Philip Moore Requiem

Promotional copy for reading purposes only

For soprano solo, mixed voices and organ

Vocal score 2

Philip Moore has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identiﬁed as the composer of this work.

First published 2016

Permission to perform this work in public (except in the course of divine worship) should normally be obtained from the Performing Right Society Ltd (PRS) or its afﬁliated Societies in each country throughout the world, unless the owner or the occupier of the premises being used holds a licence from the Society.

Permission to make a recording must be obtained in advance from the Mechanical-Copyright Protection Society Ltd (MCPS) or its afﬁliated Societies in each country of the world.

ISMN 979-0-9002163-6-6

Music and text origination by Timothy Rogers Printed in the UK

Encore Publications Juglans House, Brenchley Road, Matﬁeld, Kent, TN12 7DT, UK www.encorepublications.com 3

Contents page 1. Introit: Requiem 6 2. Kyrie 14 3. Lacrimosa 20 4. Offertory: Domine, Jesu Christe 31 5. Hostias 42 6. Sanctus & Benedictus 49 7. Agnus Dei 60 8. Communion: Lux aeterna 66 9. Responsory: Libera me 74 10. In paradisum 92 4 Scorings This Requiem can be performed with two different instrumentations:

1. for organ 2. for chamber ensemPromotionalble copy Vocal scores are available on sale or for hire/rental from the publisher. Full scores and instrumental parts are available for hire/rental only. Duration about 42 minutes for reading purposes only

Requiem was ﬁrst performed on 18 November 2016 at St Paul's Church, Knightsbridge in a concert given by the BBC Singers, conducted by David Hill. The concert was also broadcast on BBC Radio 3.

Composer’s note I sometimes think that every composer has a requiem waiting to be composed, in the same way, perhaps, as the book we all have waiting to be written. Many of the well-known requiems contain some of the ﬁnest music of a composer’s output. Certainly this is the case with Mozart, Fauré, Duruﬂé, Brahms and Britten, to name only a few. Even the lesser known requiems are of a very high quality. Works such as those by Dvořák, Cherubini and Stanford come to mind.

During the 20th and 21st Centuries there has been an outpouring of requiems in which some composers have chosen to set parts of the standard text. Others have taken Brahms’ example and chosen religious texts that have relevance to life beyond the grave. Some have combined the two.

My own effort has taken time to come to fruition. For some years I considered writing a large-scale work. Eventually I felt that a work that could be sung liturgically, with organ accompaniment, might be the most useful approach. Having taken part, either as a chorus member, conductor or player in no fewer than 12 requiems, those with an eye to inﬂuences will see with clarity the guiding hand of many of them.

Much of the material in my Requiem is based on two motto themes that appear in the ﬁrst eight bars of Requiem aeternam. I have tried to be sparing in my use of divisi and to use contrapuntal writing where it seemed appropriate. I have also attempted to write phrases that are not over long, so that, apart from In paradisum, staggered breathing is, hopefully, not necessary. Some may be surprised at the lively nature of Domine, Jesu Christe. Even a service of requiem can afford to have some lively music, and here I acknowledge freely the energy in both Stanford’s and Mozart’s settings of the same words.

Like many composers of the last 100 years, I have not set the whole of Dies irae. The ﬁnal part of the text, Pie Jesu, was immortalised by Fauré. This probably accounts for its appearance in many requiems since. I have often felt that this part of the text can appear somewhat isolated if it is not linked in any way to the drama of the words that precede it. I have therefore set Lacrimosa, the part of the text immediately preceding Pie Jesu, in order give the latter more meaning. In Paradisum is a later addition to the Requiem text, and was sometimes sung while mourners processed to the graveside. The solemn tread of a funeral procession is suggested by the slow moving pedal line.

Organ registration is left to the player, although there are a few indications about which passages may be played on a solo stop. The voice parts contain some phrasing indications, but there are many other places, not marked, where crescendos and diminuendos may be used freely.

This Requiem is dedicated to the memory of my Mother and Father. They were both talented amateur musicians and gave me every encouragement to pursue a life in cathedral music. 5

Promotional copy for reading purposes only

Biography of the composer Philip Moore was born in 1943. He studied organ, piano, composition and conducting at the Royal College of Music. He also holds a Bachelor in Music degree from Durham University, as well as the diplomas of the Royal College of Organists. During his student years he was Organist and Choirmaster at St Gabriel’s Church, Cricklewood, and on graduating in 1965 he was appointed to the music staff at Eton College. In 1968 he moved to become Assistant Organist at Canterbury Cathedral, and in 1974 he succeeded Dr Barry Rose as Organist and Master of the Choristers at Guildford Cathedral.

In 1983 he succeeded Dr Francis Jackson as Organist and Master of the Music at York Minster, a post he held until 2008, when he was made Organist Emeritus of the Minster. He was also conductor of the York Musical Society for 27 years and performed many large scale oratorios and cantatas, as well as numerous orchestral works.

To mark 50 years of service to Church Music, and to celebrate his retirement, the Archbishop of York bestowed on him the Order of St William. He has also been awarded Honorary Fellowships by the Royal School of Church Music, the Guild of Church Musicians and the Academy of St Cecilia. In 2014 he was awarded an Honorary Doctorate from the University of York. He is active as a composer and recitalist and in 2015 he became President of the Royal College of Organists, a post that is held for two years. In 2016, he received The Cranmer Award for Worship from the Archbishop of Canterbury, in recognition of his contribution to the English choral tradition. 6 Requiem

Words: from Missa pro defunctis Music: PHILIP MOORE (b. 1943) 1. Introit: Requiem

Andante espressivo q = c.72 3 &4 œ œ bœ #œ ˙ bœ b˙ ˙™ nœ œ bœ ORGAN p 3 œ bœ bœ ˙ {? 4 ∑ ∑ Œ Œ œ œ ? 3 Ped. 4 ∑ ∑ ∑ ∑ ∑

6 & ™ ˙™ ˙™ b˙ œ b˙™ #˙™ n˙ ˙ pp ™ ™ {? œ ˙ Promotional˙™ #˙™ copyn˙™ ˙™ for reading purposes only ? ∑ ∑ ∑ ∑ ˙™

A 11 p ° 4 3 S. & ˙ œ 4 ˙ 4 ™ ∑ ∑ A. ˙ œ ˙ œ b˙ ˙ ˙™

Re - qui - em ae - ter - nam ˙ œ ˙ œ ˙ ˙™ T. ? ˙ œ 4 b˙ ˙ 3 ˙™ ∑ ∑ B. ¢ b˙ œ 4 4 p A 4 3 ∑ ∑ 4 ∑ 4 œ & œ #œ œ b˙ ˙™ Org. p 4 3 œ œ {? ∑ ∑ 4 ∑ 4 #œ œ b˙ ˙™ ? 4 3 Ped. ∑ ∑ 4 ∑ 4 ∑ ∑ ∑

17 mf ° 4 3 4 b˙ 4 ∑ Œ Œ œ & œ ˙ œ ˙ ˙ ˙ ˙™ œ

do - na e - is, Do - mi - ne, et ? œ ˙ œ ˙ 4 ˙ ˙ 3 n˙™ bœ ¢ œ ˙ Promotionalbœ ˙ 4 b˙ b˙ 4 ˙™ copy∑ Œ Œ for reading purposes only mf 4 3 bœ ∑ 4 ∑ 4 œ œ œ ˙ ™ & ˙™ ˙ bœ œ ? 4 3 œ œ ˙ ˙™ { ˙™ ∑ 4 ∑ 4 & Man.

f °23 ™ œ™ j ˙ œ Œ œ œ˙ œ œ œ ˙ Œ & œ ˙ œ œ œ œ œ™ J

lux, et lux per - pe - tu - a j ™ œ œ™ œœ œ ˙ ? bœ˙ ˙ œ bœ œ bœ œ œ™ J ¢ Œ Œ f bœ œ œ œ ˙™ & Œ Œ ∑ œ œ bœ

mf f œ bœ {& Œ Œ bœ ∑ ? œ œ œ œ ˙™

°28 mf œ œ bœ ˙ œ ˙ Œ œ bœ œ b˙ Œ 3 & œ œ œ ˙ œ ˙ œ œ œ ˙ œ ˙ 2

lu - ce - at e - is, lu - ce - at e - is, œ œ œ ? œ œ œ ˙˙ œœ ˙˙ œ œœ œœ b˙ œ ˙ 3 ¢ Œ œ Œ 2 mf ˙™ ˙™ œ œ 3 & œ œ ˙™ œ œ bœ œ bœ 2 mf ˙™ ™ œ œ ˙ œ œ ™ œ œ bœ 3 {? ˙ œ bœ 2 8

34 p ° 3 3 &2 b˙ ˙ 4 ∑ ∑ â ˙ ˙˙ Promotional˙ ˙˙™ ˙˙™ ˙ ˙copy™ ä lu - ce - at e - - is. for reading purposes only ? 3 ˙ ˙ ˙ 3 ˙™ ˙™ ˙™ â ¢ 2 ˙ ˙ b˙ 4 ˙™ ˙™ ˙™ ∑ ∑ ä p œ 3 3 œ œ ˙ œ œ ˙ œ œ &2 ˙ ˙ b˙ 4 œ œ b˙

p b˙ ? 3 ˙ ˙ 3 œ ? { 2 & 4 ˙ œ œ œ ˙ œ œ œ œ œ b˙

B 40 Un poco più mosso q = c.84 mf ° 4 3 4 3 4 S. & ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Œ œ 4

et mf 4 3 4 3 4 A. & ∑ 4 4 4 œ œ 4 œ ˙ 4 œ œ œ œ œ œ œ œ œ Te de - cet hym - nus, De - us, in Si - on, mf 4 3 4 3 4 T. & ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Œ œ 4 ‹ et mf œ ? ∑ 4 œ 3 œ œ œ 4 œ œ œ œ 3 ˙ 4 B. ¢ 4 œ œ œ 4 4 4 4 Te de - cet hym - nus, De - us, in Si - on, B Un poco più mosso q = c.84 4 3 ™ 4 ˙ 3 b˙™ 4 & œ œ 4 ˙ 4 ˙ 4 ˙ 4 4 œ ˙ Org. mf ™ ? œ œ œ 4 ˙ 3 ˙ 4 3 4 { 4 4 & 4 4 4 ˙ ˙ ˙ b˙™ ? ∑ 4 3 4 3 4 Ped. 4 ˙ ˙ 4 4 4 4 #˙™ ˙ ˙ ˙™ 9

45 f ° 4 3 œ 4 œ œ œ™ œ ˙ &4 œ œ bœ œ 4 œ œ 4 bœ œ J ∑ ä ti - bi red - de - tur vo - tum in Je - ru - sa- lem. f 4 3 4 j &4 ∑ Promotional4 ∑ 4 bœ œ œ œ œcopy™ œ ˙ ∑ â

for readingvo - t upurposesm in Je - ru - onlysa- lem. f 4 œ 3 œ œ œ 4 œ œ œ œ™ œ ˙ &4 œ œ bœ 4 4 bœ J ∑ ä ‹ ti - bi red - de - tur vo - tum in Je - ru - sa- lem. bœ œ œ œ œf ™ œ ˙ ? 4 3 4 J ¢ 4 ∑ 4 ∑ 4 ∑ â vo - tum in Je - ru - sa- lem. ™ œ 4 ˙ ˙ 3 ˙ 4 ˙ ˙ ww œ œ œ &4 4 4 œ œ œ

f 4 3 4 {&4 ˙ 4 ˙™ 4 ˙ w ˙ ˙ ˙ w ˙ ˙˙ œ ? 4 3 4 œ œ œ œ œ 4 ˙ b˙ 4 ™ 4 ˙ ˙ œ œ ˙

C ff 3 3 °50 œ ˙ œ œ œ œ œ œ ˙ ˙ ˙ S. œ œ œ ˙ ˙ Ó A. & œ ˙ œ œ œ œ œ œ

3 3 Ex - au - di o - ra - ti - o - nem me - am,

3 3 œ ˙ œ œ œ œ œ œœ œ ˙ ˙˙ ˙˙ T. ? Ó B. ¢ ff 3 3 C œ œ 3 3 œ œ œ œ ˙ ˙ ˙ œ œ œ œ & œ œ œ œ #œ œ œ œœ w ˙ ˙ œ

Org. ff ˙ 3 3 w ˙ {& ? œ w w œ œ œ œ œ ? w Ped. ˙ ˙ w w 10

54 f f mf ° Œ œ ˙ #œ œ œ 3 & œ ˙ ˙ œ œ œ œ #œ™ j 4 ∑ ∑ ∑ Jœ ˙

ad te om - nis ca - ro, ca - ro ve - ni- et. f Œ œ ˙ #œ œ œ œ ˙ ˙ œ œ œ œ ™ j 3 ? Promotional copy#œ™ œ ˙ 4 ¢ ∑ ∑ ∑ J for reading purposesf only mf 3 w ˙ ˙ œ œ ˙ 4 & w ˙ ˙ #œw œ ˙ ˙ œw œ œ #œ f ˙ ˙ mf w ˙ ˙ ˙ œ œ ˙ w 3 {? #˙ w w w 4 3 ? ˙ 4 ˙ #˙ w ˙ w w

D 59 3 Tempo I 4 3 4 ™ œ 4 4 & ˙™ œ #œ ˙ bœ b˙ b˙ ˙™ p Org. ™ ™ ™ 3 ˙™ ˙™ ˙™ 4 w 3 ˙™ {? 4 ˙™ ˙™ ˙™ 4 w 4 ˙™ ? 3 4 3 Ped. 4 4 4 #˙™ ˙™ ˙™ w ˙™

64 p ° 4 3 S. & ˙ œ ˙ œ 4 ˙ ˙ 4 ˙™ ∑ ∑ A. ˙ œ b˙ œ œ bœ ˙ ˙™

Re - qui - em ae - ter - nam ˙ œ T. ? ˙ œ 4 b˙ ˙ 3 ˙™ ∑ ∑ B. ¢ ˙ œ b˙ œ 4 4 p 4 3 & ∑ ∑ 4 ∑ 4 #˙ œ œ œ #œ #œ ˙ Org. 4 3 {? ∑ ∑ 4 ∑ 4 œ #œ #œ #˙ œ ˙ œ Man. 11

70 ° 4 3 & œ ˙ œ ˙ 4 b˙ ˙ 4 ˙™ ∑ â œ ˙ Promotionalbœ ˙ ˙ ˙ copyœ ˙ ä do - na e - foris, readingDo -purposesmi - - n e,only b˙ ? œ ˙ œ ˙ 4 b ˙ ˙ 3 ˙™ ∑ ¢ œ ˙ bœ ˙ 4 4 b˙™ äâ

4 3 œ œ ∑ 4 ∑ 4 œ œ ˙ & ˙™ œ œ œ ˙ ? 4 3 œ { ˙™ ∑ 4 ∑ 4 &

75 f ° œ œ ˙ œ œ œ œ œ S. & ∑ Œ Œ Œ

et lux, et lux per - f A. & ∑ Œ Œ bœ œ ˙ œ Œ œ œ œ œ

et lux, et lux per - f œ ˙™ œ œ ˙ œ T. & ∑ Œ Œ Œ ‹ et lux, et lux per - f œ b˙ œ bœ œ bœ œ ? ∑ Œ Œ œ Œ B. ¢ et lux, et lux per - ˙ ˙™ ™ & œ Œ Œ œ ˙œ b˙ œ œ˙ bœ œ

Org. f ™ œ ˙œ b˙ œ œ˙ bœ œ {& ˙™ ? Œ Œ œ ˙ ? ∑ ∑ Œ Œ Ped. œ ˙™ ˙™ 12 80 ff f ° ˙ œ ˙ œ œ œ & Œ ˙™ ˙™ ∑

- pe - tu - a lu - ce - at e - - is, ff f b˙ œ b˙ Œ ∑ & œ œ œ œ œ œ œ ˙ - pe - tu Promotional- a lu - ce - at e - copy- - is, ffœ™ œ œ ˙ f & J for Œreadingœ œ bpurposesœ ˙ œ only˙™ ∑ ‹ - pe - tu - a lu - ce - at e - is, ff˙ œ ˙ f ? bœ œ œ ˙ œ ˙™ ¢ Œ ∑ - pe - tu - a lu - ce - at e - - is, œ œ b˙™ œ ˙œ œ bœ ˙œ™ œ bœ ˙ œ & œ œ œ œ ˙œ œ œ ˙ ˙™ ff œ œ œ f b˙™ ˙œ œ bœ œ˙™ œ œ œ ˙™ ˙™ {? œ œ œ ˙œ ˙ ˙ ? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™

86 mf ° œ œ 3 & œ b˙™ ˙™ ˙ Œ 2 ä

lu - ce - at e - - - - is, mf 3 Œ 2 â & œ œ œ œ œ œ œ ˙ ˙ lu - ce - at e - - - - is, mf 3 & œ bœ œ b˙ œ ˙™ ˙ Œ 2 ä ‹ lu - ce - at e - - is, mf ? ˙ œ b˙™ ˙ 3 ¢ œ œ œ Œ 2 â lu - ce - at e - - is, ™ ˙ œ œ œ œ œ œ bœ œ 3 & ˙™ ˙™ ˙™ œ ˙™ 2

mf œ ™ ™ œ bœ œ bœ œ ˙ ˙ 3 {? ˙™ œ œ œ b˙™ ˙™ 2 3 ? 2 ˙™ ˙™ b˙™ ˙™ 13

90 p ° 3 3 3 S. &2 ˙˙ ˙ 4 ˙™ ˙™ ∑ ∑ 2 A. Promotional˙ ˙˙ ˙™ ˙™ copy lu - ce - forat readinge - -purposesis, only b˙ ˙ T. ? 3 ˙ ˙ 3 ˙™ ˙™ ∑ ∑ 3 B. ¢ 2 b˙ 4 ˙™ ˙™ 2 p b˙ œ 3 ˙ ˙ 3 œ œ ˙ œ 3 &2 ˙ ˙ b˙ 4 ˙™ bœ ˙ œ œ b˙œ œ ˙w ˙ 2

Org. p b˙ n˙ ˙ ? 3 ˙ ˙ ˙ 3 ? 3 { 2 & 4 2 ˙™ ˙™ b˙™ ˙™ ˙™ ˙™ b˙w ˙ ? 3 ˙ 3 3 Ped. 2 ˙ b˙ 4 ˙™ ˙™ ˙™ w 2

E 95 pp un poco rall. ° 3 3 3 3 &2 4 ˙™ ˙™ ∑ 2 ∑ 4 ∑ ∑ ˙ ˙ ˙ ˙™ ˙™

lu - ce - at e - - is. ? 3 ˙ ˙ 3 ˙™ ˙™ 3 3 ¢ 2 ˙ 4 ˙™ ˙™ ∑ 2 ∑ 4 ∑ ∑ pp E œ un poco rall. 3 ˙ ˙ 3 œ œ œ 3 3 &2 ˙ ˙ ˙ 4 ˙ #œ ˙ ˙ #œ ˙ 2 b˙ b˙ 4 ™ ™ ˙ œ ˙ œ œ ˙ b˙ b˙ œ n˙™ ˙™ pp ˙ 3 ˙ 3 ˙™ ˙™ ˙™ 3 w™ 3 {? 2 ˙ ˙ ˙ 4 ˙™ ˙™ ˙™ 2 w™ 4 ˙™ ˙™ ˙ ˙™ ˙™ 3 3 3 3 ? 2 4 2 4 w ˙ ˙™ ˙™ ˙™ w™ ˙™ ˙™ 14 2. Kyrie

Andante dolente q = c.76 SOPRANOS p ° b4 j ˙™ S. &b 4 Œ Œ ∑ ∑ Ó Œ œ œ™ œ œ œ œ

Ky - - - ri - e e - bb4 Œ Œ ∑ ∑ ∑ ∑ ∑ A. ¢& 4

Andante dolente q = c.76 ™ bb4 œ b˙ œ œ™ œ œ œ & 4 œ J œ w b˙ w wœ œ œ

Org. p ? 4 ˙ œ œ œ œ w { bb4 Œ Œ ∑ ∑ Ó ˙ w w

Man.

°6 b p j &b bœ œ ˙ ∑ ∑ Ó Œ œ œ™ œ œ œ ˙™ œ

- le - i - son, Ky - - ri - e e - b ALTOS p j ¢&b Ó Œ Promotionalœ œ™ œ ˙ ∑ ∑ copy∑ ∑ e - le -fori- so nreading, purposes only b œ œ j &b œ œ bœ œ™ œ œ œ w œ œ œ œ œ œ w œ œ œ w ˙ œ œ bw w w œ œ

? w w ˙ œ œ œ œ w w { bb œ œ bœ œ w ˙ ˙ w w w ˙

12 mf ° b bœ™ œ œ bœ j &b J œ œ ˙™ ∑ ∑ Ó Œ œ œ™ œ œ œ

- le - - - i- son, Ky - - ri - b p ¢&b ∑ Ó Œ œ œ œ ˙™ ∑ ∑ ∑ e - le-i- son, j j bb ™ ™ ™ œ œ bw œ œ bœ & wœ œ œ œ wœ œ ˙ w˙ œ ˙œ œ b˙ œ œ ˙ bwœ j mf œ™ œ œ b˙ ˙ n˙ w {?bb œw œ bœ œ w w œ ˙ b ˙ w w 15 °18 fj ™ bœ ™ bb ˙ ‰ œ œ œ bœ œ œ b˙ œ œ™ œ œ œ œ w ˙™ Œ & J J ä - e, Ky - - ri - e e - le - i - son. b mf j ¢&b ∑ Promotional∑ ∑ Ó Œ copyœ œ™ œ œ œ ˙™ Œ â e - le - i - son. b j &b œ œ ˙ ˙ ˙ œ œ œ bœ œ nœ œ w wœ™ œ œ nœ œ nœ ˙ b˙ forn˙ readingw purposesbw œ only˙ ˙

f mf w ˙ bb˙ w œ nœ œ œ ˙ ˙ ˙ b˙ {?bb œ œ ˙ ˙ w ˙ ˙ b˙

24 A Un poco più mosso q = c.80 ° b ∑ ∑ ∑ ∑ S. &b ∑ ∑ œ A. nœ ˙ œ œ œ œ nœ œ nœ ˙ œ Œ Ó p Chri - ste e - le - - i - son, ˙ ˙ œ œ b˙ œ bœ ˙ œ T. ? b ∑ ∑ b ˙ œb œ ˙ œ Œ Ó B. ¢ b p j A Un poco più mosso q = c.80 œ™ b œ œ™ œ w œ nœ œ bœ œ œ œ &b ˙™ œ œ œ ˙™ œ Œ Ó ∑ Ó J

p Org. œ œ wœ nœ w œ {?bb Œ Ó ∑ ∑ ∑ ? b ∑ Ó Œ Ó ∑ ∑ ∑ Ped. b ˙ œ

°30 bb ∑ ∑ ∑ ∑ ∑ â & œ nœ ˙ œ œ œ œ nœ œ œ nœ ˙ œ Œ Ó ä

Chri - ste e - le - - - i - son, ˙ ˙ œ œ n˙ bœ œ ˙ œ ? b ∑ ˙ ˙ œ œ n ˙ œ œ ˙ œ Œ Ó ¢ b äâ œ™ œ œ b w œ nœ œ J bœ œ &b Ó ˙ œ Œ Ó ∑ Ó

˙ œ {?bb Ó Œ Ó ∑ ∑ ∑ ? b Ó Œ Ó ∑ ∑ ∑ b ˙ œ 16 °35 b S. &b ∑ ∑ ∑ ∑ ∑

mf bb ∑ Ó j ‰ j œ A. & œ œ n˙ ˙ œ œ œ™ œ œ œ œ PromotionalChri - - ste copye - le - - - - - mf œ bb ∑ Ó ˙ ˙ ˙ œ ‰ œ œ™ nœ œ œ T. & for readingœ œ purposes onlyJ J ‹ Chri - - ste e - le - - - mf œ œ ? b ∑ Ó œ œ ˙ ˙ w œ ‰ œ B. ¢ b J Chri - - ste e - le - i - ™ j bb œ ˙ nœ œ œ w œ Œ Ó ∑ ∑ & Œ ˙ nœ bw œ

Org. mf ? ˙ œ ww œœ { bb Œ ˙™ Œ Ó ∑ ∑ ? b Œ Œ Ó ∑ ∑ Ped. b ˙ œ w œ

un poco rall. B Tempo I °40 b mf j &b ∑ ∑ ∑ Ó Œ œ œ™ œ œ œ

Ky - - - ri - p mf bb ∑ ∑ ∑ Œ j & nœ œ ˙ bœ œ™ œ - i - son. Ky - - b p &b œ œ ˙ ∑ ∑ ∑ ∑ ‹ - i - son. p ? b w ¢ b ∑ ∑ ∑ ∑ son. ™ j un poco rall. B Tempo I œ œ ˙ œ œ œ œ œ™ j bb Ó nœ ˙ œ bw œ œ bœ nœ œ & Œ b w b w nœ œ ww p mf ˙™ bw w œ œ œ œ {?bb ∑ Œ ˙™ w w ? b b ∑ Œ ˙™ bw w w 17

45 ° b bœ™ œ œ bœ &b ˙™ œ J œ œ ˙™ œ Œ Ó

- e e - le - - - - - i - son, b j &b œ œ b˙ œ œ bœ™ œ bœ œ œ œ œ œ Œ Ó - ri - e Promotionale - le - - - - copy- i - son, mf bb Ó Œ œ forœ™ readingœ œ bœ purposesœ™ œ ˙ only œ Œ Ó & J J ‹ Ky - - ri - e e - le - i - son, mf ? b ∑ Œ bœ œ œ™ œ œ œ b˙ œ Œ Ó ¢ b J Ky - ri - e e - le - i - son, b bœ bœ™ œ &b ˙˙ #˙ w bœ™ nœ w œ œ œ J ˙ ˙ bœ œ J œ œ bœ œ

? b œ œ ˙ bw w œ j { b w w œ & ™ œ bœ bœ œ ? b Œ Ó b b˙ bœ œ ˙™ œ b˙™ bœ œ

°49 f bb ∑ Ó Œ œ œ™ œ œ bœ ˙™ œ & J Ky - - - - ri - e e - f b j &b ∑ ∑ Œ nœ #œ™ œ #œ #œ ˙ Ky - - - - ri - e f b œ &b ∑ ∑ ∑ Ó Œ ‹ Ky - ? b ¢ b ∑ ∑ ∑ ∑

b b˙ nn˙ œ b˙ bœ n˙œ b˙œ ˙ ˙ &b ˙ ˙ œ ˙ œ n ˙ œ b ˙ œ b˙ ˙ f nœ b nn˙œ # ˙ œ nœ ˙ {&b b˙ n˙ œ b˙ ? n˙ bw b ˙œ bœ n ˙ œ ˙ bœ œ ? b Ó Œ œ™ bœ bœ Œ j b J bœ w nœ #œ™ #œ 18 C 53 ° b nœ™ #œ œ nœ #œ ˙™ œ &b J #œ Œ Ó ∑

- le - - - - - i - son, b j &b œ #œ Promotionalœ™ œ œ #œ œ œ œ œ ŒcopyÓ ∑ e - le - - - - - i - son, b bœ™ œ œ bœ bœ™ œ ˙ œ &b J for readingJ purposesŒ onlyÓ ∑ ‹ - - ri - e e - le - i - son, f ? b nœ œ #œ™ œ #œ #œ ˙ œ ¢ b Œ J Œ Ó ∑ Ky-ri - e e - le - i - son, C nœ™ ˙ ˙ bb n˙ nœ #˙ nœ #œ nœ #œ œ ##˙ bn˙ & n ˙ #˙ œ n œ # œ #œ ˙™

ff # ˙ w œ ? b nn˙ #˙ œ #œ ˙ œ { b & nœ™ ˙ ˙ #œ nœ #œ œ ##˙ bn˙ ? œ nœ œ bb ˙ #w ˙ Ó Œ #œ #œ

57 ff ° b bœ œ™ bœ œ bœ b˙™ œ œ™ œ œ &b Ó Œ J J nœ Ky - - - - ri - e e - le - i - son, ff b bœ œ™ bœ ™ &b Ó Œ J œ œ w ˙ Œ Ky - - - - ri - e ff mf b bœ œ™ bœ œ bœ bw ˙ œ &b Ó Œ J Œ ‹ Ky - - - - ri - e Ky - ff bœ œ™ bœ œ œ w ˙™ ? b J ¢ b Ó Œ Œ Ky - - - - ri - e œ ˙ œ bb œ b˙ œ b˙ n˙ w bœ & b ˙ nn ˙ bœ œ bœ ˙˙ bb˙ ˙ b bb˙ n n˙ ww b˙ ˙ {&b œ ˙ ? n ˙ b w ˙ œ œ œ b˙ bœ ™ œ b˙ ?bb œ J œ œ bœ œ w w 19 mf p °61 b &b w ˙ Œ nœ ˙™ nœ ˙ ˙ w e - le - - - - - i - son. b mf j p &b Ó Œ œ ™ œ œ™ ‰ Promotionalœ œ œ ˙ copy˙ œ œ nw e - le - - i - son, e - - le - i - son, p bb œ™ œ œ nœ for˙ readingœ ‰ œ ˙purposes˙ onlyœ™ ‰ & J J ˙ ˙ ˙ ‹ - - ri e e - le i - - son, e - le - i - mf ™ œ p ? b nœ œ œ œ œ œ ˙ ˙ ¢ b ∑ Œ J J ‰ w e - le - i - son, e - le - i - son. b &b nw wœ ˙ ˙ Ó ∑ n˙ ˙ w œ œ œ w ˙

mf p œ n˙ ˙ ˙ w ˙ {?bb wœ ˙ w ˙ Ó ∑ ? b b bw w w ˙ Ó ∑

°66 b &b w ∑ ∑ ∑ ∑ ∑

b Solo ad lib. pp tenuto &b ∑ ∑ Ó Œ w nœ œ nœ ˙ w e - le - i - son. b &b w ∑ ∑ ∑ ∑ ∑ ‹ son. ? b ¢ b w ∑ ∑ ∑ ∑ ∑

bb ˙ ∑ ∑ & œ œ w b˙ ˙ w pp œ œ bœ bw nw {?bb ∑ Œ ∑ ∑

?bb ∑ ∑ ∑ ∑ ∑ ∑ 20 3. Lacrimosa

Andante doloroso q = c.72 b3 4 3 4 5 3 &b 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 œ œ œ œ œ 4 p Org. bœ ˙ ™ 3 œ™ œ 4 ˙ 3 œ œ œ 4 n˙ 5 bb˙™ b˙˙ 3 {?bb4 J 4 #˙ 4 4 4 4 Man.

6 b3 4 3 4 3 &b 4 œ bœ œ 4 4 œ 4 4 ˙ ˙ œ œ ˙ b˙ w Org. ˙™ w ™ 3 b˙ 4 ˙™ œ 3 bb˙™ 4 n˙ œ bœ w 3 {?bb4 4 4 4 œ œ w 4 ? b3 ∑ 4 ∑ 3 ∑ 4 ∑ Ó 3 Ped. b 4 4 4 4 ˙ 4

A SOPRANOS °11 p bb3 œ ™ j 4 3 4 œ™ bœ œ 3 S. ¢& 4 œ œ 4 b˙ ˙ 4 œ nœ œ 4 b˙ 4 â La - cri - mo - sa — di - es il - - la, à b3A 4 3 4 3 &b 4 Promotional4 4 copy4 4 œ˙™ œ œ œw bœ bœ œ nœ˙™ œ œ œw bœ bœ œ Org. for reading purposes only 3 ˙™ 4 b˙ œ œ 3 ˙™ 4 b˙ b˙ 3 {?bb4 ˙™ 4 w 4 ˙™ 4 w 4 ? b3 4 3 4 3 Ped. b 4 ˙™ 4 w 4 ˙™ 4 w 4

15 ° b3 nœ œ 4 œ™ bœ ˙ 3 œ 4 5 S. &b 4 œ 4 J 4 œ œ bœ 4 ˙ ˙ 4 Qua re - sur - get— ex fa - vil - - la, à p bb3 4 3 4 5 A. ¢& 4 œ ™ j 4 4 4 œ™ bœ œb˙ 4 œ œ b˙ b˙ œ nœ œ La - - cri - mo - sa — di - es il - - la, à b3 4 3 4 5 &b 4 ˙™ 4 w 4 ˙™ 4 4 œ œ œ bœ œ œ œ bœ œ œ b˙ b˙ Org. 3 œ nœ œ 4 n˙ b˙ 3 ˙™ 4 w 5 {?bb4 n˙™ 4 b w 4 ˙™ 4 w 4 ? b3 4 3 4 5 Ped. b 4 ˙™ 4 w 4 ˙™ 4 œ b˙ œ 4