THRESHOLD WORDS: A CYCLE OF SIX ANTHEMS BY
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THRESHOLD WORDS: A CYCLE OF SIX ANTHEMS BY Stephan Anthony Casurella Submitted to the graduate degree program in Church Music (organ emphasis) and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Chairperson Date defended: 9 June 2009
Transcript of THRESHOLD WORDS: A CYCLE OF SIX ANTHEMS BY
THRESHOLD WORDS: A CYCLE OF SIX ANTHEMS
BY
Stephan Anthony Casurella
Submitted to the graduate degree program in Church Music (organ emphasis) and the Graduate Faculty of the University of Kansas
in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
Chairperson
Date defended: 9 June 2009
ii
The D.M.A. Document Committee for Stephan Anthony Casurella certifies
that this is the approved version of the following D.M.A. document:
THRESHOLD WORDS: A CYCLE OF SIX ANTHEMS
Committee:
Chairperson
Date approved: 9 June 2009
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THRESHOLD WORDS: A CYCLE OF SIX ANTHEMS
Stephan Anthony Casurella
ABSTRACT
Threshold Words: A Cycle of Six Anthems is a setting of texts by poet John D.
Thornburg, each of which reflects on a narrative from the Gospel of John. The work
is intended either for concert performance as a complete cycle or as a set of
individual anthems for use in connection with specific Scripture readings during
worship services. Scoring is for SATB choir (with some baritone and soprano solo
passages), string quartet, and organ. To provide variety of timbre, however, the full
instrumental resources are used only in the outer movements; the second and fifth
anthems feature organ and a solo instrument (cello and violin, respectively), the third
organ only, and the fourth string quartet only. The choral writing in Threshold Words
balances a quest for fresh, creative expression with sensitivity to the capabilities of a
fine, but mostly amateur, parish music program. The instrumental writing presumes
professional-level performers.
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TABLE OF CONTENTS
ACCEPTANCE PAGE ................................................................................................ ii ABSTRACT ................................................................................................................ iii ACKNOWLEDGMENTS ............................................................................................ v FOREWORD ................................................................................................................ 1 PERFORMANCE NOTES ......................................................................................... 18 THRESHOLD WORDS I. The Miracle at Cana ................................................................................. 20 II. The Woman at Jacob’s Well .................................................................... 54 III. The Man Born Blind ................................................................................. 74 IV. The Raising of Lazarus ........................................................................... 106 V. The Anointing at Bethany ...................................................................... 131 VI. The Miraculous Catch of Fish ................................................................ 151 BIBLIOGRAPHY .................................................................................................... 194 APPENDIX
A. Texts ....................................................................................................... 196
B. Letter of Permission ............................................................................... 201
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ACKNOWLEDGMENTS
I am indebted to a great many people who have contributed to the success of
this project. I wish to express sincere thanks to the members of my graduate advisory
committee for their invaluable time and support: Professors Michael Bauer, Bryan
Kip Haaheim, Thomas Heilke, James Higdon, and Paul Laird. Professor Haaheim, in
particular, has spent countless hours giving constructive feedback throughout the
compositional process.
Without poet John D. Thornburg this project would not, of course, be what it
is. I am deeply grateful to the Rev. Thornburg for accepting a commission to write
the texts for Threshold Words. Not only has he provided superb poems of theological
depth, but he has been a gracious and supportive presence at every step.
I cannot begin to express adequately my gratitude to Mark Ball, Director of
Music at Village Presbyterian Church. He has been an enthusiastic supporter of this
project from the start, even agreeing to program a performance of Threshold Words
on the church’s 2009–2010 season before the music was written. Other colleagues on
staff at the church have also offered consistent encouragement, ranging from the
Rev. Meg Peery McLaughlin’s insightful reflections on the poetry to Matthew C.
Shepard’s witty commentary on the predilection of twenty-first-century composers
for constant meter changes!
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Last, but certainly not least, I wish to thank my wife Rae and our boys Ryan
and Aidan. Rae has taken on with grace an undue share of responsibility for family
life to make this project possible. The boys, in their own way, have adapted to life
with “Dad always doing homework” and, ever forgiving, still greet me at the door
with enthusiasm. I look forward to spending more time with them in the near future.
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For Mark Ball and the people of Village Presbyterian Church
1
FOREWORD
From its origins as a peculiarity of the Church of England in the sixteenth
century, the English anthem has become a fixture in the worship life of many
denominations in a wide variety of styles. The Renaissance polyphony with syllabic
text declamation suggested by Thomas Cranmer (1489–1556) and reinforced in the
Elizabethan Injunctions of 1559 to replace para-liturgical Marian antiphons at the
daily offices initiated a tradition of choral writing that continues to this day, although
Cranmer would shudder at how far the tradition has strayed from his strict
limitations. Within the Church of England, composers have cultivated numerous
anthem genres at various times, from the verse anthems of William Byrd (c. 1540–
1623) to the post-Restoration string anthems of Henry Purcell (1659–1695) and
others. Until the eighteenth century, such music was primarily limited to royal and
cathedral institutions, but with the rise of West Gallery ensembles a more modest
anthem tradition emerged in local parishes and nonconformist congregations. In the
United States, the cultivation of choral music in singing schools led to a rough-hewn
anthem style, as in the fuging tunes of William Billings (1746–1800), which found
its way into worship services toward the end of the eighteenth century.1
1This overview of the English anthem’s first several centuries is, of course, greatly over-
simplified. For a substantial survey of anthem history from the English Reformation through the mid-
2
Commentators tend to single out the next hundred years as a low point in the
development of the English anthem, reacting to a pervasive saccharine air even
among the better composers.2 The twentieth century, however, yielded an explosion
of new possibilities (if not always higher quality) in sacred music. Such possibilities
included the rejection of common-practice-era tonality (though generally some form
of neo-tonality is retained in liturgical music), the influence of commercial music,
and the mainstream acceptance of African American traditions.3 Today, depending
on the denomination and particular congregation, worshipers might hear anthems as
divergent in style as: Blessed Assurance arranged by Mark Hayes (b. 1953), with its
distinct gospel idioms;4 Lo, in the Time Appointed by Healey Willan (1880–1968),
which draws on early English point-of-imitation style;5 the African American
spiritual Wade in the Water arranged by Moses Hogan (1957–2003);6 or Ascending
into Heaven by Judith Weir (b. 1954), a fascinating work punctuated by frequent
rising figuration in the organ and glissandos in the vocal lines.7
twentieth century, see Elwyn A. Wienandt and Robert H. Young, The Anthem in England and America (New York: The Free Press, 1970).
2For a particularly scathing assessment, see Kenneth R. Long, The Music of the English Church (London: Hodder and Stoughton, 1972), 337–367. Chapter 19, titled “Victoriana,” ends with the terse statement, “So much then for the principal figures of this sterile period” (367).
3For an overview of the stylistic breadth in sacred literature of the twentieth century, see Andrew Wilson-Dickson, The Story of Christian Music: From Gregorian Chant to Black Gospel (Minneapolis: Fortress Press, 1992), 200–242.
4Mark Hayes, arr., Blessed Assurance (Columbus, OH: Beckenhorst Press, 2001).
5Healey Willan, Lo, in the Time Appointed (New York: Oxford University Press, 1929). Willan actually calls this piece a motet.
6Moses Hogan, arr., Wade in the Water (Milwaukee, WI: Hal Leonard, 1997).
7Judith Weir, Ascending into Heaven (London: Novello, 1983). The text and translation is laid out in the score so as to create visual ascending lines, adding another layer to this work’s symbolic language.
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Amid the great diversity within the church anthem tradition, Threshold
Words: A Cycle of Six Anthems is intended to contribute to that tradition in some
specific ways:
i. To provide anthems for use in Christian worship that reflect on specific Biblical narratives, as might be particularly useful in faith communities that follow a lectionary.8
ii. To serve an additional function as a multi-movement work that could be performed in the context of a sacred concert.
iii. To fulfill both purposes using a musical style that is accessible to a
fine, but mostly amateur, parish music program, while also offering fresh and creative expression.9
The first step in this undertaking was, necessarily, to find appropriate anthem
texts. On 17 April 2008 I contacted poet John D. Thornburg (b. 1954), asking if he
might accept a commission to write a new collection of poems for me to set.10 He
graciously and enthusiastically agreed.
Thornburg, an ordained minister in the United Methodist Church with
twenty-two years of experience in parish ministry, now serves as a Texas-based
8To that end, each anthem lists on its title page the Gospel narrative with which it is
associated along with the liturgical dates for which those readings are appointed in the Revised Common Lectionary. The Revised Common Lectionary (RCL) was released in 1992 by The Consultation on Common Texts in The Revised Common Lectionary (Nashville: Abingdon Press, 1992) and is currently used by many mainstream Protestant denominations.
9Throughout the composition of Threshold Words, I have had a specific parish in mind. Village Presbyterian Church in Prairie Village, Kansas, where I currently serve as Principal Organist and Associate Director of Music, has a membership of nearly 5,000. The music department, headed by Mark Ball, consists of three full-time and two part-time musicians. The Village Chamber Choir, an approximately forty-voice ensemble, regularly performs sacred concerts. These concerts feature works ranging from G. F. Handel’s Messiah to Ralph Vaughan Williams’ Dona Nobis Pacem.
10I had been aware of John Thornburg’s work for some time through his hymn and anthem texts, one of which I had set for SAB and piano. I was also engaged in preparations to conduct a performance of Craig Phillips’ Dies Gratiae: Requiem Reflections, a choral-orchestral work for which Thornburg had provided the poetry.
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freelance consultant on congregational song. He is a significant voice in the ongoing
debates about the role of music in Christian worship and, among other endeavors,
leads workshops to facilitate thoughtful discussion about the relevant issues. His
website, The Ministry of Congregational Singing, is subtitled “building community
through the power and grace of singing and putting an end to ‘worship wars.’” He
challenges congregations to ask “What MUST we sing in order to become the church
God is calling us to be?” rather than “What do the people want?”11
As a poet, John Thornburg has made a substantial contribution to the hymn
and anthem text literature. In addition to providing individual texts for a number of
hymnals (such as the increasingly well-known “God the Sculptor of the
Mountains”),12 he has published several collections of congregational song.13
Important sacred music composers such as John Ferguson (b. 1941), Jane Marshall
(b. 1924), Joel Martinson (b. 1960), and Bruce Neswick (b. 1956) have used his texts
for anthem settings, and the large-scale Dies Gratiae: Requiem Reflections by Craig
Phillips (b. 1961) alternates portions of the Dies irae sequence with Thornburg’s
poetry.14
11John D. Thornburg, The Ministry of Congregational Singing, <www.congregationalsinging.
com> (accessed 19 May 2009).
12This text appears as No. 2060 in the United Methodist supplement The Faith We Sing, ed. Hoyt L. Hickman (Nashville: Abingdon Press, 2000) to a rousing tune by Amanda Husberg.
13These include Can God Be Seen in Other Ways: Hymns and Tunes for Today (Nashville: Abingdon Press, 2003) with tunes by Jane Marshall, The One Who Taught Beside the Sea: Hymn, Anthem, and Worship Response Texts (Colfax, NC: Wayne Leupold Editions, 2003), and Family of God: New Hymns by John Thornburg and Friends (Nashville: Abingdon Press, 2008) with tunes by Dan Damon, Amanda Husberg, Jane Marshall, and Thomas Pavlechko.
14Dies Gratiae: Requiem Reflections (Kingston, NY: Selah Publishing Co., 2000) is scored for SATB choir, soloists, and orchestra. The work was commissioned by Christ Episcopal Church in
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In his writing, Thornburg refuses to avoid difficult subjects of communal and
personal tragedy, confronting the human condition with directness and honesty. The
“Christmas Poems” posted on his website are challenging and a far cry from the
light-heartedness of typical winter season greetings. “Christmas 2008,” for example,
compares Western culture’s penchant for war and consumerist greed with the
atrocities of ancient Rome and the massacring Herod of Matthew’s Gospel.15 Help
Us Sing Again, an anthem text written in the immediate aftermath of the terrorist
attacks on 11 September 2001 and set by Jane Marshall for SATB and keyboard, is
an intense cry of anguish amid horrors that tear “the fabric of our world” and pain
that “turns moments into days.” Thornburg concludes not by pushing aside the
devastation but by asking God to be present in the midst of it and to “give focus to
our eyes, that we can see the miracles that lie beneath the ash.”16 One of Thornburg’s
most poignant poems, “I Cannot Find the Words of Prayer,” is a lament over the
death of a parishioner’s child in utero. The first stanza conveys vividly the pain of a
mother faced with such tragedy:
No more the kicks that stretch my skin; No more the movement in my womb. My precious child is cold within; My body, an unwilling tomb.17
Tyler, Texas, as a counterpart to the chamber version of Gabriel Fauré’s Requiem, Op. 48, and thus uses unusual instrumental resources (such as the omission of a violin section).
15Matthew 2:1–23.
16Jane Marshall, Help Us Sing Again (Nashville: Abingdon Press, 2006).
17Thornburg, “I Cannot Find the Words of Prayer” in The One Who Taught Beside the Sea, 9.
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The next two stanzas express a bitter anger: “How dare you say that you are God, /
…when all that you seem fit to do / results in bleak, untimely death!” The poem’s
final verses are a gasp for release so that healing can begin.
While John Thornburg agreed to write the texts for this project, he insisted
that I be a collaborative partner in defining the parameters: “I don’t usually find
myself very motivated by a composer who writes to me and says, ‘Just write
anything you want.’ I don’t want to write what I want; I need to write what you
need.”18 His request initiated a lively dialog over the next four months, during the
course of which we weighed various options. By late September of 2008, Thornburg
had indentified six narratives from the Gospel of John, each of which would serve as
the basis for a reflection on the ministry of Jesus.19 He sent me a draft of the first
reflection, “The Miracle at Cana,” asking for wider collaborative input:
No poem touches two people the same way, but if it doesn’t touch anybody, it’s not good enough for your project. So I’d like you to have a few people read it. If there are reactions that tell you that the text isn’t done, let me know.20
This invitation was more than mere lip service, and throughout the writing process
Thornburg made revisions in response to comments from readers. For example, the
initial draft of “The Raising of Lazarus” read as follows, beginning at verse 3:
When sorrow is a thunderstorm that floods the path we hoped to walk, how often we deflect our pain by fixing our complaint on someone dear.
18Thornburg, email message to author, 21 April 2008.
19John 2:1–12; 4:3–42; 9:1–41; 11:1–45; 12:1–11; 21:1–14.
20Thornburg, email message to author, 27 September 2008.
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In light of reactions from a friend who argued for a different interpretation of the
Gospel narrative, Thornburg amended the passage for the poem’s final version (see
page 198): “my friend…helped me see that Martha is not shrill; she’s wounded (as is
often the case when we cry out our complaints), and so I hope the vocabulary change
signals that.”21 Similarly, he substituted the word “honesty” for “probity” in “The
Woman at Jacob’s Well” after learning that a couple of readers had reached for
dictionaries!
The texts of Threshold Words are notable for their sense of directness.22 This
effect is due, in part, to the author’s economy of language. Monosyllabic words
predominate, and words with three or more syllables are extremely rare.
Furthermore, the poems land the reader immediately in the relevant stories without
unnecessary verbiage, as in the opening verse of “The Miraculous Catch of Fish”:
“He stood beside the sea” (page 199). At times, the directness is intensified through
shortening individual verses from the usual six or eight syllables to four or fewer, as
in “The Woman at Jacob’s Well” (page 197):
“It must not be… It is not done… The truth is plain… The way is clear…” Thornburg’s use of language also demonstrates a particular resonance that
allows it to read easily and renders it ideal for singing. The author’s preference for
21Thornburg, email message to author, 3 December 2008.
22The texts are printed in their original format in Appendix A. This Appendix allows for ease of reference in the following discussion but also serves as acknowledgment that the poems are works of art in their own right, quite apart from any musical setting.
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iambic feet and six- or eight-syllable lines give the texts a certain connectedness to
traditional poetic forms such as the ballad. At the same time, his avoidance of
organizing verses into typical hymn meters leaves room for expressive fluidity, an
effect that is reinforced by the almost complete absence of end rhyme. Thornburg
achieves linguistic resonance through internal relationships within and between
poetic verses. Alliteration is a frequent device, as in the cross-related phonemes [f]
and [θ] in verses 2 and 3 of “The Woman at Jacob’s Well” (page 197):
It was forbidden, such a thing. The air was thick; a stifling fog.
In the same text, the [b] of “bewildered by the boldness of the rabbi’s words” is
another of several notable examples. More difficult to identify precisely is the
pervading sense of assonant vowel relationships. Obvious instances occur in the
opening stanza of “The Miracle at Cana” (page 196) where [eI] and, to a lesser
extent, [i] are prominent:
In Cana, on a wedding day, his mother came, and so did he, this man whose “Follow me” had caused a few to walk his way.23
Perhaps the most appealing feature of Threshold Words is its convincing use
of imagery. The oppression of sexism is a “stifling fog” in “The Woman at Jacob’s
Well” (page 197), but the heavy air becomes “fresh and new” when Jesus breaks
through the barrier of prejudice. Prejudice of a different kind in “The Man Born
Blind” (pages 197–198) is pictured as questions flung from the walls of a fortress. A
23This stanza also happens to be one of the few places where Thornburg uses end rhyme, in
this case an abba scheme.
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particularly haunting image occurs at the end of the same text. In the Johannine
narrative, Jesus has cured the man’s blindness by spreading mud on his eyes and
instructing him to wash it off in the pool of Siloam.24 Thornburg concludes his poetic
reflection on the passage by portraying a God who is still “digging in the mud, /
preparing to anoint the eyes / of all who long for sight.” The playfulness of this
image is compelling, as is its intriguing allusion to one of the creation narratives in
which humankind is formed from the dust of the ground.25 Perhaps Thornburg
intends to interpret Jesus’ healing act as a re-creation, restoring human life to its
initial unblemished state. Such a view of human physicality as enfleshment rather
than antithesis of spirit shows up again in “The Miraculous Catch of Fish” (pages
199–200). Peter, who is naked, jumps into the water when he recognizes Jesus on the
shore: “The leap was what his body did / to demonstrate his joy.”26
Once I had received and begun to absorb the final version of Thornburg’s
Threshold Words, I needed to determine what vocal and instrumental resources
would be appropriate (and practical) for setting the texts as anthems. That SATB
choir and organ should be involved I was already certain, both in light of my own
specialties and the kind of parish music program for which the settings were
intended. At the strong urging of one of my advisory committee members, however,
I began to consider the possibility of including an additional timbral resource. In the
24John 9:6–7.
25Genesis 2:7.
26This sentence parallels a passage from Thornburg’s text for Phillips’ Dies Gratiae: Requiem Reflections: “And now, since words will not suffice, my tears are what my body does to translate what I know” (Reflection II).
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end, I settled on adding string quartet, a medium that seemed capable of supporting
my own emotional responses to the poems.27 To provide contrasts of instrumentation
from movement to movement in the event that all the anthems should be performed
in concert setting, I planned a scheme that reflects thematic symmetries within the
whole collection of texts. Specifically, I determined that anthems 1 and 6, both of
which explore concepts of feasting, should be scored for the full complement of
choir, strings, and organ; that numbers 2 and 5, both of which reflect on narratives in
which Jesus shows respect to women in the midst of a misogynistic society, should
feature a single string instrument along with organ; and that 3 and 4, both of which
focus on restoration of physical wholeness, should each employ only one of the
instrumental forces (organ alone and string quartet alone, respectively).28
Actually putting pencil to paper as I begin composing always feels risky to
me, so I am grateful for the host of musical voices that, consciously or
unconsciously, shape how I write. Benjamin Britten (1913–1976) has always been an
important influence for me. From his exceptional ability to set English texts with
expressive fluidity I have learned to be sensitive to the natural accents, syllable
lengths, and overall tonal shapes of the language. Studying such works as the
Festival Te Deum,29 War Requiem,30 and The Turn of the Screw 31 has been
27As mentioned above, the music program at Village Presbyterian Church in Prairie Village,
Kansas, served as paradigmatic in my decision making. Hiring a string quartet on an occasional basis for use in liturgies is well within the church’s financial means and worship practice.
28This scheme also has the practical benefit of requiring significantly fewer instrumentalists for anthems 2, 3, and 5, and thus increasing the chance of their usefulness to congregations with budgets less ample than Village Church’s.
29Benjamin Britten, Festival Te Deum, Op. 32 (London: Boosey & Hawkes, 1945).
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particularly helpful. Britten’s influence in this regard is evident, for example, in the
soprano line at bars 20–26 of “The Woman at Jacob’s Well” (see Example 1).
Duration, metric placement, and relative pitch level reflect natural English speech
patterns.
Example 1. “The Woman at Jacob’s Well,” bars 20–26, soprano line. Another significant influence has been the lush writing of Herbert Howells (1892–
1983). Certain turns of phrase and harmonic structures from Like as the Hart
Desireth the Waterbrooks32 are present in the same movement, such as the flattened
fifth degree of a minor mode (e.g., the G-flat on “thick” in bar 7) and various
dominant-seventh-related chords that resolve in nontraditional ways (e.g., the D-flat
eleventh structure in bar 13). I have also unashamedly employed certain sardonic
elements from the work of Francis Poulenc (1899–1963), with whose dry wit my
own writing shares a certain affinity. While my settings are intended to be quite
sincere, anyone who knows well Poulenc’s Concerto for Organ, Strings, and
Timpani will recognize in “The Miraculous Catch of Fish” the organ part’s spare
contrapuntal textures and even specific motivic gestures, not to mention the biting
30Britten, War Requiem, Op. 66 (London: Boosey & Hawkes, 1962).
31Britten, The Turn of the Screw, Op. 54 (London: Boosey & Hawkes, 1966).
32Herbert Howells, Like as the Hart Desireth the Waterbrooks (Oxford: Oxford University Press, 1943).
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dominant-seventh structures with added false relations so prevalent in “The Man
Born Blind.”33 More specifically relevant to the anthem tradition, I have gleaned
ideas from other composers’ settings of Thornburg texts, such as Joel Martinson’s
Three Days Had Passed (for choir, brass quintet, timpani, and organ)34 and Craig
Phillips’ Dies Gratiae: Requiem Reflections. Both Martinson and Phillips have, in
their own ways, found musical techniques suitable for Thornburg’s compact and
theologically dense poetic style. In particular, they have modeled for me musical
idioms that are sufficiently accessible to avoid outright rejection in the Church’s
liturgical life while still engaging the poetry’s uncompromising—and sometimes
startling—complexities.
From a purely musical standpoint, one of the chief challenges in writing
music for Threshold Words was to ensure that each anthem could stand alone while
also forming part of a satisfying whole. The cycle, therefore, needed clear contrasts
of mood and key center but also unifying elements.35 I tackled the latter by
identifying motivic gestures and harmonic vocabularies that could recur throughout
the set of pieces. The opening pages of “The Miracle at Cana,” for example, contain
materials that appear in various guises in all the other anthems. Bar 1 features a
33Francis Poulenc, Concerto en Sol mineur pour Orgue, Orchestre à Cordes et Timbales
(Paris: Salabert, 1999). The Poulenc influence was particularly strong in Threshold Words, since I was preparing the concerto for performance while composing the anthems.
34Joel Martinson, Three Days Had Passed (Orleans, MA: Paraclete Press, 2002).
35The texts themselves suggested contrasting moods, ranging from the lament of “The Raising of Lazarus” to the scherzo finale of “The Miraculous Catch of Fish.” Key centers for the six movements (E, C, A, D, G, E) follow a compelling trajectory that supports the opening and concluding E-major movements. In selecting key areas, I gave particular consideration to the relationships formed between the end of one anthem and the beginning of the next. “The Raising of Lazarus,” for example, ends on the tonic with a D-major triad. That triad, in turn, serves as a dominant to the G tonal center of “The Anointing at Bethany.”
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descending tetrachord from the tonic with lowered sixth and seventh scale degrees,
setting the stage for frequent modal references. Likewise, the ascending tetrachord
leading into bar 3 emphasizes a raised fourth scale degree, an element that features
prominently throughout the cycle both melodically and harmonically. The first violin
part in bars 16–18 uses an octatonic scale segment, preparing for frequent
interactions between octatonic and diatonic collections. Some of the motivic
connections between movements are obvious, such as the opening organ gestures of
“The Man Born Blind,” formed by transposition and rhythmic alteration of the violin
passage just mentioned. Likewise, the descending motive D–C–B–A that pervades
much of “The Raising of Lazarus” as an inner voice of the string accompaniment
derives directly from the opening tetrachord of movement 1.
Many of the unifying factors are more subtle, however. Consider, for
instance, the soprano line in bars 5–9 of “The Miracle at Cana.” As Example 2
shows, this melody is inverted and transposed to form the skeleton of the bass solo in
bars 2–6 of “The Woman at Jacob’s Well.”
a.
b. c.
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d. Example 2. a. “The Miracle at Cana,” bars 5–9, soprano line.
b. Melodic inversion of the passage.
c. Transposition of the inverted passage down a major 6th.
d. “The Woman at Jacob’s Well,” bars 2–6, bass solo, derived from the inversion (with new rhythmic profile and a few melodic adjustments).
At other times, I have derived new material from inner voice leading. The germinal
idea for the melody cited in Example 1 is illustrative since it is based on the viola
part at bars 40–43 of the first anthem.
Beyond such purely musical devices, my concerns have been primarily with
the relationship between text and musical expression, and I have sought to illuminate
rather than cloud the various levels of meaning evident in Thornburg’s poetry. On a
fairly obvious level, the music reflects general moods and themes. The rhapsodic
“fiddling” of “The Miracle at Cana” (e.g., the first violin part in bars 72–81) seeks to
conjure the festivities of a rustic wedding, though clearly not in any historically
authentic fashion. The pervasive minor mode tendencies of “The Woman at Jacob’s
Well” give way to major mode inflections in the last eight bars as the air becomes
“fresh and new.” Martha’s cry of “If only…” in “The Raising of Lazarus” is set to a
descending three-note motive that reverses direction beginning at bar 75 (and
changes intervallic content to suggest major mode) after the miracle occurs. And the
slower harmonic rhythm coupled with longer choral note values from bar 115 of
“The Miraculous Catch of Fish” suggests the mystery of a feast that “stretches to the
present day.”
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More interesting to me are the less blatant relationships between text and
music. In “The Anointing at Bethany,” Thornburg sets up the listener to respond
viscerally to two different characters: the self-righteous “betrayer” and the tender
“anointer.” The characters seem quintessentially opposed on the moral spectrum, and
so the music features juxtaposed passages of solo violin writing marked “biting”
(reinforced with accented double stops) and “tender.” As it turns out, Thornburg’s
dichotomous treatment of the characters has indeed been a setup, for the poem’s final
two verses read: “And when he died, the Christ of God, / his death was for them
both” (page 199). In musical terms, this leveling of the moral playing field under the
mercy of God’s grace has been present throughout the anthem, since both the
“biting” and “tender” passages are constructed from the same motivic materials. The
personality contrasts are musically subsumed in the agitato depiction of Christ’s
death (bars 65–73) and finally resolved in the coda (bars 79–85) as the violin comes
to rest on an ethereal double stop of natural harmonics.
“The Man Born Blind” afforded a particularly unusual opportunity to play
with musical materials for the sake of interaction with the text. As in the Gospel
narrative on which the poem reflects,36 Thornburg’s character explains in a “simple
speech,” “I once was blind, but now I see” (page 197). For many listeners this
statement is permanently linked to the hymn “Amazing Grace, How Sweet the
36John 9:25.
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Sound” by John Newton (1725–1807), typically sung to the tune New Britain.37
Stanza 1 reads:
Amazing grace, how sweet the sound, That saved a wretch like me! I once was lost, but now am found, Was blind, but now I see.38
I found the idea of quoting the well-known tune unsavory but could not ignore the
chance to play with worshipers’ associative expectations. As a compromise, I
decided to rework melodic materials from the tune to create something vaguely
familiar. To begin with, I isolated two figures that seemed particularly useful as
material for an organ interlude immediately after the textual quotation in question
(see Example 3).
a. b. Example 3. a. Two motives from the closing bars of New Britain marked x and y.
b. The use of x and y to construct material in the organ part of “The Man Born Blind” (bars 30–32, right hand).
Next I inverted the entire tune fragment cited in Example 3a, applied a new rhythmic
profile, altered a few intervals, and extended it to create a melody appropriate for the
formerly blind man’s “simple speech.” The result is a passage that evokes something
of American Southern hymnody without actual quotation (see Example 4).
37The composer of New Britain is unknown. The tune was first printed in The Virginia
Harmony of 1831. See Richard Crawford, America’s Musical Life: A History (New York: W. W. Norton, 2001), 167.
38 This text appears to the customary tune as No. 280 in The Presbyterian Hymnal, ed. LindaJo McKim (Louisville, Kentucky: Westminster/John Knox Press, 1990).
17
a.
b. Example 4. a. An inversion of Example 3a (the last 8 bars of New Britain). Note
that under inversion the hymn tune’s pentatonicism is retained.
b. “The Man Born Blind,” bars 34–42, soprano line. The intervallic structure of this melody is based on the inversion of New Britain.
Having vowed not to quote New Britain and spent a great deal of energy finding
indirect ways to evoke it, I finally relented! A seven-note fragment of the tune
appears in the organ part on a solo stop at the very end of the anthem (bars 118–123).
Since the fragment’s intervallic properties have already been exploited at some
length, the fragment does not, to my ears, seem out of place.
Daring to set texts by a poet as influential as John Thornburg is a daunting
task. I hope that Threshold Words: A Cycle of Six Anthems illuminates the poetry
and, in turn, the Biblical narratives on which they reflect. If it succeeds in doing so, I
trust that the work will be of value to the Church whether in liturgical or concert
settings.
18
PERFORMANCE NOTES
Threshold Words is intended either for concert performance as a complete
cycle or as a set of individual anthems for use in connection with specific Scripture
readings during worship services. In order to facilitate the latter use, the Gospel
narrative on which each anthem reflects is cited, along with the liturgical dates for
which those readings are appointed in the Revised Common Lectionary. In the case
of concert performance as a cycle, the relevant Scripture passages may be read prior
to each movement to give a context for the poetic reflections.
All obligatory breaths in the choral parts are indicated precisely with rests, as
in bar 9 of “The Miracle at Cana.” Ideally, lines should be carried through without a
breath if no rest is present, even when punctuation might seem to suggest otherwise
(see bar 7 of the same movement). By the same token, punctuation may effectively
be shown through shaping when choral breaths are not indicated. The conductor
should feel free, however, to add occasional lifts as needed for clear text declamation
and beauty of tone, especially if the vocal ensemble is small. In any event, whenever
a syllable ending in a consonant is followed by a rest, the concluding consonant
should be placed on the rest itself, as in the tenor line at bar 52 of “The Miracle at
Cana.”
19
Organ registrations indicated in the score are intended merely as a general
guide. Depending on the instrument, room, and choir, the range of stop combinations
may need to be narrowed, as, for instance, in situations where the addition of a
mixture would be overpowering. Except where otherwise noted, the pedal line is
intended to include at least one sixteen-foot stop and match the dynamic level of the
manuals.
Tempo markings are likewise general guidelines. So long as the specific
character of each movement or section is retained, the conductor should feel free to
respond to interpretive instincts and the acoustical environment.
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Soprano
Alto
Tenor
Bass
Violin I
Violin II
Viola
Violoncello
Organ
q = ca. 108 (festive)
q = ca. 108 (festive)
q = ca. 108 (festive)
∑
∑
∑
∑
∑
œ>Fœn œn jœ.
‰ Ó3
∑
œ>Fœn œn jœ. ‰ Ó3
∑
∑
∑
∑
∑
∑
∑
Œ Œ œ>Fœ œ3
∑
Œ Œ œ>Fœ œ3
œ> œn œn jœ. ‰ Œ3
∑
∑
∑
∑
∑
∑
∑
jœ# . ‰ Œ Œ
∑
jœ# . ‰ Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ> œ œjœ# . ‰
3
œ> œn œnjœ.‰ Œ3
∑
œ> œn œn jœ. ‰ Œ3
∑
∑
∑
I.
Music: Stephan Casurella
*Text © 2008 by John D. Thornburg. Used by permission.
Text: John D. Thornburg*
The Miracle at Cana(for SATB, string quartet, and organ)
John 2:1–11(RCL Year C, 2 Epiphany)
Duration = ca. 4' 00"
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Vln. II
Vla.
Vlc.
Org. legatolight principals
8', 4'
5
Œ œFIn
Œ œFIn
Œ œFIn
Œ œFIn
5
Œ œPœ œ œ#
œ> œn œnjœ.‰3
Œ œPœ œ œ#
œ> œn œn jœ. ‰3
5
Œ œF
Œ œ
∑
œ ˙ œ œCa na, on a
œ ˙ œ œCa na, on a
œ ˙ œ œCa na, on a
œ ˙ œ œCa na, on a
JœäF‰ Œ Ó
jœœâ‰ Œ Ó
jœâF‰ Œ Ó
jœœâ‰ Œ Ó
œ ˙ œ œ˙ ˙w
∑
œ œ ˙ œwed ding day, his
œ œ ˙ œwed ding day, his
œ œ ˙ œwed ding day, his
œ œ ˙ œwed ding day, his
∑
∑
∑
∑
œ œ ˙ œ
˙ ˙w
∑
più
più
più
più
œf œ .œ jœmoth er came, and
œf œ .œ jœmoth er came, and
œf œ .œ jœmoth er came, and
œf œ .œ Jœmoth er came, and
∑
∑
∑
∑
œ œ .œ jœ˙ œ œw
∑
- - -
- - -
- -
- -
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Vln. II
Vla.
Vlc.
Org.
9
œ- œ .œ- ‰ œP
so did he, this
œ- œ .œ- ‰ œP
so did he, this
œ- œ .œ- ‰ œP
so did he, this
œ- œ .œ- ‰ œP
so did he, this
9
∑
∑
∑
∑
9
œ œ ˙ œ˙ œ ˙#˙ .˙
∑light principals 16', 8'
œ œman whose
œ œman whose
œ œman whose
œ œman whose
∑
∑
∑
∑
œ œ˙
œ œ
˙
œn œ ˙ œn“Fol low me” had
œ œ ˙n“Fol low me”
œn œ œ ˙“Fol low me” had
œn œ œ ˙“Fol low me” had
∑
∑
∑
∑
œn œ ˙ œnœ œ ˙n
œn œ œ ˙
.˙n œ
.œf Jœ œn œcaused a few to
œf œ œn œcaused a few to
œnf œ œ œcaused a few to
œnf œ œ œncaused a few to
∑
∑
∑
∑
.œ jœ œœnn œœœ œ˙n ˙œn œ œ œn
wn
-
-
-
-
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Vln. II
Vla.
Vlc.
Org.
13
˙ œwalk his
˙ œnwalk his
˙ œwalk his
œn œn œwalk his
13
∑
∑
∑
∑
13
˙ œœn˙ œ
œn œn œ
wFway.
wF
way.
wFway.
wFway.
Ó œ>Fœ œ œ#3
œ>Fœn œn jœ.
‰ Ó3
Ó œ>Fœ œ œ#3
œ>Fœn œn jœ. ‰ Ó3
www
w
Jœ ‰ Œ Ó
jœ ‰ Œ Ó
Jœ ‰ Œ Ó
Jœ ‰ Œ Ó
jœ ‰ œ> œ œœ#3
Œ Œ œ> œn œn3
jœ ‰ Œ Œ
œ> œn œn jœ. ‰ œ> œ œ
3 3
jœœ ‰ Œ Ó
Jœ ‰ Œ Ó
Jœ ‰ Œ Ó
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Vln. II
Vla.
Vlc.
Org.
16
∑
∑
∑
∑
16
œ œ œ œnPœ œ œ# œ œ œ œ œ
3 3 3 3
jœ.‰ Œ Ó
∑
jœ. ‰jœœœn>P‰ Œ
jœœœ>‰
16
∑
∑
∑
∑
∑
∑
∑
œ œn œ œn -F3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œn œn - œ œ œ œ œ# .PŒ
3 33
jœœ>‰ jœœ>‰ Ó
Ó Œ œ>fœn œ.3
jœœœn>F‰jœœœ>‰ Ó
∑
∑
∑
∑
∑
∑
∑
œ>
fœ œ# . Œ3
œ>fœ œ# . œP
œn œ œ3
Œ œPœn œ œ
Œjœœœn>‰
∑
∑
∑
24
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B
Vln. I
Vln. II
Vla.
Vlc.
Org. add
20
‰ jœnfœ œ
But once the
‰ jœnfœ œ
But once the
‰ jœnfœ œ
But once the
‰ Jœnf œ œ
But once the
20
Jœœnn äf‰ Œ
jœnâf‰ Œ
Jœnäf‰ Œ
jœœœnnn âf‰ Œ
20
Œ œnf
Œ œn
∑
œn ˙ œ œnfeast ing had be
œn ˙ œ œfeast ing had be
œn ˙ œ œnfeast ing had be
œn ˙ œ œfeast ing had be
∑
∑
∑
∑
œn ˙ œ œn˙n ˙nw
∑
œn .˙gun,
œn .˙gun,
œn .˙gun,
œn .˙gun,
Ó Œ œnFœ œ3
∑
∑
∑
œn .˙˙n ˙#w
∑
∑
∑
∑
∑
Jœ.f‰ Œ œnFœ œ3
Œ jœœnn >f‰ Œ
œn>f œn œjœn .‰ Œ3
Œ jœœœnnn >f‰ Œ
∑
∑
∑
- -
- -
- -
- -
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B
Vln. I
Vln. II
Vla.
Vlc.
Org.
24
∑
∑
∑
∑
24
œ œn œ jœn œn>fœ œ Jœ.F
‰3 3
œnFœ œ œ œn œ
jœn .f‰3 3
Œ Œ œn> œn œ3
∑
24
∑
∑
∑
Œ œnfthe
Œ œnfthe
Œ œnf
the
Œ œnf
the
∑
jœœnn >‰ Œ
jœn .‰ Œ
jœœœnnn >‰ Œ
Œ œœnnf
Œ œœnn
∑
reduce
œn œ œn ‰ Jœwine gave out, we
œb œ œ œnwine gave out, we
œn œn œ œwine gave out, weœn œn œ œwine gave out, we
∑
∑
∑
∑
œœnb œœ œn ‰ jœnœ œnœ œn œ œ
œn œ œ œn
œ œknow not
œ œnknow not
œn œknow not
œn œknow not
∑
∑
∑
∑
œœ œœnœn œ
˙n
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B
Vln. I
Vln. II
Vla.
Vlc.
Org.
28
˙nP Œwhy.
˙nP Œwhy.
˙P Œwhy.
P Œwhy.
28
∑
Œ œnPœn œ jœ. ‰
3
∑
Ó œnPœb œ3
28
˙nnPŒ
˙ Œ
˙ Œ
+ light reed 8'(box closed)
∑
∑
∑
∑
Ó Œ œFœ œn3
Œ œnPœn œ jœn œ>F
œ œ jœ.P‰3 3
Ó Œ œFœ œn3
jœœœnnn >‰ Œ Ó
∑
∑
∑
‰ jœnFœ œ .œb ‰ œ
His moth er spoke, “They
‰ jœnFœ œ .œb ‰ œ
His moth er spoke, “They
‰ jœnFœ œ .œb ‰ œ
His moth er spoke, “They
‰ JœnF œ œ .œb ‰ œ
His moth er spoke, “They
Jœn> ‰ Œ Ó .
jœœnn >F‰ Œ Ó .
Jœn> ‰ Œ Ó .
jœœœnnn >F‰ Œ Ó .
‰ jœnFœ œ ˙b œ
¯Œ œœnn œn
‰ Jœn œ œ œb œœb œ
Ó Œ œb œn
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-
-
-
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Vln. II
Vla.
Vlc.
Org.
31
œn œhave no
œn œhave no
œn œnhave no
œn œhave no
31
∑
∑
∑
∑
31
œœnn ¯ œœ
œœnn ¯ œœn¯
˙
˙nf Œ Ówine.”
jœnf ‰ œn> œ> œn> >
wine. They have no wine.”
˙bf Œ Ówine.”
Jœnf‰ œn> œ> œn> >
wine. They have no wine.”
∑
∑
Ó . Œ œn>fœ œn3
Ó . Œ œn>fœ œn3
˙nnf
Œ Ó
˙bn Œ Ó
˙b Œ Ó
legatolight principal 8'(or flutes 8', 4')
Ó ‰ œnpœ œ
To our sur
∑
Ó ‰ œnpœ œ
To our sur
∑
œn>fœ œn Jœ. ‰ Ó3
œn>fœ œn jœ.
‰ Ó3
Jœ. ‰ Œ Ó
jœ. ‰ Œ Ó
Ó Œ œnp
Ó Œ œn
∑
-
-
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B
Vln. I
Vln. II
Vla.
Vlc.
Org.
34
œn œn œb œn œb œbprise, he did not sum mon
∑
œn œn œb œn œb œbprise, he did not sum mon
∑
34
∑
∑
∑
∑
34
œn œn œb œn œb œb˙b
˙n œb ˙b.˙ ˙
∑
JœnP.œb œb œb
heav en right a
∑
JœnP.œb œb œb
heav en right a
∑
∑
∑
∑
∑
jœnP.œb œœbb œœn œn
œn œn ˙nw
∑
.˙npway.
∑
.˙np
way.
∑
∑
Œ Œ œnpœ œ3
∑
œnp œn œbjœ. ‰ Œ
3
.˙np..˙n
∑
- - -
- - -
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Vln. II
Vla.
Vlc.
Org.
37
jœ ‰ Œ
∑
jœ ‰ Œ
∑
37
∑
˙
∑
∑
37
jœ ‰ Œ
Jœœ ‰ Œ
∑
∑
∑
∑
∑
∑
jœ ‰ œn œ œ3
∑
œn œn œb jœ. ‰3
∑
∑
∑
∑
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
espr.
espr.
∑
∑
∑
∑
œ-p˙
.˙
-p œ#
.˙
∑
∑
∑
espr.
∑
∑
∑
∑
.˙ œ
œ- .˙
- ˙
w
∑
∑
∑
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A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
42
∑
∑
∑
∑
42 œ-Pœ
˙
œ- œ#
˙
42
∑
∑
∑
(organ may double voicesif absolutely necessary) legato
foundation 8'
Ó Œ œp œ œHe seemed to
∑
∑
∑
wp
Ó
œ-P.˙
pÓ
-P˙pÓ
w Ó
Ó Œ œ œ œp∑
∑
˙ jœ ‰ œ œ œsay, “It is not
Œ œpœ œ ˙
He seemed to say,
Œ œp œ œ ˙He seemed to say,
∑
∑
∑
∑
∑
.˙ œ œ œŒ œ œ œ ˙
Œ œ œ œ ˙
∑
31
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
45 .œP Jœ œ œ œ œyours to tell me what to
jœ ‰ œ œ œ œ œ“It is not yours to
jœ ‰ œ œ œ .œP Jœ“It is not yours to
˙p œ œ œ œ“It is not yours to
45
∑
∑
∑
∑
45
.œ jœ œ œ œ œœ œ œ œ œ œ
œ œ œ œ .œ jœ˙ œ œ œ œ
∑
wp
do.”
.œP
jœ œ œtell me what to
œ œ œ œtell me what to
œP œ œ œtell me what to
∑
∑
∑
∑
w.œ Jœ œ œ
œ œ œ œœ œ œ œ
∑
˙
˙p
do.”
˙p
do.”
˙p
do.”
Œ œp∑
∑
∑
˙
˙
∑
32
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S
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T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
48
∑
∑
∑
∑
48 œ-P˙
.˙p-p
œ#
.p48
∑
∑
∑
∑
∑
Ó Œ œpAnd
∑
wp
œ-P.˙p
-P˙p
w
∑
Ó Œœp
∑
∑
∑
œ œ œ œsince we want a
∑
∑
∑
∑
∑
∑
œ œ œ œ
∑
Ó Œ œpWe
Œ œpœ œ
We want a
wLord,
∑
∑
∑
∑
∑
Ó Œ œŒ œ œ œ
w
∑
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
52
œ œ œ œ œ œwant a Lord who makes our
œ ˙ œ œ œLord who makes our
jœ ‰ œ œ œ œ œa Lord who makes our
Ó Ó Œ œp
A
52
∑
∑
∑
∑
52
œ œ œ œ œ œœ ˙ œ œ œ
œ œ œ œ œ œÓ Ó Œ œ
∑
Jœ .œ œ œwish es his com
jœ .œ œ œwish es his com
œ œ œ œwish es his com
œ œ œ œLord who makes our
∑
∑
∑
∑
jœ .œ œ œJœ .œ œ œ
œ œ œ œœ œ œ œ
∑
wF
mand,
wnF
mand,
wnF
mand,
JœF .œ œ œ
wish es his com
Ó Œ œF
∑
∑
∑
wwn
wnFJœ .œ œ œ
∑
- -
- -
- -
- -
34
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
55
.˙
.˙
.˙
.˙mand,
55 œ- ˙n
.˙F
-Fœ
.˙F
55
.˙ .˙
.˙
.˙
∑
∑
∑
∑
∑
.˙ œ
œ- .˙n- ˙
wn
∑
∑
∑
più f
∑
∑
∑
∑
œ- œn
˙
œ- œ
˙
∑
∑
∑
più f
più f
∑
∑
∑
∑
.˙ œ
œ- .˙n- ˙
wn
∑
∑
∑
Ó Ó ˙pwe
Ó Ó ˙npwe
Ó Ó ˙p
we
Ó Ó pwe
w ˙p
œ- .˙n p- ˙ ˙
pw ˙
p
∑
∑
∑
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org. legatoprincipal 8'
60
wpause.
wpause.
wpause.
wwpause.
60
w
w
w
ww60
Ó Œ œp∑
∑
˙ Ó
˙ Ó
˙ Ó
˙ Ó
˙ Ó
˙ Ó
˙ Ó
˙ Ó
œ ˙ œ œÓ ˙w
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ œ
˙ ˙w
∑
(add)
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
˙ œ.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
œ ˙.˙
∑
36
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43
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.(add)
65
∑
∑
∑
∑
65
Œ Œ œnFœn œb3
Œ Œ œnFœn œb3
Œ Œ œnFœn œb3
Œ Œ œnFœn œb3
65 œn
Fœn ˙n.˙
..˙n
∑ heavier 16', 8'
Œ ‰ jœnFœ œ œn œ œn
His moth er sensed what he
Œ ‰ jœnFœ œ œn œ œn
His moth er sensed what he
Œ ‰ jœnFœ œ œn œ œn
His moth er sensed what he
Œ ‰ JœnF œ œ œn œ œnHis moth er sensed what he
jœn>‰ Œ Ó Œ
jœn>‰ Œ Ó Œ
jœn>‰ Œ Ó Œ
Jœn> ‰ Œ Ó Œ
Jœœ ‰ ‰ jœn œ œ œn œ œn
Jœœ ‰ Œ Œ œ œœn ˙
Ó . Œ œn -
œ- ˙could do...
œ- ˙ncould do...
œ- ˙could do...
œ- ˙ncould do...
∑
∑
∑
∑
œœ< ˙n <œœ ˙n ¯
˙ œ<
∑
∑
∑
∑
œ œ<
œ< œn <
œ< œ<œ œn ¯
∑
∑
∑
-
-
-
-
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
più
più
più
più
più
69
œn -f ˙could do...
œn -f˙n
could do...
œn - f ˙could do...
œn - f ˙ncould do...
69
∑
∑
∑
∑
69
œœnn <f˙n <
œœnn ¯ ˙n ¯
˙n - œ<
più
più
più
più
∑
∑
∑
∑
œn ¯fœ
œn <fœn <
œn ¯fœ<
œn ¯fœn ¯
∑
∑
∑
+ mixture
+ light reed 16'
˙n -f ˙n -would do...
˙n -f ˙b -
would do...
˙n -f ˙n -would do...
˙n -f ˙b -would do...
∑
∑
∑
∑
˙nn ¯f
˙nb -
˙nn ¯ ˙nb -
œb> ˙n>œb> œb>
˙
˙
˙
˙
Œ œb>fœb œn3
∑
Œ œb>fœb œn3
∑
˙
˙
˙n>
∑
∑
∑
∑
Jœn . ‰ œbPœb œn3
œb>fœb œb jœb .P
‰3
Jœn . ‰ Œ
œb>fœb œb Jœb .P
‰3
∑
∑
∑
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
74
∑
∑
∑
∑
74
œn œb œn œb œ œ œ œ œ œ# œ# œ3 3 3 3
∑
∑
ŒJœœœbbb>
P‰ Œ
Jœœœ>‰
74
∑
∑
∑
∑
∑
∑
∑
jœ œ>Fœ œ jœ# . ‰3
∑
Œ œ>Fœ œn3
Jœœœn>
F‰ Œ
∑
∑
∑
∑
∑
∑
∑
jœ œPœ œ œ œ œ œ3 3
Œ Œ œn>Pœn œb3
jœ.P‰ Œ œn> œn œb
3
Œ Jœœœn>
P‰Jœœœbnn> ‰
∑
∑
∑
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
77
∑
∑
∑
∑
77
œ œn œ œn œ œ œ œ œ œ œ œ3 3 3 3
jœn . ‰ Œ œn>Fœn œb jœ. ‰3
jœn .‰ Œ œn
Pœ œ œ
3
ŒJœœœbnn> ‰ Œ
Jœœœ>
F‰
77
∑
∑
∑
∑
∑
∑
∑
œ œn œn œb -3
œn œ œ œ3
œ œn œ œn œ œ3 3
∑
∑
∑
∑
∑
∑
∑
∑
œfœn œn œb - œ œ jœb œ> œ œ œ> œ œ œ3 3 3
Jœ>f‰ Jœ> ‰ Œ Jœ
> ‰
Jœ>f‰ Jœ> ‰ Œ Jœ
> ‰
Jœœœbnn>
f‰Jœœœ> ‰ Œ
Jœœœ> ‰
∑
∑
∑
40
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.light principal choruswith mixture
80
∑
∑
∑
∑
80
Œ œbFœb œn œn
œb> œn œb . œFœb œn œn
3
œb> œn œb . œFœ œ œb
3
ŒJœœœbnn> ‰
80
∑
∑
∑
legato
Œ ‰ jœfœ œ
It was his
Œ ‰ jœfœ œ
It was his
Œ ‰ jœfœ œ
It was his
Œ ‰ Jœf œ œIt was his
Jœäf‰ Œ Œ
jœœâf‰ Œ Œ
Jœœnäf‰ Œ Œ
jœœâ‰ Œ Œ
Œ ‰ jœfœ œ
Œ Œ œŒ ˙
∑
œ œ .œ jœ œ œword a lone that changed the
œ œ .œ jœ œ œword a lone that changed the
œ œ .œ jœ œ œword a lone that changed the
œ œ .œ Jœ œœ
word a lone that changed the
∑
∑
∑
∑
œ œ .œ jœ œ œ
˙ œ œ ˙.w
∑
-
-
-
-
41
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
più
più
più
più
83
Jœ>f.œ
wed ding’s
Jœ>f .œ
wed ding’s
Jœ>f.œ
wed ding’s
Jœ>f .œwed ding’s
83
∑
∑
∑
∑
83
Jœ .œ
œ œ#˙
∑– reed 16'
.œf‰ œF
course, that
.œf ‰ œ
Fcourse, that
.œf ‰ œ
Fcourse, that
.œf ‰ œFcourse, that
∑
∑
∑
∑
˙ œ.˙œœ œ œ
Œ œ œn
.œn jœturned the
œ œturned the
œn œturned the
œn œturned the
∑
∑
∑
∑
.œn jœœ œ
œn œ
˙n
œ œn œ œ œwa ter in to
œ œ œ œ œwa ter in to
œn œ œ œ œwa ter in to
œn œ œ œn œwa ter in to
∑
∑
∑
∑
œœ œœnœœ œœ œœ
œœnn œœ œœ œ œ
˙ œn œn œ
- - -
- - -
- - -
- - -
42
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45
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
87
wwine.
wwine.
wwine.
wwine.
87
Ó œ>fœ œ œ#3
œ>fœn œn jœ.
‰ Ó3
Ó œ>fœ œ œ#3
œ>fœn œn jœ. ‰ Ó3
87
www
w
foundations 8'
Jœ ‰ Œ Œ
jœ ‰ Œ Œ
Jœ ‰ Œ Œ
Jœ ‰ Œ Œ
jœ ‰ Œ Œ
Œ œ> œn œnjœ.F‰3
jœ ‰ Œ œ>Fœ œn3
œ> œn œn jœ. ‰ œP3
jœœ ‰ Œ Œ
Jœ ‰ Œ Œ
Jœ ‰ Œ Œ
(organ may double voicesif absolutely necessary) legato
Œ Œ œnPœn œn
And still his
Œ Œ œnPœn œn
And still his
Ó . Œ œnP
And
∑
.˙nP
Ó
.˙nPÓ
..˙nnPÓ
.˙ Ó
Œ Œœn œn œn
Ó .P
Œ œn
∑
43
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
90
.œ ‰ œn œ œnword, the balm that
.œ ‰ œn œ œword, the balm that
œn œ œ œn œstill his word, the
Ó . Œ œnP
And
90
∑
∑
∑
∑
90
˙ œn œ œn˙ œn œ œ
œn œ œ œn œÓ . Œ œn
∑
poco
poco
poco
.œ jœ œn œnheals our eve ry
œ œ œn œnheals our eve ry
œn œn œ œbalm that heals our
œn œn œ œstill his word that
∑
∑
∑
∑
.œ jœ œn œnœ œ œn œn
œn œn œ œœn œn œ œ
∑
poco
wPwound,
wnP
wound,
œ œn ˙P
eve ry wound.
.œ Jœ œn œnheals our eve ry
∑
∑
∑
Ó œnPœb œb jœn . ‰3
wwn
œ œn ˙.œ Jœ œn œn
∑
-
-
-
-
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B
Vln. I
Vln. II
Vla.
Vlc.
Org.
93
˙ Ó
˙ Ó
˙ ÓP Ó
wound,
93
œnPœn œ jœ. ‰ œn œb œb jœn . ‰3
3
Ó Œ œnFœn œb3
Ó œnPœb œb jœn . ‰3
Œ œnPœb œb jœn . ‰ œ3
93
˙ Ó˙
Ó
˙ Ó˙ Ó
∑
(add)
Ó Œ œbF œb œbthe food that
Ó Œ œbFœn œn
the food that
Œ œbF œb œb œn œnthe food that sat is
∑
˙bF
Ó Ó
˙bbÓ Ó
˙nFÓ Ó
˙bFÓ Ó
Ó Œ œb œb œbÓ Œ œb œn œn
Œ œbF œb œb œn œn
∑
- -
45
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####
####
44
44
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44
44
44
44
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44
44
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
95
.œn Jœb œœb œn œn
sat is fies our hun gry
œb œn œn œb œ œsat is fies our hun gry,
œb œn œ œn .œ Jœnfies our hun gry
Œ œbF œb œn œn œthat sat is fies our
95
∑
∑
∑
∑
95
.œn jœb œ œb œn œnœb œn œn œb œ œ
œb œn œ œn .œ jœnŒ œb œb œn œn œ
∑
poco
poco
poco
poco
wnFÓ
hearts,
œb œn ˙bF Ó
hun gry hearts,
wn FÓ
hearts,
wb FÓ
hearts,
Ó Œ œb>Fœb œn Jœn . ‰ œ œ œ3 3
∑
Ó Ó Œ œbFœb œn3
Ó œb>Fœb œb Jœb . ‰
œ> œ œ Jœ. ‰3 3
wn Óœb œn ˙b Ó
wnÓwb Ó
∑
- - -
- - - -
-
- -
46
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&
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&
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####
####
####
####
####
####
####
####
####
####
####
44
44
44
44
44
44
44
44
44
44
44
23
23
23
23
23
23
23
23
23
23
23
44
44
44
44
44
44
44
44
44
44
44
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.(add)
97
Œ œf œ œ
the ar row
Œ œf œ œ
the ar row
Ó Œ œfthe
∑
97
w#f
wwfwnfwf
97
Œ œf
œ œŒ œ œ œ
Œ œ œ œ
∑
Jœ> .œ œ œpierc ing all de
œ œ œ œpierc ing, ar row
œ œ œ œar row pierc ing
Ó Jœ>f .œn
pierc ing
∑
∑
∑
∑
jœ .œ œ œœ œ œ œ
œ œ œ œÓ Jœ .œn
∑
.œ ‰ Jœ> .œ œ œceit, pierc ing all de
jœ> .œ œ œ œ œnpierc ing all de ceit,
˙ .œ ‰ Jœ> .œall, pierc ing
œ œ ˙n ˙all de ceit,
∑
∑
∑
∑
˙jœ .œ œ œ
Jœ .œ
œ œ œ œn˙ ˙
Jœ .œ
œ œ ˙n ˙
∑
- - - - -
- - - - -
- - -
- -
47
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####
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####
####
####
####
44
44
44
44
44
44
44
44
44
44
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42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
100
wceit,
w
œ œ ˙all de ceit,
∑
100
Œ œ>f œ œnjœ.‰ œ œ œ#
3 3
Œ œ>f œ œnjœ.‰ Œ3
œ>f œ œnjœ.‰ œ> œ œ#
jœ# . ‰3 3
œ>f œ œnjœ.‰ œ> œ œ#
jœ# . ‰3 3
100
ww
œ œ ˙
∑
∑
∑
∑
∑
œ# œ œ œ œ œn3
3
Œ œ œ œ#3
œ> œ œ#jœ# . ‰
3
œ> œ œ#jœ# . ‰
3
∑
∑
∑
più
più
più
più
f legatoprincipal choruswith mixture
∑
∑
∑
∑
œfœ œ œ œn œ œ œ œ œ œ œ3 3 3 3
Jœ#>f‰ Jœ> ‰ Œ Jœ
> ‰
œ> fœ œ# jœ# . ‰ œ> œ œ
jœ. ‰3 3
jœœœ> f‰jœœœ>‰ Œ
jœœœ>‰
Ó Œ œ
∑
∑
-
48
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&
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####
####
####
####
####
####
####
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####
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####
23
23
23
23
23
23
23
23
23
23
23
43
43
43
43
43
43
43
43
43
43
43
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
103
∑
∑
∑
∑
103 œn œ œ œ> œ œ# . Œ œ> œ œ.3
3 3
Œ œ> œ œ# .Œ œ> œ œ.
3 3
Œ œ> œ œ# . Œ œ> œ œ.3 3
∑
103
œ ˙ œ œÓ ˙w
∑
Ó Œ œf œ œis chang ing
Ó Œ œf œ œis chang ing
Ó Œ œf œ œis chang ing
Ó Œ œf œ œis chang ing
Ó œ> œ œ# . Œ Ó3
Œ œ> œ œ# .œ> œ œ# . Œ Ó3
3
Œ œ> œ œ# . œ> œ œ. Œ Ó3 3
Œ œ> œ œ# .œ> œ œ# . Œ Ó3
3
œ œ ˙ œœ œœ œœ˙ ˙ œ œw œ œ
Ó Ó ˙
œn œn œn œbwa ter in to
œn œn œ œbwa ter in to
œn œn œn œbwa ter in to
œn œn œ œbwa ter in to
∑
∑
∑
∑
œœnn œœnn œ œb
˙n œnœn œn œ
.˙
- - -
- - -
- - -
- - -
49
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####
44
44
44
44
44
44
44
44
44
44
44
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
106 œn ˙nwine
œb ˙nwine
œn ˙nwine
œb ˙nwine
106
Œ œnfœn œ œ œn œn3
3
Œ œnfœn œ œ œn œn3
3
Œ œnfœn œ œ œn œn3
3
Œ œnfœn œ œ œn œn3 3
106 œœn ˙nn.œ ˙
.˙
∑
∑
∑
∑
œb œn œn œ œ œ œ œn œn3 3
3
œb œn œn œ œ œ œ œn œn3 3
3
œb œn œn œ œ œ œ œn œn3 3
3
œb œn œn œ œ œ œb œn œn3 3 3
∑
∑
∑
+ reed 8'
Œ œf œn œ
so we can
Œ œf œn œso we can
Œ œf œn œ
so we can
Œ œf œn œso we can
Jœäƒ‰ Œ Ó
Jœäƒ‰ Œ Ó
Jœäƒ‰ Œ Ó
Jœäƒ‰ Œ Ó
Œ œfœœnn œœn
Œ ˙ œn
Ó ˙n
50
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43
43
43
43
43
43
43
43
43
43
43
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org. più f
109 œƒ Œ ˙n>feast, feast
œƒ Œ ˙n>feast, feast
œƒ Œ ˙n>feast, feast
œƒ Œ ˙n>
feast, feast
109 œ> œn œn œ œ# œ. Œœ> œ œ
3
3
3
Œ jœœâ‰ Ó
œ> œn œn œ œ# œ. Œœ> œ œ
3
3
3
Œ jœœâ ‰ Ó
109 œœœ Œ ˙nnn
œ Œ˙
œ Œ ˙
poco rit.
poco rit.
poco rit.
Œ œ- œn - œ-in to the
Œ œ- œn - œ-in to the
Œ œ- œn - œ-in to the
Œœ- œn - œ-in to the
œn œ œ. Œ Ó3
jœœnn ≠Œ Ó
œn œ œ. Œ Ó3
jœœâ ‰ Œ Ó
Œ œ œn œŒ œ ˙n
Ó ˙nn
Ó ˙
a tempo
a tempo
a tempo
wnight.
wnight.
wnight.
wwnight.
œ> œ œ œ# Jœ ‰ œ> œ œ3 3
Œ œ> œn œnjœ.‰ Œ3
œ> œ œ œ# Jœ ‰ œ> œ œ3 3
Œ œ> œn œn jœ. ‰ Œ3
wwwwww
w
-
-
-
-
51
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####
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
112
∑
∑
∑
∑
112
Jœ# . ‰ œPœ œ œ# œ œ3
3
∑
Jœ# . ‰ Œ œPœ œ3
œ> œn œn jœ.P‰ Œ
3
112
∑
∑
∑
∑
∑
∑
∑
œn œ œ œn œ œjœn œ>Fœ œ
33 3
Œ œ>Fœ œ jœ# . ‰3
œ# œ œ Jœn .F‰ Œ3
Œ Œjœœœn>F‰
∑
∑
∑
∑
∑
∑
∑
Œjœn œn>fœ œn œ> œ œ œ.3
œ> œ œ# .jœ#> ‰ œn>f
œn œ œn .3
œ> œ œ# . Œ Œ3
Œjœœœn>f‰ Œ
∑
∑
∑
52
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42
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42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
115
∑
∑
∑
∑
115
Œ œnFœn œ œn
œ> œ œ# .œnFœn œ œn
3
œ>fœ œ# . Œ3
Œ œnFœn œ œn
115
∑
∑
∑
∑
∑
∑
∑
jœ .˙ƒŒ jœœâƒ
‰ Œ
Œ jœœâƒ‰ Œ
Œ jœœâƒ‰ Œ
∑
∑
∑
(gliss.)
+ high mixture
senza rit.
senza rit.
senza rit.
∑
∑
∑
∑
Jœ ‰ Œ œ
jœœâ‰ Œ Œ
jœœâ ‰ Œ Œ
jœœâ‰ Œ Œ
Œ Œ œƒœ œ œ#
∑
∑
ç
ç
∑
∑
∑
∑
Jœ‰ Œ Œ
Jœœ ‰ Œ Œ
jœœç‰ Œ Œ
jœœç‰ Œ Œ
jœœâ‰ Œ Œ
Jœœä ‰ Œ Œ
jœâ‰ Œ Œ
53
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bbb
bbb
bbb
bbb
bbb
bbb
bbb
bbb
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
45
45
45
45
45
45
45
45
Soprano
Alto
Tenor
Bass
Violoncello
Organ
q = ca. 52 (sultry)
q = ca. 52 (sultry)
q = ca. 52 (sultry)
p
pflute(s) 8'
flutes 16', 8'
∑
∑
∑
∑
œ- œ œ ˙3
Œ Œ œœ
Œ Œ œœ
Œ Œœ
pSolo
∑
∑
∑
Œ Œ ‰ JœHe
œ- œ œ ˙3
Œ Œ œœ
Œ Œ œœ
Œ Œœ
poco
legato
∑
∑
∑
œ œ œ œ œ œspoke to her at Ja cob’s
∑
œœ Œ œœœœ Œ œœ
∑
p
∑
∑
∑
˙ ‰ jœ œ œwell. It was for
Œ œ- œ œ ˙3
wwww
ŒœÓ
poco
∑
∑
∑
œ œ œ œbid den, such a
∑
˙
˙
Œœ
- - -
II.
Music: Stephan Casurella
*Text © 2008 by John D. Thornburg. Used by permission.
Text: John D. Thornburg*
The Woman at Jacob’s Well(for SATB, cello, and organ)
John 4:4–42(RCL Year A, 3 Lent)
Duration = ca. 4' 30"
54
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bbb
bbb
bbb
bbb
bbb
bbb
bbb
bbb
45
45
45
45
45
45
45
45
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
S
A
T
B
Vlc.
Org.
P
p
6
∑
∑
∑
˙ Œ ‰ jœ œ œthing. The air was
œ- œ œ œœ œ œ œ œ
3
6
..˙ œ œ˙
..˙ œ œ˙
ŒœŒ Œ œ
p
P
P
∑
∑
∑
œb - ‰ Jœ œ œthick; a sti fling
.œ ‰ Œ
œœ- œœbb œœœb - œ œ
˙ œ
p
(Tutti)
(Tutti)
p
p
+ celeste
Œ ‰ Jœ œ œ“It must not
Œ ‰ jœœ œœ œœ“It must not
∑
˙ Œfog.
Œ œ- œ œ œ3
˙p
œœ
˙ œœ
ŒœŒ
p
p
poco poco
poco poco
poco poco
œ ‰ Jœ œ œbe... It is not
œœn ‰jœœ œœ œœ
be... It is not
∑
∑
∑
˙n œœp˙# œœ
ŒœŒ
-
55
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?
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bbb
bbb
bbb
bbb
bbb
bbb
bbb
bbb
44
44
44
44
44
44
44
44
S
A
T
B
Vlc.
Org.
P
10
˙ ‰ Jœpœ œ
done... The truth is
˙n ‰ jœœpœœ œœ
done... The truth is
∑
∑
‰ Jœœ- œ œ œ œ
p10 .˙
pœœnœ# œ# ˙n
.˙ œœnœn œ# ˙#
ŒœÓ
poco
poco
œ ‰ JœpJœ- œ Jœ
plain... The way is
œœn ‰ jœœp.œb jœ
plain...The way is
Jœ- œ Jœ
∑
∑
∑
˙# œœ œœ˙n# œœ œœ
Œœ
Œœ
˙P
Jœp‰ Œ
clear...”
˙nP jœœ
p‰ Œ
clear...”
∑
∑
‰ JœPœ- œ œ œ œ œ œ
3
œnPœ# œ# jœœ ‰ œœb
p˙
œ# œn œ Jœ ‰œœn
Ó Œ œ
56
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?
?
bbb
bbb
bbb
bbb
bbb
bbb
bbb
bbb
45
45
45
45
45
45
45
45
43
43
43
43
43
43
43
43
S
A
T
B
Vlc.
Org.
sempre
13
∑
∑
∑
Œ ‰ Jœp œ œ œ œ
And e ven so, he
œpŒ Ó
13
...˙b Œ
..˙b Œ
.˙b Œ
Tutti p
pochiss.
pochiss.
pochiss.
pochiss.
Œ œp˙ œ
“Give me a
Œ œp˙# œ
“Give me a
Œ œp˙n œb
“Give me a
Jœ ‰ œ ˙ œspoke. “Give me a
∑
∑
∑
∑
– celeste
.˙pdrink...”
.˙p
drink...”
.˙p
drink...”
.˙p
drink...”
Œ Œ œp œœ3
..˙
..˙
ŒœŒ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
- œ œ œ3
..˙
..˙
ŒœŒ
-
57
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bbb
bbb
bbb
bbb
bbb
bbb
bbb
bbb
42
42
42
42
42
42
42
42
85
85
85
85
85
85
85
85
S
A
T
B
Vlc.
Org.
poco
17
∑
∑
∑
∑
œ- œ œ œœ œ
17 jœœ ‰ Œ Œ
Jœœ ‰ Œ Œ
∑
8' only
Solo (8', 2 2/3', 1 3/5')
∑
∑
∑
∑
.˙p
Œ Œ œP
Œ Œœnp
∑
pizz.
∑
∑
∑
∑
Jœ ‰ Œ ‰ Jœnp
œ œn œn œ.œ jœ œn.˙n
∑
‰ Jœp œn œn œ- œ
These were the thresh old
∑
∑
∑
œn Œ Œ
˙np
œœ˙n œn
∑
œn - ‰ Jœwords; the
∑
∑
∑
‰ Jœn œn
œn œœœn œn
∑
-
58
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&
?
?
bbb
bbb
bbb
bbb
bbb
bbb
bbb
bbb
85
85
85
85
85
85
85
85
42
42
42
42
42
42
42
42
83
83
83
83
83
83
83
83
85
85
85
85
85
85
85
85
S
A
T
B
Vlc.
Org.
22
œn jœn œ œwords that o pened
∑
∑
∑
Œ . ‰ JœnP22 jœœ œn œœ
Jœœn œn
∑
œnP œ œn œn œwin dows so the
∑
∑
∑
œ ‰ Jœ
œœnn œœœ œ
∑
œ œ œnbreath of
∑
∑
∑
œn jœ
œn jœœœn
Jœœn
∑
Solo (8', 2 2/3', 1 3/5')
take lowest notes in pedal as needed(coupled from accompanying manual, without 16')
.œF œ# œn œ œnlife could en ter
∑
∑
∑
.œFŒ
..œœnF
‰ jœnFœœn#
..œœ œn
∑
- - -
59
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&
?
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bbb
bbb
bbb
bbb
bbb
bbb
bbb
bbb
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
S
A
T
B
Vlc.
Org.
P26
.œn Œin.
∑
∑
∑
‰ œnP œn
Œ
26 .œ œ# œn œ œnœn Jœœ œœ
œnP
Jœn œ
∑
∑
∑
∑
∑
‰ Jœnp œnŒ
.œnP ‰ Œ.œn Jœœ œœ
.œnJœn œ
∑
poco più animato
poco più animato
poco più animato
add (+ 4')
P
‰ JœnP œ œ œ ‰ JœShe could have fled, be
‰ jœnPœ œ œ ‰ jœ
She could have fled, be
‰ JœnP œ œ œ ‰ JœShe could have fled, be
‰ JœnP œ œ œ ‰ JœShe could have fled, be
‰ Jœn œn Ó
œn Œ Œ œœ
œnp
Œ Œ œœP
Ó ‰ Jœn . œ
œ- œn ‰ Jœwil dered, be
œ- œn ‰jœ
wil dered, be
œ- œn ‰ Jœwil dered, be
œ- œn ‰ Jœwil dered, be
∑
‰ jœœnn . œœ œœ.
‰ Jœœnn. œœ œœ.
∑
- - -
- - -
- - -
- - -
60
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Org.
30
œ- œ œn œnwil dered by the
œ- œ œn œnwil dered by the
œ- œ œn œnwil dered by the
œn - œ œn œnwil dered by the
∑
30
Œ œn œœnn
‰ Jœ œnœœnn
Œ ‰ Jœ.
F
œ-F œ# - œn œbold ness of the
œ-F œ- œn œnbold ness of the
œ-F œ# - œn œbold ness of the
œ-F œ- œn œbold ness of the
∑
œœ œœ# œœnn œœnœœ œœ# œn œ
jœn . œnjœn œ
œn œ œnRab bi’s
œn œn œRab bi’s
œn œ œnRab bi’s
œn œn œRab bi’s
∑
œœnn œœn œœœœnn œœn œœ
œ œn œ
œn Œwords.
œn Œwords.
œn Œwords.
œn Œwords.
∑
Œ ‰ jœœnn .
Œ ‰ Jœœnn.
‰ Jœn . œn
- - -
- - -
- - -
- - -
61
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Org.
34
∑
∑
∑
∑
∑
34
œœ œœnn . ‰jœœ.
œœ œœnn . Œ
∑
∑
∑
∑
∑
∑
œœn œœ œœn .
∑
∑
P
∑
∑
Œ ‰ JœnPBut
∑
∑
œœnn Œ
∑
‰ Jœn . œn
legato– 4'+ celeste
rit.
rit.
rit.
∑
∑
œn œ œn œnsome thing in his
∑
∑
ŒœnPœnŒ
œnŒ œ
∑
poco
al
al
al
∑
∑
œ œ œ œ œ3
hon es ty said,
∑
∑
œ œ œ œ œ3
˙ Œœ œœ Œ
Œ œ Œ
- - -
62
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Org.
Tempo I
Tempo I
Tempo I
39
Œ ˙#p
“Stay.”
Œ ˙#p“Stay.”
.˙np
“Stay.”
Œ ˙#p
“Stay.”
∑
39
Œ ˙##.˙np
Œ ˙#
∑
flute 8'
Solo (8', 2 2/3')
œ Œ
œ Œ
œ Œ
œ Œ
∑
‰ Jœnp œ# œ#
Œ œ#p
œ# Œ
∑
∑
∑
∑
∑
œnJœn
œ œn œ#
∑
(pizz.)
∑
Œ ‰ jœnpœ# œ#
The laws of
∑
∑
‰ jœ# œ# Œ
˙# Œ
..˙##
∑
∑
œn jœ# œ# œnna ture were un
∑
∑
∑
jœ# œœnn œ
Jœ œ# œ#
∑
- -
63
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85
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Org.
44
∑
œ# ‰ jœnchanged. No
∑
∑
‰ jœ# œ#44
œ œœnnœ œ#
∑
∑
œ# jœ# œ œnwa ter in to
∑
∑
Œ . ‰ jœ#
jœœ œ# œœnnjœ œ# œ#
∑
P
Œ jœ#Pœn œn œn
no sight re
œ# œn œ# œ# œnP
œ œnwine, no sight re
∑
∑
œjœ# .œn
œœ## jœœnn ..œœnPœ jœ# .œn
∑
-
- - -
64
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85
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43
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Org.
take lowest notes in pedal as needed(coupled from accompanying manual, without 16')
PSolo (8', 2 2/3', 1 3/5')
47
œ#p .œstored.
œ#p .œstored.
∑
∑
‰ jœ#p .œ#
47 ‰ jœn œn œ# œ# œnœ# ..œœnnœ#p
.œ#
∑
(add)
Œ ‰ jœ#Pœn œ#
And yet a
Œ ‰ jœ#Pœn œ#
And yet a
Œ ‰ jœ#Pœn œ#
And yet a
Œ ‰ Jœ#P œn œ#And yet a
‰ jœ# œ# Œ
˙# ‰ Jœ#PJœœ .œ#jœ .œ# ‰ Jœ#
∑
œn> œ# œ# ‰ Jœmir a cle, a
œn> œn œ# ‰ jœmir a cle, a
Œ œn>F œ# œ#mir a cle,
œn> œn œ# ‰ Jœmir a cle, a
∑
œn œ# œ#.‰ Jœœ.
œnœnœn œn œ#.œ œ# œ.
œ# < œ# <
- -
- -
- -
- -
65
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86
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Org.(add)
50 œ>F œ# œn ‰ œ> œ œ œmir a cle, mir a cle oc
œn>F œ œn ‰ œ> œ œ œmir a cle, mir a cle oc
Œ œ> œ# Jœn ‰ Jœf
mir a cle oc
œn>F œ œn ‰ œ> œ œ œmir a cle, mir a cle oc
∑
50 œFœ# œn.‰ œ œ œ œ
¯œ ‰ œ Jœnœœn œ œn.œ œ# œœ J
œœ## ¯
œn -‰œ-
jœ# <
+ mixture
˙n>f Œcurred.
˙n>f
Œcurred.
˙n> Œcurred.
˙n>f Œcurred.
∑
œœœnnn >f‰ jœ. œ œ# œ œœb
œœnn > ‰ Jœ.œœn
‰ jœn . œn - œ-
F
F– mixture
arco
∑
∑
∑
∑
Œ œn œn œnœn œn . œ-
œœœnnn >‰ jœœn . œœ œœ.
œœnn > Œ Œ
‰ jœn . œn -Œ
- - - - -
- - - - -
- - -
- - - - -
66
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Org.
intenso
53
∑
∑
∑
∑
œ-
fœ# œn œ
53
..œœbn
∑
‰œ- P
∑
∑
∑
∑
œn‰ Jœn - œ- œ# œ œn
‰ jœœnn . œœn œœ. Œ
∑
œn -Œ ‰ jœn .
(reduce)
∑
∑
∑
∑
œn -Jœn œ œ# œ œ
‰ œœn .Pœœnjœœ. ‰ ‰
∑
œn -‰ Œ .
∑
∑
∑
∑
.œnP Jœ
∑
∑
‰ jœn .pjœn -‰
67
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Org.
57
∑
∑
∑
∑
.œn Jœ œœ
57
∑
∑
Œ œn -Œ
8' + celeste
∑
∑
∑
∑
.˙p
Œ ˙bπŒ ˙b
Œ ˙
poco rit.
poco rit.
poco rit.
∑
∑
∑
∑
œ œ œPœb œ œ
∑
∑
∑
pflute(s) 8'
a tempo
a tempo
a tempo
∑
∑
∑
∑
œ-pœ œ ˙3
Œ Œ œœ
Œ Œ œœ
Œ Œœ
Solo p
∑
∑
∑
Œ ‰ Jœ œ œThe thirst y
œ- œ œ ˙3
Œ Œ œœ
Œ Œ œœ
Œ Œœ
-
68
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bbb
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83
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83
42
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Org.
62
∑
∑
∑
œ Jœrab bi
∑
62
..œœ
..œœ
∑
legato
∑
∑
∑
œ œ œ œre de fined the
œ- œ œ œ3
Œ œœ
Œ œœ
Œœ
P
∑
∑
∑
œ-P œ - Œ ‰ jœp
scope of love. And
Œ œ- œ œ œœ œ œ œ3
..˙ ˙
..˙ ˙
Œœ
Œ Ó
- - -
69
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Org.
65
∑
∑
∑
œ œ œ œ œ œ œ3
bound a ries once seen as
œpjœ ‰ Œ
65
..˙
..˙
Œœ
Œ
∑
∑
∑
.œ jœ œ œfirm gave way to
œ- œ œ ˙3
˙ œ.˙˙ œ.˙
Œœ œ
∑
∑
∑
œb œ œ œ œ3
pan o ram ic
∑
œœ œœbbœb œ
˙
F
Fadd foundation(s) 8'
∑
∑
∑.˙
views.
Œ œPœ œ œ œ3
..˙n
..˙n
Œ ˙
- - - - -
70
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Org.
69
∑
∑
∑
∑
œFœ œ œ œn œ
69
œœœb ˙n.œ ˙
œb ˙
p reduce to flute 8'(no celeste)
Œ ‰ Jœp œ œ
The fog dis
Œ ‰ jœœpœœ œœ
The fog dis
∑
∑
œp œ- œ œ œ3
˙ œœ
˙ œœ
Œ œ Œ
poco p
poco
poco
œ ‰ Jœpœ œ Jœ- œ Jœ
persed, the air was fresh and
œœn ‰ jœœpœœ œœ .œ jœ
persed, the air was fresh and
Jœ- œ Jœ
∑
∑
∑
˙n œœ œœ œœ˙# œœ œœ œœ
Œœ
Œ Œ œ
-
-
71
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44
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Org.
72 PJœp‰ Œ
new.
˙nP jœœ
p‰ Œ
new.
∑
∑
‰ JœP
œ- œ œ œ œ œ œ3
72
œnPœ# ˙# œœb.˙
œ# œn ˙ œœn
ŒœÓ
Tranquillo
Tranquillo
Tranquillo
∑
∑
∑
∑
˙p œ œn œ
3
..˙p..˙
Œ œ Œ
Solo p
∑
∑
∑
Œ Œ œfresh
- œ œn œ3
..˙
..˙
Œ œ Œ
pochiss.
pochiss.
∑
∑
∑
œ .˙and
- Ó
wœ ˙# œ
œ ˙n œbw
∑
72
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43
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Org.
p
76
∑
∑
∑
.p
new.
Œ Œ œ œn œ3
76
..˙
..˙
ŒœŒ
∑
∑
∑
œ Œ Œ
- œ œn œ3
..˙
..˙
ŒœŒ
poco
rit.
rit.
rit.
∑
∑
∑
∑
œ- œ œœ œ œn
œœ Œ Œ
œœ Œ Œ
∑
π
∑
∑
∑
∑
˙Jœ‰
Œ ˙π
Œ˙n
∑
sul G
∑
∑
∑
∑
.o
..˙
..˙
∑
73
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44
Soprano
Alto
Tenor
Bass
Organ
q = ca. 112 (militant)
q = ca. 112 (militant)
principal chorus to mixture+ reed 8' (enclosed division)
∑
∑
∑
∑
œ#ƒœ œ œ œ œ œ œ
33
œ# œ œ œ œ œ œ œ3 3
∑principals 16', 8'(manuals coupled)
∑
∑
∑
∑
œ œ œ œœbbjœ ‰ Œ
3 Jœœn‰ Œ
œ œ œ jœœ# ‰ Œ3
Ó jœ ‰ Œ
∑
∑
∑
∑
œ# œ œ œ œ œ œ œ œ œ3
3
3
œ# œ œ œ œ œ œ œ œ œ3 3 3
∑
∑
∑
∑
∑
œb œ œ œ œ œœ##jœ ‰
3 Jœœn‰
œb œ œ œ œJœœb ‰
3
Ó Œ jœ ‰
III.
Music: Stephan Casurella
*Text © 2008 by John D. Thornburg. Used by permission.
Text: John D. Thornburg*
The Man Born Blind(for SATB and organ)
John 9:1–41(RCL Year A, 4 Lent)
Duration = ca. 4' 30"
74
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5
∑
∑
∑
∑
5 œ# œ œ# œn œb œ œ. œ. œ.3
3œ# œ œ# œn œb œ œ. œ. œ.3 3
∑
∑
∑
∑
∑
œb œ œ œb ˙ œ. œ.3
œb œ œ œb ˙ œ. œ.3
∑
∑
∑
∑
∑
..œœ‰ ..˙Œ Jœœbb ‰ Œ
˙n
Œ Jœœn ‰ Œ ˙#
Œ jœ ‰ Œ ˙
∑
∑
∑
∑
jœœ. ‰ œ#jœœ. ‰ œ
Jœœ. ‰ œœ J
œœ. ‰ œœ
jœ. ‰ œ# jœ. ‰ œ
75
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B
Org.
9
∑
∑
∑
∑
9 jœœ. ‰ ˙#
Jœœ. ‰ ˙
jœ. ‰ ˙#
Œ œ#>Fœ> œ>
They said that
Œ œ#>Fœ> œ>
They said that
Œ œ#>Fœ> œ>
They said that
Œ œ#>F œ> œ>They said that
jœœ-P‰ Œ Ó
Jœœ- ‰ Œ Ó
jœ- ‰ Œ Ó
œ> œ> œ#> œ#>blind ness was a
œ> œ> œ#> œ#>blind ness was a
œ> œ> œ#> œ#>blind ness was a
œ> œ> œ#> œ#>blind ness was a
∑
∑
∑
˙#> Ósin.
˙#> Ósin.
˙#> Ósin.
˙#> Ósin.
Œ œ#Fœ œ œ œ œ œ œ œ
3 3 3Œ œ# Jœ. ‰ œ
Œ œœ Jœœ. ‰ œœ
Œ œ# jœ. ‰ œ
-
-
-
-
76
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Org.
13
Œ œ#> œ> œ>
They built a
Œ œ#> œ> œ>
They built a
Œ œ#> œ> œ>
They built a
Œ œ#> œ> œ>They built a
13 jœ.‰ Œ ÓJœ.‰ Œ Ó
Jœœ. ‰ Œ Ó
jœ. ‰ Œ Ó
œ> œ> œ> œ>for tress for their
œ> œ> œ> œ>for tress for their
œ> œ> œ> œ>for tress for theirœ> œ> œ> œ>for tress for their
∑
∑
∑
> Ótruth,
> Ótruth,
> Ótruth,> Ótruth,
Œ œ# œ œ œ œ œ œ œ œ3 3 3
Œ œ# Jœ. ‰ œ
Œ œœ Jœœ. ‰ œœ
Œ œ# jœ. ‰ œ
Œ œ>f
then,
Œ œ>f
then,
Œ œ>f
then,
Œ œ>f
then,
jœb.
f‰ ŒJœb .‰ Œ
Jœœn . ‰ Œ
jœ. ‰ Œ
-
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-
77
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43
43
43
43
43
43
43
42
42
42
42
42
42
42
44
44
44
44
44
44
44
S
A
T
B
Org.
17 œ> œb> œ> œ>stand ing on the
œ> œb> œb> œ>
stand ing on the
œ> œb> œ> œ>stand ing on the
œ> œb> œb> œ>stand ing on the
17
∑
∑
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œ> œ> >mas sive walls,
œ> œb> >mas sive walls,
œ> œ> >mas sive walls,
œ> œb> >mas sive walls,
Œ Œ œ œ œ3
Œ Œ œ#
Œ Œ œœ
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∑
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œb œ œ œ œ œ3 3
Jœb . ‰ œ
Jœœn . ‰
œœ#
jœ. ‰ œ
ƒ
ƒ
ƒ
ƒ
Œ œ> œb> œb>they flung the
Ó Œ œb>they
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Ó Œ œb>they
jœ#.
ƒ‰ Œ ÓJœœn.‰ Œ Ó
Jœœb . ‰ Œ Ó
jœ.‰ Œ Ó
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78
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43
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A
T
B
Org.
21 œ> ˙b> œ> œ>ques tions of their
œb> œb> œ> œb> œ> œ>flung the ques tions of their
œ> ˙b> œ> œ>ques tions of theirœb> œb> œ> œb> œ> œ>flung the ques tions of their
21
∑
∑
∑
œ>fœ>>
trou bled minds.
œ>fœ> >
trou bled minds.
œ>fœ>>
trou bled minds.
œ>fœ> >
trou bled minds.
Œ Œ œnfœ œ3
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Œ Œ œ
∑
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œb œ œ jœ.‰ œ œ œ
3 3
œbJœ.‰ œ
œœn Jœb . ‰ œœ
œjœ. ‰ œ
Œ œ#>Fœ> œ#>
The one they
Œ œ#>Fœ> œ#>
The one they
Œ œ#>Fœ> œ#>
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jœn.‰ Œ ÓJœ.‰ Œ Ó
Jœb . ‰ Œ Ó
jœ. ‰ Œ Ó
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79
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44
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44
S
A
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Org.
25
œ> œ> œ#> œ>scorned knew on ly
œ> œ> œ#> œ>scorned knew on ly
œ> œ> œ#> œ>scorned knew on ly
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25
∑
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˙#> Óthis:
˙#> Óthis:
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Œ œ# œ œ# œ œ œn œ œ œ3 3 3Œ œ
F Jœb . ‰ œ
Œ œ Jœ. ‰ œ
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∑
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∑
jœ. ‰ Œ ÓJœb .‰ Œ Ó
Jœ. ‰ Œ Ó
jœ. ‰ Œ Ó
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80
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23
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45
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Org.Preduce
F
F
F
F
28 wblind,
Œ œ ˙b“was blind,
œ œ ˙once was blind,
Œ œ ˙“was blind,
28
Ó œ œ œ œ# œ3
Ó ˙
Œ œ œ# œ ˙b3
Ó Œœ
p legatoquiet foundation(s) 8'
rit. al
rit. al
P
P
P
P
Œ œ œ œbut now I
Œ œ œ œbut now I
Œ œ œ œbut now I
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jœb.‰ œ œ œJœ. ‰ Œ ˙
Jœœ. ‰ Œ ˙b
jœ.‰ Œ Ó
q = ca. 88 (simple)
q = ca. 88 (simple)
flutes 16', 8'
p
p
p
p
w Ósee.
w Ósee.
w Ósee.
w Ósee.
œ œ# œ œ ˙ œ œ# œ œ˙ œ# œ œ œ ˙#w ˙
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81
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31
∑
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31 œ œ# œ œ .œ# jœ œ œ˙ œ œ œ# œ˙ œ œ œ#
˙ .˙
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œ œ# œ œ ˙ œ œ#˙ œ# œ œ œ œ#˙ .˙
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35
œ œ .œ# jœone called Je sus
∑
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35
.œ jœ# œœ# Œ œ
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39
œ œ œ# œsent me on my
∑
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39
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84
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S
A
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Org. PSolo (reed 8')
43
∑
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∑
43 œ œ œ œ .œ jœ œ œ˙ œ œ œ œ œ˙ ˙
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85
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23
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S
A
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Org.
48
Jœ ‰F
I
.œ# ‰ œF
washed I
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washed I
Œ Œ œFI
48
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.œ ‰ œ
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œœœFœœ œœ
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œ œ# œthings my
œ œ œ œtime and space the
œ œ œ œtime and space the
œ œ œ œtime and space the
œœœ œ œœœ# œœ œ œ œ# œ
œ ˙
˙ œmind had
œ œ œ œ œthings my mind had
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œ œ œ# œœ œ ˙œ œœ œ
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86
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23
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23
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23
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45
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A
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B
Org.
52
w Ódrawn.”
w Ódrawn.”
w Ódrawn.”
w Ódrawn.”
52
œ œ œ œ ˙ œ œ œ œ˙ œ œ œ œ ˙#w ˙
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87
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44
44
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S
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Org.
poco rit.
poco rit.
Solo (reed 8')
56
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56
..˙
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q = ca. 112 (militant)
q = ca. 112 (militant)
p principal chorusto mixture + reed 8'(box closed)
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∑principals 16', 8'(manuals coupled)
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88
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61
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61
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89
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A
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Org.
64
∑
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64
œ# œ œ œb œb œ œ. œ. œ.3
3
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90
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A
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Org.
66
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66 œ œb œ œ œ jœ ‰ œ. œ.3
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91
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Org.
69
Œ œ#>Fœ> œ>œ> œ>
To those en cased in
Œ œ#>Fœ> œ>œ> œ>
To those en cased in
Œ œ#>Fœ> œ>œ> œ>
To those en cased in
Œ œ#>F œ> œ> œ> œ>To those en cased in
69 jœœ.P‰ Œ Ó Œ
Jœœ. ‰ Œ Ó Œ
jœ. ‰ Œ Ó Œ
˙#> Ófear
˙#> Ófear
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Œ œ#Fœ œ œ œ œ œ œ œ
3 3 3Œ œ# Jœ. ‰ œ
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Œ œ#> œ> œ>œ> œ>
this sim ple speech was
Œ œ#> œ> œ>œ> œ>
this sim ple speech was
Œ œ#> œ> œ>œ> œ>
this sim ple speech was
Œ œ#> œ> œ> œ> œ>
this sim ple speech was
jœ.‰ Œ Œ ÓJœ.‰ Œ Œ Ó
Jœœ. ‰ Œ Œ Ó
jœ. ‰ Œ Œ Ó
- -
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92
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S
A
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B
Org.
72
œ> œ>œ> œ>
war rant for a
œ> œ>œ> œ>
war rant for a
œ> œ>œ> œ>
war rant for a
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72
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œ> œ>>
big ger wall.
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big ger wall.
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big ger wall.
œ> œ> >big ger wall.
Œ Œ œ# œ œ3Œ Œ œ#
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jœb.
f‰ Œ ÓJœb .‰ Œ Ó
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jœ. ‰ Œ Ó
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93
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42
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42
42
42
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A
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Org.
76
œ> œ> >thun dered on:
œb> œ> >thun dered on:
œ> œ> >thun dered on:
œb> œ> >thun dered on:
76
Œ Œ œ œ œ3
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jœ#.
ƒ‰ ŒJœœn .‰ Œ
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jœ.‰ Œ
œb> Jœb> ‰ œ>dare you, how
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dare you, how
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94
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81 .œb> Jœ> œ> œ>dare you try to
œb> œ œb> œ> œ>dare you try to
.œb> Jœ> œ> œ>dare you try toœb> œ œb> œ> œ>
dare you try to
81
Œ œœœbnbjœœb . ‰
Œ œœ# Jœœn . ‰
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œ> œ>>
lec ture us?”
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3
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95
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85
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85
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96
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Org.
89
˙#>Ó
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89
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jœ. ‰ Œ
œ> œ#> œ> œ> œ> œ>for tress build ers of all
œ> œ#> œ> œ> œ> œ>for tress build ers of all
œ> œ#> œ> œ> œ> œ>for tress build ers of all
œ> œ#> œ> œ> œ> œ>for tress build ers of all
∑
∑
∑
- -
- -
- -
- -
97
&
&
V
?
&
?
?
44
44
44
44
44
44
44
42
42
42
42
42
42
42
23
23
23
23
23
23
23
43
43
43
43
43
43
43
44
44
44
44
44
44
44
S
A
T
B
Org.
92
˙#> Ófaiths
˙#> Ófaiths
˙#> Ófaiths
˙#> Ófaiths
92
Œ œ# œ œ# œ œ œ œ œ œ3 3 3Œœ# Jœ. ‰ œ
Œ œ# Jœ. ‰ œ
Œ œ jœ. ‰ œ
Œ œf
re
∑
Œ œf
re
∑
jœb.
f‰ ŒJœœn.‰ Œ
Jœ. ‰ Œ
jœ. ‰ Œ
œ ˙b œ œ œtreat in to their
Œ œfœ œ œ œ
re treat in to their
œ ˙b œ œ œtreat in to their
Œ œf œ œ œ œre treat in to their
∑
∑
∑
œ>Pœ> >
cer tain ty.
œ>Pœ> >
cer tain ty.
œ>Pœ> >
cer tain ty.
œ>Pœ> >
cer tain ty.
Œ Œ œPœœ
3Œ Œ œ
Œ Œ œ
Œ Œ œ
- - - -
- - - -
- - - -
- - - -
98
&
&
V
?
&
?
?
44
44
44
44
44
44
44
23
23
23
23
23
23
23
S
A
T
B
Org.
96
∑
∑
∑
∑
96
œb œ œ jœn. ‰ œ œ œ jœn
. ‰3 3
œœnb Jœ.‰ œœb Jœ.
‰
œ Jœ. ‰ œ Jœ. ‰
œjœ. ‰ œ
jœ. ‰
reduce
rit.
rit.
∑
∑
∑
∑
œ œ œ œ ˙3
Œœ œ œ œ# œ œb
3
∑
legato
al
al
∑
∑
∑
∑
œ œ œ œ˙ ˙w ˙
∑
99
&
&
V
?
&
?
?
23
23
23
23
23
23
23
45
45
45
45
45
45
45
43
43
43
43
43
43
43
S
A
T
B
Org.
q = ca. 88 (simple)
q = ca. 88 (simple)
quiet foundation(s) 8'
flutes 16', 8'
99
∑
∑
∑
∑
99
œpœ œ œ ˙ œ œ œ œ˙ œ œ œ œ ˙w ˙
.w
∑
∑
∑
∑
œ œ œ œ .œ jœ œ œ˙ œ œb œ œ˙ œ œb œ
˙ .˙
∑
∑
∑
∑
œ œ œ œ ˙ œ œ˙ œ œ œ œ œ˙ .˙
˙ .˙
∑
∑
∑
∑
œ œ œ œœ ˙bœ ˙
œ ˙b
100
&
&
V
?
&
?
?
S
A
T
B
Org.
Solo103
Œ Œ œp
But
∑
∑
∑
103
œ œ ˙œ ˙œ ˙
œ ˙
.œ jœ œ œGod, who nev er
∑
∑
∑
œ Œ œœ œb œ œ
œ Œ œ
œ Œ Œ
.œ ‰ œsleeps, who
∑
∑
∑
œ œ œ œ˙ œb
.œ jœb œ
∑
œ œ .œ jœknows the hairs up
∑
∑
∑
.œ jœ œœ Œ œœ Œ œ
∑
œ œ Jœ ‰ œP
on our heads, who
∑
∑
∑
œ œ ˙.œ Jœ œ
œ .œ jœ
∑
- -
101
&
&
V
?
&
?
?
44
44
44
44
44
44
44
S
A
T
B
Org.
108 .œb Jœ œ œbsens es all our
∑
∑
∑
108
œb œ ˙b.œb Jœb œ
˙ œb
∑
œ œb œpœ
hope and pain, is
∑
∑
∑
œ œ œb œ.˙b.œb Jœ œ œ
∑
(Tutti)
.œb Jœ œb œbdig ging in the
∑
Œ ˙bp
is
∑
˙b œœ œ ˙b
œb œb œb
∑
(Tutti)
(Tutti)
.˙bmud,
Œ œbpœb
in the
.œb Jœ œb œbdig ging in the
Œ œbp œbin the
˙b œbœ œ œb œb
˙b œb
∑
- -
-
102
&
&
V
?
&
?
?
44
44
44
44
44
44
44
43
43
43
43
43
43
43
S
A
T
B
Org.
Tutti112
˙ œ#( ) Œ œ#F
pre
˙b œ#( ) Œ œ#F
mud, pre
˙b œ#( ) Œ œ#F
mud, pre
˙b œ#( ) Œ œ#F
mud, pre
112
œb œ œb œb ˙˙b œb œb˙bb œ œb œb
Œ .˙b
add
œ œ œ# œpar ing to a
œ œ œ# œpar ing to a
œ œ œ# œpar ing to a
œ œ œ# œpar ing to a
˙F
œ#.œ Jœ# œœ# œ ˙œ
˙ œ œ
œ œ# .œ Jœ#noint the eyes of
œ# œ œ# œ# œnoint the eyes of
œ# œ œ œnoint the eyes of
œ# œ œ# œ#noint the eyes of
œ .œ# ‰œ# œ œ# Jœ#‰
œ .œ# ‰
˙# jœ ‰
poco
poco
poco
poco
˙fœ
all who
œ#fœ œ
all who
œfœ# œ#
all who
˙fœ#
all who
∑
∑
∑
- - -
- - -
- - -
- - -
103
&
&
V
?
&
?
?
23
23
23
23
23
23
23
45
45
45
45
45
45
45
43
43
43
43
43
43
43
S
A
T
B
Org.
116
œ# œ# œlong for
œ# ˙long for
œ ˙long for
œ ˙long for
116
∑
∑
∑
wF Ó
sight.
w#F Ó
sight.
wF Ósight.
wF Ó
sight.
œFœ# œ œ ˙ œ œ# œ œ˙ œ# œ œ œ ˙#w ˙
.wSolo (reed 8')
reduce
∑
∑
∑
∑
œ œ# œ œ .œ# jœ œPœ˙ œ œ œ# œ
˙ œ œ œ
˙ .˙
∑
∑
∑
∑
œ œ# œ œ œ˙ œ#
˙ œ# œ
.˙
104
&
&
V
?
&
?
?
S
A
T
B
Org.
120
∑
∑
∑
∑
120
˙ œ#œ œ œ# œ œ˙# œ
œ ˙
rit.
rit.
∑
∑
∑
∑
œpœ# œ œœ# ˙.˙
œ ˙
∑
∑
∑
∑
œ œ# œ œ œœ# œ œ œ.˙
œ œ œ
∑
∑
∑
∑
..˙#π.˙
.˙
105
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
89
89
89
89
89
89
89
89
Soprano
Alto
Tenor
Bass
Violin I
Violin II
Viola
Violoncello
q k = ca. 50 (mournful)
q k = ca. 50 (mournful)
molto sost.
molto sost.
molto sost.
molto sost.
∑
∑
∑
∑
.œp
.œ .œ
.œp.œ .œ
.œp .œ .œ
.œp
.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 œn
.œ .œ .œ
.œ .œ .œ
∑
∑
∑
∑
œP
œ œ .œ œ œ œn
.œP .œ .œ p
.œP.œ .œ
.œP .œ .œ
∑
∑
∑
∑
.œpŒ . Œ .
œP
œ œ .œ œ œ œn
œp‰ Œ . Œ .
.œp
.œ .œ
IV.
Music: Stephan Casurella
*Text © 2008 by John D. Thornburg. Used by permission.
Text: John D. Thornburg*
The Raising of Lazarus(for SATB and string quartet)
John 11:1–45(RCL Year A, 5 Lent)
Duration = ca. 5' 15"
106
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
pizz.
6
∑
∑
∑
∑
6
Œ . œ œ œŒ .
.p
.Ϸ
.œ .œ .œ
Œ . Œ . Œ jœp
“If
∑
Œ . Œ . Œ jœp
“If
∑
Œ . œ œ œŒ .
.˙ œ œ œn
∑
.œ .œ .œ
œ- jœ œ ‰ Œ jœon ly, if
∑
œ- jœ œ ‰ Œ jœon ly, if
∑
Œ . œ œ œŒ .
.˙ .œ∑
.œ .œ .œ
œ- jœ œ ‰ Œ jœon ly, if
∑
œ- jœ œ ‰ Œ jœon ly, if
∑
Œ . œ œ œŒ .
.˙ œ œ œn
∑
.œ .œ .œ
- -
- -
107
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
10
œ- jœ .œ œ œ œon ly you had been
∑
œ- jœ œ jœ œ jœon ly you had been
∑
10
Œ . œ œ œŒ .
.˙ .œ∑
.œ .œ .œ
.˙P p
Œ .here...”
∑
.˙P p
Œ .here...”
∑
Œ . œ œ œŒ .
.˙ .œ
œp
jœ .œ œ œ œ
.œ .œ .œ
∑
∑
∑
∑
Œ . œ œ œŒ .
.˙ œ œ œnœ
Pœ œ œ Jœ œ ‰
.œ .œ .œ
pizz.
Œ . Œ . Œ jœp
O
Œ . Œ . Œ jœpO
Œ . Œ . Œ jœp
O
Œ . Œ . Œ Jœp
O
Œ . œ œ œŒ .
.˙ œ œ œn
œpœ œ Œ . Œ .
.œ .œ .œ
-
-
108
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
14
.œ- .œn Œ jœMar tha, O
.œ- .œ Œ jœMar tha, O
.œ- .œn Œ jœMar tha, O
.œ- .œ Œ JœMar tha, O
14
Œ . œ œ œŒ .
.˙ œ œ œn
œ œ œ Œ . Œ .
.œ .œ .œ
œ- œ œ .œn Œ jœMar tha, O
œ- œn œ .œ Œ jœMar tha, O
œ- œ œ .œn Œ jœMar tha, O
œ- œn œ .œ Œ JœMar tha, O
Œ . œ œ œŒ .
.˙ œ œ œn
œ œ œ Œ . Œ .
.œ .œ .œ
œ- Jœn œ Jœ œ œ œMar tha, how you speak for
œ- jœ œ jœ œjœ
Mar tha, how you speak for
œ- Jœn œ Jœ œ œ œMar tha, how you speak for
œ- Jœ œ Jœ œ JœMar tha, how you speak for
Œ . œ œ œŒ .
.˙ œ œ œn
œ œ œ Œ . Œ .
.œ .œ .œ
- - -
- - -
- - -
- - -
109
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
arco
17
.˙nF P Œ .us!
.˙#F P Œ .us!
.˙nFP
Π.us!
.˙#F PŒ .
us!
17
Œ . œn œ œn Œ .
.˙n .œ
œ# jœn .œ# œ œ# œ
.œ .œ .œ
∑
∑
∑
∑
Œ . œnP œ œn Œ .
.œn œ œ œ# œn œ2
œ# œn œ# .œ œ œ#2
.œ .œ .œ
∑
∑
∑
∑
Œ . œnF œ œn Œ .
œF
œn œ# .œ# œ œ# œn
.œ#F
œ œ œn ‰2
.œF
.œ .œ
110
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
pizz. arco
20
∑
∑
∑
∑
20
Œ . œn œ œn Œ .
..œœ .œ#œ œ# œn
œ œ œ Œ . œn - ‰
.œ .œ .œ
pizz. arco
Œ . Œ . Œ jœp
“If
∑
Œ . Œ . Œ jœp
“If
∑
Œ . œnPœ œn Œ .
..œœ .œ# œ œ œn
œ œ œ Œ . œ- ‰
.œ .œ .œ
pizz.
œ- jœ œ ‰ Œ jœon ly, if
∑
œ- jœ œ ‰ Œ jœon ly, if
∑
Œ . œp œ œ
Π.
.p .œ
œpœ œ Œ . Œ .
.œp
.œ .œ
œ- jœ œ ‰ Œ jœon ly if
∑
œ- jœ œ ‰ Œ jœon ly if
∑
Œ . œ œ œŒ .
.˙ .œ
œ œ œ Œ . Œ .
.œ .œ .œ
- -
- -
111
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
arco
arco
24
.- .Ϲ
on ly...”
∑
.- .Ϲ
on ly...”
∑
24
.œ .œ .œ
.œ .œ .œ
.œ .œ .œ
.œ .œ .œ
.œ Œ . Œ .
∑
.œ Œ . Œ .
∑
.œ œ œ œ .œ
.œ .œ .œ
.œ .œ .œ
.œ .œ .œ
∑
∑
∑
∑
.œ œ œ œ .œ
œ œ œn .œ .œb
.œ .œ .œ
.œ .œ .œ
∑
∑
∑
∑
œP
œ œn .˙
œP‰ Œ . .œ
œP‰ Œ . Œ .
.œP
.œ .œ
∑
∑
∑
∑
œp‰ Œ . Œ .
œ œ œn .˙∑
œ ‰ œ ‰ œ ‰
-
-
112
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
86
86
86
86
86
86
86
86
89
89
89
89
89
89
89
89
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
29
Œ . Œ . .œp
When
Œ . Œ . .œp
When
∑
∑
29
∑
.π
.Ϸ
.Ϲ
Π. Π.
œ œ œ œ2
2
sor row is a
œ œ .œ2
sor row,
Œ . .œp
When
∑
∑
∑
∑
∑
œP
œ œn .œp .œ
thun der storm that
.œP
.œ œp
œ œsor row
œ jœ œP œ œn .œp
sor row, sor row
∑
∑
∑
∑
∑
- - -
- - - - - -
- -
113
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
32 œF œ œ œ œ œ œ2 2
floods the path we hoped to
.œF .œ œ Jœ
floods the path we
.œ œ œ œ œFJœ
floods the path we
Œ . .œF œ Jœwe hoped to
32
∑
∑
∑
∑
.PΠ.
walk,
.˙P
Π.walk,
.P Π.walk,
.PΠ.
walk,
Œ . œP
œ œ œ œ2
Œ . Œ . .œP
Œ . .œP
.œ
œP
œ œ .˙
Œ . Œ . .œp
how
Œ . Œ . .œp
how
Œ . Œ . .œp
how
∑
.œF
œ œ œ œp
‰
œF
œ œn .œ œp
‰
œF Jœ .œ œ
p‰
.˙F
œ œ œ
114
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
812
812
812
812
812
812
812
812
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
35 œP œ œ œ œ œ œ2 2
of ten we ex press our
.œP .œ œ jœof ten we ex
.œP œ ‰ .œof ten, our
Œ . Œ . .œPour
35
∑
∑
∑
.œpŒ . Œ .
poco
.œ œ ‰ .œp
pain and
œ œ œ œP ‰ .œ
ppress our pain and
.œ œ ‰ .œp
pain and
.œ œ ‰ Œ .pain
Œ . Œ . œp
œ œ
Œ . Œ . .œp
Œ . Œ . .œp
Œ . œp
œ œ .œ
œP œ œ œ œ œ œ2 2
sig nal the em brace we
.œP .œ œ jœsig nal the em
.œP œ ‰ .œsig nal, em
Œ . Œ . .œPwe
œP
œ œ œ œ .œp2
.œP
œp
‰ Œ .
œP
œ œp
‰ Œ .2
.œP
Œ . .œP
- - - -
- - - -
- - -
115
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
812
812
812
812
812
812
812
812
89
89
89
89
89
89
89
89
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
38 .˙ œ ‰ .œneed, by
œ œ œ .œ œ ‰ .œbrace we need, by
.œ .œ œ ‰ .œbrace we need, by
.˙ œ ‰ .œneed, by
38
Œ . œP
œ œ .œ œ œ œ
Ó . .œP.œ
Ó . Œ . .œP
.œ œ œ œ œ œ .œ2
.œ-F
.œ ‰ jœ2
cry ing, by
.œ-F
.œb ‰ jœ2
cry ing, by
.œ-F .œ ‰ Jœ2
cry ing, by
.œb -F .œ ‰ Jœ2
cry ing, by
.œ-F
.œb œ œ œ
.œ-F.œ .œ
.œ-F
.œ œ jœ
.œbF
œ œ œb .œ
.œ- .œ œ œb œcry ing our com
.œ- .œb œ jœcry ing our com
.œ- œ Jœ œ jœcry ing our com
.œb - .œ œ Jœcry ing our com
œ- Jœ .œb .œ
œ- œ œ .œ œ jœ
.œ- .œ œ jœ
.œb œ œ œb .œ
- - -
- - -
- - -
- - -
116
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
41 .f Π.plaint.
.˙bf Œ .
plaint.
.f Π.plaint.
.˙f Œ .
plaint.
41
.œf
‰ œF
œb œ œ œ
.œb fŒ . Œ .
.œf
Œ . œF
œ2
.œf .>
∑
∑
∑
∑
œb œ œ œ œ œ œ2 2
.œF
.œ œ œ2
.œ œ œ .œb2
.˙ œ œ œ
∑
∑
∑
∑
œƒ
œ œ .œ .œ
.˙ƒ
œ œ œn
..œœƒ
œ œ œ .œ
.œƒ
.œ .œ
Œ . Œ . Œ Jœƒ
“If
Œ . Œ . Œ jœƒ
“If
Œ . Œ . Œ Jœƒ
“If
Œ . Œ . Œ Jœƒ
“If
œ œ œ .œ .œ
.˙ œ œ œn
..œœ œ œ œ .œ
.œ .œ .œ
117
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
86
86
86
86
86
86
86
86
89
89
89
89
89
89
89
89
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
45 œ- Jœ œ ‰ Œ Jœon ly, if
œ- jœ œ ‰ Œ jœon ly, if
œ- Jœ œ ‰ Œ Jœon ly, if
œ- Jœ œ ‰ Œ Jœon ly, if
45 œ œ œ .œ .œ
.˙ œ œ œn
..œœ œ œ œ .œ
.œ .œ .œ
œ- Jœ .œ œ œ œon ly you had been
œ- jœ œ jœ œ jœon ly you had been
œ- Jœ .œ œ œ œon ly you had been
œ- Jœœ Jœ œ Jœ
on ly you had been
œ œ œ .œ œ Jœ
.˙ œ Jœ
..œœ œ œ œ œ œ œ
.œ .œ .œ
œ Jœ- œ œ œhere, had been
œ Jœ- œ œ œ
here, had been
œ Jœ- œ œ œhere, had been
œ Jœ- œ œ œhere, had been
œ œ œ œ Jœ
.œ œ Jœ
..œœ œ œ œ
.œ .œ
- -
- -
- -
- -
118
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
89
89
89
89
89
89
89
89
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
48 .˙ Œ .here...”
.˙ Œ .here...”
.˙ Œ .here...”
.˙ Œ .here...”
48 œ œ œ .œ Œ .
.˙ œ œ œn
..œœ œ œ œ Œ JœP
.œ .œ œ ‰
pizz.
pizz.
∑
∑
∑
∑
Œ . œp œ œ
Π.
.œpŒ . Œ .
œ- Jœ œ ‰ Œ Jœ
.œp
.œ .œ
∑
∑
∑
∑
Œ . œ œ œŒ .
∑
œ- Jœ œ ‰ Œ Jœ
.œ .œ .œ
∑
∑
∑
∑
Œ . œπ œ œ
Π.
∑
.- .Ϲ
.œ .œ .œ
119
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
812
812
812
812
812
812
812
812
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
52
Œ . Œ . .œ#p
Col
Œ . Œ . œ#p
œ2
Col
∑
∑
52
∑
∑
.˙ .œ
.πŒ .
œ# œ œ œ œ jœ2 2
lect ing eve ry ounce of
.œ œn œ# œ jœ2
lect ing eve ry
Œ . Œ . .œnp
Col
.œnp .œ œ# œ œCol lect ing
∑
∑
œ ‰ Œ . Œ .
∑
œnP
œ œ# .œ#p
jœ ‰ .œ2
hope she had, she
.œ .œ# œ#P
œ œp
œ2 2
ounce of hope she
.œn œ œ œP œ# œp œ2 2 2
lect ing hope she
.œ#P .˙#p .œ
hope she
∑
∑
∑
∑
- - -
- -
- - -
- - - -
120
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
89
89
89
89
89
89
89
89
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
arco
arco
55
œ œ# œn .œFJœ ‰ .œf
2
spoke a gain, “I
œ jœ# .œF jœ ‰ .œ
f2
spoke a gain, “I
œn Jœ .œ#F Jœ ‰ .œf2
spoke a gain, “I
œ Jœ.œF
Jœ ‰ .œf2
spoke a gain, “I
55
Ó . œF
œn œ œ œ2
Ó . Œ . .œnF
Ó . .œF
œ œ#2
Œ . œF
œ œ .œn œ œ œ
œ œ# œ œ œ œ œ œ œ2 2 2
know that God will give you what you
œn œ œ œ œ œ œ œ œ2
2
2
know that God will give you what you
œn œ œ œ# œ œ œ œ2 2 2 2
know that God will give you what you
œ œ# œ œ œ œ œ œ2 2 2 2
know that God will give you what you
.œf
Œ . Ó .
.œf
Œ . Ó .
..œœf
Œ . Ó .
.œf
Œ . Ó .
-
-
-
-
121
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
89
89
89
89
89
89
89
89
812
812
812
812
812
812
812
812
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
57 .˙# Œ .ask.”
.˙n Œ .ask.”
.˙# Œ .ask.”
.˙# Œ .ask.”
57
Œ . œ#F
œn œ# œ# œ2
Œ . .œ#F
œ# œ œn
Œ . Œ . .œnF
œnF
œ# œn .œ# .œ
∑
∑
∑
∑
œf
œ# œ .œ# œ œ œ
.œf
.œn .œ#
œ#f
œ# .œ .œ2
.œ#f
œn œ œn .œ
∑
∑
∑
∑
œ œ# œ .œ# œ œ œ#
œn œ œ œ œ# .œ#2
œ# œ .œ# .œ2
.œ œnJœ# .œn
122
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
812
812
812
812
812
812
812
812
89
89
89
89
89
89
89
89
86
86
86
86
86
86
86
86
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
60
∑
∑
∑
∑
60
œ# œ œ .œ# œ œ œ# œ# œn œ
œ jœ# .œ# .œn .œ
.œn œ œ œ# .œ# œ jœ
.˙# .˙n
Œ . Œ . .œnp
And
Œ . Œ . .œp
And
Œ . Œ . .œpAnd
∑
.˙p
jœ ‰ ‰
..˙p
jœœ‰ ‰
.˙p
jœ ‰ ‰
..˙np
jœœ ‰ ‰
.œn - .œ ‰ Jœ2
Christ, not
.œ- .œ# ‰ jœ2
Christ, not
.˙# ‰ Jœ2
Christ, not
∑
∑
∑
∑
∑
123
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
86
86
86
86
86
86
86
86
812
812
812
812
812
812
812
812
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
63
œn œ œ œ œ#2
deaf to her com
.œ œ# jœdeaf to
.œ# œn jœdeaf to
∑
63
∑
∑
∑
∑
.˙nP p
Œ . .œP
plaint, and
œP
œ œ# .œnp Œ . .œ
P
her com plaint, and
œP jœ .œ
p Œ . .œPher com plaint, and
Ó . Œ . .œP
and
Ó . œp
œn œ# œ œ2
Ó . .œp
œn œ2
Ó . .œp
.œ
Œ . œp
œn œ# œ œ .œ2
œn œ œ œ œ œ œ œ œ2
2
2
not im mune to sor row and to
œ œ .œ œ œ .œ2 2
not im mune to
.œ .œ .œ .œnot im mune to
.œ .œn .œ .œnot im mune to
œP
‰ Œ . Ó .
œP
œp
Œ . Ó .2
œP
‰ Œ . Ó .
œP
‰ Œ . Ó .
- - -
-
- -
- -
124
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
89
89
89
89
89
89
89
89
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
66
.˙F P
Ó .tears,
.˙F P Ó .tears,
œFœ œn .œ
PÓ .
tears,
.F P Ó .tears,
66
∑
Ó . Œ . œPœ œ
Œ . œP
œ œn .˙
Œ . .œP
œ œ œ .œ
Ó . Œ . .œF
un
Ó . Œ . .œFun
Ó . Œ . .œFun
Ó . Œ . .œF
un
œP
œ œn .œ œ œ œ œ œ2
.œ œ œ œ .œ œ œ2
.œn .œ œ œ œ œ œ2
.˙ .œ œ œ2
.œ Œ . .œlocked, un
.œ Œ . .œlocked, un
.œ Œ . .œnlocked, un
.œ# Œ . .œlocked, un
œF
œ œ œ œ œ œ œ œ
..œœF..˙n
.œ#F
.˙
.-F.œ-
- -
- -
- -
- -
125
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
69 .œ .œ œ œ# œnlocked the door of
.œ .œ œn jœlocked the door of
.œ# .œn œ Jœlocked the door of
.œ# .œ œ Jœlocked the door of
69
œ œ œ œ œ œ œ œ œ
..œœ ..œœn œ jœ
.œ# .œ œ jœn
.œ .-
Warm
Warm
.fΠ.
death.
.˙f
Π.death.
.f Π.death.
..˙f Œ .death.
.œf
.œ .œ
.œf.œ .œ
.œf .œ .œ
.œf
.œ .œ
∑
∑
∑
∑
.œ œ œn œ .œ
.œ .œ .œ
.œ .œ .œ
.œ .œ .œ
∑
∑
∑
∑
.œ œn œ œ .œ#
.œ .œ œ œ# œn
.œ .œ .œ
.œ .œ .œ
126
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
73
∑
∑
∑
∑
73
œ œ# œ .œ œ œ œn
.œn .œn .œ p
.œ .œ# .œ
.œ .œ .œ
pizz.
∑
∑
∑
∑
.p .œŒ . œ œ œ
Π.
œp‰ Œ . Œ .
.œp
.œ .œ
Œ . Œ . Œ jœp
In
∑
Œ . Œ . Œ jœ#p
In
∑
.˙ œ œ œn
Œ . œ œ œŒ .
∑
.œ .œ .œ
.œ- .œ# Œ jœChrist, in
∑
.œ- .œ Œ jœ#Christ, in
∑
.˙ .œŒ . œ œ œ
Π.
∑
.œ .œ .œ
127
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
77
œ jœ# œ œ œ œ œ2
Christ the door is o pen
∑
œ jœ œ# œn œ jœ#2
Christ the door is o pen
∑
77
.˙ .œŒ . œ œ œ
Π.
∑
.œ .œ .œ
.˙P p
Π.still.
∑
.˙#P p Œ .still.
∑
.˙n .œ
Œ . œn œ œn Œ .
œ# pjœn .œ# œ œ# œ
.œ .œ .œ
Œ . Œ . Œ jœp
He
∑
Œ . Œ . Œ jœ#p
He
∑
.˙n .œ
Œ . œn œ œn Œ .
œ#P
œn œ# œ Jœ œnp
‰
.œ .œ .œ
-
-
128
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
pizz.
80
œ jœ# œ œ œ œ2 2
is the res ur
Œ . Œ . ‰ jœF
2
the
œ jœ œ# œ œ œ#2
2
is the res ur
Œ . Œ . .œFHe
80
.˙ .œŒ . œ
P œ œŒ .
œ œ œ Œ . Œ .
.œ .œ .œ
pochiss. rit.
pochiss. rit.
.œF.œn œ œn
2
rec tion and the
œ œ# œ œ œn œ2 2 2
res ur rec tion and the
œnF
œ œ œ# œ œ2 2 2
rec tion and the
.˙ .œis the
.˙nF .œ
Œ . œnF
œ œn Œ .
œFœn œ Œ . Œ .
.œF
.œ .œ
arco
a tempo
a tempo
.˙p
.œlife.
.˙p
.œlife.
..˙p
..œœlife.
.p .œlife.
.pœ œ œn
Œ . œp œ œ
Œ Jœ
∑
.œp
.œ .œ
∑
∑
∑
∑
.˙ .œ
.œ- .œ# Jœ ‰ Jœ
Œ . œp
œ œ Œ .
.œ .œ .œ
- - -
- - -
- - -
129
&
&
V
?
&
&
B
?
b
b
b
b
b
b
b
b
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
84
∑
∑
∑
∑
84
.˙ jœ‰ jœπ
.œ- .œ# Jœ ‰ JœπŒ . œ œ œ Œ .
.œ .œ œ ‰ pizz.
∑
∑
∑
∑
.- .œ#
.- .œ#
Π. Ϲ
œ œ Œ .
.Ϲ
.œ .œ
rit.
rit.
∑
∑
∑
∑
.˙ Œ .
.˙ Œ .
Œ . œ œ œœ œ œn
.œ .œ .œ
arco
∑
∑
∑
∑
.˙∏
.œ
..˙#∏
..œœ
..˙∏
..œœ
.∏ .œ
130
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
85
85
85
85
85
85
85
85
43
43
43
43
43
43
43
43
85
85
85
85
85
85
85
85
43
43
43
43
43
43
43
43
Soprano
Alto
Tenor
Bass
Violin
Organ
q = ca. 69
q = ca. 69
biting
∑
∑
∑
∑
œœ>fJœ. œ# . œ. œ.
∑
∑
∑
∑
∑
∑
∑
œ- œœ>œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
œ-œœ>œ. œn . œ. œ.
Jœœ ‰
∑
∑
∑
Pnon legato
light foundations 8', 4'
∑
∑
Œ ‰ jœFœ œ
He was so
Œ ‰ JœF œ œ
He was so
œ œn . œ. œ.jœ. ‰ Œ
Œ Œ œœ
Œ Œ œ
∑
∑
∑
œ jœ œ œnbent on seem ing
œJœ œ œn
bent on seem ing
Œ jœœ>Fjœœ>‰
.œ œœn‰ œœ
.œ œ
∑
-
-
V.
Music: Stephan Casurella
*Text © 2008 by John D. Thornburg. Used by permission.
Text: John D. Thornburg*
The Anointing at Bethany(for SATB, violin, and organ)
John 12:1–8(RCL Year C, 5 Lent)
John 12:1–11(RCL Years A, B, and C, Monday of Holy Week)
Duration = ca. 3' 30"
131
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
85
85
85
85
85
85
85
85
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
6
∑
∑
œ ‰ jœ œ œjust, so keen to
œ ‰ Jœœ œ
just, so keen to
‰ jœœ>jœœ>‰ Œ
6
œ œœn œœ‰ Jœœ
œ œ œ
∑
poco
poco
∑
∑
œ jœ œ œ œshame, so poised to
œ Jœ œ œ œshame, so poised to
Œ jœœ>jœœ>
‰
œœjœœ œœn
œn jœ œ
∑
F
F
∑
∑
œ ‰ jœ œ œblame, that when the
œ ‰ Jœœ œ
blame, that when the
‰ jœœ>jœœ>‰ Œ
œ œœn œœ‰ Jœœ
œ œ œ
∑
132
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
85
85
85
85
85
85
85
85
42
42
42
42
42
42
42
42
85
85
85
85
85
85
85
85
S
A
T
B
Vln.
Org.
9
∑
∑
œ œ œ œ œncen sure crossed his
œ œ œ œ œncen sure crossed his
‰ jœœ>jœœ>‰ Œ
9
œœ œ œœnœ œ œ
œn œ œ
∑
∑
∑
œf ‰ jœ
lips, the
œf ‰ Jœlips, the
‰ jœœ>jœœ>‰
œ œœn‰ Jœœ
œ œ
∑
∑
∑
œn œ œ œ œ œLord was quick to
œn œ œ œ œ œLord was quick to
Œ jœœ>jœœ>‰
.œ œœœ‰ œœb
.œb œ
∑
∑
∑
.œF ‰
speak.
.œF ‰speak.
‰ jœœ>œœ>œ œ œ œ#
œ œœn‰ Jœœ
œ œ
∑
-
-
133
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
85
85
85
85
85
85
85
85
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
S
A
T
B
Vln.
Org.
13
∑
∑
∑
∑
œ-fœœ>œ. œ. œ. œ.
13
.œ œœn‰ œœ
.œ œ
∑foundations 16', 8'
∑
∑
∑
∑
œ- œœ>œ. œPœ œ œ œ# œ œ3
.œ œœ#‰ œœ
.œœ
Œ . œ
‰ Jœf œ œ
“Leave her a
‰ Jœf œ œ
“Leave her a
‰ Jœf œ œ
“Leave her a
‰ Jœf œ œ
“Leave her a
Jœ.
f‰ Œ
jœœ.F‰ Œ
Jœ. ‰ Œ
jœ. ‰ Œ
œ œ œ œlone,” the Sav ior
œ œ œ œlone,” the Sav ior
œ œ œ œlone,” the Sav ior
œ œ œ œlone,” the Sav ior
Œ Œ ‰ jœœ>f
∑
∑
∑
non legato
.œ ‰ Œsaid,
.œ ‰ Œsaid,
.œ ‰ Œsaid,
.œ ‰ Œsaid,
œœ>œ. œ. œœ>œ. œ. œ# .
Œ œFœœ
Œ œ œ
˙ œ
- -
- -
- -
- -
134
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org. legato
foundation(s) 8'or flutes 8', 4'
18
Œ ‰ JœF œ œ# œ œre fer ring to the
Ó Œ œFthe
Ó ‰ JœF œ œ#re fer ring
∑
œ- œœ>jœœ>‰ Ó
18
œ Œ Œ œœ
œ Œ œP
œ
œ Œ Ó
œ œ# .œ Jœpre cious one whose
œ œ œpre cious one
œ œ œ œ# œto the pre cious one
Œ Œ œFwhose
∑
œœ œ œœœ œ œ
œ œ œ
.˙
poco
poco
pocoœ œ œ œhair was moist with
œ œ œ œ œmoist with
œ œ œmoist with
œ œ œhair with
∑
œœ œ œ œœ œ œœ œ œ
œ œ œ
- - -
-
- - -
135
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
23
23
23
23
23
23
23
23
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
P
21
œ œ œ ‰ JœP
scent ed oil, whose
œ œn œ œ œscent ed oil,
œn œ ‰ jœoil, whose
.œn Jœ œ œscent ed oil,
∑
21
œ œ œn jœœp‰˙
œn Œ Œ
.œn Jœ Jœ ‰
poco
poco
poco
poco
œ œb ˙n œ œ œheart was pure and un a
œnP
œ œ œ œn œ œwho was pure and un a
œ œ œb œ œ œn œ œheart was pure and un a
œbP
˙ œ œ œpure and un a
∑
∑
∑
∑
tender
legatoflute 8'
˙p Œ
fraid.
˙p Œ
fraid.
˙p Œ
fraid.
˙p
Œfraid.
Œ ‰ Jœpœ# œ œ
Œ œœpœœ
Œ œ œ#
Œ ˙
- - -
- - -
- - -
- -
136
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
24
∑
∑
∑
∑
.œ Jœ œ œ œn œ
24
˙ œœn
˙ œ
Œ œ œ
∑
∑
∑
∑
.œ Jœ œ# œ œ
˙ œœ˙ œ#
jœ ‰ ˙
∑
∑
∑
∑
Jœ œ jœ œ œ œ3
˙ œœn
˙ œ
Œ œ œ
∑
∑
∑
∑
œ œ œ œ3
œœ œœn
œ œ
œ œ
più p f
più p
∑
∑
∑
∑
.œ ‰ œ œ œn œ œ œ œ3
Œ œœŒ
Œ œ Œ
Œ œ Œ
137
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
85
85
85
85
85
85
85
85
43
43
43
43
43
43
43
43
83
83
83
83
83
83
83
83
42
42
42
42
42
42
42
42
S
A
T
B
Vln.
Org.
biting
principals 8', 4', 2'
29
∑
∑
∑
∑
œ- œœ>œœ>œ. œ. œ. œ.
29
Œ jœœ.F‰ Œ
Œ Jœœ. ‰ Œ
Œ jœ.‰ Œ
∑
∑
∑
∑
œ-œœ>œ. œ. œ. œn .
‰ jœœ.‰ Œ
‰ Jœœ. ‰ Œ
‰ jœ.‰ Œ
∑
∑
∑
∑
œ-œœ>œ. œb . œ. œ.
‰ œ œ œ œjœœ.‰ Œ
Œ Jœœ. ‰ Œ
Œ jœ.‰ Œ
∑
∑
∑
∑
œ. œb˘ œ. œ.
‰ œœnb
‰ œ
‰ œ
– 2'
∑
∑
∑
∑
œ. œ œ# . œ. œ.
jœœ. œœb
Jœ. œn
jœ. œ
138
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
83
83
83
83
83
83
83
83
85
85
85
85
85
85
85
85
43
43
43
43
43
43
43
43
87
87
87
87
87
87
87
87
S
A
T
B
Vln.
Org.
P
light foundations 8', 4'non legato
34
∑
∑
‰ jœF œ œBe tray ers
‰ JœF œ œBe tray ers
jœ. ‰ Œ
34
jœ.‰ œœn
Jœ.P‰ œ
jœ. ‰ Œ
F
∑
∑
œ jœlive to
œJœ
live to
Œ jœœ>
‰ œœ.œ
.œ
∑
∑
∑
œn jœ œb œlie, and so he
œn Jœœb œ
lie, and so he
œœ>œœnb > ‰ Œ
..œœbn œœb
.œ œ
∑
∑
∑
.œ ‰ ‰ jœdid. Pa
.œ ‰ ‰ Jœdid. Pa
‰ jœœ>œœ>œœnb > Œ
‰ jœœ œn. œb œ œ œ œœ œb œ
œ œ œ
∑
- - -
- - -
139
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
87
87
87
87
87
87
87
87
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
38
∑
∑
œ jœ œ œ œn œ œthet ic to the ver y
œJœœ œ œn œ œ
thet ic to the ver y
Œ jœœ>jœœ>‰ ‰ J
œœnb >
38
‰ œœ œœ œœnb.œ
.œ œb œ
∑
∑
∑
œ ‰ jœ œ œcore, he grabbed at
œ ‰ Jœœ œ
core, he grabbed at
‰ jœœ>œœ>œœnb > Œ
‰ jœœ œn. œb œ œ œ œœ œb œ
œ œ œ
∑
∑
∑
œn œ œ œ œban y thing he
œb œ œ œ œan y thing he
‰ jœœ>jœœ>‰ ‰ J
œœnb >
œœ œ œ œ œœnœ
œb œ œ
∑
- - - -
- - - -
140
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
41
∑
∑
.œf ‰ Œcould..œf ‰ Œcould.
‰ jœœ>œœ>œœnb > ‰ jœœ>
41
‰ jœœ. œb œ œ œn œ œœ œn œb
œ œ œ
∑
∑
∑
∑
∑
œœ> œœ œ œ œ. œœ>
œ œ œ œ œ œ œ3
jœœ.‰ ‰ jœœ.
‰ jœœjœ. ‰ ‰ jœ. ‰ J
œœ
Œ Œ ‰ jœ
+ mixture
‰ Jœf œ œHis deeds dis
‰ Jœf œ œ
His deeds dis
‰ Jœf œ œ
His deeds dis
‰ Jœf œ œ
His deeds dis
Jœ.f‰ Œ
jœœ.F‰ ‰ œ
fœ œ œ
Jœœ. ‰ Œ
jœ.‰ Œ
-
-
-
-
141
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
85
85
85
85
85
85
85
85
43
43
43
43
43
43
43
43
83
83
83
83
83
83
83
83
42
42
42
42
42
42
42
42
S
A
T
B
Vln.
Org.
44 œ œ œ œtort ed all his
œ œ œ œtort ed all his
œ œ œ œtort ed all his
œ œ œ œtort ed all his
‰ œ œ œ œ Jœ.‰ Œ
44 œœ œœ Œ
œœœœ Œ
∑
Fnon legato
– mixture
.œ ‰ Œwords.
.œ ‰ Œwords.
.œ ‰ Œwords.
.œ ‰ Œwords.
‰ Jœœ> œœ> œ. œ# . œ. œ.
Œ œ œ#
Œ œ œ
˙ œ
∑
∑
∑
∑
œ-œœ> œ# . œ. œ. œ.
‰ œ œœ
‰ œ œ
.œ œ
∑
∑
∑
∑
œ# -œœ>œœ> œ. œ. œ. œ.
Œ œ œ
Œ œ œ
˙ œ
(reducing)
∑
∑
∑
∑
œ. œfl œ. œ.
jœ. œ-
Jœ. œ-
jœ. œ-
-
-
-
-
142
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
49
∑
∑
∑
∑
œ. œfl œ. œ.œœ>
49
jœ. .œ-
Jœ. .œ-
jœ. .œ-
p
legatofoundation(s) 8'
Ó Œ ‰ jœp
A
∑
∑
∑
œ-œœ. Jœœ. ‰ Ó
jœp‰ ‰ jœ œ œ œ
Jœ ‰ Œ Œœ œ
jœ ‰ Œ Ó
œ œ œ œ œ ‰ jœnoint ers live to bless, to
∑
Œ ‰ Jœp œ œ# œ œA noint ers live to
∑
∑
œ œ œ œ œ˙ œ œ#œ œ œ œ œœ
∑
œ œ œ œpoint the way to
Œ Œ œp
to
œ œ œ œ œbless, to point to
Œp
to
∑
œ œœ œœ
œœ œ œ œ œ
Œ ˙
- -
- -
143
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
53
œ œ œn œpur pose and to
œ œ œ œpur pose and to
œ œ œpur pose and
.œn Jœ œ œpur pose and to
∑
53
œ œ œœn œœœœ œ œ
.œn Jœ œ œ
˙bF Œgrace,
˙nF Œ
grace,
˙bF Œgrace,F Œgrace,
‰ jœnFœn œ œ œ
.œnP
jœ œœ˙n.˙b
˙ œ
Œ Œ ‰ JœP
and
∑
‰ JœP œn œ œ œand in her tend er
∑
˙P
Œ
˙bp
Œ
˙n Œ
˙b Œ
œn œ œ œ .œp Jœin her ten der act she
œbp œn œ œ œn œin her ten der
œ œb œnp œ œ
act she point ed
Ó .œp Jœnshe
∑
Ó Œ œÓ Œ œ œ
Ó Œ œÓ Œ œ œn
∑
- -
-
- -
- - -
144
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
57 œb œ œ œbpoint ed to what
œb œb œact to what
œ œb œto what
œb œb œ œn œpoint ed be
∑
57 œb œ œœb Œœb
œœb œb Œ
∑
œ œ œ œlay be yond the
œ œ œ œ œlay be yond the
œ œ œ œlay be yond the
œ œ œyond the
∑
Œ Œ œœ
Œ Œ œ œŒ Œ œ
∑
˙bP œclam or
˙bP
œclam or
œPœ œb
clam or
˙bP
œclam or
∑
˙bb œœ
œ œ œb˙b œ
∑
calmato
œ œn œof that
œ œ œof that
œ œ œof that
œ œ œof that
‰ jœpœ œ œn œ
œœ œœn œœœ œ œœ ˙
∑
˙p Œ
hour.
˙p Œ
hour.
˙p
Œhour.
˙p
Œhour.
.œ Jœ- œ# œ œ
˙ œœ˙ œ#
Œ ˙
- - -
- - -
- -
- -
145
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
62
∑
∑
∑
∑
.œ Jœ œ œ œn œ
62
˙ œœn
˙ œ
Œ œ œ
∑
∑
∑
∑
.œ Jœ œ# œ œ
˙ œœ˙ œ#
jœ ‰ ˙
∑
∑
∑
∑
Jœ œ jœ œ œ œ3
˙ œœn
˙ œ
Œ œ œ
agitato
∑
∑
∑
∑
œ œ œ œ œ œ3 3
œœ œœn
œ œ
œ œ
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œb œn3
3 5
œœ œœn
œ œ
œn œ
146
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
83
83
83
83
83
83
83
83
42
42
42
42
42
42
42
42
S
A
T
B
Vln.
Org.F+ 4'
67
∑
∑
∑
∑
.œf
Jœ- œn œ œ
67
˙ œœn
Jœœb ‰ œœ œœ
jœb ‰ œ œ
∑
∑
∑
∑
œ. œ œn œ œ œ œb œ œ œ
˙ œœb
Jœœb ‰ œœ œb
jœb ‰ œ œ
(adding)
∑
∑
∑
∑
œ. œb> œ œ œn
jœœ.œœb
Jœœb . œb
jœb . œ
∑
∑
∑
∑
œ. jœ œb> œ œ œn
jœœ.œœb
Jœœb . œb
jœb . œ
147
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
S
A
T
B
Vln.
Org.
+ mixture
71
∑
∑
∑
∑
œ. œ> œ œ œb œn œ œ œb œ3
71 jœœ ..œœn -
Jœ .œ-
jœ .œ-
∑
∑
∑
∑
˙
ƒJœ ‰
jœœœbb .f‰ ˙
Jœœ. ‰ ˙
jœ.‰˙
ß p
∑
∑
∑
∑
œœæjœœ.‰
jœœœ ‰ Œ
Jœœ ‰ Œ
jœ‰ Œ
hushed
hushed
poco meno mosso
poco meno mosso
poco meno mosso
∑U
ŒU œpœb œn
And when he
ŒU œp œ œAnd when he
∑U
∑U
∑U
∑U
∑U
148
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
23
23
23
23
23
23
23
23
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
S
A
T
B
Vln.
Org.
hushed
hushed
75
Œ œp œ œthe Christ of
˙ œ œndied,
œ ˙b œdied,
Œ œnp œb œthe Christ of
∑
75
∑
∑
∑
8' only
.˙bP p
ŒGod,
.˙bP p ŒGod,
.˙P p
ŒGod,
.˙P p ŒGod,
∑
Ó ˙bb pÓ ˙
Ó˙
ΠϹ
his
∑
∑
∑
∑
œœπŒ
œœ Œ
œŒ
poco rit.
poco rit.
poco rit.
+ 32'
+ celestelegato
.˙ œ œ œdeath was for them
Œ .˙bπ
˙nfor them
Œ .˙π
˙for them
Œ .˙bπ
˙for them
∑
Œ .˙b ˙n
Œ ..˙b ˙
Œ .˙b ˙
più calmato
a tempo
a tempo
a tempo
˙both.
˙both.
˙both.
˙both.
Œ ‰ œpœ œ œ#
˙˙
˙
149
&
&
V
?
&
&
?
?
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
85
85
85
85
85
85
85
85
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
S
A
T
B
Vln.
Org.
80
˙ Œ
˙ Œ
˙ Œ
˙ Œ
Jœ. œœ-Jœ. œ# . œ. œ.
80
˙ œœ˙ œ#
.˙
∑
∑
∑
∑
œ- œœ.œ. œ. œ. œ.
..œœ œœn
.œ œ
.œ œ
∑
∑
∑
∑
œ- œœ.œ. œn . œ. œ.
˙ œœ˙ œ
.˙
∑
∑
∑
∑
œ- ‰ jœœ.jœœ.‰
.˙
.˙
.˙
rit.
rit.
rit.
∑
∑
∑
∑
Œ œœ. œœ.Ó
ww
˙ jœ ‰ œ
sul G, D
π ∏
∑
∑
∑
∑
wwo
ww
w
150
&
&
V
?
&
&
B
?
&
?
?
####
####
####
####
####
####
####
####
####
####
####
22
22
22
22
22
22
22
22
22
22
22
Soprano
Alto
Tenor
Bass
Violin I
Violin II
Viola
Violoncello
Organ
h = ca. 66 (playful)
h = ca. 66 (playful)
h = ca. 66 (playful)
∑
∑
∑
∑
œƒ œœ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œƒ œœ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œƒœ œjœ. ‰ œ œ œ
jœ. ‰3 3
œƒœ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
∑
∑
∑
∑
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
∑
∑
∑
principals 8', 4', 2', mixture
∑
∑
∑
∑
œf œœ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œf œœ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œfœ œjœ. ‰ œ œ œ
jœ. ‰3 3
œfœ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œfœ œ jœ# . ‰ œ œ œ œ3 3
∑
∑
∑
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ œn œ œ œ œ œ œn3 3 3
∑
∑
VI.
Music: Stephan Casurella
*Text © 2008 by John D. Thornburg. Used by permission.
Text: John D. Thornburg*
The Miraculous Catch of Fish(for SATB, string quartet, and organ)
John 21:1–19(RCL Year C, 3 Easter)
151
Duration = ca. 4' 00"
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Vln. I
Vln. II
Vla.
Vlc.
Org.
principals 16', 8', 4'
5
∑
∑
∑
∑
5
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
5 œ œ œn œn œn œ œ œ œ œ œ œ3 3 3 3
∑
Jœ ‰ Jœ ‰ jœ ‰ jœ ‰
∑
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ.‰ œ œ œ Jœ
.‰
3 3
œ# ‰ œ œ ‰ œ œ# ‰ œ œ ‰ œ3 3
3
3
∑
jœ ‰ Œ Ó
∑
∑
∑
∑
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
.˙ Œ
œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3
jœ ‰ Jœ ‰ jœ ‰ jœ ‰
152
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Vln. I
Vln. II
Vla.
Vlc.
Org.
8
∑
∑
∑
∑
8
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
8
œ œ œ jœ. ‰ œ œ œ œ œ œn3 3
3
.˙ Œ
jœn ‰ Œ Ó
∑
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
Jœ ‰ Jœn ‰ jœ ‰ jœ ‰
∑
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ jœ. ‰ œ œ œ jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ# . ‰ œ œ œ œ
3 3
∑
jœ ‰ Jœ ‰ Ó
153
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
11
∑
∑
∑
∑
11
œn œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œn œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œn œ œ jœ. ‰ œ œ œjœ. ‰
3 3
œn œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
11
œ œ œ œn ‰ œ œn ‰ œ œ ‰ œ3
3
3
3
Ó Œ Jœ ‰
Jœ ‰ Jœn ‰ Jœ ‰ jœ ‰
Ó ˙F
He
Ó ˙F
He
Ó ˙F
He
ÓF
He
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
.˙ Œ
œ ‰ œ œn ‰ œ œn ‰ œ œ ‰ œ3 3 3 3
jœ ‰ Œ Ó
pizz.
pizz.
pizz.
pizz.
.˙f
œstood be
.˙f
œstood be
.f œstood be
.f œstood be
œ œ œ Jœ. ‰ œ> Œ3
œ œ œ Jœ. ‰ œ> Œ3
œ œ œjœ. ‰ œ> Œ3
œ œ œ Jœ. ‰ œ> Œ
3
∑
Jœ ‰ Œ Ó
∑
˙ œside the
˙ œnside the
˙ œside the
˙n œside the
∑
∑
∑
∑
∑
∑
∑
-
-
-
-
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22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
arco
arco
arco
arco
15
wsea.
wsea.
wsea.
wsea.
15
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
15
∑
∑
∑
∑
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ# œ Jœ. ‰œ œ œ Jœ. ‰
3 3
Ó Œ œ œn œn3
∑
∑
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ# œ œ œ œ œn œ œ œ œ œ3 3 3 3
Jœ.‰ Œ
œ ‰ œ œ ‰ œ3 3
Jœ ‰ jœ ‰ jœ ‰ jœ ‰
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B
Vln. I
Vln. II
Vla.
Vlc.
Org.
18
∑
∑
∑
∑
18
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œ œn œ Jœn. ‰ œ œ œ
jœ. ‰3 3
œ œn œ Jœn.‰ œ œ œ Jœ
. ‰3
3
18 œn ‰ œ œn ‰ œ œn ‰ œ œ ‰ œ3 3 3
3
Jœn ‰ Œ Œ œ œ œn3
jœ ‰ Œ jœ ‰ Œ
∑
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
œ œ œ Jœ.‰ œ œ œ Jœ
.‰
3 3
.˙ Œœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
3 3 3 3
jœ ‰ Œ Ó
Ó Œ œP
And
∑
∑
∑
œ œ œ Jœ. ‰ œ œ œ Jœ
.
P‰
3
3
œ œ œ Jœ.P‰ Ó
3
Jœ ‰ œ œ œ Jœ.P‰ Œ3
Jœ ‰ Œ Ó
∑
jœ ‰ Œ Ó
∑
156
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23
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23
23
23
23
23
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23
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
pizz.
pizz.
pizz.
pizz.
21 .˙ œthose who,
Œ œP˙
And those
∑
∑
21
Ó œ Œ
Ó œ Œ
Ó œ Œ
Œ œPœ Œ
21
∑
∑
∑
arco
arco
œ œ ˙ ˙days a go, had
œ œ ˙ ˙who, days a
∑
Œ œP œ œ œ œAnd those who, days a
∑
Ó Ó œ œ œ Jœ. ‰
3
Ó œ œ œ Jœ. ‰ Ó
3
Œ œ œ Œ Œ œ
∑
∑
∑
arco
œF œ ˙fished for souls
˙ œ œgo, fished for
∑
˙ F
go, fished
∑
∑
Ó Œ œ œ œ3
œ Œ œ œ œ Jœ. ‰
3
∑
∑
∑
-
-
- - -
157
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23
23
23
23
23
23
23
23
23
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
arco
pizz.
24
œ Œ ˙now
wF
souls
œFœ ˙
souls now
.˙ œnow
24 œ
Fœ œ Jœ.P‰ Ó
3
œ
Fœ œ Jœ.P‰ Ó
3
Jœ..F‰ Œ Ó
Œ œ Ó
24
∑
∑
∑
˙nP
˙searched
˙P
˙searched
˙P
˙nsearched
wnP
searched
∑
∑
∑
∑
∑
∑
∑
poco
poco
poco
poco
p legatofoundation(s) 8'
foundations 16', 8'
œ œn ˙for
˙ ˙nfor
˙ ˙for
wnfor
∑
∑
∑
∑
Ó ˙n
Ó ˙
wnp
arco
pizz.
pizz.
wp
food.
wp
food.
wp
food.
wp
food.
Ó œpŒ
Ó œpŒ
∑
œp œœ Jœ. ‰ œ œ œ Jœ
. ‰3 3
ww
w
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23
23
23
23
23
23
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
Solo (8', 4', 2 2/3', 2, 1 3/5' or 8', 2 2/3')
arco
28
∑
∑
∑
∑
28
Ó Œ œ Ó
Ó Œ œ Œ œ œ œn3
∑
Ó œ œ œ Jœ. ‰ Ó
3
28
œpœ œ jœ# . ‰ Œ œ œ œ œ œ œ œn
. ‰ œ3 3
3 3
ww Ó
w Ó
arco
∑
∑
∑
∑
œ- œ# œ- œ
œ- œ œ- œ
˙ ˙
∑
œ œ œ Jœ.π‰ Ó
3
∑
∑
∑
∑
∑
∑
œ-Pœ œ- œ
˙P ˙
œPœ# œ œ
Ó ˙
∑
∑
∑
159
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45
45
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45
45
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45
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22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.legato
quiet string 8' + celeste
(organ may double voices if desired)
31
Œ œnpœ œ
Their
Their nets
nets
were
were
Œ œ œ œ
Ó ˙np
nets
∑
∑
31
˙np
Ó
˙np
Ó
˙p
Ó
˙np
Ó
31
Œ œnpœ œŒ œ œ œ
Ó˙n
∑
poco
poco
˙ œn œ œnlimp
limp
up on
on
the
the
œ ˙ œ œ
œ ˙ ˙limp on
∑
∑
∑
∑
∑
∑
˙ œn œ œnœ ˙ œ œ
œ ˙ ˙
∑
.˙p
Œwaves,
waves,
.˙n Œ
.˙np Œ
waves,
∑
∑
œ- œ œ- œ
œn - œ œ- œ
˙n ˙
˙n ˙n
.˙ Œ.˙n Œ
.˙nŒ
∑
più
più
più
più
∑
∑
∑
∑
œn - œ œ- œ œ œ3
˙ œn œ œ
œn œ œ œ
˙ ˙n
∑
∑
∑
-
160
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23
S
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B
Vln. I
Vln. II
Vla.
Vlc.
Org.
π35
Œ œn œ œtheir
their
hopes
hopes
sus
sus
Œ œn œ œn
Ó ˙nπ
their
∑
∑
35 ˙nπ
Ó
˙bπ
Ó
˙nπ
Ó
˙nπ
Ó
35
Œ œn
π
œ œŒ œn œ œn
Ó˙n
∑
˙n œn œ œnpend
pend
ded,
ded, sus
sus
œ ˙b œn œ
.˙n œ œnhopes sus
∑
∑
∑
∑
∑
∑
˙n œn œ œnœ ˙b œn œ
.˙n œ œn
∑
pochiss.
pochiss.
œn œn œ œnpend
pend ed
ed
in
in
the
the
œ œn œn œ
œb œ œn œpend ed in the
∑
∑
∑
∑
∑
∑
œn œn œ œnœ œn œn œ
˙b œn œ
∑
-
-
-
- -
- -
-
- -
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22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
38 .˙n Œ Óair.
air.
.˙b Œ Ó
.˙n Œ Óair.
∑
∑
38
œn -πœ œ- œ œ- œ œ œ
3
œb -πœn œ- œ œ- œn
˙nπ
˙n œ œb
˙bπ
wn
38
.˙n Œ Ó.˙b Œ Ó
.˙nŒ Ó
∑
warm foundations 8'
∑
∑
∑
∑
œF‰ œ œ ‰ œ œn ‰ œ œ ‰ œ3 3 3 3
œ#FŒ Ó
œnFŒ Ó
JœF‰ Jœ ‰ Jœ ‰ jœ ‰
∑
∑
∑
∑
∑
∑
∑
Jœ ‰ Œ Ó
œ ‰ œ œ ‰ œ œn ‰ œ œ ‰ œ3
3
3 3
∑
jœ ‰ Œ Ó
wwnPww
w
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43
43
43
43
43
43
43
43
43
45
45
45
45
45
45
45
45
45
45
45
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
41
∑
∑
∑
∑
41
Ó œπœ œn Jœ.‰
3
jœ ‰ Œ Ó
Ó œπœ œn Jœ. ‰3
œFœ œn Jœ. ‰ Ó3
41
œœ Œ Ó
œœ Œ Ó
œ Œ Ó
principals 8', 4'
∑
∑
∑
∑
Œ œpœ œn œ œ œ3 3
Œ œpœ œn œ œ œ3 3
Œ œpœ œn œ œ œ3 3
œpœ œn Jœ. ‰ œ
Pœ œ3
3
∑
∑
∑
∑
∑
Œ Œ œnF
He
Œ Œ œnF
He
.œn>f‰ Œ
.œn>f‰ Œ
.œn>f‰ Œ
.œn>f‰ Œ
Œ jœœnnF‰ Œ
Œ Jœœn ‰ Œ
Œ jœn‰ Œ
pizz.
pizz.
pizz.
pizz.
legato
∑
∑
œn Œ œn œ œnsaid, he said, “The
œn Œ œn œ œnsaid, he said, “The
Œ œn> Œ Ó
Œ œn> Œ Ó
Œ œ> Œ Ó
Œ œn> Œ Ó
∑
Ó . Œ œn
∑
163
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43
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43
43
43
43
43
43
43
43
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
45
∑
∑
œn œ œn œnfish are on the
œn œ œn œnfish are on the
45
∑
∑
∑
∑
45
˙n ˙nnœn œn
˙ ˙b
Ó ˙n
poco
poco
non legato
∑
∑
œ œn ˙nF
oth er side,”
œ œn ˙nF
oth er side,”
∑
∑
∑
∑
œœnn Œ œœn
œ Œ œ
œ Œ œ
arco
arco
∑
∑
∑
∑
∑
Œ Œ œnF œn
œ3
∑
Œ œnFœn œ Jœn.‰
3
œ œn ˙nnœbœn ˙
œn ˙n
-
-
164
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43
43
43
43
43
43
43
43
43
43
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
arco
arco
arcopizz.
(add)
48
∑
∑
∑
∑
48 œnF‰ œ œn ‰ œ œ ‰ œ œn ‰ œ3
3
3
3
Jœn . ‰ Œ œn œn œ jœ.‰3
Ó Œ œF
œ> Œ Œ œnF
48
Ó Œ œ œb œn3
Ó Œ œn
Ó Œ œ
Ó Œ œn
più
più
più
più
più
più
più
più
legatopiù
Œ œbfœb œb
and when they
Œ œbfœb œb
and when they
Œ œbfœb œb
and when they
Œ œb f œb œband when they
Jœb f‰ Œ Ó
jœbf‰ Œ Ó
jœbf‰ Œ Ó
jœbf‰ Œ Ó
Jœœbbf‰ Œ Ó
Jœb ‰ Œ Œ œb
jœb ‰ Œ Ó
œb œb œb œbver i fied his
œb œb œb œbver i fied his
œb œb œb œbver i fied hisœb œb œb œbver i fied his
∑
∑
∑
∑
˙b œœbbœb œnœb œb œb
Œ Œ œb
- -
- -
- -
- -
165
&
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&
&
B
?
&
?
?
####
####
####
####
####
####
####
####
####
####
####
22
22
22
22
22
22
22
22
22
22
22
23
23
23
23
23
23
23
23
23
23
23
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
51
.˙bclaim
.˙bclaim
.˙bclaim
.˙bclaim
51
∑
Œ Œ œb œb œ3
∑
Œ œb œb œ Jœb.‰
3
51
œb œb œb œbœbœb ˙b
.˙b
pizz.arco
(add)
Œ œb œb œthey near ly
Œ œb œb œthey near ly,
Œ œb œb œthey near ly
Œ œb œb œthey near ly,
œb ‰ œ œb ‰ œ œn ‰ œ œb ‰ œ3
3
3
3
Jœb . ‰ Œ œb œb œ jœ. ‰3
Ó Œ œbœb> Œ Œ œb
œb Œ Œ œb œb œ3
œ Œ Œ œb
œ Œ Œ œb
-
-
-
-
166
&
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&
&
B
?
&
?
?
####
####
####
####
####
####
####
####
####
####
####
23
23
23
23
23
23
23
23
23
23
23
45
45
45
45
45
45
45
45
45
45
45
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
53 .˙b f Œ œn œsank, near ly
œb f œb œb Œ œ œnear ly sank, near ly
.˙b f Œ œn œsank, near lyœbf œb œb Œ œ œnnear ly sank, near ly
53
Jœbf‰ Œ Ó Ó
jœb f‰ Œ Ó Œ œn œn œ
3
jœb f‰ Œ Œ œn œn œ Jœn
. ‰ Œ3
jœnf‰ Œ œn œn œ Jœn
. ‰ œ œ œ Jœn.‰3
3
53 ..˙bbf
Œ Œ œœbJœb ‰ œ œb Œ
Jœœbb ‰ œœ œœbn Œ Œ œn
jœn ‰ œ œn Œ Ó
˙b œb œb œnsank be neath the
˙n œb œb œnsank be neath the
˙b œb œb œnsank be neath the
˙b œb œb œnsank be neath the
œb ‰ œ œb ‰ œ œn ‰ œ œb ‰ œ œn ‰ œb3 3 3 3
3
Jœb . ‰ Œ Œ œn œn œ œ3
jœn ‰ Œ Œ Œ œb ‰ œn3
jœb ‰ Œ Œ Œ œ
˙b œn ˙b.˙ ˙
˙n œb ˙nn
Œ ˙b ˙
- -
- - -
- -
- - -
167
&
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&
B
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&
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####
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####
####
####
####
####
####
####
####
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
55
wbweight.
wbweight.
wbweight.
wbweight.
55
Jœb ‰ Œ œb œb œ Jœb. ‰3
œb œb œ Jœb. ‰ œ œ œ Jœ
. ‰3 3
œb œb œjœ. ‰ œ œ œ
jœ. ‰3 3
œb œb œ Jœb. ‰ œ œ œ Jœ
. ‰3 3
55
wwwbbnwb
wb
principals 8', 4', 2', mixture
∑
∑
∑
∑
œb œb œ Jœb. ‰ œ œ œ Jœ
. ‰3 3
œb œb œ Jœb. ‰ œ œ œ Jœ
. ‰3 3
œb œb œjœ. ‰ œ œ œ
jœ. ‰3 3
œb œb œ Jœb. ‰ œ œ œ Jœ
. ‰3 3
Œ œbfœn œn jœ. ‰ œ œ œ3 3
∑
∑
168
&
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V
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&
B
?
&
?
?
####
####
####
####
####
####
####
####
####
####
####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
57
∑
∑
∑
∑
57
œb œb œ Jœb. ‰ œ œ œ Jœ
. ‰3 3
œb œb œ Jœb. ‰ œ œ œ Jœ
. ‰3 3
œb œb œjœ. ‰ œ œ œ
jœ. ‰3 3
œb œb œ Jœb. ‰ œ œ œ Jœ
. ‰3 3
57
œ œb œn œb œ œ jœ. ‰ œ œ œ3 3 3
œb œn œn œ œb œn œb œ œ Jœb.‰
3 3 3
∑principals 16', 8', 4'
∑
∑
∑
∑
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn.‰ œ œ œ Jœ
.‰
3 3
œ ‰ œ œn ‰ œ œn ‰ œ œn ‰ œ3
3
3
3
Jœn ‰ œ œn œn Jœb . ‰ œ œ œ3 3
Jœb ‰ jœn ‰ jœ ‰ jœn ‰
169
&
&
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&
B
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&
?
?
####
####
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####
####
####
####
####
####
####
####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
59
∑
∑
∑
∑
59
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn.‰ œ œ œ Jœ
.‰
3 3
59
jœn ‰ Œ Ó
œ ‰ œ œn ‰ œ œb ‰ œ œn ‰ œ3 3 3 3
jœb ‰ Jœb ‰jœn ‰ jœ ‰
∑
∑
∑
∑
œ# œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œ# œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œn œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
∑
Jœn ‰ Œ Ó
Jœn ‰ Œ Ó
pizz.
marcato
∑
∑
∑
Ó Œ œP
One
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
jœn ‰ œ œn œ jœ.‰ œ œ œ
3 3
Jœn ‰ Jœ ‰ Jœ ‰ œ
∑
∑
∑
170
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S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
62
∑
∑
∑
œ> œ œn Jœ œ Jœn3 3
hun dred fif ty three, there
62
œp œn œ Jœn . ‰ œ œ œ Jœ
. ‰3 3
Œœpœn œ jœ.
‰ œn œ œ3 3
jœn .p‰ Œ jœ ‰ œn œ œ
3
œnpœn Œ œ
62
∑
∑
∑foundations 16', 8'
marcato
∑
∑
Œ œnP œ> Jœn œ Jœ
33
One hun dred fif ty
˙ Œ œnwere; one
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
jœn .‰œ œ œ jœ.
‰ œn œ œ3 3
jœn .‰ Œ jœ ‰ œn œ œ
3
œn œn Œ œ
∑
∑
Ó Œ jœp‰
- -
- -
171
&
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&
B
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&
?
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####
####
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####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
molto sost.
light principals 8', 4'
64
Œ œnF
˙a catch
∑
œn Œ œ> Jœn œ Jœ3
3three, hun dred fif ty
œ- œ Œ œnhun dred, one
64
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
jœn .‰œ œ œ jœ.
‰ œn œ œ3 3
jœn .‰ Œ jœ ‰ œn œ œ
3
œn œn Œ œ
64
Ó Œ jœœnP‰
Ó Œ Jœn ‰
œn Œ Œ jœ ‰
marcato
œ œn ˙nso vast
Œ œnP œn> Jœ œ
jœn3
3
One hun dred fif ty
œn Œ œ> Jœn œ Jœ3
3three, hun dred fif ty
œ- œ Œ œnhun dred, one
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
jœn .‰œ œ œ jœ.
‰ œn œ œ3 3
jœn .‰ Œ jœ ‰ œn œ œ
3
œn œn Œ œ
œœn Œ Œ jœœn ‰
œ Œ Œ Jœn ‰
œn Œ Œ jœ ‰
- -
- - - -
- -
172
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&
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####
####
####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org. (add) legato
66
œ œn œ œnthat words can
œ œn œ>jœ œ
jœ3 3
three, one hun dred fif ty
œn Œ œn> Jœ œjœ
33
three, hun dred fif ty
œ- œ Œ œnhun dred, one
66
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
jœn . ‰ œ œ œ jœ. ‰ œ œ œ3 3
jœ. ‰jœ ‰ Jœn ‰ œ œ œ
3
œn œn Œœ
66
˙n Œ œœn
˙ Œ œ
˙n Œ œ
sost.
sost.
sost.
arco
œ œ œn œnot ex press the
œn œ œ œthree ex press the
œ œ œ œnthree ex press the
˙n œ œnhun dred the
œn œn œ Jœn. ‰ œn œ œ Jœn
. ‰33
jœn . ‰ œn œ œjœ. ‰ œn œ œ
33
jœn . ‰ œ œn œ
˙ œ œn
˙ œœn œœnœn œn.˙n œ
˙ œ œn
+ mixture(manual only)
œn f œ ˙ Œprov i dence.
œnfœ ˙ Œ
prov i dence.
œf œn ˙ Œ
prov i dence.
œn f œ ˙ Œprov i dence.
Jœœnn >F‰ Œ ‰ œ œ Jœn
. ‰3
jœn>F‰ Œ Œ œ œn œ
3
jœœnn >F‰ Œ ‰ œ œ Jœn
. ‰3
jœn>F‰ Œ Œ œn œn œ
3
œœn .Fœœn .œœ Ó
œn . œ. œ Œ œ
˙n Œ Jœn ‰
- - - -
- - - -
- - - - -
- - - - -
173
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####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
69
∑
∑
∑
∑
69
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
Jœn . ‰ œn œn œ Jœ. ‰ œ œ œ
3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
Jœn . ‰ œn œn œ Jœ.‰ œ œ œ
3 3
69
Œ œn œn jœ œ jœ3 3
œn Jœ œ Jœ œ Œ3 3
jœn ‰ Œ Œ Jœn ‰
∑
∑
∑
∑
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
Jœn . ‰ œn œn œ Jœ. ‰ œ œ œ
3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
Jœn . ‰ œn œn œ Jœ.‰ œ œ œ
3 3
jœn ‰ œ œ œ œb œn œn œb œ œ3 3 3
œ Jœ œn ‰ œœn ‰ œ œn ‰ œ
3 3 3 3
jœn ‰ Œ Œ Jœn ‰
174
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&
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####
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####
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####
45
45
45
45
45
45
45
45
45
45
45
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
71
∑
∑
∑
∑
71
œn œn œ Jœn. ‰ œ œ œ œ œ œ
3 3 3
Jœn . ‰ œn œn œ Jœ. ‰ œ œ œ
33
œn œn œ Jœn. ‰ œ œ œ œ œ œ
3 3
3
Jœn . ‰ œn œn œ Jœ.‰ œ œ œ
33
71
œn ‰ œ œn ‰ œœn ‰ œ œ ‰ œ
3
3
3 3
Jœn ‰ œœ œn œn œ œ œb œn œ3 3 3
jœn ‰ Jœn ‰jœ ‰ jœ ‰
Ó Œ œnf
The
Ó Œ œnf
The
Ó Œ œnf
The
Ó Œ œnf
The
œnfœn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œnfœn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œnfœn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œnfœn œ Jœn .‰ œ œ œ J
œ.‰
3 3
Jœœnnf‰ Œ Ó
Jœœnn ‰ Œ Ó
jœ ‰ Œ Ó
pizz.
pizz.
pizz.
pizz.
˙n œn œn œna ked Pe ter
˙n œ œ œbna ked Pe ter
˙n œn œn œna ked Pe ter
˙n œ œb œnna ked Pe ter
Œ œn> Œ Ó
Œ œn> Œ Ó
Œ œn> Œ Ó
Œ œn> Œ Ó
∑
∑
∑
- -
- -
- -
- -
175
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####
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org. principals 8', 4', 2', mixture
arco
arco
arco
arco
74
œn œn ˙grabbed his clothes
œn œn ˙grabbed his clothes
œn œn ˙grabbed his clothes
œn œn ˙grabbed his clothes
74
Ó œn œn œjœn . ‰
3
Ó œn œn œjœn . ‰
3
Ó œn œn œjœ. ‰
3
Ó œn œn œ Jœn. ‰3
74
∑
∑
∑
œ Œ Ó
œ Œ Ó
œ Œ Ó
œ Œ Ó
œn œn œjœn . ‰ œ œ œ
jœ. ‰3 3
œn œn œjœn . ‰ œ œ œ
jœ. ‰3 3
œn œn œjœ. ‰ œ œ œ
jœ. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
Œ œnfœ œ Jœn . ‰
œ œ œ3 3
∑
∑
176
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####
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####
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####
42
42
42
42
42
42
42
42
42
42
42
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
principals 16', 8', 4'
76
∑
∑
∑
∑
76
œn œn œjœn . ‰ œ œ œ
jœ. ‰3 3
œn œn œjœn . ‰ œ œ œ
jœ. ‰3 3
œn œn œjœ. ‰ œ œ œ
jœ. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
76 œ œn œ œ œ œ œn œn œ œ ‰ œ3 3
33
Œœ ‰ œ œ ‰ œ œ œn œn
3 3 3
Jœ ‰ Jœn ‰ Jœ ‰ jœn ‰
Œ œn fand
∑
∑
∑
œn œn œ Jœn. ‰3
œn œn œ Jœn. ‰3
œn œn œ Jœn. ‰3
œn œn œ Jœn.‰
3
jœ ‰ Œ
Jœ ‰ Œ
jœn ‰ Œ
pizz.
pizz.
pizz.
pizz.
˙ Œ œnjumped, and
Œ œnf˙
and jumped
Ó Œ œnf
and
∑
œn œn œ Jœn. ‰ œœ> Œ3
œn œn œ Jœn. ‰ œœ> Œ3
œn œn œ Jœn. ‰ œœ>
Œ3
œn œn œ Jœn.‰ œn>
Œ3
∑
∑
∑
177
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?
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####
####
####
####
####
####
####
####
####
####
####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
arco
arco
arco
arco
79 œ œn œ œjumped in to the
œ œn œn œin to the
œ œn œn œjumped in to the
Œ œfœn œ
in to the
79
Ó Œ œƒœ œ3
Ó Œ œƒœ œ3
Ó Œ œnƒœ œ3
Ó œnƒœ œn Jœ. ‰3
79
∑
∑
∑
wnƒ
sea.
wnƒ
sea.
wnƒ
sea.
wnƒ
sea.
œn œn œ Jœn.‰ œ œ œ J
œ.‰
3 3
œn œn œ Jœn.‰ œ œ œ J
œ.‰
3 3
Jœn . ‰ œ œn œnjœ. ‰ œ œ œ
3 3
Jœn ‰œn œ œn Jœ. ‰
œ œ œ3 3
∑
∑
∑
∑
∑
∑
∑
œnf œnœ Jœn . ‰ œ œ œ Jœ
. ‰3 3
œnf œnœ Jœn . ‰ œ œ œ Jœ
. ‰3 3
jœn .f‰ œn œ œn
jœ. ‰ œ œ œ3 3
Jœn .f‰ œn œ œn Jœ. ‰
œ œ œ3 3
œnfœ œ œ œ œ œ œ œ œ3
3
3
Œ œn œ œ œ ‰ œ œ ‰ œ3 3 3
∑
-
-
-
-
178
&
&
V
?
&
&
B
?
&
?
?
####
####
####
####
####
####
####
####
####
####
####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.(gradually reduce)
82
Ó Œ œnPThe
Ó Œ œnPThe
Ó Œ œnPThe
Ó Œ œnPThe
82
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
jœn . ‰ œn œ œnjœ. ‰ œ œ œ
3 3
Jœn . ‰œn œ œn Jœ. ‰
œ œ œ3 3
82
œn ‰ œ œn ‰ œ œn ‰ œ œ ‰ œ3
3
3 3
Jœn ‰ Œ Ó
Jœn ‰ Jœn ‰jœ ‰ jœn ‰
œn œn œ œleap was what his
œn œn œ œleap was what his
œn œn œ œleap was what his
œn œn œ œleap was what his
œnp œnœ Jœn . ‰ œ œ œ Jœ
. ‰3 3
œnp œnœ Jœn . ‰ œ œ œ Jœ
. ‰3 3
œnpœ œjœ. ‰ œ œ œ
jœ. ‰3 3
œnpœ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
jœnp‰ Œ Œ œœ
Ó Œ œ
jœn ‰ Œ Œ œ
(gradually add)
œn œ ˙ œbod y did to
œ œn ˙n œbod y did to
œn œ ˙ œbod y did to
œ œn ˙n œbod y did to
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œ œjœ. ‰ œ œ œ
jœ. ‰3 3
œn œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
jœœn ‰ œ œ œn Jœn . ‰ œœn
3
Jœ ‰ Œ Œ œ
jœn ‰ Œ Œ œ
-
-
-
-
179
&
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&
B
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?
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####
####
####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
85 œ œn œn Œ œdem on strate, to
œn œn œ Œ œndem on strate, to
œ œn œn Œ œdem on strate, to
œn œn œ Œ œndem on strate, to
85
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œn œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œ œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œ œn œ Jœn.‰ œ œ œ Jœ
.‰
3 3
85 jœœn ‰ œn œn œ Jœn. ‰ œœn
3
Jœn ‰ œn œ œ Jœ. ‰œœ
3
jœn ‰ Œ Œ œ
œn œ œn Œ œdem on strate, to
œn œn œb Œ œdem on strate, to
œn œ œn Œ œdem on strate, to
œn œn œb Œ œdem on strate, to
œb œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œb œn œ Jœn. ‰ œ œ œ Jœ
. ‰3 3
œb œn œ Jœn . ‰ œ œ œ J
œ. ‰3 3
œb œn œ Jœn .‰ œ œ œ J
œ.‰
3 3
jœœnn ‰ œn œb œ œb œ œn œœ3
3
Jœœnb ‰ œ œn œ Jœn .‰ œ œn œn
3 3
jœn ‰ Œ Œ œ
œ œn œn œndem on strate his
œb œn œn œdem on strate his
œn œ œn œdem on strate his
œn œ œb œdem on strate his
Jœœnb >f‰ Œ Ó
Jœœnb >f‰ Œ Ó
jœœnn >f‰ Œ Ó
Jœn>f‰ Œ Ó
jœœœnnb ‰ Œ Œ œœ
Jœœnn ‰ Œ Œ
œœnb
jœn ‰ Œ Œ œn
- - - - - -
- - - - - -
- - - - - -
- - - - - -
180
&
&
V
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&
&
B
?
&
?
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####
####
####
####
####
####
####
####
####
####
####
23
23
23
23
23
23
23
23
23
23
23
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org. + high mixture, reed 8'
88 wƒ
joy.
wnƒjoy.
wƒ
joy.
w#ƒ
joy.
88 œƒœ œ Jœ.‰ œ œ œ Jœ
.‰
3 3
œƒœ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œƒœ œ œ œ œ œ œ œ œ œ œ3
3
3
3
œƒœ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
88
Jœœƒ‰ Œ œ œ œ
jœ# . ‰3
Jœœn ‰ Œ œ œ œ Jœ# . ‰
3
jœ ‰ Œ Ó
∑
∑
∑
∑
œ œ œ Jœ.‰ œ œ œ Jœ
.‰ œ œ œ Jœ
.‰
3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3
3
3
3
3
3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰ œ œ œ Jœ. ‰
3 3 3
œ œ œ œ#jœ ‰ œ œ œ œ œ œ œn œ œ
3 3
3 3
Ó œ œ œ Jœ# . ‰œ œn œ œ ‰ œ
3 3 3
∑
181
&
&
V
?
&
&
B
?
&
?
?
####
####
####
####
####
####
####
####
####
####
####
22
22
22
22
22
22
22
22
22
22
22
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
90
∑
∑
∑
∑
90 œ œ œ Jœ.‰ œ œ œ œ œ# œ œ
3 3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ3
3
3
3
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰3 3
90 œn œn œ œ œ œn œ œ œ œ œ œ3 3 3 3
Jœ ‰ œ œ œnœ ‰ œn œ œ œ
3 3 3
Jœ# ‰ Jœ ‰ jœ ‰ jœ ‰
∑
∑
∑
∑
œ œ œ Jœ.‰ œ œ œ Jœ
.‰
3 3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œn œn œ œnœn œ œ œ œ œ
œ œ3
3
3
3
œn œn œ Jœn.‰ œ œ œ Jœ
.‰
3 3
œœn ‰ œœ œœ ‰ œœ œœn ‰ œœ œœ ‰ œœ3 3 3
3
œ ‰ œ œn ‰ œ œn ‰ œ œ ‰ œ3 3 3 3
jœn ‰ Œ Ó
182
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&
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####
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####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
92
∑
∑
∑
∑
92 œ ‰ œ œ ‰ œ œn ‰ œ œ ‰ œ3 3 3
3
œn ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3
3 3
œ ‰ œ œn ‰ œ œn ‰ œ œ ‰ œ3 3 3
3
Jœn ‰œ œ œ Jœ ‰
œ œ œ3 3
92 œœn œ œœ œœ œ œ œœ œ œœ œœ œ œ3
33
3
œ œn œ Jœ. ‰ œ œ œ Jœ. ‰3 3
&
Jœn ‰ Œ Jœ ‰ Œ
nonlegato
∑
∑
∑
∑
jœ ‰ Œ Œ œ œn œn3
jœn ‰ Œ Œ œ œn œn3
Jœn ‰ Œ Œ œn œ œ3
jœ ‰ Œ Ó
œœœnn
œœœnn
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
3
3
3
3
w
183
&
&
V
?
&
&
B
?
&
&
?
####
####
####
####
####
####
####
####
####
####
####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
94
∑
∑
∑
∑
94 œ ‰ œ œ ‰ œ œn ‰ œ œ ‰ œ3 3 3 3
œn ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3
3
3
œ ‰ œ œn ‰ œ œn ‰ œ œ ‰ œ3 3 3
3
Jœn ‰œ œ œ Jœ ‰
œ œ œ3 3
94 œœn œ œœ œœ œ œ œœ œ œœ œœ œœ3
33
3
œ œn œ jœ.‰œ œ œ œ œ œ
3 3 3
Jœn ‰ Œ Jœ ‰ Œ
nonlegato
∑
∑
∑
∑
Jœ ‰ Œ Œ œ ‰ œ3
Jœn ‰ Œ Œ œ ‰ œ3
Jœn ‰ Œ Œ œ ‰ œ3
jœ ‰ Œ Œœ œ œ
3
œœœœnnn
œœœnn
œœœœ
œœœ
œœœœ
œœœ
œœœœ
œœœ
œœœœ œœ# œ œ3
3
33
œ œ œ#3
.˙ œn
184
&
&
V
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&
&
B
?
&
&
?
####
####
####
####
####
####
####
####
####
####
####
23
23
23
23
23
23
23
23
23
23
23
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org. nonlegato
96
∑
∑
∑
∑
96
Jœ ‰ Œ ‰ œn œ œn œnœ3
3
Jœn ‰ Œ ‰ œn œ œ œnœ3
3
Jœn ‰ Œ Œ œ œn œ3
jœ ‰ Œ Ó
96 œœœœnnn
œœœnn
œœœœ
œœœ
œœœœ
œœœ
œœœœ
œœœ
œœœœ
œœœ
œœœœ
œœœ
3
3
3
3
.˙ œ
∑
∑
∑
∑
œn œn œ œ ˙æÏ3
œn œ œ œn ˙næÏ3
œ œ œn œ ˙næÏ3
Œ œn œ œn æÏ3
B
.....œœœœœnnn ‰ Ó
....œœœœnn ‰ Ó
.œn ‰ Ó
(add)
∑U
∑U
∑U
∑U
wUæ
wUæwUæwUæ
wwnU
ÏwwnU
wU
∑U
∑U
∑U
∑U
Jœ‰ Œ ÓU
Jœ ‰ Œ ÓU
Jœ ‰ Œ ÓU
Jœ ‰ Œ ÓU
jœœ ‰ Œ ÓU
jœœ‰ Œ ÓU
jœ ‰ Œ ÓU
185
&
&
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&
B
B
&
&
?
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####
####
####
####
####
####
23
23
23
23
23
23
23
23
23
23
23
22
22
22
22
22
22
22
22
22
22
22
45
45
45
45
45
45
45
45
45
45
45
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
100
∑
∑
∑
∑
100 œnp‰ œ œ ‰ œ œ ‰ œ œ ‰ œ jœn ‰ Œ3 3
33
∑
∑
Ó Ó œp‰ œ œn ‰ œ3 3
?
100
∑
∑
∑
Più tranquillo
Più tranquillo
Più tranquillo
∑
∑
∑
∑
œ- œ# œ- œ
œ-pœ œ- œ
∑
˙ ˙
∑
∑
∑
∑
∑
∑
∑
œ- œ œ- œ#
œ- œ ˙
∑
œ œ# œ œ
∑
∑
∑
Œ œpœ œ#
A shore, the
Œ œpœ œ
A shore, the
Ó pA
∑
˙ Ó
˙ Ó
∑
˙ Ó
∑
∑
∑
-
-
-
186
&
&
V
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&
&
B
?
&
&
?
####
####
####
####
####
####
####
####
####
####
####
45
45
45
45
45
45
45
45
45
45
45
22
22
22
22
22
22
22
22
22
22
22
45
45
45
45
45
45
45
45
45
45
45
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
poco
poco
poco
104
˙ œ œ œLord had built a
œ ˙ œ œLord built a
œ# ˙ œ œshore, built a
∑
104
∑
∑
∑
∑
104
∑
∑
∑
.˙p
Œfire.
.˙p
Œfire.
.˙p
Œfire.
∑
œ-pœ# œ- œ
œ-pœ œ- œ
p˙
∑
∑
∑
∑
∑
∑
∑
∑
œ-Pœ œ- œ
˙P
˙
œPœ# œ œ
Ó ˙p
∑
∑
∑
Œ œn œ œA res ur
Œ œ œ œA res ur
Ó ˙nA
∑
˙np
Ó
˙np
Ó
˙p
Ó
˙n Ó
∑
∑
∑
- -
- -
187
&
&
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&
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&
&
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####
####
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####
####
####
####
####
####
####
45
45
45
45
45
45
45
45
45
45
45
23
23
23
23
23
23
23
23
23
23
23
22
22
22
22
22
22
22
22
22
22
22
45
45
45
45
45
45
45
45
45
45
45
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
108 P œn œ œnrec tion feast be
œP˙ œ œ
rec tion feast be
œP ˙ ˙feast be
∑
108
∑
∑
∑
∑
108
∑
∑
∑
.˙p
Œ Ógan,
.˙np
Œ Ógan,
.˙np Œ Ógan,
∑
œ-pœ œ- œ œ œ œn - œ
3
œn -pœ œ- œ ˙
˙np
˙ œ œ
˙np
˙n ˙
∑
∑
∑
Œ œnP œ œ
a feast that
Œ œnP œ œn
a feast that
Ó ˙nP
that
∑
˙nF P
Ó
˙bF P
Ó
˙nF P
Ó
˙nF P
Ó
∑
∑
∑
- -
- -
- -
188
&
&
V
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&
&
B
?
&
&
?
####
####
####
####
####
####
####
####
####
####
####
45
45
45
45
45
45
45
45
45
45
45
22
22
22
22
22
22
22
22
22
22
22
46
46
46
46
46
46
46
46
46
46
46
23
23
23
23
23
23
23
23
23
23
23
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
poco
poco
poco
poco
111 ˙n œn œPœn
stretch es, that
œ ˙b œnP œstretch es, that
œ ˙n œnP œnstretch es, that
.˙n œnP œbstretch es, that
111
∑
∑
∑
∑
111
∑
∑
∑
œn œn œ œnstretch es to the
œ œb œn œstretch es to the
œ œn œn œnstretch es to the
œn œn œ œbstretch es to the
∑
∑
∑
∑
∑
∑
∑
˙F
œ .˙P
pres ent day,
œFœ œ œ ˙
P
pres ent day,F œ ˙ œ#P
pres ent day,
œnF œ œ .˙ P
pres ent day,
Ó . Œ Œ œP
∑
Ó. Œ Œ œ#P
∑
∑
∑
∑
-
-
-
-
-
-
- - -
- - -
189
&
&
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&
B
?
&
&
?
####
####
####
####
####
####
####
####
####
####
####
23
23
23
23
23
23
23
23
23
23
23
24
24
24
24
24
24
24
24
24
24
24
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org. legatofoundations 8'
114
Ó Ó ˙p
that
Ó Ó ˙p
that
Ó Ó ˙p
that
Ó Óp
that
114
œ# œ wpŒ œp w
œ œ wnp
Œ œ#pw
114
Ó Ó ˙p
Ó Ó ˙?
Ó Ó ˙
w ˙stretch es
w ˙stretch es
w ˙stretch es
w ˙stretch es
œ œ œ Jœ. ‰ œ œ œ Jœ. ‰ -
3
3
-Ó
-
- Ó -
- Ó -
.w
.w
.w
˙ ˙ ˙to the
˙ ˙ ˙to the
˙ ˙ ˙to the
˙ ˙ ˙to the
- Ó -
œ œ œ Jœ. ‰ œ œ œ Jœ. ‰ -
3
3
- Ó -
- Ó -
.w
.w
.w
- - -
- - -
- - -
- - -
190
&
&
V
?
&
&
B
?
&
?
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####
####
####
####
####
####
####
####
####
####
####
24
24
24
24
24
24
24
24
24
24
24
23
23
23
23
23
23
23
23
23
23
23
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
poco rit.
poco rit.
poco rit.
117 Pw ˙
pres ent
wP
˙ ˙pres ent
˙P
˙ œ œ ˙pres entP ˙ ˙ ˙pres ent
117
œ œ œ Jœ. ‰ œ
œ œJœ. ‰ Ó œ œ œ jœ. ‰
3
3 3
w ˙ ˙
w ˙ ˙
W
117
ww ˙ ˙
.w ˙
W
pizz.
a tempo
a tempo
a tempo
.wp
day.
.wp
day.
.wp
day.
.wp
day.
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰ Ó3 3
˙ Ó-
˙ Ó -
˙ Ó œ œ
..ww
.w
.w
- - - - -
- - - - -
- - - - -
- - - - -
191
&
&
V
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&
&
B
?
&
?
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####
####
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####
####
####
####
####
####
####
S
A
T
B
Vln. I
Vln. II
Vla.
Vlc.
Org.
arco pizz.
119
w Ó
w Ó
w Ó
w Ó
119
œ œ œ Jœ. ‰ œ œ œ Jœ
. ‰ Ó3 3
- Ó ˙
- Ó ˙
˙ Ó œ œ
119
ww Ó
w Ó
w Ó
flutes 8', 4'
∑
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~~~~~
~~~~~
193
194
BIBLIOGRAPHY
Britten, Benjamin. Festival Te Deum, Op. 32. London: Boosey & Hawkes, 1945. . The Turn of the Screw, Op. 54. London: Boosey & Hawkes, 1966. . War Requiem, Op. 66. London: Boosey & Hawkes, 1962. The Consultation on Common Texts. The Revised Common Lectionary. Nashville:
Abingdon Press, 1992. Crawford, Richard. America’s Musical Life: A History. New York: W. W. Norton,
2001. The Faith We Sing, ed. Hoyt L. Hickman. Nashville: Abingdon Press, 2000. Harper, John, et al. “Anthem.” In Grove Music Online. Oxford Music Online,
<http://www.oxfordmusiconline.com.www2.lib.ku.edu:2048/subscriber/ article/grove/music/00998> (accessed 19 May 2009).
Hayes, Mark, arr. Blessed Assurance. Columbus, OH: Beckenhorst Press, 2001. Hogan, Moses, arr. Wade in the Water. Milwaukee, WI: Hal Leonard, 1997. Howells, Herbert. Like as the Hart Desireth the Waterbrooks. Oxford: Oxford
University Press, 1943. Long, Kenneth R. The Music of the English Church. London: Hodder and Stoughton,
1972. Marshall, Jane. Help Us Sing Again. Nashville: Abingdon Press, 2006. Martinson, Joel. Three Days Had Passed. Orleans, MA: Paraclete Press, 2002. The New Oxford Annotated Bible: New Revised Standard Version. New York:
Oxford University Press, 1991.
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Phillips, Craig. Dies Gratiae: Requiem Reflections. Kingston, NY: Selah Publishing Co., 2000.
Poulenc, Francis. Conerto en Sol mineur pour Orgue, Orchestre à Cordes et
Timbales. Paris: Salabert, 1999. The Presbyterian Hymnal, ed. LindaJo McKim. Louisville, KY: Westminster/John
Knox Press, 1990. Thornburg, John. The Ministry of Congregational Singing,
<www.congregationalsinging.com> (accessed 19 May 2009). . The One Who Taught Beside the Sea: Hymn, Anthem, and Worship
Response Texts. Colfax, NC: Wayne Leupold Editions, 2003. . Threshold Words. Unpublished manuscript, 2008. Thornburg, John, and Jane Marshall. Can God Be Seen in Other Ways: Hymns and
Tunes for Today. Nashville: Abingdon Press, 2000. Thornburg, John, et al. Family of God: New Hymns by John Thornburg and Friends.
Nashville: Abingdon Press, 2008. Weir, Judith. Ascending into Heaven. London: Novello, 1983. Wienandt, Elwyn A. and Robert H. Young. The Anthem in England and America.
New York: The Free Press, 1970. Willan, Healey. Lo, in the Time Appointed. New York: Oxford University Press,
1929. Wilson-Dickson, Andrew. The Story of Christian Music: From Gregorian Chant to
Black Gospel. Minneapolis: Fortress Press, 1992.
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APPENDIX A
TEXTS
Threshold Words by John D. Thornburg
The Miracle at Cana John 2:1-11 (RCL Year C, 2 Epiphany)
In Cana, on a wedding day, his mother came, and so did he, this man whose “Follow me” had caused a few to walk his way.
But once the feasting had begun, the wine gave out, we know not why.
His mother spoke, “They have no wine.” To our surprise, he did not summon heaven right away.
He seemed to say, “It is not yours to tell me what to do.” And since we want a Lord who makes our wishes his command, we pause.
His mother sensed what he could do… would do…
It was his word alone that changed the wedding’s course, that turned the water into wine.
And still his word, the balm that heals our every wound, the food that satisfies our hearts, the arrow piercing all deceit, is changing water into wine so we can feast into the night.
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The Woman at Jacob’s Well John 4:4-42 (RCL Year A, 3 Lent)
He spoke to her at Jacob’s well. It was forbidden, such a thing.
The air was thick; a stifling fog. “It must not be... It is not done… The truth is plain… The way is clear…”
And even so, he spoke. “Give me a drink…”
These were the threshold words; the words that opened windows so the breath of life could enter in.
She could have fled, bewildered by the boldness of the rabbi’s words. But something in his honesty said, “Stay.”
The laws of nature were unchanged. No water into wine, no sight restored. And yet a miracle occurred.
The thirsty rabbi redefined the scope of love. And boundaries once seen as firm gave way to panoramic views. The fog dispersed, the air was fresh and new.
The Man Born Blind John 9:1-41 (RCL Year A, 4 Lent)
They said that blindness was a sin. They built a fortress for their truth, then, standing on the massive walls, they flung the questions of their troubled minds.
The one they scorned knew only this: “I once was blind, but now I see.
The one called Jesus took some mud and spread it on my eyes, then sent me on my way to seek Siloam’s pool. And when I washed I saw in real time and space the things my mind had drawn.”
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To those encased in fear this simple speech was warrant for a bigger wall.
Their questions thundered on: “How dare you try to lecture us?”
This drama still unfolds today, and fortress builders of all faiths retreat into their certainty.
But God, who never sleeps, who knows the hairs upon our heads, who senses all our hope and pain, is digging in the mud, preparing to anoint the eyes of all who long for sight.
The Raising of Lazarus John 11:1-45 (RCL Year A, 5 Lent)
“If only you had been here…”
O Martha, how you speak for us!
When sorrow is a thunderstorm that floods the path we hoped to walk, how often we express our pain and signal the embrace we need, by crying our complaint.
“If only you had been here…”
Collecting every ounce of hope she had, she spoke again, “I know that God will give you what you ask.”
And Christ, not deaf to her complaint, and not immune to sorrow and to tears, unlocked the door of death.
In Christ, the door is open still. He is the resurrection and the life.
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The Anointing at Bethany John 12:1-8 (RCL Year C, 5 Lent) John 12:1-11 (RCL Years A, B, and C, Monday of Holy Week)
He was so bent on seeming just, so keen to shame, so poised to blame, that when the censure crossed his lips, the Lord was quick to speak.
“Leave her alone,” the Savior said, referring to the precious one whose hair was moist with scented oil, whose heart was pure and unafraid.
Betrayers live to lie, and so he did. Pathetic to the very core, he grabbed at anything he could. His deeds distorted all his words.
Anointers live to bless, to point the way to purpose and to grace, and in her tender act she pointed to what lay beyond the clamor of that hour.
And when he died, the Christ of God, his death was for them both.
The Miraculous Catch of Fish John 21:1-19 (RCL Year C, 3 Easter)
He stood beside the sea.
And those who, days ago, had fished for souls now searched for food. Their nets were limp upon the waves, their hopes suspended in the air.
He said, “The fish are on the other side,” and when they verified his claim they nearly sank beneath the weight.
One hundred fifty three, there were; a catch so vast that words cannot express the providence.
The naked Peter grabbed his clothes and jumped into the sea.
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The leap was what his body did to demonstrate his joy.
Ashore, the Lord had built a fire. A resurrection feast began that stretches to the present day.
Texts copyright © 2008 by John D. Thornburg. Used by permission.
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APPENDIX B
LETTER OF PERMISSION
