ œ œ Ó œ œn œ œ œ œ 4 œ œb . œb œ œ œb ˙ Œ œ œb œb œ œb j Œ œ œb œb œ œb & 4 J . J œ œ. f P f

Ob Ó 4 j ˙b Œ‰ jœ œn œb ˙b Œ ‰ j œb œ j & œn œ œ œ œ œn 4 œb œb œ. œ œb œ œ œ œ œb œ œ J œ œ f F f

B b œn ˙ 4 ˙b ˙. œ. œ j j Cl & Œ œœ ˙ 4 ˙b Œ ‰ œ œn œœ œ œ œ Œ‰ œ 3 J J 3 œ œ. œ œ ˙ F P F

œn ˙ œ œ œ œ ˙ œ œn œ ˙ B ? J œ œ œn œ 4 œ œn œb œb œ œn œb œ œ Cl ‰ 4 Ó Ó ‰ J f F f

∑ Bsn ? 4 ˙ œ œb œ ˙ ˙n œ œ œ Œ œ ˙n œ œ œ œ 4 œb . J œ œ Œ‰ J œ œb f F f

71 ∑ 3 Hn Œ 4 Ó Œ‰ & ˙n ˙. 4 ˙ ˙b wn j œb œ œ œ ˙b . F F

71 ∑ ∑ ∑ ∑ Xyl œ 4 Ó Œ œ œb œb œ œb Ó & 4 5 œ F

71 Tutti F ∑ ∑ P S œ œ œ œ œb œ 4 œ œb ˙ œb œb & Ó J J J J 4 œ œb . œb . œ Œ œ J J œ œb et lux per--- pe tu aJ lu--- ceJ at e is. Te de-- cet hymJ nusJ

Solo Tutti F F P A j j j j 4 j j œ œb j j j & Ó œ œ œ œ œ œ 4 œ œ œb œ œ ˙b Œ‰ œ œ ˙b Œ ‰ œ œb œb œ œ œ œ œ et lux per--- pe tu aœb œb lu. --- ce at e is. Te de - cet Te de-- cet hymJ nus

Solo Tutti F F P T œn ˙ œ j œ œ 4 œ œ ˙ œ œ œ ˙ j j j V ‰ J œb œ œ J 4 œb œ œb œb œb Ó œ Ó ‰ œb œ œ et lux et lux perJ --- peJ tu a lu--- ce at e is. Te de - cet Te hym- nus

Solo Tutti F ∑ F P B ? j j œ 4 ˙ œ œb œ ˙ ˙n œ œ œ œ Œ‰ œ ˙ œ œ œ J 4 œb . J œ œ Œ‰ J œb et luxJ per------peJ tu a lu ce at e is. Te de- cet Te hym- nus 124

77 ∑ ∑ Fl Œ‰ j œ ˙n Ó Œ œn œb œ ˙. 2 Œ œ 4 & œb œ œb œb œn 3 4 4 f f f

3 ∑ ∑ Ob Œ ‰ j ˙n Ó Œ œb 2 Œ 4 & œb œ œb œ œ œ œb œ ˙. 4 œ 4 f f f

3 3 ∑ B b œ œœ œ. j 2 4 Cl & œb œn œb œœœœ œ œn Œ ˙. œ œ œ œb ˙ œœœ œ ˙ Ó 4 4 3 œn œœ f F

œ œ œ B ? œ œ œn ˙n œb œb œ œ# œn œ œ œn œ œ œ œ ˙ w 2 œ 4 Cl Œ‰J Œ‰ J œn œ 4 Œ 4 f f f

Bsn j ? œ œ œ œb œn œ œ œb ˙b . w 2 Œ œb 4 œ œ Œ‰ œ œn œ ‰ J œ œ œ œ œ J ‰ œ œ œ 4 4 f f f

77 3 3 3 ∑ Hn j Œ ‰ Œ Œ 2 4 & œ œn œn œœœ œb . œ ˙ œ œœ 4 4 œ œ. . ˙. œ ˙. ˙. f F

77 ∑ ∑ ∑ ∑ ∑ Xyl œ bœ œ ˙. 2 4 & Ó Œ œ œb b œ œ ˙. 4 4 f 3

77 P ∑ ∑ f f S Œ‰ j œ ˙n Ó Œ œ œb œ ˙. 2 Œ œ 4 & œb œ œb œb œ 3J J 4 4 De-- us, in Si on, in jeJ --- ru sa lem. Ex -

P ∑ ∑ f 3 f A j j 2 4 & Œ ‰ j œ œ ˙n Ó Œ œ œb œ 4 Œ œ 4 Deœb -- us,œ inœb Si on, in jeœb --- ruJ sa lem.˙. Ex -

P f f T œ œ œ œ# œ œ œ œ œ œ 2 4 V œb Œ ‰ œ œn ˙n Œ‰ œb œn J œb J œb œ ˙ w 4 Œ œ 4 De-- us, inJ Si on, etJ ti------biJ redJ de turJ voJ tumJ in jeJ ru sa lem. Ex -

P f f B ? j œ œ œ œb œn œ œn œ œb j ˙b w 2 œb 4 œ œ Œ‰ œ œ œ ‰ J œ œ œ J œ œ . 4 Œ 4 De-- us, in Si on, et ti------biJ redJ de tur vo tum inJ je ruJ sa lem. Ex - 125

84 Fl . œb 4 ˙b . œ œ œ œ œb œ ˙ ˙b Œ œb œ œb œ œn œb œb . œ ˙. Œ 2 œ œn œn 4 ˙ œ Œ œ œb œ œb œn ˙ & 4 3 4 4 3 poco a poco dim. poco a poco dim. J cresc. dim. F P f

3 3 Ob 4 . & 4 ˙b . œ œn œ œ œb œb ˙ Œ œ œn œb œn . œ œ œ ˙b . Œ 42 œ œb œ 4 ˙ œ Œ œb œ œb œn œb œ ˙ poco a poco dim. ˙ œ poco a poco dim. J cresc. dim. F P f

. œ œb œ œ œ ˙ œ œ œ. œ œ œ œ œ œn ˙b B ? 4 ˙ œ ˙ œ œ œ œ. œ ˙b . 2 œn œb œ œn 4 œn ˙ œ Cl 3 Œ J Œ Œ 3 4 poco a poco dim. J 4 4 poco a poco dim. cresc. dim. F P f

3 Bsn ? 4 ˙. œ œ œ œ œ œ ˙b œn œ œ œ œb œ œn . 2 œ œ œ 4 4 3 ˙ Œ œ ˙b Œ 4 4 ˙. œ Œ œ œ œb œ œn ˙ cresc. œb dim. poco a poco dim. poco a poco dim. F P f

84 poco a poco dim. poco a poco dim. cresc. dim. F P f S . œb 4 ˙b . œ œ œ œ œb œ ˙ ˙b Œ œb œ œb œ œ œb œb . œ ˙. Œ 2 œ œ œ 4 ˙ œ Œ œ œb œ œ# œ ˙ & 4 3 4 4 3 au------di or a ti o nem me am; adJ teJ om nis ca ro ve niJ et. Ex au di, ex au di or a ti o

poco a poco dim. poco a poco dim. cresc. dim. 3 F P f 3 A 4 j 2 4 . & 4 ˙b . œ œn œ œ œb œb ˙ Œ jœ œ œb œn . œ œ œ ˙b . Œ 4 œ œb œ 4 ˙ œ Œ œb œ œb œ œb œ ˙ au------di or a ti o nem me am;˙ adœ te om nis ca roJ ve ni et. Ex au di, ex au di or a ti o

poco a poco dim. poco a poco dim. cresc. dim. F P f T 4 ˙. œ œ œb œ œ œ ˙ ˙ œ œ œ œb œ. œ . j 2 4 ˙ œ œ œ œb œ œ œn ˙b V 4 3 Œ œb ˙b . Œ 4 œn œb œ œn 4 œ Œ 3 au------di or a ti o nem me am; adJ teJ om nis ca roJ ve niœ et. Ex au di, ex au di or a ti o

poco a poco dim. poco a poco dim. cresc. dim. F P f 3 B ? 4 ˙. œ œ œ œ œ œ ˙b œn œ œ œ œb œ œn . 2 œ œ œ 4 4 3 ˙ Œ œ ˙b Œ 4 4 ˙. œ Œ œ œ œb œ œ ˙ au------di or a ti o nem me am; adJ teJ om nis ca ro ve ni et. Ex au di, exœb au di or a ti o 126

94 œb œ œn œb œ œb œb ˙n wb wb wn Fl œ œ œn œ œ & ˙b ˙ ˙. Œ œb 3 Ó cresc. P F f ƒ 3 Ob ∑ & ˙ ˙ œ œ œb œb œn Œ ˙b w wn wb œb cresc. œn œn œ œb P F f 3

B ∑ œ ˙b ˙ ˙b b ˙ ˙b ˙ œ œn œb œ Cl & Ó œ œ œ œ œb œn œ Œ œn ˙b cresc. œn œ œb œn œ œb p F f ƒ ˙ w œ ˙. B ? ˙b œn œ œb œ œb œ œ œb œ œn ˙. wn Cl œ 3 Œ Œ cresc. P F f ƒ 3 Bsn œb œb ? œb ˙n ˙ œ œ œ œ# œb œ Ó ˙ ˙ wb ˙ œb cresc.œb œn œ wn ˙ F F f ƒ

94 3 Hn ∑ ∑ Œ wn w & œb œ œ œn œb œ œb œb w œb cresc.œ œ œ f p 3 F B ∑ b w w w œ ˙ Tpt & Ó œ œ œ œ œb œn œ Œ ˙b cresc. œn œ œb œn œn œb p F f ƒ ∑ ∑ ∑ Euph ? œ œ œ œb œ œb œ w Œ ˙b cresc.˙b œ 3 ˙. p ƒ 3 Tuba ? Ó Œ œb œ œb œb œn œ œb wn wn Ó ˙n w π cresc. ˙ œb œ œb œn F f ƒ 94 Tamtam Bass Drum Tamtam œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc ∑ > > > w ∑ œ ∑ ã Œ 3 Ó Œ æ æcresc.æ p f f ƒ 94 ƒ p ∑ F f j j S ˙ œb œb ˙ œbœ. œ ˙˙n œ. œ ˙b & ˙b ˙ w Ó J . J nem me - am; Re-- qui em! Re-- qui em! Re- qui- em!

p F f ƒ A ∑ j & ˙ ˙ ˙ œ œb ˙ Ó œ. œ ˙ œ. œ ˙ nem me - am;wb Re-- qui em! Re-- qui em! Re- quiJ - em!

p F f ƒ T ∑ V ˙ ˙b w ˙ œ œ ˙ Ó œ œ ˙ œ. œ ˙ nem me - am; Re-- qui em! Re-- qui em! Re- quiJ - em!

p ∑ F f ƒ j B ? œ ˙ œ œ. œ ˙ ˙ ˙ wb ˙ œ Ó œ œ ˙ œ. œ ˙ nem me - am; Re-- qui em! Re-- qui em! Re- quiJ - em! 127

101 œ œb œb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl œ 3 & Ó 3 ŒÓ 4 ƒ 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob Ó œn ŒÓ 3 & œ œb œ 4 ƒ œ œn œb œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B ? 3 Cl Ó 3 ŒÓ 4 ƒ 3 ∑ ∑ ∑ ∑ Bsn ? Ó œ œn œn . œ œ ˙ Œ œ. œ œ. œb ˙ ˙ 3 œ œb œ J J J 4 ƒ F P

101 ∑ Hn j œ œ œ. œ œ ˙b Œ œb . j j j Œ 3 & œ œb . œn ˙ ˙ œ. œn œ œ œ œb ˙b œ œn œn œ œ œ ˙b 4 F P P

B œ b œn œ. j j 3 Tpt œ ŒÓ œ œn ˙b Œ œ. œ œb œn œ ˙b Œ ˙n œn œ œb & J J . œ ˙ ˙b œ. œ œ œ œ ˙ 4 F P P œ ˙ œ Euph œn œn œ. œ œ. œb œ. œn ˙b ˙ œb . œn œn œ œ ˙b œ ˙ œ œ œ ˙b ? œ ŒÓ J Œ J J J Œ 43 F P P

Tuba ? j j j j œb ˙ œ ˙n œ œ œn 3 œ ŒÓ œ œ œ. œ œ ˙b Œ œb . œb œ. œ ˙ ˙ œ. œ œ œ œ Œ ˙ 4 F P P

101 L.R. Bass Drum Perc w ˙ ˙ œ ˙ w ˙ ˙ w œ ˙ œ ˙ ˙ ˙ ã . . . 43 F P P

101 F P P F j S ˙ œœn œ œ. j j j 3 & Ó œ œ ˙b Œ œ. œb œb . œ ˙ œ œ œ œ œb œ ˙b Œ œ ˙n œ œ œb ˙ 4 Re--- qui em aeJ - ter nam, Re--- quiJ em ae ter- nam˙b do. ------na e is, DoJ mi ne, et lux per pe tu a

F P P F A ˙ œ œ j j j j j 3 & Ó œb . œ œ ˙b Œ œb . œ . j œ œ œ Œ œ 4 Re--- qui em ae - ter nam, Re--- qui emœb aeœ ter˙ - nam˙ doœ. ---- naœn e is, Do miœb ne,˙b etœ œ luxœ perœ ---pe tuœ ˙b a

F P P F T œ ˙ j j œ 3 V ˙ Ó œ œ œ. œ Œ œ. œb œ. œn ˙b ˙ œb . œ œn œ J œ ˙b Œ œ ˙ œ œ œ ˙b 4 Re--- qui em aeJ - ter nam, Re--- qui em aeJ ter- nam do------na e is, Do miJ ne, et lux per pe tu a

F j P P F B j j j ˙ ? ˙ Ó œ œ œ. œ œ ˙ Œ œ. œ œ. œb ˙ ˙ œ œ œ œb ˙ Œ œ œ œ œ 3 ˙ œ œ œ œ œ ˙b œb . œb œ. œ œ. œ J ˙ 4 Re--- qui em. aeJ - ter nam, Re--- quiJ em aeJ ter- nam do------na e is, DoJ mi ne, et lux per pe tu a 128

110 ∑ ∑ ∑ Fl ˙b ˙n wn 3 5 4 j œ. œ ˙b . œb . œ ˙n . ˙. œ & 4 4 4 Ó œ. œ œb Œ J Œ Ó J Œ P F f ƒ ∑ ∑ ∑ Ob j j 3 5 4 Ó j Œ ˙b Œ Ó œb . œn Œ ˙. œn w w & 4 4 4 œ. œb œb œ. œ . ˙. P F f ƒ ∑ ∑ ∑ B b 3 5 4 Ó j Œ œn ˙b. Œ Ó œb . œ ˙. Œ ˙. œb wn w Cl & 4 4 4 œ. œ œb œb . J J P F f ƒ ∑ ∑ ∑ . œ . B ? 3 5 4 œb . œn œ œ œn ˙b . œn ˙n . ˙ œn wb w Cl 4 4 4 Ó J Œ J Œ Ó Œ P F f ƒ ∑ ∑ ∑ Bsn ? 3 5 4 Ó j œb . œ ˙b . Œ œ . ˙. œ ˙ ˙n w 4 4 4 œ. œ œ Œ J Ó œ ˙ Œ P F f ƒ

110 3 ∑ 3 ∑ ∑ ∑ ∑ Hn 3 5 4 & 4 j 4 4 Œ œ. œ œ ˙# ˙ œ œ ˙n . œb œ œ ˙b ˙ œ œb œ œ ˙ p F 3 ∑ 3 ∑ ∑ ∑ ∑ B b 3 j 5 4 Ó Tpt & 4 œ. œ œn 4 ˙b ˙ Œ 4 œ œ œ œb œ ˙ Œ œ ˙ œ œ œ ˙b P F ∑ ∑ ∑ ∑ ∑ Euph ? 3 œn . œ œ 5 ˙# ˙ 4 wb œn œb œn ˙n œ œ ˙b œ œb ˙ 3 4 J 4 4 œb œ 3 p F

3 Tuba j ? 3 œ. 5 Œ 4 j Œ j Œ Ó Œ 4 œ œn 4 ˙ ˙b 4 ˙ ˙b œ œb œn œ. œn œb œ. œ ˙b . œn œ ˙. ˙. œ wb w p P F f ƒ

110 L.R. Snare Drum Bass Drum L.R.Snare Drum Bass Drum Tamtam œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ ∑ ∑ Perc ˙ ˙ ˙ > > > > œ ˙ œ w fi 3 . 5 Œ 4 Œ Ó Œ Ó Œ ã 4 4 4 æ æ æ æ 3 æ æ 3 æ p P F f F ƒ ƒ

110 P ∑ P F j f j ƒ S 3 j 5 4 j œ ˙b . œb . œ ˙. ˙. œbœ n w˙b ˙n wwn & 4 œ œ 4 ˙ Œ 4 Ó œ œ œbœ Œ œbœ. œ ˙b . Œ Ó œb . œ ˙. Œ ˙. lu.--- ce atœ ˙# e is. Re.---- qui em! Re quiJ em! Re-- quiJ em! Re-- qui em!

P ∑ P F f ƒ A 3 5 4 j j . j w w & 4 j 4 Œ 4 Ó Œ œ. œ ˙b . Œ Ó œb œ ˙. Œ ˙. œ luœ.--- ceœ atœ ˙# e is.˙ Reœ.---- quiœb em!œb Re qui em! Re-- qui em! Re-- qui em!

P ∑ P F f ƒ T 3 j V 4 œ. œ œ 45 ˙# ˙ Œ 4 Ó œb . œn œ Œ œ. œ ˙b. Œ Ó œn œ ˙. Œ ˙. œ wb w lu--- ce at e is. Re---- quiJ em! Re quiJ em! Re-- qui em! Re-- qui em!

P ∑ P F f ƒ B j j ? 3 œ. 5 Œ 4 Ó j Œ œb . œ ˙b . Œ Ó œ ˙. Œ ˙. œ ˙ ˙ w 4 œ œ 4 ˙ ˙b 4 œ. œœn œbœ œ. œ ˙b . œn œ ˙. ˙. œ wb w lu--- ce at e is. Re---- quiJ em! Re quiJ em! Re-- qui em! Re-- qui em! Kyrie

q = 80 œ œb ˙. œ ˙ ˙. ˙. œ œ œ œ Flute ˙ œ œ œ œ œ. œ & 43 Œ J ‰ J Œ Œ‰ J P F Í F

œ Oboe 3 ˙. ˙. ˙ œ. œ# œn œ œ ˙ œ œ œ & 4 Œ J œ ˙ ˙. ŒŒ‰ J ŒŒ P f F Í F ∑ ∑ Clarinet 3 j in B Œ œ œb œb b & 4 ˙# . ˙ œ# . œ œ# ˙ ˙. ˙. ˙. P f F Í

œ# œn œ ∑ ∑ Bass ? 3 ˙. œ. œ œ ˙ ˙. œ j Clarinet J Œ‰ œ œ. œ œ ˙ 4 J . P f F Í

Bassoon ? 3 œ œb œb . j 4 œ. J œ œ ˙ ˙ Œ ˙ œ. œ œ ˙ Œ ˙. ˙. ˙. f F Í

∑ ∑ ∑ ∑ ∑ ∑ ∑ Marimba œ œ œ œ œ œb & 43 ‰ J Œ Œ‰ J F ∑ ∑ ∑ ∑ ∑ ∑ ∑ Marimba œ œ œ ? 43 œ Œ‰ J ŒŒ > P F

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Soprano 3 & 4

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Alto & 43

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tenor 3 V 4

∑ ∑ ∑ ∑ ∑ ∑ ∑ p Bass ? 3 j j 4 œ. œ œb œ œ œb ˙ Ky----J riJ e e leJ i- son 130

10 œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl œ œ œ œ œ œ œ œb œ œb œb & ‰ J Œ Œ‰ J ‰ J Œ Œ‰ J ‰ J Œ Œ‰J ‰J Œ Œ‰ J ‰ J œb œ Œ

Ob œ œ œb œ œ œ œ œ j j ‰ J ‰J ŒŒ ‰ œ ‰ œ œ œ ŒŒ ‰ œ œ œ ‰ œ œ œ ŒŒ ‰ œ œ ‰ ŒŒ ‰ j ‰ j & J J J J œ œ œ œ œb œ œb œ

∑ ∑ B b ˙. ˙. ˙. Œ œ œ œ Cl & ˙# . ˙. œb œb œ œ œ p p P ˙. ˙. œ œ œ œb B ˙. ˙. ˙. ˙. œb œb œ œb . œ Cl ? ŒŒ J p P ∑ ∑ ∑ ∑ Bsn œ. œb œ ? ˙. ˙. J œ œb . œ œ ˙ Œ J P

10 Mrb > 1 œ œ œ œ œ œ œ œ œ j j & ‰ J Œ Œ‰ J œ# œ œ Œ Œ‰ œ œ œ œ œ Œ Œ‰ œ œ œ ‰ œ œ œ Œ Œ‰ j œ œb ‰ j Œ > J œb œb œb œ

Mrb >œ œb œ œ œ œ œ œ œ œ 2 ? œ œ œ œ œ ŒŒ ‰ œ œ œ ‰ œ ŒŒ ‰J ‰J ŒŒ ‰ œ ‰ œ œ œ ŒŒ ‰ œb œ œb ‰ œ ‰J J J œ œ J J J J

10 p ∑ ∑ ∑ ∑ ∑ ∑ S j j & œ. œ# œn œ œ œ ˙ ˙ Œ Ky-----J riJ e e leJ i son

∑ ∑ ∑ ∑ p ∑ ∑ A j j j & œ# œn j jœ Œ Kyœ. ----- ri eœ e leœ i˙ son ˙

∑ ∑ p ∑ ∑ ∑ ∑ T j j j j V œ# œ œb j œ# œb ˙ ˙ Œ Ky. ----- ri eœ e le i son

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B ? ˙ Œ 131

19 Fl ...... œ. œ. Œ‰ œ œb œb ˙. ˙. ˙. ˙. ‰ œ. Œ Œ‰ jœ. œ œ œ œ œ œ ŒŒ & J J œ. œ. œ. p F

Ob ˙ œ œ. Œ Œ‰ j œb œb œn Œ œ ˙. ˙. ˙. ˙. & œb œ œ. œ. œ. œ. . . . œ. œ. œ. œ. œ. p F p ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b Cl & ˙.

∑ ∑ ∑ ∑ œ B œ œ. œ# œn œ œ œ ˙ ˙ Cl ? ŒŒ J Œ ŒŒ f p ∑ Bsn . . . œ. . ? œ. œ œb œ œb ˙ ˙ Œ ‰ œ. œ. œ Œ ‰ œ œ. œ. Œ Œ‰ œ. œ. œ œ œ. œ. œ. œ. œ. ‰ œ. œ J œ J J J J . œb . f F

19 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 Œ‰ j & œ œb œb

Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ? œb œ ŒŒ

19 p F S . . . . j j & Ó œ ˙. ˙ ˙ ˙ ‰ œ œ œ Œ ˙. ˙. ˙. Ky - ri - e KyJ -- ri. e. ri - e

∑ F ∑ A j j j j j j . j j j j j j j j j j & ‰ œ. œ œ Œ Œ‰ œ œ œb . œb œn . œ œ œ œ œ ŒŒ Œ ‰ j œ œ œ j j j ‰ j j j Ky----- ri. e. Ky. ri. e KyJ ---- ri e. e. le. . i son. œ œ . . . œ œ œ œ œ œ œ Ky. ------ri. e Ky ri e. e. le. . i son. e. le. œb . i

∑ ∑ ∑ ∑ ∑ f p T j j œ V œ. œ# œn œ œ œ ˙ ˙ Œ ŒŒ Ky----J riJ e e leJ i- son Ky -

∑ f F B ? œ œb j j œb . œ. œ. œ. œ. œ. j j . œ. œ. œ. . œ. œ. œ. œ. œ œ ˙ ˙ Œ ‰ œ J Œ ‰ J Œ Œ‰ œ œ œ J ŒŒ Ky----J riJ e e leJ i- son KyJ ----J ri e KyJ riJ e Kyœ. ------ri. J e KyJ J riJ eJ e leJ i son 132

28 œ. œ. œ. . œ. œb . . . . ∑ œ œ œ œ Fl . œ# œn œ ˙ ˙. ˙. . . & œ J œ œ ˙ ˙ Œ‰ J Œ‰ J Œ J ‰ f P P ∑ ∑ ∑ ∑ Ob j ‰ œ. œ œ Œ Œ‰ œ œ œ. œ. œ . . . & J . . œ. . . . œ. œ. œ. ˙ ˙ ˙ F ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b Cl & ˙. ˙. ˙. F . . . ˙. ˙. ˙. ˙. ˙. ∑ œ œ œ ∑ ∑ B ˙. Cl ? Œ‰ J F P ∑ ∑ ∑ ∑ Bsn ? j Œ‰ œ ŒŒ ‰ j œ œ œ ˙. ˙b . ˙. œ. . œ. œ. œ. œ. . . .

28 Mrb ∑ ∑ ∑ ∑ 1 œ bœ & Œ Œ œ œ œ œ œ Œ œ œ œ œ œ œb œ œ œ œ F

Mrb ∑ ∑ ∑ ∑ ∑ ∑ 2 ? Œ œb Œ œ Œ œ Œ œb Œ œ Œ œ F

28 F ∑ ∑ P S . j j . j j j j ...... & ‰ œ œ œ ‰ œ œ œ ŒŒ ‰ œ œ œ œ œ œ ŒŒ Œ œb Œ œ Œ œ Œ œb Œ œ Œ œ KyJ -- ri. e. KyJ ------ri. e. Ky. ri. J e KyJ J ri e Ky ----ri. e. Ky ri e

P ∑ F A j j . œ. . j j j j & ŒŒ Œ‰ œ œ. œ J œ œ. œ œ œ œ ŒŒ Œ Œ Œ Œ Œ Œ œ Œ œ Ky. ------riJ e KyJ ri e e. le. - . i son. Kyœ --œri e e---- leœ œi son. Ky sonœ. . . œ. œ. . .

F T ˙. ˙. ˙. ˙. œ ˙. ˙b . ˙ V ŒŒ œ ˙. ˙ Œ ---ri e Ky --ri e

f ∑ ∑ P . . ∑ B ? œ# œn j œ ˙ ˙ . œb . œ. œ. œ œ œ. J J œ œ J Œ Œ œ Œ Œ Œ Œ Œ Ky----- ri e e leJ i son Ky ----ri e Ky ri e 133 38 . œ. œ...... ∑ œ ∑ œ œ œ œ. œ œ ∑ œ. œ. œ. ∑ ∑ . œ. œ. Fl J œ & ŒŒ‰ J ŒŒ J ‰Œ ‰ Œ ‰ J Œ Œ J ‰ P P P P . . œ. œ œb ∑ œ. œ. œ. ∑ ∑ . œ. œ. ∑ ∑ ∑ . . . ∑ B ‰ œ œ œ œ Cl ? Œ J ‰ Œ J Œ‰ J J ‰Œ

38 P P P P Mrb 1 Œ œ œ Œ Œ #œ Œ Œ œ Œ œb œb Œ œ Œ ŒŒ œ Œ œ & œ œ œb œ œ œ œ œ œ œ œ œ œ# œ œ œn œ œ# Mrb œ œ œ œ œ œ œ 2 ? Œ œ Œ œ Œ œ Œ œb Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ Œ Œ Œ

38 ∑ P F S . . œ œ œ. œ. œ. . œ ˙ & Œ Œ Œ Œ Œ œ Œ ˙. ˙ œ ˙ œ Œ . Ky ----ri e Ky ri e Ky --ri . e˙ œ Ky -

A Œ Œ . & ˙. ˙b . ˙ Œ Œ œ œ Œ œ Œ œ. Œ œ ŒŒ ---ri eœ ˙. ˙ Kyœ. -----œ ri. e. e. le. i son Ky˙# . -

T ˙. ˙ œ ˙. œ ˙b ˙ V ˙# ˙ Œ ˙n . œ œ ˙. ˙ œ ˙ Ky --ri e Ky --ri e e . - P F B . . . . œ. œ ˙. ˙b . ˙ ˙. ? œ Œ œ Œ œ. Œ œ. Œ œ Œ œ Œ Œ œb ˙. ˙ Œ Ky------ri e e le i son Ky ri e Ky -

49 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl œ. . . . . œb ...... Œ‰J œ œ œb œ J ‰Œ ŒŒ‰ œb œb œ ŒŒ ‰œ. œb œb Œ & J J P P P P . œ. œ. ∑ ∑ . . . ∑ ∑ ∑ . . ∑ ∑ ∑ B ? œ œ œ œ œ. œ œ œ. œ. œ. Cl ‰J Œ Œ‰J ‰ J Œ Œ J ‰ P P P P 49 Mrb œ œ 1 Œ œ Œ œ Œ œ Œ Œ œ œ Œ œ œb Œ œn Œ œ Œ œb Œ & œ œ œ œ œ# œn œ œb bœœ œ œ œ œb œ Mrb œb bœœ œb œ œ œ œ œ œ œb œ œn 2 ? ŒŒ œb Œ œ Œ Œ œ Œ œb Œ Œ œ ŒŒ Œ ŒŒ œ Œ Œ œb Œ œ

49 S ˙b . ˙ ˙. ˙ & œ ˙. ˙ Œ œ ˙. œ ˙ ˙ Œ ˙b . œ ˙n ˙ œ ri - e Ky --ri e Ky --ri e P A & Œ Œ Œ Œ --œ ˙ri ˙ eœn ˙. ˙ e ---le . œb i ˙ sonœ ˙. ˙ œ œb œ ˙. ˙ ˙ Kyœ. -- ri. e. P . ∑ T . . œ. œb . œ œn . . . V ˙. ˙ œb ˙ œb ˙. ˙ Œ œ Œ œ Œ Œ Œ Œ Œ œ Œ œb Œ œ Œ le --i son Ky------ri e Ky ri e Ky ri e.

B ˙ œ ˙. œ ˙# ˙ ˙n œ ˙b ˙ œ ? Œ . œ ˙. ˙ œ ˙. ˙. ˙ --ri e Ky --ri e e ---le i 134

. 61 . . . . œ. œ. œ. œb ˙# . ˙. . . ∑ . œ. œ. ∑ œ. œ œ ∑ œ œ ∑ Fl œb . œ œb œ J & Œ‰ J Œ J ‰ ‰ Œ J ‰Œ Œ‰ J P P P P P Í

Ob ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙. ˙. ∑ & Í

B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b ˙. ˙. Cl & Í

B ∑ . . ∑ ∑ ∑ ∑ ˙# . ˙. ∑ ? Œ‰ œb . œ œb ŒŒ œb . œb . œb . ‰ŒŒ Cl J J P P Í ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn ? ˙. ˙. Í

61 Mrb ∑ ˙. ˙. 1 & œ Œ œ Œ œb Œ œ Œ œb Œ œ Œ œ Œ Œ œb œ œ œ œ Œ ˙. ˙. œ# œ œ œ œ œ πæ æ

Mrb œ œ œb œ œn œ œb œ œ ∑ ˙. ˙. 2 ? œb œ Œ Œ Œ Œ Œ œ œ Œ œ Œ œ œ ŒŒ ˙. ˙. πæ æ

61

S ∑ ∑ ∑ & ˙ ˙ ˙. ˙ œb ˙ œ ˙. ˙ Œ . œb e ˙. ---le i son

∑ p ∑ ∑ ∑ A Œ Œ Œ & Œ Œ Œ Œ Œ Œ œ œ œ ŒŒ Kyœ --œ ri œb e œn œ œ ...... Kyœ. ----- ri. e. e. le i son

p ∑ ∑ ∑ ∑ ∑ ∑ T . . . V œ Œ œ Œ œb Œ œ Œ œb Œ œ Œ œ ŒŒ Ky. ----- ri. e e le .i son.

π poco a poco cresc. p ∑ p . . ∑ B ? ˙ œ# ˙. ˙ œ. . œ. œ. œ œ œ. œ œ j j Œ Œ Œ œ Œ Œ Œ Œ J J œ œ. œ œ - son Ky ----ri e Ky ri e Chri---- ste e le i son 135 72 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B ? Cl ŒŒ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F Bsn ? ŒŒ œb 72 F Mrb ˙. ˙. ˙. ˙. b˙. ˙. b˙. ˙. 1 ˙æ. ˙æ. ˙. ˙. ˙æ. ˙æ. ˙. & ˙. ˙. ˙b . ˙. ˙b . ˙. ˙. æ æ æ æ æ æ ˙. ˙. æ æ Mrb . . ˙. ˙. b˙. ˙. . ˙. 2 ? ˙æ ˙æ ˙ ˙ ˙æ ˙æ b˙ . . ˙. ˙. ˙. ˙. ˙b . ˙. . . ˙b . ˙. ˙. ˙. æ æ æ æ æ æ ˙. ˙. æ æ 72 poco a poco cresc. ∑ ∑ ∑ ∑ p S œ. œ. œ œ & œ# œb j j Œ ˙ Œ Œ œ œb œb œb œ J ChriJ---- steJ œb e leœ. œb iœ son ˙ Chri˙ œ# -----ste Chri ste e le i son

poco a poco cresc. A ∑ ∑ p j j Œ œ . & œ. œ# œ# j j Œ Œ ˙ ŒŒ œ œ œ œ œ œ Chri---- steœb e leœ. œb iœ son ˙ Chri˙b œ- ste˙b Chriœb œ - œn ste Chri - ste e ---leJ i son π poco a poco cresc. T œ. œ œ œ. œ œ œ V œ# œ# j œ. j Œ œ ˙b Œ Œ œb œ œb ˙b ŒŒ œ œ J Œ œ œ. œ œ ChriJ---- steJ œ# e leœ# iœ son œ œ Chri˙ ---ste Chri ste Chri ste e --le i---- son e leJ i son

B . . œ œ . ? ˙ Œ ˙ œb ˙b Œ Œ œb œ œ ˙b ŒŒ œ œb œ œn œ œ œ ˙ Œ œ œ œ œ œ œ Chri ---ste Chri ste Chri ste e --leJ i----- son Chri ste e leJ i son

84 . œ œ œ œb œ œ ˙. ∑ œ œ ˙b Fl J ˙ ˙ . œb œ ˙b œ J J œb œ œb œ œ.œ & Œ Œ œb œb œn ‰ ‰ Œ cresc. J F F F P ∑ ∑ ∑ ∑ ∑ Ob œ œ œb œ. & œ œ ˙. Œ œ œ Œ cresc. J œb œ œ œ œ ˙ F F B ∑ ∑ b j j œ j j œ. ˙ Cl & œ œ œ œ.œ Œ œ œb . œb œn ˙ œ ŒŒ œ œb ‰œ ‰ œ œb œ œ œ Œ cresc. œ ˙ œ F f P ∑ ∑ ∑ ∑ ∑ ∑ B ? œ œ Cl ˙. œ.œ œ Œ œ œ œb œ œb ˙ Œ cresc. J f ∑ ∑ ∑ Bsn j ˙ ˙. ˙ ? œ. Œ Œ‰œ œ ‰ œb œ œ œ œn .œ Œ cresc.˙. œ œ ˙. J J 84 f F F P S ˙. ∑ œ œb . ˙b ˙. ˙b . P j j j & J œb ‰ œ œ ‰ œ œ œ œb J œ Œ ˙. ˙. Œ œ œ œ œ œb j Œ Chri----- steJ ChriJ steJ Chri steJ J e le- R i son Chri --- ste Chri- ste e--- leœb i sonœ ˙

∑ f F P A j j j j r & ˙. Œ‰ œ œ ‰ œ jœ œ œ ˙b Œ ˙. ˙b . ˙n . ˙. b˙ Œ Chri---- ste Chriœb steœ e le.- i son Chri ------˙. ste Chri ste

∑ ∑ ∑ ∑ F P T œ œ œb œ œ œb œ œb .œ ˙b ˙. ˙ V ˙. J J ‰ J ‰ œ J J J R Œ ˙. ˙. Œ Christe------Chri steJ Chri ste e le i son Chri --- ste

∑ f F ∑ P B ? ˙. ˙ ˙. b˙ j j j œb œ ˙b œ. œb œn œ œ . ˙ b ˙. Œ‰ œb œb ‰ œ œb œb œ. Œ œ J Œ Chri˙. ---. ste . Chri----- ste Chri steJ e leJ R i son Chri---- steJ e leJ i son 136

95 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl . & ˙ Í

Ob ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ˙. Í

B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Clb & ˙. Í

B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl ? ˙. Í

Bsn ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ˙. Í

95 Mrb ∑ 1 œ ŒŒ bœ ŒŒ œ ŒŒ bœ Œ Œ ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ & œ œ œ œ bœ bbœ bbœ nbœ bœ bbœ F P p Mrb œ œ œ œ ∑ 2 ? œ œ bœ œ nœ œ bœ nœ ŒŒ ŒŒ œ ŒŒ œb ŒŒ œ ŒŒ œ ŒŒ œb Œ Œ œ ŒŒ œb ŒŒ œb ŒŒ F P p

95 F P p ∑ S ˙. ˙b & Œ ˙. ˙b Œ ˙b . ˙b . ˙b . ˙b . ˙b . ˙b . Chri -----ste Chri ste Chri ste e le - i son

A F P p ∑ & ˙. ˙ Œ ˙. ˙ Œ Chri -----ste Chri ste Chri˙. ste˙b . ˙b e . le˙n . - ˙i . son˙b .

F P p ∑ T . V ˙ ˙ Œ ˙b . ˙ Œ ˙n . ˙. ˙. ˙b . ˙. ˙n . Chri -----ste Chri ste Chri ste e le - i son

F P p ∑ B . ? ˙ ˙ Œ ˙. ˙b Œ ˙. ˙. ˙b . ˙. ˙b . Chri -----ste Chri ste Chri ste e le - i son˙b . 137

106 œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl J œ œ œ œb œ œb & ‰ J Œ Œ‰ ‰ J Œ Œ‰ J ‰ J Œ Œ‰ J ‰ J Œ Œ‰J ‰J F

Ob œ œ œ œ œ œb œ œ ŒŒ‰ J ŒŒ ‰ J ‰ J œ œ ŒŒ ‰ œ œ ‰ œ œ œ ŒŒ ‰ œ œ œ ‰ œ ŒŒ ‰ jœ œ œ & J J J J œ œ œ F p ∑ ∑ ∑ ∑ B b ˙. ˙. ˙. Cl & ˙# . ˙. p p ∑ ∑ ˙. ˙. œ B ˙. ˙. ˙. ˙. Cl ? ŒŒ p P ∑ ∑ ∑ ∑ ∑ Bsn ? ˙. ˙. ˙. ˙.

106 Mrb œ œ œ œ œ œb œ œ œ œ œ > j j 1 J ‰Œ Œ J ‰ ‰ J Œ Œ‰ œ œ œ œ Œ Œ‰ œ œ œ œ œ œ œ Œ Œ‰ œ œ ‰ Œ & J œ# J œ œ œ œ F >

Mrb > œ œ œ œ œ 2 ? œ œ œ œ œ œ œb œ œ œ œ œ œ œ Œ‰ J ŒŒ ‰ œ œ ŒŒ ‰ œ œ ‰ œ œ œ ŒŒ ‰J ‰J ŒŒ ‰ J Œ > J J J p F

106 ∑ ∑ p ∑ ∑ ∑ p S j j & œ. œ# œn œ œ œ ˙ ˙ Œ Ó œ Ky-----J riJ e e leJ i son Ky -

∑ ∑ ∑ ∑ ∑ ∑ p A j j j & œ# œn j jœ Œ Kyœ. ----- ri eœ e leœ i˙ son ˙

∑ ∑ ∑ ∑ p ∑ ∑ T j j j j j V œ# œ œb œ# œb ˙ ˙ Œ Ky. ----- ri eœ e le i son

p ∑ ∑ ∑ ∑ ∑ ∑ B ? j j œ. œ œb œ œ œb ˙ ˙ Œ Ky-----J riJ e e leJ i son 138

115 Fl ˙ ...... œ. œ. Œ ˙. ˙. ˙. ‰ œ. Œ Œ‰ jœ. œ œ œ œ œ œ ŒŒ & J œ. œ. œ. F

Ob œ œ. Œ Œ‰ j œb œb œn Œ œ ˙. ˙. ˙. ˙. & œ. œ. œ. œ. . . . œ. œ. œ. œ. œ. F p ∑ ∑ ∑ ∑ ∑ B b Œ œ œ œ œb Cl & œb œ œ œ ˙. P

œ œ œb ∑ œ B œb œb œ œb . œ œ œ. œ# œn œ œ œ ˙ ˙ Cl ? J ŒŒ J Œ ŒŒ f p

Bsn . . . œ. . ? œ. œ œb œ œb ˙ ˙ Œ ‰ œ. œ. œ Œ ‰ œ œ. œ. Œ Œ‰ œ. œ. œ œ œ. œ. œ. œ. œ. ‰ œ. œ J œ J J J J . œb . f F

115 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 &

Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ?

115 F S . . . . j j & ˙. ˙ ˙ ˙ ‰ œ œ œ Œ ˙. ˙. ˙. -- ri - e KyJ --- ri. e. ri e

F ∑ A j j j j j j . j j j j j j j j j j & ‰ œ. œ œ Œ Œ‰ œ œ œb . œb œn . œ œ œ œ œ ŒŒ Œ ‰ j œ œ œ j j j ‰ j j j Ky------ri. e. Ky. ri. e KyJ ri e. e. le. . i son. Kyœ ------œ ri e. Ky. ri. œ eœ e leœ œ i sonœ œ ...... e. --- leœ. œb . i

∑ ∑ ∑ ∑ f p T j j V œ. œ# œn œ œ œ ˙ ˙ Œ ŒŒ œ Ky-----J riJ e e leJ i son Ky -

f F B ? œ œb j j œb . œ. œ. œ. œ. œ. j j . œ. œ. œ. . œ. œ. œ. œ. œ œ ˙ ˙ Œ ‰ œ J Œ ‰ J Œ Œ‰ œ œ œ J ŒŒ Ky-----J riJ e e leJ i son KyJ ------J ri e KyJ riJ e Kyœ. ri. J e KyJ J riJ eJ e leJ i son 139

123 œ. œ. œ. . œ. œb . . . . ∑ œ œ œ œ ∑ Fl . œ# œn œ ˙ ˙. ˙. . . & œ J œ œ ˙ ˙ Œ‰ J Œ‰ J Œ J ‰ f F F F ∑ ∑ ∑ ∑ ∑ Ob j ‰œ. œ œ Œ Œ‰ œ œ œ. œ. œ . . . & J . . œ. . . . œ. œ. œ. ˙ ˙ ˙ F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b Cl & ˙. ˙. ˙.

. . . . . ˙. ˙. ˙. ˙. ˙. ∑ œ œ œ ∑ ∑ œ. œ œb B ˙. Cl ? Œ‰ J Œ J ‰ F F ∑ ∑ ∑ ∑ ∑ Bsn j ? Œ‰ œ ŒŒ ‰ j œ œ œ ˙. ˙. ˙. œ. . œ. œ. œ. œ. . . .

123 Mrb ∑ ∑ ∑ ∑ bœ 1 & Œ œ Œ œ œ œ œ Œ œ Œ œ œ œ œ œb œ œ œ œ œ œ œ F

Mrb ∑ ∑ ∑ ∑ ∑ ∑ 2 ? Œ Œ Œ Œ Œ Œ œ Œ œ Œ œb œ œ œb œ F

123 F ∑ ∑ P S . j j . j j j j...... œ. œ. & ‰œ œ œ ‰ œ œ œ ŒŒ ‰ œ œ œ œ œ œ ŒŒ Œ œb Œ œ Œ œ Œ œb Œ œ Œ Œ Œ KyJ ------ri. e. KyJ ri. e. Ky. ri. J e KyJ J ri e Ky -----ri. e. Ky ri e Ky

P ∑ f A ŒŒ Œ‰ j jœ. œ. œ. j j j j ŒŒ Œ Œ Œ Œ Œ Œ Œ & œ œ. J œ. œ œ œ œ œ œ ˙. son Ky. ------riJ e KyJ ri e e. le. . i son. Kyœ ------œri e e leœ œi son. Ky œ. . . œ. œ. . . f T . ˙. ˙. ˙. . ˙b . ˙ ˙. V ˙ ŒŒ œ ˙ œ ˙. ˙ Œ ---ri e Ky --ri e Ky -

∑ ∑ P . . ∑ P B ? f œ# œn j œ . . œ. œ. œ œ œ. œ. œ. J Jœ œ J ˙ ˙ Œ Œ œ Œ œb Œ Œ Œ Œ Œ Ky----- ri e e leJ i son Ky ------ri e Ky ri e Ky ri 140

134 . . œ. œ œ ∑ œ. œ. œ. . œ. œ. ∑ . . . ∑ ∑ . . Fl œ œ œ œ œ. œ œ & ŒŒ‰ J ŒŒ J ‰Œ ‰ J Œ ‰ J Œ Œ J ‰ F F F F F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob &

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b Cl &

∑ œ. œ. œ. ∑ ∑ . œ. œ. ∑ ∑ ∑ . . . ∑ B ‰ œ œ œ œ Cl ? Œ J Œ‰ J J ‰Œ F F F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn ?

134 Mrb 1 œ œ Œ Œ #œ Œ Œ œ Œ œb œb Œ œ Œ ŒŒ œ Œ œ & œb œ œ œ œ œ œ œ œ œ œ# œ œ œn œ œ#

Mrb œ œ œ œ œ œ œ 2 ? œ Œ œ Œ œb Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ Œ Œ Œ

134 . P f f S œ œ. œ. . . & Œ ŒŒ Œ œ Œ œ Œ œ ˙. ˙b . ˙ œb ˙. ˙ œ ˙. ri- e Ky --ri e Ky --ri e Ky -

F A & ˙b . ˙ Œ ˙n . ˙ œ ˙ œ Œ ri - eœ ˙. ˙ Ky --ri . e˙ ˙ Ky˙# . -

F T ˙ œ ˙. œ ˙b ˙ V ˙# ˙ Œ ˙n . œ œ ˙. ˙ œ ˙ ----ri e Ky --ri e e . -

P . B . . œ. . . œ. œ ˙. ? Œ œ. Œ œ. Œ œ Œ œ Œ ŒŒ œ Œ œ. Œ œ. Œ œ Œ œ Œ Œ ŒŒ ----e e le i son Ky. ----- ri e e le i son Ky - 141

144 ∑ . . . ∑ ∑ . . ∑ ∑ ∑ Fl œ œ œ œb . œ œb œb . œb . . & Œ‰J J ‰Œ ŒŒ‰ J œ ŒŒ F F F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob &

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b Cl &

. œ. œ. ∑ ∑ . . . ∑ ∑ ∑ . . ∑ B ? œ œ œ œ œ. œ œ œ. œ. œ. Cl ‰J Œ Œ‰J ‰ J Œ Œ J ‰ F F F F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn ?

144 Mrb 1 œ œ œb œ œn & œ œ Œ œ Œ œ Œ Œ Œ œ œb œ Œ Œ Œ œ Œ œb œ œ œ# œn œ bœœ œ P Mrb œb b œ œ œ œ œ œ œb 2 ? œ œb ŒŒ œb Œ œ Œ Œ œ Œ œb Œ Œ œb ŒŒ Œ œ ŒŒ œb Œ

poco a poco dim. 144 F P S . . & ˙b ˙ œb ˙. ˙ Œ ˙ ˙ œ ˙. œ ˙ ˙ Œ ˙b . ri - e Ky ---ri e Ky -

A Œ & ˙ ˙ œb ˙ - œ ri - œe ˙. ˙ œn e ˙. ---le˙. ˙ i sonœ ˙. ˙

P T . . . œb . œ. œn . . . V ˙. ˙ œ ˙ œb ˙. ˙ Œ œ Œ œ Œ œ Œ Œ Œ Œ œ Œ œb le --i son Ky------ri e Ky ri e Ky ri

F B ˙ œ ˙. œ ˙# ˙ ˙n œ ˙b ˙ ? Œ . œ ˙. ˙ œ ˙. ---ri e Ky --ri e e - 142

U 154 . . . œ. œ œ ∑ ∑ . . ∑ . œ. œ. ∑ œ. œ œ œ Fl . . . . œb . œ. œ œ œ ‰ œ. œb œb Œ Œ‰ œb œ Œ J ‰ J Œ J ‰Œ ‰ J & J J ‰ F F F F F F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob &

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b Cl &

∑ ∑ ∑ ∑ ∑ ∑ ∑ B . . ? Œ‰ œb . œ œb ŒŒ œb . œb . œb . ‰ŒŒ Cl J J F F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn ?

154 U Mrb œ 1 Œ œ œ œ œ œ œ & œ œ Œ Œ œb œ œ œ#œ Œ œb Œ œb Œ œnœ Œ œ œ Œ œ œ œ œ œ œ œ p U Mrb œ œ ∑ œ œ œn œ œ œ œb œ œb œ œ œ œb œ œ œ 2 ? œb Œ œ œ œ œb Œ œb Œ œ

154 U S & œ ˙n ˙ œ ˙ ˙ ˙. ˙ œb ˙ œ ˙. ˙. --ri e . œb e ˙. ---le i son

p U A Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ & œ œb œ œ œ œ. œ. œ. œ œ œ Kyœ. ------ri. e. Ky. œ ri. œb e. Kyœ. œb ri. œe. e. le. i son e le. . i son

∑ p T ...... U V Œ œ Œ œ Œ œ Œ œb Œ œ Œ œb Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ œ œ œ - e. Ky. ------ri. e e. le .i son. Ky. ri e e le i son

B p . .. . œ. œ. U ? ˙. ˙ œ ˙ œ# ˙. ˙ Œ Œ œ Œ œ. Œ œ ŒŒ œ Œ Œ Œ œ le --i son Ky -----ri e e le i son Tract

q = 60

Bassoon 4 ˙ œ ? 4 w w w ˙ œb . œ œn ˙ ŒŒ œb 43 f ƒ p p

Horn 4 3 in F ˙ . Œ & 4 ˙ œ œ ˙b . w ˙ œb . œ œ w ˙ œb 4 p f ƒ p

Vibraphone 4 . œ ˙. 3 & 4 ˙ œ. œbb˙˙. ˙ œ . œ ˙æ. Œ œ Œ œ. œ . 4 ˙æ æ æ ˙æ æ bœœ. œbœ ˙b˙. œ œb œ œ œæ f ƒ p Tubular 4 3 Bells . . & 4 w ˙ œ œ œb w ˙ œ œ œb w ˙. œb 4 p Bass Drumf ƒ Percussion 4 œ œ œ œ œ œ 3 ã 4 ŒÓ ŒÓ ŒÓ ŒÓ ŒÓ ŒÓ 4 f ƒ p

∑ ∑ ƒ ∑ p Mezzo 4 j r 3 Soprano & 4 œ œ œ . œ . Ó Œ 4 Ab˙ --- sol ve, Do- mi ne,˙b Abœb -

∑ ∑ ∑ ∑ p Soprano r 3 & 4 œ œ œ. œb ˙b . 4 Ab˙ --- sol ve, DoJ - mi ne,

∑ ∑ ∑ ∑ p Alto 4 j r 3 & 4 œ œ œ . œ . 4 Ab˙ --- sol ve, Do- mi ne,˙b

∑ ∑ ∑ ∑ p Tenor . 3 V 4 œ œ œ. œ ˙ 4 Ab˙ --- sol ve, DoJ - miR ne, ∑ ∑ ∑ ∑ p Bass ? 4 œ œ œ. œ ˙b . 3 4 ˙ J R 4 Ab--- sol ve, Do- mi ne, 144

7 Bsn ? 3 4 j œb œb œ œ œb 4 ˙ œ 4 œb ˙ œ œb . œ ˙ w ˙ Œ 3 œb œ œb Œ P F f F

7 Hn 3 4 Œ j j & 4 ˙ 4 j œb . œb œn œ œ ˙. œ. ˙ w ˙. œb . œ F P F f 7 ∑ Vib 3 4 j & 4 4 Œ æ œb œb . Œ ˙æ. wæ wæ œ. œ œ œ œ F 7 ∑ T 3 4 B & 4 4 œb . œ ˙ ˙ œb w J w w P F f 7 ∑ ∑ ∑ ∑ Perc 3 4 œ œ ã 4 4 ŒÓ ŒÓ f

7 P F ∑ ∑ Mez 3 4 & 4 œb 4 œb . œ ˙ ˙ Ó solœ ---- ve,œ ab sol˙. ve,œ Do miJ - ne,

∑ ∑ ∑ f ∑ S 3 4 j r & 4 4 ˙ œ œ œ . Ab--- sol ve, Do- miœ ne,˙b .

∑ ∑ ∑ f ∑ A 3 4 & 4 4 œ œ j r Ab˙ --- sol ve, Doœ .- miœ ne,˙.

∑ ∑ ∑ f ∑ T 3 4 r V 4 4 ˙ œ œ œ. œb ˙b . Ab--- sol ve, DoJ - mi ne,

∑ ∑ ∑ f ∑ B 3 . ? 4 4 ˙ œ œ œb . œ ˙ Ab--- sol ve, DoJ - miR ne, 13 145 Bsn ? . œn ˙ 3 ˙. 4 ˙. j w œ J 4 4 œ. œb ‰ œb œb . œb ˙ 13 Hn 3 4 & j j ‰ 4 ˙. 4 ˙ Ó œ Œ œ. œn œb œb œb ˙ œn ˙b œ 13 F 3 Vib 3 4 œb & œ ˙b æ œ 4 œ ˙ 4 œ ˙b . œ œn œb œ ˙æ œb œb œ æ æ æ æ

13 ∑ F Mez 3 j 4 j r r r r ˙ & 4 œ œ œb 4 œb . œ ˙ ‰ œ œb . œb œb . œ Œ a. ------ni mas om ni um . Jfi deJ li um deœb --- funcœ to rum

18 3 ∑ ∑ Bsn ˙ . j ? Ó œ œb œn œb œ œ œ œ œn œ œb . œ . Œ 3 4 œb 3 J œb ˙n 4 4 F 18 ∑ ∑ Hn 3 4 & œ Œ 4 4 œb œb œ ˙b w ˙ ˙ ˙. F

18 ∑ ∑ Vib j œb œ œ. œ œ ŒÓ 3 4 & œb æ. œ ˙æ œ œb œ œ æ J œ œb 4 4

18 ∑ ∑ ∑ Perc œ 3 ˙ ˙ ã Ó Œ æ 4 æ. 4 æ. Œ p

18 F 3 P Mez j j j j 3 œ 4 Œ & Ó Œ œb œb œ œb . œ œ œb ‰ œ 4 œ J ˙ 4 œ ˙b abJ om------ni vin cu lo˙ de licœb œ to˙b rum˙n . et graJ ti a tu a

∑ ∑ ∑ p S 3 4 & Ó Œ œ 4 œ œ ˙ 4 œ ˙b Œ et graJ ---J ti a tu a

∑ ∑ ∑ p A & Ó Œ œ 43 œ œ ˙ 4 œ ˙b Œ et graJ ---J ti a tu a

∑ ∑ ∑ p T 3 j 4 V Ó Œ œ 4 œ œb ˙b 4 œ ˙ Œ etet gra---J ti a tu a

∑ ∑ ∑ p B ? 3 œ œ 4 Ó Œ œ 4 J J ˙ 4 œ ˙b Œ et gra--- ti a tu a 146

24

Bsn ˙. ˙ ˙ ? œ. œ œb œb . œ. œn œb œb . œn œ œ œn œ Ó J J J J œ. J ˙ p

24 ∑ ∑ Hn & j j j j j ˙. œ. œb œn œb . œb . œn œn œb œn œn œ œ œ p . œ.

24 P Mez j j j œn ˙. ‰ œb œ œ œb œb œ. j Œ j j j & œ œn œ œ# œ J J J œ œ# œb . œb œn j œb il. --- lis suc cu ------ren te me re an tur e va de re iu di ci umœb . ulœ. ---œn ti o nis,œb .

30 ∑ ∑ Bsn ? œ œ w œ. œ 3 ŒÓ ˙. J ˙b 4 P

30 ∑ ∑ Hn Ó ŒŒ 3 & ˙ œb œb œ j 4 œ œ œb œ. œ P w Sus. Cymbal 30 œ ∑ w œ ∑ ∑ Perc > æ 3 ã ŒÓ æ ŒÓ 4 p

30 P Mez j j j j 3 & Ó Œ ˙# œn œ# œ œ œ œ ‰ Œ œb œ œ œ. œ ˙b œ. j 4 etœ# luœ œ- cis æœb -- ter- J nae J be a--- ti tu-- di ne per- œ fru˙b i.

P ∑ ∑ S j œ œ 3 & Œ ˙# œn œ# œ œ œ œ ŒÓ 4 etœ# luœ œ ---cis æœb ter naeJ

P ∑ ∑ A j 3 & Ó Œ ˙# œn œ# œ œ œ œ Œ Ó 4 etœ# luœ œ-- cis æœb ter- J nae

P ∑ ∑ T j j j 3 V Œ ˙# œn œ# œ œ œ ˙ œ Œ Ó 4 etœ# luœ œ --cis æœb ter- naeJ

P ∑ ∑ B ? œ ˙# œb œ œ# œ œ œn œ 3 Ó Œ œ# œ J ŒÓ 4 et lu--- cis æ terJ nae 147

36 Bsn ? 3 œb œb œ 4 œ œb ˙ 4 ŒŒ 3 4 œb œ ˙b w ˙ œb . œ œn ˙ P ƒ p

36 Hn 3 4 Œ & 4 j 4 œb . œ œn œ. œ œb œb . œ ˙ w ˙ w P ƒ p 36 Vib 3 j 4 & 4 œæ. œ œb 4 œb . œ œ Œ ˙ bœ . œ ˙æ. Œ œ Œ œ ˙æ æ œœ. œbœ ˙b˙. œ p 36 P ƒ T 3 4 B & 4 4 œb œb œ œ. ˙. œ w ˙ œ œb w P ƒ 36 ˙ ˙ Bass Drum Perc 3 . 4 œ œ œ ã 4 æ 4 æ Ó ŒÓ ŒÓ ŒÓ p ƒ p

36 ∑ ∑ ƒ ∑ Mez 3 4 j r & 4 4 œ œ œ . œ . Ab˙ --- sol ve, Do- mi ne,˙b

∑ ∑ ∑ ∑ p S 3 4 & 4 4 œ œ Ab˙ -- sol ve,

∑ ∑ ∑ ∑ p A 4 & 43 4 œ œ Ab˙ -- sol ve,

∑ ∑ ∑ ∑ p T 3 4 V 4 4 œ œ Ab˙ -- sol ve,

∑ ∑ ∑ ∑ p B 4 œ œ ? 43 4 ˙ Ab-- sol ve, 148

molto rit. 41 Bsn ? œ 3 4 j U ŒŒ œb 4 ˙ œ 4 œb ˙ œ œb . œ ˙ w w P F f ƒ

41 U Hn Œ 3 4 & œb 4 ˙ 4 j ˙ œ œ ˙. œ. œ ˙ w w P F f ƒ 41

Vib U . 3 4 Œ œ Œ œ. œ ˙. & œ œ œb œ. œ œæ 4 ˙æ. 4 wæ wæ œ P ƒ 41 T 3 4 U B œb . œ ˙ & ˙. œb 4 ˙ œb 4 w J w w P F f ƒ 41 Sus. Cymbal ∑ ∑ ∑ Uw Perc œ 3 4 œ æ ã ŒÓ 4 4 ŒÓ ƒ F

41 P F f ƒ U Mez 3 4 œ œ. œ ˙. & Ó Œ 4 œb 4 ˙. œ œb . ˙ œn œ Abœb ------solœ ve,œ ab sol ve, Do miJ ne, Ab˙ sol ve, DoJ - miR ne!

∑ ∑ ∑ ƒ S r 3 4 j r U & œ. œb ˙b . 4 4 ˙ œ œ œ . œ DoJ - mi- ne, Ab--- sol ve, Do- mi ne!˙b .

∑ ∑ ∑ ƒ A j r 3 4 U & œ . œ . 4 4 œ œ j r Do- mi- ne,˙b Ab˙ --- sol ve, Doœ .- miœ ne!˙.

∑ ∑ ∑ ƒ T ˙. 3 4 r U V œ. œ 4 4 ˙ œ œ œ. œb ˙b . DoJ - miR - ne, Ab--- sol ve, DoJ - mi ne!

∑ ∑ ∑ ƒ B ? œ. œ ˙b . 3 4 œ U˙. J R 4 4 ˙ œ œ œb . Do- mi- ne, Ab--- sol ve, DoJ - miR ne! Sequence: Dies Irae

q = 120

Horn in F 5 j j & 8 j‰ j‰ 86 ‰ 4 ‰Ó œ. jÓ œ. jÓ Ó œ Ó œ. œb . œ. œb . œb . œb . œ œb . œ. œ. œb . œ. œ. . f . F F F F

Trumpet in B . . . . œ. . . . . b 5 œ. œ œ œb 6 œb . œ. œ. 4 œ.œ œ œb . œ œ œ & 8 J ‰ J ‰ 8 ‰ 4 œn. ‰Ó J Ó J Ó J Ó J Ó f F F F F . . œ. œ. œ. ‰ . œ. œ. œ. œ. œ. œ.œ Euphonium œb . œb œ. 6 œ 4 œ œ œb . ? 85 J ‰ J ‰ 8 4 Ó J Ó J Ó J Ó J Ó f F F F F

Tuba . . . . . œ. ? 5 œ. œb . ‰ œ. œ. ‰ 6 œb . œ ‰œ 4 œœ. œ.œ œ. œ# œ. œ œ. 8 J J 8 4 J Ó J Ó J Ó J Ó J Ó f F F F F

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Marimba 5 6 4 & 8 8 4 ∑ ∑ ∑ œ œ œ œ Marimba ? 5 6 4 œ œ œ œ œœœœœœœœ bbœ œ œ œ bnœ œ œ œ 8 8 4 Ó Ó Ó Œ‰ J Ó œb œ œ œ P L.R. Brake Drum œ œ fi œ œ fi œ œfiœ œ œ œ œ œ œ œ œ œ Percussion 5 . ‰ . ‰ 6 . ‰ 4 ŒÓ . . Ó . . Ó . . Ó . . Ó ã 8 J J 8 4 J J J J f f f f f

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Soprano & 85 86 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Alto 5 6 4 & 8 8 4

Chant-like ∑ ∑ ∑ P Tenor 5 6 4 j j j j j j j j j j j j j. . œ. œ. œ. œ. V 8 8 4 Ó œ œ œ œ Ó œ œ œ œ Ó œb . œ. œ. œ. Œ‰ œn . œ œ œ Ó Di. ------es. ir. æ!. di. es. il. la. Sol vet sæ clum in faJ vilJ la: TeJ steJ DaJ vidJ

Chant-like ∑ ∑ ∑ P Bass ? 5 6 4 œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œ. œ. œb . œ. œ. œ . . . . 8 8 4 Ó J J J J Ó J J J J Ó Œ‰ J J Ó œb œ œ œ Di------es ir æ! di es il la SolJ vetJ sæJ clumJ inJ fa vil la: TeJ steJ DaJ vidJ 150

9 ∑ ∑ ∑ ∑ ∑ Hn j œ. Ó & œ. F ∑ ∑ ∑ ∑ ∑ B œ. b œ. Tpt & J Ó F

œ. œ. ∑ ∑ ∑ ∑ ∑ Euph ? J Ó F ∑ ∑ ∑ ∑ ∑ Tuba . œ. ? œ# J Ó F

9 Mrb ∑ œ œ œ œ œ œ œ œ j j j 1 & œ œ œ œ‰ œbœ œ œ œb‰œ œb œ œ œ œ œ œ œ ‰œ œ œ œ bœ bœœ œœœœ ‰œ œ œ œ ‰ œ œ œ œ ‰ J J J œ œ œ œ œ œ œ F 9 Mrb œ œ œ œ œ œ bœ œ œ œ œ œ bœ bœ œ œ bœ œ œ œ œ œ 2 ? Œ‰ œb œ œ œ Ó ‰ œ œn œ œ‰ŒŒ‰ œ œb œ œ‰Ó ‰ œ œ œ œ ‰Œ Œ œ œ ‰ J J J J J J J J F 9 œ œ ∑ ∑ ∑ ∑ ∑ Perc . . Ó ã J f

9 Chant-like ∑ F S ...... œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ. œ. œ. œ. . j j . . œ. œ. œ. œ. œ. œ. & ‰ J J J J‰ J J J J J J J ‰J J œb œb œ œ ‰ œ œ ‰ ‰ DiJ -- esJ J ir æ!J di------es il la Sol vet sæ clum in fa vil la: Te ste DaJ vidJ cumJ Si. byl. la!. QuanJ tusJ treJ morJ estJ fuJ tuJ rus,J

Chant-like ∑ F A œ. œ. œ. œ. . . . . j j j j j j j j j j j j j j j j j j j j j j & ‰ œb œ œ œb ‰ œb . œ. œ. œ. œ. œ œ œ ‰œ œ œ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ DiJ -- esJ J ir æ!J diJ ------esJ J il laJ Sol vet sæ clum in fa. vil. la: Te. ste. Da. vid. cum. Si. byl. la!. Quan. tus. tre. mor. est. fu. tu. rus,.

F T . . œ. œ. œ. œ œ. œ. . . œ. œ. . . œ. œ. œ. œ. œ. œb œ œ V Œ‰ J J Ó ‰ œb œb ‰ŒŒ‰ œb œ‰Ó ‰ J J ‰Œ Œ J J J ‰ cumJ Si-- byl la! QuanJ ------tusJ treJ morJ estJ fuJ tuJ rus,J QuanJ doJ iu dex est ven tu rus,

F B ? . j j j j . . œ. œb . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ Œ‰ œb œ œ œ Ó ‰ œ œ œn œ‰ŒŒ‰ ‰Ó ‰ J J J J ‰Œ Œ J J J ‰ cumJ Si. -- byl. la! Quan. ------tus. treJ morJ estJ fuJ tuJ rus,J Quan do iu dex est ven tu rus, 151

15 ∑ ∑ Hn & Ó j j j j j œb œ œ œ Ó œ. œ œ. œ œ. œ œ. œ. œ œ. f . . . . P ∑ ∑ B b j j j œ œ œb œ Tpt & Ó œ œ. œ j œ. j Ó œ. . . œ. œ. œ# . œ. œ# . f P ∑ ∑ Euph . œb œb œ œ ? Ó œ œ. œ. œ. œ. œ. œ# . œ œ# . œ. Ó . J J J J J f P ∑ ∑ Tuba j j ? Ó j j j œ œ œ œ œ œ Ó œ# . œ. œ. œ# . œn . œ. œ. . . œ. f P

15 Mrb ∑ ∑ ∑ 1 bœ œ n œ œ œnœ œ œb œ Œbbœ œ œœ œ œ œ œ œbœ œ. Ó & œ œ œ œ œ œ œ J

15 Mrb œ œ œ œ œ bœ bœ œ. ∑ ∑ ∑ 2 ? Ó ‰ œ œ œ œb ‰ŒŒ œ œ œ œ Ó J J J .

15 Sus. Cymbal ∑ ∑ ∑ ∑ ∑ ˙ Perc ã Ó f

15 Lyrical ∑ ∑ P S . . j j j . . . . œ. œ. œ. œ. œ. œ. œ œ œb œ & œb œ œn œ œ œn œ œ œ ‰ œ œ J J J Ó J J J J Ó QuanJ --- doJ iu. dex. est. venJ tuJ ----- rus,J J CunJ ctaJ stricJ teJ di scus su- rus! Di-- es ir æ!

Lyrical ∑ ∑ P A j j j j j j j j j j j j j . . j & œ œ œ œ œ œ œ œb œ ‰ œb . œ. œ. œ. œb œ œb . œ. Ó œb œ œ œ Ó Quan. --- do. iu. dex. est. ven. tu. ----- rus, Cun cta stric te diJ scusJ - su rus! DiJ -- esJ J ir æ!J

Lyrical ∑ ∑ P T œ...... j j j V Ó ‰ J œ œ œ ‰ŒŒ œ œb œb œ. Ó œb œb œ œ Ó Cun---- ctaJ stricJ teJ diJ scusJ suJ - rus! DiJ -- es ir æ!

Lyrical ∑ ∑ P B ? œ. œ. œ. œb . œ. . . Ó ‰ J J J ‰ŒŒ œ œ œ. Ó œ œ œ œ Ó Cun---- cta stric teJ diJ scusJ suJ - rus! DiJ -- esJ J ir æ!J 152

21 Hn œ. . . & œn œ œ œ Ó 85 œ ‰ œ. œb ‰ 86 œb . œb ‰ œ 4 ˙b Œ Œ Œ Œ J J . . œb subito˙ œ subito˙ œb subito˙ F œ F f p F p F p F

B . œ. . . . b œb œ œ œ 5 œn . œ œ 6 œb . œ œ 4 ˙b Tpt & Ó 8 J ‰ J ‰ 8 ‰ 4 Œ Œ Œ Œ œb subito˙ œn subito˙ œ subito˙ œ# F f F p F p F p F . . . . Euph œb . œn œ. œ œ. œ ‰ œ ˙ ? œ œ œ œ Ó 5 J ‰ J ‰ 6 4 Œ œb ˙ Œ œn ˙ Œ œ ˙ Œ œ# 8 8 4 subito subito subito F f F p F p F p F

Tuba . ? œb œ 5 œ. œ. œ. œn . 6 œ œ. ‰ œ 4 ˙ œb ˙ œ œ Ó 8 J ‰ ‰ 8 . 4 Œ Œ œ ˙ Œ œb ˙ Œ œ J subito subito subito F f F p F p F p F

21 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 & 85 86 4

21 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ? 5 6 4 8 8 4

21 Bass Drum ˙ œ œ fi œ œ fi œ œ fiœ ˙ Perc 5 . . 6 . ‰ 4 œ œ œ ã Ó 8 J ‰ J ‰ 8 4 Ó Ó Œ Ó Œ Ó Œ f f F F F

Chant-like 21 F f P S . œ . œb œ œ œ 5 œn . œ . œ 6 œb . œ. œ. 4 ˙b j j j j j j j j j j j j & J J J J Ó 8 J ‰ J ‰ 8 J ‰ J 4 Ó Ó Ó œ œ œ œ Ó di------es il la Di es ir æ! di es il la Solœb . ------vetœ. sæœ. clumœ. inœn . faœ. vilœ. la:œ. Te. ste. Da. vid.

Chant-like F f P A œn œ œ œ Ó 5 œ. œ. ‰ œ. œb . ‰ 6 œb . ‰ j 4 Ó j j j jÓ j j j jÓ j j j jÓ & J 8 J 8 œb . œ. 4 ˙b œb œ œ œ diJ ------esJ J il la Di es ir æ!J di esJ il la Sol. ------vet. sæ. clum. inœ. faœ. vilœ. la:œ. Teœb . steœ. Daœ. vidœ.

Chant-like F f P T j j j j 5 . œ. 6 œ œ. . 4 j j j j j j j j j j V œ œ œ œ Ó 8 œb . œn ‰ œ. ‰ 8 . ‰ œ 4 ˙ Ó j Ó j Ó œ œ œ œ Ó di--- es il la Di esJ ir--- æ!J di esJ J il la Solœb . ------vetœ. sæœ. clumœ. inœn . faœ. vilœ. la:œ. Te. ste. Da. vid.

Chant-like F f P B ? 5 œ. œ. œ. . 6 œ. œ. 4 ˙ ...... œ œb œ œ Ó 8 J ‰ œn ‰ 8 œ. J ‰ J 4 Ó œb œ œ œ Ó œ œ œ œ Ó œb œ œ œ Ó diJ --- esJ J il laJ Di es ir--- æ!J di es il la SolJ ------vetJ sæJ clumJ inJ faJ vilJ la:J TeJ steJ DaJ vidJ 153 29 ∑ ∑ ∑ ∑ ∑ ∑ Hn " & Ó 85 subito˙ p ∑ ∑ ∑ ∑ ∑ ∑ B " b 5 Tpt & Ó 8 subito˙ p ∑ ∑ ∑ ∑ ∑ ∑ " Euph ? ˙ 5 Ó 8 subito p ∑ ∑ ∑ ∑ ∑ ∑ " Tuba ? ˙ Ó 85 subito 29 p ∑ ∑ ∑ ∑ ∑ ∑ " Perc œ ã Ó Œ 85 29 F P " S j j j j j j j j j j j j j j j j . . . . j j j j j j j j 5 & œ# œ œ œ Ó œ œ œ œ Ó œb . œ. œ. œ. Ó œn . œ. œ. œ. Ó œb œ œ œ Ó œb . œ. œ. œ. Ó œ œ œ œ Ó 8 cum. Si. - byl. - la!. Quan. ------tus. tre. mor. est fu tu rus, Quan do iu dex estJ venJ tuJ rus,J Cun cta stric te di. scus. su. rus!. P " A j j j j j j j j j j j 5 & j j j jÓ j j j jÓ j j j jÓ j j j jÓ j Ó œ œ œ œ Ó œ œ œ œ Ó 8 cum Si- byl- la! Quan------tus tre mor est fu tu rus, Quanœ doœ iuœ dexœ estœn venœ tuœ rus,œ Cun. cta. stric. te. di. scus. - su. rus!. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ...... Lyrical p " T j j j j j j j j j j j j j j j 5 V œ# œ œ œ Ó œn . œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ 8 cum. Si. - byl. - la!. Quan------tus tre mor est fu tu rus, Quan do iu dex est ven tu rus, Cun cta stric te di scus- su rus!

Lyrical p " B ? j j j j œ. œ œ œ œ. œ œ œ œ. œ œ œ 5 œ œ œ œ Ó œb . œ œ œ œn . œ œ œ œ. œ œ œ J J J 8 cum. Si. - byl. - la!. Quan------tusJ tre mor est fuJ tu rus, Quan doJ iu dex est ven tu rus, Cun cta stric te di scus- su rus!

Piccolo Trumpet 36 œ B œ œ œb œb œ b 5 œ œb . œ œ œb œ. œ œb œ œ œ œb œb Tpt & 8 œ. œb œb œn œ. œ œb œn œ œn . œ œn œn œ œb œ ‰ œ. œb œb œn œ. ƒ f ∑ ∑ ∑ ∑ ∑ ∑ Tuba ? 85 j j‰ ‰ j j j‰‰ j œ œ œ œ.. œ. œ. Snare Drum . . . 36 P œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc 5 >. > >. > >. > >. > >. > > >. . . ã 8 æ æ æ æ æ æ æ æ ƒ f 44 ∑ ∑ ∑ ∑ Hn j œb . œb ‰ . j ‰ j ‰ j ‰ & . œ œ. œb . œ. œ. œn P . œ B œ œb œb œ b œ. œ œb œ œ œ œb œb Tpt & œ. œ œb œn œ œn . œ œn œn œ œb œ ‰ œ. œb œb œn œ. œ. œ œb œn œ œn . œ œn œn œ f Tuba ? j j‰‰ j j j‰‰ j j j‰‰ j j j ‰‰ j j j‰‰ j j j‰‰ j j j‰‰ j j j‰‰ j œb . œ. œ. œn . œ. œ. œb . œ. œ. œn . œ. œ. œ œ œ œ œ œ œb . œ. œ. œn . œ. œ. 44 ...... œ œ œ œœ œ œ œ œœ œ œœœ œ œœ œ œ œ Pœ œ œ œœ œ œœ œ œ œ œ œ œœ œ œ œ œœ Perc ...... ã æ æ æ æ æ æ æ æ 154

52 Hn j . j j j j & . j ‰ . œ ‰ œb œb . ‰ œ. œ ‰ . œ ‰ œ. ‰ . j ‰ œb œ. œn . . œb . œn . œb œ. œ P œœ œb œb œ œ Bb œ. œ œ œb œ. œ œ. œb œb œ. œ œ. œ œ œb Tpt & œb ‰ œb œb œn œ œb œn œ œn . œ œn œn œb f ∑ ∑ œ œ Euph œ œ œb œn œb œb œ ? œ œb œ œ œ œb œn œ œ œb œ œb œb œ œ œ P Tuba ? j j j j j j j j j j j j j j j j j j œb œ ‰‰ œ œn œ ‰‰ œ j j‰ ‰ j ‰‰ œb œ ‰‰ œ œn œ ‰‰ œ œb œ ‰‰ œ ...... œ. œ. œ. œ. œ. œ...... 52 P œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ Perc ...... ã æ æ æ æ æ æ æ

59

Hn j j j j j‰ œb . œb ‰ . j ‰ j ‰ ‰ œb . œn ‰ œb . œ ‰ & œn . œ. . œ œ. œb . œ. œ. œ. . . F œ œ œœ œb œb œœ œœ œb œb Bb œ. œ œ. œb œb œ. œ œ. œœ œb Tpt & ‰ œb œb œn œ œb œn œ œn . œ œn œn œb ‰ F œb œn œ œ œb œb œb œn œn Euph ? œn œb œn œb œ œ œ œb œ œ œ œb œn œ œ œ œ œb œ œb œb œœ œ œ œ F

Tuba ? j j j j j j j j j j j j j j j j j j œn œ ‰‰ œ j j‰ ‰ j ‰‰ œb œ ‰‰ œ œn œ ‰‰ œ œb œ ‰‰ œ œn œ ‰‰ œ. . . . œ. œ. œ. œ. œ. œ...... F 59 œœ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œœ œ œ œ œœ œ œœœ œ œœ œ œ œ Perc ...... ã æ æ æ æ æ æ æ

66 Hn j ‰ j ‰ j ‰ . j ‰ j ‰ & . œ œb . œ . œ œn. œb œ œ œ œb . œ œn œn œ œ œ œb . œ œ. œ œ cresc.. . œ . . . dim. dim.. . f ƒ f

Trumpet in B ∑ ∑ ∑ ∑ b B j j b œ. œb . œ œb œb œ ‰ œb . ‰ Tpt & œ œ# œ œ. œ. œ. ƒ dim. f dim.

. . . . œb. œn . . œb œ . . Euph ? œ. œ œ. œ œb œ œ œ. œb œ. œb œ œb œn œ. œ œ. œ J ‰ J ‰ J ‰ J ‰ J ‰ f cresc. ƒ dim. f dim.

Tuba j j j œ j ? ‰ œ. œ ‰ œ. ‰ . œ œ œ. œ œ. œ œ œ œ œ œ. œb . ‰ œ. œ ‰ œ. œb . . œb . œn . . J . f cresc. ƒ dim. f dim. 155

75 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn j & . ‰ j œn œ. œ. œ œ F ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b j j Tpt œb . ‰ & œ. œ. œn œ F ∑ ∑ ∑ ∑ ∑ ∑ ∑ Euph ? œ. œ. œ# . œ œ J ‰ J F ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tuba ? œ. ‰ j œ. J œ. œ œ F

75 Mrb ∑ ∑ . . œ. œ . 1 œ. œ œ œ œ. œ #œ. bnœ œ . œ œ œ œ & œ. œ ‰ œ. œ ‰ œb œ ‰ œ œ œb œ. œ# œ# œ bœ œ œ cresc.J J J dim. F ƒ 75 Mrb ∑ ∑ . bœ œ œ n œ 2 œ. œ œ. œ œ œ œ œ. œ œ. œ œ œ# œ œ ? œ. œ ‰ œ. œ ‰ œ. œ ‰ œ# . œ œ œ. œ. œ œ œ cresc.J J J dim. F ƒ 75 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc ã

cresc. dim. 75 F ƒ ∑ ∑ . œ. S œ. œ. œ. œ. œ. œ. œ# . œn œ. œ œ. œ œ j & J ‰ J ‰ J ‰ J J œ œb œ œ Tu------ba, mi rum spar gens so num Per se pul chra re giJ J o num,

cresc. dim. ∑ ∑ F ƒ A j j . œ œb . j j j & œ. œ ‰ œ. œ ‰ œb . œ ‰ . J œ œ. œb œ. œ# œ# œn œ j œ Tu------ba,. mi rum. spar gensJ so num Per. se pul chra re giœ o num,

cresc. dim. ∑ ∑ F ƒ T j j j j j œ œ V . ‰ œ. œ ‰ œ. œ ‰ œ. œ œ. œ. œ œ. œ œ œb œn Tuœ ------ba,œ. mi rum. spar gens. so num. Per se pul chra re giJ J o num,J

cresc. dim. ∑ ∑ F ƒ B ? j . j . . œ# œ œ œ. œ ‰ œ. œ ‰ œ. œ ‰ œ# . œ œ œ. œ œ. œ œ œ J J J Tu------ba,. mi rumJ spar gens. so numJ PerJ se pul chra re gi o num, 156

84 Hn ∑ ∑ ∑ ∑ j 4 . jÓ . jÓ jÓ Ó & 4 œ œ. œ œ. œb . œ. œ. œ. P P F F

B ∑ ∑ ∑ ∑ . œ. . . . . b 4 œ. œ œ œb . œ œ œ Tpt & 4 J Ó J Ó J Ó J Ó P P F F . . . œ. œ. Euph ∑ ∑ ∑ ∑ œb . œ œ. œ œ. œ ? 4 J Ó J Ó J Ó J Ó P P F F

Tuba ∑ ∑ ∑ ∑ . . ? 4 œ œ. œ. œ# . œ. œ œ. œ 4 . J Ó J Ó J Ó J Ó P P F F

84 Mrb j j j j j 1 . œ ‰ bœ. œ‰ bœ. ‰ Œ 4 Ó Ó Ó bœ œ œ œ Œ‰ nœ œ œ œ œ & œn œdim.. œ œ œ # œ. œœ œ #œœ 4 πœ œ œ œ œœœœœœœœ b œ œ œ œ b œ œ œ œ œ F 84 Mrb œœ. œ œ. œ œ. œ # œ ∑ ∑ ∑ ∑ 2 ? œ ‰ œ. œ ‰ œ. œ ‰ #œœ œ Œ 4 dim.J J J J F 84 Brake Drum ∑ ∑ ∑ ∑ ∑ œ œ fi œ œ fi œ œ fi Perc 4 . Ó . Ó . Ó ã 4 J J J F

dim. Chant-like π 84 F S j . j . j j 4 j j j j j j j j j j j j j . . & œ. œ. ‰ œb œ. ‰ œb œ ‰ œ œ# œ 4 Ó œn œ œ œ Ó œ œ œ œ Ó œb . œ. œ. œ. Œ‰ œn . œ œ œ Co---- get om nes an te. thro. num. Mors. stu. ------pe. bit,. et. na. tu. ra,. Cum re sur get creJ a tuJ ra,

dim. Chant-like π F A j j j j 4 j j j j j j j j j j j j j j j & œn . œ ‰ œ. œ ‰ œ# . œ ‰ 4 Ó œn œ œ œ Ó œ œ œ œ Ó Œ‰ œ œ œ Co---- get. om nes. an te. throœ. num.œ œ Mors. stu. ------pe. bit,. et. na. tu. ra,. Cumœb . reœ. surœ. getœ. creœb . a. tu. ra,

dim. F ∑ ∑ ∑ ∑ T j j j j 4 V œ. œ. ‰ œ. œ. ‰ œ. œ ‰ œ# œ# œ 4 Co---- get om nes an te. thro. num.

dim. F ∑ ∑ ∑ ∑ B ? œ. œ. . . . œ# œ 4 J ‰ œ. œ ‰ œ. œ ‰ œ 4 Co---- get om nesJ an teJ throJ num. 157

92 ∑ ∑ ∑ ∑ Hn j œ. Ó œb . œb . Ó & œ. J f f ∑ ∑ ∑ ∑ B œ. œb . œ. b œ. Tpt & J Ó J Ó f f . . ∑ ∑ ∑ ∑ Euph œ. œ œb . œ ? J Ó J Ó f f ∑ ∑ ∑ ∑ Tuba ? œ# . œ. œ. œ. J Ó J Ó f f

92 Mrb j j j j j j j 1 & Ó œ œ œ œ Œ‰ œ œ œ œ œ Ó ‰ œ œ bœ bœ ‰ Œ Œ ‰ œ œbœ œ ‰Ó ‰ œ œ œ œ ‰Œ œb œ œ œ œb œ œ œ œ œ œn œ œ œ œb œ œ œ œ œ œ p 92 œ œ œ Mrb ∑ ∑ œ œ œ œ œbœ œ œ œbœ œ œ œ œ œ œ œ œ œ bœ œ œ 2 ? œb œ œ œ œ œ œ œ œ œ bœœ œœœœ œ œ ‰J J ‰ J ‰ œ œ œ J ‰ p

92 œ œ fi œ œ fi ∑ ∑ ∑ ∑ Perc . Ó . Ó ã J J

92 p S œ. œ. œ. œ. œ. œ. œ. œ œ. œ. . . œ. œ. . . œ. œ. œ. œ. & Ó Œ‰ J J Ó ‰ œb œb ‰ŒŒ‰ œb œ ‰Ó ‰ J J ‰Œ IuJ - diJ - canJ -J ti resJ - pon- su- ra. LiJ -- berJ scripJ tusJ proJ ---feJ reJ tur,J InJ quoJ to- tum

p A Ó j j j j Œ‰ j Ó ‰ j j‰ŒŒ‰ j j j j ‰ j j j j & j j j j œb œb œ œ ‰Ó œ œ œ œ ‰Œ Iuœb . - diœ. - canœ. -œ ti. resœb . - ponœ. - suœ. - ra.œ Liœ. -- berœ. scripœn . tusœ. pro. ---fe. re. tur,. In. quo. to. - tum.

Chant-like ∑ ∑ p T ...... œ œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ. œ. œ. œ. . j j . . V ‰ J J J J ‰ J J J J J J J ‰J J œb œb œ œ ‰œ œ MorsJ stuJ ---- peJ ----- bit,J et na tu ra, Cum re sur get cre a tu ra, Iu------di canJ J ti resJ pon. su. ra. LiJ berJ

Chant-like p ∑ ∑ œ œ. œ. œ...... B ? œb œ œ œb œb œ œ œ œ œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ œ. œ. J J J J ‰J J J J ‰ J J J J J J J ‰J J J J J J J ‰J J Mors stu---- pe----- bit, et na tu ra, Cum re sur get cre a tu ra, Iu------di can ti res pon su ra. Li ber 158

98 ∑ ∑ ∑ Hn 5 6 4 & 8 j‰ j‰ 8 ‰ 4 œ. œb . œ. œb . œb . œb . œ P . ∑ ∑ ∑ B . . . b 5 œ. œb œ œb 6 œb . . . 4 Tpt & 8 J ‰ J ‰ 8 œ ‰ œ 4 P ∑ ∑ ∑ . . Euph œb . œb . œb . œ œ. œ ‰ œ. ? 85 J ‰ J ‰ 86 4 P ∑ ∑ ∑ Tuba . ? 5 . œb . œ. œ. 6 œb . œ. ‰ œ 4 8 œ J ‰ J ‰ 8 4 P

98 Mrb j j j ∑ ∑ 1 œ bœ œ œ œ œ œ œ œ 5 6 4 & Œ œ œ œ œ ‰ Ó ‰ œ œ œ ‰ŒŒ bœ 8 bœ œ. ‰ 8 4 J œb œ œ œ œ.

98 Mrb œ œ œ œ œ œ bœ œ nœ œ œ b œ œ œ œ œ œ œ œ. ∑ ∑ 2 ? œ œ œ œ œ œ œ œnœœ œœ œœ œ œ œb b œ œ œ œ 5 œb œ 6 4 ‰ J J ‰ Œ 8 J ‰ 8 4

98 ∑ ∑ ∑ œ œ fi œ œ fi œ œfi œ Perc 5 . . 6 . ‰ 4 ã 8 J ‰ J ‰ 8 4 P

98 ∑ ∑ S œ. œb . œ. œ œ. œ. œ. œ. œ. . 5 . 6 4 & Œ J J J ‰ Ó ‰ J ‰ŒŒ œb 8 œb œ. ‰ 8 4 con--- ti ne tur, Un-- deJ munJ dusJ iuJ --- diJ ceJ tur.

∑ ∑ A j j j ‰ Ó ‰ j j j j‰ŒŒ j j 5 j ‰ 6 4 & Œ œ œ œ œ œ œ œ œb œ 8 8 4 con. --- ti. ne. tur, Un. - de. mun. ----dus. iu. diœ. ceœ. tur.œ.

∑ ∑ T œ. œ. œ. œ. œ. œ. . . j j j . . . . œ. œ. œ. œ. 5 œ. œ. 6 4 V ‰ ‰ œb œ œn œ œ œn œ œ œ ‰ œ œ J J 8 J ‰ 8 4 scripJ ------tusJ proJ feJ reJ tur,J InJ quoJ to. tum. con. J ti neJ ------tur,J J UnJ deJ munJ dusJ iu di ce tur.

...... ∑ ∑ B ? œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œb œ œb œ œ œ œb œ 5 œb œ. 6 4 J J ‰ J J J J ‰ J J J J J J J J J ‰ J J J J J J 8 J ‰ 8 4 scrip------tus pro fe re tur, In quo to tum con ti ne------tur, Un de mun dus iu di ce tur. 159

104

Hn & 4 Œ Œ Œ Œ Œ Œ j subito ˙b œn subito˙ œb subito˙ œsubito˙ œ subito˙ œ subito˙ œb subitoœ . œb œ œ p f p f p f p f p f p f P

B b 4 j j Tpt & 4 ˙ Œ Œ œ ˙ Œ œ# ˙ Œ œ ˙ Œ œ# ˙ Œ œn œ. œ œ. œ subito œsubito˙ subito subito subito subito subito p f p f p f p f p f p f P

Euph ˙ œb ˙ œb ? 4 Œ œ ˙ Œ œ ˙ Œ œ# ˙ Œ œ ˙ Œ Œ œ ˙ Œ subito4 subito subito subito subito subito subito p f p f p f p f p f p f p f

Tuba ? 4 ˙ 4 Œ œ ˙ Œ œb ˙ Œ œ ˙ Œ œ ˙ Œ œ ˙ Œ œ ˙ Œ œ subito subito subito subito subito subito subito p f p f p f p f p f p f p f

104 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 & 4

104 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ? 4 4

104 Bass Drum ∑ Perc œ œ œ œ œ œ ã 4 Ó Œ Ó Œ Ó Œ Ó Œ Ó Œ Ó Œ f f f f f f

Lyrical 104 F P S 4 j j j j j j j j j j j j j j j j j j j j j j j j j j & 4 Ó Ó œ œ œ œ Ó œ# œ œ œ Ó œ œ œ œ Ó œ# œ œ œ Ó œn . œ œ. œ Morsœb . stuœ. ------peœ. bit,œ. etœn . naœ. tuœ. ra,œ. Cum. re. sur. get. cre. a. tu. ra,. Iu. di. can. ti. res. pon. su. ra.. Li ber scrip tus

Lyrical F P A & 4 j j j jÓ j j j jÓ j j j jÓ j j j jÓ j j j jÓ j j j jÓ j Morsœb stuœ ------peœ bit,œ etœ naœ tuœ ra,œ Cumœb reœ surœ getœ creœ œ a tuœ ra,œ resœ --- ponœ suœ ra.œ Liœb . -- berœ scripœ tusœ ...... Iuœ. --- diœ. canœ. œti. . . . .

F f T 4 j j j j j j j j j j j j j j j j j j j j j j j j j j j j V 4 Ó Ó œ œ œ œ Ó œ# œ œ œ Ó œ œ œ œ Ó œb . œ. œ. œ. Ó œ œ œ œ Ó Morsœb . stuœ. ------peœ. bit,œ. etœn . naœ. tuœ. ra,œ. Cum. re. sur. get. cre. a. tu. ra,. Iu. di. can. ti. res pon su ra. Li. -- ber. scrip. tus.

F f B ? ...... j j j j j j j j j j j j j j j j 4 œb œ œ œ Ó œ œ œ œ Ó œb œ œ œ Ó œ œ œ œ Ó œ œ œ œ Ó œ œ œ œ Ó œ œ œ œ Ó MorsJ stuJ ------peJ bit,J etJ naJ tuJ ra,J CumJ reJ surJ getJ cre. a. tu. ra,. Iu. di. can. ti. res. pon. su. ra.. Li. -- ber. scrip. tus. 160

111 Hn j j j j j 5 j j . . & . . œ. œ œ œ œ. œ œ œ œ. œ œ œ 8 œ. œ ‰ œ. œ. ‰ œb œ ‰ œ œ œ œ œ œ œ œ cresc.. J f

B . . . b j j j . œ œ. œ . œ Tpt j j j j j j 5 œ ‰ ‰ œ ‰ & œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ 8 cresc.J J J f

Euph ˙ œn ˙ œb ˙ œb ˙ œ ˙ . œ. œ. œ. œ. ? Œ Œ Œ Œ Ó 85 œ. œ ‰ J ‰ J ‰ subito subito subito subito subito cresc.J p f p f p f p f p f

Tuba ? œ ˙ œ ˙ 5 j . j ˙ Œ œ ˙ Œ œ ˙ Œ Œ Ó 8 œ. œ ‰ œ. œ ‰ œ. œ ‰ subito subito subito subito subito cresc.. J . p f p f p f p f p f

111 Mrb ∑ ∑ ∑ ∑ ∑ . 1 5 œ. œ œ œ œ. œ & 8 œ. œ ‰ œ. œ ‰ œb . œ ‰ cresc.J J J f 111 Mrb ∑ ∑ ∑ ∑ ∑ 2 œ. œ œ. œ ? 85 œ. œ ‰ œ. œ ‰ œ. œ ‰ cresc.J J J f 111 ∑ ∑ ∑ ∑ ∑ œ œ fi œ œ fi œ œ fi Perc 5 . . . ã 8 J ‰ J ‰ J ‰ f

111 cresc. f S j j j j j j j j j 5 œ. œ. œ. œ. œ. œ. & œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ œ 8 J ‰ J ‰ J ‰ pro. ------fe re. tur, In. quo to. tum con. ti ne. tur, Un de mun dus iu-- di ce tur. Iu--- dex er go cum se

cresc. f A j j j j j 5 j j . & . . œ. œ œ œ œ. œ œ œ œ. œ œ œ 8 œ. œ ‰ œ. œ ‰ œb . œ ‰ proœ ------feœ reœ tur,œ Inœ quoœ toœ tumœ con ti ne tur, Un de mun dus iu-- di ce tur. Iu--- dex. er go. cum seJ

cresc. f T j j j j j j j j . . . . j j j j j j j j 5 j j j V œb . œ. œ. œ. Ó œn . œ. œ. œ. Ó œb œ œ œ Ó œb . œ. œ. œ. Ó œ œ œ œ Ó 8 . ‰ œ. œ ‰ œ. œ ‰ pro------fe re tur, In quo to tum conJ J ti neJ tur,J Un de mun dus iu. di. - ce. tur.. Iuœ --- dexœ. er go. cum se.

cresc. f B ? j j j j ...... œ. œ. œ. œ. œ. œ. œ. œ. 5 j . j œ œ œ œ Ó œ œ œ œ Ó œn œ œ œ Ó J J J J Ó J J J J Ó 8 œ. œ ‰ œ. œ ‰ œ. œ ‰ pro. ------fe. re. tur,. InJ quoJ toJ tumJ conJ J ti neJ tur,J Un de mun dus iu di- ce tur. Iu--- dex. er goJ cum se. 161

119 Hn œ. œb . . j j j j & œ. œ œb œ. œ# œ# œn œ œ œn . œ ‰ œ. œ ‰ œ# . œ ‰ . Œ œ dim. . . . œ. œ œ œ ƒ F

B . . . œ. œ . b œ# œn œ œ œ œ j j j j Tpt & œ œb œ œ œ. œ ‰ œb . œ ‰ œb . œ ‰ œ Œ dim. . . . . œ# œ œ. ƒ F

Euph œ. . œ. œ œ œ œb œ œ œn œ. œ. œ. œ. œ œ. . œ# œ œ ? œ . œ . œ J ‰ J ‰ . ‰ œ# . Œ dim. J J ƒ F

Tuba œ œ œ. . . ? œ# . œ. œ. œ. œ œ. œ œ œ œ# œ ‰ œ. œ. ‰ œ. œ. ‰ œ. œ# œ œ Œ dim. J J J J ƒ F

119 Mrb . œ. œ . 1 #œ bnœ œ œ œ œ œ j j j j & . œ œ. œb œ. œ# œ# œ bœ œ œ œn œ. œ ‰ bœ. œœ‰ #bœ. œœ‰ œ # æœ æœ æœ Œ œ dim. . . œ œ œ œ . ƒ F 119 Mrb œ. œ œ œ œ œ bœ œ œ nœœ œœ. œ œ. œ œ œ # œ œ œ 2 ? œ# . œ œ œ. œ œ. œ œ œ œ# . œ ‰ œ. œ ‰ œ. œ ‰ #œœ œ œ œ . Œ dim. J J J J æ æ æ ƒ F 119 œ fi œ œ œ œ œ œ œ fiœ œ fiœ œ œ œ œ œ œ fi Perc ...... fi . ã Œ æ æ J ‰ J ‰ J ‰ J æ æ æ Œ ƒ f F

dim. 119 ƒ F S . . œ. œ œ# . œn œ œ. œ œ œ j j . j . j j & J J œb œ œ œ. œ ‰ œb œ ‰ œb œ ‰ œ œ# œ œ. Œ de-- bit, Quid quid la------tet, ap paJ reJ bit: Nil in. ul tum. re ma. ne. bit.

dim. ƒ F A œ. œb . j . j j j j j j j & J œ. œ œb œ. œ# œ# œn œ œ œn . œ ‰ œ. œ ‰ œ# . œ ‰ . Œ de-- bit, Quid quid la------tet, ap pa reœ bit: Nil in. ul tum. re ma. neœ. bit.œ œ œ

dim. ƒ F T j j œ œ j j j j V œ. œ œ. œ. œ œ. œ œ œb œn œ. œ. ‰ œ. œ. ‰ œ. œ ‰ œ# œ# œ œ. Œ de-- bit,. Quid quid la------tet, ap paJ reJ bit:J Nil in ul tum re ma. ne. bit.

dim. ƒ F B ? . . œ# œ œ œ. œ. . . . œ# œ œ. œ# . œ œ œ. œ œ. œ œ œ J J J J ‰ œ. œ ‰ œ. œ ‰ œ Œ de-- bit,J QuidJ quid la------tet, ap pa re bit: Nil in ul tumJ re maJ neJ bit. Sequence: Quid sum miser

q = 80 e = 80 œ œ. œb œb œ œn œn . . Flute 4 œb œb œn œ œb 5 œ œb . œ œb . œb . & 4 œ œ 8 Œ J ‰ J Œ J ‰ J Œ J Ó f ƒ P Oboe . 4 œb œb œ œn œn œ œ œb 5 œ. Œ œ. ‰ œb . Œ œb . ‰ œ. Œ œb Ó & 4 œ œb œb œ œb 8 J J J J J f ƒ P œb œb œ œ œ. Clarinet 4 œb œb œ œn 5 j j j j j in B œn œb œ Œ ‰ Œ ‰ Œ Ó b & 4 œ œb 8 œ. œ. œ. œb . œ. f ƒ P œ Bass ? 4 œ œ œ œb œb œb œn œn 5 œ. j . j j j Clarinet œb 3 3 Œ œ ‰ œ Œ œ ‰ Œ Ó 4 3 8 . J . œb . œb . P 3 ƒ f 3 3 Bassoon j j j j ? 4 œb œ œ œ 5 œ. Œ œ ‰ œ. Œ œ ‰ Œ Ó 4 œ œb œb œ œn œn 8 . J . œb . œb . f ƒ P 3 3 3 Horn 4 5 in F & 4 8 Œ Œ œ œ. œ œ œb œ œ œb œb œb œn œn œ. π œb . œ œ. ƒ f Trumpet 4 œn œn œ 5 œ. in B & 4 œb œb œb œ 8 Œ Œ b œ œ œb œb œn œ πœ. œ œ. œ œ. 3 f 3 3 ƒ Euphonium ? 4 œb œ œ œ 5 œ. Œ œ. œ œ. œ œ. Œ 4 œ œb œb œ œn œn 8 π f ƒ Tuba ? 4 5 œ. œ 4 œb œb œ œn œn œ œ œb 8 œ. Œ œb . œ œb. Œ œ œb œb œ œb π f ƒ Marimba ∑ ∑ ∑ ∑ ∑ & 4 85 Marimba ∑ ∑ ∑ ∑ ∑ ? 4 85 Sus. Cymbal L.R. w ∑ ∑ ∑ ∑ Percussion 4 5 ã 4 æ 8 p ∑ ∑ ∑ ∑ ∑ Soprano 4 5 & 4 8 ∑ ∑ ∑ ∑ ∑ Alto 4 5 & 4 8 ∑ ∑ ∑ ∑ ∑ Tenor 4 5 V 4 8 ∑ ∑ ∑ ∑ ∑ Bass ? 4 5 4 8 163

q = 80 6 œb œn œn œ . . . . œb œ œ œ œ# œb œn œb œb œb œb œ œn Fl œ œb œ œ œb œb . 4 œ œ œ# œ œb œb œn œn 5 & J ‰ J J ‰ J ‰ J J ‰ J Ó 4 œ# œn œn 8 P f f

j . Ob œ. ‰ œb . œ ‰ œb . ‰ œ. œ ‰ œb Ó 4 œ œ œ# œb œn œb œb œn œb œb œ œn œn œ œ œb 5 & J J J J J J 4 œ# œ œ œ# œ œ œn œb œb œn œb 8 P f f

œb œb œ œ B j j œb œn œb œ œn b j ‰ œb ‰ j ‰ j ‰ jÓ 4 œ œ œ# œb œn œb œn œb œn œb 5 Cl & œ. œ. J œ. œb . œb œ. 4 œ# œ œ œ# œ œ œn œb 8 P f f

3 3 3 j j j œb œb œn œ œn B ? ‰ œ. œ ‰ ‰ j ‰ jÓ 4 œ œb œ œ œb œ œb œ œ œb 5 Cl œ œ œb œ œb 4 œ œb œn œb 3 3 8 . J J . . . œ œb 3 P f f

3 3 3 3 3 3 Bsn j j j ? œ ‰ œ. œ ‰ œ ‰ j ‰ jÓ 4 œ œ œb œ œb œn œ œ œb œ œ œ 5 . J J . œb . œb œb . 4 œ œb œb œ œb œb œ œn œn 8 P f f

6 ∑ ∑ Hn & Œ 4 85 πœ. œ œb . œ œ.

. . . ∑ ∑ Bb œ œ œ œ œ 4 5 Tpt & Œ 4 8 π

Euph ? 4 ∑ ∑ 5 œ. œ œ. œ œ. Œ 4 8 π

Tuba ? . 4 ∑ ∑ 5 œ œ œb . œ œb. Œ 4 8 π 164

e = 80 11 œ. ∑ ∑ ∑ ∑ ∑ ∑ Fl 5 & 8 Œ ƒ ∑ ∑ ∑ ∑ ∑ ∑ Ob œ. & 85 Œ ƒ œ. ∑ ∑ ∑ ∑ ∑ ∑ B b 5 Cl & 8 Œ ƒ ∑ ∑ ∑ ∑ ∑ ∑ B ? 5 œ. Cl 8 Œ ƒ ∑ ∑ ∑ ∑ ∑ ∑ Bsn ? 85 œ. Œ ƒ 11 Hn 5 j ‰ j Œ j‰ jŒ j‰ jŒ j ‰ ‰ j ‰ j ‰ j Œ j‰ jŒ j ‰‰ j ‰ & 8 œ. œb œ. œb œb œ œb œ œ. œb œ. œb œb œ P ...... B . b 5 œ. ‰ œb . Œ œb . ‰ œ. Œ œb ‰ œ. Œ œ. ‰‰ œ. ‰ œ. ‰ œb . Œ œb . ‰ œ. Œ œ. ‰‰ œ. ‰ Tpt & 8 J J J J J J J J J J J J J J P Euph ...... ? 5 œ ‰ œ Œ œ ‰ œb Œ œ ‰ œb . Œ œb . ‰‰ œ. ‰ œ ‰ œ Œ œ ‰ œ Œ œ ‰‰ œ ‰ 8 J J J J J J J J J J J J J J P Tuba j j j j j j j ? 5 œ ‰ œ. Œ œ ‰ Œ j‰ jŒ j ‰‰ j ‰ œ ‰ œ. Œ œ ‰ Œ ‰‰ j ‰ 8 . J . œb . œb . œ. œ. œ. . J . œb . œb . œ. P 11 Mrb j ∑ 1 5 Œ Œ Œ Œ œ Œ œ. Œ œ. Œ & 8 œ. œ. œ. œ œ. œ. F . . Mrb œ. œb œb œ œ. œ. ∑ 2 ? 85 Œ Œ Œ Œ J Œ Œ Œ

11 FBass Drum Perc œj œj œj œj œj œj œj œj œj œj œj œj œj œj ã 85 ‰ Œ ‰ Œ ‰ Œ ‰‰ ‰ ‰ Œ ‰ Œ ‰‰ ‰ F 11 ∑ ∑ ∑ F S 5 j j & 8 Œ œ œ œ œb œ. œ œb œn œ œ. œ œ œ œ œ œ œb QuemJ J pa----- tro num roœ ga œb tuœb œb œn rus, F A 5 œ œ j j j & 8 œ œb œb œ œ œb œn œ œ. œ œn œ œb œ œ œ œ œ œ j œ œ œ œ œb œb œn . œ œ œ Quid. sum mi. --- ser tunc dic tu rus?œ Quem œb paœ. ----- troœn num ro. ga tu rus, J

F ∑ ∑ ∑ T œb . œ œn œb . œ œ œ œb V 85 œ. œb œb œn œ œ œ œb œb œ œb Œ‰ Quid sum mi--- ser tunc dic tu rus? F ∑ ∑ ∑ œ œ. B ? 5 œ œ œb œ œb œn œ œ. œ œ œ œ œ œ œb 8 Œ J J œ œb œb œb œn J J Quem pa----- tro num ro ga tu rus, 165

18 Hn j j j j j j & j ‰ j Œ ‰ œ Œ œ ‰‰ œ ‰ œ ‰ œb Œ j ‰ Œ j ‰‰ j ‰ j Œ œ œ. . . . πJ œb œ œ œ- œ œn œ. . p p

B b j j . . . œ œ j j j Tpt ‰ œb Œ œ ‰ œ Œ ‰‰‰ œ ‰ ‰ Œ œ ‰ Œ ‰‰ œ ‰ œ Œ & œ. . J J J πJ J œ œ œ- J J p p

. œ. œb . œb . œ. œ - Euph œ. œ œb œ œb œb œ ? ‰J Œ J ‰ J Œ J ‰‰ J ‰ J ‰J Œ ‰J Œ J ‰‰ œ ‰ œ Œ J π J J J p p

Tuba ? ...... j j - j j œ ‰ œb Œ œ ‰ œ Œ œ ‰‰ œ ‰ œ ‰ œ Œ œb ‰ œ Œ œ ‰ ‰ œ œ ‰ œb Œ J J J J J J π J J J p p

18 Mrb ∑ ∑ 1 . . œ. œ. & œ. Œ nœ. Œ œ Œ œbœ. Œ œ. Œ P p P Mrb nœ. œ. ∑ ∑ ∑ ∑ ∑ 2 ? œ. Œ œ. Œ P

18 Perc œj œj œj œj œj œj œj œj œj œj œj œj œj œj ã ‰ Œ ‰ Œ ‰‰ ‰ ‰ Œ ‰ Œ ‰‰ ‰ ‰ Œ

cresc. 18 P p S j j œ œ œ œ. œ œ j j & œ. œ œb œn . œ J œ J ‰ œ œb œ. œ œ œb œb œ œ œ œ œb œb œ. œ œn œb œ Cum vix iu-- stusJ sit seJ - cu rus? Rex tre----- men dæ mai e sta tis,œb Qui J sal-- van dos

cresc. P p A . œ j œ œ . j j j j j j j & œ œb œb œ. œb œb œ œ œ œb œb ‰ œ œ œ . œ œ œ j œ. œ Cum vix iu- stus sit se-- cu rus? Rex tre----- men dæœb mai e staœ tis,œ œ Quiœb sal-- vanœ dos

P ∑ ∑ ∑ ∑ T œ œ. œ œ œb œ œ V œn . œ œn œn œb J œb œ ‰ Cum vix iu- stus sit se- cu- rus?

P ∑ ∑ ∑ ∑ B ? œ. œb œ œ œb œ œ. J J J œb œn ‰ CumJ vixJ iu-- stus sit se- cuJ rus? 166

q = 80 25 ∑ ∑ ∑ ∑ Fl œ œ œ œ œœœœ œb œ œ œ & 4 ŒÓ ŒÓ ŒÓ p p ∑ ∑ ∑ ∑ P Ob œ œ œ œ œœœœ œb œ œ œ & 4 ŒÓ ŒÓ ŒÓ p p ∑ ∑ ∑ ∑ P B b 4 Cl & 4 œ œ œ œ ŒÓ œœœœŒÓ œb œ œ œ ŒÓ p p P ∑ ∑ ∑ ∑ B ? 4 œ œ œ œ œœœœ Cl 4 ŒÓ ŒÓ œb œ œ œ ŒÓ p p ∑ ∑ ∑ ∑ P Bsn ? 4 ŒÓ ŒÓ ŒÓ 4 œ œ œ œ œœœœ œb œb œ œ p p P

25 Hn j j j j j‰ œb Œ œb ‰‰ œ œb ‰ Œ j ‰ 4 Ó ‰ j Ó ‰ j Ó ‰ j & œ - œ œ œb . 4 œ œ. œ œ. œb œ. P F â F F F B - . œ . . b œ œ œ œ 4 œ œ œ œb œ Tpt ‰ Œ ‰‰ œn ‰ œ Œ œ ‰ Ó ‰ Ó ‰ J Ó ‰ & J J J J J J œb . 4 J J P F â F F F . . . Euph - œn ä œb œ œ œ œ œ ? œ œ œ œ œ œ œ. 4 J J J J ‰ J Œ J ‰‰ J ‰ J Œ J ‰ 4 Ó ‰ Ó ‰ Ó ‰ P F F F F Tuba . . . ? j‰ jŒ j‰‰ j‰ jŒ j ‰ 4 Ó œ ‰ œ Ó œ ‰ œ Ó œ ‰ œ œn œ œ œ- œ œ œ œb . 4 J J J P F â F F F

25 Mrb j ∑ ∑ ∑ ∑ 1 nœ. œ 4 & œ. Œ Œ‰ œ œ bnœœ. Œ 4 J f Mrb ∑ œ œ œ. ∑ ∑ ∑ ∑ 2 ? œ œ œ. 4 Œ. J J Œ 4 25 f Snareœœœ Drumœœœœœ œ œ Perc œj œj œj œj œj œj œj œj ‰ Œ ‰‰ ‰ ‰ Œ ‰ Œ 4 ŒÓ ŒÓ ŒÓ ã 4 æ ææ p P

25 f ∑ ∑ ∑ S œn . œ j œ œb œ œ œ 4 & œ œ œb œ œ J œ œn . œ œ œ œb œ œ œn œb . 4 sal- vas gra---- tis, Sal vaJ me, fons pi e- ta tis.

f ∑ ∑ ∑ A j j j j j j j j 4 & œ. œb œ œ œ œ œ œb œ œ œ œb . œ œ 4 sal- vas gra---- tis, Sal va me, fons piœb e- taœb tis.œb .

∑ f ∑ ∑ ∑ T œ œ 4 V Œ. J œ œn . œ œ œb œ œ œ œ œ 4 Sal--- vaJ me, fons pi e- ta tis..

∑ f ∑ ∑ ∑ B ? œ œ œ. j 4 Œ. J J œ œb œ œ œb . 4 Sal--- va me, fonsJ piJ Je- ta tis. 167

32 œn œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œb œb œb œ œn Fl œb œn œ 5 & Ó ŒÓ Ó ‰ Œ œ œ œb 8 P F F f

Ob œb œ œ œ œ œb & Ó œb œ œ œ ŒÓ œb œ œ œ œ Ó ‰Œ œb œb œ œn œn œ œ 85 œ œb œb œ œb P F F f œ œ œn œb œb œ Bb œ œ œ œ Ó œ œ œ œ ŒÓ œ œ œ œ œ Ó ‰Œ œb œ œb œb 5 Cl & œn œ œb œn 8 P F F f

œb œb œn œ œn B ? œb œ œ œ œ Ó œb œ œ œ ŒÓ œb Ó ‰Œ œ œb œ œ œb 5 œ œ œ œ 3 Cl 3 3 8 P F F f

3 3 3 Bsn ? 5 Ó œb œ ŒÓ œ œ œ œ œ Ó ‰Œ œb œ œ œ 8 œb œ œ œ œ œ œ œ œb œb œ œn œn P F F f

32 Hn j j j 5 & Ó œ ‰ œ Ó œ ‰ œ Ó ‰ j œb . œ. Ó 8 . . œb œ. F F F

œ . œ œ. . . Bb Ó ‰ œ Ó ‰J Ó œb ‰ œ œ œb . Ó 5 Tpt & J J J 8 F F F . . œ œ œ œ œ œ. œ. œ. Euph ? Ó ‰ J Ó ‰ J Ó ‰ J J Ó 85 F F F

œ. . . Tuba ? Ó œ ‰ Ó œ ‰ œ Ó œ ‰ œ. œ œ. Ó 5 J J J J 8 F F F

32 Sus. Cymbal œ œ œœ œ œ œ œ œœœœœœœœ œ œ œœ œ œ œ œ w Perc 5 ã ŒÓ ŒÓ ŒÓ æ 8 F p 168

e = 80

36 œ. ∑ ∑ ∑ ∑ ∑ Fl & 85 Œ ƒ ∑ ∑ ∑ ∑ ∑ Ob œ. & 85 Œ ƒ œ. ∑ ∑ ∑ ∑ ∑ B b 5 Cl & 8 Œ ƒ ∑ ∑ ∑ ∑ ∑ B ? 5 œ. Cl 8 Œ ƒ ∑ ∑ ∑ ∑ ∑ Bsn ? 5 8 œ. Œ ƒ 36 Hn 5 j ‰ j j ‰ j j ‰ j j ‰ j j ‰ j & 8 œ œb œ œ œb œ œb œ œ œ. œ œ œb œ œ œb œ P P P P P B b Tpt 5 œ ‰ œb œ œb ‰ œ œ œb ‰ œ œ œ. œ œ ‰ œb œ œb ‰ œ œ & 8 J J J J J J J J J J P P P P P Euph ? 5 œ ‰ œ œ œ ‰ œb œ œ ‰ œb œ œ. œ œ ‰ œ œ œ ‰ œ œ 8 J J J J J J J J J J P P P P P Tuba j j j j j j j ? 5 œ ‰ œ œ œ ‰ ‰ j œ ‰ œ œ œ ‰ 8 J œb œ œb œ œ œ. œ J œb œ P P P P P 36 Mrb 1 5 œ. œb . œb . œ œ. & 8 Œ Œ Œ Œ J Œ Œ œ. Œ F Mrb œ œ. . 2 ? 5 œ. œ. œ. œ œ. 8 Œ Œ Œ Œ J Œ œ. Œ Œ 36 F œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc 5 Œ. . . . . ã 8 æ æ æJ æJ æ æ F 36 F ∑ ∑ S 5 œ œb . œ œn œ œb . œ œ œ œb œb œb & 8 œ. œb œb œn œ œ œb Œ‰ Re---- cor da re, Ie su pi- e,

∑ ∑ ∑ F A 5 & 8 Œ œ œ œ œb œ. œ œb œn œ œ. œ œ JQuod sumJ cau- sa tu- œ æ œb

F T 5 j j j V 8 œ œ œb œb œ œ œ œb œn œ œ. œ œn œ œb œ œ œ œ œ œ j œ œ œ œ œb œb Re. ---- cor da. re, Ie su pi- e,œ Quod sumœb cauœ. - œ sa tu. - æ F ∑ ∑ ∑ œ œ. B ? 5 œ œ œb œ œb œn œ œ. œ œ 8 Œ J J œ œb Quod sum cau- sa tu- æ 169

42 Hn j j & j ‰ j j ‰ œ œ œ. œ œ ‰ œb œ j ‰ j œ. œ œ œ œ œ J œb œ œ P P p p

B b j j œ œ œ j j Tpt œ. œ ‰ œb œ œ ‰ œ œ œ. œ ‰ œ ‰ & œ J J J J œ œ P P p p œ œb œ œ. œ œ Euph œ œ œ œ œ œb œ œ œb œ ? . J ‰J J ‰ J J ‰J J ‰J P P p p

Tuba ? œ ‰ œb œ œ ‰ œ œ œ. œ j ‰ j œb ‰ œ œ œ. œ J J J J œ œ œ J J P P p p

42 Mrb ∑ ∑ ∑ ∑ 1 œ. & nœœ. Œ œ. Œ P

Mrb ∑ œ. ∑ œ. œ. 2 ? œ. Œ œ. Œ Œ œb . Œ poco a poco cresc. P p

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc ã . . ‰ . . æJ æJ æ æJ æ æ æ poco a poco cresc.æ P p

42 ∑ P ∑ ∑ S œ. œb œ œ & œn . œ œn œn œ œ œ ‰ Ne me per ---dasJ il la di e.

P ∑ ∑ A j j j j œ œ œ œ & œ œ œ œ œb œ. œ œb œn. œb J œb œ ‰ viœb œb œn - æ: Ne me per ---das il la diJ e.

poco a poco cresc. P p T j œ. œ œ V œb . œ œ œ œ. œ œb œb œ œ œb œb œ œ œ œb œb œ ‰ œ œb œ. œ œ œb œb vi- æ: J Ne me per ---das. il la di e. Quæ- rens me, se -

poco a poco cresc. P p B ? œ œ œ œ œb œ. œb œ œ œ. œ œ œ œ œb œb œn J J œb œ œ. J J œb œn ‰ J J œb . J J vi- æ: Ne meJ perJ ---das il la di e. Quæ- rens me, se - 170

48 Hn j j j j j ‰ j ‰ œb œ œ. œ œb ‰ & œ. œ œ œn œ œ œ œ œ œb . P P P F

B b œ œ œ œ. œ Tpt œ ‰ œ œ ‰ œn ‰ œ œ œ œb & œ. œ J J J J J J . P P P F

Euph ? œ. œ œ œ œ œ œ œ œ. œ œn œ œ œ œ. J ‰ J J ‰ J J ‰ J P P P F

Tuba j ? œ. œ ‰ j j ‰ j j ‰ j œ œb œ œn œ œ œ. œ œ œ œ œ œb . P P P F

48 Mrb ∑ ∑ ∑ j ∑ 1 œ œ & Œ. œ œ œ. Œ J f . Mrb ∑ œ. nœ œ œ œ. ∑ 2 ? œ. œ. œ œ œb Œ Œ Œ‰ J J Œ f 48 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc . . . . ã æJ æJ æJ æ æ æJ æJ æJ æ æ f

48 ∑ ∑ ∑ f S œ œ & Œ. J œ œ. œ œ œb œ œ œ œ œ Tan--- tusJ la bor non sit cas sus..

∑ ∑ ∑ f A . j j j & Œ œ œ œ. j œb j j Tan--- tus la borœ non sitœ casœ sus.œb .

f T j j œ œ œn . œ œ œ j œ œ œb œ œ œ œ œ œ V œ œ œ œ œb œb . œ œn œb œb œ J œn . œ œ œ œb œn œb . di- œb sti las---- sus:J Re de mi sti Cru --cem pas sus: Tan-- tusJ la bor non sit cas- sus.

f B ? œ œb œ œ. œ œ œ. œb œ œ œ œ œ œb œ œ œ œb . œ œb œ œb œ œ œ J J J J J J œb . di- sti lasJ ---- sus:J Re de mi sti Cru -----cem pas sus: Tan tus la bor nonJ sit casJ sus. 171

54 œb . ˙. œn . ˙. ˙. œ. œ. Fl œ œ œ œ œ œ. ˙. œ. ˙b . œ. J 6 J & dim. 8 f P

Ob œ. ˙. . . . . œ œ œ 6 œ œ œ. œ. ˙ œ œ. ˙. ˙ œ œ. ˙. & dim.J 8 J f P

B b j 6 j j j j j j j j œ j j j œ j Cl & œ œ œ 8 œ œ œ. ‰œ ‰‰œ ‰ ‰œ ‰‰ œ ‰ ‰ œ ‰‰ œ ‰ ‰ œb ‰ ‰ œ ‰ ‰ ‰‰ œ ‰ ‰ œ ‰‰ œ ‰ ‰ œb ‰‰ ‰ ‰ œb‰ ‰ œn ‰ dim. J J J J J f P œb œn B œ œ œ œb œb œ œ œb œn œ ? œ œ œ 6 œ œ œ. J J J J œb œ œn œ J Cl J 8 J ‰J ‰‰J ‰ ‰ ‰‰J ‰ ‰J ‰‰J ‰ ‰ ‰‰J ‰ ‰ ‰‰ ‰ ‰J ‰‰ J ‰ ‰ J ‰‰ J ‰ ‰ J‰‰ ‰ dim. f P Bsn ? j j j j j j j œ œ œ 86 œ œ œ. ‰œ ‰‰œ ‰ ‰œ ‰‰ œb ‰ ‰ œb ‰ ‰ œn ‰ ‰ œb ‰‰ j‰ ‰ œb ‰‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰‰ œb ‰ ‰ œ‰ ‰ œb ‰ dim. J J J J J J œ J J J J f P 54 ∑ ∑ ∑ ∑ Hn 6 j œ. œ j & 8 œ œ œ. œb œb œb œn œb œ. . œ j j œ œ poco a poco dim. J J œ œ œ œ œ œ œ œb f ∑ ∑ B b 6 œ . œ œ . j j j j j Tpt & 8 œ œ œb œb œb œn œ œ. . œ œ œb œn œb œb œ œ œ. œb . œb œn œb œ pocoJ a poco dim. J J œ œ œ f ∑ ∑ ∑ ∑ ∑ ∑ œ Euph œb œ œn . œ œb . œb œb œn ? 6 J J J œ œ. œ. 8 poco a poco dim. J f ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tuba ? 6 j 8 j œb œb œ. œ œpocoœ. a poco dim. f 54 Mrb ∑ ∑ ∑ ∑ 1 6 œ œ œ. œ œ œb . j œb œb œ. ‰ ‰ & 8 J J œ œ œ. J œ œ œ œ œ œ œ œ poco a poco dim. f Mrb ∑ ∑ ∑ ∑ ∑ ∑ œb œ œn . œ œ œb . œb œb œ. 2 ? 6 J J œ œ œ. J 8 poco a poco dim. J f

54 poco a poco dim. ∑ ∑ f S 6 œ j j j j j j & 8 œ œ œ. œ œb . œb œb œn œ œ œ œ œb œn œb œb œ œ œ œb . œb œn œb œ Iu------J ste iuJ dex ulJ ti o. nis,œ. Doœ œ num fac re mis si o. nis An te

poco a poco dim. ∑ ∑ ∑ ∑ f A 6 j œ œ j j & 8 œ œ œ. œb œb . œb œn œb œ. . œ j j œ œ Iu------ste iuJ dex ulJ ti o nis,œ Doœ œ numœ facœ reœ œ misœb si

poco a poco dim. ∑ ∑ ∑ ∑ ∑ ∑ f T 6 œ j V 8 œb œ œn . œ œb . œb œb œn œ œ Iu-----J ste iuJ dex ulJ ti o. nis,œ.

poco a poco dim. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ f œ. B ? 6 œ œ œ. œb œb 8 J J Iu-- ste iu dex 172

64 ˙. œ. ˙. œb . ˙. Fl ˙b . œ. ˙n . œ. ˙b . œ. œ. ˙. & p Ob ˙. œ. . . ˙. œ. . . œ. ˙. ˙. & œ ˙ œ. ˙. ˙ œ

B j j j j b ‰ j‰‰ j‰ ‰ ‰‰ j‰ ‰ j‰‰ j‰ ‰ ‰‰ j‰ ‰ j‰‰ j‰ ‰ ‰‰ j‰ ‰ j‰‰ j‰ ‰ ‰‰ œ ‰ ‰ œ‰‰ œ ˙. Cl & œ œ œb œ œ œ œb œ œ œ œb œ œ œ œb J J p

B œ œ œ œb œb œn œ œ œb œb œ œ œb ˙. ? ‰ J ‰‰J ‰ ‰ J ‰‰J ‰ ‰J ‰‰ œ œ ‰‰ œb ‰J ‰‰J J ‰‰J ‰ ‰J ‰‰ J ‰ J œ ‰ ‰ œb Cl J ‰ ‰ J J ‰ ‰ ‰ ‰ ‰‰ J J‰‰ p

Bsn j j œb . ? ‰ œn ‰‰œ ‰ ‰ œ ‰‰ œ ‰ ‰ œ ‰ ‰ j‰ ‰ œ ‰ ‰ j‰ ‰ œ ‰‰œ ‰ ‰ œ ‰‰ œb ‰ ‰ œ ‰‰ ‰ ‰ œb ‰‰ j‰ ‰ œ‰‰ œ œ. J J J J J œb J œb J J J J œb J œb J p

64 ∑ ∑ ∑ ∑ ∑ Hn j j j & œ. œ. œb œn j jœ œb œ j œ œb œ œ œ œ œb œ. œ. p ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b j œ j Tpt œn œn œ œ œ œb œb & J J œ. œn . p œ œ œ ∑ ∑ ∑ Euph ? œ œ œb œn œb œb œ œ œ. œ. œb œn œb œ œn œn œ œb œb œ. œ œ J J J J J J J J œn . p ∑ Tuba j œ œ. œ œb œn œ œb œ ? œ j œ œ œ œ œ œ œ œb œ . œ œb œ œn œ œ œb œ. œ. œb œn œb œ. œ. J J J J J J J J p

Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ? œ œ œ œ ‰ œ œ œ œ ‰

64 p ∑ ∑ ∑ ∑ ∑ ∑ ∑ S j œ j & œn œn œ œ œ œb œb œ. di- em J ra--J ti - o nis.œn .

p ∑ ∑ ∑ ∑ ∑ A j j j & œ. œ. œb œn œ j œ jœ œ œb œ œ j o-- nis An te œb di-œ em ra-- ti œb - œo. nis.œ.

p ∑ ∑ ∑ T j j j j j j œ j V œ œ œb œn œb œb œ œ œ œ. œb œn œb œ œn œn œ œ œ œb œb œ. Doœ œ ------num fac re mis si o. nis An te di- em J ra--J ti - o nis.œn .

œ p ∑ B ? œb J œn œb œ. œ œ œ œ œb œ œ œ. œ. œb œn œ œb œ œn œ œ œb œœ œb J . œ œ œ œ J J J J œ. œ. ul------ti o nis, Do num facJ reJ mis si o nis An te J di- J em ra-- ti -J o nis. 173

74 ˙. œ. ˙. œ. ˙. œ. œ. ˙. ˙. œ. œ. Fl œ. ˙. œb . ˙. &

Ob ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. & p

B b ˙. ˙b . ˙. ˙n . ˙. ˙. ˙. Cl & ˙. ˙. ˙b . ˙.

˙. ˙. ˙. œ. ˙. B œ. œ. ˙. ˙. œ. ˙. œ. œb . ˙. Cl ?

Bsn . œ. ˙. ? ˙ ˙. œ. ˙. œ. œ. ˙. ˙b . œ. œ. ˙. ˙.

œ œ œ œ œ Euph œ œb œb œ œb œn œ œn œb œ œb œ œ œb œ œb œb œ œb œb œ œb œb œ . œ œb œb œ œb œn œ œn œb œ ? J J J J J J œ œ œ. J J J J J J œ J J J J J J œ P F P

Tuba œb œn œb œn ? J œ œ œ œb œb œn œ œb œn œ œ œb œb œn . œ œ œb œ œn œ œ œ œ œ œb œ œb œ œn œb . J œ œ œ œb œb œn œ œb œn œ J J J J J J J J J J J J J J J J P F P

P F P T œ j j j œ œ œ j œ j j j V œ œb œb œ œb œn œ œn œb œ œ œb œ œ J œ œb œ œb œb œ œb œb œ œb œb œ œ œ œb œb œ œb œn œ œn œb œ œ InJ --J ge misJ - co, tam- quam re- us:œ. Cul------J pa ruJ J bet vulJ tus me us:. SupJ J pli canJ ti par ce,

P F P B ? œb œn œ œ œ œb œb œn œb œn œb œb œ œn œ œ œ œ œ œb œ œb œ œn œb œb œn œ œ œ œb œb œn œb œn J J J œ œ œ œb œn . œ œ J J J . J J J œ œ In------ge misJ co, tamJ J quam re us: CulJ J pa ru bet vulJ tus me us: Sup pli canJ ti parJ J ce, 174

85 ˙. œ. œb . ˙. œn . ˙. ˙. œ. œ. ˙. Fl œ. ˙. œ. ˙b . œ. & P Ob ˙. ˙. œ. œ. ˙. ˙. œ. œ. ˙. ˙. œ. œ. ˙. ˙. & P

B b j j j j j j j j j j Cl ˙. ˙. ‰œ ‰‰ ‰ ‰ ‰‰ ‰ ‰ ‰‰ œ ‰ ‰ œb œ‰‰ ‰ ‰ œ ‰‰ œ ‰ ‰ ‰‰ ‰ ‰ œb ‰‰ œ ‰ ‰ œb‰ ‰ œn ‰ ‰ ‰‰ ‰ & œ œ œ œ œœ J J œ œ J J œ œ œœ P œb œn B ˙. ˙. œ œ œ œb œb œ œ œ œb œ œn œ œ œ œœ ? J J J œb œ œn œ J Cl ‰J ‰‰J ‰ ‰ ‰‰J ‰ ‰J ‰‰J ‰ ‰ ‰‰ ‰ ‰ ‰‰ ‰ ‰J ‰‰ J ‰ ‰ J ‰‰ J ‰ ‰ J‰‰ ‰ ‰ ‰‰ ‰ P

Bsn j j j j ? œ. œ. ˙. ‰œ ‰‰œ ‰ ‰œ ‰‰ œb ‰ ‰ œb‰ ‰ œn‰ ‰ ‰‰ ‰ ‰ ‰‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰‰ ‰ ‰ œ‰ ‰ œb ‰ ‰ œn œ‰‰œœ‰ J J J J J J œb œ œœ œb J J œb J J P 85 ∑ ∑ ∑ ∑ ∑ ∑ Hn œ j j & œb œ œn . œ œb . œb œb œn œ œ œb pocoJ a poco dim. J J œ. œ. œ œ œ f ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b j j Tpt & œ œb œb œ. œb œ œn œb œ pocoœ. a poco dim. J J f ∑ Euph œb œ œœ. œ œ œb . œb œb œn œb œn œb œb œ œb œb œ œn œn œ œ ? œ œ œ. J J J œ œ. œ. œ œ œ œ J J œ œ. œb . œn J J J poco a poco dim. J J f ∑ ∑ ∑ Tuba ? œ œ œ. j j j œ. œ œ œ œ. œ. œ œb œb œn . J œb œ. œb œ œn œ. œ œ œ œ œ œ œb poco a poco dim.œb œb J J f 85 Mrb ∑ ∑ ∑ ∑ ∑ ∑ 1 œ . œ œ . j œ & œb œn œb œ œ œ. œb œb . œ œ ‰ pocoJ a poco dim. J J œ œ f P Mrb ∑ ∑ œ œœ. œ œ œb . œb œb œ. ∑ ∑ ∑ 2 ? J J œ œ œ. J œ œ œ œ ‰ œ œ œ œ ‰ poco a poco dim. J f poco a poco dim. 85 ∑ ∑ ∑ ∑ ∑ ∑ f S œ j j & œb œ œn . œ œb . œb œb œn œ œ œ œ œb Qui J Ma-----J ri am abJ sol vi. sti,œ. Etœ œ la-- tro

poco a poco dim. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ f A j j & œ œ œ œb œb œ. œb œ œn œb Qui . Ma----J ri am abJ sol

poco a poco dim. ∑ f T œ j j j j j j V œb œ œ œ œœ. œ œb . œb œb œn œ œ œ œ œb œn œb œb œ œ œ œb . œb œn œb œ œn œn œ œ De- us.œ. Qui J Ma-----J ri am abJ sol vi. sti,œ. Etœ œ la------tro nem ex au di. sti, Mi hi quo- que J

poco a poco dim. ∑ ∑ ∑ f œ. œ B ? œ œ œ. œb œb œb œn œb œ. œ œ œ œ. œ. œ œb œb œn . J J J J œ. œ œ œ œ œ œ œb De- us. Qui Ma----- ri am ab sol vi sti, Et la----- troJ nem exJ au di sti, 175

96 œ. ˙. œb . ˙. Fl ˙b . œ. ˙n . œ. ˙b . œ. œ. & p Ob œ. . . ˙. œ. . . œ. ˙. & œ ˙ œ. ˙. ˙ œ

B b j j j j j j j j j œ Cl ‰ œb ‰‰ ‰ ‰ ‰‰ j‰ œb ‰‰ ‰ ‰ j‰‰ ‰ ‰ œb ‰‰ ‰ ‰ ‰‰ ‰ ‰ œb œ ‰‰ œ ‰ ‰‰ œ & œ œ œ œ œ œ œ œ œ J p

B œ œb œb œn œ œ œb œb œ œ œ œb ? ‰ J ‰‰J œ œ ‰‰ œb ‰J J J ‰‰J ‰J J œ ‰ œb Cl ‰ ‰J ‰‰ J ‰ J ‰ ‰‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰‰ J ‰‰ p

Bsn j ? ‰ œ ‰‰ œ ‰ ‰ œ ‰ ‰ j‰ œ ‰ ‰ j‰ ‰ œ ‰‰ œ ‰ ‰ œ ‰‰ œb ‰ ‰ œ ‰‰ j‰ ‰ œb œ ‰‰ j‰ œ ‰‰ œ J J J œb œb J J J J œb œb p

96 ∑ ∑ Hn j j j j j œn œb œb œ œb œb œ œn œn œ œ œ œ œb œb & œ œ. œ. œn J J œ. œn . p

B b j j j Tpt & j j œ. . œb j j œb j œ. œ. œ œ œ œ œ œ œ œb œ œ œ œn œ œb œ œn œ œ œ œ œb œ. œ. p œ ∑ ∑ ∑ ∑ ∑ ∑ Euph œ œb œb œ ? J J . œn . p ∑ ∑ ∑ ∑ Tuba ? œb œn œ œb œ œ œ œ œb œ œ œb . J J J J J J œ œ. p

96 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 ‰ & œ œ œ œ P

96 p ∑ ∑ S j j j j œ j & œn œb œb œ œ œ œ. œb œn œb œ œn œn œ œ œ œb œb œ. nem ex---- au di. sti, Mi hi quo- que J spemJ de --di sti.œn .

p A j j j j j j & œ. . œ j j œ œ œ. œ. œb œn œ œ œ œ œb œ œ vi- sti,œ Etœ œ laœ ------troœ nemœ exœ auœb di sti, Mi hi œb quo-œn que spem de œb --diœ. sti.œ.

p ∑ ∑ ∑ ∑ ∑ ∑ T œ j V œ œb œb œ. spemJ de --di sti.œn .

p ∑ ∑ ∑ ∑ B ? œb œn œ œ œ œ œb œ œ J œb œ J J œb œ. œ. Mi- hi J quo-J que spem de J--di sti. 176

104 ˙ œ. ˙. œ. œ ˙. . œ. ˙. œb . ˙. ˙. œ. . Fl & P F

Ob ˙. ˙. ˙. ˙. ˙. . . ˙. ˙. & ˙ ˙ p P

Bb ˙. ˙. ˙b . ˙. ˙. ˙. ˙n . ˙. Cl & ˙b . P

˙ œ œ. ˙. ˙. ˙. ˙. ˙. œ. œ. ˙. B ? . . Cl P

. . œ. ˙. Bsn ? œ. œb ˙ ˙. œ. ˙. œ. œ. ˙. ˙b . P

104 ∑ j Hn œb œn j j j j j j j j j j j & œ œ œ œb œb œn œ œb œn œ œ œb œb œn . œ œ œb œ œn œ œ œ œ œ œb œ œb œ œn œb . P F

∑ B j j j œ j b œ œ œb œb œ œb œn œn œb œb œ œ œb œ œ œb œb œ œb œb œb œb Tpt & J J J œ œ œ œ œ œ. J J J J J œ œ œ. P F

104 ∑ P F S j j j j œ œ œb œb œ œb œn œn œb œb œ œ œ œb œ œ œb œb œ œb œb œb œb & J J J œ œ œ œ œ œ. J J J J J œ œ œ. Pre-- ces me æ non sunt dig- næ: Sed tu bo- nus fac be --nig ne,

F ∑ P A j j œb œn j j j j j j j j j j & œ œ œ œb œb œn œ œb œn œb œb œn . œn œb œ œn œ œ œ œ œ œb œ œb œ œn œb . Pre-- ces me æ non suntœ digœ - næ: Sedœ tu bo- nus fac be --nig ne, 177

q = 80 113 œ. ˙. œn œ ˙. ˙. œ. ∑ œb œb œb œ œn Fl 4 œb œn œ 5 & 4 œ œ œb 8 f

∑ Ob ˙. ˙. ˙. ˙. œb & 4 œb œb œ œn œn œ œ 85 œ œb œb œ œb F f

œ œ œn œb œb œ Bb ˙. ˙. ˙. ˙. 4 œb œ œb œb 5 Cl & ˙. 4 œ œb œn 8 F f

˙. œ. œb . ˙. ˙. ˙. œb œ œn B ? 4 œ œb œ œ œb œb œn 5 3 Cl 4 3 3 8 F f

3 3 3 Bsn ? œ. œ. ˙. . . œ. ˙. 4 5 ˙ œ 4 œ œb œ œb œ œb œ œn œn œ 8 F f

113 ∑ ∑ Hn j j j 4 5 & œb œn œ œ œb j j j 4 8 œ œb œn œ œb œn œ œ œb œb œn . f

∑ ∑ B j j j b œ œ œb œb œ œb œn œn œb œb 4 5 Tpt & J J J œ œ œ œ œ œ. 4 8 f

113 Sus. Cymbal ∑ ∑ ∑ ∑ ∑ w Perc 4 5 ã 4 æ 8 p

113 f j j ∑ ∑ S œ œ œb œ œb œn j 4 5 & J J œb J œn œ œb œ œ œb œ œ œ. 4 8 Ne per ----e nni cre mer ig ne.

f j ∑ ∑ A œb œn j j j j j 4 5 & œ œ œ œb œb œn œ œb œn œb œb œn . 4 8 Ne per ----e nni cre merœ igœ ne. 178 e = 80

119 œ. ∑ ∑ ∑ ∑ ∑ Fl & 85 Œ ƒ ∑ ∑ ∑ ∑ ∑ Ob œ. & 85 Œ ƒ œ. ∑ ∑ ∑ ∑ ∑ B b 5 Cl & 8 Œ ƒ ∑ ∑ ∑ ∑ ∑ B ? 5 œ. Cl 8 Œ ƒ ∑ ∑ ∑ ∑ ∑ Bsn ? 5 8 œ. Œ ƒ

119 Hn 5 j ‰ j Œ j ‰ j Œ j ‰ j Œ j ‰ ‰ j ‰ j ‰ j Œ j ‰ j Œ & 8 œ. œb œ. œb œb œ œb œ œ. œb œ. œb P ...... B . b 5 œ. ‰ œb . Œ œb . ‰ œ. Œ œb ‰ œ. Œ œ. ‰‰ œ. ‰ œ. ‰ œb . Œ œb . ‰ œ. Œ Tpt & 8 J J J J J J J J J J J J P Euph ...... ? 5 œ ‰ œ Œ œ ‰ œb Œ œ ‰ œb . Œ œb . ‰‰ œ. ‰ œ ‰ œ Œ œ ‰ œ Œ 8 J J J J J J J J J J J J P Tuba j j j j ? 5 œ ‰ œ. Œ œ ‰ j Œ j ‰ j Œ j ‰‰ j ‰ œ ‰ œ. Œ œ ‰ j Œ 8 . J . œb . œb . œ. œ. œ. . J . œb . P

119 Mrb j 1 5 Œ Œ . Œ Œ œ Œ œ. Œ œ. Œ & 8 œ. œb œ. œbœ. œ œ. œ. F Mrb ∑ ∑ ∑ œ œ. . 2 ? 5 œ 8 Œ J Œ Œ Œ

119 Bass Drum F Perc 5 œj œj œj œj œj œj œj œj œj œj œj œj ã 8 ‰ Œ ‰ Œ ‰ Œ ‰‰ ‰ ‰ Œ ‰ Œ P

119 ∑ ∑ ∑ F S 5 & 8 Œ œ œ œ œb œ. œ œb œn œ œ. œ œ JEt J ab hæ- dis me seœ œb -

F A 5 j j j & 8 œ œ œb œb œ œ œ œb œn œ œ. œ œn œ œb œ œ œ œ œ œ j œ œ œ œ œb œb In. --- ter o. ves lo cum præ- sta,œ Et œb abœ. hæœn - dis me. se -

F ∑ ∑ T 5 œ œb . œ œn œ œb . œ œ œ œb œb œb V 8 œ. œb œb œn œ œ œb Œ‰ In--- ter o ves lo cum præ- sta,

F ∑ ∑ ∑ œ œ. B ? 5 œ œ œb œ œb œn œ œ. œ œ 8 Œ J J œ œb Et ab hæ- dis me se - 179

125 Hn j j j ‰‰ j ‰ ‰ j Œ j ‰ Œ j ‰‰ j ‰ œ ‰ œb Œ j ‰ j Œ & œb œ j œ œ œ. œ. œ. J œb œ . . œ. . . p P

B b . . j j . . . œ œ j j Tpt œ ‰‰ œ ‰ ‰ œb Œ œ ‰ œ Œ ‰‰‰ œ ‰ ‰ Œ œ ‰ Œ & J J œ. . J J J J J œ p P

. . œ. œb . œb . œ. œ Euph œ. œ. œ œ J J J J œb œ œb ? J ‰‰ J ‰ J ‰J Œ ‰ J Œ ‰‰ ‰ ‰J Œ J ‰J Œ p P

Tuba . j ? j ‰‰ j ‰ œ ‰ œb . Œ œ. ‰ œ. Œ œ. ‰‰ œ. ‰ j ‰ œ Œ œb ‰ œ Œ œb . œ. J J J J J J œ J J p P

125 Mrb ∑ ∑ 1 œ. Œ nœ. Œ œ. Œ Œ & œ. œ. œbœ. P F Mrb ∑ nœ. œ. ∑ ∑ ∑ 2 ? œ. Œ œ. Œ P

125 Perc œj œj œj œj œj œj œj œj œj œj œj œj ã ‰‰ ‰ ‰ Œ ‰ Œ ‰‰ ‰ ‰ Œ ‰ Œ p P

poco a poco cresc. 125 P F S j j j j œ œ œ œ œ œ. œ œ œ & œ œ œ œ œb œ. œ œb œn . J J ‰ œb œ. œ œ œb œb queœb œb œn - stra, Sta---- tu ens inJ par teJ dex tra. Con----- fu ta tis ma le

poco a poco cresc. P F A œ œ œ j œ œ j j j j & œn . œ œ. œb œb œ œb œb œ œ œ œb œb ‰ œ. œ œ œ œ que- stra, J Sta-- tu ens. in par - te dex- tra. Con----- fu ta tisœb . ma le

∑ P ∑ ∑ T œ œ. œ œ œb œ œ V œn . œ œn œn œb J œb œ ‰ Sta-- tu ens in par - te dex- tra.

P ∑ ∑ B ? œ œ œ œ œb œ. œb œ œ œb œb œn J J œb œ œ. J J J œb œn ‰ que- stra, Sta---J tuJ ens in par te dexJ - tra. 180

131 Hn j j j j ‰‰ j ‰ j Œ j ‰ œb Œ œb ‰‰ œ œb ‰ j Œ j ‰ 4 & œ œ- œ œn œ - œ œ œb . 4 F â

B - b j ‰‰ œ ‰ œ Œ œ ‰ œ Œ œ ‰‰ œ œn ‰ œ Œ œ ‰ 4 Tpt & œ œ- J J J J J J J J œb . 4 F â

- Euph ? œb œ œ œ œ œ œ œ- œn œ œ äœ. 4 J ‰‰ J ‰ J Œ J ‰ J Œ J ‰‰ J ‰ J Œ J ‰ 4 F

Tuba - j j j ? œ ‰ ‰ œ œ ‰ Œ ‰ j Œ j ‰‰ j ‰ j Œ j ‰ . 4 J œb œn œ œ œ- œ œ œ œb 4 F â

131 Mrb ∑ j ∑ 1 œ nœ. œ œ 4 & œ. Œ œ. Œ Œ‰ œ œ bnœœ. Œ 4 J F f Mrb ∑ ∑ ∑ œ œ œ. ∑ 2 ? œ œ œ. 4 Œ. J J Œ 4 f

131 Perc œj œj œj œj œj œj œj œj œj œj œj œj ã ‰‰ ‰ ‰ Œ ‰ Œ ‰‰ ‰ ‰ Œ ‰ Œ 4 F

131 f S j j œ œ œn . œ œ œ j œ œ œb œ œ œ œ œ œ 4 & œ œ œ œ œb œb . œ œn œb œb œ J œn . œ œ œ œb œn œb . 4 dic- tis,œb Flam J------mis a cri bus ad dic tis: Vo caJ me cum be ne dic- tis.

f A j j j j j j j j j j j 4 & œ j œ. œ œ. œb œ œ œ œ œ œb œ œ œ œb . œ œ 4 dic- tis,œ œ œ Flamœb ------misœ a cri bus ad dic tis: Vo ca me cum beœb ne dicœb - tis.œb .

∑ ∑ ∑ f T œ œ œ œ œ 4 V Œ. J œn . œb œ œ œ œ œ 4 Vo--- caJ me cum be ne dic- tis..

∑ ∑ ∑ f B ? œ œ œ. j 4 Œ. J J œ œb œ œ œb . 4 Vo--- ca me cumJ beJ neJ dic- tis. 181

q = 80 137 œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œn œ œ œ œ œ œ œ œ œ Fl & 4 ŒÓ ŒÓ ŒÓ Ó ŒÓ Ó P F f

Ob œ œ œ œ œ œ œ œ œb œ œ œ œb œ œ œ œ & 4 ŒÓ ŒÓ ŒÓ Ó œb œ œ œ ŒÓ œb œ œ œ œ Ó P F f

Bb 4 ŒÓ ŒÓ ŒÓ œ œ œ œ Ó œ œ œ œ ŒÓ œ œ œ œ œ Ó Cl & 4 œ œ œ œ œ œ œ œ œb œ œ œ œn P F f

B ? 4 œ œ œ œ œ œ œ œ œb œ œ œ œb œ œ œ œ Cl 4 ŒÓ ŒÓ ŒÓ Ó œb œ œ œ ŒÓ œb œ œ œ œ Ó P F f

Bsn ? 4 ŒÓ ŒÓ ŒÓ Ó œb œ ŒÓ œ œ œ œ œ Ó 4 œ œ œ œ œ œ œ œ œb œb œ œ œb œ œ œ œ œ œ P F f

137 Hn 4 j j j j j & 4 Ó œ ‰ œ Ó œ ‰ œ Ó ‰ œ Ó œ ‰ œ Ó œ ‰ œ Ó ‰ j . . œb . . . œb œ. f f f f f f

œ. œ œ. . œ . œ œ. . Bb 4 Ó œ ‰ Ó ‰ Ó œb ‰ œ Ó ‰ œ Ó ‰J Ó œb ‰ œ Tpt & 4 J J J J J f f f f f f

. . . . œb œ. œ œ œ œ œ œ œ œ œ œ. Euph ? 4 J J J J 4 Ó ‰ J Ó ‰ Ó ‰ Ó ‰ Ó ‰ Ó ‰ J f f f f f f

. . . œ. . Tuba ? 4 Ó œ ‰ œ Ó œ ‰ œ Ó œ ‰ œ Ó œ ‰ Ó œ ‰ œ Ó œ ‰œ. 4 J J J J J J f f f f f f

137 Snareœœœ Drumœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœ œ œœœœœœœœ œœœœœœœ œ Perc ã 4 ŒÓ ŒÓ ŒÓ ŒÓ ŒÓ ŒÓ P F f 182

e = 80 143 œn œ œ. œb œb œ œn ∑ ∑ Fl œb œn œ œb 5 & ‰ Œ œ œ œb 8 Œ f ƒ ∑ ∑ Ob œb œ. & ‰Œ œb œb œ œn œn œ œ 85 Œ œ œb œb œ œb f ƒ œ œ œ. ∑ ∑ B œn œb œb b œ œb œb œ 5 Cl & ‰Œ œ œb œn œb 8 Œ f ƒ ∑ ∑ B œ œb œb œb œn œ œn œ. ? œ œb œ 3 5 Cl ‰Œ 3 3 8 Œ ƒ f 3 3 3 ∑ ∑ Bsn ? 5 Œ ‰Œ œ œb œ œb œ œb œ œn œn œ 8 œ. f ƒ

143 Hn j Ó 5 j ‰ j j ‰ j j ‰ j & œb . œ. 8 œ œb œ œ œb œ œb œ œ P P P

B . b œ œb . Ó 5 œ ‰ œb œ œb ‰ œ œ œb ‰ œ œ Tpt & J 8 J J J J J J P P P

Euph œ. œ. ? J Ó 5 œ ‰ œ œ œ ‰ œb œ œ ‰ œb œ 8 J J J J J J P P P

Tuba . j j ? œ œ. Ó 5 œ ‰ œ œ œ ‰ j j ‰ j J 8 J œb œ œb œ œ P P P

143 Mrb ∑ 1 5 œb . œb . & 8 œ. Œ Œ Œ F

Mrb ∑ 2 ? 5 œ. œ. œ. 8 Œ Œ Œ F 143 Sus. Cymbal Snare Drum w œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc 5 Œ. . . ã æ 8 æ æ p F

143 ∑ F S 5 œ œb . œ œn œ œb . œ œ œ œb & 8 œ. œb œb œn œ O- ro sup- plex et acc -

∑ F T 5 œ œ œ V 8 œ œb œb œ œ œb œn œ œ. œ œn œb O. - ro sup. - plex et acc - 183

147 Hn j j & j ‰ j j ‰ j j ‰ j ‰ œ œ œ. œ œ œb œ œ œb œ œ. œ œ œ œ œ P P F F

B b j j Tpt œ. œ œ ‰ œb œ œb ‰ œ œ œ. œ ‰ œb œ œ ‰ œ œ & J J J J œ J J P P F F œ œb œ Euph ? œ œ œ œ œ œ œ œ œ. œ œ œ œ J J . J ‰ J J ‰ J J ‰J ‰ P P F F

Tuba j j j ? œ ‰ œ œ œ ‰ œ ‰ œb œ œ ‰ œ œ œ. œ J œb œ œ. œ J J J J P P F F

147 Mrb ∑ 1 Œ œ Œ œ. Œ Œ Œ œ. Œ & J œ. nœœ. f

Mrb œ œ. . ∑ œ. 2 ? œ œ. œ. œ. Œ J Œ œ. Œ Œ Œ œ. Œ f

147 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc . . . . ã æJ æJ æ æ æJ æJ æ æJ æ P

147 ∑ ∑ ∑ f S œb œb œ. œ œb & œ œb Œ‰ œn . œ œn œn œ œ li- nis, Ge- re cu --ram meJ i

F f A j j j j œ & Œ œ œ œ œb œ. œ œb œn œ œ. œ œ œ œ œ œ œb œ. œ œb œn. œb œ J JCor conJ --tri tum qua- siœ œb ciœb œb œn - nis: Ge--- re cu ram me i

f T j j j œ j œ V œ œ œ œ œ œ j œ œ œ œ œb œb œb . œ œ œ œ. œb œb œ œb œb œ li- nis,œ Cor conœb --triœ. œ tum qua. - si ci- nis: J Ge- re cu --ram. me i

F f . B ? œ œ œ œb œ œ œb œn œ œ. œ œ œ œ œ œ œb œ. œb œ Œ J J œ œb œb œb œn J J œb œ œ. J J Cor con --tri tum qua- si ci- nis: Ge--- reJ cuJ ram me i 184

153 Hn œ ‰ j j ‰ j j ‰ j j ‰ j & œ. œ J œb œ œb œ œ œ. œ œ œn œ œ œb œ P P P P

B b œ. œ œ œ œ j j œ œ œ œ œ œ Tpt & J ‰ J œ ‰ œ œ œ. œ J ‰ J J ‰ J P P P P

œ. œ œ Euph ? J œb œ œ œb œ œ. œ œ œ œ œ œ œ ‰J J ‰J J ‰ J J ‰ J P P P P

Tuba j j j j j ? œ. œ ‰ œ œ œb ‰ œ œ œ. œ œ ‰ ‰ j œ J J œb œ œn œ œ P P P P

. Mrb ∑ œ. œ. ∑ œ. nœ 2 ? Œ œb . Œ œ. Œ œ. Œ F F

153 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc ã ‰ . . . . æ æ poco a poco cresc.æ æJ æJ æJ æ æ F

153 ∑ ∑ ∑ ∑ ∑ S & œ œ ‰ fi- nis.

∑ ∑ ∑ ∑ ∑ A & œ œ œb œ ‰ Jfi- nis.

poco a poco cresc. F T œ. œ œ j j œn . œ V œ œ œb œb œ ‰ œ œb œ. œ œ œb œb œ œ œ œ œb œb œ. œ œn œb œ œ œ œb fi- nis. La--- cri mo sa di- œb es il--- la,J Qua re sur get ex

poco a poco cresc. F B ? œ œb œn œ. œ œ œb œ œ œ œb œ œ. œ œ œ. œb œ œ œ ‰ J J . J J œ œ œ fi- nis. La---- cri mo sa di esJ il--- la,J Qua re sur get ex 185

159 Hn j j œ œ œb ‰ j j ‰ j ‰ j 4 & . œ œ œ œb . œb œ œ œ œ œ œ œ. 4 F F F

B j b œ. œ œn ‰ œ œ œ j ‰ œ ‰ œ œ œ œ. 4 Tpt & J J œb . œ œb œ J J 4 F F F œ œ œ Euph ? . œn œ œ œ . œb œ œ œ œ. 4 œ œ J ‰ J œ J ‰ J J ‰ J 4 F F F

Tuba ? j ‰ j j ‰ j j ‰ j œb . 4 œ. œ œ œ œ œ œb . œ œb œ œb œ œ œ 4 F F F

159 Mrb j ∑ ∑ ∑ ∑ 1 . œ œ . 4 & Œ œ œ œ. Œ 4 J f Mrb œ œ œ. ∑ ∑ ∑ ∑ 2 ? œ œ œb 4 Œ‰ J J Œ 4 f 159 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc . . . 4 ã æJ æJ æJ æ æ æJ æJ æJ æJ æJ æJ æ æ 4 f

159 f f S œ œ œ j j œ œb œ 4 & Œ. J œ œ. œ œb œ œ œ œ œ œ œb œb . œn œ œ œ œ œ. 4 Ju------diJ can dus ho mo re- us.. Hu ic er go par-- ce,J De us:

f f A . j j j j j j 4 & Œ œ œ œ. j œb j j j œb œn œ œ œ œ œ œ œ œ œ. 4 Ju---- di can dusœ ho moœ reœ - us.œb . Huœ -- ic erœ go par-- ce, De us:

f f T j œb œ œ j 4 V œ œ œ J œ œn . œ œ œ œb œ œ œ œn œb . œb œ œ. œb œ œ œ œ œ œ. 4 fa-- vil la Ju---- diJ can dus ho mo re- us. HuJ -- icJ er go par-- ce, De us:

f f B ? œ œ œb œ œ œ œb . œ œ 4 J J J J J œb J œb œb . œb œ œb œ œ œ œ œb œ œ œ œ œ œb œ. 4 fa-- vil la Ju---- di can dus hoJ mo reJ - us. HuJ -- icJ er J go par-- ce,J De us: 186

q = 80 165 œ œ œ œ œb œ œ œ œn œ œ œ œ Fl 4 œ œ œ œ & 4 ŒÓ ŒÓ ŒÓ Ó F f

Ob œ œ œ œ œ œ œ œ œb œ œ œ œb œ œ œ œ & 4 ŒÓ ŒÓ ŒÓ Ó F f

Bb 4 ŒÓ ŒÓ ŒÓ œ œ œ œ Ó Cl & 4 œ œ œ œ œ œ œ œ œb œ œ œ œn F f

B ? 4 œ œ œ œ œ œ œ œ œb œ œ œ œb œ œ œ œ Cl 4 ŒÓ ŒÓ ŒÓ Ó F f

Bsn ? 4 ŒÓ ŒÓ ŒÓ Ó œ œ œ œ œ œ œ œ œb œb œ œ œb œ œ œ œ F f

165 Hn 4 Ó ‰ j Ó ‰ j Ó ‰ j Ó ‰ j & 4 œ œ. œ œ. œb œ. œ œ. F F f f

œ. œ œ. . œ . Bb 4 Ó œ ‰ Ó ‰ Ó œb ‰ œ Ó ‰ œ Tpt & 4 J J J J F F f f

. . . œb œ. œ œ œ œ œ œ Euph ? 4 J J J 4 Ó ‰ J Ó ‰ Ó ‰ Ó ‰ F F f f

. . . . Tuba ? 4 œn œ œ œ œ œ œ œ 4 Ó ‰ J Ó ‰ J Ó ‰ J Ó ‰ J F F f f

165 Snareœœœ Drumœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ Perc 4 ã 4 ŒÓ ŒÓ ŒÓ ŒÓ F f 187

169 œn œ w œ œ œ œ œ œ œ œ œ œb œb œ œn Fl œb œn œ œb & ŒÓ Ó ‰ Œ œ œ œb ƒ ƒ

Ob œb w & œb œ œ œ ŒÓ œb œ œ œ œ Ó ‰Œ œb œb œ œn œn œ œ œ œb œb œ œb ƒ ƒ œ w œ œn œb œb œ Bb œ œ œ œ ŒÓ œ œ œ œ œ Ó ‰Œ œb œ œb œb Cl & œ œb œn ƒ ƒ

œb œb œn œ œn w B ? œb œ œ œ ŒÓ œb Ó ‰Œ œ œb œ œ œb œ œ œ œ 3 Cl 3 3 ƒ ƒ

3 3 3 Bsn ? œ œb œ œ ŒÓ œ œ œ œ œ Ó ‰Œ œ œb œ œb œ œb œ œn œn œ w ƒ ƒ

169

Hn j j & Ó œ ‰ œ Ó ‰ j œb . œ. ˙ w . œb œ. ƒ ƒ

œ œ. . . Bb Ó ‰J Ó œb ‰ œ œ œb . ˙ wb Tpt & J J ƒ ƒ

. œ œ œ œ. œ. œ. ˙ w Euph ? Ó ‰ J Ó ‰ J J ƒ ƒ

. . Tuba ? Ó œ ‰ œ Ó œ ‰ œ. œ œ. ˙ w J J J ƒ ƒ

169 Sus. Cymbal œœœœœœœœ œ œ œ œ œ œ œ œ w w Perc ã ŒÓ ŒÓ æ æ ƒ p Pie Jesu

q = 50

˙. œ ˙ w ˙ ˙. ˙ œ œb Flute œ œ œ# 3 œ 4 3 Œ œ. & 4 dim. 4 4 J f F Oboe 4 3 & 43 œ œb œ œ Œ 4 4 ˙. ˙ Œ ˙. œ œb œ œ œ œ œ# œ ˙n dim. w# œ# œ f p F ∑ Clarinet 3 4 ˙ 3 ˙ œ ˙. in B & 4 ˙. ˙. 4 œ Œ 4 Œ œ œb b œ dim. œ œ f P F œ Bass ? 3 4 3 œb œ œ œ# Clarinet 4 œ ˙. ˙. 4 ˙ ˙b 4 ˙ Œ Œ Œ œ œ œ ˙. dim. f P F ∑ Bassoon ? 3 4 3 4 œ ˙. ˙ œb 4 œ Œ 4 Œ Œ œ œ dim. . œ ˙# ˙n . ˙# . f F ∑ ∑ ∑ ∑ ∑ Marimba 3 Œ 4 Ó Œ 3 œ ŒŒ & 4 4 œ 4 P ∑ ∑ ∑ Marimba ? œ 4 3 œ 43 Œ ŒŒ œ ŒŒ 4 Ó Œ œ 4 ŒŒ f P ∑ ∑ ∑ ∑ ∑ ∑ ∑ Percussion 4 3 ã 43 Œ 4 4

f ˙ ∑ ∑ ∑ ∑ Bass ? 3 œb 4 œ. œ ˙# . 3 Solo 4 Œ ŒŒ œ œ 4 J R 4 PiJ ---J e Je su Do- mi ne, ∑ ∑ P ∑ ∑ Soprano 4 3 ˙ & 43 Œ 4 Ó Œ j j 4 ˙ œ œ. œ Piœ ---œ e Je su DoJ - miR ne, ∑ ∑ P ∑ ∑ Alto 4 3 j r & 43 Œ 4 Ó Œ j j 4 ˙ œb œ . œ ˙ Piœ ---œ e Je su Do- mi ne, ∑ ∑ P ∑ ∑ Tenor 4 3 œ ˙ V 43 Œ 4 Ó Œ j j 4 ˙ œ œ. Piœ ---œ e Je su DoJ - miR ne, ∑ ∑ P ˙ ∑ ∑ Bass ? 3 4 3 œb œ. œ ˙# 4 Œ 4 Ó Œ œ œ 4 J R PiJ ---J e Je su Do- mi ne, 189

8 ˙. ˙. Fl ˙b . ˙n œ œ ˙. 4 Œ 3 œ œ œ# œ œ œ ˙b Œ & dim. 4 4 p Ob 4 3 & Œ 4 4 Œ œ œb œ œ ˙ œ dim.˙ w ˙. ˙ œ œ œ# œb ˙ p ∑ B b j 4 3 Cl & œ œ œ# 4 ˙# 4 Œ ˙# ˙ ŒŒ œ. ˙dim.. ˙ . œ œ p

B ? 4 . 3 . . ˙ ˙. Cl ˙b . ˙dim.. 4 Œ ˙ dim. 4 ˙ ˙ Œ F ∑ Bsn ? œ œb œ œ œ# ˙n 3 ˙# . ˙. ˙ œ Œ 4 w 4 Œ dim.

8 Mrb ∑ ∑ ∑ ∑ ∑ 1 4 Ó Œ 3 œ ŒŒ & 4 œ 4 œ P Mrb œ ∑ ∑ ∑ 2 ? ŒŒ œ ŒŒ 4 Ó Œ œ 43 œ ŒŒ f P 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc 3 ã 4 4

8 f ˙ ∑ ∑ ∑ ∑ Bs ? œb 4 œ. œ ˙# . 3 ŒŒ œ œ 4 J R 4 doJ --- naJ e is re- qui em.

∑ ∑ P ∑ ∑ S 4 j r & 4 Ó Œ j j 43 ˙ œb œ . œ ˙n doœ --- naœ e is re- qui em. ∑ ∑ P ∑ ∑ A 4 & 4 Ó Œ j j 43 j r doœ --- naœ ˙e isœ reœ -. quiœ em.˙ ∑ ∑ P ∑ ∑ T 4 j V 4 Ó Œ j j 43 ˙ œ œ . œ ˙ doœ --- naœ e is re- quiR em.

∑ ∑ P ˙ ∑ ∑ B ? 4 3 œb œ. œ ˙# 4 Ó Œ œ œ 4 J R doJ --- naJ e is re- qui em. 190

15 œ ˙n . ˙. œ œb œ Fl œ œ œ# œb ˙n & ˙. œ Œ ŒŒ 42 43 p P Ob ŒŒ œ ˙n ŒŒ œ ˙ œb ˙. 2 ˙ 3 & œ ˙b . 4 4 p P B j b & œ œ j ŒŒ 42 œ œ 43 Cl ˙n œb œ. œ ˙ œ œ. œ ˙. œ œ# œ P œ œb ∑ ∑ ∑ ∑ B ? œ œ œ# . ˙. 2 3 Cl ŒŒ J 4 4 ∑ p ∑ ∑ ∑ Bsn ? œ œ œ# 2 3 ŒŒ œ J œ. ˙. 4 4 P 15 œ œ œ œ Mrb œ œ #œ œ. nœ œb œ# œ. bœ 2 œ. œ 3 1 ŒŒ œ œb œ ŒŒ J ŒŒ œ n˙ œ & œ J œ# . œ œb 4 œ. 4 p P F ˙n J œ j œ. Mrb œ œ œ bœ œ . . œ 2 ? ŒŒ œ #œ œ. ŒŒ nœ œ #œ ŒŒ œ œb 2 œ 3 œ œ œ# œn œb œ œ# . ˙n 4 J 4 p P J F 15 P p œ œ œb œ F j j Bs ? ŒŒ œ œ œ œ# œ. ŒŒ œn œ J œ# . ŒŒ œ œ œb 2 œ. œ 3 J J J J J ˙n 4 J 4 Pi------e Je su, Pi e Je su, Pi e Je su Do mi

22 œ œb œ œ ˙ ˙ Fl 3 ˙ œ œ# œb ˙n . œ & 4 Œ 4 43 Œ œ ˙. œ Œ P F F Ob 3 ŒŒ œ ˙ 4 j 3 Œ œ Œ ˙ & 4 œb 4 œ. œ ˙ 4 ˙ œ ˙ œ œ F F P ∑ ∑ Bb 3 4 3 ŒŒ j Cl & 4 œ œ œ# 4 4 œ œ œ# œ œ ˙b œ œ œ œ ˙b . œ œ. P P ∑ ∑ ∑ B ? 3 4 3 œb . . Cl 4 4 Ó Œ œ 4 ˙ ˙ ˙ F ∑ ∑ ∑ ∑ Bsn ? 3 4 4 4 43 œ œ œ œb œ œ œ œ œ# œ œ œb ˙. 22 F j Mrb 3 ˙ œ n˙ 4 œ. œ ˙ 3 ∑ ∑ œ œ œ #œ œ. 1 & 4 ˙ œ 4 4 ŒŒ œ œ œ ˙n œ œ. œ ˙ œ œ# œ. P J Mrb ˙ ∑ ∑ œ œ 2 ? 3 œ ˙n œ 4 œ. œ ˙ 3 ŒŒ œ œ# œ. 4 4 J 4 J

22 P ˙ ∑ ∑ P œ œb œ Bs ? 3 œ œ ˙n œ 4 œ. œ ˙ 3 ŒŒ œ œ œ œ# œ. 4 J J 4 J 4 J J J ne, do--- na e is re- qui em. Pi-- e Je su, 191

29 œ ˙ ˙ œ ˙ ˙. ˙ œ Fl & Œ 42 43 Œ œ F F F Ob œ œ œ 2 3 & Œ ˙ œb œ œ ˙# . 4 ˙ 4 ˙. P j Bb & Œ œ œb œ Œ 42 43 Cl œ œn œ# . œ œ ˙. ˙ ˙. P 29 F œ bœ œ ˙ Mrb nœ #œ. bœ 2 œ. œ 3 œ œ 1 & ŒŒ œ œb œ ŒŒ œ n˙ 4 œ 4 ˙ œ œn J œ# . œ ˙n œb œ. J œ F œ f Mrb ? œ œb œ œ# . 2 œ. œ 3 ˙ œ œ 2 ŒŒ J ŒŒ œ ˙n œb 4 J 4 F f 29 F f œ œn œb Bs ? œn œ œ œ œ œ# . j j 2 œ. œ 3 ˙ œ œ ŒŒ J J ŒŒ œ œ œ œ# œ œb œn œ# œ œn œb 4 J 4 J J Pi-- e Je su, Pi----- e Je su Do mi ne, do na

35 œ œb œ ∑ œ Fl œ œ# œb wn ˙. & 4 43 ˙. œ Œ p p ∑ ∑ Ob 4 3 & Œ œ œ 4 w 4 ˙. œ ˙n F p

Bb Œ 4 3 ŒŒ j Cl & 4 œ œ œ# 4 œ. œ œ œ œ œ œ œ# œb œb ˙n . œ ˙n œb P p ∑ ∑ œ œb œ œb B ? 4 3 œ œ œ œ# œb œ œ œ# . Cl 4 4 ˙ œ Œ J P p ∑ ∑ ∑ Bsn 3 œ œ œ# ? 4 Ó Œ œ 4 œ œ œ ˙b Œ P 35 j Mrb n˙ 4 œ. œ ˙ 3 ∑ ∑ œ œ œ #œ œ. 1 & œ 4 ŒŒ œ œb œ ˙n œ œ. œ ˙ 4 œ J œ# . p œ j œ. Mrb ∑ ∑ œ œ 2 ? ˙n œ 4 œ. œ ˙ 3 ŒŒ œ #œ œ. 4 J 4 œ œ œ# p 35 ∑ ∑ p Bs œb j œ ? œ œ œ œ œ 4 3 ŒŒ œ œ œ œ# œ. 4 œ. œ ˙ 4 J J J e- is re- qui- em. Pi-- e Je su, 192

41 ˙n . ˙. œ œb œ œb Fl œ œ œ œ# œb ˙n ˙ œ œ œ & ŒŒ 42 43 Œ 4 P F

Ob œ œb ˙. 2 ˙ 3 œ 4 & ˙b . ŒŒ ˙ 4 4 ŒŒ ˙ œb 4 P F

B b 2 3 4 Cl & j ŒŒ 4 œ œ 4 œ œ 4 œ ˙ œ œ. œ ˙. œ œ# œ œ œ ˙b œ œ# œ P F ∑ ∑ ∑ ∑ ∑ ∑ B ? ˙. 2 3 4 Cl 4 4 4

∑ ∑ ∑ ∑ Bsn ? œ œ œ# 2 3 4 Œ Œ œ œ J œ. ˙. 4 4 4 P 41 Mrb œ œbœ œ . . œ ˙ 1 nœ œ# œ. bœ 2 œ 3 œ n˙ & ŒŒ J ŒŒ œ n˙ 4 œ 4 ˙ œ 4 œ ˙n œb œ. J œ ˙n œ P F Mrb œ bœ 2 ? nœ œ #œ. 2 œ. œ 3 ˙ œ 4 ŒŒ œ œb œ ŒŒ œ ˙n œb 4 J 4 ˙n œ 4 œn J œ# . P F

41 P œ F Bs ? œ œ œb œ œ# . j j œ. œ ˙ œ œ 4 ŒŒ J ŒŒ œ œ ˙n œb 42 J 43 ˙n œ 4 PiJ ------J e Je su, Pi e Je su Do mi ne, doJ naJ e is

∑ ∑ ∑ ∑ ∑ ∑ ∑ S 2 3 & 4 4 4

∑ ∑ ∑ ∑ ∑ ∑ ∑ A 2 3 & 4 4 4

∑ ∑ ∑ ∑ ∑ ∑ ∑ T 4 V 42 43 4

∑ ∑ ∑ ∑ ∑ ∑ ∑ B ? 2 3 4 4 4 193

48 ˙. œ ˙ w ˙ ˙. ˙ œ œb Fl 4 œ# œb ˙n Œ 3 4 3 Œ & 4 4 dim. 4 4 f P F

Ob 3 4 3 & 4 Œ œ 4 œ œb œ œ Œ 4 4 ˙. ˙ Œ ˙. ˙ œ# œ dim.˙n w# f p ∑ B b 4 3 4 ˙ 3 ˙ œ ˙. Cl & 4 4 Œ ˙ ˙. 4 œ Œ 4 œ œ ˙b . dim. f P ∑ œ B ? 4 3 4 3 œb œ œ œ# Cl 4 4 ˙. ˙. 4 ˙ ˙b 4 ˙ Œ ŒŒ œ œ dim. f P ∑ ∑ Bsn ? 4 3 4 3 4 4 ˙. ˙ œb 4 œ Œ 4 dim. . œ ˙# ˙. ˙# . f P 48 Mrb j ∑ ∑ ∑ ∑ 1 4 œ. œ ˙ 3 4 Ó Œ 3 œ ŒŒ & 4 œ. œ ˙ 4 4 œ 4 F Mrb œ œ ∑ ∑ 2 ? 4 œ. œ ˙ 3 ŒŒ œ ŒŒ 4 Ó Œ œ 3 ŒŒ 4 J 4 4 4

48 f F f ˙ ∑ ∑ ∑ Bs ? 4 3 œb 4 œ. œ ˙# . 3 4 œ. œ ˙ 4 ŒŒ œ œ 4 J R 4 re--- quiJ em. PiJ J e Je--- su Do mi ne,

∑ ∑ ∑ F ∑ S 3 4 3 ˙ & 4 4 4 Ó Œ j j 4 ˙ œ œ. œ Piœ - œ e Je- su DoJ -- miR ne,

∑ ∑ ∑ F ∑ A 3 4 3 j r & 4 4 4 Ó Œ j j 4 ˙ œb œ . œ ˙ Piœ - œ e Je- su Do-- mi ne,

∑ ∑ ∑ F ∑ T 3 4 3 œ ˙ V 4 4 4 Ó Œ j j 4 ˙ œ œ. Piœ - œ e Je- su DoJ -- miR ne,

∑ ∑ ∑ F ˙ ∑ B ? 4 3 4 3 œb œ. œ ˙# 4 4 4 Ó Œ œ œ 4 J R PiJ - J e Je- su Do-- mi ne, 194

55 ˙. ˙. Fl œ œ ˙n . ˙ ˙. œ# œ. ˙. 4 Œ 3 2 3 & J 4 cresc. 4 4 4 f

Ob & œ œb œ Œ 4 3 2 3 œ œ# œ ˙ œ ˙ 4 w 4 ˙. 4 ˙ 4 ˙. F f

B b j 4 3 2 3 Cl & Œ œ œb œ œ 4 4 Œ 4 4 œ œ# œ. ˙. cresc.˙ ˙# ˙# ˙ ˙. F f B ? 4 3 2 3 Cl ˙. ˙b . ˙. 4 Œ ˙. 4 ˙. 4 ˙ 4 ˙. F f œ Bsn œb œ œ œ# ˙n 3 ˙# . 2 ˙ 3 ˙. ? ŒŒ œ œ Œ 4 w 4 4 4 cresc. F F f 55 Mrb ∑ ∑ ∑ ∑ ∑ 1 4 Ó Œ 3 œ ŒŒ 2 3 & 4 œ 4 œ 4 4 f Mrb ∑ œ ∑ ∑ 2 ? ŒŒ œ ŒŒ 4 Ó Œ œ 43 œ ŒŒ 42 43

55 F f ∑ F ˙ f œ Bs ? œb 4 œ. œ ˙# . 3 œb 2 œ. œ 3 ˙# . ŒŒ œ œ 4 J R 4 Œ 4 J 4 doJ ---- naJ e is re qui em. sem-- pi ter - nam.

∑ ∑ ∑ f S 3 2 3 & 4 Ó Œ j j 4 œ œ œb 4 ˙ 4 ˙. reœ ---- quiœ em sem pi - ter nam.

∑ ∑ ∑ f A 4 3 2 3 & 4 Ó Œ j j 4 4 4 . reœ ---- quiœ emœ semœ piœ - ter˙ nam.˙

∑ ∑ ∑ f T 3 2 3 ˙. V 4 Ó Œ j j 4 œ œ œ 4 œ. œ 4 reœ ---- quiœ em sem pi - ter J nam.

∑ ∑ ∑ f œ œ B ? 3 œb 2 œ. œ 3 ˙# . 4 Ó Œ œ œ 4 4 J 4 reJ ---- quiJ em sem pi ter - nam. Sanctus

q. = 100

œb œn œ œb . œn . œb œb œ œb œ œ œ œb . œ. œb œ œ œb œ œb œb œ Flute 6 œb œ. & 8 J J J J Œ. J ƒ f Oboe 6 œb œ œ œn . œb . œb œ œ œ œ œ œ œ. œ. Œ. œb . œb œ œ. œ œ & 8 œb J J J J J J ƒ f Clarinet 6 j j j j in B œb œ œb œn œ œ œ. œ. Œ. . œb œ œb . œ œn b & 8 œ œ œb . œ. œb œ œ J œ J ƒ f œ œb . œn . œb œb œ œ œb œ œ œb œ Bass ? 6 œb œn œb œ œ œ. œ. œb œ. œb œ Clarinet 8 œb J J J J Œ. J ƒ f Bassoon j ? 6 œb œ œn œ œ. œ. œ œ œ œb œ Œ. œ. œ œb œ. œ œn 8 J J J œ œ œ. œ. J J ƒ ∑ ∑ ∑ f ∑ Horn 6 in F & 8 Œ. Œ j Œ. œ ˙. œ. ∑ ∑ ∑ ƒ â ∑ Trumpet ä. . in B 6 Œ. Œ œ ˙ œ Œ. b & 8 J ∑ ∑ ∑ ƒ ∑ Euphonium j ? 86 Œ. Œ œ ˙. œ. Œ. ∑ ∑ ∑ ƒ â ∑ Tuba ? 6 . j . 8 Œ Œ œ ˙. œ. Œ ƒ â œb œn œ œb . œn . œb œb œ œb œ œ œ œb . ∑ œb œ œ œb œ œb œb œ Xylophone 6 œb œ. & 8 J J J J J ƒ ∑ f Marimba j j œ . bœ. & 86 œb bœœ œ œ nœ. bœ. bœ œ œ œbœ œn œ œ œ. œ. bbœ œ œb œ. œ œnœ œ b œ. œ. b œ œ J J J J ƒ f bœ. nœ. bœ bœ ∑ bœ œ bœ Marimba bœ nœ œ . œ. œ œ œ bœ œ œ œ œ. œ œ œ bœ œ. bœ œ ? 86 œb œn œ œ œ œ b œ œ œ œ œ. œ b œ œ. œ œn J J J J J Sus.ƒ Cymbal Tom Drums f œ œ œ œ œ œ œ Sus. Cymbalœ œ œ œ Percussion 6 ...... ã 8 Œ. Œ. Œ J Œ. ƒ ∑ ∑ ∑ ∑ ƒ ∑ f ∑ ∑ Tenor 6 Solo V 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Soprano 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Alto 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tenor 6 V 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bass ? 86 196

8 ä. äœ. ä ä ä ä. œ œ œ œb œb œ œ. œ. œ. ˙ œ. œ. äœ. äœb . œb . ˙n . œ. œ Fl & Œ. Œ. Œ. F f

ä ä ä ä ä ä ä ä Ob œ œ œ œ. œb . œ. œ. œb . ˙b . œ. & J œ œ œ. œ. œ. Œ. ˙. œ. Œ. ˙. F f j Bb œb Œ. Œ. Cl & œ œ œ œb ˙. œ. œ. œ. œ. œ. œb . ˙. œ. ˙. œ. œ. œ. â â â â â â â â F f ä œ œ œb ä˙. œ. ä. . ä ä. äœb . ä. . ä˙b . B ? œ œb œ œ. œ. œ. . œ œ œ. œb ˙n œ . Cl Œ Œ F f

ä Bsn j ˙. äœ. ä. . ä ä ä ä ä ? œ œ œ œ œ œ. œ. œ. Œ. œ œ œb . œ. œ. ˙b . œ. Œ. ˙b . F f

8 ∑ ∑ ∑ ∑ Hn & Œ. Œ j Œ. Œ. Œ j j œ œ. œ. œ. œ œ. œ œ œ. œ. f â â f â â â â ∑ ∑ ∑ ∑ B ä. ä. ä. b & Œ. Œ œ œ œ. œ. Œ. Œ. Œ œ œ œ œ œ œ. Tpt J â J â J â f f ∑ j ∑ ∑ ∑ j j Euph ? Œ. Œ œ œ. œ. œ. Œ. Œ. Œ œ œ. œ œ œ. œ. f â â f â â â â ∑ ∑ ∑ ∑ Tuba ? . j . . j j Œ Œ œ œ. œ. œ. Œ Œ Œ œ œ. œ œ œ. œ. f â â f â â â â

8 äœ. ä äœ. ä œ œ œ œb œb œ œ. œ ä ∑ ∑ ∑ ∑ œ œ œ œ. Xyl œ œ. Œ. Œ J J & J œ. f â f 8 j Mrb œ œ œ j œ. ∑ ∑ ∑ ∑ j œ. œ. 1 & œb œ œ œ œ. œ œ œ. Œ. Œ œ œ œ œ. J œ œ œb œ. œ œ œ. œ. œ œ. œ œ œ. œ. f â â f â â â â

Mrb œ œ bœ ∑ ∑ ∑ ∑ ? œ bœ œ œ. œ j . j j 2 œ œ œ œ œ œ. œ œ œ. œ. Œ Œ œ œ. œ œ œ. œœ. f â â f â â â â

8 Tom Drums œ Bass Drum Tom Drums œ Sus. Cymbal œ œ . œ œ . œ ˙ Perc . . . . œ . œ œ . œ œ œ œ . ã Œ Œ Œ J . Œ . . Œ . . . . Œ J ‰ æ f F f p cresc. 197

18 ä äœ. ä ä ä äœb ˙. œ. œb œ œ ˙b . ∑ ∑ ∑ Fl œ. œ. œ. œb . . œ# œ œb & Œ. f ∑ ∑ ∑ Ob äœ. ä ä & œ. œ. œ. œb . œb . ˙. œ. Œ. œ œ œ ˙b . â â â œ œb œ f ∑ ∑ ∑ B b . j j Cl & œ. œ. œ. œ. œ. œ. ˙. œ. Œ œb œb œ œ . â â â â â â ˙b f ä. ä. . äœ. ä. ä ä ∑ ∑ ∑ B œ œ œ œ œb . ˙n . œ. œ œb ˙b . Cl ? Œ. œ œ œb œ f ∑ ∑ ∑ Bsn ? ä ä ä ä ä ä œ# œb . œ. œ. œn . œb . œ. ˙. œ. Œ. œb œ œ œb œ ˙b . f

18 ∑ ∑ Hn Œ. Œ. Œ j Œ. & œ. œ. œ. œ. ˙b . œ â ˙b . œn . œb . ˙b . f â f ∑ ∑ B ä b œ. j œb . œn . œb œb j Tpt & œ. Œ. Œ. Œ œ œ. œ. Œ. œb œn œ œ œb œ œ œ œb . J â œb J J f f ∑ ∑ Euph ? j ˙b . œ. Œ. Œ. Œ œ œ. œ. œ. Œ. œb . œn . ˙b . œ. œb . f â â f ∑ ∑ Tuba ? . j . œ. Œ Œ. Œ œ œ. . . Œ . . œb . â œ œ ˙b . œ. œ œb ˙b . f â f 18 ä ∑ ∑ ∑ œ œ. ä. ∑ œ œb . œn . œb œb œ œb œ . Xyl œ œb œb œn œ œ œb & Œ. Œ J J J J J

18 f f Mrb ∑ ∑ ∑ j ∑ ∑ ∑ ∑ ∑ 1 Œ. Œ œ œ. œ. & œ œ. œ. f â â Mrb ∑ ∑ ∑ j ∑ ∑ ∑ ∑ ∑ 2 ? Œ. Œ œ œ. œ. f â â 18 Tom Drums Sus. Cymbal ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ ∑ Perc ...... ã æ æ æ Œ Œ J Œ Œ æ æ f

18 ∑ ∑ ∑ ∑ ∑ ∑ f Ten j œ œb . œn . œb œb œ œ j Solo V œb œn J J œb œ œ œb . Sancœb ------tus, Sanc tus,J Sanc tus, Do mi nusJ De usJ Sa- ba oth; 198 28 œ. œ œ ˙b . Fl œb . œ œ œ œb œb œ œb œ œ . œ. œn œ œb œ œn œ# œ# & J ˙b Œ J cresc. dim. F F Ob j & œb . œ. œ œb œb œn. Œ œ œ œ œ œ ˙b . œb œ ˙b . J cresc. œ œ œb œ œb œ œ œ dim. F F B b j j j Cl & œb . œn . œ. œ œb œ œb . œn. Œ œb œ œb œb œ œb œb œ œb . cresc.œ J œ ˙b dim.. F F B ? œ. œ œ. œ œ œ œ œ œb ˙b . Cl œb . œb œb œn œb . œb . Œ œb œ œ œ œ œb J J J Jcresc. dim. F F Bsn j j ? œb . œn . œ œb œ. Œ œ œb œ œ œ œ œ œ# œb œ œ œb ˙b . œ. œ. œb . cresc. œ dim. F F 28 ∑ Hn j & œb œ œ œ œ ˙b . ˙b . œb . œ. ˙n . ˙. f F ∑ B b œ. j . ˙. ˙. œb œ œ œb œ Tpt & œ. œ œ œ œb œb ˙b œb F ∑ f Euph . . . ? œb . œn œb j œn œb . œb . ˙ ˙ œb œb J œ. œb . F ∑ f Tuba j ? œ œ j ˙. ˙. œ. œn . œ œ œ. œb . œ. œ. F f 28 ∑ ∑ ∑ ∑ ∑ ∑ œb œ œ œb œ Xyl œb & 28 œ œ œ œ œ ∑ ∑ ∑ fœ œ Perc ...... ã Œ. f f

28 ∑ ∑ ∑ ∑ ∑ ∑ f Ten œb œ œb j Solo V œ œ œb ple- ni sunt

f ∑ ∑ ∑ S œ œ œ œ œ. & œb œb œ œ œn . œb . œb œ J œ J J Sanc------tus,J Sanc tus,J Sanc tus, DoJ miJ nus De us Sa- ba oth; f ∑ ∑ ∑ A j j j j j j & œb œ œ œ œ œ œb œn œ œ œ. Sanc------tus, Sanc tus, Sancœb . tus,œ. Doœb mi nus De us Sa- baJ oth; f ∑ ∑ ∑ T j œb . œn . œb œb j V œb œn œ J J œ œb œ œ œ œ. Sancœb ------tus, Sanc tus,J Sanc tus, Do mi nusJ De usJ Sa- ba oth; f ∑ ∑ ∑ B ? œ. œ. œ œ œ j œb œ œn œ J J J œb œ œ œ œ. Sanc------tus,J Sanc tus,J Sanc tus, Do mi nus De usJ Sa- ba oth; 199 35 ∑ ∑ ∑ Fl œ œb . œb . œ. œ œ œn . œ. œ. Œ œn œ œb œ œn œ# & J J cresc. F P ∑ ∑ ∑ Ob & œ. œb . œb . œ œn œb . œ Œ œ œ œ œ J œ œb œ. J cresc. œ œ œb F P ∑ ∑ ∑ B b j œ Cl & Œ œb œ œ œb œb œb œ œ œb œ œb ˙b . ˙. œn . cresc. J F P ∑ ∑ ∑ œ B ? œ. œ. œ. œb œ œ œ œb œb œ œ. œ œ Cl J Œ œb œ œ J cresc.J J F P ∑ ∑ ∑ Bsn ? œb . œb . œn . œ œn œ. Œ j J œ. œ. œ œb cresc.. œ. F P 35

Hn & œn . ˙. œ. ˙n . œ. œb . œb . œ. ˙b . ˙n . ˙. F B b Tpt . œb œ œ œ œ œb œb . . & œ J œ œ œ ˙b . ˙. œn . œ. ˙. ˙. F . Euph œ. œb . œ œb . ˙. ˙. ? œb . œ. ˙b . ˙. œb . œb . F Tuba ? ˙. œ. œ. ˙. ˙. œ. œ. ˙. ˙. œ. œ. F 35 œb œ œ œ œ œb œb ∑ ∑ ∑ ∑ ∑ Xyl œ. J œ œ. œ. & 35 œ œ œ ∑ œ œ œ œ œ ∑ ∑ Perc ...... ã Œ. Œ. f

35 ∑ ∑ ∑ ∑ ∑ Ten œ j j j Solo V œ. œb œ œ œ œb œb œ œ. œ. cae----- li etJ ter ra gloJ ri a tu a.

∑ ∑ ∑ f ∑ S œb . œb œ œn œ œ & œ œ. œ J J œ œ J œ. œ. ple------ni suntJ cae li et ter ra gloJ J ri a tu a. ∑ ∑ ∑ f ∑ A j j j j & œ. œb œ œb . œ œn œb œ œ œ j ple------ni sunt cae li etJ ter ra glo riœb a tuœ. œ a. . ∑ ∑ ∑ f ∑ T œb œ œb j j j j V œ œ œb œ. œb œ œ œ œ œb œb œ œ. œ. ple- ni sunt cae----- li etJ ter ra gloJ ri a tu a. ∑ ∑ ∑ f ∑ B œ. j ? œ œb œ. œ œn œ œ œ œ œ œ. œ. ple------ni suntJ cae li etJ ter ra gloJ J riJ a tu a. 200 43 ˙. œ. ∑ ∑ Fl œ œb œb œ. ˙. œ# J J œ œ œ œ. œ œ œ œb œ œ & dim. P ∑ ∑ Ob j ˙. Œ. & œ œb œ. ˙dim.. œ. ˙. ˙. P B b j j Cl œb œb Œ. . . Œ. ˙b . œb. Œ. œ œ œ œ œ œ & œ œ dim.˙b . œ œ œ œ œ œ. P P . œ œ œ B œ . . œ œ œ œ œ œ œ Cl ? œ œ œ œb ˙. ˙. Œ. œ œ œb . ˙. J dim. ∑ P P Bsn ? œ. œb . Œ. œ œ œ œ œ œ œ. œ œ œ œ. dim.˙. ˙. œ. œ.

43 P P ∑ Hn & œ œb œ œ œb œ œ œ œ œ œb œ œ œ œ œ œ . . œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ ∑ P œ œ œ œ B b œ. œ. œb œ œ Tpt & ˙. œ. œ. œ. œb . œb . ˙n . œ œ œ œ œ œ ∑ F P Euph ? œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œb . œb œ œ œ. œ œ œ œ. œ œ œ œ œ œ ∑ P Tuba ? œ œ œ œ œ œ œ . œ œ œ œ œ œ œ. œb œ œ œb œ œ œn œ œ œ œ œ œ. œ œ œ œ œ œ œ. P 43 ∑ >œ. >œ. > > > > ∑ ∑ Xyl œ. >œ. œb . œb . œn . Œ. Œ. Œ. 43& Mrb ∑ F ∑ ∑ ∑ ∑ ∑ > >. b>œ. 1 & œ. Œ. œ. œ. F > Mrb ∑ ∑ ∑ ∑ ∑ ∑ >œ. œ. >œ. 2 ? Œ. œ. œ. cresc. Bass Drum 43 Tamtam p F ∑ ä Perc ˙ ˙ ˙ ˙ ˙ ˙ ˙ æ. æ. æ. æ. æ. æ. æ. ã . cresc. F P 43 ∑ F ∑ ∑ Ten ä äœ. ä Solo V ˙. œ. œ. œ. œb . œb . ˙n . Ho --sanâ na inâ exâ -- cel sis.â ∑ ∑ ∑ ∑ ∑ ∑ F S ä ä. äœb . & ˙. œ Ho --san na ∑ ∑ ∑ ∑ ∑ ∑ A F & ˙. œ. œ. Hoâ --sanâ â na ∑ ∑ ∑ ∑ ∑ ∑ T F ä ä. V ˙. œ œ. Ho --sanâ na ∑ ∑ ∑ ∑ ∑ ∑ F ä B ? ˙. äœ. äœ. Ho --san na 201 51 . œ œ œ œ œ œ. œ œ œ . œb œ œ Fl œb . . . œ œ œ œ œ œ œ œ œ œb & œ œ œ œb œ œ œ œb Œ J ‰Œ. ∑ ∑ f F Ob . Œ. Œ œ œ ‰Œ. œ œ œ œ œ œ œ œ œ œb œ œ & J œ œ œ œ œ œ œ œ œ œb œ œ f F B b Cl Œ œ œ ‰Œ. & œ œ œ œ œ œ œ œ œ œb . œ. J . œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. f . F . . œ œ œ B œ œ œ œ œ œ œb œ œ œb œ œ œn . œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ Cl ? Œ J ‰Œ. f F Bsn j ? œ œ œ œb . œ œ œ œ œ œ œb . Œ œ ‰Œ. œb. œ œ œ œb œ œ œ œ œ œ œ œ œn . œb œ œ œ œ œ œ. 51 f F

Hn & Œ j œ ˙. œ. œ œ œ œ œ œ œb œ œ œ. f œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ B F b œb œ œ œ. œb œ œ œ. œb . œ ˙. œ œ œ œ œ œ œ. . Tpt & Œ J œ œ œ œ œ œ œ œ œ œb œ œ œb f F Euph ? j . œ œ œ œ œ œ œb œ œ œb œ œ œn . Œ œ ˙. œb œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œb œ œ f F Tuba j ? Œ œ œ œ œ œb œ œ œ. œ œ œ œb . ˙. œb œ œ œ. œb œ œ œ œ œ œ œ œ œn œ œ œb . œ œ œ 51 f F ∑ ∑ ∑ ∑ >œ. >œ. > > > Xyl œ. >œ. œb . œb . & Œ. Œ. 51 f Mrb ∑ æ > 1 . œ. bœ. œ. b˙. œ. . œ. Œ. . & Œ œ. œ. œb . ˙. œ. Œ œ. œœ. œ. bœ. bœ. > > > > f > > > > > > Mrb > b>œ. b>œ. n>˙. ∑ b>œ. >œ. >œ. œ. >œ. b>œ. 2 ? Œ. œbœ. œ. œ. b ˙. b œ. Œ. œb . œ. Œ. œn . œb . œ. æ 51 Tom Drums Sus. Cymbalf œ œ ˙ ˙ ˙ ˙ Perc ˙ ˙ œ . æ æ æ Œ Œ. . . . . ã . . . J æ cresc. æ æ æ f p 51 ∑ ∑ ∑ ∑ f Ten ä >œ œb œn >œb > > œ Solo V Œ..œ œ œb œ œ œn œ œ œb œ œ œb œ Ho --san> na in J ex-- cel f S œ. ä. ä. ä ä. . ä ä. ä & œ œb œ. ˙b œ Œ. ˙. œ œ. œ. œ. œb . œb . in ex-- cel sis. Ho --sanâ na inâ exâ -- cel f A . & œ. œ. œ. œb . ˙. œ. Œ ˙. œ. œ. œ. œ. œ. œ. inâ exâ - celâ - âsis. Hoâ --sanâ â na inâ exâ -- celâ T ä f ä ä ä ä. ä ä V œ. œ. œb . œb . ˙n . œ. Œ. ˙b . œ. œ. œ. œ œ. œb . inâ exâ - cel - âsis. Ho --san na in ex-- cel

B ä ä ä ä f ä ä ä ä ä ä ? œ. œb . œ. œ. ˙b . œ. Œ. ˙b . œb . œ. œ. œn . œb . œ. in ex- cel - sis. Ho --san na in ex-- cel 202 q. = 50 59 . œ. œ œ ∑ ∑ ∑ ∑ ∑ œ œ œ œb Fl œ. œ. œ œ . œ. œ. & Œ J ‰ 83 J f ∑ ∑ ∑ ∑ ∑ P ∑ ∑ ∑ ∑ ∑ Ob . œ. Œ œ œ ‰ œ 3 Œ œb & J . 8 J f ∑ ∑ ∑ ∑P B b 3 Cl & œ. Œ j ‰ 8 œ œ. œ. œ œ œ œ. œ. œ. œ. œ. œ. f P œ œ. œ. ∑ ∑ ∑ ∑ B ? œn . 3 œ Cl Œ J ‰ 8 œb œ œ. œ. œ. œ. œ. œ. f . ∑ ∑ ∑ P ∑ ∑ ∑ ∑ Bsn ? . j œ œ. 3 Œ j œ Œ œ ‰ 8 œb œ. œ œb œb œ œ œ. 59 f P ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn & Œ j 83 œ. dim.œ. œ œ œ œ œ. œ . . . . f ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b œ. 3 Tpt œ. Œ œ œ. œ. œ. œ. œ. & J dim. 8 f ∑ ∑ ∑ ∑ ∑ ∑ ∑ Euph ? Œ j 3 œn . œ œ. dim.œ. 8 œ. œ. œ. œ. f ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tuba j ? Œ œ 3 œ dim.. 8 œ. . œ œ. œ. œ. œ. 59 f >œ. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Xyl Œ. 3 59& 8 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 3 & ˙. 8 > Mrb n>˙. ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ . œb . . œb 2 ? 3 œ œ œ œ œ ˙. 8 æ æ J æ æ æ J 59 Tom Drums œ Bass Drum P œ œ œ ∑ ∑ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc . . . 3 ã æ Œ J 8 . f P 59 ∑ ∑ ∑ ∑ ∑ P Ten ä ˙. ˙. 3 œ œ œ j . Solo V 8 J œ. œ œ œb œ. œ œb sis. BeJ --- neJ dic tus qui ve - nit inJ

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ S ä 3 & ˙. ˙. 8 sis. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ A 3 & ˙. ˙. 8 âsis. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ T ä 3 V ˙n . ˙. 8 sis. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B ä ? ˙. ˙. 83 sis. 203 poco a poco accel. 72 √ Fl ∑ ∑ ∑ ∑ ∑ ∑ . Œ œb œ. œ œb œ œb œ œ. œ. œ. & J ∑ ∑ ∑F ∑ ∑ ∑ Ob œb œ. œb . . œ œb . & œ. œ œ œ œ œ œ F B ∑ ∑ ∑ ∑ ∑ b Cl & œ œb œ œ. œ. œ. œ. œ. œ. F ∑ ∑ ∑ ∑ ∑ B ? Cl œ œ œ œ. œ. œ. œ. œ. œ. ∑ ∑ F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn ? œ. œ.

72 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 & œ œb œæ. F œ Mrb œ. œ œb œ. œb œ œ. œ. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ? æ æ æ 72 Bass Drum Perc ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ ∑ ∑ ã . F 72 ∑ ∑ ∑ ∑ ∑ ∑ F Ten œ œ œb œ. œb œ œ. œ. œ œb œ œ. Solo V . J J R J J J noJ --- miR ne Do mi- ni. Be--- ne dicJ tus

84 œ œ œ Fl ∑ ∑ ∑ ∑ ∑ œ. œ. œ. œ. œ. œ. & P ∑ ∑ ∑ Ob œ œb œ œb Œ j œb . œb œb œb & J J œ. œ. œ œ J œ. œ œ œ P B ∑ ∑ ∑ ∑ ∑ ∑ ∑ b Œ œb œb œb Cl & J œ. œ œ œ œ. œ. F ∑ ∑ ∑ ∑ ∑ ∑ B ? j œb œ. œb . . œ Cl Œ œb œ. œ œ œ œ Œ J P P ∑ Bsn ? œ Œ j œ œb œ. œ. œ œ œ. œ. œb œ. œ œb œb œ œ œ. œ. œ F F P

84 Mrb ∑ ∑ ∑ ∑ 1 j & œæ œb æ j æ æ j æ æ æ œ œb œ. œ œb œ. œ œb œb œ œ œ. œ.

84 ∑ ∑ ∑ ∑ Ten œ œb j r j j Solo V J œ œb œ. œ œb œ . œ œb œb œ œ œ. œ. qui ve J- nit inJ no--- mi neJ DoJ mi- ni. 204

96 ∑ ∑ œ œ œ œ. œ œb œ. œb œ œ. œ. ∑ ∑ Fl œ. œ œ œb . œ. œ œb & J J P ∑ ∑ ∑ ∑ Ob œ œb œ œ. œ. œ. Œ œb & œ. œ. œ. œ. œ. J P p ∑ B b œb Cl œ œ œ ‰‰ œ œb & œ. œ. œ. œ. œ. œ. J J œ. œ. œ. œ. P P ∑ ∑ ∑ B ? œb . œ. œ Cl Œ œ œ œ œ œ. œ. œ. œb œ œ. J . . . ∑P ∑ ∑ p Bsn ? . . . . Œ œb œ œb . œ œ œ œ J J œ œ œ œ œ. œ. œ. P p œ. Mrb ∑ ∑ œ œ œ . œb . . œb œ. œ œb œb œ œ. œ. ∑ ∑ 2 ? œ œ œ œ œ æ æ J æ æ æ J æ æ æ 96 ∑ P ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc œ ã .

96 P ∑ ∑ P ∑ ∑ Ten œ œ œ j . œ. œ œb œ. œb œ œ. œ. Solo V J œ. œ œ œb œ. œ œb J J R J BeJ --- neJ dic tus qui ve - nit inJ noJ --- miR ne Do mi- ni.

q. = 80 110 ∑ ∑ œ œ œ Fl Œ œb œ œb œ œ œ œ œ œ œ œ œ œ œ œ & J J ...... p P P ∑ Ob œ œ. œ. œ. j & œ. œ œb œb œ œ œ. Œ J œ. œ. œ. Œ œ œb . œ. œ. p P ∑ ∑ ∑ ∑ B b œb œ. œb . . . Cl œ œ œ j œb . œb œ. œ œ œ œ œ & œ. œ œ œ. œ J p B œb œ. œ œb œb œ œ œ. œ. œ. œ. œ. œ. œb Cl ? œ. œ. œ. œ. œ. ŒJ ŒJ p P ∑ ∑ Bsn ? œ œb . . . Œ œb œ œb . . . . œ. œ. œ. œ œ œ œ J J œ œ œ œ p P 110 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 Œ j & œ œæ. œæ. œæ. œæ. œæ. œæ. 110 p ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc œ œ ã . . p P 110 ∑ ∑ ∑ ∑ p ∑ ∑ ∑ ∑ Ten œ œ œ œ œ. œ. œ. Solo V Œ J . . . Ho - san --- na 205

125 ∑ ∑ Fl œ. œ. œ. œ œb œ œ. œ œb œ œb œb œb œb & J J œ. œ J œ. œ œ œ œ. F Ob œb . œ. œ. œ. œ. œ. œ. ∑ ∑ Œ œ œ . . & œ. J Œ J œb œ P ∑ F ∑ B œb œ œb . . . . . œb œ. œb . . Clb Œ œ œ œ œ œ Œ œb œ. œ œ œ œ & J J J P F ∑ B œ. œ œb œb œ œ œ. œ. œ. œ. œ. œ. œ œb . œ. œ. œb œ Cl ? Œ J ‰ F ∑ F ∑ Bsn ? œ œb . œ. œ. œ œ œ œ. œ. œ. œ. œ. œ. œ œ œ. P F 125 Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 Œ j j & œb œæ œb œæ. œæ. œæ. œæ. œæ. P Mrb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œb . œ. 2 ? Œ J æ æ 125 F Perc ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ ∑ ∑ ã . F 125 P ∑ ∑ ∑ ∑ F Ten œb œ œb œ. œ. œ. œ. œ. Solo V Œ J J Œ œ œb . œ. Ho - san - na HoJ --san

poco a poco accel. 139 ∑ œ œ œ ∑ Fl œ. œ. œ. œ. œ. œ. œb œb œ œ œ# œ & œ. œ. Œ J œ F f Ob ∑ œ. ‰ œb Œ œn & œ. œ. œ. œ œ. œ. œ. œ. œ. œ. J œ œ œ f f ∑ B œb j j j Clb Œ œ œb Œ œb œ œb & J J œ. œ. œ. œ. œ. œb œ œ œb J œb œ œ œb . F ∑ ∑ ∑ B œ. œ. œ. œ. Cl ? œ œb œ œ. œ. œ. œ. œ. œ. ∑ f ∑ ∑ Bsn ? j œ. œ. œ. œ. Œ œ œb . œ. œ. œ. œ. œ. f Mrb ∑ ∑ ∑ 2 ? œ. œ. œ. œ. œb œ œ. œ. œ. œ. œ. œ. æ æ æ æ ‰ æ æ æ æ æ æ 139 f Perc ∑ ∑ ∑ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ã . f 139 ∑ ∑ ∑ Ten f j Solo V œ. œ. œ. œ. ‰ œb œ œ. œ. œ. œ. œ. œ. - na inJ ex - cel --- sis. 206

q. = 100 153 œ œ œ. œ œ ˙b . ∑ Fl œ œb œb œ œ œb œb œ œb œb œ# J J œ œn œ œb œ œ œ# œ# 6 œ# & J cresc. 8 cresc. dim. ƒ

∑ Ob 6 & œ j œ œ œ œ œ œ œ. 8 œ ˙b . œ œb œ œb J œ œ œb cresc.œ œb œ œb œ œ cresc.œb œ œb œ dim. ƒ ∑ ∑ B b j j j 6 j j Cl & œb œ œb œb œ œb œb œ 8 œb œb œ œ œb œ œ œ J cresc. œ œ. cresc. œ dim.˙b . f ƒ œ œ œ ∑ B ? œ. œ œ œ œ œ œ œb œ. 6 œ œ œ œb ˙b . Cl œb œ œ œ œ œb œ œb J J cresc. 8 cresc. dim. f ƒ ∑ ∑ ∑ Bsn ? j œ# œ# Œ œ œb œ œ œ œ œ œb œ œ œb 86 œb œ œ œb ˙b . cresc. œ œ. cresc. œ dim. f ƒ

153 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn & 86 ˙b . œn . œb . f ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B b 6 j œ œb . œn . Tpt & 8 œb œb œn J f ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Euph ? 6 8 œb . œn . ˙b . f ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tuba ? 6 8 ˙b . œ. œ. f

153 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œb œn œ œb . œn . Xyl 6 œb J & 8 J f 153 Sus. Cymbal ∑ ∑ œ œ œ œ œ œ ∑ œ œ œ œ Perc ...... 6 . . . . ã æ cresc. æ æ æ æ æ 8 p f

153 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ f Ten 6 j œb . œn . Solo V 8 œb œn œ Sancœb --- tus, Sanc tus,J Sanc tus, 207

164 ∑ ∑ . œ. œ ∑ ∑ Fl œb œ œb . & J œ œ ˙b . œ Œ. F ∑ ∑ ∑ ∑ Ob j . . & œb . œ. œb œ œ œb œb ˙b . œn Œ F ∑ ∑ ∑ ∑ B b . œ . . . Cl & œb . œn . œ œb œ œb . œb œn Œ F ∑ ∑ ∑ ∑ B . . ? œb . œ œb œ œb . . œ . Cl œb J œn J œb Œ F ∑ ∑ ∑ ∑ Bsn j ? œb . œn . œ œ. Œ. œb œ. œ. œb . F 164 Hn j & . œ . . ˙b ˙b . œb . œb œ œ œ ˙b ˙. ˙b ˙. F œ. f B j b œb œb œ œb œ œ. œ j œb ˙b . ˙. œb œ œ œb œ œ Tpt & J œ œ œb . œ. œ œ œb œb œ. œb J F f Euph ˙b . œn . ˙. ? œ œb œb . œb j œn œb . œb . œ . . œb œb J œ. œb . œb . . F f Tuba j ? œ œ j ˙. ˙. œb . œb . ˙b . œ. œn . œ œ œ. œb . œ. œ. F f

164 œb œb œ œb œ œ œ œb . ∑ ∑ ∑ ∑ œb œ œ œb œ œb œb œ Xyl J œ. J & J 164 œ ∑ œ œ œ œ œ ∑ fœ œ œ œ Perc ...... ã Œ. Œ. f f

164 ∑ ∑ ∑ ∑ f Ten œb œb œ œ j œb œ œ œb œ j Solo V J J œb œ œ œb . œb œ. œb œ Do----- mi nusJ De usJ Sa ba oth; ple- ni sunt cae- li etJ

∑ ∑ f ∑ ∑ S œ œ œ œ œ œ œ œ. & œb œb œn . œb . œb œ J J J Sanc-- tus,J Sanc tus,J Sanc- tus, DoJ --- miJ nus De us Sa-- ba oth; ∑ ∑ f ∑ ∑ A j j j j j & œb œ œ œ j œ œ œb œn œ œ œ. Sanc-- tus, Sanc tus, Sancœb . - tus,œ. Doœb --- mi nus De us Sa-- baJ oth; ∑ ∑ f ∑ ∑ T j œb . œn . œb œb j V œb œn œ J J œ œb œ œ œ œ. Sancœb -- tus, Sanc tus,J Sanc- tus, Do--- mi nusJ De usJ Sa-- ba oth; ∑ ∑ f ∑ ∑ B ? œ. œ. œ œ œ j œb œ œn œ J J J œb œ œ œ œ. Sanc-- tus,J Sanc tus,J Sanc- tus, Do--- mi nus De usJ Sa-- ba oth; 208

172 ∑ ∑ ˙. Fl œ œb œb œb . œb . œ. œ œ œn . œ. œ# J J & J dim. ∑ ∑ F Ob . œb . œb . œ œn œb . j & œ J œ œ œb œ œb œ. dim.˙. ∑ ∑ F B b j j Cl œb œb & œb œ œ dim.. œ œ œb œ œb ˙b . ˙. ˙b F ∑ ∑ B œ œ œ œb ? œ. œ. œ. œb J œ œb œ œ œ œ œ œb ˙. Cl J F dim. ∑ ∑ Bsn ? œb . œb . œn . œ œn œ. œ. J œ. œ. dim.˙. F 172

Hn & œn . œ. œ. œ œ œ œ œ œ ˙n . œ. œb . œb . ˙b . ˙. P F B b Tpt œ œ œ œb œb . . ˙. & œ œ œ ˙b . ˙. œn . œ. ˙. F F . Euph œ. œb . œ œb . ˙. œ. œ œ œ ? ˙b . ˙. œb . œb . F P Tuba ? œ œ. ˙ ˙. œ. œ. ˙ œ œ œ œ . . œ. œ. . . F P

172 œ ∑ ∑ ∑ ∑ >œ. Xyl œ œ œb œb œ. œ. œ Œ. & Bass Drum 172 Tamtam cresc. œ ∑ œ œ œ œ œ ∑ p ä˙ Perc ...... ˙æ ã Œ Œ . f F

172 ∑ ∑ ∑ ∑ F Ten ä œ j j j ˙. Solo V œ œ œb œb œ œ. œ. ter---- ra gloJ ri a tu a. Ho -

∑ ∑ f ∑ S œb . œb œ œn œ œ & œ œ. œ J J œ œ J œ. œ. ple- ni suntJ cae- li et ter--- ra gloJ J ri a tu- a. ∑ ∑ f ∑ A j j j j & œ. œb œ œb . œ œn œb œ œ œ j ple- ni sunt cae- li etJ ter--- ra glo riœb a tuœ. - œ a. . ∑ ∑ f ∑ T œb œ œb j œ j j j V œ œ œb œ. œb œ œ œ œb œb œ œ. œ. ple- ni sunt cae- li etJ ter--- ra gloJ ri a tu- a. ∑ ∑ f ∑ B œ. j ? œ œb œ. œ œn œ œ œ œ œ œ. œ. ple- ni suntJ cae- li etJ ter--- ra gloJ J riJ a tu- a. 209 179 œ. . . ∑ ∑ Fl œ ˙ œb œ œ . & œ œ œ œ. œ œ œ œ œ œ œb P ∑ ∑ ∑ Ob . & ˙. Œ œ. ˙. ˙. P B b . . . . Cl & Œ œ. œ. Œ ˙b . œb Œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ P P . œ œ œ B . . œ œ œ œ œ œ œ œ œ œ œb œ œ Cl ? ˙. Œ. œ œ œb . ˙. P P ∑ Bsn ? . œ œ œ œ œ œ œ. œ œ œ œb . ˙. œb . œ. œ. Œ œ œ œ

179 P P

Hn & œ. œb œ œ œb œ œ œ œ œ œb . œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B b œ. œ. œb œ œ œ. œb œ œ Tpt & œ. œ. œ. œb . œb . ˙n . œ œ œ œ œ œ P Euph œ ? œ œ œ. œ. œ œ œ œ œ œ œb . œb . œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œb œ œ Tuba ? œ œ œ œ œ œ œ œ œ œb œ œ œb œ œ œn œ œ œ œ œ œ œ œ œ œ. . œ œ œ œ. œb œ œ œ. 179 >œ. > > > > ∑ ∑ ∑ Xyl œ. >œ. œb . œb . œn . & Œ. Œ. 179 Mrb ∑ ∑ ∑ ∑ ä ä ä 1 œ. . œ. bœ. œ. bœ. & œ. Œ œ. œ. œ. œ. F â â ä ä Mrb ∑ ∑ ∑ ∑ œ. œ. äœ. ä bäœ. 2 ? Œ. œ. œ. œbœ. œ.

179 F ˙ ˙ ˙ ˙ ˙ ˙ ˙ Perc æ æ æ æ æ æ æ ã . . . . . cresc. . . P 179 ∑ ∑ ∑ Ten äœ. ä Solo V œ. œ. œ. œb . œb . ˙n . san- â na inâ exâ -- cel sis.â ∑ ∑ ∑ ∑ F S ä ä. äœb . ä. ä. & ˙. œ œ œb Ho --san na in ex - ∑ ∑ ∑ ∑ A F & ˙. œ. œ. œ. œ. Hoâ --sanâ naâ inâ exâ - ∑ ∑ ∑ ∑ F T ä äœ. V ˙. œ. œ. œb . Ho --san naâ inâ exâ - ∑ ∑ ∑ ∑ F B ä. ä ä ä ä ? ˙ œ. œ. œb . œ. Ho --san na in ex - 210 186 . œ œ œ œ œ œ. œ œ œ . Fl . œ œ œ œ œ œ œb & œ œ œ œ œ œ œb Œ J ‰Œ. ∑ f F Ob . . œ œ ‰Œ. œ œ œ œ œ œ œ œ œ & Œ Œ J œ œ œ œ œ œ œb œ œ f F B b Cl Œ œ œ ‰Œ. & œb . œ. œ. J . œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ f . F œ œ œ B œb œ œ œ œ œ œn . œ œ œb œ œ œ œ œ œ. œ œ œ œ œ œ Cl ? Œ J ‰Œ. f F Bsn ? œ œ œ œ œ œ œb . Œ j ‰Œ. œb. œ œ œ œb œ œ œ œ œ œn. œb œ œ œ œ f . F

186

Hn & Œ j œ ˙. œb œ œ œ œ œ œ. f œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B F b œ. œ. œb . œ ˙. œ œ œ œ œ œ œ. Tpt & Œ J œ œ œ œ œ œ œb œ œ f F Euph ? j œb œ œ œ œ œ œn . Œ œ ˙. œb œ œ œ œ œ œ œ œ œ. œ. œ œ œ f F Tuba j ? Œ œ œ œ œ œ œ œ œb . ˙. œb œ œ œ. œb œ œ œ œ œ œn œ œ œb . f F

186 ∑ ∑ ∑ äœ. äœ. ä ä Xyl œ. äœ. œb . Œ. 186& f Mrb ∑ ä 1 œ. œ. bœ. Œ. œ. Œ. œ. & œb . œ. œ. œ. œ. œœ. œ. bœ. â â â â â â â f ä ä ä ä Mrb bäœ. äœ. näœ. ∑ bäœ. œ. œ. œ. œ. 2 ? œ. œ. b œ. Œ. b œ. Œ. œb . œ. œn . œb .

186 f Tom Drums œ œ Sus. Cymbal ˙ ˙ ˙ Perc ˙ œ . æ æ Œ Œ. . . . ã . . J æ cresc. æ æ f p

f S ä ä˙b . œ. ä äœ. & ˙. Œ. ˙. œ. œ. œb . cel - sis. Ho --san naâ inâ exâ - f A . & ˙b . ˙. œ. Œ ˙. œ. œ. œ. œ. celâ - âsis. Hoâ --sanâ naâ inâ exâ - f T ä ä ä ä äœ. ä V ˙b . ˙n . œ. Œ. ˙b . œ. œ. œ. cel - âsis. Ho --san na in ex -

B ä ä f ä ä ä ä ä ? ˙. ˙b . œ. Œ. ˙b . œb . œ. œn . œb . cel - sis. Ho --san na in ex - 211

192 œ. œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ Fl œb œ œ œ œ œ œ œ. & Œ J ‰ J ‰ f Ob œ. œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œb œ œ œ œ œ Œ J ‰ œ J ‰ f B b Cl & œ. œ. œ. Œ j ‰ j ‰ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ œ. f . B œb œ œ œ œ œ œn . œ œ œ œ œ œ. œb œ œ œ œ œ œb. œ œ œ œ. œb œ œ œb œ œ œ œ œ Cl ? Œ J ‰ J ‰ f Bsn j œ. œ j œ œ. ? œ œ œ œ œ œ œ. Œ œ ‰ œ ‰ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ 192 f Hn Œ j j & œ œ. œ œ œ. œ. œ œ œ œ œ œ œ. f œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ B b . . œ. œ œ. œ œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. Tpt & œb œ Œ J œ J œ. f Euph ? j j œb œ œ œ œ œ œb œ œ œ. œb œ œ œ. œb œ œ œ œ œ œb œ œ œ œ œ œn . Œ œ œ. œ œ œ. œ. f Tuba ? j j Œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. . œ . 192 ä f ä ä œ. ∑ ∑ ∑ ∑ ∑ ∑ Xyl œb . œ. & Œ. 192 Mrb ∑ ∑ ä ä 1 . œ. ˙æ ˙. ˙. ˙. & bœ. œ. œ. Œ. ˙. ˙. ˙. ˙. â â â ƒ â æ æ æ Mrb bäœ. äœ. näœ. ∑ ∑ bä˙. bä˙. ˙. bä˙. 2 ? œ. œ. œ. Œ. ˙. ˙. ˙. ˙. 192 æ æ æ æ ˙ œ Tom Drumsœ œ œ œ Sus.ƒ Cymbal˙ ˙ ˙ ˙ Perc . œ . œ . . Œ . . . . . ã æ æ J J æ cresc. æ æ æ 192 f p ∑ ∑ ∑ ∑ Ten ƒ ä ä ä Solo V ˙b . ˙b . ˙. ˙b . Ho ----san na ∑ ƒ S ä ä ä ä. . ä. & ˙b . ˙. ˙. ˙. ˙ ˙ ˙ cel - sis. Ho ----san na ∑ A ƒ & ˙. ˙. ˙. ˙. ˙. ˙. ˙. celâ - âsis. Hoâ ----sanâ âna ∑ T ä ä ƒ ä ä ä V ˙b . ˙n . ˙. ˙b . ˙b . ˙. ˙b . cel - sis. Ho ----san na ∑ B ä ä ƒ ä ? ˙. ˙. ˙. ˙. ˙. ˙. ˙. cel - sis. Ho ----sanâ âna 212

200 U œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. ˙. Fl J & ‰ cresc. ƒ U Ob œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ. ˙. & cresc. ƒ B U b Cl & œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ ‰ œ œ cresc.œ. ˙. ƒ U B œb œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. ˙. Cl ? ‰ ƒ cresc. U Bsn . ? . . œ œ ˙. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ cresc. ƒ 200

Hn U & Œ j cresc. . œ. œ œ œ œ œ œ œ œ œ œ. œ œ. œ. ˙. œ œ œ œ œ œ œ œ œ œ ƒ U B b œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. Tpt œ. œ œ œ œ œ œ œ œ œ Œ œ œ ˙ & J cresc. . . ƒ U Euph ? œb œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ j Œ œ cresc.œ. œ. ˙. ƒ U Tuba ? œ œ œ œ œ œ œ. œ œ œ œ œ œ Œ j œ œ œ œ. œ œ œ œ œ œ œ cresc.œ. œ. ˙. ƒ 200 Mrb ä ä ä ä U 1 ˙. ˙. ˙. ˙. ˙. & ˙. ˙. ˙˙. ˙. ˙. ˙. ˙. æ æ æ æ æ æ æ Mrb U ˙. ä˙ ä˙. ä˙. ˙. ä˙. ˙. 2 ? ˙. ˙. ˙. ˙. ˙. ˙. ˙. 200 æ æ æ æ æ æ æ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Perc ...... ã æ æ æ æ æ æ æ

200 cresc. Ten ä ä ä˙. ˙. ä˙. ˙. Solo V ˙. ˙. ˙. in ex - cel ---- sis!

cresc. U S . ä ä ä. . ä˙. ˙. & ˙ ˙. ˙. ˙ ˙ in ex - cel ---- sis! cresc.

A ä ä ä U & ˙. ˙. ˙. ˙. ˙. ˙. ˙. inâ ex - cel ---- sis! cresc. U T V ˙. ˙. ˙. ˙. ˙. ˙. ˙. in ex - cel ---- sis! â â â â cresc.

B ä ä ä U ? ˙. ˙. ˙. ˙. ˙. ˙. ˙. inâ ex - cel ---- sis! In Paradisum

q. = 40 œ œb ˙ Flute œ. ˙. ∑ œ . . ∑ ∑ 6 œ ˙. & 8 π P p

Oboe ∑ ∑ ∑ 6 œ. ˙. œ œ œb ˙ & 8π œ . . ˙. P p

Vibraphone* 6 œ œ œ œ. ˙. ˙. œ. œ œ œ œ œ œ œ ˙. j & 8 œ. œœ œœ œœ œœ. ˙˙. ˙˙. œœ. œœ œœ œœ œœ œœ œœ œœ ˙˙. œ œ œ œ œb πœ. æ æ æ æ J J æ ° *P Tamtam Bass Drum Tamtam Bass Drum œ œ œ œ œ ∑ œ œ œ œ œ œ œ ∑ Percussion 6 œ Œ. œ Œ j j Œ. ã 8 π. π . . π. π .

P ∑ ∑ ∑ ∑ ∑ ∑ Mezzo 6 j j j Soprano & 8 Œ. Œ. œ œ œb Solo In pa-- ra ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tenor 6 Solo V 8 Œ.

∑ ∑ ∑ ∑ ∑ ∑ ∑ Bass ? 6 Solo 8 Œ.

π π ∑ ∑ Soprano 6 j j j j j j j j & 8 Œ. œ œ œ œ. ˙. Œ. Œ œ œ œ œ œ œ ˙. In pa--- ra di sum de ----du cant te An ge li: π π ∑ ∑ Alto 6 & 8 Œ. j j j Œ. Œ j j j j j Inœ paœ --- raœ diœ. sum˙. deœ ----duœ cantœ teœ Anœ geœ ˙li: . π π ∑ ∑ Tenor 6 j j j j j j j j V 8 Œ. œ œ œ œ. ˙. Œ. Œ œ œ œ œ œ œ ˙. In pa--- ra di sum de ----du cant te An ge li: π π Bass j j j ∑ j j j j j ∑ ? 86 Œ. œ œ œ œ. ˙. Œ. Œ œ œ œ œ œ œ ˙. In pa--- ra di sum de ----du cant te An ge li:

* Vibraphone motor should be off. Always use half pedal to let it ring unless notated otherwise. 214

8 ∑ Fl . . ˙. ˙. & ˙. ˙. ˙ ˙

Ob ∑ ∑ ˙ ˙. ˙. ˙. & ˙. .

8 Vib œ œ œb bœ j nœ œ œ œ œb b œ œ œ œ œ œ. & œb . œb œ. œ œ œ# n œ œ œ œ œb b œ œ œ œ œ##œ œœ œ. œœ œœ œœ œœ. J J J π ° 8

Perc ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ ã . P

8 P Mez j j j j Solo & Œ. Œ œn œ œ œb Œ. di˙b . - sumœ. de-- du cant te An˙b . - ge˙. - li:˙. œ.

P P Ten . œ œ œb . . œ œ œ œb . Solo V Œ J J J ˙b œ. Œ Œ J J J J œ. œ œb ˙. œ. Œ In pa--- ra di sum de--- du cant te An- geJ li:

8 ∑ P P Bass ? j j j j j j j Solo Œ. œ œ œ# ˙b . œ. Œ. Œ œ œ œ œ# œb œ œn . œ. Œ. In pa--- ra di sum de--- du cant te An- geJ li:

π S ∑ ∑ ∑ ∑ ∑ ∑ j j j & œ œ œ œ. In pa--- ra di π A ∑ ∑ ∑ ∑ ∑ ∑ & j j j Inœ paœ --- raœ diœ. π T ∑ ∑ ∑ ∑ ∑ ∑ j j j V œ œ œ œ. In pa--- ra di π B ∑ ∑ ∑ ∑ ∑ ∑ j j j ? œ œ œ œ. In pa--- ra di 215 15

Fl œ œb . œ œb ∑ ˙. œ. Œ. œ œ J ˙b . Œ. œ œn œb œb . œ œ œb . œ œ Œ. & J J P P ∑ Ob Œ. œ œ Œ. j œ œb . ˙. . & œ œ œb . œ ˙. œ œ œb œ. œ œb œ J Œ œ. P J P p 15 ∑ Vib ˙. ˙. œ. œ œ œ œ œ œ œ ˙. ˙. j ˙˙. ˙˙. œœ. œœ œœ œœ œœ œœ œœ œœ ˙˙. ˙˙. Œ. œ. œ œ. & J J œ 15 æ æ æ æ æ æ * P Perc œ ∑ œj œ œ œ œ œj œ ∑ ∑ ∑ ∑ ã . Œ. Œ. Œ . Œ.

15 ∑ ∑ ∑ ∑ ∑ ∑ ∑ P Mez . jœ. Solo & Œ œ. œ œ In pa--- ra di π S ∑ j j j j j ∑ ∑ ∑ ∑ & ˙. Œ. Œ œ œ œ œ œ œ ˙. sum π de ----du cant te An ge li: A ∑ ∑ ∑ ∑ ∑ & Œ. Œ j j j j j sum˙. deœ ----duœ cantœ teœ Anœ geœ ˙li: . π T ∑ j j j j j ∑ ∑ ∑ ∑ V ˙. Œ. Œ œ œ œ œ œ œ ˙. sum π de ----du cant te An ge li: B ∑ j j j j j ∑ ∑ ∑ ∑ ? ˙. Œ. Œ œ œ œ œ œ œ ˙. sum de ----du cant te An ge li:

24 ˙. œ œ. œ. œ Fl œ œb . ˙. ∑ ∑ œ œ & J Œ. Œ. Œ. p p F ∑ ∑ œ Ob œ . . . . . œ œ & œ J œ œ Œ ˙. œ œ œ. œ. Œ Œ p J F 24 Vib œ . œ œ œ j j j j œ. œœ. œ œœ. bœ œ œ. ˙. & œb œ J œ œb œ œ. œ œ œ. œb . bœœ. œ. b œ œnœœ. ˙˙. 24 J œb Sus. Cymbalœ J æ æ ∑ ∑ ∑ ∑ ˙ ˙ ˙ ˙ Perc . . . . ã πæ æ æ æ

24 ∑ ∑ P Mez œ. j Solo & ˙b . ˙. œb œ œ. œ. œ œ œ. ˙. sum su---- sci piJ ant te Mar ty- res, P Ten œ œ j œ. Solo V Œ œ œ. œ J œ ˙b . ˙. œ. œ œ œ. œb œ œn . ˙. deJ ---- du cant te An ge li: su---- sci piJ ant te Mar tyJ - res, 24 ∑ ∑ P Bass ? œ œ œ œ œ œb œb œ œ. ˙. Solo Œ J J J œ œ. œ œ œb . œ. J in tu- o ad------venJ tu su sci piJ ant te Mar ty- res, 216

32 . œ œ œb . œ. ˙b . œ Fl œb œ œ. œ œ œb œ. œ œb œ œ œ. œ. ˙. & J J J Œ. J Œ. F œb œ Ob . œb œn œ ˙. ˙. J œb . œ œb œb . œ œ œb . œ J Œ œb œ ˙ Œ œ œ. & J J . . J F 32

Vib œ . >œ. >œ. >œb . . œ œ œ œb œb . œ œ j & Œ ˙b æ. œæ. Œ ŒJ J J J œb œ œ. œb J œ ˙b . f > * F 32 Bass Drum° * ∑ ∑ ∑ ∑ ∑ ∑ Perc œ œ œ œ ã Œ. . . . . Œ.

32 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F Mez Solo & Œ. œb . et ∑ ∑ ∑ ∑ ∑ ∑ F Ten j œ œ j Solo V Œ œb œ œ œb J œ ˙b . suJ ---- sci pi ant te Mar ty - res,

32 ∑ ∑ ∑ ∑ F ∑ Bass ? œ œ œ œ œb Solo Œ J J œb œb ˙. ˙. in tu- o adJ - venJ - tu

41 ∑ ∑ ∑ ∑ Fl œ œb œ. ˙. . œb & J Œ. œ œ œ œb œ J ∑ ∑ ∑ ∑ ∑f Ob ˙. ˙. œ œb . & œ œ

41 f ∑ Vib j . j j æ œb œ œb nœ bœœ. œœ. œœ. œœ. œœ. œæ . œæ bœ bœæœ. œæœ œœ b˙. & œ œ œ . œ . œ . œ . œ . œb œ. œœ œœ œ . œ œ b ˙. 41 J Sus. Cymbal ∑ ∑ ∑ ∑ ∑ ∑ ˙ ˙ Perc . . ã æ æ P 41 Mez j œ. j œ. . j œ. œ œ ˙. ˙. Solo & œ œb œb œ œ œ. œn . œ. œn œ œb per------du cant te in ci . vi ta tem sanc tam Je ru saJ - lem.

Ten . j . . Solo V ˙. Œ œn œb œ. œ œ. œ. œ œ œ œb . œ œ ˙b ˙ inJ ci ----vi ta . tem sanc tam. Je --ru saJ - lem.

41 ∑ Bass ? œb . œ œ œ. œ œ ˙b . ˙. Solo Œ œ œ. œ. œ. œ. œ. J J inJ ci ----vi ta tem sanc tam Je --ru sa - lem. 217

49 œ œb œb . œ œ œb . ˙. ˙. ∑ ∑ ∑ Fl œ. œ œb œ & J J

∑ ∑ ∑ Ob œ ˙ j œ. œ œn œ œb . œ œ . . & œ œ œb œ. œ J J

49 ∑ ∑ ∑ ∑ œ Vib œbœ. bœœ. bœœ. œœ. bœœ. bœ œ œ œ. & œ. œ. œ. b œ. œ œ œn œb œ œœ. J J æ P 49 Bass Drum ∑ ∑ ∑ ∑ Perc œ œ œ œ œ œ œj œj œ œ ã ...... P

49 ∑ ∑ ∑ ∑ P Mez j . Solo & œ œ œ œb œ œn œb œ Choœb . ---- rusœb . An. ge . lo. rum te suJ -- sci- pi

∑ ∑ ∑ ∑ P Ten œb . œ. Solo V œ. œ. œ. œb . œ œ œn œ Cho---- rus An ge lo rum teJ suJ -- sci- pi

49 ∑ ∑ ∑ ∑ P Bass ? œ. œ. Solo œb . œ. œb . œ œ œ œ œ. Cho---- rus An ge lo rum teJ suJ -- sci- pi

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ S &

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ A &

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ T V

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B ? 218

57 œ ˙b . ˙. ∑ ∑ ∑ Fl œ Œ. œ Œ. Œ œ & J F f ∑ ∑ ∑ ∑ Ob œ. ˙. & œ œ Œ j œ œ œb œ œ F f

57 ∑ Vib . . . . b œ. b œ. œ œ œ œ bœœ. ˙˙. & ˙˙. bœ. nœœ. œœ. b œœ. b œœ... œœ œœ œb œ œœ œœ. ˙˙. æ œ . œb . . J J æ æ f 57 Tamtam ∑ ∑ ∑ Perc œ œ œ œ œ œ œ ã ...... Œ. . f f

57 ∑ f Mez Solo & ˙b . œ. œ. œ. œb . œb . œ œ œ œ œb . ˙b . at, Cho---- rus An ge lo rum teJ suJ -- sci- pi at,

∑ f Ten ˙. œb . j Solo V œ. œ. œ. œ. œ œ œb œ œ. ˙. at, Cho---- rus An ge lo rum te suJ -- sci- pi at,

57 ∑ f Bass ? œ. œ. j Solo ˙. œb . œ. œb . œ œ œ œ œb . ˙b . at, Cho---- rus An ge lo rum teJ su-- sci- pi at,

∑ ∑ f S œb . œn . œ. œ. œb œ œ œ œ. ˙. & œ. J J Cho---- rus An ge lo rum te su-- sci- pi at,

∑ ∑ f A & œ. œ. œ. œb . œb . œ œ œ œ œb . ˙b . Cho---- rus An ge lo rum teJ suJ -- sci- pi at,

∑ ∑ f T œb . j V œ. œ. œ. œ. œ œ œb œ œ. ˙. Cho---- rus An ge lo rum te suJ -- sci- pi at,

∑ ∑ f B j ? œ. œ. œb . œ. œb . œ œ œ œ œb . ˙b . Cho---- rus An ge lo rum teJ su-- sci- pi at, 219

64 œ œb œb . œ œ ˙b . ˙. . . . . Fl . œb œ. œ œb œ œb ˙ ˙n œ & œ œ œ œb œ J J J Œ. Œ.

Ob œ. œ. . . . j œ. œ œn œ ˙b . œ œ Œ. ˙ œ . . . & œb œ œ œb œ. œ J J œ œ Œ ˙.

64 ∑ ∑ ∑ ∑ ∑ Vib j œ œ. j & Œ. œ. œ œ œ. œb . œ. œ J œb œ œ. F 64 ∑ ∑ ∑ ∑ ∑ F ∑ Mez . jœ. Solo & Œ œ. œ œ ˙b . ˙. et cum La- za - ro

∑ ∑ ∑ ∑ ∑ ∑ ∑ F Ten œ œ. Solo V Œ..œ œ J ˙b . quon ---dam pau pe re

64 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F Bass ? œ œ. Solo Œ J æ-- ter

74

Fl . . ∑ ∑ œ œb . œ œb ˙ œ . . œ œ œb . œ œn œb . œ œ & Œ Œ J œb J P ∑ ∑ Ob œ. œ. Œ. Œ. œ œ j & œ. œ œ œb . œ J œ. œ œ œb œ. œ œb P

74

Vib ∑ ∑ j j & œ œ œb œ. bœœ. b˙æ˙. bœœ. œ . æ . æ . œ œdim. b œ . b ˙ . b œ . œœ. b˙˙. ˙˙. 74 Sus. Cymbal ∑ ˙ ˙ ˙ ˙ ˙ ∑ ∑ Perc . . . . . ã πæ æ æ æ æ

74 dim.

Mez ∑ ∑ ∑ Solo & œ. œb . œb . Re--- qui em.˙. Re quiœb . - ˙em.. ˙. dim.

Ten ∑ ∑ Solo V ˙. œ. œb . ˙b . œb . œ. ˙. ˙. Re--- qui em. Re qui - em.

74 dim. ∑ ∑ Bass ? œ œ œb j . ˙b . œ. . Solo J œ œ. œ œ ˙b . ˙. nam ha----- be as re qui em. Re qui - em. 220

82 œ œb ˙ Fl œ ˙. œ . . ∑ ∑ ˙. œb . œ J Œ. Œ œ œ & J P p ∑ ∑ Ob œ œb . ˙. . j œ ˙n . & œ J Œ Œ œ œ œ œb . ˙. P p

82 ∑ Vib œ œ œ œ. ˙. ˙. œ. œ œ œ œ œ œ œ ˙. j & œœ œœ œœ œœ. ˙˙. ˙˙. œœ. œœ œœ œœ œœ œœ œœ œœ ˙˙. œ œ œ œ œb π æ æ æ æ J J æ ° * P 82 Bass Drum Perc ∑ œ œ œ œ œ ∑ œj œ œ œ œ œj œ ∑ ã . . Œ. Œ. Œ . Œ.

82 P Mez ∑ ∑ ∑ ∑ ∑ ∑ ∑ j j j Solo & Œ. œ œ œb In pa-- ra

Ten ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Solo V

82

Bass ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Solo ?

π π S ∑ j j j ∑ j j j j j ∑ & œ œ œ œ. ˙. Œ. Œ œ œ œ œ œ œ ˙. In pa--- ra di sum de ----du cant te An ge li: π π

A ∑ ∑ ∑ & j j j Œ. Œ j j j j j Inœ paœ --- raœ diœ. sum˙. deœ ----duœ cantœ teœ Anœ geœ ˙li: . π π T ∑ j j j ∑ j j j j j ∑ V œ œ œ œ. ˙. Œ. Œ œ œ œ œ œ œ ˙. In pa--- ra di sum de ----du cant te An ge li: π π B ∑ j j j ∑ j j j j j ∑ ? œ œ œ œ. ˙. Œ. Œ œ œ œ œ œ œ ˙. In pa--- ra di sum de ----du cant te An ge li: 221

90 . . ˙. ˙. ˙. ˙. ˙ ˙ Fl ∑ &

˙. ˙. ˙. ˙. ∑ ∑ Ob ˙. &

90

Vib œ œ œ œ. œb . œ œ œb œ. œ œ œ# bœ j bnœ œ œ œ œb œ œ œ œ #œ bœœ œ œ. œœ œœ œœ œœ. & œb . n œ œ œ œ œb J œ J # œ œ J œ œ œ œ. π ° 90 Sus. Cymbal ∑ ∑ ∑ ∑ ∑ ˙ Perc . œ œ œ œ ã æ . P

90 Mez j j j j Solo & Œ. Œ œn œ œ œb Œ. di˙b . - sumœ. de--- du cant te An˙b . ge˙. - li:˙. œ. P Ten . œ œ œb . . œ œ œ œb . Solo V Œ J J J ˙b œ. Œ Œ J J J J œ. œ œb ˙. œ. Œ In pa--- ra di sum de--- du cant te An geJ - li:

90 ∑ P Bass ? j j j j j j j Solo Œ. œ œ œ# ˙b . œ. Œ. Œ œ œ œ œ# œb œ œn . œ. Œ. In pa--- ra di sum de--- du cant te An geJ - li:

π S ∑ ∑ ∑ ∑ ∑ ∑ j j j & œ œ œ œ. In pa-- ra- di π

A ∑ ∑ ∑ ∑ ∑ ∑ & j j j Inœ paœ -- raœ - diœ. π T ∑ ∑ ∑ ∑ ∑ ∑ j j j V œ œ œ œ. In pa--- ra di π

B ∑ ∑ ∑ ∑ ∑ ∑ j j j ? œ œ œ œ. In pa--- ra di 222

97 œ œb . œ œb œ œ ˙b . œ œb œ Fl ∑ œ . œb ˙. Œ. J Œ. œ J & π P œ Ob œ œ œb . œ œ . ∑ Œ. J ˙ Œ. œ œ & πœ œ œb . œ J ˙. P

97 Vib ˙. ˙. œ. œ œ œ œ œ œ œ ˙. ˙. ˙. & ˙˙. ˙˙. œœ. œœ œœ œœ œœ œœ œœ œœ ˙˙. ˙˙. ˙˙. æ æ æ æ J J æ æ æ Bass Drum Sus. Cymbal * 97 ˙ ˙ Perc œ ∑ œ œ œ œ œ œj œ Œ. Œ. Œ j Œ. . . ã . π . πæ æ

97

Mez ∑ ∑ ∑ ∑ ∑ ∑ ∑ Solo &

Ten ∑ ∑ ∑ ∑ ∑ ∑ ∑ Solo V

97

Bass ∑ ∑ ∑ ∑ ∑ ∑ ∑ Solo ?

π S ∑ j j j j j & ˙. Œ. Œ œ œ œ œ œ œ ˙. ˙. ˙. sum de ---du cant te An ge - li: π

A ∑ & Œ. Œ j j j j j sum˙. deœ ----duœ cantœ teœ Anœ geœ li:˙. ˙. ˙. π T ∑ j j j j j V ˙. Œ. Œ œ œ œ œ œ œ ˙. ˙. ˙. sum de ----du cant te An ge li: π

B ∑ j j j j j ? ˙. Œ. Œ œ œ œ œ œ œ ˙. ˙. ˙. sum de ----du cant te An ge li: Agnus Dei

q = 60

Clarinet 4 w> >˙b ˙. w> in B wb Œ b & 4 π w ˙ > > p w> ˙. wb> >œ > > Bass ? 4 >œ w ˙. ˙ ˙b Clarinet 4 π p > Euphonium ? 4 > >˙b . œ >˙. ˙b . ˙ > >œ 4 w œ Œ ˙ ˙. π p

Marimba ˙ œb œb œn œ œ œ & 4 Œ œ œb ˙b æ. Œ œ œb œn œ œ œb œb ˙æ Œ œ œn œb œb πæ π cresc. cresc. p ˙ œ œb œ œb œn œ œ œ œ Marimba ? 4 œ œb ˙b . œ œb œn œb œb ˙ œn œb œb 4 Œ æ Œ Œ π æ π cresc. æ cresc. p Tom Drums œ œ œ œ œ œ œ œ œ ˙ ˙ Percussion 4 œ ˙ œ ˙ ã 4 Œ Œ Ó Œ æ. æ Œ æ æ π π cresc. cresc. æ p π π cresc. cresc. p Soprano 4 ˙ œb œb œn œ œ œ & 4 Œ œ œb ˙b . Œ œ œb œn œ œ œb œb ˙ Œ œ œn œb œb A-- gnus De i, A- gnus De - i, qui tol -

∑ ∑ ∑ ∑ ∑ ∑ Alto 4 & 4

π π cresc. cresc. p Tenor 4 ˙ œb œb œn œ œ œ V 4 Œ œ œb ˙b . Œ œ œb œn œ œ œb œb ˙ Œ œ œn œb œb A---- gnus De i, A gnus De i, qui tol -

∑ ∑ ∑ ∑ ∑ ∑ Bass ? 4 224

7

B > > > > b w œb w Cl & Œ ˙b . ˙ ˙ ˙. w P> > > > B ˙. w w wb ˙. ˙. >œ Cl ? Œ Œ P p

7 > Euph > ˙ ˙. > >˙b ˙. >œn w ? œ Œ ˙ ˙ œb ˙ P p

7 Mrb j j œb 1 & œ œ Œ œ Œ œb ‰ œ œb œn œ œ œ Œ œb œb ‰ œn œ œn œb œ ‰ œ œn œ ˙ Œ œ œ œ æ æ J æ P p 7 Mrb œb œb œn œ œ œ œb œ œb œn œ œ œ œb œb œn œ œn œ œ œ ˙ 2 ? Œ œ œ Œ ‰ J œ æ æ Œ ‰ J ‰J æ Œ P p 7 œ ˙ w ˙ w ˙ œ œ Perc ˙ . ˙ ã æ . Œ æ. æ æ æ æ æ P p

7 P p S œb œb œn & œ œ Œ œ œ œ œb œ œ œ œb œn œ œ œ Œ œb œb œ œn œ œn œ œ œ œ ˙. lis pec- caœ - ta mun- di, do- na e- is re - qui- em,

∑ ∑ ∑ ∑ ∑ ∑ A &

P p T œ œ œ œb œ œ œb œn œ V œ Œ œ œ œ œb œ œ œ œb œn œ œ Œ œb œb œ œn œn œ ˙. lis pec-- caœ ta mun- di, do- na e- is re - qui- em,

∑ ∑ ∑ ∑ ∑ ∑ B ? 225

13

B > > > b ˙b . ˙. w ˙ Cl & œ Œ wb œ ˙n . ˙ π > > p wb> >˙ ˙ B w . >˙b ˙. >œ w ? Œ Cl π

13 Euph w> > >˙ ˙ > ? Œ ˙. ˙ . œ w w π >

13 Mrb 1 Œ æ Œ œb Œ œ œ & ˙ œ œ ˙b æ. œb œ# œ œb œ œb œn œ ˙æ œ œ œ# œb œn œ cresc. cresc. p p P 13 Mrb œb œ œ 2 ? ˙ œ œ# œ œb œ œn œ œ œ œ# œn Œ æ œ ˙b . Œ œ œb œb ˙ Œ œb æ cresc. æ cresc. p p P 13 œ œ œ œ œ œ ˙ Perc œ œ ˙ œ œ œ ˙ ˙ ã Œ Œ Ó Œ æ. æ Œ æ æ cresc. cresc. æ p p P

13

S ∑ ∑ ∑ ∑ ∑ ∑ &

cresc. cresc. p p P A Œ ˙ Œ œb œb œn Œ œ œ œ & œ œ ˙b . œ œb œ# œ œ œb œn ˙ œ œ# œb œn A-- gnus De i, A- gnus De - i, qui tol -

T ∑ ∑ ∑ ∑ ∑ ∑ V

cresc. cresc. p p P B œb œ œ ? Œ ˙ œ œ ˙b . Œ œ œb œ# œ œb œ œb œn œn ˙ Œ œ œ œ# œb œn A-- gnus De i, A- gnus De - i, qui tol - 226

19

B > > >˙ ˙ > b ˙. œ# w ˙. w œ . ˙ Cl & Œ P p > >˙b ˙. B w œ >. wb> > Cl ? ˙# ˙ Œ w# P

19 Euph > >. > . > ? ˙. Œ wb w œ ˙ œ Œ ˙# ˙ œ P p

19 Mrb 1 j j & œ Œ œ# Œ ‰ j œ œ# æ œæ Œ œ ‰ œ œ# œb œ ‰ œ# œb œn œ ˙# æ œ œ œ œb œ œ œb œn œb œn . F P 19 Mrb œb œb œn 2 ? œ œ Œ œ œ# Œ œb ‰ œ œ œb œn œ œ# œ Œ œb œ ‰ œn œ œ# œ ‰ œ# œ ˙# . œ J æ æ J J æ F P 19 œ ˙ w ˙ w ˙ œ œ Perc ˙ . ˙ ã æ . Œ æ. æ æ æ æ æ F P

19 ∑ ∑ ∑ ∑ ∑ ∑ S &

F P A Œ Œ œb & œ œ# œ œb œ œn œ œ# œ œb œ œ œn œ œ# œb œ œ œ# œn œ ˙# . lisœ pecœ - caœ - œ taœ œb mun- di, do- na e- is re - qui- em,

∑ ∑ ∑ ∑ ∑ ∑ T V

F P B œ œ œ œb œ œ œb œn œ . ? œ Œ œ œ œ# œ œb œ œ œ œb œn œ# œ Œ œb œ œ œn œ# œ# ˙# lis pec- ca - ta mun- di, do- na e- is re - qui- em, 227

25

B b ˙. Œ Cl & w œ wb œ > ˙. w > ˙. p > > >˙ ˙. >˙b >˙. >œ B >œb w w> ˙ Cl ? œ Œ p

25 œb œb œb œb œn Euph œb œb ˙ œ œb œb ? w ˙ Ó Ó Ó Ó cresc. p P

25 Mrb ∑ œb 1 & Œ ˙ œ œb ˙b æ. Œ œ œb œn œ bœ œ bœ œn œb œ œ æ œ œb b œ œ œb œn œ P P

25 Mrb ∑ ∑ ∑ ∑ ∑ ∑ 2 ?

25 ∑ œ œ œ œ œ œ œ Perc œ œ œ œ œ œ ˙ ã Œ Œ Ó Œ Œ æ. P F

25 cresc. ∑ P P F S œb & Œ ˙ œ œb ˙b . Œ œ œb œn œ œb œ œb œn œb ˙ Œ œ A-- gnus De i, A- gnus De - i, qui

cresc. ∑ ∑ ∑ P P A & Œ ˙ Œ œ œb ˙b . œ œb œn œ A-- gnus De i, A- gnus

∑ ∑ ∑ ∑ ∑ ∑ T V

∑ ∑ ∑ ∑ ∑ ∑ B ? 228

31

B b Cl & Œ Œ ˙ œ w w œ ˙b . ˙ œb > > > > F P w >œ w B >˙. ˙ >˙b ˙. Cl ? Œ F

31 Euph ˙b œb œ œ œ œ ? Ó œ œb œ œb œn œb ˙n Œ Ó ŒÓ F F

31 Mrb œ œ j 1 & œb œ bnœœ œn œ bœ œ œ Œ œ œ œ œb œ œb nœ œ œn œb bœ ‰ nœ œ nœ œ œb b œ œ œ œ œ œ œb œb œ œ œ œn b œ œ F œ œ œb œn

31 Mrb ∑ ∑ ∑ ∑ ∑ 2 ?

31 œ œ œ Perc œ œ œ w w ˙ w ã æ . Œ cresc. æ æ æ f F F

cresc. 31 f F S œ œ œ œ œ œ & œn œb œb œ Œ œ œ œ œb œ œ œ œb œn œ œ Œ œb œb œ œn œn tol --- lis pec- caœ - ta mun- di, do- na

cresc. F f A œb Œ œ œb Œ & œb œ œb œn œb ˙n œ œ œn œb œb œ œ œn œ œb œ œ De --- i, qui tol - lis pecœn - caœ - taœb œn

∑ ∑ ∑ ∑ ∑ T V

∑ ∑ ∑ ∑ ∑ B ? 229

36

B b Cl & ˙ ˙ Œ ˙ ˙n w œ >. ˙ ˙. wb > > > P >. >œ w w B ˙ ˙ >˙b ˙. >˙. Cl ? Œ Œ P P

36 œb œ œ œ œb œ Euph œ ˙. œb œ œb ? Ó Œ Œ Ó œ œ ˙. Œ Ó F F F F

36 Mrb ∑ ∑ 1 bœ œ ‰ œ œb œn œ œ ‰ j ‰ j & œb œ œ J œb œb œn œ œn œb œ œ œb œn œ ˙æ.

36 Mrb ∑ ∑ ∑ ∑ ˙ œ œ ˙b . 2 ? Œ æ æ F

36 ˙ œ œ ˙ œ œ œ œ Perc œ ˙ œ ˙ œ œ . æ . æ Œ Œ Ó ã æ . æ . F

36 ∑ ∑ ∑ ∑ S œb œb œn & œ œ œ œ ˙. e- is re - qui- em,

F ∑ ∑ A & œ Œ œ œb œ œ œb œn œ munœb - œ di, œ doœb œb- œ œn na œn e- isœ re - qui- em,˙.

F ∑ ∑ ∑ ∑ T ˙ V Œ œ œ ˙b . A-- gnus De i,

∑ ∑ ∑ ∑ ∑ ∑ B ? 230

42

B b Cl & ˙ ˙ Œ w œ ˙. ˙ > . œ ˙. > > > f wb> œ >˙ ˙ >œ w B w . Cl ? Œ f

42 œ œb œ œb œ œ œn Euph ˙ œb œ ˙ œb œb œn ? Ó Ó Œ œ œ œb F F

42 Mrb ∑ ∑ ∑ ∑ ∑ 1 &

42 œ œ #œ Mrb œ œb œ# œ bœ œ bœ œn œ œ œ œb œ b#œœ œn œ nœ œ œ œ œ# 2 ? Œ œ œ b œ œ œb œ# œ œ œb n œ œ Œ œ œ# poco a poco cresc. F f 42 œ œ œ œ œ œ œ œ Perc œ œ œ œ ˙ œ œ œ w ã Œ Œ æ. æ poco a poco cresc. F ƒ

42 ∑ ∑ ∑ ∑ ∑ S &

∑ ∑ ∑ ∑ ∑ A &

cresc. cresc. F f ƒ T œ œb œ œ œn œ œ œ# œ œ V Œ œ œb œ# œb œn ˙ Œ œ# œb œn œ Œ œ œ# œ# A- gnus De - i, qui tol --- lis pec- ca -

cresc. F F f B œb ? Œ ˙ œ œ ˙b . Œ œ œb œ# œ œb œ œb œn œn ˙n Œ œ A-- gnus De i, A- gnus De --- i, qui 231

47

B b Œ Cl & œ ˙. ˙ w w > ˙b ˙. > > F > >œb w > B wb> œ ˙# . ˙ w# Cl ? Œ F

47 œ œ Euph œ œ œ# œ œ ? œ ˙n Œ Ó ŒÓ Ó œb œ œ# œ Œ f f f

47 Mrb ∑ ∑ ∑ ∑ ∑ 1 &

47 œ Mrb œ# œb œ œ œb nœ œ œ# œb œ nœ œ #œ bœ œ œ# œn œ #œ 2 ? œ œ# œb œn œ œ œ œ# œ# œb ‰ œ œ œ# œb œ œ# ‰ J œb œ ‰ œn œ œ# œ J J ƒ 47 œ w ˙ w ˙ œ œ Perc . ˙ ã . Œ æ. æ æ æ æ f f

47 ∑ ∑ ∑ ∑ ∑ S &

∑ ∑ ∑ ∑ ∑ A &

f T œ œ œb œ œ œ œn œ V œ œb œ œ œ œb œn œ# œ Œ œb œ œ œn œ# œ# ˙# . -- ta mun- di, do- na e- is re - qui- em,

cresc. ƒ f B œ# œb œ œ œ œ ? œ# œb œn œ Œ œ# œ œ# œ œb œ œ œ œb œb œ# œ Œ œb œ œ œn œ# tol -- lis pec- ca - ta mun- di, do- na 232

52 > >˙. ˙ > B > wb œ ˙n b œ w Cl & w œ Œ > ˙# . ˙ > F > > . w> œ >˙b ˙. > B œ ˙b . ˙ ˙# ˙ >˙. ˙ œ Cl ? Œ F

52 ˙# . Euph ? œb œ œ ˙# > Œ Ó ˙ ˙ ˙b ˙. œ w wb > > > f F

52 Mrb ∑ ∑ ∑ 1 Œ ˙ œb æ Œ œn œ œb œ œb œn œb & æ œ ˙b . œ œb œb f f 52 ˙ Mrb œb œb œn ∑ ∑ ∑ œ œb ˙b . 2 ? œ ‰ œ# œ ˙# . Œ æ æ J æ f

52 ˙ œ œ ∑ œ œ œ œ œ œ Perc œ ˙ œ œ œ œ œ œ . æ Œ Œ Ó Œ Œ ã æ . f f

52 ∑ ∑ ∑ f f S ˙ œb œb œn & Œ œ œb ˙b . Œ œ œb œn œ œ œb œb A-- gnus De i, A- gnus De -

∑ ∑ ∑ ∑ ∑ f A Œ & ˙ œ œb ˙b . A-- gnus De i,

∑ ∑ ∑ ∑ ∑ ∑ ∑ T V

∑ ∑ ∑ ∑ ∑ B ? œb œ œ œ# œb œn œ ˙# . e- is re - qui- em, 233

59 > >œ B ˙. > >˙ ˙ ˙b ˙. b w œ . Cl & Œ F > >œb w B w >˙b . ˙ ˙ ˙. Cl ? Œ F

59 Euph ? > œ Œ ˙ ˙. wb œ ˙n . œ w > > F >

59 Mrb œ 1 œ œ œ n œ bœ œ Œ œ œ œ œ & œ œn œ œb œ b œ œn œb œ œ œ œ œb œ œnœ œ œb œ œb nœ œ œ œb œb œ œb œ œ œ f 59 Mrb ˙ bœ bœ œb bœ œ œ 2 ? œ œb ˙b . œ œb œn œb œ œb Œ æ æ Œ œ œ œb œ œ œn f f 59 œ œ œ œ œ œ œ Perc œ œ œ œ œ ˙ œ œ œ œ ˙ œ ã Œ æ. æ. f f f

59 f f S œ œ œ & ˙ Œ œ œn œb œb œ œ Œ œ œ œ œb œ œ œ œb œn œ œ œ Œ i, qui tol --- lis pec- caœ --- ta mun- di,

f f f A & Œ œb œb œn Œ œ œ œb Œ œ œb œn œ œ œb œb ˙ œ œn œb œb œ œ œ A- gnus De --- i, qui tol --- lis pecœ - caœ -

f f f T œb V Œ ˙ œ œb ˙b . Œ œ œb œn œb œb œb œb œn œb ˙ Œ œ A-- gnus De i, A- gnus De --- i, qui

∑ ∑ f f B ? ˙ Œ œ œb ˙b . Œ œ œn œn œb A-- gnus De i, A- gnus 234

64 w B >˙b ˙ >œn w b >˙. ˙ . Cl & Œ F P

B wb> œ > wb> Cl ? Œ ˙ w w F P

64 Euph ? > ˙ Œ œb w w œ ˙ ˙ ˙ > >. > F P

64 Mrb j 1 bœ ‰ œ nœ bœ œ ‰ œ œb œn œ œ œb œ ‰ j bœ & bœ nœ œ œ œb bœ œn bbœœ œ œ œ œ œn œœ œ œb œ œ b œ œ œb œn œb J œ œ dim. b œ F 64 Mrb œb n œ bœ bœ œ œ bœ œ bœ bœ nœ 2 ? œn œb b œ œœ b œ œ Œ œ œ œb œb œn œ œb œ œb bbœ œ œn ‰ œ œb œ œ œb œ œ œ œb œb œn dim. dim. J f F 64 œ œ œ ˙ œ œ œ Perc œ œ œ œ œ ˙ w œ œ œ œ œ æ æ ã æ . æ dim. dim.æ f F poco a poco dim. dim. 64 f F S œb œb œn j & œb œb œ œn œ œn œ œ œ œ œ œb œb œ œb œb ˙ Œ œ œ œ œ œb œ do- na e- is re --qui em, sem-- piJ ter- nam. do- na

dim. dim. f F A Œ œb j j & œ œb œ œb œ œ œ œ œb œ œ œ œn œb œ œ œ œn œ œ œb œb œ -- œ taœb œn mun- di, do- na e- is re --qui em, sem-- pi

dim. dim. f F T œ œb V œb œn œb œb œb œ Œ œ œ œb œ œ œb œb œb œ œ Œ œn œb œ œ œb œn tol --- lis pecœ - caœ - taœb mun- di, do- na

dim. dim. f F B ? œn œb œb œ œ œ œb œb œb œb œb ˙ Œ œn œ œb œb Œ œ œ œ œ œ œb œb œn De --- i, qui tol - lis pec- caœ - ta 235

rit. 69 w> œ > B ˙b ˙. b >œ w Cl Œ 5 & cresc. 4 p P > B œ ˙. ˙ >œ w > Cl ? Œ w# 5 cresc. 4 p P

69 Euph ? > > 5 ˙. Œ w œ ˙b . w 4 cresc. p P

69 Mrb j 1 & œ bœ ‰ œ œ œ# nœ œ œb œnœ œ œ œ# œ œ œ œ œ 45 œb œb œ cresc.œ œ œ œ œ œœ œ œ #œœ œ œ œb œ œn œ cresc. P F 69 Mrb œ bœ œ œ# œ œb œ bœ bœ 2 ? œ œ bœ œb œ œ œ œ œ œ œ 5 œ œb œ ‰ J œ œb œb œ œn n œ œb ‰ œ œ œ b œ 4 cresc. J cresc. P F 69 w w œ œ œ œ œ œ œ œ Perc œ œ œ œ 5 ã æ æ cresc. 4 æcresc. æ P F cresc. cresc. 69 P F S œ j j j j œ 5 & œ œb œ œ œ# œn œ œb œ œn œ œ Œ œ# œ œ œ œ 4 e- is re --qui em, sem-- pi ter- nam.˙ semœ --- pi ter nam.

cresc. cresc. P F A j 5 & Œ œ œ œ œ œ œ# œ# j 4 terœb œb - nam.˙ doœ œ- œ œ na œ e- isœ re --qui em,œ semœb --œ piœn

cresc. cresc. P F T œ j j 5 V œ œb œ œ œ# œ œ œb œb œ œb œb ˙ Œ œ œ œ œb œ 4 e- is re --qui em, sem-- piJ ter- nam. doœ -- naJ e is

cresc. cresc. P F B ? œb œb œn œb œ œ œ œn œ œb œ 5 œ œ œ Œ œ œb œ œ œn œ œ J 4 mun- di, do- na e- is re --qui em, sem--J pi 236

73 > B >˙ ˙ œ ˙. w b . Cl 5 4 & 4 4 cresc. f

B >˙b ˙ w> w Cl ? 5 œ 4 4 4 cresc. f

73 Euph ? 5 4 4 ˙. ˙ 4 ˙. œ w > cresc. > f

73 Mrb œ ˙ œ #œ œ 1 5 œ bœ œ œ œ 4 bœ œ œ œbœ w & 4 œ æ 4 œ œ œ œ œb œ œ# cresc. æ æ ƒ 73 Mrb œ bœ œ œ# ˙n œ #œ w 2 ? 5 œ 4 bœ œœ œn œ œ # œ w 4 œn œ œb æ 4 œ œ cresc. æ æ ƒ 73 ˙ w w œ œ œ œ Perc 5 œ œ 4 ã 4 æ 4 æ cresc. æ ƒ

cresc. 73 ƒ S 5 œ œ œ ˙ 4 œ œ# œ œb œ œ w & 4 œ œb œ J 4 J J sem---J pi ter nam. sem-- pi ter- nam.

cresc. ƒ A 5 Ó 4 œb w & 4 4 œ œ œ terœ -œ nam.˙b semœ œ# --œ pi ter- nam.

cresc. ƒ T 5 j œ j j V 4 œ œb œ œ œ# ˙n 4 œb œ œn œ œ œ# w sem---J pi ter nam. sem-- pi ter- nam.

cresc. ƒ B ? 5 4 œ œ œ# w 4 œn œ ˙b Ó 4 œ œ ter- nam. sem-- pi ter- nam. Libera me

q = 60 ˙ Flute œ ˙b . œb . œ ∑ œb œb ä ä 3 Œ J ˙ Œ ŒŒ œ œ ˙ œ œ ˙ & 4 poco a poco cresc. f P p ∑ Oboe 3 Œ j Œ ŒŒ Œ & 4 ˙ œ œ ˙ œb ˙ œ œb œb œ ˙ Œ ˙ œ. poco a poco cresc. â f P p Clarinet œ œb ä ä œ œ ˙ in B 3 Œ Œ ŒŒ œ œb œ œ œ œ Œ b & 4 j ˙ œ ˙b . œb . œ ˙b poco a poco cresc. f P p Bass ∑ ∑ ∑ ∑ œ œb œ œn œ. œb œ œ œb œ œn œb Clarinet ? 3 ŒŒ J Œ 4 poco a poco cresc. p Bassoon ˙ œb ˙n œ œ ˙ ∑ j ä ä ä ä ? 3 Œ œ. Œ ŒŒ œ œb œ œ. œ œ œ œ œ œ œ œ 4 J poco a pocoœb cresc. f P p â â â ∑ ∑ ∑ ∑ ∑ Horn 3 in F ˙ Œ j Œ & 4 œ œ ˙ œ. œb ˙ f P Trumpet j ∑ ∑ ∑ ∑ ∑ in B 3 ˙ ˙b . Œ Œ b & 4 œ œb . œ ˙ f P ˙ œ œ ˙b äœ œ ˙ ∑ ∑ ∑ ∑ Euphonium ? ˙b . œb . 43 Œ J f P ∑ ∑ ∑ ∑ Tuba ? 3 Œ j 4 ˙ œb ˙n œ œ. œ ˙ œ ˙. f P â Marimba 1 j 3 ˙ œ bœ Œ bœ. Œ ŒŒ œb Œ ŒŒ Œ & 4 œ œ ˙ œ. œbœ ˙ œ œb œ œ œb œ œ œ f P p ˙ œ œ b˙ œ œ Marimba 2 ? ˙ œb ˙b œ bœ. œ ˙ œb œ œb œn 43 Œ J Œ ŒŒ œ œb œ Œ ŒŒ Œ Tamtamf L.R. Bass Drum PL.R. Sus. Cymbal p ∑ ˙ ˙ ˙ ˙ ˙ ˙ Percussion 3 œ œ ...... ã 4 ŒŒ ŒŒ æ æ æ æ æ æ > > π poco a poco cresc. f ∑ ∑ f ∑ ∑ ∑ ∑ ∑ ∑ ∑ Soprano 3 & 4 Alto ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 43 Tenor ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ V 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bass ? 43 238

10 ä ˙b äœ ∑ ∑ ˙ ˙b ∑ Fl. œ ˙ œ œ . œb . œ ˙ œ & Ó Œ J Œ ŒŒ ∑ ∑ F F ∑ P Ob. ä & œ ˙ œ ˙b œ ˙ œ œ Œ j ˙ Œ ŒŒ œ ˙ â ˙ œ. œb F F P ä ∑ ∑ B Cl. ˙b œn ˙ œ œ ä˙ œ œb b & Œ j Œ ŒŒ œ œb ˙ œ ˙b . œb . œ ˙b poco a poco dim. ä ä ∑ ∑ F ∑ ∑ F∑ ∑ P B. Cl. œn ˙ œ œ ˙ œ ? ˙ ŒŒ œb œ œn poco a poco dim. ∑ ∑ P∑ Bsn. ä ä ˙ œb ˙n œ . œ ˙ ? ŒŒ œ ˙b œ œ ˙b Œ œ J Œ ŒŒ œ 10 F F P ∑ ∑ ∑ ∑ Hn. Œ œb Œ œb œ œn œn Œ ˙ Œ j Œ & œ œb œ œ œ œ ˙ œ. œb ˙ F F ∑ ∑ P ∑ ∑ B Tpt. b ˙ ˙ j & Œ œb œb œb œ œn Œ œ ˙b . Œ œb . œ ˙ Œ P F F ∑ ∑ ä ∑ Euph. ˙ ˙ œb œ œ œ ˙ œ ˙b . œb . œ ˙b œ œ ˙ ? Œ Œ J ∑ ∑ P F F ∑ Tuba ? Œ œb œb œ j Œ j œ J ‰ œ ‰ œ œ ˙ ˙ œb ˙n œ œ ˙ œ ˙. œ. â 10 P ∑ ∑ ∑ F F Mrb. 1 j œ ŒŒ bœ Œ Œ ˙ œ bœ Œ bœ Œ ŒŒ & œ œ œ œ ˙ œ. œbœ ˙ œ œb œ œ f f F ∑ ∑ ∑ ˙ b˙ Mrb. 2 œ œ ˙ œb œ ˙b œ bœ. œ ˙ œ œb œ ? œb ŒŒ œb ŒŒ Œ œ J Œ ŒŒ œ

10 Bass Drum f f F ˙ ˙ ˙ ∑ ∑ ∑ ∑ ∑ ∑ Perc. . . . œ œ ã æ æ æ ŒŒ ŒŒ f f 10 ∑ ∑ ∑ ∑ ∑ f f ∑ F S œ œ j & œ ˙b . Œ œb . œ ˙ Œ ŒŒ œ Li--- be ra me, Do- mi ne, de poco a poco dim. ∑ ∑ ∑ ∑ ∑ f f F A j Œ & œ œ œ œ ˙ Œ œb ˙ ŒŒ œ œb Li------be ra me, Doœ. mi ne, de mor teœ æœb poco a poco dim. ∑ ∑ ∑ ∑ ∑ f f F T V œ œ œ ˙b . Œ œb . œ ˙b Œ ŒŒ œ œb œ œn Li------be ra me, Do miJ ne, de mor te æ ∑ ∑ ∑ ∑ ∑ f f ∑ F B ? œ œ œb ˙n œ . œ ˙ Œ œ J Œ ŒŒ œ Li-- be ra me, Do- mi - ne, de 239

21 ä ä œ. Fl. œb œb ä ä œ ˙ œ ˙b œ ∑ ∑ œb œ œ œ œn ˙b . œ ˙ œ œ ˙ Ó J & poco a poco dim. π poco a poco cresc.

Ob. ä ∑ ∑ œ. & œb œb œ ˙ Œ Œ ˙ ˙ œ ˙ œ ˙b œ œb œ œ œ œn ˙b . poco a poco dim. â â â π pocoJ a poco cresc.

B Cl. ä ä ˙b œn ä ä ∑ ∑ ∑ ∑ œb . œ b œ œ œ œ œ œ ˙ ˙ œ œ ˙ œ & Œ π J œ ˙ äœ œ ä˙ ∑ ∑ ∑ ∑ œ B. Cl. ? œ. œb œ œ œb œn œb ˙ œn œb . œb J Œ π J

Bsn. j ääää ä ä ∑ ∑ ? œb œ œb œ. œ œ œ œ œ œ œ œ ŒŒ œ ˙b œ œ ˙b œ. œ œb œ œn œ ˙. poco a poco dim. â ââ π pocoJ a poco cresc. 21

Hn. ∑ ∑ ∑ ∑ ∑ ∑ & Œ Œ j œ œ œn . œb œ œn œb œ ˙ πœ ˙ πœb œ œ P B Tpt. ∑ ∑ ∑ ∑ ∑ b Œ œ Œ œ. œb œn & œb œb œ œn œ œb J œ œ œ ˙b . P π poco a poco cresc. ∑ ∑ ∑ ∑ ∑ ˙ ˙ ∑ œ Euph. ? œb ˙. ˙. œb . œb Œ π J P Tuba ∑ ∑ ∑ ∑ ∑ j ? Œ œb œ œb ‰ œ œ ‰ œ œb œ Œ œ. œ œb œ œn œ ˙. J π pocoJ a poco cresc. 21 P Mrb. 1 ∑ ∑ ∑ ∑ ∑ œb Œ ŒŒ Œ Œ bœ œb b œœ œ nœœ Œ Œ & œb œ œ œ œ b œ œ œn œb œ P P Mrb. 2 œb œ œn ∑ ∑ bœ œb ∑ ∑ ∑ ? œb ŒŒ Œb œ œb œ œb œ Œ Œ œ J ‰ œ œ œ Œ 21 P P Perc. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ã

21 poco a poco dim. poco a poco cresc. p S ∑ ∑ & œb œb œ œ ˙. ˙b . œ. œb œ œ œ œn ˙b . mor--- te æ ter˙. na,˙. ˙ tre - men - da: QuanJ---- do cœ li mo ven p A ∑ ∑ ∑ ∑ j & Œ œ œ ˙b œn ˙. ˙. œb . œ œ terœ ----˙ na, œ inœ diœ e il la tre - men da: Quan- do p T ∑ ∑ ∑ ∑ V œ. œb œ œ Œ œb œ œn œb ˙ œn ˙. ˙. œb . œb œ ter----J na, in di e il la tre - men da: QuanJ- do poco a poco dim. poco a poco cresc. p B ∑ ∑ ? œb œ œb ˙. ˙. ˙ œ ˙b . ˙b . œ. œ œb œ œn œ ˙. mor--- te æ ter na, tre - men - da: QuanJ---- do cœ li mo ven 240

32 ∑ ∑ ∑ ∑ ∑ ∑ œ œ Fl. œ ˙ œ ä˙ ˙. & ŒŒ ∑ ∑ ∑ ∑ ∑ ∑ p Ob. & œ ˙ œ ˙ ˙. Œ ˙ â p ∑ ∑ ∑ B Cl. œ œ œ ä˙ ä ä b œ œ ˙ œ œ œ œ# ŒŒ ŒŒ œ œ ˙b . & poco a poco cresc. ä ∑ ∑ ∑ ∑p B. Cl. œ œ œn œ ˙ œ ˙. œ ? ˙ ŒŒ œb ˙ poco a poco cresc. p ∑ ∑ ∑ ∑ ∑ Bsn. ? œ œ œb œ œ ˙ ˙. ˙. ŒŒ‰ J J . 32 p Hn. & Œ j j ˙b œ œ œ œ ˙ œ œ œ. œ œ œ œ œ œ œ. œ œ œ œ ˙ poco a poco cresc. â ˙ œ œ œ œ# œ poco a poco cresc. â â â∑ â ∑ p B Tpt. . ä b & œ ŒŒ œ œ. œb œ œb œ œ œ œ œ œn œ œ ˙ œ œ ˙ œ ˙. poco a pocoJ cresc. J â â p œ ä ä œ œ ˙b äœ œ ä˙b Euph. œ œn œ ˙ œ ˙ ˙ œ œ œ œ. œ œ œ œ œ œ œ. œ ? Œ J J poco a poco cresc. poco a poco cresc. p ∑ ∑ ä Tuba ? ä ä ä . œ œ œ ˙ œ ˙ œ ˙ ˙ œ ŒŒ œ œ. œ œ œ œ œ œ œ J œ poco a pocoJ cresc. 32 ∑ ∑ ∑ ∑ p ∑ ∑ ∑ Mrb. 1 ŒŒ j œb œ & œ œ. œ œ œ. J P ∑ ∑ ∑ ∑ ∑ ∑ ∑ Mrb. 2 œ œ. œ ? ŒŒ œ œ. œ œ J J 32 P ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc. œ ã Œ Œ

32 F poco a poco cresc. ∑ ∑ P S œ. ˙. & œ œ œ ˙ ŒŒ œ œ. œb œ œb œ œ œ œ œn œ di sunt et ter . - ra.˙. Dum ve------neJ ris iuJ diJ ca re sæ cuJ lumJ perJ ig poco a poco cresc. poco a poco cresc. P A j j j j j j & œ œ ˙. Œ . œ œ œ œ œ œ. œ œ œ ˙b . ˙. cœœ ---- li mo ven diœ suntœ etœ ter˙. ra.œ# Dumœ veœ ------ne ris iu di ca reœ sæ cu lum per ig nem. poco a poco cresc. poco a poco cresc. P T œ j j œ œ ˙b . ˙b . V œ œn ˙. œ œ œ ˙. œ Œ œ œ. œ œ œ œ œ œ œ. J œ J cœ---- li mo ven di sunt et ter ra. Dum ve------ne ris iu diJ ca re sæ cu lumJ per ig nem.

poco a poco cresc. ∑ ∑ P B ? œ œ. œ œ œ ˙. œ œ œ ˙. ˙. ŒŒ œ œ. œ œ œ œ œ J J J di sunt et ter - ra. Dum ve------neJ ris iuJ diJ ca re sæ cu lum per ig 241

42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl. ˙b . ˙. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. ˙ & ˙b . Œ p ∑ ∑ ∑ ∑ ∑ ∑ ∑ B Cl. ˙b . b & ˙. ˙. p ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B. Cl. ? ˙. ŒŒ œb ∑ ∑ ∑ ∑ ∑ ∑ ∑ p Bsn. ? ˙. ŒŒ œ ‰ œ œ ‰ œ œb ‰ J poco a pocoJ cresc.J p 42

Hn. & Ó ‰ j j Œ j j‰ œ ˙b œ. . œ. œb- œ- œ- œn . œ œ œ œ. œ ˙ œ œ œb ˙b œ œ ˙ ˙ P â P . â â œb B Tpt. . b œ œ. œ j j . œ j j & Œ ˙b œ. œ. œ- œ ‰ œ . œ œ œ Œ œ œ. œb œ œ. œb œ ‰ œ ˙ ˙ - - œ â . J œ ˙ œ P P â œb . ˙ œ. - - œ Euph. ˙ œ œb . œ œ äœ œ. œ. œ œn . œ œ œ œb ˙ œ ä˙ œb ? Ó ‰ J J Œ ˙ J J ‰ P P Tuba äœ . . - - œ. ä ˙b ä ä ? Œ œ œb ˙ œb . œ ˙ ‰ œ œ œ œ Œ œ. œ. œ œb ˙ œ ‰ œ œ ˙ ˙ œb J J œ. J J P P 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc. œ œ ã Ó Œ Œ F F 42 F F S œ œ. œ. j . j j j j œ j j & Œ J ˙b œ œ œ- œ ‰ œ . œ œ œ Œ œ œ œb . œ œ. œb œ ‰ œ œ œ ˙ nem. TreJ ---- mens fac tus. sumJ e go,- et- œti me------o, dum. di. scus siJ o ve ne rit, at que ven tu raœ ˙i ra.œ

F F A j j j j ‰ j Œ j j j j j & ŒŒ œ. œ. ˙b œ œ œb œ œ œn . j œ œ. œ œ œ. œ œb ‰ œb œ Tre---- mens fac tus. sum. -e go,- et- ti meœ ------o,œ œ dum. diœ. scus si o ve ne rit, at que venœ tu˙ raœ ˙i ra.œb F F T œb . œ. ˙ œ. œ. - - - j j j j œ V ŒŒ J J J J œ œ ‰ œ œb . œ œ œ Œ œ œ œ. œ œ œn . œ J ‰ œ œ œb ˙b œ ˙ œb Tre---- mens fac tus sum e go, etJ ti me------o, dum. di. scus si o ve neJ rit, at que ven tu ra i ra.

F F B ? œ œ. . . œ. œ- œ- œ- œ. œ œ œ . . œ. œ œ œb œ œ ˙ œ ˙ Œ J œb ˙b œ J ‰ J J Œ œ œ œ. œ œb J J ‰ œb nem. Tre---- mensJ fac tusJ sum e go, et ti me------o, dumJ diJ scus siJ o ve ne rit, at que ven tu ra i ra. 242

52 ˙b . œ. œ œ œ ∑ ∑ ∑ ∑ œ. œ œ ˙b œ. œ œ œ. œn œ Fl. J J J J & cresc. dim. p F ∑ ∑ ∑ Ob. œb œb j & œ ‰ ‰ œ œ. œb œ ˙ œ œ œb œn œn ˙. pocoJ a poco cresc. J œn ˙n . œb œ ∑ ∑ ∑ B Cl. œ. œ œ œ œ. œ œ œ œ œ. œ ˙. b J J ˙b œ. œn œ ˙ & poco a poco cresc. J J ∑ ∑ ∑ B. Cl. ˙b œ . œb ? œ Œ œ ˙ œ œ ˙ œ œ ˙. ˙. poco a poco cresc. ∑ ∑ ∑ Bsn. ? œb œb ‰ œ œn œ œ œb ˙ œn œ œ ˙b . J œ. J ˙. œb œ ˙. 52 ∑ ∑ ∑ ∑ ∑ ∑ Hn. & j œ œ œ. œb œ œ œ ˙. œb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ ∑ ∑ ∑ B Tpt. p b & ∑ ∑ ∑ ∑ ∑ ∑ Euph. ? ˙ œ ˙b œ œ ˙. œb œ œ

∑ ∑ ∑ ∑ ∑ ∑ p Tuba ? œ œb ˙ œn œ œ œ. J ˙. œb œ 52 p ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Mrb. 1 œ. œb & J œ ∑ ∑ ∑ ∑ ∑ ∑ p ∑ ∑ ∑ Mrb. 2 ? œ. œ œbœ œ. J 52 ∑ ∑ ∑ ∑ ∑ ∑ p ∑ ∑ ∑ ∑ Perc. ã

52 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ S & Solo ∑ ∑ ∑ ∑ ∑ ∑ p A j & œ. œb œ ˙ œ j œ œ QuanJ---- do cœ li moœ ven˙. diœb sunt et

Solo ∑ ∑ ∑ ∑ ∑ ∑ p T j j V ˙ œ ˙b œ œ ˙. œb œ œ Quan---- do cœ li mo ven di sunt et

Solo ∑ ∑ ∑ ∑ ∑ ∑ p B ? ˙ œ œ. œ œb œn J ˙. œb œ œ QuanJ---- do cœJ li mo ven di sunt et 243

accel. poco a poco 62 ˙ œ ˙ Fl. ∑ ∑ ∑ ∑ ∑ ∑ & 4 Ó 42 4 Ob. ∑ ∑ j j j 4 . jÓ . jÓ jÓ Ó œ. Ó 2 . 4 & 4 œ œ. œ œ. œb . œ. œ.œ. œ. 4 œ œ 4 F F F F F P B Cl. ∑ ∑ . œ...... œ. b 4 œ.œ œ œb . œ œ œ œ 2 œb . œ 4 & 4 J Ó J Ó J Ó J Ó J Ó 4 J 4 F F F F F P ∑ ∑ œ. œ. œ. œ. œ. œ.œ. œ. œ. B. Cl. ? 4 œb . J J J J 2 œb . œ 4 4 J Ó Ó Ó Ó Ó 4 J 4 F F F F F P ∑ ∑ . Bsn. ? 4 œ œ. œ. œ# . œ. œ. œ.œ œ# . œ. 2 j 4 4 .J Ó J Ó J Ó J Ó J Ó 4 œ. œ 4

62 F F F F F P Hn. 4 2 4 & 4 Ó jÓ jÓ jÓ jÓ j Ó 4 j 4 ˙. ˙ œ. œ.œ. œ. œ. œb . œ. œ.œ. œ. œ. œ F F F F F P B Tpt. ∑ ∑ j b 4 jÓ . jÓ jÓ jÓ Ó 2 j 4 & 4 œ.œ. œ œ. œb . œ œ.œ œ. œ. 4 œb . œ 4 F . F . F F F . P œ. œ. œ. œ. œ. œ.œ œ. œ. Euph. . 4 œb . œb . œ 4 ? ˙ 4 ˙ Ó J Ó J Ó J Ó J Ó J Ó 42 J 4 F F F F F P . Tuba ? 4 œ. œ. œ# . œ. œ. œ.œ œ# . œ. 2 j 4 ˙b . 4 ˙ Ó œ.J Ó J Ó J Ó J Ó J Ó 4 œ. œ 4 62 F F F F F P ∑ Mrb. 1 4 j 2 4 & 4 Ó Œ‰ j Œ‰ jœ œ œ œ Ó œ œ œ œ Œ‰ œ bœ œ œ 4 œ Œ 4 π˙ œ œ œ œ πœœœœœœœœ πbœ œ œ œ œ πnœ œ œ œ œ πœ œ œ œ πœ œ œ œ œb P Mrb. 2 ∑ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ bœ ? 4 ˙b ˙œ œ œ œ Ó œœœœœœœœ Œ‰b œ œ œ œ œ Œ‰ œb œ œ œ œ Ó œb œ œ œ Œ‰ œb œ œ œ 2 œ Œ 4 4 π π πJ πJ π πJ 4 4 62 P ∑ ∑ Perc. 4 œ œ œ œ œ œ 2 4 ã 4 Ó Œ Ó Œ Ó Œ Ó Œ Ó Œ Ó Œ 4 4 p p p p p p 62 π π π π π π ∑ P S 4 j j j j j j j j j j j j j 2 4 & 4 Ó j j j j Ó j j j j Œ‰ j j j j Œ‰ œ œ œ œ Ó œ œ œ œ Œ‰ œ œb œ œ 4 ˙ 4 Diœ ------esœ œ il la,œ diœ esœ œ i ræ,œ caœb laœ miœ taœ tisœ etœn mi se ri æ, di es mag na et a ma ra val - Tutti π π π π π π P A 4 j 2 4 & 4 Ó j j j j Ó j j j j Œ‰ j j j j j Œ‰ j j j j j Ó j j j j Œ‰ j j 4 ˙b 4 ter˙. - ra.wDiœ ------esœ œ il la,œ diœ esœ œ i ræ,œ caœ laœ miœ taœ tisœ etœ miœ seœ œ ri æ,œ diœ esœ magœ naœ etœ œ a maœ raœ val Tutti π π π π π π P T 4 j j j j j j j j j j j j j j j j 2 4 V ˙ 4 wÓ œ œ œ œ Ó œ œ œ œ Œ‰ œb œ œ œ œ Œ‰ œ œ œ œ œ Ó œ œ œ œ Œ‰ œ œb œ œ 4 ˙b 4 ter . - ra. Di------es il la, di es i ræ, ca la mi ta tis et miJ seJ J ri æ,J diJ esJ magJ naJ etJ a ma ra val Tutti π π π π π π P B ? ˙b 4 wb œ œ œ œ œ œ œ œ œb œ œ œ œ œb j j 2 4 . 4 J J J J Ó J J J J Œ‰ Œ‰ œ œ œ œ Ó œb œ œ œ Œ‰ œb œ œ œ 4 ˙ 4 ter - ra.Ó Di------es il la, di es i ræ, caJ laJ miJ taJ tisJ etJ miJ seJ J ri æ,J diJ esJ magJ naJ etJ a ma ra val 244 a tempo 70 œ. œ. œ. . œ. . . œ. œ. œ œ# œ œ# . ∑ ∑ œ œb œb œ Fl. 4 œ œ ˙ œb & 4 Ó J J J J J 43 Œ f ∑ ∑ P Ob. 4 3 œ œb & 4 Ó œ ‰‰ œ œ ‰‰ œ ‰‰ œ œ ‰‰ œ Œ 4 œ. œb œb œ œ œn Œ . . . . œ . . . œ. œ. J ƒ P P . ∑ ∑ B Cl. . œ. œ ‰‰ œ. . . œ. . . . b 4 œ ‰‰ œ ‰‰ œ ‰ ‰ œ# œ œ# 3 œ & 4 Ó Œ 4 Œ œ œ œb œ œ œ œb œ ˙ Œ P ƒ ∑ ∑ B. Cl. ? 4 . œ.. œ. œ.. œ# . œ.. .. . 3 œb œ œ œn 4 Ó œ. ‰ ‰ œ.. œ ‰‰ ‰‰ ‰‰ œ# œ Œ 4 Œ œ œb ˙n Œ ƒ P ∑ ∑ Bsn. ? 4 3 œb œ œb 4 Ó ‰‰ œ ‰‰ ‰‰ œ œ ‰‰ œ œ œ Œ 4 ŒŒ œ œ ˙b . œ# . œ.. . œ# .. œn ...... 70 ƒ P ∑ ∑ ∑ Hn. 4 3 & 4 Ó j j j j j 4 ŒŒ . . œb œ œb œ œ. œ œ. œ. œ. œ. œ. œ œ. œ f . ∑ ∑ ∑ ∑ P ∑ B Tpt. j j b 4 Ó œ. j . j j 3 & 4 œ. œ. œ. œ. œ œ œ# . œ œ# . 4 f . . ∑ ∑ ∑ œ Euph. . œ œ œ ? 4 Ó œ. œ. œ. œ. œ. œ# . œ œ# . œ. 3 ŒŒ 4 œ. J J J J J 4 f ∑ ∑ ∑ P Tuba ? 4 Ó j j j j j 3 ŒŒ œ œ œ œb 4 œ# . œ œ. œ# œn . œ. œ. œ. œ. œ. 4 70 . . f ∑ ∑ P Mrb. 1 4 3 œ œ œ bœ œ œ œ & 4 bbœ ŒÓ 4 Œ œ œ œb œ œ œb œ œ b œ œb œ œ œ œn Œ Œ P P ∑ ∑ Mrb. 2 ? 4 œ 3 œb œ œb œ œ œ 4 œ ŒÓ 4 ŒŒ œ œ œb œ ‰ J œb œn Œ Œ P P 70 Tom Drums Tamtam œ œ œ œ œ œ ∑ ∑ ∑ ∑ Perc. . œ œ œ œ 4 Ó . . . 3 œ ŒŒ ã 4 J J J J J . 4 f F 70 ∑ ∑ ∑ ∑ ∑ ∑ ∑ S 4 3 & 4 ˙b . Œ 4 de. Solo ∑ ∑ ∑ ∑ ∑ F A 4 3 & 4 Œ 4 ŒŒ œ œb œ œb de.˙b . Dum ve-- ne ris Solo ∑ ∑ ∑ ∑ ∑ F T 4 œ V 4 ˙. Œ 43 ŒŒ œ œ œ de. Dum ve-- ne ris Solo ∑ ∑ ∑ ∑ ∑ F B ? 4 œ œ 4 ˙. Œ 43 ŒŒ œ œb de. Dum ve-- ne ris 245

78 œb œ œb Fl. œ ˙ œ œ œb 5 ˙. 4 œ œb œ j œ œb œ & Œ 4 Ó 4 Œ . œb œ ˙. Œ œb P p p

Ob. œ œb œ œ ˙n 5 4 Œ œb j j Œ & ˙. 4 ˙. ˙ 4 œb œ œb œ œ ˙b . œb œ œ œb œ p p

B Cl. œ b Œ 5 4 œ œn . ˙b Ó & ˙ ˙b œb ˙. 4 ˙. ˙ 4 ˙ Ó Œ‰ J J P p œn œb œb œb œ B. Cl. . œb œ œ œ œ. œ œb œ œ ? œn ˙ 5 ˙ ˙ 4 ‰ œb J J Œ œ œ œb œn ˙ 4 4 P p p

Bsn. ? 5 4 j œ œb œ ŒŒ œ ˙. ˙. 4 ˙b . ˙ 4 Œ œ œb œ œb J ˙b . Œ œ œ œb œ P p p 78 3 Hn. 5 4 & 4 Ó 4 Œ j j j œ œn ˙ ˙. œb œ œb œn œb j œ ˙n œb œ ˙ œ ˙. p œb œb œn œ œ œb œb œn œ ˙ ˙ œ œ ∑ ∑ Euph. œ ˙ œ 5 ˙. ˙ w ? 4 4

∑ ∑ Tuba 4 ? œ œn ˙ ˙b œ œn ˙ œ 45 ˙b . ˙ 4 w

78 ∑ ∑ ∑ ∑ P P S 5 4 œ œb j œb & 4 4 Œ J J œ. œb œ ˙ Œ œb œ œ Re------qui em ae ter nam . doJ naJ e is,

Tutti P P A Œ œn j j 5 4 j j j j j j & œ J ˙ ˙n œb œ ˙ œ 4 ˙ ˙ 4 w œb œb œ œb œ œ Œ œ œ œb œ iuJ ------di ca re sæ cu lum per ig. nem. Re-- qui em ae ----ter nam˙b . doœb na e is,

Tutti P P T ˙ ˙ œ 5 4 j j j j œ œb œb œb œ V œ œ J œ ˙ œ 4 ˙. ˙ 4 œwœ œb œ œ œ J œ. Œ œ œb œ œ iuJ ------diJ ca re sæ cuJ lum per ig nem. Re-- qui em ae ----ter nam do naJ e is,

Tutti Œ P j P B ? œ ˙ 5 4 j j j œ œb œ j j J œn ˙b œ œn ˙ œ 4 ˙b . ˙ 4 w œ œb œ œb ˙b . Œ œ œ œb œ iu------diJ ca re sæJ cuJ lum per ig nem. Re-- qui em ae ----ter nam do na e is, 246

85 Fl. œn œ œ œn 6 Ó œ œn œ œ œ œ 4 œ œb . œ œ œb ˙ œb œb œ œb œ Œ & œb œ ˙ 4 4 œb . 6 cresc. J J P P p

Ob. 6 4 j œb j & œ 4 Ó œn œ œ œ œ 4 œ œ œb œ œ ˙b œ œ œb . œb œ œb œ ˙ cresc. œn œb œb . P P 3 B Cl. ˙ b Œ œb œn œ œ œb 6 œœ œn ˙ 4 ˙b ˙b ˙. Œ & J œ 4 œ 3 4 J cresc. w P œn œ B. Cl. ˙ œb œ œ œ œ œb œb œb œ ˙ œb œ ? œ œ œ ˙ 6 ‰ J œn 4 œn œb œ. J œb J J 4 cresc. 4 P P

Bsn. ? œ œn œ ˙n 6 Œ œ ˙n œ œ œ œ 4 ˙ œb . œ œb œ ˙ œ œ œ œb . œ 4 cresc. 4 J J P P

85 ∑ Hn. 6 4 & j œ 4 ˙ Œ ˙ 4 ˙ œ. œn œ œ œb . cresc. ˙b wn P

85 ∑ ∑ ∑ ∑ œb Mrb. 1 6 4 œb œ œb œ œ & 4 4 œb œ

85 Snare Drum P ∑ ∑ ∑ ∑ œœ œ œœ œ œ Perc. 6 4 Ó ã 4 4 6 æ P

cresc. 85 F ∑ S 6 j j j j 4 œ œb œ. & œ œb œ ˙ 4 Ó œ œ œ œ œ œ 4 œ œb . œb . œ ‰ Do-- mi ne, et lux per--- pe tu Ja lu--- ceJ at e is.

cresc. Solo F F A 6 j j j 4 j . œ œb j & œ 4 Ó œ j 4 œ. œ œb œ œ œb ‰ Œ J œb . œb Doœ-- miœb œ ne,˙ etœ luxœ œ per--- peœb tuœ œb aœb lu--- ce at e is. ReJ --- qui em ae

cresc. Solo F F T j j 6 j j œ 4 V œ œ œ ˙ 4 ‰ œ ˙ œb œ œ œ œ J 4 œ œb œ œb œb œb œ œ. ‰ œ. œb œb œ Do-- mi ne, et lux, et lux perJ --- peJ tu a lu--- ce at e is. Re--- quiJ em ae

cresc. Solo F F B ? œ ˙ 6 j j œ 4 ˙ œ œb œ œ. j j œ œ œ J 4 Œ‰ œ ˙ œ œ œ J 4 œb . J ‰ Œ œ œ œb . J Do--J mi ne, et luxJ per------peJ tu a lu ce at e is. Re-- qui em ae - 247

90 œb œb œ wb œb œ œb œb Fl. œb œ œb œb œ œ œb œ œb œn 6 & ‰ œb 6 Œ 4 p J p Ob. Œ œb œ 6 & œ ˙b . œb œn œ œ ˙b œn 4 P B Cl. b j œb œb œn œb œ œb œn 6 & ‰ œb J œb œ œb œb œ ˙ Œ œ œb œ œ 4 p J œb œ 5 œn ˙b œb . p B. Cl. ? œb œ œ œ. œ ˙ Œ J J 46 P Bsn. ? œb ˙b . Œ œ œ œ ˙. 6 90 œb œb œb 4 œb œb œ œn œb œb P ∑ Mrb. 1 œ œb œb œb œ œ œn œ œn 6 5 ŒÓ 90& 6 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ œ œ œ œ œ œ œ œ œ œ Perc. 6 ã 6 5 6 Œ 5 4 P F p A œ j 6 & œ ˙b . Œ œb œb œ œ j Œ 4 ter- nam doJ ---- naJ e is, Do miœ ne,˙b F T œ ˙b œb . j 6 V Œ œb œ œ œ. œ ˙ 4 ter- nam, do --naJ e is, Do - mi - ne, F B ? ˙b j j œ 6 œb . Œ œb œb œ œ J ˙ Œ 4 ter - nam doœb ---- na e is, DoJ mi ne,

93

Fl. œn œb 6 ˙. œn 4 œ œb œ œb w & 4 Ó ‰ J 4 J œb J p Ob. 6 Œ 4 œb œb ˙ & 4 œ œ œ œn 4 œ. J œ P œ œ œ ˙b B Cl. b 6 4 œn œ & 4 ˙. ˙. 4 Ó Œ œ œ œb œ œ œ œ œb œ p œb œ œ œ œ ˙ B. Cl. ? ˙n œ œb œ œ 4 ˙b œ œb œb 46 ‰ œn 4 P J Bsn. œb ? 6 Œ ˙n œb œ œ œ 4 ˙b œb . œ œb ˙ 93 4 œ 4 J P ∑ ∑ ∑ Mrb. 1 6 4 93& 4 4 œ œ œ œ œ œ œ œ œ œ œ Perc. 6 ŒŒŒŒŒ 4 Ó Œ Œ ã 4 æ 4 æ æ F p A 6 j j j 4 œb & 4 Ó j œ œ 4 œ. œb œ ˙ etœ œ luxœ per--- pe tuœn ˙b a lu--- ceJ at e is. T F j j 4 V 46 ‰ j ˙ œ œ œ œb œ œ 4 ˙b œ œb œb œ ˙ etœn lux et luxJ J perJ - pe - tuJ - a lu - ce - at e- is. B ? 6 F j 4 ˙b œ œb œb ˙ 4 Œ ˙ œb œ œ œ œ 4 œb . J et lux J perJ - pe - tuJ - a lu-- ce at e- is. 248

96 ∑ ∑ Fl. œ œb œ j œ œn & Œ . œb œ ˙. Ó Œ F p Ob. œ œb œ j j œ & Œ œb œb œb œ ˙b . Œ œb œb œ œb œ œ ˙b . Œ œb œ œb œn P F 3 P B Cl. j œ ˙b b Ó ‰ œ œb œ œb œn œb Ó Œ‰ œ œn . J Ó & ˙ p 3 œ œ ˙ J P œ ˙b œn œb œb . œb œn B. Cl. œ. œb œb œ œ œb œb œ œ œ œ œb œ œ ? J Œ J J J Œ P F P

Bsn. ? œb . œ ˙b . j œb œ œb œ ˙b . Œ œ œ J œb Œ œ œb œ J Œ œb œb œb œ P F P 96 ∑ ∑ 3 ∑ Hn. œb & œ ˙. œb œ œb P œb œb œn œ œ

96 ∑ ∑ Mrb. 1 ˙ œn Ó œb œ œ œb œ œb Ó Ó Œ œ œn & 6 p p ∑ ∑ ∑ œb œb ∑ Mrb. 2 œ œb œb œn œ ? 3 œ F 96 ˙ ∑ ∑ ∑ œ Perc. Ó Ó Œ ã æ æ P

96 Tutti ∑ ∑ F ∑ S œ j Œ J œb œ. œb & Re - quiJ --- em ae terœ nam˙.

Solo Tutti Solo F F P A œ œb œ j j Œ j j j œ & Œ J J œb œb œb œ ˙b . œb œb œ œb œ œ ˙b . Œ œb J œ œb œ Re-- qui em ae --ter nam, Re-- quiJ em ae --ter nam doJ - na e- is,

Solo Tutti Solo F F P T œ ˙b j œ œb œb œb œn V œ. œb œb œ Œ œ œb œb œ œ œ œ. Œ œb œ œ Re--- quiJ em ae ter - nam Re - quiJ - em ae - ter- J nam do J- naJ e - is,

Tutti Solo Solo F F P B ? j j œ j j œ œb œ j Œ œ œ œb . J œb ˙b . Œ œ œb œ œb J ˙b . Œ j œb œb œ Re---- qui em ae ter nam Re-- quiJ em ae - ter- nam doœb --na e is, 249

101 œb œb œ Fl. œ œb œn œb œ ˙ œ œb œ 6 J J œ œb œ œn . 4 & 5 Œ œb œn œb œ ˙ 4 Œ‰ J J 4 F p Ob. 6 & Œ Œ œb 4 Ó 4 œ œ ˙b œb œ œ œ œ œ œb œ ˙ œ œ œn œ œ œ

F 3 P

B Cl. b Œ œ œ œb Ó Œ œb œn œ œ œb 6 œ œb œn 4 & œn œ œ ˙b J J œ 4 œ œ ˙. 4 p P p œb œ œ œ œ œ œ œ B. Cl. ? œ. œ ˙ œb œ œ œ œ ˙ 6 œ œ œ œ œb œ œ 4 J J J 4 ‰ J 4 F P Bsn. ? œ œ ˙n 6 œn ˙ Œ Œ œ œ œb œ œ œn 4 Œ ˙ œb œ œ œ œ 4 F P 101 Hn. 6 4 & Ó Œ‰ j j j j j j œ 4 ˙. Ó. 4 œ œb œn œb œb œn œ œ. œn œ œ œb P 101 3 œb ∑ Mrb. 1 œ œb œn œb œ œn 6 4 5 ˙ Œ œb œ œ œb œ ŒŒÓ. & J J œ 4 4 P ∑ ∑ Mrb. 2 ? œ ˙n 6 4 Œ œ œ œb œ œ œn 4 4

101 F œ œ œ œ œ œ ∑ ∑ ∑ Perc. Ó 6 4 ã 5 æ 4 4

101 Tutti ∑ P ∑ S œb 6 & Œ œb œ œ œ œb œ ˙ 4 4 doJ - naJ e- is, Do-- mi ne,

Tutti Solo P p A j j Œ j j j 6 j j j j 4 & œ ˙b Œ œb œ œ œb œ œ œb j 4 Ó œ œ œ œn 4 Do--- miœ ne, do na e- is, Doœ -- miœ ne,˙ etœ luxœ per--- pe tu

Tutti Solo P p T j œb œ j j 6 œ j j V œ. œ œ œb œ œ œ œ œ 4 ‰ j œ œ œ œ œ œ œb œ œ 4 Do - mi - ne,˙ do - J naJ e- is, Do-- mi ne,˙ etœ lux et luxJ J perJ - pe - tuJ -

Tutti Solo P p B ? j j ˙ 6 j 4 œ œ ˙ Œ Œ œ œ œb œ œ œ œ 4 Œ ˙ œb œ œ œ œ 4 DoJ -- miJ ne, do-- na e is, Do--J miJ ne, et lux J perJ -pe--J tu 250

3 105 ∑ Fl. œb œ j 4 œ œb œb 6 ŒŒ‰ œb ˙ Ó œ œn œ œ œ œ 4 & 4 3 œn ˙ 4 œb 4 F f

Ob. 4 œ œb œb ˙ 6 Œ‰ j Ó 4 & 4 ˙b œ œn œn 4 œb ˙b ˙ œn œ œ œ œ œn 4 F f

B Cl. b 4 6 œn ˙ 4 & 4 Ó Œ œ œb œ œb œ 4 w ˙ Œ œ œ ˙ 4 œb œb œ 3 p P F œ ˙ ˙b . ˙ œn ˙ œ œ B. Cl. ? 4 ˙b œ œb œb 6 œb J œb œ œn œ 4 4 ‰J ‰ 4 F f Bsn. ? 4 ˙b œ œb œb ˙ 6 œ 4 4 œb . J 4 wb ˙ Œ œ ˙n œ œ œ 4 F f 105 ∑ ∑ Hn. 4 6 Œ 4 & 4 4 œb œb ˙b ˙n ˙. 4 œb œb F P 105 ∑ ∑ Mrb. 1 œ œb œb 4 ‰ œb . œb œ œ œ œ 6 ŒŒÓ. 4 & 4 6 4 œ 4

3 P ∑ ∑ ∑ Mrb. 2 ? 4 œb œ 6 4 œ œb œb 4 4 3 œn ˙

105 p ∑ œ œ œ œ œ œ œ œ œ ˙ ∑ Perc. 4 ‰ . 6 . Ó. 4 ã 4 æ 6 4 æ 4 P

105 Tutti ∑ ∑ p F S 4 6 j œb ˙ œ œ œ œ œb œ 4 & 4 4 ŒŒ‰ œb Ó J J J J 4 et lux et lux per--- pe tu

Tutti p F A 4 6 j j j j 4 & 4 œ œ œ œb œb œ ˙ 4 Œ‰ j ˙b ˙ Ó œ œ œ œ œ œ 4 ˙b a lu -J ceJ --at e is. etœb lux et lux per -pe - tu -

Tutti p F T 4 6 ˙b . ˙ œn j œ 4 V 4 ˙b œ œb œb œ ˙ 4 ‰ œb ‰ J ˙ œb œ œ œ œ J 4 a lu - ce --at e is. etJ lux et lux et lux perJ --- peJ tu

Tutti p F B ? 4 ˙b œ œb œb ˙ 6 j j œ 4 4 œb . J 4 wb ˙ Œ‰ œ ˙ œ œ œ J 4 a lu--- ce at e is. lux et luxJ per -peJ -- tu 251

109 œb œb œ œn œb œ œb ˙n Fl. 4 œ œ œb ˙ œ œ œn œ œ & 4 œb . œb . œ ˙. Œ œb 3 Ó J J cresc. P 3 F Ob. 4 j & 4 œ. œ œb œ œ ˙b œ œ œb œb œn Œ ˙b œb œb wb œb cresc. œn œn œ œb P 3 F B Cl. b 4 ˙b ˙. ˙b & 4 ˙b Œ Ó œ œb œn œb ˙ ˙b cresc. œ œn œ œb œn œ œ œb œ p F B. Cl. œ œb œb œ ˙ w œ œb œn ? 4 œn œb œb œ œ œ œb œ œb œ œ œb 4 cresc. 3 P 3 F Bsn. ? 4 ˙ œb . œ œb œ ˙ œb ˙n ˙ 4 J wb ˙ œb cresc.œb œn œ

109 P 3 F Hn. 4 Œ œb wn & 4 ˙ ˙b wn œb œ œ œn œb œ œb œb cresc.œb œ œ p 3 F B Tpt. ∑ ∑ b 4 & 4 Ó œ œb œn œb w ˙b cresc. œ œn œ œb œn œ œn œb œ p F Euph. ∑ ∑ œb ? 4 œ œ œ œ œb œ w 4 ˙b cresc. ˙b œ 3 p 3 F ∑ Tuba ? 4 4 Ó Œ œb œb œb œb œn œ œb wn π cresc. ˙ œb œ œb œn 109 F b ∑ ∑ ∑ œ œ bbœ nnœ Mrb. 1 4 œ b œ & 4 Ó Œ 3 ŒÓ F Mrb. 2 ∑ ∑ ∑ n bœ œ ? 4 Œ bœ b œ b œ œ Œ Ó 4 Ó œ œ 3 109 ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ Fœ œ œ Tamtam Perc. 4 > > > w ã 4 Œ 3 æ æcresc.æ 109 p f ∑ ∑ F S 4 œ œb ˙ œb œb & 4 œ œb . œb . œ ˙ Ja lu - ceJ - at e- is. Re- qui- em! ∑ ∑ F A 4 j & 4 œ. œ œb œ œ ˙b ˙ œ œb aœb œb lu - ce --at e is. Re- qui- em! F T ∑ ∑ V 4 œ œb œ œb œb œb œ ˙ ˙ œ œ a lu-- ce at e- is. Re- qui- em! ∑ ∑ F B ? 4 ˙ œ œb œ ˙ 4 œb . J ˙ œ œ a lu--- ce at e is. Re- qui- em! 252

114 wb wb wn œ ∑ ∑ ∑ Fl. œb œb œ & Ó 3 ŒÓ F f ƒ ƒ ∑ 3 ∑ ∑ ∑ Ob. wn Ó ŒÓ & w œn œ œb œ f ƒ ∑ ∑ ∑ ∑ ∑ B Cl. œ ˙b ˙ ˙b b ˙ œ œb & Œ œ œ œ f ƒ ˙. œ œ œb œ ∑ ∑ ∑ B. Cl. ? ˙. Œ Œ w Ó 3 ŒÓ

f ƒ ƒ 3 Bsn. œb ? œ œ œ œb œ# œb œn œn . œ œ ˙ œ. œ œ. œb œ wn ˙ Ó Ó œ œb œ œ J Œ J J ˙ ˙ f ƒ ƒ F P 114 ∑ ∑ Hn. j œ œ œb . Œ j j & w w œ œ ˙b œb . œ œb . œn ˙ ˙ f F P

B Tpt. œ b w w œ Œ ˙ œ ŒÓ œ œ. œ œ ˙b Œ œ. œb j & J J œb . œ ˙ ˙b f ƒ F P ∑ ∑ œ ˙ Euph. œn œn œ. œ œ. œb œ. œn ˙b ˙ ? Œ ˙. œ ŒÓ J Œ J J ƒ F P Tuba ? wn j j j Ó ˙n w œ ŒÓ œ œ œ. œ œ ˙b Œ œb . œb œ. œ ˙ ˙ f ƒ F P

114 Bass Drum Tamtam Bass Drum ∑ ∑ Perc. œ w ˙ ˙ œ ˙ w ˙ ˙ ã Ó Œ . f ƒ F P

114 f j ƒ j F P S ˙ œbœ. œ ˙n œ. œ ˙b ˙ œœn œ œ. j j & Ó J ˙ œ. J Ó œ œ ˙b Œ œ. œb œb . œ ˙ Re-- qui-- em! Re qui em! Re----- qui--- em aeJ ter nam, Re quiJ em ae ter nam˙b

f ƒ F P A j œ j j & ˙ Ó œ. œ ˙ œ. œ ˙ ˙ Ó œ œb . œ œ ˙b Œ œb . œ j Re-- qui-- em! Re quiJ em! Re----- qui--- em ae ter nam, Re qui emœb . aeœ ter˙ nam˙

f ƒ F P T œ œ ˙ j V ˙ Ó œ ˙ œ. œ ˙ ˙ Ó œ œ œ. œ Œ œ. œb œ. œn ˙b ˙ Re-- qui-- em! Re quiJ em! Re----- qui--- em aeJ ter nam, Re qui em aeJ ter nam

f ƒ j F j P j j B ? ˙ œ œ. œ ˙ ˙ œ œ. œ œ ˙ œ. œ œ. œb Ó œ œ ˙ œ. œ ˙ ˙ Ó œ œ œ œ œ ˙b Œ œb . œb œ. œ ˙ ˙ Re-- qui-- em! Re quiJ em! Re----- qui--- em. aeJ ter nam, Re quiJ em aeJ ter nam 253

122 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl. j & Ó œ. œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ P Ob. Ó j & œ. œb ∑ ∑ ∑ ∑ ∑ ∑ ∑ P B Cl. b j & Ó œ. œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ P B. Cl. œb . œn ? Ó J P ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? j Ó œ. œ

122 P 3 Hn. j Œ j & œ. œn œ œ œ œb ˙b œ œn œn œ œ œ ˙b œ. œ œ œ# œ ˙ œb œ œ P œ œ ˙. ˙b p 3 B Tpt. b j œb Œ œ j Œ Ó & œ. œ œ œn œ ˙b œ ˙n œ œb ˙ œ. œ œ œb œb ˙ œ œb œ œb œ ˙ P P

Euph. œb . œn œ œ œ ˙b œ ˙ œ œ œ ˙b œn . œ ? œn Œ œ œ# œ ˙ œ œ ˙b œ œb ˙ J J œb œ 3

P p p 3 Tuba j ? œ œ œ œb ˙ Œ œ ˙n œ œ œn œ. j Œ j œ. œ ˙ œ œn œ œ ˙b ˙ ˙b œ œb œn œ. œn 122 P p ∑ ∑ ∑ ∑ ∑ P Mrb. 1 æ æ bœ œ œ æ & Ó Œ œ œ œ œ œb œ œb œ b˙ p 3 3 ∑ ∑ ∑ ∑ ∑ Mrb. 2 j ? Ó œ œb œ bœ æ. Œ œ œb œ œbœ n œ œ. œ 122 p Snare Drum œ œ œ œ œ œ œ ˙ Perc. w œ ˙ œ ˙ ˙ ˙ ˙ œ œ ˙ > > > > . . . Œ ã æ æ æ æ 3 æ 122 P p P P F P ∑ P S j j j j & œ œ œ œ œb œ ˙b Œ œ ˙n œ œ œb ˙ œ œ ˙ Œ Ó œ œ do. ----- na e----- is, DoJ mi ne, et lux per pe tu a lu. ce atœ œ# e œ is. Re. - qui - P F P ∑ P A j & j œ œ œ j Œ œ j Œ Ó j doœ. ----- naœn e-- is, Do miœb ne,˙b etœ luxœ œ perœ ---pe tuœ ˙b a luœ. ceœ atœ œ# e œ is.˙ Reœ. - quiœb - P F P ∑ P T j œ j V œb . œ œn œ J œ ˙b Œ œ ˙ œ œ œ ˙b œ. œ œ œ# œ ˙ Œ Ó œb . œn do----- na e----- is, Do miJ ne, et lux per pe tu a lu ce at e is. Re- quiJ - P F P ∑ P B ? j œb ˙ œ ˙ œ œ œ . j j œ. œ œ œ œ J Œ ˙ œ œ œ œ œ ˙b Œ Ó œ. œœn do----- na e----- is, DoJ mi ne, et lux per pe tu a lu ce at e is. Re - quiJ - 254

130 U Fl. œ ˙b . œb . œ ˙n . ˙. œ wb wn & œb Œ œ. J Œ Ó J Œ F f ƒ U Ob. j Œ . j w w & œb Œ œ. œ ˙b . Ó œb œn ˙. Œ ˙. œn F f ƒ B Cl. U b Œ œ ˙b. Œ Ó œb . œ ˙. Œ ˙. œb wn w & œb œb . J J F f ƒ U B. Cl. œ œ. œ ˙b . œ ˙. ˙. œ ? Œ J Œ Ó œn Œ wb w F f ƒ U Bsn. ? œb . œ ˙b . œ . ˙. œ w w œ Œ J Œ Ó œ ˙ Œ 130 F f ƒ ∑ 3 ∑ ∑ ∑ ∑ Hn. & Œ ˙b œ œb œ œ ˙b ∑ F 3 ∑ ∑ ∑ ∑ B Tpt. b Œ & œb ˙ œ œ œn ˙b F ∑ ∑ ∑ ∑ ∑ Euph. wb œn œb œn ˙n ? 3 F U Tuba ? Œ j Œ Œ œb œ. œ ˙b . Ó œn œ ˙. ˙. œ wb w 130 ∑F f ∑ ƒ ∑ ∑ ∑ Mrb. 1 œ œb œ œ nœ b˙ & Œ bœ œ 3 b ˙ b œ æ F ∑ ∑ ∑ ∑ Mrb. 2 ? wb œn œb œn ˙n œb ŒÓ æ 3 æ 130 Bass Drum F Snare Drum Bass Drum Tamtam œ ˙ œ œ œ œ ˙ œ ∑ œ U Perc. Œ Ó Œ Ó Œ ŒÓ w ã æ 3 æ F f F ƒ ƒ ƒ 130 f F j j ƒ U S œ ˙b . œb . œ ˙. ˙. œbœ n wwb wwn & œœb Œ œbœ. œ ˙b . Œ Ó œb . œ ˙. Œ ˙. em! Re- quiJ - em! Re-- quiJ - em! Re qui - em!

F f ƒ U A j j w & Œ œ œ ˙b . Œ Ó œb . œ ˙. Œ ˙. œ w em!œb Re. - qui - em! Re-- qui - em! Re qui - em! F f ƒ T œ U V œ Œ œ. œ ˙b. Œ Ó œn ˙. Œ ˙. œ wb w em! Re- quiJ - em! Re- qui - em! Re- qui - em!

F j f ƒ U B ? œb . œ ˙b . Ó œ . ˙. œ w w œbœ Œ œ. œ ˙b . Œ œn œ ˙. Œ ˙. œ wb w em! Re - quiJ - em! Re---- qui em! Re qui em! Appendix 2 Movements included in selected Requiems !

Composer and Work Introit Kyrie Gradual Tract Sequence Offertory Hector Berlioz Yes, combined Yes, combined No No Yes Yes Requiem with Kyrie with Introit Benjamin Britten Yes, w/ outside Yes, w/ outside No No Yes, w/ outside Yes, w/ outside War Requiem poem & Kyrie poem & Introit poem poem Anton Bruckner Yes, combined Yes, combined No No Yes Yes Requiem in D Minor with Kyrie with Introit M.A. Charpentier No Yes No No No No Messe des morts à quatre voix (H7) Luigi Cherubini Yes, combined Yes, combined Yes No Yes Yes Requiem in C Minor with Kyrie with Introit Maurice Duruflé Yes Yes No No No Yes Requiem , Op. 9 Antonin Dvo řák Yes, combined Yes, combined No No Yes, split into two Yes Requiem , Op. 89 with Kyrie with Introit movements Gabriel Fauré Yes, combined Yes, combined No No No Yes Requiem , Op. 48 with Kyrie with Introit Johann Joseph Fux Yes Yes No No Yes Yes Emperor’s Requiem György Ligeti Yes Yes No No Yes, split into two No Requiem movements W.A. Mozart Yes, combined Yes, combined No No Yes Yes Requiem , K. 626 with Kyrie with Introit Christopher Rouse No No No No Yes, Tuba mirum No Requiem & Rex tremendae only John Tavener Yes Yes No No Yes, Dies irae No Requiem &Liber scriptus only Appendix 2 , cont. ! ! Composer and Work Sanctus Agnus Dei Communion Pie Jesu Libera me In paradisum Other Hector Berlioz Yes Yes, combined Yes, combined No No No No Requiem w/ Communion w/ Agnus Dei Benjamin Britten Yes, w/ outside Yes, w/ outside No No Yes, w/ outside Yes, w/ outside Outside War Requiem poem poem poem & in paradisum poem & Libera me texts (listed) Anton Bruckner Yes, Benedictus Yes, w/ partial Yes; opening No No No No Requiem in D Minor separate mvt. Communion w/ Agnus Dei M.A. Charpentier Yes, Benedictus Yes No Yes No No De Messe des morts à separate mvt. profundis quatre voix (H7) motet Luigi Cherubini Yes Yes, combined Yes, combined Yes No No No Requiem in C Minor w/ Communion w/ Agnus Dei Maurice Duruflè Yes Yes Yes Yes Yes (Responsory)y) Yes No Requiem , Op. 9 Antonin Dvorak Yes Yes, combined Yes, combined Yes No No No Requiem , Op. 89 w/ Communion w/ Agnus Dei Gabriel Faurè Yes No No Yes Yes Yes No Requiem , Op. 48 Johann Joseph Fux Yes, Benedictus Yes Yes No No No No Emporer’s Requiem separate mvt. György Ligeti No No No No No No No Requiem W.A. Mozart Yes, Benedictus Yes, combined Yes, combined No No No No Requiem , K. 626 separate mvt. w/ Communion w/ Agnus Dei Christopher Rouse Yes Yes No No No No Outside Requiem poetry John Tavener No No No No No No Hebrew, Requiem Sanskrit, Greek, and Arabic texts