Page 1

Mark Adamo

THE GOSPEL OF MARY MAGDALENE

FULL SCORE ACT II

From the G. Schirmer Rental Library Date of Printing_________

G. Schirmer, Inc. New York, NY


Mark Adamo

THE GOSPEL OF MARY MAGDALENE commissioned by San Francisco Opera David Gockley, General and Artistic Director

Adapted from the texts of, and research on, the Canonical and Gnostic Gospels

CONTENTS

ACT II Scene 1.........................................................................521 Scene 2.........................................................................570 First Interlude...............................................................607 Scene 3.........................................................................620 Scene 4.........................................................................641 Scene 5.........................................................................679 Second Interlude..........................................................704 Scene 6.........................................................................725 Scene 7.........................................................................738

G. Schirmer, Inc. New York, NY


When religion becomes artificial, it remains for art to salvage the true essence of religion by perceiving its mythical symbols—which religion would have us believe to be the literal truth—only according to their figurative value, in order to make us see their profound, hidden truth through idealised representation. Richard Wagner

Why is there still a continuing sense, ranging from unease to revulsion, that arises in us when we hear the suggestion that Jesus might have been married? I suggest that far more than any of us realize, we are subconsciously victimized by the historic negativity toward women that has been a major gift of the Christian church to the world. J. S. Spong, Born of a Woman

If the Savior considered her to be worthy, who are you to disregard her? The Gospel of Mary, 10:9


SYNOPSIS ACT ONE One Midnight. Mary’s apartment. Mary Magdalene—wealthy, needy, searching—is rejected by yet another married man in whom she wants to “lose herself to find herself:” whom she wants to “hold and never let go.” His vengeful wife Tamar storms Mary’s bedroom and drives her into the street, terrifying Mary into near-madness: she’s about to have Mary stoned when the driven, haunted preacher Yeshua (Jesus) interrupts. When Tamar accuses Mary of adultery, Yeshua asks Tamar if she, herself, isn’t living with another man? Caught out, Tamar stalks out: gently, but also somewhat patronizingly, Yeshua talks Mary down from her trauma. She defends her affair as part of her search for meaning: Yeshua, oddly vehement, tells her she’s mistaken to look for it in erotic love alone. Mary asks how she can reward him for rescuing her: he tells her to find him at the synagogue at Capernaum. Two The next day. The synagogue at Capernaum. Mary finds two other itinerant rabbis, as well as Yeshua, preaching. But he disgusts her—he’s all fire-and-brimstone, wanting to bring not peace, but a sword—except at the end of his lecture, when he utters a brief, inchoate message of renunciation so beautiful, and so reminiscent of what she wanted in the scene before, that she halts, transfixed. But a smooth Pharisee questions Yeshua’s credibility, hints he’s illegitimate. Yeshua’s mother Miriam, and his brothers, appearing, try to avert an impending fracas: but Yeshua eludes his family and flees, rejecting them with such fury it shocks Mary. Miriam, recognizing Mary from Yeshua’s description of her, warns her to stay away from her son before he ruins her life, claiming that while Yeshua preaches love, he doesn’t practice it. Mary counters that maybe the true Yeshua is the man who saved her, not the angry preacher she’s just seen: and maybe she can teach him something. Miriam, impressed, blesses her and leaves: Mary decides to try to join the group. Three Days later: a café. Peter, Yeshua’s principal disciple, tries to repel Mary as Miriam did: he affirms that Yeshua’s going to be a political leader and free the Jews from the Romans, not merely preach of personal salvation. Mary, determined, dangles before him an offer of the kind of financial support she knows the group needs. Peter demurs: but Yeshua entering, recognizes Mary, and offers her an audition of sorts—if Mary can hold her own in the fractious, all-male group of his followers, they’ll accept her. Unseen by them all, the two Police from the first scene, suspicious that Yeshua’s group may be plotting political rebellion, have recorded their every word. Continuous: the group’s safe room. Yeshua leads Mary into the group: over time—though she disagrees often with Yeshua on matters like divorce, and often dominates the discussion—she earns their welcome. Peter worries that Yeshua is falling in love with Mary, and that the more Yeshua listens to her, the less he’ll want to take on the Romans. He plots to banish her. Mary struggles not to fall in love with Yeshua. The Police disrupt a meeting of the followers with their report of John the Baptist’s murder. By subtly quoting Peter, they hint they know of the group’s subversive plans, and that Yeshua could be murdered next if they continue. Yeshua flees: Mary pursues him. Yeshua confides the anguish of his abandonment of John the Baptist, his mentor, whom he did not defend. Mary consoles him with the same gentleness he showed her when they first met. They kiss: and walk to Yeshua’s apartment. Four Dawn. Yeshua’s apartment. Waking after lovemaking, Mary finds Yeshua withdrawn. She claims her desire for him makes her neither wrong nor insincere about striving for something higher. He doesn’t respond. Feeling she’s ruined things, Mary makes to go: Yeshua asks her to stay. Five Cana. The night of their wedding. Miriam dresses Mary’s hair. It’s against tradition, but Mary, trailed by Miriam, impulsively goes to Yeshua’s quarters to see him. Yeshua is being toasted by his followers when a haggard Peter bursts in. Yeshua dismisses the other men. Outside, Mary overhears Peter telling Yeshua to reject Mary, quoting Yeshua’s own words to remind him that women aren’t worthy of a life like theirs. Yeshua placates Peter by claiming he’ll “make Mary male”—that she’ll become less female as she evolves spiritually. Mary wants to burst in: Miriam drags her away, claiming Yeshua’s cruelty is her (Miriam’s) fault. Mary demands to know why Miriam constantly takes the blame for her son’s actions. Miriam confesses that Yeshua was illegitimate: she’d gotten pregnant by someone else while engaged to Joseph, and Yeshua blames Miriam for their resulting life of shame. As Mary comforts Miriam, Yeshua’s followers bear him across the courtyard to begin the wedding. Mary and Miriam withdraw. The followers cue Mary, who doesn’t appear; after repeating their summons, Mary appears, dressed not as a bride but as a groom. Yeshua dismisses the party. Mary excoriates Yeshua for his treatment of Miriam and herself, claims she’s had enough. Yeshua protests that he needs her. Mary retorts that Yeshua needs Peter, who doesn’t accept her; she threatens that, unless Peter makes peace with her, she’s gone. Yeshua summons Peter, forces him to kneel to Mary. Yeshua and Mary marry.

ACT TWO One Day: A hillside. Yeshua, Mary, Miriam, Peter, The Two Police: a crowd. Yeshua, transformed by joy, teaches on a hillside. Now Yeshua dismisses the need for fasting or circumcision, claims God is for all nations, agrees that his forbears were right when they claimed “The only rule is to love your neighbor as yourself.” The crowd, energized, claims Yeshua as their political, as well as spiritual, Messiah: the Police attempt to quell them by leading the people in a hymn to the Emperor, but the people won’t be cowed, at which point the Police break up the rally by force. Peter spirits Yeshua, Mary, and Miriam to safety, and attempts to persuade Yeshua to accept the people’s coronation. Yeshua refuses: his movement is to remain spiritual, not political. Peter insists that saving souls can’t matter if people’s bodies are still enslaved: contends that if Yeshua wants to do what’s best for women, as well as for men, he’ll make sure that innocent girls like his mother will never be shamed by their oppressors again. Cornered, Mary reminds Yeshua of his promise never to abandon her, but Peter argues that if Mary truly loved Yeshua, wouldn’t she let him fulfill his mission? Mary threatens Yeshua that if he storms the Temple, she’ll not be here when he returns. Yeshua tells them both to leave him alone. Interlude The dark before dawn. A grove of olive trees. Yeshua prays. Peter has gathered the followers further down the hill: they wait for Yeshua to make a decision. Night falls. Yeshua decides; descends to them from his place in the grove; follows them back to the safe room. They are dressing and arming themselves for the Temple raid when Mary appears. She is dressed almost as a bride on her wedding night, and carries a tall alabaster jar. Two Dawn. The safe room. Yeshua dismisses the followers. Mary accepts that she must lose Yeshua, anoints him as a blessing. Three Months later: the morning of Yeshua’s execution outside of Jerusalem. As the Chorus intones passages from Zephaniah, Peter denies he knows Yeshua so as to elude suspicious questioners. Yeshua, trailed by Mary and Miriam, drags his cross to the Hill of Skulls. The two police render to an unseen superior their report of Yeshua’s ride into his arrest, torture under Herod, and crucifixion. Yeshua dies: Mary cradles his body.


Four Before sunrise, the next morning. The ruined safe room. Peter relives the guilt of denying Yeshua. Mary enters, consoling him the way she consoled Yeshua for abandoning John the Baptist. Peter warns her to flee: Mary reminds him she must anoint Yeshua for burial. Before she goes, Mary offers to make peace. Peter salutes her wisdom, but still withholds total reconciliation. Miriam, newly frail, her hair gone white, joins Mary: she scorns Peter for rejecting Mary. Mary restrains her. The women set out for Yeshua’s tomb. Interlude. On the way to the garden. The Chorus wonders what Mary will learn at the tomb. On their walk there, Miriam falls twice: Mary helps her to her feet. Five. Dawn. A green garden: in it, an elegant stone tomb, the stone blocking its opening rolled away. Mary warns Miriam that she may be too weak to manage the staircase to the crypt: Miriam tries, but falls a third time. Mary asks Miriam what she would tell the body of her son: Miriam says a final farewell, admits she still believes all this happened for a reason. Mary leaves Miriam at the top of the staircase leading to the crypt. Six. Inside the crypt: a pale stone bier bearing a shrouded corpse. Mary, distraught almost to madness, unwraps the head of the body on the bier, but doesn’t recognize it as Yeshua’s. Yeshua’s ghost appears behind Mary: she doesn’t see him. “Why are you weeping?” he asks. As in the Gospel of John (and The Song of Songs,) Mary, not turning, asks three times of the ghost, “Where have you taken him?” before he says her name, and she recognizes him. She moves to touch him: gently he tells her, “Let me go.” Mary cries that she did let him go, and look what’s happened: what was it for? Yeshua’s ghost tells her that she still has what she was looking for with him—that “something high, pure, strong.” Mary claims everything died with him: Yeshua reminds her that there’s still the story to tell, and Peter will only tell his version. Mary demurs, doubting her own strength; but Yeshua crowns her with his crown of thorns, charges her with telling their story, and reminds her that he will always be with her. Yeshua vanishes. Mary, crowned, makes her way to the stairs, atop which the waiting Miriam stands amazed; she climbs out of the tomb and into the morning light.

Leading Roles MIRIAM, soprano

Mother of YESHUA. Forty-five years of age. steely: haunted; possessed of a private grief.

MARY MAGDALENE, mezzo-soprano

Companion of YESHUA. Not yet thirty. joyous: worldly; yearning to transcend herself.

PETER, tenor

Follower of YESHUA, and younger than he. single-minded, visionary, but suspicious of women.

YESHUA, high baritone

Son of MIRIAM. Thirty. haunted, severe, yet longing for joy.

Supporting Roles PHARISEE, bass

Elder of the synagogue of Capernaum. attentive, witty, detached.

TWO POLICE, tenor, baritone

Agents of Herod Antipas. smooth, dry, watchful.

Solo Ensemble (combination roles) SOPRANO 1: SOPRANO 2: MEZZO-SOPRANO: TENOR 1: TENOR 2: BARITONE: BASS-BARITONE:

Seeker 1 and Girl 1 Seeker 2, Girl 2, and Tamar (vulgar, vengeful) Seeker 3 and Girl 3 Follower 1, Seeker 4, Preacher 1 (mystical), and Levi Follower 2 and Preacher 2 (wrathful) Follower 3, Simon (sympathetic but firm), and Onlooker (gleeful, jeering) Follower 4, Seeker 5, and Fishmonger (blunt, casual)

Chorus: SATB The audience

Supernumeraries JAMES and JOSES SQUAD OF POLICEMEN TWO EXECUTIONERS

Sons of Miriam. Young, strong, severe. ...who disperse the crowd at Yeshua’s second sermon. At Yeshua’s execution. Suspicious and shrewd.

The time is now. The place is Galilee, the first century C.E.


ROLES BY SCENE ACT ONE PROLEGOMENON.

SEEKERS, CHORUS.

SCENE 1.

TAMAR, MARY, PETER, TWO POLICE, YESHUA.

SCENE 2.

MIRIAM, THREE GIRLS, MARY, PREACHERS 1 & 2, TWO POLICE, PHARISEE, ONLOOKER, YESHUA, FISHMONGER, *JAMES, *JOSES.

SCENE 3.

MARY, PETER, TWO POLICE, YESHUA, FOLLOWERS, CHORUS.

SCENE 4.

MARY, YESHUA.

SCENE 5.

MIRIAM, MARY, PETER, YESHUA, FOLLOWERS, CHORUS.

ACT TWO SCENE 1.

MIRIAM, THREE GIRLS, MARY, PETER, PREACHERS 1 & 2, TWO POLICE, ONLOOKER, YESHUA, FISHMONGER, *A SQUAD OF POLICE, CHORUS.

SCENE 2.

*MIRIAM, MARY, PETER, YESHUA.

FIRST INTERLUDE.

*MARY, *PETER, *YESHUA, *FOLLOWERS.

SCENE 3.

MARY, *YESHUA.

SCENE 4.

*MIRIAM, *MARY, *SLAVE WOMAN, PETER, TWO POLICE, YESHUA, *ONLOOKERS, *TWO EXECUTIONERS, CHORUS.

SCENE 5.

MIRIAM, MARY, PETER.

SECOND INTERLUDE.

*MIRIAM, *MARY, CHORUS.

SCENE 6.

MIRIAM, MARY.

SCENE 7.

MARY, YESHUA.

* non-singing, either throughout or the given scene.


INSTRUMENTATION 3 Flutes (3rd doubling Piccolo) 3 Oboes (3rd doubling English Horn) 3 Clarinets in B-flat (3rd doubling Bass Clarinet) 3 Bassoons (3rd doubling Contrabassoon) 4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Percussion (3 players) Piano Harp Strings


ACT TWO SCENE 1

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521

(A crystalline autumn morning: a mountainside outside of Capernaum. Two peaks are visible in the distance; but we are on a plateau enclosed by a natural basalt amphitheatre. The CHORUS--invisible, as always, to the principals of the ancient story--are already in place on the perimeter as a CROWD files in. It includes, as well as YESHUA's FOLLOWERS, the audience of YESHUA's first sermon: the FISHMONGER, the THREE GIRLS, (as in Act One, not as Yeshua's FEMALE FOLLOWERS;) the TWO PREACHERS, and several ONLOOKERS. They sit, stand, sprawl, maybe picnic, as if awaiting the downbeat of an outdoor concert.)

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The Gospel of Mary Magdalene—Act II

522

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The Gospel of Mary Magdalene—Act II

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Harp

gl

. iss

is gl

ff

s.

Piano

S.

A.

T.

B.

Vn. I

Vn. II

Va.

ff

3

3

Vc.

ff 3

Cb.

ff


The Gospel of Mary Magdalene—Act II

526 20

Slower, but still ebullient: q = 112 (a2)

Fl. 1 2

Picc.

Ob. 1 2

E. H.

p 1. 1 Cl. in Bb 2

p

Bs. Cl.

1. Bn. 1 2

p

Cbn.

Hn. in F 1 3

Hn. in F 2 4

to harmon mute Tpt. in C 1 2

to harmon mute Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

l. v. Timp.

ff

Cym.

Vib.

B. D.

non arp.

Harp

Piano

(YESHUA signals for silence.)

p

Y. Two

Slower, but still ebullient: q = 112 Vn. I

pp Vn. II

pp Va.

pp

Vc.

pp

Cb.

pp

hun

dred

years

a

go,

there

lived

To


The Gospel of Mary Magdalene—Act II

24

527

1.

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Fl. 1 2

p

(1.)

(1.)

p

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

B. D.

Harp

Piano

Y. bi

as;

A

son

of

4

Is

ra

el.

"My

3

fa

Vn. I

3 4

4 4

Vn. II

3 4

4 4

Va.

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

ther!'

he'd

ask:

How

shall

I


The Gospel of Mary Magdalene—Act II

528 28

(1.)

Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

(1.)

(1.)

(1.)

p

4 4

p

Vib.

B. D.

Harp

Piano

Y. live

my

life?"

He'd

beg

the

4

man

to

tell.

And

what

Vn. I

3 4

4 4

Vn. II

3 4

4 4

3 4

4 4

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

Va.

his

fa

ther

told

him

was

so


The Gospel of Mary Magdalene—Act II

32

529

Slower: q = 104

(1.)

Fl. 1 2

Picc.

Ob. 1 2

E. H.

(1.) 1 Cl. in Bb 2

Bs. Cl.

(1.) Bn. 1 2

Cbn.

Hn. in F 1 3

pp 2. Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tba. B. Tbn./ Tuba

pp

Timp.

Cym.

soft mallets

p

Vib.

B. D.

Harp

Piano

sub. pp Y. 4

beau

ti

ful,

the

son

was

3

filled

with

awe.

"Do

Slower: q = 104 Vn. I

Vn. II

Va.

Vc.

Cb.

to

o

thers

as

you'd

want

them

to


The Gospel of Mary Magdalene—Act II

530

Moving: q = 112

36 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

1 Hn. in F 1 3

f (2.) Hn. in F 2 4

f Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

(Tba.) B. Tbn./ Tuba

Timp.

Cym.

Vib.

B. D.

Harp

pp

Piano

f Y. do

to

you,

For

that's

the

4

on

ly

law:

A

law

of

love;

love,

Moving: q = 112 Vn. I

pp

f

pp

f

Vn. II

Va.

pp

f f

div. Vc.

pp

f pizz, l. v..

Cb.

pp

f


The Gospel of Mary Magdalene—Act II

531

40 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4 mp

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4 1

Hn. in F 1 3

pp

p sub.

3 4

pp

f

a2

3 4

Hn. in F 2 4

pp

f

pp

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4 3 4

Vib.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4

Y.

3

and

on

ly

love!

All

the

law

love!

3 4

Vn. II

3 4

Va.

ossia tutti

Cb.

is

3 4

Vn. I

Vc.

3 4

3

p sub.

p sub.

mp sub.

unis.

3 4 3 4

p sub.


The Gospel of Mary Magdalene—Act II

532 44 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1.

p

f a2

4 4

1 Cl. in Bb 2

f

p

mp

4 4

Bs. Cl.

mp (a2)

f

4 4

Bn. 1 2

f

p

mp

f

mp

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Cym.

4 4 4 4

Vib.

4 4 4 4

B. D.

4 4 Harp

4 4 4 4 Piano

4 4 mp

4 4

Mir. And

mp And

Y.

4 4

Vn. I

4 4 p sub.

f

p sub.

f

mp sub.

f

44 mp

4 4

Vc.

f

a

go,

there

lived

a

fif

ty

years

a

go,

there

lived

a

pizz.

4 4

Va.

f

years

p

Vn. II

f

ty

4 4

M. M.

f

fif

p sub.

f

mp

arco Cb.

f

mp

4 4

p

pizz.

pizz.

p


The Gospel of Mary Magdalene—Act II

48

(1.)

533

Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4 p

3 4

E. H.

4 4 p

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

4 4 4 4

p

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

p

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

B. D.

mp Harp

Piano

Mir. rab

bi;

And

he

was 4 named

Hil

lel.

4

3 4

M. M. rab

bi;

And

he

was

He

named

Hil

seemed

know

the

se

cret

to

know

the

se

cret

3

of

a

4 4

lel.

He

seemed

Vn. I

3 4

4 4

Vn. II

3 4

4 4

Va.

3 4

4 4

3 4

pizz.

Vc.

3 4

pizz.

Cb.

to

p

p

4 4 4 4

3

of

a


The Gospel of Mary Magdalene—Act II

534 52 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

1.

p

p Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

B. D.

Harp

Piano

4

Mir. god

ly

life:

You'd

ask

him,

he

would

tell.

3 4

4

M. M. god

ly

life:

You'd

ask

him,

His

he

would

tell.

His

3 4

4 4

non div.

3 4

4 4

non div.

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

Vn. II

Va.

swer,

when

he'd

an

swer,

was

so

an

swer,

when

he'd

an

swer,

was

so

4 4

non div. Vn. I

an

p


The Gospel of Mary Magdalene—Act II

56

535

Slower: q = 104 (1.)

Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

pp 2.

Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tba. B. Tbn./ Tuba

pp

Timp.

Cym.

soft mallets

p

Vib.

B. D.

mp

Harp

Piano

sub. p Mir. beau

ti

ful,

Your

heart

would

4

o

ver

flow.

"Do

3

to

o

thers

as

you'd

want

them

"Do

to

o

thers

as

you'd

want

them

"Do

to

o

thers

as

you'd

want

them

to

sub. p

4

M. M. beau

ti

ful,

Your

heart

would

o

ver

flow.

3

to

sub. p Y.

Slower: q = 104 Vn. I

Vn. II

Va.

Vc.

Cb.

3

to


The Gospel of Mary Magdalene—Act II

536

Moving: q = 112

60 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

pp

f

Cbn.

1 Hn. in F 1 3

f (2.) Hn. in F 2 4

f Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

(Tba.) B. Tbn./ Tuba

Timp.

Cym.

To Mar.

Vib.

B. D.

Harp

Piano

f

4

Mir. do

to

you:

That's

all

you

need

to

know

Of

law,

and

love;

need

to

know

Of

law,

and

love;

4

M. M. do

to

you:

That's

all

you

f Y. do

to

you:

That's

all

you

4

need

to

know

Of

law,

and

love;

Moving: q = 112

arco Vn. I

pp

f

arco Vn. II

pp

f

arco Va.

pp

f f

arco, div. Vc.

arco

pp

f pizz, l. v..

Cb.

pp

love,

f


The Gospel of Mary Magdalene—Act II

537

64 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

mp

1.

f

p sub.

3 4

Cbn.

1 Hn. in F 1 3

pp

Hn. in F 2 4

3 4

pp

f

3 4

pp

f

pp

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4 3 4

Vib.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 p

3 4

Mir. and

on

ly

love!

Love!

p

3 4

M. M. and

on

ly

love!

Love,

f

3 4

Pr. 1

He

fp Y.

3

and

on

ly

love!

All

the

law

love!

3 4

Vn. II

3 4

Va.

ossia tutti

Cb.

is

3 4

Vn. I

Vc.

3 4

3

unis.

3 4 3 4

p sub.

p sub.

mp sub.

p sub.

did

n't


The Gospel of Mary Magdalene—Act II

538 68 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4 f a2

4 4

1 Cl. in Bb 2

f

p

mp

4 4

Bs. Cl.

mp

f

a2 Bn. 1 2

f

mp

4 4

f

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Cym.

4 4

p

brassy

brassy

sfz

sfz

4 4 Vib.

4 4 4 4

B. D.

non arp.

4 4

sfz

Harp

4 4 4 4 Piano

4 4 Mir.

4 4

M. M.

4 4 love...

sub. p

4 4

Pr. 1 say

that.

I'm

tel

ling

you,

he

did

n't

say

that.

He

f

said,

"Do

not

4 4

Pr. 2. Yes

he

did.

Wrong!

Y.

4 4

Vn. I

44

f p sub.

f

p sub.

f

mp sub.

f

Vn. II

f Va.

f Vc.

f

mp

f

arco Cb.

f

p sub.

f

44 4 4 4 4 4 4

do

to

o

thers

what

you


The Gospel of Mary Magdalene—Act II

72 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

539

mf 1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4 a2: harmon mute

Tpt. in C 1 2

f harmon mute

Tpt. 3 in C

f

mf

3 4

mutes off

3 4

mute off

harmon mute Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4

mutes off

f

3 4 Vib.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 3 4

Pr. 1 don't

want

done

to

you."

It

p

is

not.

3 4

Pr. 2. It's

the

same

(f)

3 4

Y.

Shh!

thing.

3

Now,

sul pont. Vn. I

3 4

div.

3 4

sul pont.

Vn. II

43

sul pont.

(f) Va.

(f) Vc.

3 4 3 4

mf ord.

p

mf ord.

p

sul pont.

(f) Cb.

unis., ord.

p

(f)

ask

mf ord.

p

mf

us

a

ny

thing!


The Gospel of Mary Magdalene—Act II

540 76 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4 a2

1 Cl. in Bb 2

f Bs. Cl.

4 4 4 4

mf Bn. 1 2

4 4

Cbn.

4 4

mf Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Cym.

4 4

2.

f

f

Marimba

4 4

f

Vib.

4 4 4 4

B. D.

4 4 Harp

4 4 4 4 Piano

4 4 4 4

M. M.

Ev'

4 4

Y. we

will

tell!

4 4

Onl.

f

Whom

Vn. I

4 4

Vn. II

4 4

Va.

44 mf

f

Vc.

4 4

Cb.

4 4

mf

does

God

love

best?

3

ry

per


The Gospel of Mary Magdalene—Act II

541

80 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

(1.) Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

open Tpt. in C 1 2

fp open Tpt. 3 in C

fp

open Tbn. 1 2

fp

B. Tbn./ Tuba

Timp.

Cym.

Mar.

B. D.

f

Harp

Piano

f G. 1 Does

God

want

us

to

fast?

Does

God

want

us

to

fast?

Does

God

want

us

to

fast?

f G. 2

f G. 3

Mir. It's

M. M. son:

ev'

3

ry

na

tion!

f Pr. 1

3

And

what

of

fa

And

what

of

fa

mi

ly?

f Pr. 2.

Y. No

good

can

come from

de

3

pri va

tion.

div.

unis.

Vn. I

(f) Vn. II

(f) Va.

(f) Vc.

(f) Cb.

div.

3

mi

ly?

a


The Gospel of Mary Magdalene—Act II

542 84 Fl. 1 2

2 4

4 4

Picc.

2 4

4 4

Ob. 1 2

2 4

4 4

E. H.

2 4

4 4

1 Cl. in Bb 2

2 4

4 4

Bs. Cl.

2 4

4 4

Bn. 1 2

2 4

4 4

Cbn.

2 4

4 4

Hn. in F 1 3

2 4

4 4

Hn. in F 2 4

2 4

4 4

p

p

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

Timp.

2 4

4 4

Cym.

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

Tpt. in C 1 2

fp

fp

f

fp

fp

f

Tpt. 3 in C

Tbn. 1 2

fp

fp

f

3. B. Tbn./ Tuba

fp

fp

f

Mar.

B. D.

Harp

Piano

Mir. gift

from

God:

re

vere

it!

mp

2 4

M. M.

4 4 It

mat

ters

3

to

all

of

us.

f

4 4

2 4

Y.

3

There's

f

Somw of the WOMEN in the crowd look appalled.) MARY takes it in stride.) 3

Fshm. What

div. Vn. I

3a

bout

cir

cum

ci

2 4

4 4

2 4

4 4

unis.

4 4

unis.

sion?

f div. Vn. II

p

2 4

f

p

2 4

Va.

f unis. Vc.

f Cb.

4 4 p

2 4 2 4

p

4 4 4 4


The Gospel of Mary Magdalene—Act II

88

543

Fl. 1 2

3 4

Picc.

43

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

f

f

f

3 4

Bn. 1 2

p

f

3 4

Cbn.

f

p

3 4

Hn. in F 1 3

mf

3 4

Hn. in F 2 4

mf Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4 3 4 f

Mar.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 f

3 4

C. How?

Mir.

3 4

M. M.

3 4

Y.

3 4

3

no

need

to

cor

rect

your flesh:

Per

fect

your

spi

rit!

You

p

p

pizz.

f pizz.

3 4 p

f pizz.

3 4

Cb.

p

You

f

p Vc.

gry,

pizz.

3 4

Va.

hun

f

3 4

Vn. II

the

pizz.

43

Vn. I

feed

f

clothe

the

na

ked,


The Gospel of Mary Magdalene—Act II

544

q = 120

92 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

E. H.

12 8

1 Cl. in Bb 2

12 8

Bs. Cl.

12 8

Bn. 1 2

12 8

Cbn.

12 8 a2

12 8

Hn. in F 1 3

f a2 Hn. in F 2 4

12 8

f

Tpt. in C 1 2

12 8

Tpt. 3 in C

12 8

Tbn. 1 2

12 8

f

B. Tbn./ Tuba

12 8

f

Timp.

12 8

Cym.

12 8 To Xyl.

12 8

Mar.

12 8 12 8

B. D.

12 8 Harp

12 8 12 8 Piano

12 8 f

12 8

Mir. Take

3

in

the

home

less,

Bless

3

those

who

curse

you,

3

E

v'ry

day,

long

3

as

you

live,

f

12 8

M. M. Take

3

in

the

home

less,

Bless

3

those

who

curse

you,

3

E

v'ry

day,

long

3

as

you

live,

f Y.

3

Take

in

3

the

home

less,

Bless

those

who

curse

you,

E

12 8

3

3

v'ry

day,

long

q = 120

arco

as

3

Vn. I

you

live,

div.

12 8

3

arco

3

12 8

3

12 8

3

12 8

Vn. II

arco

3

Va.

arco Vc.

arco Cb. 3

12 8


The Gospel of Mary Magdalene—Act II

96 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

E. H.

12 8

1 Cl. in Bb 2

12 8

Bs. Cl.

12 8

Bn. 1 2

12 8

Cbn.

12 8

Hn. in F 1 3

12 8

Hn. in F 2 4

12 8

Tpt. in C 1 2

12 8

Tpt. 3 in C

12 8

Tbn. 1 2

12 8

B. Tbn./ Tuba

12 8

Timp.

12 8

545

e=e

4 4

f

4 4

f

4 4

f

4 4

f

4 4

f

4 4 a2

ff

ff

4 4 f

a2

4 4

f

4 4

f

4 4

f

4 4 3.

4 4

f

4 4 f

Mar.

B. D.

4 4

12 8

4 4

12 8

4 4

Harp

non arp.

4 4

f

12 8

4 4

12 8

4 4

ff

12 8

C.

12 8

Mir.

12 8

Give!

Give!

12 8

f

12 8

f

12 8

f

Give!

Give!

Give!

Give!

Give!

Give!

12 8

f

12 8

f

12 8

f

12 8

f

12 8

f

e=e

Vn. I

12 8

Vn. II

12 8

Va.

12 8

Vc.

12 8

Cb.

12 8

Give!

Give!

Give!

Give!

Give!

unis.

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

B.

Give!

Give!

4 4

4 4

Give!

T.

Give!

4 4

Give!

A.

4 4

4 4

Give!

S.

Give!

Give!

Give!

Skr. 5.

Give!

Give!

f

Give!

Skr. 4.

Eb F# Gb A# D§ C§ Bb

4 4

Give!

Skr. 3.

Give!

Give!

12 8 12 8

f

4 4

Give!

Skr. 2.

Give!

12 8

Give!

Skr. 1.

Give!

Give!

Give!

Y.

ff

4 4

Give!

M. M.

Xylophone

12 8

12 8

Piano

4 4 4 4

a2

f

e=e

Give!

Give!

Give!

Give!

Give!

Give!

4 4 Give!

Give!

Give!

Give!

div.

Give!

Give!

Give!

4 4 div.

div.

e=e

4 4 4 4

div.

4 4 4 4

div.

ss. gli


The Gospel of Mary Magdalene—Act II

546 Slowing

Exalted: q = 100

100 Fl. 1 2

ff

Picc.

ff

5

1.

5

5

mf

5

Ob. 1 2

ff

mf

E. H.

1 Cl. in Bb 2

ff

5

5

Bs. Cl.

(a2) Bn. 1 2

mf

Cbn.

mf Hn. in F 1 3

mf Hn. in F 2 4

mf

3

Tpt. in C 1 2

p

3

3

3

Tpt. 3 in C

p

3

3

Tbn. 1 2

3

3

3

3

B. Tbn./ Tuba

mf Timp.

to Vib.

mf

Vibraphone

Xyl.

B. D.

Harp

ff

Piano

ff`

C.

Mir.

ff M. M.

ff

And

years from now,

the world won't need

to

won

der,

Long

af

ter 4 we

And

years from now,

the world won't need

to

won

der,

Long

af

ter

are

gone,

are

gone,

Y. 4

we

Skr. 1.

Skr. 2.

Skr. 3.

Skr. 4.

Skr. 5.

S.

A.

T.

B.

Slowing

Exalted: q = 100

unis.

div

5

Vn. I

unis. ff

5

unis. ff

5

div 5

Vn. II

Va.

ff

3

3

unis.

Vc.

unis. Cb.

(Cb w/out C extensions, 8va)

div

unis.

div.


The Gospel of Mary Magdalene—Act II

104

547

Moving: q = 108

Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

p Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Cym.

3 4 3 4

Mar.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 sub. p

3 4

4

M. M. How

close

we

came

to

liv

ing

out

a

god

ly

life:

Our

ac

tions

will

live

on.

sub. p

3 4

Y. How

close

we

came

to

liv

ing

out

a

god

ly

life:

Our

ac

4

tions

will

live

on.

Moving: q = 108

unis. Vn. I

p unis.

div.

unis.

Vn. II

p unis. Va.

p

3 4 3 4 3 4

Vc.

div. Cb.

3 4

p sub. unis.

3 4


The Gospel of Mary Magdalene—Act II

548 108 Fl. 1 2

3 4

4 4

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

Picc.

1.

f

3

f

3

4 4 p

f

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

1.

4 4

mf

3

f

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Cym.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

1.

4 4

mf

f

Mar.

B. D.

Harp

Piano

M. M.

3 4

f

4 4 Yes,

Y.

3 4

f

e

ven

if

each

one

e

ven

if

each

one

of

us

were

si

lenced,

The

ve

were

si

lenced,

The

ve

4 4 Yes,

Vn. I

f

us

f Vn. II

3 4

4 4 f

Va.

3 4

4 4 f

Vc.

Cb.

3 4

4 4

3 4

4 4

4 stones

would

sing:

4

of

4 4

3 4

ry

f

ry

stones

would

sing:


The Gospel of Mary Magdalene—Act II

112 Fl. 1 2

549

Slower: q = 100

Picc.

1. Ob. 1 2

p

E. H.

p 1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

p

Cbn.

Hn. in F 1 3

p 2. Hn. in F 2 4

p

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tba. B. Tbn./ Tuba

p

Timp.

Cym.

soft mallets

p Mar.

to Mar.

B. D.

Harp

Piano

sub. p

4

M. M. 3

"Do

to

o

thers

as

you'd

want

them

"Do

to

o

thers

as

you'd

want

them

to

do

to

you,"

For

that

is

to

do

to

you,"

For

that

is

ev'

ry

thing

ev'

ry

thing

sub. p Y. 3

4

Slower: q = 100 Vn. I

sub. p

p

sub. p

p

sub. p

p

Vn. II

Va.

Vc.

sub. p

p

Cb.

p


The Gospel of Mary Magdalene—Act II

550

Surging: q = 108

116

a2. a2

Fl. 1 2

f

Picc.

1.

f

Ob. 1 2

f

E. H.

1 Cl. in Bb 2

mf

f

Bs. Cl.

mf

f

Bn. 1 2

p

f

Cbn.

mf

f

f

a2. Hn. in F 1 3

f a2. Hn. in F 2 4

f 1.

f

Tpt. in C 1 2

f Tpt. 3 in C

Tbn. 1 2

f

(Tba.) B. Tbn./ Tuba

f Timp.

mf

f

Cym.

pp

hard mallets Mar.

ff B. D.

pp

Bb

f

Harp

f

Piano

(f) G. 1 ...Love,

...Love,

...Love,

...Love,

...Love, T: Preachers, Followers 1 & 2 B: Fishmonger, Onlooker, Followers 3 & 4

...Love,

(f) G. 2

(f) G. 3

(f) C.

f

...Love,

...Love,

M. M. of

law,

and

of

law,

and

love;

f

love,

and

on

love!

and

on

3

ly

love!

All

Y. love,

(f)

+ Skrs. 1.

(f)

+ Skrs. 2 & 3.

ly

love,

love,

S. ...Love,

...Love,

A.

+ Skr. 4

...Love,

...Love,

...Love,

...love,

...Love,

...love,

(f) T.

+ Skr. 5

(f) B.

Surging: q = 108 Vn. I

f Vn. II

f Va.

f

div. Vc.

div.

f

mf

f

Cb.

ossia tutti

All


The Gospel of Mary Magdalene—Act II

551

120

Surging: q = 116

3 4

Fl. 1 2

3 4

Picc.

(1.) Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

f

a2

f f

a2

Bn. 1 2

3 4

Cbn.

3 4

a2.

(f)

(a2)

f

3 4

Hn. in F 1 3

(a2) Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4 choke

to T. Bl. Temple Blocks

3 4

Cym.

f Mar.

3 4

B. D.

3 4 f

3 4 Harp

3 4 3 4

Piano

3 4 3 4

G. 1

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

3 4

G. 2

3 4

G. 3

3 4

C.

3 4

M. M. the

law

Y.

3

is

law

love!

love!

love!

3 4

3

the

love!

is

3 4

S.

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

...love,

Ho

san

na!

...love,

3 4

A.

3 4

T.

3 4

B.

Vn. I

3 4

Vn. II

3 4

Va.

3 4 unis.

Vc.

3 4

Cb.

3 4

Surging: q = 116 div.

unis.

f


The Gospel of Mary Magdalene—Act II

552 124 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

a2

a2

5 4

ff

3 4

5 4

3 4

5 4

3 4

4 4

5 4

3 4

1 Cl. in Bb 2

4 4

5 4

3 4

Bs. Cl.

4 4

5 4

Bn. 1 2

4 4

Cbn.

4 4 4 4

(a2)

Hn. in F 1 3

4 4

(a2)

ff

Hn. in F 2 4

4 4

a2

ff

Tpt. in C 1 2

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

ff

a2

ff ff

5 4

ff

3 4

ff

a2

5 4

3 4

5 4

3 4

5 4

3 4 a2

5 4

ff

3 4

5 4

ff

5 4 Tba.

3 4

3 4 3 4

ff

Tba.

5 4

3 4

ff Timp.

4 4

T. Bl.

4 4

Mar.

B. D.

5 4

3 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

ff

ff

4 4 Harp

4 4 4 4

Piano

ff

4 4 4 4

G. 1 Ho

san

na!

4 4

C. Ho

san

Mes

si

si

ah!

si

ah!

ff

5 4

na!

ah!

3 4 Mes

Followers tacet

si

3 4 Mes

4 4 san

5 4

ff

na!

G. 3 Ho

5 4

ff

3 4 Mes

4 4 san

ff

na!

G. 2 Ho

5 4

ah!

3 4 Mes

si

ah!

M. M.

4 4

5 4

3 4

Y.

4 4

5 4

3 4

S.

4 4

5 4

3 4

Ho

san

na!

Ho

san

na!,

ho

san

Ho

san

na!

Ho

san

na,

ho

Ho

san

na!

Ho

san

na,

san

ho

Ho

san

na!

Ho

san

na,

Ho

unis.

Ho

Vn. II

Va.

4 4 4 4 4 4

san

na!

5 4 san

4 4

na!

3 4

na!

na!

3 4 Ho

div.

4 4

Vn. I

san

5 4 san

ho

na!

3 4

na!

4 4

B.

san

5 4

4 4

T.

Cb.

Ho

4 4

A.

Vc.

na!

ff div.

ff ff

ff

san

na!

5 4

3 4

5 4

3 4

5 4

div.

unis.

5 4

div.

unis.

5 4

3 4 3 4 3 4


The Gospel of Mary Magdalene—Act II

128

553

a2

Fl. 1 2

3 4

4 4

5 4

Picc.

3 4

4 4

5 4

Ob. 1 2

3 4

4 4

5 4

E. H.

3 4

4 4

5 4

1 Cl. in Bb 2

3 4

4 4

5 4

Bs. Cl.

3 4

4 4

5 4

Bn. 1 2

3 4

4 4

5 4

Cbn.

3 4

4 4

5 4

Hn. in F 1 3

3 4

4 4

5 4

Hn. in F 2 4

3 4

4 4

5 4

Tpt. in C 1 2

3 4

4 4

5 4

Tpt. 3 in C

3 4

4 4

5 4

Tbn. 1 2

3 4

4 4

5 4

B. Tbn./ Tuba

3 4

4 4

5 4

Timp.

3 4

4 4

5 4

T. Bl.

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

Mar.

B. D.

Harp

Piano

G. 1

a2

a2

Mes

G. 2

Mes

ff

3 4

E

Fshm.

si

ah!

3 4 ONLOOKER:

Onl.

ah!

3 4 Mes

C.

si

nough

of

Cae

si

ah!

sar!

3 4

4 4

ff

5 4 Ju

S.

3 4 Ho

A.

san

Vn. I

3 4

Vn. II

3 4

Va.

3 4

Vc.

3 4

Cb.

3 4

san

div.

Ju

de

ans!

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

na!

ff

div.

for

na!

3 4 Ho

a

na!

3 4 Ho

B.

san

de

na!

3 4 Ho

T.

san

5 4

ah!

3 4 Mes

G. 3

si

to Tom-toms

ff

unis.

unis.

0

div.

4 4

5 4 unis.

4 4 4 4

0

5 4 5 4


The Gospel of Mary Magdalene—Act II

554 132 Fl. 1 2

5 4

3 4

Picc.

5 4

3 4

Ob. 1 2

5 4

3 4

E. H.

5 4

3 4

1 Cl. in Bb 2

5 4

3 4

Bs. Cl.

5 4

3 4

Bn. 1 2

5 4

3 4

Cbn.

5 4

3 4

Hn. in F 1 3

5 4

Hn. in F 2 4

5 4

Tpt. in C 1 2

5 4

3 4

Tpt. 3 in C

5 4

3 4

Tbn. 1 2

5 4

3 4

B. Tbn./ Tuba

5 4

3 4

Timp.

5 4

T. Bl.

Mar.

(a2)

Harp

Piano

(a2)

3 4

(a2)

(a2)

3 4

mf mf mf

mf

mf

3 4

pp

5 4

3 4

5 4

3 4

5 4

3 4

Tom-toms

Tom-toms.

q = 144

Faster yet

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

mf

(The mood has changed, from exultant to militant: fists are thrust in the air. As YESHUA and MARY try to cool the CROWD, the TWO POLICE suddenly appear behind them onstage. The CROWD falls silent.)

G. 1

5 4

(ff)

5 4

(ff)

5 4

(ff)

5 4

(ff)

3 4 Mes

G. 2

si

ah!

si

ah!

si

ah!

5 4

(f)

5 4

(f)

5 4

(f)

5 4

(f)

3 4 Ho

A.

Ho

T.

Ho

B.

Ho

Vn. I

45

Vn. II

5 4 5 4

Vc.

5 4

san

san

san

san

na!

3 4

ff

3 4

ff

3 4

ff

na!

na!

na!

43 unis.

Cb.

5 4

div.

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

Mes

si

ah!

Mes

si

ah!

Mes

si

ah,

Mes

ff

3 4

unis.

mf

mf Va.

si

3 4 Mes

S.

Mes

3 4 Mes

C.

ah!

3 4 Mes

G. 3

si

div.

3 4

unis.

3 4

unis.

mf

3 4

mf mf

Faster yet

q = 144


The Gospel of Mary Magdalene—Act II

136

555

Brilliant, icy, half as fast: 4 q = 72 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

E. H.

4 4

2 4

3 4

1 Cl. in Bb 2

4 4

2 4

3 4

Bs. Cl.

4 4

2 4

3 4

Bn. 1 2

4 4

2 4

3 4

Cbn.

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

B. Tbn./ Tuba

4 4

2 4

3 4

Timp.

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

2 4

3 4

Fl. 1 2

f

ff

f

ff

Picc.

1. Ob. 1 2

f

ff

(a2) Hn. in F 1 3

ff

(a2) Hn. in F 2 4

ff

Tpt. in C 1 2

ff

to harmon mute 3

to harmon mute

Tpt. 3 in C

f

ff

Tbn. 1 2

3

ff

ff T. Bl.

Mar.

ff

Tom-toms.

non arp

ff

Harp

ff

Piano

G. 1 si

ah!

G. 2 si

ah!

G. 3 si

ah!

C. si

ah!

4 4

Pol. 2

ff

(a Roman hymn as loyalty oath)

"Now

S. si

time

sung

by

the

Si

byls,

when

the

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

2 4

3 4

ah!

B. si

the

ah!

T. si

is

ah!

A. si

3

3

ah!

Vn. I

f

4 4

Brilliant, icy, half as fast: q = 72 div.

div.

3 4

4 4

2 4

Va.

44

42

43

Vc.

4 4

2 4

3 4

Cb.

4 4

2 4

3 4

Vn. II

f


The Gospel of Mary Magdalene—Act II

556 140 Fl. 1 2

surging 3 4

4 4

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

Picc.

As before: q = 72

More motion: q = 80 3

f

3

f

1.

f

f 1 Cl. in Bb 2

3 4

4 4 f

Bs. Cl.

Bn. 1 2

3 4

4 4

3 4

4 4

f

f

f Cbn.

Hn. in F 1 3

Hn. in F 2 4

3 4

4 4

3 4

4 4

a2

4 4

a2

3 4

f

f

f Tpt. in C 1 2

3 4

with Harmon mute

4 4

p

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

T. Bl.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Tpt. 3 in C

with Harmon mute

p

6

ff

ff

Mar.

Tom-toms.

ff

ff

Harp

3 4

4 4

3 4

4 4

3 4

4 4

non arp

ff

Piano

Pol. 1

Pol. 2

3 4

4 4

3 4

Vn. II

Va.

Vc.

Cb.

3 4 3 4

Hail,

Cae sar!

Hail,

Cae sar!

"Now

is

Vir

4 4 wheel

Vn. I

(The CROWD remains mute. YESHUA and MARY exchange glances.)

ff

of

the

surging

a

ges

starts

a

fresh!"

4 4 4 4

43

44

3 4

4 4

3 4

4 4

More motion: q = 80

As before: q = 72

unis., pizz.

arco

p

f arco

unis., pizz.

p

f arco

pizz.

p

f

f

gin

Jus

tice


The Gospel of Mary Magdalene—Act II

144

surging

3 4

557

q = 80

Fl. 1 2

2 4

4 4

Picc.

2 4

3 4

4 4

Ob. 1 2

2 4

3 4

4 4 f

E. H.

2 4

3 4

1 Cl. in Bb 2

2 4

3 4

4 4 1.

f

4 4

f

2 4

3 4

Bn. 1 2

2 4

3 4

Cbn.

2 4

3 4

Bs. Cl.

4 4

f

4 4 f

4 4

f Hn. in F 1 3

2 4

3 4

4 4

Hn. in F 2 4

2 4

3 4

4 4

Tpt. in C 1 2

2 4

3 4

4 4

Tpt. 3 in C

2 4

3 4

4 4

Tbn. 1 2

2 4

3 4

4 4

B. Tbn./ Tuba

2 4

3 4

4 4

Timp.

2 4

3 4

4 4

T. Bl.

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

Mar.

Tom-toms.

Harp

Piano

C.

2 4

3 4

4 4

Pol. 1

2 4

3 4

4 4

her

self

made known,

and

the

reign

of

2 4

Pol. 2

Sa

3

turn

on

earth..."

Hail,

3 4

q = 80

Vn. I

2 4

Vn. II

2 4

3 4

4 4

Va.

2 4

3 4

4 4

Vc.

2 4

3 4

4 4

Cb.

2 4

3 4

4 4

div.

3 4

Cae

sar!

Hail,

Cae

sar!

Hail,

4 4 Hail,

surging

S: Girls 1 & 2 A.: Girl 3 T: Preachers B: Onlooker, Fishmonger

4 4


The Gospel of Mary Magdalene—Act II

558

Surging: q = 88

148

2 4

3 4

Picc.

2 4

3 4

Ob. 1 2

2 4

3 4

E. H.

2 4

3 4

1 Cl. in Bb 2

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

Hn. in F 1 3

2 4

3 4

Hn. in F 2 4

2 4

3 4

remove mutes

2 4

3 4

remove mute

2 4

3 4

Tbn. 1 2

2 4

3 4

B. Tbn./ Tuba

2 4

3 4

Timp.

2 4

3 4

T. Bl.

2 4

3 4

2 4

3 4

2 4

3 4

Fl. 1 2

Bs. Cl.

f

mf

3

a2

3

div.

Bn. 1 2

f Cbn.

f

(sord.) Tpt. in C 1 2

p

mp

mf

3

mf

p

(sord.) Tpt. 3 in C

p

mp

p

Mar.

to B. D.

Bass Drum

Tom-toms.

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

f

Harp

Piano

CROWD: (mumbling)

p

C. Hail,

Cae

sar...

Pol. 1 Cae

sar!

mf

2 4

Pol. 2 Cae

sar!

"Smile,

Surging: q = 88

pizz. Vn. I

p pizz. Vn. II

p arco

pizz.

3

Va.

p

f

unis.

Cb.

f

Lu

ci (see)

na,

at

the

birth

of

this

boy,"

2 4

3 4

2 4

3 4

24

43

2 4

3 4

2 4

3 4

mf 3

div.

Vc.

f

chaste

3 4

3

mf

3

mf


The Gospel of Mary Magdalene—Act II

152

559

holding back

3 4

2 4

4 4

Picc.

3 4

2 4

4 4

3 4

4 4

Ob. 1 2

3 4

2 4

4 4

3 4

4 4

E. H.

3 4

2 4

4 4

3 4

4 4

1 Cl. in Bb 2

3 4

2 4

4 4

3 4

4 4

Bs. Cl.

3 4

2 4

4 4

3 4

4 4

Bn. 1 2

3 4

2 4

4 4

3 4

4 4

Cbn.

3 4

2 4

4 4

3 4

4 4

Hn. in F 1 3

3 4

2 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

open

Tpt. in C 1 2

2 4

4 4

3 4

open

Tpt. 3 in C

3 4 3 4

2 4

4 4

Tbn. 1 2

3 4

q = 80

Fl. 1 2

3

mf

ff

4 4

4 4 ff

4 4

ff

3 4

4 4

3 4

4 4

3

B. Tbn./ Tuba

3 4

2 4

4 4

ff

mf Timp.

3 4

2 4

4 4

3 4

4 4

T. Bl.

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

3 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

Mar.

B. D.

ff

4 4

Harp

Piano

Pol. 1

3 4

mf

ff

3

"...Who

puts

an

end

to

our

wre tched

age,

3

From

whom

a

gol

den

peo

ple

shall

4 4

spring..."

Hail,

ff Pol. 2

3 4

2 4

4 4

3

From

Vn. I

3 4

2 4

4 4

whom

holding back

a

gol

den

peo

arco

ple

3 4

2 4

4 4

ff

3 4

unmeasured

2 4

3 4

3

ff 3

4 4

3 4 ff

unmeasured Vc.

3 4

2 4

4 4

unis.

3

3 4

3 4

unmeasured

2 4

4 4

3

q = 80

Hail,

div.

mf

ff

div.

mf

mf

ff

ff

div.

mf

ff Cb.

4 4

spring..."

3 4

arco

mf

Va.

shall

3

mf Vn. II

3 4

4 4

4 4 4 4

ff

3 4 ff

4 4

4 4 mf

ff


The Gospel of Mary Magdalene—Act II

560 156 Fl. 1 2

4 4

2 4

4 4

3 4

4 4

Picc.

4 4

2 4

4 4

3 4

4 4

Ob. 1 2

4 4

2 4

4 4

3 4

4 4

E. H.

4 4

2 4

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

2 4

4 4

3 4

4 4

Bs. Cl.

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

Bn. 1 2

4 4

Cbn.

4 4

p

p

p p

Hn. in F 1 3

4 4

2 4

4 4

3 4

4 4

Hn. in F 2 4

4 4

2 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

2 4

4 4

3 4

4 4

Tpt. 3 in C

4 4

2 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

(ff)

(ff) Tbn. 1 2

4 4

2 4 (ff)

B. Tbn./ Tuba

4 4

2 4 (ff)

Timp.

4 4

2 4

4 4

3 4

4 4

T. Bl.

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

Mar.

B. D.

(ff)

Harp

Piano

C.

(p)

4 4

Hail,

Pol. 1

4 4

Cae

sar...

Hail,

2 4 Cae

sar!

4 4 Hail,

Cae

sar...

f

3 4 Cae

sar!

4 4

Hail,

f Pol. 2

4 4

2 4 Cae

Vn. I

Vn. II

4 4 4 4

sar!

4 4 Hail,

unis., snap pizz.

unis., snap pizz.

2 4

mf

Va.

Vc.

4 4

snap pizz.

snap pizz.

2 4 2 4

mf

Cb.

4 4

2 4

ff

4 4

sar!

Hail,

unis., snap pizz.

snap pizz.

arco

3 4

mf arco, div.

snap pizz.

3 4

4 4

unis.

4 4 mf

4 4

ff

3 4

ff

arco, div.

ff

arco

mf

ff

4 4

4 4

3 4

4 4

4 4

3 4

4 4

ff

arco

mf

4 4 4 4

arco

mf snap pizz.

ff

arco

mf

4 4

Cae

arco, div.

2 4

3 4

ff


The Gospel of Mary Magdalene—Act II

160 Fl. 1 2

4 4

Picc.

Ob. 1 2

561 Brisker: q = 88

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

p E. H.

4 4

p

1 Cl. in Bb 2

4 4

2 4

4 4

Bs. Cl.

4 4

2 4

4 4

Bn. 1 2

4 4

2 4

4 4

Cbn.

4 4

2 4

4 4

Hn. in F 1 3

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

a2.

ff Hn. in F 2 4

a2.

4 4

ff Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

ff

ff Tbn. 1 2

4 4 ff

B. Tbn./ Tuba

4 4 ff

Timp.

4 4

2 4

4 4

T. Bl.

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

ff

Mar.

4 4

B. D.

Harp

Piano

Pol. 1

mf

4 4 Cae

Onl.

sar!

2 4

Hail...

Ju

Pol. 2

Cae

Vn. I

Vn. II

4 4 44

Vc.

4 4

sar!

Ju

de

snap pizz.

mf

unis., snap pizz.

ff unis., snap pizz.

mf

4 4

2 4

4 4

does

the

Brisker: q = 88

Na

za

rene

say?

arco., molto sul pont., senza vib.

arco., molto sul pont., senza vib.

Yes,

2 4 42

ff snap pizz.

mf

3

ff

div.

2 4 ans!

What

4 4 4 4

for

Hail...

mf Cb.

a

p

mf Va.

de

mf

4 4

4 4

Yes,

(ff)

4 4

p

arco., molto sul pont., senza vib.

2 4

p

p

p

4 4 44 4 4

2 4

4 4

2 4

4 4

ff

ff


The Gospel of Mary Magdalene—Act II

562 164 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Deliberate, but faster: q = 96

Accelerating from q = 80

p Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

p

p

p Timp.

4 4

T. Bl.

4 4 4 4

Mar.

4 4

B. D.

4 4 4 4

Harp

4 4 4 4 Piano

4 4

Pol. 1

4 4 What

Y.

Pol. 2

3

does

the

Na

za

rene

say?

4 4

p

to

Cae

sar

what

is

Cae

sar's.

4 4 what

3 does

the

Na

za

rene

say?

Deliberate, but faster: q = 96

Vn. I

4 4

Vn. II

4 4 4 4

ord.

Va.

4 4

arco

Vc.

Cb.

Give

4 4

p

p

Accelerating from q = 80

div.


The Gospel of Mary Magdalene—Act II

168 Fl. 1 2

3 4

Picc.

3 4

q = 88 ff

ff

4 4

6

3 4

3 4

4 4

3 4

4 4

3 4

4 4

6

6

6

4 4

6

3 4

4 4

6

4 4

6

3 4

4 4

3 4

4 4

ff

3 4

1 Cl. in Bb 2

6

4 4 ff

E. H.

6

4 4

6

3 4

Ob. 1 2

563

ff

3 4

Bs. Cl.

ff

4 4

6

6

Bn. 1 2

3 4

4 4

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

Hn. in F 1 3

3 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

a2

ff a2

4 4

ff

3 4

Tpt. in C 1 2

ff

3 4

Tpt. 3 in C

Tbn. 1 2

3

ff

ff

3

B. Tbn./ Tuba

ff

Timp.

pp

mf

ff

3 4

T. Bl.

4 4

Whip

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

ff

6

3 4 Mar.

(ff)

3 4

B. D.

f

to Whip

ff

Harp

Eb

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

ff

Piano

3 4 ff

3 4

Pol. 1 "Now

does

your own

A

pol lo

reign!"

Hail,

Cae sar!

Hail,

f

Cae sar!

3 4 "Now

does

your own

A

pol lo

ord.

3

3 4

Vn. I

mf ord. Vn. II

q = 88

3

43

Va.

mf

ff div.

unis.3

3 4

Vc.

ff

ff

ff

div.

ff

unis.

4 4

unis.

Hail,

div.

3 4

mf unis.

ff

ff

div.

mf

4 4 ff

ff

div.

mf

4 4

ff

43 3 4

ff

4 4 mf

unis.

Hail,

3 4 mf

44

4 4 Cae sar!

mf

ff

3 4

Cb.

4 4

4 4 mf

ff

3

div.

mf

ff

3 4 Cae sar!

div.

3 4

3

Hail,

mf

ff

mf unis.

4 4 reign!"

Hail,

f

ff Pol. 2

4 4

unis.

mf

ff

mf

ff

div.

mf

3 4 mf

ff

mf

44 4 4

ff

ff

4 4


564

Driven: q = 116 172

Fl. 1 2

4 4 ff

Picc.

4 4 ff

Ob. 1 2

4 4 ff

E. H.

6

3 4 3 4

6

3 4

6

6

4 4

The Gospel of Mary Magdalene—Act II

3 4

ff 1 Cl. in Bb 2

6

4 4

3 4

ff

Bs. Cl.

Bn. 1 2

Cbn.

4 4 a2

4 4

ff

6

3 4

ff

Hn. in F 1 3

4 4

3 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

Whip

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Mar.

B. D.

Harp

E§ G§ A§

4 4

pp

p

pp

3 4

ff

4 4

3 4

p

pp

p p

non arp.

p

3 4

4 4

3 4

4 4

3 4

4 4

3 4

p

3 4

p

Piano

G. 1

G. 2

G. 3

4 4

T: Preachers, Followers 1 & 2 B: Fishmonger, Onlooker, Followers 3 & 4 C.

Pol. 1

4 4

3 4

4 4 Cae

Pol. 2

3 4

Hail...

mf

4 4 Cae

4 4

unis

Vn. II

44

unis.

Va.

4 4

Vc.

4 4

Vn. I

sar!

sar!

Hail...

3 4

Driven: q = 116

3 4 p sub.

Cb.

4 4

43 3 4

unis.

3 4 3 4

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

p

Mes

mf

si

p

3 4

4 4

Mes

p sub.

p sub. p sub.

p sub.

si

ah!

Mes

si

ah!


The Gospel of Mary Magdalene—Act II

565

Faster: q = 126

176 Fl. 1 2

mp

Picc.

mp Ob. 1 2

pp

E. H.

pp 1 Cl. in Bb 2

mp

Bs. Cl.

(a2) Bn. 1 2

Cbn.

mp a2 Hn. in F 1 3

pp

a2

Hn. in F 2 4

pp Tpt. in C 1 2

mp Tpt. 3 in C

mp Tbn. 1 2

mp

B. Tbn./ Tuba

mp

Timp.

pp

p

mp

mf

f

Whip

Mar.

pp

B. D.

pp

mp

Harp

mp

Piano

mp

G. 1 Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

Mes

si

ah!

G. 2

G. 3

C.

p

S.

p A.

p T.

p B.

div. Vn. I

div. Vn. II

div. Va.

div. Vc.

Cb.

Faster: q = 126


The Gospel of Mary Magdalene—Act II

566 q = 132

180 Fl. 1 2

ff

Picc.

ff Ob. 1 2

ff

p

mf

p

mf

E. H.

ff 1 Cl. in Bb 2

ff

Bs. Cl.

ff Bn. 1 2

ff Cbn.

(a2) ff Hn. in F 1 3

(a2) ff

mf

ff

ff

mf

ff

ff

mf

ff

ff

mf

ff

ff

mf

ff

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

ff Timp.

ff

(Whip)

Whip

ff

Mar.

ff

B. D.

ff

Harp

ff

Piano

ff

B#

ff

(At a signal from the TWO POLICE, an entire SQUAD of POLICEMEN appears, their spears pointed at the CROWD.)

G. 1 The

law

is

love!

(gasp)

The

law

is

love!

(gasp)

ff

G. 2

ff G. 3 The

law

is

love!

(gasp)

love!

(gasp)

ff C. The

law

is

ff S. The

law

is

love!

(gasp)

ff A. The

law

is

love!

(gasp)

ff T. The

law

is

love!

(gasp)

ff B. The

q = 132

law

is

love!

(gasp)

Vn. I

ff

ffp

ff

ff

ffp

ff

ff

ffp

ff

ff

ffp

ff

Vn. II

Va.

Vc.

Cb.

ff


The Gospel of Mary Magdalene—Act II

Heavier: q = 126

184 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

ff

ff

567

5

5

a2

ff

5

ff

5

a2

a2

4 4

a2

a2

4 4

a2

Hn. in F 1 3

ff Hn. in F 2 4

ff 3

4 4

Tpt. in C 1 2

3

3

ff 3

3

4 4

Tpt. 3 in C

ff

4 4

Tbn. 1 2

B. Tbn./ Tuba

4 4

Timp.

4 4

ff

mf

ff

ff

4 4

Whip

4 4 ff

Mar.

4 4 4 4

B. D.

4 4 Harp

4 4

ossia with guitar pick (E§ F§ G§ A§ Db C# B#)

ff

ss. gli

4 4 ff

Piano

4 4 p

(Panicked, bellowing, the CROWD flees. As the TWO POLICE, coordinate with their reinforcements, PETER ushers YESHUA, MARY, and MIRIAM to safety.)

4 4

Pol. 1 The

law

is

Cae

sar.

p

4 4

Pol. 2 The

law

is

Cae

sar.

Heavier: q = 126 unis.

Vn. I

ff

4 4 4 4

Vn. II

unis. Va.

unis.

ff

4 4

ff

Vc.

Cb.

4 4

unis.

ff

4 4 ff

3


The Gospel of Mary Magdalene—Act II

568 188 Fl. 1 2

5

ff

Picc.

5

3

5 3

3

3

3

ff

5

5

3

5

ff

5

5

3

5

3

3

5

5

3

5

3

3

a2 Ob. 1 2

E. H.

a2 1 Cl. in Bb 2

ff

Bs. Cl.

Bn. 1 2

Cbn.

(a2) Hn. in F 1 3

(a2) Hn. in F 2 4

Tpt. in C 1 2 3

3

5

3

3

3

3

3 5

3

Tpt. 3 in C 3

Tbn. 1 2

5

3

3

3

ff B. Tbn./ Tuba

Timp.

Whip

(damp all)

Mar.

to Tri. B. D.

pp

Harp

Piano

Pol. 1

Pol. 2

Vn. I

Vn. II

Va.

Vc.

Cb.

s gli

s.

is gl

ff

s. non arp.


The Gospel of Mary Magdalene—Act II

192

569

Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Whip

3 4 3 4

Mar.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 3 4

Pol. 2

Vn. I

pp

3 4 3 4

Vn. II

pp

Va.

pp

Vc.

pp

Cb.

pp

3 4 3 4 3 4


The Gospel of Mary Magdalene—Act II

570

SCENE 2 193 Relentless: q = 126

Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

Bn. 1 2

3 4

f

p

f

p

3 4

p

f Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

a2

f

f

f Timp.

3 4

Whip

3 4 3 4

f

Mar.

3 4 f

Triangle

Tri.

3 4 3 4

Eb Ab D§ C§

Harp

3 4 3 4 Piano

3 4 (Dusk. The steps of a building in Jerusalem: the Temple visible in the distance. MIRIAM, MARY, YESHUA, PETER, and some of thetraumatized FOLLOWERS.)

Ptr.

3 4

f 3

You

heard

Relentless: q = 126

Vn. I

Vn. II

Va.

Vc.

Cb.

3 4

pizz.

3 4

pizz.

3 4

pizz.

3 4

pizz.

3 4

pizz.

f

f

f

f

f

them!

"Mes

si

ah,"

they

called

you.

They

need

us!

They

need

you

to


The Gospel of Mary Magdalene—Act II

197

571

Fl. 1 2

4 4

2 4

4 4

Picc.

4 4

2 4

4 4

Ob. 1 2

4 4

2 4

4 4

E. H.

4 4

2 4

4 4

1 Cl. in Bb 2

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

Hn. in F 2 4

4 4

2 4

4 4

Tpt. in C 1 2

4 4

2 4

4 4

Tpt. 3 in C

4 4

2 4

4 4

Tbn. 1 2

4 4

2 4

4 4

B. Tbn./ Tuba

4 4

2 4

4 4

Timp.

4 4

2 4

4 4

Whip

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

f Bs. Cl.

f Bn. 1 2

f

Cbn.

1. Hn. in F 1 3

p

Mar.

Tri.

Harp

p

Piano

Ptr. lead

us!

4 4

Y.

p I

arco, div. Vn. I

p arco Vn. II

4 4

unis.

will

not

ride

in

to

Je

ru

sa

lem,

will

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

p arco Va.

p arco Vc.

p Cb.

not

con

front

the

tem

ple,


The Gospel of Mary Magdalene—Act II

572

Fl. 1 2

2 4

Almost half as fast: q = 66 4 4

Picc.

2 4

4 4

3 4

Ob. 1 2

2 4

4 4

3 4

E. H.

2 4

4 4

3 4

2 4

4 4

201

5

p

4 4

2 4

4 4

2 4

4 4

p

p

f

5

3 4

3

4 4

2 4

5

5

f

pp

1

f

3

p

Bs. Cl.

5

3 4

1 Cl. in Bb 2

2 4

3 4

6

p

p

f

pp

3

f

5

f

6

3 4

f

f

p

3 4

3

Bsn. 2

p

3 4

3

3

f

p

pp

f

2 4

4 4

Hn. in F 1 3

2 4

4 4

3 4

Hn. in F 2 4

2 4

4 4

3 4

Tpt. in C 1 2

2 4

4 4

3 4

Cbn.

3 4 pp

1.

pp

f Tpt. 3 in C

2 4

4 4

3 4

Tbn. 1 2

2 4

4 4

B. Tbn./ Tuba

2 4

4 4

3 4

Timp.

2 4

4 4

3 4

Whip

2 4

4 4

3 4

2 4

4 4

3 4

2 4

4 4

3 4

2 4

4 4

1.

3 4

f

Mar.

Tri.

pp

mf p

w/ guitar pick

f

ppp p

mf

3 4

mf

2 4

4 4

2 4

4 D§ C§ B#) 4

3 4

2 4

4 4

3 4

2 4

4 4

3 4

2 4

4 4

3 4

( Eb F§ G§ Ab

Harp

Piano

Ptr.

p

3 4

Part of a de sign,

Y.

2 4

4 4

2 4

Almost half as fast: 4q = 66 4

I will not chal lenge Rome.

Vn. I

f Vn. II

2 4

3

4 4

Vc.

42

f

2 4

44

f Cb.

2 4

4 4

no?

No!

mf

p sub.

mf

p sub.

mf

div. a3 flaut.

4 4

Part of a de sign,

3 4

p sub.

f Va.

you claimed?

pp

mf

3 4 p sub.

f

3 4

p sub.

f

43

f

p sub.

n

pp

mf

f

div. flaut.

pp

3 4 3 4

mf

n

pp

mf

f


The Gospel of Mary Magdalene—Act II

Relentless again:

A bit slower: q = 100

205 q = 126 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

573

p Bs. Cl.

3 4

Bn. 1 2

3 4 p

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4 f

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Whip

3 4

f

3 4 Mar.

3 4

Tri.

3 4 3 4

Harp

3 4 3 4 Piano

3 4

M. M.

Y.

p

3 4

Vn. II

Va.

3

by

Relentless again: 3q = 126 4

sword,

die

by

the

sword.

Cb.

f

p

f

p

3 4

3 4

ly

real

pow

er

The

on

ly

real

pow

er

A bit slower: q = 100

3 4

3 4

on

is

with

in.

with

in.

3

the

f Vc.

The

p

3 4 live

Vn. I

3

div. a2

unis.

f

p

unis.

f

p

3

is


The Gospel of Mary Magdalene—Act II

574 209 q = 112 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

f

p

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

f

p

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4

More motion: q = 120

p

f

p

f

3.

p

f

4 4 Mar.

4 4 4 4

Tri.

4 4 Harp

4 4 4 4 Piano

4 4 4 4

M. M.

(f) Ah,

yes,

with

in

the

4

soul!

The

q = 112

Cb.

less

3

soul.

But

what

of

the

bo

dy?

Do

4 4 4 4

f

pizz.

p

f

p pizz.

44 f

Vc.

state

3

pizz.

4 4 f

Va.

less,

More motion: q = 120

4 4 f

Vn. II

weight

3

3

4 4

Y.

Vn. I

p

4 4

Ptr.

f

p pizz.

f

f

p pizz.

f

f

p

we


The Gospel of Mary Magdalene—Act II

575 Easier: q = 104

213 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

E. H.

12 8 12 8

3

1 Cl. in Bb 2

p

mf

3

12 8

Bs. Cl.

p

mf

1. 3

12 8

Bn. 1 2

p

mf

3

12 8

Cbn.

p

mf

Hn. in F 1 3

12 8

Hn. in F 2 4

12 8

Tpt. in C 1 2

12 8

Tpt. 3 in C

12 8

Tbn. 1 2

12 8

B. Tbn./ Tuba

12 8

Timp.

12 8

Whip

12 8 12 8

Mar.

12 8 to S. D. Tri.

pp

12 8 12 8

Harp

12 8 12 8 Piano

12 8 3

pp

3

3

12 8

Ptr. leave

it

to

rot?

For

the

bo

dy

mat

ters

ra

ther

much

to

you

of late,

does

it

not?

"For

now you've

Easier: q = 104 3

arco

Vn. I

p Vn. II

3

pp

arco

p 3

mf

arco

mf

pp

Va.

p 3

mf

pp

arco

Vc.

p

mf

arco

p

12 8 12 8 12 8 12 8

Cb. 3

pp

12 8

mf


The Gospel of Mary Magdalene—Act II

576 217 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

E. H.

12 8

1 Cl. in Bb 2

12 8

Bs. Cl.

12 8

q. = 104 pp

pp

1.

pp 2

mp Bn. 1 2

12 8

Cbn.

12 8

Hn. in F 1 3

12 8

Hn. in F 2 4

12 8

Tpt. in C 1 2

12 8

Tpt. 3 in C

12 8

Tbn. 1 2

12 8

B. Tbn./ Tuba

12 8

Timp.

12 8

Whip

12 8

1.

pp

mp 2

pp

mp

(mp)

Tba.

pp

mp

p

mp

mp

12 8 Mar.

12 8 Snare Drum

S. D.

12 8 12 8

Harp

12 8 12 8 Piano

pp

mp

12 8

2

2

Ptr.

mp

12 8 found

Vn. I

Vn. II

12 8

her.

q. = 104

You

have kissed

the one

you love;

kissed

Vc.

Cb.

eyes,

div.

unis.

pp

mp

her

throat,

pp

her

And what2 those

wrists...

12 8 12 8 12 8

pp

mp

mp

pp

2

2

2

2

2

2

mp

12 8 pp

Va.

her

2

mp

mp 2

pp

mp

pp

mp

2


The Gospel of Mary Magdalene—Act II

577 more motion: q. = 112

221 Fl. 1 2

2

pp

4 4 4 4

Picc.

1. Ob. 1 2

4 4

pp

4 4

E. H.

pp 1.

4 4

1 Cl. in Bb 2

mp

sub. pp

2

mp

sub. pp

2

4 4

Bs. Cl.

a2

4 4

Bn. 1 2

(mp)

4 4

Cbn.

(mp)

4 4

Hn. in F 1 3

p

4 4

Hn. in F 2 4

p Tpt. in C 1 2

4 4

p

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

p

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4 4 4

Mar.

4 4 snares off

4 4

S. D.

pp

mf

4 4

sub. pp

2

non arp.

mp

Harp

4 4 2

4 4 Piano

4 4 sub. f

sub. pp

4 4

Ptr. kiss

es

tell

you,

what

your

bo

dy

tells

you

is

that

God

ex

2

ists."

2

And

sul D

Vn. I

it brings you

to

more motion: q. = 112

4 4

sub. pp

44

Vn. II

sub. pp sul G .

4 4

Va.

sub. pp

2

4 4

Vc.

sub. pp sul D (Ossia: basses w/C extensions, natural harmonic) Cb.

sub. pp

2

4 4


The Gospel of Mary Magdalene—Act II

578 (q = 112) 225 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

f

f

p 1.

Bn. 1 2

4 4

Cbn.

4 4 4 4

a2, stopped, brassy

Hn. in F 1 3

4 4

a2, stopped, brassy

p

f Hn. in F 2 4

f Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

brassy

f brassy

f brassy Tbn. 1 2

4 4 f

B. Tbn./ Tuba

4 4

Bs. Tbn., brassy

3

f Timp.

4 4

Whip

4 4

Tba.

3

p

mf

p

4 4 Mar.

4 4

S. D.

4 4 4 4

Harp

4 4 4 4 Piano

4 4

Ptr.

life!

Vn. I

sub. p

3

4 4

To

(q = 112) div. 4 4

a

free

3

dom

yond

com

pare.

f

p

4 4

p

4 4 fp

Vc.

Cb.

4 4

4 4

f

p

f

p

3

fp div.

fp

a

free

div.

fp Va.

But

unis.

fp Vn. II

be

3

3

unis.

f

p

dom,

it

seems,

you


The Gospel of Mary Magdalene—Act II

579

229 Fl. 1 2

12 8

Picc.

12 8

Ob. 1 2

12 8

p

q. = 112 (= previous q)

12 8

E. H.

p 1 Cl. in Bb 2

12 8

Bs. Cl.

12 8

p

p

12 8

Bn. 1 2

p

3

Cbn.

12 8

Hn. in F 1 3

12 8

Hn. in F 2 4

12 8 a2

12 8

Tpt. in C 1 2

f

12 8

Tpt. 3 in C

f

12 8

Tbn. 1 2

f B. Tbn./ Tuba

12 8

Timp.

12 8

Whip

12 8 12 8

Mar.

12 8 12 8

S. D.

12 8 Harp

12 8 12 8 Piano

12 8 p

(still cool)

12 8

Ptr. feel

no

need

to

share.

It

would

p Y.

get

be

hind

me,

you

bo

dy

mat

ters

Sa tan.

q. = 112 (= previous q)

div., arco unis., snap pizz. Vn. I

f

p

snap pizz.

arco

f

p

snap pizz.

arco

f

p

snap pizz.

arco

f

p

Vn. II

Va.

Vc. 3

the

12 8

3

You

seem

snap pizz. Cb.

f

12 8 12 8 12 8 12 8 12 8

when

it


The Gospel of Mary Magdalene—Act II

580 233

9 8

12 8

Picc.

9 8

12 8

Ob. 1 2

9 8

12 8

E. H.

9 8

12 8

1 Cl. in Bb 2

9 8

12 8

Bs. Cl.

9 8

12 8

Bn. 1 2

9 8

12 8

Cbn.

9 8

12 8

Hn. in F 1 3

9 8

Fl. 1 2

p

open

12 8 mp

pp open

9 8

Hn. in F 2 4

12 8

mp

pp Tpt. in C 1 2

9 8

12 8

Tpt. 3 in C

9 8

12 8

Tbn. 1 2

9 8

12 8

B. Tbn./ Tuba

9 8

Tba.

12 8

mp

pp Timp.

9 8

12 8

Whip

9 8

12 8

9 8

12 8

9 8

12 8

9 8

12 8

9 8

12 8

9 8

12 8

9 8

12 8

9 8

12 8

9 8

12 8

Mar.

S. D.

Harp

Piano

Ptr. comes

to

what you

crave,

when

it

comes

to

how

it makes

you

feel

whole.

But:

pizz. Vn. I

Vn. II

9 8

when

unis., arco

9 8

pizz.

arco

9 8

pizz.

arco

pizz.

arco

it

comes

12 8

to

how

the

Ro

mans

have made

mf

12 8 mf

Va.

Vc.

9 8

12 8

mf

12 8 mf

Cb.

9 8

arco

p

12 8

mf


The Gospel of Mary Magdalene—Act II

581

Easier, with the voice: q. = 88

237

In time: q. = 112

Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

mf Hn. in F 2 4

mf Tpt. in C 1 2

pp

mp

pp

mp

Tpt. 3 in C

Tbn. 1 2

(Tba.) B. Tbn./ Tuba

mf

Timp.

Whip

mp

Mar.

to B. D. S. D.

pp

mp

p

Harp

Piano

f

pp 2

each

of

us

a

slave;

Ev'

2

2

ry

one

mp

2

2

Ptr. of

Da

vid's

Easier, with the voice: q. = 88

sons,

a

Ro

man

slave!

Then

In time: q. = 112

Vn. I

p

f

pp

mp

p

f

pp

mp

p

f

pp

Vn. II

Va.

div.

mp unis.

Vc.

p

f

pp

p

f

pp

Cb.

mp

the

bo

dy

me

rits

but

a,


The Gospel of Mary Magdalene—Act II

582 241 Fl. 1 2

9 8

Picc.

9 8 1.

Ob. 1 2

pp

2

9 8

mp

9 8

E. H.

pp

mp

1 Cl. in Bb 2

9 8

Bs. Cl.

9 8 2.

9 8

Bn. 1 2

pp

mp

9 8

Cbn.

mp Hn. in F 1 3

9 8

Hn. in F 2 4

9 8

Tpt. in C 1 2

9 8

Tpt. 3 in C

9 8

Tbn. 1 2

9 8

B. Tbn./ Tuba

9 8

Timp.

9 8

Whip

9 8 to Vib.

Mar.

Vibraphone

9 8

mp

9 8 Bass Drum

9 8

B. D.

9 8 Harp

9 8 9 8 Piano

9 8 sub. pp

mp

2

Ptr.

9 8

2

2

2

a

lan

guid wave.

"We

re

a

lize,

it

rank

les,

those

chains

pizz.

pp

pizz.

pp

pizz.

pp

mp

pizz. Vc.

mp

pp

mp

pizz. Cb.

mp

Doubt

less

they

must

take

a

mp

Va.

mp

les:

9 8

Vn. II

mp

your ank

9 8

Vn. I

mp

'round

mp

9 8 9 8 9 8


The Gospel of Mary Magdalene—Act II

245 Fl. 1 2

Picc.

Ob. 1 2

a2

9 8

mp

12 8

2

9 8 9 8

1 Cl. in Bb 2

9 8

4 4 ff

9 8

E. H.

Bs. Cl.

583

12 8 (1.)

a2

ff

12 8

mp

4 4

pp

a2

(f)

12 8

4 4

12 8

4 4

pp

mp

9 8

4 4

(f) ff

12 8

4 4 ff

Bn. 1 2

9 8

Cbn.

Hn. in F 1 3

a2

12 8

4 4

9 8

12 8

4 4

9 8

12 8

a2

4 4

mf Hn. in F 2 4

9 8

12 8

Tpt. in C 1 2

9 8

12 8

a2

mf

9 8

ff

4 4 4 4

mf Tpt. 3 in C

ff

4

ff

12 8

4 4 mf

4

ff

Tbn. 1 2

9 8

12 8

B. Tbn./ Tuba

9 8

12 8

4 4

Timp.

9 8

12 8

4 4

Whip

9 8

12 8

4 4

9 8

12 8

4 4

9 8

12 8

4 4

9 8

12 8

4 4

9 8

12 8

4 4

9 8

12 8

4 4

9 8

12 8

9 8

12 8

mf

ff

ff

4 4

Vib.

B. D.

Harp

4 4

f

Piano

Ptr.

9 8

Vn. I

Vn. II

Va.

Vc.

Cb.

9 8

pp

9 8 9 8

arco

9 8

don't

arco

arco

9 8

But

pp

pp

2

mp

mp

mp

arco

pp

f

12 8

2

toll.

4 4

mp

mind

your

bo

dy:

we've

12 8

come

to

save

your

4 4 soul!"

div.

4 4

f

12 8

4 4 f

12 8

4 4 f

12 8

4 4 f

12 8

arco

f

4 4


The Gospel of Mary Magdalene—Act II

584

More motion: q = 88

249 Severe: q = 80 Fl. 1 2

4 4

3 4

4 4

Picc.

4 4

3 4

4 4

Ob. 1 2

4 4

3 4

4 4

E. H.

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

3 4

4 4

Bs. Cl.

4 4

3 4

4 4

Bn. 1 2

4 4

3 4

4 4

Cbn.

4 4

3 4

4 4

Hn. in F 1 3

4 4

3 4

4 4

Hn. in F 2 4

4 4

3 4

4 4

a2

mf Tpt. in C 1 2

4 4

3 4

4 4

Tpt. 3 in C

4 4

3 4

4 4

Tbn. 1 2

4 4

3 4

4 4

B. Tbn./ Tuba

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

mf

mf Timp.

Whip

4 4

l. v.

mf

Vib.

B. D.

4 4

l. v.

mf

4 4 f

Harp

non arp.

f

Piano

4 4

Ptr.

3

4 4 This

Vn. I

4 4

Vn. II

44

Va.

4 4

Vc.

4 4

Cb.

4 4

is

3 4 your hour.

"Ju

de

a

for

Ju

de

ans!"

These

Severe: q = 80

are

the

peo

More motion: q = 88

div.

div.

ple

you're

the

heart

4 4

3

of.

And

it

3 4

4 4

43

44

3 4

unis.

4 4

3 4

4 4

3 4

4 4


The Gospel of Mary Magdalene—Act II

253 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4

585

p

p

p

4 4 Vib.

4 4

B. D.

4 4 4 4

Harp

4 4 4 4 Piano

4 4

Ptr.

4 4

f is

Vn. I

4 4

Vn. II

4 4

Va.

4 4

Vc.

Cb.

p n't

love

of

pow

er;

though

3

love

can lead

to

pow

er.

And

Ye

p

pp

p

pp

p

pp

4 4 4 4

shu

a:

what

if

this

is

the

de

sign

that

you're

a


The Gospel of Mary Magdalene—Act II

586 257 Peremptory: q = 126 Fl. 1 2

Picc.

Ob. 1 2

pp

E. H.

pp 1 Cl. in Bb 2

pp

Bs. Cl.

pp Bn. 1 2

pp

Cbn.

Hn. in F 1 3

p

Hn. in F 2 4

p

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Vib.

B. D.

Harp

Piano

f

3

M. M. There

will

al

ways

be

a

Cae

sar;

some

li

ber

ty,

some

jus

tice

that's

de

nied

us.

But

Ptr. part

of?

Peremptory: q = 126

non div. (arco)

3

Vn. I

f non div., pizz.

3

Vn. II

f non div., pizz.

3

Va.

f non div., pizz.

3

Vc.

f pizz. Cb.

f

3

the


The Gospel of Mary Magdalene—Act II

587

261 Fl. 1 2

pp

Picc.

pp Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

pp

mf

pp

mf

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tba. B. Tbn./ Tuba

mf Timp.

Whip

Vib.

B. D.

Harp

Piano

mf

p M. M. on

ly

3

re

vo

lu

tion

that

can

mat

ter,

e

ver,

is

in

side

us.

We've

div.

said

unis.

Vn. I

pp

mf

arco Vn. II

pp

mf arco

Va.

mf arco Vc.

mf arco Cb.

mf

all

this

be

fore.


The Gospel of Mary Magdalene—Act II

588 265 Much easier: q = 76 Fl. 1 2

3 4

4 4

3 4

Picc.

3 4

4 4

3 4

Ob. 1 2

3 4

4 4

3 4

E. H.

3 4

4 4

3 4

1 Cl. in Bb 2

3 4

4 4

3 4

Bs. Cl.

3 4

4 4

3 4

Bn. 1 2

3 4

4 4

3 4

Cbn.

3 4

4 4

3 4

Hn. in F 1 3

3 4

4 4

3 4

Hn. in F 2 4

3 4

4 4

3 4

Tpt. in C 1 2

3 4

4 4

3 4

Tpt. 3 in C

3 4

4 4

3 4

Tbn. 1 2

3 4

4 4

3 4

B. Tbn./ Tuba

3 4

4 4

3 4

Timp.

3 4

4 4

3 4

Whip

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

pp

Vib.

B. D.

Harp

Piano

pp

(eying MIRIAM)

3

3

Ptr. Some

where,

in

this

ci

ty,

there's

a

girl

Much easier: q = 76 Vn. I

pp

mp

Vn. II

mp

pp

Va.

pp

mp

Vc.

pp

Cb.

mp

3 4 3 4 3 4 3 4 3 4

pp

pp

pp

pp

who

wants

3 4 to

be

the

girl

3

in

the

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4


The Gospel of Mary Magdalene—Act II

269

589

Fl. 1 2

3 4

4 4

3 4

4 4

Picc.

3 4

4 4

3 4

4 4

Ob. 1 2

3 4

4 4

3 4

4 4

E. H.

3 4

4 4

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

3 4

4 4

Bs. Cl.

3 4

4 4

3 4

4 4

Bn. 1 2

3 4

4 4

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

Hn. in F 1 3

3 4

4 4

3 4

4 4

3 4

4 4

1.

p

pp

sfzp

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

3 4

4 4

Tpt. 3 in C

3 4

4 4

3 4

4 4

Tbn. 1 2

3 4

4 4

3 4

4 4

B. Tbn./ Tuba

3 4

3 4

4 4

Tba.

sfzp

(Tba.)

4 4

sfzp

p Timp.

3 4

4 4

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

B. D.

Harp

Piano

Ptr.

song:

Vn. I

3 4

the

mf

pp 3

in

no

cent,

the

maid

en,

the

vir

gin

for

4 4

whom

no

thing

can

go

wrong.

3 4 sfzp

Vn. II

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

4 4 pp

3 4 sfzp

Cb.

4 4 pp

sfzp Vc.

4 4 pp

sfzp Va.

4 4

4 4 pp

3 4 sfzp

And

4 4


The Gospel of Mary Magdalene—Act II

590 273

More urgent: q = 88

Fl. 1 2

4 4

3 4

7 8

4 4

Picc.

4 4

3 4

7 8

4 4

Ob. 1 2

4 4

3 4

7 8

4 4

E. H.

4 4

3 4

7 8

4 4

1 Cl. in Bb 2

4 4

3 4

7 8

4 4 p

mp

Bs. Cl.

4 4

3 4

7 8

4 4

Bn. 1 2

4 4

3 4

7 8

4 4

Cbn.

4 4

3 4

7 8

4 4

Hn. in F 1 3

4 4

3 4

7 8

4 4

Hn. in F 2 4

4 4

3 4

7 8

4 4

Tpt. in C 1 2

4 4

3 4

7 8

4 4

Tpt. 3 in C

4 4

3 4

7 8

4 4

Tbn. 1 2

4 4

3 4

7 8

4 4

B. Tbn./ Tuba

4 4

3 4

7 8

4 4

Timp.

4 4

3 4

7 8

4 4

Whip

4 4

3 4

7 8

4 4

4 4

3 4

7 8

4 4

4 4

3 4

7 8

4 4

4 4

3 4

7 8

4 4

4 4

3 4

7 8

4 4

4 4

3 4

7 8

4 4

4 4

3 4

7 8

4 4

4 4

3 4

7 8

4 4

3 4

7 8

p

mp

Vib.

B. D.

Harp

Piano

Ptr.

some

Vn. I

3

4 4 where,

in

3

this

ci

ty,

there

is

some

4 4

3 4 mp

Vn. II

pp

mp Va.

Vc.

Cb.

4 4 4 4 4 4

mp

mp

May

7 8

3 4

4 4

one:

3 4 3 4

pp

be

he's

her

fi

More urgent: q = 88

7 8

pp

4 4 an

cé,

4 4

7 8 7 8

p

p

4 4 4 4 4 4

some

Ro

man

at

ta

ché,

mp

pp

mp

pp

mp

pp

mp

pp

4 4 p

7 8

mp

or

p

pp

3 4

p


The Gospel of Mary Magdalene—Act II

591

q = 104 3 4

4 4

2 4

4 4

Picc.

3 4

4 4

2 4

4 4

Ob. 1 2

3 4

4 4

2 4

4 4

2 4

4 4

277

accel

Fl. 1 2

pp

3 4

E. H.

mf

4 4 mp

mf

1 Cl. in Bb 2

3 4

4 4

2 4

4 4

Bs. Cl.

3 4

4 4

2 4

4 4

Bn. 1 2

3 4

4 4

2 4

4 4

mp

mf

Cbn.

3 4

4 4

2 4

4 4

Hn. in F 1 3

3 4

4 4

2 4

4 4 pp

Hn. in F 2 4

3 4

4 4

2 4

Tpt. in C 1 2

3 4

4 4

2 4

4 4

Tpt. 3 in C

3 4

4 4

2 4

4 4

Tbn. 1 2

3 4

4 4

2 4

4 4

B. Tbn./ Tuba

3 4

4 4

2 4

Timp.

3 4

4 4

2 4

4 4

Whip

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

pp

a2

pp

4 4

4 4

Vib.

B. D.

Harp

Piano

pp Ptr. But

he's

on

his

accel Vn. I

Vn. II

eve

ning

mf

stroll.

And

q = 104 div. 3 4

4 4

3 4

4 4

mf

he's

look

ing

at

that

vir

2 4

gin,

unis.

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

mf

Va.

Vc.

3 4

4 4

3 4

4 4

mf

mf Cb.

3 4

4 4

mf


The Gospel of Mary Magdalene—Act II

592 Suddenly slower: 281 q = 88 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4 4 4

a2

Hn. in F 1 3

Hn. in F 2 4

4 4

a2

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

mf f

Whip

f 1.

f

mf

f (3.)

f pp

mf

4 4 4 4

Vib.

4 4

B. D.

4 4 4 4

Harp

4 4

f non arp.

4 4 Piano

Ptr.

4 4

But

Vn. I

4 4

Vc.

Cb.

not

think

ing

of

her

soul.

Ye

p

mf

p

mf

p

mf

p

mf

p

mf

4 4 f

Va.

he's

Suddenly slower: q = 88 f

Vn. II

mf

pp

4 4

4 4 4 4 4 4

f

f

f

f

3

shu

a,

Ma

ry,

Ma

ry:

why

are

you

for


The Gospel of Mary Magdalene—Act II

285 q = 120 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

3 4

4 4

Ob. 1 2

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

593 Slower: q = 104 6

ff

to Flute ff

6

ff

6 6

ff

ff Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

(a2) Hn. in F 1 3

6

a2

ff

(a2) Hn. in F 2 4

(1.) Tpt. in C 1 2

3 4

4 4

3 4

4 4

a2

ff

ff

3 4

Tpt. 3 in C

4 4 ff

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

ff

(Whip)

ff

Vib.

B. D.

Harp

Piano

M. M. He's

still

wrong.

E

3 4

Ptr. sak

ing

ven

Mi

div.

am

would

say

so.

Mo

ther?

4 4

her?

q = 120 Vn. I

ri

3 4

unis.

4 4

Slower: q = 104 p

Vn. II

3 4

4 4 p

Va.

Vc.

Cb.

3 4

4 4

3 4

4 4

3 4

4 4

p

p

p


The Gospel of Mary Magdalene—Act II

594 289 Implacable: q = 80

3 4

4 4

Fl. 3

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Fl. 1 2

Flute

a2 1 Cl. in Bb 2

mf Bs. Cl.

mf Bn. 1 2

mf Cbn.

mf Hn. in F 1 3

a2 Hn. in F 2 4

mf

mf B. Tbn./ Tuba

mf l. v. Timp.

mf

To Triangle Tri.

Vib.

B. D.

sfzpp

Harp

f

mf

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

non arp.

Piano

f

3

This

is

Ptr. the

hour.

And

these

are

the

peo

ple,

these

Implacable: q = 80 Vn. I

are

the

wo

men

you're

the

heart

of.

3 4

4 4

3 4

4 4

f Vn. II

f div. Va.

f div. Vc.

f

Cb.

f

3 4

unis.

4 4

3 4

4 4

3 4

4 4


The Gospel of Mary Magdalene—Act II

293

595

Fl. 1 2

4 4

3 4

Fl. 3

4 4

3 4

Ob. 1 2

4 4

3 4

E. H.

4 4

3 4

1 Cl. in Bb 2

4 4

3 4

Bs. Cl.

4 4

3 4

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

Hn. in F 1 3

4 4

3 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

Tri.

put on straight mutes

pp

3 4

put on straight mutes

3 4

3 4

p

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Vib.

B. D.

Harp

4 4

p

3 4

4 4

3 4

4 4

3 4

Piano

Ptr.

p

4 4

Ye

3

3

shu

a:

this

is

the

3 4 de

sign

that

you're

a

part

of.

div.

4 4

3 4

Vn. II

4 4

3 4

Va.

4 4

3 4

Vc.

4 4

Vn. I

Cb.

unis.

sub. p

4 4

div.

3 4 3 4

sub. p

pp


The Gospel of Mary Magdalene—Act II

596 slowing 297

q = 66

Faster, with the voice: q = 80

Fl. 1 2

Fl. 3

1. Ob. 1 2

pp

E. H.

pp 1 Cl. in Bb 2

pp

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Piano

pp Y. Tell

slowing

Vn. I

div. Vn. II

pp div. Va.

pp Vc.

Cb.

q = 66

them

Faster, with the voice: q = 80

to

pre


The Gospel of Mary Magdalene—Act II

Precipitous: q = 92

accel.

q = 66

301

597

Fl. 1 2

4 4

Fl. 3

4 4 (1.)

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

p

pp Cbn.

4 4

Hn. in F 1 3

4 4 pp

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

mp

2.

pp

mp

Tba.

pp Timp.

4 4

Tri.

4 4

mp

4 4 Vib.

4 4 4 4

B. D.

4 4 p

Harp

4 4 4 4 Piano

4 4 pp You

said

you'd

mp

4 4

3

M. M. be

with

us,

al

ways,

ev'

3 ry

where

with

us,

al

ways...

p

4 4

Ptr.

you're

"When

4 4

Y.

Precipitous: q = 92

pare.

q = 66 Vn. I

Vn. II

4 4

unis.

accel.

pp

mp

4 4

unis.

pp

4 4

Va.

unis., pizz., l. v. Vc.

p pizz., l. v. Cb.

p

4 4 4 4

mp

mp

p sub. p sub.

mp

arco

pp

p sub. sul C

arco

pp

p sub. sul G

unis.

pp

mutes on

mp

3

p sub.


The Gospel of Mary Magdalene—Act II

598 Holding back: q = 69

305

Easier: q = 76

q = 92

Fl. 1 2

3

pp Fl. 3

pp

3

Ob. 1 2

3

pp

p

E. H.

3

3

1 Cl. in Bb 2

pp

p

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

sord.

remove mutes

Tpt. in C 1 2

pp sub.

mp

mp

pp sub.

mp

pp sub.

mp

pp sub.

mp

pp sub.

mp sord.

pp sub.

remove mute

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

bowed

p

Vib.

B. D.

non arp.

Harp

sim.

p

Piano

mf

mf

sub. p

p

3

Ptr. not

a

fraid

to

lose

some

one,

Holding back: q = 69

then you'll

un

der

q = 92

3

stand

how

to

Easier: q = 76

sord., div.

unis.

Vn. I

3

pp Vn. II 3

mf

sub. p

mf

sub. p

mf

sub. p

mf

sub. p

mf

sub. p

mf

sub. p

mf

sub. p

mf

sub. p

Va.

Vc.

Cb.

3

hold

on

to

him.

To

hold

on

to

him,

o

pen

your


The Gospel of Mary Magdalene—Act II

309

599 3 4

Fl. 1 2 3

p

to Piccolo Fl. 3

p

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

1., ossia tacet, through 314 3

pp

3 4

Bs. Cl.

p

3 4

Bn. 1 2

p

p

3 4

Cbn.

1.

3 4

Hn. in F 1 3

pp

p

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4 (TRI.)

Tri.

3 4

p

3 4

ord., soft mallets

p

Vib.

3 4 3 4

B. D.

3 4 Harp

3 4 3 4 Piano

3 4 ppp

3 4

Ptr. hand."

Let

div.

3 4

Vn. I 3

p

Vn. II

p

Va.

p

Vc.

p

Cb.

p

3 4 3 4 3 4 3 4

3

ting

go,

Ma

ry:

Yes?


The Gospel of Mary Magdalene—Act II

600 313 Fl. 1 2

Picc.

Ob. 1 2

E. H.

(1.) 1 Cl. in Bb 2

3

p Bs. Cl.

1., ossia tacet, through 318 Bn. 1 2

pp

Cbn.

(1.) Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Piano

Ptr. That's

Vn. I

Vn. II

Va.

Vc.

Cb.

3

what

you've

learned

love

is.

He's

helped

you

find

your

pur

pose.


The Gospel of Mary Magdalene—Act II

601

More motion: q = 96

317

a2

4 4

2 4

4 4

Picc.

4 4

2 4

4 4

Ob. 1 2

4 4

2 4

4 4

E. H.

4 4

2 4

4 4

1 Cl. in Bb 2

4 4

2 4

4 4

Fl. 1 2

pp

pp

p

Bs. Cl.

4 4

2 4

4 4

Bn. 1 2

4 4

2 4

4 4

Cbn.

4 4

2 4

4 4

Hn. in F 1 3

4 4

2 4

4 4

Hn. in F 2 4

4 4

2 4

4 4

Tpt. in C 1 2

4 4

2 4

4 4

p

open

mf Tpt. 3 in C

4 4

2 4

4 4

Tbn. 1 2

4 4

2 4

4 4

B. Tbn./ Tuba

4 4

2 4

4 4

Timp.

4 4

2 4

4 4

Tri.

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

mf

Vib.

B. D.

Harp

Piano

4 4

M. M.

p If

you

ride

in

to

Je

ru

sa

lem,

4 4

2 4

4 4

More motion: q = 96 4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

Vc.

4 4

2 4

4 4

Cb.

4 4

2 4

4 4

Ptr. Free

him

to

find

his.

unis. Vn. I

pp Vn. II

pp Va.

pp


The Gospel of Mary Magdalene—Act II

602 321 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4 mf

Bs. Cl.

Bn. 1 2

4 4

p

4 4 mf

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

open

mf Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4 mf

Timp.

4 4

Tri.

4 4 4 4

Vib.

4 4

B. D.

4 4 non arp.

4 4 Harp

f

4 4 4 4 mf

Piano

4 4

M. M.

mf

3

If

Vn. I

Vn. II

fp

3

4 4 you

con front

the tem

ple,

if

you

chal lenge

Rome.

I'll

say a

prayer.

But

if,

4 4

when

you

fp

4 4 fp

Va.

Vc.

Cb.

4 4

fp

4 4 4 4

fp div.

fp

3

re


The Gospel of Mary Magdalene—Act II

603

325 Fl. 1 2

Picc.

1. Ob. 1 2

pp

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

2. Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Piano

M. M. turn

to

me,

I

may

not

be

there.

Vn. I

pp

Vn. II

pp Va.

pp

Vc.

pp

Cb.


The Gospel of Mary Magdalene—Act II

604 329

3 4

Fl. 1 2

Picc.

Ob. 1 2

slowing

a2

mf

3 4

Piccolo

3 4

a2

mf

4 4

ff

4 4

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

4 4

3 4 ff

4 4 mf

mf

Bn. 1 2

mf Cbn.

mf

1.

a2

Hn. in F 1 3

p

mp

4 4

a2

Hn. in F 2 4

p

mp

4 4

3 4

4 4

3 4

4 4

3 4 3 4

Tpt. 3 in C

3 4

a2

mf

mf

4 4 4 4

pp

p

mp

mf

pp

p

mp

mf

Timp.

Tri.

Vib.

B. D.

pp

3 4

4 4

3 4

4 4

mf

mp M. M. 3

Ye

p Ptr. Rab

pp

3

in

peace.

3 4 3 4

ff

3 4

ff

3 4 3 4 ff

3 4 3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4 ff

4 4 mf

4 4

3 4 ff

3 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

3 4

3 4

4 4

3 4

ff

3 4

a...

bi...

3 4

Y. Leave me

shu

3 4

4 4

(mf)

mp

p

ff

3 4

3 4

pp

3 4

ff

3 4

Piano

ff

ff

(mp)

Harp

3 4

4 4

mf B. Tbn./ Tuba

3 4

4 4

3 4 a2

ff

ff

Tpt. in C 1 2

Tba.

3 4

ff

mf

Tbn. 1 2

ff

ff

3 4

mf

(2.)

3 4

4 4

mf a2

3 4

ff

mf E. H.

3 4

mf

Both

3

of

ff

4 4

3

you,

leave me

3 4 in

peace!

slowing Vn. I

3 4

4 4

Vn. II

3 4

4 4

3

ff

3 4 3 4

3

3 4

Va.

4 4 mf

3 4

Vc.

3 4

4 4

pp

unis.

mf

3 4

ff

mf

Cb.

ff

3 4 ff div.

4 4

3 4 ff


The Gospel of Mary Magdalene—Act II

Fl. 1 2

3 4

Icy: h = 80 (= previous q) 3 2

Picc.

3 4

3 2

Ob. 1 2

3 4

3 2

333 q = 80

n

605

ff

3

ff E. H.

3 4

3 2

1 Cl. in Bb 2

3 4

3 2

Bs. Cl.

3 4

3 2

Bn. 1 2

3 4

3 2

Cbn.

3 4

3 2

Hn. in F 1 3

3 4

3 2

3 4

3 2

Tpt. in C 1 2

3 4

3 2

Tpt. 3 in C

3 4

f

a2

n Hn. in F 2 4

3

ff

a2

n

ff

n

ff

n

ff

3

f

3

3 2

Tbn. 1 2

3 4

3 2

B. Tbn./ Tuba

3 4

3 2

Timp.

3 4

3 2

Tri.

3 4

3 2

3 4

3 2

3 4

3 2

3 4

3 2

3 4

3 2

ff

f

Vib.

B. D.

molto arp.

ff Harp

Piano

Vn. I

3 4

3 2

3 4

3 2

3 4

3 2

3 4

3 2

q = 80

Icy: h = 80 (= previous q)

3 4

3 2 3

Vn. II

3 4

3

(ff)

ff

3

3

3 2

3

ff Va.

3 4

3

3 2

3 4

3 2

unis.

div.

f

ff Cb.

3 4

3 2

div.

ff

f

f

ff

Vc.

f

al sord.


The Gospel of Mary Magdalene—Act II

606

Ruminative: q = 66

337 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

p

E. H.

3 4

1 Cl. in Bb 2

3 4 p

Bs. Cl.

3 4

Bn. 1 2

3 4

p

3 4

Cbn.

a2

mf

mf

p

f

a2 Hn. in F 2 4

1., solo

3 4

Hn. in F 1 3

3

3 4

f

3 4

Tpt. in C 1 2

mf Tpt. 3 in C

3 4

Tbn. 1 2

3 4

f

mf B. Tbn./ Tuba

3 4

Timp.

3 4

Tri.

3 4 3 4

Vib.

3 4 3 4

B. D.

3 4 p

Harp

3 4 3 4 Piano

3 4

put on mutes

3 4

put on mutes

3 4

Vn. I

Ruminative: q = 66

mf 3

Vn. II

pp

mf put on mutes Va.

3 4

mf put on mutes Vc.

3 4

mf Cb.

sord., div.

3 4

sord.

pp sord.

pp


The Gospel of Mary Magdalene—Act II

607

FIRST INTERLUDE

341 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

(1.) Hn. in F 1 3

(p)

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

p Harp

Bb

Piano

sord.

Vn. I

pp

Vn. II

mp

pp

mp

pp

mp

pp

Va.

Vc.

Cb.


The Gospel of Mary Magdalene—Act II

608 345 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

(1.) Hn. in F 1 3

Hn. in F 2 4

1. Tpt. in C 1 2

p

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Eb

Ab

Db

Gb Cb

Piano

Vn. I

pp

pp

Vn. II

mp

pp

mp

pp

mp

pp

Va.

Vc.

Cb.


The Gospel of Mary Magdalene—Act II

More motion

349 Fl. 1 2

609 a2

q = 72

p

mf pp sub.

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

pp

mp

Bs. Cl.

Bn. 1 2

mp

Cbn.

Hn. in F 1 3

Hn. in F 2 4

(1.) Tpt. in C 1 2

(p)

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Ab

E§ A§ D§ C§

F#

Piano

More motion

div.

q = 72

Vn. I

pp

p

mf pp sub.

unis. Vn. II

mp

pp sub.

mp

pp sub.

mp

Va.

mp

div. Vc.

mp

pp sub.

mp unis., pizz., con sord.

Cb.

p

mp


The Gospel of Mary Magdalene—Act II

610 353

Slowing

a2

Fl. 1 2

q = 66

mf pp

Picc.

1.

a2 Ob. 1 2

mf pp

p

p

E. H.

1 Cl. in Bb 2

mf Bs. Cl.

Bn. 1 2

mf

Cbn.

mp

mf

Hn. in F 1 3

p

Hn. in F 2 4

p

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Piano

Slowing unis.

q = 66 mutes off

Vn. I

mf pp mutes off Vn. II

mf mutes off Va.

mf mutes off Vc.

mf arco

mutes off

Cb.

mf


The Gospel of Mary Magdalene—Act II

611

357 Fl. 1 2

Picc.

(1.) Ob. 1 2

E. H.

1 Cl. in Bb 2

p

Bs. Cl.

Bn. 1 2

p

Cbn.

p

1., solo

Hn. in F 1 3

pp (2.) Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Piano

p Y. He'd

like

to

think

he's

senza sord. Vn. I

p senza sord. Vn. II

p senza sord. Va.

p unis., senza sord.

div.

Vc.

p senza sord. Cb.

p


The Gospel of Mary Magdalene—Act II

612 361 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

mp

p

mp

p

Bs. Cl.

Bn. 1 2

Cbn.

(1.) Hn. in F 1 3

(p) Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

F§ Bb

Piano

Y. 3

writing

the

psalm:

He's

mere

3

ly

the

harp

on

Vn. I

pp

p

div. Vn. II

mp

p

Va.

unis.

mp

p div.

Vc.

mp

p

Cb.

(p)

which

it's

played.


The Gospel of Mary Magdalene—Act II

613

365 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

mp Bs. Cl.

Bn. 1 2

mp

Cbn.

(1.) Hn. in F 1 3

p

Hn. in F 2 4

p 1.

Tpt. in C 1 2

p

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Eb

Ab

Db

Gb Cb

Piano

Y. 3

He'd

like

to

think

he

can

not

de

cide:

But

Vn. I

pp

p unis.

pp div.

Vn. II

mf

p

mf

p

mp

Va.

unis.

unis.

mp

div. Vc.

mf

Cb.

p

mp


The Gospel of Mary Magdalene—Act II

614

More motion

369 Fl. 1 2

q = 72

a2

p

mf

p

mf

pp

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

p

Bs. Cl.

Bn. 1 2

mf

p

Cbn.

Hn. in F 1 3

pp

mp Hn. in F 2 4

pp

mp (1.) Tpt. in C 1 2

(p)

(mf)

Tpt. 3 in C

p

(mf)

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Ab

F#

Piano

p

mf Y. clear

3

ly

he

3

knows

the

de

ci

sion's

been

made.

They

More motion

div.

tell

him:

you

need

q = 72

Vn. I

mf div.

pp

unis.

Vn. II

mf

p

mf

p

Va.

div. Vc.

mf pizz. Cb.

mp

mf

p

to


The Gospel of Mary Magdalene—Act II

373

615 q = 66

Slowing

Fl. 1 2

mf

pp

mf

pp

Picc.

Ob. 1 2

p

E. H.

p 1 Cl. in Bb 2

mf

p

mf

p

mf

p

Bs. Cl.

Bn. 1 2

Cbn.

p Hn. in F 1 3

pp 2.

Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Piano

mf

pp

p

Y.

3

choose.

He

tells

them:

I

need

to

pray.

There's

no

thing

q = 66

Slowing unis.

put on mutes

Vn. I

mf

pp put on mutes

Vn. II

mf

p put on mutes

Va.

mf

p put on mutes

Vc.

mf

p

arco

put on mutes

Cb.

mf

p

to

choose.

It's


The Gospel of Mary Magdalene—Act II

616

Slowing: q = 60

377 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

1., solo Hn. in F 1 3

(2.) Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Tri.

Vib.

B. D.

Harp

Piano

3

Y.

3

on

ly

re

fuse

or

sord. Vn. I

pp sord. Vn. II

pp

Va.

Vc.

Cb.

o

bey.

Slowing: q = 60

3


The Gospel of Mary Magdalene—Act II

381

617

Fl. 1 2

4 4

3 4

Picc.

4 4

3 4

Ob. 1 2

4 4

3 4

E. H.

4 4

3 4

1

4 4

5

3 4 pp

Cl. in Bb

4 4

2

mp

5

3 4

3

pp

mp

5

pp

4 4

Bs. Cl.

pp

mp

6

4 4

1

3

mp

Bn.

4 4

2

pp

mp

p

n

pp

p

n

3 4 3 4 3 4

pp n

p

pp

pp (1.)

pp

p

3

4 4

Cbn.

n

p

pp

pp

3 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

Tri.

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Vib.

B. D.

Harp

Piano

pp possibile Y. Part of

Vn. I

3 4

pp 2.

3 4

pp

a de sign...

4 4 pp

Vn. II

5

mp

3 4

5

pp

4 4

3 4 pp

3

5

mp

pp

con sord.

4 4

3 4 pp

Va.

p

n

pp

unis.

4 4

3 4

p

3 4

3

pp

4 4

3

mp div., con sord.

Cb.

mp

con sord.

4 4

Vc.

6

p

pp

pp

n

div., con sord.

mp

pp

unis.

p

n

pp

pp

3 4


The Gospel of Mary Magdalene—Act II

618 385 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

3 4

4 4

1 Cl. in Bb 2

pp

3

3

pp 3

3

pp Bs. Cl.

Bn. 1 2

Cbn.

3 4

4 4

3 4

4 4

3 4

pp

3

4 4

3 4

(1.)

Hn. in F 1 3

3 4

(2.)

Hn. in F 2 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Y.

3 4

4 4

Vn. I

3 4

4 4

3 4

4 4

3 4

4 4

Tri.

to Bb Clarinet 3

p

p

p

p

p

p

4 4

3

p

4 4

p

p

p

Vib.

B. D.

Harp

p

Piano

Vn. II

Va.

pizz.

p pizz.

p unis., arco

div. pizz.

3

p

p div.

Vc.

Cb.

3 4 3 4

4 4 4 4

unis.

p

p

p

p

p

p

3


The Gospel of Mary Magdalene—Act II

389

619

Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Tri.

4 4 4 4

Vib.

4 4

B. D.

4 4 4 4

Harp

4 4 4 4 Piano

4 4

Y.

4 4

Vn. I

4 4

Vn. II

4 4

Va.

4 4

Vc.

4 4

Cb.

4 4


The Gospel of Mary Magdalene—Act II

620

1 2

Flute

Piccolo

4 4

1 2

4 4

English Horn

4 4

1 2

4 4

Clarinet 3 in Bb

4 4

1 2

4 4

Contrabassoon

4 4

Oboe

Clarinet in Bb

Bassoon

SCENE THREE

390 q = 76 4 4

Horn in F 1 3

4 4

Horn in F 2 4

4 4

Trumpet in C 1 2

4 4

Trumpet 3 in C

4 4

Trombone 1 2

4 4

Bass Trombone / Tuba

4 4

Timpani

4 4

Triangle

4 4

Vibraphone

4 4

Vibraphone

4 4

1. slowing

q = 66

pp

1.

pp

p

p

Triangle

Vibraphone

Second Player, 1 Instrument

4 4 Harp

4 4 4 4 Piano/

4 4 (The safe room. YESHUA and MARY.)

Mary Magdalene

4 4

Na

Yeshua

4 4

(Day is breaking, clear and blue. MARY sets down her jar, gazes at the dawn.)

p za

rene.

I

p

Mag

da

lene.

slowing

q = 76

Violin I

4 4

arco (con sord.)

p Violin II

div. (con sord.)

4 4

div.

q = 66

arco

pp

(con sord.)

Viola

4 4

p Violoncello

Contrabass

4 4 4 4

(con sord.)

p (con sord.)

p

pp mutes off


The Gospel of Mary Magdalene—Act II

394

Easier: q = 60

1.

Fl. 1 2

3 4

Picc.

3 4

pp

3

621 4 4 4 4

pp

6

1.

Ob. 1 2

3 4

Eng. Hn.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Cl. 3 in Bb

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Triangle

to Glock.

Tri.

pp

4 4

p

Glockenspiel

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

Vib.

Harp

3 4

p 6

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Piano

M. M. loved

this time

of

morn

ing...

unis.

3 4

Vn. I

unis. Vn. II

3 4

Easier: q = 60 p

p

4 4 4 4

Va.

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

1.

p


The Gospel of Mary Magdalene—Act II

622 398

q = 46, with the voice

slower yet

2+3

1

Fl. 1 2

5 4

Picc.

5 4

n

p

n

4 4

(1.) Ob. 1 2

5 4

Eng. Hn.

5 4

1 Cl. in Bb 2

5 4

Cl. 3 in Bb

5 4

4 4

1.

n

4 4

p

n

p

4 4 4 4

Bb Clarinet 3 n

(1.)

p

n

4 4

Bn. 1 2

5 4

4 4

Cbn.

5 4

4 4

Hn. in F 1 3

5 4

4 4

Hn. in F 2 4

5 4

4 4

Tpt. in C 1 2

5 4

4 4

Tpt. 3 in C

5 4

4 4

Tbn. 1 2

5 4

4 4

B. Tbn./ Tuba

5 4

4 4

Timp.

5 4

4 4

Glock.

5 4

4 4

Vibraphone

5 4

bow

4 4

n

Vib.

Vib.

pp

mp

n

mp

n

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

Harp

Piano

5 4

M. M.

pp

This

q = 46, with the voice

slower yet Vn. I

ppp Vn. II

3

is

how

3

I

lose

4 4

3

you.

This

is

how

it

ends.

2+3 5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

ppp (only if needed: preferably tacet) Va. ppp

(only if needed: preferably tacet) Vc. ppp

Cb.


The Gospel of Mary Magdalene—Act II

402

623

1.

Fl. 1 2

4 4

Picc.

4 4

n

3 4

p

n

4 4

3 4

4 4

3 4

4 4

(1.) Ob. 1 2

4 4

Eng. Hn.

4 4

n

n

n

p

n

3 4

4 4

3 4

4 4

3 4

4 4

a2 1 Cl. in Bb 2

4 4

Cl. 3

4 4

n

p

n

n

p

n

Bn. 1 2

4 4

3 4

4 4

Cbn.

4 4

3 4

4 4

Hn. in F 1 3

4 4

3 4

4 4

Hn. in F 2 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

3 4

4 4

Tpt. 3 in C

4 4

3 4

4 4

Tbn. 1 2

4 4

3 4

4 4

B. Tbn./ Tuba

4 4

3 4

4 4

Timp.

4 4

3 4

4 4

Glock.

4 4

3 4

4 4

4 4

3 4

4 4

mp

Vib.

Vib.

n

mp

n

mp

n

mp

n

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

Harp

Piano

M. M.

4 4

3

Ear

ly

on

an

or

di

na

3

ry

day.

My

love.

The

thou

sand things

I'd

say

to

you,

Vn. I

4 4

3 4

4 4

Vn. II

4 4

3 4

4 4

Va.

4 4

3 4

4 4

Vc.

4 4

3 4

4 4

Cb.

4 4

3 4

4 4


The Gospel of Mary Magdalene—Act II

624 406 Fl. 1 2

4 4

Picc.

4 4

1.

p

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

(1.) Ob. 1 2

4 4

Eng. Hn.

4 4

p

n

n

mp

1 Cl. in Bb 2

4 4

3 4

Cl. 3

4 4

n

p

n

4 4

5 4

3 4

4 4

5 4

p

Bn. 1 2

4 4

3 4

4 4

5 4

Cbn.

4 4

3 4

4 4

5 4

Hn. in F 1 3

4 4

3 4

4 4

5 4

Hn. in F 2 4

4 4

3 4

4 4

5 4

Tpt. in C 1 2

4 4

3 4

4 4

5 4

Tpt. 3 in C

4 4

3 4

4 4

5 4

Tbn. 1 2

4 4

3 4

4 4

5 4

B. Tbn./ Tuba

4 4

3 4

4 4

5 4

Timp.

4 4

3 4

4 4

5 4

Glock.

4 4

3 4

4 4

5 4

4 4

3 4

4 4

5 4

4 4

3 4

4 4

5 4

4 4

3 4

4 4

5 4

4 4

3 4

4 4

5 4

4 4

3 4

4 4

5 4

4 4

3 4

4 4

5 4

4 4

3 4

4 4

5 4

3 4

4 4

Vib.

n

mp

Vib.

mp

Harp

Piano

M. M.

4 4

3

if

there

were

a

ny

thing

to

p

5 4 No,

say...

4 4

mutes off

Vn. I

3 4

4 4

5 4

4 4

mutes off

Vn. II

3 4

4 4

5 4

4 4

mutes off

Va.

3 4

4 4

5 4

4 4

mutes off

Vc.

3 4

4 4

5 4

Cb.

4 4

3 4

4 4

5 4


The Gospel of Mary Magdalene—Act II

410 2 + 3 Fl. 1 2

5 4

4 4

Picc.

5 4

4 4

Ob. 1 2

5 4

4 4

Eng. Hn.

5 4

4 4

1 Cl. in Bb 2

5 4

4 4

Cl. 3

5 4

4 4

Bn. 1 2

5 4

4 4

Cbn.

5 4

4 4

Hn. in F 1 3

5 4

4 4

Hn. in F 2 4

5 4

4 4

Tpt. in C 1 2

5 4

4 4

Tpt. 3 in C

5 4

4 4

Tbn. 1 2

5 4

4 4

B. Tbn./ Tuba

5 4

4 4

Timp.

5 4

4 4

Glock.

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

625

1.

p

3

1.

3

p 3

p 1.

3

p

Vib.

Vib.

Harp

Piano

M. M.

3

5 4 this

is

how

4 4

3

I

lose

you.

How

3

the dark

de

scends,

E

ven

on

a

sky

so clear

and

blue.

My

2+3

Vn. I

Vn. II

Va.

Vc.

5 4 5 4 5 4 5 4

senza sord.

4 4

p senza sord.

4 4

p senza sord.

p senza sord.

3

4 4

5 4

senza sord.

p

pp

p

pp

p

3

3

3

pp

4 4

p 3

4 4

p Cb.

pp

p 3

pp

p


The Gospel of Mary Magdalene—Act II

626 414 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

Eng. Hn.

3 4

4 4 mp

1 Cl. in Bb 2

3 4

4 4

Cl. 3

3 4

4 4

Bn. 1 2

3 4

4 4 mp

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Glock.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

Vib.

p

Harp

Piano

M. M. love.

I

don't

know

3

how we've

come

to

this,

3

but

I

will

act

as

if

I

do.

Though

to flaut. Vn. I

3 4

4 4

Vn. II

3 4

4 4

Va.

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

to flaut.

to flaut.

to flaut.

I

can't


The Gospel of Mary Magdalene—Act II

418

627

1.

Fl. 1 2

3

mf solo

3

3

3

3

3

3

Picc.

Ob. 1 2

Eng. Hn.

1. 1 Cl. in Bb 2

mp

(mp)

Cl. 3

1. Bn. 1 2

mp

(mp)

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Glock.

Vib.

Vib.

Harp

mp

Piano

3

3

3

M. M. see

what you see:

see it

a

ny clear er.

If

I

could;

flaut.

if

I

did;

whatwould I

know?

But

if

I

div.

Vn. I

(mp) flaut. Vn. II

(mp) flaut. Va.

(mp) div. flaut.

unis.

Vc.

(mp)

Cb.

mp


The Gospel of Mary Magdalene—Act II

628 422

surging

Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

Eng. Hn.

3 4

1 Cl. in Bb 2

3 4

Cl. 3

3 4

Bn. 1 2

3 4

Cbn.

3 4

q = 60

mp

1.

a2 3

Hn. in F 1 3

3

3

3 4

3

3

mp Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Glock.

3 4

2.

mp

Tuba

mp

3 4 Vib.

3 4 3 4

Vib.

3 4 Harp

3 4 3 4 Piano

3 4 mp

3 4

3

M. M. saw

3

what you

see,

in

some

3

un cloud ed

mir

ror;

how,

then,

could

I blame

you

3

if

surging

unis.

unis.

go?

3 4

Vn. I

div.

you

div.

3 4

Vn. II 3

3

3

3

3 4

3

Va. 3

3 4

Vc.

Cb. 3

3 4

q = 60


The Gospel of Mary Magdalene—Act II

629 q = 46

Slowing

426 Fl. 1 2

5 4

Picc.

5 4

Ob. 1 2

f

mf

5 4

4 4

sub. pp

4 4

sub. pp

4 4

sub. pp

5 4

Eng. Hn.

4 4

pp

5 4

1 Cl. in Bb 2

4 4 sub. pp

mf Cl. 3

5 4

4 4

Bn. 1 2

5 4

4 4

Cbn.

5 4

4 4

5 4

4 4

(1.) Hn. in F 1 3

sub. pp

f

mf (2.) Hn. in F 2 4

f

mf

pp

5 4

4 4

sub. pp

Tpt. in C 1 2

5 4

4 4

Tpt. 3 in C

5 4

4 4

Tbn. 1 2

5 4

4 4

5 4

4 4

Timp.

5 4

4 4

Glock.

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

(Tba.)

3

B. Tbn./ Tuba

f

mf

Vib.

Vib.

Harp

sub. pp

Piano

5 4 pp

mf

f

M. M. When

you

go...

5 4

No,

5 4

mf unis.

div.

f unis.

f

Vc.

mf Cb.

3

mf

q = 46

f

f

3

how

4 4

3

I

lose

you.

as

4 4

sub. pp

4 4 sub. pp

f

Va.

mf

is

5 4

Vn. II

mf

sub. pp this

Slowing Vn. I

4 4

5 4 5 4 5 4

sub. pp

sub. pp

4 4 4 4 4 4


The Gospel of Mary Magdalene—Act II

630 430

Flexibly: q = 46

Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

Eng. Hn.

4 4

1 Cl. in Bb 2

4 4

Cl. 3

4 4

Bn. 1 2

4 4

Cbn.

4 4

1.

p

pp

1.

p

mp 3

p

mp

(1.)

Hn. in F 1 3

mp

3

4 4

3

p (2.)

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

3

p

p B. Tbn./ Tuba

4 4 p

Timp.

4 4

Glock.

4 4 4 4

Vib.

4 4

Vib.

4 4 4 4 p

Harp

4 4 4 4 Piano

4 4

M. M.

4 4 God,

Vn. I

Vn. II

Va.

mp

3

I guess,

in

tends.

Part

of

how our lives

3

have been de

p

Cb.

3

p

love.

3

mp

pp

mp

pp

mp

pp

mp

pp

mp

pp

4 4 p

Vc.

My

4 4 4 4

The

on

ly thing

Flexibly: q = 46

44 4 4

signed.

pp

3

p 3

p

I


The Gospel of Mary Magdalene—Act II

631

434 Fl. 1 2

Picc.

Ob. 1 2

Eng. Hn.

pp 1 Cl. in Bb 2

Cl. 3

Bn. 1 2

pp Cbn.

1. Hn. in F 1 3

pp 2. Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tuba B. Tbn./ Tuba

pp

Timp.

Glockenspiel Glock.

pp

pp

Vib.

Vib.

pp

Harp

pp

Piano

3

M. M. wish

I

knew

is

what

it

is

that

I

must

lose

you

to

find.

pp

(mp)

S. Ah...

pp A. Ah...

div. Vn. I

pp Vn. II

div. Va.

Vc.

Cb.

(mp)


The Gospel of Mary Magdalene—Act II

632 438 Fl. 1 2

Picc.

Ob. 1 2

Eng. Hn.

1 Cl. in Bb 2

Cl. 3

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

to Xyl. Glock.

bowed Vib.

Vibraphone (2nd player)

n

mp

n

mp

n

p

bowed

Vib.

n

Harp

Piano

(MARY guides YESHUA down to his knees. She breaks open her jar. She anoints him lavishly---glossing his forehead, temples, lips, throat, wrists, chest, and feet, and drying each part of him with her hair---but her manner is ceremonial, as if she is at once making love to him a final time and dressing him for burial. Then she helps him finish dressing: but when he reaches for her, she steps away.))

pp

(mp)

S. ah...

pp

sim.

(mp)

A. ah...

pp

ah...

pp

(mp)

(mp)

T. Ah...

ah...

pp

pp

(mp)

sub. pp

(mp)

B. Ah...

ah...

Vn. I

pp

mp

pp

mp

pp

div. Vn. II

pp Va.

div.

mp

n

mp

n

pp

mp

Vc.

Cb.

p

pp sub.

pp


The Gospel of Mary Magdalene—Act II

633

442 Fl. 1 2

Picc.

Ob. 1 2

Eng. Hn.

1 Cl. in Bb 2

Cl. 3

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Glock.

Vib.

n

p

n

mp

n

n

mp

n

(mp)

pp

Vib.

mp

Harp

Piano

sub. pp

pp

(mp)

S. ah...

ah...

A. ah...

ah...

sim. T. ah...

ah...

pp

(mp)

B. ah...

Vn. I

p

pp sub.

mp

pp

mp

pp

Vn. II

mp

pp

Va.

mp

pp

mp

pp

mp

pp

Vc.

mp Cb.

pp


The Gospel of Mary Magdalene—Act II

634 446 Fl. 1 2

Picc.

Ob. 1 2

Eng. Hn.

1 Cl. in Bb 2

Cl. 3

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Glock.

Vib.

mp

n

mp

Vib.

mp

n

mp

Harp

Piano

sim. S. ah...

A. ah...

sub. pp

pp

pp

(mp)

(mp)

T. ah...

ah...

sub. pp

pp

sim.

(mp)

B. ah...

ah...

Vn. I

mp

pp

mp

pp

pp

mp

Vn. II

mp

pp

Va.

p

pp sub.

mp

pp

Vc.

mp Cb.

pp

p

pp sub.

pp


The Gospel of Mary Magdalene—Act II

450

(q = 46)

635

Fl. 1 2

5 4

4 4

Picc.

5 4

4 4

Ob. 1 2

5 4

4 4

Eng. Hn.

5 4

4 4

1 Cl. in Bb 2

5 4

4 4

Cl. 3

5 4

4 4

Bn. 1 2

5 4

4 4

Cbn.

5 4

4 4

Hn. in F 1 3

5 4

4 4

Hn. in F 2 4

5 4

4 4

Tpt. in C 1 2

5 4

4 4

Tpt. 3 in C

5 4

4 4

Tbn. 1 2

5 4

4 4

B. Tbn./ Tuba

5 4

4 4

Timp.

5 4

4 4

Glock.

5 4

4 4

Vib.

n

n

mp

mp

5 4

to Mar.

4 4

5 4 5 4

Vib.

n

p

n

mp

4 4 to S. D.

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

Harp

Piano

pp M. M.

5 4

No,

S.

ppp this

3

is

how

4 4

3

I

lose

you.

as

5 4

ppp

4 4

5 4

ppp

4 4

ah...

ah...

pp

sub. pp

(mp)

A. ah...

ah...

5 4

T.

ppp

4 4

ah...

pp

(mp)

5 4

B.

ppp

4 4

ah...

soli

(q = 46)

5 4

Vn. I

mp

pp

mp

ppp

5 4

Vn. II

p

pp sub.

mp

pp

sole

Va.

mp

mp

pp soli

Vc.

mp Cb.

pp

mp

4 4 soli

4 4

ppp

5 4

4 4

5 4

4 4

5 4

4 4

pp


The Gospel of Mary Magdalene—Act II

636 454 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

Eng. Hn.

4 4

1 Cl. in Bb 2

4 4

Cl. 3

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Glock.

4 4 4 4

Vib.

4 4 Vib.

4 4 4 4 p

Harp

4 4 4 4 Piano

4 4 M. M.

4 4 God,

S.

4 4

A.

4 4

T.

4 4

B.

4 4

Vn. I

4 4

I guess,

in

tends.

Va.

Vc.

Cb.

4 4 4 4 4 4 4 4

Part

of

how our lives

3

have been de

signed.

My

3

(soli)

Vn. II

poco

3

tutti unis.

pp

(soli)

tutti unis.

pp (sola)

tutti unis.

ppp

pp tutti unis.

pp 3

pp

love.

The

on

ly thing

I


The Gospel of Mary Magdalene—Act II

637

458 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

Eng. Hn.

3 4

pp

pp

pp

3 4

1 Cl. in Bb 2

pp

Bass Clarinet

3 4

Cl. 3

pp

3 4

Bn. 1 2

pp

3 4

Cbn.

1.

3 4

Hn. in F 1 3

pp 2. Hn. in F 2 4

3 4

pp

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4 Tuba

B. Tbn./ Tuba

3 4

pp

Timp.

3 4

Glock.

3 4 3 4

Vib.

3 4 3 4

Vib.

3 4 Harp

3 4 3 4

pp

Piano

3 4 (MARY has gained the door, cradling her jar like a baby. Then she turns; opens her free hand.)

3 4

3

M. M. wish

I

knew

is

what

it

is

that

we

must

lose

you

to

find.

div. a3 Vn. I

3 4 (pp)

Vn. II

3 4

div. a3

(pp)

Va.

3 4

Vc.

3 4

Cb.

3 4


The Gospel of Mary Magdalene—Act II

638

Much faster: q = 76

462 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

pp

4 4

Eng. Hn.

pp 1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

pp

4 4

Cbn.

pp a2

4 4

Hn. in F 1 3

pp a2 Hn. in F 2 4

4 4

pp

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

pp

4 4 4 4

B. Tbn./ Tuba

pp Timp.

4 4

Glock.

4 4 4 4

Vib.

4 4 4 4

Vib.

4 4

non arp.

pp

Harp

4 4 4 4 Piano

4 4 4 4

M. M.

pp Look!

Much faster: q = 76 4 4

unis.

Vn. I

4 4

unis.

Vn. II

4 4

unis.

div. Va.

(pp) div.

4 4

Vc.

pp

pp

pp unis.

(pp) div. Cb.

(pp)

4 4

(only basses with C extensions) unis.


The Gospel of Mary Magdalene—Act II

639 Slowing: q = 66

466 Fl. 1 2

Picc.

Ob. 1 2

Eng. Hn.

1 Cl. in Bb 2

Bs. Cl.

pp Bn. 1 2

Cbn.

pp Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Glock.

Vib.

Vib.

Harp

Piano

(She is gone.)

3

M. M. I've

o

pened

my

hand.

Slowing: q = 66 Vn. I

Vn. II

Va.

Vc.

pp

Cb.

pp


The Gospel of Mary Magdalene—Act II

640 470 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

Eng. Hn.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Glock.

3 4 3 4

Vib.

3 4

Vib.

3 4 3 4

Harp

3 4 3 4 Piano

3 4

Vn. I

3 4

Vn. II

3 4

Va.

3 4

Vc.

43

Cb.

3 4


The Gospel of Mary Magdalene—Act II

641

SCENE FOUR 471 q = 66 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

a2

f

3

a2

3

f Eng. Hn.

3 4

f

pp 1 Cl. in Bb 2

a2

3 4

3

pp Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

f

mf

a2

pp

f

pp

mf

f

3 4 mf

Hn. in F 2 4

3 4 mf

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

mf

l. v.

mf

Xylophone

Xyl.

mf

sim.

3 4

Marimba

3 4 Mar.

3 4 Snare Drum

S. D.

3 4

molto arp.

3 4 Harp

f

3 4 3 4 f

Piano

3 4 mf

(The CHORUS, out of time.)

S.

3 4

pp

f And

A.

3 4

this

pp

3 4

this

pp

3 4

this

pp

Vn. I

this

3 4

Va.

3 4

Cb.

sto

you

know:

We

3

ry

is

the

is

one

the

sto

turn

to

it

at

last.

re

turn

to

it

at

last.

re

turn

to

it

at

last.

re

turn

to

it

at

last.

3

you

know:

We

mf

3

ry

re

mf

3

one

you

know:

We

mf 3

ry

is

the

3

one

you

know:

We

3

div.

unis.

mf

f

div.

unis.

3

f

pp

mf div.

3

3 4 3 4

one

3

pp

Vc.

sto

q = 66 pp

Vn. II

the

3

f And

3 4

is

f And

B.

ry

f And

T.

sto

3

f

mf

pp

f

mf

pp

f

mf


The Gospel of Mary Magdalene—Act II

642

more motion 475

q = 72

a2

Fl. 1 2

f

3

p

Picc.

f

p

3

a2 Ob. 1 2

f

3

p

to Ob.

3

Eng. Hn.

f

p

1 Cl. in Bb 2

Bs. Cl.

(a2) Bn. 1 2

p

Cbn.

p Hn. in F 1 3

(mf)

p

(mf)

p

Hn. in F 2 4

p

mf

p

mf

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

p 3.

B. Tbn./ Tuba

p

p Timp.

p Xyl.

Mar.

S. D.

Harp

Piano

p

mf

S. The

dis

as

ter

at

the

Tem

ple,

Then

it

all

hap

pened

ve

ry,

mf

p A. The

dis

as

ter

at

the

Tem

ple,

Then

it

all

hap

pened

ve

p

ry,

mf

T. The

dis

as

ter

at

the

Tem

ple,

Then

it

all

hap

pened

ve

p

ry,

mf

B. The

dis

as

ter

at

the

Tem

ple,

Then

it

div.

hap

pened

ve

ry,

q = 72

more motion 3

all

unis.

Vn. I

p div.

unis.

mf

3

Vn. II

p

mf

div. unis.

unis. Va.

p

mf

p

mf

p

mf

Vc.

Cb.


The Gospel of Mary Magdalene—Act II

643

Baleful, gala: q = 160 7 8

4 4

6 8

Picc.

7 8

4 4

6 8

Ob. 1 2

7 8

4 4

6 8

Ob. 3

7 8

4 4

6 8

1 Cl. in Bb 2

7 8

4 4

Bs. Cl.

7 8

4 4

Bn. 1 2

7 8

4 4

Cbn.

7 8

4 4

479 Fl. 1 2

stopped, brassy

7 8

Hn. in F 1 3

sim.

f

p

sim.

stopped, brassy

7 8

Hn. in F 2 4

3., open

6 8

f

6 8

f

6 8

f

6 8

f a2

4 4

(f)

4 4

p

a2.

a2, open

6 8 2.

6 8

f

Tpt. in C 1 2

7 8

4 4

6 8

Tpt. 3 in C

7 8

4 4

6 8

Tbn. 1 2

7 8

4 4

6 8

4 4

6 8 6 8

sim.

brassy

f

7 8

B. Tbn./ Tuba

sim. brassy

f Timp.

7 8

4 4

Xyl.

7 8

4 4

7 8

4 4

6 8

4 4

6 8

Bass Drum

6 8

Marimba

6 8

f

Mar.

7 8 f

Snare Drum

7 8

S. D.

pp

f

4 4

7 8

4 4

7 8

4 4

7 8

4 4

7 8

4 4

Harp

Piano

7 8

S. ve

7 8 ve

7 8 ve

ry

ve

f

f

f

ry

p sub.

p sub.

7 8

Va.

p sub. Vc.

p sub.

6 8 f

6 8 *see footnote

4 4

6 8 Di

na

*see footnote

4 4

6 8 Di

na

*see footnote

4 4

6 8 Di

4 4

na

6 8

*see footnote Di

na

4 4

6 8

4 4

6 8

f

7 8

Vn. II

6 8

fast.

Baleful, gala: q = 160 7 8

Vn. I

f

fast.

7 8

B.

6 8

fast.

ry

T.

f

f

fast.

ry

A.

Cb.

f

f

4 4

6 8

0

f

7 8

4 4 f

7 8

0

6 8

f

4 4 f

Zephaniah 1:15-16 (Greek:) "That day is a day of wrath, a day of tribulation and distress, a day of calamity and misery, a day of darkness and obscurity, a day of clouds and whirlwinds, a day of the trumpet and alarm against the fenced cities, and against the high bulwarks." Source of the Dies Irae.

6 8


The Gospel of Mary Magdalene—Act II

644 483 Fl. 1 2

6 8

3 4

Picc.

6 8

Ob. 1 2

e=e

6 8

3 4

3 4

6 8

3 4

6 8

3 4

6 8

3 4

Ob. 3

6 8

3 4

6 8

3 4

1 Cl. in Bb 2

6 8

3 4

6 8

Bs. Cl.

6 8

3 4

6 8

a2

3 4

f

3 4

f Bn. 1 2

6 8

3 4

6 8

3 4 f

Cbn.

6 8

Hn. in F 1 3

6 8

(a2)

3 4

6 8

3 4

3 4

6 8

3 4

f

Hn. in F 2 4

6 8

f

(2.)

4.

3 4

6 8

3 4

Tpt. in C 1 2

6 8

3 4

6 8

Tpt. 3 in C

6 8

3 4

6 8

3 4

Tbn. 1 2

6 8

3 4

6 8

3 4

f

3 4

f B. Tbn./ Tuba

6 8

a2

3 4

6 8

3 4

Timp.

6 8

3 4

6 8

Xyl.

6 8

3 4

6 8

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

6 8

3 4

6 8

f l. v.

3 4

f

3 4

Mar.

B. D.

l. v.

f

3 4 (f)

Harp

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4 (f)

Piano

S.

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

ti

A.

me

ra

or

gis, (yees,)

i

i

3 4 i

me

ra

i

me

or

ra

6 8

gis, (yees,)

i

i

i

me

or

ra

6 8

3 4

Vn. II

6 8

Va.

e

ki

ni,

i

me

ra

thi

3 4 me

ra

e

ki

ni,

i

me

ra

thi

gis, (yees,)

i

i

3 4 me

ra

e

ki

ni,

i

me

ra

thi

6 8 or

Vn. I

ra

6 8

3 4 ti

me

6 8

3 4

6 8 ti

B.

i

6 8 ti

T.

3 4

e=e

gis, (yees,)

i

i

3 4 me

ra

e

ki

ni,

i

me

ra

thi

6 8

3 4

3 4

6 8

3 4

6 8

3 4

6 8

3 4

Vc.

6 8

3 4

6 8

3 4

Cb.

6 8

3 4

6 8

3 4


The Gospel of Mary Magdalene—Act II

487

645 e=e 3 8

Fl. 1 2

3 4

6 8

3 4

Picc.

3 4

6 8

3 4

3 8

Ob. 1 2

3 4

6 8

3 4

3 8

Ob. 3

3 4

6 8

3 4

3 8

1 Cl. in Bb 2

3 4

6 8

3 4

3 8

Bs. Cl.

3 4

6 8

3 4

3 8

Bn. 1 2

3 4

6 8

3 4

3 8

Cbn.

3 4

6 8

3 4

3 8

Hn. in F 1 3

3 4

6 8

3 4

3 8

Hn. in F 2 4

3 4

3 4

3 8

Tpt. in C 1 2

3 4

6 8

3 4

3 8

Tpt. 3 in C

3 4

6 8

3 4

3 8

Tbn. 1 2

3 4

6 8

3 4

3 8

B. Tbn./ Tuba

3 4

6 8

3 4

3 8

Timp.

3 4

6 8

3 4

3 8

Xyl.

3 4

6 8

3 4

3 8

Mar.

3 4

6 8

3 4

3 8

B. D.

3 4

6 8

3 4

3 8

3 4

6 8

3 4

3 8

3 4

6 8

3 4

3 8

3 4

6 8

3 4

3 8

3 4

6 8

3 4

3 8

3 4

6 8

3 4

3 8

a2

a2

(4.)

6 8

2.

Harp

Piano

S.

lip

A.

ke

a

nan

gis,

i

me

ra

a

o

6 8 se

os

ke

a

nan

gis,

i

3 4 se

os

ke

a

nan

gis,

me

i

ra

a

o

lip

se

os

ke

a

nan

gis,

me

i

as

ke

3 8 ri

as

ke

3 4 ra

a

o

6 8

3 4

ri

3 4

6 8 lip

B.

os

3 4 lip

T.

se

3 8 ri

as

ke

3 4 me

ra

a

o

3 8 ri

as

ke

e=e 3 8

Vn. I

3 4

6 8

3 4

Vn. II

3 4

6 8

3 4

3 8

Va.

3 4

6 8

3 4

3 8

Vc.

3 4

6 8

3 4

3 8

Cb.

3 4

6 8

3 4

3 8


The Gospel of Mary Magdalene—Act II

646 491

Slightly slower: q = 152

Fl. 1 2

3 8

2 4

4 4

2 4

4 4

Picc.

3 8

2 4

4 4

2 4

4 4

Ob. 1 2

3 8

2 4

4 4

2 4

4 4

Ob. 3

3 8

2 4

4 4

2 4

4 4

1 Cl. in Bb 2

3 8

2 4

4 4

2 4

4 4

Bs. Cl.

3 8

2 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

f

f

f

Oboe 3 f

f Bn. 1 2

3 8

2 4 f

Cbn.

3 8

2 4

Hn. in F 1 3

3 8

2 4

Hn. in F 2 4

3 8

2 4

a2

f

4 4

a2

f Tpt. in C 1 2

2 4

3 8

4 4 f

Tpt. 3 in C

3 8

2 4

4 4 f

Tbn. 1 2

3 8

a2

mp

mp

mp

mp

2 4

4 4

2.

3.

f

mp

B. Tbn./ Tuba

3 8

2 4

4 4

Timp.

3 8

2 4

4 4

2 4

4 4

4 4

2 4

4 4

mp

Xylophone Xyl.

3 8

2 4

3 8

2 4

4 4

2 4

4 4

3 8

2 4

4 4

2 4

4 4

3 8

2 4

4 4

2 4

4 4

3 8

2 4

4 4

2 4

4 4

3 8

2 4

4 4

2 4

4 4

3 8

2 4

4 4

2 4

4 4

3 8

2 4

4 4

2 4

4 4

2 4

4 4

f

Mar.

B. D.

Harp

f

Piano

(PETER eludes the questions of a suspicious SLAVE WOMAN.)

Ptr.

3 8

2 4

4 4

f

I

S.

3 8

2 4 a

A.

fa

nis

3 8 nis

3 8 fa

in

to

Je

ru

sa

lem,

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

mou...

2 4 a

ride

mou...

2 4 fa

not

mou...

2 4

a

B.

nis

3 8 a

T.

fa

would

nis

mou...

Vn. I

3 8

Slightly slower: non div. q = 152 2 4

Vn. II

3 8

2 4

sfz

(f)non div.

sfz Va.

3 8

(f)

2 4

4 4

(f)

sfz Vc.

3 8

2 4

4 4

3 8

2 4

4 4 sfz

div.

(f)

sfz Cb.

div.


The Gospel of Mary Magdalene—Act II

495

647 q = 160

Fl. 1 2

4 4

6 8

Picc.

4 4

6 8

Ob. 1 2

4 4

6 8

Ob. 3

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

to Eng. Hn.

6 8 1.

6 8

f

6 8

f Bn. 1 2

4 4

6 8 f

Cbn.

Hn. in F 1 3

4 4 4 4

6 8 f

(a2)

a2

f

(a2) Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

a2

f

3

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Xyl.

4 4

3

3

6 8

a2

6 8 6 8

f

f 3

2.

3

f

4 4

Tbn. 1 2

6 8

3

6 8 f

Bs. Tbn.

f

6 8

f

f

6 8

f

to T. Bl.

6 8

4 4

6 8 f

Mar.

4 4 B. D.

4 4

6 8 6 8

f

4 4

6 8 f

Harp

4 4

6 8

4 4

6 8 f

Piano

4 4 Ptr.

4 4

6 8 would

S.

6 8

not

in sult

the tem

ple,

I'd

ne ver

chal lenge

Rome!

I

do

not know him!

(f)

4 4

6 8 Di

A.

(f)

4 4

6 8 Di

T.

6 8

Vn. II

4 4

q = 160 f

4 4

3 3

4 4 f

Va.

na

(f)

4 4

6 8 Di

Vn. I

na

(f)

4 4

Di

B.

na

na

6 8 6 8

unis.

6 8

f Vc.

4 4

6 8

Cb.

4 4

6 8


The Gospel of Mary Magdalene—Act II

648 499 Fl. 1 2

6 8

3 4

6 8

Picc.

6 8

3 4

6 8

f

f Ob. 1 2

E. H.

6 8

3 4

6 8

3 4

3

a2

6 8

3 4

3 4

3

English Horn

6 8

f

3 4 3

3 4

3

f

1 Cl. in Bb 2

Bs. Cl.

a2

6 8

3 4

6 8

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

f

3 4

3

f Bn. 1 2

6 8

3 4

6 8

3 4 f

Cbn.

6 8

Hn. in F 1 3

6 8

(a2)

3 4

6 8

3 4

3 4

6 8

3 4

f

Hn. in F 2 4

6 8

Tpt. in C 1 2

6 8

f

(2.)

3 4

6 8

3 4

6 8

4.

3 4 3 4

f

3 4

Tpt. 3 in C

6 8

3 4

6 8

Tbn. 1 2

6 8

3 4

6 8

B. Tbn./ Tuba

6 8

3 4

6 8

Timp.

6 8

3 4

6 8

Xyl.

6 8

3 4

6 8

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

f

3 4

f

a2

3 4 f l. v.

3 4

f

3 4

Mar.

B. D.

l. v.

f

3 4 f

Harp

f

3 4

6 8 ti

T.

me

ra

6 8 i

me

or

ra

6 8

(y)is,

i

i

i

me

or

ra

e

ki

ni,

i

me

ra

thi

3 4 me

ra

e

ki

ni,

i

me

ra

thi

6 8 (y)is,

i

i

3 4 ti

ra

6 8

3 4 ti

B.

i

3 4 3 4

me

A.

3 4 3 4

Piano

S.

3 4

3 4 me

ra

e

ki

ni,

i

me

ra

thi

6 8 or

(y)is,

i

i

3 4 me

ra

e

ki

ni,

i

me

ra

thi

Vn. I

6 8

3 4

6 8

3 4

Vn. II

6 8

3 4

6 8

3 4

Va.

6 8

3 4

6 8

3 4

Vc.

6 8

3 4

6 8

3 4

3 4

6 8

3 4

unis.

f Cb.

6 8 f


The Gospel of Mary Magdalene—Act II

503 Fl. 1 2

3 4 (f)

Picc.

3 4 (f)

Ob. 1 2

3

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

3

a2

3 4

649

3

(f) E. H.

3 4

1 Cl. in Bb 2

3 4

3

(f)a2

(f)

3

Bs. Cl.

3 4

6 8

3 4

Bn. 1 2

3 4

6 8

3 4

Cbn.

3 4

6 8

3 4

Hn. in F 1 3

3 4

6 8

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

a2

(4.)

6 8

2.

3 4

6 8

3 4

6 8

3 4

f Tpt. 3 in C

3 4

Tbn. 1 2

3 4

6 8

3 4

B. Tbn./ Tuba

3 4

6 8

3 4

Timp.

3 4

6 8

3 4

Xyl.

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

f

Mar.

B. D.

Harp

Piano

S.

lip

A.

ke

a

nan

gis,

i

me

ra

a

o

6 8 se

os

ke

a

nan

gis,

i

3 4 se

os

ke

a

nan

gis,

me

i

3 4

ra

a

o

se

os

ke

a

nan

gis,

me

i

as

ke

ri

as

ke

ri

as

ke

ri

as

ke

3 4 ra

a

o

6 8 lip

ri

3 4

6 8 lip

B.

os

3 4 lip

T.

se

3 4 me

ra

a

o

Vn. I

3 4

6 8

3 4

Vn. II

3 4

6 8

3 4

Va.

43

68

43

Vc.

3 4

6 8

3 4

Cb.

3 4

6 8

3 4


The Gospel of Mary Magdalene—Act II

650 507

2+2+3

5 8

2+3

Fl. 1 2

7 8

7 8

Picc.

7 8

5 8

7 8

Ob. 1 2

7 8

5 8

7 8

E. H.

7 8

5 8

7 8

1 Cl. in Bb 2

7 8

5 8

7 8

Bs. Cl.

7 8

5 8

7 8

p

7 8

Bn. 1 2

f

a2

5 8

7 8

p

f

7 8

Cbn.

5 8

7 8

p Hn. in F 1 3

(2.) Hn. in F 2 4

mp

Tpt. in C 1 2

f

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

5 8

(f) Tpt. 3 in C

2.

7 8

p

f

p

(f)

7 8

f

Tbn. 1 2

7 8

5 8

B. Tbn./ Tuba

7 8

5 8

Timp.

7 8

Xyl.

7 8

p

2.

p

f

7 8 f

5 8

p

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

Mar.

mp B. D.

p

7 8 Harp

7 8

p

7 8 p

Piano

7 8 7 8

S. a

fa

nis

7 8 fa

nis

a

fa

nis

a

Vn. I

Vn. II

fa

nis

2+2+3

gno (g'no)

me

ra

me

ra

p

Vc.

Cb.

p

7 8 7 8

5 8

p

fou

ke

sko

7 8 tous,

fou

ke

sko

7 8 tous,

fou

ke

sko

div.

f

f div.

7 8 tous,

7 8 7 8 7 8

f

p div.

tous,

f gno (g'no)

5 8

sko

f gno (g'no)

p Va.

ke

7 8

f

52 + 3 8

7 8 7 8

fou

5 8 i

7 8

ra

p

mou,

gno (g'no)

5 8 i

7 8

me

p

mou,

B.

ra

5 8 i

7 8

T.

me

p

mou,

f

5 8 i

mou,

A. a

p

5 8

f

5 8

7 8 7 8

f


The Gospel of Mary Magdalene—Act II

511 Fl. 1 2

7 8

5 8

Picc.

7 8

5 8

Ob. 1 2

7 8

5 8

E. H.

7 8

5 8

1 Cl. in Bb 2

7 8

5 8

Bs. Cl.

7 8

5 8

(a2) Bn. 1 2

7 8

Cbn.

7 8

f

1.

f

Hn. in F 2 4

7 8

Tpt. in C 1 2

7 8

f

p

f

5 8

7 8 f

5 8

7 8 f

5 8 a2

a2

7 8 f

5 8

5 8

7 8

p

B. Tbn./ Tuba

7 8

f

5 8

p

7 8

Xyl.

7 8

f

5 8

7 8

p Timp.

7 8

f

7 8 7 8

7 8

f

5 8 p

Tbn. 1 2

7 8 7 8

p

Tpt. 3 in C

7 8 7 8

p

7 8

7 8 7 8

p

Hn. in F 1 3

651

f

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

p

Mar.

B. D.

7 8

to 5 Toms. p

7 8 Harp

7 8 7 8

Piano

p

p

7 8

Pol. 1

7 8

5 8

7 8

Pol. 2

7 8

5 8

7 8

S.

7 8

p

7 8

Va.

7 8

me

ra

ne

me

ra

fe

me

ra

ne

fe

div.

div.

7 8

lis

ke

o

mi

lis

ke

o

mi

lis

ke

o

chlis...

7 8

mi

f

f

f

chlis...

7 8 7 8 7 8

div. a3

7 8 7 8

5 8 p

chlis...

7 8

f

5 8

p

chlis...

7 8

div. a3

5 8

5 8

mi

f

p

Cb.

o

5 8

p

Vc.

ke

f

5 8

7 8

lis

7 8

f fe

ne

p

p

7 8

fe

5 8

7 8

Vn. II

ne

p

i

Vn. I

ra

5 8

i

B.

me

p i

7 8

f

5 8 i

T.

f

f

5 8

7 8

f

5 Toms

7 8

A.

Temple Blocks

f

spoken, amplified: "As the procurator found no evidence to support a capital case against the detainee..."


The Gospel of Mary Magdalene—Act II

652 515 Fl. 1 2

p

f

p

f

p

f

p

f

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

p Hn. in F 2 4

p Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

f T. Bl.

f Mar.

5 Toms

Harp

Piano

Pol. 1

spoken, amplified: "...and since, as a Nazarene, he was not directly subject to the procurator's jurisdiction..." Pol. 2

highest possible harmonic unis., snap pizz. Vn. I

ff highest possible harmonic unis., snap pizz. Vn. II

ff non vib., molto sul pont: almost without pitch Va.

non vib., molto sul pont: almost without pitch Vc.

div., snap pizz. Cb.


The Gospel of Mary Magdalene—Act II

a2

519 Fl. 1 2

653

p

f

Picc.

p

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

f a2

Ob. 1 2

p

f

E. H.

f 1 Cl. in Bb 2

p

4 4

2 4

4 4

2 4

a2

7 8

f

Bs. Cl.

7 8 f

4 4

Bn. 1 2

2 4

a2

7 8

f

4 4

Cbn.

2 4

7 8 f

4 4

Hn. in F 1 3

2 4

a2

7 8

f Hn. in F 2 4

1. Tpt. in C 1 2

mf

4 4

2 a2 4

4 4

2 4

3

Tbn. 1 2

4 4

p

f

f

4 4

B. Tbn./ Tuba

p

2 4

7 8

2 4

7 8

2 4

7 8

2 4

7 8

f

mf

4 4

Timp.

7 8

f

4 4

Tpt. 3 in C

f

7 8

f

4 4

T. Bl.

2 4

7 8

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

f

4 4

f

Mar.

to B. D. 5 Toms

Harp

Piano

"...The detainee..."

(in unison:) "...to the custody of the tetrarch..."

Pol. 1

"....was remanded...' Pol. 2

Vn. I

(in unison:) "...to the custody of the tetrarch..."

4 4

arco

(PETER flees. YESHUA has dragged his cross to the crest of the hill. TWO EXECUTIONERS fix it in place, nail YESHUA's hands and feet to it.)

2 4

7 8

(ff) Vn. II

4 4

2 4

arco

7 8

(ff) Va.

4 4

2 4

7 8

Vc.

4 4

2 4

7 8

Cb.

4 4

2 4

7 8


The Gospel of Mary Magdalene—Act II

654 523 Fl. 1 2

7 8

5 8

7 8

5 8

Picc.

7 8

5 8

7 8

5 8

Ob. 1 2

7 8

5 8

7 8

5 8

E. H.

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

1 Cl. in Bb 2

Bs. Cl.

p Bn. 1 2

7 8

5 8

7 8

p Cbn.

p

f

a2

p

f

7 8

5 8

7 8

p

7 8

5 8

7 8

Hn. in F 2 4

7 8

5 8

7 8

Tpt. 3 in C

7 8 7 8

5 8

p

5 8 p

f

Hn. in F 1 3

Tpt. in C 1 2

5 8

5 8 a2

p

2.

7 8

5 8 p

f

5 8

p

5 8

5 8

7 8 p

f

2.

Tbn. 1 2

7 8

5 8

B. Tbn./ Tuba

7 8

5 8

Timp.

7 8

T. Bl.

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

5 8

7 8

p

7 8

f

5 8

p

7 8 f

5 8

7 8

p

5 8 p

5 8

p

to Xyl.

7 8

5 8

f

Mar.

B. D.

p

7 8 Harp

7 8 7 8 Piano

S.

p

7 8

p

7 8 7 8

Vn. II

7 8

5 8

5 8

7 8

5 8

5 8

7 8 f

ra

(g')no

Vc.

me

ra

p

(g')no

Cb.

me

ra

p me

ra

(g')no

(g')no

5 8 unis.

fou

ke

p arco, div.

sko

fou

ke

sko

div.

f

unis.

p

5 8

sko

5 8 p

tous,

7 8 7 8

tous,

5 8

ne

i

me

ra

ne

5 8 5 8 i

me

ra

ne

i

me

ra

ne

5 8 5 8 p

7 8

5 8 p

7 8

5 8 p

7 8

p

7 8 f

ra

7 8

f

f

me

p

f div.

i

p

tous,

7 8

5 8

p

tous,

f

5 8

7 8

sko

f

5 8

p

ke

5 8

p

7 8

fou

5 8

7 8

7 8

ke

7 8

f

p Va.

fou

5 8

...i

Vn. I

me

p

...i

B.

7 8

5 8

...i

T.

5 8

p

...i

A.

5 8 p

p

7 8 7 8

p

5 8 5 8

p


The Gospel of Mary Magdalene—Act II

527

655

Fl. 1 2

5 8

2+2+3 7 8

5 8

Picc.

5 8

7 8

5 8

7 8

Ob. 1 2

5 8

7 8

5 8

7 8

E. H.

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

Bs. Cl.

5 8

7 8

5 8

7 8

Bn. 1 2

5 8

7 8

5 8

7 8

Cbn.

5 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

1 Cl. in Bb 2

2+3

7 8

f

f

f Hn. in F 1 3

5 8

a2

p Hn. in F 2 4

5 8

Tpt. in C 1 2

5 8

Tpt. 3 in C

5 8

f

a2

f

f

Tbn. 1 2

5 8

B. Tbn./ Tuba

5 8

f

f

f

Timp.

5 8

Xyl.

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

Xylophone

Mar.

B. D.

Harp

pp

Piano

S.

f

5 8 fe

A.

o

5 8

mi

lis

ke

o

mi

5 8 lis

ke

o

mi

fe

lis

ke

o

mi

7 8

pp

7 8

pp

7 8

pp

i

chlis,

chlis,

me

ra

sal

me

ra

Vn. I

Vn. II

Va.

5 8 5 8 5 8

div.

f

f

7 8

Vc.

Cb.

5 8

unis.

pp

7 8

unis.

7 8

unis.

f div.

pp

pp

ke

pi(n)

gos

ke

5 8 i

me

ra

i

me

ra

7 8 sal

pi(n)

gos

ke

sal

pi(n)

gos

ke

5 8

7 8

2+3

unis.

7 8

gos

7 8 sal

2+2+3 div. a3

pi(n)

5 8 i

chlis,

f

5 8

pp

chlis,

f fe

B.

ke

f fe

T.

lis

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

div. a3

f

5 8

7 8 f

pp unis.

pp


The Gospel of Mary Magdalene—Act II

656 531

Slower: q = 152

1.

Fl. 1 2

7 8

3 4

7 8

Picc.

7 8

3 4

7 8

Ob. 1 2

7 8

3 4

7 8

E. H.

7 8

3 4

7 8

4 4

7 8

3 4

7 8

4 4

7 8

3 4

7 8

4 4

7 8

3 4

7 8

4 4

1 Cl. in Bb 2

Bs. Cl.

4 4

f

4 4

f

4 4

f

p

f Bn. 1 2

7 8

3 4

7 8

4 4

p

f Cbn.

Hn. in F 1 3

7 8

3 4

7 8

7 8

3 4

a2

a2

Hn. in F 2 4

7 8

3 4

Tpt. in C 1 2

7 8

3 4

4 4 f

7 8 7 8 7 8

4 4

f

4 4

f

f

p

4 4

7 8

3 4

7 8

Tbn. 1 2

7 8

3 4

7 8

B. Tbn./ Tuba

7 8

3 4

7 8

Timp.

7 8

3 4

7 8

4 4

Xyl.

7 8

3 4

7 8

4 4

Mar.

7 8

3 4

7 8

4 4

B. D.

7 8

3 4

7 8

4 4

7 8

3 4

7 8

4 4

7 8

3 4

7 8

4 4

7 8

3 4

7 8

4 4

7 8

3 4

7 8

4 4

7 8

3 4

7 8

4 4

Tpt. 3 in C

1.

4 4

f

4 4

f

4 4

f

f

f

to T. Bl.

f

Harp

f

Piano

Ptr.

f

(The suspicious SLAVE WOMAN has recruited OTHERS to help grill PETER.) sub. p

"There

S.

7 8

3 4 krav

A.

pi

tas

7 8 po

lis

tas

o

3 4 (y)is,

e

pi

tas

7 8 (y)is,

e

pi

po

tas

7 8

lis

tas

o

po

lis

tas

o

(y)is,

e

pi

tas

po

lis

tas

o

4 4 ras...

f (k)hi

7 8

4 4 ras...

f (k)hi

7 8

3 4 krav

(k)hi

7 8

3 4 krav

B.

e

7 8 krav

T.

(y)is,

f

4 4 ras...

f (k)hi

4 4 ras...

unis.

Slower: q = 152

div. Vn. I

Vn. II

Va.

7 8

3 4

7 8 7 8

3 4 div.

3 4

7 8 7 8

4 4

f

p

4 4

f

p unis.

7 8

4 4

f Vc.

7 8

3 4

7 8

4 4 f

Cb.

7 8

3 4

7 8

f

pizz.

4 4

p div.

p

will


The Gospel of Mary Magdalene—Act II

657

535 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

1. Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

(1.) Tpt. in C 1 2

Tpt. 3 in C

1. harmon mute Tbn. 1 2

p

3

3

3

B. Tbn./ Tuba

Timp.

Xyl.

Mar.

B. D.

Harp

Piano

Ptr. al

Vn. I

Vn. II

Va.

Vc.

Cb.

3

ways

be

a

Cae

sar;

some

li

ber

ty,

some

jus

tice that's

de

nied

us.

But

the

on

ly

3

re

vo

lu

tion

that

can


The Gospel of Mary Magdalene—Act II

658

q = 160 7 8

539 Fl. 1 2

Picc.

7 8

Ob. 1 2

7 8

E. H.

7 8

1 Cl. in Bb 2

7 8

Bs. Cl.

7 8

Bn. 1 2

7 8

Cbn.

7 8 a2

7 8

Hn. in F 1 3

a2

f

7 8

Hn. in F 2 4

f (1.) Tpt. in C 1 2

7 8

Tpt. 3 in C

7 8 open. Ossia: Tbn 2 play A, Tbn 1 tacet (if mute can't be removed in time)

(1.)

2 or 1.

remove mute

7 8

Tbn. 1 2 3

3

f

7 8

B. Tbn./ Tuba

f

7 8

Timp.

Temple Blocks

7 8

Xyl.

f

7 8 Mar.

7 8 5 Toms

7 8

B. D.

f

7 8 mp

Harp

7 8 7 8 Piano

7 8

f

spoken, amplified: "In the tetrarch's custody,..."

7 8

Pol. 1

(PETER flees.)

f

7 8

Ptr. mat

ter,

e

ver,

is

in

side

us!"

I

arco

swear,

div.

Vn. I

p

sub. f

sub. f

sub. f

ne

ver met

him!

unis.

q = 160 7 8

7 8

Va.

p

I've

7 8

Vn. II

p

3

unis.

Vc.

f Cb.

f

7 8 7 8


The Gospel of Mary Magdalene—Act II

659

543 Fl. 1 2

p

f

p

f

p

f

p

f

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

p Hn. in F 2 4

p Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

T. Bl.

Mar.

f

5 Toms

Harp

Piano

"bludgeoning with a staff..."

"....detainee participated in at least one sequence of extended interrogation techniques, which included..." Pol. 1

spoken, amplified: "flogging..." Pol. 2

highest possible harmonic snap pizz. Vn. I

ff highest possible harmonic snap pizz. Vn. II

ff non vib., molto sul pont: almost without pitch Va.

non vib., molto sul pont: almost without pitch Vc.

div., snap pizz. Cb.


The Gospel of Mary Magdalene—Act II

660 547

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

E. H.

4 4

2 4

7 8

1 Cl. in Bb 2

4 4

2 4

7 8

Bs. Cl.

4 4

2 4

7 8

Bn. 1 2

4 4

2 4

7 8

Cbn.

4 4

2 4

7 8

Hn. in F 1 3

4 4

2 4

7 8

Hn. in F 2 4

4 4

2 4

7 8

4 4

2 4

Fl. 1 2

p

f

Picc.

p

f

Ob. 1 2

p

f

p

f

1. Tpt. in C 1 2

mf Tpt. 3 in C

Tbn. 1 2

3

4 4 4 4

p

f f

f

4 4

B. Tbn./ Tuba

p

7 8

2 4

7 8

2 4

7 8 7 8

f

mf

4 4

2 4

T. Bl.

4 4

2 4

4 4

to Whip

7 8

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

4 4

2 4

7 8

Mar.

to B. D.

7 8

2 4

Timp.

5 Toms

1.

f

Harp

Piano

(in unison:) "...and dressing and role-play as King of the Jews..." Pol. 1

"....forced nudity..' Pol. 2

(in unison:) "...and dressing and role-play as King of the Jews..."

S.

4 4

Vn. I

4 4

(The crowds have abandoned YESHUA: only MARY, MIRIAM, and the TWO EXECUTIONERS keep silent vigil at the foot of the cross.)

arco

2 4

7 8

2 4

7 8

(f) Vn. II

4 4

2 4

arco

7 8

(f) Va.

4 4

2 4

unis.

7 8

f Vc.

Cb.

unis.

4 4

2 4

4 4

2 4

f

7 8 7 8


The Gospel of Mary Magdalene—Act II

551

661

Fl. 1 2

7 8

5 8

7 8

3 4

Picc.

7 8

5 8

7 8

3 4

Ob. 1 2

7 8

5 8

7 8

3 4

E. H.

7 8

5 8

7 8

3 4

1 Cl. in Bb 2

7 8

5 8

7 8

3 4

Bs. Cl.

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

Cbn.

7 8

5 8

7 8

3 4

Hn. in F 1 3

7 8

5 8

7 8

3 4

Hn. in F 2 4

7 8

5 8

7 8

3 4

Tpt. in C 1 2

7 8

5 8

7 8

3 4

Tpt. 3 in C

7 8

5 8

7 8

3 4

Tbn. 1 2

7 8

5 8

7 8

3 4

B. Tbn./ Tuba

7 8

5 8

7 8

3 4

Timp.

7 8

5 8

7 8

3 4

Whip

Whip

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

5 8

7 8

3 4

Bn. 1 2

a2

a2

Mar.

B. D.

Harp

pp

Piano

S.

A.

T.

7 8 7 8 7 8

pp ...i

me

ra

...i

me

ra

pp

7 8

pi(n)

gos

ke

sal

pi(n)

gos

ke

5 8

pp me

ra

pp me

sal

ra

(y)is,

e

pi

tas

krav

(y)is,

e

pi

tas

pi(n

gos

ke

pi(n)

gos

krav

ke

(y)is,

e

pi

tas

Vn. II

Va.

Vc.

7 8 7 8 7 8 7 8

pp

pp

pp

pp

krav

(y)is,

e

pi

tas

5 8

7 8

3 4

5 8

7 8

3 4

5 8

7 8

5 8

7 8

3 4

5 8

7 8

3 4

div.

3 4

unis., arco Cb.

7 8

pp

tas

o

po

lis

tas

o

po

lis

tas

o

po

lis

tas

o

3 4 div.

Vn. I

lis

3 4

7 8 sal

po

3 4

7 8

5 8 ...i

krav

7 8

5 8 ...i

B.

sal


The Gospel of Mary Magdalene—Act II

662 555 Fl. 1 2

7 8

5 8

Picc.

7 8

5 8

ff

7 8

4 4

7 8

4 4

7 8

4 4

7 8

4 4

ff Ob. 1 2

7 8

5 8

E. H.

7 8

5 8

7 8

5 8

7 8

4 4

Bs. Cl.

7 8

5 8

7 8

4 4

Bn. 1 2

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

7 8

5 8

7 8

a2 1 Cl. in Bb 2

ff

ff

ff

ff Cbn.

ff (a2) Hn. in F 1 3

f (a2)

Hn. in F 2 4

Tpt. in C 1 2

7 8

f

ff

7 8

f

f

B. Tbn./ Tuba

ff

7 8

Tpt. 3 in C

Tbn. 1 2

ff

ff

7 8

f

ff

7 8

f

ff

7 8

Timp.

Whip

ff

ff

Mar.

7 8 7 8

B. D.

ff

Harp

ff

Piano

Ptr.

f

ff

S. (k)hi

ras,

kai

ff

f A. (k)hi

ras,

f

ff ras,

ff

f (k)hi

ras,

f Vn. II

f

unis.

Va.

(y)o

pi

tas

ni

(y)o

7 8

as

tas

ni

as

pi

tas

(y)o

7 8 pi

tas

ni

(y)o

si

4 4 ip

si

7 8 as

tas

5 8 e

ip

tas

4 4 ip

si

7 8 ni

as

tas

4 4 4 4

7 8

5 8 e

kai

Vn. I

tas

5 8 e

kai

B.

pi

7 8

kai

T. (k)hi

e

(Now a small mob has cornered PETER.)

4 4 ip

si

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

f Vc.

f Cb.

f

div.


The Gospel of Mary Magdalene—Act II

Fl. 1 2

4 4

Easier: q = 152 3 4

Picc.

4 4

3 4

559

Ob. 1 2

1.

4 4

pp

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

3 4

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

f

f

f

4 4

4 4

1.

3 4

E. H.

Hn. in F 1 3

663

3 4 (a2)

3 4

(a2)

f f

f

f

3 4

(a2)

3 4 1.

3 4

f Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

Whip

4 4

3 4

4 4

3 4

pp

Mar.

B. D.

f

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

molto arp

p

Harp

Piano

Ptr.

ff

4 4

Of

S.

4 4

sub. pp

3 4 course,

I

f

prize

the

rule

of

Rome!

3 4 las.

A.

3 4

4 4 las.

T.

4 4

3 4 las.

B.

4 4

3 4 las.

unis. Vn. I

Vn. II

Va.

Vc.

Cb.

Easier: q = 152 3 4

4 4 sub. pp

4 4

pp

4 4

pp

4 4 4 4

pp unis.

pp

div.

f div.

3 4

f

3 4 3 4 3 4

f

f

f

div.


The Gospel of Mary Magdalene—Act II

664 563 (1.) Fl. 1 2

5 4

3 4

Picc.

5 4

Ob. 1 2

5 4

3 4

E. H.

5 4

3 4

1 Cl. in Bb 2

5 4

3 4

Bs. Cl.

5 4

3 4

Bn. 1 2

5 4

3 4

Cbn.

5 4

3 4

Hn. in F 1 3

5 4

to Flute

3 4

1.

3 4

p Hn. in F 2 4

5 4

3 4

Tpt. in C 1 2

5 4

3 4

Tpt. 3 in C

5 4

3 4

p

mf

f

5 4

Tbn. 1 2

mp B. Tbn./ Tuba

3 4 f Tuba

5 4

3 4

mf Timp.

5 4

3 4

Whip

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

3

p

Mar.

B. D.

Harp

Piano

Ptr.

5 4 This

Vn. I

Vn. II

3

is

3 4

3

my

land,

yes!

This

is

5 4

pizz. (div.)

arco unis.

5 4

pizz. unis.

arco

5 4

pizz. (div.)

arco unis.

p

my

home!

You

3 4

3

are

my

friends,

div.

3 4

p Va.

3 4

p Vc.

5 4

pizz.

5 4

pizz.

arco

3 4

p Cb.

p

3 4

3


The Gospel of Mary Magdalene—Act II

665

567 Fl. 1 2

Fl. 3

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

(1.)

a2

Hn. in F 1 3

(p) 2.

a2

p

(p)

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

1. Tbn. 1 2

p (Tba.)

B. Tbn./ Tuba

Timp.

Whip

Mar.

B. D.

Harp

Piano

Ptr. this

is

my

na

tion:

in

unis. Vn. I

Vn. II

Va.

p

Vc.

p arco Cb.

p

deed,

my

life!


The Gospel of Mary Magdalene—Act II

666 571

a2

Fl. 1 2

p

Flute 3

ff

to Piccolo

Fl. 3

p

ff a2

Ob. 1 2

p

ff

p

ff

E. H.

a2 1 Cl. in Bb 2

p

ff

p

ff

Bs. Cl.

a2 Bn. 1 2

p

ff

Cbn.

ff (a2) Hn. in F 1 3

f

p

f

p

f

(a2) Hn. in F 2 4

f Tpt. in C 1 2

Tpt. 3 in C

(1.) Tbn. 1 2

p

f

f

(Tba.) B. Tbn./ Tuba

p

f

f

Timp.

Whip

to Xyl. p

p

Mar.

B. D.

non arp.

ff Harp

ff

Piano

f

p

Yes:

my

ff

f

Ptr. life,

yes!

And

no,

div.

unis.

div.

unis.

sub. p

p

sub. p

ff

div.

unis.

div.

unis.

Vn. I

f

Vn. II

sub. p div.

p

f

unis.

sub. p div.

ff unis.

Va.

sub. p

p

sub. p

p

f

sub. p

ff

sub. p

ff

Vc.

f

f

Cb.

f

p

f

ff

no,


The Gospel of Mary Magdalene—Act II

575

667

Fl. 1 2

4 4

6 8

Picc.

4 4

6 8

Ob. 1 2

4 4

6 8

E. H.

4 4

6 8

1 Cl. in Bb 2

4 4

6 8

Bs. Cl.

4 4

6 8

Bn. 1 2

4 4

6 8

Cbn.

4 4

6 8

Hn. in F 1 3

4 4

6 8

Hn. in F 2 4

4 4 4 4

Tpt. in C 1 2

6 8

ff 4

4

ff

4 4

Tpt. 3 in C

p

6 8

ff

4

p

a2

ff

6 8

ff

4 4

6 8

B. Tbn./ Tuba

4 4

6 8

Timp.

4 4

6 8

Tbn. 1 2

ff

p

(Whip)

to T.-t.

Whip

ff

p

Tam-tam

4 4

6 8

4 4

6 8

4 4

6 8

4 4

6 8

4 4

6 8

4 4

6 8

4 4

6 8

4 4

6 8

Mar.

4

B. D.

p

ff

Harp

4

Piano

4

(A rooster crows. PETER flees for good. On the cross, YESHUA writhes, weakens. The sky darkens.)

4 4

Ptr. no,

no,

no:

I

4

do

not

know

4 4

S.

6 8

him!

f

6 8 Di

4 4

A.

f

6 8 Di

4 4

T.

4 4

6 8 na

f

6 8 Di

Vn. I

na

f Di

B.

na

na

4 4

6 8

4 4

6 8

4 4

6 8

4

Vn. II 4

Va.

4

Vc.

4

4 4

6 8

Cb.

4

4 4

6 8


The Gospel of Mary Magdalene—Act II

668 579 q = 160 Fl. 1 2

Picc.

6 8

3 4

6 8

6 8

3 4

ff Piccolo

6 8

ff Ob. 1 2

6 8

3 4

6 8

3 4

3 4

3

a2

6 8

ff E. H.

3 4

3

3 4 3

6 8

3 4

3

ff a2

1 Cl. in Bb 2

6 8

3 4

6 8

Bs. Cl.

6 8

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

ff

3 4

3

ff Bn. 1 2

6 8

Cbn.

6 8

a2

ff

ff Hn. in F 1 3

Hn. in F 2 4

6 8 6 8

a2

3 4

ff

(a2)

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

3 4

6 8

3 4

6 8

3 4

3 4

6 8

3 4

ff Tpt. in C 1 2

6 8

Tpt. 3 in C

6 8

ff

ff Tbn. 1 2

6 8 ff

B. Tbn./ Tuba

6 8

Timp.

6 8

a2

ff

f

l. v.

3 4

ff T.-t.

6 8

Xyl.

6 8

Xylophone

ff B. D.

3 4

6 8

6 8

3 4

6 8

3 4

6 8

3 4

3 4

6 8

3 4

Harp

6 8

S.

3 4

6 8

3 4

6 8

3 4

6 8

3 4

me

i

me

Va.

Vc.

or

ra

6 8

(y)is,

i

i

i

me

or

ra

(y)is,

i

i

i

me

or

ra

ra

e

ki

ni,

i

me

ra

thi

3 4 me

ra

e

ki

ni,

i

me

ra

thi

6 8 (y)is,

i

i

3 4

6 8

me

6 8

3 4

3 4 me

ra

e

ki

ni,

i

me

ra

thi

6 8 or

(y)is,

i

i

3 4 me

ra

e

ki

ni,

i

me

ra

thi

q = 160 6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

43

68

43

3 4

6 8

3 4

3 4

6 8

ff

Vn. II

ra

3 4

ti

Vn. I

i

6 8

ti

B.

3 4

6 8

ti

T.

f

f

ff

ti

A.

3 4

f

ff

6 8 Piano

l. v.

6 8

68

ff

ff

6 8 ff

Cb.

div.

6 8 ff

unis.

3 4


The Gospel of Mary Magdalene—Act II

583 Fl. 1 2

3 4

Picc.

3 4

3

669

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

3 4

6 8

6 8

3 4

6 8

6 8

3 4

6 8

3 3

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

6 8

3 4

6 8

Tpt. in C 1 2

3 4

6 8

3 4

6 8

Tpt. 3 in C

3 4

6 8

3 4

6 8

Tbn. 1 2

3 4

6 8

3 4

6 8

B. Tbn./ Tuba

3 4

3 4

6 8

Timp.

3 4

6 8

3 4

6 8

T.-t.

3 4

6 8

3 4

6 8

Xyl.

3 4

6 8

3 4

6 8

B. D.

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3

a2 3

(a2)

6 8

(a2)

a2

6 8

a2

a2

Harp

Piano

S.

lip

A.

ke

a

nan

gis,

i

me

ra

a

o

6 8 se

os

ke

a

nan

gis,

i

3 4 se

os

ke

a

nan

gis,

me

i

ra

a

o

lip

se

os

ke

a

nan

gis,

me

i

as

ke

6 8 ri

as

ke

3 4 ra

a

o

6 8

3 4

ri

3 4

6 8 lip

B.

os

3 4 lip

T.

se

6 8 ri

as

ke

3 4 me

ra

a

o

6 8 ri

as

ke

Vn. I

3 4

6 8

3 4

6 8

Vn. II

3 4

6 8

3 4

6 8

Va.

3 4

6 8

3 4

6 8

Vc.

3 4

6 8

3 4

6 8

Cb.

3 4

6 8

3 4

6 8


The Gospel of Mary Magdalene—Act II

670 587

a2

Fl. 1 2

6 8

7 8

5 8

7 8

Picc.

6 8

7 8

5 8

7 8

Ob. 1 2

6 8

7 8

5 8

7 8

E. H.

6 8

7 8

5 8

7 8

1 Cl. in Bb 2

6 8

7 8

5 8

7 8

Bs. Cl.

6 8

7 8

5 8

7 8

Bn. 1 2

6 8

a2

a2

f

p

(a2)

7 8

Cbn.

6 8

7 8

Hn. in F 1 3

6 8

7 8

Hn. in F 2 4

6 8

Tpt. in C 1 2

Tpt. 3 in C

5 8

7 8 f

p

5 8

7 8 f

p

5 8

7 8

7 8

5 8

7 8

6 8

7 8

5 8

6 8

7 8

5 8

(a2)

2.

7 8

p

f

p

f

Tbn. 1 2

6 8

7 8

5 8

B. Tbn./ Tuba

6 8

7 8

5 8

Timp.

6 8

7 8

T.-t.

6 8

7 8

6 8 6 8

p p

Xyl.

7 8

2.

p

f

7 8 f

5 8 (Tam-tam, soft mallets)

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

p

mp B. D.

6 8

p

6 8

7 8

6 8

7 8

6 8

7 8

6 8

7 8

Pol. 1

6 8

7 8

Pol. 2

6 8

7 8

S.

6 8

7 8

Harp

Piano

a

A.

fa

nis

fa

nis

p

7 8

Vn. II

6 8

7 8

Va.

Vc.

Cb.

7 8

6 8

7 8

6 8

7 8

me

ra

(g')no

(g')no

me

ra

(g')no

me

ra

(g')no

5 8 5 8

p div.

p

fou

ke

p

sko

7 8 tous,

f fou

ke

sko

7 8 tous,

f fou

ke

sko

7 8 tous,

f

5 8

p

p

f

5 8

p

p

6 8

ra

p

mou,

7 8

5 8

i

6 8

me

p

i

Vn. I

(spoken) ...we estimate that the deceased expired shortly after three o'clock....

5 8

i

7 8

7 8

5 8

mou,

6 8 a

5 8

i

7 8 nis

(spoken) Though the eclipse that day made it difficult to fix an exact time...

mou,

6 8 fa

p

mou,

7 8

a

B.

nis

6 8 a

T.

fa

p

fou

ke

sko

div.

f

7 8 tous,

7 8 7 8

f

5 8

div.

7 8

f

5 8

f

5 8

7 8 7 8

f


The Gospel of Mary Magdalene—Act II

591 Fl. 1 2

7 8

5 8

Picc.

7 8

5 8

Ob. 1 2

7 8

5 8

E. H.

7 8

5 8

1 Cl. in Bb 2

7 8

5 8

Bs. Cl.

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

5 8

7 8

5 8

5 8

7 8

5 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

7 8

5 8

5 8

7 8

5 8

7 8

5 8

f

1.

f

f

p Bn. 1 2

7 8

f

(a2)

5 8

p Cbn.

f

7 8

5 8 p

Hn. in F 1 3

7 8

Hn. in F 2 4

7 8

f

5 8 a2

5 8

a2

p

f

p Tpt. in C 1 2

7 8

Tpt. 3 in C

7 8

f

5 8 p

f

5 8

f

p Tbn. 1 2

7 8

B. Tbn./ Tuba

7 8

5 8

p

f

5 8 p

Timp.

7 8

T.-t.

7 8 7 8

Xyl.

B. D.

671

f

p p

p

7 8 p

Harp

Piano

7 8

Pol. 1

7 8

S.

7 8

p

5 8 p

7 8 7 8 7 8

ne

me

ra

fe

ne

p

fe

me

ra

ne

p

fe

me

ra

ne

fe

ke

o

5 8

7 8

div.

lis

ke

o

mi

lis

ke

o

mi

f

f

5 8

5 8

pp

chlis,

7 8 7 8

i

me

ra

i

me

ra

5 8

pp

chlis,

7 8

5 8

pp

chlis,

5 8 i

me

ra

i

me

ra

pp

chlis,

5 8

unis.

7 8

pp

7 8

unis.

7 8

unis.

7 8

unis.

f div.

p

mi

div. a3

5 8

7 8

mi

f

p

Vc.

lis

5 8

7 8

7 8

o

f

p Va.

ke

7 8

f

p Vn. II

lis

5 8

i

Vn. I

ra

5 8

i

B.

me

p i

T.

f

5 8 i

A.

(spoken) ...after which, on the authority of the Sanhedrin rabbi Yusef of Arimathea...

pp

pp

pp

5 8 5 8 5 8

div. a3

f

pp

5 8

unis. Cb.

7 8

5 8 p

7 8 f

pp

5 8


The Gospel of Mary Magdalene—Act II

672 595 Fl. 1 2

5 8

7 8

3 4

7 8

Picc.

5 8

7 8

3 4

7 8

Ob. 1 2

5 8

7 8

3 4

7 8

E. H.

5 8

7 8

3 4

7 8

1 Cl. in Bb 2

5 8

7 8

3 4

Bs. Cl.

5 8

7 8

3 4

Bn. 1 2

5 8

7 8

3 4

a2

ff

7 8 7 8

ff

7 8 ff

Cbn.

Hn. in F 1 3

Hn. in F 2 4

5 8

7 8

5 8

3 4

7 8

5 8

ff a2

3 4

7 8

7 8

f a2

3 4

7 8

7 8 f

Tpt. in C 1 2

7 8

5 8

3 4

7 8 f

5 8

7 8

3 4

Tbn. 1 2

5 8

7 8

3 4

B. Tbn./ Tuba

5 8

7 8

3 4

Tpt. 3 in C

7 8

f

7 8

f

7 8 f

Timp.

5 8

7 8

3 4

7 8

T.-t.

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

5 8

7 8

3 4

7 8

Pol. 2

5 8

7 8

S.

5 8

7 8

Xyl.

B. D.

Harp

Piano

sal

A.

ke

3 4

pi(n)

gos

krav

ke

5 8

(y)is,

e

pi

tas

gos

krav

ke

5 8

(y)is,

e

pi

pi(n)

gos

lis

tas

o

(y)is,

e

pi

po

tas

lis

tas

o

(y)is,

e

pi

po

tas

ras,

(k)hi

ras,

lis

tas

o

(k)hi

f po

lis

tas

o

(k)hi

7 8

kai

ff ras,

7 8

kai

ff ras,

7 8

kai

ff

f

3 4 krav

(k)hi

ff

f

3 4 krav

ke

po

tas

7 8 sal

f

3 4

7 8 pi(n)

7 8

3 4

7 8

sal

B.

gos

5 8 sal

T.

pi(n)

(spoken) ...remains were remanded to the custody of his mother Miriam and his wife, a Magdalene woman.

7 8

kai

div. Vn. I

Vn. II

5 8

7 8

3 4

5 8

7 8

3 4

Va.

5 8

7 8

Vc.

5 8

7 8

div.

f

f

3 4 3 4

7 8 7 8 unis.

f

7 8 7 8

f div. Cb.

5 8

7 8

3 4

f

7 8


The Gospel of Mary Magdalene—Act II

599 Fl. 1 2

7 8

5 8

Picc.

7 8

5 8

673

7 8

4 4

7 8

4 4

7 8

4 4

7 8

4 4

5 8

7 8

4 4

ff

ff Ob. 1 2

7 8

5 8

E. H.

7 8

5 8

1 Cl. in Bb 2

7 8

Bs. Cl.

7 8

5 8

7 8

4 4

Bn. 1 2

7 8

5 8

7 8

4 4

Cbn.

7 8

5 8

7 8

4 4

Hn. in F 1 3

7 8

5 8

7 8

4 4

Hn. in F 2 4

7 8

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

5 8

7 8

4 4

ff

ff

a2

a2

ff a2

ff Tpt. in C 1 2

7 8

Tpt. 3 in C

7 8

Tbn. 1 2

7 8

B. Tbn./ Tuba

7 8

Timp.

7 8

ff

ff

ff

ff

T.-t.

ff

7 8

p

to Crot. ff

5 8

7 8

to Vib.

5 8

7 8

4 4

5 8

7 8

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

7 8

5 8

7 8

4 4

Pol. 1

7 8

5 8

7 8

4 4

S.

7 8

5 8

7 8

4 4

7 8 ff

Xyl.

7 8 B. D.

dry

7 8

4 4

to Chim.

4 4

ff

Harp

ff

Piano

e

A.

(y)o

ni

as

tas

5 8 pi

tas

(y)o

7 8 pi

tas

ni

(y)o

7 8

as

tas

pi

tas

ni

(y)o

si

as

ip

tas

as

4 4 ip

tas

las.

si

si

7 8 ni

las.

4 4

7 8

5 8 e

ip

7 8

5 8 e

B.

tas

7 8 e

T.

pi

(spoken) .. a Magdalene woman.

las.

4 4 ip

si

las. 3

unis.

Vn. I

7 8

5 8

7 8

4 4

Vn. II

7 8

5 8

7 8

4 4

Va.

78

58

78

44

7 8

5 8

7 8

4 4

3

Vc.

7 8

5 8

7 8

4 4

3

Cb.

div.

non div.

3

div.

3

unis.

unis.


The Gospel of Mary Magdalene—Act II

674 603 Suddenly majestic: q = 72 Fl. 1 2

3 4

Picc.

3 4

ff Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Slower yet: q = 66

1.

p solo

p

3 4

Bs. Cl.

Bn. 1 2

3 4

Cbn.

3 4 a2

p

3 4

Hn. in F 1 3

f a2

3 4

Hn. in F 2 4

f

3 4

Tpt. in C 1 2

f

3 4

Tpt. 3 in C

Tbn. 1 2

3 4

f (3.)

B. Tbn./ Tuba

3

3 4

f

3 4

Timp.

Crotales

3 4

Crot.

3 4 Vib.

3 4 3 4

Chim.

3 4 Harp

3 4 3 4 Piano

3 4

(YESHUA dies. The EXECUTIONERS unbind YESHUA from the cross; MARY cradles him in her arms. The cross fades from view. The TWO POLICE receive approval of their report, drop their officious manner.)

3 4

Pol. 1

ff

3 4

Y. God,

oh

God...

div.

unis.

Suddenly majestic: q = 72

3 4

Vn. I

ff

3 4

Vn. II

ff

div.

3 4

unis.

3

3 4

div.

3

3 4

Va.

ff Vc.

ff Cb.

ff

Slower yet: q = 66


The Gospel of Mary Magdalene—Act II

607

675

Fl. 1 2

4 4

2 4

3 4

Picc.

4 4

2 4

3 4

Ob. 1 2

4 4

2 4

3 4

E. H.

4 4

2 4

3 4

1 Cl. in Bb 2

4 4

2 4

3 4

Bs. Cl.

4 4

2 4

3 4

Bn. 1 2

4 4

2 4

3 4

Cbn.

4 4

2 4

3 4

Hn. in F 1 3

4 4

2 4

3 4

Hn. in F 2 4

4 4

2 4

3 4

Tpt. in C 1 2

4 4

2 4

3 4

Tpt. 3 in C

4 4

2 4

3 4

Tbn. 1 2

4 4

2 4

3 4

B. Tbn./ Tuba

4 4

2 4

3 4

Timp.

4 4

2 4

3 4

Crot.

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

2 4

3 4

(1.)

1.

p solo

Vib.

Chim.

Harp

Piano

Pol. 1

4 4

p 3

If

Pol. 2

4 4

Vn. II

Va.

Vc.

Cb.

4 4 4 4

had

stayed

Pi

late's

ju

ris

he

had

stayed

molto sul pont.

p molto sul pont.

p molto sul pont.

4 4

unis., molto sul pont.

p

p

in

Pi

late's

dic

tion,

2 4

3

4 4

4 4

in

p If

Vn. I

he

ju

ris

3 4 dic

tion,

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4


The Gospel of Mary Magdalene—Act II

676 611

More motion: q = 76 4 4

Easier: q = 66

Fl. 1 2

3 4

Picc.

3 4

4 4

3 4

4 4

Ob. 1 2

3 4

4 4

3 4

4 4

E. H.

3 4

4 4

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

3 4

Bs. Cl.

3 4

4 4

3 4

Bn. 1 2

3 4

4 4

3 4

Cbn.

3 4

4 4

3 4

Hn. in F 1 3

3 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

4 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

3 4

4 4

Tpt. 3 in C

3 4

4 4

3 4

4 4

Tbn. 1 2

3 4

4 4

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

3 4

4 4

Timp.

3 4

4 4

3 4

4 4

Crot.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

to Crot.

3 4

1.

p

p 1.

p

p

4 4

4 4 4 4 4 4 4 4

Vib.

Chim.

Harp

Piano

Pol. 1

3 4

3

He

Pol. 2

might

3 4 He

div.

might

have

3

have

been

fine.

Aw

ful

death,

cru

ci

4 4 been

fine.

fix

3 4 Aw

ful

death,

cru

ci

Vn. I

4 4

Vn. II

3 4

4 4

Va.

3 4

4 4

Vc.

3 4

4 4

Cb.

3 4

4 4

4 4 fix

More motion: q = 76 unis. (sul pont.)

3 4

ion....

ion....

Easier: q = 66 3 4

ord., rich

4 4

3 4

ord., rich

4 4

3 4

ord., rich

4 4

(sul pont.)

3 4

ord., rich

4 4

molto sul pont.

3 4

ord., rich

4 4

(sul pont.)

(sul pont.)

p


The Gospel of Mary Magdalene—Act II

615 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Crot.

4 4

677

(1.)

(p)

(1.)

Crotales pp

Vibraphone bowed

4 4

n

Vib.

4 4

Chim.

4 4 4 4

pp

Harp

4 4 4 4

pp

Piano

4 4 (One slings an arm around the other's shoulder.)

Pol. 1

Ah,

Pol. 2

(They go looking for a tavern.)

pp

4 4

well.

Wine?

Wine.

pp

4 4 Ah,

well.

Wine.

sul pont. Vn. I

4 4

pp sul pont.

Vn. II

Va.

4 4

pp sul pont.

4 4

pp Vc.

Cb.

sul pont.

4 4 4 4

pp al sord.


The Gospel of Mary Magdalene—Act II

678 619 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Crot.

3 4

pp

3 4

Vib.

3 4

Chim.

3 4 3 4

Harp

3 4

3 4 Piano

3 4

Vn. I

3 4

Vn. II

3 4

Va.

3 4

Vc.

3 4

Cb.

3 4


The Gospel of Mary Magdalene—Act II

679

SCENE FIVE q = 72 620 1., solo 1 2

Flute

3 4

pp

2., solo

1.

4 4

pp

Piccolo

3 4

4 4

1 2

3 4

4 4

English Horn

3 4

4 4

1 2

3 4

4 4

Bass Clarinet in Bb

3 4

4 4

1 2

3 4

4 4

Contrabassoon

3 4

4 4

Horn in F 1 3

3 4

4 4

Horn in F 2 4

3 4

4 4

Trumpet in C 1 2

3 4

4 4

Trumpet 3 in C

3 4

4 4

Trombone 1 2

3 4

4 4

Bass Trombone / Tuba

3 4

4 4

Timpani

3 4

4 4

Whip

3 4

Vibraphone

3 4

4 4

Chimes

3 4

4 4

Oboe

Clarinet in Bb

Bassoon

3 4

Whip

4 4

tune low D to Db

4 4

p non arp.

Harp

3 4

4 4

3 4

4 4

3 4

4 4

Piano/

(Before sunrise: thick mist, grey light. PETER, alone, in the wreckage of the safe room; it's been raided by the POLICE. He hugs his knees, rocks himself gently.)

Peter

3 4

4 4

q = 72 Violin I

3 4

Violin II

3 4

Viola

3 4

Violoncello

3 4

al sord.

4 4

al sord.

4 4

al sord.

con sord.

pp sord., div.

4 4 4 4

pp

Contrabass

3 4

sord.

(basses without C extensions: 8va)

4 4

pp


The Gospel of Mary Magdalene—Act II

680 624 Fl. 1 2

pp Picc.

Ob. 1 2

E. H.

1. 1 Cl. in Bb 2

pp

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Vib.

Chim.

p

Harp

Piano

pp

3

3

Ptr. How

Vn. I

Vn. II

Va.

Vc.

Cb.

ma

ny

times

will

I

re

call

this?

Se

ven

times

se

ven?

And,


The Gospel of Mary Magdalene—Act II

681

628 Fl. 1 2

5 4

Picc.

5 4

Ob. 1 2

5 4

E. H.

5 4 2.

p

1 Cl. in Bb 2

5 4

p

p

Bs. Cl.

5 4

Bn. 1 2

5 4

Cbn.

5 4

Hn. in F 1 3

5 4

Hn. in F 2 4

5 4

Tpt. in C 1 2

5 4

Tpt. 3 in C

5 4

Tbn. 1 2

5 4

B. Tbn./ Tuba

5 4

Timp.

5 4

Whip

5 4

Vib.

5 4

Chim.

5 4 (p)

5 4

p

Harp

5 4 5 4

Piano

5 4 ossia 8va

p

3

Ptr. how

3 ma

ny

times

will

it

des

troy

me?

Se

ven

times

se

ven?

5 4

Those

5 4

Vn. I

con sord. Vn. II

5 4

p

5 4

Va.

p unis. Vc.

5 4

p

5 4

Cb.

p


The Gospel of Mary Magdalene—Act II

682 632 q = q Fl. 1 2

5 4

4 4

3 4

Picc.

5 4

4 4

3 4

Ob. 1 2

5 4

4 4

3 4

E. H.

5 4

4 4

3 4

1 Cl. in Bb 2

5 4

4 4

3 4

Bs. Cl.

5 4

4 4

3 4

Bn. 1 2

5 4

Cbn.

5 4

4 4

3 4

Hn. in F 1 3

5 4

4 4

3 4

Hn. in F 2 4

5 4

4 4

3 4

Tpt. in C 1 2

5 4

4 4

3 4

Tpt. 3 in C

5 4

4 4

3 4

Tbn. 1 2

5 4

4 4

3 4

B. Tbn./ Tuba

5 4

4 4

3 4

Timp.

5 4

4 4

3 4

Whip

5 4

4 4

3 4

Vib.

5 4

4 4

3 4

Chim.

5 4

4 4

3 4

5 4

4 4

3 4

5 4

4 4

3 4

5 4

4 4

3 4

5 4

4 4

3 4

1.

Harp

Piano

2.

p

f

4 4

mf Ptr.

5 4

Vn. I

5 4

Vn. II

5 4

wait

ing,

then

the

am

bush

sub. pp

on

the

hill,

I

could not

be

q=q

5 4 5 4 (basses without C extensions: 8va)

Cb.

5 4

f

real

ly

tak

3 4

4 4

3 4 sub. pp

4 4

f

they'd

4 4

3 4 sub. pp

f

Vc.

3 4 lieve

f Va.

pp

4 4

3

hours,

3 4

sub. pp

4 4 4 4

sub. pp

sub. pp

3 4 3 4

en

him.


The Gospel of Mary Magdalene—Act II

683

636 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

p

pushing forward: q = 80

4 4

Cbn.

3.

1. Hn. in F 1 3

p

4 4

(p)

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4

Vib.

4 4

Chim.

4 4 4 4

p Harp

4 4 4 4 Piano

4 4 p

4 4

Ptr. Then,

the

cross,

the

sol

diers,

him

fall

4 4

Vn. I

Vn. II

p

Va.

p div. Vc.

in

the

road,

Those

pushing forward: q = 80

4 4 4 4 4 4

p

ing

4 4

p

Cb.

3

unis.


The Gospel of Mary Magdalene—Act II

684 640 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

q = 88

a2

mp a2

3 4

Hn. in F 2 4

mp Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

p

mp

3 4

B. Tbn./ Tuba

p

mp

3 4

Timp.

pp

Whip

3 4

Vib.

3 4

Chim.

3 4 3 4 f poco arp

Harp

3 4 3 4 Piano

3 4 3 4

Ptr. vi

cious,

jeer

ing

wo

men,

and

f

then,

Vn. I

3 4

Vn. II

3 4

q = 88

f Va.

3 4 f

Vc.

3 4 f

Cb.

3 4 f

the

roos

ter crowed....

The

roos

ter


The Gospel of Mary Magdalene—Act II

Slower: q = 72 4 4

644 Fl. 1 2

685

As before: q = 72 3 4

Picc.

4 4

3 4

Ob. 1 2

4 4

3 4

E. H.

4 4

3 4

1 Cl. in Bb 2

4 4

3 4

1.

pp

Bs. Cl.

4 4

3 4

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

4 4

3 4

4 4

3 4

(a2) Hn. in F 1 3

a2 Hn. in F 2 4

p

mf

f

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4 mf

B. Tbn./ Tuba

4 4

Timp.

4 4

f

3 4 mf

f

3 4

f

Whip

4 4

3 4

Vib.

4 4

3 4

Chim.

4 4

3 4 molto arp.

4 4

3 4

f Harp

4 4

3 4

4 4

3 4

4 4

3 4

Piano

ff

4 4

Ptr. crowed...

God,

con sord. 3 Vn. I

3 4 oh

God:

how

sub. pp

div.

ff 3

Vn. II

4 4 ff

4 4

Va. 3

Vc.

ff

have

unis.

pp sub.

for

sak

3 4 3 4

pp sub.

3 4

pp sub. div.

4 4 ff

Cb.

I

As before: q = 72

Slower: q = 72 4 4

f

could

unis.

3 4

pp

4 4

3 4 ff

pp

en

him?


The Gospel of Mary Magdalene—Act II

686

Faster, but freely, quasi cadenza: q = about 80 4 4

648 Fl. 1 2

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4 (1.)

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4

Vib.

4 4

Chim.

4 4

p

q = about 66

mp

pp

4 4 Harp

4 4 4 4 Piano

4 4

Vn. I

Faster, but freely, quasi cadenza: q = about 80 4 4

Vn. II

4 4

Va.

4 4

Vc.

4 4

Cb.

4 4

q = about 66


The Gospel of Mary Magdalene—Act II

652

687

Brisker, in time: q = 80

Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

3 4

4 4

(1.) 1 Cl. in Bb 2

p

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Whip

3 4

4 4

Vib.

3 4

4 4

Chim.

3 4

4 4

3 4

4 4

p

Harp

3 4

4 4

3 4

4 4

3 4

4 4

Piano

(THEY are echoing YESHUA's anguish over betraying John the Baptist, but calmly, remotely: as if everything had happened, and is still happening, on another planet.)

M. M.

3 4

4 4

Ptr.

3 4

4 4

Vn. I

Vn. II

Va.

Vc.

Cb.

3 4 3 4 3 4 3 4 3 4

Brisker, in time: q = 80

p I

(con sord.)

(con sord.)

(con sord.)

(con sord.)

(con sord.)

4 4 4 4 4 4 4 4

pp

pp

pp

pp

4 4 pp

a


The Gospel of Mary Magdalene—Act II

688 656 Fl. 1 2

2 4

3 4

Picc.

2 4

3 4

Ob. 1 2

2 4

3 4

E. H.

2 4

3 4

1 Cl. in Bb 2

2 4

3 4

Bs. Cl.

2 4

3 4

Bn. 1 2

2 4

3 4

Cbn.

2 4

3 4

Hn. in F 1 3

2 4

3 4

Hn. in F 2 4

2 4

3 4

Tpt. in C 1 2

2 4

3 4

Tpt. 3 in C

2 4

3 4

Tbn. 1 2

2 4

3 4

B. Tbn./ Tuba

2 4

3 4

Timp.

2 4

3 4

Whip

2 4

3 4

Vib.

2 4

3 4

Chim.

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

p (1.)

Harp

Piano

p M. M. He

won

dered

if

you'd

run

from

him.

Still,

what

else

could

you

have

2 4

3 4

Vn. I

2 4

3 4

Vn. II

2 4

3 4

Va.

2 4

3 4

Vc.

2 4

3 4

Cb.

2 4

3 4

Ptr. ban

doned him.

I

left

him.


The Gospel of Mary Magdalene—Act II

660

689

q = 88

Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

3 4

1 Cl. in Bb 2

3 4

4 4

3 4

Bs. Cl.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Bn. 1 2

3 4

Cbn.

3 4

1.

p

p 1.

p

p

3 4 3 4

p 1.

3 4

p

Hn. in F 1 3

3 4

4 4

3 4

Hn. in F 2 4

3 4

4 4

3 4

Tpt. in C 1 2

3 4

4 4

3 4

Tpt. 3 in C

3 4

4 4

3 4

Tbn. 1 2

3 4

4 4

3 4

B. Tbn./ Tuba

3 4

4 4

3 4

Timp.

3 4

4 4

3 4

Whip

3 4

4 4

3 4

Vib.

3 4

4 4

3 4

Chim.

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

Harp

p Piano

M. M.

done

Ptr.

for

him?

He

3 4

said

the things

4 4

he

said,

though

he

knew,

soon

3

er

or

la

3

ter,

they'd

lead

3 4

q = 88

div. Vn. I

3 4

Vn. II

3 4

Va.

4 4 div.

p

3 4

4 4

3 4

3 4

4 4

3 4

Vc.

3 4

4 4

3 4

Cb.

3 4

4 4

3 4

3

just

where they

led.


The Gospel of Mary Magdalene—Act II

690 664

Faster: q = 96

Fl. 1 2

4 4

3 4

Picc.

4 4

3 4

Ob. 1 2

4 4

3 4

E. H.

4 4

3 4

(1.)

(1.) 1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

3 4

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

Hn. in F 1 3

4 4

(1.)

3 4

(p)

1.

3 4

p

3.

1.

p

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

Whip

4 4

3 4

Vib.

4 4

3 4

Chim.

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Harp

Piano

3

M. M. Yes,

it's

vile,

worse

than

vile,

that

he's

dead:

Faster: q = 96 4 4

unis.

4 4

unis.

Vn. II

Va.

4 4

3 4

Vc.

4 4

3 4

Cb.

4 4

3 4

Vn. I

pp

3 4 3 4

3

Still,

you're

not

a

trai

tor.


The Gospel of Mary Magdalene—Act II

691

Slower: q = 88 4 4

668 a2. Fl. 1 2

mp Picc.

4 4

Ob. 1 2

4 4 p

E. H.

p

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4 (1.)

pp

4 4

Bn. 1 2

pp

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4 brassy

Tpt. in C 1 2

4 4

sfz brassy Tpt. 3 in C

4 4

sfz Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4 Vibraphone

Vib.

4 4

f

4 4

Chim.

4 4 Harp

4 4 4 4 Piano

4 4 4 4

M. M.

pp If

can

not,

4 4

Ptr. Do

you

think

that's

true?

mutes off Vn. I

mutes off Vn. II

mutes off Va.

mutes off Vc.

mutes off Cb.

I

Slower: q = 88 4 4

pizz., senza sord.

pp

4 4

pizz., senza sord.

4 4

pizz., senza sord.

4 4

pizz., senza sord.

4 4

pp

pp

pp


The Gospel of Mary Magdalene—Act II

692 672

Much slower: q = 60

slowing

1.

Fl. 1 2

pp

Picc.

1. Ob. 1 2

pp solo

E. H.

1 Cl. in Bb 2

pp

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

softest attacks possible

pp

Vib.

Chim.

Harp

Piano

M. M. then

I

will

act

as

if

I

do.

pp

(PETER looks at her.)

3

Ptr. "Be

arco

slowing

fore

He made

air

or

o

cean,

Much slower: q = 60

Vn. I

pp

n

arco Vn. II

pp

n

arco Va.

pp

n

arco Vc.

pp Cb.

n

Be


The Gospel of Mary Magdalene—Act II

693 Twice as fast: q = 108

676 Fl. 1 2

mf

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

mf Bs. Cl.

Bn. 1 2

Cbn.

3. f brassy 1.

(1.)

Hn. in F 1 3

f-pp Hn. in F 2 4

f brassy Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Vib.

Chim.

Harp

Piano

mf M. M. Do you think that's true?

Ptr. fore

3 He made day

or night,

Be

fore

3 He made for

3

ests,

fields,

or mountains,

spar

rows

in

flight..."

pizz. Vn. I

f pizz. Vn. II

f pizz. Va.

f pizz. Vc.

f pizz., senza sord. Cb.

f

Twice as fast: q = 108


The Gospel of Mary Magdalene—Act II

694 680 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

(1.) Hn. in F 1 3

Urgent: q = 126

mp

Vib.

Chim.

Harp

Piano

mf Ptr. Go.

Re

spect

3

ful

ly,

go.

Po

Urgent: q = 126 arco Vn. I

mf arco Vn. II

mf arco Va.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

mf arco Vc.

mf Cb.

lice

are

ev'

ry

where, they'll

snare

you.

And

if

they


The Gospel of Mary Magdalene—Act II

684

Slowing

695

q = 96

Fl. 1 2

3 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

1. 1 Cl. in Bb 2

mf

p

4 4

Vib.

Chim.

Harp

Piano

3 4

M. M.

mf

4 4 I

did'

n't

a

noint

him.

3 4

Ptr. 3

must

spare

him,

why

would

Slowing

they

spare

4 4 you?

Vn. I

3 4

Vn. II

3 4

Va.

3 4

It's

q = 96

not

4 4 4 4

flaut.

4 4

p Vc.

Cb.

3 4 3 4

flaut.

p

4 4 4 4


The Gospel of Mary Magdalene—Act II

696 688 Fl. 1 2

4 4

2 4

4 4

Picc.

4 4

2 4

4 4

Ob. 1 2

4 4

2 4

4 4

E. H.

4 4

2 4

4 4

1 Cl. in Bb 2

4 4

2 4

4 4

Bs. Cl.

4 4

2 4

4 4

Bn. 1 2

4 4

2 4

4 4

Cbn.

4 4

2 4

Hn. in F 1 3

4 4

2 4

4 4

Hn. in F 2 4

4 4

2 4

4 4

Tpt. in C 1 2

4 4

2 4

4 4

Tpt. 3 in C

4 4

2 4

4 4

Tbn. 1 2

4 4

2 4

4 4

B. Tbn./ Tuba

4 4

2 4

4 4

Timp.

4 4

2 4

4 4

Whip

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

(1.)

p

p

4 4

Vib.

Chim.

Harp

Piano

M. M.

E

Ptr.

4 4

ven

so,

I

can't

for

sake

him.

Pe

2 4

4 4

safe.

Vn. I

4 4

2 4

4 4

Vn. II

4 4

2 4

4 4

Va.

4 4

2 4

4 4

Vc.

4 4

2 4

4 4

Cb.

4 4

mf

2 4

p

p arco, flaut.

p

4 4

ter.

He'd

want

us

to

make

peace

be

fore

I


The Gospel of Mary Magdalene—Act II

697

692 q = 88 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Whip

3 4 3 4

Vib.

3 4 3 4

Chim.

3 4 Harp

3 4 3 4 Piano

3 4 (Spontaneously, as a gift, MARY kneels to him. PETER considers her, strokes her cheek.)

3 4

M. M. go.

p

3 4

Ptr. You

have

some

thing:

you

know

some

thing;

Some

thing

high:

pure;

q = 88

div. Vn. I

3 4

p

3 4

Vn. II

p ord. Va.

p

div.

3 4

Vc.

3 4

Cb.

3 4


The Gospel of Mary Magdalene—Act II

698 696 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

Chim.

Harp

Piano

M. M.

3 4

(p)

You

Ptr.

4 4

3

have

much

to

tell...

mp

3 4 I

strong.

I

res

pect

you.

You

res

pect

3 4

4 4

Vn. II

3 4

4 4

Va.

3 4

Vc.

3 4

4 4

Cb.

3 4

4 4

4 4

know

he

loved

us

all.

3

4 4

Vn. I

unis.

mp

you.

I

know

he

loved

div.

you.

You're

still


The Gospel of Mary Magdalene—Act II

699 q = 80

700 Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

1. Bn. 1 2

pp

p

Cbn.

p Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Vib.

Chim.

Harp

Piano

f

pp

M. M. (laughs)

Pe

ter,

harsh

as

rock!

Be

mf

pp

wrong.

Be

Ptr. well.

q = 80 (con sord.) div.

mutes on Vn. I

pp mutes on

div., con sord.

Vn. II

unis.

mutes on

Va.

mutes on Vc.

p mutes on Cb.

p

pp


The Gospel of Mary Magdalene—Act II

700 704 Fl. 1 2

Picc.

1. Ob. 1 2

3

p solo

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

1. Hn. in F 1 3

pp 2.

Hn. in F 2 4

pp Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Vib.

to B. D. Chim.

pp

pp

Harp

Piano

(MARY rises to her feet, retrieves her linens. MIRIAM appears: MARY joins her.)

M. M. well.

Ptr.

unis. Vn. I

(pp) unis. Vn. II

(pp) con sord. Va.

pp con sord. Vc.

pp con sord. Cb.

pp


The Gospel of Mary Magdalene—Act II

701

708 Fl. 1 2

3 4

Picc.

3 4 (1.)

3 4

Ob. 1 2 3

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4 (1.)

3 4

Hn. in F 1 3

(2.) Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Whip

3 4 3 4

Vib.

3 4 3 4

Chim.

3 4 Harp

3 4 3 4 Piano

3 4 f

(Suddenly savage, MIRIAM wheels to PETER.) 3

3 4

3

Mir. If

my

son

found her worth

y,

who

are

you

to

dis

re

gard

her?

3 4

Vn. I

sfz

3 4

Vn. II

sfz

3 4

Va.

sfz

3 4

Vc.

sfz

3 4

Cb.

sfz


The Gospel of Mary Magdalene—Act II

702 712 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

3

p solo Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

1.

2.

p

p

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

pp

Vib.

B. D.

Bass Drum

3 4

4 4 non arp.

3 4

p

4 4

Harp

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Piano

Vn. I

pp

Vn. II

3 4

4 4 pp

Va.

Vc.

Cb.

3 4 43

mp

mp

4 4

pp

44

pp

3 4

4 4 pp


The Gospel of Mary Magdalene—Act II

716

703

1., solo

Fl. 1 2 3

to Flute Picc.

Ob. 1 2

E. H.

2.

1., solo

1 Cl. in Bb 2

pp

p

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Vib.

B. D.

Harp

Piano

via sord. Vn. I

via sord. Vn. II

via sord. Va.

via sord. Vc.

via sord. Cb.


The Gospel of Mary Magdalene—Act II

704

SECOND INTERLUDE

720 Fl. 1 2

Floating: q = 69

Fl. 3

Ob. 1 2

E. H.

(1.) 1 Cl. in Bb 2

mp

pp

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Vib.

B. D.

Harp

Piano

(The SEEKERS and CHORUS appear.)

p

3

Skr. 1. Hours

from

now,

she'll

go

she'll

go

she'll

go

p 3

Skr. 2. Hours

from

now,

p Skr. 3.

Floating: q = 69 Vn. I

Vn. II

Va.

Vc.

Cb.

...now,


The Gospel of Mary Magdalene—Act II

Slower: q = 60

724

705

Fl. 1 2

5 4

3 4

Fl. 3

5 4

3 4

Ob. 1 2

5 4

3 4

E. H.

5 4

3 4

1 Cl. in Bb 2

5 4

3 4

Bs. Cl.

5 4

3 4

Bn. 1 2

5 4

3 4

Cbn.

5 4

3 4

Hn. in F 1 3

5 4

3 4

Hn. in F 2 4

5 4

3 4

Tpt. in C 1 2

5 4

3 4

Tpt. 3 in C

5 4

3 4

Tbn. 1 2

5 4

3 4

B. Tbn./ Tuba

5 4

3 4

Timp.

5 4

3 4

Whip

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

More urgent: q = 69

Vib.

B. D.

Harp

Piano

3

5 4

Skr. 1. back

to

the safe

room.

The

back

to

the safe

room.

The

back

to

the safe

room.

Hours

from now,

to

the safe

room.

p

3

fol

The

Slower: q = 60

re turned,

ers

will have

And

she'll

pp

3

re turned,

And

low

ers

will have

re turned,

low

And

she'll

3 will have

re turned,

And

she'll

fol

low

she'll

will have

re turned,

And

her

face

a

glow,

gaze

at

them,

her

face

a

glow,

gaze

at

them,

her

face

a

glow,

a

gaze

at

them,

her

face

a

glow,

a

at

them,

her

face

a

glow,

a

3 4

3

ers

them,

3 4

pp 3

at

3 4

pp ers

gaze

3 4

3

3

5 4

Skr. 5.

will have

3 4

pp fol

The

ers

3

5 4

Skr. 4. 3

low

pp

3

3

fol

The

p 3

low

5 4

3

Skr. 3.

fol

5 4

Skr. 2. 3

3

she'll

gaze

Vn. I

5 4

3 4

Vn. II

5 4

3 4

Va.

5 4

3 4

Vc.

5 4

3 4

Cb.

5 4

3 4

More urgent: q = 69


The Gospel of Mary Magdalene—Act II

706 728 q = 76 Fl. 1 2

2 4

Fl. 3

2 4

Ob. 1 2

2 4

E. H.

2 4

1 Cl. in Bb 2

2 4

Bs. Cl.

2 4

Bn. 1 2

2 4

Cbn.

2 4

Hn. in F 1 3

2 4

Hn. in F 2 4

2 4

Tpt. in C 1 2

2 4

Tpt. 3 in C

2 4

Tbn. 1 2

2 4

B. Tbn./ Tuba

2 4

Timp.

2 4

Whip

2 4 2 4

Vib.

2 4 2 4

B. D.

2 4 Harp

2 4 2 4 Piano

2 4 mf

mf

sub. p

Skr. 1. a

glow,

a

glow,

and

tell

them

what

she's

learned...

mf

sub. p

mf Skr. 2. a

glow,

a

glow,

and

mf

tell

them

what

she's

a

mf

sub. p

glow,

and

mf

tell

them

what

she's

a

mf

sub. p

glow,

and

tell

them

what

she's

mf

Skr. 5. glow,

q = 76

a

glow,

and

tell

them

what

she's

2 4

learned...

sub. p

mf

2 4

learned...

Skr. 4. glow,

2 4

learned...

Skr. 3. glow,

2 4

2 4

learned...

tutti, senza sord.

2 4

Vn. I

mf

3

mf

3

div.

senza sord.

2 4

Vn. II 3

senza sord.

2 4

Va.

senza sord.

mf

2 4

Vc.

mf

3

2 4

Cb.

mf


The Gospel of Mary Magdalene—Act II

732 Fl. 1 2

2 4

Fl. 3

2 4

Ob. 1 2

2 4

E. H.

2 4

1 Cl. in Bb 2

2 4

Bs. Cl.

2 4

Bn. 1 2

2 4

Cbn.

2 4

Hn. in F 1 3

2 4

Hn. in F 2 4

2 4

Tpt. in C 1 2

2 4

Tpt. 3 in C

2 4

Tbn. 1 2

2 4

B. Tbn./ Tuba

2 4

Timp.

2 4

Whip

2 4 2 4

707

Stately: q = 52

motor on

pp

Vib.

2 4

B. D.

2 4 2 4

Harp

2 4

non arp.

p

2 4 Piano

2 4

S.

2 4

pp Ah...

A.

2 4

pp Ah...

Vn. I

Vn. II

2 4 2 4

Va.

2 4

Vc.

2 4

Cb.

2 4

Stately: q = 52

div. a2

a3

div. a2

a3

pp sub. unis.

pp sub.

a4


The Gospel of Mary Magdalene—Act II

708 736 Fl. 1 2

n

p

n

p

n

p

n

p

n

p

Fl. 3

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Vib.

B. D.

all l.v.

pp

Harp

Piano

S. (Ah...)

A. (Ah...)

pp T. Ah...

pp B. Ah...

* Vn. I

* Vn. II

div. a2

a3

div. a2

a3

Va.

pp

Vc.

pp Cb. * Repeat boxed pitches freely and smoothly, varying rhythmic patterns and bowing, poco cresc./dim. ad lib. for the duration indicated. Do not synchronize within ections. Aim for a "shimmering" sound.


The Gospel of Mary Magdalene—Act II

740

709

Fl. 1 2

5 4

4 4

5 4

Fl. 3

5 4

4 4

5 4

Ob. 1 2

5 4

4 4

5 4

E. H.

5 4

4 4

5 4

1 Cl. in Bb 2

5 4

4 4

5 4

Bs. Cl.

5 4

4 4

5 4

Bn. 1 2

5 4

4 4

5 4

Cbn.

5 4

4 4

5 4

Hn. in F 1 3

5 4

4 4

5 4

5 4

4 4

5 4

Tpt. in C 1 2

5 4

4 4

5 4

Tpt. 3 in C

5 4

4 4

5 4

5 4

4 4

5 4

5 4

4 4

5 4

Timp.

5 4

4 4

5 4

Whip

5 4

4 4

5 4

5 4

4 4

5 4

5 4

4 4

5 4

5 4

4 4

5 4

4 4

5 4

5 4

4 4

5 4

5 4

4 4

5 4

5 4

4 4

5 4

(pp)

5 4

n

p

Hn. in F 2 4

n

p

straight mute Tbn. 1 2

n

p

3., straight mute B. Tbn./ Tuba

n

p

Vib.

B. D.

5 4

non arp.

Harp

Piano

5 4

S.

Sustaining voices always sing "Ah:" voices with text resume singing "Ah" after their text is complete. Stagger breathing throughout, as imperceptibly as possible.

p

"But

the

a

pos

tles

were

di stressed,

4 4

and wept.

(pp)

5 4

A.

4 4 p

"But

the

a

pos

tles

were

di stressed,

and wept.

5 4

T.

(Ah...)

5 4

(Ah...)

4 4

p

3

'How are (Ah...)

3

we

to

5 4 go

out

in

the

world?

(pp) B.

5 4

4 4

5 4

Vn. I

5 4

4 4

5 4

Vn. II

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

a4 Va.

5 4

Vc.

5 4

Cb.

5 4

*

*

Repeat boxed boxed pitches pitches freely freely and and smoothly, smoothly, varying varying rhythmic rhythmic patterns patterns ** Repeat and bowing, bowing, poco cresc./dim. ad lib. for the duration indicated. Do not and synchronize within sections. Aim for a "shimmering" poco cresc./dim. ad lib. for the duration indicated. Do sound. not synchronize within sections. Aim for a "shimmering" sound.


The Gospel of Mary Magdalene—Act II

710 744 Fl. 1 2

5 4

2 4

Fl. 3

5 4

2 4

Ob. 1 2

5 4

2 4

E. H.

5 4

2 4

1 Cl. in Bb 2

5 4

2 4

Bs. Cl.

5 4

2 4

Bn. 1 2

5 4

2 4

Cbn.

5 4

2 4

Hn. in F 1 3

5 4

2 4

Hn. in F 2 4

5 4

2 4

Tpt. in C 1 2

5 4

2 4

Tpt. 3 in C

5 4

2 4

Tbn. 1 2

5 4

2 4

B. Tbn./ Tuba

5 4

2 4

Timp.

5 4

2 4

Whip

5 4

2 4

5 4

2 4

5 4

2 4

5 4

2 4

5 4

2 4

5 4

2 4

5 4

2 4

5 4

2 4

5 4

2 4

n

p

n

p

(sord)

n

remove mutes

p

(3. sord)

remove mutes

n

p

Vib.

B. D.

Harp

Piano

S.

(Ah...)

A.

5 4

3

2 4

3

spare If

T.

5 4

5 4

did

spare him,

n't

how

will

they

3

3

If

B.

they

they

did

n't

us?'

Ah...

us?'

Ah...

(Ah...)

2 4 spare

him,

how

will

they

spare

(Ah...)

2 4 (Ah...)

Vn. I

Vn. II

5 4 5 4

2 4 2 4

q

q

q Va.

5 4

2 4 q

Vc.

5 4

2 4

unis.

unis.

mf unis.

mf unis.

mf Cb.

5 4

5

mf

2 4 mf

3

6


The Gospel of Mary Magdalene—Act II

748 Fl. 1 2

n

p

n

p

711 4 4

A bit faster: q = 63

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Bs. Cl.

4 4

3 4

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

Hn. in F 1 3

4 4

3 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

4 4

3 4

Timp.

4 4

3 4

Whip

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Fl. 3

Ob. 1 2

n

p

E. H.

n 1 Cl. in Bb 2

n

pp

Tba. B. Tbn./ Tuba

p

p

pp

Vib.

pp

B. D.

(all l.v.)

Harp

p

pp

p

Piano

4 4

M. M.

p "Then

Skr. 2.

sub. pp S.

3

3

Ma

ry

stood

up,

and

3 4 ad

4 4

3 4

4 4

3 4

4 4

3 4

Ah...

sub. pp A. Ah...

sub. pp

4 4

T.

p

"Then

Ah...

sub. pp

Ma

4 4

B.

div. a2

ry

stood

up,

"Then

Ma

ry

and

3 4 ad

3 4

3

3

p

Ah...

3

3

stood

up,

and

ad

A bit faster: q = 63

a4

4 4

Vn. I

*

3 4

sub. pp div. a2

a3

4 4

Vn. II

sub. pp

a4

div. a2

4 4

Va.

sub. pp

div. a2

a3

4 4

Vc.

pp

*

*

*

3 4 3 4

div. a3

4 4

Cb.

pp sub.

3 4

p

3 4 Repeat boxed pitches freely and smoothly, varying rhythmic patterns **Repeat boxed pitch freely and smoothly, varying rhythmic patterns and bowing, poco and bowing, cresc./dim. ad lib. for the duration indicated. Do not synchronize within sections. poco cresc./dim. ad lib. for the duration indicated. Do not synchronize within sections. Aim for a "shimmering" sound.


The Gospel of Mary Magdalene—Act II

712 752

Slower: q = 52

Fl. 1 2

3 4

Fl. 3

3 4

5 4

Ob. 1 2

3 4

5 4

E. H.

3 4

5 4

1 Cl. in Bb 2

3 4

5 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

5 4

2+3

5 4

mp

5 4

mp

5 4

mp 1.

Hn. in F 1 3

3 4

5 4

Hn. in F 2 4

3 4

5 4

Tpt. in C 1 2

3 4

5 4

Tpt. 3 in C

3 4

5 4

Tbn. 1 2

3 4

5 4

B. Tbn./ Tuba

3 4

Timp.

3 4

5 4

Whip

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

mp

mp

Vib.

B. D.

(Tba.)

5 4

non arp.

3 4 Harp

Piano

M. M.

3 4

5 4

3 4

5 4

3 4

5 4

3 4

3

dressed

Skr. 2.

3 4

S.

3 4

her

bro

thers.

or grieve,

or

be

mp

"Do

not weep,

or grieve,

or

be

3 4

in

(mp)

doubt:

grace

for his

will

be

with

you

all,

and

in

will

be

with

you

all,

and

will

be

with

you

all,

and

(pp)

5 4

(Ah...)

doubt:

(pp)

5 4

3

mp

"Do

not weep,

her

bro

thers.

(Ah...)

3 4 dressed

or grieve,

or

be

in

doubt:

(Ah...) 3

3 4 dressed

B.

not weep

mp

5 4

3

3

(Ah...)

T.

"Do

mp

5 4

(Ah...)

A.

5 4

mp

"'...for

5 4 his

bro

thers.

(Ah...)

Slower: q = 52

"'...for

grace

5 4

3

her

(mp)

his

grace

(mp)

Vn. I

3 4

5 4

Vn. II

3 4

5 4

Va.

3 4

5 4

Vc.

3 4

5 4

Cb.

3 4

5 4

2+3

mp


The Gospel of Mary Magdalene—Act II

713

A bit faster: q = 66 3+2

756

Easier: q = 60

Fl. 1 2

4 4

Fl. 3

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

mf

4 4

Bn. 1 2

mf

4 4

Cbn.

mf

(1.)

4 4

Hn. in F 1 3

mf

4 4

Hn. in F 2 4

mf Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4 (Tba.)

4 4

B. Tbn./ Tuba

mf Timp.

4 4

Whip

4 4 4 4

Vib.

4 4 4 4

B. D.

4 4 mf

Harp

4 4 4 4

mf

Piano

mf

4 4 3

3

3

3

M. M. grace

will

shel

ter you.

He

hasjoined us

to

ge ther,

and

made us

(pp)

p

4 4 true

hu

man

be

ings.

Go,

mf 3

3

3

3

He

mf

hasjoined us

to

ge ther,

3

and

3

shel

ter you.

He

hasjoined us

to

ge ther,

made us 3

T. will

and

preach

B. will

shel

ter you.

3

and

made us

true

hu

man

be

ings.

true

Go,

and

preach

pp

4 4 hu

man

be

ings.

Ah...

4 4

Ah...

A bit faster: q = 66 3+2 Vn. I

4 4

Vn. II

4 4

Va.

4 4

Vc.

4 4

Cb.

4 4 mf

the good

dolce

4 4

(Ah...)

(pp)

grace

3

the good

p 3

grace

preach

3

(Ah...)

(Ah...)

and

4 4

S.

A.

Go,

dolce

Easier: q = 60

the good


The Gospel of Mary Magdalene—Act II

714 760

Suddenly urgent: q = 72 4 4

Fl. 1 2

2 4

Fl. 3

2 4

4 4

Ob. 1 2

2 4

4 4

E. H.

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

a2. 1 Cl. in Bb 2

p Bs. Cl.

a2. Bn. 1 2

p

Cbn.

(1.)

p

2 4

Hn. in F 1 3

4 4

Hn. in F 2 4

2 4

4 4

Tpt. in C 1 2

2 4

4 4

Tpt. 3 in C

2 4

4 4

2 4

1., open.

Tbn. 1 2

2 4

3., open

(Tba.) B. Tbn./ Tuba

3

p

a2

3

p

a2

3

p

4 4

p

4 4

p

2 4

Timp.

Whip

Vib.

B. D.

Harp

l. v.

4 4

p

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

p

4 4

2 4 Piano

2 4

4 4 p

4 4

2 4

M. M.

4 4 p

news.

2 4

Ptr.

4 4

3

And

Pe

ter

said,

p

2 4

S. news.'

And

Pe

ter

p

2 4

A. news.'

Ah...

And

Pe

ter

p

2 4

T.

And

(Ah...)

Pe

ter

p

2 4

B.

And

(Ah...)

Pe

3

ter

4 4 said,

spo

he

spo

3

said,

ken

se

cret

ken

se

cret

he

spo

'Has

he

spo

3to

ken

se

cret

a

3

ly

...to

a

3

3

ly

to

a

ly

3to

a

3

3

'Has

ly

3

3

'Has

4 4

he

3

said,

3

spo

3

'Has

4 4

3

he

3

said,

3

3

'Has

4 4

3

Ah...

3

ken

se

cret

ken

se

cret

3 3

3

ly

3

to

a

Suddenly urgent: q = 72 4 4

Vn. I

2 4

Vn. II

2 4

4 4

2 4

4 4

unis. Va.

p

3

unis. Vc.

p Cb.

div.

2 4 2 4

4 4 div. a2

p

4 4

div. 3


The Gospel of Mary Magdalene—Act II

715

764 Fl. 1 2

5 4

4 4

Fl. 3

5 4

4 4

Ob. 1 2

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

p

f

p

f

E. H.

a2 1 Cl. in Bb 2

mp

f

f

sub. p

Bs. Cl.

a2 Bn. 1 2

f

sub. p

f

Cbn.

f

sub. p

f

f

sub. p

f

f

sub. p

Hn. in F 1 3

Hn. in F 2 4

f

Tpt. in C 1 2

3

3

1.

p

3

3

f

Tpt. 3 in C

p

(1.) Tbn. 1 2

f

f

sub. p

f

sub. p

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

sub. p

5 4

B. Tbn./ Tuba

f

sub. p

f

l. v.

Timp.

p

f

Whip

Vib.

B. D.

Harp

f

p

Piano

f

p

5 4

sub. p sub. p

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4 sub. p

5 4

4 4

5 4

4 4

5 4

sub. p

sub. p

f

3

3

and

not

o pen ly

to

us?

f

Sure

ly

he

did

not mean that

she

sub. p

and

not

o pen ly

to

us?

f

Sure

ly

f

3

3

he

did

not mean that

she

5 4

is more worth y than we?

sub. p

3

and

not

o pen ly

to

us?

f

Sure

ly

he

did

not mean that

she

5 4

is more worth y than we?

and

not

o pen ly

to

us?

f

Sure

ly

he

did

not mean that

she

5 4

3

3

is more worth y than we?

and

not

o pen ly

unis.

to

us?

Sure

ly

div.

he

did

not mean that

a3

she

5 4

3

3

is more worth y than we?

div.

mf

f

sub. p

a4

a4

3

3

f

sub. p

a3

a2

f

5 4

a3

Va.

f

sub. p

3

a3

3

f

a2

a4

Vc.

f

sub. p

3

3

sub. p

unis.

"Pe

ter,

ry

said,

"Pe

my

bro

ter, my bro

sub. p ry

3

ther,

"Pe

ter, my bro

3

ther,

3

said,

"Pe

ter, my bro

ther,

3

p

unis.

3

3

p

4 4

do you

unis.

unis.

4 4

do you

3

ry

4 4

do you

3

said,

4 4

do you

ther,

sub. p

4 4 4 4 4 4

3

p div.

4 4

sub. p

5 4 f

said,

3

5 4

f

Cb.

f

ry

5 4

Vn. II

p

3

5 4

f

3

3

a3

do you

sub. p

Ma

Vn. I

unis.

ther,

3

Ma

f

sub. p

B. wo man

ter, my bro

sub. p

Ma

f

sub. p

T. wo man

"Pe

4 4

Ma

f

3

A. wo man

said,

4 4

is more worth y than we?

S. wo man

ry

3

3

5 4

Ptr. wo man

4 4

sub. p Ma

f

4 4

5 4

5 4

M. M.

4 4

4 4 sub. p


The Gospel of Mary Magdalene—Act II

716 768 Fl. 1 2

4 4

2 4

Fl. 3

4 4

2 4

Ob. 1 2

4 4

2 4

E. H.

4 4

2 4

1 Cl. in Bb 2

4 4

2 4

Bs. Cl.

4 4

2 4

Bn. 1 2

4 4

2 4

Cbn.

4 4

2 4 f

Hn. in F 1 3

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

3

Piccolo

3

3

ff

ff

3

ff

3

3

ff

p a2

f

3

ff

a2

p

to Piccolo

ff

2 4

3

p

3

ff

ff

a2

4 4

Suddenly tranquil: q = 44

a2

2 4

f

3

ff

2 4

Tpt. 3 in C

4 4

2 4

Tbn. 1 2

4 4

2 4

B. Tbn./ Tuba

4 4

f

3

ff ff

3

2 4

f Timp.

4 4

Whip

4 4

Vib.

B. D.

Harp

f

M. M.

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

f

4 4

pp

f

all l.v.

pp

2 4 p

2 4 f

3

4 4 think

Skr. 4.

2 4

4 4

4 4 Piano

2 4

that

I've

made

all

this

up?

Or

that

I

am

tell

ing

2 4

lies?'

4 4

2 4

ff (And)

S.

4 4 think

A.

I've

made

all

this

up?

Or

that

I

am

tell

ing

that

I've

made

all

this

up?

Or

that

I

am

tell

ing

that

I've

made

all

this

up?

Or

that

3

I

am

tell

ing

3

think

that

I've

made

all

this

up?

Or

that

I

am

tell

ing

2 4

lies?'

said,

sub. pp

3

Le

vi

Pe

said,

Le

vi 3

said,

Pe

Pe

ter,

Pe

ter,

Le

vi

ter,

sub. pp

3

ff

(And)

ter,

sub. pp

ff (And)

2 4

vi

ff (And)

lies?'

f

4 4

2 4

Le

ff (And)

lies?'

f

4 4

2 4

lies?'

f

3

think

B.

that

4 4 think

T.

f

3

3

said,

Pe

sub. pp

ter,

Pe

ter,

said,

Pe

ter,

Pe

ter,

3

Le

vi

Suddenly tranquil: q = 44 Vn. I

div.

4 4

3

a3

f Vn. II

div.

4 4

pp

pp

f Va.

4 4

Vc.

4 4

Cb.

4 4

f

f

sub. pp

5

div. a2

pp

2 4

unis.

unis.

sub. pp

div. a2

unis.

2 4 2 4

f

6

unis.

2 4

div.

div. a2

unis.

2 4

sub. pp

div. a2 6

pp

sub. pp

pp

p


The Gospel of Mary Magdalene—Act II

772 Fl. 1 2

4 4

Picc.

717

A bit more motion, with the voice: q = 52

2 4

4 4

4 4

2 4

4 4

Ob. 1 2

4 4

2 4

4 4

E. H.

4 4

2 4

4 4

1 Cl. in Bb 2

4 4

2 4

4 4

Bs. Cl.

4 4

2 4

4 4

Bn. 1 2

4 4

2 4

4 4

2 4

4 4

pp

4 4

Cbn.

pp Hn. in F 1 3

4 4

2 4

4 4

Hn. in F 2 4

4 4

2 4

4 4

Tpt. in C 1 2

4 4

2 4

4 4

Tpt. 3 in C

4 4

2 4

4 4

Tbn. 1 2

4 4

2 4

4 4

B. Tbn./ Tuba

4 4

2 4

4 4

Timp.

4 4

2 4

4 4

Whip

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

pp

Vib.

4 4

B. D.

pp

Harp

Piano

4 4 M. M.

4 4

Skr. 4.

4 4

pp

as LEVI, sung, rubato molto

p

Pe

ter,

you

3

have

a

con

stant

in

cli

na

(pp)

4 4

S. Pe

ter,

Pe

ter,

(pp)

Pe

ter,

(pp)

4 4 ter,

ang

er,

and

you

are

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

Ah...

T. Pe

to

Ah...

4 4

A.

tion

Pe

ter,

Ah...

(pp)

4 4

B. Pe

ter,

Ah...

a3

a4

Vn. I

4* 4

A bit more motion, with the voice: q = 52

(pp) a3

4* 4

Vn. II

(pp) a3 Va.

a4

4* 4 (pp)

a3 Vc.

4 4

*

(pp)div. a3 Cb.

4 4 pp * Repeat boxed pitches, varying rhythm, poco cresc./dim. ad lib., "shimmering."


The Gospel of Mary Magdalene—Act II

718 776 Fl. 1 2

4 4

5 4

4 4

Picc.

4 4

5 4

4 4

Ob. 1 2

4 4

5 4

4 4

E. H.

4 4

5 4

4 4

1 Cl. in Bb 2

4 4

5 4

4 4

Bs. Cl.

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

Hn. in F 1 3

4 4

5 4

4 4

Hn. in F 2 4

4 4

5 4

4 4

Tpt. in C 1 2

4 4

5 4

4 4

Tpt. 3 in C

4 4

5 4

4 4

Tbn. 1 2

4 4

5 4

4 4

B. Tbn./ Tuba

4 4

5 4

4 4

Timp.

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

M. M.

4 4

5 4

4 4

Skr. 4.

4 4

5 4

4 4

Bn. 1 2

Cbn.

1.

pp

Vib.

B. D.

Harp

Piano

pp

pp

(p)

al

S.

3

ways rea dy to give in to it.

And e ven now, you are do ing ex act ly that

4 4

(pp)

4 4

(pp)

4 4

(pp)

by

mp

mp

mp

mp 3

ques tion ing this wo man as if you were her ad ver sa ry.

5 4

Ah...

A.

mp

mp

pp

Whip

mp

If he

mp

4 4 (Ah...)If he found her to be worth y,

mp

5 4

4 4

5 4

(pp)

Ah...

T.

If he found her to be worth y,

4 4

Ah...

(Ah...)

(pp) B.

4 4

her to be worth y,

(pp)

5 4

4 4

Ah...

(Ah...)

Vn. I

4 4

5 4

4 4

Vn. II

4 4

5 4

4 4

Va.

4 4

5 4

4 4

Vc.

4 4

5 4

4 4

Cb.

4 4

5 4

4 4 mp

who are 3

who are 3

who are


The Gospel of Mary Magdalene—Act II

719

More motion: q = 54

780

q = 60

Fl. 1 2

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

Bn. 1 2

mp

mf

mp

mf

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

(1.) Tbn. 1 2

mf

B. Tbn./ Tuba

mf Timp.

Whip

Vib.

B. D.

Harp

mf

Piano

mf

M. M.

mf

3

3

3

Skr. 4. you

to

dis

re gard

her?

For he

knew

her

com

plete

ly,

and

loved

her

de

vot

ed

ly.

We

should do

as

com mand ed,

and

(pp) S. you

to

dis

re gard

her?

(Ah...)

(Ah...)

3

(pp)

3

A. you

to

dis

re gard

her?

3

(Ah...)

(Ah...)

We

mf mf

mp

should do

3

as

3

com mand ed,

and

3

T. For he

knew

her

com

plete

ly,

and

loved

her

de

vot

ed

ly.

knew

her

com

plete

ly,

and

loved

her

de

vot

ed

ly.

We

mp B. For he

More motion: q = 54

(Ah...)

q = 60

Vn. I

Vn. II

Va.

Vc.

Cb.

mf

should do

as

com mand ed,

and


The Gospel of Mary Magdalene—Act II

720 784 Fl. 1 2

3 4

4 4

Picc.

3 4

Ob. 1 2

q = 54

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

E. H.

3 4

4 4

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

3 4

4 4

Bs. Cl.

3 4

4 4

3 4

4 4

Bn. 1 2

3 4

4 4

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

Hn. in F 1 3

3 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

4 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

3 4

4 4

Tpt. 3 in C

3 4

4 4

3 4

4 4

Tbn. 1 2

3 4

4 4

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

3 4

4 4

Timp.

3 4

4 4

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

(1.)

p

p

p

Vib.

B. D.

Harp

Piano

M. M.

3

3

Skr. 4. not

be

lay

ing

down rules

or

mak

ing

p

p

p

laws.'

Af

(pp)

3 4

S.

3

3 4 3

ter

he

said

these

things,

Le

4 4

3 4

4 4

3 4

4 4 vi

left,

and

be

4 4

Ah...

(pp) 3

A. not

be

lay

ing

3 4

3

down rules

or

mak

ing

p

Ah...

laws.

...and

(pp) 3

3 4

3

T. not

be

lay

ing

down rules

or

mak

ing

4 4

be

3 4

4 4

Ah...

laws.

p

(pp) B.

4 4

3 4

4 4 Ah...

Af

Vn. I

3 4

4 4

Vn. II

3 4

Va.

3 4

3

q = 54

ter

he

said

these

things,

4 4

3

Le

vi

left,

and

be

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vc.

3 4

4 4

3 4

4 4

Cb.

3 4

4 4

3 4

4 4

p


The Gospel of Mary Magdalene—Act II

788

721

A bit more motion: q = 60

Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

1.

3 4

pp

3 4 1.

3 4

pp

3 4 1.

3 4

pp

3 4

1.

3 4

pp

3 4 pp

Hn. in F 1 3

4 4

3 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

(1.)

3 4

p

3 4 p

Timp.

4 4

3 4

Whip

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

M. M.

4 4

3 4

Skr. 4.

4 4

Vib.

B. D.

Harp

Piano

dolce gan

S.

4 4

A.

4 4

preach

the

good

news.'

3 4 dolce

gan

T.

to

3 4 3

to

preach

3 4

3

the

good

news.'

4 4

3 4 Ah...

dolce B.

4 4 gan

to

preach

3

the

3 4 good

news.'

A bit more motion: q = 60 div. a4

Vn. I

Vn. II

Va.

Vc.

Cb.

44

pp

4 4

div. a4

3 4

pp (unis.)

4 4

pp

4 4 4 4

43

pp div. a2

(unis.)

3 4 3 4 3 4

pp


The Gospel of Mary Magdalene—Act II

722

As before: q = 60

792 Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

M. M.

3 4

4 4

Skr. 2.

3 4

4 4

Vib.

B. D.

Harp

Piano

(1.)

pp

1.

pp

4 4

pp This

Skr. 4.

Skr. 5.

S.

4 4

3 4 3 4

4 4

3 4

4 4

3 4

4 4

is

the

Gos

pel

of

Ma

This

is

the

Gos

pel

of

Ma

This

is

the

Gos

pel

of

Ma

pp

pp

3 4

4 4

3 4

4 4

is

the

Gos

pel

of

3

3

Ma

ry.

ry.

ry. 3

is

the

Gos

pel

of

Ma

pp This

B.

ry.

3

pp This

T.

3

pp

This

A.

1.

Motionless: q = 52

ry. 3

is

the

Gos

pel

of

Ma

is

the

Gos

pel

of

Ma

ry.

pp This

3

ry.

As before: q = 60 div. a4

3 4

4 4

3 4

4 4

Va.

3 4

4 4

3 4

div.

Vc.

4 4

3 4

unis.

Cb.

4 4

Vn. I

Motionless: q = 52 pp div. a4

Vn. II

pp

div.

(pp)


The Gospel of Mary Magdalene—Act II

796

723

More urgent: q = 84

Fl. 1 2

3 4

Picc.

3 4

6 8

Ob. 1 2

3 4

6 8

E. H.

3 4

6 8

1 Cl. in Bb 2

3 4

6 8

pp

6 8

p sub.

Bs. Cl.

3 4

6 8

Bn. 1 2

3 4

Cbn.

3 4 3 4

1.

Hn. in F 1 3

3 4

2.

Hn. in F 2 4

Tpt. in C 1 2

3 4

6 8

Tpt. 3 in C

3 4

6 8

Tbn. 1 2

3 4

6 8

B. Tbn./ Tuba

3 4

6 8

Timp.

3 4

6 8

Whip

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

6 8

pp

p sub.

6 8 6 8

p

6 8

p

Vib.

B. D.

Harp

3 4

mp

p

6 8

3 4

6 8

3 4

6 8

3 4

6 8

Piano

M. M.

pp

3 4

Skr. 1. But

pp

what

But

pp But

pp

what

But

pp

what

But

what

see

in

the

tomb?

the

Mag

did

did

did

in

she

see

in

the

tomb?

see

in

the

tomb?

she

see

in

the

Mag

the

the

tomb?

the

3

da

lene

Mag

da

lene

Mag

da

tomb?

the

wo

wo

lene

wo

Mag

unis., pizz.

da

lene

wo

6 8

man?

6 8

man?

6 8

man?

sub. p 3

6 8

man?

sub. p

3

p the

wo

sub. p

3

p

3

More urgent: q = 84

lene

sub. p

p

3

she

da

p

3

3

what

3 4

Vn. I

she

3

3 4

Skr. 5.

did

3

3 4

Skr. 4.

see

sub. p

3

3

3 4

Skr. 3.

she

3

3 4

Skr. 2.

did

p

3

3

6 8

man?

6 8

(pp) unis., pizz.

3 4

Vn. II

6 8

(pp) Va.

pp unis. Vc.

pp Cb.

3 4

pizz.

3 4

pizz.

div.

6 8

pizz.

unis.

6 8

3 4

6 8


The Gospel of Mary Magdalene—Act II

724 800 Easier: q. = 76 Fl. 1 2

6 8

12 8

4 4

Picc.

6 8

12 8

Ob. 1 2

6 8

12 8

E. H.

6 8

12 8

4 4

1 Cl. in Bb 2

6 8

12 8

4 4

Bs. Cl.

6 8

12 8

4 4

Bn. 1 2

6 8

12 8

4 4

Cbn.

6 8

12 8

4 4

12 8

4 4

12 8

4 4

p

q = 66

4 4 1.

4 4

p

a2.

p

(1.)

p

Hn. in F 1 3

6 8

Hn. in F 2 4

6 8

Tpt. in C 1 2

6 8

12 8

4 4

Tpt. 3 in C

6 8

12 8

4 4

Tbn. 1 2

6 8

12 8

4 4

B. Tbn./ Tuba

6 8

12 8

4 4

Timp.

6 8

12 8

4 4

(2.)

pp

p

p

(pp)

6 8

12 8

4 4

6 8

12 8

4 4

6 8

12 8

4 4

6 8

12 8

4 4

6 8

12 8

4 4

6 8

12 8

4 4

6 8

12 8

6 8

12 8

4 4

M. M.

6 8

12 8

4 4

Skr. 1.

6 8

12 8

Whip

1.

Vib.

B. D.

p

Harp

4 4

p

Piano

(p) What

Skr. 2.

6 8

12 8

6 8

12 8

6 8

12 8

6 8

12 8

Vn. II

Va.

Vc.

Cb.

What

did

she

learn?

What

did

she

learn?

What

did

she

learn?

What

did

she

learn?

What

12 8

arco

12 8

arco

12 8

she

tell?

can

she

tell?

can

she

tell?

4 4

6 8

6 8

can

4 4

arco

12 8

tell?

4 4

12 8

6 8

she

4 4

Easier: q. = 76 6 8

68

can

(p) What

Vn. I

learn?

(p) What

Skr. 5.

she

(p) What

Skr. 4.

did

(p) What

Skr. 3.

4 4

p

p

unis.

p arco

p arco

p

poco

poco

poco

she

tell?

pizz.

arco

pizz.

arco

pizz.

arco

4 4

p

pizz.

p arco

p arco

p

q = 66 mp

4 4

p

poco

poco

can

mp

44 4 4 4 4

mp

mp

mp


The Gospel of Mary Magdalene—Act II

725

SCENE SIX 804 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4 (a2)

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4 (1.)

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Whip

3 4

Suspended: q = 80

p

n

mp

n

mp

n

mp

p

3 4 Vib.

3 4

B. D.

3 4 non arp.

3 4

p

Harp

3 4 3 4 Piano

3 4 (Dawn: the mist has thinned. MARY and MIRIAM arrive at the elegant garden tomb of Yusef of Arimathea, in which YESHUA's body has been laid. Benches flank its entrance: the stone before its opening has been rolled away. MARY and MIRIAM move to enter.)

Mir.

3 4

p

steely I

M. M.

p

3 4

3

It

is

Suspended: q = 80 Vn. I

Vn. II

Va.

Vc.

Cb.

3 4

p

3 4

p

3 4 3 4 3 4

p

p

p

a

hund

red

3

stairs

to

the

crypt.

must

see

him.


The Gospel of Mary Magdalene—Act II

726

A bit faster: q. = 88 6 8

3 4

Picc.

6 8

3 4

Ob. 1 2

6 8

3 4

E. H.

6 8

3 4

1 Cl. in Bb 2

6 8

3 4

Bs. Cl.

6 8

3 4

Bn. 1 2

6 8

3 4

Cbn.

6 8

3 4

Hn. in F 1 3

6 8

3 4

Hn. in F 2 4

6 8

3 4

Tpt. in C 1 2

6 8

3 4

Tpt. 3 in C

6 8

3 4

Tbn. 1 2

6 8

3 4

B. Tbn./ Tuba

6 8

3 4

Timp.

6 8

3 4

Whip

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

6 8

3 4

808 Fl. 1 2

Vib.

B. D.

Harp

Piano

6 8

Mir. No,

M. M. Wait

Vn. I

here.

I'll

come

back

for

I

must

(MIRIAM, making for the entrance, falls a third time.)

f see

him,

all

of

3 4

him!

6 8

3 4

A bit faster: q. = 88 6 8

3 4

you.

f

Vn. II

Va.

Vc.

Cb.

4

6 8 6 8 6 8 6 8

f

3 4

4

3 4

f

5

f

f

3 4 3 4


The Gospel of Mary Magdalene—Act II

812

727

As before: q = 80

Fl. 1 2

3 4

5 4

Picc.

3 4

5 4

Ob. 1 2

3 4

5 4

E. H.

3 4

5 4

1 Cl. in Bb 2

3 4

5 4

Bs. Cl.

3 4

5 4

Bn. 1 2

3 4

5 4

Cbn.

3 4

5 4

Hn. in F 1 3

3 4

5 4 p 2.

Hn. in F 2 4

3 4

5 4

Tpt. in C 1 2

3 4

5 4

Tpt. 3 in C

3 4

5 4

Tbn. 1 2

3 4

5 4

B. Tbn./ Tuba

3 4

Timp.

3 4

5 4

Whip

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

p

Tba.

5 4

p

Vib.

B. D.

Harp

Piano

Mir.

mf

3 4

Si

M. M.

3 4

5 4

3

mon

the

Cy

rene!

5 4 I

As before: q = 80

will

car

ry

you.

5 4

Vn. I

3 4

Vn. II

3 4

5 4

Va.

3 4

5 4

Vc.

3 4

5 4

Cb.

3 4

5 4


The Gospel of Mary Magdalene—Act II

728 816

A bit slower: q = 72 1.

Fl. 1 2

5 4

3 4

4 4

2 4

Picc.

5 4

3 4

4 4

2 4

Ob. 1 2

5 4

3 4

4 4

2 4

E. H.

5 4

3 4

4 4

2 4 2 4

p solo

pp

1 Cl. in Bb 2

5 4

3 4

4 4

Bs. Cl.

5 4

3 4

4 4

Bn. 1 2

5 4

3 4

4 4

2 4

Cbn.

5 4

3 4

4 4

2 4

Hn. in F 1 3

5 4

3 4

4 4

2 4

Hn. in F 2 4

5 4

3 4

4 4

2 4

Tpt. in C 1 2

5 4

3 4

4 4

2 4

Tpt. 3 in C

5 4

3 4

4 4

2 4

Tbn. 1 2

5 4

3 4

4 4

2 4

B. Tbn./ Tuba

5 4

3 4

4 4

2 4

Timp.

5 4

3 4

4 4

2 4

Whip

5 4

3 4

4 4

2 4

5 4

3 4

4 4

2 4

5 4

3 4

4 4

2 4

5 4

3 4

4 4

2 4

5 4

3 4

4 4

2 4

5 4

3 4

4 4

2 4

5 4

3 4

4 4

2 4

5 4

3 4

4 4

2 4

pp

2 4

pp

Vib.

B. D.

Harp

Piano

(On her knees, MIRIAM weeps soundlessly, leaning on her jar. MARY takes one of the two shrouds she's carrying, folds it into roughly the shape of a child's body.)

Mir.

5 4

3 4

4 4

M. M.

5 4

3 4

4 4

Vn. I

Va.

Vc.

Cb.

p Tell

2 4 me

what

you

wish

to

say.

A bit slower: q = 72 5 4

3 4

4 4

2 4

5 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

pp

Vn. II

2 4

5 4 5 4 5 4

pp

pp

pp


The Gospel of Mary Magdalene—Act II

820

729 Slower: q = 72 4 4

1.

Fl. 1 2

2 4

4 4

3 4

Picc.

2 4

4 4

3 4

4 4

Ob. 1 2

2 4

4 4

3 4

4 4

E. H.

2 4

4 4

3 4

4 4

1 Cl. in Bb 2

2 4

4 4

3 4

4 4

Bs. Cl.

2 4

4 4

3 4

4 4

Bn. 1 2

2 4

4 4

3 4

4 4

Cbn.

2 4

4 4

3 4

4 4

Hn. in F 1 3

2 4

4 4

3 4

4 4

Hn. in F 2 4

2 4

4 4

3 4

4 4

Tpt. in C 1 2

2 4

4 4

3 4

4 4

Tpt. 3 in C

2 4

4 4

3 4

4 4

Tbn. 1 2

2 4

4 4

3 4

4 4

B. Tbn./ Tuba

2 4

4 4

3 4

4 4

Timp.

2 4

4 4

3 4

4 4

Whip

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

2 4

4 4

3 4

4 4

3 4

4 4

pp

Vib.

B. D.

Harp

Piano

(MARY offers the shroud to MIRIAM, who cradles it in her arms.)

M. M.

2 4

4 4

3

I

shall

tell

him

for

you.

Slower: q = 72

solo

2 4

4 4

3 4

Vn. II

2 4

4 4

3 4

4 4

Va.

2 4

4 4

3 4

4 4

Vc.

2 4

4 4

3 4

4 4

Cb.

2 4

4 4

3 4

4 4

Vn. I

pp

4 4


The Gospel of Mary Magdalene—Act II

730 824

Slower yet

Fl. 1 2

3 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

pp

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Whip

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

B. D.

Harp

Piano

(solo)

Slower yet

Vn. I

3 4

Vn. II

3 4

4 4

Va.

3 4

4 4

Vc.

43

solo

4 4

44

pp

Cb.

3 4

4 4


The Gospel of Mary Magdalene—Act II

828

Freely, with the voice: q = 52 5 4

1.

Fl. 1 2

4 4

Picc.

4 4

5 4

Ob. 1 2

4 4

5 4

E. H.

4 4

5 4

n

4 4

p

731

n

n

4 4 1.

4 4

n

p

4 4 n

1 Cl. in Bb 2

n

4 4

5 4

1.

n

p

4 4

5 4

4 4

Bn. 1 2

4 4

5 4

4 4

Cbn.

4 4

5 4

4 4

Hn. in F 1 3

4 4

5 4

4 4

Hn. in F 2 4

4 4

5 4

4 4

Tpt. in C 1 2

4 4

5 4

4 4

Tpt. 3 in C

4 4

5 4

4 4

Tbn. 1 2

4 4

5 4

4 4

B. Tbn./ Tuba

4 4

5 4

4 4

Timp.

4 4

5 4

4 4

Whip

4 4

5 4

4 4

5 4

4 4

pp

n

bowed

4 4

n

pp

p

4 4

Bs. Cl.

1.

n

n

n

n

pp

n

n

p

n

Vib.

B. D.

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

4 4

4 4

5 4

pp

Harp

Piano

Mir.

No,

tutti Vn. I

Vn. II

Va.

Vc.

4 4

pp

4 4

pp

4 4 4 4

pp tutti

3

this

is

how

I

lose

3

you.

as

God,

Freely, with the voice: q = 52 5 4

4 4

5 4

4 4

5 4

4 4

(if needed: preferably tacet)

5 4

4 4

5 4

4 4

pp

Cb.

4 4

3

4 4

3

I guess,

in

tends.

Part

of

how our lives

havebeen de

signed.


The Gospel of Mary Magdalene—Act II

732 832 Fl. 1 2

(1.)

In time (q = 52)

p

n

Picc.

Ob. 1 2

E. H.

pp (1.) 1 Cl. in Bb 2

p

n

Bs. Cl.

Bn. 1 2

pp

Cbn.

1. Hn. in F 1 3

pp 2.

Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tuba B. Tbn./ Tuba

pp

Timp.

Whip

to Mar. pp Vib.

B. D.

Harp

Piano

Mir. My

son.

The

In time (q = 52) Vn. I

p

Vn. II

p

Va.

p

Vc.

p

Cb.

p

on

ly

thing

I

wish

I

knew

is

what

it

is

that

we

must


The Gospel of Mary Magdalene—Act II

836

733

D ossia 8vb)

Fl. 1 2

3 4

Picc.

3 4

pp

Piccolo

to Flute

pp

3 4

Ob. 1 2

pp

E. H.

3 4

1 Cl. in Bb 2

3 4

Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4 (1.)

pp

pp

pp

3 4

Hn. in F 1 3

(2.) Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4 (Tba.)

pp 2.

pp

Tba.

3 4

B. Tbn./ Tuba

pp Timp.

3 4

Whip

3 4 3 4

Mar.

3 4 3 4

B. D.

3 4

pp

Harp

3 4 3 4 Piano

3 4 (MARY helps MIRIAM to one of the benches flanking the tomb entrance.)

3

3 4

Mir. lose

you

to

find.

div. a3 Vn. I

3 4 (pp)

Vn. II

3 4

div. a3

(pp) Va.

3 4

div.

(pp)

Vc.

3 4

div.

(pp)

Cb.

3 4

div.

(pp)


The Gospel of Mary Magdalene—Act II

734 840 Fl. 1 2

4 4

Fl. 3

q = 80

2 4

4 4

4 4

2 4

4 4

Ob. 1 2

4 4

2 4

4 4

E. H.

4 4

2 4

4 4

pp 1 Cl. in Bb 2

4 4

2 4

4 4

Bs. Cl.

4 4

2 4

4 4

Bn. 1 2

4 4

2 4

4 4

Cbn.

4 4

2 4

4 4

pp

Hn. in F 1 3

4 4

2 4

4 4

Hn. in F 2 4

4 4

2 4

4 4

Tpt. in C 1 2

4 4

2 4

4 4

Tpt. 3 in C

4 4

2 4

4 4

Tbn. 1 2

4 4

2 4

4 4

B. Tbn./ Tuba

4 4

2 4

4 4

Timp.

4 4

2 4

4 4

Whip

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

4 4

2 4

4 4

pp

Mar.

B. D.

4 4

non arp.

pp

Harp

Piano

Mir.

Ask

him

3

to

for

give

me.

I

could

q = 80

Vn. I

4 4

unis.

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

(pp)

Vn. II

4 4

unis.

(pp)

Va.

4 4

unis.

(pp)

Vc.

4 4

unis.

(pp)

Cb.

4 4

unis.

(pp)

3

n't

know

3

what

I'd

done.


The Gospel of Mary Magdalene—Act II

735

Easier: q = 66

844 Fl. 1 2

Fl. 3

Ob. 1 2

E. H. 5

5

5

5

5

5

1

pp

Cl. in Bb

mp

pp

pp

3

2

mp

pp

pp

3

pp

mp

5

pp

mp

pp

3

pp

mp

5

pp

pp

mp

pp

5

Bs. Cl.

pp

6

1

mp

pp

mp

3

6

mp

pp

mp

p

3

6

mp

mp

p

3

p

Bn. 2

pp

mp

3

pp

pp

mp

3

pp

pp

mp

3

pp

Cbn.

pp

pp

pp

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

Mar.

pp

p

ppp

p

ppp

p

B. D.

p

mp

p

mp

E# F§ Gb Ab Db C§ B#

Harp

Piano

pp Mir. Was I mad?

If

so,

M. M. I'll come back for you.

Easier: q = 66 Vn. I

mf div. Vn. II

mf Va.

mf div. a3 Vc.

pp

p

n

pp

p

n

pp

p

n

pp

p

n

pp

p

n

pp

p

n

div. Cb.


The Gospel of Mary Magdalene—Act II

736

A bit slower: q = 60

848

As before: q = 66

Fl. 1 2

Fl. 3

Ob. 1 2

E. H. 5

5

5

5

1 Cl. in Bb

pp

mp

pp

pp

3

2

mp

pp

3

pp

mp

5

pp

pp

mp

5

pp

Bs. Cl.

pp

mp

6

pp

mp

6

1

mp

3

Bn.

mp

p

3

pp

2

pp

mp

3

pp

pp

mp

3

pp

Cbn.

pp

pp

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

f

Tpt. 3 in C

f Tbn. 1 2

p

f

p

f

B. Tbn./ Tuba

Timp.

Whip

Mar.

ppp

p

pp

n

p

B. D.

Harp

Piano

sub. pp tenuto

f Mir.

3

may be I am now.

Still,

I

still

be

this was part of a de sign...

lieve,

A bit slower: q = 60 div. a3

unis.

As before: q = 66 div. a2

Vn. I

pp

mp unis.

div.

unis.

Vn. II

pp

mp Va.

p

f

pp div. a3

div. a2 Vc.

pp

p

pp

p

n

p

f

pp

mp

pp

p

f

pp

mp

pp

Cb.

n


The Gospel of Mary Magdalene—Act II

737

852 Fl. 1 2

Fl. 3

Ob. 1 2

E. H.

1 Cl. in Bb 2

mp

pp

mp

pp

Bs. Cl.

pp Bn. 1 2

mp

pp

mp

pp

Cbn.

pp Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Whip

to Vib.

Mar.

ppp

p

B. D.

mp

p

Harp

Piano

mf

f

(She clasps the linen to her breast; questions the sunrise with her eyes.)

3

Mir. Show

me

a

sign...

Show

3

me

a

sign...

div. sul pont. Vn. I

pp

5

5

mp

pp

pp

3

Vn. II

pp

mp

5

pp sul pont. (unis.)

Va.

pp

6

pp

mp

(pp) sul pont. (unis.)

3

mp

p

pp

unis.

sul pont. (unis.)

Vc.

3

pp

mp

pp

unis. Cb.

pp

(pp)

pp

pp


The Gospel of Mary Magdalene—Act II

738

SCENE SEVEN

855 Drifting: q = 60 Fl. 1 2

4 4

3 4

4 4

Fl. 3

4 4

3 4

4 4

Ob. 1 2

4 4

3 4

4 4

E. H.

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

3 4

4 4

Bs. Cl.

4 4

3 4

4 4

Bn. 1 2

4 4

3 4

4 4

Cbn.

4 4

3 4

4 4

Hn. in F 1 3

4 4

3 4

4 4

Hn. in F 2 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

3 4

4 4

Tpt. 3 in C

4 4

3 4

4 4

Tbn. 1 2

4 4

3 4

4 4

B. Tbn./ Tuba

4 4

3 4

4 4

Timp.

4 4

3 4

4 4

Whip

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vib.

4 4

p

Vib.

B. D.

Harp

Piano

Drifting: q = 60 ord. (div.) Vn. I

a4

4 4 div.

Vn. II

Va.

4 4 4 4

a4

pp (unis.)

div.

div.

Vc.

Cb.

44

43

44

4 4

3 4

4 4

pp


The Gospel of Mary Magdalene—Act II

739 A bit slower: q = 52

859 Fl. 1 2

Fl. 3

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

mp 1. Bn. 1 2

p

Cbn.

p Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

Tba. B. Tbn./ Tuba

p Timp.

Whip

to Mar.

Marimba

Vib.

B. D.

p

Harp

Piano

unis.

3

Vn. I

mp unis.

3

Vn. II

mp a4

unis.

Va.

mp a4

unis.

Vc.

mp

Cb.

mp

3

A bit slower: q = 52


The Gospel of Mary Magdalene—Act II

740 863

accel.

(q = 72)

(q = 100)

q = 144

2.

h=h 3 2

mf

Fl. 1 2

Flute

mf

3

3

3 2

Fl. 3

mf Ob. 1 2

3 2

E. H.

3 2

1 Cl. in Bb 2

3 2

Bs. Cl.

3 2 pp

1.

1.

2.

3 2

Bn. 1 2

pp

pp

3 2

Cbn.

pp Hn. in F 1 3

3 2

Hn. in F 2 4

3 2

Tpt. in C 1 2

3 2

Tpt. 3 in C

3 2

Tbn. 1 2

3 2

B. Tbn./ Tuba

3 2

Timp.

3 2

Whip

3 2 3 2

Mar.

3 2 3 2

B. D.

3 2 Harp

3 2 3 2

pp Piano

sim.

3 2

p

Now

p A.

my

accel.

(q = 72)

(q = 100)

q = 144

de

mons

my

de

pp

gain,

come

a

gain,

h=h 3 2

Vn. I

Vn. II

a

3 2 mons

div. a2

pp

come

3

3

Now

3 2

3

3

S.

3

3

3 2

Va.

3 2

Vc.

3 2

Cb.

3 2


The Gospel of Mary Magdalene—Act II

867

741

Fl. 1 2

3 2

2 2

4 4

Fl. 3

3 2

2 2

4 4

Ob. 1 2

3 2

2 2

4 4

E. H.

3 2

2 2

4 4

1 Cl. in Bb 2

3 2

2 2

4 4

Bs. Cl.

3 2

2 2

4 4

pp Bn. 1 2

2 2

4 4

pp

2.

f

sfz

3 2

2 2

Hn. in F 1 3

3 2

2 2

4 4

Hn. in F 2 4

3 2

2 2

4 4

Tpt. in C 1 2

3 2

2 2

4 4

Tpt. 3 in C

3 2

2 2

4 4

Tbn. 1 2

3 2

2 2

4 4

B. Tbn./ Tuba

3 2

2 2

4 4

Timp.

3 2

2 2

4 4

Whip

3 2

2 2

4 4

3 2

2 2

4 4

Cbn.

Mar.

3 2

B. D.

sfz

1.

3 2 2.

to Piccolo

4 4

f

sfz

hard mallets

2 2

4 4

3 2

2 2

4 4

3 2

2 2

4 4

3 2

2 2

4 4

3 2

2 2

pp

mp

Harp

f

4 4 sfz

Piano

M. M.

3 2

2 2

3 2

2 2

4 4 p

4 4 3

You

S.

3 2

2 2 Grin

A.

ning,

dan

cing,

his

sing,

3 2

Sing

ing

in

my

ning,

dan

cing,

his

sing,

Sing

ing

in

my

be

hind

mf

4 4

mf

4 4

mind:

2 2 Grin

get

mind:

freely (async.)

Vn. I

3 2

2 2

4 4 n freely (async.)

Vn. II

3 2

2 2

4 4

Va.

3 2

2 2

Vc.

3 2

2 2

4 4

Cb.

3 2

2 2

4 4

n

f

4 4

me,

you


The Gospel of Mary Magdalene—Act II

742 As before: q = 60

871 Fl. 1 2

More motion: q = 76 4 4

1.

3 4

p solo

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

1. Hn. in F 1 3

p solo

pp Timp.

3 4

4 4

Whip

3 4

4 4

Mar.

3 4

4 4

B. D.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

sfz

Harp

pp

Piano

(The CHORUS falls silent; but MARY does seem half-mad with grief. She moves to the bier, sets down her linen and jar.)

3 4

M. M. Sa

tan.

unis.

pp

4 4 "The

As before: q = 60

More motion: q = 76

div. a4

Vn. I

sf-pp unis.

sf-pp Va.

pp

sf-pp Cb.

sf-pp

4 4

43

44

3 4

4 4

3 4

4 4

3 4

4 4

div. a4

Vn. II

Vc.

3 4


The Gospel of Mary Magdalene—Act II

875 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

743 q = 84

1.

q = 100

2.

pp Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Whip

4 4

Mar.

4 4

1.

pp

pp (1.)

pp B. D.

4 4 4 4

Harp

4 4 4 4

pp

Piano

4 4

M. M.

4 4 dead

(crooning, a little crazed)

3

3

can bu

ry

the dead,"

you said.

Here

3

I

am!

Oh,

highest harmonic (resulting cluster acceptable)

Vn. I

4 4

pp highest harmonic (resulting cluster acceptable)

Vn. II

4 4

pp highest harmonic (resulting cluster acceptable)

Va.

4 4

Vc.

4 4

Cb.

4 4

pp

3

3

3

3

the

dead

q = 84

can

bu

ry

3

the

dead,

3

can

q = 100

bu

ry

the


The Gospel of Mary Magdalene—Act II

744 879 q = 120

q = 132

Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

4 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

1.

f

1.

3 4

Hn. in F 1 3

f 2. Hn. in F 2 4

3 4

f

a2

4 4

a2

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4 f

3 4

B. Tbn./ Tuba

4 4 f

(pp) Timp.

3 4

Whip

3 4

4 4 Whip

to Crot.

4 4

f

to Vib.

3 4

4 4

f

Mar.

B. D.

Harp

3 4

4 4

3 4

4 4

3 4

4 4 pp

3 4

4 4

f

3 4 Piano

pp

3 4

f

3

dead,

3

q = 120

can

bu

ry

the

3

dead:

3

3 4

M. M. Is

3

that what you meant?

3

'Cause that's what you said:

3

3

4 4

4 4

yes, that's what you said!

q = 132

Vn. I

f

Vn. II

f

Va.

f

Vc.

4 4

3 4

unis.

3 4

unis.

pp

4 4 4 4

3 4

4 4

3 4

4 4 f

Cb.

3 4

div.

f

pp

4 4


The Gospel of Mary Magdalene—Act II

Slow again: q = 60

883

More motion, with the voice: q = 80

Fl. 1 2

4 4

3 4

Picc.

4 4

3 4

Ob. 1 2

4 4

3 4

E. H.

4 4

3 4

1 Cl. in Bb 2

4 4

3 4

Bs. Cl.

4 4

3 4

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

Crot.

4 4

3 4

Vib.

4 4

1.

3 4

pp

Vibraphone

B. D.

Harp

Piano

M. M.

3 4

pp

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

(Delicately she unwraps the head of the corpse. [Perhaps only she sees its face.])

Bass Drum pp

3 4

3

But

Slow again: q = 60 Vn. I

4 4

Vn. II

4 4 4 4

Vc.

4 4

Cb.

4 4

* sul pont.

3 4 n

div. a4

3 4

n

3 4

pp div. a4

pp

are

you?

More motion, with the voice: q = 80

pp Va.

who

n

3 4 3 4

* Play random pitches, in the jagged manner shown (choose chromatic pitches), with accelerating rhythm, diminuendo, sul pont., asynchronous.

745


The Gospel of Mary Magdalene—Act II

746 887

Imposing: q = 63

1.

Fl. 1 2

f

p

Piccolo Picc.

f

p

Ob. 1 2

E. H.

1 Cl. in Bb 2

Bs. Cl.

f

p

mf

f

p

mf

f

p

mf

Bn. 1 2

Cbn.

a2 Hn. in F 1 3

a2 Hn. in F 2 4

Tpt. in C 1 2

p

Tpt. 3 in C

Tbn. 1 2

p

mf

mp

f

mp

f

B. Tbn./ Tuba

p

mf Timp.

mp

mf

Crot.

Vib.

B. D.

f

pp sempre

Harp

Piano

f

mp

f

mp

f

mp

f

Imposing: q = 63 Vn. I

f

p

unis. Vn. II

f

p

Va.

f

p

div. a2 Vc.

f

p

unis. Cb.

f

p

mp

f


The Gospel of Mary Magdalene—Act II

747 Much faster: q = 108

(1.)

891 Fl. 1 2

4 4

p

4 4

Picc.

p Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

p Bn. 1 2

4 4

p

4 4

Cbn.

p a2 Hn. in F 1 3

4 4

p a2

Hn. in F 2 4

4 4

p

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4 p

4 4

B. Tbn./ Tuba

p

4 4

Timp.

p

Crot.

4 4

Vib.

4 4 4 4

B. D.

pp

4 4 Harp

Piano

4 4 4 4

p

4 4

pp (without turning to look at him)

4 4

M. M. I

don't

know

pp 3

are

they

have

4 4

Y. Why

where

you

cry

ing?

Much faster: q = 108 4 4

Vn. I

p

4 4

Vn. II

p

4 4

Va.

p Vc.

p Cb.

p

unis.

4 4 4 4


The Gospel of Mary Magdalene—Act II

748 895

Easier: q = 96

Fl. 1 2

4 4

Picc.

4 4

3 4

Ob. 1 2

4 4

3 4

E. H.

4 4

3 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

3 4

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

Hn. in F 1 3

4 4

3 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

Crot.

4 4

3 4

Vib.

4 4

3 4

pp

Vibraphone

B. D.

3 4

3 4

pp

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

Harp

Piano

M. M.

tak

en

him.

Have

you

Easier: q = 96

seen

Vn. I

4 4

3 4

Vn. II

4 4

3 4

Va.

4 4

3 4

Vc.

4 4

3 4

Cb.

4 4

3 4

4

him?

Have

you

seen

the

one

I


The Gospel of Mary Magdalene—Act II

749

Grave again: q = 63

899

Plangent: q = 96

Fl. 1 2

2 4

Picc.

2 4

3 4

Ob. 1 2

2 4

3 4

E. H.

2 4

3 4

1 Cl. in Bb 2

2 4

3 4

Bs. Cl.

2 4

3 4

2 4

3 4

p

mf

p

Bn. 1 2

p

mf

3 4

p

p

2 4

3 4

Hn. in F 1 3

2 4

3 4

Hn. in F 2 4

2 4

3 4

Tpt. in C 1 2

2 4

3 4

Tpt. 3 in C

2 4

3 4

Tbn. 1 2

2 4

3 4

2 4

3 4

2 4

3 4

Crot.

2 4

3 4

Vib.

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

Cbn.

p

mf

mp

f

p

p

B. Tbn./ Tuba

mp

f

p

Timp.

mp

p

B. D.

pp

Harp

mp

Piano

f

p

p

2 4

M. M. love?

To

pp

3

are

a

2 4

Y. Why

3 4

you

Grave again: q = 63

cry

24

Vn. I

3 4 ing?

Plangent: q = 96

43

p

Vn. II

2 4

3 4

2 4

3 4

p 3

Va.

f

mp

f

unis.

Vc.

f

3

mp

f

p

3

2 4

2 4

Cb.

f

(p)

p

div.

mp

f

p

(p)

3 4

3 4


The Gospel of Mary Magdalene—Act II

750 903 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

4

n Bs. Cl.

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Crot.

3 4

Vib.

3 4

p

4

mf

n

p

Vib.

4

p B. D.

mp

3 4 3 4

Harp

3 4

p

3 4 Piano

3 4 4

M. M.

sub. p

3 4 nar

row

street;

an

al

ley

way?

I've

sought

him

ev'

ry

where!

Did

div. Vn. I

3 4 pp

Vn. II

Va.

3 4

pp

3 4

Vc.

3 4

Cb.

3 4

mp 4

mp 4

mp

p

you


The Gospel of Mary Magdalene—Act II

751

907 Fl. 1 2

pp

Picc.

pp

Ob. 1 2

E. H.

1 Cl. in Bb 2

pp

sub. p Bs. Cl.

Bn. 1 2

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Crot.

Vib.

p

B. D.

Harp

Piano

4

sub. pp

M. M. steal

him?

Did

you

steal

the

one

I

love?”

I

won't

Vn. I

Vn. II

pp

pp

pp

pp

Va.

Vc.

pp

Cb.

be


The Gospel of Mary Magdalene—Act II

752 911 Fl. 1 2

Picc.

1. Ob. 1 2

pp

E. H.

pp 1. 1 Cl. in Bb 2

pp

p

pp

Bs. Cl.

Bn. 1 2

pp Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Crotales Crot.

pp

Vib.

pp

B. D.

non arp.

molto arp.

molto arp.

p

mp

Harp

Piano

M. M. ang

ry,

if

gli altri, div. flautando

solo

you

have

the

4

one

I

love:

I'll

tell

ord., unis.

Vn. I

pp

p div., flautando ord.

Vn. II

flautando ord. Va.

flautando ord. Vc.

Cb.

pp

unis.


The Gospel of Mary Magdalene—Act II

753

915 Fl. 1 2

Picc.

(1.) Ob. 1 2

mp

E. H.

mp 3

1 Cl. in Bb 2

mp Bs. Cl.

1.

3

Bn. 1 2

mp (CBN.) Cbn.

mp

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

B. Tbn./ Tuba

Timp.

Crot.

Vib.

B. D.

molto arp.

Harp

mf

3 3

Piano

mp mp

4

M. M. no

one;

take

the

blame.

But,

now,

you

4

Vn. I

mp 4

Vn. II

mp unis.

div.

4

Va.

mp

3 3

div.

unis.

Vc.

mp div. Cb.

mp


The Gospel of Mary Magdalene—Act II

754 919 Fl. 1 2

2 4

3 4

Picc.

2 4

3 4

Ob. 1 2

2 4

3 4

E. H.

2 4

3 4

1 Cl. in Bb 2

2 4

3 4

3

2 4

Bs. Cl.

mf

3

3

3

p

3 4

Bn. 1 2

2 4

3 4

Cbn.

2 4

3 4

Hn. in F 1 3

2 4

3 4

Hn. in F 2 4

2 4

3 4

Tpt. in C 1 2

2 4

3 4

Tpt. 3 in C

2 4

3 4

Tbn. 1 2

2 4

3 4

B. Tbn./ Tuba

2 4

3 4

Timp.

2 4

3 4

Crot.

2 4

3 4

Vib.

2 4

3 4

B. D.

2 4

3 4

2 4

3 4

non arp

pp

(mf)

Harp

2 4

3 4

2 4

3 4

2 4

3 4

Piano

mf

4

2 4

M. M. have

to

tell

me.

3

If

3 4 you

have

him,

tell

me.

unis.

Vn. I

2 4

3 4

2 4

3 4

div.

pp

mf

Vn. II

pp

mf Va.

mf

Vc.

mf unis. Cb.

mf

3 4

2 4 2 4 2 4

3

3 4 3 4

pp div.

pp


The Gospel of Mary Magdalene—Act II

923

755

1.

2 4

4 4

2 4

4 4

Ob. 1 2

2 4

4 4

E. H.

2 4

4 4

Fl. 1 2

pp

Picc.

pp

1 1 Cl. in Bb 2

pp

2 4

4 4

3

pp

mf

2 4

Bs. Cl.

pp

4 4 3

Bn. 1 2

2 4

Cbn.

2 4

mf

4 4 3

p

mf

4 4

Hn. in F 1 3

2 4

4 4

Hn. in F 2 4

2 4

4 4

Tpt. in C 1 2

2 4

4 4

Tpt. 3 in C

2 4

4 4

Tbn. 1 2

2 4

4 4

B. Tbn./ Tuba

2 4

4 4

Timp.

2 4

4 4

Crot.

2 4

4 4

Vib.

2 4

4 4

B. D.

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

Harp

Piano

pp M. M. Do

div.

you

want

to

4

know

his

loco

Vn. I

name?

unis.

3

mf

2 4

Vn. II

4 4 3

mf

4 4

2 4

Va.

3

mf

unis. Vc.

2 4

4 4

3

mf Cb.

2 4

3

p

mf

4 4


The Gospel of Mary Magdalene—Act II

756

1.

Slower: q = 66 4 4

3 4

4 4

3 4

Ob. 1 2

4 4

3 4

E. H.

4 4

3 4

1 Cl. in Bb 2

4 4

3 4

927 Fl. 1 2

Picc.

p

p

p Bs. Cl.

4 4

3 4

p

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

p

Hn. in F 1 3

4 4

3 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

ppp

Crot.

4 4

3 4

Vib.

4 4

3 4

B. D.

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

p

pp

pp

Harp

Piano

M. M.

p

4 4

Na

Y.

4 4

za

p

Mag

Vn. I

3 4 rene.

3 4 da

lene.

Slower: q = 66 4 4

Na

za

rene.

div.

3 4

p Vn. II

3 4

4 4 p

Va.

4 4

div.

3 4 p

Vc.

Cb.

4 4 4 4

p

p

(p)

3 4 3 4

div.

unis.


The Gospel of Mary Magdalene—Act II

757

(1.)

931 Fl. 1 2

Tender: q = 76

p

4 4 4 4

Picc.

p

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4 mf

p

4 4

Bn. 1 2

mf

p

4 4

Cbn.

mf

p a2

Hn. in F 1 3

4 4

p a2

Hn. in F 2 4

4 4

p

4 4

Tpt. in C 1 2

p

4 4

Tbn. 1 2

mp

f

p

4 4

B. Tbn./ Tuba

mp

f

p

4 4

Timp.

mp

p

Crot.

4 4

Vib.

4 4 4 4

B. D.

pp

4 4 Harp

4 4 4 4 Piano

mp

f

p

4 4 4 4

G. 1

unis. Vn. I

p

Vn. II

p

Tender: q = 76 4 4 4 4 4 4

Va.

mp

f

p

div. Vc.

mp

f

p

unis.

4 4

Cb.

mp

4 4

f

p


The Gospel of Mary Magdalene—Act II

758 935

More motion: q = 92

Fl. 1 2

4 4

3 4

4 4

Picc.

4 4

3 4

4 4

Ob. 1 2

4 4

3 4

4 4

E. H.

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

3 4

4 4

Bs. Cl.

4 4

3 4

4 4

Bn. 1 2

4 4

3 4

4 4

Cbn.

4 4

3 4

4 4

Hn. in F 1 3

4 4

3 4

4 4

Hn. in F 2 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

3 4

4 4

Tpt. 3 in C

4 4

3 4

4 4

Tbn. 1 2

4 4

3 4

4 4

B. Tbn./ Tuba

4 4

3 4

4 4

Timp.

4 4

3 4

4 4

Crot.

4 4

3 4

4 4

Vib.

4 4

3 4

4 4

B. D.

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

Harp

Piano

M. M.

pp

4 4

Come

Vn. I

Vn. II

Va.

4 4 4 4 4 4

3

back

to

life.

More motion: q = 92

div.

unis.

pp div.

unis.

pp

3 4 3 4

3

3 4

pp

pp

pp

pp

4 4 4 4 4 4

unis. Vc.

Cb.

4 4 4 4

pp

3 4 3 4

pp

4 4 4 4


The Gospel of Mary Magdalene—Act II

939

759

Fl. 1 2

4 4

3 4

4 4

Picc.

4 4

3 4

4 4

Ob. 1 2

4 4

3 4

4 4

E. H.

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

3 4

4 4

Bs. Cl.

4 4

3 4

4 4

Bn. 1 2

4 4

3 4

4 4

Cbn.

4 4

3 4

4 4

Hn. in F 1 3

4 4

3 4

4 4

Hn. in F 2 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

3 4

4 4

Tpt. 3 in C

4 4

3 4

4 4

Tbn. 1 2

4 4

3 4

4 4

B. Tbn./ Tuba

4 4

3 4

4 4

Timp.

4 4

3 4

4 4

Crot.

4 4

3 4

4 4

Vib.

4 4

3 4

4 4

B. D.

4 4

3 4

4 4

4 4

3 4

4 4 mf

Harp

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

Piano

M. M.

4 4

mp Ra

Vn. I

Vn. II

Va.

Vc.

Cb.

4 4 4 4 4 4 4 4 4 4

mp

mp

mp

mp

p 3

di

ant

man,

an

swered

pray'r,

Come

back

3

3

p sub.

p sub.

life:

3 4

p sub.

p sub.

to

3

3 4 3 4 3 4 3 4

Back

3

to

mf

mf

mf

mf

the

4 4 4 4 4 4 4 4 4 4


The Gospel of Mary Magdalene—Act II

760 943 Fl. 1 2

4 4

Picc.

Much slower: q = 52

Moving forward: q = 58

3 4

4 4

4 4

3 4

4 4

Ob. 1 2

4 4

3 4

4 4

E. H.

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

3 4

4 4

3 4

4 4

3 4

4 4

p

pp Bs. Cl.

4 4

p

pp 1.

3

Bn. 1 2

4 4

Cbn.

4 4

3 4

4 4

Hn. in F 1 3

4 4

3 4

4 4

Hn. in F 2 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

3 4

4 4

Tpt. 3 in C

4 4

3 4

4 4

Tbn. 1 2

4 4

3 4

4 4

p

pp

p B. Tbn./ Tuba

4 4

3 4

4 4 p

Timp.

4 4

3 4

4 4

Crot.

4 4

3 4

4 4

Vib.

4 4

3 4

4 4

B. D.

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

non arp.

4 4 p

pp

Harp

Piano

M. M.

4 4

life

Y.

p, warmly

sub. pp

3

our love

made

ho

ly;

Our

life

a

glow.

Let

3

me

hold

you.

If

you

4 4

let

me

hold

3 4

you...

Yes,

pp

I

4 4 Let

Vn. I

Vn. II

Va.

Vc.

Cb.

4 4 4 4 4 4 4 4 4 4

Much slower: q = 52

Moving forward: q = 58

sub. pp

p

sub. pp

sub. pp

4 4

3 4

4 4

3 4

4 4

3 4

4 4

p

p 3

sub. pp

3 4

p

3 4

div.

p

4 4


The Gospel of Mary Magdalene—Act II

947 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

a2

p Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Crot.

4 4

Vib.

4 4

B. D.

4 4 4 4

761

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

p

mf

mf

Harp

4 4 4 4 Piano

4 4

M. M.

4 4

3

know

Y.

4 4

you

can

not

give

me

3

what

I

need.

No

lo

ver can,

my love.

Have

I

3

not learned that

you

pp

p me

mf

3

go.

Be

lov

ed,

Let

me

can not

be

my life?

mf

p

go.

Be

lov

ed,

div. Vn. I

Vn. II

unis.

4 4

ppp

Vc.

Cb.

p div.

4 4 mf

Va.

mf

p

mf div.

4 4

p

unis.

mf

p

p

mf

p

p

mf

p

mf

p

mf

mf

4 4 4 4


The Gospel of Mary Magdalene—Act II

762

Fl. 1 2

3 4

Suddenly faster: q =116 4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Bs. Cl.

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

accel.

951

1.

4 4

p

f

1.

4 4

p

sub. f

4 4 sub. f

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Crot.

3 4

4 4

Vib.

3 4

4 4

B. D.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

1.

f

Harp

Piano

p

3

You

say,

'Be

lov

ed,

let

me

let,

Vn. II

Va.

Vc.

go?"

But

3 4

Y.

Vn. I

sub. f

3 4

3

M. M.

let,

let

me

4 4 I

3

did

let

3

you

go;

and

you're

4 4 go.

3 4

Suddenly faster: q =116

accel.

4 4 4 4

3 4 3 4 3 4

div.

4 4 4 4

div.

sub. f

3

unis.

3

sub. f

sub. f div.

unis.

sub. f unis.

Cb.

now

3 4

4 4

f


The Gospel of Mary Magdalene—Act II

955 Easier: q = 104

763

Fl. 1 2

3 4

4 4

3 4

Picc.

3 4

4 4

3 4

Ob. 1 2

3 4

4 4

3 4

E. H.

3 4

4 4

3 4

3

p 1 Cl. in Bb 2

3 4

4 4

3 4

Bs. Cl.

3 4

4 4

3 4

3 4

4 4

3 4

Bn. 1 2

p

f

3 4

4 4

3 4

3 4

4 4

3 4

Hn. in F 2 4

3 4

4 4

3 4

Tpt. in C 1 2

3 4

4 4

3 4

Tpt. 3 in C

3 4

4 4

3 4

Tbn. 1 2

3 4

4 4

Cbn.

1. Hn. in F 1 3

3

p

f

1., solo

3 4

B. Tbn./ Tuba

3

3 4

mf

p

mf Bs. Tbn.

4 4

3 4

mf

p

Timp.

3 4

4 4

3 4

Crot.

3 4

4 4

3 4

Vib.

3 4

4 4

3 4

B. D.

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

Harp

Piano

M. M.

3 You were

gone!

the

love,

the work,

the

life!

3

How

shall

3 4 I

go

Easier: q = 104 3 4

Vn. I

sub. p

unis.

4 4 f

3 4

Vn. II

4 4

3

unis.

Va.

p div. Vc.

3 4

4 4

3

p

f

3 4

unis.

3 4

4 4

p

Cb.

3 4

p

f 3

3 4

p

3 4 p

f

3 4

4 4 (f)

p

3 4


The Gospel of Mary Magdalene—Act II

764 959 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

q = 126

accel.

4 4 1.

4 4 mf

E. H.

3 4

f

f

mf

f

a2

4 4 f

mf

f

3 4 1.

Bn. 1 2

mf

4 4

mf Bs. Cl.

f

3 4 mf

1 Cl. in Bb 2

4 4

4 4 mf

mf

3 4

f

4 4 f

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

Hn. in F 2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Crot.

3 4

4 4

Vib.

3 4

4 4

B. D.

3 4

4 4 molto arp.

3 4

molto arp.

p

4 4

p

Harp

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Piano

M. M.

on?

Vn. I

Vn. II

3 4

accel.

q = 126

mf

f

Why?

4 4 mf surging

f

mf surging div.

3 4

f mf

f

mf

surging

f

f

mf surging

f mf

f

mf

unis.

f mf

surging

f

div.

f

mf

4 4 surging

f

3 4

4 4 mf

Cb.

on?

4 4

mf

Vc.

go

3 4 mf

Va.

Why

3 4

f

mf surging

f mf

f

mf

surging

f

4 4


The Gospel of Mary Magdalene—Act II

963 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Bs. Cl.

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Crot.

4 4

Vib.

4 4

B. D.

4 4

765

As before: q = 104

mp

mp

4 4 Harp

4 4 4 4 Piano

4 4

M. M.

p

4 4

Love.

f Y.

4 4

you

seek

ing,

when

I

found

you?

No.

As before: q = 104

div. Vn. I

44

unis.

fp div.

Vn. II

Va.

4 4 4 4

Cb.

4 4 4 4

mp unis.

fp div.

Vc.

mp unis.

fp

fp

Some

thing

some

thing

p

3

What were

Life.

mp unis.

mp

No.


The Gospel of Mary Magdalene—Act II

766 967 Easier: q = 96 Fl. 1 2

3 4

4 4

3 4

Picc.

3 4

4 4

3 4

Ob. 1 2

3 4

4 4

1.

3 4

3

mp E. H.

3 4

1 Cl. in Bb 2

3 4

3

4 4

3 4

4 4

3 4 p

mp Bs. Cl.

Bn. 1 2

3 4

4 4

3 4

4 4

to Clarinet mp

3 4

p

2.

3 4 p

mp Cbn.

3 4

4 4

3 4

Hn. in F 1 3

3 4

4 4

3 4

Hn. in F 2 4

3 4

4 4

3 4

Tpt. in C 1 2

3 4

4 4

3 4

Tpt. 3 in C

3 4

4 4

3 4

Tbn. 1 2

3 4

4 4

3 4

B. Tbn./ Tuba

3 4

4 4

3 4

Timp.

3 4

4 4

3 4

Crot.

3 4

4 4

3 4

Vib.

3 4

4 4

3 4

B. D.

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

4 4

Harp

Piano

M. M. high:

pure;

strong.

I

mp

3 4

Y. high:

pure;

strong.

Easier: q = 96

3 4

Vn. I

And

you

3

found

3 4 3 4 div.

Vc.

3 4

3

3 4

on

ly

you...

it.

3 4 Not

on

ly

me.

It's

still

with

4 4

mp unis.

3 4

p

3 4 p

4 4

p

4 4 4 4

3

3 4 3 4

mp Cb.

Not

3

mp Va.

you!

4 4 mp

Vn. II

found

3 4

p

4 4 then

p

mf

p

3 4


The Gospel of Mary Magdalene—Act II

971 Fl. 1 2

3 4

4 4

Picc.

3 4

Ob. 1 2

3 4

E. H.

767

More urgent: q= 104:

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

3 4

4 4

Cl. 3

3 4

4 4

3 4

4 4

Bn. 1 2

3 4

4 4

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

Hn. in F 1 3

3 4

4 4

3 4

4 4

Hn. in F 2 4

3 4

4 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

3 4

4 4

(1.)

Clarinet

a2

mf

f

a2

mf

f

f Tpt. 3 in C

3 4

Tbn. 1 2

3 4

f

1.

f

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

f

3. B. Tbn./ Tuba

3 4

4 4 f

f Timp.

3 4

4 4

3 4

4 4

Crot.

3 4

4 4

3 4

4 4

Vib.

3 4

4 4

3 4

4 4

B. D.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Harp

f

Piano

f

3 4

M. M.

f

3 4 No,

Y.

3 4

4 4

4 4

3 4

4 4

I

3 4

had

3

it

when

you

4 4 in

Vn. I

you're wrong.

4 4

were

by

my

side.

But

3 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

you.

3 4

4 4

More urgent: q= 104:

fp

Vn. II

3 4 fp

Va.

3 4 p

Vc.

fp

3 4 p

Cb.

3 4

fp

mp

f


The Gospel of Mary Magdalene—Act II

768 975 Fl. 1 2

4 4

3 4

4 4

3 4

Picc.

4 4

3 4

4 4

3 4

Ob. 1 2

4 4

3 4

4 4

3 4

E. H.

4 4

3 4

4 4

3 4

1 Cl. in Bb 2

4 4

3 4

4 4

3 4

Cl. 3

4 4

3 4

4 4

3 4

Bn. 1 2

4 4

3 4

4 4

Cbn.

4 4

3 4

4 4

3 4

Hn. in F 1 3

4 4

3 4

4 4

3 4

Hn. in F 2 4

4 4

3 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

4 4

3 4

Tpt. 3 in C

4 4

3 4

4 4

3 4

Tbn. 1 2

4 4

3 4

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

4 4

3 4

Timp.

4 4

3 4

4 4

3 4

Crot.

4 4

3 4

4 4

3 4

Vib.

4 4

3 4

4 4

3 4

B. D.

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

1.

f

mf

a2.

3 4

3

mf

Harp

Piano

M. M.

mf

3 4

3

now,

Vn. I

Vn. II

Va.

Vc.

what

has

n't

died?

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

f

f

f

You,

4 4 4 4 4 4

Cb.

4 4

3 4

my

soul:

what

3

has

n't

3 4 3 4

mf

3 4

mf

mf

4 4

work,

mf

4 4 f

our

3

3 4 3 4


The Gospel of Mary Magdalene—Act II

979

769

Fl. 1 2

3 4

4 4

Picc.

3 4

4 4

Ob. 1 2

3 4

a2

4 4

mf E. H.

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

Cl. 3

3 4

4 4

Bn. 1 2

3 4

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

4 4

(a2)

Hn. in F 2 4

4 4

pp

2.

3 4

3. 1.

sfz-pp brassy

4 4

mp

sfz brassy

f

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Crot.

3 4

4 4

Vib.

3 4

4 4

B. D.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

sfz

Harp

Piano

M. M.

3 4

4 4

died?

Y.

3 4

The

ry?

Pe

ter

will

tell

it.

mf sto

ry.

No,

3 4

4 4 f

4 4

3 4 mp

Va.

f

3 4

4 4 mp

Vc.

f

3 4

4 4 pp

Cb.

3 4

3

Pe

mp Vn. II

3

4 4 The

Vn. I

sto

3

f

mp

f

4 4

f

ter

will

tell

his

part.


The Gospel of Mary Magdalene—Act II

770

Much slower: q = 72 3 4

983 Fl. 1 2

Picc.

3 4

Ob. 1 2

3 4

E. H.

3 4

1 Cl. in Bb 2

3 4

Cl. 3

3 4

Bn. 1 2

3 4

Cbn.

3 4 (1.)

a2

3 4

Hn. in F 1 3

pp Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Crot.

3 4

Vib.

3 4

B. D.

3 4

a2

pp

(non arp.)

3 4

pp

Harp

3 4 3 4 Piano

3 4 3 4

M. M.

pp Your

pp

Vn. I

Vn. II

ther.

Your

3 4

Y. What

mo

will

he

leave

out?

Much slower: q = 72 3 4

pp

3 4 pp

Va.

Vc.

Cb.

3 4 3 4 3 4

pp

pp

pp

lo

ver.

Your


The Gospel of Mary Magdalene—Act II

771

Freely, with the voice: q = 52 987

1.

Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

pp

p

pp

p

pp Clarinet in Bb

4 4

Cl. 3

Bn. 1 2

4 4

Cbn.

4 4 (a2)

pp

4 4

Hn. in F 1 3

mf (a2) Hn. in F 2 4

mf

p sub.

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Crot.

4 4

p sub.

bowed

p bowed

4 4

Vib.

p

4 4

B. D.

4 4 mf

Harp

p

4 4 4 4

p

Piano

4 4 4 4

M. M. jour

ney.

Your

heart...

4 4

Y.

p

Tell

them.

Tell

3

them what

we

3

did.

Freely, with the voice: q = 52 Vn. I

4 4

sul tasto

4 4

sul tasto

pp

mf Vn. II

pp

mf

sul tasto

4 4

Va.

mf

sul tasto

4 4

Vc.

div.

pp

mf

4 4

Cb.

mf

sounding pitch, sul tasto

pp

p


The Gospel of Mary Magdalene—Act II

772 991 Fl. 1 2

pp

p

pp

p

pp

pp

p

pp

p

pp

p

pp

p

p

pp

p

Picc.

Ob. 1 2

E. H.

1 Cl. in Bb 2

p

pp

to Bass Clarinet Cl. 3

p

pp

Bn. 1 2

Cbn.

Hn. in F 1 3

pp 2.

Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

Tbn. 1 2

pp 3.

B. Tbn./ Tuba

pp

Timp.

Crot.

Vib.

B. D.

Harp

Piano

Y. 3

3

Tell them what we tried

Vn. I

Vn. II

Va.

Vc.

Cb.

for.

3

Tell them what we

3

gave.

Tell

them.

3

Tell them that

3

we laughed.


The Gospel of Mary Magdalene—Act II

773 More motion: q = 56

995 Fl. 1 2

p

pp

Picc.

p

pp

Ob. 1 2

p

pp

E. H.

pp

p

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

p 1.

2 4

1 Cl. in Bb 2

3

3 4

p B. Cl.

2 4

3 4

Bn. 1 2

2 4

3 4

Cbn.

2 4

3 4

Hn. in F 1 3

2 4

3 4

2 4

3 4

Tpt. in C 1 2

2 4

3 4

Tpt. 3 in C

2 4

3 4

Tbn. 1 2

2 4

3 4

2 4

3 4

Timp.

2 4

3 4

Crot.

2 4

3 4

Vib.

2 4

3 4

B. D.

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

p

pp

p

pp

p

(2.) Hn. in F 2 4

p (Bs. Tbn.)

B. Tbn./ Tuba

p

molto arp.

p

Harp

Piano

3

3

Y. 3

Tell them we were fool

ish.

3

Tell them we were

3

brave.

Tell

them

what you learned

from

me.

More motion: q = 56

ord.

div.

Vn. I

ord. Vn. II

ord. Va.

unis., ord.

div.

Vc.

(sounding pitch, sul tasto) Cb.

ord.

unis

2 4 2 4

3

3 4 3 4


The Gospel of Mary Magdalene—Act II

774 999

more motion

Fl. 1 2

3 4

4 4

2 4

3 4

4 4

Picc.

3 4

4 4

2 4

3 4

4 4

Ob. 1 2

3 4

4 4

2 4

3 4

4 4

E. H.

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

3 4

4 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

4 4

mp 1 Cl. in Bb 2

3 4

(1.)

4 4 mp

3 4

4 4

Bn. 1 2

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

B. Cl.

p

Bs. Cl. mp

2 4

3

3

Hn. in F 1 3

2 4

mp

p 1.

p

mp Hn. in F 2 4

3 4

4 4

2 4

3 4

4 4

Tpt. in C 1 2

3 4

4 4

2 4

3 4

4 4

Tpt. 3 in C

3 4

4 4

2 4

3 4

4 4

Tbn. 1 2

3 4

4 4

2 4

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

2 4

3 4

4 4

Timp.

3 4

4 4

2 4

3 4

4 4

Crot.

3 4

4 4

2 4

3 4

4 4

Vib.

3 4

4 4

2 4

3 4

4 4

B. D.

3 4

4 4

2 4

3 4

4 4

3 4

4 4

2 4

3 4

4 4

3 4

4 4

2 4

3 4

4 4

3 4

4 4

2 4

3 4

4 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

Harp

Piano

Y.

3 4

3

Tell them what

Vn. I

Vn. II

Va.

Vc.

Cb.

4 4

3

I

taught.

Tell

3 4

4 4

3 4

4 4

3 4 3 4 3 4

4 4 div.

3

unis.

4 4 4 4

mp

mp

mp

mp

mp

them

what

I

learned

from

you.

3

Tell them why

2 4

p

2 4

3 4

4 4

3

we fought.

more motion

4 4 3

3 4

3

4 4

p

2 4 2 4 2 4

p

p

p

3 4

4 4

3 4

4 4

3 4

4 4


The Gospel of Mary Magdalene—Act II

1003 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

775

q = 60

pp B. Cl.

Bn. 1 2

4 4

pp a2

4 4 mp

Cbn.

Hn. in F 1 3

4 4 4 4

mp

4 4

Tpt. in C 1 2

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Crot.

4 4

Vib.

4 4

B. D.

4 4

pp sub.

mp

pp sub.

mf

pp sub.

mp

pp sub.

mf

pp sub.

mp

pp sub.

(1.) 3

mp Hn. in F 2 4

mf

4 4 Harp

4 4 4 4 Piano

4 4

Y.

4 4 Tell

Vn. I

Vn. II

Va.

4 4 4 4

were

de

signed

for

mf

of

ev'

ry

kind:

mp

pp sub.

bo

mp

div.

unis.

mf

pp sub.

3

mf

3

44

love

dy

pp sub.

div.

unis.

mp

pp sub.

pp sub.

mp

pp sub.

mf

pp sub.

mp

pp sub.

mf

pp sub.

mp

pp sub.

3

4 4

4 4

mp

and

unis.

mp

mp

Cb.

we learned we

q = 60

mp Vc.

them how

3

mind...


The Gospel of Mary Magdalene—Act II

776 1007 Fl. 1 2

1.

pp

p

pp

pp

p

pp

Picc.

Ob. 1 2

pp

p

pp

E. H.

pp

p

pp

1 Cl. in Bb 2

mp B. Cl.

mp 1. Bn. 1 2

2.

mp

mp

Cbn.

mp Hn. in F 1 3

pp 2. Hn. in F 2 4

pp

Tpt. in C 1 2

Tpt. 3 in C

1. Tbn. 1 2

3

mp

B. Tbn./ Tuba

Timp.

(bowed) Crot.

mp (bowed)

Vib.

mp

B. D.

Harp

Piano

mp

mf M. M. They won't lis ten to me...

mp Y. 3

Tell

them,

Mag

da lene.

Tell them

of our

3

3

dreams.

Tell them

3

of our mo

3

thers.

Tell them

3

our mis

takes.

div. Vn. I

mp

pp

div.

unis.

Vn. II

pp

mp 3

Va.

mp Vc.

mp half arco, half pizz. Cb.

mp

mp

div.


The Gospel of Mary Magdalene—Act II

777

1011 Fl. 1 2

pp

p

pp

Picc.

pp

p

pp

Ob. 1 2

pp

p

pp

p

E. H.

1 Cl. in Bb 2

pp

B. Cl.

pp

Bn. 1 2 3

Cbn.

Hn. in F 1 3

Hn. in F 2 4

Tpt. in C 1 2

mp

mf

Tpt. 3 in C

mf a2. Tbn. 1 2

3

a2 B. Tbn./ Tuba

3

mp

Timp.

Crot.

Vib.

B. D.

Harp

loco

Piano

Y. 3

Tell

them.

Tell them of

3

for give

3

ness.

Tell them of

3

the pro

3

mi

ses

Ev'

ry

3

bo

dy

breaks.

unis., ord. Vn. I

div., ord. Vn. II

unis.

3

Va.

3

Vc.

3

tutti arco Cb.

3


The Gospel of Mary Magdalene—Act II

778 1015

1

Fl. 1 2

2 4

p

3 4

3

4 4

f

p 3

2 4

3 4

Ob. 1 2

2 4

3 4

4 4

2 4

E. H.

2 4

3 4

4 4

2 4

1 Cl. in Bb 2

2 4

3 4

4 4

2 4

B. Cl.

2 4

3 4

4 4

2 4

Bn. 1 2

2 4

3 4

4 4

2 4

Cbn.

2 4

3 4

4 4

2 4

2 4

3 4

4 4

Picc.

p

a2 Hn. in F 1 3

p

f

p

2 4

p

mf

3 4

4 4

2 4

mf

3 4

2 4

3

4 4 pp

Tpt. 3 in C

2 4

3

f

Tpt. in C 1 2

2 4

2 4

3

f

a2 Hn. in F 2 4

4 4

2 4

mf

3 4

2 4 mf

4 4

2 4

3

mf

2 4

Tbn. 1 2

mf

2 4

B. Tbn./ Tuba

1.

3 4

3

3

4 4

f

3 4

Timp.

2 4

Crot.

3

mf

4 4 f

mf

2 4 2 4

mf

3 4

4 4

2 4

2 4

3 4

4 4

2 4

Vib.

2 4

3 4

4 4

2 4

B. D.

2 4

3 4

4 4

2 4

2 4

3 4

4 4

2 4

2 4

3 4

4 4

2 4

2 4

3 4

4 4

2 4

2 4

3 4

4 4

2 4

2 4

3 4

4 4

2 4

molto arp.

Harp

f

Piano

f M. M. How can

f

3

2 4

Y. Tell

them what

3 tell them what I learned from

I

you learned

3

you...

...a

3 4

from me.

f

Vn. II

f

Va.

f div. Vc.

f unis. Cb.

f

p sub.

to

live,

A bout

3

4 4 Tell them what I taught.

Tell

them

what

2 4 I learned

from you.

unis

div. Vn. I

bout how

2 4

3 4

4 4 f

2 4 2 4 2 4

3

3

3

3

2 4

unis.

4 4

2 4

unis.

4 4

2 4

3 4

4 4

2 4

3 4

4 4

2 4

3 4

2 4

div.

3 4

div.


The Gospel of Mary Magdalene—Act II

1019

q = 66

(1.)

Fl. 1 2

2 4

4 4

Picc.

2 4

4 4

779

f

f Ob. 1 2

2 4

4 4

E. H.

2 4

4 4

1 Cl. in Bb 2

2 4

4 4

B. Cl.

2 4

4 4

2 4

4 4

Bn. 1 2

Cbn.

2 4

4 4

2 4

(a2)

Hn. in F 2 4

2 4

(a2)

Tpt. in C 1 2

2 4

Hn. in F 1 3

mf

p

mf

p

mf

4 4

3

f

mf ossia tacet to m. 405

4 4

3

f

mf

4 4 f

Tpt. 3 in C

2 4

4 4 f 3

Tbn. 1 2

B. Tbn./ Tuba

1.

2 4

4 4

2 4

4 4

Timp.

2 4

4 4

Crot.

2 4

4 4

Vib.

2 4

4 4

B. D.

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

f

p

f

p

mf

mf

Harp

Piano

M. M.

2 4

4 4 gi ving and re

Y.

3 cei ving

2 4

love,

...and how it's bet ter

to give?

Can

I

tell

them what

we

lost

so

we3

Tell them why we fought.

Tell 3

Vn. I

4 4

Vn. II

2 4

4 4

them what

we

lost

so

we

q = 66

2 4

Vc.

2 4

4 4

Cb.

2 4

4 4

3

love

of

ev'

ry

could

find

love

of

ev'

ry

unis.

3

unis.

3

3

Va.

find

3

4 4

2 4

could

4 4

unis.

3

3

unis.

div.


The Gospel of Mary Magdalene—Act II

780 1023

accelerating

Fl. 1 2

2 4

Picc.

2 4

q = 72 mf

4 4

f

3

mf

4 4

f

2 4

Ob. 1 2

4 4 mf

f

E. H.

2 4

4 4

1 Cl. in Bb 2

2 4

4 4

B. Cl.

2 4

4 4

Bn. 1 2

2 4

4 4

Cbn.

2 4

4 4

2 4

4 4

(a2) Hn. in F 1 3

mf

(a2)

2 4

Hn. in F 2 4

4 4

2 4

Tpt. in C 1 2

mf

3

4 4 f

2 4

Tpt. 3 in C

4 4 mf

1. Tbn. 1 2

2 4

B. Tbn./ Tuba

2 4

Timp.

2 4

f

4 4 a2

1(mf)

4 4 3

4 4

(mf) mf

Crot.

2 4

4 4

Vib.

2 4

4 4

B. D.

2 4

3

4 4 mf

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

Harp

Piano

M. M. kind:

bo

dy

and

mind?

Love,

2 4

Y. kind:

bo

dy

and

mind...

accelerating Vn. I

4 4

2 4

q = 72

4 4 f

3

div.

unis.

Vn. II

2 4

4 4

3

Va.

Vc.

Cb.

f

2 4

4 4

2 4

4 4

2 4

4 4

f

f

f

my

love:


The Gospel of Mary Magdalene—Act II

781

Fl. 1 2

3 4

Slower again: q = 66 4 4

Picc.

3 4

4 4

3 4

4 4

Ob. 1 2

3 4

4 4

3 4

4 4

E. H.

3 4

4 4

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

3 4

4 4

1027

3 4

4 4

n

3 4

B. Cl.

p

4 4

3 4

4 4

3 4

to Clarinet

4 4

p solo

3 4

Bn. 1 2

n

4 4 p

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Timp.

3 4

4 4

3 4

4 4

Crot.

3 4

4 4

3 4

4 4

Vib.

3 4

4 4

3 4

4 4

B. D.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Cbn.

(a2) Hn. in F 1 3

n

3 4

p

4 4

f (a2) Hn. in F 2 4

f 1. Tpt. in C 1 2

f Tpt. 3 in C

(1.) Tbn. 1 2

f (3.) B. Tbn./ Tuba

f

non arp.

Harp

f

non arp.

f Piano

ff

3 4

M. M. take

this

cup

Y.

div.

unis.

Vn. I

a

4 4 way

from

me!

3 4

4 4

3 4

4 4

3 4

Slower again: q = 66 4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

pp

ff div.

unis.

Vn. II

(MARY wheels from him. YESHUA follows her, lifts off his crown of thorns, and, with infinite gentleness, sets it on her brow.)

pp

ff

3 4

Va.

4 4 pp

ff Vc.

3 4

4 4

3 4

4 4

ff Cb.

ff

pp


The Gospel of Mary Magdalene—Act II

782 1031 Fl. 1 2

4 4

Picc.

4 4

Ob. 1 2

4 4

E. H.

4 4

1 Cl. in Bb 2

4 4

Cl. in Bb 3

4 4

Bn. 1 2

4 4

Cbn.

4 4

Hn. in F 1 3

4 4

Hn. in F 2 4

4 4

slowing

q = 52

pp

4 4

Tpt. 3 in C

4 4

Tbn. 1 2

4 4

B. Tbn./ Tuba

4 4

Timp.

4 4

Crot.

4 4

p

pp

pp

p

pp

pp

pp

pp

pp

p

pp

p

Clarinet in Bb

pp

p

pp

p

pp

2.

pp Tpt. in C 1 2

pp

bowed

p bowed

Vib.

B. D.

4 4

p

4 4 4 4

Harp

4 4 4 4

pp

Piano

4 4

Y.

pp

4 4

Tell

Vn. I

Vn. II

44

slowing

n

4 4

Vc.

4 4

pp

44 (sounding pitch, sul tasto)

Cb.

4 4

and

q = 52

pp

Va.

them:

pp

pp

pp

ev'

3

ry

where you

3

go,

How

e

3

ver

far

you

3

wan

der,

How


The Gospel of Mary Magdalene—Act II

1035

783

q = 63

more motion

Fl. 1 2

p

mp

Picc.

1. Ob. 1 2

3

pp

p

mp

to Oboe E. H.

p 1 Cl. in Bb 2

mp

p Cl. in Bb 3

Bn. 1 2

Cbn.

1. 3

Hn. in F 1 3

p

mp

p

(2.) Hn. in F 2 4

p 1. Tpt. in C 1 2

mp

p

Tpt. 3 in C

Tbn. 1 2

pp

p

pp

p

B. Tbn./ Tuba

Timp.

to Glock.

Glockenspiel

Crot.

Vib.

(B.D.)

6

6

B. D.

n

mp

p

Harp

mp

Piano

p M. M. 3 ...you will be

Y. e

me,

al

mp

3

3

ver dark the night,

I

will be

you will be

p 3

with

you,

Wis

dom...

Ev'

ry

div.

q = 63

more motion

3

3 You will be,

ways...

pp

p

3

with

where

with

you,

Wis

dom...

div. sim.

unis.

Vn. I

mp

p div.

unis.

div.

sim.

Vn. II

mp

p 3

ord. 3 Va.

p

mp

p

mp

p

mp

ord. Vc.

ord. Cb.

3

3


The Gospel of Mary Magdalene—Act II

784

Cadenza, with the voices: q = about 69 3 2

1039 Fl. 1 2

3 2

Picc.

mp

pp

mf

3

(1.) Ob. 1 2

3 2

mf

Ob. 3

3 2

1 Cl. in Bb 2

3 2

Cl. in Bb 3

3 2

Bn. 1 2

3 2

Cbn.

3 2 (1.)

3 2

Hn. in F 1 3

mf Hn. in F 2 4

3 2

Tpt. in C 1 2

3 2

Tpt. 3 in C

3 2

Tbn. 1 2

3 2

mf

3 2

B. Tbn./ Tuba

mf Timp.

3 2

Glock.

3 2

Vib.

3 2 6

pp

Triangle

6

3 2

B. D.

pp actual pitch

3 2 E§

Harp

mf

3 2 3 2

Piano

pp actual pitch

pp

p 5

3 2

mp M. M. with

me,

pp

al

ways... 3

Ev'

mp

ry, ev'

ry day

re

joic

ing,

Dai

mp

Y. Al

ways

and

ev'

ry day

re joic

ing,

re

joic

3 2

ing,

ly,

3 2

Dai

pp

ly,

3 2

T. Dai

pp

ly,

3 2

B. Dai

ly,

Cadenza, with the voices: q = about 69 unis. 3 2

Vn. I

n

mf

div. a2

3 2

Vn. II

n

mf

3 2

Va.

n

mf unis. Vc.

mf

3 2 3 2

Cb.

mf

n

pp


The Gospel of Mary Magdalene—Act II

1043

3 4

Fl. 1 2

785

1., with the voices; ossia tacet

p Picc.

3 4

Ob. 1 2

3 4

Ob. 3

3 4

1 Cl. in Bb 2

3 4

1., with the voices, ossia tacet

p Cl. in Bb 3

3 4

Bn. 1 2

3 4

Cbn.

3 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

Tpt. 3 in C

3 4

Tbn. 1 2

3 4

B. Tbn./ Tuba

3 4

Timp.

3 4

Glock.

3 4

pp

mp

pp

mp

bowed, motor on

3 4

Vib.

pp

3 4

Tri.

pp

let ring

3 4

5

Harp

p

3 4 3 4

p

Piano

pp

p

pp

5

3 4 pp

3 4

M. M. dai

ly,

pp

dai

ev'

ly,

pp Vn. II

pp Va.

pp Vc.

pp

day,

ev'

ry

day,

ly,

mp

p ev'

3 4

B.

Vn. I

ry

pp dail

ly,

ly,

3 4

dai

mp

(YESHUA's ghost evanesces.)

T. dai

p

3 4

Y.

Cb.

pp

ry

day,

ry

day,

ry

day,

ev'

dail

ly,

pp

mp

p ev'

ev'

pp

ry

day,

dail

3 4

ly,

n

3 4 n

3 4

n

3 4 3 4

n

( pp )


The Gospel of Mary Magdalene—Act II

786 1047 (1.) Fl. 1 2

5 4

4 4

Picc.

5 4

4 4

Ob. 1 2

5 4

4 4

Ob. 3

5 4

4 4

1 Cl. in Bb 2

5 4

4 4

Cl. in Bb 3

5 4

4 4

Bn. 1 2

5 4

4 4

Cbn.

5 4

4 4

Hn. in F 1 3

5 4

4 4

(1.)

n Hn. in F 2 4

5 4

4 4

Tpt. in C 1 2

5 4

4 4

Tpt. 3 in C

5 4

4 4

Tbn. 1 2

5 4

4 4

B. Tbn./ Tuba

5 4

4 4

Timp.

5 4

4 4

Glock.

5 4

4 4

5 4

4 4

pp sim. Vib.

pp

5 4

Tri.

pp

4 4

let ring

5 4 Harp

5 4

4 4

5

pp

4 4

p

5 4

4 4 p

Piano

5

5 4 3

M. M.

f, dolce

dai

ly,

3

f, dolce

T.

dail

5 4

deh...

5 4

3

deh...

Vn. I

pp

Vn. II

ly,

dai

pp

4 4 ly...

4 4

mmm...

f, dolce B.

pp

5 4

4 4

pp

4 4

mmm...

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

pp Va.

pp

Vc.

pp

Cb.


The Gospel of Mary Magdalene—Act II

1051 Fl. 1 2

4 4

787

pp

A bit slower: q = 63

1.

3 4

4 4

3 4

4 4

pp

Picc.

4 4

pp

Ob. 1 2

4 4

3 4

4 4

Ob. 3

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

3 4

4 4

pp

Cl. in Bb 3

4 4

3 4

4 4

Bn. 1 2

4 4

3 4

4 4

Cbn.

4 4

3 4

4 4

Hn. in F 1 3

4 4

3 4

4 4

pp Hn. in F 2 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

3 4

4 4

Tpt. 3 in C

4 4

3 4

4 4

Tbn. 1 2

4 4

3 4

4 4

B. Tbn./ Tuba

4 4

3 4

4 4

Timp.

4 4

3 4

4 4

Glock.

4 4

3 4

4 4

Vib.

4 4

3 4

4 4

Tri.

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

to Chimes

Harp

Piano

(MARY finds herself alone.)

M. M.

4 4 Dai

Vn. I

4 4

ly

A bit slower: q = 63

my

de

light...

ord. (div.)

pp div. a2

Vn. II

4 4

pp

Va.

4 4

3 4

4 4

Vc.

4 4

3 4

4 4

Cb.

4 4

3 4

4 4


The Gospel of Mary Magdalene—Act II

788

Flexibly, with the voice: as if unmetered

1055 Fl. 1 2

4 4

3 4

Picc.

4 4

3 4

Ob. 1 2

4 4

3 4

5 4

Ob. 3

4 4

3 4

5 4

1 Cl. in Bb 2

4 4

3 4

5 4

Cl. in Bb 3

4 4

3 4

5 4

3 4

Bn. 1 2

4 4

3 4

5 4

3 4

Cbn.

4 4

3 4

5 4

3 4

Hn. in F 1 3

4 4

3 4

5 4

3 4

Hn. in F 2 4

4 4

3 4

5 4

Tpt. in C 1 2

4 4

3 4

5 4

3 4

Tpt. 3 in C

4 4

3 4

5 4

3 4

Tbn. 1 2

4 4

3 4

5 4

3 4

B. Tbn./ Tuba

4 4

3 4

5 4

3 4

Timp.

4 4

3 4

5 4

3 4

Glock.

4 4

3 4

5 4

3 4

Vib.

4 4

3 4

5 4

3 4

4 4

3 4

5 4

3 4

4 4

3 4

5 4

3 4

4 4

3 4

5 4

3 4

4 4

3 4

5 4

3 4

4 4

3 4

5 4

3 4

4 4

3 4

5 4

Chim.

pp

pp

p

n

n

n

n

5 4 5 4

pp

n

pp

n

n

3 4

pp

pp

n

pp

n

n

n

3 4 3 4

pp

Oboe n

3 4

pp

3 4

3 4

pp

Harp

Piano

M. M.

pp I

S.

4 4

3 4

5 4

3 4 shall...

I

shall...

pp I

3 4 shall...

I

shall...

Flexibly, with the voice: as if unmetered 3 4

5 4

unis.

div.

Vn. I

4 4

3 4

5 4

unis.

div.

Vn. II

4 4

Va.

4 4

3 4

5 4

3 4

3 4

5 4

3 4

3 4

5 4

3 4

3 4 3 4

ord. (div.)

pp div. a2

Vc.

Cb.

4 4 4 4

pp


The Gospel of Mary Magdalene—Act II

1059 Fl. 1 2

3 4

Picc.

3 4

Ob. 1 2

3 4

Ob. 3

3 4

1 Cl. in Bb 2

3 4

789 4 4

pp

4 4

pp

n

n

4 4

pp

4 4

pp

4 4

pp

(pp)

Cl. in Bb 3

3 4

4 4

Bn. 1 2

3 4

4 4

pp

(pp)

Cbn.

3 4

4 4

Hn. in F 1 3

3 4

Hn. in F 2 4

3 4

Tpt. in C 1 2

3 4

4 4

Tpt. 3 in C

3 4

4 4

Tbn. 1 2

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

Timp.

3 4

4 4

Glock.

3 4

4 4

Vib.

3 4

4 4

Chim.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

n

pp

n

pp

4 4 4 4

(Chimes)

pp

Harp

Piano

mp M. M.

3 4

3 4

A.

3 4

4 4

3

I

S.

pp

shall...

pp

3

I

...tell

mp

pp

mp

pp

4 4 4 4

shall...

Vn. I

3 4

4 4

Vn. II

3 4

4 4

Va.

3 4

3

4 4

3

pp 3

Vc.

Cb.

3 4 3 4

pp

(Birds call: it is dawn. MARY, crowned, finds the stairs, atop which a waiting MIRIAM stands amazed; she climbs slowly out of the tomb and into the morning light.)

4 4 4 4

them.


The Gospel of Mary Magdalene—Act II

790 1063

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Ob. 1 2

3 4

4 4

3 4

4 4

Ob. 3

3 4

4 4

3 4

4 4

1 Cl. in Bb 2

3 4

4 4

3 4

4 4

Cl. in Bb 3

3 4

4 4

3 4

4 4

Bn. 1 2

3 4

4 4

3 4

4 4

Cbn.

3 4

4 4

3 4

4 4

Hn. in F 1 3

3 4

4 4

3 4

4 4

4 4

3 4

4 4

Fl. 1 2

pp

Picc.

pp

n

pp

3 4

Hn. in F 2 4

pp

pp

pp

n Tpt. in C 1 2

3 4

4 4

3 4

4 4

Tpt. 3 in C

3 4

4 4

3 4

4 4

Tbn. 1 2

3 4

4 4

3 4

4 4

B. Tbn./ Tuba

3 4

4 4

3 4

4 4

Timp.

3 4

4 4

3 4

4 4

Glock.

3 4

4 4

3 4

4 4

Vib.

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Va.

3 4

4 4

3 4

4 4

Vc.

3 4

4 4

3 4

4 4

Cb.

3 4

4 4

3 4

4 4

to Tri. Tri.

Harp

Piano

M. M.

div. a4 Vn. I

pp

div. a4 Vn. II

pp


The Gospel of Mary Magdalene—Act II

1067 Fl. 1 2

4 4

Picc.

4 4

3

p

3 4

4 4

3 4

4 4

791 1.

p

3 4

p

4 4

3 4

4 4

3 4

4 4

1. Ob. 1 2

4 4

3 4

4 4

Ob. 3

4 4

3 4

4 4

3 4

4 4

1 Cl. in Bb 2

4 4

3 4

4 4

3 4

4 4

Cl. in Bb 3

4 4

3 4

4 4

3 4

4 4

Bn. 1 2

4 4

3 4

4 4

3 4

4 4

Cbn.

4 4

3 4

4 4

3 4

4 4

Hn. in F 1 3

4 4

3 4

4 4

3 4

4 4

Hn. in F 2 4

4 4

3 4

4 4

3 4

4 4

Tpt. in C 1 2

4 4

3 4

4 4

3 4

4 4

Tpt. 3 in C

4 4

3 4

4 4

3 4

4 4

Tbn. 1 2

4 4

3 4

4 4

3 4

4 4

B. Tbn./ Tuba

4 4

3 4

4 4

3 4

4 4

Timp.

4 4

3 4

4 4

3 4

4 4

Glock.

4 4

3 4

4 4

3 4

4 4

Vib.

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

1.

p

bowed.

p

p

3

pp Tri.

4 4 4 4

Harp

Piano

(Tri.)

pp

pp

bird-calls: electronic or acoustic

4 4

T.

pp

4 4

pp

(hum)

B.

4 4

pp

(hum)

solo

Vn. I

4 4 4 4

unis.

Vn. II

3 4

4 4

3 4

4 4

4 4

unis.

Va.

3 4

4 4

3 4

4 4

43

44

43

44

3 4

4 4

3 4

4 4

pp unis.

Vc.

Cb.

44 4 4

pp 2 soli

pp


The Gospel of Mary Magdalene—Act II

792 1071 ossia repeat Fl. 1 2

4 4

3 4

Picc.

4 4

3 4 p

3

Ob. 1 2

4 4

3 4

Ob. 3

4 4

3 4

1 Cl. in Bb 2

4 4

Cl. in Bb 3

4 4

3 4

Bn. 1 2

4 4

3 4

Cbn.

4 4

3 4

Hn. in F 1 3

4 4

3 4

Hn. in F 2 4

4 4

3 4

Tpt. in C 1 2

4 4

3 4

Tpt. 3 in C

4 4

3 4

Tbn. 1 2

4 4

3 4

B. Tbn./ Tuba

4 4

3 4

Timp.

4 4

3 4

Glock.

4 4

3 4

Vib.

4 4

3 4

Tri.

4 4

3 4

4 4

1.

p

actual pitch

pp

3 4

3 4

Harp

4 4

3 4

4 4

3 4

4 4

3 4

ossia repeat 4 4

3 4

Vn. II

4 4

3 4

Va.

4 4

3 4

Vc.

4 4

3 4

Cb.

4 4

3 4

Piano

Vn. I

p

Adamo GOSPEL OF MARY MAGDALENE vol 3  

Opera and Music Theatre; score; Act II; G Schirmer Inc; musicsalesclassical.com; 45875

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