Harbison BUT MARY STOOD

John Harbison

BUT MARY STOOD Sacred Symphony for Soprano (or Mezzo) Six Voice Chorus and Strings (single or small Orchestra)

Full Score

From the Rental Library of G. Schirmer, Inc. Date of printing:___________________

Associated Music Publishers, Inc. New York, NY

John Harbison

BUT MARY STOOD Prelude.....................................................................1 Strings

I. Charity Never Faileth.........................................6 SATB motet

II. Let Not Your Heart Be Troubled.....................16 SATB motet

III. But Mary Stood.................................................26 Solo soprano, chorus, and strings

commissioned by the Cantata Singers and Ensemble in honor of David Rockefeller, Jr. David Hoose, Music Director Boston, Massachusetts 2006 First performance: Sunday, 19 March, 2006 by the Cantata Singers, David Hoose, conductor duration ca. 19 minutes

Associated Music Publishers, Inc. New York, NY

Program Note But Mary Stood (2005) was commissioned by the Cantata Singers in honor of David Rockefeller, Jr. It begins with a Prelude for string orchestra, actually composed last. It is a summary of many of the musical questions posed in the other movements.

Next come two choral motets, both resulting from requests from important women in my life: my mother-inlaw, Alice Pedersen, and my mother, Janet Penfield. These women were both political activists and religious seekers.

They asked me (many years ago) to memorialize them with settings of their favorite scriptural passages.

The word “Charity” frames the text from Corinthians and is set as a symmetrical musical emblem, held by forces from above and below. More ambiguous harmonies describe various states of incomplete knowledge.

In Let Not Your Heart Be Troubled the aural picture contrasts the idea of the Consoled, remaining behind, with Christ in His upward journey.

Much of this music was composed while working with the Cantata Singers on Bach’s St. John Passion. There, at the moment of Jesus’ death, the two Marys move to the center of the stage. Jesus’ words to John, “Behold your mother,” ignited the power of the anima in the prayers and iconography of early Christianity.

Mary Magdalene, her presence both contrasting and complementary to Jesus’ mother, is the first to see that the tomb is empty, the first to meet the risen Christ, the first to report it. (“Do not touch me,” says Christ in the King James version. “Cease clinging to me,” is the 1976 translation by the Catholic Council.) John, the last gospel writer, responds to the longing for the Eternal Feminine: compassion, approachability, and sensuality.

My concluding movement, But Mary Stood, for soprano, double choir, and string orchestra, proposes the soloist as both Narrator and Mary, the double choir as Jesus. These three characters each have their own vocabulary, family related. The setting envisions a Mary Magdalene who was the true intimate of Jesus, who understood, intellectually and intuitively, his purpose on earth.

In composing a piece to honor longtime Cantata Singers leader and colleague David Rockefeller, Jr. I resolved to make something that would live close to the center of the themes typically associated with the Cantata Singers. All of us who have been involved with this organization have been grateful for the places the subject matter has taken us. This was at the heart of David’s devotion to the group, and I feel privileged to be able to add to our common legacy.

– John Harbison

Chorus Sop., M-Sop. Ten.

Chorus Alto, Bar., Bass Contrabass Violoncello

Viola

Violin I Soloist

Violin II Conductor

Texts: Charity Never Faileth (1 Corinthians 13: 8-13 [KJV])

But Mary Stood (John 20: 11-18 [KJV])

Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away.

For we know in part, and we prophesy in part.

But when that which is perfect is come, then that which is in part shall be done away.

When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things.

For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known.

And now abideth faith, hope, charity, these three; but the greatest of these is charity.

Let Not Your Heart be Troubled (John 14: 1-4 [KJV]) Let not your heart be troubled: ye believe in God, believe also in me.

But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre, And seeth two angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain.

And they say unto her, Woman, why weepest thou?

She saith unto them, Because they have taken away my LORD, and I know not where they have laid him.

And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus.

Jesus saith unto her, Woman, why weepest thou? whom seekest thou? She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away.

Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say, Master.

In my Father's house are many mansions: if it were not so, I would have told you. I go to prepare a place for you.

Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God.

And if I go and prepare a place for you, I will come again, and receive you unto myself; that where I am, there ye may be also.

Mary Magdalene came and told the disciples that she had seen the LORD, and that he had spoken these things unto her.

And whither I go ye know, and the way ye know.

to David Rockefeller,Jr., in friendship

BUT MARY STOOD John Harbison

Prelude Andante, semplice

= 60

1 solo

I Violin 1 solo II

Viola 1 solo Violoncello

Contrabass

6

1 solo tutti

I Vn. tutti

1 solo

II

Va. 1 solo tutti Vc.

Cb.

Copyright Š 2006 by Associated Music Publishers, Inc. (BMI) New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by federal law and subject to criminal prosecution.

2

11

tutti

’

I Vn.

’

tutti

II

’ Va.

’

tutti

Vc.

’ Cb.

17

1 solo

I Vn.

1 solo

II

Va. 1 solo

Vc.

Cb.

23

tutti

I Vn.

tutti

II

Va. tutti Vc.

Cb.

3

1 solo

29

tutti

5

5

5

I 3

Vn.

1 solo

II pizz.

Va.

Vc. pizz.

Cb.

34 I

3

Vn.

3

tutti

3

arco Va. cresc.

Vc. cresc. arco Cb. cresc.

cedendo

a tempo

’

I Vn.

’

II

’ Va.

’ Vc.

’ Cb.

3

3

3

3

3

3

II

39

3

4 45 I 3

Vn. II 3

Va. 3

in fuori Vc. arco pizz.

Cb.

cedendo

51 I

3

3

3

3

3

3

3

3

legato

Vn. II

legato

Va. 3

Vc.

Cb.

a tempo 57

1 solo

I Vn.

1 solo

II

Va. 1 solo Vc.

Cb.

5 tutti 62 I Vn.

tutti

II

Va. tutti

Vc.

Cb.

66 I Vn. II

Va.

Vc.

Cb.

71

1 solo

I Vn.

1 solo

II

Va. 1 solo Vc.

Cb.

6

to Alice Pedersen

I. Charity Never Faileth Tempo giusto

= 63–69

Soprano Cha

ri

ty

ne

ver

fail

eth:

but whe ther there be

Cha

ri

ty

ne

ver

fail

eth:

but whe ther there be

Cha

ri

ty

ne

ver

fail

eth:

but whe ther there be

Cha

ri

ty

ne

ver

fail

eth:

but whe ther there be

Alto

Tenor 8

Bass

Tempo giusto

= 63–69

Piano (for rehearsal only)

7 S pro

phe cies,

they

shall

fail;

whe ther there be

tongues,

pro

phe cies,

they

shall

fail;

whe ther there be

tongues,

pro

phe cies,

they

shall

fail;

whe ther there be

tongues,

pro

phe cies,

they

shall

fail;

whe ther there be

tongues,

A

T 8

B

Pno.

7

12 S they

shall

cease;

whe ther there be know ledge,

it

shall

they

shall

cease;

whe ther there be know ledge,

it

shall

they

shall

cease;

whe ther there be know ledge,

it

shall

they

shall

cease;

whe ther there be know ledge,

it

shall

A

T 8

B

Pno.

17 S va nish a way.

For we

know in

part,

and we pro phe

sy

in

A va nish a way.

For we know

in part,

and we pro phe sy

T 8

va nish a way.

For we

know in

part,

and we pro phe

sy

in

B va nish a way.

Pno.

For we know

in part,

and we pro phe sy

8

22 S part,

For we know

in part,

and we pro phe sy

in part.

A in part,

For we

know in

part,

and we pro phe

sy

in

part.

T 8

part,

For we know

in part,

and we pro phe sy

in part.

B in part,

For we

know in

part,

and we pro phe

sy

in

part.

Pno.

27

cresc.

dim.

S But when that

which is per fect

is

come,

then that

which is

in

part

shall

cresc.

be dim.

A But when that

which is per fect

is

come,

then that

which is

in

part

shall

be

cresc.

T 8

But when that

which is

per fect

is

come,

then that

which is

in part shall

then that

which is

in part shall

cresc.

B But when that

Pno.

which is

per fect

is

come,

9

33

(dim.)

staccato

S done a

way,

a

way.

When I was a child,

(dim.)

staccato

A done a

way,

a

When I was a child,

way.

dim.

I

staccato

T 8

be done a

way,

a

way.

When I was a child,

dim.

I staccato

B be done a

way,

a

When I was a child,

way.

Pno.

38 S I spake as a child,

I

un der stood as a

child,

A spake as a child,

I

un der stood as a

child,

I

spake as a child,

I

un der stood as a

child,

I

T 8

B I spake as a child,

Pno.

I

un der stood as a

child,

10

42 S I thought as a child: but when I be came a man,

I

but when I be came a man,

I

A thought as a child:

T 8

thought as a child:

but when I be came a man,

B I thought as a child:

but when I be came a man,

Pno.

46

cresc.

S put a way,

I

put a way,

I

put a way

child

ish

I put a way, cresc.

I

put a way

child

ish

cresc.

A put a way,

T 8

I put a way,

I put a way,

I put a way child

ish things,

I put a way,

I put a way child

ish things,

cresc.

B I put a way,

Pno.

11

50 S things,

child ish things,

child ish things.

things,

child ish things,

child ish things.

For

now

we

For

now

we

A For

now

T 8

child ish things,

child

ish things.

child ish things,

child

ish things.

B For

now

Pno.

56 S see

through a

glass,

dark

ly,

For

A we

see

through a

glass,

dark

ly,

For

now

T 8

see

through a

glass,

dark

ly,

For

B we

Pno.

see

through a

glass,

dark

ly,

For

now

12

62

dim.

S now

we see

through

a

dark

glass,

ly,

but

dim.

A we

see

through a glass,

dark

ly,

but

dim.

T 8

now

we see

through

a

dark

glass,

ly,

but

dim.

B we

through a glass,

see

dark

Pno.

68 S then

face

to

face,

face

to

face:

then

face

to

face,

face

to

face:

then

face

to

face,

face

to

face:

then

face

to

face,

face

to

face:

A

T 8

B

Pno.

ly,

but

13

74 S Now I

know

in

part,

now I know

in part;

but then

shall I

part;

but then

shall I

A Now I know

in part,

Now I

know

in

T 8

Now I

know

in

part,

now I know

in part;

but

then

part;

but

then

B Now I know

in part,

Now I

know

in

Pno.

79

dolce

cresc.

S know

e

as

ven

al

so

I

am

known,

as

al

so

al

so

dolce

cresc.

A know

e

as

ven

al

so

I

am

known,

as

cresc.

dolce

T 8

shall I know

e

ven

as

al

so

I

am

known,

cresc.

as

al

dolce

B shall I know

Pno.

e

ven

as

al

so

I

am

known,

as

al

14

84 S I

am

known.

And

now

a

bi deth,

I

am

known.

And

now

a

bi deth,

so

I

am

known.

And

now

a

bi deth,

so

I

am

known.

And

now

a

bi deth,

A

T 8

B

Pno.

89 S faith

hope

cha

ri ty,

A and now

a

bi deth

faith

hope

cha

ri ty,

and now

a

bi deth

faith

hope

cha

ri ty,

cha

ri ty,

T 8

B faith

Pno.

hope

15

95 S these,

these

three;

but

the

great

est

these,

these

three;

but

the

great

est

these,

these

three;

but

the

great

est

these,

these

three;

but

the

great

est

A

T 8

B

Pno.

101

rit.

dim.

dim.

lunga

S of

these

dim.

is

rit.

cha

ri

ty. lunga

dim.

A of

these

dim.

is

rit.

cha

ri

ty. lunga

dim.

T 8

of

these

dim.

is

rit.

cha

ri

ty. lunga

dim.

B of

these

is

rit.

Pno.

cha

ri

ty. lunga

16 Janet Penfield in memoriam

II. Let Not Your Heart Be Troubled Poco allegro

= 72–80

non legato S 3

Let not non legato

your heart

be

trou bled,

Let

your heart

be

trou bled,

Let not non legato

your heart

be

trou bled,

Let

your heart

be

trou bled,

let

not

your

heart

let

not

your

heart

let

not

your

heart

let

not

your

heart

3

A not

non legato T 8

3

B 3

not

Poco allegro

= 72–80

3

Pno.

3

6

più legato

3

S be

trou bled.

3

You

be

lieve in

God,

più legato

A be

trou bled.

You

be lieve in

God, più legato

T 8

be

3

trou bled.

You

be

più legato B 3

be

trou bled.

3

Pno.

3

You

be lieve in

17

11

poco stacc.

S be lieve

al so poco stacc.

in

me,

be lieve

al so

in

me.

A be lieve

al so poco stacc.

in me,

be lieve

al

so

in me.

T 8

lieve in

God,

be lieve

al so poco stacc.

in

me,

be lieve

al so

in

B God,

be lieve

al

so

in me,

be lieve

al

so

Pno.

marcato

17

3

3

3

3

S In my

fa ther’s house,

in my

fa ther’s house

marcato 3

3

3

3

A In my fa ther’s house, marcato 3

in my fa ther’s house 3

3

T 8

me.

In my

3

fa ther’s house,

in my fa ther’s marcato

B in

3

me.

3

Pno.

3

3

3

3 3

3

3

3 3

3 3

3

In

18

21

, ma evidente; più legato

S are

ma ny man sions,

are ma ny

man sions,

are

ma ny man sions,

più legato 3

are

3

3

A ma

ny

man sions,

are

3

ma

ny

man sions,

più legato T 8

house

are

ma

ny

man

sions,

are

man

sions,

più legato

marc.

B 3

3

my fa ther’s house

are

ma

ny

man

sions,

in my

Pno.

3

3

26 3

S 3

marc.

3

3

3

In

my fa ther’s house

3

A marc.

3

In my

fa ther’s house,

in my fa ther’s house

3

3

3

T 8

in my fa ther’s house,

in my fa ther’s house più legato

B 3

3

fa ther’s house

in my

3

fa ther’s house

are 3

3

Pno.

3

3

3

3

3

3

3

3

3 3

3

19

30

pi첫 legato

accentato

S are

ma

ny

man

sions:

If

it

were

pi첫 legato A are

ma

ny

man

sions:

pi첫 legato 3

3

3

accentato

3

T 8

are

ny

ma

man

sions,

are

ma

ny

man sions:

If

B ma ny man

Pno.

sions,

3

are

ma ny

man sions,

are

ma ny

3

3

man sions:

3

35 S so,

not

I

would have

told

you.

A

T 8

it

were

not

so,

I

would

have

told

you.

accentato B If

Pno.

it

were

not

so,

I

would have

told

you.

20

41 S And if

I

go

and

A I

go

to

pre pare

a place

for

you.

And if

I

go

I

go

T 8

And if

B And if

I

go

and

Pno.

47

cresc.

S pre pare

a place

for

you,

and

if

I

go

and

cresc.

A and

pre pare

a place

for you,

and

if

I

go

cresc.

T 8

and pre pare

a

place,

and

if

and

if

I

go

cresc.

B pre

Pno.

pare

a

place,

I

go

and

21

53

dolce, chiaro

cresc.

S pre pare

a place

for

you,

I

will

come

a

gain,

dolce, chiaro

cresc.

A and

pre

pare

a

place

for you,

will

I

cresc.

T to pre

8

pare

a

place,

cresc.

dolce, chiaro

B pre

pare

a

place,

I

will

come

Pno.

59

pi첫 animato

S and re

ceive

you

un

to

my

self:

I

A come

a

gain,

and re

ceive

you

un

to

my

self:

dolce, chiaro T 8

I

will

come

a

gain,

and re

ceive

you

un

to

my

B a gain,

Pno.

and re ceive

you

un

to

my self,

re

ceive

you

self:

22

64 S will

come

a

gain

and

re

ceive

you

un

to

my

self;

pi첫 animato A I

will

come

a

gain

and

re

ceive

you

pi첫 animato T I

8

will

come

a

gain

and

re ceive

pi첫 animato B un

to

my

self:

I

come

will

a

gain

and

re

Pno.

69 S that

where

I

am

that

where

there

A un

to

my

self:

you

un

to

ceive

you

I

am

that

where

T 8

my

self:

un

to

I

am

that

where

B

Pno.

my

self:

I

23

75 S ye

may

be

al

so,

al

A there

ye

may

be

al

so.

T 8

there

ye

may

be

al

B am

there

ye

may

be

al

Pno.

81

A tempo, galleggiante

cedendo

S so.

And

whi ther I

go

cedendo A And

whi ther

I

go

cedendo T 8

so.

And

whi ther,

and

And

whi ther,

and

cedendo

B so.

cedendo

Pno.

A tempo, galleggiante

24

87 S ye

know,

and the

way

ye

know,

and the

way

A

( sempre) T 8

whi ther

I

go

know ye ( sempre)

B whi ther I

go

ye

know

Pno.

93

leggiero

S ye

know,

and the leggiero

A ye

know,

T 8

and the

way,

and the

way,

B

Pno.

and the

25

99 S way

ye

know,

and the

way

way

ye

know,

and the

way

A

leggiero T 8

and the

way

ye

know,

and the way

way

ye

know,

and the way

leggiero B and the

Pno.

105 rit.

dolce dim.

S

rit.

dim.

ye

know.

ye

know.

dolce

A

rit.

dim.

dolce

T 8

rit.

dim.

ye

know.

ye

know.

dolce

B

rit.

Pno.

26

III. But Mary Stood

Con moto

= 100

Con moto

= 100

Chorus I

Soprano

MezzoSoprano

Tenor 8

Chorus II

Alto

Baritone

Bass

Solo Soprano

I Violin II

Viola cresc.

Violoncello cresc.

Contrabass cresc.

27

7 S

M-S

T 8

A

Bar.

B

Solo Sop.

I Vn. II

Va.

Vc.

Cb.

28

13 S

M-S

T 8

A

Bar.

B

Solo Sop. But

I Vn. II

Va.

Vc.

Cb.

Ma

ry

stood

with

29

20 S

M-S

T 8

A

Bar.

B

legato cresc.

Solo Sop. out

I Vn. II

Va.

Vc.

Cb.

at the

se pul chre weep

dim.

30

27 S

M-S

T 8

A

Bar.

B

(dim.)

Solo Sop. ing:

I Vn. II

Va.

Vc.

Cb.

31

34 S

M-S

T 8

A

Bar.

B

Solo Sop.

I Vn.

non legato

dim.

II dim.

Va. dim.

Vc. dim.

Cb. dim.

32

41 S

M-S

T 8

A

Bar.

B

Solo Sop.

3

I 3

Vn. II

Va.

Vc.

Cb.

drammatico

3

3

3

3

33

46 S

M-S

T 8

A

Bar.

B

legato Solo Sop. and

I Vn. II

Va.

Vc.

Cb.

as

she wept,

34

52 S

M-S

T 8

A

Bar.

B

3

3

Solo Sop. she stooped down,

and looked

in

to the

se pul chre,

I Vn. II

Va. flautando Vc.

Cb.

3

35

59 S

M-S

T 8

A

Bar.

B

Solo Sop.

I Vn. II

Va. ord.

Vc.

Cb.

36

65 S

M-S

T 8

A

Bar.

B

Solo Sop. And

I Vn. II

Va.

Vc.

Cb.

seeth two

an gels

in white

sit ting,

the

one

at the

37

72 S

M-S

T 8

A

Bar.

B

legato Solo Sop. head, and the

I Vn. II

Va.

Vc.

Cb.

oth er

at the feet,

where the

bo dy

of

Je

sus

had

38

79 S

M-S

T 8

A

Bar.

B

Solo Sop. lain.

I Vn. II non legato Va.

Vc.

Cb.

39

86 S

M-S

T 8

A

Bar.

B

Solo Sop.

I Vn. II

Va.

Vc.

Cb.

40

92 S 1 solo M-S Wo

man

why

Wo

man

why

1 solo T 8

A

Bar.

B

chiaro Solo Sop. And they say un to

her

div.

I Vn. II

Va.

Vc. (actual pitch)

Cb.

41

99 S

M-S weep

est

thou?

weep

est

thou?

T 8

A

Bar.

B

Solo Sop.

unis.

I Vn. II

Va.

Vc.

Cb.

div.

drammatico

cresc.

42

105 S

M-S

T 8

A

Bar.

B

intenso Solo Sop. She saith un to

them,

Be cause

I Vn. unis.

II

Va.

pizz.

Vc. marc., sonoro pizz.

Cb. marc., sonoro

they have

43

110 S

M-S

T 8

A

Bar.

B

Solo Sop. ta ken

I Vn. II

Va.

Vc.

Cb.

a

way

my Lord,

44

114 S

M-S

T 8

A

Bar.

B

Solo Sop. and

I Vn. II

Va.

Vc.

Cb.

I

know

not

where

they

have laid

him,

45

119 S

M-S

T 8

A

Bar.

B

Solo Sop. And

I Vn. II

Va.

Vc.

Cb.

when she thus

had said,

46

124 S

M-S

T 8

A

Bar.

B

Solo Sop. she

I Vn. II

Va.

Vc.

Cb.

turned

her

self back,

and saw

Je

sus

stan

ding,

and

47

131 S

M-S

T 8

A

Bar.

B

Solo Sop. knew

I Vn. II

Va.

Vc.

Cb.

not

that it

was

Je

sus.

Je

sus

saith un

to

her,

48

137 S Wo tutti

man,

Wo

man,

why

Wo tutti

man,

Wo

man,

why

Wo

man,

Wo

man,

why

Wo

man,

Wo

man,

Wo

man,

Wo

man,

Wo

man,

Wo

man,

M-S

T 8

A

Bar.

B

Solo Sop.

I Vn.

div.

II

Va.

arco Vc. arco

div.

Cb. marc.

49

144 S weep

est thou?

weep

est thou?

weep

est thou?

M-S

T 8

cresc.

A why

weep

est

thou,

whom

seek cresc.

Bar. why

weep

est

thou,

whom

seek cresc.

B why

weep

est

thou,

whom

seek

Solo Sop.

I Vn. II

Va.

div.

Vc. cresc. unis.

Cb. cresc.

50

149

cresc.

S whom

seek

est thou?

cresc.

M-S whom

seek

est thou?

cresc.

T 8

whom

seek

est thou?

(cresc.)

A est thou? (cresc.)

Bar. est thou? (cresc.)

B est thou? chiaro Solo Sop. She,

I cresc.

Vn.

II cresc.

Va. cresc.

Vc. (cresc.)

Cb. (cresc.)

sup pos ing

51

154 S

M-S

T 8

A

Bar.

B

intenso Solo Sop. him to

be the

gard en er,

saith

un

to him,

Sir,

if

I Vn.

unis.

II

Va. unis., pizz.

Vc. marc., sonoro pizz.

Cb. marc., sonoro

52

159 S

M-S

T 8

A

Bar.

B

Solo Sop. thou

I Vn. II

Va.

Vc.

Cb.

have

borne

him

hence,

53

163 S

M-S

T 8

A

Bar.

B

Solo Sop. tell

me

where

thou

hast

laid

him,

I Vn.

cresc.

II cresc.

Va. cresc.

Vc. cresc.

Cb. cresc.

54

167 S

M-S

T 8

A

Bar.

B

Solo Sop. and I will take

I Vn.

(cresc.)

II (cresc.)

Va. (cresc.)

Vc. (cresc.)

Cb. (cresc.)

him

a

way,

55

171 S

M-S

T 8

A

Bar.

B

Solo Sop. Je sus saith un to

I Vn. II

Va.

Vc. arco Cb.

her,

56

176 S Ma

ry.

Ma

ry.

Ma

ry.

Ma

ry.

Ma

ry.

Ma

ry.

M-S

T 8

A

Bar.

B

Solo Sop. She

I Vn. II

Va.

arco Vc.

Cb.

57

182 S

M-S

T 8

A

Bar.

B

Solo Sop. turned

I Vn. II

Va.

Vc.

Cb.

her

self

and

said un

to

him,

Rab

bo

ni;

58

188 S

M-S

T 8

A

Bar.

B

Solo Sop. which is

I Vn. II

Va.

Vc.

Cb.

to

say,

Mas

ter,

59

Meno mosso

rit.

194

= 88

S Touch

me

not;

Touch

me

not;

Touch

me

not;

rit.

M-S

rit.

T 8

rit.

A Touch

me

not;

Touch

me

not;

Touch

me

not;

rit.

Bar.

rit.

B

Solo Sop. Je sus

saith un

to

rit.

her,

Meno mosso

= 88

div.

I Vn. II

Va.

Vc.

Cb.

div.

60

200 S for

I

am

not yet

as

cen

ded

for

I

am

not yet

as

cen

ded

for

I

am

not yet

as

cen

ded

M-S

T 8

A for

I

am

for

I

am

for

I

am

Bar.

B

Solo Sop.

I Vn.

unis.

II div.

Va.

Vc.

Cb.

61

206 S to

my

to

my

to

my

M-S

T 8

A not

yet

as

cen

ded

to

my

Fa

ther,

not

yet

as

cen

ded

to

my

Fa

ther,

not

yet

as

cen

ded

to

my

Fa

ther,

Bar.

B

Solo Sop.

I Vn.

div.

II unis.

Va.

Vc.

Cb.

62

212 S Fa

ther,

to

my

Fa

ther:

Fa

ther,

to

my

Fa

ther:

Fa

ther,

to

my

Fa

ther:

to

my

Fa

ther:

to

my

Fa

ther:

to

my

Fa

ther:

M-S

T 8

A

Bar.

B

Solo Sop.

I Vn. II

Va.

Vc.

Cb.

but

63

218 S go

to my breth

ren,

and

say un

to

them,

M-S but

go

to my breth

ren,

and

say un

to

them,

T 8

but

go

to my breth

ren,

A but

go

to my breth

ren,

and

say un

to

Bar. but

go

to my breth

go

to my breth

ren,

B but

Solo Sop.

I Vn. II

Va.

Vc.

Cb.

ren,

64

224 S

M-S

T 8

A them,

I

as

cend,

I

as

cend

I

as

cend,

I

as

cend

I

as

cend,

I

as

cend

Bar.

B

Solo Sop.

I Vn. II

Va.

Vc.

Cb.

unis.

65

231 S I

as

cend

un to my

Fa

ther,

un to my

I

as

cend

un to my

Fa

ther,

un to my

I

as

cend

un to my

Fa

ther,

un to my

M-S

T 8

A un to my

Fa

ther,

un to my

Fa

ther,

un to my

Fa

ther,

un to my

Fa

ther,

un to my

Fa

ther,

un to my

Fa

ther,

unis.

div.

div.

unis.

Bar.

B

Solo Sop.

(div.)

I Vn. div.

II

div.

Va.

Vc.

Cb.

unis.

66

237

cresc.

S Fa

ther,

and your

Fa

ther;

3

and to

3

my

God

and

your

God,

your

God,

your

God,

cresc.

3

M-S Fa

ther,

and your

Fa

ther;

and to

my

God

3

and cresc.

T 8

Fa

ther,

and your

Fa

ther;

3

and to

and your

Fa

ther;

and to

God

and cresc.

3

3

A

3

my

my

God,

and

your

God,

and your

cresc.

Bar. and your

Fa

ther;

3

and to

my

God,

3

and

your

God,

and your

cresc.

3

B and your

Fa

ther;

and to

my

God,

3

and

your

God,

Solo Sop.

3

I Vn. II

3

unis.

div.

3

3

3

3

unis.

cresc. div.

div.

cresc. unis.

Va. cresc.

Vc.

3

3

cresc.

3

3

Cb. cresc.

and your

67

rit.

Tempo I

= 100

Tempo I

= 100

243 (cresc.)

S and your

God.

rit. (cresc.)

M-S and your

God.

rit. (cresc.)

T and your

8

God.

rit. (cresc.)

A God.

rit. (cresc.)

Bar. God.

rit. (cresc.)

B God.

Solo Sop.

rit.

unis.

I Vn.

(cresc.)

II (cresc.)

Va. (cresc.)

Vc. (cresc.)

Cb. (cresc.)

unis.

68

249 S

M-S

T 8

A

Bar.

B

Solo Sop.

I Vn. II

Va.

Vc.

Cb.

5

5

6

69

255 S

M-S

T 8

A

Bar.

B

Solo Sop.

I

6

5

Vn. II sub.

Va. sub.

I Vc. sub. non legato Cb.

70

261 S

M-S

T 8

A

Bar.

B

Solo Sop.

I Vn. II

Va. pizz.

Vc. pizz.

*

IV

Cb. non legato *Harmonics sound as written.

I

71

267 S

M-S

T 8

A

Bar.

B

espr.

Solo Sop. Ma ry

I Vn. II

Va.

Vc.

Cb.

6

72

272 S

M-S

T 8

A

Bar.

B

Solo Sop. Mag

I Vn. II

Va.

Vc.

Cb.

da lene

came

and

told

the dis

ci ples

that

she

had

seen

73

278 S

M-S

T 8

A

Bar.

B

dolce Solo Sop. the

I Vn. II

Va.

Vc.

Cb.

Lord

and that

he

had

spo

ken

these

things

un

to

74

285 S

M-S

T 8

A

Bar.

B

Solo Sop. her.

I Vn. II

Va.

arco Vc.

arco Cb.

75

291

lunga

S

M-S

T 8

A

Bar.

B

lunga

Solo Sop.

lunga

I dim.

Vn. II dim.

Va. dim.

Vc. dim.

Cb.