Time Suspended: the Crossroads of Ancient Orthodox Liturgical Music with English Experimental Technique in the Works of Composer, Conductor, and Priest Fr Ivan Moody

Home , Amarcord (ensemble), Cappella Romana, Chanticleer (ensemble), Choir (architecture), Ivan Moody (composer), John Tavener

Time suspended: The crossroads of Ancient Orthodox Liturgical Music with English experimental technique in the works of composer, conductor, and priest Fr Ivan Moody

A document submitted to the Graduate School of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Ensembles and Conducting Division of the College-Conservatory of Music

2018

Kevin L. Coker

B.M.E., Belmont University, 2004

M.M., Florida State University, 2009

Committee Chair: Dr. L. Brett Scott, D.M.A.

i ABSTRACT

This document has four major aspects. The first chapter will outline the life of internationally-known composer Fr Ivan Moody. The biography will focus on Moody’s educational experiences and influences; his commentary on music, theology, and composition; and his service as a priest in the Russian Orthodox Church. The second chapter examines the impact of Orthodox practices on Fr Moody’s music. This chapter focuses on Orthodox rite practices, requirements of music within these conventions, and their influence on Moody’s compositional output. A brief discussion on Moody’s theological writings on mystical music is also included. Moody has composed a wide variety of choral works, and the third chapter will delve into his compositional influences and practices. This chapter will draw connections between educational and theological influences and their role in the development of Moody’s unique compositional voice. Each aspect is reflected through dialog and analysis of musical examples from various periods of his compositional career. The final chapter contains an annotated catalogue of Moody’s extensive choral output. The catalogue is organized chronologically and contains information pertaining to duration, inception, forces, text, and premiere performance.

iii I would like to offer my appreciation for several people who have supported me throughout this endeavor.

Thank you to the Tangeman Sacred Music Center and University of Cincinnati College- Conservatory of Music for providing funding which made this research possible.

Fr Ivan Moody: Thank you for giving generously of your time. Your kind spirit and candor have made this a most enjoyable experience. I will always remember our time together in Cascais and Estoril which was filled with wonderful food and stimulating conversation. I am thankful for our continued friendship and look forward to future collaborations.

Dr. Eva Floyd: Thank you for being a role model for effective teaching. Your instructional technique is something I strive to imitate in my own instruction. You are a truly inspirational educator, and I am grateful for your encouragement throughout this process. I am a better teacher, writer, and person because of your guidance.

Dr. Earl Rivers: From our first meeting, your constant belief and support of me has made this journey possible. Thank you for inviting me to be a part of the graduate studies program at CCM and entrusting me with the University of Cincinnati Men’s Chorus. It has been an honor to learn from you, and I am a better conductor, musician, and teacher due to the opportunities you created for me.

Dr. L. Brett Scott: Thank you for all the time and energy you provided in supporting the development of this document. Your insightful comments, patience, and support of this research allowed this document to come to fruition. Thank you also for your ongoing guidance and encouragement throughout my coursework and beyond. Your support has taught me just as much about genuine mentorship and friendship as it has good writing.

This journey would not have been possible without the support of wonderful friends and family. I am grateful to Paul Mayhew, who provided editing, encouragement, and numerous conversations throughout the proposal and writing of this document. You are always in my corner and Emma, Becky, and I are fortunate to have you in our lives. Thank you to my parents who instilled a desire to work hard and a follow my dreams. Words cannot express the gratitude I have for you both, and I am thankful for the wonderful relationship we have. Finally, thank you to my wife, Becky. Without your unwavering support, this would have not been possible. I am fortunate to have you as a partner in this journey and am excited for adventures to come.

iv Table of Contents

Chapter 1 A musical biography of Ivan Moody 1

Chapter 2 Theological convention and its implication on Moody’s 9 compositional voice

Chapter 3 Moody’s compositional influences and practices 15 Analysis of selected choral works

Canticum Canticorum I, II, III, and IV 17

Hymn of the Transfiguration 23

The Meeting in the Garden 25

Passion Populare 28

Angel Vopiyashe 31

Chapter 4 An annotated catalogue of Moody’s choral compositions 34

Bibliography 86

Appendix I Prepared interview questions for Moody 88

v List of Figures

Figure 1 Canticum Canticorum I 53 Figure 2 Canticum Canticorum II 54 Figure 3 Canticum Canticorum IV 55 Figure 4 Canticum Canticorum II 56 Figure 5 Canticum Canticorum II 57 Figure 6 Canticum Canticorum II 58 Figure 7 Canticum Canticorum II 59 Figure 8 Canticum Canticorum II 60 Figure 9 Canticum Canticorum I 61 Figure 10 Canticum Canticorum I 62 Figure 11 Canticum Canticorum II 63 Figure 12 Canticum Canticorum IV 64 Figure 13 Canticum Canticorum IV 67 Figure 14 Hymn of the Transfiguration 68 Figure 15 Hymn of the Transfiguration 69 Figure 16 Hymn of the Transfiguration 69 Figure 17 Hymn of the Transfiguration 70 Figure 18 The Meeting in the Garden 70 Figure 19 The Meeting in the Garden 71 Figure 20 The Meeting in the Garden 71 Figure 21 The Meeting in the Garden 72 Figure 22 The Meeting in the Garden 73 Figure 23 Passion Populare 73 Figure 24 Passion Populare 75 Figure 25 Passion Populare 77 Figure 26 Passion Populare 78 Figure 27 Passion Populare 78 Figure 28 Passion Populare 79 Figure 29 Passion Populare 79 Figure 30 Angel Vopiyashe 80 Figure 31 Angel Vopiyashe 81 Figure 32 Angel Vopiyashe 82 Figure 33 Angel Vopiyashe 82 Figure 34 Angel Vopiyashe 84 Figure 35 Angel Vopiyashe 85

vi CHAPTER I

Introduction

Ivan Moody is an English composer, choral conductor, and musicologist. Born in

London in 1964, Moody has studied composition at London University with Brian Dennis, at

York University with William Brooks, and in private study with renowned composer Sir John

Tavener. His relationship with Tavener, a prolific composer of religious choral works, and his exposure to Eastern liturgical chant have had a profound influence on his music. Fr Moody’s compositions blend Eastern liturgical chant and Greek Orthodox Church styles with elements of sixteenth-century polyphony, invoking a sense of the icons of the Eastern Orthodox Church, though his is far from limited to these resources. Although his output is primarily vocal, Moody has several works scored for Renaissance and Baroque instruments and has written a large number of works for orchestral forces. His works have gained considerable recognition through performances by ensembles and performers dedicated to early music such as The King’s Singers and the Hilliard Ensemble. His most frequently-performed work, Canticum Canticorum I, was written for and premiered by the Hilliard Ensemble in 1987. Fr Moody’s compositions have been performed across Europe, Japan, the United States, and South America by such ensembles as the Tapiola Choir of Finland and the Estonian Philharmonic Chamber Choir.

Early Life and Education

Although Moody was born in London, his family relocated to the Essex countryside when he was five years old, a shift from city life to rural countryside near the sea that Moody describes as playing a large role in the development of his creative imagination. His parents were not trained musicians, but they were lovers of music, and there was always music in the household. Moody’s father had a substantial record collection including Beethoven

1 symphonies, Tchaikovsky’s 1812 Overture, and works of Sibelius’ works. These were Moody’s first exposure to classical music, and he soon began borrowing recordings from his father’s collection. Moody also listened to contemporary music and jazz programs on BBC Radio 3 during his childhood. This attraction to various forms of classical and contemporary music continued to flourish throughout his primary and secondary education where Moody sang in the school choir, received music instruction, and piano and recorder lessons. Later, he took trumpet lessons for a brief time, but found more enjoyment playing the double bass.

From an early age, Moody had an affinity for languages, and his early compositions reflect a wonderful blend of his love for language and passion for music. As a young boy, he intended to study French and Spanish at the university level to become a translator; however, one particular evening, Moody recalls listening to a program with Anthony Hopkins. Hopkins was analyzing a Debussy song for voice and piano and elaborating on how the music reflected the poetry. Moody was thirteen at the time, and this analysis helped him to see how music could be reflective of text. This program spurred Moody to write his first composition, a setting of

William Blake’s poem, The Garden of Love. Following this formative experience, Moody decided he would go to the university to study music. From this point forward, Moody was set on a trajectory that would lead him to composing, conducting, and writing on music.

Formal Compositional Training and Professional Beginnings

Moody studied music at Royal Holloway College, a constituent college of London

University located in Surrey, England. During his second year of study, he began studying composition with English experimentalist Brian Dennis and became particularly interested in

Renaissance music, which began to lay the framework for his style of blending Renaissance and twentieth century compositional traits in his own works. In his third year at Royal Holloway,

2 Moody wrote to Sir John Tavener requesting private composition lessons. In his interview with journalist James Altena, Moody said Tavener was “… the only composer in Britain at that point with whom I thought I could learn to shape my own musical voice.”1 Tavener consented, and

Moody began taking regular lessons with him. Tavener instilled the idea that music – particularly choral music – should be as transparent as possible and that all nonessential notes should be discarded. These lessons influenced Moody’s compositional style well beyond his early works in the 1980s and into the present day. The conversations during their lessons expanded into theology, including extraordinarily wide-ranging conversations on the decadence of the West and its influence on Orthodox thought. It was also during this third year that Moody founded his own choral ensemble, Voces Angelicae, later known as the Kastalsky Chamber

Choir, which primarily focused on the performance of Renaissance and Orthodox music. This ensemble went on to perform several of Moody’s compositions and to give the London premieres of parts of Tavener’s Orthodox Vigil Service.

In 1994, Moody relocated to Estoril, Portugal, and in 2005 began his doctoral studies at the University of York in York, England where he studied with William Brooks. Moody maintained his primary residence in Portugal throughout his study and would make frequent trips to England. During his doctoral studies, Moody began experimenting with heterophonic techniques, the simultaneous varying of a single melodic line either by rhythmic or melodic variation. Following his graduation from York, he was approached by the head of the research unit CESEM at the Universidade Nova in Lisbon about doing post-doctoral work. The result was a series of articles that eventually were consolidated to form his book Modernism and

Orthodox Spirituality in Contemporary Orthodox Music.

1 James Altena, “Mystical Light from Arctic Climes: An Interview with Fr. Ivan Moody, Composer, Conductor, Musicologist, Priest,” Fanfare, 03/01/2014, 99-103.

3 Conversion to Orthodoxy

A significant landmark in Moody’s life was his conversion to Orthodoxy at the age of 23 when he became a member of the choir of the Russian Orthodox Cathedral in London. He served as cantor in both Greek and Bulgarian parishes and served as a cantor in Lisbon for 20 years. In 2007, several members of the parish in Lisbon wrote to the bishop on Moody’s behalf asking that he be ordained. The request was granted, and Moody was ordained deacon and later priest in the same year. The church restructured to sanction a new parish, St. John the Russian in

Estoril, Portugal. This was Fr Moody’s first appointment as priest, and he continues to serve at this parish. Moody’s conversion to the Orthodox religion played a large role in his compositional voice. The entire Orthodox service is chanted, even if it is just on a recitation note, though in

Greek practice psalms and some other texts are more usually read in a speaking voice. The singing within Russian Orthodox services is grounded in several forms of chant, which serve as the basis for both monophonic and polyphonic liturgical music for the service. When Fr Moody was asked about how he came to write liturgical music, he replied, “Well, being a composer already and then becoming Orthodox, I suppose it was inevitable.” Orthodox services revolve around music and cannot be completed without it. This marriage of Orthodox theology and liturgical music grounded firmly in chant creates an ideal environment for Moody’s compositional style.

It is also imperative to delineate that instruments are not permitted in Orthodox liturgical music. This restriction is founded upon the idea that the human voice is the only way to praise

God, much like the American Sacred Harp tradition. This single restriction plays a profound role in Fr Moody’s compositions.

4 Musicological and Theological Writings

Moody has numerous publications in the fields of musicology and theology. He regularly contributes to Gramophone and International Record Review, and has published articles on both contemporary and early music in periodicals such as Contact, Composer, Musical Times, and

Contemporary Music Review.2 Moody has also edited a large number of performing editions of sacred music. His performance editions include sixteenth-century music from England, Spain,

Portugal, Mexico, and Russian Orthodox repertoire. In addition to his music editions, Fr Moody has published research on prominent twentieth-century composers, Greek Orthodox church music, and twentieth-century contemporary music from Russia and the Balkans. Because of his scholarly activity in these areas, Moody has served as musicological and program consultant for such performers as The Tallis Scholars, The Sixteen, the Orlando Consort, the Hilliard

Ensemble, and the Westminster Cathedral Choir.

Fr Moody is well-published in the field of theology and has written on several topics surrounding Orthodox Church music. In his book, Modernism and Orthodox Spirituality in

Contemporary Music, Moody explores “what happens when musical modernism and the spirituality of the Church meet each other.”3 He identifies the conflict between traditional

Orthodox music, where there is “no room for imagination of the individual; rather, the artist becomes a channel for the reception and transmission of divine realities,”4 and the uniting

Modernism view that the “untried is markedly superior to the familiar, the rare to the ordinary,

2 www.ivanmoody.co.uk 3 Ivan Moody, Modernism and Orthodox Spirituality in Contemporary Music (Estonia: International Society for Orthodox Church Music and the Serbian Science Academy, 2014), 9. 4 Ivan Moody, Modernism and Orthodox Spirituality in Contemporary Music (Estonia: International Society for Orthodox Church Music and the Serbian Science Academy, 2014), 21-22.

5 the experimental to the routine.”5 This intersection has influenced the works of several composers who wrote within the framework of Orthodox theology including Igor Stravinsky,

Galina Ustovolskaya, Sofia Gubaidulina, Arvo Pärt, John Tavener, and Ivan Spassov. Moody’s writing highlights the intersection of modernism through these composers’ works.

In his 1995 article, Music as a Sacred Art, Moody elaborates on the challenges of modern composers choosing to compose in any kind of sacred tradition. He states:

“The frequently expressed idea that the constant search for new, for ‘originality’,

which has formed so much a part of the cultural history of the twentieth century

has taken music to a point at which it is an intellectual conceit for the composer,

leaving the listener in a state of bewilderment, as a very specific application to

those concerned with the writing of sacred music. For this unremitting attempt to

create something entirely new has a consequence precisely opposed to the

purpose of sacred art, in that it of necessity requires the exaltation of the ego of

the artist, and as a further consequence of this, the elevation of man to the place of

God.”6

This realization of ego and a composer’s personal desires applied to their compositions is a running theme throughout Moody’s writings. He elaborates that if a composer wants to truly develop music composed within a sacred tradition, they must first come to terms with a creative relationship with sacred chant. Moody cites chant as the ‘innocence’ of sacred musical art.7

This ‘innocence’ is the primary basis upon which sacred traditions may be continued and built upon to create new and truly divine art deprived of vanity. To strengthen his stance, Moody

5 Peter Gay, Modernism: The Lure of Heresy from Baudelaire to Beckett and Beyond (London: Heinemann, 2007), 2. 6 Ivan Moody, “Music as a Sacred Art,” Contemporary Music Review 12 (1995): 23. 7 Ivan Moody, “Music as a Sacred Art,” Contemporary Music Review 12 (1995): 23.

6 returned to the words of his teacher, John Tavener, as he pointed out, “theology (in any tradition) cannot be used – it must ‘use’ us.”8

It is imperative to specify that Fr Moody is referencing music created for the context of the liturgy. The hidden assumption in the literature is that works outside the context of the liturgy are more worthy of examination or that they transcend in ways that chant cannot. This leads to a view of the role of chant being purely functional. Jeanette Winterson draws a similar comparison to visual art by stating, “Canonizing pictures is one way of killing them. When the sense of familiarity becomes too great, history, popularity, association, all crowd in between the viewer and the picture and block it out. Not only pictures suffer like this, all the arts suffer like this.”9

Moody questions whether such a view might possibly be true if applied to music. Is it possible that concert music speaks “more directly of the sacred than music designed specifically for the words of the liturgy, sung in liturgical time and space?”10 He comments that the success of paraliturgical music such as that by Sir John Tavener, Arvo Pärt, James MacMillian and others could be seen as a supporting view; however, it cannot function as a general rule for all liturgical works. To strengthen his argument, Moody asserts that if this truly were the case, then the Church would never have become so involved in questioning and defining the proper use of liturgical music through the council of Trent and Vatican II.11

Although Fr Moody has written extensively on Orthodox Church Music, he rarely provides public commentary on his own compositions. The most detailed offering is found in an

8 Ivan Moody, “Music as a Sacred Art,” Contemporary Music Review 12 (1995): 25. 9 Jeanette Winterson, Art Objects: Essays On Ecstasy and Effrontery (London: Jonathan Cape, 1997), 12. 10 Ivan Moody, “The Seraphim Above: Some Perspectives On the Theology of Orthodox Church Music,” Religions6 (2 April 2015): 350-64, hit;://www.mdpi.com/journal/religions. 11 Ivan Moody, “The Seraphim Above: Some Perspectives On the Theology of Orthodox Church Music,” Religions6 (2 April 2015): 350-64, hit;://www.mdpi.com/journal/religions.

7 examination of his Passion and Resurrection (1992).12 Fr Moody discusses the mysticism of time suspended and harmonic stasis within the work. He draws comparisons between iconography and the separate movements from the Passion as they can be “expressed as a series of stylized ritual scenes in the manner of ikonstasis (ikon screen) in a church.”13 Moody is also quick to point out his belief that music cannot actually be an ikon. The final item highlighted is his selection of text for Passion and Resurrection. Fr Moody elected to employ three languages,

English, Greek, and Church Slavonic. Setting texts from multiple languages is representative throughout Moody’s compositions. Each has symbolic meaning. In this case, the languages represented the three elements (liturgical, musical, and linguistic) upon which he could draw in the tradition of Orthodoxy in England.

12 Ivan Moody, “The Mind and the Heart: Mysticism and Music in the Experience of Contemporary Eastern Orthodox Composers,” Contemporary Music Review 14 (20 Aug 2009): 65-79, accessed February 20, 2017, http://dx.doi.org/ 10.1080/07494469600640291. 13 Ivan Moody, “The Mind and the Heart: Mysticism and Music in the Experience of Contemporary Eastern Orthodox Composers,” Contemporary Music Review 14 (20 Aug 2009): 65-79, accessed February 20, 2017, http://dx.doi.org/ 10.1080/07494469600640291.

8 CHAPTER II

Theological Convention and Its Implications on Moody’s Compositional Voice

The Orthodox Church service is deeply connected to music. David Drillock, Professor of

Liturgical Music, Emeritus at St. Vladimir’s Orthodox Theological Seminary writes,

“When Orthodox worshippers gather together as the Church of God they truly believe that not only is Christ there in the midst of them, but so is the whole church as the body of Christ (1 Corinthians xii.27), including the dead and especially the saints and the angels. Worship here on earth is joined with the heavenly worship. Singing brings the inhabitants of heaven and earth together in a common assembly where there is one thanksgiving and one joyful chorus.”14

All liturgical services within the Orthodox Church are performed through extensive singing and chanting. In many instances, the chant is carried by the priest or cantor with the congregation signing when possible. As mentioned in Chapter 1, instruments are not permitted in Orthodox liturgical music, thus, all music within the service is unaccompanied with the exception of some

Greek Orthodox churches in the United States.

The Orthodox Rite is highly regulated, and liturgical convention and traditions have greatly impacted Moody’s compositional output. Three types of works can be identified within

Moody’s sacred music. The first type is liturgical works which are intended for use within worship and follow the official liturgical canon. The second type is para-liturgical works, are defined as music that can be used within worship that does not follow the official liturgical canon. The third type is concert works that utilize a sacred text but were not conceived to function within the worship service. Of these three, the largest number of Moody’s works are considered liturgical works. The predominance of liturgical works in Moody’s catalogue impact his compositional tendencies related to the use of chant, forces, languages, and texts.

14 David Drillock, Orthodox Church (Grove Music Online. Oxford Music Online: Oxford University Press).

9 A key theological element of liturgical music within the Orthodox Church is the origin of chant. Byzantine mystical thought stressed the belief that angels transmitted chants from one order rank to the next until they were received by the hymnographer. Once received, these chants were “viewed as ‘echoes’ or ‘models’ of the heavenly songs and serve as the foundation for all musical creativity.”15 Byzantine chant continues to serve an integral role in both liturgical and para-liturgical works, and Moody frequently returns to Byzantine chant and various other types of chant as the basis for his compositions.

Moody uses chant to provide a solid framework for his melodies. It is important to stipulate that chant serves as a framework because he frequently strays from traditional chant melodies or uses only fragments of a chant. Moody also has compositions that sound like chant, but are completely newly composed in his own melodic style much like the writings of Duruflé and Pärt. Moody’s music arises from melody. He considers melody to be the most important aspect of music, and harmonies are derived from the melody during his compositional process.

Moody’s practices align with the Orthodox belief that chant serves as ‘the foundation for all musical creativity.’ While Moody is hesitant to say that his melodic style is influenced by chant, utilizing chant allows him to symbiotically intertwine various types of chant with his own original melodies to create a unique liturgical composition.

The restriction pertaining to the use of instruments within the Orthodox Church service has had a profound impact on Moody’s choral output. Removing instrumentation from the palate of colors available can confine a composer’s ability to effectively create their ideal product. However, Moody is uniquely equipped for composing in such a manner due to his

15 David Drillock, Orthodox Church (Grove Music Online. Oxford Music Online: Oxford University Press).

10 educational background and training. Moody specifically cites the impact Sir John Tavener had on his compositional voice as it relates to transparent textures.

“I discovered that you could actually write much more transparent music when I was studying with Tavener. He was an absolutely massive influence on me and my music became much simpler and much more texturally sparse.”16

Subsequently, it appears that his compositional training with John Tavener allows Moody to thrive within the constraints of composing strictly for human voices without accompaniment.

Moody cites Orthodox sacred rites and practices as having a huge impact on the texts he chooses to set. The connection to text delves deeper than the relationship between text and

Orthodox liturgy. Moody’s music revolves around the focal point of the Resurrection.

Spiritually speaking, his works are a reflection on the Resurrection and the impact the

Resurrection and rebirth has on believers’ lives.17 This idea of the Resurrection and rebirth is what often structures a piece. In A Brief Interview with Myself, Moody states,

“there is a passion, a death, and a rebirth, or transfiguration, or a baptism… and that Stravinskian stasis that ends so many works is to do with a new state of being. I can’t really see the point of writing music, actually, unless it brings you to a new state of being.”18

The commissioning process also greatly influences Moody’s liturgical compositions.

Each of Moody’s compositions are commissioned works, and many of these commissions are for works needed in active Orthodox Churches. These commissions require particular sections of the liturgy and are crafted for a specific group of performers, on a particular occasion, and in the required language. Personalizing his writing to meet the needs of the director and the technical limitations of the ensemble impacts each composition. However, it also deepens the personal

16 Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 2017. 17 Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 15, 2017. 18 Ivan Moody, “Brief Interview with Myself” from “Portfolio of Compositions” doctoral thesis, University of York, 2008.

11 connection between Moody and the music because it engages him in writing for people and voices he personally knows. He views this as a wonderful process and embraces how each piece of music has “a life of its own” through each performance and interpretation.19

Moody embraces the restrictions of Orthodox liturgical music and views the limitations as catalysts to spark his own imagination. He likens the compositional limitations to the process of building a home because they provide the framework. Within that framework, however, the composer is able to place the walls and furniture within the rooms. He believes the more limitations one has, the more creative one can be. When questioned further on this topic, Moody was quick to point to Stravinsky’s words:

“My freedom will be so much greater and more meaningful the more narrowly I limit my field of action and the more I surround myself with obstacles. Whatever diminishes constraint diminishes strength. The more constraints one imposes, the more frees one’s self of the chains that shackle the spirit.”20

These words, from a man whom Moody points to as influencing his own work, are reflected in numerous ways through Moody’s writing. Each composition embraces the framework and limitations set before them. Yet, each is unique, vibrant, and continue to live their own life with each performance.

Icons, Iconostasis, and Mysticism

In his interview with Altena, Moody reflected on his conversion to Orthodoxy.

“I was initially attracted at the age of 19 or so, like so many, by the music, by the experience of standing in a dark, incense-heavy church with icons glowing on the wall. I had found a need for a ritual expression of theology which was absent for me in the Anglican Church—or, at least, most Anglican parishes—and so when I was 23 I was chrismated at the Russian Cathedral.”21

19 Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 15, 2017. 20 Igor Stravinsky, Poetics of Music in the Form of Six Lessons (Cambridge, MA: Harvard University Press, 1970), 65. 21 James Altena, “Mystical Light from Arctic Climes: An Interview with Fr. Ivan Moody, Composer, Conductor, Musicologist, Priest,” Fanfare, 03/01/2014, 99-103.

12 Icons of the Orthodox Church have also influenced Moody’s compositions and theological commentary. In their simplest form, icons are religious works of art. From a compositional standpoint, Moody does not believe that music can be an icon, as it is a different medium. However, he does feel that music can invoke a sense of icons and one can inspire the other. For example, in his Passion and Resurrection, Moody’s intent was to create a sense of iconostasis. An iconostasis is a wall of icons and religious paintings. Moody’s composed a series of “icons” that narrate the Passion story. Each section is called an icon, but Moody doesn’t recognize them as such due to the fact that icons are works of art, not musical compositions.

Moody’s theological commentary on icons explores their connection with mystical music. He writes, “An ikon, for an Orthodox Christian, is a holy presence to be venerated. It is not a religious picture, and it cannot be truly apprehended in terms of art history only: in that sense it is mystical.”22 A true definition of “mystical music” cannot be reached, but Moody examines the idea of gnosis, which is defined as a hidden knowledge, a meaning obscure except to initiates.23

Furthermore, Moody investigates the concept of time in relationship to icons and mystic music. Citing Pärt’s De profundis (1989) and Stabat Mater (1985) as pieces where the text is

‘set with absolutely no word painting, but with a stylized ritual solemnity…”, Moody identifies the concept of suspending time through compositional practices.

22 Ivan Moody, “The Mind and the Heart: Mysticism and Music in the Experience of Contemporary Eastern Orthodox Composers,” Contemporary Music Review 14 (20 Aug 2009): 65-79, accessed February 20, 2017, http://dx.doi.org/ 10.1080/07494469600640291. 23 Ivan Moody, “The Mind and the Heart: Mysticism and Music in the Experience of Contemporary Eastern Orthodox Composers,” Contemporary Music Review 14 (20 Aug 2009): 65-79, accessed February 20, 2017, http://dx.doi.org/ 10.1080/07494469600640291.

13 “Time is suspended, and that is another important element of mysticism. In an ikon there is no perspective, that is to say, it is not situated in reality. Similarly, mystical music must suspend real time in order to create its own ‘two-dimensional’ level into whose metaphorical simplification the initiate may enter in order to understand the multi- dimensional mystery thus presented.”24

It is possible that Moody’s view of interconnected relationships between Orthodox art and music may allude to further compositional practices within his writing. Icons and iconostasis provide a sense of narrative and static at the same time. This same stasis is apparent in his vocal works in the form of drones and non-developmental chords with slow harmonic motion. Several representative pieces will be discussed further in Chapter 3.

24 Ivan Moody, “The Mind and the Heart: Mysticism and Music in the Experience of Contemporary Eastern Orthodox Composers,” Contemporary Music Review 14 (20 Aug 2009): 65-79, accessed February 20, 2017, http://dx.doi.org/ 10.1080/07494469600640291.

14 CHAPTER III

Moody’s Compositional Influences and Practices

Aside from his teachers, Sir John Tavener, Brian Dennis, and William Brooks, Moody points to Britten and Tchaikovsky as composers who influenced his own writing. Moody describes

Britten as his “real musical hero” during the time when he was first encouraged to begin composing, and his early works reflect this admiration. Tchaikovsky’s influence had a longer- lasting impact on Moody’s compositional voice. Moody’s music doesn’t sound like

Tchaikovsky, but Moody credits Tchaikovsky with imparting a love of lyricism within his works.

As discussed in Chapter 2, Moody’s sacred music is divided into three categories: liturgical works, para-liturgical works, and concert works. To date, Moody has published 112 choral works, and a majority of these compositions are liturgical works. As a result, his choral compositions are predominantly a cappella, but his catalogue does contain works for full orchestra and various other instrumental combinations. Some works reflect his interest in writing for varying and sometimes exotic forces, including his Lamentations, which is a 35- minute piece for AATTTTBB chorus and two trombones.

Moody demonstrates a command of multiple languages in his writing. A majority of his works use English, Greek, Russian, and Slavonic texts but he also has several compositions with

German, Spanish, Finnish and Portuguese texts. While these texts are primarily sacred, it is the source and liturgical nature of the text that dictate how the composition is utilized.

Moody’s compositional style has undergone some large changes throughout his career.

He has experimented with dodecaphonic, serial, and heterophonic techniques and cites each as instilling important disciplines that shaped his compositional voice. Composing in dodecaphonic

15 and serial styles caused Moody to “learn how to work with very limited groups of material, being very economical.”25 Moody had a phase during his doctoral work where several of his works were composed using heterophonic techniques. Heterophonic music utilizes simultaneous variants of similar or identical melodies to blur structural pillars within his compositions.

Heterophony is particularly challenging for singers as voices are slightly out of sync with other parts, but it works very well with instruments, and several of his instrumental pieces feature extensive heterophony techniques. Moody described his use of heterophonic techniques as a way to “obliterate structural clarity”26. To further elaborate, Moody states:

“You know my pieces are very much A, then there’s a pillar, and then there’s A prime, then there’s a pillar, then there’s B, then a pillar, then A again. You have a large structure with these very clear pillars, and by using heterophony, you blur the edges.”27 Examples of heterophonic techniques can be found in Passion Populare (2005) and

Canticum Canticorum IV (2010). Both of these compositions are discussed in greater detail below.

Each of these phases of his compositional career offered new challenges and opportunities for Moody to explore his compositional voice; however, the idea of transparent music is most prevalent in his writing style. As discussed in Chapter 2, Moody sites as Sir John

Tavener as having an “absolutely massive influence”28 on his music. When questioned about the development of his own transparent style, Moody said:

“As I carried on with this very transparent style, I began to feel very much at home with it. It began to develop and it began to become harmonically more complex and richer and rhythmically more active as well. (And) I felt I could do that because I’d stripped everything back and started again.”29

25 Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 2017. 26 Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 2017. 27 Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 2017. 28 Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 2017. 29 Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 2017.

16 As previously discussed, Moody often uses chant as the framework for his melodies.

The term ‘framework’ is an apt description as Moody frequently strays from the traditional chant. Since the melody dictates the harmony in his writing, the result is a unique harmonic language that is neither strictly tonal or modal. Moody describes his own music as modal rather than tonal, but he is quick to mention that his compositions may contain standard modes or modes that he created which often do not reflect a specific key or tonality.

Moody’s expansive choral catalogue explores a wide variety of compositional techniques. The following passage will elaborate on prominent compositional practices and recurring devices within eight of his works, namely, Canticum Canticorum I (1985), Canticum

Canticorum II (1994), Canticum Canticorum III (1997), Canticum Canticorum IV (2010), Hymn of the Transfiguration (1988), The Meeting in the Garden (1996), Passione Popolare (2005), and

Angel Vopiyashe (2011). These compositions were selected to demonstrate the development of

Moody’s compositional voice throughout his compositional career.

For the purpose of this document, Moody’s Canticum Canticorum I, II, III, and IV will be discussed as a unified set. The remaining choral works will be analyzed individually with commentary concerning compositional techniques, symbolism within his works, and links to compositional influences as seen through his writing style.

Analysis of Moody’s Canticum Canticorum Settings

Duration and Inception

Moody’s compositional voice has broadened throughout his career, and several aspects of his development can be displayed through the four separate works all titled Canticum

Canticorum. The title is Latin for “Song of Songs,” also known as the “Song of Solomon” or

17 “Canticles,” found in the last section of the Hebrew Bible. It is also the fifth book of Wisdom in the Old Testament of the Christian Bible. Moody returned to the same source text for each of these compositions, but each work provides a wealth of contrast in compositional techniques.

The works differ in their duration, language, and performance forces. In addition, the four works are a wonderful illustration of the development of Moody’s musical language over a 25-year span. The first two works, Canticum I and Canticum II, are multi-movement works with three and five movements respectively. Canticum III and Canticum IV are single-movement works.

The durations for the four settings are 6 minutes, 12 minutes, 4 minutes, and 10 minutes, respectively.

The genesis of each work had a large impact on Moody’s choices related to performance forces, texture, and stylistic techniques. Canticum I, completed in 1985, was Moody’s first published choral work. It was inspired by recordings of a choral ensemble named Pro Cantione

Antiqua, an ensemble that specialized in Renaissance music. They had recorded a setting of Ego dilecto meo by the Portuguese composer Estêvão Lopes Morago. Moody was drawn to the text and decided to expand it into three short texts which became Canticum I. Following its completion, Moody sent the score to Paul Hillier, director of the British male quartet, the Hilliard

Ensemble, which specialized in the performance of early music. Hillier was impressed with the pieces and programmed the work in its entirety in 1987.

Nine years later, the Hilliard ensemble commissioned Moody to compose another setting of a portion of the text from the Song of Songs. This work, Canticum II, was completed and premiered in 1994. Upon viewing the scores and listening to one of the numerous recordings of

Canticum II, it can easily be concluded that the musical style, part-writing, and textures were all greatly impacted due to these works being composed for such a unique ensemble.

18 Canticum III has perhaps the most interesting story behind its inception. Moody wanted to compose a piece to celebrate his parents’ 40th wedding anniversary. Throughout the time following his collaboration on Canticum II, Moody had developed a friendship with tenor and core member of the Hilliard Ensemble, John Potter. At the time, Potter was performing as a soloist and working with a harpist, and he asked Moody for a new composition for tenor and harp. Canticum III was completed and received its first and only performance by John Potter in

1997.

Karen P. Thomas, the Conductor and Artistic Director of Seattle Pro Musica, was the driving force behind commissioning Moody to compose the final of his four Canticum

Canticorum. As is the case with many modern professional ensembles, Seattle Pro Musica can adjust the size of the ensemble to suit the needs of the performance literature. This aspect alone had a profound impact on Canticum IV, which has a much denser texture with less transparency.

Canticum IV was completed and premiered in 2010.

Forces

Since each work was composed for a specific ensemble or performer, the four works utilize a variety of performance forces. Canticum I and Canticum II are composed for ATTB chorus, which reflects the voicing of the Hilliard Ensemble. The ATTB voicing meets the needs of ensembles like the Hilliard Ensemble; however, it provides programming challenges for conductors with a mixed chorus or gender-specific chorus. The shortest of the works, Canticum

III, is set for tenor and harp. Moody has considered adapting Canticum III for chorus, but he has not done so at the time of this lecture. Finally, the commission for Canticum IV by the Seattle

Pro Musica ensemble resulted in a densely-textured and largely homophonic piece for

SSAATTBB chorus.

19 Texts

The unifying text for these four settings is The Song of Songs; however, it appears that

Moody used different methods to select text for each of the Canticum Canticorum. Canticum I consists of selected verses taken from the second, sixth, and seventh chapters. Each verse is unified by the action of travel. The selection from the second chapter features the popular,

“Arise my love, my beautiful one, and come away” (Song of Songs 2:10), the second movement utilizes a text from chapter six, “My beloved has gone down to his garden…” (6:2), and the final movement sets a text from chapter 7, “Come, my beloved, let us go out into the fields…” (7:11).

Of the four settings, Canticum I is the only work that has text taken from multiple chapters.

Canticum II is set with the text from Song of Songs chapter 1, verses 1-5 and verse 7. Canticum

III is set with the text from Song of Songs chapter 5, verses 1-2. Finally, the text for Canticum IV is entirely from chapter 6, verses 1-4 and verses 9-13.

In addition to employing different verses for each of his Canticum Canticorum settings,

Moody utilizes different languages. Canticum I is composed in Latin, Canticum II in English,

Canticum III in Greek, and Canticum IV in Hebrew. These compositions continue his past compositional practice of setting multiple languages as he did in his Passion and Resurrection, but his Canticum Canticorum settings are the only example of Moody returning to a single source for the text. They exhibit his familiarity with the languages and create new textures throughout due to his significant linguistic background.

Tempo

It is rare that Moody omits tempo indications for his compositions, however, there are no tempo markings for Canticum I, II, and III. This exclusion was intentional as Moody never dictated tempos to the Hilliard Ensemble or Potter. He believed they would be able to create the

20 perfect interpretation of his music. Recordings of Canticum I and II help inform conductors and performers concerning tempo practices, but no recording exists of Canticum III. While interviewing Moody, I inquired about the tempo for Canticum III, and he sang a bit of the piece for me. After reviewing the recording, his tempo reflected the half note = 56. Moody also indicated that the tempo may be varied depending on the “decay of the harp.” In contrast,

Moody returned to his common practice of dictating tempo markings for Canticum IV as it contains metric and vocabulary-driven tempo indications.

Musical Language

As mentioned previously, these compositions span a 25-year period in Moody’s life.

Each work is indicative of his evolution as a composer, but each of the choral settings demonstrate his unique blend of Eastern liturgical chant and Greek Orthodox Church styles with elements of sixteenth-century polyphony. His use of pedal points is apparent in each work and he sets brief melodic motifs above the drone. This is most apparent in the opening movement of

Canticum I, as the lower voices sustain an E for the duration of the movement. The opening 12 measures can be seen in Figure 1. Moody also uses the pedal point as a unifying agent for the entirety of the work because the basses rarely change pitches to accommodate harmonies from the upper three voices. Similar use of the lower voices serving as a drone can be seen in

Canticum II and Canticum IV (Figures 2 & 3).

Another distinctive trait of these compositions is the seamless exchange of short melodic fragments passed between voices (Figure 4). These traits are most apparent in Canticum II where Moody frequently uses repeated melodic and rhythmic fragments (Figures 5 & 6). The fragments reflect variations of how Moody uses rhythm within each movement of Canticum II, and it is quite common for Moody to shift between compound and simple rhythms (Figure 7 &

21 8). In contrast, Canticum I is composed entirely within the framework of duple meter, with no use of compound meter rhythms. Instead, Moody constantly shifts the number of beats in a measure without an indication of time signature change.

While the approach to use of rhythm is quite different between Canticum I and II,

Moody’s transparent writing style allows for the rhythmic variety while maintaining clear, delineated text. Canticum I is primarily homophonic (Figure 9) with short passages of intertwining voices presenting individual syllables at various points within the same measure

(Figure 10). He delineates the text in Canticum II by assigning text to the voice parts with the predominant melodic material. The remaining voices perform their line on prescribed neutral syllables (Figure 11). Canticum IV exhibits the least restraint in use of rhythm and text delineation. The text is still found in the melodic lines with the other voices sustaining prescribed neutral syllables, however, Moody blurs the text with staggered entrances and canons that contain a mixture of duple and triple rhythmic patterns (Figure 12). As the piece evolves, the sustaining voices are given text while the upper voices create a polyphonic texture that nearly renders the text indiscernible (Figure 13).

Each work’s harmonic rhythm is unique, and Moody provides a sense of variety without the indication of altering the tempo or pulse. Instead, he shifts tempi by adding smaller note values in various voices. These shifts in harmonic rhythm are typically found in the treble voices while the bass voices sustain. Each of these compositional features display Moody’s ability to vary textures throughout a work without disconnecting any one section from the work as a whole.

22 Analysis of Moody’s Hymn of the Transfiguration (1988):

Moody’s Hymn of the Transfiguration (1988) is a clear example of Tavener’s influences on Moody’s early choral works. This influence can be seen through Moody’s use of drones and repetitive harmonic material. The work is divided into four refrains and three verses, providing an ABABABA structure. Each refrain features identical musical material, a divided tenor line where the two voice parts are inversions of each other, and a modification to Moody’s implementation of the drone. Each verse features a slight adjustment to harmonic language as it relates to modality and a clear cadence.

The piece opens with a six-second drone from the basses on low G, followed by extended silence, then the drone reappears while the tenors state the refrain. This onset foreshadows the music to come as drones can be found throughout the entire work. The only phrase without a drone can be found in the final verse on the text “Angels ministered with fear and trembling: the heavens were affrighted and the earth did quake, when they behold on earth the Lord of Glory.”

This glorious allusion to text painting and symbolism seems appropriate that the single moment without a grounded drone would occur when the “earth did quake”.

A second interesting aspect of his use of a drone occurs at the beginning of each refrain.

As previously stated, the work opens with a six second drone followed by the refrain. Each repetition of the refrain between verses occurs in the same sequence, a drone followed by text presented by the tenor, but, Moody alters the duration of each drone that precedes the refrain.

The opening contains a six-second drone, the second refrain contains a four-second drone, the third refrain contains a two-second drone, and the drone occurs at the same time as the text presentation for the final refrain.

23 In addition to the drone variation on the final refrain, Moody sets the final refrain as a canon between the treble and bass voices (Figure 14). This marks the first time that the treble voices perform the refrain material. It also is the first and only canon in the work.

Each of the verses are set for full SSAATTBB chorus and feature parallel triads. The drone on G continually creates harmonic tension as Moody oscillates between G minor and A flat major (Figure 15). This sequence is altered in the second verse and the drone is assigned to the tenor line (Figure 16). The writing still contains parallel triads as before, but Moody expands the oscillation to include five chords (E flat major, F major, G minor, A flat major, and B flat major) before a final cadence on B flat major.

Moody’s harmonic language throughout the piece is quite interesting. The piece seamlessly transitions between G minor and G major, and each of the refrains open and cadence on an open fifth (G and D). These cadential pillars strengthen the connection to G as the tonal center, but Moody avoids using either a B flat or B natural in any of his refrain material, which further obscures a sense of either major or minor modality. To contrast this, the verses consistently feature complete major and minor chords. The first verse cadences on G minor, and the second verse cadences on B flat major. This is interesting as the work immediately returns to the ambiguous modality of the refrain.

Moody reserves the use of B natural until the final verse and refrain. The initial appearance provides stark contrast to the preceding sections. The opening of the final verse quickly gives the impression of shifting to G major, but reappearing F naturals suggest a mixolydian modality (Figure 17). Moody slightly modifies the final refrain melody in the alto line to provide a final cadence on G major.

24 Hymn of the Transfiguration is one of Moody’s earliest multi-language works. The text is a troparion from the Orthodox Matins of the Transfiguration. All but one line of the text is in

English. Moody employs one line of Russian text, Slava Tyebye Bozhe (Glory to thee O God), as a refrain to separate the English verses. This is the first example of Moody using more than one language within the same composition, and it has become a practice that has continued throughout his career.

The cover page contains the quote “I cannot look at you, Father, because lightning flashes from your eyes. Your face has become brighter than the sun, and my eyes ache.” from Nicholas

Motovilov, a 19th century Russian saint. “Brighter than the sun” refers to the Light of Tabor. In

Eastern Orthodoxy, the Light of Tabor is revealed at the transfiguration of Jesus on Mount

Tabor. It appears that the words of Saint Motovilov and the theology of the Light of Tabor played a large role in the work as the Hymn of the Transfiguration is both luminescent and reflective.

Analysis of Moody’s The Meeting in the Garden (1996):

The Meeting in the Garden (1996) is a work for SSMTBarBass set to text from the

Gospels and Orthodox Matins of the Resurrection. Moody continued his previous practice of blending languages, this time setting both Greek and English text in the same work. The Meeting in the Garden also highlights Moody’s broadening and eclectic compositional voice as he seamlessly intertwines Greek Orthodox and Russian Orthodox compositional techniques with the compositional style of John Tavener while maintaining his own broadening use of symbolism.

25 The work features five major compositional practices: the use of Greek Byzantine chant; the use of Russian Orthodox style recitation tone; the use of drones; the controlling of harmonic rhythm through note duration; and the use of canon.

The first two practices – the use of Greek Byzantine chant and use of Russian Orthodox style recitation tone blend two aspects of Eastern Orthodox services. The Meeting in the Garden opens with a Greek Byzantine chant, “Defte lávetephos” which is traditionally sung at the beginning of the resurrection ritual in the Greek Orthodox Church (Figure 18). The chant is presented in its entirety three times throughout the work and is always followed by a cantor. The cantor provides the gospel narrative sung on a recitation tone which reflects Russian Orthodox practices (Figure 19). The third practice, Moody’s use of drones, is exhibited in each restatement of the Greek Byzantine chant. The appearance of a drone supporting the Greek Byzantine chant is a reflection of both Orthodox practices and Moody’s compositional decision. It is tradition to have an ison (drone or slow-moving vocal line) supporting the priest’s chant, but there are parishes that do not adhere to these practices. Since Hymn of the Transfiguration was conceived as a concert work, Moody decided to include the ison.

The fourth compositional practice of controlling harmonic rhythm through note duration is a signature trait in Moody’s developing compositional voice. Moody provides a sense of variety without altering tempo or pulse. The same technique can be found in Canticum

Canticorum II, completed two years prior to The Meeting in the Garden. In this instance, Moody lengthens the line by adding larger note values. This variation accentuates the phrase length and provides stark contrast in the texture with the dense, chordal writing for the four-part treble voices (Figure 20).

26 Similar to his previous works, Moody sets a canon at the octave and unison to accentuate the final narrative which includes “but go to my brethren, and say unto them” spoken by Christ.

This is the only polyphonic texture in the work, and the effect creates forward motions on

Christ’s encouragement to proclaim his ascension to Heaven (Figure 21).

Moody is consistent with his text division. The Greek Byzantine chant is given to a tenor soloist accompanied by a baritone/bass drone. The gospel narration is presented by a baritone cantor through recitation tone, and the words of Mary Magdalene and Christ are conveyed by the chorus.

Perhaps the most important aspect of The Meeting in the Garden is Moody’s attention to various aspects of symbolism within the work. He thoughtfully allocated Mary’s lamenting text,

“Because they have taken away my Lord” and “Sir, if thou have borne him hence, tell me where thou hast laid him and I will take him away.” to the treble voices of the ensemble. The writing is dense, tearful, and cadences on an unresolved chord (Figure 20), which heightens the sense of mourning. Moody also displays thoughtful conveyance of text through his depiction of Christ’s dialog. The first time the men of the chorus sing is as the voice of Christ, yet seven measures later, Moody sets Christs words as a duet for the altos and tenors. This reflects his fondness for the idea of more than one voice representing one person, and conveys symbolism through the representation of Christ through more than one person or voice part.

One final example of symbolism in The Meeting in the Garden is found in measure 25 as

Mary realizes Jesus has risen from the dead. The opening 24 measures are composed in a natural minor modality centering in D with an occasional lowered second scale degree. He strengthens the tonal center with his use of the drone on D. In measure 25, Moody symbolizes the extraordinary event by including an F sharp, forming a D major cadence, as Mary exclaims,

27 “Rabboni!” (Figure 22) This alteration expresses surprise and a great change within the piece.

After restating the Greek Byzantine chant, Moody continues to demonstrate change with the first presentation of new material since the opening measures of the work.

Analysis of Moody’s Passione Popolare (2005):

Passione Popolare was commissioned for the Antidogma Festival in Turin, Italy in 2005.

Moody had long been fascinated by the traditional music of various parts of Italy, and he took this opportunity to explore connections from his own Greek Orthodox background and traditional religious music of various parts of Italy, particularly Sardinia.

The text was originally inspired by Moody’s discovery of a recording of the Passiùna ti

Cristù from Martano, in the Grecanico language of that region. Moody assembled the text for

Passion Populare as a narrative this Passiùna that included hymns from the Greek liturgy for

Holy Week, and complete and fragmented texts from Sardinia, Sicily, Salento, and a mediaeval lauda. In his doctoral thesis, Moody elaborated on the implications of joining together texts from such eclectic backgrounds.

“In doing so, I did not attempt to string together a set of popular melodies, although there is certainly direct reference to and quotation of the original music, but rather to suggest a soundworld from which they all emerge naturally, as a celebration of popular piety.”30

In many senses, Passion Popolare displays Moody’s sensitivity to language, blending various international styles, use of canons, and exhibits his transparent choral writing. In addition to these aspects, the work demonstrates new developments as Moody amalgamates a more rhythmically active heterophonic style into his choral writing.

30 Ivan Moody, “Portfolio of Compositions: A Commentary” from “Portfolio of Compositions” doctoral thesis, University of York, 2008.

28 Passion Popolare is scored for soprano solo, baritone solo, SATB chorus, oboe, violin, viola, and cello. Structurally, the extensive work is divided into five contrasting sections which

Moody named “Prologue”, “The Betrayal”, “Peter’s Denial”, “The (Sicilian) Lament”, and “The

Crucifixion”. Each section depicts a different portion of the Passion text. The soloists portray several characters including Christ, Peter, and the Virgin Mary, while the chorus provides narration and dramatic support. In addition to the vocal lines, Moody uses the oboe as a textless

“commentator” as it frames and responds to the narrative as it unfolds throughout the work.31

As in The Meeting in the Garden, the work opens with Greek chant from the Byzantine tradition. To parallel these openings further, Moody sets a drone, based on a D, in the strings supporting the unison chant line performed by the tenors and basses. To contrast his previous practice, Moody includes a brief two-measure commentary from the oboe preceding the opening chant, and he creates tension in the droning strings as the violin and viola lines sustain dissonance of a major second and remain unresolved until measure four.

The full SATB chorus joins at measure 16 and the Greek Byzantine chant concludes in measure 28, where the oboe reappears. The remaining measures of the opening section feature a brief Russian recitation tone chant (Figure 23), and beginning in measure 43, Moody makes his first oblique reference to the original melody from the Passiùna, which was a recitative-like ballad sung by solo voice and accompanied by a guitar in the original recording. Moody’s setting is a homophonic statement by the full chorus on the passion text, “Ma ìsan Angelon ìu di canto.” (Figure 24)

“The Betrayal” and “Peter’s Denial” are a mixture of soloistic passages framed by oboe and choral commentary. The Betrayal is built on two Sicilian texts and one Greek text. The

31 Ivan Moody, “Portfolio of Compositions: A Commentary” from “Portfolio of Compositions” doctoral thesis, University of York, 2008.

29 tessitura and range of the baritone is extraordinarily high as it regularly sits between D4 to F sharp 4. But the score contains markings, in the composer’s hand, that lowering the solo lines by one octave is permissible. The opening of Peter’s Denial is marked by the reappearance of oboe commentary. This section returns to the text of the Passiùna, but Moody employs harmonically static chords in the instruments under the solo duet.

The fourth section, “The (Sicilian) Lament”, opens with the oboe presenting a descending motive, which develops into a three-part canon at the octave between the soprano soloist, altos, and tenors (Figure 25). The oboe departs from the canon and plays a freely composed line above the canon with brief moments of mirroring with the soprano soloist (Figure 26). The section derives its name from the Sicilian text, “E figliu ca ti partisti o comu gigliu, ora ti trovu tutu fragilla tu...” presented by the soprano soloist as Mary in measure 163. This also marks the first implementation of heterophonic techniques as the oboe shadows the soprano (Figure 27). The section ends with the baritone providing commentary on the events leading up to the

Crucifixion32 supported by drones in the strings.

The closing section of Passion Popolare is marked by a brief heterophonic opening in the orchestration that is derived from the preceding chant (Figure 28). The chorus and baritone soloist are tasked with describing the Crucifixion using two different overlapping texts. The chorus performs a Sardinian text from the Passiùna while the baritone simultaneously performs a

Greek fragment (Figure 29). Both lines translate to “Author of Life.” The work concludes with a fragment from a mediaeval Lauda which represents the lamentation of the Virgin over the dead

32 Ivan Moody, “Portfolio of Compositions: A Commentary” from “Portfolio of Compositions” doctoral thesis, University of York, 2008.

30 Christ and a final chorale in Greek, sung by the full choir. 33 Moody returns to prior convention in this final chorale as he alters the harmonic rhythm through longer note durations as the work cadences on an E, a whole-step above the opening tonal center of D.

Analysis of Moody’s Angel Vopiyashe (2011):

Moody’s Angel Vopiyashe, scored for SATB chorus with brief soprano and tenor solos, was commissioned by the Kamerkoor Oktoich under the direction of Aliona Ovsiannikova-

Voogd. The first performance a part of a concert illustrating the history of Russian church music at the Muziekgebouw aan't IJ in Amsterdam. The commission and premiere impacted Moody’s approach to the work.

Angel Vopiyashe (The Angle Cried) is built on an alternating sequence of freely treated

Russian Znamenny chant and fluid, dance-like lines. Moody’s decision to include Znamenny chant is an obvious reference to the history of Russian Orthodox church music as well as his own compositional conventions. The dancing and moving lines that follow each section of chant, however, are a subtler nod to the style of Sergei Rachmaninoff and, more specifically, his All

Night Vigil (1915).

The text is entirely in Russian, and is addressed to Mary the Mother of God by an angel declaring that Jesus was no longer in the tomb and had risen from the grave. The work opens with the tenor 1 and baritone presenting the Znamenny chant over a tenor 2 and bass ison on F

(Figure 30). This opening aligns with many of Moody’s previous compositions, including The

Meeting in the Garden and Passion Popolare, which display a span of 15 years prior to Angel

33 Ivan Moody, “Portfolio of Compositions: A Commentary” from “Portfolio of Compositions” doctoral thesis, University of York, 2008.

31 Vopiyashe. Following the chant, the texture immediately changes to flowing parallel thirds, then expands to sixths in the soprano voices. This transition is Moody’s allusion to Rachmaninoff’s style within his own writing.

As the sequence continues to unfold, Moody returns to the Znamenny chant. Returning to the transparent nature of the chant allows Moody to set the exciting news “you Son is risen from his three-day sojourn in the grave,” with pristine text delineation (Figure 31). This is another example of Moody’s practice of using multiple voices to represent one character as the sopranos carry the angel’s dialogue in the opening measures, and it is now found in the tenor line.

To accentuate the significance of the news, Moody presents a newly composed four-part texture in the tenor and bass lines on the text “and has raised up the dead.” (Figure 32) These two measures constitute the only moment where Moody breaks the cycle of chant followed by dancing lines.

Moody’s next development combines the original chant with a rhythmic tenor 2 line on the text “shine.” (Figure 33) This style is immediately mimicked by the treble voices and works seamlessly back into his sets of running eighth notes. At measure 44, the alto lines emerge to create a new denser section of running lines. The new texture doubles the amount of moving parts and creates a sequence of seventh chords and first inversion triads (Figure 34).

The closing measures demonstrate two previously compositional techniques. First,

Moody builds a cluster departing from a single note (Figure 35). He used this same technique in the second movement of his first choral work, Canticum Canticorum I (Figure 10). In this instance, the cluster is approached in an ascending stepwise motion with the exception of the

32 bass. Second, as common in Moody’s writing, he controls harmonic rhythm through extending note durations leading to the final cadence in F.

33 CHAPTER IV

Annotated catalogue of Ivan Moody’s choral compositions

The format of this catalogue is as follows:

Title Compositional Date Duration Choral, Vocal Solo, and Instrumental requirements Text source Commissioning and First Performance information

This catalogue is arranged chronologically

Canticum Canticorum I 1985 6’ ATTB Song of Songs (Latin) FP Hilliard Ensemble, Vienna, Austira 1987

Nunc Dimittis 1986, revision 1996 2’ SATB English, Slavonic, or Greek FP Kingston Polytechnic Chamber Choir/Peter Johnson, Worcester Cathedral 1988

Two Hymns for the Office of Holy Unction 1986 10’ SATB Orthodox Office of Holy Unction (English) FP Voces Angelicae/Ivan Moody, St Alban’s Church, Holborn, London 1986

Orthodox Wedding Hymn 1986 4’ SSATTB Orthodox Service of Holy Matrimony FP Voices Angelicae/Ivan Moody, Little Missenden Festival 1987

Canticle of the Mother of God 1987 11’

34 SSAATTBB Magnificat with Byzantine-rite troparia (Greek) FP Pegasus/Richard Crossland, London 1988

Canticle at the Parting of the Soul from the Body 1987 7’ ATTB Orthodox Office at the Parting of the Soul from the Body (English) FP Voces Angelicae/Ivan Moody, Russian Orthodox Cathedral, London 1987

Christmas Ikos 1987 3’ SSATTB Orthodox Christmas Matins (English) FP Voces Angelicae/Ivan Moody, London, December 1987

The Wild Swans at Coole 1988 8’ AATTBB Poem by W.B. Yeats (English) FP Singer Pur, Cambridge, July 1995

Hymn of the Transfiguration 1988 SSAATTBB Troparion from Orthodox Matins of the Transfiguration (English) FP Voces Angelicae/Ivan Moody, Oxford, May 1988

Canticle of Simeon 1988 5’ SSAATTBB Troparion from Orthodox Vespers of the Meeting of the Lord (English) FP Choir of St Matthew’s, Northampton/Andrew Shenton, February 2, 1989

Miserere 1988 11’ SSAATTBB Psalm 50 (English and Greek) FP Choir of Christ Church Cathedral/Stephen Darlington, Oxford, April 1990

Arkhangelos

35 1989 5’ ATTB Poem by Agathius Scholasticus (Greek) FP Hilliard Ensemble, HItchin, August 1991

Mariposa del Aire 1989 20’ Children’s choir, SATB, chamber orchestra Federico Garcia Lorca (English translation) FP Burnham Music Group/Peter Dale, Burnham-on-Crouch, September 1989

Lament for Christ 1989 22’ SSAATTBB (with soli) Early 15th century poem (Greek) PF English Chamber Choir/Guy Protheroe, QEH, London, March 8, 2001

El Amor y la Sierra 1989 15’ SSATBB Poems by Anonymous, Lorca, Vicente, Machado (Spanish) FP I Fagiolini, Presteigne Festival, August 1991

O tebe raduetysa 1990 4’ SATTBB Divine Liturgy of St Basil (Slavonic) FP Voces Angelicae/Ivan Moody, St Bride’s Church, London, May 1990

Prayer for the Forests 1990 5’ SSA (Children) Poem by Alberto Caeiro/Fernando Pessoa (English or Portuguese) FP Tapiola Choir/Erkki Pohjola, Espoo, Finland, April 1993

The Divine Liturgy of St John Chrysostom 1990-91 90’ (may be shortened for concert use) SATB English, Greek, and Slavonic

36 FP Chamber Choir of Orthodox Church Music, Tallinn 1995

Anamnisis 1990-91 6’ ATTB Texts from Cavafy and the Orthodox Funeral Service (Greek and English) FP Hilliard Ensemble, Hitchin, August 19, 1991

Hymn to Christ the Saviour 1991 17’ STTB, viol consort Text by St Clement of Alexandria (English) FP Red Byrd and the Rose Consort of Viols, St James’, Piccadilly, London, February 7, 1993

Passion and Resurrection 1992 70’ STB soli, SATB choir, tubular bells, 2 vl, vla, vcl, cb Gospels and Orthodox Holy Week services (English, Greek, and Slavonic) FP Red Byrd, Estonian Philharmonic Chamber Choir/Tõnu Kaljuste, Tampere, Finland, June 5, 1993

Darkness: The Legend of Bluebeard 1992-93 15’ SSATTBB Text by Ivan Moody after Hungarian ballad (English) FP I Fagiolini, Thaxted Festival, July 3, 1993

Cantos Mozárabes 1993 17’ SATB with optional amplification Mozarabic jarchas (Mozarabic Spanish) FP Singcircle, Spitalfields Festival, London, June 14, 1995

Canticum Canticorum II 1994 12’ ATTB Song of Songs (English) FP Hilliard Ensemble, Frankfurt, March 21, 1995

Hymn to the Light

37 1994 7’ SATTB soli, SSAATTBB Hymn from Orthodox Vespers (Slavonic) FP Amanda Morrison, Linda Hirst, Hilliard Ensemble, Choir/Ivan Moody, Cambridge, July 30 1994

Le Renard et le Buste 1995 5’ La Fontaine (French) FP Singer Pur, Bayreuth, June 1995

Lamentation of the Virgin 1995 13’ SATTBB Mediaeval German poem and Trisagion (German, Greek, and Slavonic) FP Singer Pur, Nuremberg, May 19, 1995

Revelation 1995 60’ Narrator, male chamber choir, 2 viols, 2 sackbuts, chamber organ Book of Revelation and Orthodox Matins of the Last Judgement (English) FP Fr Philip Steer, Taverner Consort/Andrew Parrott, London, November 23, 1995

Lamentations 1995 Commissioned by Bruno Turner 35’ AATTTTBB, 2 trb Lamentations of Jeremiah and Orthodox Matins of Holy Saturday (Greek, Latin, and English) Unperformed

Endechas y Canciones 1996 13’ ATTB Early Spanish poetry FP Hilliard Ensemble, Boxgrove Priory, March 6, 1996

John in the Desert 1996 10’ Counter-tenor, SATB, viol consort

38 Poem by Yannis Ifantis (Greek) FP Michael Chance, choir and ensemble/Ivan Moody, Prokopi, Evia, Greece, August 31, 1996

The Meeting in the Garden 1996 8’ SSM-SATBB Gospels and Orthodox Matins of the Resurection (English and Greek) FP Grupo Vocal Olissipo, Church of S. Roque, Lisbon, November 1998

Monumento (Per Frank Sinatra) 1’ ATTB Text compiled by Ivan Moody FP Hilliard Ensemble, Trinity Hall, Cambridge, August 7, 1998

Words of the Angel 1998 5’ SSS Orthodox Easter Liturgy (English and Greek) FP Trio Mediaeval Oslo, December 11, 1998

Prayer for the Departed (In memory of Brian Dennis) 1998 5’ SSAATTBB Orthodox Funeral Service (English and Greek) FP Chapel Choir of Royal Holloway, University of London/Lionel Pike, January 17, 1999

Akathistos Hymn 1998 95’ Tenor solo and SATB choir The Akathistos Hymn (English and Greek) FP Cappella Romana/Alexander Lingas, St Phillip Neri Church, Portland, Oregon, January 19, 1999

Apokathilosis 1999 10’ TTBBB Orthodox Vespers of Holy Friday (English and Greek) FP Amarcord, Leipzig, May 7, 1999

39 The Troparion of Kassiani 1999 7’ SSS Orthodox Matins of Holy Wednesday (English and Greek) FP Trio Mediaeval, Sandefjord, Norway, March 26, 2000

The Bright Star 1999 4’ Russian kolyadka and Great Vespers for the Nativity (English) SSS/SAB FP Choir of St John’s-Ravencourt School, Winnipeg, Canada, December 3, 1999

Polyeleos 1999 6’ SSAATTBB Orthodox Vespers (English) FP Chapel Choir of Royal Holloway, University of London/Lionel Pike, June 11, 2000

Canticle of Light 1999 5’ SSA, SSAATTBB Canticle of Simeon and Orthodox Matins of the Nativity (English) FP Invocation, Horsham, December 31, 1999

Psalm of Crowning 2000 6’ SSAATTBB Orthodox Marriage Service (English and Greek) FP Cappella Romana, Tudor Singers, Seattle, Washington, July 9, 2000

The Adoration of the Lamb 2000 10’ SSMSMSAATTBB The Book of Revelation, Trisagion (English and Greek) FP The Tallis Scholars/Peter Phillips, Dorchester, July 28, 2000

Prayer at the Close of Day SSSSAATTBB 4’ Written for the Tallis Scholars

40 Orthodox Prayer Book (English) FP The Tallis Scholars/Peter Phillips, 2001

The Manger 2000 4’ SATB Traditional carol, Kontakion for the Nativity and Compline for the Nativity (English) FP English Chamber Choir/Guy Protheroe, London, December 19, 2000

Slova (Words) 2001 SSA Poem by Anna Akhmatova (Russian) FP Tapestry, First Church Congregational, Cambridge, Massachusetts, October 28, 2006

The Prophecy of Symeon 2001 9’ Commissioned by Porto 2001 SATTB Gospels of Megalynarion for Theophany (English and Greek) FP Grupo Vocal Olisipo, Convento de São Bento, Oporto, October 14, 2001

Vecheri Tvoeya 2001 2’ 30” SATB Communion Hymn for Pascha FP Pravoslava Chamber Choir/Ivan Moody, Palácio Foz, Lisbon, Noveber 13, 2001

Make ready, Bethlehem/Dormi Iesu 2001 1’ 30” SSAATBB Apolytikion of the Preparation of the Nativity/Anonymous Christmas carol (English and Latin) FP English Chamber Choir/Guy Protheroe, London, December 12, 2001

Carol of the Magi 2001 2’ Written for the Oriana Ensemble SSMA Aposticha from Vespers of the Nativity (English and Greek) FP Ensemble Vocale Tempus Floridum/Joan Yakkey as part of the “Lunedi del Conservatorio” series at the Luigi Cherubini Music Conservatory, Florence, Italy, October 13, 2004

The Blessed Among Women, Weeping (A Passion Carol) 2002 5’ TTTB John of Euchaita, translated by Elizabeth Barrett Browning, Matins of Holy Saturday (English and Greek) FP Red Byrd, Sheffield, November 15, 2005

Chalice of Wisdom 2002 7’ Written for Amarcord TTBBB Gospels and Matins of the Feast of St Thomas (English and Greek) FP Amarcord, Gamle Aker Kirke, Oslo Church Music Festival, Oslo, March 18, 2005

In Paradise of Old 2002 6’ Written for Schola Cantorum of St Peter the Apostle, Chicago SSAATTBB Kathisma from Matins of the Exaltation of the Cross FP Schola Cantorum of St Peter the Apostle, Chicago/J. Michael Thompson, September 2002

Isconsolada 2002 10’ SSATB Matins of Holy Friday, Sardinian devotional chant (Greek and Sardinian) FP Winterthur Vocal Ensemble/Ivan Moody, Oberwinterhur, June 13, 2003

The Canon for Theophany 2002 30’ SSAATTBB Canon for Matins of Holy Theophany FP Orthodox Choir of the University of Joensuu/Ivan Moody, Joensuu, May 22, 2003

Erimos 2003 8’ SSAA Psalm 103, Forgiveness Sunday Vespers and the Apolytikion for Holy Ascetics (English) FP Canty, Old St Paul’s Episcopal Church, Edinburgh, June 6, 2003

42 Bogoroditse Devo 2003 3’ SSAATTBB Hymn to the Virgin (Slavonic) FP St George’s Cathedral Choir/Bogdan Djakovic, Novi Sad, Yugoslavia, May 14, 2003

Lament of Adam 2003 4’ TTBB Sikthiron at the Praises of Matins for Forgiveness Sunday FP Choir of the Russion Orthodox Cathedral of the Holy Virgin Protection, New York City, March 9, 2003

Exaposteilarion for Pascha 2003 2’ SSAATTBB Exaposteilarion from Paschal Matins (Finnish or English) FP Orthodox Choir of the Univerisy of Joensuu/Ivan Moody, Joensuu, May 22, 2003

The Dormition of the Virgin 2003 45’ Commissioned by the BBC for the BBC Singers STB soloists, SATB chorus, 2 cornetti (or trumpets), strings Transitus Mariae, Matins of the Dormition and other liturgical sources (English) FP Michaela Haslam (soprano), Robert Johnston (tenor), Stephen Charlesworth (bass), BBC Singers, ST James Baroque/Stephen Layton, London, May 21, 2004

Crocifissione 2003 5’ SSATB, 2 horns, 2 trombones Lamentations of Jeremiah (Latin and Greek) FP DolciAure Ensemble/Willy Merz, Abbazia di Staffarda, June 19, 2004

Inês e o Rei (Madrigal Dramático) 2004 10’ Commissioned by Camerata Fiorentia SSAATB Text by António Ferreira (Portuguese) Unperformed

43 Salmo de Matrimonio 2004 5’ Alto solo, SATB chorus Orthodox Wedding Service (Spanish) FP Susana Diniz Moody, Coro Audite, Madrid, September 17, 2004

He Who Clothed Himself with Light 2004 7’ SSAATTBB Matins for Holy Friday (English) FP Cappella Nova/Alan Tavener, Aberdeen, March 23, 2005

Aurora Radius 2004 8’ SSAATTBB Matins of the Resurrection and text by William Dunbar (Slavonic and Scots) FP Cappella Nova/Alan Tavener, Aberdeen, March 23, 2005

O Viridissima Virga 2004 8’ SATB Text by Hildegard of Bingen (Latin) FP St Louis Chamber Chorus/Philip Barnes, St Louis, Missouri, December 19, 2004

Passione Popolare 2005 30’ Soprano solo, Baritone solo, SATB, Ob, Vl, Vla, Vc Orthodox Services for Holy Week and Popular Italian Devotional Songs (Greek, Italian, Sardinian, and Italian dialects) FP Linda Campanella, soprano, Matteo Pierone, baritone, DolciAure Consort, Ensemble Antidogma/Ivano Scavino, Festival Antidogma, Abbazia di Staffarda, Italy, June 28, 2005

Ossetian Requiem 2005 14’ Chamber choir, 8 Cellos Orthodox Funeral Service FP Valencia Chamber Choir, Cello Octet Conjunto Ibérico/Elias Arizcuren, Templo la Valenciana, Guanajuato (Festival Cervantino) Mexico, October 15, 2005

Arktos

44 2005 8’ S, A, T, T, Bar, B soli, SSSSAAAA chorus Kalevala, Edmund Spenser (English) FP Singer Pur, Arktouros Chamber Chorus/John Potter, York, June 15, 2005

Venerabilis Galis 2005 8’ Commissioned by the Peñalosa Ensemble, Switzerland STBB Office of St Gall (Latin) Unperformed

Bagpipe Dance 2005 5’ Commissioned by Ian Mikirtoumov Children’s choir, SATB, Piano Greek folk Song (English) FP Junior Choir of the Conservatoire of Albuferia and the Choir of the Moraitis School/Yan Mikirtoumov accompanied by Iannis Antonopoulos, Auditório Municipal, Albuferia, Portugal, June 10, 2016

Te Apostolit… 2005 10’ Commissioned by Rajaton, Helsinki SM-SATBB Exaposteilarion of the Dormition (Finnish) FP Cappella Romana, St Mary’s Cathedral, Portland, Oregon, January 11, 2007

Funeral Trisagion (Kendrick Perala in memoriam) 2006 2’ SATB Trisagion from the Funeral Service (English) FP Cappella Romana Westminster Chancel Choir, Oregon Repertory Singers, Westminster Presbyterian Church, Portland Oregon, February 20, 2006

Sedam Himni Svetom Savi (Seven Hyms for St Sava) 2006 14’ SSAATTBB Stichera from Vespers for the Feast of St Sava (Slavonic)

45 FP Camerata Academica/Bogdan Djakovic, Matica Srpska Gallery, Novi Sad, Serbia, November 11, 2006

O Quam Mirabilis 2006 4’ Commissioned by Mandala SSA Text by Hildegard of Bingen (Latin)

Funeral Trisagion (Kendrick Perala in memoriam) 2006 2’ SATB Trisagion (Greek) FP Cappella Romana, Portland, Oregon, March 2, 2007

Edi beo the hevene queen 2006 4’ SSAATTBB Mediaeval English FP Chanticleer, George Mason University, Fairfax, Virginia, November 27, 2010

Vigilia (Vigil Service) 2006 40’ SSAATTBB Orthodox Vigil Service (Finish) Sections performed by various choirs in Finland, 2006

Ecce Homo 2007 4’ SSATB, Organ Gospel of St John (Greek and Latin) FP Concertus Antiquus/Victor Roque Amaro, Lisbon Cathedral, April 26, 2007

Anástasis 2007 10’ SAATTTTBBB Orthodox Liturgy for Holy Week and Pascha (English and Greek) FP Hilliard Ensemble, Singer Pur, Regensburg, October 3, 2007

Kleine Geistliche Konzerte

46 2007 Various scorings Psalms (German and Latin) FP Sete Lágrimas, Palácio da Fronteira, Lisbon, October 2007

Led by the Light 2008 10’ Commissioned by Lumen Valo SSAATTBB Orthodox Vespers of the Nativity (English) FP Lumen Valo, Uspensky, Cathedral, Helsinki, Finland, December 2008

Moon and Suns 2008 25’ Commissioned by Ars Nova Copenhagen and the Raschèr Quartet SSSAAATTTBBB, Saxophone Quartet The Kalevala (English) FP Ars Nova, Raschèr Quartet/Paul Hillier, Copenhagen, September 14, 2008

Stabat Mater 2008 30’ Commissioned by the Oslo Festival of Church Music SSSSAAAATTTTBBBB, String Quartet Roman Liturgy, Orthodox Matins of Holy Friday, and Anna Akhmatova text (Latin, Greek, and Russian) FP Norwegian Soloists’ Choir, Vertavo Quartet/Grete Pedersen, Oslo, March 22, 2009

Canti della Rosa 2008 15’ Commissioned by the King’s Singers Ct, Ct, T, Bar, Bar, B Dante, popular devotional texts, Orthodox Matins of Holy Friday (Italian and Sardinian) FP The King’s Singers, Cadogan Hall, London, November 2009

Hymn to St Nicholas 2009 15’ Commissioned by the KotorArt Festival Sticheron from Vespers for the Feast of St Nicholas, Trisagion (Slavonic and Greek) FP KotorArt Festival Choir/Ivan Moody, Kotor, Montenegro, August 11, 2009

Canticum Canticorum IV

47 2010 10’ Commissioned by Seattle Pro Musica SSAATTBB Song of Songs (Hebrew) FP Seattle Pro Musica/Karen P. Thomas, Seattle, Washington, May 2010

Angelus Domini descendit 2010 7’ Commissioned by the Choir of Royal Holloway, University of London SSAATTBB Responsory for Pascha (Latin) FP Choir of Royal Holloway/Rupert Gough, Royal Holloway, April 7, 2010 (Live BBC broadcast of choral evensong)

Sub tuum Praesidium 2010 12’ Commissioned by the English Chamber Choir SSAATTBB Devotional prayer (Latin, Slavonic, and Greek) FP English Chamber Choir, Brighton Festival, May 11, 2012

Vespers 2011 30’ Commissioed by the Children’s Choir of St Vladimir’s Orthodox Seminary, New York SSA (children’s voices) Byzantine rite Vespers (English) FP St Vladimir’s Orthodox Seminary at the request of Arvo Pärt, New York, May 31, 2014

Magnificat & Nunc dimittis (The Pacific Canticles) 2011 9’ Commissioned by the Chapel College Men & Boys Ensemble of Pacific Collegium SSAATTBB FP Chapel College Men and Boys Ensemble of Pacific Collegium/Christopher Kula, St Paul’s Episcopal Church, Oakland, California, May 22, 2012

Angel Vopiyashe 2011 Commissioned by Kamerkoor Oktoich SSAATTBB “The Angel Cried” from the Canon of Paschal Matins

48 FP Oktoich Chamber Choir/Aliona Ovsiannikova-Voogd, Muziekgebouw aan’t IJ, Amsterdam, May 29, 2011

The Paschal Canon: Ode VIII 2012 5’ (part of a multi-composer work) Commissioned by Cappella Romana SSAATTBB Paschal Canon FP Cappella Romana/Alexander Lingas, Lincoln City Cultural Centre, May 18, 2012

Baladilla de los Tres Ríos 2012 4’ 30” Written for Cor Aglepta SSAA Federico García Lorca text (Spanish) Unperformed

Noc Prekrasna 2012 2’ SSATBB Kontakion of the Nativity, St Nikolaj Velimirovic (Slavonic and Serbian) FP Choir of the Cathedral of St George, Novi Sad/Bgdan Djakovic, Synagogue, Novi Sad, Serbia, January 2013

Te lucis ante terminum 2012 3’ 30” SSATBB Office Hymn (Latin) FP Choir of Merton College, Oxford/Peter Phillips, Merton College, Oxford, May 9, 2014

Ottakaa vastaan 2013 4’ 30” Written for the Orthodox Chamber Choir of the University of Eastern Finland SATB Sunday Communion Hymn (Finnish) FP Orthodox Chamber Choir of the University of Eastern Finland, Joensuu, November 21, 2013

Qohelt 2013 50’ Commissioned by De Labyrintho

49 SSAATTBB, Consort of viols Ecclesiastes (Hebrew, Greek, Latin, and English) Unperformed

Aposticha for the Dormition 2013 9’ SATB Vespers for the Dormition of the Mother of God (English) FP Orthodox Choir of the University of Eastern Finland/Petri Nykänen, Monastery of New Valamo, Finland, February 16, 2014

Thy Fatherly Embrace 2014 3’ SATB with divisions Kathisma Hymn of the Canon for Sunday of the Prodigal Son (English) FP St Romanos Choir/Peter Jermihov, St Peter & St Paul Orthodox Church, Burr Ridge, Illinois, April 6, 2014

The Land which is Not 2014 15’ SATB with divisions (24vv) Edith Södergran (English) FP BBC Singers, Nicolas Alstaedt/Stephen Cleobury, Milton Court, London, October 21, 2014

Liturgy of St John Chrysostom No. 2 (Greek Liturgy) 2014 60’ Commissioned by the Society of St Romanos SATB with divisions Divine Liturgy of St John Chrysostom (Greek) FP St Romanos Choir/Peter Jermihov, Autumn 2014

O Luce Etterna (Dante Trilogy Part I) 2014 SSAATTBB Il Paradiso by Dante Alighieri (Italian FP Cappella Musical Cupertino de Miranda, Cistermusica Festival, Alcobaca, July 11, 2014

Oltre la Spera (Dante Trilogy Part II) 2014 7’ SSATTBB, fl., b.cl., vib., pno., vl., vla., vcl. Vita Nuova by Dante Alighieri (Italian)

50 FP Grupo musical Olisio, Grupo de Música Contemporânea de Lisboa, Palácio Foz, Lisbon, June 27, 2014

Cielo della Luna (Dante Trilogy Part III) 2014 10’ Commissioned by the Biola Conservatory of Music SSAATTBB, a.fl., vib., pno., vl., vcl. Il Paradiso by Dante Alighieri (Italian) FP Biola Chorale, Cadillac Moon, Paul Barnes, Biola Conservatory of Music, La Mirada, California, October 10, 2014

O Isplendor (In Memory of Sir John Tavener) 2014 10’ Commissioned by Cappella Nova SATB soli + SATB Canto XXX Il Paradiso by Dante Alighieri (Italian); Kontakion for the Departed (Greek) FP Cappella Nova/Alan Tavener, November 2014

The Holy Spirit 2014 4’ SSATB Manuel Phile, “To the Holy Spirit”, translated Elizabeth Barrett Browning (English) FP The Byrd Ensemble, St Mark’s Cathedral, Seattle, Washington January 31, 2013

…grace upon her heart… 2015 Commissioned by the Sheppard Ensemble 10’ SATB + SATB John of Euchaita, “The Transfiguration”, translated by Elizabeth Barrett Browning (English) FP Sheppard Ensemble/Bernhard Schmidt, Porvoo, Finland September 2, 2015

Le Vergine 2016 12’ Commissioned by Stimmwerck SATTB, Consort of viols Petrarch (Italian) FP Stimmwerck, Adlersburg, Regensburg, June 29-30, 2016

Vespers Sequence 2016 35’

51 Commissioned by New York Polyphony ATBarB FP New York Polyphony, Church of St. Mary the Virgin, New York, NY, January 21, 2017

Psalm 1 and Antiphon for Psalm 1 2017 8’ + 2’ Commissioned by Singer Pur STTTBarB + SATB with div FP Singer Pur, Regensburger Domspatz/Roland Büchner, Rathaussaal im Alten Rathaus, Regensburg, May 18, 2017

Psalm Antiphon 2017 10’ Commissioned by the Chamber Choir of Lisbon University SATB with divisi, picc., 2 fl., 2 ob., ca., bsn., cbsn., 2 hn., 2 tpt., trb., b trb., hp., 2 pno., cb. FP Lisbon University Chamber Choir, Banda de Música da Armada Portuguese/Délio Gonçalves, July 14, 2017

52 5 VAN 907 & #˙ œ œ œ #˙ #w w. œw e-ius.#˙ Ve˙. - ni, di - le - cte ˙ w w. œw Ivan Moody V w. ˙. - o, Ve - ni, di - le - cte Canticum Canticorum I All music examples © Vanderbeek & Imrie and used by permission V #w. #˙. ˙ w w. œw Three Motets from the Song of Songs - o, Ve - ni, di - le - cte Figure 1. Canticum Canticorum I, movement 1, m. 1-12 œ #œ ˙ ˙ ? w. ˙. ˙ #œ #˙ œ #œ #œ œ #˙ 1. Surge propera amica mea - o, Ve - ni, di - le- cte mi, e - gre-di - a - mur

8 A p . . . & . #œ #œ œ œ & #w. w œ ˙ ˙ ˙ Coœ -œ lum - ba mi. com - - mo - re - mur p T1 œ œ w. #œ ˙ #˙ #˙ ˙ #œ V #œ œ œ œ œ #œ œ œ œ ˙ #w œ V ˙ ˙ pro - pe - ra a - mi - ca me - a, me - mi. com - mo - re - mur in vil - lis, p T2 j w. . . . V . #œ #œ œ œ ˙ w w œ w œ V mi. #comw - -œ #mo˙ - re˙ - #mur˙ Surœ -œ ge, a- - -mi -

B p ? #œ œ #˙ w œ ˙ ˙ ˙ ? w. w w œ w œ #œ . . . Sur - - - ge, a- - -mi - in œa-grum, com - - mo - re - mur

12 5 #œ & #w #˙. ˙. #w & œ #˙ œ #˙ œ œ ˙ in vil - lis. #ad˙ viœ - neœ - as: me - a, for-mo - sa me - a, w #w œ #˙ œ œ ˙ #œœ œ ˙ V w ˙. ˙. ˙ œ œ V œ œ. J œ in vil - lis. ad vi - ne - as: - a, for-mo - sa me - a, et ve - ni. œ #˙ #œ œ œ #˙ œ œ V #œ ˙. #˙ œ œ w V w œ œ ˙ œw ˙ œ. #œ œ œ œ #œ œ Ma - ne sur - ga - mus ad vi - ne - as: -ca, for-mo - sa me - a, et ve - ni. Iam e-nim i-ems ? w ˙. ˙. ˙ œ œw ? w œ ˙ œ œ ˙ œw ˙ w ˙. in vil - lis. ad vi - ne - as: -ca, for-mo - sa me - a, et ve - ni. Iam

15 U 9 œ œ & #vi˙ - deœ - a -# mus˙ #˙si floœ - ru˙ -˙ i t vi˙. -#w neœ - a. & œ œ #œ œ œ ˙ trans#˙ -œ i - it,˙ imœ - ber œ #œa-bi-it,œ ˙ etœ reœ -# cesœ - sit. ˙ ˙ ˙ œ œ #œ #œ œ œw U V #œ ˙ ˙. vi - de - a - mus si flo - ru - it vi - ne - a. V ˙ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ U trans - i - it, im - ber a-bi-it, et re - ces - sit. œ œ . œw V #vi˙ - deœ - a -# mus˙ ˙si floœ - ru˙ -˙ i t #vi˙ - ne - a. V ˙ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ œ U trans - i - it, im - ber a-bi-it, et re - ces - sit. ? ˙ ˙ ˙ œ œ #œ #œ #œ #˙ ˙. œw vi - de - a - mus si flo - ru - it vi - ne - a. ? ˙ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ISMN M-57011-907-3 trans - i - it, im - ber a-bi-it, et re - ces - sit.

© Copyright 1990 Vanderbeek & Imrie Ltd. All rights reserved for the world & solar system Source: Moody,© Copyright Ivan, 1990 Canticum Vanderbeek Canticorum & Imrie Ltd, I,15 (Vanderbeek Marvig, Lochs, &Isle Imrie of Lewis, Ltd., Scotland 1990), HS2 1. 9QP ISMN M 57011-907-3 All rights reserved for the world & solar system VAN 907 9790570119073

53 Figure 2. Canticum Canticorum II, m. 33-39

& ∑ ∑ p π › , b˙ ˙ bw ˙w V [Ah] of Je - ru - sa-lem, π b˙ V ∑ b˙ bw ˙w of Je - ru - sa-lem,

F œ π ? b œ œ n œ œ ˙ œ ˙ J ˙ n œ ˙ ˙ ˙ ˙ ˙ b˙ w ˙ ˙w ˙w O ye ˙ daugh - - - ters of Je - ru - sa-lem,

35 j F b œ b œ ˙ b Jœ & ˙ b˙ ˙ J ˙ b˙ ˙ n˙ b˙ bas˙ the tents of Ke˙ -b dar,w bas˙ the cur - tains of So -b lo˙ - mon.w

V › ›

F b œj b œ ˙ b Jœ V ˙ b˙ ˙ J ˙ b˙ ˙ n˙ b˙ bas˙ the tents of Ke˙ -b dar,w bas˙ the cur - tains of So -b lo˙ - mon.w

? › ›

& ∑ ∑ π ˙ ∑ b˙ bw ˙w V be - cause I am black,

F j œ œ π b œ n œ œ n œ œ ˙ ˙ b˙ , b˙ V ˙ ˙ ˙ ˙ ˙ ˙ ˙ w b˙ bw ˙w Look not up - on me be - cause I am black, π ? ∑ ˙ ˙w ˙w be - cause I am black,

39 j F b œ & ˙ b˙ ˙ ˙ b Jœ n˙ b˙ bbe˙ - cause the sun hath looked up -b onw me.› › V ›

F b œj V ˙ b˙ ˙ ˙ b Jœ n˙ b˙ bbe˙ - cause the sun hath looked up -b onw me.› ? › ›

- 6 -

Source: Moody, Ivan, Canticum Canticorum IV, (Vanderbeek & Imrie Ltd., 1994), 6.

54 30 Leggiero, estatico S1 # # 7 4 3 & # 4 4 4

S2 # # 7 4 3 & # 4 4 4 [solo] p A1 # # F U # 7 œ 4 3 & 4 ˙ œ œ œ ˙ œ œ ˙ ˙ œ œ œ œ œ 4 œ w 4 A - ní le-do-dí˙ ve - do - dí lí ha - ro - é ˙ ba˙ - shoœ sha - ním. A2 # # & # 47 4 43 [solo] p T1 # # 7 œ 4 U 3 V # 4 w œ ˙ w œ œ w ˙. 4 w w 4 [Ah.] [solo] [tutti] p T2 # # 7 4 U 3 V # 4 w ˙. w œ œ œ w ˙. 4 w w 4 [Ah.] Iaœ.. -fá,˙ iaœ.. -fá,˙ p [solo] [tutti] B1 # U .. .. ? ## 7 w ˙. w ˙. w ˙. 4 w w 3 œ ˙ œ ˙ 4 [Ah.] 4 4 Ia-fá, ia-fá,

B2 # # ? # 47 4 43 Iaœ.. -fá,˙ iaœ.. -fá,˙ Figure 3. Canticum Canticorum IV, m. 37-55

37 S1 # # & #

S2 # # & #

A1 # # & #

A2 # # & # [tutti] f > > T1 # # j œ ˙ œ œ œ œ œ œ ˙ ˙. ˙. V # œ ˙ œ. œ œ œ ˙ ˙ Œ œ œ Œ Ia-fá œ at ra-ia - tí ke - tir - # T2 ## V œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ iaœ.. -fá,˙ iaœ.. -fá,˙ iaœ.. -fá,˙ iaœ.. -fá,˙ ia.. -fá, ia.. -fá, ia.. - fá, ia.. -fá, ia.. -fá, ia.. -fá, ia.. -fá, ia.. -fá,

B1 # ...... ? ## œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ ia-fá, ia-fá, ia-fá, ia-fá, ia-fá, ia-fá, ia - fá, ia-fá, ia-fá, ia-fá, ia-fá, ia-fá,

B2 ? # # # œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ iaœ.. -fá,˙ iaœ.. -fá,˙ iaœ.. -fá,˙ iaœ.. -fá,˙ ia.. -fá, ia.. -fá, ia.. - fá, ia.. -fá, ia.. -fá, ia.. -fá, ia.. -fá, ia.. -fá, - 4 -

49 S1 # # 5 3 6 3 & # 4 4 4 4

S2 # # 5 3 6 3 & # 4 4 4 4 [tutti] # p A1 ## 5 3 6 3 & œ ˙ 4 ˙. ˙ 4 ˙. 4 œ œ œ œ œ œ œ œ œ w 4 na-vá ki - ru - sha˙ - lá - im p A2 # # # 5 3 6 3 & 4 4 ˙. 4 ˙ ˙ ˙ # n w 4 naœ -vá˙ ˙. ˙ ki - ru - sha - láœ œ- im > ˙. œ p T1 # # ˙. ˙ 5 3 6 ˙ ˙ ˙ 3 V # ˙. ˙. 4 ˙. ˙ 4 ˙. 4 ˙ w 4 tzá na - - - vá ki - ru - sha - lá - im T2 # # 5 3 6 3 V # œ ˙ œ ˙ œ ˙ œ ˙ ˙. 4 ˙. ˙ 4 ˙. 4 œ œ œ œ œ œ œ œ œ 4 ia.. -fá, ia.. -fá, ia.. -fá, ia.. -fá, na - - - vá ki - ru - sha˙ - lá - imw B1 # .. .. œ.. ˙ œ.. ˙ ˙ ˙ ˙ ? ## œ ˙ œ ˙ ˙. 5 ˙. ˙ 3 ˙. 6 #œ œ 3 ia-fá, ia-fá, ia-fá, ia-fá na - 4 - - 4 vá 4 ki - ru - sha - lá - imw 4

B2 # # ? # œ ˙ œ ˙ œ ˙ œ ˙ 45 43 ˙. 46 ˙ ˙ ˙ œ 43 ia.. -fá, ia.. -fá, ia.. -fá, ia.. -fá na˙. - ˙.- ˙ - vá ki - ru - sha - lá œ- imw

Source58: Moody, Ivan, Canticum Canticorum IV, (Vanderbeek & Imrie Ltd., 2010), 4-5. F œ œ œ œ œ S1 # # 3 œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # 4 œ œ Œ a - iu - má ka - nig - da - F S2 # # œ ˙ œ œ œ œ œ œ ˙ ˙. ˙ # 3 œ œ Œ . ˙. & 4 a - iu - má ka - nig - da - # F A1 ## 3 55 & 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 a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, ka - nig -

A2 # # F # 3 & 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙. ˙. a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, ka - nig - F T1 # # 3 j V # 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ ˙ œ. œ œ œ a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, ka - nig - # T2 ## 3 V 4 ˙. ˙. ˙. œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ ka - nig - da -

B1 # ? ## 3 ˙ ˙ ˙ 4 œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ ka. - nig. - da. -

B2 ? # # 3 # 4 œa-iuœ -má,˙ œa-iuœ -má,˙ œa-iuœ -má,˙ œa-iuœ -má,˙ œa-iuœ-má,˙ œa-iuœ-má,˙ ka˙. - nig˙. - da˙. - - 5 - Figure 4. Canticum Canticorum II, movement 4, m. 40-50

40 p & ∑ œ b˙ œ w ∑ œ b˙ œ w Draw me, we will run œ b˙ œ w › , œ b˙ œ bœ œ œ œ ˙ › IV V Draw me, we will run ww › , ˙. œw › V Draw me, we will run

? ∑ bœ ˙ œ w ∑ bœ ˙ œ bœ œ œ œ ˙ Draw me, we will run 44 , p , & bœ œ œ ˙ ˙ bœ œ ˙. afbœ - ter thee: theœ Kingb˙ œ w › hathœ broughtb˙ œ bmeœ œ œ œ ˙ b˙ w p ˙ w bw ∑ bœ œ ∑ V af - ter thee: the King p bœ œ œ ˙ ˙ bœ ˙. ∑ b˙ w ∑ V afbœ - ter thee:œ theœ King œ , pw w › , œ ˙. w ? bw bw˙ af - ter thee: the King hath brought me

48 , f> f & ∑ Œ bœ b˙ œ › bin˙ - toœ his˙ cham-œ bers.˙. We F bœ ˙ œ œ œ ˙ , f , bœ ˙ œ œ w V bœ œ bœ œ œ œ ˙ bœ œ ˙. hath brought me inbœ - to his cham-bers:> We will be glad , f > , F b˙ b˙ w œ bœ œ w V hathœ brought œ me bin˙ - toœ his˙ cham-bers:œ ˙. We will be glad f ? › , > f bœ œ œ œ ˙ bœ ˙. ∑ Œ bœ b˙ œ inbœ - to his cham-bers:œ We

Source: Moody, Ivan, Canticum Canticorum II, (Vanderbeek & Imrie Ltd., 1994), 7. 51 P & œ b˙ œ bœ ˙ ˙ ˙ ∑ œ b˙ œ œ ˙ ˙ willœ be glad and re - joice˙ in thee, We will re-mem - ber P , bw˙ bœ œ œ œw œ b˙ œ œ ˙ ˙ › V and re - joice in thee, we will re-mem - ber P , ˙w bœ bœ œ œw ˙. œ œ ˙ ˙ › V and re - joice in thee, we will re-mem - ber P ? ˙ œ ˙ ˙ b˙ ˙ ˙ ˙ ∑ bœ œ willœ beœ glad andœ b reœ - joice˙ in thee, we will re-mem - ber - 7 -

56 Ivan Moody

Canticum Canticorum II Prologue

A P , P & ∑ b˙ w w bw b›w. b˙ w w b›w of Songs which is So - lo - mon's.

T1 P P Ó bw bw bw b›w. ∑ b›w. › V The Song of Songs So - lo - mon's. T2 P P b›w. b›w. ∑ b›w. b› V The Song of Songs So - lo - mon's.

B P b˙ w w bw P b˙ w w bw ? ∑ Ó bww bw b› of Songs which is So - lo - mon's. Figure 5. Canticum Canticorum II, m. 5-8

5 3 3 3 3 p , bœ œ œ œ œ œ œ b˙ ˙ ˙ œ ˙ ˙ ˙ & [Ô]œ œ œ œ œ œ œ ˙ ˙ ˙ œ ˙ ˙ ˙ p ˙ b˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ , 3 3 3 V [Ô] (sopra) P , bw w bœ œw bw w bœ œ ˙ ˙w V Let him kiss me with the kis- ses of his mouth: (sopra) P , ? ∑ w bœ œ b˙ withb thew kis-ses of his˙w mouth:

7 3 3 3 3 3 3 P , p & ˙ bœ bœ ˙ œ œ ˙ ˙ œ œ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ for thy love is bet - ter than wine.w [Ô] P P b˙ ˙ , b˙ ˙ ˙ ˙ œ ˙ ˙ bœ bœ ˙ œ œ ˙ œ œ w ˙ b˙ œ œ œ œ œ ˙ V for thy love is bet - ter than wine. Be - cause of the sa-vour of thy good oint-ments thy name p 3 3 3 3 V ∑ b[Ô]˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ p ? œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ [Ô]

57 54 F , p & ∑ œ b˙ œ w bœ œ bœ œ w thy love morebœ than wine: bthe˙ up-˙w right love w thee. › F bœ w. p œ b˙ œ bœ œ œ œ ˙ › bœ , b˙ bw˙ w› V thy love more than wine: the up- right love thee. p F , b˙ V ww › bœ œ bœ œ w b˙ w b›w thy love morebœ than wine: the up- right love thee. p F bœ w. , ? ∑ bœ ˙ œ bœ œ œ œ ˙ bœ ∑ ∑ ∑ ∑ thy love more than wine: bthe˙ up˙ -

Figure 6. Canticum Canticorum II, m. 58-68

58 6 2 F 8ˆ8 ∑ ∑ ∑ . b˙. œ & Tell˙ œ me, F 6 2 b˙ œ b˙ œ 8ˆ8 ∑ ∑ ∑ . . V Tell me, V F 6 2 , V 8ˆ8 œ. œ. œ œ. œ. œ œ. bœ. œ œ. œ. œ œ. œ. œ Tell me, O thou, whom my soul lo - veth, Tell me, O thou, whom my F 6 2 œ œ œ bœ. œ. œ , œ œ œ ? 8ˆ8 œ. œ. œ . . œ. œ. œ . . Tell me, O thou, whom my soul lo - veth, Tell me, O thou, whom my

63 6 . bœ œ bœ. œ. œ bœ. œ. œ w 4 ∑ & bO˙. œ thou,œ whom my soul lo - veth, b˙ œ bœ œ œ bœ œ œ bœ œ œ w 6 ...... 4 ∑ V O thou, whom my soul lo - veth, p , , 6 V œ. bœ. œ œ. œ. œ œ. œ. œ œ. bœ. œ w 4 w. soul lo - veth, Tell me, O thou, whom my soul lo - veth, where bœ. œ. œ , œ œ œ bœ. œ. œ w 6 ? œ. œ. œ . . 4 ∑ soul lo - veth, Tell me, O thou, whom my soul lo - veth,

Source: Moody, Ivan, Canticum Canticorum II, (Vanderbeek & Imrie Ltd., 1994), 8.

- 8 -

58 Ivan Moody

Canticum Canticorum II Prologue

A P , P & ∑ b˙ w w bw b›w. b˙ w w b›w of Songs which is So - lo - mon's.

T1 P P Ó bw bw bw b›w. ∑ b›w. › V The Song of Songs So - lo - mon's. T2 P P b›w. b›w. ∑ b›w. b› V The Song of Songs So - lo - mon's.

B P b˙ w w bw P b˙ w w bw ? ∑ Ó bww bw b› of Songs which is So - lo - mon's. Figure 7. Canticum Canticorum II, m. 5-8

59 54 F , p & ∑ œ b˙ œ w bœ œ bœ œ w thy love morebœ than wine: bthe˙ up-˙w right love w thee. › F bœ w. p œ b˙ œ bœ œ œ œ ˙ › bœ , b˙ bw˙ w› V thy love more than wine: the up- right love thee. p F , b˙ V ww › bœ œ bœ œ w b˙ w b›w thy love morebœ than wine: the up- right love thee. p F bœ w. , ? ∑ bœ ˙ œ bœ œ œ œ ˙ bœ ∑ ∑ ∑ ∑ thy love more than wine: bthe˙ up˙ -

Figure 8. Canticum Canticorum II, m. 58-68

Source: Moody, Ivan, Canticum Canticorum II, (Vanderbeek & Imrie Ltd., 1994), 8.

- 8 -

60 13 2. Descendi in hortum m eum ∏ œ #œ œ A & œ. #œ #œ œ œ #˙ Ó Ó ŒÓ ŒÓ in ter - ra no - stra; & - di˙. hor-tumœ ˙ me-umœ ˙ - de˙ - con-valœ ˙ - ˙. --ce˙. œ œ ∏ V #œ œ œ œœœ œ œ #˙. ˙ w T1 w œ œ ˙ œ ˙ w #w w œ w. ap - pa - ru - e - runt in ter - ra; V De - hor-tum me-um ut po - et ∏ j . . T2 . ˙. w œ V œ. #œ #œ œ œ œ ˙ ˙ ˙ w œ w Œ w œ ˙ œ ˙ Œ ˙ Œ Œ œw Flo - res in ter - - - ra; V - scen - hor-tum me-um vi - - ma in - spi - ∏ œ œ ˙ œ ˙ œ œ ˙ ˙ ? w. ˙. ˙. w œ w B ? Flo - - - res in ter - - - ra; Ó Ó Ó Œ ŒÓ ŒÓ Ó Ó Figure 9. Canticum Canticorum I, movement 1, m. 17-25 in hor-tum me-um - rem - li-um - rem 17 6 œ ˙ œ ŒŒ˙ œ œ ˙ ŒŒ ŒŒ ‰ j j j j j j & #œ œ œ ˙ œ ˙ ˙ & --ru. vi - ne - a, - miw - #puw - #Re-ver-te-re,œ œ œ œ. re-ver-te-re,œ œ œ ˙ tem - pus pu-ta - ti - o-nis ad-ve - nit; #ter˙ - raœ no-stra;œ ˙ #œ ˙ œ #w œ #œ œ ˙ w w œ œ œ œ œ œ œ ˙ œ ˙ œ œ œ ˙ ˙ œ œ. #œœ œœ ˙ ˙ œ œ ˙ . . ‰ J J J . J J J V J V si vi - ne - a, et ma - Re-ver-te-re, re-ver-te-re, tem-pus pu-ta - ti - o-nis ad-ve - nit; vox tur - tu - ris ter - ra no-stra; w œ œ ˙ #œ ˙ œ ˙ œ œ œ œ. œ œ œ ˙ #œ ˙ œ œ #˙ V Œ Ó Œ Ó Œ ‰ J J J J J J V œ ˙ œ œ œ ˙ ˙ œ ˙. œ ˙ œ. #œœœ œ œ ˙ œ œ ˙ flo - vi - ne - a, nas-sent - ni-ca. Re-ver-te-re, re-ver-te-re, tem-pus pu-ta - ti - o - nis ad-ve - nit; vox tur - tu - ris au - di - ta est in ter - ra no-stra; œ œ œ œ ˙ œ w œ w œ œ œ œ. œ œ œ ˙ ? œ ˙ œ œ œ œ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ? Ó Œ Œ Œ ‰ J J J J J J . . - tem - pus pu-ta - ti - o - nis ad-ve - nit; vox tur - tu - ris au - di - ta est in ter - ra no-stra; - is- set vi - ne - a, ger - la Re-ver-te-re, re-ver-te-re, 11 21 , Ó Œ ŒŒ & #Su˙ - na-œ mi-tis;œ ˙ #Re-ver-te-re,œ œ œ ˙ re-ver-te-reœ œ œ ˙ -#˙e .- #te.˙. - luw - & œ œ#œ œ œ œ fi -œ cus pro - tu - lit œ #grosœ - sosœ suœ - os;˙ ˙ œ œ ˙ , œ œ œ ˙ œ œ œ ˙ w. ˙. w. V V œ œ œ œ ˙ œ œ œ ˙ Su - na- mi-tis; Re-ver-te-re, re-ver-te-re ut te. Al - fi - cus pro - tu - lit gros - sos su - os; , ˙ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œw ˙. œ w V Œ Œ j œ Su - na- mi-tis; Re-ver-te-re, re-ver-te-re in - tu - te. - le - V œ œ œ œ ˙ œ œ œ ˙ œ. #œ œ œ œ #œ ˙ fi - cus pro - tu - lit gros - sos su - os; vi - ne flo - ren - tes ˙ œ œ ˙ , œ œ œ ˙ œ œ œ ˙ œ œ ˙. ˙. ? Ó Ó ŒÓ ? œ œ œ œ ˙ œ œ œ ˙ ww Su - na- mi-tis; Re-ver-te-re, re-ver-te-re - a-mur te. - ia. fi - cus pro - tu - lit gros - sos su - os; vi - ne © Copyright 1990 Vanderbeek & Imrie Ltd. All rights reserved for the world & solar system

24 poco più f U 3. Ego dilecto m eo #œ œ & œ œ ˙ œ. #œ #œ œ œ œ w #deœ - deœ - runt˙ œ o - doœ -# remœ su - um. Al - le - lu - i - a. f A œ U & #˙ œ œ œ #˙ œ œ #˙ #˙ œœœœœ œ ˙ ˙. œ œ œw E-go˙ di - le - cto me - o, et ad me ˙ con˙ - verœ - si - o V œ œ ˙ œ œ ˙ œ ˙ f de - de - runt o - do - rem su - um. Al - le - lu - i - a. T1 œ V w œ ˙ w œ #œ w ˙. w. U E-godi - le - cto me - V œ œ ˙ nœ œ ˙ œ ˙ #œ œ œ #œ œ w f de - de - runt o - do - rem su - um. Alœ. #œ -œ le - lu - i - a. T2 V #w ˙. #w œ œ œ #w ˙. #w. U E-go di - le - cto me - ? œ œ ˙ œ œ ˙ œ ˙ ˙. œ œ œw f de - de - runt o - do - rem su - um. Al - le - lu - i - a. B ? w ˙. w œ ˙ w ˙. w. poco più E-go di - le - cto me - f Source: Moody, Ivan, Canticum Canticorum I, (Vanderbeek & Imrie Ltd., 1990), 2.

61 Figure 10. Canticum Canticorum I, movement 1, m. 1-15

13 2. Descendi in hortum m eum ∏ œ #œ œ A & œ. #œ #œ œ œ #˙ Ó Ó ŒÓ ŒÓ in ter - ra no - stra; & - di˙. hor-tumœ ˙ me-umœ ˙ - de˙ - con-valœ ˙ - ˙. --ce˙. œ œ ∏ V #œ œ œ œœœ œ œ #˙. ˙ w T1 w œ œ ˙ œ ˙ w #w w œ w. ap - pa - ru - e - runt in ter - ra; V De - hor-tum me-um ut po - et ∏ j . . T2 . ˙. w œ V œ. #œ #œ œ œ œ ˙ ˙ ˙ w œ w Œ w œ ˙ œ ˙ Œ ˙ Œ Œ œw Flo - res in ter - - - ra; V - scen - hor-tum me-um vi - - ma in - spi - ∏ œ œ ˙ œ ˙ œ œ ˙ ˙ ? w. ˙. ˙. w œ w B ? Flo - - - res in ter - - - ra; Ó Ó Ó Œ ŒÓ ŒÓ Ó Ó in hor-tum me-um - rem - li-um - rem 17 6 œ ˙ œ ŒŒ˙ œ œ ˙ ŒŒ ŒŒ ‰ j j j j j j & #œ œ œ ˙ œ ˙ ˙ & --ru. vi - ne - a, - miw - #puw - #Re-ver-te-re,œ œ œ œ. re-ver-te-re,œ œ œ ˙ tem - pus pu-ta - ti - o-nis ad-ve - nit; #ter˙ - raœ no-stra;œ ˙ #œ ˙ œ #w œ #œ œ ˙ w w œ œ œ œ œ œ œ ˙ œ ˙ œ œ œ ˙ ˙ œ œ. #œœ œœ ˙ ˙ œ œ ˙ . . ‰ J J J . J J J V J V si vi - ne - a, et ma - Re-ver-te-re, re-ver-te-re, tem-pus pu-ta - ti - o-nis ad-ve - nit; vox tur - tu - ris ter - ra no-stra; w œ œ ˙ #œ ˙ œ ˙ œ œ œ œ. œ œ œ ˙ #œ ˙ œ œ #˙ V Œ Ó Œ Ó Œ ‰ J J J J J J V œ ˙ œ œ œ ˙ ˙ œ ˙. œ ˙ œ. #œœœ œ œ ˙ œ œ ˙ flo - vi - ne - a, nas-sent - ni-ca. Re-ver-te-re, re-ver-te-re, tem-pus pu-ta - ti - o - nis ad-ve - nit; vox tur - tu - ris au - di - ta est in ter - ra no-stra; œ œ œ œ ˙ œ w œ w œ œ œ œ. œ œ œ ˙ ? œ ˙ œ œ œ œ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ? Ó Œ Œ Œ ‰ J J J J J J . . - tem - pus pu-ta - ti - o - nis ad-ve - nit; vox tur - tu - ris au - di - ta est in ter - ra no-stra; - is- set vi - ne - a, ger - la Re-ver-te-re, re-ver-te-re, 11 21 , Ó Œ ŒŒ & #Su˙ - na-œ mi-tis;œ ˙ #Re-ver-te-re,œ œ œ ˙ re-ver-te-reœ œ œ ˙ -#˙e .- #te.˙. - luw - & œ œ#œ œ œ œ fi -œ cus pro - tu - lit œ #grosœ - sosœ suœ - os;˙ ˙ œ œ ˙ , œ œ œ ˙ œ œ œ ˙ w. ˙. w. V V œ œ œ œ ˙ œ œ œ ˙ Su - na- mi-tis; Re-ver-te-re, re-ver-te-re ut te. Al - fi - cus pro - tu - lit gros - sos su - os; , ˙ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œw ˙. œ w V Œ Œ j œ Su - na- mi-tis; Re-ver-te-re, re-ver-te-re in - tu - te. - le - V œ œ œ œ ˙ œ œ œ ˙ œ. #œ œ œ œ #œ ˙ fi - cus pro - tu - lit gros - sos su - os; vi - ne flo - ren - tes ˙ œ œ ˙ , œ œ œ ˙ œ œ œ ˙ œ œ ˙. ˙. ? Ó Ó ŒÓ ? œ œ œ œ ˙ œ œ œ ˙ ww Su - na- mi-tis; Re-ver-te-re, re-ver-te-re - a-mur te. - ia. fi - cus pro - tu - lit gros - sos su - os; vi - ne © Copyright 1990 Vanderbeek & Imrie Ltd. All rights reserved for the world & solar system 24 poco più Source: Moody, Ivan, Canticum Canticorum I, (Vanderbeek & Imrie Ltd., 1990), 3. f U 3. Ego dilecto m eo #œ œ & œ œ ˙ œ. #œ #œ œ œ œ w #deœ - deœ - runt˙ œ o - doœ -# remœ su - um. Al - le - lu - i - a. f A œ U & #˙ œ œ œ #˙ œ œ #˙ #˙ œœœœœ œ ˙ ˙. œ œ œw E-go˙ di - le - cto me - o, et ad me ˙ con˙ - verœ - si - o V œ œ ˙ œ œ ˙ œ ˙ f de - de - runt o - do - rem su - um. Al - le - lu - i - a. T1 œ V w œ ˙ w œ #œ w ˙. w. U E-godi - le - cto me - V œ œ ˙ nœ œ ˙ œ ˙ #œ œ œ #œ œ w f de - de - runt o - do - rem su - um. Alœ. #œ -œ le - lu - i - a. T2 V #w ˙. #w œ œ œ #w ˙. #w. U E-go di - le - cto me - ? œ œ ˙ œ œ ˙ œ ˙ ˙. œ œ œw f de - de - runt o - do - rem su - um. Al - le - lu - i - a. B ? w ˙. w œ ˙ w ˙. w. poco più f E-go di - le - cto me -

62 54 F , p & ∑ œ b˙ œ w bœ œ bœ œ w thy love morebœ than wine: bthe˙ up-˙w right love w thee. › F bœ w. p œ b˙ œ bœ œ œ œ ˙ › bœ , b˙ bw˙ w› V thy love more than wine: the up- right love thee. p F , b˙ V ww › bœ œ bœ œ w b˙ w b›w thy love morebœ than wine: the up- right love thee. p F bœ w. , ? ∑ bœ ˙ œ bœ œ œ œ ˙ bœ ∑ ∑ ∑ ∑ thy love more than wine: bthe˙ up˙ -

Figure 11. Canticum Canticorum II, m. 58-68

Source: Moody, Ivan, Canticum Canticorum II, (Vanderbeek & Imrie Ltd., 1994), 8.

- 8 -

63 118 F œ œ ƒ œ œ œ S1 # # 3 œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ & # 4 œ œ Œ a - iu - má ka - nig - F ƒ S2 # # ˙ œ œ œ œ œ œ ˙ ˙. # 3 œ œ œ Œ ˙. & 4 a - iu - má ka - nig - ƒ A1 # # 3 & # œ œ w 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ œ œ a - iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, ka - ƒ A2 # # # 3 & # n w 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙. œa - iuœ-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, ka - ƒ T1 # # 3 V # œ œ w 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ ˙ a - iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, ka - # ƒ T2 ## 3 V œ œ 4 ˙. ˙. a - iu-má,w œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ -má,˙ œa-iuœ -má,˙ œa-iuœ-˙má, œa-iuœ-˙má, ka - nig -

B1 # ƒ ? ## #œ œ 3 ˙ ˙ a - iu-má,w 4 œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ -má,˙ œa-iuœ -má,˙ œa-iuœ-˙má, œa-iuœ-má,˙ ka. - nig. - ƒ B2 # # ? # œ 43 a - iuœ -má,w œa-iuœ-má,˙ œa-iuœ-má,˙ œa-iuœ -má,˙ œa-iuœ-má,˙ œa-iuœ-˙má, œa-iuœ-má,˙ ka˙. - nig˙. - Figure 12. Canticum Canticorum IV, m. 131-148 127 # U f S1 ## œ œ œ œ œ œ œ ˙ ˙. ˙. 5 j 4 & 4 . œ œ ˙ œ ˙ œ œ œ ˙ œ œ 4 - da - lót Elœ œ gi - nát œe - góz ia -

S2 # # U f # ˙. œ ˙ ˙. ˙. 5 Ó Œ j œ œ œ 4 & - da - lót 4 Elœ. œ œ œ ˙ gi - nátœ œ œe -œ gózœ 4

A1 # U f ## 5 4 & œ œ œ œ œ œ œ œ œ ˙ ˙. 4 Œ œ œ œ œ œ ˙ 4 - nig - daœ œ -œ lótœ Elœ œ œ gi - nát œe -

A2 # # U f & # 45 ˙ œ 4 ˙. ˙. ˙ ˙. œ œ œ œ œ - nig - da - lótœ El gi -

T1 # U ## j 5 4 V œ. œ œ œ ˙. ˙ œ ˙. 4 4 - nig - da - lót

T2 # U ## 5 4 V ˙. ˙. ˙. ˙. 4 4 - da - lót U B1 # ? ## ˙ ˙ ˙ ˙ 5 4 - da. - lót.. . . 4 4

B2 ? # # U 5 4 # 4 4 - da˙. - lót˙. ˙. ˙. - 9 -

64 134 3 # S1 ## 4 5 4 & 4 œ 4 œ ˙ œ œ œ 4 ˙ œ œ œ ˙ œ - rád œ- ti˙ li - rót bei - béi haœ- naœ - chalw w 3 S2 # # 4 5 4 & # 4 œ œ œ 4 œ 4 œ œ œ œ œ œ œ œ œ œ œ ia - rádœ -œ ti˙ œli - rót bei - béi haœ œ- naœ chalœ w 3 A1 # # # 4 ˙ 5 4 ˙ œ œ & 4 œ œ œ 4 œ œ œ œ 4 œ œ ˙ œ œ œ œ ˙ œ œ ˙ - góz ia - rád œ- ti li - rót bei - béi ha - naœ-chal 3 3 A2 # # # 4 5 ˙ 4 j j ˙ œ œ & 4 ˙ œ œ 4 œ œ œ œ 4 œ ˙ œ ˙ œ œ œ œ œ ˙ œ œ - nát e - góz ia - rád œ- ti li - - rót bei - béi ha - T1 # # 4 5 4 V # 4 4 4

T2 # # 4 5 4 V # 4 4 4

B1 ? # # 4 5 4 # 4 4 4

B2 # # ? # 4 45 4

140 subito p S1 # # 5 3 5 4 & # 4 j ˙ œ 4 œ œ œ œ 4 œ œ 4 ˙ w œli . œ- œ œrót ha ˙ - farœ œ - chá ha - gué - fenœ œ heœ - néœ œ- tzu subito 3 3 S2 # p # œ j œ # 5 j J j 3 œ 5 j 4 J & 4 œ œ œ. œ œ œ œ 4 œ œ 4 œ œ. œ œ 4 œ œ ˙ w œli -œ rót ha - œ farœ. - chá ha - gué - fen œ. Jheœ - néœ - tzu # A1 ## 5 3 5 4 & w 4 4 4 4

A2 # # # 5 3 5 4 & ˙. 4 4 4 4 - naœ-chal ⇥ T1 # # 5 ˙. ˙ ˙. ˙ 3 ˙. 5 ˙. ˙ 4 w V # 4 4 4 4 [Ah.] ⇥ T2 # # ˙. ˙ ˙. ˙ ˙. ˙. ˙ w V # 45 43 45 4 [Ah.] ⇥ B1 # ? ## 5 ˙. ˙ ˙. ˙ 3 ˙. 5 ˙. ˙ 4 w 4 [Ah.] 4 4 4 ⇥ B2 ? # # 5 3 5 4 # 4 ˙. ˙ ˙. ˙ 4 ˙. 4 ˙. ˙ 4 w [Ah.] - 10 -

65 146 3 p S1 # # 6 5 & # œ œ œ ˙ œ œ œ ˙ 4 4 j ˙ ha - ri - mo - ním,œ œ œ w œli . œ- œ œrót

S2 # # p # œœ œ 6 5 j & œ œ ˙ œ œ œ 4 œ j . 4 œ œ œ. ha - ri - mo - ním, œ œ. œ ˙ œli -œ rót # p A1 ## 6 5 j & 4 4 Ó Œ . œ œli -

A2 # # p # 6 5 & 4 4 œ li - p T1 # # w w 6 ˙ w. 5 V # 4 Ó ˙ ˙. ˙. 4 ˙. ˙ ha - ri - mo - ním, ha - # p T2 ## w w 6 ˙ 5 V 4 Ó . . w. 4 . ha˙ - ri˙ - mo˙ - ním, ha˙ - ˙ p B1 ? # # 6 5 # w w 4 ˙ Ó ˙ ˙. ˙. w. 4 ˙. ˙ ha - ri - mo - ním, ha - p B2 ? # # w w 6 ˙ 5 # 4 Ó ˙. w. 4 ha˙ - ri˙. - mo - ním, ha˙. - ˙

Source: Moody, Ivan, Canticum Canticorum IV, (Vanderbeek & Imrie Ltd., 2010), 9-11.

152 3

S1 # # 3 5 4 6 & # œ 4 œ œœ œ 4 œ œ 4 ˙ œ œ œ ˙ œ œœ ˙ 4 ha ˙- farœ œ - chá ha - gué - fenœ œ heœ - néœ œ- tzu ha - ri - mo - 3 3 S2 # # # Jœ j 3 5 j j 4 Jœ œ œ œ 6 & œ œ 4 œ œ œ 4 œ œ. œ 4 œ ˙ œ œ ˙ œ œ œ 4 ha œ-œ farœ. œ - chá ha - gué - fenœ œ. Jheœ - néœ œ - tzu ha - ri - mo - 3 3 # A1 ## 3 5 4 j j œ 6 & œ œ˙ œ œ 4 œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ ˙ œ œ œ œ ˙ œ 4 - rót ha - far - chá ha-gué - fen œ he -né - tzu ha - ri - mo - 3 3 3 A2 # # # j Jœ j 3 j 5 œ 4 Jœ œœ ˙ 6 & œ œ œ œ. œ œ 4 œ œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ ˙ œ œ 4 - rót ha - far - chá ha-gué - fen œ œ Jhe - né - tzu ha - ri - T1 # # 3 5 ˙. ˙ 4 6 V # ˙. ˙ 4 ˙. 4 4 w w w 4 - ri - mo - ním, ha - ri - mo - # T2 ## 3 5 4 6 V . 4 . 4 ˙. ˙ 4 4 - ri˙ ˙ - mo˙ - ním, haw - riw - mow -

B1 # 66 ? ## . 3 . 5 ˙. ˙ 4 6 - ri˙ ˙ - 4 mo˙ - 4 ním, 4 haw - riw - mow - 4

B2 ? # # 3 5 4 6 # 4 ˙. 4 ˙. ˙ 4 w 4 - ri˙. ˙ - mo - ním, haw - riw - mo - - 11 -

Figure 13. Canticum Canticorum IV, m. 146-157

146 3 p S1 # # 6 5 & # œ œ œ ˙ œ œ œ ˙ 4 4 j ˙ ha - ri - mo - ním,œ œ œ w œli . œ- œ œrót

S2 # # p # œœ œ 6 5 j & œ œ ˙ œ œ œ 4 œ j . 4 œ œ œ. ha - ri - mo - ním, œ œ. œ ˙ œli -œ rót # p A1 ## 6 5 j & 4 4 Ó Œ . œ œli -

152 3 S1 # # 3 5 4 6 & # œ 4 œ œœ œ 4 œ œ 4 ˙ œ œ œ ˙ œ œœ ˙ 4 ha ˙- farœ œ - chá ha - gué - fenœ œ heœ - néœ œ- tzu ha - ri - mo - 3 3 S2 # # # Jœ j 3 5 j j 4 Jœ œ œ œ 6 & œ œ 4 œ œ œ 4 œ œ. œ 4 œ ˙ œ œ ˙ œ œ œ 4 ha œ-œ farœ. œ - chá ha - gué - fenœ œ. Jheœ - néœ œ - tzu ha - ri - mo - 3 3 # A1 ## 3 5 4 j j œ 6 & œ œ˙ œ œ 4 œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ ˙ œ œ œ œ ˙ œ 4 - rót ha - far - chá ha-gué - fen œ he -né - tzu ha - ri - mo - 3 3 3 A2 # # # j Jœ j 3 j 5 œ 4 Jœ œœ ˙ 6 & œ œ œ œ. œ œ 4 œ œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ ˙ œ œ 4 - rót ha - far - chá ha-gué - fen œ œ Jhe - né - tzu ha - ri - T1 # # 3 5 ˙. ˙ 4 6 V # ˙. ˙ 4 ˙. 4 4 w w w 4 - ri - mo - ním, ha - ri - mo - # T2 ## 3 5 4 6 V . 4 . 4 ˙. ˙ 4 4 - ri˙ ˙ - mo˙ - ním, haw - riw - mow -

B1 # ? ## . 3 . 5 ˙. ˙ 4 6 - ri˙ ˙ - 4 mo˙ - 4 ním, 4 haw - riw - mow - 4

B2 ? # # 3 5 4 6 # 4 ˙. 4 ˙. ˙ 4 w 4 - ri˙. ˙ - mo - ním, haw - riw - mo - - 11 -

Source: Moody, Ivan, Canticum Canticorum IV, (Vanderbeek & Imrie Ltd., 2010), 11.

Figure 14. Hymn of the Transfiguration (unmeasured)

Source: Moody, Ivan, Hymn of the Transfiguration, (Vanderbeek & Imrie Ltd., 1990), 5.

68 Figure 15. Hymn of the Transfiguration (unmeasured)

Source: Moody, Ivan, Hymn of the Transfiguration, (Vanderbeek & Imrie Ltd., 1990), 1.

Figure 16. Hymn of the Transfiguration (unmeasured)

Source: Moody, Ivan, Hymn of the Transfiguration, (Vanderbeek & Imrie Ltd., 1990), 2.

69 Figure 17. Hymn of the Transfiguration (unmeasured)

Source: Moody, Ivan, Hymn of the Transfiguration, (Vaparanderbeek o Grupo & VocalImrie OlisipoLtd., 1990), 5.

Figure 18. The Meeting in the Garden, m. 1-3 Ivan Moody the meeting in the garden Misterioso h =75

T F , , V ˙ b˙ ˙ ˙ ˙ ˙w ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙w Def - te lá˙ -˙ vew - te phos ek tou a - ne - spé˙ -˙ rouw pho - tós ƒÂı-ÙÂ Î‹ - ‚Â - ÙÂ ˆ˘Ú ÂÍ ÙÔı · - ÌÂ -ÛπÂ - ÒÔı ˆ˘ - Ù¸Ú

Bar/B P ? W Ah,

3 T , V ˙ ˙ w ˙ ˙ œ œ œnœ œ œ ˙ ˙. œ œ œ bœ œ œ ˙ œ ke dho - xá - sa - te Khri - stón tonœ a - na-stán - da˙ ekœ œ œ neœ œ -˙W krón. Í·È ‰Ô - Ê‹ - Ûα - ÙÂ ΧÒÈ - ÛÙÔÌ ÙÔı ·-Ì·-ÛÙ‹v - Ù· ÂÍ ÌÂ - ÍÒ˘Ì. Bar/B B , ? W [Ah]

4 SourceBar : Moody,P d Ivan, The Meeting in the Gardend, (Vanderbeekd & Imrie Ltd., 1996), 1. d ? œ œ œ œ œ œ œ œ But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre, and seeth

6 Bar ? dœ dœ œ dœ œ œ two Angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain. And they say unto her:

8 F S1 ˙ , ∑ 70∑ ww w w W w ww W & Be-cause they have ta - ken a-way my Lord,

S2 F , ∑ ∑ w bw ˙ b˙ ˙ w bw w bW & Be-cause they have ˙ ta - kenw ˙ a-wayw my Lord,

Ms F , & ∑ ∑ ww w w W w w wW Be-cause they have ta - ken˙ a-way my Lord, F A , & ∑ ∑ ww w w wW Be-cause they haveWw ta - kenb˙ a-wayw my Lord, P T b˙ ˙ ˙b˙ bw w ∑ ∑ V Wo˙ - man,w why ˙ wee - pestw thou? F d U Bar ? ∑ œ œ œ ∑ She saith unto them:

B P b˙ ? ˙ ˙ w ˙ ˙ ˙ w ˙ œ œ w ∑ ∑ Wo - man, why wee - pest thou?

S2 w bw w bw w w ∑ ∑ & and I know not where they˙ have˙ laid him.W Ivan Moody Ms wwww ∑ ∑ & and I know not wherew they˙ have˙wWthe laid him. meeting in the garden Misterioso h =75 A T F ∑ ∑ & wwwwwb˙ ˙ , , andV ˙ I knowb˙ not˙ where˙ ˙ they have laidw him.W˙ ˙w ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙ ˙w Def - te lá -˙ vew - te Fphos ek tou a - ne - spé -˙ rouw pho - tós T ƒÂı-ÙÂ Î‹ - ‚Â - ÙÂ ˆ˘Ú ÂÍ ÙÔı · - ÌÂ, -ÛπÂ - ÒÔı ˆ˘ - Ù¸Ú , ∑ b˙ ˙ ˙w b˙ ˙ ˙w V P Def˙ - te lá˙ ˙ -˙ ve -˙ te phos ek˙ tou˙ ˙ a - ne - spé˙ ˙ -˙ rou pho˙ - tós Bar/B Bar/B w w ? W P B ? Ah, ∑ W W [Ah] 3 T 14 , w ˙ ˙ œ œ œnœ œ bœ T V ˙ ˙ œ ˙ ˙. œ œ œ œ œ œ ˙ ˙ œ œ œ , ke dho -w xá -˙ sa˙ -œ te œ œn Khri - stón ton a - na-stánb - da ek œ neœ œ -˙W krón. V ˙Í·È ‰Ô˙ - Ê‹ - Ûα - ÙÂ œ œΧÒÈœ ˙- ÛÙÔÌ˙. ÙÔıœ ·-œÌ·-œÛÙ‹œv œ -œ Ù· ˙ ÂÍœ ÌÂ - ÍÒ˘Ì. ke dho - xá - sa - te Khri - stón tonœ a - na - stán - da˙ ekœ œ œ neœ œ -˙W krón. Bar/BBar/B BB , ?? WW [Ah][Ah] Figure 19. The Meeting in the Garden, m. 4-6 4 15 P Bar P d d d d d d Bar ?? œ œdœ œ œ œ œ œ œ dœ œ œ œ œ œ Uœ But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and lookedœ into the sepulchre, and seeth And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus. Je - sus saith unto her: 6 17 d d d Bar ?F œ œ œ œ T , w wwœW œ ˙ twob˙ Angelsw ˙ in˙ whiteb˙ ˙ sitting,bw thew one atw the head, and the other at the feet, where the body of Jesus had lain.∑ And they say unto her: V Wo - man, why wee-pest thou? Whom see - kest thou? 8 Bar d d U Source:? Moody, Ivan, The Meeting in the Garden, (Vanderbeek & Imrie Ltd.,œ 1996),Fœ 1. œ œ S1 ∑ ∑ œ ˙ , & ∑ ∑ She,ww supposing whim to bew the garde W - ner, w saithww unto him: W F b Be-cause they have ta - ken a-way my Lord, B ? ˙ ˙ ˙ ˙ w ˙ œ œ , ˙ w S2 ˙ w ˙ w ˙ w W F ∑ , Figure 20. TheWo -Meeting man, why in the Gardenwee-pest∑ , m. 20thou?-21 Whom see - kest∑ thou? w bw ˙ b˙ ˙ ˙ w bw w w w bW & Be-cause they have ta - ken˙ a-way my Lord,

Ms 20 F , F ∑ ∑ ww w w W wW S1 & w , ww ˙ w & ww W w wWww w ˙ Be-cause˙wwwww they have ta - ken a-way˙ ˙W my Lord, Sir, if thou have borne him hence, tell me where thouF hast laid him and I will take him a - way. A , F ∑ ∑ S2 & , ww w w Wwb˙ w wW & ˙ b˙ ˙ ˙ w bw w w ˙ ˙ bW w bw w b˙ Be-cause˙ w theybw havew bw taw - kenw a-way˙ ˙ myW Lord, Sir,P if thou have borne him hence, tell me where thou hast laid him and I will take him a - way. T ˙ ˙ w Ms VF˙ b˙ w b˙ ˙ bw w , ∑ ∑ wwWo - man, W why wee - pest˙W thou? ww w ˙ wwww & Sir, if thou havew bornew him˙ hence, Ftell me where thou hast˙ laid him and I willw takew him˙ ˙W a - way. Bar d U ?F ∑ œ œ œ ∑ A ,She saith unto them: & ww Wwb ˙ ˙W ww w ˙ ˙ wwwwwb B Sir,P if thoub˙ have bornew him hence, tell me where thou hast laid him and I will takew him˙ ˙ a - way.W ? ˙ ˙ w ˙ ˙ ˙ w ˙ œ œ w ∑ ∑ Wo - man, why wee - pest thou?

Figure 21. The Meeting in the Garden, m. 33-40 - 4 - 33 F S1 ˙ ˙ ˙ W ˙ ˙ ˙ ˙ b˙ ∑ ˙ ˙ ˙ b˙ & but go to my˙ bre - thren, and say ˙ F S2 ˙ ˙ ˙ w w ˙ ∑ ˙ ˙ ˙ b˙ ˙ ∑ ∑ ∑ ˙ ˙ ˙ & but go to my bre - thren, and say A F & ∑ ∑ ˙ ˙ ˙ ˙ W ∑ ∑ ∑ ˙ ˙ but go˙ ˙ bto˙ my˙ bre - thren, and T F ˙ ˙ ˙ W ∑ ˙ ˙ ˙ b˙ ˙ ∑ V but go to my bre - thren, B F ˙ ? ∑ ∑ ˙ ˙ ˙ ˙ b ˙ w w ∑ ∑ but go to˙ my˙ bre - thren, B F ˙ ? ∑ ∑ ∑ ˙ ˙ ˙ ˙ b ˙ W but go to˙ my˙ bre - thren,

37 f S1 ˙ ˙ ˙ ˙ W ∑ ∑ ˙ ˙ w ww & un - to them, I a- scend to my Fa - ther, f S2 ˙ ˙ w w ˙ ˙ b˙ ˙ ∑ ∑ ∑ ˙ ˙w ww & un - to them, I a- scend to my Fa - ther,

A f & ˙ ˙ W ∑ ∑ ˙ w ˙ ˙ ww say˙ ˙ b˙ ˙ un - to them, ˙I a- scend to my Fa - ther, f T ˙ ˙ ˙ W ˙ ˙ ˙ b˙ ∑ ˙ ˙w ˙ ˙ ww V and say ˙ un - to them, I a- scend to my Fa - ther, f w w B ˙ ˙ ? ∑ ˙ ˙ ˙ ˙ b ˙ w w ∑ ∑ ˙ ˙ w ˙ and say ˙ ˙ un - to them, I a- scend to my Fa - ther, f B ˙ ? ∑ ∑ ˙ ˙ ˙ ˙ b ˙ ˙ ˙ ˙w ˙ ww and say ˙ ˙ un - to them,˙w I a- scend to˙ my Fa - ther,

Source41: Moody, Ivan, The Meeting in the Garden, (Vanderbeek & Imrie Ltd., 1996), 4. U S1 ˙ ˙ w wW , w w w w w W w w W W W & and to your Fa - ther, and to my God, and your God. U S2 ˙ ˙w wW , wwww w W W WW & and to your Fa - ther, and to my God, and yourW God.

A , U & wW w w W W w WW and˙ ˙ to yourw Fa - ther, andw tow myw God, and your w God. U T ˙ ˙w wW , wwww w W W W W V and to your Fa - ther, and to my God, and yourW God.

B , w U ? ˙ ˙ w wW w w w w W W W W W and to your Fa - ther, and to my God, and your God.

B , U ? ˙ ˙w wW wwww w W W and to your Fa - ther, and to my God, and yourW W God.W

72 Figure 22. The Meeting in the Garden, m. 22-25 - 3 -

22 f S1 w W ∑ ∑ ∑ w & Rab - bo - ni! f S2 # ∑ ∑ ∑ w w W & Rab - bo - ni!

Ms f ∑ ∑ ∑ w wW & Rab - bo - ni!

A P f & ∑ w W ∑ w Maw - ry. Rabw - bo - ni!W P T ∑ w w W ∑ ∑ V Ma - ry. P Bar d bw w W d ? œ œ œ œ ∑ Je - sus saith unto her: Ma - ry. She turned herself, and saith unto him:

Source: Moody, Ivan, The Meeting in the Garden, (Vanderbeek & Imrie Ltd., 1996), 3. 26 F T , , b b V ∑ ˙ ˙ ˙ ˙ 5 ˙ ˙w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙w 20 Figure 23. Passion Populare, m. 35Def-42 - te lá˙ -˙ vew - te phos ek tou a - ne-spé˙ -˙ rouw pho - tós Bar/B 212 Incisivo d U U P f 32 Bar ? œ œ œ œ W W S solo # 3 11 3 œ ˙ œ #œ 9 ˙ œ œ. ˙ 4 Which is to say, Ma - ster: Ah & 4 ∑ 2 Œ 4 œ J ŒŒ2 T F chin tres ciaos l'in - cla - ve - sin. ∑ ∑ ∑ 4 œ œ œ œ œ œœœ œ œ 3 V 4 Ma ce_i Ma-don - na stin o-raz-ziù- na 4 Bar. f , 3 Solo ? 11 3 9 #˙ œ œ œ 4 29 #œ ˙ œ ˙ ˙ ˙ œ. ˙ œ B F 4 má˙ - me-non, é -œ le-ghen:w 2 "I mi The - 4 ós i - pírgJ - khe sar - ko -2 ? 4 T œ œ œ œ œ œœœ œ œ 3 , ∑ ∑ ∑ 4 V ˙ ˙ w ˙ ˙ œ œ œ nœ œ œ4˙ ˙. œ œ œ bœ œ œ ˙ œ Ma ce_ike Ma-don dho - xá - na - sastin - te o-raz-ziù-Khri na - stón tonœ a - na -stán - da˙ ekœ œ œ neœ œ -˙W krón. Vc. œ ? 11 3 9 4 . b œ œ Bar/B 4 ˙W. 2 4 2 Ob. œ ˙ œ j B , w. ˙. w. ‰ J œ ˙ ŒŒ Œ Œ œ œ œ ˙ Œ ˙ 4 ? W ∑ ∑ 3 F & 4 [Ah] 4 215 Vln. w. w. w. Bar. 4 ∑ ∑ 3 œ & 4 30 4 Solo ? 4 ˙ œ #œ œ œ œ œ œ œ œ 5 #˙ ‰ œ # 4 # œ#œ œ œ. J ˙ 11 2 3 3 3 4 J œ œ 2 œ œ œ œ œ 4 P thís o sin i - mín stav - ro - thís, ouk an o í - - - li-os A , Vla. ˙. w. w& ∑ ww w W w ˙ w ˙ w w ˙ ˙ w B ˙. ˙. ˙. 4 Touch w me not, 3 for˙ I am not yet˙ a - scen - ded to˙ my˙ Fa - ther, Vc. 4 4 T P , ? 4 5 4 11 W w W ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b b 2 4 2 4 j V ∑ ˙ ˙ ˙ ˙ ww W ˙ ˙. W Vc. œ Touch me not, for I am not yet a - scen - ded to my Fa - ther, ‰ œ œ ˙ Œ ˙. ˙ œ œ ˙ ˙. 4 ∑ ∑ 3 & J ˙ 4Bar ? œ dœ 4 218 ∑ ∑ 3 Je - sus saith unto her: ƒ #œ- - - #˙ #˙ Bar. ˙ ˙ œ œ ˙- #œ ˙ œ œ ˙ Solo ? 11 #˙ ˙ œ œ 2 3 œ 2 œ ˙ Ó 3 Œ 37 4 tas ak - tí - nas a - pé - kri2 - psen, óu-dhe i ghi 2 si - o- mé - ni e-ki-mé - ne - 2 T S f œ œœ œ œ œ œ œ 11 2 ˙ #œ œ œ œ ˙ 3 ˙ #œ œ ˙ # œ œ ˙ 2 3 ‰ J œ 4 œ œ œ œ 5 ‰ J œ œ œ 3 œ œ œ 4 ‰ œ œ œ œ œ 5 & 4 ∑ 2 2 ˙ 2 V 4 Ma ce cun-tàm4 - ples - se to Pe-dì 4 Ce ci- ni_en ì-che ma 4 ti' ffur-tu - na 4 MaJ 'sti cci - lì- at -4 e pro nois tot - tu pa-ghe-sit su Cri - a - do - B 73 A 11 2 f 3 2 ? 3 ‰ œ œœœ 4 œ œœœ œ 5 ‰ œ œ œœœ œ 3 œ œ œ œ 4 ‰ œ œ œœœ 5 & 4 ∑ 2 ˙ œ œ œ œ ˙ 2 ˙ œ œ ˙ ˙ œ œ ˙ 2 4 MaJ ce cun-tàm4 - ples - se to Pe-dì 4 CeJ ci- ni_en ì-che ma 4 ti' ffur-tu - na 4 MaJ 'sti cci - lì- at -4 e pro nois tot - tu pa-ghe-sit su Cri - a - do -

Vla. 11 ∑ B 2 w w 3 w. w. 2 Vla. 3 ˙. 4 w 5 ˙. ˙ 3 ˙. 4 ˙ ˙ 5 & 4 2 2 2 B 4 4 4 4 4 & 4 F Vc. ? 11 2 3 2 4 2 w w 2 w. w. 2 ˙. W 42 Dolce 223 S 5 4 ˙ œ œ 6 ˙ ˙ , 4 œ 6 Bar. w & 4 ∑ 4 4 ˙ œ œ ˙ ˙ 4 œ œ œ 4 Solo ? 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ p Ma ì - san An - ge - lon ìu di can - to Pu mas sa - lù - 2 to. A , 5 ∑ 4 ˙ œ œ 6 ˙ ˙ ˙ œ œ 4 œ œ œ 6 S w & 4 4 Ma ì - san 4 An - ge - lon ìu di can˙ -˙ to 4 Pu mas sa - lùœ - 4 & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ p re. T 5 œ 4 6 ˙ ,4 œ œ œ 6 A V 4 œ œ œ ˙ 4 ˙ œ œ 4 ˙ ˙ œ œ ˙ ˙ 4 œ 4 2 ti na 'ncar-net - tì Ma ì - san An - ge - lon ìu di can - to Pu mas sa - lù - & 2 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ p re. B ? 5 œ œœœ ˙ 4 ˙ œ œ 6 ˙ ˙ ˙ œ œ ˙ ˙ , 4 œ œ œ œ 6 > œ œ Vln. > œ ˙ > 4 ti na 'ncar-net - tì 4 Ma ì - san 4 An - ge - lon ìu di can - to 4 Pu mas sa - lù - 4 ˙ œ #œœ œ. ˙ ˙ #˙ #œ œ œ ˙ ˙ #œœœ ˙. p & 2 Ó ˙ œ ˙ Jœ Ó F Vla. ˙ ˙ Vla. 5 . 4 6 4 6 B 2 & 4 4 ∑ 4 ∑ ∑ 4 ∑ 4 2 w w w œ #œ œ œ ˙ w ˙ #˙ w w Vc. ? 2 œ w w w w w w w ˙. 20 5 212 f 32 Incisivo S solo 11 3 œ ˙ œ #œ 9 ˙ #œ œ. ˙ 4 3 & 4 ∑ 2 Œ 4 œ J ŒŒ2 T F chin tres ciaos l'in - cla - ve - sin. ∑ ∑ ∑ 4 œ œ œ œ œ œœœ œ œ 3 20 V 4 Ma ce_i Ma-don - na stin5 o-raz-ziù- na 4 Bar. f 212 , 3 Solo ? 11 3 9 #˙ œ œ œ 4 #œ ˙ œ ˙ ˙ ˙ œ. ˙ œ B 32 Incisivo F 4 má˙ - me-non, é -œ le-ghen:w 2 "I mi Thef - 4 ós i - pírgJ - khe sar - ko -2 ? 4 œ œ œ œ œ œœœ œ œ 3 S solo 11 3 œ ˙ œ #œ 9 ˙ #œ œ. ˙ 4 ∑ ∑ ∑ 3 4 4 & 4 ∑ 2 Œ 4 œ J ŒŒ2 T F Ma ce_i Ma-don - na stin o-raz-ziù- na Vc. chin tres ciaos l'in - cla - ve - sin. ∑ ∑ œ ∑ 4 œ œ œ œ œ œœœ œ œ 3 ? 11 3 9 4 V b œ œ 4 Ma ce_i Ma-don - na stin o-raz-ziù- na 4 Bar. f Ob. ˙. 4 ˙W. 2 , 4 2 œ œ j 3 Solo ? 11 3 ˙ ˙ 9 #˙ œ œ œ. ˙ œ 4 J œ ˙ œ œ œ ˙ F ˙ 4 3 4 #œ ˙ œ œ w. 2 ˙ ˙. 4 w. J œ 2 B & ‰ ŒŒ Œ Œ Œ 4 ∑ ∑ 4 má˙ - me-non, é -F le-ghen:w "I mi The - ós i - pírg - khe sar - ko - ? ∑ ∑ ∑ 4 œ œ œ œ œ œœœ œ œ 3 215 4 Ma ce_i Ma-don - na stin o-raz-ziù- na 4 Vc. . œ ? 11 3 9 4 Vln. w. .w b œ œ w. 4 ˙W. 2 4 2 Ob. œ ˙ œ j 4 3 Bar. w. ˙. w. œ & ‰ J œ ˙ ŒŒ Œ Œ œ œ œ ˙ Œ ˙ 4 ∑4 ∑ ∑ 3 ∑ 4 Solo ? 4 ˙ œ #œ œ œ œ œ œ œ œ 5 #˙ ‰ Fœ # 4 # œ#œ œ œ. J ˙ 11 & 4 4 2 3 3 3 4 J œ œ 2 œ œ œ œ œ 4 thís o sin215 i - mín stav - ro - thís, ouk an o í - - - li-os . Vla.Vln. w. ˙. w ˙. ˙. w. w. 4 4 w 3w 3 Bar. œ &B ˙. 4 ∑4 ∑ 4 4 Vc. Solo ? 4 ˙ œ #œ œ œ œ œ œ œ œ 5 #˙ ‰ œ # 4 # œ#œ œ œ. J ˙ 11 ? 4 2 3 3 5 3 4 J 4œ œ 2 œ œ œ œ œ 11 4 2 thís o sin i - mín4 stav - ro - thís, ouk2 an o í - - - li-os 4 Vla. ˙. ˙. ˙. w. j w w W ˙ ˙. W Vc. B ˙. œ ˙. ˙ œ œ œ ˙ 4 ˙. 4 43 3 Vc. ? 4 5 4 11 & ‰ J œ ˙ ˙ Œ 4 ∑ ∑ 4 218 2 4 2 4 j W ˙ ˙. W 3 Vc. . œ œ . #œ- - - #˙ #˙ & ‰ Jœ œ ˙ ˙ Œ ˙ ˙ œ ˙ ˙ 4 ∑ ∑ 43 Bar. ƒ œ œ - #œ ˙ œ œ ˙ 218 ˙ œ ˙ œ ˙ ˙ œ 3 Solo ? 11 #˙ œ 2 3 3 2 4 ˙ 2 Ó ƒ #œ- 2œ- - - #˙Œ ˙ #˙ 2 37 tas ak -Bar. tí - nas a - pé - kri˙ - psen,œ ˙ œ ˙óu-dhe i ghi œsi˙ - o- méœ -#œ ni˙ e-ki-méœ œ - ne - Solo ? 11 #˙ œ 2 3 3 2 4 ˙ 2 Ó 2 Œ 2 37 tas ak - tí - nas a - pé - kri - psen, óu-dhe i ghi si - o- mé - ni e-ki-mé - ne - T œ œ S f #œ #œ 3 J œœœ 4 œ œ œ œ œ 5 J œ œ œ œ œ 3 œ œ œ œ 4 œ œ 5 11 2 ˙ œ œ œ ˙ 3 ˙ œ ˙ #˙ œ œ ˙ 2 T V 4 ‰ 4 4 ‰ 4 4 ‰ œ œ œ 4 S ∑ f œMaœœ ce cun-tàm - plesœ - se to Pe-dìœ œ œ Ce ci- ni_en ì-che maœ ti' ffur-tu - na MaJ 'sti cci - lì- at - & 4 11 2 2 ˙ #œ œ œ 2œ ˙ 3 ˙ #œ œ ˙ # œ œ ˙ 2 2 3 ‰ J œ 4 œ œ œ œ 5 ‰ J œ œ œ 3 œ œ œ 4 ‰ œ œ œ œ œ 5 & 4 ∑ e pro nois2 tot - tu2 pa-ghe-sit su˙ Cri - a - do - 2 V 4 Ma ce cun-tàm4 - ples - se to Pe-dì 4 Ce ci- ni_en ì-che ma 4 ti' ffur-tu - na 4 MaJ 'sti cci - lì- at -4 e pro nois tot - tu pa-ghe-sit su Cri - a - do - A f B ? 3 œ œœœ 4 œ œœœ œ 5 œ œ œœœ œ 3 œ œ œ œ 4 œ œ œœœ 5 11 A 2 f 3 2 B ‰ ‰ ‰ & 4 ∑ 11 2 ˙ œ œ2 œ œ ˙ 2 ˙ 3œ œ ˙ ˙ œ œ ˙ 2 2 ? 34‰ œMaJœœ ce cun-tàmœ 4 œ4 - œœples - seœ œ to5 Pe-dì‰ œ œ4 œœCeJ ci-œ ni_enœ 3 ì-cheœ œ maœ œ4 ti'4 ffur-tu‰ œ œ - naœœ4 œ 5MaJ 'sti cci - lì- at -4 & 4 ∑ e pro nois2 ˙ œ œ totœ - œ tu˙ 2 pa-ghe-sit˙ œ œ ˙su˙ Cri - aœ - doœ ˙ - 2 4 MaJ ce cun-tàm4 - ples - se to Pe-dì 4 CeJ ci- ni_en ì-che ma 4 ti' ffur-tu - na 4 MaJ 'sti cci - lì- at -4 e pro nois tot - tu pa-ghe-sit su Cri - a - do -

Vla. Vla. 11 ∑ 11 B ∑2 w B 2 ww w 3 w. 3 w. w. w. 2 2 Vla.Vla. 3 ˙.˙. 4 w w 5 ˙. ˙. ˙ 3˙ ˙. ˙4 . ˙ ˙ ˙5 ˙ & 4 & 4 2 2 2 2 2 2 BB43 4 4 4 5 4 3 4 & 4 4 & 5 F 4 4 4 4 4 4 Vc. F Vc. ? 11 2 3 2 ? 11 4 2 2 w w 3 2 w. w. 2 2 4 ˙. W 2 w w 2 w. w. 2 42 ˙. W Dolce 223 42 S Dolce , 223 w 5 4 ˙ œ œ 6 ˙ ˙ ˙ œ 4 œ œ œ 6 Bar. S & 4 ∑ 4 4 œ ˙ ˙ 4 œ , 4 w Solo ? 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5 ∑ p Ma4 ì˙ - san œ Anœ -6 ge -˙ lon ˙ ìu di˙ can -œ to œ Pu mas sa - lù4 - œ œ œ œ 6 Bar. 2 to. & 4 4 4 ˙ ˙ 4 4 Solo ? 2 A Ma ì - san An - ge - lon ìu di, can - to Pu mas sa - lù - 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5 ∑ 4 ˙ p œ œ 6 ˙ ˙ ˙ œ œ 4 œ œ œ 6 to. S w & 4 4 Ma ì - san 4 An - ge - lon ìu di can˙ -˙ to 4 Pu mas sa - lùœ - 4 & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ A 5 p 4 6 , 4 6 S re. T & 4 ∑ 4 ˙ œ œ 4 ˙ ˙ ˙ œ œ ˙ ˙ 4 œ œ œ œ 4 2 w 5 œ 4 Ma6 ì - san ˙ An - ge - lon ìu di,4 canœ -œ to œ 6Pu mas sa - lù - A ∑ ∑ ∑ ∑ ∑ ∑ ∑ V 4 œ œ œ ˙ 4 ˙ p œ œ 4 ˙ ˙ œ œ ˙ ˙ 4 œ 4 & 2 2 ti na 'ncar-net - tì Ma ì - san An - ge - lon ìu di can - to Pu mas sa - lù - re. & 2 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ T p , re. B 5 œ 4 6 ˙ , 4 œ œ œ 6 A ?V54œ œ œœœ œ ˙œ ˙ 4 ˙ 4 œ˙ œ œ6 ˙œ 4˙ ˙ ˙ œ œ˙ ˙ œ˙ œ 4 ˙œ œ˙ œ œ4 6 œ 4 > œ œ 4 ti na 'ncar-net - tì 4 Ma4 ì - san An - ge - lon ìu di4 can - to 4Pu mas sa - lù - 2 w Vln. ∑ ∑ ∑> ∑ #˙ ∑ #œ œ œ œ ˙ ∑ ˙ #>œ∑œœ ˙. ti na 'ncar-net - tì Map ì - san An - ge - lon ìu di can - to Pu mas sa - lù - & 2 2 Ó ˙ œ ˙ #œœœ ˙ œ œ. ˙ Ó ˙ ˙ p re. & 2 J B œ œœœ ˙ ˙ œ œ ˙ ˙ ˙ ˙ , œ œ œ œ F Vla. ? 5 4 6 œ œ ˙ 4 6 Vla. > œ œ 4˙ ˙. 4 4 4 4 Vln. 2 > # # œ œ œ ˙ ˙ #>œ . 5 ti na 'ncar-net - tì 4 ∑Ma6 ì - san ∑An - ge - lon ∑ ìu di4 can - to∑ 6Pu mas sa - lù - 2 ˙ œB˙ #œœ ˙ œ œ. ˙ #˙œ ˙ œ ˙ œ œ ˙ & 4 4 p 4 4 4 & 2 Ó 2 wœ wJ w Ó œ œ œ ˙ w ˙ #˙ w w F Vc. Vla. ˙ ˙. Vla. ? 2 œ w w w w 5 4 ∑ 6 ∑ ∑ 4 ∑ 6 B 2 w w w ˙. & 4 4 4 4 4 2 w w w œ #œ œ œ ˙ w ˙ #˙ w w

Vc. ? 2 Source: Moody, Ivan, Passion Popolare, (Vanderbeek & Imrie Ltd., 2005), 5. 2 œ w w w w w w w ˙.

74 20 5 212 f 32 Incisivo S solo 11 3 œ ˙ œ #œ 9 ˙ #œ œ. ˙ 4 3 & 4 ∑ 2 Œ 4 œ J ŒŒ2 T F chin tres ciaos l'in - cla - ve - sin. ∑ ∑ ∑ 4 œ œ œ œ œ œœœ œ œ 3 V 4 Ma ce_i Ma-don - na stin o-raz-ziù- na 4 Bar. f , 3 Solo ? 11 3 ˙ ˙ 9 #˙ œ œ œ. ˙ œ 4 4 #œ ˙ œ œ 2 ˙ 4 J œ 2 B F má˙ - me-non, é - le-ghen:w "I mi The - ós i - pírg - khe sar - ko - ? ∑ ∑ ∑ 4 œ œ œ œ œ œœœ œ œ 3 4 Ma ce_i Ma-don - na stin o-raz-ziù- na 4 Vc. œ ? 11 3 9 4 ˙. b œ œ 4 ˙W. 2 4 2 Ob. œ œ ˙ œ j œ œ ˙ ˙ 4 3 F w. ˙. w. & ‰ J ŒŒ Œ Œ œ Œ 4 ∑ ∑ 4 215 . Vln. w. w w. 4 3 Bar. œ & 4 ∑ ∑ 4 Solo ? 4 ˙ œ #œ œ œ œ œ œ œ œ 5 #˙ ‰ œ # 4 # œ#œ œ œ. J ˙ 11 2 3 3 3 4 J œ œ 2 œ œ œ œ œ 4 thís o sin i - mín stav - ro - thís, ouk an o í - - - li-os Vla. ˙. ˙. ˙. w. w w B ˙. 4 43 Vc. ? 4 5 4 11 2 4 2 4 j W ˙ ˙. W Vc. . œ œ . & ‰ Jœ œ ˙ ˙ Œ ˙ ˙ œ ˙ ˙ 4 ∑ ∑ 43 218 3 ƒ #œ- - - #˙ #˙ Bar. ˙ ˙ œ œ ˙- #œ ˙ œ œ ˙ Solo ? 11 #˙ ˙ œ œ 2 3 œ 2 œ ˙ Ó 3 Œ 37 4 tas ak - tí - nas a - pé - kri2 - psen, óu-dhe i ghi 2 si - o- mé - ni e-ki-mé - ne - 2 T S f œ œœ œ œ œ œ œ 11 2 ˙ #œ œ œ œ ˙ 3 ˙ #œ œ ˙ # œ œ ˙ 2 3 ‰ J œ 4 œ œ œ œ 5 ‰ J œ œ œ 3 œ œ œ 4 ‰ œ œ œ œ œ 5 & 4 ∑ 2 2 ˙ 2 V 4 Ma ce cun-tàm4 - ples - se to Pe-dì 4 Ce ci- ni_en ì-che ma 4 ti' ffur-tu - na 4 MaJ 'sti cci - lì- at -4 e pro nois tot - tu pa-ghe-sit su Cri - a - do - B A 11 2 f 3 2 ? 3 ‰ œ œœœ 4 œ œœœ œ 5 ‰ œ œ œœœ œ 3 œ œ œ œ 4 ‰ œ œ œœœ 5 & 4 ∑ 2 ˙ œ œ œ œ ˙ 2 ˙ œ œ ˙ ˙ œ œ ˙ 2 4 MaJ ce cun-tàm4 - ples - se to Pe-dì 4 CeJ ci- ni_en ì-che ma 4 ti' ffur-tu - na 4 MaJ 'sti cci - lì- at -4 e pro nois tot - tu pa-ghe-sit su Cri - a - do -

Vla. 11 ∑ B 2 w w 3 w. w. 2 Vla. 3 ˙. 4 w 5 ˙. ˙ 3 ˙. 4 ˙ ˙ 5 & 4 2 2 2 B 4 4 4 4 4 & 4 F Vc. ? 11 2 3 2 Figure 24. Passion Populare, m. 43-56 4 2 w w 2 w. w. 2 ˙. W 42 Dolce 223 S 5 4 ˙ œ œ 6 ˙ ˙ , 4 œ 6 Bar. w & 4 ∑ 4 4 ˙ œ œ ˙ ˙ 4 œ œ œ 4 Solo ? 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ p Ma ì - san An - ge - lon ìu di can - to Pu mas sa - lù - 2 to. A , 5 ∑ 4 ˙ œ œ 6 ˙ ˙ ˙ œ œ 4 œ œ œ 6 S w & 4 4 Ma ì - san 4 An - ge - lon ìu di can˙ -˙ to 4 Pu mas sa - lùœ - 4 & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ p re. T 5 œ 4 6 ˙ ,4 œ œ œ 6 A V 4 œ œ œ ˙ 4 ˙ œ œ 4 ˙ ˙ œ œ ˙ ˙ 4 œ 4 2 ti na 'ncar-net - tì Ma ì - san An - ge - lon ìu di can - to Pu mas sa - lù - & 2 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ p re. B ? 5 œ œœœ ˙ 4 ˙ œ œ 6 ˙ ˙ ˙ œ œ ˙ ˙ , 4 œ œ œ œ 6 > œ œ Vln. > œ ˙ > 4 ti na 'ncar-net - tì 4 Ma ì - san 4 An - ge - lon ìu di can - to 4 Pu mas sa - lù - 4 ˙ œ #œœ œ. ˙ ˙ #˙ #œ œ œ ˙ ˙ #œœœ ˙. p & 2 Ó ˙ œ ˙ Jœ Ó F Vla. ˙ ˙. Vla. 2 5 4 ∑ 6 ∑ ∑ 4 ∑ 6 B 2 #œ & 4 4 4 4 4 w w w œ œ œ ˙ w ˙ #˙ w w 6 19

Vc. 198 ? 2 f 3 2 œ w w w w 47 S ˙ œ , #˙ ˙ ˙ œ œ . w w w ˙. & 45 œ œ 24 œ œ ˙ #œ ˙ Œ ∑ 23 go - nì - a Ce_am - bròt - tu tò - ri chi - ja - ten ghe-no' S , œ , 6 ˙ ˙ œ œ 4 ˙ ˙ 3 œ œ 4 ˙ œ œ œ œ 3 & 4 4 4 4 œ œ ˙ w œ œ A , f tes - se ti' Mma - rì - a Ce_o ve-ron ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car - 5 œ ˙ œ 4 œ œ œ œ œ œ œ œ œ œ ˙ #œ ˙. Œ ∑ 3 & 4 œ go - nì - a 2 Ce_am - bròt - tu tò - ri chi - ja - ten ghe-no' 2 A 6 4 , 3 œ œ œ 4 ˙ , 3 & 4 ˙ ˙ œ œ 4 ˙ ˙ 4 4 œ œ œ œ ˙ œ œ œ œ T , f tes - se ti' Mma - rì - a Ce_o ve-ron ì - sa' ttu Spir-dus Sàn - wtu Pu 'is en-car - 5 4 Œ ∑ 3 V 4 œ goœ -˙ nì -œ a 2 Ce_am˙ - bròt˙ - tu˙ tòœ - riœ chiœ - jaœ - ten˙ ghe-no'œ ˙. 2 T , 6 ˙ œ 4 ˙ ˙ 3 œ œ œ 4 ˙ œ , œ œ œ 3 V 4 ˙ œ 4 4 4 œ œ œ ˙ w œ B , f tes - se ti' Mma - rì - a Ce_o ve-ron ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car - ? 5 œ œ ˙ œ 4 ˙ ˙ ˙ œ œ œ œ ˙ œ ˙Œ. ∑ 3 4 go - nì - a 2 Ce_am - bròt - tu tò - ri chi - ja - ten ghe-no' 2 B œ ˙ , ? 6 ˙ ˙ œ œ 4 ˙ ˙ , 3 œ œ 4 œ œ œ œ ˙ w œ œ œ œ 4 tes - se ti' Mma4 - rì - a 4 Ce_o ve-ron 4 ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car - j Ob. 5 4 ˙ ˙ œ œ œ ˙ # ˙ œ œ ˙. ˙ 3 & 4 ˙ #˙ Œ 2 Ó œ ˙. Œ 2 f

202 54 3 #œ S ˙ Bar. œ œ œ œ 3 ˙ ˙ 11 œ œ œ œ œ œ 3 4 Solo ? 6 4 & 2 4 œ ˙ ˙. 2 ∑ 2 ∑ ∑ ∑ 4 ∑ 4 ∑ Cce tis - po' ttod - die mì - an a - fi - tì - a. Ge-suz-zu ca nti' F 3 3 F A S 6 4 & 23 ˙ ˙ 114 œ œ œ œ œ œ œ œ ˙. 23 ∑ 24 & ˙ ˙ œ œ œ ˙ w 4 ∑ 4 ∑ ∑ Cce tis˙ - - - - -#œ - - - - net - tin es ti' cci-lì - a. F 3 3 3 F Ob. 3 œ œ œ œ 11 œ œ œ œ ˙ ˙ 3 4 A & 2 Œ œ œ 4 œ ˙ Œ 2 #œœ 2 & ˙ 46 ∑ 4 ∑ ∑ ˙ œ œ #œ œ net - tin˙ esœ ti'œ cci-lìœ ˙ - a.w F

3 F 205 3 T 6 4 V ˙ ˙ œ œ œ ˙ w 4 ∑ 4 ∑ ∑ Bar. œ œ #œ net - tin es ti' cci-lì - a. Solo ? 4 ∑ 3 ∑ ∑ 2 Ó 4 2 2 2 Vlé-pon o 2 3 F f B # œ ? ˙ ˙ œ œ œ ˙ 6 ∑ 4 ∑ ∑ T 4 3 ˙ œ œœ # œ 2 ˙ ˙ 4 net - tin es ti' cci-lì - a.w 4 4 V 2 ∑ 2 ∑ œ 2 2 f Au - to - re de sa vi - da. œ œ œ 75 B ˙ œ œ œ œ ˙ ˙ Ob. ˙ ? 4 ∑ 3 ∑ 2 4 œj 6 4 2 2 Au - to - re de sa 2 vid - a. 2 & ∑ Ó w 4 ∑ 4 ∑ ∑ f f P ˙ w >˙ bœ œ #˙ Vln. @w Ob. j #œ œ 6 @ 4 4 Œ #œ Œ 3 J bœ Ó Ó 2 ∑ 4 & ∑ ∑ ∑ 4 4 ∑ & 2 ˙ 2 J ˙ ˙ 2 2 f f Vla. 6 w@ ˙ 4 w & ∑ ∑ ∑ 4 @ 4 ∑ 209 f Vc. Bar. œ #œ ˙ œ œ. 6 4 Solo ? 4 œ #œ 5 ˙ 3 #œ , 11 & ∑ ∑ ∑ 4 bœ j Œ 4 œœœ 2 J 2 ˙ œ #œ ˙ ˙ 2 œ ˙. #œ 4 œ œ J œ# œ œ. #˙ ˙ w lis - tís ton Ar - khi - gón tis zo - ís e - pi stav - róu kre - f œ œ œ Vc. ? 4 5 3 11 2 W 2 w w. 2 w. 4 F 6 19

198 f 3 47 S ˙ œ , #˙ ˙ ˙ œ œ . & 45 œ œ 24 œ œ ˙ #œ ˙ Œ ∑ 23 go - nì - a Ce_am - bròt - tu tò - ri chi - ja - ten ghe-no' S , œ , 6 ˙ ˙ œ œ 4 ˙ ˙ 3 œ œ 4 ˙ œ œ œ œ 3 & 4 4 4 4 œ œ ˙ w œ œ A , f tes - se ti' Mma - rì - a Ce_o ve-ron ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car - 5 œ ˙ œ 4 œ œ œ œ œ œ œ œ œ œ ˙ #œ ˙. Œ ∑ 3 & 4 œ go - nì - a 2 Ce_am - bròt - tu tò - ri chi - ja - ten ghe-no' 2 A 6 4 , 3 œ œ œ 4 ˙ , 3 & 4 ˙ ˙ œ œ 4 ˙ ˙ 4 4 œ œ œ œ ˙ œ œ œ œ T , f tes - se ti' Mma - rì - a Ce_o ve-ron ì - sa' ttu Spir-dus Sàn - wtu Pu 'is en-car - 5 4 Œ ∑ 3 V 4 œ goœ -˙ nì -œ a 2 Ce_am˙ - bròt˙ - tu˙ tòœ - riœ chiœ - jaœ - ten˙ ghe-no'œ ˙. 2 T , 6 ˙ œ 4 ˙ ˙ 3 œ œ œ 4 ˙ œ , œ œ œ 3 V 4 ˙ œ 4 4 4 œ œ œ ˙ w œ B , f tes - se ti' Mma - rì - a Ce_o ve-ron ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car - ? 5 œ œ ˙ œ 4 ˙ ˙ ˙ œ œ œ œ ˙ œ ˙Œ. ∑ 3 4 go - nì - a 2 Ce_am - bròt - tu tò - ri chi - ja - ten ghe-no' 2 B œ ˙ , ? 6 ˙ ˙ œ œ 4 ˙ ˙ , 3 œ œ 4 œ œ œ œ ˙ w œ œ œ œ 4 tes - se ti' Mma4 - rì - a 4 Ce_o ve-ron 4 ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car - j Ob. 5 4 ˙ ˙ œ œ œ ˙ # ˙ œ œ ˙. ˙ 3 & 4 ˙ #˙ Œ 2 Ó œ ˙. Œ 2 f

3 F 205 3 T 6 4 V ˙ ˙ œ œ œ ˙ w 4 ∑ 4 ∑ ∑ Bar. œ œ #œ net - tin es ti' cci-lì - a. Solo ? 4 ∑ 3 ∑ ∑ 2 Ó 4 2 2 2 Vlé-pon o 2 3 F f B # œ ? ˙ ˙ œ œ œ ˙ 6 ∑ 4 ∑ ∑ T 4 3 ˙ œ œœ # œ 2 ˙ ˙ 4 net - tin es ti' cci-lì - a.w 4 4 V 2 ∑ 2 ∑ œ 2 2 f Au - to - re de sa vi - da. œ œ œ B ˙ œ œ œ œ ˙ ˙ Ob. ˙ ? 4 ∑ 3 ∑ 2 4 œj 6 4 2 2 Au - to - re de sa 2 vid - a. 2 & ∑ Ó w 4 ∑ 4 ∑ ∑ f f P ˙ w >˙ bœ œ #˙ Vln. @w Ob. j #œ œ 6 @ 4 4 Œ #œ Œ 3 J bœ Ó Ó 2 ∑ 4 & ∑ ∑ ∑ 4 4 ∑ & 2 ˙ 2 J ˙ ˙ 2 2 f f Vla. 6 w@ ˙ 4 w & ∑ ∑ ∑ 4 @ 4 ∑ 209 f Vc. Bar. œ #œ ˙ œ œ. 6 4 Solo ? 4 œ #œ 5 ˙ 3 #œ , 11 & ∑ ∑ ∑ 4 bœ j Œ 4 œœœ 2 J 2 ˙ œ #œ ˙ ˙ 2 œ ˙. #œ 4 œ œ J œ# œ œ. #˙ ˙ w lis - tís ton Ar - khi - gón tis zo - ís e - pi stav - róu kre - f œ œ œ Vc. ? 4 5 3 11 Source: Moody, Ivan, Passion Popolare, (Vanderbeek & Imrie Ltd., 2005), 5-6. 2 W 2 w w. 2 w. 4 F

76 12 13 122 3 S solo œ 4 ˙ œ œ ˙ 3 ˙ œ œ ˙ œ ˙w & ˙ ˙ œ œ 2 œ œ 2 ˙ œ œ œ 136 nì - si Mas ton en - nì - ghes-se to' ppri-cò Ce cus - ti o gad - do na can- ta - lì - si 3 3 3 S solo Bar. ˙ œ ˙. œ ˙ œ œ . œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ ˙w œ ˙ ˙ œ œ œ œ ˙. Solo ? 4 3 œ œ ˙ & po - ve - ra don - na, chi_a-vi lu fig - ghiu so a la cun-nan - na. nì - si Mas ton en2 - nì - ghes-se to' ppri-cò 2 Ce cus˙ - ti o gad - do na can- ta - lì - si. A Ob. & Ó ˙. w. 4 W 3 w. w. w. œ ci,˙ chianœ ˙ - ciœ Maœ - ri˙ - a,w po - veœ - ra˙ œ œ & 2 2 3 T ˙ w ˙. œ ˙ œ œ ˙. œ œ œ œ œ Vln. 4 3 V Ó œ & 2 2 w. ri - a, po - ve - ra don - na, chi_a-vi lu fig - ghiu w. W w. w. Vla. 4 3 Ob. œ ˙ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ ˙ B 2 2 Ó 3 3 Ó œ Ó w. W w. w. w. & 3 Vc. ? w. 4 W 3 Vln. W W W 2 2 w. w. w. &

Vla. 127 B W W W b p Bar. F ˙ œ ˙ #˙ bœ Solo ? 4 5 ˙ ˙ œ 4 #˙ b˙ ∑ 2 4 2 w ∑ Vc. W W W ...Ke ef - thé - os a - lék - tor e - fó - nis - sen. ? Vln. 4 5 4 œ & ∑ 2 ∑ 4 ∑ 2 ∑ ∑ Ó Œ π Vla. 4 5 4 ˙ B 2 4 2 w 139 w. W ˙ ˙. W ˙ F f Vc. π w S solo œ œ œ ˙ ? 4 5 4 w & Œ œ œ œ ˙ œ œ ˙. Ó ˙ œ œ œ. Jœ Figure 25. Passionw. Populare2, m.W 132-135 4 ˙ ˙. 2 W Cun-nan-na_un es - ti no, chi chiù nun tor - na, e' nca - sa di Pi - 3 3 f π A 132 Desolato & œ œ œ œ œ œ Œ œ œ œ ˙ p don - na,˙. chi_a-vi lu fig- ghiu so˙ œ a laœ cun-nanœ œ - na.˙. Cun-nan-na_unœ es -œ ti no, S solo 3 ˙ 4 œ ˙ œ ˙ œ ˙ w 3 ∑ ∑ œ Ó T & 2 Chian2 - ci, chian - ci Ma - ri - a, ˙ œ œ œ œ œ ˙ œ œ V œ œ œ œ ˙. Œ ˙ œ ˙. p so a la cun-nan - na. Cun-nan-na_un es - ti no, chi chiù nun tor - na, A 3 4 & ∑ 2 ∑ 2 ∑ ∑. ˙ Chian - œ œ ˙. Ob. œ œ œ œ œ œ œ œ ˙ œ j œ œ T p ˙ & Œ Ó œ. œ œ ∑ 3 ∑ 4 ∑. œ ˙ œ ˙ œ œ V 2 2 Chian - ci, chian - ci Ma - F Vln. W W W & Ob. œ ˙ Œ ˙ œ ˙ Œ 3 œ ˙ ˙. 4 Ó œ œ ˙ œ ˙ ˙. Ó & 2 2 Vla. p B W W W Vln. W w. W 3 4 W W W & 2 2 Vc. ? W Vla. . B W 23 w 24 W W W w. W W Vc. ? 3 4 2 2

Source: Moody, Ivan, Passion Popolare, (Vanderbeek & Imrie Ltd., 2005), 12.

77 12 13 122 3 S solo œ 4 ˙ œ œ ˙ 3 ˙ œ œ ˙ œ ˙w & ˙ ˙ œ œ 2 œ œ 2 ˙ œ œ œ 136 nì - si Mas ton en - nì - ghes-se to' ppri-cò Ce cus - ti o gad - do na can- ta - lì - si 3 3 3 S solo Bar. ˙ œ ˙. œ ˙ œ œ . œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ ˙w œ ˙ ˙ œ œ œ œ ˙. Solo ? 4 3 œ œ ˙ & po - ve - ra don - na, chi_a-vi lu fig - ghiu so a la cun-nan - na. nì - si Mas ton en2 - nì - ghes-se to' ppri-cò 2 Ce cus˙ - ti o gad - do na can- ta - lì - si. A Ob. & Ó ˙. w. 4 W 3 w. w. w. œ ci,˙ chianœ ˙ - ciœ Maœ - ri˙ - a,w po - veœ - ra˙ œ œ & 2 2 3 T ˙ w ˙. œ ˙ œ œ ˙. œ œ œ œ œ Vln. 4 3 V Ó œ & 2 2 w. ri - a, po - ve - ra don - na, chi_a-vi lu fig - ghiu w. W w. w. Vla. 4 3 Ob. œ ˙ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ ˙ B 2 2 Ó 3 3 Ó œ Ó w. W w. w. w. & 3 Vc. ? w. 4 W 3 Vln. W W W 2 2 w. w. w. &

Vla. 127 B W W W b p Bar. F ˙ œ ˙ #˙ bœ Solo ? 4 5 ˙ ˙ œ 4 #˙ b˙ ∑ 2 4 2 w ∑ Vc. W W W ...Ke ef - thé - os a - lék - tor e - fó - nis - sen. ? Vln. 4 5 4 œ & ∑ 2 ∑ 4 ∑ 2 ∑ ∑ Ó Œ π Figure 26. Passion Populare, m. 139-141 Vla. 4 5 4 ˙ B 2 4 2 w 139 w. W ˙ ˙. W ˙ F f Vc. π S solo œ œ œ ˙ ? 4 5 4 w w Œ œ œ œ ˙ œ œ ˙. Ó œ œ œ. œ w. 2 W 4 ˙ ˙. 2 W & Cun-nan-na_un es - ti no, chi chiù nun tor - na, e'˙ nca - sa di PiJ - 3 3 f π A 132 Desolato & œ œ œ œ œ œ Œ œ œ œ ˙ p don - na,˙. chi_a-vi lu fig- ghiu so˙ œ a laœ cun-nanœ œ - na.˙. Cun-nan-na_unœ es -œ ti no, S solo 3 ˙ 4 œ ˙ œ ˙ œ ˙ w 3 & ∑ 2 ∑ 2 œ Ó T œ Chian - ci, chian - ci Ma - ri - a, ˙ œ œ œ Œ œ œ œ œ ˙ œ ˙ œ ˙. V so a la cun-nanœ - na.˙. Cun-nan-na_un es - ti no, chi chiù nunœ tor - na, 10 p 15 A 3 4 . 96& ∑ 2 ∑ 2 ∑ ∑ ˙ 154 œ ˙. Chian - Ob. œ œ œ ˙ œ œ p Œ . œ œ œ œ . œ . Ó . j œ œ œ ST 4 ˙ œ 6 3 œ ˙ w 4 4 5˙ œ ˙ œ2 ˙ œ Vln. & w w 7 ˙ w 3 wœ. œ 7 &V4 ∑œ 4 ˙ ˙2 œ ∑ 2 ∑. 4 ∑ 4 ∑ 2 ∑ œ & F 4 2 4 ci - sti a Ge - sù Naz-za - re - nu? Chian - ci, chian - ci Ma - Vln. Vla. W W W A & w. œ œ. 7 œ œj˙ 3 . œ 7 Ob. 4 ˙œ ˙œ œœ 6˙ œ ˙œ . 4 œ ˙ ∑ œ 5˙ œ∑ 2. ∑ & b œ œ œ œ J ˙ 4 œ ˙ ˙ 2 œ J ˙ ˙ 4 & 4Œ ci - sti a 4 Ge˙ Œ - sù˙3 œ Naz-za - ˙re˙w - nu?4 Ó 4 4 ˙ ˙2 Ó œ œ œ œ & 2 2 Vla. j f 3 Vc. œ W˙ W W p œ B 7 3 7 Ob. j œ œ œ œ J & b˙ ‰ j 4 2 4 Vln. 4W 6 w. W 4 œ 5 W 2 # bœ œ w. ˙w. w. & 4 ∑ 4 3∑ ∑ 4 4 Ó 3 4 ˙ Œ œ œ 2 œ Jœ ˙. & 2 gliss. 2 Vc. W W gliss. p ? F W ~ ˙ ~~ ˙ ~~~ 158 Vla. ~W#˙ ~~~~ ˙ 3 w. ~w 4 W W Vln. B4 6 2 2 4 5 2 ˙. w w. w W W & 4 4 Ó Ó 4 ∑ 4 ∑ 2 ∑ Vln. 7 5 4 gliss. gliss. & 4 2 2 Vc. W w. W W Vla. ? œ ~~ œ œ ~ 3 ~~ 4 P π 4 # 6 ~~~ 2 #˙ #~ 2 4 5 2 B Source: Moody, Ivan, Passion Popolare, (Vanderbeek. & Imrie Ltd., 2005), 13. & 4 ˙ 4 ˙ŒÓ w 4 ∑ 4 ∑ 2 ∑ Vla. œ œ #œ j ˙. & 47 œ ˙ 25 ‰ œ bœœ #œ. ‰ 24 #˙ ‰ œ. ˙ #˙ œ Œ ˙ Œ #œ ˙ bœ œ œ œ #˙ Vc. F P π ? 4 ∑ 46 ∑ ∑ 4 45 2 Vc. 7 5 4 w ˙. ˙ w Figure 27&. Passion4 Populare, m. 162-1662 2 p ˙w. ww. W W 102 P π 3 162 3 3 Dolente Bar. F f >œ œ œ œ F ƒ > Solo ? œ œ œ 3 ˙ 4 5 œ œ œ œ ˙ 4 S solo P ˙ Ó 2 ˙ œ œ œ 2 ˙w Œ œ 2 2 3 ˙ œ #œ ˙ 4 œ œ œ. œ#œ œ 3 7 Ma 'is as Ped - dron es ti' llu - me - ra Pu strac - con è- pe-se na ca - ì - si˙ ∑ . Œ 3 b˙ ˙ & 2 EJ fi - gliu 2 caJ ti par - ti -2 - sti#˙ o coœ - muœ gi˙ - gliu,˙ 4 Ob. . 3 & ˙ ˙ 23 ˙ ˙ ˙ 24 ˙ ˙ ˙ ˙ 25 ˙ ˙ ˙ ˙ ˙ 24 Ob. P . œ œ #œ j & ∑ 23 Œ ˙ #œ ˙ 24 Œ ˙ Jœ 23 œ bœ œ #œ. 47 P f #˙ œ œ œ ˙ ˙ F P Vln. 3 4 5 4 & 2 2 2 2 Vla. W 3 4 3 7 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Source: Moody,& Ivan, Passion2 Popolare∑ , (Vanderbeek2 & Imrie Ltd.,∑ 2005), 15. 2 ∑ ∑ 4 p Vla. 3 4 5 4 B ˙ 2 ˙ 2 ˙ 2 ˙ ˙ 2 Vc. 3 4 3 7 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & 2 ∑ 2 ∑ 2 ∑ ∑ 4 p W Vc. ? 3 4 5 4 ˙ ˙ 2 ˙ ˙ ˙ 2 ˙ ˙ ˙ ˙ 2 ˙ ˙ ˙ ˙ ˙ 2 167 p P 3 S solo b 106 7 Œ ‰ 5 bœ Œ ˙Œb 3 ∑ 10 3 3 & 4 ˙ œ. 2 œ #œ ˙ 2 4 3 3 œo - raœ œ ti tro - vu tut - tu fra - gilœ - la - tu... Bar. œ œ ˙ œ Solo ? 4 œ w 7 œ œ 3 Bar. f 2 ∑ œ œ œ œ 2 œ œ œ ˙ ˙ w 2 œ Vre-siœ jja-vèn-non-ta mia ja - te - ra Ce ciòn es-cò- si n''i' cca - no˙ - nì - si. Solo ? 7 ∑ 5 ∑ bb 3 ∑ Œ 10 4 2 2 Ex -4 3 3 Ob. Ob. b 4 ˙ w 7 ˙ œ ˙ ˙ w 3 7 Ó j Œ 5 b˙ œ œÓ b 3 ∑ 10 & 2 w ˙ ˙ ˙ 2 ˙ ˙ 2 & 4 œ œ. œ œ 2 J #œ œ œ ˙ œ 2 4 Vln. 4 7 3 Vln. & 2 2 2 7 5 bb 3 10 w ˙ ˙ ˙ ˙w wW. & 4 ∑ 2 78 ∑ 2 4 F w. Vla. 4 7 3 Vla. B 7 ∑ 5 ∑ B bb 3 10 2 w ˙ ˙ ˙ ˙w 2 wW. 2 & 4 2 2 w. 4 F Vc. ? 4 7 3 Vc. ? 2 w ˙ 2 2 7 ∑ 5 ∑ Œ bb 3 10 ˙ ˙ ˙ w & 4 2 2 4 w. W F ˙ ˙. w. 18 Figure 28. Passion Populare, m. 188-192 7 187

S b n p 3 2 ˙ ˙ 5 3 & b 2 ∑ n 2 ∑ ∑ ∑ Ó #˙ 4 60 3 Ci - sò Cris - # œ œ n # œ # n # # n bœ Bar. ˙ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ ˙ #œ œ ˙ ˙ A b n p Solo ? J œ. 6 4 b 3 ∑ n 2 ∑ ∑ ∑ Ó ˙ ˙ ˙ 5 Œ 4 4 Ó & 2 2 Ci - sò Cris - 4 l'uor - tu fu pi - glia-tu D'un di- sce-pu-lu su - a fra tra-di - tu. T b n p F b 3 ∑ n 2 ∑ ∑ ∑ Ó ˙ #˙ ˙ 5 S 6 ˙ 4 w V 2 2 Ci - sò Cris - 4 & ∑ ∑ ∑ ∑ 4 ∑ 4 U. B p ? b 3 n 2 ˙ ˙ ˙ 5 b 2 ∑ n 2 ∑ ∑ ∑ Ó 4 A F Ci - sò Cris - ∑ ∑ ∑ ∑ 6 ∑ 4 3 & 4 ˙ 4 w œ. . U. Ob. b œ œ œ . n . œ . b 3 œ œ J œ Ó n 220 ∑ ∑ ∑ Ó Œ œ œ #œ œ 5 F 5 & 2 2 4 T #˙ w 212 p 6 4 V ∑ ∑ ∑ ∑ 4 ∑ Incisivo 4 ˙ œf w w 32 U. S solo ˙ # # . #œ 3 Vln. w. 11œ œ œ œ œ 3 œ ˙ œ #œ 9 ˙ œ. ˙ 4 b n & 4 ∑ œ 2 Œ 4 œ J ŒŒ2 T F F b 3 n 2 bœ œ J Œ chin tres ciaos l'in - cla - ve5 - sin. B ∑ ∑ ∑ 4 œ œ œ œ œ œœœ œ œ 3 & 2 2 4 ? ∑ V ∑ ∑ ∑ 6 ∑4 Ma ce_i Ma-don˙ - na stin4 o-raz-ziù-w na 4 Bar. f 4 4 P , 3 U. Solo ? 11 3 ˙ ˙ 9 #˙ œ œ œ. ˙ œ 4 Vla. 4 #œ ˙ œ œ 2 ˙ œ w 4w J œ 2 B F b 3 n 2 ˙. má˙ - me-non, é - le-ghen:wj ˙ "I mi The - ós i - pírg5 - khe sar - ko - ? 4 œ œ œ œ œ œœœ œ œ 3 B b w. & n #œ ˙ #œ. œ Vc. ∑ ∑ ∑ 4 4 2 2 b œ 4 6 Ma ce_i Ma-don - na stin4 o-raz-ziù- na Vc. œ œ œ ŒŒ j ‰ Ó P? 11 3 9 4 & b œ œ 4 #œ nœ œ 4 w Ob. œ w w ˙. w œ ˙ Vc. w 4 ˙W. #œ œ œ 2 ˙ w 4w 2 œ ˙ œ j œ œ ˙ ˙ 4 3 ? b 3 n 2 ˙ œ œF w. w w ˙. w5. & ‰ J ŒŒ Œ Œ œ Œ 4 F ∑ P∑ 4 b 2 n 2 b œœ 4 w. 215 w. P Vln. w. w. 4 3 Bar. œ & 4 ∑ ∑ 4 193 Solo ? 4 ˙ œ #œ œ œ œ œ œ œ œ 5 #˙ ‰ œ # 4 # œ#œ œ œ. J ˙ 11 Delicato 2 3 3 3 4 J œ3 œ 2 œ œ œ œ œ 4 66 Source: Moody,thís Ivan, Passion o sin Popolarei - mín , (Vastavnderbeek - ro - & thís,Imrie Ltd., ouk 2005), an 18. o 3 í - - - li-os Vla. ˙. ˙. ˙. w. w w S ˙ ˙ # œ œ Bar. B ˙. 4 p œ bœ œ œ œ œ 3œ 5 2 ˙Vc. œ œ 7 œ œ œ œ 5 4 4 & 4 ˙. œ œ 2 ? 4 ∑ 45 Œ 4 œ œ 4 Solo11 ? ∑ ∑ ∑ ∑ ∑ 5 ‰ J 4 tò' - mma cci - sò vli2 - o - me - no 4 Ca ìb-bi-e 'mbèn-non-ta2 'ss_an - 4 j 4 4 Vc. Ín- ghi-ken i o - ra, ke Figure 29. PassionW Populare, m. 218-222 ˙ ˙. 3 3W . œ œ . & ‰ Jœ œ ˙ ˙ Œ ˙ ˙ œ ˙ ˙ 4 ∑ ∑ 43 A S 5 ˙. œ œ 2 ˙ 218 œ œ ˙ ˙ ∑ 7 Œ œ œ œ œ œ 5 3 ∑ ∑ ∑ ∑ ∑ 5 ∑ 4 & 4 tò' - mma cci2 - sò vli - o - me - no ƒ 4 Ca#œ- ìb-bi-eœœ- - œ 'mbèn-non-ta 'ss_anœ#˙ -4 ˙ #˙ & 4 4 Bar. ˙ ˙ 3œ ˙- #œ ˙ œ œ Solo # ˙ œ œ œ3 ? 11 ˙ œ ˙ 2 Ó 3 3 Œ 2 T 4 2 2 2 37 5 2 œ tas ak˙ - tí -˙ nas a - pé - kri∑ - psen,7 óu-dhe i ghi si - o- mé - ni 5 e-ki-mé - ne -A 5 4 V 4 ˙. œ œ 2 ˙ œ 4 ˙ œ œ œ œ œ œ œ 4 T ∑ ∑ ∑ ∑ ∑ ∑ tò' - mma cci - sòS vli - o - me - no f Ca ìb-bi-e 'mbèn-non-ta 'ss_an - & œ œœ œ œ œ œ 4œ 4 11 2 ˙ #œ œ œ œ ˙ 3 ˙ #œ œ ˙ # œ œ ˙ 2 3 ‰ J œ 4 œ œ œ œ 5 ‰ J œ œ œ 3 œ œ œ 4 ‰ œ œ œ œ œ 5 & 4 ∑ 2 3 2 3 ˙ 2 V 4 Ma ce cun-tàm4 - ples - se to Pe-dì 4 Ce ci- ni_en ì-che ma 4 ti' ffur-tu - na 4 MaJ 'sti cci - lì- at -4 e pro nois tot - tu pa-ghe-sit su Cri - a - do - B ˙. œ # # # T ? 5 œ 2 ˙ œ œ ˙ ˙ ∑ 7 ˙ œ œ œ œ œ œ œ 5 B 5 4 4 tò' - mma cci2 - sòA vli11 - o - me - no 2 f 4 Ca ìb-bi-e 'mbèn-non-ta3 'ss_an -4 2 V ∑? 3 ‰ œ œœœ∑ 4 œ œœœ∑ œ 5 ‰ œ œ ∑œœœ œ 3∑ œ œ 4œ œ 4 ‰ œ œ∑ œœœ 5 4 & 4 ∑ 2 ˙ œ œ œ œ ˙ 2 ˙ œ œ ˙ ˙ œ œ ˙ 2 4 MaJ ce cun-tàm4 - ples - se to Pe-dì 4 CeJ ci- ni_en ì-che ma 4 ti' ffur-tu - na 4 MaJ 'sti cci - lì- at -4 e pro nois tot - tu pa-ghe-sit su Cri - a - do - œ œ 3 3 3 B œ œ œ œ Vla. œ œ ˙ ? 5 4 Ob. 5 œ œ œ 2 œ 11 œ ˙ ∑ B 2 w7 wœ œ 3 w. 5 w. 2 Vla. ∑ ˙. ∑ w ∑ ˙. ∑ ˙ ∑ ˙. 4 ˙ ∑ ˙ 4 3 #œ œ & 4 Œ Ó 2 Œ œ œ #œ œ2 œ 2 B 3 4 5 3 4 & 5 & 4 2 3 4 œ œ 4 3 4 4 4 4 4 4 F Vc. ? 11 2 3 Ob.2 . . b j j ˙. ˙ w 4 w w 2 w w 2 w w 2 Jœ ∑ Ó Œ 5 ∑ 4 Vln. ˙. W & #œ œ œ œ nœ. j œ œ. ˙ œ œ. ˙. 4 4 5 2 7 5 42 œ > > ∑ Dolce & 4 2 223 4 4 Source: Moody, Ivan, Passion Popolare, (Vanderbeek & Imrie Ltd., 2005), 20. S ˙ > , w 5 ∑ 4 ˙ œœbœœ. 6 ˙ œ˙ œ. ˙ ˙. œ œ 4 œ œ œ œ 6 ˙. ˙ wBar. w w Vla. & 4 4 4 ˙ ˙ 4 4 Vla. 5 2 Solo ? 2 ∑ ∑ 7 ∑ ∑ ∑ 5∑ ∑ p MaJ ì - san An -J ge - lon ìu di can5 - to Pu mas sa - lù - 4 2 to. ∑ & ∑ ∑ Ó Œ 4 ∑ 4 & 4 2 4 4 A , 5 ∑ 4 ˙ Pœ œ 6 ˙ ˙ ˙ œ œ 4 œ œ œ 6 S w 79 & 4 4 Ma ì - san 4 An - ge - lon ìu di can˙ -˙ to 4 Pu mas sa - lùœ - 4 Vc. ˙. ˙ w 2 w ∑ w ∑ ∑ ∑ ∑ ∑ ∑ p ? 5 ˙. ˙ 2 w & 2 w w 7 5 Vc. re. ∑ T ? 5 , 4 4 2 4 4 ∑ 5 œ œ œ 4 œ 6 ˙ ˙ ˙ 4 œ œ œ œ 6 A & V 4 œ w ˙ 4 w˙ œ 4 w w œ œ ˙ 4 ˙˙. 4 ˙ 4 4 2 ti na 'ncar-net - tì Ma ì - san An - ge - lon ìu di can - to Pu mas sa - lù - & 2 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ P p re. B ? 5 œ œœœ ˙ 4 ˙ œ œ 6 ˙ ˙ ˙ œ œ ˙ ˙ , 4 œ œ œ œ 6 > œ œ Vln. > œ ˙ > 4 ti na 'ncar-net - tì 4 Ma ì - san 4 An - ge - lon ìu di can - to 4 Pu mas sa - lù - 4 ˙ œ #œœ œ. ˙ ˙ #˙ #œ œ œ ˙ ˙ #œœœ ˙. p & 2 Ó ˙ œ ˙ Jœ Ó F Vla. ˙ ˙ Vla. 5 . 4 6 4 6 B 2 & 4 4 ∑ 4 ∑ ∑ 4 ∑ 4 2 w w w œ #œ œ œ ˙ w ˙ #˙ w w Vc. ? 2 œ w w w w w w w ˙. Commisioned by Kamerkoor Oktoich

Ivan Moody

Figure 30. Angel Vopiyashe, m. 1-2 ANGEL VOPIYASHE

Adagio, misterioso [solo] poco q = 66 p S 4 3 & b 2 ✓ ✓ ˙ ˙ œ œ œ œ ˙ ˙ ˙ œ œ 2 An - gel vo - pi - ya - she Bla - go -

A & b 24 ✓ ✓ ✓ ✓ 23 p T 4 3 V b 2 W˙ ˙ œ œ œ œ Ww w Ww w W˙ w ˙ 2 *An - gel vo - pi - ya - she Ah.

B p ? 4 ˙ ˙ œ w w w w ˙ w ˙ 3 b 2 W œ œ œ W W W 2 *An - gel vo - pi - ya - she Ah.

Source: Moody, Ivan, Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 2. [tutti] 5 F P & b 23 œ œ ˙ ˙ 24 W 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ - dat - - - ney: Chi - sta - P & b 23 ✓ 24 ✓ 4 Chiw - staww -

3 4 ˙ w 4 V b 2 w˙ . w 2 w ˙ w 4 ✓ ✓

? 3 ˙ w 4 w w 4 ✓ ✓ b 2 w. 2 w 4

9 F œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w - ya De - - - vo, ra - - - F b & w w w - ya Dew - - - vo,w ra - - - F w V b ✓ ✓ ✓ w ra - - - F ? œ œ œ œ œ œ œ œ b ✓ ✓ 80 ✓ ra - - - * Note: Tenor 2 and Bass 2 should sing on "ah" during bars 1-6.

& b w w - duyw - - - sya,w wi paww - - - w V b w w ✓ ✓ - duy - - - sya, œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ w ✓ ✓ - duy - - - sya,w

17 f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w - ki re - - - ku: ra - - - f b & w w w - ki rew - - - ku:w ra - - - f V b ✓ ✓ ✓ w ra - - - f œ œ œ œ œ œ œ œ ? b ✓ ✓ ✓ œ œ œ œ œ œ œ œ ra - - -

Figure 31. Angel Vopiyashe, m. 23-26 21 P w w 4 3 4 & b w w 2 WW 2 ww. 2 - duy - sya, Ah. P & b w w 24 23 w. 24 - duyw - sya,w Ah.W w . F [solo] w 4 ˙. œ œ œ 3 ˙ ˙ œ œ 4 V b w w 2 ˙ 2 2 - duy - sya, Tvoy Syn vos - kre - se tri - P ? œ œ œ œ œ œ œ œ w 4 WW 3 w. 4 b œ œ œ œ 2 2 2 - duy - sya,w Ah.

25 rit...... a tempo 4 W 5 w. w 6 5 4 & b 2- 3 -W 2 w w 2 ✓ 2 ✓ 4

b 4 5 6 ✓ 5 ✓ 4 & 2 W 2 w. w 2 2 4 [tutti] p 4 ˙. œ œ œ ˙ 5 ˙. œ œ œ w 6 Ó 5 4 V b 2 2 2 ˙ œ œ ˙ ˙ ˙ 2 w˙ ˙ ˙œ œ œ w 4 dne - ven ot gro - ba, Ó i mert - vy - ya vozd - vig - nu - vy; . Óp ? b 24 ✓ 25 w. w 26 ˙ œ œ ˙ ˙ ˙ 25 ˙ ˙ ˙ w 4 Ó i mert - vy - ya vozd - vigw - nu˙ - vy; Source: Moody, Ivan, Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 3-4.

29 F 4 œ œ œ œ & b 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 œ œ œ œ lyu - - - di - - - e, ve œ - œ œ - œ F 4 & b 4 w w w lyu - - - diw - - - e,w vew - - 4 V b 4 ✓ ✓ ✓ ✓

? b 4 ✓ ✓ ✓ ✓ 81

33 f œ œ œ œ œ œ œ w w w 2 & b œ œ œ œ œ œ œ w w 4 - se - - - li - - - te - - - sya. f 2 & b w ww w 4 - sew - - - li - - - te - - - sya. f w w 2 V b ✓ w w w 4 li - - - te - - - sya. f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b ✓ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w 42 li - - - te - - - sya.w

- 4 - Figure 32. Angel Vopiyashe, m. 27-28 25 rit...... a tempo . & b 24 W 25 w. w 26 ✓ 25 ✓ 4 b 4 5 6 ✓ 5 ✓ 4 & 2 W 2 w. w 2 2 4 [tutti] p 4 ˙. œ œ œ ˙ 5 ˙. œ œ œ w 6 Ó 5 4 V b 2 2 2 ˙ œ œ ˙ ˙ ˙ 2 w˙ ˙ ˙œ œ œ w 4 dne - ven ot gro - ba, Ó i mert - vy - ya vozd - vig - nu - vy; . Óp ? b 24 ✓ 25 w. w 26 ˙ œ œ ˙ ˙ ˙ 25 ˙ ˙ ˙ w 4 Ó i mert - vy - ya vozd - vigw - nu˙ - vy;

29 Source: Moody, Ivan, Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 4. F b 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 œ œ œ œ & 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 œ œ œ œ lyu - - - di - - Figure- 33. Angele, Vopiyashe, m. 37-41 ve - - F 37 4 F & b 4 2 4 œ ˙ œ œ lyuw - - - diww - - &- b 4e,w ✓ 4 vew✓ - Ó - Œ w Sve - ti - sya, sve - Ó Œ F 4 b 2 ✓ 4 ✓ V b 4 ✓ ✓ & 4 ✓ 4 ✓ œ œ œ œ œ œ œ Ó Œ Sveœ - ˙ti - sya, sveœ - Œ p F 2 4 œ ? 4 V b 4 œ 4 œ˙ œ œ œ œ œ œ˙ œ œ œ ˙ w˙ œ œ b 4 ✓ ✓ Œ Sve ✓- ti - sya, sve ✓ - ti - sya, p F ? b 42 Œ œ 4 ˙ œ œ ˙ ˙ ˙ œ œ Sveœ - ˙ti - sya, sveœ - ˙ti - sya,˙ ˙ œ 33 f œ œ œ œ œ œ œ w w 2 & b œ œ œ œ œ œ œ ww 41 w w 4 - se - - - li - - - ˙ te - ˙ -f œ œ - œ sya.œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 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 f - ti - sya, no - - - vy I - - - 2 & b w ww f w 4 - sew - - - wli - - - te - - - sya. w b œ œ œ œ œ œ œ & ˙œ œ œ ˙ w w œ œ œ œ œ œ œ œ f ti - sya, no - - - vy I - - - w - w 2 V b ✓ w w f w 4 w w li - - V b- w te - - w - sya. ww ww f no - - - vy I - - - œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f ? b ✓ œ œ œ œ œ œ ?œ œ œ œ œ œ œ œ œ œ w 42 li - - b- w te - - - ✓sya. 82 ✓ w w w I - - -

45 œ œ œ œ w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w - 4& - b - e - - - ru - - - sa - - - li - - -

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ˙ ˙ - e œ - œ œ - œ œ -œ ru -œ - œ - sa - - - li - - -

œ œ œ œ V b w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ - e - - - ru - - - sa œ -œ œ - œ œ œ- li œ - œ œ - œ œ - œ ? w b w w wœ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ - e - - - ru - - - sa - - - li - - -

- 5 - 37 F œ ˙ œ œ & b 42 ✓ 4 ✓ Ó Œ œ ˙ œ œ Sve - ti - sya, sve - Ó Œ F b 2 ✓ 4 ✓ & 4 4 œ œ œ œ œ œ œ Ó Œ Sveœ - ˙ti - sya, sveœ - p F 2 Œ 4 œ V b 4 œ 4 œ˙ œ œ œ œ œ œ˙ œ œ œ ˙ w˙ œ œ Œ Sve - ti - sya, sve - ti - sya, p F ? b 42 Œ œ 4 ˙ œ œ ˙ ˙ ˙ œ œ Sveœ - ˙ti - sya, sveœ - ˙ti - sya,˙ ˙ œ

41 ˙ ˙ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 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 - ti - sya, no - - - vy I - - - f b œ œ œ œ œ œ œ & ˙œ œ œ ˙ w w œ œ œ œ œ œ œ œ - ti - sya, no - - - vy I - - - f V b w w ww ww no - - - vy I - - - f ? b w ✓ ✓ w w I - - -

Source: Moody, Ivan, Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 5. 45 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w & b œ œ œ œ œ œ œ œ œ œ œ œ - e - - - ru - - - sa - - - li - - -

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ˙ ˙ - e œ - œ œ - œ œ -œ ru -œ - œ - sa - - - li - - -

- 5 -

83 37 F 37 2 4 œ ˙ œ œ & b 4 ✓ 4 ✓F œ ˙ Ó œ Œ œ & b 42 ✓ 4 ✓ Ó Œ œ ˙ œ œSve - ti - sya, sve - Sve - ti Ó - sya,Œ Fsve - b 2 ✓ 4 ✓ œ 2 4 & 4 4Ó Œ F œ œ œ œ œ œ b ✓ ✓ Ó œ Œ Sveœ - ˙ti - sya, sveœ - & 4 4 Ó Œ œ ˙œ œ œ œ œ Œ p Sve - ti - sya, sve - F 2 œ 4 ˙ œ œ ˙ ˙ ˙ œ Œ p V b 4 œ 4 œ œ œ œ œ œ F œ œ œ œ ˙ w œ b 2 œ 4 ˙ œ Œœ Sveœ - ˙ ti œ - ˙ sya, sve -˙ ti - œsya, œ V 4 Œ œ 4 œ œ œ œ œ œ œ œ ˙ w Sve - ti - sya, psve - ti - sya, F p ? b 42 Œ œ 4 ˙ œ œ F ˙ ˙ ˙ œ œ Sveœ - ˙ti - sya, sveœ - ˙ti - sya,˙ ˙ œ ? b 42 Œ œ 4 ˙ œ œ ˙ ˙ ˙ œ œ Sveœ - ˙ti - sya, sveœ - ˙ti - sya,˙ ˙ œ

Figure41 34. Angel Vopiyashe, m. 44-46 41 f 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 ˙ ˙ f œ&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ˙ ˙ œ œ -œti œ œ- œ œsya,œ œ œno œ -œ œ œ- œ œ - œ œvy œ œ œ œ œ œ I - - - - ti - sya, no - - - vy I - - - f f b œ œ & œ œ œ œ ˙ w w œ œ œ œ œ œ œ œ b œ ˙ ˙ w œ œw œ œ œ œ & ˙œ œ œ ˙ w - ti - sya, w no - - - œ œvy œ œ œ œ œ œ I - - - - ti - sya, no - - - vyf I - - - f V b w w ww ww V b w w ww no - - - wwvy I - - - no - - - vy I - - - f ? b w ✓ f ✓ w ? b w w ✓ ✓ w I - - - w I - - -

45 45 œ œ œ œ œ œ œ œ œ œ œ œ w w b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ w w & b œ œ - e œ - -œ - ru - - - sa - - - li - - - - e - - - ru - - - sa - - - li - - - œ œ w ˙ ˙ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ˙ ˙ & b œ œ œ œ œ œ œ œ œ œ- e œ œ- œ œ -œ œ -w ru - - ˙- sa - ˙ - - li - - - - e œ - œ œ - œ œ -œ ru -œ - œ - sa - - - li - - - b w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vw w œ œw œ œ œ œ œ œœ œœœœœœœ œœœ œ œ œ œ œ œ œ œ œ V b w w - e - - -œ ruœ - œ -œ œ- saœ - œ -œ - li - - - - e - - - ru - - - sa œ -œ œ - œ œ œ- li œ - œ œ - œ œ - œ ? w b w w wœ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ ? w e - - - ru - - - sa - - - li - - - b w w - wœ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ - e - - - ru - - - sa - - - li - - -

Source: Moody, Ivan, Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 5.

- 5 - - 5 -

84 61 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w & b œ œ œ œ œ œ œ œ œ œ œ œ ve - se - li - sya, Si - - - o - - -

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ˙ ˙ ve œ œ- œ se œ œ- œ li -œ sya, œ Si - - - o - - -

œ œ œ œ V b ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ve - se - li - sya, Si œ -œ œ - œ œ œ- o œ - œ œ - œ œ - œ

? b ˙ ˙ ˙ ˙ wœ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ ve - se - li - sya, Si - - - o - - -

Figure 35. Angel Vopiyashe, m. 66-68 65 , p w 4 6 4 & b 2 ✓ ✓ 2 Ó ˙ w w 2 - ne; kra - suy - sya, , ◆ p & b w 24 ✓ 26 24 - ne;w Chiw - sta˙ - ya,˙ kra˙˙ ˙- suyw - sya,w , ◆ p 4 6 4 V b w 2 w ww ww ˙˙ ˙˙ 2 ˙ ˙ w w 2 - ne; Ty zhe, Chi - sta - ya, kra - suy - sya, , p ? b w 24 ✓ ✓ 26 Ó ˙ w w 24 - ne;w kra - suy - sya,

Source: Moody, Ivan, Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 7. 69 P F f 4 ˙ w ˙ & b 2 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ Bo ˙- go ˙ - ro - dit - se, o vo - sta - ni - i P F & b 24 w w w w W Bow - gow - row - ditw - se,w Ah.w W P F 4 w w w V b 2 w w w w w ww WW Bo - go - ro - dit - se, Ah. F Pw w w w ? b 24 w w w w ✓ ✓ Bo - go - ro - dit - se,

- 7 -

85 Bibliography

Adkins, Imogen. Review of Modernism and Orthodox Spirituality in Contemporary Music, by Ivan Moody. Reviews in Religion and Theology 22, no. 4 (09/01/2015): 355-57.

Aletna, James. “Mystical Light from Arctic Climes: An Interview with Fr. Ivan Moody, Composer, Conductor, Musicologist, Priest.” Fanfare, 03/01/2014.

Chater, James. "Moody, Ivan." Grove Music Online. Oxford Music Online. Oxford University Press.

Drillock, David. “Orthodox Church.” Grove Music Online. Oxford Music Online. Oxford University Press.

Gay, Peter. Modernism: The Lure of Heresy from Baudelaire to Beckett and Beyond. London: Heinemann, 2007.

Grimes, Ronald. Review of Arctic Light: Finnish Orthodox Music, Ivan Moody, Conductor, Cappella Romana Ensemble. Fanfare, 03/01/2014.

Hillier, Paul. Arvo Pärt. New York: Oxford University Press, 1997.

Moody, Ivan. “Assuming Identities.” Early Music 41, no. 1 (02/01/2013): 49-51.

Moody, Ivan. Composer website. (http://www.ivanmoody.co.uk).

Moody, Ivan (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 15, 17, 2017.

Moody, Ivan. Modernism and Orthodox Spirituality in Contemporary Music. Estonia: International Society for Orthodox Church Music and the Serbian Science Academy, 2014.

Moody, Ivan. “Music as a Sacred Art.” Contemporary Music Review 12, (1995): 23-34.

Moody, Ivan “Portfolio of Compositions” doctoral thesis, University of York, 2008.

Moody, Ivan. “Tavener, John.” Grove Music Online. Oxford Music Online. Oxford University Press.

Moody, Ivan. “Integration and disintegration: Serbian Monophony in a polyphonic context.” Muzikologija 11 (01/01/2011): 147-158.

Moody, Ivan. “'Mensagens': Portuguese Music in the 20th Century.” Tempo no. 198 (Oct., 1996): 2-10.

86 Moody, Ivan. “The Mind and the Heart: Mysticism and Music in the Experience of Contemporary Eastern Orthodox Composers.” Contemporary Music Review 14 (20 Aug 2009): 65-79. Accessed February 20, 2017. http://dx.doi.org/ 10.1080/07494469600640291.

Moody, Ivan. “Portuguese 'mannerism': A Case for an Aesthetic Inquisition.” Early Music 23, no. 3 (Aut., 1995): 450-58.

Moody, Ivan. “The Seraphim Above: Some Perspectives on the Theology of Orthodox Church Music.” Religions 6 (2 April 2015): 350-64. hit;://www.mdpi.com/journal/religions.

Moody, Ivan. “the Space of the Soul’: An Interview with Sofia Gubaidulina.” Tempo 66 (Jan 2012): 31-35.

Phillips, Peter. Review of Modernism and Orthodox Spirituality in Contemporary Music, by Ivan Moody. The Musical Times(Winter 2015): 106-107.

Stravinsky, Igor. Poetics of Music in the Form of Six Lessons. Cambridge, MA: Harvard University Press, 1970.

Tavener, John. The Music of Silence. New York: Faber and Faber, 1999.

Winterson, Jeanette. Art Objects: Essays On Ecstasy and Effrontery. London: Jonathan Cape, 1997.

87 Appendix I:

Prepared interview questions for Fr Ivan Moody

Interview Session 1: Biographical

What would you like to share concerning your childhood and life prior to your collegiate study?

What was the role of music in your home while you were growing up?

Did you grow up singing?

Describe the most memorable aspects of your early musical experiences and education.

Is there anyone else in your family that pursued a career in music?

Was your family supportive of your musical endeavors?

At what age did you begin composing?

What was your first composition?

When did you know you had a gift for composing?

What were some of your early musical influences? How have they influenced your work?

Tell me about your college education experience.

During your study, were there any events, or circumstances there that played a key role your development as a composer?

During your study in London, you formed your own chamber choir to perform Medieval and Renaissance repertoire as well as your own music. Choir Can you describe this process? How did it impact your musical development?

What types of memorable musical influences or experiences did you have during your collegiate that shaped your early professional career?

Who was the teacher that has had the most impact on your choral music?

Describe your residency at the University of Joensuu. How did this opportunity develop?

How would you describe your compositional style?

What pieces or genres do you consider to be most important to the choral repertoire?

Aside from your teachers, who have been your compositional inspirations?

What elements of your compositional style or technique did you learn from Brian Dennis, Sir John Tavener, and William Brooks?

In your interview with Altena, you said that Tavener was, “the only composer in Britain at that point with whom I thought I could learn to shape my own musical voice.” Can you expound on this?

In what ways was your time studying with Tavener a success? Are there any aspects in which you struggled?

In your interview with Altena, you discuss the impact of Stravinsky’s Symphony of Psalms and how the final movement presents a transformational moment you have always sought to reach. What did you mean by this?

Your newest composition, Psalm Antiphon utilizes the same forces as Stravinsky’s Symphony of Psalms. To what extent are there intentional similarities?

Which compositional schools of thought have had the most impact on your choral works? Renaissance/Tavener

What would be your desert island list of your own compositions and/or compositions of other composers?

Which composers do you most admire? (Have you met them? If so, please tell me about that experience.)

What languages do you speak?

When and how did you come to learn each of these?

Have you studied the Old Slavonic language of the Orthodox Church? If so, when/where?

Is there anything that you wish there was more of in choral music today?

When did you start using Vanderbeek & Imrie Ltd as your publishing company?

Interview Session 2: Philosophy on music and its role in the Orthodox Church

To which religion was your affiliation prior to your conversion to the Orthodoxy?

At what age did you convert to the Orthodox Church?

89 What drew you to the Orthodox Church?

Prior to becoming ordained, what positions or affiliations did you have within the Orthodox Church?

Describe the circumstances that led to you becoming ordained.

Describe some aspects and characteristics of music in the Orthodox Church.

How did you first become involved with composing liturgical music?

How has writing for the Orthodox Church impacted your compositions?

How does traditional Orthodox singing contrast with Finish Orthodox singing?

How have your roles at St John the Russian influenced your composing?

A great number of your choral works have utilized liturgy from the Russian or Greek Orthodox Church. Could you speak a bit about why you continue to return to liturgical sources for your music?

Is there a spiritual connection to your composition and/or compositional process?

What is the relationship between icons and music? In your opinion, can music be an icon?

What motivates you to continue to compose liturgical music?

How has your background as cantor impacted your choral compositions?

Do you make any theological statements through your compositions?

Do you believe that one’s faith or lack of faith influences the writing of sacred choral compositions in any way?

Is there one set of Orthodox chant that appear in your music more than others?

When composing a new piece, do you consider the impact it may have on the performer and listener?

Do you ever use symbolism in your works? If so, how?

Your interview with Sofia Gubaidulina concerning mysticism within her writing was incredibly insightful. I was hoping you might be willing to elaborate on some of your own thoughts on your own works. How do you view the role of modernism and its link to the human spirit?

90 You mention in the same interview that “when I am asked for liturgical music, I write simply what is necessary, and when I am working as an ‘artist’, I write in a different way.” Can you further explain this statement?

What factors influenced your decision to publish your book, Modernism and Orthodox Spirituality in Contemporary Music? Great answer to this.

In your book, you investigate the intersection of musical modernism and the spirituality of the Orthodox Church through the music of such composers as John Tavener and Arvo Pärt; however, you do not mention any of your own compositions. Why is this?

You state that you selected Pärt and Tavener because “they came from essentially Western milieux (background) and made conscious choices to become members of the Orthodox Church…”(p.11) Do you feel any connection to these two due to your own personal background?

One of your teachers, John Tavener, stated that “sacred art has gone downhill since the Middle Ages.” Do you agree with this sentiment?

What are your thoughts on the term “holy minimalism?”

Could you describe how you balance time to compose and travel to conduct and clinic while serving as a reverend of St John the Russian in Estoril, Portugal?

What are ways you blend multiple languages into your services at St John the Russian? How does this relate to the liturgical music?

What changes have you noticed in church music over your lifetime?

What are things that I need to know for Sunday’s service?

Compositional influences and practices

Describe your creative process when writing choral music?

Do you select a text prior to discovering the melody or after?

In your compositions, what is the relationship between the music and text?

How do you begin setting your texts to music? Do you have any instances where you alter the text to better fit the vocal line?

Is there anything you look for specifically in texts prior to setting them to music?

Do you find yourself returning to a specific poet to use for the text for your music?

Is there a particular language with which you prefer working?

Do you compose at the piano or with the using some other method?

Is there an extra-musical thing that you return to for inspiration?

How did you learn to notate your scores?

Do you have a specific location where you prefer to write?

You have lived in a variety of locations throughout Europe. Do you find your setting, where you live, to influence your writing?

You have an extensive catalogue of instrumental works, yet you still have over 100 works for choruses of various voicings with diverse accompaniments. What inspires you to continue to return to the choral medium?

What features of music or composition are most important to you?

What is it that you strive to create in your choral works?

What are the most challenging and enjoyable aspects to your creative process?

Can you provide some insight on your approach for engaging and writing for the voice?

What do you think is the most important thing for a composer to consider when writing for voices as opposed to instruments?

Do you find it helpful when you’re beginning a composition to have a particular artist or ensemble in mind?

Do you have a time of the year (or season) in which you are most productive?

Do you schedule time to work on a composition each day over time, or do you work extensively over the course of a few days?

What is the timeframe it takes for you to complete a work?

Several of your works are set for “non-traditional” voicings. Please talk about the differences in writing for various voice-part combinations.

Have you written a piece that you felt was unsuccessful? Would you be willing to share about this experience? What did you learn?

Was there a certain piece that was a struggle to complete?

Of all the pieces you’ve written, which one is your favorite, and why?

You have held many conducting positions throughout your career Kastalsky Chamber Choir, Cappella Romana, and the Orthodox Chamber Choir at the University of Eastern Finland. When did you begin conducting?

How have your relationships with these ensembles developed over your career?

You also have developed relationships with professional ensembles such as The Hilliard Ensemble, the BBC Singers, Trio Mediaeval, and Seattle Pro Musica. Is there anything you would like to share about collaborations with these ensembles?

How does it feel to hear your music performed for the first time?

Do you ever change aspects of one of your pieces while you are in front of a choir?

Do you prefer to conduct your own music or have someone else conduct it?

Can you speak to the specific tone quality that you prefer when conducting your own works?

You are also an accomplished conductor. In what ways has your career as a composer prepared you for conducting?

What areas of study are important in relation to performance practice?

Do you have any advice for conductors seeking to program your music?

What insights can you offer about conducting and interpreting your music?

What role, does the commissioning process currently play in your career?

What aspects of a commission are discussed in advance?

Have you ever been commissioned to set a text that does not appeal to you? If so, how did you handle this situation?

How do you view the relationship between the composers, conductor, and ensemble? Second half really nice.

What are your current compositional projects? Are there any specific genres or works you want to write in the future?

Your life is marked by many successes and achievements in various fields. With all of your success, what continues to inspire and motivate you?

93 Do you have a favorite work of another composer?

Is there any advice you have for young composers and conductors?

You have interviewed other composers and have been interviewed several times throughout your lifetime. Are there any important aspects I have missed during this process that you feel should be included or may be of interest?