Roxanna Panufnik – Westminster Mass (extract) by Edition Peters

Contemporary

Panufnik Westminster Mass for treble or soprano solo, SSAATTB choir and organ or ensemble Vocal Score

EP 71959

ROXANNA PANUFNIK

Westminster Mass

Vocal Score

EIGENTUM DES VERLEGERS

路

PETERS EDITION LTD A member of the Edition Peters Group LEIPZIG 路 LONDON 路 NEW YORK

to Westminster Cathedral Choir and Cardinal Basil Hume on his 75th Birthday

Commissioned by John Studzinski for Westminster Cathedral Choir on the occasion of Cardinal Basil Hume’s 75th Birthday

First performance on 21st May 1998, Westminster Cathedral, London. Westminster Cathedral Choir, City of London Sinfonia, James O’Donnell Conductor, Timothy Lacy - Treble soloist. This vocal score could be use in conjunction with the following versions: for Treble or Soprano Solo, SSAATTBB 2 harps, tubular bells and strings accompaniment for Treble or Soprano Solo, SSAATTBB and organ accompaniment for Treble or Soprano Solo, SSAATTBB 1 harp, bells and organ accompaniment

This score is a facsimile of the composer’s manuscript, reflecting the state of editorial work and correction as of June 2009

ROXANNA PANUFNIK

Westminster Mass Duration c. 27 minutes

Contents Page 1. Kyrie

2. Gloria

The Angelic Hymn

3. Deus, Deus meus

(optional)

4. Sanctus & Benedictus

5. Memorial Acclamation

(Dying you destroyed our death)

6. Amen

7. Agnus Dei

This Mass was commissioned by John Studzinski for Westminster Cathedral Choir, on the occasion of Cardinal Basil Hume's 75th Birthday. The Cathedral wanted a work that would speak out to as many people as possible - that would "enhance the English liturgy for the new millenium" - hence its setting in our native tongue. The Mass had to come in two versions: one with organ accompaniment for general use, and one for special occasions (such as its premiere on the 21st May, 1998) with orchestra (a new version for bells, harp and organ has been arranged for Clifton Cathedral, Bristol). With careful theological instruction from Father Vladimir Felzmann, frequent retreats to the nuns of Stanbrook Abbey and guidance on musical form from James O'Donnell, I set out to try and create a work that, while adhering to the conventional requirements of the liturgy, would perhaps throw a transformed light onto the text that I had repeated, perhaps without enough thought and understanding, so often. Having been determined not to be influenced (as is the recent trend) by the commonly hypnotic plainsong, I was introduced to the reproaches from the Good Friday liturgy which, to me, melodically captured the mood of the KYRIE. I had already composed a progression of repenting but hopeful harmonies which, by complete accident, seemed to be enhanced by this melody. Obviously, I had to change the words and I used the ancient Greek that is familiar to us all, followed by the English. The GLORIA is usually one of the most "up-beat" movements but, to me, it was about the "glow" of love for God and the warmth that radiates from the first two lines (commonly known as the Angelic Hymn):"Glory to God in the highest, and peace to his people on earth." I was also heavily influenced by the impulsive rhythms and irregular pitch patterns of pealing church bells and the whole movement is based on a four-note cell presented in church-bell style, by the harps at the beginning. The setting of the first four lines of DEUS, DEUS MEUS (psalm 63, verses 1-8) were especially requested, in Latin, by his Eminence. But inspired by the beauty of its English translation I couldn't resist setting more of it, interweaving with the Latin. Like the GLORIA, the SANCTUS & BENDICTUS is bell-like but this time in a more wild and abandoned way, with very obvious "word-painting". The MEMORIAL ACCLAMATION & AMEN had to be directly related to the SANCTUS & BENEDICTUS and short, for practical reasons. The AGNUS DEI starts wearily, with the "Lamb of God" melody from the GLORIA and a chant that continues throughout most of the movement. There is a sense of discomfort as we contemplate what Jesus had to suffer for our sins. But as we come to the end of this journey, a sense of arrival and relief greets us to "Grant us peace". RP

to Westminster Cathedral Choir & Cardinal Basil Hume on his 75th Birthday

Westminster Mass for Soprano, mixed choir, tubular bells, harp & organ (1997)

Roxanna Panufnik (* 1968)

1. Kyrie

  mf Soprano 1         



 

                  



 



 



 

Adagio (q = 56)

ri - e e - le

i - son,

Alto 1

Tenor 1

Bass 1

Soprano 2

   mp

   

i - son,





 





 





 

("ei...")

      





mp



 

  



 

   

 Bass 2  

 

("y...")



("e...")



                  mf

 

Piano (for rehearsal only)

 

("lei...")

("Ky...")

Tenor 2

("y...")

Alto 2

ri - e e - le

 



molto pedale



 

  mp S1      6

    

 



 



    

    

 



    

 

("Chris...")



 

 

 



  



 

le -



 i

le -



le -















("e...")









("i...")



le -













    





ste

e - le

ste

 



    

e - le



e -





i - son



e -

           mf



e -

i - son

Pno.

 



  

("e...")

mf                  Chris



    B2   p





mf                   Chris





    



("ei...")

("i...")

     



 S1 

Grave (q = 52)







son,





son,









 

  

      

  

     

  





 

Lord,

have

mer - cy,





Lord,

have





Lord,

have



 

 







 



 



 





 



 



 









   le 

Lord,

 











le - i -





le - i - son,

have

 

   son,

 

Lord,

mer - cy,

son,



 

son,





- i -



Lord,





son,





le - i -

   

have







     

mer - cy

 

Lord, have

      

   

     

have mer - cy

Lord, have



have

         

son,

         

         

Lord,



Lord,



Lord, have

  

  mer - cy

Lord, have

 





 



 



 



 



 



 

Pno.





  cresc.   S1  

     

mer - cy,

mer

      mer

 



        



 

 

  

 

cy,

Christ,



 

 



  

mer

    mer





cy,



cresc.

   

cresc.

 

cy,



mer - cy,



Christ,





  



Christ,

    

have

mer- cy,

Lord,

have





   



            





 



Christ, have

- have

    

 







Christ, have

Christ,

Lord,

Christ, have

 

 

Lord,

   







have mer - cy,

  





Christ, have mer - cy.

cresc.



Christ, have mer - cy,



Christ, have

Christ, have mer - cy,

cy,

cresc.



      cresc.

  

mer - cy,

mer cy,

- have

   

mer

cy,

   

mer

cy,



  mer





 

Lord,

have

mer- cy,

cy,

    Lord,

have

    mer -

cy,

     

        

    



mer - cy,

have mer

Lord,

mer - cy,

   

have

Lord,



  mer

cy,

 



 



 



 



Pno.

cy,

2. Gloria The Angelic Hymn

Gently q = 60 (impulsively, like church bells)

      

        p

(mp)

Piano

SW            molto pedale

 



       

  p

          3

           





  3

   





  



S1&2

    A1&2

   

T1&2

B1&2

Pno.





cresc. 3



Glo - ry

   mp cresc.

   Glo - ry



 

God mf

   



glo - ry, glo - ry,

    

 

   

    

 

   

Glo - ry cresc.

Glo - ry

God, mf

God,

glo - ry,



mf      





 

   

 in

the

    the

 high

- est,

 high

    the



high



 - est, mp

     est,

and



glo - ry, glo - ry,



Glo



glo - ry, glo - ry,



Glo

               

glo - ry,





  in



God

 

mp cresc.

 God

    

 



the

high

- est,

 





the

 

        



  



high

     



- est,

   

  10



mp cresc.

 



and

S1&2

peace to his peo - ple

Pno.











mp cresc.

peace, mf





peace







  

 

 





          

*) mp



God,

*) mp

  



Lord

God,

  

peace,

      

   

Hea - ven - ly King,



  

Hea - ven - ly King,

cresc.

al - migh -ty

God and

   

  



       





God and

    

  3



   

(RH)



      

  

 



  



 



      

al - migh -ty



(hum)

              

       3



 



 

 

     

  

peace,

   

 

(hum)

    



Pno.

  



  





 

(hum)



cresc.

 

 

peace,

mp cresc. mf

  



peace - , peace,

   



 

   







  

Lord

A1&2

and

S1&2

cresc.

and

 







earth

Pno.

peace,





B1&2

peace,

 





 

T1&2



and

      

A1&2



mp cresc.







p sub.





 3

       

     



 

ther

          

cresc.

 

           

and

ther

and

  

     

Fa - ther,

  

Hea - ven -

    

 

          

 

 

3 3

Hea - ven -

        

  

      

  

S1&2

King.

Lord

T1&2

   

Lord



God,

   



wor -ship you,

   

King,

 

Hea ven - ly

        

wor - ship you,

   

 

King,

   

  



give



   

        3



    

3 3

Pno.

      



ther

cresc.

 

ther

cresc.



you cresc.

 

you

We praise



     

you thanks,



and

We praise

  

 

 

cresc.

   

you thanks,

       



God





give

God and

al -migh -ty





al -migh -ty

  

  

  

Hea ven - ly

  



mp        We

 B1&2     

King.



God,

A1&2





   cresc.

        

  mp           26

S1&2

and hea-ven - ly

Fa - ther,



 



  mf



Glo - ry



God, mp

A1&2

        and hea -ven - ly

T1&2

     for your glo

     B1&2        for your glo

  Pno.



Fa - ther,

 -







ry.

       

 





Glo - ry











Glo - ry

ry.

         3





God,





Glo

Glo - ry

glo

Glo

ry,









 3



                                    

          3

   

  

(spread all large chords, where necessary)

  



S1&2





the







the





A1&2

 

T1&2

B1&2



 glo





ry,

glo





ry,

glo



God

the



God

  to

 the

                                   (LH?)     

Pno.

  



 

  



S1&2

31   

high

 

A1&2

high

   high

T1&2

B1&2

Pno.







high

 -



 

  

and

 

est,

and



       

peace to his peo -ple on





peace,

  mp

and mp





 

    

 

   peace,

     

peace,



and

peace, peace

 

est,



peace, peace,



earth.





est,

              



est,

 -

 

          

  

   



 

3. Deus, deus meus   mp       Freely

Treble or Soprano

De - us, De - us,

Soprano 1

Piano



 Tr./S. 

   





   

 



     



      ad

      te

ad p

  ce

      de

      ad

 Piano

      

B1&2

ad p

  



                             

  

 

   

 



 

  

   



 



De - us





  

  

O God, O

God, you are 2

  





vi - gi - lo.



 



vi - gi - lo. 2

 

 

vi - gi - lo. 2

  

For

you





 



vi - gi - lo. 2

   



   I



long;





vi - gi - lo. 2

 



vi - gi - lo.







vi - gi - lo.





             2

 





    

  

 

2   





    



 port.



God



 

 

Si - ti -

 



 

vit in



 

vit in







soul

  



soul



 My

soul





soul





soul



soul

      

 p



    

Si - ti -





    



me - us

     





   





De - us p



me - us

vi - gi - lo. 2

tu;

          

ad p

Adagio (e = 76)



 



         

De - us me - us es

 



  

Alto 1



 

port.           



  

 

 Tr./S.     

  is

  is

  is

    is    is

 B1&2   is

 

Piano

ni - ma

 





thirs - ting

for

you.

 



thirs - ting

for

 



thirs - ting

 thirs

for



- ting

 thirs



- ting

 thirs -

 ting

me - a,









you.

 

you.

 



you.

  2

   

 



 

cresc.

    de - si - de - ra

- vit

   

 

de - si - de - ra

- vit

 

   

 

de - si - de - ra

- vit

 

   

 

de - si - de - ra

- vit

   

 

de - si - de - ra

- vit



you.

- vit

   



  

 

you.





- vit



      2



   2



cresc.

 

de - si - de - ra



  

 

    

de - si - de - ra

   

         



  2

    

     a



            (p)



- dy

pines

 for

 

    ca

cresc.

 ca

cresc.

 ca

cresc.

 ca

cresc.

 ca

cresc.



cresc.

 



 



 

ro -

 





 2

 

     

  

   

cresc.



 -



 -



 -

 



cresc.



  

     

   Tr./S.   14

 

you

  

 















     

  2    me - a,

     



me - a,

  

me - a,

   

me - a,

2      me - a,

 B1&2   







Piano

2          

    

  2



pines

for

   My

  



 



  dy

 

you

port.

   

pines

for

port.

 bo



you

    dy

pines

   My



land

with -out

wa - ter, like a

dry, wea - ry

land

 





 



 





  



       pp



 



 





            

me - a,

  

port.



like a dry, wea - ry

  

    

            

like a dry, wea - ry

  



me - a,

   

  



  

     

for

  dy

port.

 

with - out

port.

 

with - out

            

            



    

4. Sanctus & Benedictus

  Soprano 1&2  



 



  



Very bright, but steady...

Alto 1&2

Tenor 1&2





  





Bass 1&2

Piano



(q. = 96) mp





ly,



ly,









ly,





Ho mp





  





ly,

ho - ly Lord,

 ly,



  

 

ho - ly Lord,

                                        mp

                                    



  S1&2.   7

God

A1&2.

 

God

     

of pow - er and

might,

God

     



   mf

 

   

     cresc.

   

 ly,





ly,







ly,





ly,





mf      

might,



cresc.

of pow - er and

       Ho

        God of pow - er and might,

  B1&2.  

Pno.

might,

cresc.

T1&2.

 

cresc.

 







                    

 



ly,



    



ly,

                      

       

                 







A1&2.

B1&2.





   -

ly Lord,

  

 



 

ly Lord,

          

 

cresc.

God

pow - er



 

cresc.

God

   ho

T1&2.





pow - er

    

of pow - er and

 

     

might,

        



  

   

    

    

might,

    might

might





    might

might

cresc.

of pow - er and

might

       

         

 

        

   

cresc.

     

and



Pno.



and pow - er

    

might

cresc.

           

      

and

     

God

and pow - er

   



 S1&2. 

  S1&2.   17

 

A1&2.

T1&2.

B1&2.



    

    

 



  

 



  

 



    

 



might,

         

-ly

 



 



   

   

  

 

   

  



  

   

     

              

              Pno.

  



mp a.2.

             

      



God of po -wer and might,





 

dim.





 mp

 

   

   

  

 

   S1&2.     22

A1&2.

T1.

T2.

B1.

 -

  

 

 





  



 



 



 



  

  

    









 

 

   



pow - er

and

might,



    mp



    Lord





God

might,







  

























might,

               pow - er and pow - er and pow - er and pow - er and   cresc.             

 



might,



pow - er and pow - er and

and



pow - er and pow - er and cresc.



Lord

  

pow - er

 

                  

 B2.  

God

cresc.

Pno.

 

might mf

cresc.

B1.

 





pow - er and pow - er and

T2.

 

Lord cresc.

T1.

  



  a.2. S1&2.  

A1&2.



 B2.   

Pno.

 

   



 

 

 

  

   



- ly

  



pow - er and pow - er and





might, mf

might,



might,

   mf

   





   

 

                        

     

5. Memorial Acclamation

(Dying you destroyed our death)

  Soprano 1  

Adagio (q = 60)

Soprano 2

Alto 1

Alto 2



  Dy - ing,

 



 



 



 

Dy - ing,

 

 

Tenor 1



 



 Bass 2  



Tenor 2

Bass 1

      Piano

     

cresc.

dy -ing you de - stroyed



cresc.         

 

Dy - ing,



 



   

 

      

 

cresc.      

       

 



   

 

 

   

 



 

cresc.      

   

cresc.       

death,

our



death,

  

dy -ing you de - stroyed



 

  

 

our

dy -ing you de - stroyed

      

death,

cresc.

cresc.   mp       

 

our

         mp

   

our

dy -ing you de - stroyed

Dy - ing,

  

cresc.

         p

dy -ing you de stroyed

Dy - ing,



 

our

         

our

death,

  



 

  

  



 

de - stroyed our

mp cresc.

death,

de -stroyed our

death,

Ri - sing,

cresc.

Ri - sing,

cresc.

  

mp cresc.

cresc.

  

dy -ing you de - stroyed

Dy - ing,

  

cresc.  mp p         

Ri - sing, cresc.

Ri - sing,

cresc.

Ri - sing,

  

 

 

 



 



 



 

  

 

 

 



 



 



  





 

6. Amen

  S1.   20

(q. = 104)

A1.

 

A2.

  



 

S2.

 



molto pedale

f   T1.   A

    A

   A



B2.

 



  f

 





 

 

men,



men,

 

men,



 

men,

     

     

        



men,



 

men,



men,



 

men,





   

 

  

B1.



     

T2.





        

Pno.

 







 

  -

men.

 -

men.

  -

men.

 

men.

   

     

  -

men.

  -

men.

 -

men.

  -

men.













Pno.

 









7. Agnus Dei    Soprano 1&2  

Wearily

(e = 90)



(hum)





  

molto pedale

  p S1&2.   9

Lamb

A1&2.

Pno.



  

     pp   

   of



(bend)     

   

          



          

 

(bend)

   

   

  p

 



Lamb

God.

  (bend)   

   



        

God,



       



take

  

   

  

Lamb

 

     pp



the

God,

Lamb

sins

    



  



         

 

the

world:



     

   



     





 

Lamb

God,



 



Lamb



                   







God,





  

  

 



 



 

       

 



(hum)

2  

 



   Pno.

 



A1&2.

a - way





 S1&2.   p

   



     

you

God.

 



       

p    

(hum)

 



 

     

  Bass 1&2  

Piano

 

     p

   

Tenor 1&2

  Lamb

  

Alto 1&2



 

you

God,

 

   S1&2.   16

take

B1&2.

  



Pno.

- way

 

Lamb

T1&2.



 

A1&2.

   

the

sins

God,



Lamb

take

the

 



world:



God,

Lamb of 2

way

take



Lamb



God,

Lamb

 

way



God,

 

you



God,

     

  

take

a - way



 

 

  

    

  -

 



  



 





 

    

sins of the world:

 





sins of

the

world:

a -

                                                                                          

  S1&2.   20

take

A1&2.

  

a - way

 

 

Lamb

T1&2.

   way

  B1&2. 

sins

Pno.

   

of 2

 of



cresc.

God,

 



 

the

world:

  

Lamb

   

take



a - way

cresc.

    



a -

  have

God,

  

      

the world:



sins

Lamb

cresc.

               

the



cresc.

of 2



way

    





sins of the world:

sins



God,

 



 



the world:

 

 

dim.



mer - cy,

mer -

 



dim.

 



have

 

have



mer - cy,



mer - cy,



mer - cy,



mer -

dim.  mer -

                    dim. mp cresc. cresc.                                  

  S1&2.    24

cy,

 

A1&2.

 

B1&2.





mer

- cy,



cy,

T1&2.



mer







mer

cy,



mer

 

port. mp

 

mer

port.





mer





 

Lamb

cy.

mp 

cy.



you

 

God,

you

  

Lamb



 

God,

Lamb

 

you

  

cy.

God,



 

 

  







 

God,

you

 

             

          

 p                     

Pno.

Lamb

cy.

port. mp

- cy,

  



 

 

mer

- cy,



 



- cy,



cy,

port. mp









 





  S1&2.  28



A1&2.

T1&2.

B1&2.



  

     take

take

     take



    

   Pno.

      

    



way



way



way

 -

way

 

 



the

sins

 

 



the

sins

 

 



the

sins

 

 



the

 

  

the

 







 





world:



 

the



have

    

 

the

    

have

    

 

the

           

world:

 2

    

 



of 2

sins

 



world:

have

    

have

   

   

 



  



cresc.

     mer - cy on

us,

cresc.

     mer - cy on

us,

cresc.

     mer - cy on

us,

 cresc.     mer - cy on

us,

     

  

cresc.

 

          2

Westminster Mass

Roxanna Panufnik (b. 1968) studied at the Royal Academy of Music, and has written opera, ballet, music theatre, choral, chamber and film music. Key works include Westminster Mass, written for Westminster Cathedral Choir to mark Cardinal Hume’s 75th birthday, and settings of Vikram Seth’s Beastly Tales, commissioned by the BBC for Patricia Rozario and the City of London Sinfonia; harp concerto Powers & Dominions; violin concerto Abraham – for Daniel Hope – which exists also as an overture for the World Orchestra for Peace, premiered in Jerusalem under Valery Gergiev; Schola Missa de Angelis (choir of London Oratory School and brass octet); and The Generation of Love, a Shakespeare sonnet cycle (Mark Padmore, Richard Watkins, Julius Drake).

Panufnik

Roxanna Panufnik

Roxanna Panufnik ( *1968) studierte an der Royal Academy of Music und schuf Kompositionen für Oper, Ballett und Musiktheater sowie Chor-, Kammer- und Filmmusik. Zu ihren wichtigsten Werken gehören: die Westminster Mass für den Westminster Cathedral Choir, entstanden zum 75. Geburtstag des Londoner Erzbischofs Kardinal Hume; Vertonungen nach Vikram Seths Beastly Tales für Patricia Rozario und die City of London Sinfonia, ein Auftragswerk der BBC; das Harfenkonzert Powers & Dominions; das Violinkonzert Abraham für Daniel Hope, das auch als Ouvertüre für das World Orchestra for Peace existiert und in dieser Form unter Valery Gergiev in Jerusalem uraufgeführt wurde; Schola Missa de Angelis (Chor der London Oratory School und Blechbläseroktett) sowie The Generation of Love, ein Zyklus von Shakespeare-Sonetten (Mark Padmore, Richard Watkins, Julius Drake).

Edition Peters 71959

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