IN PARADISUM

In Paradisum

(2 0 1 1)

for Solo G uitar Com missione d by Ian O Sullivan

Michae l-Th o mas F oumai

In Paradisum f o r S ol o G uit a r

Pro g ram Notes In Pa ra dis um ( E n glis h ‒ Into Para di se) w a s c o m mis sio n ed by g uita rist Ia n O S ulliv a n . T h e w ork is ins pi red by a n a nti ph o n f ro m L ati n liturg y o f t he Rom a n Cat h olic Req uiem Mass .

Text In pa ra dis um ded uc a n t te Angeli ; in t uo a d ven t u s us c i pia nt te ma rt y res , et perd uc a n t te in civit atem s a n ct a m Ierus alem .

Ch o rus a n gel orum te s us ci pi at , et c um L aza ro q uo n d a m pa upere ĂŚtern a m h a bea s req uiem .

T ra n slatio n May a n gel s lea d y o u i nt o pa ra dise; upo n y o ur a rri v al , m a y t he m a rt y rs recei ve y o u a n d lea d y o u t o the h ol y cit y o f J er us alem .

May t he ra nks o f a n gels recei ve y o u, a n d wit h L aza rus , the po o r m a n , m a y y o u h a v e etern al rest .

D uratio n : 5:00 w w w . mi c h ael f o um ai . c o m

for Ian O'Sullivan, guitar

IN PARADISUM for Solo Guitar MICHAEL-THOMAS FOUMAI Andante, religiously q = 60

      

    

    

mf semplice

            

6

     

                           

   

f

dim.

(e=e)  10                              

         

mf

 

     

p

 

             mp

           

           f

                                     



    

15

        

sub. f

poco rit.

 (x=x)                                                   

19

A tempo 22

      

 3                     più f dim.

   

mp

                3

mf

  

3

              3

25

f

3

p

3                              

 

molto espress.

f più

dim.

"poco vibrato"

          

  29                                              3

mp dolce

33







        

   

 



     

mf

poco accel.

p

                   

Più mosso

                                                                            f  più f





37

                    





      



                        

42

 

p

                                              

49

mf

         

          

f

                                                cresc. poco rit.    Slow 59                                                     p  mp p pp  55







 ff